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Tiffany Haddish (Frazer Harrison/Getty Images), Aries Spears (Ethan Miller/Getty Images)

Tiffany Haddish (Frazer Harrison/Getty Images), Aries Spears (Ethan Miller/Getty Images)
Image: The A.V. Club

A surprising story has come to a surprisingly quick end: The anonymous siblings who accused comedians Tiffany Haddish and Aries Spears of “intentional infliction of emotional distress, gross negligence, sexual battery, sexual harassment, and sexual abuse of a minor” in a lawsuit earlier this month over a comedy sketch with Spears and Haddish that the siblings filmed when they were children have dropped their complaint and filed for a dismissal with prejudice—meaning that the matter is fully resolved and cannot be refiled.

On top of that, one of the siblings (identified only as Jane Doe) released the following statement (via Deadline): “My family and i have known Tiffany Haddish for many years—and we now know that she would never harm me or my brother or help anyone else do anything that could harm us. We wish Tiffany the best and are glad that we can all put this behind us.”

While that statement doesn’t mention Spears, his status as a co-defendant in this suit means that any claims against him have also been dropped. Spears posted about the suit getting dropped on his Instagram, but Haddish hasn’t offered any kind of public statement since distancing herself from the sketch in question shortly after the accusations came out. Filmed in 2014, the sketch was called “Through A Pedophile’s Eyes” and involved Spears playing a pedophile character opposite Jane Doe’s brother—who was 7 years old at the time and reportedly called his mother, crying, after filming was finished. (We went over specific descriptions of what was in the sketch in a previous report, if you really want to know.)

With Spears’ post being the only statement we have to go off of, it’s unclear if there was any kind of settlement or what else might have prompted this turn of events. Deadline says that last week there were “whispers of some sort of agreement,” but that’s all.

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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Tiffany Haddish (Frazer Harrison/Getty Images), Aries Spears

It seems like just yesterday that the Film Independent Episodic Lab was but a glimmer in our eye. Well, perhaps not a glimmer. Perhaps more of a searing hole pressure-gunned straight through to our brains by the cathode glow of the TV screen and its nonstop, 24-hour chillout stream of hyper-compelling and creator-driven content. And here we are, six Lab cohorts later, watching in awe as the small screen continues to only grow as key destination for creative storytellers.

Where does an aspiring showrunner or ongoing series creator even begin? It can be a perplexing landscape, to say the least—with streamers exploding and collapsing at a dizzying pace, the native volatility of Hollywood multiplied by the high highs and low lows of the tech industry, to say nothing of the creative and logistical challenges of episodic series writing, pitching and producing.

Luckily, that’s where the Episodic Lab comes in, providing a structured, two-week virtual intensive program to help further the careers of Fellows by making introductions to industry veterans offering guidance on both craft and business, topped off by a closing networking and pitch event for studio and network execs.

The 2022 Film Independent Episodic Lab Fellows

2022 Episodic Lab Creative Advisors and Guest Speakers include Linda Yvette Chávez, Silka Luisa, Robbie Pickering, Rebecca Sonnenshine, Ligiah Villalobos, Patrick Magill, Stacy Rukeyser, Jessica Schulman, Marc Mounier, Eliza Wheeler, Elaine Chin, Sydney Lowe, Laura Garrison, Miura Kite, Ellen Shanman, Kelly Kulchak and Sheila Hanahan Taylor.

Supported by Founding Sponsor Netflix, each Fellow will be paired with a Netflix showrunner, to act as a personal Industry Advisor providing opportunity and advice for the duration of the Lab and beyond.

“We’re incredibly proud to partner with Film Independent on their signature program for emerging television writers,” says Peter Friedlander, VP of Scripted Series, U.S. and Canada at Netflix. “We look forward to supporting these talented eight writers over the coming weeks.”

This year’s Film Independent Episodic Lab projects are:

  • Title: Cloak & Data
  • Writer: Christopher Au
  • Alfred P. Sloan Foundation Fellowship Awardee
  • Logline: A straight-arrow software engineer is unwittingly thrust into the lucrative underground world of tech espionage, setting her on a dangerous collision course with elite hackers, law enforcement and the NSA.
  • Title: East Los Aliens
  • Writers: Miguel Orozco, Boris Rodriguez
  • Logline: After a spaceship crashes in East LA, a mixed-status Latino family rescues an alien and must find the courage to defy government officials and save the alien from an evil that could spell the end of humanity.
  • Title: Makeba
  • Writer: Terry Dawson
  • Logline: In 1959, Harry Belafonte discovers South African singer Miriam Makeba in a London nightclub and invites her to America with the promise to make her a huge star. He delivers and she becomes wildly popular throughout the 1960s. But when she becomes romantically involved with notorious political activist and Black Panther Stokely Carmichael, she finds herself blackballed from showbiz and exiled from her country.
  • Title: Murder Podcast
  • Writer: GG Hawkins
  • Logline: When a climate radio reporter is forced to investigate a cold case homicide in a rural town, obsessive podcast listeners—true crime junkies with a thirst for vengeance—threaten her aspirations for journalistic integrity. Murder Podcast is a horror dramedy series about our cultural fixation with true crime.
  • Title: Room 099
  • Writer: Sarah Mokh
  • MPAC, Hollywood Bureau Fellowship Awardee
  • Logline: In a secret basement prayer room, hidden from their peers and Ivy League Administration, a group of Muslim college students struggle to find their place on campus and in America.
  • Title: The Deed
  • Writer: Ben Gonzales, Erica Bardin
  • Logline: When a struggling entrepreneur receives an unexpected inheritance with unconscionable strings attached, he must comply to protect his family from sinister forces.

 

“We’re proud to support writers with such wit, talent, and dedication to authentic storytelling in this year’s Episodic Lab and to be able to nurture their artistic voices and careers in the program,” said Dea Vazquez, Associate Director of Fiction Programs.

This year’s Episodic Lab Fellows are:

 

Christopher Au (writer, Cloak & Data)

Christopher Au is a San Francisco-based filmmaker who spent nearly a decade working for some of the largest tech companies in Silicon Valley. He wrote and directed the comedy series Bulge Bracket on Amazon Prime, which was featured in Bloomberg, the Gotham Week Project Market (IFP) and SeriesFest. He won an Emmy as a producer with Fox Sports Net, and received the 2021 SFFILM Sloan Stories of Science screenwriting grant. He holds film and business degrees from Yale and NYU respectively.

 

Miguel Orozco (writer, East Los Aliens)

Miguel Orozco was born in East Los Angeles and moved to Utah as a teen. The culture shock led to his passion for writing stories about identity in marginalized communities. He was selected for NALIP’s Writers Lab for his feature Mixteco Kid, was a finalist for the 2022 Humanitas New Voices Fellowship, and a quarterfinalist for the Academy Nicholl Fellowship. Miguel started his career in Washington, DC as a Senate staffer and once wrote an “Obama Reggaetón” song that went viral. He co-founded an award-winning educational film company and the Animo Theatre, where he writes/produces plays to increase cultural awareness.

 

Boris Rodriguez (writer, East Los Aliens)

Boris Rodriguez is an internationally acclaimed filmmaker. He is the 2022 recipient of the TIFFCBC Films Screenwriter Award. Boris’s first film, Beso Nocturno, premiered at the Toronto International Film Festival’s Discovery Section and was later selected for a retrospective at the MoMA. Boris’ feature debut: Eddie the Sleepwalking Cannibal was selected for prominent festivals in 2012 including Tribeca and garnered several awards including the Méliès d’Argent for Best Feature. On the heels of Eddie’s success, Boris was selected into NBCUniversal’s Emerging Directors Program. Boris is currently developing his next feature, Zoila and Andy and the series East Los Aliens.

 

Terry Dawson (writer, Makeba)

Terry Dawson is a LA-based filmmaker. Most recently Terry was Film Independent’s Project Involve 2021 Writing and Directing Fellow, where he developed and filmed his narrative short The Mason Ring, which won the 2022 Warner Brothers-Discovery, Best Short Film Award at Martha’s Vineyard African-American Film Festival. Prior to this, Terry made his directorial debut with an award-winning web series comedy he created, A Whole New Irving, which landed in development at HBO. With roots in documentary film, Terry worked as an editor and producer on titles including Kiss The Ground on Netflix and The Lost City of the Monkey God (Discovery+).

 

GG Hawkins (writer, Murder Podcast)

GG Hawkins is a writer, director and audiophile. She makes female-centric dark comedies with a horror twist. She co-hosts the No Film School podcast, wrote and directed an episode of iHeart’s upcoming series You Feeling This and helped launch Chompers, the Cannes Lion award-winning kids’ toothbrushing podcast. Her web series Kinda Flakey won the 2021 Channie Award for Best Directing, and her short An Aspirational Space received the Robert De Niro Award Scholarship at the Feirstein School of Cinema. GG’s pilot, Murder Podcast, was selected for the HerArts Lab and was a semifinalist for the Nantucket Film Festival’s Screenplay Competition.

 

Sarah Mokh (writer, Room 099)

Sarah Mokh is a screenwriter born in Lebanon and raised in the Detroit metro area. A graduate of Harvard College—where she studied Islamic Civilization and English—Sarah is currently in development on projects with several different production companies and producing her first short film, while completing her graduate studies at NYU. Her screenplays have placed in Academy Nicholl Fellowship, Page, Atlanta Film Festival and ScreenCraft. She is interested in comedy, tragedy and the search for meaning in her storytelling.

 

Ben Gonzales (writer, The Deed)

Ben Gonzales’s avenue into writing has been through comedy, starting with sketch and character. He wrote and performed in the CBS Diversity Showcase and you’ll be able to hear him on the Netflix animated show Spirit Rangers, proudly representing Purepechans in an all-Native cast. He developed the pilot Sheperds, which won the audience award at SeriesFest and premiered at Dances With Films. A good afternoon for Ben would be reading about Stan Winston’s puppeteering process in The Thing or taking a trip to Burbank’s Slashback Video, which houses ‘80s horror nostalgia via a vintage VHS library.

 

Erica Bardin (writer, The Deed)

Erica Bardin started her storytelling pursuits in nonfiction, earning her Masters in Journalism at the University of Southern California. She quickly transitioned to screenwriting after producing her own satirical web series, about a frustrated sports reporter. She has written for Hasbro’s Equestria Girls as well as written and produced for Comedy Central. She was a fellow in The Black List/Women in Film Episodic Lab for her pilot Sheperds, which went on to win the Audience Award at SeriesFest and premiere at Dances with Films.

 

Through the Lab, this year’s Alfred P. Sloan Foundation Grant is going to Christopher Au’s Cloak and Data. Au will receive a $20,000 grant from the Alfred P. Sloan Foundation to support the development of his pilot, given to outstanding writers whose screenplays integrate science or technology themes and characters into dramatic stories—part of the Sloan Foundation’s nationwide film program to advance public understanding of science and technology.

“I appreciate the Alfred P. Sloan Foundation’s support for this story, which seeks to underscore the importance of information security in our increasingly digital world,” says an “honored and thrilled” Au.

But that’s not all! Film Independent’s MPAC Hollywood Bureau Writing Fellowship Grant is being given to Episodic Lab Fellow Sarah Mokh, who will receive a $10,000 grant from the MPAC Hollywood Bureau for her pilot, Room 099. The MPAC Hollywood Bureau works in the entertainment industry to elevate stories by and about Muslims.

For more information on the Episodic Lab and the projects supported through the program, please contact Angela Lee, Director of Artist Development, at alee@filmindependent.org. Additional information and an application form can be found at filmindependent.org.

Film Independent promotes unique independent voices, providing a wide variety of resources to help filmmakers create and advance new work. Become a Member of Film Independent here.

Film Independent promotes unique independent voices by helping filmmakers create and advance new work. To become a Member of Film Independent, just click here. To support us with a donation, click here. Your donation–and impact–will be doubled through our Board Members and Friends Matching Challenge, available through September 29.

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One of Vancouver’s most popular Halloween attractions will be out of action for a third consecutive year.

The City of Vancouver says the Stanley Park Ghost Train, a spooky, holiday-themed version of the park’s miniature railroad, has been cancelled for 2022 due to “mechanical issues affecting the antique engines and passenger cars.”

Read more:

Stanley Park’s ‘Girl in Wetsuit’ statue turns 50

“Safety is the number one priority for the Park Board and the trains did not pass a recent inspection by Technical Safety BC,” the city said in a notice on its website.

The city said the engines, some of which are more than 60 years old, need hard-to-get parts and highly-specialized service from mechanics who are in short supply.

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Click to play video: 'Coyote concern cancels Stanley Park Ghost Train'







Coyote concern cancels Stanley Park Ghost Train


Coyote concern cancels Stanley Park Ghost Train – Sep 13, 2021

“By announcing the event cancellation now, we hope to ensure all impacted partners and vendors associated with the Ghost Train are given ample time to make alternate plans,” the city added.

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“We are working diligently to resolve the mechanical issues before the popular winter holiday event, Bright Nights.”

Read more:

Stanley Park trail closures in effect to head off conflict with denning coyotes

The city said it is also working with SFU’s School of Sustainable Energy on long-term solutions, including possible electric trains.

The train was cancelled in 2020 due to safety concerns amid the COVID-19 pandemic, and again in 2021 due to evening closures in the park related to aggressive coyotes.

© 2022 Global News, a division of Corus Entertainment Inc.

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One of Vancouver’s most popular Halloween attractions

House of the Dragon Episode 5 is bittersweet.  The dynamic of the show is different now.  On top of story developments within this episode, a change in cast is on the way.  Milly Alcock and Emily Carry are now done as Rhaenyra and Alicent.  Does this final episode send them off on a high note?  Undoubtedly, the answer is a resounding yes!

The Green Wedding

House of the Dragon Episode 5

Courtesy of HBO

All the events that have been set up in the past few episodes have reached a climactic explosion.  From the affair between Rhaenyra and Corris, and Daemon, the kings faltering health, and Otto’s departure, it all comes together in a wedding.  Most fans of Game of Thrones are well aware of how weddings tend to end disastrously.  The Red Wedding saw the downfall of Robb Stark and the army of the North.  The Purple Wedding saw the unexpected murder of Joffrey and framing of Tyrion.  Both of these involved Lannisters in some capacity.

In an ironic case, the first guest seen arrive at the marriage of Rhaenyra and Laenor are the Lannisters.  While they play no major part in the events to come, it’s a clever bit of foreshadowing that this wedding will not end well.  And end well it doesn’t.

The first major notice that something will go wrong is Alicent’s arrival.  Earlier in the episode, she discovers that Rhaenyra has lied to her to some extent.  While Corris confesses to sleeping with her, she still remains unaware that Rhaenyra had exploits with Daemon.  Still, it’s enough to convince her that her father’s words were right, and Rhaenyra wouldn’t make a worthy queen.  She arrives at the wedding late in a green dress, a color used by the Hightower’s to rally men for war.

House of the Dragon Episode 5 Continues the Westeros Tradition of Deadly Weddings

House of the Dragon Episode 5

Courtesy of HBO

The wedding progresses after her dramatic entrance.  Gossip soon spreads, and Laenor’s lover, fittingly named Joffrey, calls out Corris for his affair with Rhaenyra.  Heartbreak now defines him, as Rhaenyra rejects his romantic advances.  His anger having built up, the wedding goes disastrous when Corris snaps.  In the middle of the crowd, a brutal fight occurs as Corris beats Joffrey to death.  The wedding is cut short and ends in a sullen affair, with Viserys’ sickness catching up to him.  The episode ends as he collapses to the ground, and the camera pans down to a pool of his blood.  In the meantime, Alicent stops Corris from killing himself, likely seeking to turn him into an ally against her former friend.

The Princess and the Queen

Like with all performances in the show, Milly Alcock and Emily Carry give it their all in their final performance.  Alicent’s transformation from passive force, to queen with authority in this episode is excellent.  The subtle ways in which Carry displays this, from her tone of voice, to facial expression, shows that she is no longer a tool for her father.  Rather, she is her own woman who has learned to use her social prowess to turn others on Rhaenyra.  Alcock’s performance is stellar of course.  The conversation she has with Daemon displays her full ambition, and hints at the potential madness within her.  Of course, there is always a chance to see these two again, but for their last major role, they have shown themselves to be stellar at their craft.

Final Thoughts

House of the Dragon Episode 5 is bittersweet, both in the context of the episode itself, and the circumstances surrounding it.  On one hand, it’s great to see the familiar tropes of Game of Thrones go in a new direction.  On the other hand, it’s sad to see the relationship of two dear friends fall apart due to this game of politics.  While Alcock and Carry are stellar actresses who’ve helped craft amazing characters, it is sad to see them depart after just a few episodes.  Still, amazing things have come from House of the Dragon, and amazing things will continue to come.

To view reviews for the other episodes, click here. 1. 2. 3. 4.

Check out the show on HBO Max!

House of the Dragon Episode 5 is bittersweet. 

Salesforce has detailed what it describes as the “biggest innovation” to come to its CRM and sales enablement platform in the last two decades.

The new addition, Salesforce Genie, is a service designed to unify customer data that is typically siloed in different channels and applications into a single multi-use profile.

At Dreamforce 2022, Salesforce explained the objective is to help customers enable a personalized experience for their clients, informed by the most complete and up-to-date set of information on previous interactions.

(Image credit: Salesforce)

Salesforce Genie

Historically, businesses have struggled to harness the full potential of their customer data as a consequence of their complex and disorganized IT estates, which leave data stranded in isolated pockets.

According to Salesforce, the average businesses leans on almost 1,000 distinct applications to sustain their operations, “which fragments customer data and digital experiences”.

Salesforce Genie works to resolve this problem by ingesting and “harmonizing” the various disparate sources of data, creating a comprehensive customer graph that can be used to inform sales efforts and personalize the customer experience.

The company’s other software properties stand to benefit too, although the details are a little vague for now. Genie for Tableau will supposedly enable automated workflows based on customer data, MuleSoft users will be able to “build connected, intelligent experiences” and Slack Genie will help bring “AI-driven insights into the flow of work”.

Salesforce also expects Genie to enhance its existing Einstein AI and Flow automation facilities, which will be fed on a more well-rounded set of data. Specifically, the former is expected to generate more accurate and well-tailored predictions to help steer decision making and the latter will benefit from a new level of dynamism made possible by the centralized source of real-time data.

 “We’ve completely reimagined our CRM from the ground up to enable applications that simply weren’t possible before,” said Bret Taylor, Salesforce co-CEO, during the opening keynote.

“With Genie, we’ve added a foundational new feature: a real-time hyperscale data platform. It’s all about the data; you can inject real-time and historical data to create a single source of truth. This changes the game for CRM.”

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Salesforce has detailed what it describes as


Editor’s note: Deadline presents the 32nd episode of its video series Take Two (formerly known as Two Shot), in which Pete Hammond and Todd McCarthy tackle the artistry of films. Each has reviewed and written about the craft for decades and built a remarkable breadth of knowledge of films past and present. What we hoped for when we asked them to do this was a concise, mature and thoughtful conversation comparable to what we saw from Roger Ebert and Gene Siskel.

This week we continue downloading our reactions to what we saw at the Venice, Telluride and Toronto film festivals and how we think this new batch of adult-oriented movies will impact the 2022 film year — including awards prospects and whether they live up to the hype.

Take Two: Remembering Jean-Luc Godard; Venice, Toronto & Telluride Reactions, Part I

Last week we discussed some of them including personal movies from the likes of Steven Spielberg, Sam Mendes, Alejandro G. Iñárritu and others that already are setting a mini-theme for this fall’s crop. Now we get into a whole bunch more, picking out the best of the bunch and maybe some of those that just don’t measure up. To watch our conversation, click on the video above.

Hammond has been Deadline’s Awards Columnist for the past decade, covering what now seemingly is the year-round Oscar and Emmy seasons. He is also Deadline’s Chief Film Critic, having previously reviewed films for MovieLine, Boxoffice magazine, Backstage, Hollywood.com and Maxim, as well as Leonard Maltin’s Movie Guide, for which he was a contributing editor. In addition to writing, Hammond also hosts KCET Cinema Series and the station’s weekly series Must See Movies.

McCarthy is a veteran trade publication film critic, columnist and reporter who has also written several acclaimed books and documentary films. He served two stints on the staffs of Variety and The Hollywood Reporter and extensively covered film festivals internationally for both publications. His film Visions of Light: The Art of Cinematography won the best documentary prizes from the New York Film Critics and National Society of Film Critics associations, and he won an Emmy for writing the documentary Preston Sturges: The Rise and Fall of an American Dreamer. He also directed the documentaries Man of Cinema: Pierre Rissient and Forever Hollywood.



