Categories
Widget Image
Trending
Recent Posts
Monday, Oct 19th, 2026
HomeStandard Blog Whole Post (Page 1274)

Handles, usually indicated by an @ sign in front of a name or nickname, are useful for people who want to create an identity, indicate their opinions, or make a joke — and many social networks, such as Twitter, TikTok, and Facebook, have adopted it. Now, finally, YouTube is as well — and not just for its established creators.

Until recently, the only people who had YouTube handles — individual URLs that allow people to find your videos — were those who had at least 100 subscribers. The rest of us were using URLs that went something like youtube.com/user/your.handle. Now, YouTube is rolling out handles to all its users — @ names that will be used to identify you in channel pages, Shorts, and other YouTube areas.

YouTube is sending out notifications via email or, if you’re already a creator, via YouTube Studio; at that point, you will then be able to choose your handle. If you’ve already created a personalized URL for your channel, YouTube will automatically assign that as your default handle; but if you’re tired of it, you will be given the option to change it.

I haven’t created many YouTube videos — last I looked, I had two, neither of which is worth mentioning — but I received my invitation yesterday. So here is how the relatively simple process for choosing a handle works.

Apparently, the new handles are simply reserved right now — they will actually go into use later this year. At that point, you will be able to access your videos by going to, say, youtube.com/@your.handle. However, your old youtube.com/user URL will still work. And if you decide you’re not happy with your choice, you can go back to https://www.youtube.com/handle, where the formerly Choose handle button will now read Change handle.

Source link

Handles, usually indicated by an @ sign

A24’s Close, which won the Grand Prix in Cannes, has picked up another accolade, capturing the jury prize for top narrative film at the Hamptons International Film Festival.

The 30th edition of the festival, which wraps this weekend, also gave the top documentary honor to Pray for Our Sinners, directed by Sinéad O’Shea.

Director Lukas Dhont’s Close follows the intense friendship between 13-year-old boys Léo and Remi, which suddenly gets disrupted. Struggling to understand what has happened, Léo approaches Sophie, Rémi’s mother. The film is billed as an exploration of friendship and responsibility. The leading roles in Close are played by newcomers Eden Dambrine and Gustav De Waele. Léa Drucker and Kevin Janssens, Marc Weiss, Igor Van Dessel, and Léon Bataille also star.

Belgium last month made the film its official submission in the Oscar race for Best International Feature.

Pray for Our Sinners, set in O’Shea’s hometown north of Dublin, Ireland, explores the control exerted by the Catholic Church.

In addition to the two feature winners, the Hamptons shorts program yielded two prize winners and a special mention honoree. Snow in September, directed by Lkhagvadulam Purev-Ochir, won Best Narrative Short and When the LAPD Blows Up Your Neighborhood, directed by Nathan Truesdell, won Best Documentary Short. The Sentence of Michael Thompson, directed by Kyle Thrash and Haley Elizabeth Anderson, earned a special mention.

Held at a handful of sites on the East End of Long Island, about two hours east of Manhattan, the Hamptons Film Festival has established itself as a notable stop on the fall fest circuit as awards campaigns and the season for prestige fare are both on the upswing.

Source link

A24’s Close, which won the Grand Prix

OK, so we knew there was going to be an ending. We just didn’t know there’d be, like, six endings.

Honestly, after a while I stopped keeping count of each time I thought “Halloween Ends,” ballyhooed as the final, no-really-we-mean-it-final installment of the “Halloween” saga that began with John Carpenter’s 1978 classic — or at least for star and producer Jamie Lee Curtis — was finished. Was it when she does this? When he does that? When that other person comes in? In my notebook I kept writing, “It ends with…” But then some other crazy thing happened.

As for whether this kitchen-sink approach to narrative resolution will bother you, well, that depends on what you came for.

Did you want closure in a satisfyingly coherent way? That’s not what you’ll get. Did you want to see Curtis in one more (we think) badass performance as durable Laurie Strode, whom she’s been playing for some 45 years? You’ll get that. Did you want to see more gore and guts, with a disturbingly creative scene involving a record turntable? You’ll get that, too.

Actually, the turntable — can we repeat that this scene is disturbing? — is rather a concerning metaphor here, because it implies something that may slow down but never fully stop. And that’s the uneasy feeling we get at the end as we leave Strode, her masked nemesis Michael Myers and the other residents of Haddonfield, Illinois, (a town in which, if we can digress for a second, the real estate values must be in the tank by now given the body count, but somehow people stay?) Can we really trust this will finally be it?

In any case, nobody can seem to quit Haddonfield, least of all Strode, so it is there, once more, that we begin this third installment of the trilogy by David Gordon Green, which was meant to follow directly from the original, ignoring all the intervening sequels and reboots. In case you missed any, there’s a handy recap from Strode herself, as narrator. But first, we witness a harrowing prelude in which another babysitter gets into trouble on Halloween night, this time in 2019 — not a girl but a boy, Corey (Rohan Campbell). A few hours after his cheerful arrival, the young boy he’s minding is dead and Corey’s being taken away by the authorities.

Was the horrible event an accident or intentional? When we meet Corey again, he is out free but a shadow of his former self. Strode, meanwhile, has bought a new home, is writing a memoir, and is aiming to move on (but not out, at least not out of Haddonfield.) “It’s been four years since I last saw my monster,” she tells us. “So here I am, a survivor attempting to share my story and find healing.”

Strode, whom we see typing out her thoughts a la Carrie Bradshaw, spouts a bunch of psycho-babble about individual responsibility to resist evil, which coming from anyone but Curtis would sound utterly absurd — but her resourceful presence has been the main reason to watch this franchise since her first babysitting gigs in 1978. In any case, theories about finding strength in making peace with one’s fears sound fine, until one is facing a huge masked guy with a bloody carving knife in the kitchen — or so it would seem.

Strode is now living with her granddaughter, Allyson (a lovely Andi Matichak), now a nurse, who tragically lost her parents to the Boogeyman, aka Myers. Allyson also yearns to move on from tragedy (but not from Haddonfield!) and when she meets Corey, something in the troubled young man strikes a chord. As the pair grows closer, though, Strode is becoming increasingly concerned by a dark side of Corey that reminds her of … hmm, who could it be? … it’ll come to us.

Speaking of Myers, of course he’s back. We won’t tell you where and how, but no one will be shocked, because it always comes down to the last 20 minutes or so of epic, biblical confrontation between him and Strode. On Halloween. Obviously.

The only difference this time is whether we can believe that this ending — well, these six endings — are really it. (Wait, is that the reason the film is called “Halloween Ends” – as in ends, plural?) There does seem to be some pretty incontrovertible evidence here that someone, and we won’t tell who, would have a hard time returning.

But that turntable is still spinning. We may be seeing all these people again.

“Halloween Ends,” a Universal Pictures release, has been rated R by the Motion Picture Association of America “for bloody horror violence and gore, language throughout and some sexual references. “ Running time: 111 minutes. Two stars out of four.

MPAA definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.

JOIN THE CONVERSATION

Conversations are opinions of our readers and are subject to the Code of Conduct. The Star does not endorse these opinions.

Source link

OK, so we knew there was going

What beauty rule do you think is BS?

I think we’ve broken a lot of the rules, and that excites me. I’ve always joked about coloring outside of the lines, which was my inspo for our glam bag: doing things your way and not the way that society has conditioned us to think that we have to. Makeup is for everyone; it’s not gender exclusive. Makeup is not for a specific age. Like I said, it’s a form of expression, and I think the artist in me just knows we’re all entitled to that creative right to do what our heart desires. Creating that art on your face, there is nothing more badass than that. I like the idea of coloring outside of the lines; that’s a rule that should be broken all of the time.

Do you remember the first beauty product you ever used?

My mom had a liner that she would use on her lips and also on her eyes. I’m almost 100% sure these were liners bought at those little fashion boutique stores that sell tees for like a dollar, two dollars. It was a darker liner, and it was everything to me. I felt like I could conquer the world. I for sure did not know what I was doing, but that liner was the shit. And it’s funny because I look at our TresLúce gel pencil liners, and they’re actually formulated to be able to use all over the face. I’ve used them on my lips, I’ve used them to do graphic liners on my eyes, you can use them on the under water line. Because I remember that shit kind of burnt a little bit putting it on my eyes, which is so funny back in the day, it definitely was not supposed to be there. But now we make things the right way and we make them to have that versatility to use them as your heart desires.

Fill in the blank. I love my hair when ___.

I love my hair when it’s in it’s natural wavy state. I have a wave, curl pattern that I didn’t necessarily take care of, because I always thought that flatironing my hair was the way. We all go through that phase, right? My mom had really wavy, curly hair in high school, and my grandma didn’t, and so she didn’t teach my mom how to take care of her curls. So I wasn’t taught how to take care of my natural wave pattern. But actually, Julissa from Rizos Curls, we did a TresLúce collab video where she brings my natural hair into full fluff and full wave and it’s so cute. That’s my favorite way to wear my hair, especially when I have my days off. It’s nourishing. Give it all the good stuff.

I feel most beautiful when ____.

I feel most beautiful when I practice self-care. I think it’s what maybe society used to consider something very ugly, which is, like, crying. Being in that very vulnerable state for me is like practicing self-care, or doing things like silly face masks. Treating yourself to an at-home facial, bubble baths, reading a book. All of those things make me feel like I’m being good to myself, which is such a beautiful thing to experience. Especially as Latina women, we do so much for so many people around us that by the time I realize [it, I] am like, “What have I done for myself?” So I feel most beautiful when I practice self-care.

Source link

What beauty rule do you think is

Of course, people had thoughts. In fact, #RIPJKRowling quickly began trending. “She’s convinced she’s a martyr and this is her suicide mission,” one user wrote.

Twitter content

This content can also be viewed on the site it originates from.

Robbie Coltrane defended J.K. Rowling.

The man who played Hagrid was one of the few actors from the Harry Potter–verse to defend Rowling. “I don’t think what she said was offensive, really. I don’t know why but there’s a whole Twitter generation of people who hang around waiting to be offended,” he told Radio Times, per the Standard. “They wouldn’t have won the war, would they? That’s me talking like a grumpy old man, but you just think, Oh, get over yourself. Wise up, stand up straight, and carry on.”

He continued, “I don’t want to get involved in all of that because of all the hate mail and all that shit, which I don’t need at my time of life.” 

Pete Davidson had the perfect response to the whole thing on Saturday Night Live.

Davidson, who has a Harry Potter tattoo he now seems to regret, joined SNL’s “Weekend Update” on October 10, 2020, to discuss that summer’s controversy. 

“I long for a few young years ago when the worst things she did were those Fantastic Beasts movies,” he joked. “No discrimination there—those films harmed us all equally.”

Watch his full remarks, below:

Content

This content can also be viewed on the site it originates from.

Eddie Izzard comes to Rowling’s defense.

The comedian, who announced in December 2020 she’s gender-fluid and identifies with she/her pronouns, said in an interview with The Telegraph, “I don’ think J.K. Rowling is transphobic. I think we need to look at the things she has written about in her blog. Women have been through such hell over history. Trans people have been invisible too. I hate the idea we are fighting between ourselves, but it’s not going to be sorted with the wave of a wand. I don’t have all the answers. If people disagree with me, fine, but why are we going through hell on this?”

A new Harry Potter TV show might be happening—and some fans aren’t happy. 

In January 2021, rumors started swirling that a Harry Potter TV show was in “early development” at HBO Max. The streaming platform and Warner Bros. shot this down in a statement to The Hollywood Reporter, but still fans are chattering. And not all of them are happy about the idea of Rowling profiting off a hypothetical show. 

Source link

Of course, people had thoughts. In fact,

This week on CBS’ Fire Country, Jake held Bode’s fate in his hands, depending on whether he told Vince about getting slugged by his ex’s brother or not. But it was another secret that wound up deciding if Bode would get booted from his hometown.

Episode 2 opened with a flashback to when Riley was alive, and a birthday celebration at the bar. In thanking all those in attendance — Vince, Sharon, Eve, Jake and Bode — Riley very conveniently connected any last dots we needed, regarding who is who. (Namely, Sharon and Vince are both her parents, and they are both also Bode’s.) During same party, Bode learned that his sister had begun dating Jake, and that he in short order broke her heart.

Back in the present, it became evident that Vince would be fine with Bode being sent back to prison due to his “rogue” actins during the Buckeye fire. Manny makes clear that it is his call, once he has collected all the facts. Her interest piqued by something Bode said to his father, Sharon asked Vince about an “order” he once gave, but Vince puts her off for the time being.

The “fire event” of the week involved a dry lightning storm, which threatened a rec center (and the rugrats to whom Gabriela was giving swim lessons), and which later nearly zapped the prison bus which Bode convinced Manny to send the kids to safety in. In the course of treating the driver (who had a slab of hot asphalt catapulted through the windshield and onto his chest), Eve grilled Jake about how he broke Riley’s heart; eventually, he confesses that he had cheated on Bode’s sister (Secret No. 1!), and hadn’t made amends before she died in the car crash. Jake also says that Bode punched him during the Buckeye rescue, and if he tells Vince, there is no way Bode isn’t sent back to prison. Eve urges him to withhold that information, if their own family is to rebuild itself.

After the lightning storm passes, the Cal Fire crew gathers at the bar to celebrate. There, Eve takes another crack at asking out Aydan, but the barkeep takes a rain check, suspecting the firefighter is merely on a “just saved a guy’s life” high.

Vince meanwhile tells Sharon that after Riley died, he told Bode to leave town and never come back. An aghast Sharon reminds her husband that she effectively lost two children the day Riley died, because of this “order,” and she will be damned if she will miss out on the chance to reconnect with their son. Vince then says “there is more…,” that he suspects Bode gave Jake the shiner he has been sporting, which would seal their son’s dismissal from the fire camp program.

Sharon checks in on Manny’s decision, and it becomes evident to us that Jake decided not to disclose the punch. Manny is set to transfer Bode to another fire camp, but Sharon reveals to him that she is dying of a chronic kidney disease (Secret No. 2!), and wants Bode near.

Manny later tells Bode that he is keeping him at Three Rock, and when he meets resistance, he argues that no matter where Bode is stationed, his father’s voice will always echo in his head. Manny also reveals that he, too, had been an inmate in the fire camp program (Secret No. 3!), and that it was Sharon who believed in second chances and paved the way for him to join Cal Fire proper. Manny then challenges Bode to stay and prove himself to be the person his mom thinks he can be, and not the deadbeat his dad suspects he is.

What did you think of “The Fresh Prince of Edgewater”?

Source link

This week on CBS’ Fire Country, Jake

Nicki Minaj’s “Super Freaky Girl” is spending its eighth week on top of Billboard’s Hot Rap Songs chart, but at the Grammys, the song will compete in the pop category.

Minaj originally submitted the track — which debuted at No. 1 on Billboard’s Hot 100 chart in August — to the rap categories at the Grammys, but the decision was overturned by the Recording Academy’s rap committee, according to a source. That group determined that Minaj’s playful and pop-sounding song sampling Rick James’ 1981 classic “Super Freak” should compete for best pop solo performance instead of rap awards.

Minaj criticized the decision on social media Thursday in an Instagram video post and a series of tweets. “They stay moving the goalposts when it comes to me,” Minaj said on IG about the academy. “Why is the goalpost only ever moved when it’s Nicki?’

Minaj also said if “Super Freaky Girl” must compete in pop, so should Latto’s “Big Energy,” which is pop-leaning and samples Tom Tom Club’s 1981 song “Genius of Love,” famously sampled by Mariah Carey for the No. 1 hit “Fantasy.”

“I have no prob being moved out the RAP category as long as we r ALL being treated FAIRLY,” she tweeted. “If SFG (Super Freaky Girl) has 2B moved out RAP then so does Big Energy! ANY1 who says diff is simply a Nicki hater or a troll.”

Latto’s “Big Energy” spent two weeks at No. 1 on Billboard’s rap chart and peaked at No. 3 on the all-genre Hot 100 chart. At the Grammys, “Big Energy” will compete for rap Grammys, not pop.

A representative for The Recording Academy did not reply to an email seeking comment.

Nominees for the 2023 Grammys will be announced on Nov. 15, and the live telecast will air on Feb. 5, 2023, on CBS. Voting for the first round of nominees begins Thursday and ends on Oct. 23.

Minaj has released a number of pop and hip-hop hits throughout the years that feature her rapping or singing — sometimes both on the same track. Her debut solo single, 2010’s “Your Love,” was pop-adjacent with its sample of Annie Lennox’s 1995 cover version of “No More I Love You’s,” and Minaj has released other pop-heavy songs like “Super Bass” and “Starships,” which Hot 97 radio host Peter Rosenberg famously dubbed “not real hip-hop” and caused Minaj to pull out of the station’s annual Summer Jam concert.

But of Minaj’s 10 Grammy nominations, she’s only competed in pop once — for best pop duo/group performance with “Bang Bang” alongside Ariana Grande and Jessie J. The majority of her Grammy nominations have been in rap, including best rap album for Pink Friday and The Pinkprint, best rap song for “Anaconda” and best rap performance for “Moment 4 Life” and “Truffle Butter.”

“Super Freaky Girl” is in similar company to Lizzo’s “Truth Hurts”: The singer-rapper’s breakthrough track topped Billboard’s rap chart for 13 weeks and eventually led the all-genre Hot 100 chart for seven weeks, but it didn’t compete in the rap categories at the Grammys. Instead, it was nominated — and won — best pop solo performance at the 2020 show.

Other songs that feature rap elements that have competed for best pop solo performance include Doja Cat’s “Say So,” which includes her singing and rapping, and Post Malone’s “Better Now,” which meshes hip-hop, alternative and pop sounds.

Collaborative songs that topped Billboard’s rap chart but competed for best pop duo/group performance at the Grammys include Iggy Azalea and Charli XCX’s “Fancy,” Wiz Khalifa and Charlie Puth’s “See You Again” and Lil Nas X and Billy Ray Cyrus’ “Old Town Road,” which won the honor in 2020.

Macklemore & Ryan Lewis were originally kicked out of the rap Grammys when the duo had a breakthrough with the hits “Thrift Shop” and “Can’t Hold Us” at the 2014 show. But that decision was later overturned — and heavily criticized — when the group swept the rap Grammys, besting Kendrick Lamar and others — a decision even Macklemore denounced. As a result, Macklemore & Ryan Lewis didn’t submit their sophomore album for Grammy contention at the 2017 show.

Source link

Nicki Minaj’s “Super Freaky Girl” is spending

In the wake of sexual misconduct accusations against lead singer Win Butler a few months ago, Arcade Fire has continued with its fall tour, currently hitting North America. Today, however, Beck, who was slated to open the shows, withdrew from the tour after opening its European leg.

Ticketholders were informed by email of Beck’s departure. A rep for the artist, who confirmed that he left the tour, did not provide any additional comment.

Haitian band Boukman Eksperyans will take Beck’s slot.

The tour will begin in Washington, D.C. later this month.

Feist opened the first shows of that leg before dropping off, saying that it was “incredibly difficult for me and I can only imagine how much more difficult it’s been for the people who came forward. More than anything I wish healing to those involved.”

Butler has denied the misconduct accusations, telling Pitchfork (which originally reported the story) at the time that the sexual encounters were consensual.

 

Source link

In the wake of sexual misconduct accusations

Producer Robin de Levita makes his writing and directorial debut with Lost Cos. The film examines how the past shapes our present and how trauma always hangs over us. Combining superhero action, comic book panel animations, comedy, romance, thriller, action, and drama, de Levita’s is nothing if not ambitious. Does his reach exceed his grasp, or is the filmmaker successful?

Eni (Evgeniya Radilova) is a dental assistant by day and even helps her boss launder money by accepting packages at her place. At night, Eni lets loose at Los Cos, a burlesque club whose performers and audience members cosplay as various comic heroes. Unfortunately, one cosplayer, Merman (Cameron Rea), winds up dead. This tragic event coincides with a stalker emerging in Eni’s life, which brings up harsh memories of her dead lover Lia (Zoë Vnak). Now, she must face her past traumas to become who she was meant to be. If that entails getting a little revenge on the scum of the Earth, so be it.

Lost Cos should have a tone problem, as one minute there’s a flashback to Eni and Lia, while the next deals with an over-the-top gamer obsessed with Eni (the stalker, maybe?). A scene of some folks ordering from a food truck and the staff being sarcastic is hilarious, but a few minutes later, sexual assault happens. Detectives Jerry and Tom’s (Mark McCullough Thomas and Ross DeGraw) effort to enter the club by donning animal onesies is a brilliant visual gag. That is followed by a somber flashback involving Merman. Yet, somehow, de Levita steers the ship right on through and ensures each disparate element gels together beautifully. The jokes never disrupt the action, which does not interfere with the human drama one bit. As a director, de Levita knows exactly what he’s doing.

“…Eni lets loose at Los Cos, a burlesque club whose performers and audience members cosplay…”

The animated sequences, usually illustrating a specific cosplayer, by lead animator Adriano Moraes and his team are outstanding. They are highly stylized, vibrantly colorful, and energetic pieces of art that help further the characters’ arcs. The splashes of red or the popping purples really aid the worldbuilding and setting. A whole movie animated like this would be pretty awesome.

Lost Cos is also bolstered by its rocking soundtrack. The score is merely satisfactory, probably the weakest element here, but the song choices are divine. They bring a driving momentum to the film, enriching every scene they are used in.

The cast delivers uniformly first-rate performances. Radilova is irresistible, switching from heartbroken to angry to sweet with the greatest of ease. Vnak is ravishing, allowing you to understand Lia and Eni’s attraction to each other instantly. Rea only has a few scenes as Merman, but he wrings out plenty of pathos. Degraw and Thomas have a natural comedic timing, which they play up wonderfully.

Lost Cos examines some intense, grueling themes but does so in a surprisingly fun way. It does not matter what genre you love, this film has a scene or two of it waiting to be discovered and shared with your friends. Robin de Levita’s adventurous first film is a wild ride that goes for broke in all the best ways. As such, it should not be missed.

For more information, visit the Los Cos official website.

Source link

Producer Robin de Levita makes his writing

Kathy Hilton on Where She Stands With Lisa Rinna and Kyle Richards Post-Reunion (Exclusive) | Entertainment Tonight
































Source link

The Church of Jesus Christ of Latter-day Saints, often referred to as the LDS Church or Mormon Church, has suffered a data breach that involved sensitive personal information of Church members, employees, contractors, and friends. Payment and other banking data were not affected.

In an announcement (opens in new tab) , the Church said the data breach happened in late March 2022, but as the law enforcement investigation was ongoing, it was asked to keep the incident confidential. 

The Church did not name the threat actor behind the attack, nor did it say if any malware (opens in new tab) was used, but it did say that U.S. federal law enforcement authorities suspect the intrusion was “part of a pattern of state-sponsored cyberattacks aimed at organizations and governments around the world” that is not intended to cause harm to individuals.

Banking data safe

When the hackers managed to get into the Church’s database, they stole “basic” data, including usernames, membership record numbers, full names, gender information, email addresses, birthdates, postal addresses, phone numbers, and preferred language. 

While donation history, or banking information, was not affected, this is still enough sensitive data for identity theft, phishing, and other types of fraud. 

So far, the Church has not seen evidence of the data being used in the wild, but did urge everyone to be extra vigilant when receiving any emails, SMS messages, or phone calls, and to be on the lookout for potential fraud attempts. 

It also added that whoever was affected by the incident was already contacted, and those who had additional questions could reach out via phone numbers listed here (opens in new tab).

To keep its members, employees, contractors, and friends secure, the Church employed external forensic experts, notified U.S. federal law enforcement, and “other cybersecurity professionals” that investigated the incident and “further enchanced” the security of Church systems. It did not detail what this enhancement means, nor did it provide affected individuals with identity protection services.

Source link

The Church of Jesus Christ of Latter-day

Reputations go a long way in Hollywood, and when you’re seeking Oscar attention, a good one provides a significant edge against the competition. While more than a few contenders in this year’s mix have had previous run-ins with colleagues and journalists, those without that baggage have social media, and the industry, rooting for them.

