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A WOMAN who fled a cult run by her warped grandad has told how young girls were forced into sexual slavery after marrying older men.

Lilia Tarawa, 31, said everyone in the Gloriavale commune in New Zealand was made to share everything, from meals to prayers and even breastfeeding.

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Lilia Tarawa, 31, spoke out about her 18 years living in the Gloriavale communeCredit: Youtube/ 1news
Lilia pictured during her time living in the cult with her family

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Lilia pictured during her time living in the cult with her familyCredit: Youtube/ 1news
The costumes in The Handmaid's Tale were inspired by Gloriavale

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The costumes in The Handmaid’s Tale were inspired by GloriavaleCredit: HULU

The controversial Christian community, close to Haupiri on the coast of the country’s South Island, is cut off from the outside world with no access to the internet and media is heavily restricted.

The oppressive cult has been hit by several police probes over the years, investigating allegations of forced marriage, sexual and physical abuse and forced family separations.

Marriages are arranged at Gloriavale, while clothing and diet is strictly controlled – and if people try to leave, they are shunned.

Women have to cover their heads, show no flesh in order to not tempt the men, do all the domestic work, submit to their husbands and birth as many babies as they can.

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Young girls are forced to marry much older men, with one former member revealing how the leader thought “13 or 14-year-old girls are ready to have babies”.

Karen Winder said the men are “groomed” to have sex with underage girls.

The women are forced to wear headscarves with loose, full-length blue dresses, high necklines and long sleeves – serving as inspiration for hit TV series The Handmaid’s Tale.

The show is set in a dystopian United States, where Handmaids, dressed in bright red dresses and white peaked caps that obscure their faces, are forced to bear children.

Costume designer, Ane Crabtree, said she wanted there to be “glimpses of reality in the clothing” and based the Handmaid’s outfits on Gloriavale.

Australian evangelist Hopeful Christian, born Neville Cooper, founded Gloriavale Christian Community in 1969.

Lilia – Christian’s granddaughter – was a member of the commune for 18 years, following its strict, oppressive rules before she eventually escaped.

Strikingly similar to the women in The Handmaid’s Tale, Lilia said her life inside Gloriavale as a woman was one of submission, domestic servitude and fear of eternal damnation and hell.

Children were even lower than women in the cult’s hierarchy – with kids being forced to marry older men in arranged marriages.

And birth control was banned – meaning many girls had lots of children.

Lilia said her sick grandfather “would have happily married off children of 10 or 12 years”.

At the age of 16, she promised her grandfather she would submit to the men, look after the home and be “meek, modest and pure”.

She told Femail: “Gloriavale told me that I wasn’t allowed to have sex with anyone until I was married.

“In fact, it wasn’t until I escaped the cult later and had sex for the first time, that I was finally broken free from the religious chain. 

“I realised I wasn’t going to go to hell for having sex. That was the beginning of my freedom.”

RELENTLESS BEATINGS

And Lilia claimed she witnessed brutal corporal punishment being dished out to people who broke rules.

She said: “Old-fashioned corporal punishment was encouraged. Those memories are hard.”

Later in her teenage years, Lilia’s parents moved to a separate house near Gloriavale, remaining part of the cult – but it meant she was exposed to the life of a modern woman.

“I was living two lives, but could see elements of a different world out there,” she said.

Eventually she broke free and when she returned, she said her grandfather treated her “like a stranger”.

She said: “He wouldn’t talk to me. He treated me like an outsider.

Hopeful Christian who founded the New Zealand cult in 1969

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Hopeful Christian who founded the New Zealand cult in 1969Credit: Youtube/ 1news
Women were considered to be subordinate to men - forced to wear headscarves

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Women were considered to be subordinate to men – forced to wear headscarvesCredit: Youtube/ 1news

“It was hard, but I wanted some closure from the world I had left. Part of me still wondered what life was like in Gloriavale.

“It’s a tough world out here, but it made me thankful I am here – there is so much here that lights me up.”

Former Gloriavale member Yvette Olsen also broke her silence in 2015 to say Christian sexually assaulted her three times when she was 19.

She called him a man of “unbridled lust”, “lies”, “absolute power” and a “dirty old man”.

Christian – believed to have had 19 children with three wives – was eventually jailed on three counts of indecent assault against girls aged 12 to 19.

He died in 2018 from prostate cancer, according to the New Zealand Herald. 

HORROR ABUSE

A police inquiry, wrapped up this year after two years, found extensive sexual offending involved 61 people across multiple generations.

A police letter sent to Gloriavale in May revealed a list of places where horrific sexual abuse was taking place – including inside a dinosaur prop in the dining room, Stuff reports.

The list included an old car down by the creek, the hen house, underneath the stage in the main area, a bike shed, and all communal toilets and bathrooms.

Former member Virginia Courage said she knew the sexual abuse was going on for more than 20 years.

“There were more people coming out and saying this had happened and you haven’t done anything,” she said.

“It was pretty heartbreaking… it was a big reason why we left. It wasn’t just about the abuse, but it was that you couldn’t get the leaders to be honest about it and get anything done.”

In a statement issued in May, the leaders of Gloriavale said: “Much has changed at Gloriavale since 2018 when, at the passing of our founder, the leadership mantle passed to a new leader.

“During this period we have revised our governance and charted new directions for our community.

“We are deeply saddened by the harm members of our community have experienced. We apologise for our role in failing to prevent and protect victims of abuse.

“We are seeking to reach out to those no longer in our community and encouraging them, along with our current members, to speak to us openly if they have experienced harm in any way.”

It added: “Despite all our efforts to create a safe haven, we too have been hurt as we discovered the extent of sexual offending that has occurred within our community.”

‘DEMONIC CULTURE’

Another woman who fled, Connie Ready, said she and her siblings suffered horrific beatings at the hands of her father, Clem Ready, for years.

Eventually, her father pleaded guilty to two charges of assault with a weapon.

She told Stuff: “Seeing my baby sister dragged out from the meal table where everybody is, to the room next door, and I can hear her screaming, and I’m just sitting there…

“You can toughen yourself, you can build walls around yourself to protect you from the hurt, but every single one of them break down when you watch someone as defenceless as her, and you can’t do anything about it.”

Connie said the beatings were relentless.

She said: “He could just be tired and come home from work, he gets annoyed so he’ll throw something at you or kick you if he gets really worked up, he’ll grab anything that’s around and lay into you with it and beat you, you know, his belt, a coat hanger, one of his tools from his work bag. Anything.”

Connie said she eventually decided to flee the cult to explore her indigenous roots despite Gloriavale viewing Māori as “an evil, cannibalistic and demonic culture”.

She told Māori Television: “It wasn’t something that I was to be proud to say or even openly say I was Māori.

“I had to get away for a while to give myself a chance to make that decision about what I wanted to do.

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“If that’s the choice you make, you know that you’re leaving everything you know behind, you’re leaving all your childhood friends, all your whanau.

“You’re stepping into a world you know nothing about and that can be really scary.”

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A WOMAN who fled a cult run

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In early March, Jakub Kaminski was at home in suburban Boston when a grim message arrived from his friend, a surgeon in Ukraine: Tourniquets were in short supply, and without them, many Ukrainian soldiers could bleed out and die.

Kaminski, a robotics engineering graduate student at Worcester Polytechnic Institute in Massachusetts, thought his 3D-printing skills could help. Over the next two months, Kaminski and volunteers he recruited designed and refined eight versions of a tourniquet — pieces of cloth connected by buckles and plastic fastening clips — until they made one that was durable enough for war. It was easy for a soldier to tie and could be printed with consistently high quality.

Now, they’ve uploaded their best design to the internet. Around 120 individuals and companies worldwide with 3D printers have accessed the design. Together, they have made roughly 5,000 reusable tourniquets that are bound for Ukraine, where they will be stitched and sent off to the battlefield, Kaminski said.

“It’s a beautiful thing,” he said. “If you make people in Ukraine feel better, and enable people to help. … This is something really special.”

Inside Ukraine’s new start-up life: Hallways, closets, bunkers

Nearly four months into Russia’s invasion of Ukraine, critical shortages of medical supplies and weapons accessories persist. But help has come from an unlikely source: Those with 3D printers. Using digital files, people are designing supplies such as bandages, tourniquets, splints and add-ons to AK-47 guns. Using computer-aided design software, special printers create three-dimensional objects with plastics or biomaterials, enabling a large crowdsourced effort to produce supplies and ship them to the battlefield.

But the invasion has provided the 3D-printing community a challenge with little comparison, one that highlights the impact the technology has in plugging real-time shortages and underscores the dangers of having to rely on goods created in an ad hoc way.

And though the fighting in Ukraine has declined from its peak, the community is continuing to create needed items as the war continues to drag on.

“No one believes [the war] will end very quickly,” Kaminski said. “We want to be ready … for the future.”

The history of 3D printing traces back to the 1980s, when American engineer Charles Hull patented a process called stereolithography, which uses ultraviolet light to shape objects. Over the years, that process was refined and became cheaper and quicker, and machines were able to use software-created designs to print out objects such as medical devices, spare parts, toys and jewelry.

3D-printed supplies often help in times of crisis. They provide medical workers, military personnel and aid organizations the ability to design what they need and print the items quickly, removing the difficulties that come with international shipping and manufacturing delays. But the quality of printed goods can be poor, and creating supplies with a 3D printer often takes more time than other methods, such as manufacturing with injection molds.

In 2010, during the devastating earthquake in Haiti, medical devices were printed quickly, allowing doctors to provide health care without waiting for equipment to ship from abroad. In 2018, an organization called the Glia Project came to the aid of Palestinian civilians injured in the Gaza Strip while protesting against Israel, creating and shipping them a 3D-printed “Gaza tourniquet.”

But in February, as Russia invaded Ukraine, the 3D-printing community was put to the test. The fighting in Ukraine was fierce, many were injured, and the country’s stores of basic medical supplies were dwindling. People in the 3D-printing community talked with Ukrainian military officials, hospital administrators and charity organizations, trying to gauge what they could print quickly that would be most helpful. Tourniquets and bandages were repeated requests.

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Mykhailo Shulhan, the chief operating officer of a Ukrainian 3D-printing company in Lviv, said that as soon as the invasion began, he started researching how 3D printers helped in other conflicts. His company settled on providing trauma bandages — pieces of wide cloth that cover large wounds — and churned out roughly 2,000 per month.

But now, Shulhan said, different things are in short supply. In the early days, he said, when paid military troops represented most of the fighting force, medical supplies were in dire need. But over the subsequent months, as more volunteers joined the Ukrainian resistance, weapons components and accessories became necessary to meet the rise in troop numbers.

These days, his company, 3D Tech Addtive, develops and prints an array of weapons accessories: AK-47 holsters so soldiers have a way to rest their guns; bullet magazines since empty cartridges often get thrown away instead of reused; carrying bags for grenades; and most recently, anti-reflective lenses for sniper scopes to reduce glare and prevent Ukrainian snipers from being seen. (All together, they have provided over 5,000 components to the front lines, Shulhan estimated.)