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Editor’s note: Deadline presents the 32nd episode

Move over Calvin Harris, it’s Alex Crossan’s shot at a breezy, good vibes record with high-flying collaborators paging in from around the globe. Whereas the precocious British producer’s 2017 debut as Mura Masa was a tropical-sounding homage to the London underground, and his 2020 follow-up was a collection of scruffy guitar anthems that proclaimed his generation’s disaffectedness, his third album, demon time, skips out on a big concept. Dejected during lockdown, the 26-year-old Crossan made some contemplative, inward-looking songs that he wasn’t quite happy with. Then a 2000s UK garage hit steered him toward revelation: “I started remembering what it felt like to be excited about music where the essence of it is just [having] a good time, that doesn’t have to say something remarkable about the human condition.”

So drink up and let loose. Guests like the Jamaican dancehall artist Skillibeng, Japanese rapper Tohji, and reggaeton princess Isabella Lovestory convene for an album that strives to be flirty and feral; as Crossan explains in an interview, “I wanted to soundtrack the weird 1 a.m. to 5 a.m. time when you’re up to no good.” Contributing to the irreverence, titles are written in textspeak; pre-touchscreen cell phones bleep at the beginning of songs, like you just got a “heyyy” from your homegirl.“Go demon! Go demon!” newcomer BAYLI chants over dribbling, 2000s pop-rap production on the title track, as if she’s egging her friends to get a little nasty at the block party. It’s proof of how delightful the project is when it really commits to unseriousness. “I know I’ve been a really bad girl/I’m just trying to birth a King like Coretta,” BAYLI raps with a smirk.

demon time’s main offerings are fizzy, lowkey numbers about romantic misalignment. PinkPantheress, Shygirl, and Lil Uzi Vert trade off duties on “bbycakes,” a pastel-hued song with steel drums and a subtle drill beat, inspired by the 3 of a Kind smash that shook Crossan out of his creative slump. It’s cute, if a bit inert—and the same goes for the minimal reggaeton track “tonto,” featuring Isabella Lovestory. The silky UK garage of “e-motions” fares much better, with Erika de Casier accusing a love interest of carelessness over digital harp and funky turntable scratches. “I crossed the ocean/You wouldn’t even jump puddles for me,” she sings—and while there’s turbulence in the lyrics, the track sails along oh-so smoothly.

demon time hits a low at “2gether,” a too-moody guitar anthem about love troubles that includes chiptuned vocal snippets and a wobbly, unnecessary EDM breakdown. It’s like having your mood killed at the club by the presence of Mr. Polo Shirt. The songs surrounding it are not as heavy-handed, but still tonally off: “slomo”’s future bass production and Auto-Tuned murmuring makes it two steps away from a Jane Remover song. “up all week” sounds like a pump-up anthem for the gay club—but instead of Cakes da Killa or Azealia Banks, there’s slowthai delivering social critique. “Brain like mush, always staring at screens/They’re selling us dreams/Mouse with some cheese,” he shouts, a dial tone sounding as if signaling a conversational dead-end.

Mura Masa is best when he sticks to the script and cranks up the heat. Pa Salieu and Skillibeng are a great pairing on the squeaky, horned-up collaboration “blessing me,” but by far the standout on the album is the house and R&B-inflected “hollaback bitch,” on which Shygirl refuses to be at someone else’s beck and call. “Backyard bully in bed/Don’t give a fuck about giving no head/Take what comes ‘til a rudeboy dead,” she raps cooly—and surprisingly, the lyrics weren’t written by the master of smut herself but the more PC-presenting Crossan. After the snap of a whip, a saxophone melody wafts in as if you’ve opened the window to a live band and a courtyard of people swaying their hips. The song swelters like the last days of summer, glorious enough to shake the next young producer out of creative torpor.

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Move over Calvin Harris, it’s Alex Crossan’s

Last Updated: September 20, 2022, 22:02 IST

RRR and Sonam Kapoor-Anand Ahuja were among the top newsmakers of the day. (Photos: Instagram)

From India’s official entry to Oscars 2023 to Sonam Kapoor and Anand Ahuja revealing their son’s name; here are the top headlines of the day.

While everyone was hoping for SS Rajamouli’s RRR to be India’s official entry at the 95th Academy Awards, it has now been announced that the Gujarati film Chhello Show has been chosen as India’s submission to the Oscars this year for the Best International Feature Film category. Chhello Show (The Last Show) is directed by Pan Nalin and stars Bhavin Rabari, Bhavesh Shrimali, Richa Meena, Dipen Raval and Paresh Mehta in key roles. It will be released in theatres on October 14 this year.

ALSO READ: Not SS Rajamouli’s RRR But Gujarati Film Chhello Show Is India’s Official Entry For Oscars 2023

Sonam Kapoor and Anand Ahuja have announced that they have named their baby boy ‘Vayu’. On Tuesday, the couple took to their respective Instagram handles and dropped a love-filled picture in which they can be seen posing in yellow. In the click, Sonam can be seen looking adorably at her son as Anand holds him in his arms. In the caption, Sonam mentioned that their little munchkin has been named ‘Vayu’. The couple was blessed with a baby boy on August 20.

ALSO READ: Sonam Kapoor and Anand Ahuja Name Their Little Boy ‘Vayu’ and There’s a Reason Behind It

Ranbir Kapoor and Alia Bhatt starrer Brahmastra-Part One has left all with one big question – who will play the role of Amrita and Dev in the second instalment of the movie? While several reports speculate that Deepika Padukone and Ranveer Singh are likely to come on-board for Brahmastra 2, Alia has now shared that she too wishes to see Deepika as Amrita in the film. “Deepika (Padukone) for sure for Amrita! She is gorgeous and stunning. She has that amazing stature,” she told India Today.

ALSO READ: Alia Bhatt Feels Deepika Padukone Would Be Perfect As Amrita in Brahmastra Part 2; Here’s Why

Priyanka Chopra and Daughter Malti Admire New York Skyline On Their ‘First Trip’ To The Big Apple
Taking some time off from their busy work schedule, Karan Kundrra and Tejasswi Prakash are currently enjoying some special moments in Goa. Recently, Karan took to his Instagram handle and dropped a video with his ladylove sharing a glimpse of their scenic breakfast date in Goa. In the first video, Karan and Tejasswi said ‘hi’ to their fans in the most adorable way. The Naagin 6 actress was also heard singing in the background. In another video, Tejasswi was seen making goofy faces as Karan recorded a video.

ALSO READ: Karan Kundrra and Tejasswi Prakash Are All Smiles As They Enjoy Breakfast With a View In Goa; Watch

Read all the Latest Movies News and Breaking News here

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Last Updated: September 20, 2022, 22:02 ISTRRR

TORONTO (September 15, 2022) — Remi Adeleke (The Plane, The Terminal List, Ambulance, and FOX’s newly announced Special Forces: The Ultimate Test), writer/actor/director, and producer Alan Siegel of G-BASE announce Adeleke’s feature cinematic directorial debut with the action/thriller, Unexpected Redemption, which is based off of Adeleke’s human trafficking and organ harvesting short film, The Unexpected, which Adeleke wrote/directed and produced.

Set for a September 30, 2022 release and based on true events and through the lens of its two victims, the short, The Unexpected unearths an elaborate international human-trafficking/organ harvesting ring and its link to terrorism.

The feature length film, Unexpected Redemption, picks up five years from where the short left off and delves deeper into the dark and treacherous world of human trafficking, specifically focusing on the rarely talked about world of organ harvesting. The short film has received rave reviews and wide interest within the industry and film festival circuit, which played a huge role in G-BASE coming on board along with other entities that cannot yet be mentioned.

Unexpected Redemption makes its TIFF world market premiere in Toronto. Alan Siegel and G-BASE will be producing and Adeleke will be directing the film which he wrote himself.
“After working with Remi on The Plane and observing his talents first-hand, we’re so excited to be working with him.” Said Siegel.
“Human Trafficking is the fastest growing illegal enterprise in the world, and organ harvesting is one of the ugliest forms and least reported on. There are more people enslaved around the world today than any other time in human history. And, as a descendent of slaves on my mother’s side, I felt it would be a travesty for me to not use my background and real-world experiences to expose this evil.” Said Adeleke.

In Unexpected Redemption, loyalties are tested when Rudy Rivera, a former special forces operator and current GRS-CIA operative is called to fulfill the last wishes of his estranged brother, Diego who has spent the last seven years organ trafficking around the world. Rudy will embark on a journey with two former GRS operatives/human trafficking NGOs to take down one of the largest international organ-harvesting rings that has ever existed.

Adeleke’s path towards directing began as a military consultant on multiple big budget films with Michael Bay, as well as the upcoming Netflix film, Here Comes The Flood by Simon Kinberg. He’s also consulted on military related commercials and television shows such as Invasion for Apple TV and FOX’s upcoming newly announced Special Forces: The Ultimate Test which features luminaries from all-star professional athletes to Reality-TV stars and

Courtesy of Lon Haber & Co

“Additionally, the success of the short film led to Tenderfoot TV sourcing the IP for a nonfiction podcast series titled “The Unexpected Podcast.” They are also developing a fiction podcast with Adeleke centered around organ harvesting titled “B1 Butcher.” Based on true events, the series is in partnership with John Dryden and Brett Neichin of Lights Out. “It’s been a great experience to work with Remi to develop content with a larger purpose in mind,” says Donald Albright, Co-Founder and President of Tenderfoot TV. “He is diving into a plethora of important topics from sex trafficking and organ harvesting to forced labor, all of which are more relevant than ever in today’s landscape.” Both shows are set for release in 2023 and will be available on all podcast platforms.
Adeleke is also a celebrated author known for his best-selling memoir “Transformed: A Navy SEAL’s Unlikely Journey from the Throne of Africa, to the Streets of the Bronx, to Defying All Odds,” and the upcoming, recently announced “Chameleon” book series with Harper Collins William Murrow.

More information on Unexpected Redemption, including casting, production and more will be forthcoming.

TORONTO (September 15, 2022) -- Remi Adeleke

On September 4th, local filmmakers and creatives packed into Role Call Theater at Ponce City Market in Atlanta, GA, to watch award-winning films and table reads of new screenplays. The 2022 Summer in the South Film Festival is part of the Cinema Life Film Festival Collective, which also includes Atlanta Comedy Film Festival, Atlanta Women’s Film Festival, Georgia Shorts Film Festival, Women’s Comedy Film Festival, and Southern Horror Film Festival. This film festival collective is geared toward the independent filmmaker and the website also serves as a hub for hopeful filmmakers to seek guidance on how to submit a project to a film festival.

Each of the films had a specific award category for which it was nominated. Over the course of the festival, the audience enjoyed award-winning short films, two table reads, filmmaker Q&A sessions, and an award ceremony, and creatives had the opportunity to network with one another.

Awards and Nominations

Title indicates category winner

Best Drama Film

11

Parallels

Sons of Toledo

Uncommon Negotiator

Best Comedy Film

Big Johnny: Film Critic

Earth to Zippy!

Hibachi Man

I Got a Thing for Blondes

The New Princess

Best Dark Comedy Film

Flood My Basement

Sproutland

Best Georgia Film

Aww, Shit!

Bright Morning Stars: The Johnsons of Hemphill

Care

Marsh Clouds: The Oysters of Harris Neck

Who Sits Beside Us In The Bath

Best Director

Parallels

Remembering Momma

Sons of Toledo

Sproutland

Tell Me

Best Cinematography

Aww, Shit!

Got Your Back

Push

Reverie

The Lady Edison

Best Editor

11

Sons of Toledo

Sproutland

Uncommon Negotiator

Best Drama Screenplay

Sweetwater Road

The Burden of Light

Best Comedy Screenplay

Crispy

Dial It Back

Getting Her

Courtesy of Cinema Life Film Festival Collective

Worldwide Award-Winning Short Films

Many of the award-winning short films and screenplays that were featured at the film festival have earned awards worldwide; Tell Me, directed by Marquelle Young through Small Onion Studios, has been officially selected for the 12th Annual Charlotte Black Film Festival, 2022 International Black & Diversity Film Festival, 2022 Atlanta ShortsFest, and 2022 NC Black Film Festival in addition to receiving the award for Best Director at Summer in the South Film Festival.

The winner for Best Georgia Film, Care, directed by Evan Enslow and Erin Anne MacDonald, was a Semi-Finalist in the 2022 Big Apple Film Festival and Screenplay Competition, received a Silver Remi Award at the 55th Annual Worldfest-Houston International Film Festival, and an Indie Spirit Award at the Idyllwild International Festival of Cinema 2022.

We also wrote a film review of a screening from the Melbourne International Film Festival, which you can read about here.

About Cinema Life Film Festival Collective:

Cinema Life was founded by CEO, Caroline King, with the mission to connect independent filmmakers, provide education and resources and provide platforms to showcase their work all while reducing the barrier to entry into the world of film festivals.

On September 4th, local filmmakers and creatives

Star Wars needs no introduction.  As one of the biggest and longest media franchises of all time, it’s fair to expect that the quality will vary across the many movies and films.  Thus, Time Warner has taken it upon itself to present its ranking for these individual entries.  Given the many different opinions shared, each project was ranked from 1 to 10 by various members.  This was then averaged out to give a ranking that forgoes as much personal bias as possible.  With that said, this is the Time Warner Ranking of the 18 movies and shows in the Star Wars franchise.

18). Star Wars : Resistance – 4.5/10

Resistance

Courtesy of Lucasfilm/Disney

Easily the most forgotten project under Disney’s tenure with the franchise.  This show takes place within the sequel era of Star Wars, and that’s really all that could be said of this show.  While it could have done a lot to flesh out the world of the sequels, much like The Clone Wars did for the prequels, this show instead focuses on simple stories, characters, and action that ranks among the most inconsequential additions to Star Wars.  So inconsequential in fact, the show was cancelled after only 2 seasons.

 

 

17). Star Wars : Attack of the Clones – 5/10

Attack of the Clones

Courtesy of Lucasfilm/Disney

Episode 2 is not without merit, but this film has more problems than strengths.  On top of a rather confusing narrative, the acting and dialogue is easily the worst in the series.  The ‘iconic’ romance between Anakin and Padme easily being the most cringe-inducing part of the film (which at least provided excellent meme material).   Even the action, something the other prequel films excelled at, is rather dull.  While duel-wielding Anakin is cool, the duel with Dooku is otherwise obscure, with poor choreography and an unremarkable setting.  Still, the soundtrack is great, and certain scenes like Anakin on the speeder, Yoda VS. Dooku, and the Battle of Geonosis provide some entertainment value.

16). Star Wars : The Rise of Skywalker – 5.5/10

The Rise of Skywalker

Courtesy of Lucasfilm/Disney

Of all the Star Wars films, everything seemed to go against the finale of the Skywalker Saga.  The death of Carrie Fischer, change in directors and writers, as well as the controversial reception of Episode 8 gave this film a near impossible task.  Unfortunately, the results left a lot to be desired.  Plot points like Palpatine’s resurrection and motives are confusing at best, and characters outside of Rey and Kylo aren’t interesting.  Even the soundtrack isn’t remarkable, as it primarily reuses many old pieces from movies past.  Once again, there are strong moments, such as the action, and hearing the voices of Jedi from throughout the series.  Carrie Fischer’s inclusion, while at times disjointed, is commendable.  Overall, it’s easily the weakest of the sequel trilogy, and a disappointing end to the Skywalker Saga.

15). Star Wars : The Phantom Menace – 5.75/10

The Phantom Menace

Courtesy of Lucasfilm/Disney

From a disappointing end, to a disappointing beginning(technically), Episode 1’s strengths and weaknesses have only become more pronounced as the years have gone on.  To this day, it still has one of the best lightsaber duels, with Qui-gon and Obi-wan against Darth Maul.  The various unique worlds and life-forms, while distracting today, still have fascinating designs.  In addition, the look into the various cultures of the galaxy provided for great scenes and plot lines for the series to later explore.  Still, its flaws are quite prominent.  While the Jedi are supposed to not rely on emotion, the wooden acting is quite distracting.  Jar Jar Binks and Midichlorians, well, the less that’s said, the better.

14). Star Wars : The Bad Batch – 6/10

The Bad Batch

Courtesy of Lucasfilm/Disney

It’s almost unfair to have The Bad Batch on this list, given it’s only had one season.  Still, that doesn’t mean it can’t be critiqued, and points of strength and weakness can be addressed for future seasons.  The start and end of the season are strong, and it feels like an excellent transition from the prequel era to the original era.  All of the characters have distinct personalities, but this doesn’t make them one dimensional.  The animation is fantastic, with some environments looking strangely realistic.  Still, the middle section of this season often meanders, and can be quite repetitive.  In many ways, it’s like the first two seasons of The Clone Wars, not bad, but clearly trying to find its footing.

 

13/12). Star Wars : The Last Jedi – 6.25/10

The Last Jedi

Courtesy of Lucasfilm/Disney

Divisive doesn’t even begin to describe the reception to Episode 8.  Even to this day, Rian Johnson’s addition to the sequel trilogy still sees debates, and even heated arguments of the films quality.

The Last Jedi is really a film of very high highs, but incredibly low lows.  The cinematography, acting, and soundtrack is simply amazing.  Kylo Ren’s arc in the film is easily the best part of the film, and his journey out of the shadow of Darth Vader and into his own man was one of the most appealing aspects of this film.  In addition, the way the Force was expanded upon was simply fascinating.  This was the first film since Episode 5 which really made it feel like the Force was something that only had a surface level understanding of.

On the other hand, the story and characterization can be strangely convoluted.  Finn’s arc as a former storm trooper is practically forgotten and the Canto Bite subplot adds very little outside of basic socio-political commentary.  The First Order chase and Holdo’s plan is easily the worst aspect.  This partly comes from giving Poe a strange arc, where neither he or Holdo are entirely right or wrong.  Luke’s characterization is incredibly divisive.  While the redemption arc is well written, what makes or breaks it is the moment he contemplates killing Ben in his sleep.  To some, this flies completely in the face of his arc in the original trilogy.  For others, it’s in character for someone who displayed impulsive behavior during said trilogy.

While most critics and supporters describe it as a subversive masterpiece, most fans and audiences see it as pretentious and mean-spirited.  But, like with most extremes, the reality of this film’s quality is really that of a mixed bag.

13/12). Star Wars : Rebels – 6.25/10

Rebels

Courtesy of Lucasfilm/Disney

Much like The Last Jedi, the sequel series to The Clone Wars is a show of high highs, and low lows.  Rebels has some of the most fascinating concepts in Star Wars,  such as the Veil of the Force.  Emotional episodes such as Twilight of the Apprentice show one of the most emotional confrontations with Ahsoka and Vader.  Thrawn, a popular character from the Legends continuity, is re-canonized in this show, bringing back one of the most unique Star Wars villains.

Like The Clone Wars, the first two seasons are mostly unremarkable.  Unlike that show, however, Rebels lasts only 4 seasons.  In addition, Rebels takes much longer to really get going and make the most of its ideas and concepts.  Still, seeing what life under the Empire is like, and following up on some of The Clone Wars bests elements, make this worth checking out.

11/10/9). Star Wars : The Book of Boba Fett – 6.75/10

Book of Boba Fett

Courtesy of Lucasfilm/Disney

The Book of Boba Fett is a strange case, much like its titular character.  Despite being a popular character, not much was known about Boba Fett.  The Prequels and Clone Wars gave audiences his origin. Still, most of this fierce bounty hunter’s life is shrouded in mystery.  When seeing him again in The Mandalorian, many wondered how he escaped the Sarlac Pitt and what he’d been up to since then.

Unfortunately, The Book of Boba Fett haphazardly delivers a story with mixed priorities.  It says a lot that the two best episodes focus on Din Djarin, Luke, and Grogu, and barely have Boba himself in it.  That’s not to say the rest of the show is terrible.  It’s just unremarkable, and for a character whose strength was in his mystique, it didn’t quite give him a story that seemed appropriate for the character.

11/10/9). Solo : A Star Wars Story – 6.75/10

Solo

Courtesy of Lucasfilm/Disney

Although it’s the worst performing Star Wars film at the box office, Solo is far from a bad film.  Despite going through heavy production issues, the film manages to come together to tell a fun, albeit unimportant story.  Some questions are answered, that were never questions in the first place.  Other questions that were never asked were answered in ways that were fun and unexpected.  Alden Ehrenreich and Donald Glover are excellent choices as young Han and Lando respectively, and both give it their all.  Some characters, like Lando’s robot assistant are annoying, and the surprise reveal of Darth Maul didn’t add much to the franchise in the grand scheme of things.  Still, it’s a perfectly harmless film.