At the top of the list is Brendan Fraser, one of the best comeback stories in years. In Darren Aronofsky’s “The Whale” (Aronofsky and Fraser are both on the cover of this week’s New York issue of Variety) where he plays a 600-pound man looking to reconnect with his daughter, he delivers an astounding performance. The adaptation of Samuel D. Hunter’s play may face an uphill battle in other major categories, based on reactions so far. However, the star of “The Mummy” (1999) and “Encino Man” (1992) has been able to rise above any criticism, especially after Variety posted a viral video of him getting emotional during the film’s standing ovation at Venice.

Tom Hanks, “America’s Dad” for decades, has received six Oscar nominations and scored back-to-back wins for “Philadelphia” (1993) and “Forrest Gump” (1994). Although his interpretation of Col. Tom Parker, the music-manager weasel with a weird accent in Baz Luhrmann’s “Elvis,” received a mixed reception from critics, there’s nothing the Academy likes to do more than to prove the public wrong, especially when one of its darlings is involved. With a huge box office for “Elvis” and a starring role in “A Man Called Otto,” the English-language remake of the Oscar-nominated Swedish film “A Man Called Ove” (2015), he could be part of the race in either the lead or the supporting category.

EVERYTHING EVERYWHERE ALL AT ONCE, Ke Huy Quan, 2022. ph: Allyson Riggs /© A24 / Courtesy Everett Collection

Courtesy Everett Collection

With grace, respect and charming humor, Michelle Yeoh has been at the forefront of this year’s Oscar hunt for her performance in “Everything Everywhere All at Once.” The A24 action-dramedy is topping many of the pundit charts, and Yeoh and co-star Ke Huy Quan — another great comeback story, he’s best known for his role as Short Round in “Indiana Jones and the Temple of Doom” (1984) — are both pulling the “EEAAO” train to the Oscar station.

A former child actor who recently launched a digital network, Keke Palmer has received standout notices for her “Nope” performance as Emerald Haywood, the wisecracking sister to Daniel Kaluuya’s OJ, who seeks to prove the existence of a UFO hovering above their ranch. Depending on the resources that Universal puts behind the Jordan Peele-directed horror movie, and news that she will be submitted in best supporting actress this awards season — perhaps in a way similar to Emily Blunt, who won a Screen Actors Guild Award in 2019 for “A Quiet Place,” she can find a pathway to recognition.


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

The excitement surrounding the first film from Todd Field in 16 years, meanwhile, is palpable. His last film, “Little Children,” received three nominations, including one for adapted screenplay, and he wrote and directed “Tár,” starring Cate Blanchett.

GLASS ONION: A KNIVES OUT MYSTERY, (aka KNIVES OUT 2), from left: director Rian Johnson, Janelle Monae, on set, 2022.  ph: John Wilson /© Netflix /Courtesy Everett Collection

GLASS ONION: A KNIVES OUT MYSTERY, (aka KNIVES OUT 2), from left: director Rian Johnson, Janelle Monae, on set, 2022. ph: John Wilson /© Netflix /Courtesy Everett Collection

©Netflix/Courtesy Everett Collection

“Star Wars: Episode VIII — The Last Jedi” may have divided audiences, but writer and director Rian Johnson remains well liked. “Glass Onion,” his sequel to “Knives Out,” debuted to raves at TIFF and is Netflix’s best shot at awards attention. It could get across the finish line, thanks to Johnson’s unflinching and clear love for the movies.

These mentions don’t mean other awards contenders aren’t liked or respected. But in a sea of populist titles such as “Top Gun: Maverick” with Tom Cruise and sight-unseen releases such as “Avatar: The Way of Water” and “Black Panther: Wakanda Forever,” the examples above might benefit from a post-COVID mood where voters are just looking for some positivity. That surely worked for “CODA.”

2023 Academy Awards Predictions

BEST PICTURE | DIRECTOR | ACTOR | ACTRESS | SUPPORTING ACTOR | SUPPORTING ACTRESS | ORIGINAL SCREENPLAY | ADAPTED SCREENPLAY | ANIMATED FEATURE | PRODUCTION DESIGN | CINEMATOGRAPHY | COSTUME DESIGN | FILM EDITING | MAKEUP AND HAIRSTYLING | SOUND | VISUAL EFFECTS | ORIGINAL SCORE | ORIGINAL SONG | DOCUMENTARY FEATURE | INTERNATIONAL FEATURE | ANIMATED SHORT | DOCUMENTARY SHORT | LIVE ACTION SHORT

Source link

Reputations go a long way in Hollywood,

Saturday will be Eddie Redmayne Day at the Newport Beach Film Festival.

The Oscar- and Tony-winning actor, who is currently garnering a new wave of awards buzz for his portrayal of a hospital co-worker of Jessica Chastain‘s in Tobias Lindholm’s Netflix film The Good Nurse, will be honored with the fest’s Icon Award at a noontime luncheon at the Resort at Pelican Hill.

The luncheon will be preceded by an hour-long recording with Redmayne of an episode of The Hollywood Reporter’s Awards Chatter podcast, which features career-retrospective conversations with Hollywood’s biggest names. (He previously guested on the podcast back in 2015, as its second-ever guest.) And it will be followed by a screening of The Good Nurse and then a Q&A with Redmayne.

The 40-year-old is best known for his portrayal of Dr. Stephen Hawking in the 2014 film The Theory of Everything. He also gave memorable big-screen turns in My Week with Marilyn (2011), Les Misérables (2012), The Danish Girl (2015) and The Trial of the Chicago 7 (2020).

Note: Adam Sandler, star of Hustle, was also supposed to record an episode of THR’s Awards Chatter podcast on Saturday, and then receive the fest’s Performance of the Year Award at a luncheon, but those festivities have been postponed until Tuesday and relocated from the Resort at Pelican Hill to the VEA Newport Beach. Anyone who already had tickets to see Sandler on Saturday may now redeem those tickets to see both Redmayne on Saturday and Sandler on Tuesday.

Source link

Saturday will be Eddie Redmayne Day at

Let me start this recap piece with a single declaration – this show is gonna rock!  In the pre-coverage article written earlier, I made a bold prediction that “The Winchesters will turn out, like the mothership that launched her, to be more successful and eminently more tenacious than she looks to be at first glance.”

I will admit that there was a hint of doubt.  I worried that she might not live up to the hype.  It’s early days I realize, but so far, I stand by my prediction.  The pilot shined.  She left us all wanting more!  [Sideways glance] That’s my girl!

We’ve all seen new shows before.  Often, even if the writing is good, there is an air of clumsiness.  You can tell that all the cogs, wheels and pulleys are not yet in sync to propel the machine forward.  The on-screen relationships are fragmented and performances wooden.  Small details are overlooked that unhinge the audience from their enthusiasm to watch.

None of that happened here.  Every detail was lovingly given its due attention.  The location and sets were so good I could write an article on that alone.  The story was engaging, exciting, peppered with good humour and well-grounded.  The performances were fluid, connected, oozing with a chemistry that promises to take us places we long to go.  These young actors are a cohesive group.  They pop.  They are vibing.  It all just worked!  I looked at my husband when the show was over, and said… “oh, this is gonna be good!” and he agreed.  Which is high praise indeed.  If it doesn’t contain a ball, a bat, a net, or puck, he isn’t usually interested.

EPISODE RECAP

The CW-gl Samuel Campbell

The CW-Samuel Campbell

Episode opens in New Orleans, March 1972, and we see a hunter (Samuel Campbell) entering a mausoleum.  Inside he approaches a circular concrete tomb.  He lights a torch, cuts his hand and with the blood, writes a rune looking symbol into a plate that sits beside the lid.  The lid pops open, and we see from the shadow cast on the wall that a huge spider like creature appears.  Samuel runs.  Back outside, he trips, goes down and the creature descends on him.

In the next scene, a bus passes by the “Welcome to Lawrence” sign.  The passenger on the bus, John Winchester, dozes off and begins to have a disturbing dream of his time in Vietnam and abruptly awakes.  He is obviously shaken.  He takes a piece of paper out of his shirt pocket, and it says “John Winchester” on the envelope.

We hear the voice of Dean Winchester as he narrates the following: “March 23, 1972, the day dad came home from the war, and the day he met mom.  Now I know this story might sound familiar but I’m going to put the pieces together in a way that just might surprise you and in order to do that, I have to start all the way at the beginning.”

The CW-gl-John and Mary Meet

The CW-John Winchester and Mary Campbell

John and Mary both run into each other outside a theatre.  She gives him her licorice drops.  They exchange some friendly chit-chat and go their separate ways after she calls him “Soldier Boy.”

Next John goes home and shares a tearful hug with his mom.  Their conversation reveals that John forged his dad’s signature on a waiver that allowed him to enter into the Marines before his 18th birthday and he has been gone for two years.  His mom operates an auto garage, following in her own father’s footsteps.  John, is in a constant search to reconnect with his father.  It is what led him to go into the Marines in the first place and his mom urges him to let the past go.

In the next scene, we see John being confronted by a demon who wants the key in his hand.  Once the demon puts John in a choke-hold, Mary shows up and some hand-to-hand combat ensues.  It gets comical when John attempts to help and instead gets in the way.  The demon ends up in a wading pool of holy water but before he “smokes out” Mary asks him about her dad.  This is the first we hear about Maggie, who is apparently burning in hell.

Mary wants to know why John is there and John says that when he got back from Vietnam, a man he didn’t know gave him a letter from his father, which signified that his father was dead.  If he wanted to learn anything about it, he was to go to the address given in the letter, along with the key.  The same key the demon was just trying to take from him.  Mary said her dad called her from the road and he was being followed by demons and that he would meet her at home, but he never showed up.  He wanted a schematic from the place that John has the key for.  Her dad is after some box, but she hasn’t been able to get inside to find anything yet.

Mary tells John that magic is real, and we see a demon trap in front of the door they are about to enter.  Mary sees that the key chain John is holding is an anti-possession charm.  Mary also has one that hangs from the charm bracelet on her wrist.

Once inside, John sees a folder that has “Men of Letters” written on it, but Mary has never heard of them.  The place is covered in dust and cobwebs and has clearly been empty for many years.  John sees a locker with HEW (Henry Eric Winchester) on the door.  He packs up everything from inside the locker to take with him.  Mary finds the file her dad was looking for, which contains information about the box he was after.  Mary said that her dad tracked down a woman who was helping him, by the name of Ada Monroe and that when he called, he sounded afraid.

The CW-Men of Letters

The CW-Men of Letters

Mary and John part ways and she tells him to let the past go and walk away from this kind of life.

Next we see that Ada Monroe is visited by a demon.  She tries to get away but drops her anti-possession charm and becomes possessed.

John finds Mary the next morning, bearing coffee and a newspaper article reporting that Ada Monroe is missing.  They go to the public library and Mary introduces John to Latika, who seems to be a hunter in training.  Mary asks her to investigate the box described in the file she found, and to solve the puzzle that will allow them to open the box.  Mary tells Latika that her and John are headed for Lubbock, Texas to investigate the missing Ada Monroe.  When Mary tells Latika that she does not want her to come along, Latika (also called Lata), encourages her to take another hunter along and suggests she take Carlos.  Mary said after Tupelo she can’t trust him.

As they drive to Lubbock John sees his dead soldier friend (Murph) in the back seat and thinks he’s being haunted.  Mary said she sees all the faces of people she couldn’t save.  Not haunted, just bad memories.  John explains that his friend stepped on a land mine and exploded.  The only thing left of Murph is the shrapnel of his silver cross embedded in John’s arm.

Once they get to Ada’s they see all kinds of evidence that Ada and her dad were working together.  The demon from the night before shows up and John and Mary go outside to investigate.  Carlos makes a well-timed entrance with Latika in tow, as they hit the demon with the van and send her flying.  Carlos tells Mary to “let Topeka go,” and commandeers John to show him how to subdue a demon and perform an exorcism.

Once back inside, all four are looking around and Mary finds that her dad was also looking for Men of Letters locations everywhere.  It’s obvious that the Men of Letters is some kind of secret society connected to her world of monster hunting.  She is confused why her dad would be working on this with Ada rather than involve his own family.  The general consensus is that Samuel was trying to protect them.  Mary said that given what they know about monsters, if she needed protection from whatever he is investigating, it must be pretty bad.

The CW-Latika Explains the Box

They discover that the Men of Letters have been around for centuries and operating in the shadows.  They also find out that the box is a monster trap, powered by dark magic.  It pulls monsters inside and kills them.  It was built by the Men of Letters.  It’s a very powerful weapon and they wonder why he was looking for it, but John points out, the demons want it too.  They find a scrap of paper and John deciphers it as geographic coordinates that point to New Orleans.

On the drive to New Orleans, we find out that Mary blames herself for whatever happened to Maggie, and that Samuel saved Latika’s life which is why she wants to join the hunt to find him.  The coordinates have lead them all to a cemetery in New Orleans and as they walk through it, Mary shares with John that Maggie was like a sister to her and that she was killed by a vampire.  She tells John how much she wants out of the hunter life and claims that once she finds her dad, she’s out for good.

They all get to the mausoleum where her dad was and see the circular concrete tomb with the lid still ajar.  Mary finds her dad’s lighter and lights the torches.  They open the lid and drop one of the torches down.  John and Mary descend into the tomb while Carlos and Latika remain up top.

Once below, John and Mary discover what looks like another circular tomb, but when they open it, they find the magic box inside.  Just as Mary puts it in her bag, a monster comes in.  It turns out to be a Loup-Garou.  Apparently, it was placed there as a watch dog by the Men of Letters.  Mary tells John that silver can hurt it, but only decapitation will kill it.  They don’t have a silver blade with them, so John cuts out a piece of the silver shrapnel from his forearm in the hope that it will hurt the monster enough to buy them a few seconds so Mary can escape.  He immediately runs towards the monster and Mary runs for the exit.

Up top, Carlos has wondered off and Latika is visited by Ada, who is possessed by a demon.  Carlos shows up in time to hit the demon with holy water and shows Latika the knife he went to retrieve from his van.  He is knocked out by the demon and as Latika runs to his side, she drops the file containing the information regarding the magic box.  The demon picks it up and reads it.

The CW-gl-The Magic Box Opens

The CW-The Magic Box Opens

Mary climbs out of the tomb and sees the knife that Carlos dropped and throws it down the tomb to John.  She then throws Latika the magic box and tells her to open it.  As Mary and the demon fight, Latika gets the box open, and the demon is pulled out of Ada and into the box.  Below, John manages to find the knife and decapitates the Loup-Garou.

In the next scene they are back in Lawrence and John talks to his mom about all the stuff he found in his dad’s locker at the Men of Letters clubhouse.  He wants to know why his mom never told him.  She said it was to keep him safe.

He passed her the letter he was given and said that dad was trying to keep us safe too.  Henry’s voice narrates the words: “If you are reading this then I’m gone.  I’m sorry I kept the truth from you John.  There’s a dangerous world out there.  And our family has fought that danger for centuries.  The answers to all your questions are at the address below.  I love you and your mother.”

John is persistent about discovering all he can about his father and his mom Millie does not want her son to go down this road.  John said, “Mom, my entire life I have been searching for something.  This is good verses evil.  Saving people, hunting things – I was born to do this.”  She just wants him to come home and John promises that he will.

Next, we see Mary and John and while he’s “all-in” she still maintains that once she finds her dad, she is leaving the hunting life.  Carlos and Latika show up and they all go to chat with Ada.  Mary asks Ada why her dad was looking for the magic box and the Men of Letters locations.  We find out that all the Men of Letters disappeared 15 years ago.  The magic box is the only thing that can kill an Akrida.  The Akrida are a malevolent force – a monster not of this world.  For centuries they tried to invade this world and the Med of Letters stopped them every time, but they are gone now.

The Akrida want to wipe out everyone here, including demons and all manner of monsters to take over our world.  Samuel found evidence of a Men of Letters office in Savannah that contains records of how the Akrida have crossed over into our world in the past.  If they find where they are coming in, they can use the magic box to stop them.

Looks like our hunters are off to Savannah.

We hear the voice of Dean Winchester as he narrates again: “What they didn’t know was that the Akrida weren’t just a threat to earth, but to all of existence.  Now like I told you, there’s gonna be some surprises, hell I’m still trying to find all the puzzle pieces myself, but I’ll explain everything and until then, I’ll keep picking the music.”  Dean gets in his Impala (Baby) and drives away….

Lou Bollo

As a special side note, this episode of The Winchesters included an In memorium, to the late Lou Bollo.

Lou served as the Stunt Coordinator on 257 episodes of Supernatural.

 

 

NODS AND TRIBUTES

Some nods and tributes to Supernatural:

  1. A nod to Lawrence, Kansas, where John and Mary first cross paths and in Supernatural build a life together.
  2. The theatre in Lawrence, where John and Mary first bump into each other, is playing Slaughterhouse 5, which is based on the book by Kurt Vonnegut, mentioned in Supernatural, S04E18 The Monster at the End of This Book.
  3. After John and Mary bump into each other, she calls him “Soldier Boy.” Not sure if this is just an obvious title she used because John was still in uniform, or if it’s a nod to Jensen Ackles’ character in The Boys series whose showrunner is Eric Kripke, the originator of Supernatural.
  4. HEW being the initials of Henry Eric Winchester. Is “Eric” a nod to Kripke?
  5. While at Ada’s bookstore Mary sees evidence of her dad’s investigation into the Magic Box and the Men of Letters, up on the wall. We see a nod to Kim Manners on a postcard, Manners Motel.
  6. Also, at Ada’s John picks up a file that has D. Nutter on it. This is clearly a nod to David Nutter who directed the pilot episode of Supernatural.
  7. We see a nod to Jared Padalecki via the Samulet as it is affectionately known (the amulet necklace that Sam gave to Dean as a gift when they were boys), is hanging on the rear-view mirror of the Impala.
  8. “Driver picks the music. Shot gun shuts his cake-hole,” is a direct quote from Dean, and was said in first season of Supernatural back in 2005.  Now, Dean tells the audience during his narration, that he will “keep picking the music.”

QUESTIONS

  • Where is Samuel Campbell?
  • What happened in Tupelo?
  • What happened to Maggie and why does Mary feel responsible?
  • Will they find what they need in the Savannah office of the Men of Letters to stop the Akrida?

NEXT EPISODE

Tuesday October 18th on The CW at 8/7c.

Let me start this recap piece with

What is Halloween without our favorite killer doll who is back with a vengeance. Season 2 kicked off on October 6, 2022 and is upping the ante by introducing a bunch of new characters. Showrunner and creator Don Mancini and the main cast teased on what is to come at New York Comic Con this weekend. They announced that there will be plenty of new drama, new characters, and a homage to Jennifer Tilly’s 1996 crime thriller Bound in Episode 4.

Season 2 of Chucky picks up a few months after the killer doll’s Hackensack rampage, and Jake (Zackary Arthur) is living with a new family following the gruesome death of his own. After Jake’s younger foster brother Gary literally explodes at the hands of Chucky, Jake, his now-boyfriend Devon (Björgvin Arnarson), and frenemy Lexy (Alyvia Alyn Lind) are sent not to prison, but Catholic school, which also happens to be the boarding home where the franchise’s infamous Charles Lee Ray grew up. This location is the main backdrop of Season 2, and Mancini says that he drew from his own experiences of growing up gay and Catholic.

Here is a teaser trailer on what is to come on Season 2 of Chucky below courtesy of Syfy:

WHO IS CHUCKY?

If you were a kid in the 1980’s, everyone knew Child’s Play, which was a movie which showed the concept of a killer doll and started a slasher franchise that’s just as popular today as it ever was. What many do not know however, is Chucky is based off a real doll who is said to be possessed. The real events that helped inspire the movie Child’s Play began with the real life version of Robert the Doll. While Chucky was a mass produced “Good Guy” doll, Robert the Doll was a one-of-a-kind toy first owned and named by Florida painter Robert Eugene Otto. The most popular story is that he was given the doll by a woman who served his family. She allegedly practiced voodoo and devised the doll as a way to get revenge for having been abused by the family.

Robert loved this doll so much he would call it by his own name, going by Eugene for himself, and would often refer to the doll in the first person. He would also blame strange incidents around the house like rearranged furniture or destroyed toys on his doll, claiming that “Robert did it.” Sound familiar? There were many other reports as well which insisted Robert the Doll could move around freely and express himself as if he were alive. Some suggested the doll could blink its eyes at certain moments, or even run around with evil laughter. I can already hear Chucky’s sinister laugh.

Robert Eugene Otto died in 1974, and the house was sold soon after to Myrtle Reuter. As a result, she acquired the doll as well. She claimed that the doll could move around on its own, along with a variety of other strange reports. She finally donated the doll to the Fort East Martello Museum in Key West, Florida. Here you can visit the doll who is pictures here below and you can also find the doll that inspired another movie called “Annabelle”.

Below is the “real” Chucky doll who inspired it all- Robert the Doll: (have chills yet, I do)

WHERE CAN WE WATCH ALL OF CHUCKY’S MOVIES

Grab your popcorn and your friends and get ready to watch all of Chucky’s movies. You can catch all of them on Amazon Prime Video. Chucky’s movies in order are as follows:

  1. Child’s Play – November 9, 1988
  2. Child’s Play 2 – November 9, 1990
  3. Child’s Play 3 – August 30, 1991
  4. Bride of Chucky – October 16, 1998
  5. Seed of Chucky – November 12, 2004
  6. Chucky’s Vacation Slides – June 7, 2005 (Blu-ray and DVD release)
  7. Chucky Invades – 2013 (Curse of Chucky Promotional Tie-in Videos)
  8. Curse of Chucky – September 24, 2013
  9. Cult of Chucky – October 3, 2017
  10. Child’s Play – June 21, 2019 (Remake)

We can also watch all of our favorite cult classics such as Freddie Kruger, Halloween and Scream on Free Form’s 30 days of Halloween. Here you will find the schedule on when to watch them.

Another place you can catch on your scary movies will be AMC Fearfest and you can find the schedule here.

You can catch Chucky Season 2 which is currently airing every Wednesday on SyFy.

What is Halloween without our favorite killer

Although House of the Dragon still has 2 episodes left, Episode 8 of the Fire and Blood adaptation feels conclusive.  Don’t be mistaken, plot points are still left to be explored.  Still, the plot points of this episode, and its conclusion give it the feel of a season finale.

New Faces, Same Characters, Fewer Eyes

Fire and Blood

Courtesy of HBO

Once more there is another time skip.  Six years have passed, the triarchy is rising once more, and Corlys has gone missing.  Lucerys’ claim to the throne of Driftmark is being challenged by Vaemond.  Daemon and Rhaenyra are expecting a third child, and Viserys’ is on death’s door.  In addition, Aemond is now a deadly fighter and warrior, despite losing an eye in the previous episode.  Among the new actors are Harry Collett as Jacaerys, Tom Glynn-Carney as Aegon, Ewan Mitchell as Aemond, among many others.  Of those, it’s Ewan Mitchell as Aemond that stands out.  Who once was the butt of jokes to his brother and nephews, has transformed into a deadly warrior.  In many respects, he parallels Daemon.  Visually, he looks similar, with the exception of his lack of depth perception.  Like Daemon, he tends to stir the pot, looking to get a reaction out of his nephews.

The show even sets up a rivalry between the two.  In sticking up for his step-sons, Daemon stands before Aemond when he threatens Jacaerys.  Avoiding spoilers, their rivalry in Fire and Blood is among the highlights of the original story.  It will certainly be something to pay attention to in this show, and may well lead to one of the most hype inducing moments in television.

Farewell Sweet King

Fire and Blood

Courtesy of HBO

Of all the bittersweet moments in the show, the conclusion of this episode is the most bittersweet.  This episode marks the final performance of Paddy Considine as King Viserys, bedridden; his body falling apart.  Considine goes out with a bang, and steals any scene he’s present in.  In particular, the scene where Viserys enters the throne room is the highlight of the season.  The effort put into making his way to the throne can be felt with each step.  One moment as he just makes it better left unspoiled, but knowing the moment just as he reaches the throne is improvised truly shows how committed to the role these actors are.  Still, despite the pain the character feels, despite the dark times to follow, knowing the character can now finally rest is relieving.  The character may have only been present for this one season, yet Viserys’ legacy is an impactful one.