Meanwhile, the pace of production exacted a toll. In the early days of the invasion, there were large shortages in printing filament, mostly because local suppliers were in war ravaged areas. Those suppliers have since shifted to Western Ukraine and have resumed supply.

Now the challenges are different. Nearly all of his company’s 30 3D printers come from China, he said, and they’ve broken down occasionally and needed spare parts. It’s been hard to get them because they are expensive and getting them shipped has proved difficult. “There are times when a 3D printer is broken and we can’t do anything with it for two or three weeks,” he said.

While most 3D printers create supplies to stop death or ease fighting conditions, others are focusing on rehabilitating soldiers.

Brett Carey, a physical therapist in Hawaii, designs 3D printed splints that can be sent to fighters. Hand fractures are very common in war and when poorly treated they can cause long-term issues. “You need your hands for so many basic hygiene and survival type tasks,” he said. “If the soldiers are splinted properly, they should be able to have full use of their hand again within eight to 12 weeks.”

Carey has created two digital designs for splints that have been uploaded online and 3D printed over 1,500 times. If injuries are advanced, he has people send him images of their injuries using EM3D — a 3D imaging app — which allows him to make a custom made splint which is then shipped to Ukraine. And going forward, he said, supplies that improve long-term medical outcomes will be likely be needed.

“There is such an emphasis right now on life saving technology,” he said. “But there’s definitely a need on the rehabilitation side, so that after the injury, people can start to get their lives back.”

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Kaminski, who posts his tourniquet designs online, said he worries about some 3D printers sending over supplies to the battlefield. In the beginning of the war, he noticed many with printers wanted to help, but they created designs of medical supplies that resulted in poor quality goods. He also noticed off-the-shelf tourniquets made in China were being deployed in the field and breaking.

Seeing that, Kaminski and a group of volunteers worked for weeks to redesign their tourniquet to meet the highest medical standards.

Kaminski filmed the device being rolled over by a firetruck to show durability. Volunteers at laboratories in Poland stress tested the 3D printed tourniquet to prove it could withstand over 150 pounds of pulling pressure. Ultrasound testing was done at Worcester Polytechnic Institute to show the tourniquet could completely stop blood flow. Now, Kaminski has sent a batch to a volunteer at Johns Hopkins University for testing.

“It is unethical to just come up with a totally new tourniquet design and deploy it during war,” he said.

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Placeholder while article actions loadIn early March,

Tributes have been paid across social media to voice actor Billy Kametz, following his death from colon cancer.

The 35-year-old actor was well-known within the anime and video game industry. For his role of Naofumi Iwatani in The Rising of the Shield Hero in 2019, Kametz won Best Voice Actor Performance (EN) at the 4th Crunchyroll Anime Awards. He also voiced characters in anime series such as Attack on Titan, Boruto, Demon Slayer, JoJo’s Bizarre Adventure (Josuke Higashkata), Pokémon Journeys (Ren) and Neon Genesis Evangelion (Shigeru Aoba).

Kametz was born and raised in Pennsylvania, and got his break with Disney as part of the entertainment staff on the Disney cruise line. He later moved to California when he was offered the role of Aladdin in Disneyland’s Musical Spectacular.

Earlier this year, he announced he would be taking a break from acting and moving home to Hershey, Pennsylvania, following his cancer diagnosis. Fans contributed to a GoFundMe page to help finance his medical costs. He died on Thursday June 9.

 

 

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Tributes have been paid across social media

Broken But Beautiful actress Harleen Sethi has taken to her Instagram to post some recent pictures. Donning a lilac track suit, and no makeup look, the actress seems to be taking a jibe on her ex boyfriends. And we wonder if she is hinting directly at Vicky Kaushal!

Harleen posed happily on the streets, and looked gorgeous as she made a goofy face. She looked content and at peace. But it is her caption that attracted our attention. She wrote, “Cos roads have more depth than my boyfriends ever did.” She also wrote that the outfit if of her boyfriend’s. Check out the picture here:

Well, the caption has made us wonder if she is directly taking a jibe on ex Vicky Kaushal. Vicky and Harleen had dated for a short period, and Vicky was quite vocal about it. In fact, he had even made their relationship Insta official with a picture together post the screening of Uri: The Surgical Strike. While the exact reason of their breakup is not known, Vicky moved on and dated Katrina Kaif, with whom he is now married.

The actress’ fans were also quite amused with her caption. One user commented, “This is epic.” Many even tagged Vicky Kaushal in the comments, Many comments read ‘Caption’, followed by a fire emoji and a laughter emoji.

Harleen Sethi became popular with AltBalaji’s Broken But Beautiful, where she appeared opposite Vikrant Massey. She was also seen in The Test Case 2. The actress will reportedly next be seen in the Hotstar series, Sultan of Delhi. Directed by Milan Luthria, it would have Tahir Raj Bhasin, Neha Sharma and Mouni Roy in key roles, and will also reportedly star Vinay Pathak, Anupria Goenka, Anjum Sharma, Sunil Kumar Palwal, and Nishant Dahiya.

Read all the Latest News , Breaking News , watch Top Videos and Live TV here.

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Broken But Beautiful actress Harleen Sethi has

High school is often an angsty, unpredictable time, but even more so under the pressure of a strict religious community. Perhaps it’s easier if you’re born into it, but for outsider Jamie (Anwen O’Donnell), at the center of “You Can Live Forever,” the claustrophobic nature of her aunt and uncle’s Jehovah’s Witness community is almost too much to bear.

It all feels so alienating and strange until she meets Marike (June Laporte), who promises to show her the Truth.

“You Can Live Forever” is the debut film of writer-directors Mark Slutsky and Sarah Watts, the latter of whom grew up gay in a Jehovah’s Witness community in Canada. Though the film is not autobiographical, it touches on much of the discomfort, repression and ultimate hope felt by those struggling with their feelings under a repressive religious atmosphere.

It helps that Jamie is an outsider, a fish out of water, who comes to stay with her aunt and uncle after the death of her father. With her mother in a state of disrepair and depression, the family thinks Jamie would be better off uprooting her life for a bit while everything can return to normal. Only Jamie’s aunt Beth (Liane Balaban) and uncle Jean-Francois (Antoine Yared) live a life far different from her own. As Jehovah’s Witnesses, they don’t celebrate birthdays or holidays, and they require her to attend Bible study on weeknights. And any conversation about sexuality, including the fact that Jamie is a lesbian, is off the table.

Jamie is less interested in the Truth and more interested in Marike, with whom — between long glances and casual intimacy — she builds a tender romance. Slutsky and Watts build tension between the girls slowly, awkwardly. It feels like a genuine high-school romance. The two bond on weeknights after dinner at Marike’s house, playing piano and talking about cities they’d like to visit one day. Jamie, a skeptic through and through, can’t tell whether Marike’s devotion is legitimate or not, but her investigation only brings them closer together, not to a religious epiphany. The chemistry between O’Donnell and Laporte is natural and easy-going, and it’s a pleasure to watch them get to know each other.

It can be easy for a movie like this to depict devout religious followers as close-minded and prejudiced, but “You Can Live Forever” is smart enough to show a spectrum of belief and adherence and tolerance. Though Jamie often butts heads with her aunt and her beliefs, their relationship remains loving and respectful. Nor is Marike’s devotion to the Truth read as a punchline.

Part of what Jamie struggles to reckon with is the duality of Marike’s life, that is both gay and happy to remain a Jehovah’s Witness. For Jamie, things are much more binary. The willingness of the movie’s strong script to delve into the complexities of not only religious but also sexual identity make its tragedy feel that much more potent.

It’s not all doom and gloom. For the most part, “You Can Live Forever” is a sensitive and thoughtful film to watch, with smart characters having truthful conversations with each other. Jamie’s school friend Nathan (Hasani Freeman) brings a sense of humorous cynicism to the film, and when the two of them lie around and talk about their lives, it feels like true adolescent bonding. Though there is an amateurish nature to many of the younger actors in the film, their inexperience and youthfulness lend an honesty to their performances.

The film suffers from a similar amateurishness, with a mix of drab cinematography and no distinctive look or feel despite a supposed 1990s setting. Some of that comes down to the cloistered community at the center of the story, but the characters talk and feel like they’re right out of the 2020s. Only toward the end of the film, with a “Heavenly Creatures” poster up on the wall, did it feel obvious that the action takes place in a shared past. “You Can Live Forever” is bolstered by an inventive score by Canadian artist CFCF, whose upbeat music saves the film from a maudlin or overly weepy hue.

“You Can Live Forever” is a sweet debut and a welcome addition to the lesbian canon, neither fetishizing nor lamenting the romance between Jamie and Marike, but rather indulging them in their exploration and study of both each other and their relationship to those around them. It’s a promising feature with an original focus, handled with romantic dexterity and thoughtful wisdom.

“You Can Live Forever” makes its world premiere at the 2022 Tribeca Film Festival.

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High school is often an angsty, unpredictable

Francis Ford Coppola‘s Oscar-winning classic ‘The Godfather‘ celebrates its 50th anniversary this year. That made us think, what other films are celebrating anniversaries this year?

In this 4-part series we will take a look at the best movies celebrating their 40th, 30th, 20th, and 10th anniversaries this year.

Next, we will countdown the best movies that released in 2002 and are celebrating their 20th anniversaries.

Let’s begin!


Directed by Martin Scorsese and set in 1863, Amsterdam Vallon (Leonardo DiCaprio) returns to the Five Points of America to seek vengeance against the psychotic gangland kingpin, Bill the Butcher (Daniel Day-Lewis), who murdered his father (Liam Neeson) years earlier. With an eager pickpocket (Cameron Diaz) by his side and a whole new army, Vallon fights his way to seek vengeance on the Butcher and restore peace in the area.


Directed by M. Night Shyamalan, a family (Mel Gibson, Joaquin Phoenix, Rory Culkin, and Abigail Breslin) living on a farm finds mysterious crop circles in their fields which suggests something more frightening to come.

Signs

Signs

“It’s not like they didn’t warn us.”

66

PG-131 hr 46 minAug 2nd, 2002


Directed by David Fincher, trapped in their New York brownstone’s panic room, a hidden chamber built as a sanctuary in the event of break-ins, newly divorced Meg Altman (Jodie Foster) and her young daughter Sarah (Kristen Stewart) play a deadly game of cat-and-mouse with three intruders – Burnham (Forest Whitaker), Raoul (Dwight Yoakam) and Junior (Jared Leto)- during a brutal home invasion. But the room itself is the focal point because what the intruders really want is inside it.

Panic Room

Directed by Curtis Hanson, for Jimmy Smith, Jr. (Eminem), life is a daily fight just to keep hope alive. Feeding his dreams in Detroit’s vibrant music scene, Jimmy wages an extraordinary personal struggle to find his own voice – and earn a place in a world where rhymes rule, legends are born and every moment… is another chance.

8 Mile

“Every Moment Is Another Chance”

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R1 hr 51 minNov 8th, 2002


Directed by Spike Jonze, Nicolas Cage is Charlie Kaufman, a confused L.A. screenwriter overwhelmed by feelings of inadequacy, sexual frustration, self-loathing, and by the screenwriting ambitions of his freeloading twin brother Donald (Cage).

