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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.

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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.

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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.”

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"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

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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.

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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.

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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

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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.

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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.

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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.’

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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+.

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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.”

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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

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As an actor, director and producer, George

For the first time in history, an all-Spanish-language act is the biggest artist in the world.

Benito Antonio Martínez Ocasio — better known as Puerto Rican rap-reggaeton titan Bad Bunny — is dominating the global music market. He has been the world’s most-streamed artist on Spotify for two consecutive years. His fourth studio album, “Un Verano Sin Ti,” debuted at No. 1 on the Billboard 200 after its release in May and has spent 12 non-consecutive weeks there — that’s three months — making it not only the longest-running Spanish-language album at the top of the chart, but the first to hold the position for that length of time since Drake’s “Views” six years ago. Bunny’s previous albums (including a greatest-hits collection and a collaborative set with Colombian reggaeton powerhouse J Balvin) have been certified three, six, eight, 10 and 24 times platinum in the U.S. alone.

Also this year, he became the only artist in history to stage two separate $100 million-grossing tours in less than 12 months, between his El Último Tour Del Mundo arena trek and his current World’s Hottest Tour stadium campaign, which recently rampaged across the U.S. for seven weeks — selling out two successive nights at both New York’s Yankee Stadium and Los Angeles’ SoFi Stadium — and will spend the next two months on an even more frenzied 22-date tour across Latin America.

To use a geographically ill-suited metaphor, Bad Bunny’s success is just the tip of the iceberg for the soaring success of Spanish-language music in the U.S. Karol G, Becky G, Rosalia, Rauw Alejandro, Anitta and many more have released critically feted and/or commercially successful albums and singles in recent months, and powered by streaming, Latin music has shown dramatic growth in popularity in the U.S. over the past decade.

But will this success be reflected at what Bad Bunny has called the “gringo Grammys” — the 65th annual awards, taking place Feb. 5 in Los Angeles, for which nominations come out Nov. 15? Latin music has several awards shows of its own, most notably the Latin Grammys, and the main show has six Latin-specific genre awards (of which Bad Bunny has won two). But the big honors — album, song and record of the year — have traditionally been a walled garden for many genres.

“If there has ever been a time to have the growth of Latin music reflected in the Grammys, it’s now,” says Maykol Sanchez, Spotify’s head of artist and label partnerships for Latin America and U.S. Latin. “Latin artists no longer like to be bucketed into a minority space and should be highlighted as the global stars they are. Latin music is mainstream music.”

The numbers bear out his stance. The Latin population in the U.S. has seen historic and fast-paced growth over the past 50 years, rising from 9.6 million in 1970 to 50.5 million in 2010 and 62.1 million in 2020, according to Pew Research Center. In 2021, the Recording Industry Assn. of America found that Latin market revenue in the U.S. had increased by 35% ($886 million) over the previous year — the highest jump in its history (before adjusting for inflation) — with streaming accounting for 97% ($857 million) of that figure.

And Latin music, which was always a catch-all term for multiple musical styles, has also seen the popularity of many of its genres grow exponentially. “A few years back, most of the Latin tracks that charted globally were reggaeton or pop,” adds Sanchez. “But this year we have seen a consumption fluidity trend [that is] it is very visible within Latin music, even more so among young audiences.” (The cross-pollination between artists of different regions has caused an influx of new Spanish-language genres, like Cuba’s guaracha and Argentinean trap.)

“For six consecutive years, Latin music in the U.S. has continued to show double-digit growth,” notes Antonio Vásquez, Spotify’s head of U.S. Latin editorial. And yet, “the size and potential that Latin music consumers have in the U.S. is still overlooked.”

Indeed, regardless of its huge popularity and commercial success, and despite the Recording Academy’s recent efforts to diversify its membership and the genres of music represented at the awards, Latin music may be facing the same uphill climb that hip-hop — which is indisputably the most popular, influential and culturally significant musical genre of the past 25 years — continues to confront. Rap-leaning artists have won album of the year just twice, and not for nearly 20 years (Lauryn Hill in 1999 and Outkast in 2004). And with Adele, Beyoncé, Harry Styles, Kendrick Lamar and Lizzo all in 2023 contention, it doesn’t seem likely that a Latin star will take that big prize this year.

“Bad Bunny is one of the biggest stars in the world and he’s transcending Latin into pop culture. But I don’t know if I see him winning” in a major category, says one Grammy insider. “Nominated, yes, because it’s such a big record. But I’d be very surprised if he won.”

Of course, a key factor for hip-hop in beginning to break down those walls was crossover: There’s no question that “Walk This Way,” Run-DMC’s 1986 collaboration with Aerosmith, played a big role in bringing the genre into the mainstream. As Latin music’s popularity has grown, so has the number of artists crossing over — in both directions: Bachata singer Romeo Santos has famously guested Drake, Justin Timberlake, Lil Wayne and others on his albums, while the Weeknd (singing in decent Spanish) and Ed Sheeran and have hopped on tracks by Rosalía and Balvin.

Edgar Barrera, the Latin Grammy-nominated singer-songwriter behind Camila Cabello and Sheeran’s “Bam Bam” and other hits by artists ranging from Ariana Grande to Banda El Recodo, says working in the realm of crossovers “has been a complete 180 from a couple of years ago. General-market artists and producers are crossing over to do Latin collaborations, whereas the inverse was happening two to three years ago.”

Some artists are going both ways. If 2022 had a representative for successful international crossovers, it would most likely be Anitta. Since launching her career in 2010, the 29-year-old Brazilian has charted with funk carioca and pop hits in her native Portuguese, as well as Spanish and English, and her catalog includes collaborations with artists ranging from Missy Elliot and Madonna to Caetano Veloso and Maluma. Her second multilingual album, “Versions of Me,” including the global chart-topper “Envolver,” was executive produced by OneRepublic’s Ryan Tedder and ranges stylistically from reggaeton and pop to Afrobeats to pop-punk.

“I think the industry still has a long way to go in becoming more inclusive of global voices, especially women’s global voices,” Anitta tells Variety. “But I think recently award shows like the Grammys and the VMAs have taken steps forward in showcasing global artists. When I became the first female solo artist to win best Latin at the VMAs [this year], it was such a rewarding moment for me — especially as a woman from the Brazilian ghetto who sings funk music.”

Yet like Bunny, some shun crossing over. While Karol G did not release an album during 2023’s Grammy eligibility period (her “KG0516” was nominated for música urbana album at the 2022 ceremony), she points to Balvin, a fellow Medellín native who was among the first major contemporary artists to decline to sing in English, even though he speaks it fluently.

“When he was first starting — that was like a whole movement,” she says of her friend and longtime collaborator. “We were all dreamers in [Medellín], trying hard to follow in his footsteps because he was achieving such impressive things. Watching him made us think it was also possible for us.”

Still, she doesn’t deny the impact of the big show. “Being a part of the Latin Grammys nominations is something very important to me, it represents my culture,” she says. “But I’m not going to deny what a great deal it means to be included in the Grammys or [other] international awards. It’s a joy to be included in both – different kinds of joys. No more or less, but different.”

“With every year, [it seems] the Academy has given us that recognition more,” adds Daniel Oviedo, also known as Ovy on the Drums, and the composer behind a majority of Karol’s chart-topping hits. “It’s very gratifying for me not only as a producer but for all of the artists I work with — we make a great effort every year to continue building new rhythms, new music with the hopes of reaching the whole world and growing our country’s [global representation].”

Latin music’s recent rise had a watershed moment of sorts at the Coachella festival in April: Anitta and Colombian superstar Karol G were the leaders of an impressively Latin-heavy festival lineup, with 22 artists on the bill; Balvin had played a galvanizing set on the same stage at the previous festival in 2019. Anitta delivered an eye-popping performance that met with a rapturous response, and as the sun set over the desert, Karol paused during her own set (which featured a surprise appearance from Becky G) to say, “I just want to have a moment to honor the Latina songs that were number one in the world but were never played on this stage, but [gave] me the opportunity [to be] here.” Behind her, a video tribute and a medley of historic Latin hits – from Selena and Celia Cruz to Shakira, Ricky Martin, and Daddy Yankee – played on giant screens behind her, as she sang along with each verse.

And although it feels like a long shot this year, perhaps the day is not far off when Bad Bunny or one of his peers can make an acceptance speech on the big Grammy stage — in Spanish — similar to the one he made just a few weeks ago, after becoming the first non-English-speaking artist to win the VMA for artist of the year. “I believed from the beginning that I could become one of the biggest stars in the world,” he said, “without having to change my culture, my language or my jargon.”

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For the first time in history, an

Halloween Ends

Starring Jamie Lee Curtis, James Jude Courtney, Andi Matichak, Rohan Campbell, Will Patton and Kyle Richards. Written by David Gordon Green, Danny McBride, Paul Brad Logan and Chris Bernier. Directed by David Gordon Green. Opens Friday everywhere (with Thursday previews). 111 minutes. 14A

If we’ve learned anything through 44 years of the infernal “Halloween” horror franchise, it’s never to trust anybody, least of all a mob of club-swinging vigilantes.

The crowd chant “Evil dies tonight!” was doomed to disappoint us in last year’s “Halloween Kills,” as the aggrieved town folk of Haddonfield, Illinois, vainly pursued street justice for psychotic slasher Michael Myers, the Houdini of hell-raisers.

That movie was also fated to let us down, being a numbing time-waster in which the masked maniac laboriously upped his body count while his main nemesis, Laurie Strode (Jamie Lee Curtis), spun her squeals, so to speak, waiting for a chance to show how much she doesn’t like Mike.

Now comes “Halloween Ends,” which finally settles the matter … or maybe not. No spoilers here, but it’s of little consequence how you view the outcome of the 13th instalment of this rage-retreat-repeat ritual. If the Hollywood powers that be want another “Halloween” movie, they’ll find a way to make one, just as they found ways to resurrect supposedly dead characters in previous chapters.

This may well be, however, the final series at-bat for director/co-writer David Gordon Green, who revived and extended the original 1978 John Carpenter “Halloween” storyline in 2018. “Halloween Ends” caps a terror trilogy for Green and he’s vowed to move on. So has Curtis (who has now played Laurie seven times), although it would be wise to check if she and Green crossed their fingers behind their backs.

“Halloween Ends” shows there’s still some spice in a pumpkin-time tale that had been ground into pulp. It explores the notion of evil as a disease, which is an improvement over aimless carnage. It’s not the deepest of thoughts, and the illogical script is laden with clichés, but gosh darn it, at least we have a story!

Set four years after the bloodletting of “Halloween Kills,” the film finds a grieving Laurie abiding in the suburbs of Haddonfield with her granddaughter Allyson (Andi Matichak). They’re both trying to restart their lives after enduring the trauma of confronting Myers: Laurie is writing her memoir and Allyson is pursuing a career in nursing.

Judging by extracts Laurie reads aloud about the relentless assailant she calls “my monster,” her prose about scarlet bloodletting is written with purple ink. Along with her physical scars, she’s still dealing with PTSD, alcoholism and a desire for vengeance.

Myers (James Jude Courtney) has been MIA since evading the homicidal mob four years ago. Nobody believes he’s really gone, of course, least of all Laurie. Nevertheless, she’s resolved to live her life without fear, which leaves her open to thoughts of a possible romance with Officer Frank Hawkins (Will Patton), another casualty of Haddonfield’s endless reign of terror.

The “Halloween” routine abruptly shifts when Laurie takes pity on Corey Cunningham (Rohan Campbell), a young man accused of killing a boy he was babysitting. She introduces Corey to Allyson, who can see the kind soul within the shattered shell of the man ostracized by the rest of the town.

Speaking of ostracizing, where’s Myers, a.k.a. “The Shape” a.k.a. “The Boogeyman”? He’s hiding out as usual, this time in a sewer, where he looks even sadder and greyer than before, making him almost disappear into the steel and concrete of his surroundings.