Fire And Blood Will Follow

House of the Dragon will soon see fire and blood.  With Viserys gone, a new era is soon to begin.  Episode 8 has all the hallmarks of a season finale.  A major story line concludes, while others have begun.  Still, with two episodes remaining, one question remains.  How will the Dance of the Dragons begin?

Check out House of the Dragon on HBO Max.  Check out the review of Episode 7.

Although House of the Dragon still has 2 episodes

Today’s trailer roundup includes Netflix’s Roald Dahl’s Matilda the Musical, The Bastard Son & The Devil Himself and Fortune Feimster: Good Fortune; Prime Video’s Riches; Apple TV+’s Louis Armstrong’s Black & Blues; Showtime’s The L Word: Generation Q Season 3; and Disney+’s Save Our Squad with David Beckham.

Roald Dahl’s Matilda the Musical streams on Netflix on Dec. 25. A brand new take on the Tony and Olivier award-winning musical, Matilda the Musical tells the story of an extraordinary girl, with a vivid imagination, who dares to take a stand to change her story with miraculous results. The cast includes Emma Thompson as Miss Trunchbull, Lashana Lynch as Miss Honey and Alisha Weir as Matilda.

The Bastard Son & The Devil Himself premieres on Netflix on Oct. 28. Based on the Half Bad series of books by Sally Green, the show follows 16-year-old Nathan (Jay Lycurgo), the illegitimate son of the world’s most dangerous witch. Fearing he will follow in his father’s footsteps, Nathan is closely monitored throughout his childhood. As the boundaries between “good” and “bad” overlap, Nathan, along with allies Annalise and Gabriel, will soon discover who he truly is.

Fortune Feimster returns for her second Netflix stand-up comedy special, Fortune Feimster: Good Fortune, on Oct. 25. Expanding on her confessional brand of comedy and how she’s different than what meets the eye, Fortune reflects on her own good fortune, including some big life events she’s experienced the last couple years like falling in love with her wife and the extravagant proposal she planned that didn’t go as expected.

Prime Video’s Riches premieres on Dec. 2. The six-part drama series follows the exploits of the stylish, privileged, super-successful Richards family. When Stephen Richards (Hugh Quarshie) passes suddenly, the family’s world comes crashing down. As his business hangs in the balance, his different sets of children are about to collide as they vie for control. The cast includes Deborah Ayorinde (Them, Truth Be Told), Sarah Niles (Ted Lasso, I May Destroy You), Adeyinka Akinrinade (Top Boy, Temple), Ola Orebiyi (Cherry, A Brixton Tale), Nneka Okoye (Grantchester, The A List) and Emmanuel Imani (Cobra, Black Earth Rising).

Get to know Louis Armstrong through never-before-heard home recordings, archival footage and personal conversations when Louis Armstrong’s Black & Blues premieres on Oct. 28 on Apple TV+. Director Sacha Jenkins explores the “man behind the legend” while contextualizing Armstrong’s careful influence and navigating the cultural and political upheaval of the Civil Rights Movement.

The L Word: Generation Q Season 3 comes to Showtime on Nov. 18 on streaming and on-demand and on linear on Nov. 20 at 8 p.m. ET. In Season 3, Bette Porter (Jennifer Beals) is on the brink of a devastating letdown or startling confession after Tina (Laurel Holloman) appears at her door. While they determine their future together, their daughter Angie (Jordan Hull) embraces her new freedom at college, finding love in all the wrong places. At the bungalow, Finley (Jacqueline Toboni) returns from rehab and discovers news about Sophie (Rosanny Zayas) that threatens both her sobriety and their relationship. Guest stars include Rosie O’Donnell, Kehlani, Margaret Cho, Joanna Cassidy, Jillian Mercado, Donald Faison and Joey Lauren Adams.

Save Our Squad with David Beckham premieres on Disney+ on Nov. 9. David Beckham returns to his East London roots to mentor Westward Boys, a young, grassroots team who are at the bottom of their league, facing relegation. However, this isn’t just any league. This is the same league that David played in as a young boy. Working with the head coaches, he’ll try to turn the team’s fortunes around.

Source link

Today’s trailer roundup includes Netflix’s Roald Dahl’s


Below is a quick summary of the Final Adjusted Ratings for the shows that we cover here at SpoilerTV.


Cable numbers will be posted around 9pm-10pm GMT.


Each day (except Sunday) during the main TV Season we post the TV Ratings for the previous nights primetime shows for the major broadcast networks (ABC, CBS, CW, FOX, NBC).
Cable Network ratings will be added to the Ratings Database.

Normally between 4pm-5pm GMT we post the official early overnight Total Viewers and 18-49 Demo numbers in the table above.
When the final adjusted ratings numbers are released, these are then posted in the Ratings Database as well as the above
tables.

The Final Adjusted numbers are what we use for all our Renew/Cancellation Tables, Full Season Tables, Ratings Scorecards etc . Final Adjusted numbers will be posted each night around 9pm-10pm UK apart from the weekend.

Ratings Provided by Nielsen.



Remember: ALL SPOILERS must be put inside the spoiler tags. If you post spoilers without tags your comments will be deleted. Repeat offences will result in you being banned.
Please stay on Topic. If you want to chat about anything at all please use the Open Discussion
Threads
.

Source link

Below is a quick summary of the

The Critics Choice Association revealed the list of honorees for its 2nd annual Celebration of Latino Cinema & Television taking place on November 13.

The event, hosted by Justina Machado, recognizes standout Latino performances and work, both onscreen and offscreen.

Desi Arnaz will be posthumously honored with the Icon Award for his lengthy and impactful career as an actor, producer, and musician. Arnaz’s daughter with Lucille Ball, Lucille Arnaz, will accept the accolade on his behalf.

The full list of honorees can be found below.

Guillermo del Toro will receive the Career Achievement Award for his decades-long career, and for his recent work on Netflix’s film, Guillermo del Toro’s Pinocchio.

Alejandro González Iñárritu will receive the Director Award for Film for Netflix’s Bardo.

Laz Alonso will receive the Actor Award for Television for his performance as Mother’s Milk in the Prime Video series, The Boys.

Gloria Calderón Kellett will receive the Producer Award for Television for her work on Prime Video’s series, With Love.

Cristo Fernández will receive the Rising Star Award for Television presented by IMDbPro for his performance as Dani Rojas in Apple TV+’s Emmy-winning series, Ted Lasso.

Jenna Ortega will receive the Rising Star Award for Television presented by IMDbPro for her performance as Wednesday Addams in Netflix’s upcoming series, Wednesday.

Brandon Perea will receive the Rising Star Award for Film presented by IMDbPro for his performance as Angel Torres in Universal Pictures’ film, Nope.

Santiago Mitre will receive the International Film Award for Amazon Studio’s film, Argentina, 1985.

Catalina Sandino Moreno will receive the Breakthrough Actress Award for Television for her performance as Tabitha Matthews in the EPIX, soon-to-be MGM+ series, From.

Guillermo Rodriguez will receive the Special Honoree Award for his 19+ years working side by side with Jimmy Kimmel on ABC’s Jimmy Kimmel Live.

Gina Torres will receive the Actress Award for Television for her work in Fox’s 9-1-1: Lone Star.

Additional honorees will be announced in the coming weeks.

Source link

The Critics Choice Association revealed the list

EDITOR’S NOTE: The piece below originally ran in April of this year. We’re reposting it here in anticipation of the upcoming LA Residency portion of the 2022 Film Independent Global Media Makers Program. Special thanks to Rezwan Shahriar.

***

For 2019 Global Media Makers Fellow Rezwan Shahriar Sumit, his small-scale narrative feature, The Salt in Our Waters, about an embattled fishing community in southern Bangladesh—the coastal Patuakhali District—has blossomed into something much larger. The film has played at festivals worldwide. A series of community screenings brought the film to its participants in the region and opened a dialogue between villagers and local government. And a follow-up documentary further chronicling the displaced fishing community is already in production.

The film’s impact beyond mere exhibition is important to Sumit, who, after studying filmmaking at NYU’s Tisch School of the Arts, decided to relocate back to his native country. “My story was in Bangladesh,” he says—and specifically, it turned out, among the fisher folk communities in underdeveloped coastal Patuakhali. There, over many years, he befriended the community, leading to Salt, his first feature.

After participating in Global Media Maker’s LA residency in 2019, Sumit applied for a program microgrant in order to realize his goal of bringing the film—and its potential social benefits—back to its subjects, particularly in the wake of ongoing hardships handed down from both man and nature.

We recently spoke to Sumit about the film and its many ambitious tentacles, his upcoming Sloan-supported project, A New Prophet, and the many facets of his Global Media Makers experience. Here’s the conversation:

 

REZWAN SHAHRIAR SUMIT

Sumit (center) at a community screening of ‘The Salt in Our Waters’ (photo: Mahbub Alam Papun)

To start, can you tell me where you are right now and what you’re currently working on?

Sumit: Sure. I’m currently in Dhaka, Bangladesh. My hometown. And right now I’m currently working on a follow-up documentary [to The Salt in Our Waters] called The Tide is Rising, which sort of traces the fisher folks who helped me make the film. The hamlet where we shot the film, where 22 fishing families have lived together for the last 30 years, got washed away. So I’m tracing those folks and where they’re living now. So that’s what I’m following.

Are you still shooting the documentary?

Sumit: We’ve had a couple phases of shooting. What I’m doing now is assessing the situation there [in Patuakhali] and the effort to rehabilitate these communities. We organized a screening of The Salt in Our Waters—supported by a Film Independent Global Media Makers program microgrant—on the oceanfront, where one of the villages used to be. I invited the commissioner [of the region] to come see the film, but also to see how their [the fishermen] lives are changing, to interact with them, and listen to the tragic things that have happened to them. Not only had the ocean displaced them, but they had tried to rebuild around the edges of the forest and the forest service got very mad and evicted them. So this is both a natural calamity and also a man-made problem.

Tell me about that whole process: receiving the Global Media Makers microgrant and applying it towards this project.

Sumit: The film premiered in London at the BFI London Film Festival back in 2020. And it’s been in some prominent film festivals—more than 25 festivals worldwide. All of that is great, you know. I’m in the limelight; people are talking about me and asking me questions. But I started to realize that they [the fishermen] are not part of this conversation and that they hadn’t been able to watch the film yet. So I wanted to bring the film to them and, because it’s in a very remote part of Bangladesh, I needed financial resources to make it happen. We thought, “Why not do this as a pilot program and show the film in a couple other villages around there as well?” My proposal was three screenings. And, if they’re successful, why not pitch this program to other organizations—local NGOs who have longstanding programs with the fisher folk who live around these coastal lands. And, of course, I wanted to share the film with the people who helped make it. So that’s precisely what happened and that became big news because the media, journalists, filmmakers, politicians—they had all gone to that part of Bangladesh, had their photo ops, and never followed up. The fact that someone went back was big news.

Sumit and Patuakhali locals (photo: Mahbub Alam Papun)

What was the response from the community once they actually saw what you’d been working on?

Sumit: Some of them got really emotional—they were seeing their village the way it used to be three years ago. They were able to recall all their memories there, especially the kids in the film who were born there. It’s not like they were sad. They were happy someone had cared and had taken the time to tell their story. They were also very involved in the screenwriting process—without their stamp of approval I never would have shot there. I shot the film in 2018, and I’ve been going there since 2015, so I’ve been able to develop a friendship with them. For me it was the best film-going experience ever. The fact that GMM was on board with me for this process and approved the microgrant made me so happy.

Walk me through your experience with Global Media Makers, in general. You were part of the 2019 LA residency, correct?

Sumit: Yes. I was actually there with my second feature, A New Prophet, which is a science fiction film set in Bangladesh. I went to film school at NYU and the graduate film program at Tisch, so I know how the film system works in the US. But, prior to GMM, I had never been to LA. And you kind of have to be in LA to get the full picture of how film financing and film production works in the US. I also had meetings regarding The Salt in Our Waters as well, how to get the film distributed and how to get into festivals.

Oh cool. It’s great you were able to utilize that time to advance multiple projects.

Sumit: Yes. The biggest experience I had in LA was that I got to make my first VR film. A New Prophet is actually set in the world of VR—about a guy who develops VR experiences. It was key that I got to experience the making of a VR film. I got to screen it at the Disney headquarters during the GMM closing ceremony, where lots of interesting people were present in the audience.

Are you still in development on A New Prophet?

Sumit: I decided to take a break from A New Prophet so I could properly finish and distribute The Salt in Our Waters. Now that theatrical distribution is done, I’m officially transitioning back to A New Prophet. While I was in NYU back in 2017, I won the $100,000 Sloan grant for the film, so that money is still there. So, I’d love to shoot in 10-12 months.

Lastly, why do you think it’s important for US-based organizations, like Film Independent, to engage with the international film community through programs like Global Media Makers?

Sumit: The film infrastructure in Bangladesh is at such a basic level. There’s literally no ecosystem here. In New York I felt I was in a very safe bubble; everyone in the community was helping everybody else advance. But I also realized I wasn’t going to make my feature in the US because my story was in Bangladesh. And once I made the move, I found that there is a lack of technical crew in Bangladesh and whatever financing there is is for Bollywood-style films. Also, the theater system here is falling apart. They haven’t been able to upgrade their screens. I was like, “Oh my god, how am I going to make my film and get it out there? And I’m an NYU graduate!” Imagine someone who did not have the luxury of going to that school, who is from Bangladesh, and has hundreds of stories to tell. For countries like Bangladesh, Nepal, Sri Lanka… GMM can make a real difference. Not only through microgrants but also the international workshops they do. So yes, it’s immensely important that GMM continues to bear the load that it’s bearing in other parts of the world.

 

To learn more about Rezwan Shahriar Sumit and The Salt in Our Waters—including how to watch the film and the filmmakers’ ongoing direct-impact efforts in the Bangladeshi peninsula—be sure to check out the film’s website. Learn more about Global Media Makers and Film Independent’s International Programs here.

Film Independent promotes unique independent voices, providing a wide variety of resources to help filmmakers create and advance new work. Become a Member of Film Independent here. If you’d like, donate to support us here.

Keep up with Film Independent…

(Header: Sumit at a community screening in Bangladesh)

Source link

Vladimir Putin said today that a direct clash between NATO and Russian troops would lead to a ‘global catastrophe’, adding that he sees no need to carry out massive strikes against Ukraine… ‘for now’.

The Russian strongman also said the recent military mobilisation he ordered is coming to an end, and he has no plans for further conscriptions once it has finished.

He also repeated the Kremlin position that Russia was willing to hold talks, although he said they would require international mediation if Ukraine was willing to take part.

Vladimir Putin said today (pictured during a press conference in Astana) that a direct clash between NATO and Russian troops would lead to a ‘global catastrophe’, adding that he saw no need to carry out massive strikes against Ukraine… ‘for now’

Putin was speaking in Astana after a meeting of The Commonwealth of Independent States Summit (CIS), where he sat down with fellow leaders of ex-Soviet states.

Other attendees included Belarusian dictator Aleksandr Lukashenko, who said on Friday that Russian troops would soon be arriving to take part in a ‘regional grouping’ of forces to protect its borders.

‘The introduction of troops into a direct confrontation with the Russian army is a very dangerous step that could lead to a global catastrophe,’ Putin told reporters. ‘I hope that those who speak of this have enough sense not to take such steps.’

He said he currently saw no need for ‘massive strikes’ on Ukraine now having hit their intended targets earlier in the week – but that could change in the future – and insisted that it was not his goal to destroy Ukraine.

‘There is no need now for massive strikes. There are other tasks. For now. And then it will be clear,’ he said, adding: ‘We do not set ourselves the task of destroying Ukraine. No, of course not,’ Putin said.

Fears have risen in recent weeks over the possibility of Moscow launching nuclear strikes, after suffering a series of embarrassing setbacks in Putin’s invasion.

It was revealed on Friday – shortly before he spoke in Astana – that Putin has increased the number of his strategic nuclear bombers stationed at an airbase near the Finnish and Norwegian borders, satellite images show. 

He went on to say that the ‘partial mobilisation’ he announced last month, which the defence minister said aimed to recruit 300,000 soldiers, was finishing and would be over within two weeks.

‘Nothing additional is planned. No proposals have been received from the defence ministry and I don’t see any additional need in the foreseeable future.

‘Now 222,000 people have been mobilised out of 300,000. Within about two weeks, all mobilisation activities will be completed.’ A total of 33,000 of them are already in military units and 16,000 are involved in the military operation in Ukraine, he said.

He said his decision to call-up of reserve forces to fight in Ukraine, criticised as chaotic by some Kremlin allies, had been vital to hold the front line. ‘The line of contact is 680 miles so it is practically impossible to hold it with forces formed only of contract soldiers, especially since they take part in offensive activities,’ Putin claimed.

Pictured, from left: Kyrgyz President Sadyr Japarov, Russian President Vladimir Putin, Kazakhstan's President Kassym-Jomart Tokayev, Uzbek President Shavkat Mirziyoyev, Tajikistan's President Emomali Rakhmon and Turkmen President Serdar Berdymukhamedov attend a joint photographing ceremony before the Russia-Central Asia Summit in Astana, Kazakhstan, Friday, Oct. 14, 2022

Pictured, from left: Kyrgyz President Sadyr Japarov, Russian President Vladimir Putin, Kazakhstan’s President Kassym-Jomart Tokayev, Uzbek President Shavkat Mirziyoyev, Tajikistan’s President Emomali Rakhmon and Turkmen President Serdar Berdymukhamedov attend a joint photographing ceremony before the Russia-Central Asia Summit in Astana, Kazakhstan, Friday, Oct. 14, 2022

Pictured: (right to left, clockwise) Kyrgyzstan's President Sadyr Japarov, Russian President Vladimir Putin, Kazakhstan's President Kassym-Jomart Tokayev, Uzbekistan's President Shavkat Mirziyoyev, Tajikistan's President Emomali Rakhmon and Turkmenistan's President Serdar Berdymukhamedov attend the Central Asia - Russia summit in Astana, Kazakhstan

Pictured: (right to left, clockwise) Kyrgyzstan’s President Sadyr Japarov, Russian President Vladimir Putin, Kazakhstan’s President Kassym-Jomart Tokayev, Uzbekistan’s President Shavkat Mirziyoyev, Tajikistan’s President Emomali Rakhmon and Turkmenistan’s President Serdar Berdymukhamedov attend the Central Asia – Russia summit in Astana, Kazakhstan

Russian troops have raped more than 100 Ukrainians with victims as young as FOUR, UN report says

Russian troops are using rape as a weapon of war against Ukrainians, according to damning evidence collected by the UN. 

Pramila Patten, UN special envoy on sexual violence, said she has verified more than 100 cases of rape against Ukrainians during the war – but the true figure is almost certain to be higher.

Victims have ranged in age from four years old to 82 and have been mostly women and girls but included a number of men and young boys, she added. 

Patten said survivors have told her of genital mutilations and of soldiers ‘equipped with Viagra’ in what appears to be a ‘military strategy’ to dehumanise people.

‘When women are held for days and raped, when you start to rape little boys and men, when you see a series of genital mutilations, when you hear women testify about Russian soldiers equipped with Viagra, it’s clearly a military strategy,’ she said.

‘And when the victims report what was said during the rapes, it is clearly a deliberate tactic to dehumanise the victims.’ 

The United Nations has verified ‘more than a hundred cases’ of rape or sexual assaults in Ukraine since Russia invaded in February, Patten said, referring to a UN report released in late September.

The report ‘confirmed crimes against humanity committed by the Russian forces, and according to gathered testimonies, the age of the victims of sexual violence ranges from four to 82-years-old,’ she said.

<!- – ad: https://mads.dailymail.co.uk/v8/us/news/none/article/other/mpu_factbox.html?id=mpu_factbox_1 – ->

Advertisement

Asked if he had any regrets over ordering the invasion of his neighbouring country on February 24, Putin said: ‘No.’ He acknowledged that the war us unpleasant, but said he believed what his forces were doing was right.

‘I want to make it clear: what is happening today is unpleasant, to put it mildly, but we would have got the same thing a little later, only in worse conditions for us, that’s that,’ he said. ‘So we are acting correctly and in a timely manner.’

Putin said he ‘doesn’t see the need’ for talks with US President Joe Biden over an end to the war, but suggested he was open to talks with Kyiv.

‘We should ask him if he’s ready to hold such talks with me or not. I don’t see the need, to be honest,’ Putin said, asked about a potential meeting with Biden on the sidelines of a G20 summit in November. He added that his participation in the summit hosted by Indonesia is not yet decided.

‘The question of my trip there has not been finalised. Russia will certainly take part. As for the format, we’re still thinking about it,’ Putin told reporters following a summit in Kazakhstan.

Speaking earlier this week, Biden said he had ‘no intention’ of meeting with Putin but did not rule out potential talks.

He also attacked Germany for siding with NATO.

‘(Germany) must decide what is more important for them: the fulfillment of alliance obligations, as they see it, or their national interests. In this case, it seems that Germany placed its obligations to the (NATO) alliance above all. I believe that this is a mistake,’ he said.

‘German citizens, businesses, and its economy are paying for this mistake, because it has negative economic consequences for the eurozone as a whole, and in Germany. But very few people take into account its interests, otherwise Nord Stream 1 and 2 would not have been undermined.

‘But although one branch remains, as I said, in working order, a decision has not been made and is unlikely to be made. But this is no longer our business, this is the business of our partners.’

Meanwhile, Lukashenko warned Ukraine and the West on Friday not to force his ally Russia into a corner, saying Moscow had nuclear weapons for a reason.

In extracts of an interview with the American TV channel NBC released by Belarus’s state news agency, Lukashenko said: ‘The most important thing is, don’t drive your interlocutor and even your opponent into a corner. So you mustn’t cross those lines – those red lines, as the Russians say. You can’t cross them.’

Concern has mounted in the West that Russian President Vladimir Putin may resort to nuclear weapons since a series of defeats for his forces in Ukraine swung the momentum of the war in Kyiv’s favour.

‘As for nuclear weapons, any weapon is a weapon created for something,’ Lukashenko was quoted as saying.

‘Russia has clearly outlined its position: God forbid there will be an attack on the territory of the Russian Federation; in that event, Russia can use all types of weapons if necessary.’

Russian President Vladimir Putin attends the plenary session of the Commonwealth of the Independent States (CIS) Summit, October 14, 2022 in Astana, Kazakhstan

Russian President Vladimir Putin attends the plenary session of the Commonwealth of the Independent States (CIS) Summit, October 14, 2022 in Astana, Kazakhstan

The call-up, announced by Putin in September, has proved hugely unpopular in Russia, where almost all men under the age of 65 are registered as reservists. 

The Russian leader initially described the mobilisation as ‘partial’ and said only those with combat or service experience would be drafted. However, a decree he signed outlined almost no specific criteria.

Russian media reports have described attempts to round up men without the relevant experience, including those ineligible for service for medical reasons. In the wake of the president’s mobilisation order, tens of thousands of men left Russia.

In the wake of Putin’s order, tens of thousands of men left Russia. Reports have surfaced since then of recruits getting deployed to the front lines in Ukraine with little training and inadequate equipment.

Several mobilised reservists were reported to have died in combat in Ukraine this week, several days after they were drafted.

While Putin struck a confident tone about hitting his mobilisation target, report from Russia on Friday said sinister raids by conscript-catchers have begun in Moscow and St Petersburg – in a sign that he is getting desperate.

Police alongside enlistment officers are said to be lurking on street corners and near blocks of flats. The armed recruiters are cruising offices seeking men to join the war, while there have been previous reports of them picking up homeless men.

In some cases enlistment teams are reportedly using facial recognition cameras to snare dodgers. ‘They are acting like dog catchers,’ said one comment. ‘It’s sickening how they are dragging men away as cannon fodder.’