While struggling to adapt “The Orchid Thief,” by Susan Orlean (Meryl Streep), Kaufman’s life spins from pathetic to bizarre. The lives of Kaufman and Orlean’s book, become strangely intertwined as each one’s search for passion collides with the others’. Chris Cooper received an Academy Award for his performance as horticulturist John Laroche.

Adaptation.

Adaptation.

“From the creator of Being John Malkovich, comes the story about the creator of Being John Malkovich.”

74

R1 hr 55 minDec 6th, 2002


Directed by Spike Lee, in New York City in the days following the events of 9/11, Monty Brogan (Edward Norton) is a convicted drug dealer about to start a seven-year prison sentence, and his final hours of freedom are devoted to hanging out with his closest buddies (Philip Seymour Hoffman and Barry Pepper) and trying to prepare his girlfriend (Rosario Dawson) for his extended absence.

25th Hour

25th Hour

“Can you change your whole life in one day?”

74

R2 hr 15 minJan 10th, 2003


Directed by Steven Spielberg, the film follows the true story of Frank Abagnale Jr. (Leonardo DiCaprio ) who, before his 19th birthday, successfully conned millions of dollars worth of checks as a Pan Am pilot, doctor, and legal prosecutor.

An FBI agent (Tom Hanks) makes it his mission to put him behind bars. But Frank not only eludes capture, he revels in the pursuit. The movie also features Christopher Walken, Amy Adams, Jennifer Garner, Elizabeth Banks, and Martin Sheen.

Catch Me If You Can

Directed by Steven Spielberg,  John Anderton (Tom Cruise) is a top ‘Precrime’ cop in the late-21st century, when technology can predict crimes before they’re committed. But Anderton becomes the quarry when another investigator (Colin Farrell) targets him for a murder charge.

Minority Report

“The system is perfect until it comes after you.”

73

PG-132 hr 25 minJun 21st, 2002


Directed by Sam Mendes, Mike Sullivan (Tom Hanks) works as a hit man for crime boss John Rooney (Paul Newman). Sullivan views Rooney as a father figure, however after his son (Tyler Hoechlin) is witness to a killing, Mike Sullivan finds himself on the run in attempt to save the life of his son and at the same time looking for revenge on those who wronged him. Also starring Daniel Craig, Jude Law, and Jennifer Jason Leigh and Stanley Tucci.

Road to Perdition

Directed by Sam Raimi, after being bitten by a genetically altered spider at Oscorp, nerdy but endearing high school student Peter Parker (Tobey Maguire) is endowed with amazing powers to become the superhero known as Spider-Man. The movie also stars Willem Dafoe, Kirsten Dunst, and J.K. Simmons.

Spider-Man

“Go for the ultimate spin.”

72

PG-132 hr 1 minMay 3rd, 2002


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Francis Ford Coppola's Oscar-winning classic 'The Godfather'

In this country, drug trafficking, especially on screen, is almost always synonymous with cocaine, with an emphasis placed on either tough urban areas and violence or rich playboys and playgirls with a penchant for overdosing. The truth, however, is that the impact of the trafficking of cocaine, either in powder or crack form, pales in comparison to the widespread distribution of prescription drugs — otherwise known as the Opioid Crisis.

Hollywood has recently begun to turn its cameras to this drug epidemic, which is actually the worst in the nation’s history, to explore how pharmaceutical companies and other players chose profits over people by liberally spreading addictive pills throughout the country. “American Pain,” a new documentary from “Science Fair” director Darren Foster, is among the latest. Relying on hours of wiretap recordings, along with interviews with many of those who participated in the crime as well as the law enforcement agents who worked to stop them, “American Pain” (according to its synopsis) “traces the rise and fall of twin bodybuilders from Florida who become the kingpins of the largest oxycodone trafficking network in U.S. history.”

Despite its lofty ambitions, the documentary never rises above being a paint-by-the-numbers profile of brothers Christopher and Jeffrey George and the millions they made operating pain clinics under their company American Pain throughout South Florida.

Foster, who was introduced to the story of the George brothers during the making of the Peabody Award–winning investigative piece “The OxyContin Express,” unwittingly begins his portrait of the brothers by marveling at the wealth they and their cohorts accumulated. For example, when one of the cohorts talks about using a helicopter to go to Burger King, the doc hasn’t clearly established the death and destruction that enabled that extravagance.

Stories of the twins’ “antics” in their youth, shared by their dad and stepdad early in the doc, reveal a pattern of lawlessness with no accountability. Whether they were starting forest fires or committing grand theft auto, the brothers generally faced only community service as their punishment. Both their father and stepdad frequently smirk at their early exploits, with the underlying implication that the George twins were always just mischievous kids instead of hardened criminals behind the murders of thousands of “patients.”

Much of “American Pain” serves as a business manual explaining how the George brothers set up the enterprise, while largely ignoring the devastation their business caused. There’s lots of fond and smiley reminiscing of how they spent their money on extravagant toys and played hard as adults. The hard-hitting introspection and multilayering that distinguished the fictional “Dopesick” is missing here.

Participants in the George’s criminal activities are described as “entrepreneurs” or portrayed as having been forced to work with them due to mitigating circumstances. One former DEA agent even explains how losing half his pension in a divorce prompted him to join the criminal enterprise, offering his expertise to avoid raising red flags.

Rationalizations run rampant throughout the documentary. By the time “American Pain” turns toward the victims, reports of busloads of people coming from Kentucky to South Florida, or family reunion–style gatherings of patients in the parking lots, are treated as testaments to the “success” of their business endeavors rather than as tragedies. In a voice recording, Jeff George even brags, “I believe we created, like, a new form of tourism. We were basically the Disneyland of pain clinics.” One doctor — claiming that the patients he saw were already addicted, thus rendering him helpless to stop them — brags about getting paid $50 per patient or roughly $5000 per 100 “patients,” with him being able to see as many as 140 “patients” a day.

Law enforcement agencies get their kudos too, as “American Pain” recounts how they busted the Georges through undercover agents, wiretapping, and more. Sadly, the victims, many of whom have not lived to tell their story, are secondary to the story of how the Georges built their multimillion-dollar “business” and how federal law enforcement subsequently brought them down. While many of the participants either served prison or were on house arrest during filming, their punishments seem to fall far short of the glory of the ride.

The addicts whom the Georges victimized, on the other hand, are depicted as pushers and accomplices who violated the cardinal rule of “never get high on your own supply.” In an early conversation between Jeff George and his mother, Denise Haggerty, about a newspaper story regarding the overdose and death of one of the Georges’ “patients,” they both dismiss his demise as a natural part of the business.

When “American Pain” finally estimates that as many as 3,000 of the 28,000 “patients” in this case are deceased, it does so only by showing a wall of patient files. There are no images of their faces and no interviews with their loved ones; the documentary literally indulged in the myth of “faceless” victims of white-collar crime while applauding the Georges for their moxie.

Ultimately, “American Pain” perpetuates the media’s dangerous pattern of humanizing white criminals under the guise of moral disdain. This approach leaves room for far too many viewers to ignore the blood on Chris and Jeff George’s white hands to form the erroneous conclusion that the brothers are simply greedy pricks and not, say, mass murderers.

“American Pain” will be broadcast on CNN and HBO Max in 2023.

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In this country, drug trafficking, especially on

WHAT DOES IT ALL MEAN?!

WHAT DOES IT ALL MEAN?!
Screenshot: beyonce.com

Consult the oracles; toss the bones; divine from the entrails what ye may: Beyoncé has been giving signs of life of late.

It has, in case you’d lost track, been six years since the Bey Hive was activated into endless, buzzing life by the release of Lemonade, Beyoncé’s 2016 mega-hit album. Said compilation was, in addition to its considerable artistic merits, one of the biggest surprise album drops of all time, sending shockwaves through the musical industry, and haunting for years afterwards the dreams of those of us tasked with covering this kind of thing, because obviously, we know not the hour nor the day.

Hence the almost obsessive Bey-watching the press has been doing Beyoncéward of late, as signs begin to crop up that something might be on its way soon. Seemingly innocuous stuff—like a recent erasure of all her pictures on social media—take on a sinister and portentous light when you remember that Beyoncé did something similar in the run up to Lemonade. Things are moving around on her web site in strange ways, including revealing a blank entry titled “What is a B7?” if you search for today’s date. (Lemonade was her sixth album! The next would be B7! As long as we’re not counting Lion King: The Gift/Black Is King! Which we don’t think we are!) Her mom liked a tweet about Beyoncé working on something new! IT ALL MAKES COMPLETE AND TOTAL SENSE! WE CAN SEE THE DIVINE TIDAL INFINITE!

Okay, sorry. Sorry! We let the sheer mystery of this devious puzzlemaster’s tricks and traps send us over an edge that can only be properly conveyed through GIFs of Charlie Day in It’s Always Sunny. The point is, something is going on in Beyoncé Land, and our base efforts to read the signs and portents suggest it might be a new album, some time soon. Gird whatever you’ve got that you gotta gird to prepare yourself for the sudden onslaught.

[via Vulture]

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WHAT DOES IT ALL MEAN?!Screenshot: beyonce.comConsult the

For anyone aiming to be a documentary filmmaker, Jennifer Tiexiera and Camilla Hall’s 90-minute doc “Subject” should be required viewing. “Subject” explores the ethical responsibilities nonfiction filmmakers face when they decide to capture people, often at their most vulnerable, thereby forever locking them in a moment in time that will live on through the ages no matter how much a person grows or changes.

Tiexiera (“P.S. Burn This Letter Please”) and Hall (“Copwatch”) focus on some of the most successful documentaries of the past three decades and the “stars” they created and left in their wake. The directing duo explore the psychological impact of being unpaid key participants in commercially successful projects including “The Staircase,” “Hoop Dreams,” ” Wolfpack,” “The Square” and “Capturing the Friedmans.” Below, Tiexiera and Hall discuss the making of the documentary before its June 11 premiere at Tribeca.

What made you want to make this documentary?

Hall: Jen as an editor previously and me as a producer-director, we’ve seen our participants struggle at different times in the process of making documentaries. We both felt like, “Gosh. What must it be like to be on the other side of the lens?” We wanted to really try to understand more profoundly what their experience is and try to figure out how we can improve and do things better and have more clear relationships as documentary filmmakers going forward.

You interview prominent docu participants including Arthur Agee (“Hoop Dreams”), Ahmed Hassan (“The Square”), Margaret Ratliff and Michael Peterson (“The Staircase”) Jesse Friedman and Elaine Friedman (“Capturing the Friedmans”) but not the directors behind these films, like Steve James, Andrew Jarecki and Jean-Xavier de Lestrade. Why?

Tiexiera: That decision was made from the very beginning of this project. That said, all of the directors were aware of the film. But we didn’t want to reach out to the participants through the directors because we were really examining that power dynamic. So we wanted to come to the subjects and have them have complete agency void of the last, however many years. That’s not to say that the directors were not part of our process. In the last six six months, give or take, we have been workshopping the film with them. Some of them have been more involved than others.