 

11/10/9). Star Wars : Revenge of the Sith – 6.75/10

Revenge of the Sith

Courtesy of Lucasfilm/Disney

What’s easily considered the best of the prequels, Revenge of the Sith has some of the best aspects of the series.  From the best soundtrack in the series, alongside some of the most impactful scenes in the series.  The duel between Obi-Wan and Anakin, as well as Yoda and Palpatine are epic, climactic, and charged with emotion when considering the relationship of these characters.  Scenes like Order 66 have become crucial scenes in the greater mythos.  Many stories since this film have been influenced by this story.

That said, it still suffers from many of the problems of the prequels.  Poor dialogue, wooden acting(far better here), and overuse of CGI, distract from many of the high points of the film.  If going purely off of the story and characterization, Revenge of the Sith would likely be much higher.  But, the film’s technical flaws hold it back from true greatness(Outside of all the memes, of course).

8). Obi-Wan Kenobi – 7/10

Obi-wan Kenobi

Courtesy of Lucasfilm/Disney

Going directly from Revenge of the Sith to this series creates the perfect transition from the two most iconic eras of Star Wars.  Obi-Wan’s arc is effectively a better version of Luke from The Last Jedi.  Haunted by his failure with Anakin, a jaded Obi-Wan is called back into action to save a young Leia.  This eventually culminates in a climactic rematch between Obi-Wan, and the now anger consumed Darth Vader.  There is a cinematic quality to this film, and that’s both a blessing and a curse.

While the beginning and end sections of the series are strong, the middle section meanders hard.  Reva, a character who starts off with some potential, retreads the same tired trope of a dark side user turning back to the light.  In addition, certain action sequences, notably the chase segment in the first episode with Leia, are notably poor.  It’s uncertain if it would make much of a difference, but one can’t help but wonder how this story would fare as a film rather than a miniseries.

7). Star Wars : The Clone Wars – 7.25/10

The Clone Wars

Courtesy of Lucasfilm/Disney

The Clone Wars is one of the most beloved parts of Star Wars.  Not only did it repair the perception of the prequels, but it introduced many beloved characters and concepts.  Ahsoka, Rex, Cad Bane, and more got their start here.  The Mandalorian can trace its roots back to this show, as Mandalore, Bo Katan, and the Darksaber first appeared here.  Many story arcs such as the Seige of Mandalore, The Inhibitor Chip, and the Maul story line stand as some of Star Wars’ best.

The animation is stellar, and the action is incredible.  The show also isn’t afraid to get dark, as it dives into tactics, ideas of politics, war, and even has a high body count.  Of course, the clones are the highlight of the show.  Despite all being similar and sharing the same voice, all of them have distinct personalities.  This makes their eventual fate that much more heartbreaking.

Still, this show has its flaws.  Certain arcs like the Martez sisters, Droid arc, and any Jar Jar arcs, are underwhelming.  The first two seasons, while not bad, are mostly just okay, and can often be tonally inconsistent.  Still, The Clone Wars stands as a gem in the Star Wars catalog, and the fact it was brought back on Disney+ to be properly concluded goes to show how beloved it is.

6). Star Wars : The Force Awakens – 7.5/10

The Force Awakens

Courtesy of Lucasfilm/Disney

Time and hindsight hasn’t been king to The Force Awakens.  It’s clear that poor planning and storytelling was the downfall of the sequel trilogy.  As such, the mysteries and ideas presented here are disappointing now.  That said, this is easily one of the most re-watchable Star Wars films.  The pacing of this film is brilliant, the action moments are fast and visceral, but moments of exposition and emotion are slow and take time.  The most gut-wrenching scene in this entire trilogy is between Han and Kylo Ren.  Even today, it still stands as one of the most tense moments in all of the franchise.

Still, the biggest weakness of this film, is its originality.  With the exception of Finn, most of the new characters emulate the original heroes of the original trilogy.  The plot itself, as long pointed out, is essentially a re-imagining of A New Hope.  The effects and acting are better, and the pacing is great, but the story is simply just okay.

5/4/3). Star Wars : Return of the Jedi – 7.75/10

Return of the Jedi

Courtesy of Lucasfilm/Disney

The conclusion of the original trilogy may be the weakest one, but it still remains a favorite to many today.  This in large part comes to the emotional conclusion of Luke and Vader’s story.  The final duel between father and son stands as one of the best in Star Wars, and the assault on the second Death Star still remains one of the series best space battles.  Once reaching the ending, one can’t help but feel warmed up by the conclusion of a six film saga, that many would argue should’ve remained the definitive ending.

Still, Return of the Jedi has notable problems.  Han Solo doesn’t have much to work with as a character, the Jabba’s palace section goes on for much longer than it needs to, and the Ewoks add a level of cuteness that many would argue takes away from the series nature of the conflict.  Many also point out how ridiculous it is that a woodland civilization could manage to give the Empire a difficult time.  Still, it’s a well made film that ends on a high note.

5/4/3). The Mandalorian – 7.75/10

 

The Mandalorian

Courtesy of Lucasfilm/Disney

The hit Disney+ show that fans and critics agree is one of the best things to come out of the Disney era of Star Wars.  The Mandalorian continues five years from Return of the Jedi, following a post-Empire society.  Of course, the highlight of the series is the relationship between Din Djarin and Grogu.  The parental bond Din shares with his foundling set a new trend for Star Wars, that of a grizzled loner who learns to open up with a youth of importance.  This trend the show started, has yet to be topped.

In addition, the way the galaxy is explored in a post-Empire time is fascinating.  Seeing the culture of bounty hunters, the disorder as the New Republic tries to form, and the remnants of the Empire create the sense that perhaps there was some good to come out of the Empire.  Still, their villainous tendencies show they are not the best party for leading the galaxy.  While most Disney Star Wars projects seem to be met with more hesitancy these days, The Mandalorian is the sole exception, and it rightfully earned its highly regarded status, and has shown that this is the way Disney needs to go.

5/4/3). Rogue One : A Star Wars Story – 7.75/10

Rogue One

Courtesy of Lucasfilm/Disney

The first major non-Skywalker related Star Wars project by Disney still remains one of their best.  Rogue One takes a minor part of A New Hope’s story and expands upon it in a unique way.  While the characters aren’t particularly interesting, the plot and expansion of the original trilogy era is fascinating.  This film really puts the WAR in Star Wars, with the final third of the film being an epic military conflict, with strategies, sacrifice, and the best space battle in the series.  This is then followed up by one of many amazing Darth Vader scenes that have seemingly become a staple in many Disney projects involving the character.

Of all the Disney Era films, it’s the one that has aged the best, and the upcoming Andor series is highly anticipated as it looks to follow-up on what made Rogue One such a daring Star Wars story.

2). Star Wars : A New Hope – 8.5/10

A New Hope

Courtesy of Lucasfilm/Disney

The one that started it all.  A New Hope may not necessarily have the best effects or acting compared to the rest of the series, but its strength is in its simplicity.  Embracing the idea of the hero’s journey, A New Hope creates a compelling world and fills it with simple, but charming characters that have since become icons of cinema.  The soundtrack is still one of the best in the series. The scene of Luke looking out to the twin suns is one of the most wondrous in all of cinematic history, the music a large reason why.

The films pacing and editing are also of fantastic quality.  Everything the viewer needs to know about the world and the characters is delivered in a concise manner.  This allows the viewer to get more into the story and connect to them as the story progresses.

It’s simple, it’s effective, and it’s still one of the best.  But, only one could really top it.

1). Star Wars : The Empire Strikes Back – 8.75/10

The Empire Strikes Back

Courtesy of Lucasfilm/Disney

The Empire Strikes Back is about as perfect a sequel as one could get.  The story and galaxy is expanded, and a level of moral complexity is added with the iconic twist with Darth Vader.  Iconic characters like Yoda and Lando are introduced, both of whom have become fan favorites.  The first confrontation between Luke and Vader stands as the series finest.  The choreography, staging, lighting, and use of music paint how truly outmatched Luke is, and shows how unstoppable a force Vader seems.  Most flaws with the film tend to come down to personal preference or nitpicking.

This was the film that showed that Star Wars was here to stay, and that there is something truly special about this galaxy far, far away.

 

Check out all of these on Disney+.

Star Wars needs no introduction.  As one of

“It’s better than ever,” Schumer said. “Well, not as good as Season 3, but close.”

Amy Schumer is back and ready to get inside herself. Well, almost.

“Inside Amy Schumer” officially returns for Season 5 on October 20 on streaming platform Paramount+. The Peabody Award-winning sketch series went off the air in 2016. The next season will consist of five episodes, with two episodes available to stream the day of the premiere, with the remaining three episodes following weekly.

“Hey yo!” Schumer started in a message to fans. “I wanted to bring back ‘Inside Amy Schumer’ to burn any remaining bridges. ‘Inside Amy Schumer’ is returning for another season, and it’s better than ever. Well, not as good as Season 3, but close. We will be airing on the hottest piece of ass, Paramount+. So, sit down and open your pants (so you’re comfortable, not in a sexual way) because we’re not holding anything back.”

Schumer concluded, “You won’t want to miss the show that will finally get me canceled. Stream the Season 5 premiere of ‘Inside Amy Schumer,’ premiering October 20, exclusively on Paramount+ or whatever underground site you use to illegally stream content. It’s what the Queen would have wanted.”

The “Life and Beth” creator signed the letter “Amy (The Duchess of Long Island).” Paramount+ and MTV Entertainment Studios produce “Inside Amy Schumer,” which will co-star Amber Tamblyn and feature “more specific” fart jokes, as Schumer told The New Yorker.

As the IndieWire review for Season 4 of “Inside Amy Schumer” pointed out, “Between Seasons 3 and 4, Schumer became a bonafide movie star.”

The B+ review continued, “But instead of treating ‘Inside’ like a day job, she’s continuing to use it as a platform. Sometimes she strikes out, but she’s still got a hell of a swing.”

Schumer reflected on her stand-up and sketch series alter-egos earlier this year, telling The Hollywood Reporter that she has been “educating” herself about the effects jokes can have on audiences. Schumer said she was “seeing the harm in joking around about things that are harmful and taking more responsibility and having it not just be about trying to sneak into this boys’ club.”

“It definitely used to be fully a persona, and it feels really good to get closer to me,” Schumer said of the shift to her new act. “I love playing a monster, just like the worst white woman, but I’m getting further and further away from that [in my act].”

“Inside Amy Schumer” Season 5 premieres October 20 on Paramount+.

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"It's better than ever," Schumer said. "Well,

Chloé Zhao is stepping into the TV arena.

The Oscar-winning Nomadland writer and director has signed a multiple-year, first-look deal with Searchlight Television. The pact marks a reunion for Zhao with Searchlight, whose film studio distributed the best picture winner starring Frances McDormand.

The deal will see the Disney-backed studio have an exclusive first shot at all television content created by the Eternals grad.

“Chloe is a visionary filmmaker and, since the moment we finished Nomadland, we have looked to find new ways to collaborate again,” Searchlight presidents Matthew Greenfield and David Greenbaum said in a joint statement Tuesday. “We are inspired by the breadth of Chloé’s storytelling passions and are beyond happy to be able to link arms and expand the opportunities to support personal, powerful, and enduring stories.”

Nomadland was nominated for six Oscars and took home three — for best picture, director and star McDormand. Zhao also wrote and directed The Rider and Marvel’s The Eternals.

Searchlight Television’s first small screen foray was Hulu’s The Dropout, which earned six Emmy nominations including best limited series. Amanda Seyfried won for her starring role as Elizabeth Holmes. (Fun fact: Seyfried replaced SNL’s Kate McKinnon in the role.)

The studio is also re-teaming with Hulu for Mel Brooks variety series History of the World, Part II and adapting feature The Full Monty for Disney+.

Zhao is repped by Pangea, Ilene Feldman Management and Lichter Grossman.

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Chloé Zhao is stepping into the TV

Warning: The following contains spoilers from Monday’s Quantum Leap premiere.

In Quantum Leap‘s premiere episode, Ben Song (played by Raymond Lee) made an unauthorized leap and wound up in the body of a would-be diamond thief in 1985. The details of why he jumped remain unclear, but we now know that Al’s daughter Janice Calavicci is somehow involved.

At the end of the hour, Herbert “Magic” Williams (Ernie Hudson) revealed that Janice wanted to follow in her father’s footsteps and take part in the new Quantum Leap project. However, the Department of Defense denied her over concerns about her emotional ties to Al (played in the original series by Dean Stockwell), who died last year, and Sam (Scott Bakula), who never made it back home. On the night of Ben’s jump, Janice sent Ben urgent messages to do so now since they were “running out of time.”

According to showrunner Martin Gero, we’re only just getting started with Janice. “The Calaviccis play a huge part of Season 1,” he tells TVLine. “Georgina Reilly, who plays Janice, will recur heavily on the show.”

NBC’s new take on Quantum Leap was being developed while Stockwell was still alive, and producers always knew the Calavicci family would be a major part of the story. But after Stockwell’s death in November 2021, the show’s handling of Al’s character evolved.

“The dream was always to potentially have Dean play a small role on the show,” Gero shares. “But when he passed, it was important for us to maintain the legacy of that character in the show in a real and profound way.”

Read on for additional tidbits from showrunner Martin Gero and stars Raymond Lee and Ernie Hudson.

Gero on Quantum Leap’s ties to the original series: “The show is its own thing, but we have this really beautiful connection to the past that is informing everything that we’re doing, and in a way that I think will reward viewers of the old show but not alienate new viewers who maybe haven’t seen all 90-plus episodes of Quantum Leap. It’s a really cool story, and it’s going to some really awesome places, and I can’t wait for you all to see some more of Georgina as Janice Calavicci.”

Lee on Addison telling Ben, who lost his memory, that she was originally intended to jump and Ben was supposed to be her hologram: “It’s up to Addison to reveal what she can reveal because there are some things better left unsaid for Ben’s own benefit and health and well-being. She might know a reason why he would [make an unauthorized jump], but it might not be OK for her to tell me. But there’s so much to uncover there, so much drama.”

Hudson on his costar Lee: “He’s someone that you can relate to. Scott Bakula, what I loved about [him in the original], he was so funny and goofy and charming, but he was that guy you liked. He’d find himself in these situations, but it was hard not to feel for him, and I think Raymond has a lot of that as well.”

Gero on including Easter eggs throughout the series: “We’re trying to have a couple every [episode], and there’s some iconic props that eventually will make its way back into the canon of this show as well. This show is being made by fans of the original show, and it’s also being made by the people that made the original show, so that connection to the old show is very palpable.”

What did you all think of Quantum Leap’s first episode? Grade the premiere below, and then sound off in the comments. 

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Warning: The following contains spoilers from Monday’s

 

Song appears on the group’s highly-anticipated sophomore LP, Born Pink

Blackpink took control of the stage at Jimmy Kimmel Live with their latest single “Shut Down.” The K-pop girl group — comprising Jennie, Jisoo, Rosé, and Lisa — offered dynamic, highly-choreographed performance on the late-night show, appearing with a group of dancers.

The single, off their second album Born Pink, out now via via YG Entertainment/Interscope Records, takes aim at the band’s doubters, haters, and the paparazzi. The chorus notes, “When we pull up you know it’s a shut-down,” while the hook goes, “Whip it whip it whip it whip it / Keep watching me shut it down.”

The girl group dropped a video for the hip-hop-infused track last week after teasing it on social media.

In July, the group announced they were in the “final stages” of recording Born Pink, which marks their second studio album. With songs like “Shut Down,” “Hard to Love,” and “Ready for Love,” much of the album features writing credits from frequent collaborator Teddy Park, who wrote songs on their previous album. “He’s like an alarm, reminding us to keep moving musically. All he has to do is call, ‘Hey, what’s up?’ and I’ll be like, ‘Oh, my God,’ tensing up,” Jennie told Rolling Stone about Park. “But it’s a good tension that Blackpink needs.”

Blackpink is set to go on a world tour in support of Born Pink this fall. The global trek kicks off at Seoul Olympic Park on Oct. 15 and continues through next summer, where it will wrap in New Zealand. The 36-date world tour aims to be the “largest world tour in the history of a K-pop girl group,” according to the pop phenomenon’s management company YG Entertainment.

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  Song appears on the group's highly-anticipated sophomore

Rea Tajiri is an award-winning interdisciplinary artist and educator who creates installation, documentary and experimental films. Her work situates itself in poetic, non-traditional storytelling forms to encourage dialog and reflection around buried histories.

Tajiri is a Sansei who grew up in Rogers Park, Chicago and Van Nuys, California. She earned her BFA and MFA degree from the California Institute of the Arts where she studied post-studio art. Upon graduation, Tajiri began working in video art, two early shorts were included in the Whitney Biennials of 1989 and 1991.

One of these works, History and Memory: For Akiko & Takashige went on to receive the Distinguished Achievement Award from the International Documentary Association and a Special Jury Award from the San Francisco International Film Festival and Best Experimental Video from the Atlanta Film and Video Festival. This documentary short has screened in over 250 venues around the world. History and Memory is distributed by Women Make Movies, Video Data Bank, and EAI. You can also watch it on the Criterion Channel.

In 2014 Rea Tajiri completed her feature-length documentary Lordville. This hybrid documentary was nominated for a Grand Jury Prize at CAAMFest, VCFest in 2014. The film screened recently at Yerba Buena Arts Center. Her current 2022 documentary feature, Wisdom Gone Wild won the Audience Award and Honorable Mention Jury Award for Best Documentary at the 2022 Blackstar Film Festival. 

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

Rea Tajiri: I consider myself a visual artist – that’s where I started from. I went to art school at Cal Arts in the late 1970s, I thought I was going into painting. But entering documentary filmmaking was an organic evolution. My father was a professional photographer, so I grew up surrounded by outtakes and miscellaneous random photos from whatever he was processing in his basement darkroom– I was constantly playing with these images that had this sense of the uncanny–without context as to who was in them or where they were taken. I think this heavily influenced my work because I draw from photography and work from the archive a lot. You’re building a context around an image. The evolution from video artist to documentary filmmaker happened because I wanted to come to terms with Japanese American incarceration- what this meant for my family. Again, needing to build the context – piecing together stories and clues like the detective. This subject necessitated a documentary format, but I had to bend the rules a bit. 

IDA: Tell us a little about your recent film Wisdom Gone Wild

RT: My film is centered around my mother who was diagnosed with dementia in 1999. It’s a memoir that is immersive and experiential. I had to shoot most of it on the fly as I was taking care of her. We shot in the home, in her assisted living, in a museum exhibit, in hospice and later I created a set-piece beauty shop tableau for her. I made that space for her based on her life as a beautician and her love of gardening. Then I brought her in to see how she would respond and to our surprise and delight, she began performing a song! – I utilized family archives to bring the viewer into her past– but I had a delicate balancing act to perform: I wanted to show the state of mind – elder consciousness – the free association and the ‘time traveling consciousness’ that elders engage in and I didn’t want to devolve into a kind of sentimental family narrative. So how I juxtaposed music, voice recordings and photos and observational footage was very intricate. I want to talk about the things we don’t see often in films about aging, that the past and memory are so fragile, that care can be very active if you use imagination. You need to engage play, music, art, and the sensory – follow the mind of the elder.

IDA: Congratulations on your world premiere at the Black Star film festival! What has changed for you in the process of making this film?

RT: Yes, Blackstar was the perfect place to open this film. The connection and the space of intimacy the film creates – the sharing of histories across generations, and ancestral knowledge is something that resonated with this audience and we won two awards!

What has changed for me? Mostly getting this longitudinal project off my shoulders and into the world. It was difficult to craft this film. I shared different edits with students which is something I have never done, but I wanted to show them how you have to hang in there with a project, try things out, and evolve the piece. What is important is that the film connected to people in a very deep way – many people told me they see their relationships to the elders in their lives differently. Some people who were caregivers to their parents said they’d never seen a film that shows that very intimate private space that unfolds when you take care of someone day to day – they were grateful for that. I think knowing your film has communicated something beyond what you were trying to do gives one a sense of completion. I’m hoping for new opportunities and support, I have a new body of work for documentary installation that I’m eager to begin

IDA: What piece of advice would you give to emerging filmmakers that are from historically excluded backgrounds and who are new to the documentary field? 