In Polyustrovo Park residential complex, St Petersburg men of mobilisation age were trapped near the entrance for summonses to be served.

Pictured: Russian police alongside enlistment officers are seen searching for men to sign up for Vladimir Putin's war in Ukraine

Pictured: Russian police alongside enlistment officers are seen searching for men to sign up for Vladimir Putin's war in Ukraine

Pictured: Russian police alongside enlistment officers are seen searching for men to sign up for Vladimir Putin’s war in Ukraine

Russian recruits gather inside a military recruitment center of Bataysk, Rostov-on-Don region, south of Russia, Sept. 26, 2022

Russian recruits gather inside a military recruitment center of Bataysk, Rostov-on-Don region, south of Russia, Sept. 26, 2022

Russian recruits take a bus near a military recruitment center in Krasnodar, Russia, Sept. 25

Russian recruits take a bus near a military recruitment center in Krasnodar, Russia, Sept. 25

Russian recruits gather to take a train at a railway station in Prudboi, Volgograd, Sept 29

Russian recruits gather to take a train at a railway station in Prudboi, Volgograd, Sept 29

In Moscow, there was a mass delivery of summonses at underground stations, reported Ostorozhno News.

Eyewitnesses said police officers interview men, take their personal details, then serve some of them with summonses. Some people are taken away to police cars.

Pavel Chikov, prominent lawyer and human rights activist, warned: ‘increasing reports of raids’.

‘There are cases of summonses being served on the street, citizens being detained by the police in the subway and hotels, and their forced delivery to military enlistment offices or mobilisation points’

He stated: ‘This practice is illegal.’

Senator Andrey Klishas – from pro-Putin United Russia party – called for checks on whether it was legal to pluck men from the metro and force them to the war.

The authorities are using police, traffic police, FSB security service and residential databases to track down possible dodgers.

They are also raiding offices to root out men of mobilisation age, even though Russians were promised that one one percent of the male population would be sent to Putin’s war.

‘Police officers walk around the floors and take men of military age,’ reported a source of The Village online media.

‘In the morning there was one […] wagon, it was filled. A second was brought. They took our administrator and other men who were on the first floor. [Men] are caught in the corridor. Specifically, three policemen came to our reception.’ 

Reservists are vulnerable for mobilisation to the lower ranks up to the age of 35.

Junior officers can be called up to the age of 50.

Senior officers can be drafted up to 55.

The conscript-catching raids seem to give the lie to claims in Russia that the first wave of mobilisation is over, and that no second wave has begun.   

Putin’s comments came after widespread attacks against Ukraine, such as those Russia launched Monday in retaliation for an October 8 truck bomb explosion on a prized bridge linking Russia to Crimea, which Moscow seized from Ukraine in 2014.

The Kerch Bridge explosion followed Ukraine’s recapturing of occupied areas in the country’s east and south in continuing counteroffensives that have restored Ukrainian confidence and embarrassed Russia’s military.

The Russian tyrant has gradually increased the number of strategic bombers at Olenya air base – from none on August 12, to four supersonic Tu-160s on August 21, to 11 now – satellite images released on Friday revealed.

Vladimir Putin has again increased his strategic nuclear bombers at an airbase near the Finnish and Norwegian borders, say reports. Pictured: A satellite image taken on October 7, 2022 shows seven Tu-160 strategic bombers (marked in red) and four Tu-95 aircraft (marked in yellow) at the Olenya airbase, Russia Kola Peninsula

Vladimir Putin has again increased his strategic nuclear bombers at an airbase near the Finnish and Norwegian borders, say reports. Pictured: A satellite image taken on October 7, 2022 shows seven Tu-160 strategic bombers (marked in red) and four Tu-95 aircraft (marked in yellow) at the Olenya airbase, Russia Kola Peninsula

Pictured: The runway of the Olenya air base at the Kola Peninsula is seen empty on August 12, 2022

Pictured: The runway of the Olenya air base at the Kola Peninsula is seen empty on August 12, 2022

Pictured: Four Tu-160 'Blackjacks' seen at Olenya air base around August, 21 2022 by an Israeli intelligence firm ImageSat Intl

Pictured: Four Tu-160 ‘Blackjacks’ seen at Olenya air base around August, 21 2022 by an Israeli intelligence firm ImageSat Intl

Pictured: The Four Tu-160 'Blackjacks' (at the base since August 21, 2022) were joined by three Tu-95 'Bears' by September 25

Pictured: The Four Tu-160 ‘Blackjacks’ (at the base since August 21, 2022) were joined by three Tu-95 ‘Bears’ by September 25

The increase of nuclear-capable bombers comes amid high tension over whether Putin (seen today) plans to launch an atomic attack in Europe and his on-going invasion of Ukraine , which has suffered a string of embarrassing setbacks in recent months

The increase of nuclear-capable bombers comes amid high tension over whether Putin (seen today) plans to launch an atomic attack in Europe and his on-going invasion of Ukraine , which has suffered a string of embarrassing setbacks in recent months

There are seven Tu-160 strategic bombers (marked in red on newly released satellite images) and four Tu-95 aircraft (marked in yellow) at the facility on the Kola Peninsula – found in the extreme northwest of Russia, and in the Arctic Circle.

The disclosure comes from Faktisk.no – an independent Norwegian fact checking website – which obtained the data from American satellite operator Planet.

The buildup above at the air base follows international concern over another report two weeks ago, when The Jerusalem Post revealed there was an ‘unusual deployment’ of seven nuclear bombers at the airbase.

This was highlighted by Israeli intelligence firm ImageSat International which detected the ‘irregular presence’ of TU-160s and TU-95s.

The Armageddon planes are usually stationed at Engels Air Base, 450 miles south-east of Moscow.

Now, however, the bombers are stationed around 115 miles away from the border of NATO member Norway, and about 95 miles away from the soon-to-become Alliance member, Finland.

They can also be used with conventional weapons.

There is evidence the deployment at Olanya has Kh-101 cruise missiles for possible use against targets in Ukraine.

The Kh-101 can carry conventional or nuclear warheads.

The runway at Olenya airbase was empty on 12 August, with satellite images from October 7 showing that it is now full of warplanes.

The Tu-160 – aka White Swan, but known in the West as Blackjack – is a supersonic strategic bomber that has been the workhorse of Russia’s strategic missile forces since Soviet times.

It is the largest Mach 2+ military aircraft ever built, and as of 2022 is the largest and heaviest combat aircraft still in use – while also being the fastest bomber. 

Pictured: A Russian Tu-160 'Blackjack' strategic bomber flies over the Volga and the cities of Engels (left) and Privolzsky (right), Saratov Region, view to the east

Pictured: A Russian Tu-160 ‘Blackjack’ strategic bomber flies over the Volga and the cities of Engels (left) and Privolzsky (right), Saratov Region, view to the east

Pictured: A Tu-95MS Bear H RF-94130 pictured flying off Scotland in 2014

Pictured: A Tu-95MS Bear H RF-94130 pictured flying off Scotland in 2014

As of 2016, the Russian Air Force’s Long Range Aviation branch had 16 aircraft in service, with upgrades on the aircraft being undertaken in recent years.

The jet can carry 88,000lbs of weapons on-board, with each of its two internal bays capable of holding 44,000lbs or free-fall weapons or a nuclear missile launcher. 

In May 2020, it was reported that the Russian military was exploring whether the Tu-160 could carry a hypersonic missile. Russia’s Kh-47M2 Kinzhal (also known as ‘dagger’), is a nuclear-capable missile with a range of 1,200 miles and a speed of up to Mach 10 (ten-times the speed of sound).

Meanwhile, the super-loud Tu-95, known as Bear, is the only propeller-powered strategic bomber still in operational use today.

The aircraft first flew 70 years ago, but was only used in combat for the first time in 2015. It was originally intended to drop free-falling nuclear weapons, but has since been modified to perform several other roles.

Putin has deployed the Tu-95s to buzz Britain at moments of high tension, for example in February this year when the Royal Air Force scrambled Typhoon fighters to escort two Bears off northern Scotland. 

News of Putin’s increasing numbers of nuclear-capable bombers came as footage showed the moment an ammunition store inside Russia was hit by a Ukrainian strike.

Pictured: An ammunition depot exploded in Belgorod after being hit by Ukrainian forces

Pictured: An ammunition depot exploded in Belgorod after being hit by Ukrainian forces

Pictured: Footage shows flames and smoke rising from the site struck by Ukrainian forces

Pictured: Footage shows flames and smoke rising from the site struck by Ukrainian forces

Pictured: Footage shows flames and smoke rising from the site struck by Ukrainian forces

Lukashenko puts Belarus into ‘state of heightened terrorism’

Belarusian President Alexander Lukashenko said on Friday he had placed his country in what he called a state of heightened terrorism alert because of tensions on its borders.

Lukashenko linked the move to his announcement on Monday that he had ordered Belarusian troops to deploy with Russian forces near Belarus’s southern border with Ukraine.

‘In connection with the escalation of tension, a regime of heightened terrorist danger has been introduced,’ Lukashenko said in a Russian TV interview.

Belarusian President Alexander Lukashenko said on Friday he had placed his country in what he called a state of heightened terrorism alert

Belarusian President Alexander Lukashenko said on Friday he had placed his country in what he called a state of heightened terrorism alert

‘Therefore we began a procedure with the Union group of forces, the basis of which, as I already said, is the Belarusian army, which will be supplemented by units from the Russian Federation. Everything is going according to plan.’

Allied with Moscow and wedged between Russia, Ukraine and three NATO countries, Belarus allowed Russia to use its territory as one of the launchpads for its Feb. 24 invasion of Ukraine.

Its latest troop movements have raised concern in Kyiv and the West that Lukashenko may be about to commit his army to support Russia’s faltering war effort.

Political analysts say that is an unappealing option for him but that he may not be in a position to refuse if Russian President Vladimir Putin demands it.

Belarus depends on Russia politically and economically, and Putin’s support helped Lukashenko survive mass pro-democracy protests in 2020. Lukashenko crushed the demonstrations and all leading opposition figures have been jailed or forced to flee abroad.

<!- – ad: https://mads.dailymail.co.uk/v8/us/news/none/article/other/mpu_factbox.html?id=mpu_factbox_2 – ->

Advertisement

The warehouse was reported to be at a sugar plant in Oktyabrsky, close to the border, in Belgorod region.

Oktyabrsky, close to the border, in Belgorod region.

The strike seven miles inside Russia caused a major blaze with shells exploding in the inferno, according to local Telegram channels.

It is the latest example of Kyiv taking the battle inside Putin’s territory in retaliation for his relentless attacks on Ukraine, and in a bid to dim Russian war enthusiasm.

Russian military correspondent Yevgeny Poddubny confirmed the village was hit.

Other Ukrainian missiles were shot down by Russian air defence, according to reports in Belgorod.

However, at least one got through hitting the warehouse.

Regional governor Vyacheslav Gladkov also confirmed the strike, saying: ‘An ammunition depot located in a settlement in the Belgorod District came under Ukrainian Armed Forces’ fire.

‘Ammunition detonated. According to preliminary reports, there were no casualties. We will now evacuate local residents to a safe distance.’

Separately, he said air defence had shot down incoming missiles in Novooskol district. ‘The remains fell in the area of the railway. Power lines are damaged.

‘Trains are temporarily suspended. Emergency crews are waiting. I am sure that they will correct the situation very quickly and traffic will be restored. The most important thing is that there are no victims.’

A day earlier, Russia claimed a tower block was hit in Belgorod city.

On Friday, Ukraine’s President Volodymyr Zelensky on Friday promised victory over Russia as his country celebrated its first Defenders Day public holiday since the start of Moscow’s invasion almost eight months ago.

‘On October 14, we express our gratitude… gratitude to everyone who fought for Ukraine in the past. And to everyone who is fighting for it now. To all who won then. And to everyone who will definitely win now,’ Zelensky said in a video address to mark the occasion.

Zelensky laid a wreath with the yellow and blue colours of the Ukrainian flag in front of a memorial in the capital Kyiv, dedicated to soldiers killed on the frontlines since 2014, when fighting broke out with Russia-backed separatists in the east.

Zelensky said that by ‘defeating’ Russia ‘we will respond to all enemies who encroached on Ukraine’.

‘This will be a victory for all our people,’ he said. ‘The world stands with us. More than ever in our history’ he added, referring to the unprecedented support from Western capitals.

Ukraine’s commander-in-chief General Valeriy Zaluzhny on social media congratulated his troops and thanked them for their service. ‘We have stopped the enemy onslaught and ended the myth about the invincibility of the Russian army,’ he said in a video address.

In Kyiv, religious services and exhibitions were planned on the occasion, with the country’s post service announcing the release of commemorative stamps. Defenders Day was established in 2014 to replace a previous February 23 holiday of Soviet origin that is still celebrated in Russia.

On Friday, Ukraine's President Volodymyr Zelensky (pictured) promised victory over Russia as his country celebrated its first Defenders Day public holiday since the start of Moscow's invasion almost eight months ago

On Friday, Ukraine’s President Volodymyr Zelensky (pictured) promised victory over Russia as his country celebrated its first Defenders Day public holiday since the start of Moscow’s invasion almost eight months ago

Source link

Vladimir Putin said today that a direct clash

Your eyes do not deceive you. Joe Pesci is making a rare acting return, opposite Pete Davidson no less. Our first look at “Bupkis” has arrived.

The Oscar-winning Pesci plays Davidson’s grandfather in the upcoming Peacock comedy series, which chronicles a heightened, fictionalized version of Pete Davidson’s real life. Combining grounded storytelling with “absurd elements from the unfiltered and completely original worldview for which Pete is well known,” the series is written by, starring and executive produced by the “SNL” alum.

Pesci was last seen onscreen in 2019’s “The Irishman,” for which director Martin Scorsese worked hard to pull the “Goodfellas” actor out of retirement. Before that film, Pesci had not been seen onscreen since 2010’s “Love Ranch,” which was preceded by 2006’s “The Good Shepherd.”

Production is underway on “Bupkis,” which also stars Edie Falco as Davidson’s mom.

Davidson previously mined his personal life for the 2020 film “The King of Staten Island,” which was a dramedy loosely inspired by his own life story and starred Marisa Tomei as his mother. Dave Sirus, who co-wrote “King of Staten Island” with Davidson, is a writer and executive producer on “Bupkis” alongside showrunner, writer and executive producer Judah Miller (“Crashing”).

Lorne Michaels will executive produce for Broadway Video, Andrew Singer and Erin David are also executive producers. Jason Orley will direct and co-executive produce. The series – which does not yet have a release date – comes from Universal Television, a division of Universal Studio Group, and Broadway Video. 

Source link

Your eyes do not deceive you. Joe

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

Today’s subject is Will Speck and Josh Gordon, who just co-directed their first musical, Lyle, Lyle Crocodile. The film opened Friday to $11.5 million domestic, and the classic children’s book adaptation figures to stick around in the family film marketplace.

The two have been working together since meeting at the New York University Tisch School of the Arts. After their first short film Culture got an Oscar nom for Best Live Action Short Film, they stepped up and directed their first feature. Blades of Glory starred Will Ferrell and Jon Heder played a figure skating team in the raucous comedy hit, and their other collaborations include The Switch, Office Christmas Party and the TV shows Cavemen and Hit-Monkey, the Marvel Comics character for Hulu. They also directed the series of GEICO Caveman commercials (which led to the TV series), and many other ads. Here is how they found their mojo.

Source link

The Film That Lit My Fuse is

Two generations of children — and their parents — are familiar with the colossal purple dinosaur that frolicked across their television screens each week. The PBS series “Barney & Friends” amassed 14 seasons between 1992 and 2010 in the course of its lengthy run before coming to a flaming halt.

The reasons for the show’s initial success and accursed demise are outlined in a two-part docuseries from director Tommy Avallone, titled “I Love You, You Hate Me,” which is available for streaming on Peacock on Oct. 12.

With parallels to Sundance award-winner “Feels Good Man,” the 2020 indie documentary about Pepe the Frog that explores how a meme can be transformed from a comedic icon into a hate symbol, “I Love You, You Hate Me” delves into the lesser-known evils of the Barney bashing movement, when teenagers and adults alike began to bastardize the once-beloved character with acts of violence both physically and online.

Other figures from early childhood TV series — including Steve Burns, former host of “Blue’s Clues,” and Bill Nye, former host of “Bill Nye the Science Guy” — infuse the documentary with relevant commentary and a heavy dose of nostalgia.

Here are five shocking things Variety learned while watching “I Love You, You Hate Me,” — which examines how a creature who sings songs about loving one another became a subject of global hostility.

1. The voice of Barney and the actor operating the costume were two different people

For over a decade after its premiere, Bob West worked on the hit children’s show “Barney & Friends” as the voice of Barney, developing the character’s jolly, dynamically ranged quality of speaking.

“They said, ‘We really like your voice a lot, but we’ve already started building this costume,’ so they decided to try to find somebody shorter to do the costume work, and then I would do the voice,” West reveals in the documentary.

The first individual to wear the costume as former mime David Voss, who credited his niche trade with the show’s executives trusting he could both act and operate the heavy suit at the same time. But after two years, Voss announced he had a calling to join the military and swiftly departed from the role.

Voss was succeeded by David Joyner, whose background as a dancer allowed him to bring a new vitality to Barney’s physical mannerisms: He leaped. He twirled. He kicked. And the audiences of his many live, sold-out performances devoured it.

Joyner worked until the early 2000s, at which point the position was filled by a long line of replacement actors. Likewise, West retired from the voice-acting gig around the same time to pursue other professional opportunities, and was succeeded by substitute voice actors.

2. Barney’s personality was initially based off of Bruce Willis in “Moonlighting”

Sultry private detective David Addison is hardly the comparison that comes to mind when attempting to characterize a borderline hyperactive tyrannosaurus rex. In the ABC dramedy series “Moonlighting,” Willis engages in a sexually tense working relationship with model-turned-investigator Maddie Hayes (Cybill Shepherd).

“G-man and g-woman. Only thing missing is the G-spot,” Willis says in Season 3 Episode 3 — a quote that highlights the detective’s often flirtatious humor.

But original “Barney & Friends” head writer Pat Reeder reasons that Willis’ performance evokes a similar lightheartedness to what Barney would seek to achieve among a different demographic.

“Kind of a fun, wise-cracking kind of guy who lit up the room,” Reeder describes in terms of his initial vision for the character’s personality.

“That didn’t really survive the re-writes,” Reeder continues. Reeder’s bold ideas ultimately resulted in his termination from the project, via a letter that said he possesses “a creative spirit that cannot be contained.”

3. Barney inspired a hate-induced parody novel titled “The Jihad to Destroy Barney”

Viewers meet Sean Breen first through his laptop screen, which is occupied with a shrewdly pixelated, first-person shooter game where Barney is the target. He soon reveals himself to be one of a handful of original members in the Jihad to Destroy Barney online group (labeled under the URL alt.barney.dinosaur.die.die.die), which Breen joined as a high school sophomore in 1994.

“Our criticism about Barney was that it was all about conformity and consensus, and that’s absolutely a very ’90s attitude,” Breen says in the documentary.

Breen and other group members manifested their hatred of the purple dinosaur into a fictional roleplaying game and guidebook called “The Jihad to Destroy Barney.” Adapted into comic illustrations, Barney is portrayed as a demonic beast with talons and sharp teeth for a horrific parody of the once-cuddly character.

“The demon lord B’harne, servant of the malevolent alien High Magus of Lyra, has commenced his assault on the human race,” reads the cover description of “The Jihad to Destroy Barney.” “Under the benevolent guise of the children’s television host Barney the Dinosaur, B’harne seeks to destroy the minds of children and adults and bind them to his tyrannical will.”

4. Joyner, who played Barney the longest of any actor, also worked as a tantric sex instructor

Joyner donned the Barney costume from 1991 to 2001, but his study of tantra — a set of Hindu and Buddhist traditions developed in ancient India that blend spirituality and sexuality — started a year prior.

In 2004, Joyner started his own practice, which combined yoga, massage, spiritual healing, and on occasion, orgasms. These $350 sessions were exclusively offered to female clients and lasted between three and four hours, all with the intention of helping women to reconnect with their “spiritual energy through tantric touch,” Joyner’s website advertises.

“When people hear tantra, they think about sex,” Joyner says in the documentary. “Tantra is much more than that. I am a tantric energy healer.”

Joyner’s eccentric lifestyle was exposed with the release of the 2018 VICE article, which contains quotes from Joyner like, “When you go down on a woman (orally), it should be just like you’re saying grace, like blessing the food you’re about to receive.”

5. The son of “Barney” creator Sheryl Leach shot his neighbor as an adult

“Barney & Friends” creator Sheryl Leach left no room for doubt that the show was largely a project in service of her young son Patrick, who was still in grade school at the time of the series premiere. In one particularly heart-warming moment of footage, Sheryl looks to her son fondly as she tousles his hair and says to the camera, “Patrick — the reason we’re all here.”

Sheryl went as far as to parallel Barney to a brother for Patrick, though she conceded that her son has his qualms with the fictional character like in any sibling dynamic. What Sheryl didn’t know at the time was that Patrick was being bullied because of his association with the children’s show.

“Barney was like another entity in the family competing for attention,” Stephen White, head writer of “Barney” from 1992 to 2005, says. “I could imagine that Patrick wouldn’t be crazy about that comparison.”

By 2013, Patrick was living with his then-fiancée and two kids when he saw security camera footage of his 49-year-old neighbor, Eric Shanks, observing his property. That same day, Patrick drove up the driveway of Shanks’ residence where the two engaged in a screaming match that ended with Patrick shooting Shanks in the chest. Shanks was left bleeding out on his driveway as Patrick escaped, but he survived the injury.

Patrick was stopped by police officers on the Pacific Coast Highway, and a car search evidenced the former child muse had a loaded handgun and rifle with him in the vehicle. He was sentenced to 15 years in prison for attempted murder, but was let out after five years.

“I think Patrick had a lot to contend with in life — a lot of challenges,” White says. “Some were medical issues; he had had some brain surgery. I knew Patrick was troubled.”

Source link

Two generations of children — and their

Namaste Wahala
Cast: Ruslaan Mumtaz, Ini Dima-Okojie, Richard Mofe-Damijo, Joke Silva, Sujata Sehgal, Ibrahim Suleiman, Hamisha Daryani Ahuja
Direction: Hamisha Daryani Ahuja

We aren’t in a Bollywood movie, Indian boy tells Nigerian girl. For their sake you wish they were, their love story would be far more exciting.

Namaste Wahala harks back to the way Bollywood doesn’t make love stories anymore. You have a boy and a girl in love. You have a fuming parent on either side who does not approve of the match. Throw in some ‘thanda naach-gaana’, tired rom-com, zero chemistry plus random melodrama, and what you get is 106 minutes of poorly cooked masala potboiler that’s too amateurish to regale.

For the record, the film is an Indo-Nigerian attempt. So, the Bollywood-Nollywood crossover mush is naturally pitched as a USP. It all ends up in a mess.

Writer-director Hamisha Daryani Ahuja casts Bollywood actor Ruslaan Mumtaz as Raj, an investment banker in Lagos, Nigeria. He bumps into social worker Didi (Nollywood actress Ini Dima-Okojie) on the beach during an early morning jog, and it is love at first sight for both.

One love song later, it is time for Didi to introduce Raj to her parents. Of course, Didi’s father (Richard Mofe-Damijo) has a nice Nigerian boy (Ibrahim Suleiman) tucked away for her in his office. He is about to unleash the vintage Amrish Puri brand of rage as Raj goes for the good old ‘paye lagoo’ drill.

Didi has similar fate in store when Raj’s very Punjabi mamma (Sujata Segal) comes calling. She is a fullblown Kirron Kher parody, grumbling over how thin Raj has become living alone, asserting that she’ll feed him “nice butter chicken” so he’ll become “nice and fat” again. Her retort, as Didi tries to fall comically at her feet on their first meeting, is supposed to add to the comedy — she asks Raj if Didi can prepare chhole bhature.