What do you mean by workshop?

Tiexiera: All of the participants are also our co-producers. They are partners in this and had final cut over their respective sections. So, after they went over their sections, we then took [those sections] to the directors and they were like, “Well, you know, this is misleading here,” or “this is a little bit aggressive here.” Ultimately, we weren’t afraid of that process. I’m not going to say it wasn’t really intense for both of us and awkward at times. We had tough conversations, but it made the film stronger. There are some directors that inherently think that they should be part of the film, but that’s just not the film we made.

Hall: The workshop process really consolidated the reason why we had chosen to film with the participants themselves for so long because these relationships are so complicated — more complicated than we imagined from the start. So, the subjects had the freedom to just film and be open and speak in any way they wished. Then, toward the end, they had this opportunity to really think about what they wanted to say and how they wanted to be presented during the workshops with the directors.

Commodity is an interesting word to describe the subject of a doc. They, for the most part, do not make money to participate in a doc but their lives are making plenty of people plenty of money. Do you think subjects should be making money for participating in documentaries?

Tiexiera: People are making so much money from some of these documentaries, like “The Staircase,” and Margaret hasn’t seen a dime. She didn’t see a dime from Netflix when [the docuseries was] sold to Netflix and she didn’t see a dime from HBO [for HBO Max’s “The Staircase.”]. So, for her, the worst moment in her life is now not just entertainment, it is funding other people’s kids’ colleges.

Did you pay the subjects of “Subject”?

Tiexiera: As co-producers, they have backend with us. Paying them — that’s tricky. We can’t pay them for their story. That just ethically doesn’t sit right with us. How would you trust the story? But I can’t ask somebody to take off work, lose childcare, pay for their way to the shoot and pay for your meals while making a documentary with us. That’s taking money out of their pocket, on top of them providing us with this trust. That becomes really problematic. For a long time, it was thought of as we — the documentarian — are doing you this favor and giving you this platform. It needs to be rethought of as a partnership.

While Elaine Friedman isn’t happy about her representation in “Capturing the Friedmans,” most of the doc subjects you interviewed, like Arthur Agee, are thankful for their respective docs. What are you hoping viewers walk away from the film thinking about?

Hall: The film is not black and white. It’s very nuanced. Each person’s experience is really quite different. But I think for us, the film serves two purposes. One is, before you decide to take part in a documentary, you should think about and understand what you are getting yourself into. For the audiences of documentaries, it’s a chance to understand that these are real people and not just commodities. This is their real life.

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For anyone aiming to be a documentary

The Seattle Thunderbirds are no strangers to erasing series deficits in the Western Hockey League playoffs this year. And they’re doing their best to make the Edmonton Oil Kings nervous.

The Oil Kings took a 3-1 series lead into Game 5 of the WHL Championship on Saturday and got off to a quick start, but the T-Birds roared back with three unanswered goals and hung on to win 3-2, setting the stage for a Game 6 on Monday at Rogers Place in Edmonton.

READ MORE: Chance to win WHL championship has Oil Kings ready for big crowd, fierce battle against Thunderbirds

Conner Roulette, Matthew Rempe and Lucas Ciona scored for Seattle, while Josh Williams and Carson Golder scored for Edmonton. The Oil Kings led 1-0 after the first period but trailed 2-1 heading into the final frame.

Story continues below advertisement

Seattle outshot Edmonton 35-30 in the Alberta capital.

READ MORE: Oil Kings coach impressed by players’ resilience to deliver Game 4 win against Thunderbirds

The winner of this series will represent the WHL in the 102nd Memorial Cup which goes June 20-29 in Saint John, N.B.

© 2022 The Canadian Press

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The Seattle Thunderbirds are no strangers to

SPOILER ALERT: Do not read if you have not yet watched “Glorious Five Year Plan,” the June 10 episodes of “The Boys.”

The week’s episode of “The Boys” Season 3 was all about super powers — yes, more so than any standard episode of the Amazon superhero series. That’s because it delved into people getting them (Jack Quaid’s Hughie), people losing them (Karen Fukuhara’s Kimiko), people confessing they have acquired them (Karl Urban’s Butcher) and people showing off the bonkers new ones bestowed upon them by the Russians who experimented on them (Jensen Ackles’ Soldier Boy).

Let’s start with Hughie, who upon learning that Butcher has been shooting up Temp V decided he needs to protect Annie (Erin Moriarty), despite the fact Starlight is more than capable of taking care of herself, and takes some of Butcher’s V and uses it to give himself some 24-hour super powers. He gets the ability to teleport, with the caveat that he loses all of his clothes in the process, and shows off to Kimiko, Frenchie (Tomer Capone) and Mother’s Milk (Laz Alonso) once Butcher uses his laser-beam eyes in front of The Boys for the first time while they are fighting the Russians to get to the Anti-Supe weapon they think destroyed Soldier Boy.

“Hughie is somebody with, in an amusing way, a very well-defined fight or flight reflex,” “The Boys” showrunner Eric Kripke tells Variety. “It just was funny to us that his first natural instinct in any particular fight is to go. And so to have a power that made that manifest, that he could literally just pop out of there whenever he was in trouble, like a purely defensive and escape power, felt like something that — if we follow the rule of powers don’t make you bad, they just reveal the thing that’s already inside — it felt like that was what was probably inside Hughie.”

But in doing so, it revealed what was outside Hughie as well, stripping him down to his birthday suit when he activates his teleportation mode.

“We take every new power and say, what’s the most realistic version of that? And it kept coming up, if he can teleport, if he has an organic power to teleport, how does he bring his clothes along? Like, what is it? How do you do that? So we said, well, he probably wouldn’t,” Kripke says with a laugh. “He would probably teleport right out of his clothes because it’s an organic power inside his body. And your clothes going with you would be magical, totally unrealistic. So you have to give Jack all the credit in the world; he saw he was going to be naked for so much of this season and just embraced it and owned it and it plays so funny and real.”

Quaid says he was more than game to take off his clothes if it meant he got to take on Hughie’s powers.

“I was so excited because the kid in me, I’ve always wanted to be a superhero,” he says. “I’ve always wanted to play a character with superpowers. And I actually got to do that this season. And Nightcrawler is actually one of my favorite superheroes, period. So the fact that I got to teleport was such a dream come true. And yes, it does come with a catch that he needs to be naked. But I think that that’s so appropriate for our show and so appropriate for Hughie. Like, he finally gets this amazing power, but it has this really embarrassing twist. Hughie can never just have, like, a straight up win. It’s a lot of half wins… But you know, whatever, I’m a superhero. If I got to be naked to do it, whatever. That’s going to come out sounding weird, but you got it.”

While Hughie is now faced with new powers, Kimiko has lost hers thanks to Soldier Boy, who is not only alive, but has become even more super than before. It turns out that the time he spent with the Russians didn’t kill him, it made him stronger, and they gave him the power of energy blasts that don’t just kill people, they apparently nullify the powers of super people, too. Kimiko is hit with one of his blasts before he runs off and is badly injured. Come the end of the episode she is bleeding out in the back of a van, unable to heal herself like usual because she has no more Compound V in her body.

“Similarly to Hughie, it’s, what is the metaphor for Soldier Boy? And he’s like this bottled up toxic masculinity,” Kripke says. “He bottles up all of his pain and he bottles up all of his trauma and then, quote unquote, loses his temper and explodes outward, literally. It’s the pattern of so many macho dudes, they can’t express themselves and so then they explode and in really inappropriate ways. So he literally explodes.”

Part of this power is foreshadowing what could be coming as “The Boys” Season 3 progresses, given that Homelander (Antony Starr) is certainly not going to like hearing what the very much alive Soldier Boy is capable of these days.

“We need him to become an existential threat to Homelander,” Kripke adds. “We said, what would be the scariest thing to Homelander? And the scariest thing in the whole world to Homelander is just to be a regular dude. So giving Soldier Boy these blasts of sort of radioactive, walking-Chernobyl power that are frying the Compound V out of supes’ systems is going to make him very, very scary to Homelander. And that was really the goal. And then once we had set on that, we said, oh, wait, Kimiko this whole time is dying to get away from her powers. Let’s have him blast her.”

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SPOILER ALERT: Do not read if you

The irony is rich: Truth Social, Donald Trump’s Twitter copycat claiming it is “free from political discrimination,” has reportedly banned users who posted information from Thursday’s congressional hearing on the Jan. 6 attack on the U.S. Capitol — in which the former president is a key focus.

That’s according to several posts on Twitter by users who claimed Truth Social was censoring them. Reps for Trump Media & Technology Group, which owns and operates Truth Social, did not respond to a request for comment.

Travis Allen, whose Twitter bio describes him as an information security analyst, on Thursday evening posted a screenshot from the Truth Social app that said “Account suspended,” and he wrote: “My Truth Social account was just permanently suspended for talking about the January 6th Committee hearings.”

He added, “So much for ‘free speech.’ This is censorship!” Allen did not provide details about what allegedly led to Truth Social kicking him off the platform.

“Seeing a lot of folks getting banned from Trump’s Truth Social for posting updates about the January 6 Committee hearings,” Max Burns, communications director for Democratic New York State Assemblywoman Yuh-Line Niou, tweeted Friday. “Apparently free speech has its limits even in Trumpland.”

Also Friday morning, another Twitter user reported, “Just put out my first post on Truth social and they deleted it. Real freedom of speech champs there.”

Truth Social’s terms of service state, “We reserve the right to, in our sole discretion and without notice or liability, deny access to and use of the service (including blocking certain IP addresses), to any person for any reason or for no reason… We may terminate your use or participation in the service or delete [your account and] any content or information that you posted at any time, without warning, in our sole discretion.” (Twitter’s terms of service include similar language.) In the U.S., under Section 230 of the Communications Decency Act, internet platforms like Truth Social have legal protections for their content-moderation decisions — a carve-out that Trump unsuccessfully sought to revoke when he occupied the White House.

Twitter permanently banned Trump in the days after the Jan. 6, 2021, riot citing the risk of ongoing violence after he posted a video praising the violent mob seeking to overturn the 2020 election. Billionaire Elon Musk, whose $44 billion bid for Twitter is pending, has called Twitter’s ban of the ex-president a mistake and a decision he would reverse.

Earlier this year, as a counter to the imagined anti-conservative bias of Big Tech, Trump launched Truth Social. It’s not clear how many users are on Truth Social. Trump currently has 3.2 million followers on the app; before he was banned from Twitter, he had more than 88 million followers.

As of March 31, 2022, Trump Media & Technology Group had not generated any revenue to date and has warned investors that “TMTG may never generate any operating revenues or ever achieve profitable operations.” Sarasota, Fla.-based TMTG had approximately 40 full-time employees as of the end of March, per a regulatory filing by Digital World Acquisition Corp., a special purpose acquisition company (SPAC) that intends to merge with TMTG.

At some point, Trump’s media company plans to launch a subscription-streaming service called TMTG+ with a range of right-wing and “non-woke” content, including “Trump-specific programming” as well as “blue-collar comedy” and “cancelled shows.”