It takes some time for Myers to shift into attack mode and for the inevitable confrontation with Laurie to occur. The film focuses on Corey’s story, which is the antithesis of a boy-meets-girl rom-com as it violently demonstrates how dark impulses, once acted upon, can spread like the most virulent of contagions. Green makes the gloom all the more tangible with intense close-ups and jump scares and a soundtrack laced with hard rock and punk nihilism.

It’s a risky move by Green and his co-writers to turn our attention away from the main “Halloween” combatants. It’s a clever one, though, and to go by the repeat applause I heard at a public preview screening, it’s likely to go down well with fans of the franchise.

“Halloween Ends” provides catharsis, one way or another. But remember the hard lesson of these many years: it’s never really over, even when they say it is.

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Halloween EndsStarring Jamie Lee Curtis, James Jude

David Howard Thornton as Art The Clown in Terrifier 2

Horror fans are weird. (Note: this author is writing this as a lifelong horror fan, who is undeniably weird.) What would you think if you heard the words “passed out cold” or “puking hard and loud?” What about “VOMIT BAGS” (all caps)? If your reaction was closer to “one ticket, please” than “oh my god, is this another pandemic?” you may be a member of this exclusive club. The newest compulsory outing? Damien Leone’s Terrifier 2, a clown-based slasher so violently disgusting that fans are apparently experiencing their own, live body horror in theaters—and loving every minute of it.

“My friend passed out and the theater called an ambulance. Highly recommend,” one sociopath fan gushed, with attached photographic evidence of the medical emergency in question.

“Just saw Terrifier 2. It was an amazing gory mess. The guy behind me passed out cold n crashed into my chair, another guy left because he didn’t feel good, I overheard him say and walking out theatre door I heard a guy puking hard & loud in the bathroom,” wrote another. (He clarified in a follow up Tweet that he “loved the movie,” just in case you were worried for a second that passing out and puking weren’t actually welcome cinematic reactions.)

The team behind the film, to their credit, clearly anticipated this, er, outpouring of enthusiasm. Complimentary vomit bags handed out at screenings don’t just exist in the first place, but go so far as to ensure that film is “guaranteed to cause gastrointestinal upset.” (Also, do not reuse these vomit bags for Terrifier 3, folks! Now that would be gross.)

The real question, of course, is whether these reports are to be believed or not. In the words of another satisfied customer, Terrifier 2 is “the first movie in my lifetime where I’ve read reports of people fainting and vomiting in the theater, and then after finally seeing it myself thinking, ‘yeah, I get that.’”

Still on the fence? You can watch a single minute of the film here (obvious content warning for extremely graphic violence). Now grab your popcorn and your vomit bag, multiply that by 140, and make sure you have 911 pre-dialed on your phone, just in case.

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Horror fans are weird. (Note: this author

BravoCon is back, and it’s sure to be “Gone With the Wind” fabulous! The highly anticipated convention celebrating all things Bravo returns to the Javits Center in New York City on Oct. 14-16, bringing fans the opportunity to get up close and personal with their favorite reality stars.

Over 140 “Bravolebrities” will participate in more than 60 live events during the convention. In addition to the programming scheduled across three stages, attendees can also channel their inner Real Housewives by shopping until they drop at the Bravo Bazaar, which boasts over 65 vendors, including businesses run by Bravo personalities.

Numerous “Bravopaloozas,” available for an additional cost, will give fans the chance to “indulge in bites, booze and hot gossip” as they raise a glass alongside surprise guests from the Bravosphere.

The fan-generated Facebook group for the convention boasts nearly 7,000 members, and a space for attendees to share their scheduling spreadsheets, give advice on fashion and connect with other “Bravoholics.”

Read on for all the panels and events that are sure to make us say — to borrow a phrase from the esteemed Denise Richards — “Bravo, Bravo, fucking Bravo.”

Bravo’s Most Golden Moments Power Hour: There’s no better way to kick off BravoCon weekend than taking a walk down “Real Housewives” memory lane. In this panel, Houselegends Teresa Giudice (“Real Housewives of New Jersey”), Karen Huger (“RHOP”), Dorinda Medley (“RHONY”) and Jill Zarin (“RHONY”) will look back at some of the most iconic moments in Housewives history.

Ask Andy: If you could ask Bravo host-with-the-most Andy Cohen anything, what would it be? Well, here’s your chance. Cohen will be holding two “Ask Andy” sessions on Friday and Sunday, where he’ll answer fan questions and, according to the official panel description, spill “piping hot tea along the way.” What’s more, the Q&A is moderated by Hoda Kotb and Savannah Guthrie of “Today.” Say less!

Thrills in Beverly Hills: This panel can be described in just one word: RINNA! After the queen of “owning it” surprise-joined the panel last week, we can only imagine she has a lot to say. Coming just two days after the first episode of this season’s reunion, the tension is sure to be high between the veterans — Rinna, Kyle Richards, Erika Jayne and Dorit Kemsley — and newbies Crystal Kung Minkoff, Garcelle Beauvais and Sutton Stracke. Notably, Kathy Hilton, who has been the center of much controversy at the end of the season and is currently feuding with Rinna, will not be on the panel (though she is attending BravoCon).

More Real Housewives Panels — Atlanta Peaches in the Big Apple, Jersey Ladies & Their Men, SLC in the NYC, Potomac Takes Manhattan, We’re Going (Back) to Miami, Ultimate Girls Trip: There’s sure to be plenty of drama in all the panels for Bravo’s flagship franchise, “Real Housewives.” We’re especially looking forward to “Salt Lake City,” moderated by Karamo Brown, where Heather Gay, Lisa Barlow, Meredith Marks and Whitney Rose will undoubtedly talk about Jen Shah’s recent guilty plea (Shah will not be attending). Also notable is Part 2 of the “New Jersey” panel, which will feature Teresa Giudice and her new hubby Luis Ruelas telling all about their dream wedding. Maybe we’ll even get a premiere date for the next season of “RHONJ”…

The Reunion Real Tea With Bravo Producers: Bravo producers know better than anyone what actually goes down on these shows — and now they’re spilling the tea to Variety‘s own Elizabeth Wagmeister. “Real Housewives” producers Alex Baskin, Lauren Eskelin, Lisa Shannon and Lauren Volonakis will focus in on what it takes to pull off successful reunion episodes, including how they handle when women bring their own receipts and how the seating chart is determined.

Below Deck Crew Oughta Know and Oh Captain, Our Captains: “Below Deck” is sailing into BravoCon with two must-see panels. On Friday, crew members Aesha Scott, Courtney Veale, Daisy Kelliher, Fraser Olender, Gary King and Mzi “Zee” Dempers will gather to dish on their respective seasons. Meanwhile, on Sunday, it’s time for the captains’ corner as yacht commanders Jason Chambers, Lee Rosbach, Glenn Shepard, Kerry Titheradge and Sandy Yawn engage in a rare Q&A with the audience.

WWHL Presents: Andy’s Legends Ball: The first of BravoCon’s nighttime events, Andy’s Legends Ball is set to bring the house down on Friday night. Advertised as “a night of elegance,” the event will be an hour-long special hosted by Cohen featuring legendary BravoCon talent. Who knows what will be in store!

Summer House in Autumn: Catch up with all the “Summer House” guests as much of the “Summer” and “Winter” cast — including Mya Allen, Amanda Batula, Kyle Cooke, Andrea Denver, Paige DeSorbo, Luke Gulbranson, Lindsay Hubbard, Ciara Miller, Danielle Olivera and Carl Radke — get together to debrief Bravo’s hottest new show.

SUR’ving Up the Latest Vanderpump Rules: The cast of “Vanderpump Rules” may be used to serving up cocktails, but here’s hoping they bring the drama to BravoCon: It’s certainly possible, since longtime “VPR” couple Tom Schwartz and Katie Maloney are getting divorced after years of on-camera misery. In addition to those two, (DJ) James Kennedy, Lala Kent, Raquel Leviss, Ariana Madix, Tom Sandoval, and Scheana Shay will take the stage to talk all things SUR with moderator Lanae Brody. Perhaps we’ll even get a glimpse at Season 10, which could revive the show after two off seasons!

BravoCon After Dark: Attendees can whoop it up as they party the night away! “Vanderpump Rules” star Tom Sandoval and his band “Tom Sandoval & The Most Extras” will provide musical stylings during the bash at the Manhattan Center on Saturday night. Touted by Bravo as the “party of the season,” the sold-out event promises giveaways, branded built-out bars and surprise appearances.

Watch What Happens Live: Andy’s Mystery Door: Ding-dong! Fans should expect the unexpected as surprise guests make their way through Andy’s Mystery Door to take the stage on “Watch What Happens Live.” Could “Housewives” franchises collide? Will anyone plead the fifth? Will the cast of “RHONY: Legacy” finally be announced? And who will receive Andy’s coveted Mazel of the day? All will be revealed during the jam-packed Sunday evening taping.

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BravoCon is back, and it’s sure to

Hulu’s raising its prices on October 10th. First announced in August, the price increase means you’ll have to pay $7.99 / month instead of $6.99 / month (or $79.99 / year) for the ad-supported version of Hulu and $14.99 / month instead of $12.99 / month for the ad-free plan.

The prices for Hulu’s bundled plans with ESPN Plus and Disney Plus aren’t changing just yet, but Hulu has a price hike planned for later this year. Once Disney Plus rolls out its ad-supported tier on December 8th, the bundle with ad-free Disney Plus, Hulu with ads, and ESPN Plus will cost $14.99 / month instead of $13.99 / month, while the price for ad-free Disney Plus, Hulu, and ESPN Plus will stay at $19.99 / month. Disney, Hulu’s parent company, is also rolling out two new cheaper ad-supported plans: $9.99 / month for Disney Plus and Hulu; and $12.99 / month for Disney Plus, Hulu, and ESPN Plus.

And if you’re already subscribed to Hulu’s live TV bundle, the price for that will stay the same for the (hopefully) foreseeable future. It’ll still cost $74.99 for live TV, Hulu and ESPN Plus with ads, and Disney Plus without ads for existing subscribers. The other two plans, which offer live TV with ad-supported versions of Hulu, ESPN Plus, and Disney Plus (once it comes out), cost $69.99, while the live TV bundle with ad-free Hulu and ad-supported Disney Plus and ESPN Plus is priced at $75.99. Hulu is also introducing a premium ad-free live TV bundle that includes all three services with no ads in December, which will cost $82.99.

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Hulu’s raising its prices on October 10th.

The Jan. 6 Committee voted unanimously Thursday to subpoena former President Donald Trump for testimony to the panel.

“A key task remains we must seek the testimony of the January 6 central player, ” Rep. Liz Cheney, the vice chairman of the Jan. 6 committee, said during Thursday’s hearing. 

They vote, taken before a recess in the day’s hearing, came back 9-0.

Committee Chairman Bennie Thompson said in comments before the vote that Trump attempted “to replace the will of the voters with his will to remain in power.”

“He must be accountable,” Thompson said. “He is required to answer for his actions.

“He is required to answer to those police officers who put their lives and bodies on the line on January 6,” Thompson added, acknowledging that subpoenaing a former president “is an extraordinary action.”

Cheney, who lost her Wyoming re-election bid and will be leaving her congressional seat in January, added: “Our duty today is to our country and to our constitution,” Cheney said.

She said the committee also “has information to consider criminal referrals for multiple individuals” who enabled Trump on Jan. 6.

The committee also showed clips of Roger Stone arguing that Trump won the election and encouraging extreme Trump supporters to revolt. They played a video of Stone saying: “F— you. We won.”

The committee had returned from a long break for what’s to be a final time, and with what Thompson said would be “new evidence and testimony” showing how Trump had a multifaceted plan to overturn the 2020 election – even though he knew he’d lost it.

Going back to this spring, with the most recent hearing in July, the committee has laid out evidence and testimony from former aides in Trump’s administration in an attempt to show how his actions and tweets stoked the eruption of violence. Cheney said that Thursday’s hearing would be about Trump’s state of mind – what he knew, and what everyone around him was saying vs. what he claimed.

“The central cause of Jan. 6 was one man,” Cheney said. “Donald Trump.”

She said Trump sticking to his unfounded claims that the election was somehow stolen is “not a defense,” but is also simply not true.