At times, a bad formula film becomes inadvertently funny for the very cliches it tries to hawk. The problem with Namaste Wahala is even cliche-ridden bad formula films in the Bollywood rom-com genre went past expiry date quite some time ago.

For the sake of authenticity, writer-director Ahuja maintains a mix of English, Hindi and local Nigerian lingo. You sense a lack of coherence in the overall mood the dialogues try to establish, just as the screen-writing (Diche Enuwa and Temitope Bolade-Akinbode) struggles to craft engaging storytelling. This, in turn, affects the performances as the cast strives to get over poorly-penned roles.

Namaste Wahala broadly translates to ‘Hello trouble’. For the sake of an interesting watch, we wish we could spot a speck of trouble somewhere in this story.

Rating: 2/5

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

Source link

Namaste WahalaCast: Ruslaan Mumtaz, Ini Dima-Okojie, Richard

Intimacy coordinators, new protocols and safeguards and “things that seem very small on the page” have made Hollywood a better place for women in the MeToo era unleashed by the New York Times’ Oct. 5, 2017 investigation of Harvey Weinstein, said Zoe Kazan, who plays journalist Jodi Kantor in Maria Schrader’s She Said.

“We are still living in an oppressive patriarchy. That’s not special to our industry. There is so much change left to be effected,” Kazan said at the world premiere of the Universal Studios’ release at the New York Film Festival. But, “One of the things that has happened as a result of this reporting … and the reporting that came out subsequently, is that there is now a conversation that is open and not just behind closed doors, and I think that makes an enormous difference.”

“There are also things that seem very small on the page, like having an intimacy coordinator, which has now become an industry standard,” she said. Briefly “weirded out” by the idea, pretty “immediately, I was like, ‘I would never throw a punch without a stunt coordinator. It makes so much sense. Why has this not been here all along?’ So I feel there are certain safeguards and channels of communication that are open,” she told a Q&A after the screening.

Ashley Judd, the first actress who agreed to go on the record for Kantor and her NYT reporting partner Megan Twohey, played herself in the film. “So much has improved,” she said. “I remember being sexually harassed on set and not knowing where to go and with whom to speak about it. And now our union is so switched on and strong. On the membership card, there is a sexual harassment hotline number. There is a definition of sexual harassment on the web page, there are all the protocols: I can take someone to an audition with me. Auditions don’t happen in hotel rooms anymore. They don’t happen before eight o’clock in the morning, or after six o’clock at night.”

More broadly, Judd said, MeToo has allowed women to “reframe” their experiences, call out abuse, not blame themselves. That’s something the young film industry aspirants in the story, the book and the film told Times’ journalists years later that they had been been painfully, wrenchingly unable to do. MeToo has “allowed women’s consciousness to transform and to set boundaries and claim autonomy,” Judd said after a crescendo of applause when she came onstage.

Applause also surged at post-credits text scroll noting that Weinstein had been convicted in New York and is standing trial in Los Angeles. In a quirk of timing, jury selection started this week in the jailed ex-mogul’s long delayed West Coast sex crimes trial. A Superior Court judge had rejected a request by Weinstein’s defense to delay the trial because the film could sway a jury.

“It’s heavy being in this room. It’s a room where Harvey Weinstein has been, this room and this festival,” said NYFF director Eugene Hernandez.

The film, based on the eponymous book by Kantor and Twohey, hews closely to the painstaking journalism required to produce a complex, well-documented piece. “It’s only five years ago. We were all very aware of the story, what we were not aware of was how that story came along and who those people were, and how did they start investigating?” said Schrader.

Carey Mulligan, who plays Twohey, called the two journos “real heroes of our society.”

The reporters were also on hand.

“This film encapsulates so much of what we believe about journalism,” said Kantor. “It is our job to build people’s confidence in telling the truth and we really hope the film will help in that work. The group of sources and people who shared information was relatively small and yet their impact was so large, and we hope this film makes people remember that these personal stories can make an enormous difference.”

The duo had fretted that the story might never be published, or worse, that no one would care if it was.

“So, for us, getting to the finish line and publishing the story… we could feel the impact almost immediately. Our phones and emails were flooded with other women coming forward with stories from all different professions and all different walks of life,” said Twohey. “You can see the ripple effects of that playing out even today. It’s so wonderful to see, even five years later, this movie plunge you back… to the origin story. And I think it’s useful for everyone as the MeToo story continues to take twists and turns.”

Source link

Intimacy coordinators, new protocols and safeguards and

Netflix’s reboot of Australian YA drama Heartbreak High has become one of the streamer’s biggest surprise hits of late 2022. The first season of the show has struck a chord with young viewers around the globe, ranking in Netflix’s global top 10 list for English TV every week since its release on Sept. 14. 

The original series ran for seven seasons in the 1990s and was eventually broadcast in over 70 countries, including the U.K., U.S., Germany, Argentina, Mexico, India and Indonesia. But Netflix’s new, re-imagined version has become a viral phenomenon virtually overnight, with react videos and character fan edits on TikTok racking up hundreds of millions of views around the globe. 

Set in fictional Hartley High, the reboot follows a web of overlapping high-school relationships — friendships, frenemies, couples and crushes — which all face the test after the revelation of an “incest map” chalked onto a school wall, exposing the various sexual relationships among the students. Like its predecessor, the show has won plaudits and fans for its fun but sensitive portrayal of a diverse range of teen stresses and aspirations, including characters of a broad range of ethnic, gender and neurological identities. 

The Hollywood Reporter spoke with Heartbreak High‘s producer Carly Heaton, a veteran of the Australian TV industry, about the reboot’s creation and what the show’s global success means for screen diversity down under. 

What did the original Heartbreak High mean to you and what kind of influence did it have in Australia in its day? 

Yeah, so it was on in the ’90s when I was in high school and it was just pretty revolutionary for its time. Storyline-wise, it went where other shows in Australia didn’t go at that time. The kids were more brash and loud-mouthed and just more Aussie. There weren’t always neat endings. And the biggest thing was that it was so much more representative of what Australian youth actually looked like, rather than the glossy, blue-eyed blonde-haired versions we tend to get coming out of this country. Obviously, I’m of an Anglo background, but I grew up in public school and all of my friends didn’t look like that. My friends looked like what you saw on Heartbreak High. It also had a very big class aspect to it. We very rarely saw shows that had working- to middle-class kids in it. It had always been this aspirational thing where you featured sort of richer kids, and the audience was sort of peering into their world. Heartbreak High had single parents and it felt real because a lot of people were struggling. And then there was always a little love, which just pulled you in as a teen. But most importantly, you could recognize yourself and I think that’s why it became so immensely popular, with seven seasons — back when they were doing soap seasons of like 50 episodes. 

So how did you end up bringing it back? 

Well, a few years ago we started developing ideas for a high school show and eventually someone put forward the idea, “Why wouldn’t we just do the original?” And at that point, we found out that some Dutch guys had the rights. Because the first series was so popular around the world — it was really big in the U.K., France, Belgium, and other European countries — these guys were so fanatical about it that they traced down the rights from Australia and bought them. So we partnered with them to make it.

What were your priorities when you started developing the update and what did you do to ensure that it was authentic to contemporary Australian teenage life? 

Well, we like to talk about this one more as a reimagining because we didn’t take any of the storylines from the original. There are a few heritage cast members that you see pop up, but more as Easter eggs for people. We did a few little various things like that, such as the way we shot a particular scene to mimicked moments from the original — particularly the opening sequence. But again, more as Easter eggs. What we really wanted to keep was the essence, and we knew that to do that, it had to be representative of what Australian youth actually looks like today. And it would have to be funny and brash, which was what the original did so well. And it’s just very Australian, but we didn’t want to dumb down any of our slang or the way kids vocalize things today. We also wanted it to be really hopeful. 

Why was that hopeful note important? 

Okay, I’ll tell you in a moment… But first, obviously, you can see that I’m not 18 years old or 23 years old. We looked at our writing team, and we made sure that many of them were quite young. Some are in their 30s now, but they were in their 20s when we were getting started. I think our youngest writer was 23. So a lot of emerging writers came through — which obviously takes a bit more care and time to get that right and support them in the way that’s needed — but it was vital. We did that with our production team as well. And then we actually went out to focus groups and we spent a few weeks with teenagers from all walks of life in Sydney. And we just walked through their lives with them —  what they love, what they hate, what they’re feeling. And a lot of us on the team have younger siblings. I’ve got siblings 15 years younger than me. So we had a good basis to launch from, and actually found was, a lot of them are lacking a bit of hope. Because there are so many painful and challenging issues in the air. You know, like what is the answer to climate change and what’s becoming of the natural world? So, it was like, what’s our job as storytellers here? We actually need to provide some hope. We can’t shy away from the truth, but we can’t just be nihilistic while we’re being entertaining and fun either. So we certainly didn’t shy away from things — we hit some really big issues and stories — but we wanted to make sure kids come out of it feeling like there’s a way forward.

‘Heartbreak High’

Netflix

So, as you mentioned, it is immediately striking as the show’s characters are being introduced how wonderfully diverse the cast and the storytelling is. How revolutionary or not is that within the current Australian industry landscape? How far along, or not, in your view, is the Australia in the process of improving representational diversity on TV?

Well, I think there’s been a big drive toward representation, and I’m not claiming we’re the first people to do this. But I think the fact that we are a YA show allows us to be a bit broader in a way that’s even more in synch with how the industry has been pushing hard to become more representative. For the past 15 years, this is something we’ve been working on, but the more representative stories you would see were often quite niche. You didn’t have the broad scope that we do with a YA high school show, which allows you to look at so many different groups and subcultures. You have the ability to be quite broad there, whereas a lot of other Australian shows might have explored an underrepresented cultural subset, but the storylines were more niche. So I think this actually was the first show in a long time that had the capacity to be representative in a much broader and comprehensive way. And high school is an age where you’re playing with your identity, so that gave us a lot of exciting opportunities as well. 

The high school genre has been around for a very long time, but there have been a number of breakthrough series recently — Sex Education, Euphoria, etc — that are more frank in the way they engage with the realities of teenage life than the genre has ever been before — whether it’s sex, drug use or other issues. Do you see Heartbreak High as a response, or in dialog with some of those other shows in any way? 

Yeah, I definitely think we’re sitting in that canon. And I think that frankness is mostly a consequence of a changed TV landscape, with the advent of streamers and time slots disappearing, which has mixed up what you can show and what the limitations are. Now, you can be a bit more open and frank with it all. It’s also got to do with how viewers’ tastes and expectations have evolved. I was having a discussion with my sister-in-law yesterday about whether or not my 14-year-old nephew should watch our show, and then my brother popped in the background and said, “Well, you let him watch the first episode of Dahmer.” (Laughs) I’m not really sure that answers your question, but I think all viewers, including young adults, want and expect authenticity nowadays. You can’t get away with glossing over things the way shows might have in the past. The audience will smell it. 

Did you ever consider subtitling some of the Australian teenage slang for non-Australian viewers? You can usually work it out from context, but I have to admit, as an American who is very much not a member of Gen-Z, there were quite a few times where I was like, I have no idea what that means. 

(Laughs) We did have a Netflix exec from the U.S. on board — I think she grew up in the Midwest — and she was one of our writers’ notes calls, and she was like, “I have no idea what any of you are talking about.” So I did think we might get subtitled for the U.S. and other markets in some spots. But in the end we weren’t. There has been some great TikTok stuff that’s come up, where people show all of the slang and what it actually means. But also, viewers are smart. You can get it from context. 

So, although the show is extremely frank about the realities and nuances of teen sexual activity, I understand that there was also a priority in the writers’ room to include storylines that show that not all kids are necessarily sexually active. I found that interesting, since it kind of cuts against the grain of what people expect from these more graphic new high school shows. It also seems realistic, in light of some of the recent research that has emerged showing how Gen Z is actually the least sexually active generation to date. 

Yeah, you know we all do a lot of solo research and we’re always sharing stuff, and there were a lot of articles that went around on that topic. You know, young people today are such a porn-saturated generation, and that brings all of these expectations of what they should be doing and shouldn’t be doing. I think it overwhelms them to a certain degree and a lot simply choose not to participate. We’ve been researching that recently — about people opting out altogether, or waiting. I think it’s a cultural thing as well. We found that in a lot of European countries, sex is so easily spoken about. And you can see kids speak about it with their parents. So they feel that their first experience should be done in a genuine, loving, supportive way. So having these points of view was also very important. We wanted to show the full spectrum, and all of the different points of view. 

So, I hate to even ask this next question, but I’m just curious… Coming from the U.S. context, I can’t help but wonder if there has been any kind of anti-woke backlash or reaction to the show. Social media being what it is… 

You know, we were expecting it. We were prepared. But there hasn’t been, which has been absolutely remarkable. I think we can put that down to the fact that, yes, these characters represent particular facets of society that may be contentious to certain generations or people, but it’s always only one tiny little bit of their character. We might have a non-binary character or queer characters, but that’s just a part of their character and how they walk through the world, it’s not what their storylines are about. So I think that’s a real difference — we really were just pushing to capture the full texture of humanity really.

That seems like a testament to the fact that you weren’t indulging in tokenism of any kind. 

Yeah, it’s just being celebrated. And there’s been no takedowns yet — fingers crossed.

That’s fantastic. So, yeah, what has the hugely positive global response been like for you and your team? 

Absolutely overwhelming, actually. I had to step away from the internet for a few days, because there was just so much coming in — particularly locally. But it’s all been phenomenal. We had a great critical response, which we were really happy about. But I’ve always got this fear in the back of my mind: “critical success, commercial failure.” (Laughs) So after we got some good reviews, I still sort of kept quietly to myself, but then it just totally took off on Netflix. This is the first time an Australian scripted show has had the ability to go out on a platform globally like this. Netflix kept warning us, but I don’t think we were prepared for what that would be like. You know, kids finding my number and email and hitting me up with calls to tell me how much they love it. It’s been absolutely overwhelming — in the most delightful of ways. 

Source link

Netflix’s reboot of Australian YA drama Heartbreak


Maya’s self-destruction mode has reached a new low.


The tension around Maya, her colleagues, and her wife was front and center during Station 19 Season 6 Episode 2, and it’s to the point where the others have noticed.


It’s hard to say where all of this is headed, but it’s unlikely that it’s anywhere good!


Despite some developments, it was an entertaining, sexy, and even fun hour. The opening alone gave us so much insight into some of the characters’ states.


Theo and Vic were in the sexiest state of all, and my goodness, that shower was steamy in more ways than one. It’s hard to believe that the two of them have overcome their issues and found themselves in this healthy space.


They’re so happy that, like Vic, it’s hard to trust in it. You can’t even fault the woman, who has experienced more trauma and heartache than a person should, for panicking about her and Theo being too happy.


As viewers, we’re probably in the same state as her– waiting for the other shoe to drop and something bad to happen. Can they ever let Vic be happy for too long? It never seems like it.


The fact that they mentioned it at all only makes a person more paranoid about something inevitably bad or challenging headed their way. But they’re such a precious couple, and they came out on the other side after some rough periods, grief, and darkness.


I’ll take it if they’re the one good, positive thing and the happy couple we have now. Protect them at all costs.


Because many other relationships are all over the place, there’s a lot of uncertainty, darkness, and rough patches.


Not only were Vic and Theo the happy ones out of the hour, but they also provided the most laughs. Theo’s crypto fire joke was funny, and Vic’s inability to stop making penis jokes after that guy fell off a balcony and onto his junk was hilarious.


The whole situation with that particular aspect of the call was funny, down to Sullivan and the others’ reactions when he fell. How do you not love this crew?


Even when fractured and messy, they have such fun chemistry and a good time on calls, and it’s pure entertainment.


The crypto fire case was a good one, and despite all the thick tension in the air with Maya, Ross, and Beckett, the crazy thing about them is how well they work together. You can say the same about Maya and Sullivan too. Those two, in particular, are like two sides of the same coin, which makes their interactions fascinating when they aren’t petty or at each other’s throats.


They all took it very seriously and weren’t effing around with the college kid withholding information about how the fire started and the crypto-mining the Brian guy had him involved in.


The collaborative effort by all of them helped them hold both men accountable and prevent any other incidents.


It shows you there could be a pathway for them to work together and at least be professional when it calls for it. However, they have to get to that point. I don’t know if they can without it getting even messier, though.


Ross is the one who told Beckett about the blackmail, and he’s been using that to ride Maya’s case at every turn. He’s treating her worse than a probie, and she’s not happy about it.


Yes, it’s degrading and ridiculous and going on for too long. I don’t know how long this can be deemed appropriate with no end in sight.

Maya: You know you’re not a bad captain when your sober.
Beckett: Wish I could say the same about you, Bishop.


But I also don’t know what Maya expected either. She didn’t anticipate her impulsive threat to lead to all of this, and now she’s paying the price for it repeatedly.


It got the attention of everyone else, and the others spent most of the hour speculating why Maya blackmailed Ross, what it could’ve been about, and how it involved Beckett.


Andy got all the information from Maya earlier, and it was good to see those two sharing scenes and being genuine friends. We haven’t had their friendship on display significantly in a long time.


Andy has matured so much, and it’s installments like this when you see it in full effect. She called Maya right out when she heard about the blackmail.


Regardless of how they feel about one another, they don’t do things to each other. It crossed a line to which there hasn’t been a point of return.


And as Andy reminded her, they’ve all made inappropriate choices before. Blackmail wasn’t the way. But Andy also knew that if the news got out about what really happened, Maya would have more than Beckett, Ross, and Sullivan to deal with because the others wouldn’t respond well to it either.


Andy going out of her way to squash all the chatter and theories while protecting all parties, Maya included, was admirable. And maybe it’ll settle things for a little bit, at least for now. However, the truth will come out eventually, especially if Maya continues down the path that she’s on with everyone.


You could tell it was bothering Sullivan that the others were talking about the situation and coming up with wild and unflattering theories.

Maya: What’s two?
Andy: Listen to your wife and find some help.


But he was surprised and respected Andy for what she did. And that’s why it sucked that he wouldn’t tell her the truth when she asked him about his relationship with Ross. Sure, they aren’t sleeping with one another or in a relationship now, but they were before.


I believe Sullivan when he talks about how meaningful his relationship with Ross is because of what they went through in the military together. I understand how not even getting to speak to her as a friend may hurt him because of all of that.


He and Andy are in such an indefinable place. They’re exes, and most of the time, you can forget that they were even romantically linked, but they also have this closeness that transcends whatever they are supposed to be to each other now.


It’s an intimacy between them that doesn’t have a category yet. Andy knows that Sullivan is telling her the truth, which sucks.


But he, Ross, Maya, and Beckett are all in this weird, stagnant place where we’re waiting for the next big move and how it’ll impact everyone.


Perhaps Maya’s gift to Beckett is that next big move.


After everything that everyone has been telling her and the concern that’s directed toward her, Maya going through with that gift was disappointing.


But if there were doubts about the show doubling down on the OG ruthless Maya, the end of the hour put that to bed.

Only you can prevent crypto fires.

Theo


It’s already been a bit unsettling and frustrating how Maya responds and even speaks about addiction. We’ve seen it with both Sullivan and Beckett, but it’s probably rooted in something related to her past and father.


But it takes a special kind of tunnel vision and short-sightedness to consciously give a presumed recovering alcoholic a giant bottle of his favorite booze when there were valid concerns about him drinking on the job, and it affects how he functioned and led the team.


Why are we tempting an addict and potentially endangering the lives of the whole squad and civilians just to prove a point? How doesn’t Maya see that, at some point, she’s stooping so low to lash out and fight back against injustices by these people that she’s making herself as bad as she perceives them to be or worse?


Andy has this unique task of trying to save both Jack and Maya from their self-destruction, explaining their behavior to everyone affected by their actions as if it’ll make it okay or easier to deal with for everyone else.

So he gets laid regularly, and he’s still a dick.

Travis


All Maya did with that move was prove that Carina was right about her needing help. She’s been long overdue to lounge on some therapist’s couch. It’s what everyone who cares about her most deserves.


Things weren’t any better for Maya and Carina. The chilliness between them in the bed was a dead giveaway for the state that they were in right now.


Neither of them recovered from their fight, and when Carina wanted to address it and talk through things, Maya shut her down and went off on her. It’s hard to watch.


Maya took offense to Carina’s ultimatum, of sorts, about Maya getting therapy, and she’s allowing it to drive a bigger wedge between them.


It’s sad because we still don’t even know if Carina is pregnant or not, and what should be a happy point in their life is far from it.


Right now, it feels like Maya is too angry and defensive to communicate effectively with her wife, and they’re in a cold war, which is a sad place for newlyweds who are trying to start a family should be.


Maya keeps citing all these problems at work as why she shouldn’t have to deal with the Carina stuff too, but by now, much of that is by her own making, and shutting down on her wife isn’t the solution.


Maya is just burning everything good in her life to a crisp on her way down. She probably realized things were going too well, didn’t trust it, and started creating her self-fulfilling prophecy by ruining everything.


It’s a tough watch, but the performances have been great.


Carina’s Italian outbursts are entertaining. She’s right about the hormones making her meaner. She’s been going in on everyone any chance she gets.


It’s good to see that they didn’t completely abandon the Jack and Carina friendship that had developed. She was hard on him, but their talks were fruitful.


She felt that he abandoned them after agreeing to be their sperm donor. And he did leave.


But given the situation, Jack warranted sympathy, not tongue lashings for leaving them behind. When Jack found out the news about his family, Carina and Maya were there.


They were aware of his meeting his biological siblings and how disastrous that turned out. Jack was in a fragile emotional state and never deserved anger for taking off how he did. He deserved grace.


He didn’t even put up a fight when she was yelling at him. However, we learned the truth about his venture to find his foster siblings thanks to Jack opening up to Carina.


Things couldn’t get any more heartbreaking for him when he admitted that his foster brother didn’t even remember who he was. That encounter derailed him from finding the others, and he’s been a bigger mess ever since.


The encounter sent him spiraling, and that’s how he ended up back in Seattle and sleeping with Ava, where they have one of the most dysfunctional and toxic relationships in the series.


Jack pushed away and hid from the family he does have because of all of this. It’s heartbreaking.


Andy is right to pour all of her attention into getting Jack help, and Carina gets it, too, now that she’s spoken with him. It was appalling to her when Maya was so callous about what Jack had gone through and why he was suffering.


The people Carina loves and cares about are going through it and need all the help they can get.


Over to you, Station 19 Fanatics. What are your thoughts on Maya’s latest move against Beckett? Are you heartbroken for Jack? Sound off below.


You can watch Station 19 online here via TV Fanatic.

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

Source link

Maya's self-destruction mode has reached a new

Director Gina Prince-Bythewood knows you can’t win an argument on Twitter. That’s why she stays off social media platforms and chose not to engage with users that were attacking her, and the filmmakers from her box office hit “The Woman King” for taking license in its depiction of the West African kingdom of Dahomey during the 17th to 19th centuries, and its role in the slave trade. “There was an absolute assumption we weren’t dealing with it,” Prince-Bythewood says. “So much of the argument is based on bad facts. So, what the ‘Wikipedia historians’ are parroting is history written from the wrong point of view.”

Listen below:

On this episode of the award-winning Variety Awards Circuit Podcast, we sit down with acclaimed filmmaker Gina Prince-Bythewood to discuss her historical epic “The Woman King” from Sony Pictures. She discusses the challenges of shooting and getting shut down during COVID, along with the possibility of seeing a reboot of the sitcom “A Different World” (1987-1993), in which she served as one of the writers.

With “The Woman King,” she’s reached new heights. The Sony Pictures film has grossed $54 million domestically so far, with an additional $10 million coming from other territories. It’s garnered critical acclaim with standout notices for its cast which includes Oscar-winner Viola Davis, Thuso Mbedu and Lashana Lynch. Prince-Bythewood herself is generating awards buzz, looking to snag one of the five coveted spots for best director. If achieved, she would be the first Black woman ever nominated in the category.