RT: This is a good time for BIPOC / Filmmakers – there are so many more resources and labs and support communities built up than when I was starting out. I guess it’s still terrifying if you don’t feel like you fit. That was my issue when I was starting out. If you can find a mentor or a small group of people that you trust and respect your way of storytelling, that’s important. It’s important to do thorough research. It’s important to understand the history of documentary filmmaking and the movements and to watch as much as you can even if it’s ‘slow’. It’s good to practice filming, keep taking photos and make time to watch your footage, warts and all, that’s so instructive. Pool resources, and share work with people who you trust and can share equipment and space with. Don’t be afraid to ‘break the language’ a bit. If your stories don’t necessarily fit into some of the existing storytelling forms, see if you can innovate the form. It’s good to experiment but also to gain better clarity around why you’re doing what you’re doing. Be patient (classic older person adage!), be humble, share whenever you can, be open to change. 

IDA: What are some of the changes that are happening in the field that you are excited about?

RT: Everywhere I hear from friends across the country that cultural institutions are in chaos – We are in the process of dismantling years of white supremacy white leadership – and there’s a transition into different ways of leadership and running an organization. It looks and feels different, it’s messy, people are upset, and polarized. We’re going to have to move through this to get to another more equitable, more resilient, dynamic model. 

“Wisdom Gone Wild will be playing this November at festivals — Check out the website for festival screening dates and times.”

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Rea Tajiri is

LONDON — The cannons have sounded, the bells have rung and the mourners have paid their respects.

Now King Charles III faces the task of preserving a 1,000-year-old monarchy that his mother nurtured for seven decades but that faces an uncertain future. The challenge is immense.

Personal affection for the queen meant that the monarchy’s role in British society was rarely debated in recent years. But now that she’s gone, the royal family faces questions about whether it is still relevant in a modern, multicultural nation that looks very different than it did when Elizabeth ascended the throne in 1952.

Amid a global re-examination of the history of colonialism and slavery that has seen protesters tear down or deface statues in British cities and universities like Oxford and Cambridge change their course offerings, an institution that was once the symbol of the British Empire is likely to face renewed scrutiny.

Charles will try to “maintain continuity” while also signaling that the royals are prepared to change, said Anna Whitelock, a professor of history of modern monarchy at City University London. But he faces a raft of questions.

“What place does a monarchy have in a multi-faith, multi-ethnic society?” Whitelock asked. “And is it the right rallying point for the nation? And should it be the monarch representing the U.K. abroad? What does it say about us? Is it a bastion of tradition that people should applaud? Or is it actually a check on progress that actually doesn’t represent the inclusive, diverse society that people would hope that Britain would now become?”

And there is another, more personal, question lurking in the background: Is a 73-year-old white man the best person to confront those issues?

Charles waited longer than any other heir to take the throne and in many ways embodies the modernization of the monarchy. He was the first monarch not educated at home, the first to earn a university degree and the first to grow up in the ever-intensifying glare of the media as deference to royalty faded.

He has been lauded as an early advocate of the environmental movement and won praise for working to improve the lives of young people in underprivileged communities.

But he also has a reputation, perhaps undeserved, as a somewhat stuffy older man who is more at home on the polo field or one of his country estates than the soccer-mad cities of modern Britain.

Charles also alienated many people with his messy divorce from the much-loved Princess Diana, and by straining the rules that bar royals from intervening in public affairs, wading into debates on issues such as environmental protection and architectural preservation.

As the U.K. mourned his mother, it quickly became clear that Charles was ready to be a more personal monarch. He has made a point of wading into the crowds of well wishers, stopping to shake hands and exchange a few words, more like a U.S. presidential candidate appealing for votes than a king who inherited the crown from a line of ancestors stretching back to 1066.

One woman even kissed him — a level of familiarity no one would have dared with Elizabeth.

At Monday’s state funeral for the late queen, Bertram Leon embodied the challenges facing Charles.

A proud Briton whose roots stretch back to the Windrush generation of immigrants who came to the U.K. from the Caribbean after World War II, Leon was at Westminster Abbey to represent the St. Lucian community in honoring the queen. Now he expects Charles to take the monarchy in a new direction.

“The king is actually going to change, perhaps modernize the monarchy in the image that he thinks in the current day,” Leon said, his British Empire Medal pinned to his chest. “We can’t live back in the 1920s, ’30s or ‘50s, when Elizabeth took over. We are now in the 21st century, and I think things are going to be regarded and looked at a bit different.”

In addition to being king of the United Kingdom, Charles is head of state for 14 “realms” that retained the monarch as their sovereign after gaining independence from the former British Empire. It is in these far-flung nations, which stretch from Australia and New Zealand to the Caribbean that Charles may face his first challenges.

The pressures were clear earlier this year when Prince William and his wife, Kate, faced calls for a royal apology and reparations for slavery during a trip to Belize, Jamaica and the Bahamas to celebrate the queen’s 70 years on the throne.

During that visit, Jamaican Prime Minister Andrew Holness told the royals that his country was “moving on,” a few months after Barbados severed its ties with the monarchy.

The royals have also faced criticism from within after Prince Harry and his wife, Meghan, gave up royal duties and moved to California. In a widely publicized interview with U.S. television host Oprah Winfrey earlier this year, the couple alleged that palace had been insensitive toward Meghan, who is bi-racial, and that a member of the royal family had asked about the color of their first child’s skin before he was born.

Charles sought to address the tensions at home and abroad in his first address as king.

“Wherever you may live in the United Kingdom, or in the realms and territories across the world, and whatever may be your background or beliefs, I shall endeavor to serve you with loyalty, respect and love, as I have throughout my life,” he said.

Charles also confronted concerns about how he would conduct himself as king.

The laws and traditions that govern Britain’s constitutional monarchy dictate that the sovereign must stay out of partisan politics, but Charles has spent much of his adult life speaking out on issues that are important to him, particularly the environment.

His words have caused friction with politicians and business leaders who accused the then-Prince of Wales of meddling in issues on which he should have remained silent.

The question is whether Charles will follow his mother’s example and muffle his personal opinions now that he is king, or use his new platform to reach a broader audience.

“My life will, of course, change as I take up my new responsibilities,” Charles said. “It will no longer be possible for me to give so much of my time and energies to the charities and issues for which I care so deeply. But I know this important work will go on in the trusted hands of others.”

The king has been clear that he intends to slim down the monarchy, limiting the number of working royals and reducing the expense of supporting them.

But for 10 days, Britain spared no expense as it honored Elizabeth, who became a comforting symbol of stability over the tumultuous years of her long reign.

All the spectacle that has become synonymous with the royals was on display as uniformed members of the royal family walked solemnly behind a gun carriage carrying the queen’s coffin away from Buckingham Palace, cannons and church bells sounded in lament and world leaders filled Westminster Abbey for her funeral.

But it was pageantry with a purpose, celebrating the queen’s life while also reminding the public of the monarchy’s role in public life and linking the people to the royal family in their time of shared grief.

“People often criticize the British monarchy or even laugh at it as pomp and circumstance and emptiness,” said historian Robert Lacey, author of “Majesty: Elizabeth II and the House of Windsor.”

“Well, an occasion like this shows it’s not emptiness, that the pomp and circumstance stands for something.”

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LONDON — The cannons have sounded, the

“Extra’s” Billy Bush talked to Gayle King about Queen Elizabeth II’s funeral and what the future looks like for the royal family.

Gayle shared, “I always say we have a front-row seat to history in the jobs that we do on morning TV. Today it was really true because we’re right here above Westminster Abbey. There was a moment where the bells started peeling and you saw her coffin in the hearse with the big glass windows, so you could see it. I had literal goosebumps just looking at that and hearing that because, talk about the final farewell, it really is the final farewell.”

King shared that having Prince George and Prince Charlotte participate in the funeral was a last-minute decision.

“We were told that Prince William and his wife Princess Kate had a conversation with their children and asked them did they want to be part of it and the children said yes they did,” Gayle said.

As far as the royal rift between Prince Harry and the family, King said, “There have been efforts on both sides… to sort of make this right. We shall see… Big families always go through drama, always go through turmoil. It remains to be seen — are they going to be drawn closer together or are they going to be drawn apart? I have no idea, I have no inside information on that, but I will tell you this: It was good to see Harry standing with his family.”

King also revealed that “every part of the ceremony today the Queen planned… the Queen was very specific about what she wanted. She said she didn’t want long. She didn’t want boring. She wanted it to be a celebration — and in many ways, it was.”

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James Corden had Keegan-Michael Key on Monday’s episode of “The Late Late Show,” and he roped to “Key and Peel” and “Schmigadoon!” star into one of his more fun recurring gags, “Improvised TED Talks.” The topic was “The life-changing power of vacuuming in the nude,” and since we can’t top that here, we’ll just get right to it.

So the gag, for those who don’t know, is Corden has one of his celebrity guests give a totally unrehearsed, unresearched TED Talk on a topic they don’t know about in advance. Comedy very generally ensues, especially on Monday’s episode since Key is, you know, something of a well regarded comedy person.

“You know, ladies and gentlemen, I find that, when I’m at home and I’m, uh, doing the house work, that my wife becomes very happy,” Key said as he kicked off his awkward lecture. “I have also found that when I have no clothing on in my home, my wife also is happy. So I’ve decided to combine those two things together and use them as a force multiplier. See, it’s not one plus one equals 2. It’s one plus one equals more than 2.”

Next, for some reason a Tom Hanks photo appeared in slide presentation, prompting Key to joke that when he discovers something scientific, he likes to discuss it with Tom Hanks. The jokes came pretty fast from there and honestly, we’d ruin it by trying to describe it all.

Next, Corden had his band leader, Reggie Watts step up to bat. His topic: “Ham: Y’all want some?”

“Ham: Y’all want some,” Watts began. “Why y’all want some? Y’all be asking, y’all be doing, and you be saying, ‘I want some.’ But why?”

“Check it in,” Watts said before snapping his fingers. At this point an image of Santa Claus appeared. “Because if y’all can’t get down with… in any situation, I’m talking about dressed as a witch, dressed as a robot, dressed as someone who’s dressed up in something else, dressed up as a Santa Claus, then y’all ain’t know what ham about. Mmm.”

Sidebar: Watts’ improvisation reminded us of the sleazy preacher played by Arsenio Hall in “Coming to America,” which we mean as a compliment.

Things when from there with a lot more fun jokes. Again, we won’t ruin the jokes by writing them all down, but you can watch the whole monologue above now.

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James Corden had Keegan-Michael Key on Monday’s

The premise and foundation of Tyler Perry’s upcoming Netflix film “A Jazzman’s Blues” was built on a screenplay he wrote in 1995 — 27 years ago — and recounting the journey it took to get to the world premiere at the 2022 Toronto Film Festival is emotional for the 53-year-old director.

“It’s really profound to get to this place after all these years,” Perry said at the Variety Studio presented by King’s Hawaiian. “I was grieving for the last couple of weeks, I didn’t know why, but it was. After holding onto something so long and finally letting it go, I would equate it to letting a kid go off to college.”

Since writing the screenplay, Perry has ascended to billionaire status, with his more-than-300-acre Tyler Perry Studios in Atlanta and nearly 60 writing and directing credits in film and TV (plus his popular plays). But those accomplishments, he explained, were what he needed to do to establish himself as a director before Hollywood would allow him to make this movie.

“As I was doing Madea and the ‘Why Did I Get Married’ [movies], I knew that I had to be intentional for my audience. If I had a flop or something didn’t work, then as a Black man, I don’t know how many opportunities I would have gotten to right the ship,” he told Variety Senior Entertainment Writer Angelique Jackson. “I had to wait for the right time and be intentional — to build the studio, to build a space, to build a career, to make sure my own own footing was sure, so that I could go into ‘Jazzman.’”

The new film will hit Netflix on Sept. 23, telling a tale of forbidden love across 40 years in the deep South between Bayou and Leanne, played by Joshua Boone and Solea Pfeiffer, respectively.

Of being handpicked by Perry to co-lead the film in roles he originally envisioned himself, Will Smith and Halle Barry in, Boone said it was “deeply humbling” to receive the opportunity: “I didn’t have fear about it, necessarily, it was just ‘Oh, if you trust me with this, I’m ready to go to work, ready to get it in.’” Boone also delved into the singing and choreography requirements for the role, crediting industry icon Debbie Allen for mentoring him during those scenes.

“The word that I keep on coming back to is trust. It is a massive responsibility to take on something that is so precious to someone,” Pfeiffer said of acting alongside Boone in her first film role. “What I trusted was that, if this character has lived in [Perry’s] mind for 27 years, and [he] chose me, then there must be something innately correct, and I can follow my instincts.”

Check out the full conversation above.

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The premise and foundation of Tyler Perry’s

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This article contains spoilers for the season

Viola Davis should have been leading armies this whole time.

In “ The Woman King,” the always regal Oscar-winner is a mass of muscle, battle wounds and world weariness as General Nanisca, the head of the Agojie, an all-female unit of warriors who protected the West African Kingdom of Dahomey in the 19th century. Directed by Gina Prince-Bythewood, who cannot be pigeonholed, the film is a throwback of sorts to the big, exciting, emotional warrior epics that used to be all too common at the multiplex, with the twist that it’s women not men driving the action.

But unlike some recent cinematic depictions of armies not entirely comprised of men, they didn’t have to look to fantasy or the comic books to make “The Woman King” — just a history that isn’t widely taught. More people probably know the Dora Milaje than the Agojie, who actually inspired the “Black Panther” fighters.

It is powerful that they are not immortal like Wonder Woman. There’s no condescending Avengers-like battle moment. There are no superpowers or magic lassos of truth. The ropes here are just ropes, but deadly still. They also fight with machetes and, sometimes, fingernails, up against brutish men and often win. In other words, there’s no tricks, Nanisca explains, just skill (and bruises and scars). There’s a reason she’s described by a young trainee as looking just like some old woman (any warrior should be so lucky to be old).

Written by Dana Stevens, “The Woman King” is a classic “one last fight” tale with a grizzled war veteran in Davis, a new recruit in Nawi (a compelling and complex Thuso Mbedu), and the one who takes her under her wing, Izogie (a terrific part for Lashana Lynch, of “Captain Marvel” and James Bond). Terence Blanchard lends a fittingly rousing score to the action, which, though brutal, is carefully constructed to keep that superhero PG-13 rating.

The world of the “The Woman King” is no paradise though. It’s 1823 and there is rape and rampant hatred of women. There are slavers and colonizers around. The young trainee, Nawi, only arrives at the palace doorsteps after her father gives up on trying to marry her off to anyone who will take her, abusive or not. The women don’t all get along, the king’s brides look down at the soldiers. And Nanisca, too, looks at women’s tears as a sign of weakness.

It’s also a very Hollywood version of what may have happened as they prepare to go up against the powerful Oyo empire, with some convenient reveals, a love interest, a slightly idealized king figure (in John Boyega) and an old score someone needs to settle. This is not, in other words, a history lesson about the Agojie, though it could perhaps inspire some to seek that out or even write their own. That there are few true surprises isn’t necessarily a bad thing, either. The film is exactly what you need it to be: An exciting and emotionally true spectacle that required a heck of a fight to simply exist.

I’ll stop short of saying that Prince-Bythewood should have been directing these all along too, however. If she’d started and stayed with action, we wouldn’t have gotten “Love & Basketball” or “Beyond the Lights,” and what kind of cinematic landscape would that be? But we should all be so lucky that she gets to do this too.

“The Woman King,” a Sony/TriStar Release in theaters now, is rated PG-13 by the Motion Picture Association for “sequences of strong violence, some disturbing material, thematic content, brief language and partial nudity.” Running time: 134 minutes. Three stars out of four.

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MPA Definition of PG-13: Parents strongly cautioned. Some material may be inappropriate for children under 13.

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This story was first published on September 15, 2022. It was updated on September 18, 2022, to correct the name of the West African kingdom depicted in the film. It was Dahomey, not Dohemy.

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Follow AP Film Writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr

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Viola Davis should have been leading armies

Buckle up because Disney Junior’s Firebuds are about to hit the small screen. If you have a little one in your life, this might be on your queue for the whole of September.

While Disney is known for its animated properties, most people think of the company’s movies, but the recent shift to animated TV shows has become apparent. In addition, a lot of companies are now either creating a channel like Disney Junior or featuring a block on the regular channel.

For Disney though, Firebuds is going to be featured on three different Disney platforms. First is obviously Disney Junior along with a telecast on Disney Channel and of course, Disney+. If you or your little one can’t catch it when it airs, at least you’ll be able to use your Disney+ account.

If you’re looking for all of the info about Firebuds, then we at Culturess have you covered with the release date, cast, and even the trailer for the upcoming animated series.

Firebuds release date

As previously mentioned, Firebuds will be premiering on both Disney Junior and Disney Channel while also being featured on Disney+, too. If you’re looking to catch the premiere, then be sure to tune in on Wednesday, September 21st at 10:30 am EST.

Firebuds cast

As for the cast of the series, there are a lot of younger actors who you might not have heard of but there are also some actors we adults might recognize, too.

  • Declan Whaley as Bo
  • Terrence Little Gardenhigh as Flash
  • Lily Sanfelippo as Axl
  • JeCobi Swain as Jayden
  • Caleb Paddock as Piston
  • Lou Diamond Phillips as Chief Bill Bayani
  • Yvette Nicole Brown as Chief Faye Fireson

While those are the main players in the cast, Firebuds will also feature guest appearances from Oscar Nuñez, Weird Al Yankovic, Natalie Morales, Padma Lakshmi, and Melissa Rauch among many others. Honestly, this lineup should be more than enough to attract parents and caregivers to even sit down for an episode or three.

Firebuds synopsis

After going through everything else, it’s only right to talk about the entire premise of Firebuds. It’s pretty short and sweet but via the press release.

“Set in a fantastical world where talking vehicles live, work and play with the humans who drive them, Firebuds follows a boy named Bo and his fire engine best friend Flash as they team up with their first responder friends to help others in their community with problems big and small.” All in all, it sounds like a really adorable show.

Firebuds trailer

If you don’t believe me though, then feel free to take a look at the trailer for the upcoming season.

As an aunt to a 2-year-old, I know that my nephew is going to love this series so I figured it only right to share with some of the readers who might be in the same boat. Even though I’m not a parent, I’m sure some parents are looking for something new to put into the TV rotation.

Also if the little in your life ends up enjoying Firebuds, you’ll be happy to know that Disney Publishing is going to be releasing storybooks along with toys coming out later next year. Lastly, Disney Junior Live On Tour: Costume Palooza will feature both Bo and Flash within the show. Overall, there is no shortage of Firebuds if you’re looking for a bit more.

Will you be checking out Firebuds when it premieres? If so, be sure to let us know your thoughts upon viewing. 

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Buckle up because Disney Junior’s Firebuds

Dancing with the Stars began its 31st season Monday in the most peculiar manner: by asking viewers to click a watch button on Disney+ at exactly 5 p.m./8 p.m. “Tune” in any earlier and you’ll get a reminder — NO, its at 8 p.m. ET, pal! Come back when it’s time. This is the new reality for dance fans accustomed to watching their favorite competition show that used to be on ABC.

Otherwise, the live, two-hour episode of DWTS began just like it used to (before the pandemic, that is) with a big opening number, an enthusiastic (but casually dressed) studio audience and a grand entrance by host Tyra Banks. A few updates were still made to the aging franchise: DWTS veteran Conrad Green is back as the executive producer and Season 19 Champion Alfonso Ribiero is now offering some much-needed help with the hosting duties by lobbing softball questions in the Sky Box.