Messages from the Secret Service have showed that agents were aware that some members of the mob had firearms, and that Trump wanted the crowd to be allowed into his rally near the Capitol without going through metal detectors.

“None of this is normal, or acceptable, or lawful in our Republic,” Cheney said.

Sen. Adam Schiff revealed Secret Service emails that indicated the agency was aware that groups like The Proud Boys were eyeing Jan. 6 for some kind of violent assembly; agents around the Capitol that day reported confirmed sightings of firearms, ballistic armor and other weapons before the attack began.

The Secret Service were “watching the crazies” and described a calm before the storm on the morning of Jan. 6, said Schiff, suggesting they knew what was coming. Schiff said the Secret Service “and other agencies” knew well in advance of the threats of violence.

Highlights from previous hearings :

Day 8. The July 21 hearing painted a picture of an uncaring President who watched the attack on TV – even as everyone around him knew he was the only one who could stop it. The hearing focused on 187 minutes of Jan. 6: from the moment Trump concluded his 1 p.m. rally at The Ellipse, urging his followers to march on the Capitol, until 4:17 p.m., when Trump finally released a video telling them to go home. Two Trump White House staff members — former deputy national security adviser Matthew Pottinger and former deputy press secretary Sarah Matthews — were on hand to detail that time period. Read about Day 8 highlights here.

Day 7 multiple witnesses testified on July 12 that a “heated and profane” fight at the White House raged for six hours on December 19 between Donald Trump’s competing factions of advisers. The result, the committee said, was Trump’s now-infamous “Be there, will be wild!” tweet the next day. The hearing also included videotaped testimony from a Twitter employee whose voice was obscured. The employee said he unsuccessfully implored his company to censor the president’s incendiary tweets, telling his superiors: “When people are shooting each other tomorrow, I will try and rest in the knowledge that we tried.” Read more about Day 7 here.

Day 6 on June 28 included the testimony of Cassidy Hutchinson, a former top White House aide, described for the committee a “furious” Donald Trump who threw dishes against the wall, ordered that rallygoers with weapons be allowed into his speech and physically tussled with his own security who refused to drive him to the Capitol building as the riot was getting underway. Read about Day 6 highlights here.

Day 5 on June 23 included testimony showing that Trump pressured on his own attorney general’s office to overturn the 2020 election – an effort one dissenting Justice Department official called a “murder-suicide pact.” The committee was expected to hear from a documentary filmmaker Alex Holder, who chronicled the final six weeks of the Donald Trump presidency, but Holder’s appearance was delayed. Read about Day 5 highlights here.

Day 4 on June 21 included Republican state officials from around the country telling the committee how Trump tried to pressure them to overturn election results, including sending supporters to officials’ homes, waving weapons and shouting insults and threats of violence. Read about Day 4 highlights here.

Day 3 kicked off June 16 with testimony focusing on the intense pressure President Trump put on Vice President Mike Pence to overturn the election. John Charles Eastman, an attorney and campaign advisor to Donald Trump and his election team, emerged as a key architect of the plan. Read about Day 3 highlights here.

Day 2 testimony on June 13 included new allegations of Trump campaign-donor fraud, former Attorney General Bill Barr saying Trump’s claims of a stolen election were “complete nonsense,” and tales of a drunken Rudy Giuliani offering election night advice, giving rise to “Team Rudy” and “Team Normal.” Read about Day 2 highlights here.

Day 1 on June 7 showed how Trump “summoned a violent mob” to pressure lawmakers to overturn the election results. The day included testimony from documentary maker Nick Quested, who filmed the Proud Boys storming the Capitol. Capitol police officer Caroline Edwards testified about how she tried to fight off violent protestors on Jan. 6. Read Day 1 highlights here.

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The Jan. 6 Committee voted unanimously Thursday

Kevin Spacey

Kevin Spacey
Photo: Alexi J. Rosenfeld (Getty Images)

[Note: This article contains descriptions of sexual misconduct.]

Just as it resumes, the New York trial for a sexual misconduct lawsuit filed against Kevin Spacey has hit a bump in the road. Spacey’s lawyer, Jennifer Keller, tested positive for COVID-19 on Thursday morning, per The Hollywood Reporter.

Despite the positive test, legal proceedings were back underway on Thursday in the Manhattan courtroom. U.S. District Judge Lewis A. Kaplan asserted that his main concern regarding the positive test was ensuring the jury’s safety and continued adherence to all courtroom protocols. Per Kaplan, all of the jury members are at least partially vaccinated.

Keller was last in the courtroom on Wednesday, when she questioned actor Anthony Rapp about his allegation that Spacey made unwanted sexual advances on him in 1986, when Rapp was 14 and Spacey was 26. Spacey has consistently denied Rapp’s claim.

Speaking to the “alarming” experience on the stand on Wednesday, Rapp recalls a “glassy-eyed” Spacey joining him in a bed where Rapp had been watching television. Per Rapp, Spacey then trapped him by laying on top of him—it was then that Spacey allegedly began pushing his groin into Rapp’s side.

“I knew something was wrong,” Rapp testified. “I had this feeling I had to get out of there. What I was also feeling was frozen.”

Although Rapp was eventually able to leave the situation (despite Spacey’s alleged coercive pleas), he testified that he did not come forward about the incident at the time, in part, because he was still not out as a gay man. In addition, Rapp feared the repercussions he may face as a young actor in a cutthroat industry.

If the trial continues on schedule as planned, Spacey is expected to testify on the stand next week. In addition to the ongoing New York litigation, Spacey also faces four counts of sexual assault in the U.K. A criminal trial for those charges is set to begin in 2023.

If you or someone you know is suffering from sexual abuse, contact the RAINN National Sexual Assault Hotline at 1-800-656-4673.

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Kevin Spacey Photo: Alexi J. Rosenfeld (Getty

Peacock’s “I Love You, You Hate Me” two-part docuseries about the rise and fall of Barney the Dinosaur is the fifth title to launch as part of the platform’s inaugural DocFest and arguably the most anticipated.

The docu about the purple dinosaur who preached love and acceptance on PBS “Barney & Friends” debuts Oct. 12 on the streaming service. It examines Barney’s meteoric rise and how the Tyrannosaurus rex quickly became the target of hate and rage across pop culture and the early internet. Hailing from Scout Productions and director Tommy Avallone, the doc features interviews with the show’s cast and crew as well as boldface names, including Bill Nye the Science Guy and NBC’s Al Roker. The series also incorporates archival footage from the PBS’ series, which began airing in 1992.

Avallone says the inspiration for “I Love You, You Hate Me” came after seeing a nostalgic social media post featuring a 1993 news story about a Barney-bashing event at the U. of Nebraska.

“These college kids were beating up Barney,” says Avallone. “Ripping him apart, hitting him with a mallet, and at the end, the newscaster says, ‘That’s the future of our country, right there.’ And I was like, ‘Oh my God.’ We are in that future right now.’ There is a higher level of hate going on right now. Then I wondered if I could tell a story about love and hate but told through the story of Barney the Dinosaur.”

Barney creator Sheryl Leach developed the show in 1992 alongside Kathy Parker and Dennis DeShazer after initially creating home videos of the Barney character for her son. Leach met with Avallone about his project but ultimately decided against participating in “I Love You, You Hate Me.”

“The thing about Cheryl is that when the Barney bashing was happening, she never addressed the negativity,” says Avallone. “For better or worse, that was her take and that never changed. I think if I made a documentary solely about how great Barney was, she would be in it. But because we addressed some of the haters like the Jihad to Destroy Barney and the I Hate Barney Secret Society, I think that was something she didn’t feel comfortable with.”

Joel Chiodi, executive producer of “I Love You, You Hate Me” and senior VP of strategic development at Scout Productions, said his team immediately saw the potential in Avallone’s project.

“Tommy came to us with the initial idea, and we sort of threw gasoline on it and really developed it out with him and turned it into the doc that it is now,” he says. “We were hoping Cheryl would participate,” he adds, but not overly concerned about her absence since there was already plenty of other material to draw upon for the docseries.

Peacock docus are a relatively new addition to the nonfiction landscape, which has grown considerably with the advent of additional streaming services. Rod Aissa, exec VP of Unscripted Content of NBCUniversal, oversees the platform’s originals docu department and says that when it comes to content, he isn’t married to any one topic.

“We are curating something for everybody,” says Aissa. “We aren’t just known for political docs or bio docs or music docs.”

Besides “I Love You, You Hate Me,” DocFest offerings include “Prince Andrew: Banished,” which unpacks the scandals of England’s disgraced Prince Andrew; “Sex Lies and the College Cult” about professional conman Larry Ray, who brainwashed students of Sarah Lawrence College into an abusive sex cult; “The Rebellious Life of Mrs. Rosa Parks, which examines Rosa Parks’ overlooked accomplishments, and “Shadowland,” about how conspiracy theories have moved from the margins to the mainstream.

In all, Peacock commissioned 11 original docus this year. “We are not trying to be a volume doc player,” says Aissa. “We are trying to be an important doc player where the director’s docs get seen.  We can also make noise with each one that we put out.”

The exec isn’t surprised by all the noise “I Love You, You Hate Me” has already generated.

“I definitely think it’s a nostalgia play,” says Aissa. “It’s also a social commentary about America’s love to absolutely love and adore something and then, in a flip of a switch, hate it. That includes a purple dinosaur that’s not even real. “

Peacock’s DocFest, which began Sept. 14, concludes on Oct. 19 with the release of “The Rebellious Life of Mrs. Rosa Parks.”

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Peacock’s “I Love You, You Hate Me”

Calgary Flames‘ goalie Jacob Markstrom will be dawning a new locally designed helmet for the 2022-23 hockey season.

A leader in the art of airbrush, local artist Jordon Bourgeault of JBo Airbrush has created a second piece for the Flames goaltender.

It’s something that took him more than 200 hours to create.

“It’s an estimate, but I worked around 20 days, about 10-hour days to try and get it done for the start of the season because it was a bit of a rush,” Bourgeault said.

“The simple math on that is around 200 hours.”

Read more:

Calgary Flames seek to turn entertaining off season into longer playoff run

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Bourgeault said this year, the goalie wanted to switch it up a bit from last year’s design and incorporate more of a western theme.

“There is the skull like you saw last year, we added a cowboy hat … I designed an entire Flames-themed bandana (to be added) … a Calgary Stampede belt buckle along with his name Markstrom on the leather strap,” Bourgeault explained.

“There’s also the Swedish crowns on the back and ‘papa’ — which he always has on all his masks — barbed wire wrapping around the whole thing just to make it a cool Western theme, and yeah, I think it’s looking pretty cool.”

It’s not the first helmet he’s designed for an NHL player, having designed two for Markstrom to wear last year. He also created one for Montreal Canadians goalie Carey Price.

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Bourgeault hinted this won’t be his last for the Calgary club with one or two more in the works.


Click to play video: 'Calgary Flames set to debut Blasty retro jersey'


Calgary Flames set to debut Blasty retro jersey


“I’m kind of keeping what the design is for the second one a secret, but it is to match the Blasty jerseys, which you guys probably saw out now. So watch for the first game where they’re wearing those jerseys and he’ll be wearing that mask, I think.”

As of Thursday afternoon, it was still undecided if Markstorm would be in net for the Calgary Flames home opener Thursday night against the Stanley Cup Champion Colorado Avalanche.

&copy 2022 Global News, a division of Corus Entertainment Inc.

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Calgary Flames‘ goalie Jacob Markstrom will be

A source tells Page Six that Kanye West is trying to forget the anti-Semitic posts that landed him banned from social networks over the weekend by going out on dates with a new girlfriend.

According to our informant, West, whose behavior has recently been erratic, is attempting to obscure [the headlines concerning anti-Semitism] with more salient news. According to the same source, “The new girlfriend whatever is next” attempts to make people forget about the previous relationship.

On the weekend, West leaned into anti-Semitic stereotypes by tweeting that he was going to “go death con three on JEWISH PEOPLE.” This referenced the United States military’s “DEFCON” system.