Prince-Bythewood’s filmography has produced some of the most culturally relevant and genre-bending stories over the last 20 years. Beginning with her debut “Love & Basketball” (2000), which introduced the world to Sanaa Lathan, she continued to share her visionary talents in films such as “Beyond the Lights” (2014) with Gugu Mbatha-Raw and “The Old Guard” with Charlize Theron.

Later in this episode, we sit down with German actress Nina Hoss about her performance in Todd Field’s “Tár” opposite Cate Blanchett. She discusses some of the movie’s most elusive questions and how the stage prepared her for a career in film.

But first, the Awards Circuit roundtable is back discussing the films that premiered at the fall festivals such as “The Fabelmans” and the year of populist flicks and box-office hits like “Top Gun: Maverick” making a play for the Oscars’ top category.

Variety’s “Awards Circuit” podcast, produced by Michael Schneider, who also co-hosts with Clayton Davis, is your one-stop listen for lively conversations about the best in film and television. Each week “Awards Circuit” features interviews with top film and TV talent and creatives; discussions and debates about awards races and industry headlines; and much, much more. Subscribe via Apple Podcasts, Stitcher, Spotify or anywhere you download podcasts. New episodes post weekly.

Source link

Director Gina Prince-Bythewood knows you can’t win

Beyoncé Responds to Fashion Designer’s Claim He Wasn’t Paid for ‘Renaissance’ Album | Entertainment Tonight
































Source link

For tourists, the Philippine island of Palawan is a tropical paradise. For illegal loggers, it’s a place to plunder one of the last great rainforests. For locals defending the trees in lieu of government action, it’s a deadly place to work.

Delikado means danger in Tagalog. When Australian journalist Karl Malakunas set out to make his first film a decade ago, he was then Philippine bureau chief of Agence France-Presse and he wanted to make a film about eco-tourism there. But when his main contact was murdered, the project shifted to land defenders in general and the Palawan NGO Network Inc. (PNNI) in particular. 

The film follows four people: Tata Balladares, who leads the group’s patrols in the rainforest; “Kap” Ruben Arzaga, a former logger who’s now defending the trees he used to cut down; lawyer and PNNI executive director Bobby Chan, who brazenly displays the chainsaws confiscated by the group; and Nieves Roseto, mayor of El Nido, Palawan’s main town, who supports the land defenders but is up for reelection against a rival endorsed by President Duterte, who falsely accuses her of drug trafficking and threatens death.

Sydney-based cinematographer Tom Bannigan, ACS, knew the director from the time both worked in China—Bannigan for the Australian Broadcasting Corporation and Malakunas as a news editor for Agence France-Presse. A specialist in extreme environments, Bannigan has filmed in remote Indigenous lands in Australia, the criminal underworld in Peru, former ISIS strongholds in Syria, and Afghanistan under the Taliban. This film was right up his alley. 

The Scene: Delikado’s Opening Raid against Illegal Loggers

After the introductory text saying that Palawan has “one the oldest, largest, and [most] diverse rainforests in the world,” the film begins with a raid by the land protectors. As the cinematographer explains, that raid “establishes what these people do; what they’re after, which is chainsaws; and the danger they face.” 

It’s early morning and the group rests on the ground. A prayer follows: “You know, Lord, we are fighting for the environment.” Then hands dip into a communal pile of rice for breakfast.

A GoPro records someone positioning it on another’s head. GoPro shots follow of hands bushwhacking a path with a machete. It’s tough going. Kap signals for the cinematographer to listen. A chainsaw is heard in the distance. As they approach, Tata gives instructions, warning, “If the lookout spots us, we’re dead.” There’s a long-lens shot of a downed tree and extreme close-ups on faces as they strain to listen. 

Tata signals for Bannigan to go first. The handheld camera shakes as the cinematographer crosses rough terrain and cut branches. The tree has already been sliced into three long planks. A chainsaw rests on the trunk. The illegal loggers are at lunch somewhere close by. Tata commands, “Double time…rush it.” Close-ups of the disassembly of the chainsaw follow, and of hands filling out the paperwork that will be left in its place. 

After a few tense minutes, they’re done. As they walk away carrying the dismantled chainsaw, the camera reveals most to be barefoot on slippery, muddy terrain. The scene ends with a drone shot of the group threading along a path, deep in the rainforest. 

 

 

A Spartan Approach

The land defenders would traipse through the rainforest for hours on end. Bannigan was with them, carrying his gear in sauna-like conditions. So he had to keep his kit light. The cinematographer says, “It was a fairly Spartan approach that hopefully represented the way the characters operated.” He continues, “When we first started filming these confiscations, we decided there were logistical limitations. We couldn’t carry many things into the forest. It was too slow. We had to be really mobile.” In terms of camera style, he notes, “It had to follow the action and have a real sense of vérité. I wanted it to feel fairly raw and intimate at the same time.” 

The Gear

Bannigan shot the film on a Canon EOS C300 Mark II. “I needed something compact and robust, but with a good picture and XLR inputs for audio. Often I’d be crawling through the forest and needed to be both nimble and very quiet, so this rig worked well.”

The Canon recorded in 4K (DCI). “The data wrangling was a nightmare, but I think it was worth it,” Bannigan says. “We were always aiming to have a theatrical release. [Ed. They did in Australia.] 4K meant it would look better on a big screen, but also give it some longevity. If it was HD or 2K, it would have dated faster.”

He carried two Canon EF lenses. The first was a wide-angle 16–35mm and the second a telephoto 70–200mm. “I like shooting at either 16mm or 200mm, so it was perfect for that,” he explains “They are also fairly fast lenses and shot wide open at 2.8 most of the time. I also had to carry all the batteries, audio gear, water, and food, so I had to be very economical in what to take, as we’d sometimes hike all day in very uncomfortable conditions.” Polarizers were used throughout. He also brought a 100mm EF macro, for the rare nature close-up. Wearing a photo vest, he could easily swap lenses out.

Para-enforcer Roy Arguelles inspects a giant tree in Palawan's rainforests. From Karl Malakunas' 'Delikado.' Photo: Delikado LLC

The group also had four GoPros. “We needed these to increase the coverage, as there were multiple characters, and we were often spread out,” Bannigan says.

Bannigan brought two drones to the Philippines. The larger was a DJI Inspire 2, reserved for the bigger landscape shots and aerial images of the resorts and real estate development underway in Palawan. For the raids, he used DJI’s smaller Mavic 2 Pro, which he could carry in his backpack. “If we had time, I’d try and use it to finish sequences and to give a sense of place. It’s often hard to get a wider perspective in the forest, and it all starts to look very similar.” The drone shots helped alleviate the claustrophobia of the rainforest and give a sense of scale.

The drone shot that ends this sequence was done several hours after the raid, once they were safely away from the loggers and their guns and Bannigan had time to run ahead and launch the drone. “You have to remember that we’re walking eight or nine hours,” he notes. “This was the only shot [in the sequence] that we had enough time to set up. During all the confiscation scenes, there’s nothing set up. You’ve got just to go with whatever is happening to the characters within the scene.”

The Production

Despite the nerve-wracking scene, Bannigan was not nervous himself during the raid. “At this point, adrenaline starts to kick in,” he says. “Sometimes it’s been days looking for a chainsaw, so to actually get one release a lot of nervous energy built up in the process.” Because it’s so hot and they’d been carrying so much gear, “There’s this delirium of adrenaline and exhaustion that happens. So when you find a chainsaw, you just try to focus and get it done, because that’s what you’re there for.”

Malakunas said in a video director’s statement that he’d like viewers to be “inspired and enraged” by this film, and want to take action. For Bannigan, “I think it’s a story of hope and resilience. These people are up against straightforward corruption and the odds are stacked against them, but they still persist. I hope people feel inspired by it, rather than overwhelmed.”

Delikado makes its broadcast debut on PBS’ POV on September 26 at 10:00 p.m. ET. The film will also be available on PBS.org and the PBS Video app. 


Patricia Thomson is a longtime film journalist and a contributing writer for American Cinematographer.

Source link

For tourists, the

Playoff intrigue permeates Friday’s game between the Calgary Stampeders and visiting Hamilton Tiger-Cats.

With three games remaining in the CFL’s regular season, the Stampeders and B.C. Lions (both 10-5) are neck and neck down the stretch for second in the West Division and the right to host the division semifinal.

Hamilton (5-10) needs to get ahead of the Saskatchewan Roughriders (6-10) to avoid losing an East Division playoff spot to a crossover team from the West.

“It’s not technically like playoff football yet, but it also kind of is,” Hamilton quarterback Dane Evans said Thursday in Hamilton.

“Everybody on our team knows what time it is, everybody on their team knows what time it is, so I think you’ll see a pretty good fight this whole game from both sides.”

Story continues below advertisement

The Tiger-Cats aren’t mathematically out of the running for second in the East either, but would need a collapse by the Montreal Alouettes (7-8) to get there.

Hamilton lost to the Winnipeg Blue Bombers in the last two Grey Cup games in 2019 and 2021.


Click to play video: 'New Grey Cup Festival app now available'


New Grey Cup Festival app now available


Coming off an 18-14 victory at home over the Roughriders last week, the Ticats have yet to win on the road or string together two wins in a row this season.

READ MORE: Massive win over Riders keeps Tiger-Cats’ playoff hopes alive

“They’re going to be desperate,” Stampeders quarterback Jake Maier observed. “They’re super-well coached and they have an identity and they’ve been in the Grey Cup the last two seasons, man, so you’ve got to respect that regardless of where they’re at in their season and their record.

Story continues below advertisement

“We’ve got to start playing championship-level football though. We’ve got six weeks to prove we’re a championship-calibre team and that’s all our focus is right now. Weather’s getting colder, games are getting more intense, so we’re excited.”

Winnipeg (14-2) has already locked in the West final at home. The Lions face the defending champions twice in their remaining three games with the other game against the Edmonton Elks.

B.C. took the season series from Calgary 2-1 and would be the higher playoff seed in the event of a tie.

Calgary is coming off a bye week following a 29-2 win over the visiting Toronto Argonauts, but it wasn’t enough time to get 1,000-yard receiver Malik Henry (ankle) back into the lineup.

READ MORE: Calgary Stampeders sign offensive linemen Johnson and Murphy to practice roster

Shawn Bane Jr., who’s had limited game reps this season, draws in at wideout. He compiled 129 yards on four receptions, including an 80-yard catch, in Calgary’s 22-19 win in Toronto on Aug. 20.

“I practise like a game,” Bane said. “We’re always competing against each other, like who can get open the most and who can catch the most touchdowns. Mini-competitions within practice, that just keeps everybody sharp.

“I’m always ready. When an opportunity presents itself, I try to be that guy you can depend on. Don’t make it too big, don’t make it too little. Just be even keel.”

Story continues below advertisement

Hamilton not only needs a win in Calgary, but also favours from the Stampeders who close out the regular season with a home-and-home against Saskatchewan.

The Tiger-Cats finish with the same against the Ottawa Redblacks (4-11), who have yet to be eliminated from the East’s playoff picture just two points back of Hamilton.

“The biggest thing is we’ve got to keep winning,” Evans said. “It makes it a little bit easier to not worry about who beat who, or who lost to who.”

Hamilton running back Wes Hills and defensive end Malik Carney were impact players in a comeback win over the Roughriders last week when the Tiger-Cats trailed 14-9 at halftime. Hills rushed for 132 yards and Carney posted a three-sack game.

Tiger-Cats linebacker Simoni Lawrence comes off the injured list (knee) to play Friday as does wide receiver Steven Dunbar Jr., who sat out the game against Saskatchewan.

Calgary’s Hugh Thornton draws in at left tackle for Joshua Coker (arm).

The Stampeders won a wild one in Hamilton back on June 18, when Calgary erased a 24-point deficit in a 33-30 overtime victory.

Rene Paredes kicked a game-tying 39-yard field goal as regulation time expired and another 35-yarder in OT to beat the Ticats.

Story continues below advertisement

“Both of us are third in our conference. If you think about it, that’s an interesting dynamic, but I know they can play,” observed Stampeders head coach Dave Dickenson. “They’ve got good players, they’re fast, they’re physical.

“This year hasn’t quite worked for them, but they know they can beat anybody and we’ve got to go out there and play a damn good game to win.”

&copy 2022 The Canadian Press

Source link

Playoff intrigue permeates Friday’s game between the

SPOILER ALERT: Do not read if you haven’t watched “Crank Dat Killer,” Season 4, Episode 6 of “Atlanta.”

In 2006 and 2007, Atlanta was experiencing a renaissance.

A renaissance of snap music, to be specific. The city was already producing hits like Dem Franchise Boyz’s “Lean Wit It, Rock Wit It” and D4L’s “Laffy Taffy.” Then, Soulja Boy released his debut single Crank That (Soulja Boy)” just as the concept of YouTube virality was coming into existence, prompting thousands of Atlantans to create their own versions — from “Crank Dat Yank” to “Crank Dat Roosevelt” to a “Super Mario” version — while the rest of the country watched.

In Season 4, Episode 6 of “Atlanta,” headlines are warning Atlantans about the Crank Dat Killer, a serial killer targeting anyone and everyone who made a “Crank Dat” video back in the day. Alfred aka Paper Boi (Brian Tyree Henry) realizes his old “Crank Dat Jimmy Neutron” dance could get him in trouble. After a phone call with Soulja Boy (played by the rapper himself in a brilliantly placed cameo) he tries to conceal his identity in public, but fails. Only badly disguised celebrities wear logo-less baseball caps, as a mall employee tells him before pointing to the same getup on “Chris Evans.” (It’s just a random white guy in a baseball cap.) Soon, someone else sees that it’s Alfred and begins shooting, then several other passersby pull out their guns and the situation devolves into an action film-like shootout, expertly directed by Hiro Murai.

Meanwhile, Earn (series creator Donald Glover) and Darius (LaKeith Stanfield) desperately seek out some newly-dropped and sold-out Nikes and meet Shoe Man (Terence Rosemore), who offers to give them some for free — if they agree to kiss each other and let him watch. After much deliberation, they kiss, but they’re parked outside of the same mall as Alfred and Shoe Man gets shot in the head, rendering the kiss useless. They grab the shoes and run.

“Atlanta” is gearing up for its series finale, which is set to air on FX on Nov. 10. After years spent struggling to reach the top of the music industry — with Season 3 even detouring for a European rap tour — the characters are now back in the city they’re from, working to adjust to the money and notoriety they’ve made for themselves. They’re trying out therapy, investing their salaries and fighting to retain some sense of normalcy. “With all the episodes this year, we’re circling around these themes of death and finality and peace of mind,” says Stephen Glover, who wrote “Crank Dat Killer” (and is Donald’s younger brother).

Glover talked to Variety about securing high-profile cameos, cringy interactions in the rap industry and the absurd prices of exclusive sneakers.

Soulja Boy is an Atlanta legend. Had you been trying to get him on the show for a while?

He’s definitely an Atlanta staple. It wasn’t like we were trying to get him on the show, but I think the idea was so perfect for him. We don’t have the best luck getting high profile people to be on the show. I know that sounds kind of crazy [because Season 3 featured actors like Liam Neeson], but we don’t. But this was one of those things where there’s no backup plan. It’s a funny idea, but you need Soulja Boy. And we wrote the whole episode before he got involved. [If he had said no], getting someone else to play Soulja Boy would have been hilarious — but maybe there’s another snap legend we could have gotten. Maybe Fabo.

How did Soulja react to the offer?

I remember Donald telling me that he got on the phone with Soulja Boy to see if he was interested, he’s talking to him, and he seems pretty lackadaisical. He’s like, “Mmhmm.” He doesn’t seem very interested. And then he’s like, “Wait a second, is this, like, Donald? Oh! Why didn’t you say so? I thought I was talking to somebody else. Yeah, man, I’ll definitely do it!” He was excited. I saw he did an interview on “The Breakfast Club” a couple of months back where he was saying, “I’m an actor now! I got my first role!”

We shot a version on set in Atlanta where he wasn’t there. He just called in on the phone. And then they shot a version at his house. 

For his first few lines of dialogue, we’re only seeing Alfred and hearing Soulja’s voice. I assumed it wasn’t actually Soulja until it switches to the setup in his house.

Like I said, we don’t always get the best luck getting people. In Season 3, we had some crazy cameos where it was like, “Maybe we can!” But we like to keep the idea that we can’t promise anything. That’s just funny to us to. Like the D’Angelo thing. [In the previous episode, Earn spends a week trying to get a meeting with D’Angelo and ultimately fails.] “Oh man, did they get D’Angelo?” Like, no. We can’t get D’Angelo. 

Alfred aka Paper Boi (Brian Tyree Henry)

Did you actually try to get him for that episode? Or to get Chris Evans for this one?

We didn’t try to get Chris Evans. We just think he’s funny. The writers’ room has several running jokes about Chris Evans, but we’ve never tried to get him. And it’s funny, one of the producers on “Atlanta” was like, “We might have been able to get D’Angelo.” Someone from his camp reached out, but we didn’t even think it was possible. He’s mysterious and hard to track down anyway, so it probably wouldn’t have worked out. There could have been a chance, but we just assumed.

The mall scenes also introduce us to Roberto (Adrian Mauro), the employee with dreams to become a rapper. It’s set up like he’s going to get to meet Alfred and rap for him — I thought he might be the one to save Alfred when gunfire breaks out. But he makes the crazy decision to start rapping during the shootout, Alfred pushes him through a glass wall, and we never see him again. What is that storyline based on?

I just thought it would be hilarious. The kid tells a story about how Big Sean rapped for Kanye. In rap, there’s become this thing where you meet Jay-Z and he changes your life overnight, or you rap for Drake, and Drake tells you to hop on his tour bus and you go on this magical journey. This idea that all it takes is for you to meet your idol, and it’s all gonna work out. People put all these things onto celebrities. They treat celebrities like they’re a part of their movie; their only purpose is to fulfill your dreams. I just thought it would be funny if this guy had this vision that this is going to happen, and he just picked the worst possible time. 

One time we were at the hospital with my dad, who had cancer, in the middle of the night. We’re rolling him around, trying to find the room he’s supposed to be in, trying to find somebody, and we go up to this help desk. Then there was this lady, some patient, who’s walking away, and then she realizes it’s Donald. We’re like in the middle of talking and she just comes over, like, “Hey, can I take a picture?” Like, we’re doing something! But people are like, “This is my opportunity. My one shot.” Like the “8 Mile” song. 

This is one of several near-death experiences for Alfred throughout “Atlanta.” Why so many different shooters this time? And what was that like to film?

We had such a long time between writing this episode and shooting it. I went back and read it before shooting like, “Man, this episode is insane.” I remember going to Hiro like, “Maybe this was too much?” He was like, “Nah, it’s great.” In Atlanta right now, there’s so many guns. There’s been several shootouts at malls in particular in Atlanta, and lax gun laws. It feels like everybody in Atlanta has a gun. I thought it was funny, this idea people have that guns are gonna make situations better, but here’s a shootout in the mall and it just turns into chaos. 

Alfred having these near-death experiences goes back to how a lot of rappers end up dying in their hometown or killed in some sort of altercation. So the specter of death is always following Alfred. That helps get people into the mindset of what it’s like to be a rapper and be in your home city, and how easy it is for something bad to happen to you. 

The day is saved by Some Guy Named Doug, another aspiring rapper who’s desperate to get Alfred on one of his tracks. But unlike with Roberto, Alfred is actually acquainted with Some Guy Named Doug. Does he represent anyone in particular?

There’s people in music who are really nice people, even if their music’s not good. Really nice guys. And wouldn’t it be funny if we had this great guy, but his music is horrible, so you don’t want to work with him? But you’re forced to have to make this terrible song that you knew was going to be terrible.

There’s also the B-plot where Earn and Darius have to kiss if they want Shoe Man to give them the new Nikes. Walk me through that storyline, because the situation feels completely random, but ends up aligning with some of Earn’s character arc this season.

It’s kind of based on something fucked up, but we thought it was funny — this idea of how hard it is to get exclusive shoes. Here’s this guy who’s like, “It’s very simple. All you have to do is kiss.” Which is creepy and violating and disrespectful. But, like, this is what you’re willing to do to get these shoes? We laugh in the writers’ room about how, as we’ve gotten older, our taste in shoes has changed. Now you’ll wear a pair of loafers, and these shoes are shoes that you would never like wear in high school. No one’s going to give you props for wearing these shoes, even if they are $800. Only other old people are gonna care, but you’re willing to sell your soul for these sneakers. It’s something that the culture and rappers can all relate: What is the price you’re willing to put on a pair of sneakers, and is it worth it?

Me and Jamal [Olori, another “Atlanta” writer] have a ton of Jordans. Jamal has even more than me, and he won’t wear them. He’s waiting on the right moment. I’ve gotten to the point now where I’m like, “Yeah, man, we just gotta wear these shoes. We’re putting these shoes on too high a pedestal.”

That’s basically what Earn tells Darius, and it seems to connect to Episode 2 where Earn goes to therapy and talks about spite and pride, but he does eventually agree to the kiss. Did you consider having him refuse? And at what point did you decide the Shoe Man would get shot during the kiss?

I had at first thought we were just gonna get as close as possible, but when we came back around and were fixing up the script, we were like, “Nah, they definitely should do it, but it should end up being worthless. They didn’t have to do it.” I thought that was the funniest thing.

The speech that Earn gives, he’s talking about sneakers, but it can be extrapolated to a lot of things where he’s like, “We’re above this. Who are we trying to be cool for? You can make your own cool stuff. You’re putting so much effort into these shoes, when you could have put that into yourself.”

Atlanta -- “Crank Dat Killer“ -- Season 4, Episode 6 (Airs Oct 13) Pictured: LaKeith Stanfield as Darius. CR: Guy D’Alema/FX.

Darius (LaKeith Stanfield)

But Darius has a good argument too: Why should a kiss have so much meaning? Is it really that much effort?

Exactly. He’s the exact opposite. “We’re not gay. You’re my friend. It doesn’t matter.” We thought it was funny, like who is right? At the end of the day, these shoes are worth a lot of money, and a kiss is nothing.

When everyone meets back up and talks about how their days went, we see a picture of the Crank Dat Killer on the news, and realize he wasn’t the shooter from the mall. Then Alfred casually mentions running into someone he “had beef with in high school” who seemed to still be mad. It’s obvious why Earn and Darius don’t tell Alfred how they got the shoes, but why doesn’t Alfred tell them he was the target of the shootout? 

The whole time, we’re scared of the Crank Dat Killer, then we reveal he wasn’t even being chased by the Crank Dat Killer. It’s someone from Alfred’s past who tried to kill him. It’s coming from everywhere. The ability for Alfred to be killed at any time in his home city is coming, probably, from people he already knew. And you’ve seen a bunch of near-death experiences with him, so in a way, it’s kind of not that big of a deal to him. Even though he went through so much, it’s another day in the life.

This interview has been edited and condensed.

Source link

SPOILER ALERT: Do not read if you

NBA Hall of Famer David Robinson was one of the greatest centers to ever play the game, as recognized by the NBA’s 50th and 75th Anniversary teams. That did not stop his teammates from making fun of his video game habit.

Malik Rose, Robinson’s teammate and fellow gamer on the NBA championship-winning 1999 San Antonio Spurs, remembered getting ribbed for firing up their laptops so often after games or practices. “Dave got it too!” Rose said. “But secretly, everyone else wanted to get into it.”

Following the Spurs’ title that year, someone snapped a photo from the team plane. It remains unclear who took the photo, but it clearly shows Robinson, Rose, Hall of Famer Tim Duncan, and Sean Elliot all playing the video game “StarCraft” on their laptops. The Larry O’Brien championship trophy sits in the corner of the frame.

The photo has gone viral numerous times on platforms such as Reddit and Twitter, usually with a post expressing surprise at an NBA championship team celebrating its title by nerding out on a real-time strategy game as though they were a high school AV club. By contrast, the previous year’s champions, the Michael Jordan-led Chicago Bulls, appeared on the cover of Sports Illustrated midseason, playing cards on the floor in the aisle of a plane. Cards were also favored by championship teams such as the 1973 New York Knicks, who played on the way home after winning it all. Other photos from NBA team planes generally show players listening to music, eating, reading, and otherwise relaxing. This shot of the Spurs features a LAN party, a way for gamers in the ’90s to interconnect computers and play against each other, head-to-head.