TMTG is led by CEO Devin Nunes, the former Republican congressman who once unsuccessfully sued Twitter and anonymous parody accounts Devin Nunes’ Cow and Devin Nunes’ Mom, alleging defamation.

Trump also sued Twitter unsuccessfully. In a complaint filed last year, the ex-president and others asserted that Twitter was a “government actor” and therefore bound to the First Amendment’s prohibition against abridging freedom of speech — i.e., that Twitter’s ban on Trump was unconstitutional. A federal judge rejected that argument and dismissed the case last month.

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The irony is rich: Truth Social, Donald

Will Ferrell came very close to having his entire performance in “The Lego Movie” — along with all live-action scenes — end up on the cutting room floor, the film’s producer, Dan Lin, said Saturday at PGA’s Produced By Conference.

Lin recalled the uphill battle that went into the building blocks of the hybrid animated and live-action movie, revealing that Warner Bros. initially wanted to cut the latter chunk of the film that included scenes featuring Ferrell.

During a conversation with Chris Miller, who penned the screenplay for the 2014 hit along with writing-producing partner Phil Lord, Lin said the budget demands from the studio forced him to treat the family comedy as an “indie movie.” The Rideback Ranch founder even had to pre-sell the basement set, which featured the human characters, to Legoland as an exhibit to partially fund the movie.

The set is where it’s revealed that Ferrell’s character (known as “The Man Upstairs”) and his son Finn are playing out the events in real life that are going on in the Lego universe. The live-action sequence is also a pivotal part of the film, adding a layer of depth in which Ferrell’s character realizes that the villainous Lego named Business is based on him.

“When we finally put [the movie] up for a test audience, real people, it tested very well, and the movie was working,” Lin said. “And I got a call from the head of the studio [Kevin Tsujihara at the time] … but he said, ‘Dan, I have good news for you’ and I said, ‘Wow, what’s the good news?’ And he said, ‘You guys made such a good movie. You don’t need the live-action anymore. Let’s just make it an animated movie.’”

Lin continued: “I’m like, ‘What? The whole reason we made the movie was for the live-action. It was so personal to myself, Chris and Phil — that was the reason we made the movie.’ [He said,] ‘No, we’re gonna save $6 million if you don’t shoot the live-action, and we just release it as is.’ And honestly, I was devastated. I left that office just devastated.”

A spokesperson for Warner Bros. did not immediately respond to TheWrap’s request for comment.

Lin — who received PGA’s inaugural Vance Van Patten Award for Entrepreneurship at the event — added that the studio later agreed to the live-action scenes but offered “half the budget.” Although the producer didn’t specify details numbers-wise, the movie had an estimated budget of $60 million and eventually grossed approximately $468 million worldwide. It received rave reviews from critics and fans alike, winning two BAFTA Awards and earning an Oscar nomination for Best Original Song for “Everything Is Awesome.”

“So, everyone says, ‘The Lego Movie’ was oh, so obvious that everyone should have made a movie like that,’ — it wasn’t obvious at all,” Lin added, later joking that he’d “get a lot of heat” for giving the behind-the-scenes details of the production process.

A New York Times story at the time described the film as a “surprise blockbuster” for Warner. The piece also stated that Tsujihara was directly responsible for the making of “The Lego Movie,” having bought a company that makes Lego-themed video games back in 2007.

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Will Ferrell came very close to having

Lest you think America has a monopoly on byzantine immigration systems, “Aisha” is here with an unfortunate reminder that it does not. Following the eponymous young Nigerian woman (Letitia Wright) as she attempts to resettle in Ireland, writer-director Frank Berry’s drama of bureaucracy eschews histrionics in favor of a docudrama-like approach that’s all the more affecting for how authentic it feels. The result isn’t quite Kafka, but it’s closer than it should be.

“Your English is good,” Aisha is told early on by a woman who doesn’t know that nearly everyone in Nigeria speaks it. The interaction is emblematic of her treatment at the hands of almost everyone she meets: not malicious, but also hopelessly naive to her plight — and making no attempt to understand it. She’s been living in a Direct Provision Center for more than a year, a kind of limbo in which she’s physically in the country but restricted from fully integrating into it. The rules she’s required to follow are as complicated as they are unforgiving, and seemingly designed to be broken so that anyone caught committing a minor infraction can be cycled out of the system. All the while, she’s preparing for hearings about her asylum application and occasionally speaking to her mother (who’s still in danger related to the traumatic event that prompted Aisha to flee in the first place) back home.

Even when answering questions from the bureaucrats who hold her fate in their hands, you can tell Aisha is holding back — sometimes out of fear, sometimes because telling the whole truth would be too painful. We, too, only get the shortened version of her backstory in dribs and drabs. Aisha chooses every word carefully, which is to be expected of someone in her fraught situation, but also counter to her goals at times. She’s constantly being asked to elaborate, as though she won’t be granted asylum unless she offers the most graphic play-by-play of her trauma possible. A cynical reading of the situation would suggest that the way this compounds her trauma isn’t a coincidence but rather the point.

Over the course of the film, she gets moved twice, is forced to give up her part-time job, learns of a death in the family and is told she can’t attend the funeral unless she rescinds her application and stays in Nigeria permanently, among other injustices. If you have a hard time watching one bad thing after another happen to a good person who’s powerless to stop any of it, her laundry list of trauma may seem too much to bear. And while passive and/or helpless characters rarely make for the most engaging protagonists, the sensitivity with which this story is told coupled with Wright’s performance makes for an experience that’s never less than engaging.

Wright, whose star-making performance in “Black Panther” led to roles in Steve McQueen’s “Small Axe” and Kenneth Brannagh’s “Death on the Nile” adaptation, was also just at Cannes with Agnieszka Smoczynska’s “The Silent Twins.” Taken together with her part in McQueen’s acclaimed anthology series, these two new films suggest a desire to parlay her box-office drawing power into auteur-driven projects that allow her to showcase her range in a way that Marvel blockbusters might not. The results speak for themselves: Wright delivers her most moving performance yet here, with Aisha’s sorrows reflected in her eyes and etched on her face in one scene after another.

She maintains a quiet resolve throughout, which at times feels like a small act of defiance — whether by design or not, this system is as demoralizing as it is dehumanizing. Regardless of whether or not she’s permitted to stay in the country, however, Aisha refuses to lose herself in the process. There isn’t much that can’t be taken away from her, but her dignity is never in question.

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Lest you think America has a monopoly

One wedding and a funeral — and a birth. That gorgeous house, never mind the leaky roof. Some sunshine, too! More bone-dry quips from Maggie Smith. And oh, the clothes — silks and satins, tulles and tiaras. What could go wrong?

Why, nothing, of course! Would YOU mess with the “Downton Abbey” formula?

This second Downton feature film is technically called “Downton Abbey: A New Era,” but could just as well be called “Downton Abbey: Really More of the Same But Slightly Later” — and that would be totally fine with the adoring fans of this endlessly durable six-season TV series. They flocked to the first film in 2019, and they’ll flock to this film, too, which is lighter, funnier and nothing if not clear in its purpose — giving a loyal audience a good time. After a few years of pandemic life, that would include more real estate porn, more stolen glances and hidden yearnings amid the period furnishings, more exquisite vintage clothes (no, we shan’t stop talking about the clothes), and some happy endings. And more Maggie! Of course.

To add a splashy bow on top, there’s a visit to Downton from splashy Hollywood, and a family field trip to the French Riviera. Dishy actors Hugh Dancy and Dominic West bring a little romance, and French film vet Nathalie Baye brings the kind of icy hauteur only the French can hope to muster (and master).

As for the swath of moviegoers unfamiliar with the show — oh, them! — that’s another story. For those who don’t know their Sybils from their Ediths, or can’t sketch a Crawley family tree on the fly, the film makes no real effort to explain the background, and with a ready-made audience, the creators likely felt no need. ( There ARE helpful refresher video s on YouTube if you really want to do some homework.)

Reliably (if not subtly) written by series creator Julian Fellowes and directed this time by Simon Curtis (fun fact: husband of Elizabeth McGovern aka the beloved Cora Crawley), the film begins in 1928, nine months after we left off. It starts with a jolt of happiness — the wedding of Tom Branson (Allen Leech) and Lucy Smith (Tuppence Middleton). Because of their unique backgrounds, this wedding unites aristocrats with servants in celebration — but the more important ensemble, truly, is what Lucy’s wearing. The vintage veil, the pear-and-diamond tiara, and that glittery Juliet cap … yes, we’re angling for a job with the costume department.

The festivities are barely over when the Dowager Countess, Violet Crawley (Smith) summons close family. Seems she’s been bequeathed a villa in southern France by a mysterious Frenchman and has decided to leave it to her great-granddaughter Sybbie. With furrowed brow, ever-sensible Lady Mary (Michelle Dockery) asks Granny if she’d considered saying no. ”Do I look as if I’d turn down a villa in the south of France?” Violet asks. Touché, Dowager Countess.

Road trip! It’s the first time we’ve watched the family leave UK shores when Violet’s son Robert (Hugh Bonneville), wife Cora, daughter Edith (Laura Carmichael) and a few others accept an invitation, fraught as it may be, from the mysterious donor’s son. The villa, near Toulon in real life, is of course spectacular — maybe the job of “Downton” location scout is open? — even if the reception from the donor’s widow (Baye) is way too chilly for the Cote D’Azur.

So why would a random Frenchman gift a villa to Violet? Maybe he wasn’t so random? In any case, good thing Robert is distracted, because back at Downton, a Hollywood film crew is marauding through the place. You see, dashing director Jack Barber (Dancy) has offered a huge sum for a month on location — a sum that’ll help fix that roof — for his latest silent film starring Guy Dexter (Dominic West as Gable-esque leading man) and Myrna Dalgleish (Laura Haddock as a Jean Harlow lookalike).

It’s fun to watch the film-within-a-film unfold, especially as it impacts the starstruck servants, who end up playing more of a role than expected. Also unexpected is the spot of trouble that arises when the film hits financial woes — silent films are on the way out, and the “talkie” is the new big thing. But Myrna, alas, has a Cockney accent that won’t fly — just listen to her say the words “haute couture.”

As for Violet, she’s predictably unimpressed by Hollywood, but ever-practical. “We got through the war,” she pronounces. “We can get through this.” Movie acting fills her, though, with contempt: “I’d rather earn a living down a mine.“

Well, luckily for us, Smith does not earn her living down a mine. At 87, she’s still the best reason to keep coming back. In the end, “A New Era” is a misnomer of a title — not much has changed, which actually may be the best gift to “Downton” fans. After a tough couple of years, you could do worse than this, the latest in what may end up being a line of sequels as long as the Crawley bloodline.

“Downton Abbey: A New Era,” a Focus Features release, has been rated PG by the Motion Picture Association of America “for some suggestive references, language and thematic elements. ” Running time: 125 minutes. Two and a half stars out of four.

MPAA definition of PG: Parental guidance suggested. Some material may not be suitable for children.