West also shared a screenshot of a conversation with Sean Love Combs, better known as Diddy, that he later removed. In it, West implied that the mogul was under Jewish control. West’s access to Twitter and Instagram was also suspended after the removal of the messages.

In the midst of the uproar, West and a mystery woman—who turned out to be model Juliana Nal—were spotted on a date in Santa Monica, California. Both are going to the trendy boutique Acne Studios and the famous restaurant Giorgio Baldi; the two were caught on camera.

On a second date, they went to a Hollywood cinema to watch Triangle of Sadness and were caught on camera doing so. Last Week, a 30-minute YouTube commercial directed by West, who has been under fire for using White Lives Matter T-shirts at his most recent Paris fashion show, was uploaded over the weekend.

The video went viral after it purportedly showed West showing a sexual DVD to a group of Adidas officials during a recent meeting, where they all looked horrified.

As a result of the uproar caused by West’s inflammatory t-shirts, the status of the company’s connection with him is being evaluated.

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Netflix will launch its cheaper ad-supported tier next month, at a price point that’s less than half the cost of its standard plan.

Netflix with ads will cost $6.99 per month in the U.S., and will launch in 12 countries beginning in November, the company said Thursday. The new plan, officially called “Basic With Ads,” will complement its existing ad-free plans: Basic ($9.99 per month), Standard ($15.49), and Premium ($19.99). Other countries will have local pricing, all at effectively the same price point.

“We believe that with this launch we will be able to provide a plan and a price for every Netflix fan,” Netflix COO Greg Peters told reporters at a virtual press conference Thursday. “The most important thing for us is that we want to offer consumers choice and for them to figure out what is the best offering for them, and that could mean that some of our existing members shift off [of ad-free plans].”

And Peters says that the new model will be in a position to benefit the company financially.

“From a revenue perspective, we are relatively neutral or agnostic on it,” Peters said. “We have generally set out so that the revenue [for] subscription plus ad monetization is neutral to positive to subscription only with no ads.” That would be consistent with other offerings from streaming services like Hulu.

Netflix says that the service will have between 4 and 5 minutes of ads per hour (using 15- and 30-second commercial spots), including preroll ads and commercials within its TV shows and movies. Unlike the other tiers, the ad-supported tier will not allow users to download TV shows or movies. Some titles will not be available at launch due to licensing issues.

There will also be different approaches for different formats. Movies, for example, will get a slightly different experience. “The new movies will just have a preroll, so we will try to preserve that cinematic model there,” Peters said, adding that older films may have some limited ads during the film.

Jeremi Gorman, Netflix’s president of worldwide advertising, said Thursday that Netflix is nearly sold out of all of its inventory, with hundreds of advertisers signed on for the launch.

“It has been amazing to see the overwhelming interest in our ads,” Gorman said, noting that every major category was represented. She added that Netflix will not accept political or policy ads.

And with the launch of the advertising tier will come more transparency around what programs those viewers are watching.

Netflix also said Thursday that Nielsen will measure Netflix viewership in the U.S. through its Digital Ad Ratings (DAR) product beginning in 2023. Netflix will eventually be added to Nielsen’s cross-platform measurement platform Nielsen ONE.

Netflix is also working with DoubleVerify and Integral Ad Science to verify viewability and traffic.

Gorman told reporters that the data collected “will only be used to support advertising on Netflix,” and won’t be used to create profiles for targeting elsewhere.

The company says that, at launch, advertisers will be able to target users by country and genre, and marketers will be able to prevent their spots from appearing in programs with content that may not align with their brand. The company will collect the age and gender of users at sign-up, though it will not be targeting based on those factors at launch.

Based on a demo of the tier viewed by The Hollywood Reporter, Netflix’s ad tier will look familiar to anyone who has streamed content on an ad-supported platform. After a user clicks “watch,” the ad will begin playing, with a box in the corner featuring the “Ad” tag and a countdown until the ad is over.

Netflix surprised the entertainment business (and many of its own employees) in April, when co-CEO Reed Hastings announced the plan to get into advertising during its quarterly earnings call.

The company ultimately decided to partner with Microsoft to get the plan up and running as soon as possible (the tech giant is handling all sales and technology for now, though Netflix hired Snap’s Gorman and Peter Naylor to lead its in-house team).

Six months later and the tier is ready to launch, albeit in a fairly basic form. And the deals with Nielsen, DoubleVerify and Integral mark a sea change in terms of transparency for the company, answering one of the biggest questions it has faced since announcing the ad tier.

Peters says that the company is betting that new users will sign up, and others will rejoin the service. As it rolls out password-sharing crackdowns, some of those users may move to the ad tier as well. And, yes, some current ad-free subscribers could downgrade.

Netflix’s ad tier will debut Nov. 1 in Canada and Mexico, with most other countries going live Nov. 3 (including the U.S.), except for Spain, which launches Nov. 10. The U.S., Canada, U.K., Australia, Brazil, Spain, Mexico, Korea, Japan, France, Germany, and Italy are the launch countries, with other countries to follow.

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Netflix will launch its cheaper ad-supported tier

I can’t even count all the various incarnations of the Halloween horror franchise there are. It all started 44 years ago when we were introduced to Laurie Strode as played by Jamie Lee Curtis, perhaps the most consistently tortured and beaten female character in movie history. And she just keeps coming back for more with Michael Myers, the guy she can’t seem to quit, but Curtis promises Halloween Ends is definitely it. She is hanging up her meat cleaver with this one, and even signed a proclamation to that effect on Jimmy Kimmel Live! But do we really believe we are seeing the last of this franchise hatched all those decades ago by John Carpenter, who has returned to duty on this one to provide another nifty haunting musical score?

This is the finale of the so-called final trilogy of films that brought back Curtis in her signature role and has found great success with 2018’s Halloween and 2021’s Halloween Kills. Of course there were lots of other Halloweens before this trio, three of them not even bothering to change the name, and at least two of them called Halloween II. Over the years we have also had The Curse, The Return, The Resurrection and The Revenge of evil and deeply troubled Michael Myers, so I can be excused if I just don’t believe all those billboards around town that proclaim this is truly the end, but for the purposes of this review let’s go with it and start with a spoiler alert: It all ends with a battle royale between Michael (aka The Shape played by James Jude Courtney) and Laurie. Surprised?

But it begins back on Halloween Night 2019 as a new character, affable babysitter Corey Cunningham (Rohan Campbell), is taking care of obnoxious 10-year-old Jeremy (a very funny Jaxon Goldenberg), whose parents go out to a costume party. He overpowers Corey by insisting they watch a gross-out monster movie. Later he plays a devilish trick on Corey, but it turns tragic when he accidentally falls from the top story of the home’s staircase. It wasn’t what it looked like, but the parents come home just at the moment it happened, and it appears to them and everyone else that Corey did it on purpose. After a trial, he is acquitted but now a pariah in town, the victim of bullies who call him a psycho and beat him up, particularly one named Terry (played in one dimension stereotype by Michael Barbieri).

Deadline

Laurie, now living happily in a new house in Haddonfield — though why she never moves, I can’t imagine — writing her memoirs and setting out on a healthier lifestyle than being taken apart by Michael Myers in every movie, has sympathy for Corey and rescues him one night. She later introduces him to granddaughter Allyson (Andi Matichak), who works at a medical facility and still is grieving the loss of her parents (and Laurie’s daughter) and boyfriend at the hands of Myers. A romance blooms between them, but Corey’s emerging dive into darkness complicates matters as he starts losing his mind due to the trauma of what happened three years earlier with Jeremy. Is Michael lurking in the background, ready to pounce again?

Other favorite characters are back for a “last” go-round include ultimate fellow survivor Lindsay (Kyle Richards) and Officer Frank Hawkins (Will Patton), who is sweet on Laurie but still haunted by the fact he could have killed Michael when he had the chance. You all know where this story is headed, but it contains considerably more emotion and character development than the last film, to be sure, and Curtis commands it so effectively that we don’t mind too much that we have been there/done that with this franchise too many times to recite here. Of the new characters, Campbell is effective in drawing an origin story of a nice guy who goes down the rabbit hole and emerges as a different, and very dangerous, person.

Producers are Malek Akkad, Jason Blum and Bill Block. The script is credited to Paul Brad Logan & Chris Bernier & Danny McBride & Green. Universal releases the film also produced by Miramax and Blumhouse on Friday in theaters and streaming on Peacock. Check out my video review with scenes from the film at the link above.

Do you plan on seeing Halloween Ends? Let us know what you think.

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I can’t even count all the various

Last week, we shared Reddit’s nominations for the saddest fictional backstory, and the BuzzFeed readership weighed in with their own tragic suggestions. Here are 15 of the characters they believe have enough emotional baggage to fill an airplane’s cargo hold.

Responses have been edited for length and/or clarity. Also, watch out for spoilers, but you knew that already. 

1.

“Sirius Black from Harry Potter should be on this list. He was raised in an abusive household bad enough to drive him to run away at the age of 16. He had a bit of an escape in school, but he grew up under the stress of wartime. His younger brother was sucked in and killed by that war. The one bright spot in his life was his friends, but he inadvertently played a hand in the death of his best friend by suggesting he trust Pettigrew, who ended up betraying them. Then, at the age of 21-ish, he got sent to the most depressing, terrifying prison on earth for murders he didn’t commit. He spent 12 years rotting away there. He finally escaped, only to spend the last 2 years of his life in hiding and eating rats before being murdered by his own cousin at the ripe old age of 36.”

2.

“Marvel’s Natasha Romanoff. She was forced into what was basically human trafficking and raised to be a mindless assassin.”

3.

“Olivia Benson from Law & Order: SVU. She’s been through it.”

4.

“Bucky Barnes from the Captain America saga. Sent to war, captured and tortured, ostensibly died only to survive due to the aforementioned torture, recaptured and tortured some more, brainwashed, cryogenically frozen and only revived when being sent to commit murders, came back to himself after 70 years and had to suffer through reversing the brainwashing alone, framed for murder and recaptured AGAIN, then sent back to war just to die AGAIN, then finally gets revived just to watch his best friend go back to live in a past that doesn’t include him. Like, my man deserves a nap.”

5.

“How about Johanna Mason from The Hunger Games? After surviving The Games, her entire family is murdered for refusing to follow The Capitol’s orders, she is thrown into The Games again, captured and tortured by said Capitol, loses her hair, can’t even bathe herself properly after being traumatized by water, lost Finnick, lost her faith in Katniss, and doesn’t even have anyone to spend the last of her days with!”

6.

“Kakashi Hatake from Naruto needs to be on this list. Kakashi lost everyone he loved in his childhood and teenage years. He watched Obito (his best friend and teammate) die at 12, was forced to kill Rin (his other teammate) not long after at her request to save their village, and then his sensei Minato died from stopping the Nine-Tails. Despite everything that happened, he never turned evil, not even once. He was always loyal to the Hidden Leaf Village and to his students Naruto, Sasuke, and Sakura. As a sensei he was smart, resourceful, and kind. I hope he finds the happiness and peace he deserves someday.”

7.

“I’m going to go with Mikasa from Attack on Titan. She watched her parents get slaughtered and then watched her new family get slaughtered and then watched the one guy who protected her in the world go absolutely insane and murderer 80% of the world. Then, she had to ultimately choose to finish him in the end.”

8.

“Marc Spector from Moon Knight. Episode 5 of the show still makes me choke up every time, and the end of Episode 6? Yeah. He needs to be on this list.”

9.

“Maggie Greene/Rhee of The Walking Dead. She saw her family and friends turn into Walkers, her house burned down, her friends get eaten alive repeatedly, and her father get decapitated. She was excited to see her sister, only to find her dead, and she witnessed her husband get brutally murdered before her eyes! I know I’m missing more, but I quit watching after a while!”

10.

“I’d argue that Azula from Avatar: The Last Airbender had it worse than Zuko. At least Zuko had his mother and Iroh to give him love and kindness. Being a prodigy and her father’s favorite turned Azula into a psychopath and then insane. Being banished and getting away his father is literally the best thing that could have happened to Zuko.”