“I’m used to fun on the plane, dice games, cards games, so when I got to the Spurs it was like I was in church,” said Mario Elie, a three-time NBA champion who signed with the Spurs before the strike-shortened 1999 season and said he brought “a little nastiness” to the team. “Very nice guys, shaking hands with everyone, and I sort of had to change that a little.”

Rose said he played video games before joining the team in 1997, mentioning series such as Madden, Zelda and Diablo. But he said that it was Elliott, whom he referred to as the “Yoda” of the group, who turned him and Duncan — then both rookies — onto “StarCraft” specifically.

“We saw him playing it with Dave Robinson, so younger players, like we do when we see older players doing something, we started doing it,” Rose, who is now Head of Basketball Operations at the NBA G League, said about himself and Duncan.

‘Fortnite’ at five: Battle royale, concert venue and, maybe, the start of the metaverse

“StarCraft” is a science fiction, real-time strategy game made by Blizzard Entertainment. The game, originally released in 1998, has since spawned a popular sequel and several expansion packs and add-ons. The highly rated title, which centers on three distinct races battling in a distant galaxy, features a story campaign as well as several multiplayer modes, such as capture the flag, deathmatch and melee, where players attempt to destroy each other’s bases.

Asked whether he felt that the Spurs’ leaders playing “StarCraft,” as compared to Bulls stars Jordan and Scottie Pippen playing high-stakes cards, reflected a different team culture, Rose said it could. Still, he pointed out: “Whatever Jordan did, it produced results, six championships.”

That’s not to say “StarCraft” didn’t have its benefits. Playing with those three teammates (the group was dubbed the “IBM Gang” by the rest of the team) translated into better performance on the court, according to Rose.

“Any time you spent that much time together, all together, it makes you more fond of one another and made you closer,” he said.

The “StarCraft” sessions never got as intense, or as allegedly rich, as a Bulls card game. Still, the IBM Gang took video games seriously, especially as they began to get more competitive. Rose said the players would run back to the team bus after games to grab their laptops so they could launch right back into it.

“The games got so good we started playing at the hotel. We spent any time not on the court playing the game,” Rose said.

“[Robinson] was into his computers,” said Andrew Gaze, another Spurs player. “I didn’t understand it. That wasn’t my go. … But I was sort of envious,” he said.

Elie also said he didn’t play, but remembered how often the IBM Gang did.

“I just remember those guys playing on every road game,” Elie said. “Them four guys played all the time … It was to release some tension. It was very competitive.”

Elie drew a comparison between that Spurs team and the New England Patriots, in terms of professionalism and leadership. “It was sort of a nerdy type of team,” he said. “I consider [Spurs Coach Gregg] Popovich like [Patriots Coach Bill] Belichick, just nicer. And you never had to worry where guys on that team were at night.”

Gaze agreed. “That team wasn’t doing things to jeopardize focus,” he said.

You probably know someone who just got into Formula One

After the Spurs beat the Knicks in Game 5 of the NBA Finals in New York, Rose recalled celebrating and partying with his teammates. But on the plane back to San Antonio, with not much else to do, they broke out their laptops and started playing.

One memory that stuck with Rose from around the moment the photo was taken was an offhand comment from Robinson, whom Rose said was one of the smartest people he ever met.

“David could literally build an aircraft, but we used to joke about how he’d forget things,” Rose said. “We’d leave the huddle and he’d ask, ‘What play are we running.’ ”

On the plane, Rose said that “out of nowhere” Robinson said he might be receiving a bonus for winning the title — but he wasn’t sure.

“He said that if he did get the bonus, he would buy us Rolexes. And he did, the very next week,” Rose said.

Rose was traded to the Knicks in 2005, but said he continued playing “StarCraft” with his Spurs teammates, though they eventually moved to “World of Warcraft” and then “League of Legends,” playing together online “for hours and hours.”

Though Robinson and Duncan led the Spurs on the court and ended their careers as two of the best big men in the game, when it came to “StarCraft,” they were not even team MVPs.

“If I have to be honest, Sean was the best then,” he said.

correction

An earlier version of this story misidentified The International as a “StarCraft” esports event. The International is a “Dota 2” tournament.

Source link

NBA Hall of Famer David Robinson was

NYFF: Zoe Kazan and Carey Mulligan star as Pulitzer-winning journalists Jodi Kantor and Megan Twohey in Maria Schrader’s searing true-life tale.

When eventual Pulitzer Prize winners Jodi Kantor and Megan Twohey published their first New York Times investigation into Harvey Weinstein’s decades of sexual abuse and harassment in October 2017, the journalists had only a handful of accusers willing to go on the record. In the months and years that followed, more than 80 different women eventually accused the Hollywood bigwig (and now convicted and jailed rapist) of a litany of crimes over many years. Kantor and Twohey’s investigation (and a concurrent one from Ronan Farrow for The New Yorker, with whom they shared their Pulitzer) didn’t just set a course for a reckoning for Weinstein and his crimes but helped ignite the entire #MeToo movement on a global scale. That Weinstein’s downfall was the product of diligent reporting, dogged persistence, and the resilience of a few brave souls is essential to remember. In Maria Schrader’s artful and incendiary “She Said,” we’re reminded of something else that makes for one hell of a movie: It was women who did it.

There is, of course, a dark irony to Weinstein — for so long such a Hollywood titan, a bonafide super-producer — getting taken down (again! and good! do it more!) via the kind of awards-y, end-of-year true-life tale the former Miramax head probably would have loved to make, back when he was, oh, you know, not in jail for multiple sex crimes. Hit him where it hurts. But it’s also bitterly hilarious that Weinstein’s downfall came at the hands of two women, the kind of tenacious, emotional, stressed, and heroic people he spent so much of his life and career trying to shut down. Dozens of films could be made about what Weinstein did, how Kantor and Twohey took him down, and the many lives his crimes disrupted, but Schrader’s would likely still be the best of the bunch, a definitive endeavor right out the gate.

Part of that is due to Schrader’s stars — Zoe Kazan as Kantor and Carey Mulligan as Twohey, who both turn in wonderful performances — and part of it is owed to how much information Schrader and screenwriter Rebecca Lenkiewicz manage to pack into a film that runs just over two hours. Picking up just before Donald Trump’s election (Twohey first came to the Times to investigate the then-presidential candidate) and ending literally as the team hits “Publish” on the October 2017 story, “She Said” provides a robust and pin-neat look at the process behind reporting the story. But the film’s greatest strength goes beyond the fast-paced tick-tock aspect of its story and centers on something much harder to articulate than “it tells us all the important beats of the story.”

“She Said” does that, but it also gives us all the emotions of the story, too. It starts early, as Schrader moves us through a crowded New York City street bustling with people — you know the shot, you’ve seen it plenty of times before — and instead takes time to focus on women, lots of them, regular women just moving about their days, talking on the phone, going to work, hopping on the subway. Women. Everywhere. This story could be about any of them. It is, however, principally about two of them, and Schrader and her stars carefully build entire emotional worlds for these on-screen versions of Jodi and Megan.

Both women are struggling with work-life balance as the film opens (and you also get the sense that the moment you say “work-life balance” to them, they’d bust out laughing). Megan may be the more outwardly cool, calm, and collected one, but Mulligan — always so good at playing women on the edge — brings obvious conflict to the role. When “She Said” opens, Megan is pregnant with her first child. She’s also trying to crack an investigation into Trump’s behavior toward women on the eve of this election. You can imagine the stress, but Schrader doesn’t ask you to. Instead, we witness Megan being berated, threatened, and intimidated by a wide assortment of adversaries (including one insanely discomfiting call from Trump himself). A pissed-off Bill O’Reilly flack calls to scream at her, “ARE YOU A FEMINIST?” as she’s awaiting an early check-up at her doctor’s. Someone could only do this job if they really, really believed in it.

Jodi believes in it, too, even if she’s being stretched thin at every turn. While Kantor and Twohey’s work was very much built on their partnership, from the initial investigation to their book on which the film’s script from Lenkiewicz is based, Schrader often lets Kazan take the lead. “She Said” would not work without both Jodi and Megan, both Kazan and Mulligan, but the story seems to naturally run toward Jodi more often, and Kazan delivers at every turn. She’s tasked with the film’s heaviest lifts, and to deem it “cathartic” when she bursts into tears in the toughest moments or “wrenching” when she must handle the hardest parts of reporting (a scene in which she accidentally lets slip a possible source’s story comes to mind) is diminishing. It’s more than that.

“She Said”

Courtesy of Universal Pictures

Schrader and her team cleverly weave in a variety of storytelling conceits to paint a complex picture, from assorted flashbacks to simply moving through various locations while key audio is played (one of Weinstein’s accusers visited him the day after he assaulted her, armed with a wire to record the interaction, and Schrader simply plays the audio as the camera glides through posh hotel hallways). It’s immersive and skilled storytelling that telegraphs — as ever — both information and emotion.

Weinstein’s victims run the gamut, and while Schrader’s film primarily focuses on some of the lesser-known women he brutalized (plenty of assistants who started their careers with his Miramax, with Samantha Morton appearing as a particularly outspoken survivor in a single scene that stuns), “She Said” also weaves in the stories of Weinstein’s more famous victims. Ashley Judd appears as herself. Rose McGowan is only a voice on the phone (voiced by Keilly McQuail). Gwyneth Paltrow is often discussed and only “appears” once, during a chilling phone call. Similarly, Weinstein is played by actor Mike Houston, who only shows the back of his head (and that’s enough). He screams and carries on through various phone calls, all of them skin-crawling.

It’s not all perfect. A few stilted moments in its first act — tons of journo speak, some bizarre bits of name-dropping, and a worrisome interest in following the journalists as they take absolutely essential phone calls in the middle of the street — threaten to dilute a bit of its power. That fades as Jodi and Megan push toward what we know is inevitable, somehow still bracing ourselves for the moment their story finally floods out into the world.

Satisfying? Yes. Traumatic? Also yes. Necessary? You know the answer. They already told you.

Grade: A-

“She Said” premiered at the 2022 New York Film Festival. Universal will release it in theaters on Friday, November 18.

Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

Source link

NYFF: Zoe Kazan and Carey Mulligan star

“As women, we have this opportunity to show the world what female empowerment can allow us to reach in the industry,” Chesca tells Rolling Stone

You can count on Chesca, Villano Antillano, and Corina Smith to hype each other in the club “cuando suena el trá.” On Thursday, the trio released their sexy and self-empowering collaboration “Activa,” along with a colorful video, shot in the middle of an extravagant house party.

Chesca opens the song up with a confident verse and sings about amping up her girls — “las babies activas.” The video shows her dancing with the two other artists as $100 bills fly around them.

“‘Activa’ is a song that I’ve wanted to work on for a long time, and I’m happy to collaborate with Villana and Corina,” the Puerto Rican star tells Rolling Stone. “As women, we have this opportunity to show the world what female empowerment can allow us to reach in the industry.”

Chesca has been riding high with multiple singles this year, including a collaboration with Alejo called “Piensas en Mi,” plus the tracks “Tu2Ru” and “Soltera.” She was excited to work with Villano, who’s rise has been remarkable this year, particularly after her Bizarrap session went massively viral. Chesca shared in a recent TikTok that the collab happened after she sent a DM to the rapper. “I was crazy to work with her,” Chesca said — and also noted that Villano recorded her verse in a single take.

Antillano recently opened up to Rolling Stone about making history as a trans artist in a male-dominated genre. “I’m creating music knowing very well I may be killed for this, but you know what?” she said in August. “We have to be proud and stand tall.”

“‘Activa” also comes during an exciting time for Venezuelan star Corina Smith, who released her debut album Antisocial earlier this year. The LP featured songs alongside genre heavyweights such as Eladio Carrion and Arcangel. “I’m so happy with this collaboration,” Smith tells Rolling Stone. “I feel like women are in this moment of taking advantage of the spaces that are opening for us in the urban genre.”

Chesca adds that the song is about self-love and celebrating who you are. “I believe there’s nothing better than to be comfortable in your own skin,” Chesca says. “Many women feel empowered and confident when they’re independent and free.”

Source link

"As women, we have this opportunity to

Fahmaan Khan and Sumbul Touqeer Khan’s on-screen chemistry had made the audience all across the nation root for them in real life as well. The pair, who played the male and female lead in Imlie, look just perfect together and share great chemistry. It was also being said that both actors would be participating in Bigg Boss 16. Now,in his recent interview with News18 Showsha, Fahmaan said that Sumbul is not playing games on Bigg Boss 16 and she is just being herself.

For more: Fahmaan Khan: Sumbul Touqeer is Not Playing Games on Bigg Boss 16, Just Being Herself | Exclusive

A day after being facilitated with the CNN-News18 Indian of the Year Award, Allu Arjun penned a sweet note of thanks. The Ala Vaikunthapurramuloo actor on Wednesday received the award in the entertainment category from union minister Smriti Zubin Irani. This was his first award for the South Indian actor from the north of India after 20 years of working in the film industry. He was nominated for the trend-setting, cult blockbuster Pushpa, which resonated across India and was celebrated by moviegoers all over the country.

For more: Allu Arjun ‘Humbled’ After Winning CNN-News18 Indian of the Year Award, Thanks Smriti Irani

TOP SHOWSHA VIDEO

Urvashi Rautela has been receiving a lot of flak lately for ‘following’ her former partner Rishabh Pant to Australia where the Indian cricketer is stationed for his matches. She landed in Australia amid Team India’s matches and has been sharing cryptic posts on social media that raised several questions. Amid being termed as a stalker and accused of ‘harassing’ Pant by netizens, the actress shared her stance on this entire issue.

For more: Urvashi Rautela Compares Herself to Mahsa Amini Amid Accusation of Stalking Rishabh Pant, See Post

Hrithik Roshan does not shy away from social media PDA with his lady love Saba Azad. From walking hand-in-hand on the red carpet of Karan Johar’s birthday party to Saba spending time with the actor’s family-everything is up on social media. And now, Hrithik himself dropped a photo with his lady love Saba giving us all the confirmation we need. On Thursday evening, the Vikram Vedha actor took to Instagram to share a selfie with Saba from their Summer London trip.

For more: Hrithik Roshan Drops Throwback Selfie With GF Saba Azad From Their London Trip, Take a Look

Park Jimin, better known by his stage name Jimin, is a South Korean singer-songwriter associated with the hit band BTS. The singer, who has turned a year older today, enjoys unprecedented popularity among a global audience. BTS fans, known as ARMY, have a penchant for liking the members of the band for their special personality traits, and Jimin is no different. The vocalist has several unique talents and a sense of humour is one of his strong suits. As the singer is celebrating his birthday today, his friend Jungkook dropped a cute video on social media to make his day special.

For more: BTS: Jungkook Breaks Internet With His Mesmerising Birthday Whisper For Jimin, Leaves JiKook Fans Weak

Read all the Latest Movies News and Breaking News here

Source link

Fahmaan Khan and Sumbul Touqeer Khan’s on-screen

Scarlett Johansson revealed on Dax Shepard’s “Armchair Expert” podcast (via IndieWire) that her orgasm recordings for the movie “Her” resulted in Joaquin Phoenix fleeing the set. Phoenix starred in the Spike Jonze-directed drama as a man who falls in love with his phone’s operating system, a Siri-like female voice named Samantha, played by Johansson. The two have a sexual relationship in the form of phone sex, which required Johansson to record herself fake orgasming.

“We tried to get through one take, and he was, like, losing it,” Johansson said. “He left the studio. He needed a break.”

Johansson added, “You don’t want to hear your voice ever. You definitely don’t want to hear what you sound like having an orgasm. You definitely don’t want to hear what you sound like having a fake orgasm — ew. It’s so gross. It was so bizarre.”

Samantha Morton was originally cast as Samantha in “Her” and the movie shot with her reciting the phone’s dialogue. Johansson replaced Morton in post-production, re-recording all the dialogue and filming additional scenes with Phoenix. “Her,” released to critical acclaim in December 2013, won Jonze the Oscar for original screenplay. The film was also nominated for best picture.

During the same “Armchair Expert” podcast interview, Johansson spoke out about being hypersexualized during the early days of her career. The Oscar nominee said being objectified became so standard that she thought her career would end.

“I kind of became objectified and pigeonholed in this way where I felt like I wasn’t getting offers for work for things that I wanted to do,” Johansson said. “I remember thinking to myself, ‘I think people think I’m 40 years old.’ It somehow stopped being something that was desirable and something that I was fighting against.”

“I think everybody thought I was older and that I’d been [acting] for a long time, I got kind of pigeonholed into this weird hypersexualized thing,” Johansson continued. “I felt like [my career] was over. It was like: that’s the kind of career you have, these are the roles you’ve played. And I was like, ‘This is it?’”

Next up for Johansson is her first Wes Anderson project, the star-studded “Asteroid City,” followed by Kristin Scott Thomas’ directorial effort “My Mother’s Wedding” opposite Sienna Miller and Emily Beecham.

Source link

Scarlett Johansson revealed on Dax Shepard’s “Armchair Expert”

Peacock’s breakout hit Bel-Air is making a change at the helm for Season 2, which is currently in production. Carla Banks Waddles has been promoted to showrunner. She takes over for TJ Brady and Rasheed Newson who have stepped down from the role over creative differences. The duo remain executive producers on the series, from Westbrrok Studios and Universal Television. The series is taking a brief hiatus as the showrunner transition is taking place.

Former Good Girls EP Banks Waddles, who is under an overall deal at Universal Television, was a co-executive producer on Season 1 of Bel-Air. She is being elevated to executive producer, along with taking over showrunner duties for Season 2.

Bel-Air, based on Morgan Cooper’s popular fan film that reenvisions the 1990s Will Smith sitcom The Fresh Prince Of Bel-Air as a drama, hails from Jada Pinkett Smith and Will Smith’s Westbrook Studios and Universal Television, part of Universal Studio Group. In its first season, it became Peacock’s most streamed original series.

Set in modern-day America, Bel-Air is a serialized one-hour dramatic analogue of the 90’s sitcom The Fresh Prince of Bel-Air that leans into the original premise: Will’s complicated journey from the streets of West Philadelphia to the gated mansions of Bel-Air. With a reimagined vision, Bel-Air will dive deeper into the inherent conflicts, emotions and biases that were impossible to fully explore in a 30-minute sitcom format, while still delivering swagger and nods to the original show.

Banks Waddles, Morgan Cooper, Malcolm Spellman, Will Smith, Terence Carter, James Lassiter, Miguel Melendez,  Benny Medina, Quincy Jones, Andy & Susan Borowitz, Brady & Newson serve as executive producers, along with Anthony Sparks, who joined for Season 2.

Source link

Peacock’s breakout hit Bel-Air is making a

You can’t go wrong with ’70s horror, and you really can’t go wrong with a classic like The Omen. Directed by the legendary Richard Donner, The Omen asks the question, “Would you kill your kid if all signs pointed to him being the Antichrist?” Like all the best ’70s horror movies, The Omen plays psychological games with the viewer while hypnotizing them with stylized visuals, international locales, and unhinged performances. You’ve never seen Gregory Peck as manic as this — and also it’s just nice to look at handsome Gregory Peck wearing fantastic fall outfits for close to two hours. The Omen has a lot going for it besides all the legendary scares!

Everett Collection

Source link

By Brett White You can’t go wrong with ’70s

Martika Ramirez Escobar’s movie follows a retired filmmaker who enters a coma and wakes up to find herself as a character in her own unfinished script.

Films about filmmakers, both real and fictional, are all the rage right now. From Alejandro González Iñárritu’s “Bardo” to Steven Spielberg’s “The Fabelmans,” the fall movie season features some of Hollywood’s biggest directors releasing movies about the journeys that their profession has taken them on. The films cover a wide range of genres, from stark realism to the very weird, but few are as unique as “Leonor Will Never Die.”

Martika Ramirez Escobar’s feature directorial debut, which won the World Cinema Dramatic Special Jury Award: Innovative Spirit at the 2022 Sundance Film Festival before screening at the Toronto International Film Festival and Fantastic Fest, blurs the lines between fiction and reality while honoring the rich history of Filipino action cinema. The movie tells the story of a retired filmmaker who ends up as a character in her own unfinished screenplay after a falling television hits her on the head and sends her into a coma.

Per the official synopsis, Leonor Reyes was once a groundbreaking figure in the Filipino film industry during its ragtag action cinema glory days, but now she struggles with old age, mounting bills, and the untimely death of her son. While revisiting an unfinished script about a fearless protagonist trying to avenge his brother’s murder, Leonor is struck on the head by a falling television set and knocked into a coma. As she lays unconscious in the hospital, fantasy and reality begin to blur when Leonor finds herself awake inside her script, becoming the hero of her own story. An innovative blend of pulpy action homages, playful comedy, and touching family drama, “Leonor Will Never Die” is a wonderfully imaginative tribute to the art of filmmaking.

“Leonor Will Never Die” is written and directed by Martika Ramirez Escobar. The film stars Sheila Francisco, Bong Cabrera, Rocky Salumbides, Anthony Falcon, Rea Molina, Allan Bautista, Tami Monsod, Dido de la Paz, Ryan Eigenmann, Don Melvin Boongaling, Raion Sandoval, and Opaline Santos. 

Music Box Films will release “Leonor Will Never Die” at Metrograph in NYC on November 25 and Laemmle Royal/Glendale in Los Angeles on December 2. Watch the trailer below.

Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

Source link

Martika Ramirez Escobar's movie follows a retired

Many times over, historic stories are told by others. Whether it is the winners, the loudest voice, or just the reigning power, the perspective is just one narrative. When people think about Henry VIII and his reign, one story told is of English reformation and the other focuses on his many wives. Although one man might unite those women, it is time to re-tell that story from the queens’ point of view. SIX The Musical strikes a chord by putting her-story to a memorable beat.

The musical genre has evolved over the years. While some Broadway fans revere the classic songbooks where characters unexpectedly break into song after spirited dialogue, other audience members prefer a modern take on the stage performance.

With SIX The Musical, the full female cast gives an energetic performance that is powerful, invigorating, and introspective. Although many people might be familiar with the opening number that uses particular adjectives to designate the six wives, the single-act musical is more than just the wives’ particular fates. It is both a cautionary tale about female bickering and a triumphant of women empowerment.

Across stage and film, much has been said about women’s roles and their representation. Given that this particular musical is all women, there should be a moment of celebration. Although it does not gloss over the fact that one man unites them or the occasional cattiness, there is a moment to celebrate and belt out that high note.

Given the popularity of this musical, much has been said about the songs, characters, and influences. While few people sit in a theater hoping for a history lesson, the method of blending facts with witty banter could lead a few people to open a book or two.

More importantly, it is the music and its references to current pop influences that make this musical relatable to a younger audience. Although some musical fans might not instantly see the connection to Queen B or a pop princess, the beat and even vocalizations bring that touch of familiarity.

Overall, the performances from the Aragon Tour of SIX The Musical are impressive. Each queen captures her persona and engages the audience. While the big personalities of Catherine of Aragon (Khaila Wilcoxon) and Anne Boleyn (Storm Lever) might play to the audience, it is the quiet moments from Jane Seymor (Jasmine Forsberg), Katherine Howard (Cassie Silva), and Catherine Parr (Gabriella Carrillo) that get the audience to lean into to the women’s her-story.

While the big musical numbers can get the audience clapping and excited, the words need a moment to ponder. Anna of Cleves (Olivia Donalson) proving that the Queen of the Castle does not need a man to live her best life might be a takeaway that more people need to embrace.

Even more importantly, Catherine Parr (Gabriela Carrillo) gives a lesson on women lifting each other up versus the negativity that can overtake their interactions. Although a man might have been a thread of commonality, it is only one part of their her-story.