___

Follow AP National Writer Jocelyn Noveck on Twitter at: http://twitter.com/JocelynNoveckAP

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One wedding and a funeral — and

June 11, 2022

This is where the fun begins” as the Best Film Ever Team ignite their Lightsabers to bring you “Show Me Wan Kenobi” as we cover Disney+’s “Obi-Wan Kenobi”, “Part IIII”. Show Me Wan Kenobi is designed as a companion podcast for the casual fan (but not hardcore Star Wars fanboy types)

Join Jedi Masters Ethan and Ian as they get some Deja-vu on a second attempt after imperial interference so they can discuss:

  • Roken and his 20 second character turn
  • Ethan geeks out over references to a video game
  • A discussion about how the fandom has weaponised Rotten Tomatoes
  • And is Obi-Wan too bloodthirsty?

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June 11, 2022 This is where the fun

The actress praised her crew for being so willing to play with the film’s many unique props.

Just two feature films into their directing career, the Daniels have established themselves as two of the most exciting voices working in independent film. One of the tenets of their style is using ridiculous, sometimes crass subject matter to make serious points.

That was certainly the case in “Everything Everywhere All at Once,” their sophomore feature that incorporated butt plugs and hot dog hands into pivotal scenes. In a new interview with Variety, the film’s star Michelle Yeoh opened up about the difficult process of filming those scenes, and what they ultimately meant to her.

“The hot dog scene is the most beautiful love story in that universe,” Yeoh said. “We had these hot dog fingers; this is where I believe that filmmaking is a complete collaboration on all the different levels. It’s never about one person or two people or whatever it is. It is a true collaboration. And when you work with someone like Jamie [Lee Curtis], we looked at one another and said, ‘Let’s go for it.’ This is the scene where we’re going at it with our hot dog fingers, and those things are like hoses. They’re made to fit, but they’re made of silicone. The next day she came back and was covered in bruises and I asked her if she had had an accident. She had all these bruises on her thighs from just going for it.”

Yeoh also spoke about another memorable fight sequence involving sex toys, and how much precision went into filming the fan favorite scene.

“The Daniels are unapologetic when it comes to the raunchiness,” she said. “They’re really going to fling around dildos in a fight. Going into it, I couldn’t imagine it, but I believed in them and I trusted them. When you do something like this, you have to believe in it, otherwise, it just doesn’t work. And we all dove into it together. [The script said], ‘She pulls out two butt plugs simultaneously.’ I thought ‘How the hell am I going to do that?’ But it’s all about timing.”

But while Yeoh and co-stars like Jamie Lee Curtis have earned plenty of praise for their willingness to commit to the Daniels’ wacky ideas, she wants to make sure that the film’s crew gets proper credit as well

“It also wasn’t us doing that,” she said. “When you rig wire work, it’s not easy. There are two sets of people going in opposite directions. There’s our amazing DP, Larkin Seiple, so we had that moving camera that needed to follow everything. There were so many things we needed to get right, but I think that scene took four or five takes.”

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The actress praised her crew for being

The first quarter of 2022 has come to a close, and it’s time to round up the most popular shows viewers were streaming during the first part of the year. Reelgood recently published a report ranking the 50 most-watched shows of the quarter across all streaming services, and the top title might surprise you.

Apple TV+ wins for its film CODA, which recently won multiple Oscar Awards including Best Picture, which no doubt boosted its popularity. Euphoria was the top TV show, followed by another Apple TV+ original, Severance, the workplace psychological thriller starring Adam Scott.

A wide variety of streaming services are represented on the list, including Netflix with titles like Inventing Anna, and The Adam Project, Disney+ with Encanto, and Turning Red, Prime Video with Mrs. Maisel and Upload, while some of Hulu’s best work includes The Dropout, Fresh, and more.

Rankings are based on the average of the highest two weeks of streams and engagement per title on the Reelgood platform in the United States across all SVOD and AVOD services in Q1 2022.

Top 50 Shows of Q1

  1. CODA
  2. Euphoria
  3. Severance
  4. Inventing Anna
  5. The Adam Project
  6. Nightmare Alley
  7. Don’t Look Up
  8. The Power of the Dog
  9. Encanto
  10. Drive My Car
  11. Peacemaker
  12. The Marvelous Mrs. Maisel
  13. Reacher
  14. The Dropout
  15. Fresh
  16. Upload
  17. Turning Red
  18. Bridgerton
  19. Free Guy
  20. Eternals
  21. Pieces of Her
  22. The King’s Man
  23. King Richard
  24. Deep Water
  25. West Side Story
  26. Halo
  27. Ozark
  28. The Woman in the House Across the Street from the Girl in the Window
  29. Our Flag Means Death
  30. Windfall
  31. WeCrashed
  32. Dune
  33. Yellowstone
  34. 1883
  35. Vikings: Valhalla
  36. Peaky Blinders
  37. The Matrix Resurrections
  38. Killing Eve
  39. tick, tick…BOOM!
  40. The Gilded Age
  41. The Tinder Swindler
  42. The Lost Daughter
  43. Bad Vegan: Fame. Fraud. Fugitives.
  44. Pam & Tommy
  45. The Book of Boba Fett
  46. The Thing About Pam
  47. Minx
  48. The Righteous Gemstones
  49. The Fallout
  50. Marry Me

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The first quarter of 2022 has

Courteney Cox, the guest on this episode of The Hollywood Reporter’s Awards Chatter podcast, is one of the most popular and prolific actresses of her generation. While she is best known for playing Monica Geller, the OCD mother-hen on the beloved NBC sitcom Friends from 1994 through 2004, and the ambitious TV reporter Gale Weathers in the Scream films released in 1996, 1997, 2000, 2011 and 2022 (with another on the way in 2023), she has also done standout work on FX’s drama series Dirt from 2007 through 2008, TBS’s sitcom Cougar Town from 2009 through 2015, and, most recently, Starz’s comedy-horror series Shining Vale.

On Shining Vale, which debuted in March, Cox plays a wife, mother and author whose mid-life personal and professional struggles lead her family to relocate from their New York apartment to an old house in Connecticut, where her troubles only get worse.

Over the course of this episode, which was conducted virtually in front of a group of students at Chapman University, 57-year-old Cox reflected on some of her early breaks, like being hired to dance opposite Bruce Springsteen in a music video and playing the girlfriend of Michael J. Fox’s character on Family Ties; how she first heard about Friends, and why she asked to play Monica instead of Rachel; how her prior work on Friends and in the Scream films, as well as personal frustrations that she felt during the years after Cougar Town, helped to prepare her for her role on Shining Vale, which she describes as the most layered and challenging she has ever played; and much more.

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Courteney Cox, the guest on this episode

Azealia Banks cut short her disastrous headlining set at Miami’s Wynwood Pride Music Festival early Saturday morning, drawing the ire of attendees before a dramatic, mic-tossing exit.

Video from the performance shows Banks — who reportedly showed up onstage over two hours after the scheduled set time — repeatedly telling concertgoers “I’m really not happy to be here” and “I really don’t wanna fucking be here.” At that point, Banks had only performed a handful of songs.

Eventually, following more complaints aimed at organizers (and not the audience), her microphone was cut off. Banks then tossed the mic and, after starting to walk offstage while the audience booed, flipped middle fingers at the frustrated audience. A drink was thrown, security intervened, and concert ended, just four songs after it started.

In a series of tweets after the meltdown, Banks explained the culprit behind her rough night: Dry ice. “Wynwood Pride was way too ghetto. I had to bounce. Every tech rider in Azealia Banks’ history of live performance specifically states – no dry ice as I am EXTREMELY allergic to it. Photos will show massive clouds of dry ice which began to make me lightheaded to a point I could barely stand,” she explained.

“I literally have a text message from the promoter assuring me that there would be no dry ice implemented in my performance – yet, Still came on stage to clouds of dry ice. I’ve performed Coachella twice and had that simple request honored.”

Banks also tweeted that she “was originally booked for a 10pm set, which promoter moved to 1am, completely inconveniencing every single member of my team.” The schedule on the festival’s website lists Banks’ start time as midnight; despite that, Banks didn’t take the stage until over two hours later after 3 a.m., TMZ reported, even though her band was ready to go at 1 a.m.

The organizers for Wynwood Pride have not yet commented on the situation on social media. As the Miami New Times notes, Banks was a questionable headlining choice for the Pride festival to begin with, as despite her LGBTQ+ following, the rapper has verbally attacked the community in the past.

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Azealia Banks cut short her disastrous headlining

BIRMINGHAM, Ala. (AP) — For almost 40 years starting in the 1930s, as government researchers purposely let hundreds of Black men die of syphilis in Alabama so they could study the disease, a foundation in New York covered funeral expenses for the deceased. The payments were vital to survivors of the victims in a time and place ravaged by poverty and racism.

Altruistic as they might sound, the checks — $100 at most — were no simple act of charity: They were part of an almost unimaginable scheme. To get the money, widows or other loved ones had to consent to letting doctors slice open the bodies of the dead men for autopsies that would detail the ravages of a disease the victims were told was “bad blood.”

Fifty years after the infamous Tuskegee syphilis study was revealed to the public and halted, the organization that made those funeral payments, the Milbank Memorial Fund, publicly apologized Saturday to descendants of the study’s victims. The move is rooted in America’s racial reckoning after George Floyd’s murder by police in 2020.

“It was wrong. We are ashamed of our role. We are deeply sorry,” said the president of the fund, Christopher F. Koller.

The apology and an accompanying monetary donation to a descendants’ group, the Voices for Our Fathers Legacy Foundation, were presented during a ceremony in Tuskegee at a gathering of children and other relatives of men who were part of the study.

Endowed in 1905 by Elizabeth Milbank Anderson, part of a wealthy and well-connected New York family, the fund was one of the nation’s first private foundations. The nonprofit philanthropy had some $90 million in assets in 2019, according to tax records, and an office on Madison Avenue in Manhattan. With an early focus on child welfare and public health, today it concentrates on health policy at the state level.

Koller said there’s no easy way to explain how its leaders in the 1930s decided to make the payments, or to justify what happened. Generations later, some Black people in the United States still fear government health care because of what’s called the “Tuskegee effect.”

“The upshot of this was real harm,” Koller told The Associated Press in an interview before the apology ceremony. “It was one more example of ways that men in the study were deceived. And we are dealing as individuals, as a region, as a country, with the impact of that deceit.”

Lillie Tyson Head’s late father Freddie Lee Tyson was part of the study. She’s now president of the Voices group. She called the apology “a wonderful gesture and a wonderful thing” even if it comes 25 years after the U.S. government apologized for the study to its final survivors, who have all since died.

“It’s really something that could be used as an example of how apologies can be powerful in making reparations and restorative justice be real,” said Head.

Despite her leadership of the descendants group, Head said she didn’t even know about Milbank’s role in the study until Koller called her one day last fall. The payments have been discussed in academic studies and a couple books, but the descendants were unaware, she said.

“It really was something that caught me off guard,” she said. Head’s father left the study after becoming suspicious of the research, years before it ended, and didn’t receive any of the Milbank money, she said, but hundreds of others did.