11.

“Klaus Hargreeves from The Umbrella Academy. He was adopted as a baby by an evil billionaire to be used as a child soldier. He was constantly surrounded by ghosts that only he can see, and which only go away when he self-medicates with drugs and alcohol. His evil billionaire father learnt he was immortal at a very young age and murdered him multiple times in horrific ways, and also frequently locked him away in a mausoleum. He grew up addicted to drugs, was brutally tortured by trained assassins, and time-traveled back in time to the Vietnam War where he met his one true love only to watch him die in battle. He grew close to a parallel universe version of his dad only to be betrayed by him by leaving him to die in an apocalyptic kugelblitz. His siblings see him as a joke and don’t take him seriously despite all he’s been through. Somehow he manages to stay relatively sweet and kind despite it all!”

12.

“Newt from The Maze Runner. Time and time again, he had his loved ones taken from him. He was forced to forget the one family member he had left, and forced into a place so awful he tried to kill himself and goes through hell to escape only to find out he’s condemned to lose his mind and die because he’s the only one of his friends not immune. He was fighting a losing battle from the start and he didn’t know until the end.”

13.

“Piper Halliwell from Charmed. She lost her mom, grandma, sister, husband (for a while). She became like eight different monsters, took care of her idiotic younger sisters, one of whom kept falling for demons; the other just would not listen. Her son was always the target of demonic attacks and was kidnapped multiple times. She took in a young witch and her sister who tried to kill her toward the end.”

14.

“Mark Greene from ER. His wife left him and took their daughter, the woman he loves moved away, that woman pretended to be a doctor and basically trapped him in a room, he was beaten up by random attackers, and he found love only to find out he had brain cancer, then he had brain surgery. His older daughter turned out to be awful and nearly killed his new baby, which caused his second wife to leave him and take the baby and then he died horribly and ruined ‘Somewhere Over The Rainbow’ for me forever.”

15.

And finally: “Me, a professor in TV Arts: Cricket from It’s Always Sunny in Philadelphia.”

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Kantara, review: Dispossessing the ‘possessed’

Kantara is about conflict. Conflict between nature and human beings. Conflict between landlords and their subjects. Between Forest Officers and villagers using forest resources for subsistence. Between two powerful and major landlords. Between humans and ‘possessed-by-deities’ humans. Between humans and wild beasts. Between a mother and her son. Between a hero and his nemesis. Between a film and its audience. Yes, a film and its audience. How much can you take, of actors going into a trembling trance on being possessed? How much can you take of a character who leads a charmed life an d his enemies give him every chance to fight their goons instead of shooting him down in one second? How much can you take of dialogue and cutting that moves at double the speed at which it might have been intelligible? How much can you take of LOUD soundtracks and songs that are unintentionally funny? How much of the 149 minutes can you sit through? Have a heart! I sat through the entire film. As did all the invitees at the press preview yesterday. How? We must have been possessed.

Back in 1847, a King in what is present day Karnataka state was sleepless and restless. He has a loving family, loving subjects and a rich kingdom. Yet, he had no peace of mind. Desperate to seek solace, he visited various shrines and temples and sought the blessings of various godmen. Nothing worked. Ultimately, one godman told him that he lacks the blessings of parents, and he can only find that in the jungle, where he must go alone. Following the soothsayer’s advice, he went into the jungle, and found a magic stone. The stone, a symbol of the daiva (local demigod, animist form of spirit, worshipped by locals of Tulunadu and some parts of Malenadu of Karnataka, and Kasargod in Northern Kerala, India) granted him his mental peace. Suddenly, hundreds of villagers appeared. They asked for a gift in return for his boon. He agreed. Their demand was that a large area of land, part of the King’s estate, be gifted to them. He agreed to this transfer of rights, and the land became theirs.

1n 1970, a successor of the King came back to the estate from Bombay and demanded that the large piece of land be returned to him. He threatened legal action against them if they refused, which they did. He went to court, but died, falling at the steps of the court, after vomiting blood, apparently cursed by the daiva. Twenty years later, his son, Devendra, came to the region and started living there. He became part of his former subjects (princes and kingdoms were abolished by the Indian government much earlier) and won them over. He presided over buffalo races (called kambala), where one Shiva always won, and generally became part of the people. But in his heart, even he had his eye on the land. His allies were the Forest Officers and his enemy number one was a man, Shiva. Shiva had tremendous strength and was loved by the whole village, although he drank like a fish and smoked pot like a chimney. His brother, Guru, performed the Kola dance, where the dancer gets possessed by a deity and speaks for him. Both the Officers and Devendra made many attempts to eliminate Shiva, but he always triumphed, So, Devendra decided to target Guru first.

The main actor, Rishab Shetty, is also the writer and director of the film, which is his fifth foray in the dual capacities. He has narrated it like a fairy tale and mounted the film on a very big scale, but there are loopholes galore in the movie. When the landlord goes to court, and falls dead, there is no one around. That is very strange. Devendra narrates his entire story, full of all his villainous deeds, to his mentally challenged son. What a strange thing to do! When he takes a man along with him in his jeep, kills him at a remote spot, with repeated thrusts of a knife, brings him back to the same village from where he had picked him up, and dumps his body there, he does not have the common sense to realise that he might have been seen, although it was a late hour. After the murder, a lot of blood spills on to his shoes, but again, he does not bother to check if any blood has soiled his body or apparel and footgear. One can go on, but one is not a film.

Rishab Shetty as Kaadubettu Shiva and Shiva’s father puts in a loud and over-the-top-performance, full of ego and attitude. That is also the demand of the character he has written for himself. Sapthami Gowda as Leela, his beloved, who joins the Forest Officer’s cadre and earns his ire, while submitting herself to him totally, has a confused part, and per performance is passable. Kishore as Muralidhar, a Deputy Range Forest Officer (D.R.F.O) officer, has an amazing similarity to Dwayne Johnson, but is made to look impotent for the greater part, getting into the action only during the climax. Achyuth Kumar as Devendra Suttooru manages to fool us into believing that he is do-gooder, till his true colours are revealed. Manasi Sudhir as Kamala, Shiva’s mother, who keeps admonishing him to mend his ways and runs after him with a stick, acts well, but the entire track seems funny, and pointless, in view of Shiva’s life-style, Naveen D Padil as an advocate is treated like a caricature. Swaraj Shetty as Guruva, Shiva’s cousin brother, who performs in the festival Kola as the nartak—dancer—who is possessed by daiva) does well in a small role. Just as Shiva’s mother keeps admonishing him, so also Raghu, Forest Officer, admonishes Murali. And that is all he does, about four times in the film.

Atish Shetty, as Devendra’s specially-abled son, has one scene, and does what he is asked to do, convincing us that he is especially abled. There are three cameo appearances: Shine Shetty as Devendra’s father, Vinay Biddappa as the King, Pragathi Rishab Shetty as the King’s wife. All three are okay in their respective personas. Behind the camera, we have cinematography Arvind S. Kashyap, in front of the monitor, we have editing by K. M. Prakash and Pratheek Shetty, and on the ‘keyboards’, we have music by B. Ajaneesh Loknath. Cinematography is generally good, except for some of the night scenes, which are not really visible. Editing is break-neck. Somebody should have told the director and the editor that after a certain speed, all dialogue becomes unintelligible. Even then, it is whopping 149 minutes long. Music would have been okay, if the songs and background score were played at a level 20 decibels lower. Lyrics are poorly written. One fishermen’s song from coastal Maharashtra, transposed to north Karnataka, sticks out like a sore thumb.

Kantara (translation: Mystical Forest) was originally made in Kannada and that version has already grossed five times the production budget. That qualifies it as a hit. Or, maybe even a super-hit. The producer, Hombale Films, also owns the block-buster KGF franchise. Neither fact sways my opinion. We saw a version dubbed in Hindi, where some of the lines were neither dubbed in Hindi nor sub-titled, although they sounded like Kannada. That appears to have been a deliberate decision, but we’ll never know the context. Kantara has spectacle, which my spectacles helped me notice, and besides my eyes, even they are sore. After all, how many grotesque faces can you enjoy in extreme close-up? My ear-drums were still sore, 12 hours after I saw the film, especially on account of a war-cry yelled a hundred times, at deafening volume, that went ‘Woooooooooooooooow’! Wow? Self-glorification?  

This one is not for me, or those who care for my opinion. A tale of ‘possession’ and dispossession, I felt some of my faculties being dispossessed as I sat through Kantara. You still want to see it? There is something it does has to offer: two-time National Award winning action director Vikram More’s dazzling action, but a little too much of it. Yes, I know, for action lovers, more is less. So, be my guest, while I say sayonara to tantara! No, that is not a typo.

Rating: * ½

Trailer: https://www.youtube.com/watch?v=MTECjlKUgEE

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Kantara, review: Dispossessing the 'possessed' Kantara is

Alexander Skarsgård

Alexander Skarsgård
Photo: Graeme Hunter/HBO

Good news for Skarsgård-heads: You’ll see a lot more of Alexander Skarsgård’s character—tech mogul Lukas Matsson—in season four of the HBO familial drama Succession. In a new interview, series producer Scott Ferguson divulges a few details about the expansion of Skarsgård’s character and the Roy’s trip to Norway.

“Last season we had an important new character and a new storyline—a potential merger with Alexander Skarsgård’s tech company,” Ferguson tells Variety.

Matsson was first introduced in season three, as the founder of GoJo who seeks out a merger with Waystar-Royco. As Logan Roy (Brian Cox) closes in on a deal with Matsson, the family’s going to take a little trip to immerse themselves in his world.

“We were really excited when Alexander came onboard—he’s a wonderful actor,” Ferguson continues. “And from the beginning, [Jesse Armstrong’s] idea was that the tech company was going to be led by someone from a Scandinavian country. In the writer’s room, around February, Jesse had an idea for an episode they wanted to be in [Matsson’s] part of the world.”

While the third season took the Roy family to the locales of Tuscany, in the fourth we’ll see them venture through Norwegian destinations such as the Atlantic Ocean Road, the Romsdalen Gondola, and the Juvet Landscape Hotel (as seen in Alex Garland’s Ex-Machina).

“When we saw images of the remarkable architecture and setting of Juvet we got really excited,” Ferguson says. “Norway is a glorious, natural setting. It immediately seemed like a perfect place for a family gathering in the series. We studied different countries, but we realized Norway just has this exceptional landscape—like nowhere else in the world.”

There’s no word on when we can expect the new season of Succession, but series stars such as Skarsgård, Sarah Snook, and Nicholas Braun are currently filming in the Scandinavian country.

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Alexander SkarsgårdPhoto: Graeme Hunter/HBOGood news for Skarsgård-heads:

NBC’s The Voice is all about finding the next big thing in music (even if success is fleeting for winners), which is helped along by its superstar coaches each season. Newbie coach Camila Cabello has already done an impressive job picking up some promising hopefuls during the Blind Auditions, and part of that comes back to her particularly repetitive way of appealing to contestants. And while she was quick to poke fun at herself during the episode, stalwart jokester Blake Shelton definitely made some fun of his own

It’s no secret that before Camila Cabello found success as a solo artist, she struck gold as part of the girl group Fifth Harmony, taking third place within the second season of The X Factor USA. And the singer has thrown the info out there more than a few times to her hopeful chair turns that she, like them, was part of a “singing competition show.” But while each contestant only heard it once or twice, the Voice‘s stars and audience members heard it a lot. 

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NBC’s The Voice is all about finding

The San Francisco Film Festival will kick off its upcoming Doc Stories showcase with a world premiere of director Marina Zenovich’s Jerry Brown: The Disrupter, about California Governor Jerry Brown’s political career.

SFFILM’s documentary film showcase has also booked director Chris Smith’s Sr., a doc about filmmaker Robert Downey Sr. as its closing night film.

The filmmaker’s son, Robert Downey Jr., co-produced the film.

The Doc Stories programmers also booked Laura Poitras’ All the Beauty and the Bloodshed, the Venice Golden Lion Winner and a film about artist Nan Goldin, as its Centerpiece screening.