At its heart, the story implores the audience to appreciate that these flawed women need to be celebrated not for their faults or final outcomes but for their moments of strength. From wanting to stay true to their faith, longing to be a mother, or learning that men might not mean what they say, the lessons learned are far greater than the ring that once adorned their finger.

Although this musical is more of a concert setting than a traditional musical storyline, the idea can invite a wider audience to the theater. Given that musical theater continues to evolve, SIX The Musical proves that the traditional Sondheim book can give way to a stage show full of impressive lightning and energic dance moves. As another popular modern musical sings about others who live to tell a story, this songbook has successfully re-written her-story.

In the end, SIX The Musical is an infectious, humorous, and uplifting one-act musical. Instead of the description of the ex-wives of Henry VIII, the other take could be a celebration of six women who brought their own form of reformation to English and theater history.

SIX The Musical, the Aragon Tour, played Dr. Phillips Center in Orlando to sell-out crowds. This cast continues throughout Florida and other dates through the end of the year. In addition, the Boleyn Tour is performing shows in other locations.

Source link

Many times over, historic stories are

Russia has threatened World War Three if its foe Ukraine is granted membership into NATO, a Russian Security Council official was quoted as saying on Thursday.

‘Kyiv is well aware that such a step would mean a guaranteed escalation to World War Three,’ TASS quoted Alexander Venediktov, the deputy secretary of Russia’s Security Council, as saying.

Venediktov, who is deputy to Security Council Secretary Nikolai Patrushev, a powerful Putin ally, said he felt Ukraine’s application was propaganda as the West understood the consequences of Ukrainian membership of NATO.

‘Apparently, that’s what they are counting on – to create informational noise and draw attention to themselves once again,’ Venediktov said. 

‘The suicidal nature of such a step is understood by NATO members themselves,’ he added.

‘We must remember: a nuclear conflict will affect absolutely the whole world, not only Russia and the collective West, but every country on this planet,’ Venediktov said. ‘The consequences would be disastrous for all mankind.’ 

The warning comes after Ukrainian President Volodymyr Zelensky announced a surprise bid for fast-track membership of NATO on September 30.

Just hours earlier, Russian President Vladimir Putin had formally proclaimed the annexation of up to 18 per cent of Ukraine.

However, Ukraine’s membership bid was seen as largely symbolic, since full membership would require consent from all 30 NATO members, and ongoing territorial disputes are an obstacle for countries to join the alliance.  

Russia has threatened World War Three if its foe Ukraine is granted membership into NATO. Pictured: Vladimir Putin delivers a speech during Confidence Building Measures in Asia (CICA), in Astana, Kazakhstan, today

NATO defence ministers meet in Brussels as they discuss military aid to Ukraine, ahead of a meeting to plan an upcoming nuclear exercise

NATO defence ministers meet in Brussels as they discuss military aid to Ukraine, ahead of a meeting to plan an upcoming nuclear exercise

Secretary General Jens Stoltenberg (L) and Turkish Minister of National Defense Hulusi Akar chat at the start of the second day of a NATO Defense Ministers Council meeting

Secretary General Jens Stoltenberg (L) and Turkish Minister of National Defense Hulusi Akar chat at the start of the second day of a NATO Defense Ministers Council meeting

President Vladimir Putin has repeatedly threatened to unleash his massive nuclear arsenal as he rails against the United States for driving NATO’s eastward expansion. 

However, the expansion is most often driven by Russia’s neighbours, fearful of Russian domination and the repression and corruption that comes with it. 

NATO’s courting of ex-Soviet republics Ukraine and Georgia, countries the Kremlin regards as part of its own sphere of influence, has inflamed the Kremlin and led them to declaring the countries’ accession as red lines.

Putin on Sept. 21 warned the West he was not bluffing when he said he would be ready to use nuclear weapons to defend Russian territory after announcing his intentions to snatch Ukrainian sovereign land.

U.S. President Joe Biden has said the world faces the biggest risk of nuclear Armageddon since the 1962 Cuban Missile Crisis. NATO is due to hold an annual nuclear preparedness exercise dubbed ‘Steadfast Noon’ next week.

Russia and the United States are by far the biggest nuclear powers, controlling about 90 per cent of the world’s nuclear warheads. 

The current situation is something akin to a powder keg, as NATO countries walk the line of refusing to allow Russia to veto any country’s membership – ‘no third country has a say in such deliberations’, while at the same time avoiding a scenario that would lead to open war with the authoritarian state on its eastern flank. 

‘NATO’s ‘open door policy’ is based on Article 10 of its founding treaty,’ the military alliance writes on its website. 

‘Any decision to invite a country to join the Alliance is taken by the North Atlantic Council on the basis of consensus among all Allies. No third country has a say in such deliberations.’

Rescuers work at the site of an apartment building damaged by a Russian military strike in Mykolaiv October 13 as Russia continues to bombard Ukraine

Rescuers work at the site of an apartment building damaged by a Russian military strike in Mykolaiv October 13 as Russia continues to bombard Ukraine

Soldiers of UK contingents take part in the Bold Hussar military exercise, at the Central Training Area near Tapa army base in Estonia just miles from Russia, as the Kremlin threatens nuclear war

Soldiers of UK contingents take part in the Bold Hussar military exercise, at the Central Training Area near Tapa army base in Estonia just miles from Russia, as the Kremlin threatens nuclear war 

Two Polish MiG 29 fighter jets take part in the NATO Air Shielding exercise near the air base in Lask, central Poland, on October 12

Two Polish MiG 29 fighter jets take part in the NATO Air Shielding exercise near the air base in Lask, central Poland, on October 12

On the other hand, the Kremlin is well aware that, thanks to the low-intensity conflict it stoked in the Donbas region since after 2014, Ukraine would not be able to meet the requirements to join the alliance. 

Thus NATO’s support for Ukraine and desire to see Russia defeated is more about defending this principle than it is about admitting Ukraine into the alliance.

Ukraine first established linked with the alliance back twenty years ago in 2002, with a NATO–Ukraine Action Plan. In April 2005, Ukraine entered into the Intensified Dialogue program with NATO.

In 2008 it submitted an official letter of application for a Membership Action Plan. 

That same year, then-NATO Secretary General Jaap de Hoop Scheffer, declared in a press conference that Ukraine, together with Georgia, would someday join NATO, but neither would begin Membership Action Plans.

At the same summit, Putin, in his last international speech before switching jobs with Medvedev, listed his grievances with NATO, and called Ukrainian membership ‘a direct threat’ to his country.

Within Ukraine itself, the desire to join NATO swung back and forth depending on the government in power. It was the overthrow of the Yanukovych government which prompted Putin to step in and foment unrest in the country’s east.

This chain of events led French President Emmanuel Macron to declare that NATO member France would not respond with a nuclear weapon even if Russia uses one against Ukraine. 

Mr Macron said French nuclear doctrine only allows the weapons to be used in the case of a direct threat to the country or its ‘fundamental interests’. 

‘They are defined clearly and wouldn’t be directly affected at all if, for example, there was a ballistic nuclear attack in Ukraine [or] in the region’, he told morning TV.

After a Trump administration that was ambivalent about its NATO obligations, members were relieved on Thursday to hear the United States reaffirm its commitment to defend ‘every inch’ of NATO territory.

President Vladimir Putin has repeatedly threatened to unleash his massive nuclear arsenal as he rails against the United States for driving NATO's eastward expansion

President Vladimir Putin has repeatedly threatened to unleash his massive nuclear arsenal as he rails against the United States for driving NATO’s eastward expansion 

A part of a rocket sits wedged in the ground on a street in the recaptured town of Lyman, Ukraine. Ukrainian President Volodymyr Zelensky has requested rockets to help defend cities after fresh Russian missile barrages last week

A part of a rocket sits wedged in the ground on a street in the recaptured town of Lyman, Ukraine. Ukrainian President Volodymyr Zelensky has requested rockets to help defend cities after fresh Russian missile barrages last week

U.S. Defence Secretary Lloyd Austin was speaking ahead of talks among defence ministers from the alliance that will include closed-door discussions by its nuclear planning group. 

‘We are committed to defending every inch of NATO’s territory – if and when it comes to that,’ Austin said.

Austin spoke shortly before attending a meeting by NATO’s Nuclear Planning Group, which is NATO’s senior body on nuclear matters and handles policy issues associated with its nuclear forces.

NATO’s website says its nuclear policy is under ‘constant review, and is modified and adapted in light of new developments.’

President Vladimir Putin escalated his rhetoric and military activity in Ukraine after his military was beaten back on several fronts over the past month.

He has declared a mobilisation of troops, rained down missiles across Ukraine and proclaimed the annexation of Ukrainian territories – and threatened to defend them with nuclear weapons.

A senior NATO official said on Wednesday a Russian nuclear strike on Ukraine would ‘almost certainly be drawing a physical response from many allies, and potentially from NATO itself,’ without elaborating.

U.S. National Security Adviser Jake Sullivan said last month the United States has made clear to Moscow the ‘catastrophic consequences’ it would face if it used a nuclear weapon in Ukraine.

Sullivan did not publicly describe the nature of the planned U.S. response, however.

Diplomats say Moscow is trying to scare the West into reducing its support for Kyiv by hinting at the use of a tactical nuclear weapon to defend the annexed territories of Ukraine.

The UK is going to send AMRAAM air-to-air intercept missiles (pictured) to Ukraine to help defend its cities as Russia threatens the use of a tactical nuclear weapon in Ukraine

The UK is going to send AMRAAM air-to-air intercept missiles (pictured) to Ukraine to help defend its cities as Russia threatens the use of a tactical nuclear weapon in Ukraine

Rescuers work at a site of a residential building heavily damaged by a Russian missile strike, amid Russia's attack on Ukraine, in Zaporizhzhia, on Monday

Rescuers work at a site of a residential building heavily damaged by a Russian missile strike, amid Russia’s attack on Ukraine, in Zaporizhzhia, on Monday

Sites across Ukraine were hit by a wave of missiles on Monday, Ukraine said it counted 83 missiles.  Here a rescue worker responds to a strike in Zaporizhzhia

Sites across Ukraine were hit by a wave of missiles on Monday, Ukraine said it counted 83 missiles.  Here a rescue worker responds to a strike in Zaporizhzhia

Meanwhile, NATO said it would go ahead with its annual nuclear preparedness exercise dubbed ‘Steadfast Noon’ next week, in which NATO air forces practise the use of U.S. nuclear bombs based in Europe with training flights, without live weapons.

Cancelling the drills because of the war in Ukraine would send a ‘very wrong signal,’ NATO chief Jens Stoltenberg said on Tuesday.

Nearly 50 countries gathered at NATO headquarters on Wednesday and committed to arming Ukraine through the winter and beyond, including with new air defences.

Austin said on Thursday that support was opened-ended.

‘We’re going to stay with our efforts to support Ukraine for as long as it takes,’ Austin said alongside NATO Secretary-General Jens Stoltenberg.

Stoltenberg praised the U.N. General Assembly’s condemnation on Wednesday of Russia’s ‘attempted illegal annexation’ of four partially occupied regions in Ukraine.

‘This just shows that we need to stand up for the rules-based international order, for our core values,’ Stoltenberg said.

Thursday’s agenda at NATO headquarters in Brussels includes discussions on how to give a clear signal to industry to ramp up arms production both for internal needs, as well as to support Ukraine’s defence.

Allies will also discuss ways to improve protection of their critical infrastructure, after apparent attacks on the Nord Stream pipelines contributed to heightening tensions. It remains unclear who was behind the explosions under the Baltic Sea.

NATO told Moscow on Tuesday it would meet attacks on allies’ critical infrastructure with a ‘united and determined response.’

Stoltenberg has pledged to boost the protection of critical infrastructure in response to the Nord Stream attacks, saying the alliance had already doubled its presence in the Baltic and the North Seas to over 30 ships supported by aircraft and undersea activities.

NATO is keeping a wary eye on Russia’s movements, but has so far seen no change in its nuclear posture.

NATO member Portugal's army specialists wear full protective gear as they check for radiation while practising several detection and decontamination procedures

NATO member Portugal’s army specialists wear full protective gear as they check for radiation while practising several detection and decontamination procedures

NATO warships take part in military exercise in the Eastern Mediterranean sea, Turkiye on July 24, 2022

NATO warships take part in military exercise in the Eastern Mediterranean sea, Turkiye on July 24, 2022

But additional uncertainty comes from the fact that Russia is also due to hold its own nuclear exercises soon, possibly at the same time as NATO or just after, according to NATO diplomats. That could complicate the 30-country military organisation’s reading of the war and of Moscow’s intentions.

‘Russia will also be conducting its annual exercise, I think, the week after or just after the annual exercise,’ U.K. Defence Secretary Ben Wallace told reporters. But ‘what we don’t want is to do things out of routine.’

‘This is a routine exercise and it’s all about readiness,’ Wallace said, just as ‘NATO’s meeting is all about making sure we are ready for anything. I mean, that is the job of this alliance – to make sure that the 30 partners together are ready for what is thrown at us. And we have to continue to work at that.’

NATO’s exercise is held around the same time every year and runs for about one week. It involves fighter jets capable of carrying nuclear warheads, but doesn’t involve any live bombs. Conventional jets, and surveillance and refuelling aircraft also routinely take part.

Fourteen NATO member countries will be involved in the exercise, which was planned before Russia invaded Ukraine on Feb. 24. The main part of the maneuvers will be held more than 1,000 kilometres (625 miles) from Russia.

NATO as an organisation doesn’t possess any weapons. The nuclear weapons nominally linked to the alliance remain under the firm control of three member countries – the U.S., the U.K. and France. But France insists on maintaining its nuclear independence and doesn’t take part in Nuclear Planning Group meetings.

F16 fighter jet takes part in the NATO Air Shielding exercise near the air base in Lask, central Poland on October 12

F16 fighter jet takes part in the NATO Air Shielding exercise near the air base in Lask, central Poland on October 12

As his war plans have gone awry, Putin has repeatedly signalled that he could resort to nuclear weapons to protect the Russian gains. The threat is also aimed at deterring NATO nations from sending more sophisticated weapons to Ukraine.

In an interview with France 2 television on Wednesday, French President Emmanuel Macron warned about the responsibilities of leaders when it comes to nuclear rhetoric. He said he has spoken to Putin ‘several times.’

‘We have a (nuclear) doctrine which is clear,’ Macron said. ‘The dissuasion is working. But then, the less we talk about it, the less we brandish the threat, the more credible we are.’

‘Too many people are talking about it,’ he said.

Earlier this week, NATO Secretary-General Jens Stoltenberg described Putin’s remarks as ‘dangerous and reckless,’ and underlined that the allies ‘have also conveyed clearly to Russia that it will have severe consequences if they use nuclear weapons in any way.’

Stoltenberg warned that it ‘would be absolutely the wrong signal to send’ if the world’s biggest security organisation were to cancel the maneuvers.

‘NATO’s firm, predictable behaviour, our military strength, is the best way to prevent escalation,’ he said. ‘If we now created the grounds for any misunderstandings, miscalculations in Moscow about our willingness to protect and defend all allies, we would increase the risk of escalation.’

Source link

Russia has threatened World War Three if

Skydance Media said today it’s completed a $400 million strategic investment round led by KKR, a first-time investor, and joined by the Ellison family, who remain majority shareholders. Existing investors RedBird Capital Partners and Tencent also participated in the fundraise, which values Skydance at over $4 billion.

Adding KKR helps solidify the company’s position and will accelerate its ongoing growth in sports and interactive entertainment as well as continued scaling of existing verticals like animation.

“The investment from KKR creates a powerful strategic partnership with a firm at the forefront of the evolution of technology and interactive entertainment, all of which are key propellers in the next phase of Skydance growth,” said CEO David Ellison. “We are incredibly grateful for the ongoing support of our long-term strategic investors – RedBird, who has championed our sports strategy, as well as Tencent and CJ ENM, who have each helped to drive our global growth and diversification,” he added.

Skydance is focused on a cross-platform approach to IP creation, ownership and distribution combined with deep relationships with content, talent and tech partners to bolstered scalability and earnings potential. Successful entertainment franchises include its recent record-setting release of Top Gun: Maverick. Skydance content consistently overperforms on streamers including chart-topping results on Amazon, Apple and Netflix.

Jenny Box, KKR partner and co-head of its Strategic Investments Group, said the firm is “delighted to invest behind Skydance, David Ellison and the impressive, differentiated team of creative and entrepreneurial talent he has assembled.”

“We look forward supporting the Skydance team as they continue to build their business across TV, film, animation, gaming and sports and tell compelling stories in new and innovative ways,” added Ted Oberwager, KKR partner and head of gaming, entertainment, media and sports verticals.

KKR assets have included Axel Springer, ByteDance, Chord Music Partners, Epic Games, FanDuel Group, Leonine Studios, Mediawan, OverDrive, PlayOn! Sports, RBmedia and UFC.

Skydance was founded by Ellison in 2010, starting with feature films and expanding to television, interactive, animation, new media and sports, with studios in Los Angeles, Silicon Valley, Spain and Canada.

Films include The Adam Project on Netflix, The Tomorrow War on Amazon Prime Video and The Old Guard, also on Netflix.

Its slate includes The Greatest Beer Run Ever, the upcoming Ghosted, The Family Plan for Apple TV+; Heart of Stone, The Old Guard 2 and a reboot of the Spy Kids film franchise for Netflix; and the seventh and eighth installments of the Mission: Impossible global franchise. Skydance films have earned more than $7 billion at the worldwide box office.

Skydance Television is behind Grace and Frankie, which became Netflix’s longest running series following the release of its final season earlier this year, as well as Foundation, Reacher, Tom Clancy’s Jack Ryan, Condor, The Big Door Prize and an untitled spy series starring Arnold Schwarzenegger in his first ever scripted television series.

Skydance Interactive creates and publishes original and IP-based virtual reality and other immersive video games including the top-selling The Walking Dead: Saints & Sinners.

Skydance Sports is currently in production on two projects for Amazon Prime Video: the docuseries Good Neighbors and an untitled Air Jordan film starring Ben Affleck and Matt Damon and directed by Affleck.

And Skydance Animation develops and produces high-end feature films and television series with full production capability across two studios in Los Angeles and Madrid. The first two slated movies are Luck and Spellbound, the first short film is Blush, and the first series is Wondla, all premiering on Apple TV+.

Source link

Skydance Media said today it’s completed a

The streaming revolution was supposed to usher in a big, bright, beautiful future for media conglomerates. Instead, increased competition, rising interest rates, a looming recession and the mountain of debt that these corporations amassed to fuel a wave of consolidation has left everyone from Netflix to Warner Bros. Discovery scrambling to revise their pitch to shareholders.

After spending tens of billions of dollars to ramp up programming for subscription-based streamers, media giants have discovered that the growth potential of the venture may be reaching its end. Consumers purchase only two, maybe three, of these services, and it’s getting harder for certain subscription companies to convince people to sign up for what they’re streaming. At the same time, customers are cutting the cable cord at a faster rate and imperiling a once lucrative revenue source for media conglomerates. Investors have taken note, causing shares of Disney, Netflix, Warner Bros. Discovery and others to get pummeled in a sector-wide sell-off.

“These companies can’t keep spending the way they have,” says Hal Vogel, a veteran media analyst. “Streaming may be growing, but it’s not profitable. Linear television still is, but it’s diminishing in market share quite dramatically. It’s going to be a long time before parent companies’ stock goes back to where it was before the pandemic.”

Meanwhile, all the linear TV networks that cut costs to feed their streaming dreams are in danger of losing the audiences that are still tuning in. “Streaming is not necessarily declining, but the bloom is assuredly off the rose,” media industry analyst Michael Nathanson said in an October research note.

Things started spiraling out of control in the media sector in April, with Netflix’s disclosure that it had shed 200,000 subscribers in the first quarter and expected to lose more in months to come. The revelation has kicked off a business pivot: Rather than try to toggle between ad-supported linear programming and subscription-based streaming, most media companies want to create ad-supported streaming. That has led the likes of Disney+ and Netflix to announce they would offer cheaper packages for consumers willing to put up with commercials. It’s unclear if that shift will work. The exception to the rule has been Fox Corp., which has avoided creating dozens and dozens of programs and sticking them behind a paywall, instead spending millions largely on rights to live sports.

With a recession hovering, the issues facing the media business could be exacerbated. If consumers feel they have less disposable income, they may start shedding subscription services. And with interest rates climbing as governments try to curb inflation, the cheap money that enabled companies to keep spending on content and buying each other in a flurry of mergers and acquisitions is no longer readily available. Already, Netflix and Warner Bros. Discovery have undertaken deep staffing cuts to signal to investors that they’re serious about getting their fiscal houses in order.

“Wall Street bought into and even promoted this idea that subscription services would continue to grow,” says Peter Newman, head of NYU Tisch School of the Arts’ MBA/MFA program. “But now that it’s not working out, investors are ab­­solutely punishing these companies for it. And since they paint with a broad brush, every company in the segment is suffering.”

Source link

The streaming revolution was supposed to usher

As an actor, director and producer, George Clooney knows the business of filmmaking – and he knows the risk that Universal Pictures is making by putting his new romantic comedy with Julia Roberts, “Ticket to Paradise,” in theaters. For taking that risk, he applauds them.

“The studios aren’t making these mid-range films very much,” Clooney said in an interview Thursday morning, sitting with Jess Cagle for SiriusXM. “The gamble is too hard, because honestly, with the print and ad campaign, if you do a $50 million film, you gotta recoup about $175 million to break even. And so they’re looking at tentpoles that are easy to eventually find their way back. Suddenly, you’re not making these movies for giant budgets because there’s not really an expense in them.”

Clooney continued, saying that there’s been a “loss of interest, financially” from the studios to continue producing movies that aren’t a surefire hit and that his new project with Roberts and Universal is putting that stance to the test.

“I actually really applaud Universal for standing up and saying, ‘No, we really want to do this. We want to open it in theaters.’ ‘Cause that’s another thing: They are making romantic comedies — they’re making ‘em for Netflix and Amazon and saying, ‘Here, that’s where they go now.’ And so [‘Ticket to Paradise’] is saying, ‘No, we are still in the movie business,’ and I’m really proud of them for doing that,” Clooney said.

No matter the genre, Clooney also lamented a world where going to the theater for movies could be taken over by streaming. While platforms like Netflix and Amazon Prime Video have revolutionized opportunities for actors, creators and viewers alike, he expressed he doesn’t “want us to ever” not go to the theater. “It’s still a great way to get outta the house,” he quipped.

“You wanna see a comedy with people, you really do,” he said. “When I’m watching a comedy at home, I grin at it. When you watch it in a theater, you really laugh.”

While “Ticket to Paradise” may be an anomaly in 2022 – a mid-budget studio romantic comedy with two A-listers attached – Roberts enthused that she is seeing an uptick in interest in the genre. (Lionsgate and Amazon Studios have Jennifer Lopez’s “Shotgun Wedding” in the pipeline; Lindsay Lohan is making her return to Hollywood with Netflix’s “Falling for Christmas”; Billy Eichner just made history with “Bros,” also from Universal; and the list goes on.)

“This is what I think: I feel that in this industry there are just this energetic sort of [collective], right?Where if there’s one movie comes out that’s about a father and son, you know, switch places in the night, all of a sudden there’s three more,” Roberts said. “Like, there’s just some commonality of energy where things get created at the same time.”

Roberts went on to call attention to how romantic comedies, while light-hearted, require a lot more work than one might think.

“I think with romantic comedies, there was a moment where there were a lot of very good ones and we didn’t realize how unusual that was. We thought it was the norm – and it’s really not, because they’re tricky to make and a lot of them don’t work,” she said. “And so I think that we just didn’t realize what a bumper crop we were experiencing. And so as they kind of drifted away a bit, it seemed like: What happened to that? I got blamed a lot. ‘Do you hate romantic comedies now?’ I was like, ‘How do you hate a romantic comedy?’”

Watch both of clips from Roberts and Clooney’s joint SiriusXM interview below.

SiriusXM’s The Jess Cagle Show

SiriusXM’s The Jess Cagle Show

Source link

As an actor, director and producer, George