Other prominent organizations, universities including Harvard and Georgetown and the state of California have acknowledged their ties to racism and slavery. Historian Susan M. Reverby, who wrote a book about the study, researched the Milbank Fund’s participation at the fund’s request. She said its apology could be an example for other groups with ties to systemic racism.

’“It’s really important because at a time when the nation is so divided, how we come to terms with our racism is so complicated,” she said. “Confronting it is difficult, and they didn’t have to do this. I think it’s a really good example of history as restorative justice.”

Starting in 1932, government medical workers in rural Alabama withheld treatment from unsuspecting Black men infected with syphilis so doctors could track the disease and dissect their bodies afterward. About 620 men were studied, and roughly 430 of them had syphilis. Reverby’s study said Milbank recorded giving a total of $20,150 for about 234 autopsies.

Revealed by The Associated Press in 1972, the study ended and the men sued, resulting in a $9 million settlement from which descendants are still seeking the remaining funds, described in court records as “relatively small.”

The Milbank Memorial Fund got involved in 1935 after the U.S. surgeon general at the time, Hugh Cumming, sought the money, which was crucial in persuading families to agree to the autopsies, Reverby found. The decision to approve the funding was made by a group of white men with close ties to federal health officials but little understanding of conditions in Alabama or the cultural norms of Black Southerners, to whom dignified burials were very important, Koller said.

“One of the lessons for us is you get bad decisions if … your perspectives are not particularly diverse and you don’t pay attention to conflicts of interest,” Koller said.

The payments became less important as the Depression ended and more Black families could afford burial insurance, Reverby said. Initially named as a defendant, Milbank was dismissed as a target of the men’s lawsuit and the organization put the episode behind it.

Years later, books including Reverby’s “Examining Tuskegee, The Infamous Syphilis Study and Its Legacy,” published in 2009, detailed the fund’s involvement. But it wasn’t until after Floyd’s death at the hands of Minneapolis police that discussions among the Milbank staff — which is now much more diverse — prompted the fund’s leaders to reexamine its role, Koller said.

“Both staff and board felt like we had to face up to this in a way that we had not before,” he said.

Besides delivering a public apology to a gathering of descendants, the fund decided to donate an undisclosed amount to the Voices for Our Fathers Legacy Foundation, Koller said.

The money will make scholarships available to the descendants, Head said. The group also plans a memorial at Tuskegee University, which served as a conduit for the payments and was the location of a hospital where medical workers saw the men.

While times have changed since the burial payments were first approved nearly 100 years ago, Reverby also said there’s no way to justify what happened.

“The records say very clearly, untreated syphilis,” she said. “You don’t need a Ph.D. to figure that out, and they just kept doing it year after year.”

More Must-Read Stories From TIME


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Soccer star Cristiano Ronaldo will not be forced to pay millions of dollars in a civil lawsuit to a Nevada woman who once accused him of rape.

Ronaldo, age 37, is one of the most highly paid and recognizable sports stars in the world. He plays for the English Premier League club Manchester United and has captained the national team of his home country, Portugal.

Mayorga is a former model who said she met Ronaldo at a nightclub in June 2009 and went back with him and other people to his hotel suite. Ronaldo allegedly assaulted her in a bedroom.

Ronaldo has contended the encounter was consensual. The criminal investigation was dropped by Las Vegas police because Mayorga didn’t identify Ronaldo by name and wouldn’t say where the incident took place, police and prosecutors said.

Ronaldo paid Mayorga more than $375,000 as a settlement. However, an agreement on confidentiality was claimed to have been breached after reports on the incident appeared in Germany’s Der Spiegel in 2017. That prompted the woman to refile her civil lawsuit. The lawsuit blamed Ronaldo or his associates for the leak.

Ronaldo’s legal team blamed the reports on electronic data leaks of documents hacked from law firms and other entities in Europe.

The criminal case was reopened by Las Vegas police when Mayorga filed her civil suit, but prosecutors again decided in 2019 against pursuing a criminal case.

On Friday, US District Court Judge Jennifer Dorsey tossed the civil case against Ronaldo. She barred a refiling of the case and cited Kathryn Mayorga’s attorney, Leslie Mark Stovall, for “bad-faith conduct” and the use of “purloined” confidential documents that tainted the case beyond redemption, the judge said.

The 42-page document claimed Ronaldo was harmed by the woman’s complaint against him.

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Soccer star Cristiano Ronaldo will not be

Netflix is mining popular original series like The Queen’s Gambit and La Casa de Papel (Money Heist) for a slew of new mobile games coming to the streaming platform.

The company is expected to launch nine new games later this year, with a Queen’s Gambit chess and puzzle game slated to launch this summer. Published by the U.K.–based Ripstone Ltd., The Queen’s Gambit Chess is a single- and multi-player game that will feature chess lessons, puzzles, matches and competition with other users. Also launching this summer is a family puzzle game inspired by Netflix’s baking competition show Nailed It! from Paladin Studios.

Next year, the streamer will release four more games, including one based on the hit series La Casa de Papel. Developed by Kilasoft, the single-player game will take users to Monaco as the team prepares to rob a billionaire’s casino in Monaco. A dating simulation game from developer Nanobit and publisher Stillfront Group is set to be based on Too Hot to Handle, while a role-playing game from Chimera Entertainment will take players into the world of Netflix’s Shadow and Bone.

The new slate of games come roughly a year after Netflix launched its first mobile games last August based on the Stranger Things IP under Mike Verdu, Netflix’s vp game development. Since then, the streaming giant — which has faced a slowdown in subscriber growth and tumbling stock prices — has gone on an acquisition spree, picking up indie game developers like Night School Studio and Next Games.

Last month, Netflix also launched the Exploding Kittens mobile game tied to an upcoming adult animated comedy of the same name executive produced by Mike Judge and Greg Daniels.

Watch the trailer for The Queen’s Gambit Chess game below.

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Netflix is mining popular original series like

EXCLUSIVE: Yogi Berra once remarked, “You can observe a lot by watching.” That was one of but many classic Yogi-isms that have become part of the American vernacular. Another one: “If you come to a fork in the road, take it.”

The truth is you can observe a lot by watching the documentary It Ain’t Over, which makes its world premiere today at the Tribeca Film Festival. The film directed by Sean Mullin paints a biographical portrait of the New York Yankees legend, who grew up in St. Louis, Missouri, the son of Italian immigrants, and became a D-Day veteran even before he embarked on his professional career. It makes the case that affection for the affable ballplayer and delight at his aphorisms (another example: “It’s dejà vu all over again”) have overshadowed his incredible accomplishments on the diamond.

Billy Crystal, one of Berra’s many admirers interviewed in the film, notes, “He was the most overlooked superstar in the history of baseball.”

Indeed, Berra won 10 World Series titles as a player, more than any other major leaguer, and he won additional titles as a coach. Footage in the film reveals his exceptional skill as a hitter, who despite only being 5’ 7” jacked more than 350 home runs. He was also an iron man behind the plate, often catching 150 games a season, and possessed a baseball mind of incredible acuity, always aware of opposing players’ weaknesses which gave Yankee pitchers a decided edge.

Berra’s sons, his granddaughter Lindsay Berra (an executive produce of the film), and two of Yogi’s nieces share their memories and insights about him in the documentary. Fellow Yankees greats who got to know him also appear in the film, including Derek Jeter, Joe Torre, Ron Guidry, Don Mattingly and Willie Randolph, as do broadcasters Vin Scully and Bob Costas, and New Yorker sportswriter Roger Angell (who died last month at the age of 101).

Yankees fans can turn Saturday into something of a double-header by catching the film and a game. It Ain’t Over premieres at 2 PM at the BMCC Tribeca Performing Arts Center, while the AL East-leading Yanks are home tonight at Yankee Stadium to play the Chicago Cubs.

It Ain’t Over also screens at Cinépolis on Tuesday, June 14 and Friday, June 17. It screens Sunday, June 19 at the Tribeca Film Center.

Watch an exclusive clip from the documentary above, featuring Berra and Jeter, two of the greatest to ever wear Yankee pinstripes.

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EXCLUSIVE: Yogi Berra once remarked, “You can

It’s not often that a small part in a film leads to the starring role in a spinoff series. Jasmine Cephas Jones was involved from the early stages of the movie Blindspotting, which co-writers and stars Daveed Diggs and Rafael Casal developed for some 10 years before the movie premiered at Sundance and was released by Lionsgate in 2018.

The trenchant comedy is a tough love letter to their native Bay Area, about two best friends navigating gentrification, police brutality and a shifting sense of belonging. Cephas Jones, who co-starred with Diggs in the original Broadway company of Hamilton, plays Ashley, the strong-willed girlfriend of Casal’s Miles. “I had a few pivotal scenes that were very, very intense,” Jones says. She filmed for a couple of days and figured her Blindspotting era was over.

Then came the call from Diggs and Casal asking her to lead a TV spinoff, set after the events of the film and re-centered on Ashley’s point of view. The answer was obvious: “Absolutely, I’m not going to say no to this.” Cephas Jones was brought on as a producer with Diggs and Casal, who also serves as showrunner.

“It’s been one of the most beautiful and creatively fulfilling experiences I’ve ever had,” Cephas Jones says of the Starz half-hour comedy, which has been renewed for a second season. The series picks up when Miles is incarcerated on a petty drug charge and Ashley is forced to move in with Miles’ mom, played by Helen Hunt, and his half-sister, played by Jaylen Barron.

Blindspotting expands on the film’s theatrical style, including interludes when Ashley addresses the camera directly in verse, revealing what Cephas Jones calls her character’s most truthful self. “It pushes me so much as an artist every time,” she says of the propulsive monologues, which the theater-trained actor approaches as she would Shakespeare.

Jasmine Cephas Jones
JUANKR/COURTESY OF SUBJECT

“She’s a warrior and a hero,” Cephas Jones says of Ashley, who’s also the mother of a young son. “She represents a lot of women who feel like they have to do everything themselves.” Ashley gradually opens up to accepting help from the community around her as the story takes on thorny social issues like colorism, misogyny and abuses endemic to the prison system and sex work.

“My favorite thing about art, and about this series, is how we can interpret very important subjects but also entertain you and make it funny,” Cephas Jones says. “You want to watch until the end, and then you can walk away and start a discussion. That’s why I do this in the first place.”

Cephas Jones was born in London and raised in Brooklyn with career role models at home; her mother, Kim Lesley, is a jazz singer, and her father is This Is Us actor Ron Cephas Jones. She and her dad made history when both were awarded Primetime Emmys in 2020, Ron for the NBC drama, Jasmine for her role on the shortform Quibi series #Freerayshawn. “It was such a beautiful moment to share with my father, who’s been a huge mentor in my life,” she says. “It felt like, ‘Oh, we’re peers now. And look at this road that we’ve been on together.’ “

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Jasmine Cephas Jones and Helen Hunt on Starz’s Blindspotting.
Courtesy of Starz

Ashley’s journey continues with the second season of Blindspotting, which recently wrapped principal production in Oakland and L.A. “We take it to another level,” Cephas Jones says of the heightened storytelling on the way. “The craziness is definitely amped up. You will be entertained, that is for sure.”