Here’s what happened on night one:

Jason Lewis and Peta Murgatroyd. The Sex and the City actor greeted his two-time champion partner with flowers and a warning that he can only dance after consuming whisky or tequila. He was very much sober while performing the cha cha, so use your imagination if you missed the show. “What I need you to do is breathe. That is what is missing. You need to breathe and relax,” said judge Carrie Ann Inaba. Score: 18 out of 40

Vinny Guadagnino and Koko Iwasaki. The Jersey Shore alum says he’s a fish out of water in the ballroom. Apparently, he’s much more comfortable stripping with the Chippendales in Las Vegas, where he has residency. Maybe he should have ripped his shirt off during his salsa, because his number lacked heat. “I don’t get it, Vinny,” said judge Len Goodman. “This out of all the dances is a club dance and you didn’t show me that. It was rough, your legs were too flexed. I really wanted you to come out and knock my socks off.” Score: 17 out of 40

Jesse James Decker and Alan Bersten. The country crooner admitted to being a longtime DWTS fan but expressed reservation about her chances since she was kicked out of dance class as a kid. Fortunately, her cha cha to “Sweet Home Alabama” didn’t sour the judges. “You came out and sold it. The performance level was really high,” said Goodman. Score: 20 out of 40

Teresa Giudice and Pasha Pashkov. The former Real Housewives star said she’s doing DWTS because she wants viewers to see the real Teresa — not the one who went to prison for fraud. She’s also been working with a therapist to learn not to get triggered. That should be good news to the judges, I guess? Anyway, her tango to “We Found Love” wasn’t awful except the way she stared at the ceiling was just odd, man. “I saw you looking up a little bit. Think really wide, not up or down or wide,” said judge Derek Hough. Score: 20 out of 30

Sam Champion and Cheryl Burke. The former Good Morning America weather guy was giddy to learn that Champion was her partner since she encouraged him to do the show 10 years ago. As a gay man looking to move “out of his comfort zone,” Champion made his debut in the ballroom by performing a foxtrot to “Tiny Dancer” amid a cloud of dry ice. “That was so tender and so sweet. You were a little nervous out of the gate,” said Inaba. Score: 20 out of 40

Cheryl Ladd and Louis Van Amstel. The former star of Charlie’s Angels reminded us that she’s 71 but was thrilled to learn that Van Amstel, who’s been absent from the show for 7 seasons, is her partner. He’s got his work cut out for him; Ladd admitted that she’s not a dancer and was careful with her cha cha. But she’s got a pair of great wheels so she’s halfway there! “Cheryl Ladd has swagger! You have an elegance to you. I think the routine might have been too simple for you,” said judge Bruno Tonioli. Score: 21 out of 40

Trevor Donovan and Emma Slater. Apparently, the 90210 actor has a fear of dancing. Like, an “irrational phobia. There’s something in my head that keeps me from moving at all.” Sure, then, do Dancing with the Stars. What could possibly go wrong? His first quickstep to “Dancing With Myself,” perhaps? “It was hectic, it was manic. you just came out and flew across that floor,” said Goodman. Score: 21 out of 40

Joseph Baena and Daniella Karagach. The son of Arnold Schwarzenegger lucked out by scoring last year’s champion as a partner. His dad wasn’t in the ballroom for his jive, but he paid tribute by flexing his guns at the top of his jive and performing a burpee at the end. “We all get bicep envy! But actually, your musicality was good. You were not heavy. I’m telling you, you’ll be back,” said Tonioli. Score: 23 out of 40

Heidi D’Amelio and Artem Chigvintsev. Most viewers probably won’t recognize D’Amelio — a YouTuber with her own family show. But producers seemed to like the idea that both momma D’Amelio and her far more famous daughter Charli are doing the show together. D’Amelio was first up for the family with a cha cha to “Lady Marmalade.” “Put all the energy and thought and interpretation behind every step. You really have to project your personality through your body,” said Tonioli. Score: 24 out of 40

Jordan Sparks and Brandon Armstrong The platinum recording artist reminded us that she won American Idol at the age of 19 and enjoyed a successful singing career. But one thing that has been missing from her life is a mirror ball trophy! She opened up the night with an impressive cha cha to Whitney Houston’s “I Want to Dance with Somebody.” “Jordan you have such an amazing presence on the floor,” said Hough. “That split in the middle, girl! I saw that. That was fantastic.” Score: 26 out of 40

Daniel Durant and Britt Stewart. The actor from CODA wants to show people that “deaf people can dance, too.” (Oh, we knew that. Who can forget Season 22 winner Nyle DiMarco?) Dressed in neon green, Durant danced a tidy tango that drew high praise. “You moved well around the floor. I’m really excited to see you develop as this show goes along,” said Goodman. Score: 27 out of 40

Wayne Brady and Witney Carson. The Let’s Make a Deal host is doing the show to make his grandmother proud. That shouldn’t be difficult; his cha cha began with a wicked pop and lock that immediately served as a warning to his fellow contestants: Brady is coming hard for that mirror ball trophy. “Welcome to Wayne’s dance floor! Performance level through the roof. You’ve got it and you know what to do with it,” said Tonioli. Score: 29 out of 40.

Shangela and Gleb Savchenko. Let’s hear it for change makers! Besides appearing as the first drag queen on DWTS, Shangela also announced that she will perform all rehearsals out of drag (her pronouns are he/him). Finally, two men dancing with each other under the mirror ball! If only it didn’t take 31 seasons and a new digital home for real inclusivity to happen. “You have so much energy so much power so much charisma,” said Hough. “Well done.” Score: 28 out of 40

Gabby Windey and Val Chmerkovskiy. It’s traditional for singles from the Bachelor/Bachelorette franchise to make an appearance on DWTS. And like her predecessors, Windey has some hoofing experience. Her jive demonstrated that she won’t go home anytime soon. “For me that was I think that was the best dance of the night so far. So sharp, so clean,” said Hough. “Your rotation was off the hook.” Score: 28 out of 40

Selma Blair and Sasha Farber. The longtime actress was diagnosed with MS in August of 2018, so problems with stiffness and balance will make competing a challenge. But the judges were overwhelmed by her plight and her bravery, so they were generous with their support. “So good to see you here. You really created magic tonight. It was gorgeous,” said Tonioli. Score: 28 out of 40

Charli D’Amelio and Mark Ballas. The social media star (and daughter of Heidi D’Amelio) is this year’s ringer: she’s amassed millions of followers on TikTok because of her slick moves. She’s also a natural in front of the camera, which is why her cha cha was the final dance of the night. “Season 31 got real hot, real quick. It’s like I saw 20 different people dance! You it was kind of amazing,” said Inaba. Score: 32 out of 40

Bottom two were Lewis/Murgatroyd and Giudice/Pashkov. All the judges saved Guidice, so poor Lewis went home.

Next week is Elvis night!

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Dancing with the Stars began its 31st

Houman Seyyedi’s darkly comic drama World War III has been named as Iran’s entry for Best International Feature Film at the 95th Academy Awards, set for March 12 at the Dolby Theatre in Los Angeles. See the full list of entries by country below.

The film chosen “unanimously” by Iran’s Oscars committee follows the day laborer Shakib (Mohsen Tanabandeh), who after being cast in a movie, must secretly shelter his lover on the set or risk losing her and all that movie stardom has promised him.

Seyyedi, Arian Vazirdaftari and Azad Jafarian scripted the pic, which world premiered in the Horizons section of this year’s Venice Film Festival and went on to win the section’s prizes for Best Film and Best Actor (Tanabandeh). Its cast also includes Neda Jebreili, Mahsa Hejazi and Navid Nosrati.

Parviz Sheikh Tadi, the speaker and a member of the committee in charge of introducing Iranian films to the 95th Academy Awards, noted that 57 films were evaluated for this year’s entry, with 17 then being chosen for further consideration. The final four films beaten by World War III as Iran’s top pick were Hadi Hejazifar’s The Situation of Mehdi, Mohammad Kheyrandish’s Dolphin Boy, Behrouz Shoaybi’s No Prior Appointment and Mani Haghighi’s Subtraction.

Iran previously has submitted 26 films for Oscar consideration, securing a total of three nominations, as well as two statuettes recognizing Asghar Farhadi’s films A Separation and The Salesman. The country’s backing of World War III for the 2023 Academy Awards comes amid a clampdown there against freedom of expression, with regard to such issues as its economic crisis, stricter dress codes for women and the government’s handling of a building collapse in the city of Abadan that killed at least 41 people.

Iranian authorities in July arrested such renowned filmmakers as Mostafa Aleahmad, Mohammad Rasoulof and Jafar Panahi, with notables at this year’s Venice Film Festival calling for the latter’s release on the red carpet, ahead of a screening of his latest film, No Bears. During the flash mob, protestors held placards depicting Panahi’s face and the message, “Release Jafar Panahi!” Those joining activists from the International Coalition for Filmmakers at Risk as part of the flash mob included Venice festival head Antonio Barbera, jury head Julianne Moore and Orizzonti jury president Isabel Coixet, as well as filmmakers Sally Potter and Audrey Diwan.

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Houman Seyyedi’s darkly comic drama World War

September 19, 2022 · 3:02 PM

Coming to OVID tomorrow, Tuesday, September 20:
THE SEER AND THE UNSEEN

Director:
Sara Dosa

World Premiere:
San Francisco 2019

Select Festivals:
DOC NYC, Hot Docs, New Horizons, Reykjavík, Melbourne, Camden, RIDM, Leeds, Palm Springs, Available Light, Big Sky Doc, Seattle, Ashland, Thessaloniki Doc

About:
An eccentric Icelandic environmentalist is on a mission to protect the natural habitat of elves from development.

I previously wrote about the doc here.

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September 19, 2022 · 3:02 PM Coming to

Russia has struck a nuclear power plant in southern Ukraine, damaging power plant buildings in an act of ‘nuclear terrorism’, Kyiv’s energy operator said.

Kremlin troops hit the Pivdennoukrainsk plant in Mykolaiv region, with a ‘powerful explosion’ taking place just 300 yards away from the reactors, breaking more than 100 windows in the complex.

The attack damaged power plant buildings, a nearby hydroelectric power plant and transmission lines.

Footage shows the site erupting into a huge fireball after the strike, illuminating the night’s sky in a blast of white light. 

Russia has struck a nuclear power plant in southern Ukraine, damaging power plant buildings

Kremlin troops hit the Pivdennoukrainsk plant in Mykolaiv region, with a 'powerful explosion' taking place just 300 yards away from the reactors

Kremlin troops hit the Pivdennoukrainsk plant in Mykolaiv region, with a ‘powerful explosion’ taking place just 300 yards away from the reactors

A production facility damaged by a Russian military strike is seen at a compound of the Pivdennoukrainsk Nuclear Power Plant today

A production facility damaged by a Russian military strike is seen at a compound of the Pivdennoukrainsk Nuclear Power Plant today

A police officer stands on a bottom of a shell crater left by this morning's Russian military strike

A police officer stands on a bottom of a shell crater left by this morning’s Russian military strike

The three reactors at the Pivdennoukrainsk plant were not damaged and are working normally, Ukraine’s state nuclear company Energoatom said.

The Pivdennoukrainsk plant, also known as the South Ukraine Nuclear Power Plant, sits along the Southern Bug River and is about 190 miles south of the capital, Kyiv. 

It is Ukraine’s second-largest nuclear power plant. 

‘Currently, all three power units of the PNPP (Pivdennoukrainsk Nuclear Power Plant) are operating normally. Fortunately, there were no casualties among the station staff,’ Energoatom said.

It published two photographs showing a crater it said was caused by the blast. In one of the pictures a man stood in the crater to give a sense of its size.

Commenting on the strike on the Telegram messaging app, Ukraine’s President Volodymyr Zelensky said: ‘The invaders wanted to shoot again, but they forgot what a nuclear power plant is. Russia endangers the whole world. We have to stop it before it’s too late.’

The attack damaged power plant buildings, a nearby hydroelectric power plant and transmission lines

The attack damaged power plant buildings, a nearby hydroelectric power plant and transmission lines

The three reactors at the Pivdennoukrainsk plant were not damaged and are working normally

The three reactors at the Pivdennoukrainsk plant were not damaged and are working normally

The Pivdennoukrainsk plant, also known as the South Ukraine Nuclear Power Plant, sits along the Southern Bug River

The Pivdennoukrainsk plant, also known as the South Ukraine Nuclear Power Plant, sits along the Southern Bug River

There was no immediate Russian reaction to Ukraine’s accusations.

The Mykolaiv region has been under constant rocket attack by Russian forces in recent weeks.

Another Ukrainian nuclear power plant at Zaporizhzhia – which is Europe’s largest and lies about 155 miles east of the Mykolaiv site – was shut down earlier this month due to Russian shelling, prompting concerns about a possible nuclear disaster.

Russia and Ukraine have blamed each other for shelling at the Zaporizhzhia plant, which is held by Russian forces but operated by Ukrainian staff. The shelling has damaged buildings and disrupted power lines.

The U.N. nuclear watchdog said this weekend one of the four main power lines at the Russian-held Zaporizhzhia nuclear facility had been repaired and was once again supplying the plant with electricity from the Ukrainian grid.

Some military analysts have said Russia might stage a nuclear incident at Zaporizhzhia, which is held by Russia but run by Ukrainian staff, in response to Ukraine’s sudden counter-surge which has repelled Putin’s men.

A view of an abandoned military position not far from city of Balakliya, Kharkiv region

A view of an abandoned military position not far from city of Balakliya, Kharkiv region

A soldier stands at retaken checkpoint in Shevchenkove, Kharkiv region, amid Ukraine's counter-offensive

A soldier stands at retaken checkpoint in Shevchenkove, Kharkiv region, amid Ukraine’s counter-offensive

Within the last 10 days, Russia has highly likely lost at least four combat jets, taking its attrition to about 55 since the beginning of its invasion, the British military said today.

There is a realistic possibility that the uptick in losses was partially a result of the Russian Air Force accepting greater risk in a move to provide close air support to Russian ground forces under pressure from Ukrainian advances, the Defence Ministry said in its daily intelligence on Twitter. 

Russian pilots’ situational awareness is often poor, it said. ‘There is a realistic possibility that some aircraft have strayed over enemy territory and into denser air defence zones as the front lines have moved rapidly.’

U.S. Army General Mark Milley, chairman of the Joint Chiefs of Staff, called for vigilance on Sunday after visiting a base in Poland aiding Ukraine’s war effort.

‘The war is not going too well for Russia right now so it’s incumbent upon all of us to maintain high states of readiness, alert,’ he said after his trip to the base, which reporters travelling with him were asked not to identify.

With its battlefield losses mounting, the Russian army is seeking contract soldiers for what it calls the ‘special military operation’ in Ukraine, and is offering nearly $3,000 a month as an incentive.

It comes as Zelensky vowed there would be no let-up in fighting to regain territory lost to Russia as Kyiv said its troops had advanced to the eastern bank of the Oskil River, threatening Russian occupation forces in the Donbas.

Crossing the Oskil is another important milestone in Ukraine’s counter-offensive in the northeastern Kharkiv region as it flows south to the Siversky Donets River, which goes right through Luhansk, one of two provinces in the Donbas region.

Donbas is Ukraine’s traditional industrial heartland made up of the Donetsk and Luhansk regions.

Ukrainian troops ‘have pushed across the Oskil. From yesterday, Ukraine controls the east bank,’ the Ukrainian Armed Forces wrote on Telegram late Sunday.

People cross a damaged bridge in Kharkiv region, northeastern Ukraine, as Russian troops are pushed back

People cross a damaged bridge in Kharkiv region, northeastern Ukraine, as Russian troops are pushed back

Serhiy Gaidai, governor of Luhansk region, wrote on Telegram: ‘Luhansk region is right next door. Decoccupation is not far away.’

Zelensky vowed to keep up the pressure on Moscow after Ukraine’s rapid gains in Kharkiv this month.

‘Perhaps it seems to some of you that after a series of victories we now have a lull of sorts,’ he said in his regular nightly address on Sunday. ‘But there will be no lull. There is preparation for the next series … For Ukraine must be free. All of it.’

Russian artillery pounded towns and villages across the frontlines in the east and south on Sunday, including civilian infrastructure in Zaporizhzhia city, Ukrainian officials said.

Britain said Russian forces had widened strikes on civilian infrastructure following battlefield setbacks and were likely to expand their targets further.

‘As it faces setbacks on the front lines, Russia has likely extended the locations it is prepared to strike in an attempt to directly undermine the morale of the Ukrainian people and government,’ Britain’s defence ministry said.

Forensic technicians dig a grave in a forest on the outskirts of Izyum, eastern Ukraine on September 16, 2022

Forensic technicians dig a grave in a forest on the outskirts of Izyum, eastern Ukraine on September 16, 2022

Ukrainian officials have uncovered 450 new graves at just one burial site near Izyum after recapturing the eastern city from the Russians last weekend

Ukrainian officials have uncovered 450 new graves at just one burial site near Izyum after recapturing the eastern city from the Russians last weekend

Ukraine’s southern command on Monday said strikes were also launched on a radar station near Kherson and on a pontoon crossing near Nova Kakhovka east of Kherson, where a Ukrainian counter-offensive has focused on taking out bridges across the Dnipro and Inhulets Rivers.

Separately, Ukraine general defence staff said its forces have repelled Russian attacks in the areas of Mykolaivka Druga, Vesela Dolyna and Bakhmut settlements in the Donetsk region. Kyiv also hit ‘enemy targets’ including air defence and ammunition dumps in multiple strikes, it added.

On Saturday, Zelensky said authorities had found a mass grave containing the bodies of 17 soldiers in Izium, some of which he said bore signs of torture.

Izium residents have been searching for dead relatives at a forest grave site where workers began exhuming bodies last week. 

Flimsy wooden crosses are seen at a burial site in a forest on the outskirts of Izyum, on September 17, 2022

Flimsy wooden crosses are seen at a burial site in a forest on the outskirts of Izyum, on September 17, 2022

This photograph taken on September 14, 2022 shows a destroyed Russian tank and armoured personnel carriers on the outskirts of Izyum, Kharkiv Region, eastern Ukraine

This photograph taken on September 14, 2022 shows a destroyed Russian tank and armoured personnel carriers on the outskirts of Izyum, Kharkiv Region, eastern Ukraine

Ukrainian officials said last week they had found 440 bodies in woods near Izium. They said most of the dead were civilians and the causes of death had not been established.

The Kremlin has not commented on the discovery of the graves, but in the past Moscow has repeatedly denied deliberately attacking civilians or committing atrocities.

In Kozacha Lopan, a village some 30 miles north of Kharkiv and close to the Russian border, a Reuters reporter was taken to a squalid cellar with rooms fitted with iron bars which officials said had served as a makeshift prison during the occupation.

District Mayor Vyacheslav Zadorenko said the rooms had been used as a ‘torture cellar’ to detain civilians.

Reuters was unable to verify those accounts.

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Russia has struck a nuclear power plant

SPOILER ALERT: Do not read if you have not yet watched “Let the Games Begin,” the “9-1-1” Season 6 premiere.

“9-1-1” returned in all its zany glory Monday on Fox with the premiere of its sixth season. During the episode, Oliver Stark’s Evan “Buck” Buckley tackled a blimp emergency with his team at the 118 — and yet that somehow wasn’t the biggest hurdle he had to overcome in the Season 6 premiere.

Here, Variety breaks down the episode, titled “Let the Games Begin,” with Stark and how it lays the groundwork for Buck’s journey throughout the rest of “9-1-1” Season 6.

What are you thoughts on Buck’s feelings about being passed over for replacement captain while Bobby is away? What does he need to do to become ready to take on that role some day?

I think being a firefighter is such a huge part of Buck’s identity. I think it’s probably what he leads with when he meets anybody in the world, so I think it’s only natural that he’s going to want to progress in his career and, as we’ve come to learn over the seasons, he’s a little too gung ho and rushes into things too fast. So I think it makes sense that he would be trying to rush into this promotion a little fast. I do think it’s too early for him to take up that kind of role. Then, alongside that, Buck has such a close mentor-mentee relationship with Bobby that he maybe thought, through some kind of nepotism, even though they’re not actually family, he might have a leg up there. But it’s definitely something that’s going to go beyond just the first episode. And he has this lovely talk with Bobby at the end of the premiere that is really going to stay in his mind over the next few weeks and then we’re gonna see how that affects his decision making.

Did you discuss the symbolic nature of the “girlfriend” couch vs. “single” armchair with showrunners Tim Minear and Kristen Reidel, and what the choice to stick with the chair means for Buck in Season 6?

I think that whole couch/armchair thing becomes such a symbol for him in this episode. And by the end of it, choosing to not go buy a new couch, but being happiest and accepting of just having an armchair, shows that it’s a one-person seat; that he’s making peace with the fact that he’s going to be by himself for a little bit, and that he needs to be by himself for a little bit. Speaking with Kristen, a big thing for her has always been the fact that Buck chose to end his prior relationship, something that we’ve never seen before. He’s always been the one to be broken up with. So I think the two things kind of feed into each other, that he’s made this decision for himself and now he has to continue down that path and find out, without somebody else’s input, who he is in the world.

There are times in the past where we thought Buck was going to be single for a while, but then rushed into another relationship. Do you think he will actually take time to himself this time?

I love that that’s the case because I think that’s very true to life. We often have things we know we shouldn’t do, whatever it is, eat that junk food — but we do it anyway, nine times out of 10. So I think that’s quite an apt path that he’s been walking. But I do think this time around because he has these other focuses, for example, like we discussed the aspirations of being captain, I think he’s got other things to put his energy into which is always helpful in trying to stay on the straight and narrow. So whether or not complications will arise, it is the world of “9-1-1.” I think, certainly in this moment, his head is screwed on right and he’s headed in a healthy direction.

Will we get to see Buck in action as Uncle Buck this season, now that Maddie, Chimney and Baby Jee-Yun are back home?

I’ll tell you, we haven’t yet so far. But I do truly believe that everybody at “9-1-1” is aware that there’s a desire to see more Uncle Buck. So I can only imagine that, sometime in Season 6, I’m gonna get to pick that baby up.