And there’s Doc Stories slots for directors Jesse Short Bull and Laura Tomaselli’s Lakota Nation vs. United States, which is executive produced by Mark Ruffalo and Marisa Tomei; Sacha Jenkins’ Louis Armstrong’s Black & Blues; Jeff Malmberg’s Mickey: The Story of a Mouse, a portrait of Disney’s Mickey Mouse character; and New York Times Op-Docs, a series of the New York Times’ short-form docs by indie filmmakers.

Now in its eighth year, the Doc Stories showcase will also feature films about the French Laundry’s original restaurant owner Sally Schmitt, the first female mayor in Afghanistan, Zarifa Ghafari, and a motley crew of Wisconsin-based flagmakers.

“Documentaries take us to new and challenging territories, often revealing secrets about ourselves as we share the experience of watching them together. This year’s program is filled with iconoclasts, both known and still under the radar, and presents a breadth of films at the forefront of Documentary, leading the charge towards what the genre can be,” Jessie Fairbanks, SFFILM director of programming, said in a statement.

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The San Francisco Film Festival will kick




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Image Credit: Matt York/AP/Shutterstock

The House Select Committee investigating the January 6 attack on the U.S. Capitol shared motions to subpoena former President Donald Trump to testify before the committee during the hearing on Thursday, October 13. The committee voted unanimously to issue a subpoena to the former president. “He is the one person at the center of the story of what happened on January 6. So in order to hear from him, the committee needs to do everything in our power to tell the most complete story possible and provide recommendations to help ensure nothing like January 6, ever happens again,” Committee chair Rep. Bennie Thompson said during the hearing.

Before turning it over to a vote, Thompson said that Trump needed to be held “accountable” for the attack on the Capitol and is “required to answer for his actions” to the police who defended against his supporters as well as the Americans whose votes he wanted to throw out.

The hearing was the first since a summer recess, after the session on July 21. The hearing had been rescheduled from its original date of September 28 due to Hurricane Ian making landfall. The committee reiterated points made during prior hearings, including that Trump knew that he had lost the election and that members of his staff had pushed back on him promoting election lies and attempting to overturn the results. Communications obtained from Secret Service members were also presented at the hearing, including that rioters were making threats against former Vice President Mike Pence.

The Committee is continuing their investigation and is expected to submit a report later this year with their findings, about Trump and his involvement in the riot.  Both Republican members of the committee Reps. Adam Kinzinger  (IL) and Liz Cheney (WY) will also not be returning to Congress in the next term. Kinzinger announced his plans to retire from Congress in October 2021, and Cheney lost the Republican primary against Harriet Hageman.

The committee has held multiple hearings investigating the attack on the Capitol. (J Scott Applewhite/AP/Shutterstock)

Cheney has also signaled that she would abandon the Republican party if Trump became the nominee for the 2024 election. “If [Trump] is the nominee, I won’t be a Republican,” she told Texas Tribune CEO Evan Smith at the newspaper’s festival on Saturday, September 24. She even said that she’d be willing to support Democrats in their campaigns to try to stop Trump-backed candidates from winning their races, most notably preventing Kari Lake from winning the Wyoming gubernatorial race.

Since the last hearing, Trump’s residence at Mar-a-Lago was raided by FBI agents, following a Justice Department investigation, which found that the former president had taken classified documents to his private residence. The DOJ revealed that FBI agents uncovered over 100 classified documents during the August 8 search, and its suspected that there may still be more, according to CNBC. 

The January 6 Committee revealed more about Trump’s efforts to overturn the 2020 election in the latest hearing. (Matt York/AP/Shutterstock)

During the first hearing back in June, Cheney didn’t hold back in calling out Trump for provoking his supporters to invade the Capitol on January 6. “President Trump summoned the mob, assembled the mob, and lit the flame of this attack,” she said, during opening statements.

Prior to the hearing, Rep. Adam Schiff (D-CA) had teased that this hearing may be “more sweeping than some of the other hearings,” during an appearance on CNN. He also said that the hearing would shed new light on previously presented material as well as bring new findings forward. “The public will certainly learn things it hasn’t seen before, but it will also understand information it already has in a different context by seeing how it relates to other elements of this plot,” he said.

During the most recent prior hearing in July, outtakes of Trump’s speech following the attack were shown, including a clip of him cutting the phrase “The election is over” out of his speech. An anonymous security official also revealed that members of former Vice President Mike Pence’s security detail made calls “to say goodbye to family members,” as the mob attacked.

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View gallery Image Credit: Matt York/AP/Shutterstock The House Select

Apple has announced a new support package for developers that it hopes will help them adopt the company’s latest technologies, such as the iPhone 14 Pro’s Dynamic Island.

Less than a month after the launch of the latest iPhone 14 range, VP for Worldwide Developer Relations, Susan Prescott, explained that the company has seen “increased appetite for one-on-one support and conversation”. 

Called ‘Ask Apple (opens in new tab)’, the new service comprises interactive Q&As and one-on-one, office hour consultations, and joins a number of other programs like Tech Talks and Meet with App Store Experts.

Ask Apple

Apple says that app creators from its Developer Program and Developer Enterprise Program can ask about things like “testing on the latest seeds; implementing new and updated frameworks from Worldwide Developers Conference (WWDC); adopting new features like the Dynamic Island; moving to Swift, SwiftUI, and accessibility; and preparing their apps for new OS and hardware releases.”

Depending on the level of assistance developers need, they can connect with Apple experts on Slack to ask questions and share their learnings, or take advantage of personal consultations to discuss “code-level assistance, design guidance, input on implementing technologies and frameworks, advice on resolving issues, or help with App Review Guidelines and distribution tools.”

According to MacRumours (opens in new tab), the one-on-one sessions are bookable in 25-minute slots.

The company says Ask Apple will be an ongoing series. The first round of opportunities is set for the week of October 17, 2022, with no word on future dates. More importantly, Ask Apple is designed to be free of charge within the environment of a Developer account.

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Apple has announced a new support package

A Digiday report says Apple TV is “quietly” exploring new advertising products for streaming — but the target may be real soccer, not “Ted Lasso.”

Apple TV+ soon will be the lone major streaming service with no advertising on its entertainment programming. It will, right?

A Wednesday Digiday report suggested that an Apple TV+ AVOD (ad-supported video on demand) tier may “quietly” be in the works. Apple has held “exploratory” talks with executives in the media space, they wrote, touting what the publication described as “an unusual approach to selling ad time.”

The whole Digiday story is what’s highly unusual here, one source close to Apple told Indiewire. While Apple TV has ads on its live sports content — the pacing of major sports contests are built around commercial breaks — ads are not coming to other programming, the person said. Apple TV has an existing “Friday Night Baseball” deal with Major League Baseball; in June, the iPhone maker signed a 10-year pact to stream every single Major League Soccer game through 2032.

The Apple TV app’s standalone MLS package will launch in conjunction with the start of the new pro-soccer season in February 2023. A selection of games will be made available in front of a paywall; most will exist behind it. To this point, all “Friday Night Baseball” games have been free. Digiday wrote that Apple TV’s new advertising product is expected to launch in “early 2023” — just like the soccer package. MLB regular-season games begin in late March.

Let’s assume the ads remain strictly on sports programming, which may or may not include studio shows within the MLS app (or future apps that are not technically Apple TV+ proper). With the imminent launch of ad-supported tiers from both Disney+ and Netflix, Apple’s core streaming service, which costs just $4.99 per month, will be the final SVOD-only holdout.

Until recently, the streaming industry was all about subscription fees and (almost) all streamers were against commercial interruptions — and then Netflix lost subs in the first quarter of 2022 (and then again in Q2). Once the famously anti-commercial Netflix folded (HBO Max started adding ads in June 2021), all bets were off. (Find details about Netflix AVOD, formally called “Basic with Ads,” here.)

Netflix needed the additional revenue stream — Apple really does not. With a current market cap of $2.3 trillion, Apple is in the literally the largest company in the world. It makes its money with device sales; streaming is a mere add-on service for the tech giant, somewhere between a hobby and a write-off. In other words, Apple would take the ad dollars — as it does with billions in sales revenue inside the App Store and on Apple News — but it doesn’t need them.

A final Digiday source said they recently spoke with Apple’s VP of ad platforms, Todd Teresi, about opportunities to advertise on sports programming. “The discussion didn’t address an ad-supported tier on Apple TV,” Digiday wrote. However, the two have plans for a follow-up conversation next month, and the executive thinks an Apple TV+ AVOD (ad-supported video on-demand) tier “could come up then.”

Or Apple will just search its Cupertino, California headquarter’s couch cushions for the (relative) chump change.

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A Digiday report says Apple TV is

After 15 years in the making, Black Adam finally made its debut on Wednesday night, hosting its world premiere in Times Square.

The DC film, which stars Dwayne Johnson as the titular antihero who is released into modern times after 5,000 years of imprisonment, has been a longtime dream of Johnson’s, as he told THR about putting on his (not-muscle-padded) suit for the first time.

“I just took a look in the mirror — it was a very humbling moment because I fought so hard for this movie to get this movie made, and keep it on track. Fifteen long years, and here we are,” Johnson reminisced on the red carpet. “Before I walked out of my trailer on day one, I was grateful: Thank you, God; thank you, universe; let’s go to work. I go on set, I go to meet our director, Jaume Collet-Serra, I start talking to him about the scene, and then I look up. When I look up about 20 feet away, all the JSA [Justice Society of America], all the actors are in their costumes, all standing there, walking towards me and Jaume. I was blown away. I will never forget that moment, because in that moment everything crystalized.”

“This is why, if you believe in something you’re so passionate about, stay on course,” Johnson continued of his commitment to the project. “People are going to try to deviate you from it — stay on course, stay on course, stay on course, and keep fighting for something if you believe in it. I fought and then all of a sudden I see the JSA. That’s the reason why. I’m lucky to have them, I’m very lucky to have those actors.”

The film also stars Aldis Hodge, Noah Centineo, Sarah Shahi, Quintessa Swindell, Marwan Kenzari and Pierce Brosnan, the latter of whom plays JSA member Doctor Fate.

Calling Black Adam “a beast of a film, a feast of a film,” Brosnan said when he got the call to join the cast, “I was just really very touched and so exhilarated by it. I’ve often wondered, would I be offered, could I get a part in one of these movies? And this is beyond my wildest dreams.”

Johnson, whose own muscles rival those of most onscreen superheroes, was an intimidating opponent for the actors who had to face off with him, as Hodge (who plays Hawkman) joked that once he got the role, “You get in the gym immediately and you get your body ready. I got with the stunt team a couple of months before we started shooting and I was training with them every day, literally from four in the morning to four in the afternoon.”

And though the two had frequent onscreen battles — with Hodge “being thrown through a room in a building, thrown on a car, being dropped from 50 feet in the air” — the two saw each other as teammates. As for who from the DC Universe he hopes Hawkman to appear with next, Hodge pitched, “I definitely want to bring in Mr. Terrific — his backstory is terrific — and then also Hawkgirl.”

Centineo also expressed his admiration for Johnson while on the carpet, noting that many in his position of fame and Hollywood power would feel like everyone owes them something: “He is not that. He has time for you, has time for everyone, values everyone for their role no matter how big or small. And that is something I look up to and appreciate so much.”

Inside the event, producers Beau Flynn, Hiram Garcia and Dany Garcia took the stage to share their thanks for the cast and crew, and Collet-Serra threw his praise toward Johnson, noting how “his passion has inspired me personally, his work ethic, and has pushed us — not only me but everyone involved in this movie, to make a movie up to his standards because his standards are the best standards.” He went on to say of Johnson, “The only real superhero to play a superhero.”

Black Adam hits theaters Oct. 21.

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After 15 years in the making, Black

Drishyam 2
Director: Jeethu Joseph
Cast: Mohanlal, Meena, Ansiba Hassan, Esther Anil, Asha Sarath, Siddique, K.B. Ganesh Kumar

A friend and fellow journalist quipped the other afternoon, “why could they have not stopped with Drishyam 1, instead of coming out with a sequel?” She had a point. Honestly a franchise, and that is what, Drishyam, seems to be transforming into, is hard to sustain. Yes, some like the Bond series have managed to stay on without flagging. But this is more an exception.