You know the “9-1-1” fans are itching for another crossover with “Lone Star.” Do you think the upcoming wedding between his buddy T.K. and Carlos, aka “Tarlos,” would be a good time for an emergency that brings Buck back to Austin?

I mean, my main thought is, where’s my invitation? Maybe it went straight to my junk mail or something like that. I think it’s great. It’s such a lovely relationship on that show and one of many lovely relationships on that show. That would absolutely be a great opportunity; however, firefighting comes with lots of responsibilities, so I don’t believe there’s a crossover in that. But now that you said it, I’m going to send some texts saying, where’s my invite? I think it’s a great idea.

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SPOILER ALERT: Do not read if you have

Conflicting lower court rulings about removing controversial material from social media platforms point toward a landmark Supreme Court decision on whether the First Amendment protects Big Tech’s editorial discretion or forbids its censorship of unpopular views.

The stakes are high not just for government and the companies, but because of the increasingly dominant role platforms such as Twitter and Facebook play in American democracy and elections. Social media posts have the potential to amplify disinformation or hateful speech, but removal of controversial viewpoints can stifle public discourse about important political issues.

Governments that say conservative voices are the ones most often eliminated by the decisions of tech companies scored a major victory Friday, when a divided panel of the U.S. Court of Appeals for the 5th Circuit upheld a Texas law barring companies from removing posts based political ideology.

Appeals court upholds Texas social media law

“Big Tech’s reign of endless censorship and their suppression of conservative viewpoints is coming to an end,” Texas Attorney General Ken Paxton (R) said after the decision. “These massive corporate entities cannot continue to go unchecked as they silence the voices of millions of Americans.”

But a unanimous panel of the U.S. Court of Appeals for the 11th Circuit went the other way earlier this year, saying that a similar Florida law violated constitutional protections for tech companies that do not want to host views on their platforms that they find hateful, divisive or false.

Judge Kevin Newsom criticized a depiction of social media platforms as “dumb pipes … reflexively transmitting data from point A to point B.” Instead, he wrote, their “content-moderation decisions constitute the same sort of editorial judgments” entitled to First Amendment protections when made by a newspaper.

All of the appeals court judges considering the Florida and Texas laws have noted the difficulty of applying some Supreme Court precedents regarding legacy media. And all weighing in so far were nominated by Republican presidents, with Newsom and Judge Andrew Oldham, who wrote the conflicting opinion in the Texas case, both nominated by President Donald Trump, who was kicked off Twitter in the aftermath of the U.S. Capitol riot on Jan. 6, 2021.

“We are in a new arena, a very extensive one, for speakers and for those who would moderate their speech,” wrote Judge Leslie Southwick, who has served on the 5th Circuit for 15 years and dissented from Friday’s decision. “None of the precedents fit seamlessly. … The closest match I see is case law establishing the right of newspapers to control what they do and do not print, and that is the law that guides me until the Supreme Court gives us more.”

It is possible such guidance will come soon, perhaps in the term that begins next month. Disagreements among lower courts about important legal issues is the most likely driver of the Supreme Court’s decision to take up a case, and Florida’s petition challenging the 11th Circuit ruling is due at the high court Wednesday.

When the justices in May decided to keep Texas’s law from taking effect while legal battles continued, Justice Samuel A. Alito Jr. said the issue “will plainly merit this court’s review.”

Supreme Court blocks Texas social media law for now

“Social media platforms have transformed the way people communicate with each other and obtain news,” wrote Alito, who was joined by colleagues Clarence Thomas and Neil M. Gorsuch. “At issue is a ground-breaking Texas law that addresses the power of dominant social media corporations to shape public discussion of the important issues of the day.”

Alito added: “It is not at all obvious how our existing precedents, which predate the age of the internet, should apply to large social media companies.” The court’s majority did not explain its reasoning for blocking the Texas law, but at the time, only a district court had weighed in, and it had ruled for the tech companies.

Oldham’s opinion changed that. He wrote that social media companies “offer a rather odd inversion of the First Amendment.”

“That Amendment, of course, protects every person’s right to ‘the freedom of speech,’ ” Oldham wrote. “But the platforms argue that buried somewhere in the person’s enumerated right to free speech lies a corporation’s unenumerated right to muzzle speech.”

Generally, legal experts closely tracking the case said the 5th Circuit decision is at odds with long-standing court precedent and warned that the Texas law would force the companies to disseminate what they consider misinformation and harmful content on their platforms.

“To the extent that politicians have spread conspiracy theories or incitement, that will no longer be grounds for platforms taking them down,” said Evelyn Douek, who teaches about the regulation of online speech at Stanford Law School. Social media platforms, she added, may be forced to keep “a lot of horrible and otherwise hateful speech” that they currently remove and “may become unusable.”

At its core, the First Amendment protects against government infringement on speech. Courts have also held that the First Amendment protects the right of private companies, including newspapers and broadcasters, to control the speech they publish and disseminate. That includes the right of editors not to publish something they don’t want to publish.

In a 2019 decision, Justice Brett M. Kavanaugh wrote for the court’s conservatives that a private cable access company did not become a government actor subject to the First Amendment’s restrictions just because it was licensed by a government.

In the course of the decision, he touched on the roles of private companies. “Providing some kind of forum for speech is not an activity that only governmental entities have traditionally performed,” Kavanaugh wrote in Manhattan Community Access Corp. v. Halleck. “Therefore, a private entity who provides a forum for speech is not transformed by that fact alone into a state actor.”

The liberals on the court dissented on the specifics of the case but seemed to agree on the rights of private companies. “There are purely private spaces, where the First Amendment is (as relevant here) inapplicable,” wrote Justice Sonia Sotomayor. “The First Amendment leaves a private store owner (or homeowner), for example, free to remove a customer (or dinner guest) for expressing unwanted views.”

Oldham found that unenlightening for the Texas case, and pointed to a footnote in Kavanaugh’s opinion: “A distinct question not raised here is the degree to which the First Amendment protects private entities such as [media companies] from government legislation or regulation requiring those private entities to open their property for speech by others.”

Oldham distinguished newspapers from social media platforms, which Oldham writes are more akin to “common carriers” like telephone companies. (Thomas also has declared himself open to such a reading of the law.) Legal experts said the court was correct to note the difference, but that online platforms are distinct from phone companies, for instance, which do not cut off service based on the content of a conversation.

“That’s what makes these cases hard,” said Jameel Jaffer, director of the Knight First Amendment Institute at Columbia University. “We don’t have a doctrinal box to put social media platforms in. They occupy a new space, and they should occupy a new space in the law too, but what does that look like?”

Some laws that would be unconstitutional as applied to news outlets and their publishing decisions, Jaffer suggested, may be permitted when it comes to social media platforms. A social media company could be required, for instance, to explain its decision to remove someone from its platform or to be more transparent about how it moderates content.

Both the Texas and Florida laws have such provisions, and the judges reviewing them were inclined to let them stand.

Alan Z. Rozenshtein, a professor at the University of Minnesota Law School, agreed with the 5th Circuit’s description of social media platforms as increasingly central to public discussion, and said there is potentially a role for some government regulation of content moderation. But he said the Texas law goes too far, calling the 5th Circuit’s position that content moderation is censorship “extreme.”

The companies, he said, are trying to create platforms that their users “want to hang out on.”

“We can talk about whether or not Nazis and terrorists should have the right to speak, but it’s not straightforward censorship,” he said. “If you have an unmoderated cesspool, that’s great for the trolls, but that’s not conducive to other people’s speech — especially to those who are going to be threatened and turned off. There has to be some balance.”

Tech industry groups representing the social media companies are still weighing how they will respond to the ruling. Lawyers for the Computer & Communications Industry Association (CCIA) and Netchoice met Monday to discuss how to challenge the decision, according to a person familiar with the matter who spoke on the condition of anonymity to discuss their plans.

They are considering an emergency request to the Supreme Court to block the law from taking effect early next month, the person said. The groups are also considering asking a full complement of 5th Circuit judges to reconsider the case initially decided by a three-judge panel or appealing directly to the high court, potentially forcing a decision that could have broad implications for state legislatures considering legislation similar to the Texas law.

“The fight is far from over, and in the long run we are very confident that any ruling that attempts to legally mandate what viewpoints a private business distributes will not stand,” said Matt Schruers, CCIA president.

Cat Zakrzewski contributed to this report.

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Conflicting lower court rulings about removing controversial

Dorit Kemsley, Sutton Stracke, and Crystal Jung Minkoff make the case for Olivia Wilde’s troubled movie in a viral new promo spot.

The Real Housewives of Victory? Well, the “Real Housewives of Beverly Hills” cast is ready to take on the cast of psychological thriller “Don’t Worry Darling” in a new viral promo video. Amid a whopping 34% Rotten Tomatoes score and yet another premiere sans Florence Pugh for “Don’t Worry Darling,” here’s a spot that feels most certainly bought. Watch below.

Reminiscent of Nicole Kidman’s infamous AMC ad, the video starts with “RHOBH” stars Dorit Kemsley, Crystal Jung Minkoff, and Sutton Stracke sitting in a movie theater watching Harry Styles, Florence Pugh, and Chris Pine in Olivia Wilde’s “Don’t Worry Darling,” in theaters September 23.

“You guys, can we please talk about this film?” Kemsley says post-screening over cocktails. “I thought Florence Pugh’s character was this really capable, strong woman.”

Kemsley was a big fan of the casting, saying, “You could tell that Harry Styles was fully invested in his character.” Minkoff agreed, calling Styles a “superstar” of an actor.

She added, “I love the town of Victory. It is pristine and perfect.” Minkoff, who is married to “Lion King” director Rob Minkoff, overall called “Don’t Worry Darling” a “rollercoaster where you never knew what was going to happen.” (Our critic Kate Erbland would certainly disagree with that.)

Stracke joked that she didn’t think she would “make a good housewife” in the fictional town of Victory.

“You would definitely get killed,” Minkoff said. “I’m thinking we can take ’em.”

The controversial behind-the-scenes drama of “Don’t Worry Darling” has also drawn comparisons of the set being akin to a Bravo show in itself. Social media influencer Meg Zukin, formerly of Variety, quipped that “Real Housewives” executive producer Andy Cohen could host a “Don’t Worry Darling” cast reunion, to which Cohen replied, “I’m in.”

The current crown jewel of Bravo’s “Real Housewives” franchise has also been the target of Hollywood criticism, including Oscar winner Jennifer Lawrence recently calling “RHOBH” cast member Erika Jayne “evil” and slamming the season for being “boring.”

“I would go as far as to say, she needs a publicist ASAP,” Lawrence told Variety of the indicted “Pretty Mess” singer.

Jayne clapped back, saying on “Watch What Happens Live!” that Lawrence shouldn’t be so quick to judge.

“Well, you know, it’s easy to label people when they are at their absolute lowest going through something in real time on television,” Jayne said, adding that Lawrence should come on the show to see what it’s really like IRL. “I’m sure that we could unmask the ugly parts of her personality, as well.”

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Dorit Kemsley, Sutton Stracke, and Crystal Jung




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Image Credit: Gregory Pace/Shutterstock

Zoey Deutch, 27, is known for being a successful actress who has appeared in various films and television shows, including Everybody Wants Some!!, The Politician, and Set It Up. Like her career, her love life is sometimes in the spotlight and has gotten quite a bit attention over the years. The beauty has dated fellow actors, including her current boyfriend, Jimmy Tatro, but she’s managed to keep a lot of her romances as private as possible.

Find out more about her dating history and current relationship below.

Avan Jogia

Zoey Deutch, Avan Jogia
Zoey and Avan at an event. ( John Shearer/Invision/AP/Shutterstock)

Zoey and actor Avan Jogia, who was her first known boyfriend, dated for five years before calling it quits. The two reportedly met at the 2012 Kids’ Choice Awards when she was 18 and he was 20 and their romance began shortly after. They took photos with each other at various events and seemed to enjoy their time together. After their love story ended, they still co-starred with each other in The Year of Spectacular Men in 2017 and Zombieland: Double Tap in 2019, proving they were on good enough terms to still work together.

Dylan Hayes

Zoey Deutch, Dylan Hayes
Zoey and Dylan on a casual outing. (SplashNews.com)

After Zoey and Avan broke up, she soon started dating actor Dylan Hayes. Their relationship reportedly started in 2017 and the talented gal liked to keep their bond out of the spotlight most of the time. There were few photos of them together on her Instagram page but they would sometimes attend events together.

Jimmy Tatro

Zoey first went public with her romance with Jimmy in 2021. The hunk is an actor as well and has appeared in a handful of impressive shows, including Netflix’s American Vandal and Home Economics. The couple sometimes share sweet and loving posts about each other on their social media pages, including posts for special occasions like birthdays. One of the first posts Jimmy shared about Zoey was in honor of Valentine’s Day 2021 and included several adorable photos of the two of them.
“Just using today as an excuse to post some top notch untapped Zoey content,” he wrote in the caption.

Zoey and Jimmy were also spotted vacationing together in France with fellow celeb couple Nina Dobrev and Shaun White in May 2022, proving they know how to have a good time. Zoey once playfully spoke out about Jimmy when she described his “embarrassed” reaction to watching her character in Not Okay, in an interview with Lights, Camera, Barstool. “My boyfriend watched it for the first time and he was like, ‘No! Zoey, why are you doing that?’,” she hilariously said. “I don’t know if he actually really watched it because his head was in his hands the whole time.”

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View gallery Image Credit: Gregory Pace/Shutterstock Zoey Deutch, 27,

Republican lawmakers have already taken steps to enshrine an anti-abortion amendment in the state constitution, though Iowans won’t have the opportunity to vote on this amendment until 2024. Meanwhile, governor Kim Reynolds has motioned to revive a 2018 law banning abortions after six weeks of pregnancy with exceptions for medical emergencies, fetal abnormalities, rape, and incest. Litigation is ongoing.

Kansas: Legal

Abortion is legal and protected until the 22-week mark in Kansas.

In August, Kansans voted “no” on a proposed amendment that would’ve removed the right to abortion from the state constitution. However, lawmakers could attempt another amendment in the future. And upcoming elections could change the political makeup of the state’s highest court, potentially leaving the right to abortion vulnerable to attack.

Kentucky: Banned

In Kentucky, a total abortion ban with no exceptions for rape and incest is in effect.

Louisiana: Banned

In Louisiana, a total abortion ban with no exceptions for rape and incest is in effect.

Maine: Legal

Abortion access is legal and protected until fetal viability in Maine. The governor has signed an executive order shielding abortion seekers and providers from laws in other states.

Maryland: Legal

Abortion access is legal and protected until fetal viability in Maryland. A new state law, passed in July, requires the governor to set aside $3.5 million each year for abortion care training. But the funding won’t become available until July of next year.

Massachusetts: Legal

Abortion is legal and protected until the 24-weeks of pregnancy—measured from the first day of the pregnant person’s last menstrual period—in Massachusetts. A new state law, enacted in July, has further secured and expanded abortion access amid the fall of Roe. The law also shields abortion patients and providers from bans in other states.

Michigan: Pending

Abortion is legal until fetal viability in Michigan, though legal challenges likely lay ahead. For now, an abortion ban has been struck down in court and governor Gretchen Whitmer has signed an executive order shielding abortion seekers and providers from restrictive laws in other states. In November, abortion will be a ballot box issue in Michigan as voters decide whether to enshrine the right to abortion in the state constitution.

Minnesota: Legal

Abortion access is legal and protected until fetal viability in Minnesota. The governor has issued an executive order shielding abortion seekers and providers from laws in other states.

Mississippi: Banned

Abortion is banned in Mississippi with exceptions to save the life of the mother and in the event of rape so long as it has been reported to law enforcement.

Missouri: Banned

In Missouri, a total abortion ban with no exceptions for rape and incest is in effect. The ban permits abortion to save the life of the mother and in the event of medical emergency, but it’s unclear how those exceptions will be applied in practice.

Montana: Legal

Abortion is legal and protected until viability in Montana. Attempts to pass anti-abortion legislation, including a 20-week ban, have been blocked.

Nebraska: Legal

In Nebraska, abortion is legal until 20 weeks post-fertilization, although attempts to further restrict access likely lay ahead. In August, governor Pete Ricketts was unable to garner enough votes to pass a 12-week ban.

Nevada: Legal

In Nevada, abortion is legal until 24 weeks post-fertilization. In June, governor Steve Sisolak issued an executive order shielding abortion seekers and providers from laws in other states. The governor has since announced his intent to codify this order in state law, should he win reelection.

New Hampshire: Legal

Abortion is legal until 24 weeks of pregnancy—measured from the first day of the pregnant person’s last menstrual period—but the right to abortion is not protected by state law in New Hampshire.

New Jersey: Legal

Abortion access is legal and protected at all stages of pregnancy in New Jersey. In July, governor Phil Murphy signed legislation that extends legal protection to anyone who travels from another state to receive abortion care in New Jersey.

New Mexico: Legal

Abortion is legal at all stages of pregnancy, but not protected by state law in New Mexico. In June, governor Michelle Lujan Grisham signed an executive order shielding abortion seekers and providers from laws in other states. Grisham has since pledged $10 million to build a new abortion clinic near the Texas border in anticipation of increased interstate travel to receive abortion care.

New York: Legal

Abortion is legal and protected until 24 weeks post-fertilization in New York. A movement to enshrine the right to abortion in the state constitution is underway.

North Carolina: Legal

Abortion is legal until 20 weeks of pregnancy in North Carolina. Republican lawmakers will likely attempt to further curtail abortion access in the state, but those restrictions are unlikely to pass into law under Democratic governor Roy Cooper.

North Dakota: Pending

For now, abortion is legal until 20 weeks post-fertilization in North Dakota. A near-total abortion ban has been temporarily blocked in court, but litigation is ongoing.

Ohio: Pending

For now, abortion is legal until 20 weeks post-fertilization in Ohio. A near-total abortion ban outlawing the procedure after six weeks of pregnancy has been temporarily blocked in court, but litigation is ongoing.

Oklahoma: Banned

Abortion is illegal from the moment of conception in Oklahoma. The state’s total abortion ban also empowers private citizens to sue anyone who provides, aids, or abets abortion care.

Oregon: Legal

Abortion at any stage of pregnancy is legal and protected in Oregon. In anticipation of Roe’s demise, the state legislature allocated $15 million to expand access and support patients (including out-of-state patients) with the financial and logistical burden of securing abortion care.

Pennsylvania: Legal

Abortion is legal until 24 weeks of pregnancy, but not protected by state law in Pennsylvania.

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Republican lawmakers have already taken steps to

It’s easy to root for “Abbott Elementary.”

In its first season, Quinta Brunson’s series established itself as both a big-hearted and sweet-natured half-hour and as a sign of life for the network comedy. Rooted both in the office-comedy genre that’s as old as the medium (with the office, in this case, being a Philadelphia public school) and in the 21st-century custom of the mockumentary, “Abbott” has been a sharp and strong argument for traditional forms. Brunson’s Emmy win for writing the show’s pilot came both as the welcome celebration of a new talent and as no surprise.

And the first two episodes of the show’s second season continue its strong trajectory. The school came into a windfall in the previous season, and the decision of how to disburse it hangs over the proceedings. This is an elegant way to deploy both halves of “Abbott’s” emotional equation: The show’s teachers know that they are underfunded and that even a bonus will go too quickly, and yet they keep on going with a smile, because what’s the alternative? A scene in which the teachers visit a richly resourced charter school before returning home to scruffy deprivation plays fascinatingly, with barely concealed envy ricocheting from face to face.

At the show’s center, Brunson’s character Janine is holding things together, if barely. In the season premiere, Brunson writes herself a scene of emotional breakdown over Janine’s financial strain that’s among the richest acting work she’s gotten to do on the series to date. The ensemble fares well, too; Lisa Ann Walter’s character, early on, felt like a delivery mechanism for a single joke about a shadily amoral person, but Walter’s performance, and her character Melissa’s easily bruised pride, is edging out into interesting new directions. Janelle James continues to find novel ways to depict narcissism and ineptitude, treating the grant disbursement as an episode of “Shark Tank.” And Tyler James Williams and newly-minted Emmy-winner Sheryl Lee Ralph share the show’s most intriguing chemistry as Gregory and Barbara, with his weariness and her perennial polish bumping up against each other.

The ensemble is so strong, in fact, that it can at times cover for moments when this network sitcom can feel a little, well, like a network sitcom. Various plot elements have been tidily disposed of over the summer, rebooting Janine’s and Gregory’s personal lives offscreen in a manner that feels abrupt and random. The internal logic of a running joke in the season’s second episode, about Barbara confusing the names of Black and white actors, felt muddled to me, but it’s the sort of thing one shrugs off and forgives when a show runs week-in, week-out. (“Abbott’s” second season will run 22 episodes, up from 13 in season one.) James’ performance distracted me from the ways in which an ABC sitcom doing a “Shark Tank” homage feels, at least, like a corny tie-in, like when the family on “Black-ish” went to Walt Disney World as a way to promote ABC’s parent company’s parks. And, though the show finds ways to make use of its mockumentary device (often in James’ performance, and her tendency to try to catch the camera’s lens), it’s unclear why this story is being told in that style, other than that it’s a style that is popular right now. “The Office” spending its final season blowing up the documentary storyline, examining why these cast members had been filmed for so long, seemed to be the final word on this device and what it could do.

This feels especially true because the stories being told pulse with a liveliness that doesn’t necessitate characters explaining themselves to camera. Janine’s moment of agitated panic (Brunson’s showcase scene) comes in conversation with her colleagues; the device has fallen away, and we’re seeing the community outside the confessional booth. The best thing I can say for the mockumentary mechanism of having the characters narrate their thoughts and feelings in that familiar “Office”/”Modern Family” way is that it functions, intended or not, a bit like a Trojan horse. Viewers expecting a sitcom that moves in a comforting, familiar way to be about comforting, familiar topics end up seeing characters having to genuinely struggle to pay the bills, or wonder how they can possibly keep educating kids with the resources at hand.

But they keep chugging on, with the weekly rhythms of a sitcom forming, in the end, a satisfying match for the daily rhythms of a schoolday. “Abbott’s” characters have the winning persistence of people who work because they’re driven by purpose, and the wit of folks trying to make the best of things. They make the series feel fresh, and lend it vitality and pep to balance out the melancholy of being part of a profession, the urban teacher, that is under-resourced and under-covered. “Abbott” does the teachers at its center justice, and is proof of Brunson’s ability to put familiar forms to worthy and delightful ends. Like a good student, the series colors, vividly, within the lines.

“Abbott Elementary’s” second season premieres Wednesday, September 21 at 9 p.m. ET.

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It’s easy to root for “Abbott Elementary.” In


Alison Sweeney’s tenure at Hallmark will continue.


The beloved actress has inked a deal with Hallmark Media for a multi-picture overall deal, it was announced today.


“Alison Sweeney has been an incredible creative partner for us over the years – both on screen as well as behind the camera as a producer,” began Lisa Hamilton Daly, Executive Vice President, Programming, Hallmark Media.


“She’s long been a fan favorite and we can’t wait to continue our work together as we bring new stories to life.”


“I am thrilled to continue to work with Hallmark as they continue to support my work as an actress and as a producer,” Sweeney remarked.


“I’m very proud of our Christmas movie and excited for the future projects to come!”


Sweeney is set to star in A Magical Christmas Village, which she also executive produces, with Luke Macfarlane (Moriah’s Lighthouse” and special guest star Marlo Thomas.


The movie premieres this year during Hallmark Channel’s annual, top-rated “Countdown to Christmas” programming event.


Sweeney plays Summer, an architect living in a small town where she’s raising her young daughter Chloe (Maesa Nicholson, “Dying for Chocolate: A Curious Caterer Mystery”).


When her mother Vivian (Thomas) finds herself in need of a place to live, her orderly life becomes a little less so after inviting Vivian to move in with them during this transition.


Upon arrival, Vivian sets up an heirloom, miniature Christmas village resembling their town, and tells Chloe it grants Christmas wishes.


As Chloe begins setting up the figurines, real-life events seem to mimic the scenes she creates, including Summer’s chance meeting with Ryan (Macfarlane), a newcomer to their community.


The two quickly learn they share much in common and as they spend more time together, Ryan slowly helps Summer learn to open her hear to love again.


Meanwhile, living under the same roof gives Summer and Vivian the chance to mend fences as the holiday nears and, perhaps with a little help from the magic of the Christmas village, the family will be brought closer together.


Sweeney is an award-winning actress, producer, director, content supplier, TV host, and author who is a constant source of inspiration with her balance of career and her focus on family, health, and wellness. Sweeney currently stars, and executive produces rom-com television movies for a global audience.


What are your thoughts on the news?


Hit the comments below.

Paul Dailly is the Associate Editor for TV Fanatic. Follow him on Twitter.

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Alison Sweeney's tenure at Hallmark will continue. The

Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony awards ceremonies, curated by Variety senior awards editor Clayton Davis. The prediction pages are Davis’ assessment of the current standings of the race and do not reflect personal preferences for any film or performance. Like any organization or body that votes, each individual category is fluid and subject to change. Predictions are updated every Thursday.

LAST UPDATED: Sept. 15, 2022

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

*** = PREDICTED WINNER

About Variety Awards Circuit:

Variety’s unmatched coverage gives its readership unbeatable exposure in print and online, as well as provides inside reports on all the contenders in this year’s awards season races. In addition to predictions, the section includes — Awards Circuit Column, a weekly analysis dissecting the trends and contenders in the race; Awards Circuit Podcast, a weekly series featuring interviews with the top contenders in the awards race and an expert roundtable discussion with Variety’s leading editors and columnists; Awards Circuit Predictions Video Series, a deep dive into specific categories, led by the leading pundits.

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It’s a sad, sad day in the corgi world. 

During Queen Elizabeth’s state funeral, the late monarch’s corgis said goodbye to their dog mom before she was laid to rest. The two good dogs— Muick and Sandy— were outside Windsor Castle waiting for the Queen’s casket to arrive during the royals’s final procession ahead of a small, intimate ceremony consisting of family and friends on the property.

The two royal corgis were a 90th birthday gift given to her by her son, Prince Andrew. In 2015, Queen Elizabeth famously told her longtime advisor Monty Roberts that she “did not want to leave any behind,” as she was getting older. Cue the water works. 

Justin Setterfield/Getty Images

Prince Andrew and Sarah Ferguson will take in Muick and Sandy now that the Queen has passed. The late royal bred corgis and dorgis (a dauschind-corgi mix) throughout her life, most a direct descendant of her first corgi, Susan. During her time on the throne, Queen Elizabeth is estimated to have owned 30 Pembroke Welsh corgis, with some speculating she owned up to nine at once, per Reader’s Digest. 

While King Charles and Queen Camilla don’t own any corgis, the new heads of the family do own two Jack Russell terriers— Beth and Bluebell— which they rescued in 2017 according to Hello Magazine. Although corgis may be replaced as the new breed-of-choice as King Charles III ascends to the throne and begins his royal duties, all doggos are good doggos, regardless of whether or not they look like a loaf of bread. 

My thoughts and prayers are with Muick and Sandy at the moment, who deserve all the belly rubs and head scritches as they enter this new chapter of retirement from royal service.


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It's a sad, sad day in the

It’s been a good year for several documentary filmmakers who sought and found distribution for independently made projects at major festivals. But for many nonfiction helmers, this year’s festival circuit hasn’t proven to be as fruitful as it once was.

Pre-pandemic, streaming services went to film fests to fill their slates, but now with media conglomerates consolidating, brands merging, and Netflix tightening its wallet, film fest documentary shopping sprees have slowed down. On top of mergers and economic unease, there’s been an increase in streamers like Netflix, Amazon, Hulu, Apple, and Disney either pre-buying docus or commissioning their own nonfiction projects.

Some of this year’s fest favorites were commissioned docus, including Tia Lessin and Emma Pildes’ ‘The Janes” (HBO), W. Kamau Bell’s “We Need to Talk About Cosby” (Showtime), Rory Kennedy’s “Downfall: The Case Against Boeing” (Netflix), and Ron Howard’s “We Feed People” (National Geographic).

“The trend we are seeing is good and bad for the documentary landscape,” says Submarine Entertainment sales agent Josh Braun. “If you are a documentary filmmaker who has a film that gets commissioned by a streamer, then you’re cheering, and you’re happy. If you happen to be a filmmaker who took a different path and financed a film (independently), and it premiered at a festival, it’s a bit tricky.

Braun repped, and executive produced the Sundance 2022 hit “Fire of Love,” about famed French volcanologists Katia and Maurice Herber. Following the docu’s virtual premiere in January, there was a bidding war, which ended with National Geographic paying in the mid-seven figures for the film.

“’Fire of Love’ worked out fantastically, and it was a great thing for everyone involved,” says Braun. “But for other films that went that same path, it wasn’t as fast (a sell), and it wasn’t necessarily as rewarding financially. I think we are in a tricky landscape. Going to festivals like Sundance without distribution and hoping for a big deal could happen, but it’s not guaranteed.”

Other docus that found distribution at Sundance include: “Aftershock” (Disney’s Onyx Collective and ABC News), “Last Flight Home” (MTV Documentary Films), “Mija” (Disney+), and “Nothing Compares” (Showtime). But two Sundance 2022 titles that received plenty of buzz but have not yet found distribution are Violet Columbus and Ben Klein’s “The Exiles,” about three exiled dissidents from the Tiananmen Square massacre, and Abigail Disney and Kathleen Hughes’ “The American Dream and Other Fairy Tales,” about the growing inequalities in America and better pay for Disneyland cast members. 

Earlier this year, Disney, Walt Disney’s great-niece, spoke to Variety about finding distribution ahead of the film’s Hot Docs premiere. “The (platforms) that Disney doesn’t own, and that’s not very many, are run by people who are vulnerable to all the same criticisms (made in the film),” she said. “So, it’s really hard to imagine them wanting to take this doc on and make themselves vulnerable. But if I have to stand in Times Square on a soapbox with a megaphone, I’m going to make sure the film is seen.”

Ultimately the Disney heir decided to self-distribute “The American Dream and Other Fairy Tales.” It launches in theaters and on major VOD platforms, including iTunes and Amazon, on Sept. 23.

“The Exiles,” which won Sundance’s documentary grand jury prize, stayed on the festival circuit until last spring. The film delves into America’s complicity in China’s violations of human rights, which may be one reason streamers aren’t taken with the film.

Despite documentaries being one of the cornerstones of the business model for distribution outlets, streaming services are media conglomerates that are not looking to offend governments or other corporations. Instead, Netflix, Amazon, Disney, and Apple are eager for more subscribers and content that reaches the broadest possible audience. And that content has increasingly begun to fit into a specific mold, which is commercially driven and centers on true crime, sports, music or celebrities.

Among filmmakers, there is a growing sense that Hollywood has entered the corporate age of documentaries. “That’s a good skeptical lens to apply because that is a force in what shapes our storytelling now that we’ve got to pay close attention to,” Toronto Film Festival documentary programmer Thom Powers told Variety a year ago.

Powers selected Gabriela Cowperthwaite’s docu “The Grab” to premiere at this year’s TIFF. The film, which exposes land grabs made by international governments and other powerful agencies trying to secure food and water outside their borders, premiered on Sept. 8. It has not yet found a buyer, but if Powers is right and this is the corporate age of documentaries, it’s anyone’s guess if a streaming service will take on a film that takes some big swings at China and Saudi Arabia.

Documentarians have been paying close attention to what streamers are buying — and what is being programmed at key fests. The 2022 docu lineups for South by Southwest and Tribeca Festival, for example, were both celebrity-heavy.

Camille Hardman and Gary Lane’s “Still Working 9 to 5,” focused on the origins and success of the 1980 film “9 to 5,” while also addressing gender inequality and discrimination in the workplace, But despite on-camera interviews with and public support from “9 to 5” stars Jane Fonda, Dolly Parton, and Lily Tomlin, the film does not have a distributor. That’s also the case with Casey Neistat’s “Under the Influence,” about 23-year-old YouTube phenomenon David Dobrik. Another non-political film out of SXSW still looking for distribution is Jessica Edwards’ “Skate Dreams,” about the rise of women’s skateboarding.

In June, at the Tribeca Festival, four celeb-driven docus premiered, including Sean Mullin’s “It Ain’t Over” (about baseball legend Yogi Berra), Stuart McClave’s “On the Line: The Richard Williams Story” (about Venus and Serena Williams’ father), Bradford Thomason and Brett Whitcomb’s “Butterly in the Sky” (about the PBS children’s series “Reading Rainbow” and its iconic host LeVar Burton), and Jennifer Tiexiera and Camilla Hall’s “Subject,” about documentary stars including Michael Peterson (“The Staircase) and the ethics of nonfiction filmmaking. All four docs are still on the festival circuit and still seeking distribution. Politically-oriented Tribeca docs, including Cynthia Lowen’s “Battleground” (about abortion), Josh Alexander’s “Loudmouth” (about Al Sharpton), and Jed Rothstein’s “Rudy! A Documusical” (about Rudy Giuliani), also have not found SVOD distribution. (Abramorama and Roco Films will release “Battleground” in theaters on Oct. 7.)

“It’s taking a little longer than normal,” says Cinetic Media’s Jason Ishikawa. “It’s partially just that it’s summer and the market instability that has rocked all sectors of the marketplace, not just film. That’s frustrating for a lot of people, especially because Tribeca premiered a lot of high-profile, commercial documentaries about famous people or big zeitgeisty topics that can really work in the marketplace.”

But Ishikawa adds that all is not lost for docus that made a splash this year on the festival circuit but have not found a buyer.

“It’s not a bad thing, necessarily,” he says. “I get the concern, but the reality is there are enough distributors who need content who are not producing it themselves. HBO, Netflix, Showtime, they’ve always made their own content, but they’re always looking to supplement that and non-fiction generally is a much better, cost-effective acquisition than a high-end scripted film with stars.”

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It’s been a good year for several

The early-August day Brittney Griner was sentenced to nine years in a Russian prison, Kia Nurse and her Phoenix Mercury teammates watched the heart-wrenching court proceedings play out on their phones in their locker-room.

The Mercury hosted the Connecticut Sun later that day, and the two teams locked arms at centre court pre-game for a tearful 42 seconds of silence – a nod to Griner’s Phoenix jersey number.

“It was really hard to play that game. I don’t know how my teammates did it. It was really hard to play an entire season without her,” Nurse said.

Read more:

Brittney Griner’s lawyers appeal 9-year drug sentence of WNBA star

The 26-year-old guard from Hamilton returns to Canada’s national team at the FIBA Women’s World Cup in Australia, her first official action since tearing her ACL in her right knee on Oct. 6.

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Nurse fought back tears on Monday as she recalled the darkest days of “a hell on earth” season for the Mercury.

“BG is the best of the best when it comes to human beings,” she said of Griner, an eight-time WNBA all-star, who was convicted of drug possession and smuggling after less than a gram of cannabis oil was found in her luggage.

“It was a lot this season to not have her on the court, to not have her spirit, her energy around ? and the fact that she’s not home yet is disheartening. We did our best as a team to make sure that her story was told, to make sure that her name was upfront as much as possible ? but you go to practice and you wonder what she’s doing.”

The Mercury continued Griner’s BG Heart and Sole Shoe Drive in her absence, visiting all 12 WNBA markets.

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“We’re continuing to keep her in our prayers, to keep her family in our prayers, continuing to make sure she knows that she’s loved, and she’s not forgotten and putting as much emphasis as we can on those who have the power to make decisions to help bring her home – because she is wrongfully detained there by all accounts,” Nurse said.

Nurse’s knee injury had already made this past year the toughest of her career.

“There was a lot of great days, a lot of bad days, a lot of tears, a lot of anger, but a lot of little wins along the way as well,” Nurse said in a Zoom media availability from Sydney, Australia. “I had physically the smoothest process possible, my knee, she’s a great girl, I love her for that. But just, mentally, it’s been hard. It’s been up and down and a roller-coaster.”

She spent several months of her rehab at home in Ontario, leaning on her boyfriend John Robinson IV and her family for support.

“John, the poor guy, took all of my good days, and he took the heat on all of my bad days,” Nurse laughed.

Read more:

Dennis Rodman says he’ll go to Russia to push for Brittney Griner’s release

She sought recovery advice from her brother Darnell, a defenceman with the Edmonton Oilers, and her uncle Donovan McNabb, a 13-year NFL veteran who also tore his ACL.

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“We went through hell on earth this year as a team,” Nurse said. “And not being able to be out there with them was one of the hardest things and that’s where my patience got very testy. Not as patient as I would have liked, but it’s a process and even to this point, you can’t skip anything in this process.

“As much as I would love to skip a minute restriction in this tournament, I’m not allowed.”

The Canadian women open the FIBA World Cup versus Serbia on Thursday (11 p.m. ET on Wednesday), and then play France, Japan, Australia and Mali in the group phase. Nurse, who last played for the national team at the Tokyo Olympics where Canada didn’t advance out of the preliminary round, hopes to see her playing time increase with each game.

Team veteran Natalie Achonwa, who tore her ACL in her senior season at Notre Dame, reassured Nurse that “there’s no weight on her shoulders.”

“She looks great,” Achonwa said. “I tell Kia every day that she just needs to be her. Especially going through a process like tearing an ACL and coming back from that, I’ve been there, done that and I realize the mental and the emotional strain that it takes.

Read more:

Achonwa among names headlining Canada’s basketball roster for World Cup training

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“She’s tackled this every day and it’s like we say, celebrate the little wins ? but Kia has been dominating in practice and in our two exhibition games (vs. China and Puerto Rico). I’ve just been so happy to see her and share the court with her again.”

Physically, the six-foot Nurse said, since she was relegated to the weight room for so much of her rehab, she’s the strongest she’s ever been. She said she hasn’t forgotten how to pass, dribble or shoot, it’s just a matter now of being able to do it all again at high speed.

Mentally, she said she’s learned that she’s “really resilient.”

“I’ve always been told I’m a tough player, and I think a lot of that comes from just being able to throw my body around the floor, take a hit and get back up,” she said. “This the first time that I’ve had to deal with an injury of this extent, and of this length.

“I learned how to be an even better trainer, and even better professional athlete in terms of taking care of my body ? it’s helped me figure out what’s best for me as a person. And hey, I’m a hell of a fighter. That’s what I’ve learned.”

© 2022 The Canadian Press

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The early-August day Brittney Griner was sentenced

Killing Eve star Sandra Oh has been spotted at Queen Elizabeth II’s funeral, one of very few TV personalities to be invited.

Oh was seen in the past couple of hours or so and Twitter has been abuzz with the arrival of the Grey’s Anatomy star.

Oh was appointed an Order of Canada as an Officer a few months ago and was dressed in black with a Canadian badge pinned in front, according to the BBC.

Queen Elizabeth II’s State Funeral – A Photo Gallery

The honor is the second highest that can be received in Canada, a Commonwealth country, and Oh was granted it due to an “artistic career filled with memorable stage, television and film roles in Canada and abroad”. She played Dr Cristina Yang in Grey’s Anatomy for a decade, winning a stack of awards, and has more recently been lauded for her role as Eve in Killing Eve.

As with the UK, Canada has been observing a period of mourning after the death of Queen Elizabeth II, who died Thursday 8 September and whose funeral is currently taking place, watched by billions across the world.

Canadian Prime Minister Justin Trudeau is also present, alongside world leaders such as Emmanuel Macron, German President Frank-Walter Steinmeier and Italian President Sergio Mattarella for the major occasion. Royals are present including all of the Queen’s grandchildren, the children of the now-Prince of Wales Prince William, who is next in line to the throne behind his father, King Charles III.

The Queen’s Funeral: Deadline’s Complete Coverage

Other celebrities present include adventure TV star Bear Grylls, a chief scout who tweeted last week saying the Queen had left a “bright legacy of hope and promise for future generations.”

Sophie Winkleman, who played Big Suze in Channel 4 cult comedy Peep Show, is also present as she is a minor royal. She is married to Lord Frederick Windsor, the son of the Queen’s cousin Prince Michael of Kent.

The funeral procession is currently taking place, with coverage on virtually all British TV channels and simulcast around the world. It is expected to be one of the most-watched TV broadcasts of all time.

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Killing Eve star Sandra Oh has been

Over the weekend, hackers illegally obtained and leaked unreleased footage from “Grand Theft Auto VI,” the upcoming installment in Rockstar Games’ hit franchise, the studio acknowledged Monday.

A user on the GTA Forums posted a 3-gigabyte file — with 90 videos of “GTA VI” — footage, PC Gamer reported. According to the report, the hacker said they may “leak more data soon,” including “GTA V” and “GTA VI” source code, assets and test builds.

Rockstar on Monday confirmed the “GTA 6” leak, saying it was “extremely disappointed” about the event.

“We recently suffered a network intrusion in which an unauthorized third party illegally accessed and download confidential information from our systems, including early development footage from the next ‘Grand Theft Auto,’” the company said in a tweet.