The 2013 Jeethu Joseph’s Drishyam was a phenomenal hit, and there were two important reasons for this. Police brutality in States like Kerala is no secret, and the middle class as well as the poor, have borne the brunt of this for years. The other was Mohanlal’s brilliant piece of performance, and he is arguably one of the best in India, nay the world, today, slipping into characters with amazing ease.

Also read: Live Telecast Review

As Georgekutty, a man who could not even clear standard four of his school education, because of grinding poverty, he rises to own a television cable shop, and endless hours of watching films educate him in a variety of ways that comes in handy when he has to keep his small family of wife, Rani (Meena) and two daughters, Anju (Ansiba Hassan) and Anumol (Esther Anil), safe.

When Varun, the arrogantly brash teenage son of the Inspector-General of Police (Geetha Prabhakar playing Asha Sarath), takes a picture of Anju while she is bathing during a school picnic and blackmails her into sleeping with him, things go horribly wrong. Anju in an act of defence kills the boy, and all hell breaks loose.

Georgekutty is not a man to be cowed down, and the rest of the movie is an exciting game of how he foxes the cops and saves his family. The twist, in the end, is simply superb.

Drishyam was remade in several languages – Tamil with Kamal Hassan essaying Mohanlal’s character, Telugu, Kannada, Hindi, Sinhalese and even, believe it or not, Chinese. All of them did extremely well, with audiences everywhere rooting for Georgekutty and his family.

It, therefore, came as no surprise that Joseph would work on a follow-up, Drishyam 2, which has just dropped in Amazon Prime. In Malayalam with the same star cast, Mohanlal and others, the movie, I felt, has a lost a bit of its pulse-pounding excitement that was pretty much evident in the first part.

Also read: News of the World Review

Here Georgekutty (Mohanlal again) has risen up the ladder; he owns a theatre and drives a swanky car. He has started to drink, much to the annoyance of his wife, Rani (again played by Meena). But he soothes her by saying that when he is with friends from the cinema world, a bit of alcohol helps.

The man nurses an ambition. He has a story and script ready, and is on the lookout for a producer. The plot has been published in the form of a book, and later, this will turn the tide in his favour. The old case of Varun’s disappearance, with his body never being found — although audiences would remember that it was buried under the newly constructed police station, a place that the men in khaki would never dream of looking – is still the subject of local gossip, Georgekutty’s rising prosperity fuelling jealousy as well.

When a new police chief takes charge in Georgekutty’s town, the case against him is reopened, and the cat-and-mouse game begins with the teenager’s parents flying down from the US, where Asha Sarath and her husband had migrated to.

Georgekutty’s peaceful family life once again comes under scrutiny, with Anju having developed epilepsy following the traumatic police interrogation in part one of Drishyam. Her condition, pushed by new fear, worsens, but Georgekutty had taken a pledge that, come what may, he would protect his family.

Drishyam 2 narrates how he does this, though this part lacks a bit of the pulse-pounding excitement we saw in the first edition. There are a couple of situations that are somewhat hard to believe, and the courtroom scene is terribly dull.

While Mohanlal sparkles with his cunning outsmarting cops in ways they could never even dream of, the other actors really do not match up to him. In the end, it falls upon him to carry the film on his shoulder.

Drishyam may or may not have another part. Who knows! For, the work illustrates a common man’s middleclass dreams, aspirations and fears – which are universal. It is also about how he feels uncomfortable with the police. Little wonder, then, we root for Georgekutty, we forgive him for his misdeeds, because he is out to keep his family out of harm’s way. And for the world, the family is still precious. Is it not?

Rating: 3/5

(Gautaman Bhaskaran is a movie critic and author of a biography of Adoor Gopalakrishnan)

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

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Drishyam 2Director: Jeethu JosephCast: Mohanlal, Meena, Ansiba

’90 Day Fiancé’: Shaeeda Receives Upsetting News About Her Chances of Getting Pregnant (Exclusive) | Entertainment Tonight
































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FX’s Fargo has rounded out its casting for the highly anticipated fifth installment in the anthology series, according to a recent report from Deadline.

MORE: Game of Thrones Vet Indira Varma Joins Dune: The Sisterhood Series

David Rysdahl, Sam Spruell, Jessica Pohly, and Nick Gomez have all been cast in the fifth season, according to the report. They’ll join previously announced stars Juno Temple, Jon Hamm, Jennifer Jason Leigh, Joe Keery, Lamorne Morris, and Richa Moorjani in the series, making for yet another star-studded cast for this entry.

Rysdahl (Oppenheimer) will play Wayne Lyon, Spruell (The North Water) will play Ole Munch, Pohly (SMILF) will play Agent Meyer, and Gomez (She-Hulk: Attorney at Law) will play Agent Joaquin.

The latest installment in the Fargo series will once again stem from Noah Hawley and his company 26 Keys, who have been the creative team behind all four of the previous seasons. Unlike past entries, which have taken place in the distant past, the fifth season will take place in 2019. The logline for the show reads, “when is a kidnapping not a kidnapping, and what if your wife isn’t yours?”

MORE: The Beekeeper: Josh Hutcherson & More Join Jason Statham-Led Action Pic

The most recent season of Fargo, its fourth, was released in 2020 and starred Chris Rock, Jessie Buckley, Jason Schwartzman, and Ben Whishaw, among others. The series was once again a hit for FX, with Rock’s performance specifically being praised.

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FX’s Fargo has rounded out its casting

Bruno Mars announced today that he and Anderson .Paak, known by the duo name Silk Sonic, will not submit their album An Evening With Silk Sonic for Grammy Award consideration.

The album was expected to have been a top contender. Mars made his announced to Rolling Stone.

“We truly put our all on this record, but Silk Sonic would like to gracefully, humbly and most importantly, sexually, bow out of submitting our album this year,” Mars said. “We hope we can celebrate with everyone on a great year of music and partake in the party. Thank you for letting Silk Sonic thrive.”

Silk Sonic has already won four Grammys for one of the songs from the album – the single “Leave the Door Open,” which was released in April, 2021. That single was named Record of the Year, among other honors.

The album was released in November, 2021, and would have been eligible for awards at the 2023 ceremony.

Mars told Rolling Stone, “We’d be crazy to ask for anything more. Andy and I, and everyone that worked on this project, won the moment the world responded to ‘Leave The Door Open.’ Everything else was just icing on the cake. We thank the Grammys for allowing us to perform on their platform — not once but twice — and awarding us at last year’s ceremony.”

Other contenders for the 2023 Album of the Year are likely to include Kendrick Lamar, Adele, Harry Styles, Beyoncé and Taylor Swift.

The Grammy Awards will be held at Crypto.com Arena in Los Angeles on Feb. 5, 2023.

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Bruno Mars announced today that he and

It’s been seven years since Charlie Puth’s single “See You Again” thrust him into the pop spotlight. While the pandemic cratered the touring business, Puth, like almost all musicians and performers, turned to social media to stay in the public eye. He used TikTok to reach out to fans, replacing some of the energy that came from live shows. Not only did his more than 19 million followers get some of his thirst traps, but they also learned a handful of lessons about music theory. Now, the New Jersey-born singer is ready to bare all with his third album, “Charlie.”

How did Tik Tok transform your music career?

It made me very open-minded to showing the process. I used to have this mentality of “I need to go away for an extended period of time and work on my music alone and not show anybody and give away the secrets.” But now I can give every secret away. It actually makes the songs more vibrant.

Was your pivot to TikTok accidental or on purpose?

It started a little bit out of boredom, but it was a couple of things. Obviously, we didn’t have that as a result of the pandemic, so I had to perform for people digitally, and [that] meant making songs in front of them. When millions of people get excited hearing you make a song, it makes you want to finish that song and make it even better. It took the place of me being backstage.

Why did your knowledge of music theory become such a hallmark of your TikTok platform?

I’ve always been fascinated with making things that are perceived as mundane and wildly entertaining. I realized that people always have a yearning to learn, and I just want to be in front of that. I want to be the “cool teacher.” Maybe if I weren’t doing this for a living, I’d be a teacher.

Is there anything you’ve regretted sharing on TikTok?

No. My main goal on TikTok is to prove that everything is musical, and the way to convey that message is through comedy. I think I’ve proven that you can drop a bunch of spoons on the floor, and they make notes. People can burp and fart, and you can autotune that, and put it to a beat. 

With your other records, did you feel like you had to play the industry game?

Definitely. When I wrote “See You Again,” I wasn’t planning on being the artist. I had to figure out what it was like to be an artist while making an album simultaneously in front of millions of people. Now, I know exactly what kind of artist I am: the dorky, music-making, behind-the-scenes yet viciously in front-of-the-scenes singer-songwriter that loves music and lives and breathes it.

What is the overarching theme of “Charlie”?

I wouldn’t define it just as a breakup album. I define it as a self-reflective album of “how did I ever let myself get this low because of somebody” album.

Tell us about the process of making “Light Switch.” 

I just wanted to be theatrical in my music-making process and show that off because that’s who I am behind the scenes and nobody ever gets to see that. So, I just kept the camera rolling.

Do you feel more like a TikTok star or a pop star at this point?

I feel like the soundtrack writer to people’s lives. If I can make the song that plays in the background of someone who’s going through something very significant at that point in time, then I’ve done my job. So if people want to refer to me as a TikToker, great; if they want to refer to me as a musician, that’s also great. I just want music to be in the conversation, always. 

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It’s been seven years since Charlie Puth’s

NOW IN THEATERS! A gritty X-rated arthouse film from 1989 gets shined up like a big red apple with director/co-writer Wayne Wang’s director’s cut of Life is Cheap… But Toilet Paper is Expensive. Co-directed by star Spencer Nakasako, the movie uses documentary footage of Hong Kong street culture intercut with a gangster story written by Wang, Nakasako, and Amir Mokri. His bosses in New York send Yat Boon Jai (Nakasako) to Hong Kong with a suitcase handcuffed to his wrist. He arrives rocking cowboy gear as he fancies himself out in the last frontier of the Wild East. He is supposed to deliver the suitcase to the big boss of the Hong Kong organization (Wei Lo).

Instead of the boss, he meets a henchman (Chung Lam) who has just been chewed out over turning in his grandmother back when he was a red guard under Mao. When Yat refuses to hand over the suitcase to anyone but the boss himself, he is wished luck hunting him down. On his search, Yat runs into a wild variety of characters, like the flamboyant Uncle Cheng (Kwan-Min Cheng), a blind man (Victor Wong) selling fake Rolodex watches, and a professional duck killer (Wan Kin Cheng). It is this last eccentric personality who provides the eponymous quote. When Yat tracks down the boss, he is highly distracted by the engagement of his daughter (Bonnie Ngai) and puts off collecting the briefcase. In the meantime, Yat encounters the mysterious Money (Cora Miao), the boss’ girlfriend. She shares some secret information that could put Yat in danger as misfortune starts closing in.

“…shares some secret information that could put Yat in danger…”

While I didn’t see Life is Cheap… But Toilet Paper is Expensive during its original North American run in 1990, I clearly remember the controversy surrounding the rating. That was the year the X-rating reached its breaking point with a phalanx of arthouse features like The Cook, the Thief, His Wife, and Her Lover and Tie Me Up, Tie Me Down that were apparently too hard for an R rating but were not pornography. The need to distinguish between hard art and hot smut resulted in the transformation of the rating from X to NC-17 later that year with Henry & June. But this comedic crime thriller was ahead of its time as it rated itself A for Adult, bringing attention to the needed rating update.

So what the devil did Wang and Nakasako drop in that pushed it into X in the first place? They dropped a mighty good s**t. You cannot take a real s**t on camera and get an R… you just can’t. But it is very important to the symbolism the filmmakers are working with about economic structures’ effect on humanity, so the s**t stays in. Ironically, it is the animal abuse imagery that is the most controversial element so many decades later. Scenes of ducks being slaughtered and dogs on treadmills are sickening but once again symbolically potent and necessary.

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NOW IN THEATERS! A gritty X-rated arthouse

Convicts including murderers sent to fight for Russia in Ukraine have been officially pardoned of their crimes after being badly wounded on the frontlines. 

Stanislav Bogdanov, 35, who was a decade into a 23-year sentence for killing a magistrate when he agreed to go fight for the Wagner mercenary group, was filmed receiving his pardon after losing his right leg from the knee down. 

He was pardoned alongside Andrey Arteev, 35, a robber who also lost his leg, and Rustam Borovkov, 31, a hijacker who lost his right arm.

Meanwhile Russia confirmed five mobilised soldiers have been killed in Ukraine, the first known to have died after Putin began drafting men three weeks ago.  

Stanislav Bogdanov, 35 (circled left) is a convicted murderer who went to fight for Wagner in Ukraine and had his leg blown off, meaning he has been pardoned and can go free

The soldiers, who were not named, came from the city of Chelyabinsk near the border with Kazakhstan, local outlet 74.ru reported.

‘Unfortunately, the military commissariat confirmed the information about the death of five South Uralsmen,’ the local governor’s office said.

Meanwhile, Russian state media also published footage of four soldiers receiving pardons after being wounded.

Yevgeny Prigozhin, a man dubbed Putin’s chef because he provides catering to the Kremlin, has been offering prison inmates clemency in return for six months fighting with his Wagner mercenary group in Ukraine.

He has been filmed in prisons warning men that the only way out of his private army is to retire or in a coffin.

Bogdanov was one of those who signed up, having been convicted of beating magistrate Sergey Zhiganov to death in the city of Veliky Novgorod ten years ago while trying to steal bank cards.

Bogdanov (circled right) is pictured alongside Wagner chief Yevgeny Prigozhin (centre) and his fellow pardoned combatants

Bogdanov (circled right) is pictured alongside Wagner chief Yevgeny Prigozhin (centre) and his fellow pardoned combatants

Also pardoned were Andrey Arteev, 35 (front left), a robber who also lost his leg, and Rustam Borovkov, 31 (back right), a hijacker who lost his right arm.

Also pardoned were Andrey Arteev, 35 (front left), a robber who also lost his leg, and Rustam Borovkov, 31 (back right), a hijacker who lost his right arm.

He explained how he and his comrades had come under fire from a Ukrainian tank while trying to hold a position.

One of his fellow soldiers was shot by the tank, and the second shot mangled his leg, leaving him bleeding to death.

But other soldiers came to save him, he explained: ‘Thanks to the guys who pulled me out and didn’t leave me. They risked their lives to save mine. I am very grateful.

Explaining why he went to war, Bogdanov added: ‘I wanted to try and change my life. This only happens once in a lifetime.

‘Maybe I was created for something else, and not just to serve a sentence and spend the rest of my life there. The training was really hard.’ 

Another convict Andrey Arteev, 35, had been imprisoned for theft, robbery and extortion, and was near the start of a five year sentence.

He denied being ‘cannon fodder’ at the front but admitted he was wounded by an exploding mine.

‘My leg was torn off,’ he said. ‘I survived, that’s the most important thing.

Bogdanov

Vladimir Gutman

Stanislav Bogdanov (left) and Vladimir Gutman (right) agreed to exchange their prison sentences in return for six months on the frontlines in Ukraine

‘I am so grateful to those guys who reacted quickly, applied a tourniquet, gave me an anaesthetic injection and got me out.’

He, like Bogdanov, said he would have stayed with the Wagner group if not for his injury. ‘I found a family,’ he said.

An unseen official in a video from Prigozhin’s Ria Fan media outlet hands out pardons and military awards to the convicts.

‘You have earned this pardon with your blood and sweat – and your heroism,’ he said.

Pardoned, too, was Rustam Borovkov, 31, serving 13 years for robbery and hijacking, who lost his right arm.

All prisoners recruited as fighters who survive six months will be pardoned under the Putin scheme.

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Convicts including murderers sent to fight for

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Going through their ups and downs. Tom

In January 2021, it was announced that the Tony-award winning performer Sarah Jones was due to make her directorial debut with a documentary about and inspired by her off-Broadway one-woman show “Sell/Buy/Date,” in which she explored different characters’ relationships to the sex industry. The splashy announcement also included that Meryl Streep, Rashida Jones and Laverne Cox were set to serve as executive producers on the film. (Streep previously produced Jones’ Tony-winning production “Bridge & Tunnel.”)

Pretty big deal for a New York stage performer who got her start performing slam poetry at the Nuyorican Poets Cafe. But the star-studded announcement drew outrage online from vocal sex workers and advocates, and within a day, Cox had pulled out of the project (Rashida Jones would also later depart). So what do you do when your film gets cancelled for its ideology before it’s even been made? 

Sarah Jones went meta with it, turning the conflict into, well, the main conflict of the film adaptation of “Sell/Buy/Date,” which is a hybrid scripted comedy-documentary or “unorthodoc” as it’s billed. Though the film opens with mention of the outrage that said Jones “should be canceled as an outsider for telling stories that aren’t hers to tell,” this is not a film about Jones confronting any haters, but rather, meeting the criticism head-on.

Jones makes her interviews with current and former sex workers the meat of the story itself, as she sets off on a journey from New York to LA to Las Vegas in a heightened re-enactment of what she grapples with while trying to decide to make this movie — and more importantly, how to make this movie.

With Jones on the journey is the entourage of characters she plays. This includes Bella, a super-woke Gen Z white girl; Nereida, a Dominican woman with a sassy mouth; Lorraine, an aging Jewish bubbe; and Rashid, a Brooklyn cab driver. Jones also includes her mother Dr. Leslie Farrington in the film, because one of the emotional through-lines is the personal grief she’s working through regarding her sister Naomi’s death. 

A doc-comedy hybrid, a cast of five characters played by one actor, a dramatized trip, celebrity cameos (say hello to Ilana Glazer, Rosario Dawson and Bryan Cranston) and a piercing and personal exploration into whether the sex industry is empowering or exploitative? Jones almost bites off more than she can chew with this project, but somehow, it works. 

Even though the one-woman/five-character gambit feels theatrical and much more suited to the stage, the way that Jones inhabits each character’s voice and mannerisms — and distinguishes their points of view — actually helps to externalize the warring voices in her head. She’s not presenting herself as an objective arbiter of facts, collecting data to present a concrete answer of what’s right and wrong. Sarah is a human being with a personal stake in the sex-work debate: she’s a woman of color with a multi-racial lineage, a grieving sister, a person who wants to believe in the possibilities of the liberating power of sex work, and she brings that specificity of subjectivity to the work. The different characters help to give voice to all the conflict she feels about the topic, and allows us to watch her work through it. 

Though there are elements of “Sell/Buy/Date” that feel a bit contrived, and the style is serviceable at best, the charm of the film and its brilliance comes from watching Jones work out her complicated, complex, and conflicted thoughts about sex work and the sex industry over the course of the film’s run time. In a world where discourse is flattened into hyperbolic hot takes and Twitter-main-character dunk-a-thons, it’s a rare and, frankly, beautiful thing to watch the process of someone seeking answers, asking questions and listening to lived experience before coming to her own conclusions. 

In doing so, Jones gives voice to many different sides of the debate, represented by sex worker and advocate Lotus Lain, pole-dancing attorney Amy Bond, sex-work survivor Esperanza Fonseca, brothel owner and decriminalization advocate Alice Little, musician and IsMyGirl founder Evan Seinfeld and indigenous activists Jennifer Marley, Becki Jones and Terria Xo, who all present valid, informed and personal viewpoints on the issue, leaving it up to Sarah and the audience to form their own opinions. 

Jones has taken what was so “cancellable” about her in the first place — that she doesn’t have lived experience as a sex worker — and turned it into the text of the film herself, as she seeks out personal truths from those who have lived the life. That doesn’t mean that Jones shies away from presenting her own point of view, and in fact, when she finally does reveal her own story, and the conclusion at which she’s arrived after her journey, it lands even more powerfully. 

Jones sets out to find out if sex work is empowering, but what she discovers, and what we are reminded of over the course of “Sell/Buy/Date,” is that vulnerability and sharing your story, in whatever form that takes, is the most empowering way to be in the world. 

“Sell/Buy/Date” opens in US theaters Oct. 14 and on demand Nov. 1 via Cinedigm.

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In January 2021, it was announced that

Charles Yu’s “Interior Chinatown” is headed to the small screen as a 10-part series with the author acting as showrunner and executive producer alongside Taika Waititi, who will direct the pilot episode for Hulu.

“Silicon Valley” and “Crazy Rich Asians” actor Jimmy O. Yang is set to star.

Winner of the 2020 National Book Award for Fiction, “Interior Chinatown” tells the story of Willis Wu (Yang), an extra on a procedural cop show called “Black & White” who dreams of rising through the ranks to become a leading man. When he witnesses a crime, Willis begins to look deeper into a criminal web in Chinatown, uncovering secrets about the world and his family’s history in the process.

The Hulu drama from 20th Television will also be executive produced by Dan Lin, Lindsey Liberatore, and Elsie Choi for Rideback; Jeff Skoll and Miura Kite for Participant; and Garrett Basch for Dive.

Yang got his break in 2014 playing Jian Yang on HBO’s “Silicon Valley” and went on to appear in series like “Fresh Off The Boat” and “Space Force.” His recent credits include “Minions: The Rise of Gru,” Jo Koy’s “Easter Sunday,” and “Me Time” with Kevin Hart and Mark Wahlberg. Coming up for Yang are “The Silk Road Rally,” “Eighty for Brady” with Sally Field, Jane Fonda and Rita Moreno, and animated feature “The Monkey King.”

Academy Award-winner Waititi serves as writer and executive producer of Hulu’s “Reservation Dogs” and “What We Do in the Shadows.” The “Jojo Rabbit” and “Thor: Love and Thunder” writer-director has a number of projects in the works, including an untitled “Star Wars” film and soccer dramedy “Next Goal Wins.”

Yang is repped by Artists First, CAA and SRDA. Waititi is repped by CAA, Manage-ment, ID and Yorn, Levine, Barnes, Krintzman, Rubenstein, Kohner, Endlich & Gellman.

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Charles Yu’s “Interior Chinatown” is headed to

Paramount Pictures has announced that 80 for Brady, its upcoming film starring seven-time Super Bowl champion Tom Brady, Lily Tomlin, Jane Fonda and others, will open wide on February 3.

The film now is set to open against M. Night Shyamalan’s latest mystery-shrouded thriller Knock at the Cabin for Universal Pictures.

80 for Brady is inspired by the true story of four best friends and New England Patriots fans who take a life-changing trip to the 2017 Super Bowl LI to see their hero Brady play, and the chaos that ensues as they navigate the wilds of the biggest sporting event in the country. The pic’s starry ensemble also includes Rita Moreno, Sally Field, Sara Gilbert, Harry Hamlin, Glynn Turman, Bob Balaban, Ron Funches and Jimmy O. Yang.

Kyle Marvin, who co-wrote and starred in Sony Pictures Classics’ The Climb and more recently appeared in Apple TV+’s WeCrashed, is directing from a script by Emily Halpern & Sarah Haskins (Booksmart). Endeavor Content (The Lost Daughter, Cha Cha Real Smooth) developed the film with Brady and Academy Award winner Donna Gigliotti (Hidden Figures), with Paramount Pictures subsequently acquiring worldwide rights. Gigliotti and Endeavor Content are producing with Brady through his production company, 199 Productions, with Marvin and Covino exec producing under their Watch This Ready banner, alongside Jeff Stott.

Paramount most recently unveiled the horror hit Smile, marking the feature directorial debut of Parker Finn. Other upcoming titles from the studio include Damien Chazelle’s newest awards prospect Babylon (opening December 25), Dungeons & Dragons: Honor Among Thieves (March 3, 2023) and the latest film in its Scream franchise (March 31, 2023) with Spyglass Media Group.

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Paramount Pictures has announced that 80 for