“We are extremely disappointed to have any details of our next games shared with you all in this way,” Rockstar’s statement continued. “Our wokr on the next ‘Grand Theft Auto’ game will continue as planned and we remain as committed as ever to delivering an experience to you, our players, that truly exceeds your expectations.”

Rockstar said it does not expect any disruption to its live game services or any “long-term effect” on the development of its ongoing projects.

First released in 1997, the open-world action-adventure “Grand Theft Auto” game has been the top-selling title for Take-Two Interactive, Rockstar’s parent company.

More to come

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Over the weekend, hackers illegally obtained and

Apple has a Will Smith problem.

The New York Times reporting on the lose-lose situation at Apple over the release of Emancipation, a $120 million Civil War drama starring Will Smith that finished filming about a month before Smith climbed on stage during the Oscars in March and slapped Chris Rock:

“If they shelve the movie, does that tarnish Apple’s reputation? If they release it, does it tarnish their reputation? … Hollywood likes a win-win situation. This one is lose-lose.”

The film is said to have generated an “overwhelmingly positive reaction” in private audience screenings, according to NYT’s sources, with Smith’s performance described as “volcanic.” Some are now pushing for the film’s release before the end of the year to make it eligible for awards consideration.

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Apple has a Will Smith problem.The New

About The Author

Andrew Jeffrey joined Realscreen in 2021 as its news editor. Here, he helps to oversee assignment, reporting and editing for Realscreen’s daily newsletter. Prior to his work covering documentary and non-fiction film and TV, he worked as a reporter and associate producer for CBC Edmonton, and as a reporter for The Star Calgary, where he covered daily news on beats such as local and provincial politics, health care and harm reduction, sports and education. His work has appeared in other Canadian news outlets such as TVO, the Edmonton Journal and Avenue Magazine.

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Ramyug
Cast: Diganth Manchale, Aishwarya Ojha, Kabir Duhan Singh, Vivan Bhathena
Director: Kunal Kohli

Director Kunal Kohli’s another web outing, after the lackluster Lahore Confidential (ZEE5), has failed to hit the mark. Ramyug offers a contemporary touch to the age-old Ramayan, but is devoid of warmth and goes way off on the treatment and performance front.

Up until now, the Indian audience have been introduced to the Ramayan and it’s characters through various TV Shows and we are fairly familiar with the story. In comparison, never has any of them been so wayward as Ramyug.

The majority of the discontentment and empty feels arise from the performances of Ram (Diganth Manchale), Sita (Aishwarya Ojha) and Raavan (Kabir Duhan Singh). Whereas Ram and Sita are divine and calm in demeanour, here, the two are appear totally unnatural, to the extent that Sita is often snappy. They maybe wearing costumes resembling the period but none of the actors have internalised their roles. It may sound harsh, but the cast seems to have worked on flaunting their bodies more than getting the tone right. Vivan Bhathena as Hanuman also appears as a misfit but no more than the others.

Ramyug is mounted on a good scale but all that pales when it comes to the treatment of the show which is too glossy. Instead of transporting us back to the era, the modern vibes kill the feel of the epic altogether. The story is told in a non-linear format to cut down on the runtime. In the process, the natural arc of the human drama goes for a toss.

Projects such as Ramyug will always be open to unfair comparisons but this is as bad as it can get. Let alone trying to bank on it’s mass appeal, director Kunal Kohli should hope that not many come across his uninteresting take on Ramayan.

Rating: 1.5/5

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RamyugCast: Diganth Manchale, Aishwarya Ojha, Kabir Duhan

This is the third of three dispatches from the 2022 Toronto International Film Festival. You can read the first here and the second here.

As always, the final days of the fest were considerably lower-key than those before them, with much of the press having departed and most of the buzzy films having screened. The homestretch, however, is when lower-profile gems are often discovered, as I was reminded by a few screenings.

The world premiere of the documentary feature Freedom on Fire: Ukraine’s Fight for Freedom (still seeking U.S. distribution), Evgeny Afineevsky’s follow-up to his 2015 Oscar-nominated Winter on Fire: Ukraine’s Fight for Freedom, proved to be the definitive portrait, thus far, of the ongoing Russian atrocities — and remarkable resistance to them — in Ukraine. Afineevsky, who was born in Russia, made the entire film in the last six months, spending a chunk of that time on the ground in Ukraine himself. And critics and audiences alike called it powerful and disturbing after its world premiere at the Venice Film Festival and then its North American premiere at TIFF.

Just like many Russians and Ukrainians were in attendance at the TIFF unveiling of Freedom on Fire, many Iranians showed up for the fest’s unveiling of Holy Spider (Utopia). The latest film from Iranian filmmaker Ali Abbasi tells the dark, true story of a serial killer of prostitutes (Mehdi Bajestani) and the female journalist pursuing him (Zar Amir-Ebrahimi, who won the best actress prize at Cannes, where the film world premiered) in present-day Iran. Iran is not exactly known for its openness to social criticism, so the film is actually being considered for submission in the best international feature Oscar race not by that nation, but by Denmark, from which it received considerable financing (it’s in the Danes’ final three, with a decision expected soon). Abbasi’s previous film, 2018’s Border, was submitted by Sweden.

Meanwhile, while one of Netflix’s most highly anticipated titles, Alejandro G. Inarritu’s Bardo, flopped in Venice and Telluride, a more under-the-radar pic from the same streamer, Sebastián Lelio’s The Wonder, popped more than most expected in Telluride and then again in Toronto. The quiet film about an English nurse (Oscar nominee Florence Pugh) recruited to monitor an 11-year-old girl who has stopped eating (Kíla Lord Cassidy) in 19th-century Ireland was adapted from Emma Donoghue’s 2016 novel of the same name by Donoghue (who previously adapted her 2010 novel Room into an Oscar-nominated screenplay), Lelio (the helmer of 2017’s A Fantastic Woman, which won the best international feature Oscar) and Alice Birch. There is much to commend about the film, but nothing more than the performance of Pugh, who is always great, and who stands a much stronger shot at awards recognition for this film than for Olivia Wilde’s controversy-mired Don’t Worry Darling. (Also, it occurred to me that The Wonder and Martin McDonagh’s The Banshees of Inisherin, which world premiered in Venice and then came to Toronto, would make for a great double-feature about weird Irish people who choose to harm themselves.)

Someone else who is very much in the best actress Oscar race for a Netflix film is Ana de Armas, for her portrayal of Marilyn Monroe in Andrew Dominik’s Blonde. The film had its world premiere at Venice and then its North American premiere in L.A., skipping Telluride and Toronto en route to a Sept. 16 limited release and Sept. 28 drop on the streaming platform — but Netflix set up a special screening in Toronto for those who couldn’t make it back in time for the L.A. premiere, so I can tell you that it is a deeply flawed film (way too long and of questionable taste), but also that de Armas gives a truly gutsy performance that one has to respect (even if she doesn’t entirely lose her Cuban accent). Moreover, the resemblance between de Armas and Monroe is stunning (much more than it was between My Week With Marilyn‘s Michelle Williams and Monroe en route to Williams’ best actress nom), and there are certain scenes and sequences in which I truly wondered if the film was using stock footage (it wasn’t).

The 2022 edition of TIFF came to a close on Sunday with an awards ceremony at which it was revealed that Steven Spielberg’s The Fabelmans (Universal) had topped Sarah Polley’s Women Talking (UAR) and Rian Johnson’s Glass Onion: A Knives Out Mystery (Netflix) to win the coveted TIFF Audience Award, which has often been a harbinger of best picture Oscar success (see: Chariots of Fire, American Beauty, Slumdog Millionaire, The King’s Speech, 12 Years a Slave, Green Book and Nomadland). This is great news for Spielberg, who had never before brought a film to TIFF and is really putting himself out there with this one, which is all about his family. But it’s also highly encouraging for Polley, whose film I and others thought would be too divisive to place this highly, and Johnson, whose film is a comedy without any pretensions about having greater social significance, which has hindered other films in the past.

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This is the third of three dispatches

Milly Alcock and Theo Nate

Milly Alcock and Theo Nate
Photo: Ollie Upton/HBO

Over the course of its eight-season run, critics and fans alike dinged Game Of Thrones for its failures of representation. Characters of color were thin on the ground and often viewed through a regressive colonialist lens; violence and cruelty toward women was handled with graphic abandon; and the show’s few LGBTQ+ characters were treated with particular cruelty.

It’s the latter that once more rears its ugly head in “We Light The Way,” proving that House Of The Dragon has learned little from its predecessor’s mistakes. Early in this episode, we meet Ser Joffrey Lonmouth (Solly McLeod), the lover of Rhaenyra’s king consort–to-be, Laenor Valeryon (Theo Nate). Before the hour is out, we’ll witness his brutal murder. It’s an ignominious ending for a character we’ve only just met, and it’s part of a persistent problem on modern television.

But more on that later. First, we’ve got a marriage to broker. Rhaenyra and Viserys are on the way to Driftmark to parlay with Corlys Valeryon about a proposed union between their houses. After giving the pink slip to Otto Hightower last week, Viserys is in the company of his new Hand, Lyonel Strong. The king is also sick as a dog, though it’s not yet clear if it’s from his chilly sea voyage or something more serious.

The king meets with Corlys in the throne room of High Tide, the seat of House Valeryon, to talk marriage and politics—which, in this case, are one in the same. On the surface, the idea is a win-win-win: The king can win back House Valeryon as an ally; Rhaenyra can divert attention away from her sex scandal with Daemon; and the Sea Snake can secure his family a place in the royal dynasty.

After a brief negotiation, the wedding is officially on. But afterwards, alone with her husband, Princess Rhaenys (we missed you, girl! And we love your pants!) expresses her doubts: Making Laenor the future king consort to a controversial heiress will put him in the path of considerable danger. And then there’s the other issue: Even if Corlys refuses to acknowledge it, Rhaenys knows full well that her son is gay. Luckily, Rhaenyra knows too—and she’s got a proposition that will benefit them both. They’ll “do their duty” and pop out a few heirs, sure; but aside from that, they can bed whomever they want. And given the circumstances of their lives, this plan doesn’t sound half bad.

The groom-to-be tells Joffrey the plan, who isn’t too keen on it; but he relaxes a little when Laenor tells him that Rhaenyra has a secret lover of her own. The two flirt and share a sweet kiss, which made me, at least, hope that we’d get to see more of this relationship—a rare one for the world of Thrones—before things took an inevitably tragic turn. What a chump I was.

On the trip back to King’s Landing, Ser Criston comes to Rhaenyra looking like he’s just stepped off the cover of a romance novel. He asks the princess to forsake the machinations of the court and run away with him to Essos where they could be free to marry for love. But Rhaenyra is a Targaryen through and through; she would never forsake her claim to the throne—or her chance at power. She’s perfectly happy for the two of them to continue being secret sex buddies, but Criston isn’t. All he has is his place in the Kingsguard, and he’s already broken his oath of celibacy with her. He wants their relationship to be above board or nothing at all.

Back in the Red Keep, Alicent discovers that she’s been played for a patsy. As her ousted father Otto prepares to ride off, he gives his daughter a dire warning: After Viserys dies, he predicts that the only way Rhaenyra will be able to secure her spot on the throne will be to kill Alicent’s children, starting with Aegon. If she continues to back Rhaenyra’s claim, her best hope is to pray for mercy. (Maybe, just maybe, absolute monarchy is a bad system!)

While mulling things over in the Godswood, Alicent encounters Lyonel’s son Larys Strong (Matthew Needham). This episode runs on gossip, and here’s what sets the engine in motion: Under the pretense of asking if Rhaenyra is still “unwell,” Larys drops the bomb that the Grand Maester brought the princess some Plan B tea after her night on the town.

Emily Carey

Emily Carey
Photo: Ollie Upton/HBO

As soon as the royal party returns from the Stepstones, Alicent is all over Criston like white on rice; if anyone has the dish on whether Rhaenyra and Daemon did the dirty together, it’s him. But she unwittingly gets him to reveal his own shenanigans with the princess instead, and the truth burns away the last of Alicent’s naivete. Criston, in love with his own image of a disgraced white knight, asks her for the mercy of a swift death rather than the usual torture and castration (classic Westeros). But Alicent knows the usefulness of keeping him around instead.

Meanwhile, it’s clear that Viserys’ illness is more than a bad cold. He’s sweaty and feverish, and his entire forearm has gone necrotic from his Iron Throne-inflicted wounds. Alone in his chambers, he has a heart-to-heart with Lyonel that gets to the core of his conflict as a sovereign. (This scene is beautifully acted by Paddy Considine.) Will he go down in legend, even though his reign has been one of relative peace, and he’s never conquered anything like his ancestors did? “Some might call that good fortune,” Lyonel counsels. “But it hardly makes a good song, does it?” Viserys replies. It’s the crux of the problem with House Of The Dragon, but also what sets it apart from Game Of Thrones: Watching an essentially decent man navigate a position of power makes for a dull story.

Then it’s time for a royal wedding! These always go great in Westeros, if memory serves. Everyone who’s anyone is at a grand feast in the throne room, where the bride-to-be sits in the middle of a long table. As each Targaryen and Velaryon takes a seat, the “Last Supper” imagery is palpable.

Not to be denied the chance to stir up trouble, an uninvited Daemon makes a fashionably late entrance. Did I mention that he murdered his wife at the beginning of the episode, then passed it off as a hunting accident? (R.I.P., Rhae Royce. We knew ye for all of two minutes.) But even he’s out-drama-queened by the queen herself, who appears in the middle of the king’s big speech wearing an emerald gown. It’s not an idle fashion choice: According to Larys, green is the color of the flag House Hightower flies when it’s preparing to go to war.

What follows is an evening of drinking, dancing, and the tastiest gossip this side of Bridgerton. This pre-wedding feast has everything: Rhaenyra and Laenor looking fabulous; Jason Lannister being an ass; Rhae Royce’s cousin (correctly) accusing Daemon of murder; Daemon ditching him to go flirt with the now-adult Laena Valeryon, who flirts right back; and finally, Daemon brazenly sharing a dance with Rhaenyra, during which she calls his bluff and says if he wants her so much, he should kidnap her and take her to Dragonstone. The tension is this episode unspools at just the right pace, and it’s a thrill after the way early episodes dragged.

Then there’s the main event: the Rhaenyra-Laenor-Criston-Joffrey love triangle, which has been simmering all night. It reaches a boiling point when Joffrey, who easily identifies Criston as the princess’ fuck buddy, approaches him for a chat, paramour to paramour. He suggests that since they’re both “deeply invested in this union,” they should make a pact to guard their lovers’ secrets as well as their own.

And for Criston, that’s the straw that breaks the dragon’s back. Amid the swirl of dancers, he tackles Joffrey to the floor and punches him with his gauntleted fist over and over, blood spraying everywhere, until he’s bashed his face into raw meat. The camera lingers on Joffrey’s ruined head, and it’s gratuitous and horrific.

Paddy Considine, Milly Alcock, and Theo Nate

Paddy Considine, Milly Alcock, and Theo Nate
Photo: Ollie Upton/HBO

The guests melt away, leaving Laenor weeping over his dead lover’s body. Meanwhile, Criston goes out to the Godswood to kill himself at the tip of his own dagger—but Alicent stops him. We really wish she hadn’t.

Any idea of a weeklong celebration forfeit at this point, a priest marries the princess and her consort right there in the ruined hall, between the mangled remains of the feast and a puddle of Joffrey’s blood. Both of them cry as they say their vows. And as if things weren’t bad enough, the ceremony ends with an ailing Viserys collapsing to the flagstones. It’s a union forged in horror, which is par for the course for a Thrones nuptial. But even by Red Wedding standards, this is a lot.

And I know, I know: Westeros is a brutal place; senseless murder is as common as boiled leather. But in a show where all but two characters are straight, immediately killing one of them sends a very different message—especially when that death is in the service of a heterosexual character’s plotline.

It’s the continuation of a pattern from Game Of Thrones, which took a ghoulish glee in punishing its handful of queer characters, from Renly Baratheon to Loras Tyrell to Ellaria Sand. (Only Yara Greyjoy made it out alive.) The most obvious comparison, of course, is bisexual icon Oberyn Martell’s death at the hands of the Mountain, which also ended in full-face mutilation.

It’s an example of a storytelling trope that media fans and critics have dubbed “Bury Your Gays.” The trend is as old as the Hays Code, but it’s persisted well into the 21st century. In 2016, for example, TV writers offed 27 LGBTQ+ characters—a very high number, considering they comprised only 4.8-percent of series regulars.

It’s not that LGBTQ+ characters should never die in popular media, and it’s not that Criston’s murder of Joffrey didn’t make sense from a plot perspective. It’s that, given how few and far between these characters are on mainstream television, a plot twist like this normalizes a culture in which queer people’s stories must always and inevitably end in tragedy—and in the service of others’ stories.

Stray observations

  • There is, of course, a popular backlash against criticism about representation in the Thrones-verse, which tends to go something like this: The world George R.R. Martin created is based on medieval Britain, where the cruelest of cruelties were reserved for the marginalized, violence against women was commonplace, and the population was primarily white. It’s pretty rich to insist on historical verisimilitude when it comes to diversity and women’s subjugation, but not when it comes to dragons, ice zombies, resurrection magic, warging, or shapeshifting assassins. (And if you do want to get pedantic about it, history shows that the population of medieval Europe was much more diverse than media representation suggests.)
  • Viserys’ pick of Lyonel as his new Hand is a good one. The former Master of Laws has consistently been the king’s most reasonable and impartial advisor. But given how these things tend to go, who knows how long that will last?
  • When Viserys and Corlys are negotiating the terms of their children’s marriage, the king makes it clear that he intends the tradition of gender-neutral heirhood to continue after his death: Rhaenyra’s first child will inherit the throne no matter their gender.
  • Rhaenyra and Laenor’s coded conversation about their sexual preferences (“roast duck” versus “roast goose”) feels like a Westerosi homage to the Schitt’s Creek scene in which David Rose uses wine varietals as a metaphor for pansexuality. (“I like the wine and not the label. Does that make sense?”)
  • Director Clare Kilner makes beautiful use of atmospherics in this episode: The Vale filled with peaceful birdsong immediately before Daemon kills his wife, rain falling on the parapets of High Tide as the Targaryens approach. It’s a potent contrast to the bursts of violence that follow.

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Milly Alcock and Theo Nate Photo: Ollie

Fans of Heathers, Mean Girls, and Drop Dead Gorgeous are in for a treat with Do Revenge, a new dark teen comedy that began streaming on Netflix on Friday. Starring Camila Mendes and Maya Hawke as two very different high schoolers who team up to take down their enemies, this movie is all about fabulous outfits, a banging soundtrack, and teenage girl rage. Mendes and Hawke have irresistible chemistry, and you’ll find yourself swept up in their candy-coated world of fabulous drama.

Photo: Kim Simms/Netflix

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By Anna Menta Fans of Heathers, Mean Girls, and

Josie Totah and Alycia Pascual-Peña recalled the “surreal” moment when they learned they would be working with the NBA legend.

Kobe Bryant

Getty Images

Kobe Bryant is best known for his 20-year career playing basketball for the Los Angeles Lakers, but the Oscar winner always kept a foot in the entertainment industry as well. As it turns out, he came close to racking up one more screen credit before his tragic death in February 2020.

In a new episode of their “Dare We Say” podcast (via Entertainment Weekly), actresses Josie Totah and Alycia Pascual-Peña, who starred on Peacock’s short-lived reboot of “Saved by the Bell” revealed that the basketball legend almost appeared on the show. Bryant had been a fan of the original series and was scheduled to film a cameo on the reboot just days before the helicopter crash that killed him and his daughter.

“A wild tidbit that I don’t think a lot of people know, or, it’s not important at all because obviously, we are the least of importance when it comes to this legend and his daughter’s passing, but we were actually supposed to film with Kobe two days after he died,” Totah said.

While it is unclear what episode Bryant would have appeared in or what role he would have played, both actresses recalled the palpable excitement on set when Bryant’s casting was revealed.

“I remember learning that he had passed through one of our best friend Anjelika Washington,” Pascual-Peña added. “She called me specifically because she knew that I’d been talking about it for a month with her — that I was so excited to meet Kobe on set and I can’t believe that he was a fan of the first ‘Saved by the Bell’ and that he was excited to be on the show.”

While both actresses were heartbroken about Bryant’s death and regret missing the opportunity to work with him, they both feel strongly that he left a legacy deserving of respect and admiration.

“It’s really beautiful and eye-opening to see how one person can bring joy to so many people. Some people live their entire lives never seeing the full impact they had on the world until they pass,” Pascual-Peña said. “Thankfully Kobe was given his flowers. That man was so loved and so respected.”

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Josie Totah and Alycia Pascual-Peña recalled the