She wants to continue playing multifaceted characters she can sink her teeth into — and who are more than secondary players in men’s stories. “Showing all the colors of what a woman can be is important to me,” she says. “We’re not just a prop on a man’s arm. We’re human beings in this world with so many different sides to us.”

This story first appeared in a June stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.

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It’s not often that a small part

BALTIMORE — John Waters was leading a delegation from the Academy Museum of Motion Pictures — in for the week from Los Angeles — on a tour of his home of 32 years, cluttered with film artifacts and kitschy curios and tucked behind trees on a quiet corner five miles from this city’s waterfront.

There was much to see: the electric chair from his 1974 dark comedy, “Female Trouble” in the entryway. A birth certificate for Divine, the 300-pound cross-dresser who played the “filthiest person alive” in “Pink Flamingos,” hanging in a basement room piled with mementos. The mimeographed poster for the 1966 premiere of “Roman Candles,” retrieved from a stack of boxes.

“Hand me that leg of lamb,” Waters asked an assistant as two curators and the museum director followed him up the narrow stairs, through a doorway and into his cramped two-room home office — one room for “my writing and thinking” and one for, as he put it, selling. He was offering for consideration a favorite artifact from his moviemaking career: the (rubber) leg of lamb that Kathleen Turner used as a murder weapon in a particularly gruesome scene from “Serial Mom.”

For decades, Waters was famous for pushing the boundaries of taste back when there were real boundaries of taste (enforced by entities like his one-time tormentor, the Maryland State Board of Censors), including the notorious final scene in “Pink Flamingos,” which involves dog excrement. William S. Burroughs called Waters the “Pope of Trash,” and he meant that as a compliment.

Next summer, Waters, who is 76, is being honored by the establishment he has flamboyantly provoked for over 50 years. He will be the subject of a sprawling 11,400-square-foot exhibition at the Academy Museum of Motion Pictures, the museum celebrating Hollywood that opened last year. With this exhibit, the Academy is making clear that its curatorial appetite goes beyond R2-D2 and Dorothy’s ruby slippers.

This may not be easy. The Academy Museum has planted a flag as a family and tourist destination, which is not precisely the John Waters fan base. Notwithstanding the name of the exhibition — “Pope of Trash,” of course — Bill Kramer, the museum’s director, said a sign might be put at the entryway to warn the young and the squeamish.

“We don’t want to do anything that will alienate our audiences,” Kramer said, pulling up a chair next to Waters in his living room. “We are going through the design process now, and through that process, we will ensure that the exhibition will not be watered down, but will also be an exhibition that all ages can experience.”

“Which is a challenge,” Waters interjected.

“Which is a challenge,” Kramer agreed.

Waters has come quite a distance since 1973, when Variety described “Pink Flamingos” as “one of the most vile, stupid and repulsive films ever made.” His subsequent movies — “Polyester,” starring Tab Hunter; “Cry-Baby,” with Johnny Depp; and “Pecker,” with Patricia Hearst, to name a few — have become cult favorites, some still drawing crowds at midnight showings. “Hairspray,” his 1988 comedy, became a Broadway musical that won eight Tony Awards. Now Waters will join the ranks of Spike Lee, Pedro Almodóvar, “The Wizard of Oz,” and “The Godfather,” as the subject of an exhibition at the Academy museum.

“People will see irony in it, definitely,” said Waters. “My films, certainly in the beginning, got no good reviews, were censored, but people always came. Just crazy people came.”’

“And did any of them get nicer?” Waters said of his films, warming to the subject. “No! They all got accepted over the years, which just meant American humor has changed for the better. I think that we got used to embracing all kinds of films if they were extreme and had style about them.”

If he is right about that — and he very well might be — that should make life easier for the curators as they spend the next year deciding which works to highlight, how much to present in gory, scatological or X-rated detail, and how much to leave to viewers’ memories and imagination.

Among the items they are considering: The barf bags, protectively handed to audience members for showings of “Pink Flamingos.” The hand-held camera Waters used in “Eat Your Makeup” to film the re-enactment of the Kennedy assassination on his parents’ front lawn, to the horror of neighbors, with Divine playing Jacqueline Kennedy Onassis. A list of live bugs, a German cockroach and a Dragonfly Nymph among them, that the actor Johnny Knoxville was willing to put in his mouth for the 2004 film, “A Dirty Shame.”

And there is the depiction of shoes painted by the glue-sniffing Baltimore foot stomper while serving prison time in “Polyester.” The scratch-and-sniff cards embedded with stomach-turning odors that were handed to patrons at “Polyester” so they could experience the film with their noses, as well as their eyes. That leg of lamb.

But those kinds of decisions are months away. The exhibition is in the planning stages. Before arriving in Baltimore, the curators, Jenny He and Dara Jaffe, spent months combing through the Waters archives at Wesleyan University, with considerable success. “In ‘Hairspray,’ at the end, Debbie Harry is wearing this towering wig that has this explosive device,” Jaffe said. “We asked everyone and no one knew what happened to it. It turns out it was at Wesleyan the whole time. We found it in a box in a corner.”

“Dara and I started jumping up and down,” said He.

Here in the city that has defined Waters’s career and life, they traipsed through his house, itself something of a museum, before driving to his studio and his office as they considered which of the 881 items that have made their preliminary list (“I’m a hoarder,” Waters said) merits display.

“Jenny, we should measure this,” Jaffe said, taking out a tape after spotting a “Maryland State Board of Censors” seal painted by a fan and sent to Waters in his office, a testimony to the time the board forced Waters to cut a scene from “Female Trouble.” Waters made the censors give him a receipt for the snippet of film he cut off the reel and handed over.

When they arrived at his studio, the curators huddled with Waters to share one idea for the entryway to the exhibition.

“So we know that you want people to get a bit of a shock when they first walk in,” Jaffe said, as Waters nodded. “And we know how much you love showmanship and gimmicks.” The idea, she said, would be to create the inside of a church, with a montage of Waters films spooling near the altar. The pews — “the movie seats” — would be equipped with hidden buzzers to “give them a literal shock” as they sat down, she explained.

“Can you make that work?” Waters exclaimed. “That would be great!”

This exhibition may seem like something of a gold retirement watch for Waters, a belated recognition of his contribution to cinema and culture over the decades. It has been 18 years since Waters made his last movie — “A Dirty Shame,” which was rated NC-17. But he has since been paid to write three sequels to “Hairspray,” none of which ultimately received a studio green light. He has also continued to develop a long-gestating children’s Christmas movie called “Fruitcake.”

Waters is hardly retiring, though. He has been traveling the country promoting his first novel, “Liarmouth: A Feel-Bad Romance,” (Farrar, Straus and Giroux, 2022), and recently had a cameo in “The Marvelous Mrs. Maisel.” He is in a new advertising campaign for a Calvin Klein fashion line for Pride Month. He still has the pencil mustache, which he freshened up throughout the day.

Museum officials could barely keep up with him as he clambered up and down the steps of the four-story house, before jumping into a rented Cadillac (his own car is being driven by an assistant to Provincetown, where he will spend the summer) to lead a cavalcade on the drive to his studio and his office.

In truth, Waters has become part of the entertainment establishment. He is a member of the Academy, sponsored by the filmmaker David Lynch, himself a bit of an envelope-pusher. (“And I take my duties seriously,” he said of being an Oscar judge. “I watch everything.”) “Hairspray” was rated PG. And in another sure sign of success, Waters is surrounded by a coterie of assistants as he moves through his day. “I need three assistants to turn on a TV,” he said.

Kramer, who this week was named the chief executive of the Academy of Motion Picture Arts and Sciences, proposed the exhibition in March 2020. Waters agreed, and the curators headed out for a scouting visit that month. Because of the pandemic, this was the first time Jaffe and He have been back to Baltimore. “I’ve kept this secret for a long time,” Waters said.

The show will introduce the Waters canon to audiences unfamiliar with his work, but the base is likely to be his loyal followers, the ones who went to his movies before they were legitimized in festivals and revival houses, and who attended Camp John Waters, his sold-out adult summer camp in Kent, Conn.

“My audience was always humorous and they were always a little angry, but they were always movie buffs, they had a sense of humor about themselves and they made fun of their own taste in a way they embraced tastes that others would be against,” Waters said. “My audience was not just gay or straight; it was bikers, or it was all people that didn’t fit in; even in their own minorities they had trouble, and there was my target audience.”

Waters has never lived in Los Angeles, but was a guest at the red-carpet opening of the museum last year — sharing the spotlight with Cher and Lady Gaga. “I was just amazed — who would have ever thought all these things would happen?” Waters asked. He waited a beat. “And the answer is — me.”

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BALTIMORE — John Waters was leading a

Estimated reading time — 24 minutes

I remember the day, not too long ago, that I stood in front of my brand new home.  After the year-long headache of the over-budget and over-delayed build process, I finally held the keys to the castle of my 11.4-acre Kingdom.

The exhaust note from the contractor’s truck finally faded, leaving only the shrill woosh of the wind blowing against the structure.  

The rambler stood broad and strong under the increasingly low and dark clouds that promised a chilly fall storm.  The exterior was fashioned of white brick and white wood paneling, designed to appear in a sort of rustic-barn styling.  Front and center was a light brown double door made from pine with three matching pillars on each side to support the covered front porch.  The garage was facing the side.

I had seen the house several times during the build process, but now that it was complete, it felt different.  The house appeared ominous against the daunting clouds of the incoming storm.  The yellowing grass from the sod that was planted too late in the season to properly root, along with the various shades of brown of the fields behind the house, added to the effect.  Lightning struck in the distance behind the house as if the scene was posing for a perfect photoshoot.

Although it was brand new, the house had a noticeable essence, in the sort of way that a historical relic older than any person alive makes you wonder about the events said relic has seen.  If a house could have an “old soul”, this house had one.  It was designed to appear rustic, of course, but there was something special that I just couldn’t quite put my finger on.

A gust of cold wind reminded me that I had little time before the storm would unleash pounding rain and violent wind.

I took a deep breath as I walked in, inhaling the smell of fresh paint and carpet.  My paint and my carpet.  With each step, my boots echoed through the open living area’s bare walls, hardwood floors, and vaulted ceiling.  When I had previously been inside the home, it was busy with workers and conversation.  Now that it was empty, though, my 3,250 square feet felt oddly large to the point of being nearly lonely.  

For the past year, I’d been living in a cozy 5th wheel camper while waiting for the construction to finish.  As I wandered through my new home, it crossed my mind that maybe it was a bit excessive for a single 29-year-old after all.  Still, I had no regrets about it.

I walked through the master bedroom first, admiring the luxury of space I’d have.  The California King bed I ordered would easily fit, with plenty of room to spare.  Hell, the closet was roughly the size of my bedroom growing up.  

I strolled through the rest of the house, realizing that I had underestimated just how much furniture I would need to fill the large open spaces of the house.  It was overwhelming to think of all the furniture it would take, so I decided an interior designer would be the best option.  

After locking the door behind me, I took one last look at the house.  My house.  I finally allowed myself to smile at my new symbol of success.  That’s what the house truly was, whether I wanted to admit it to myself or not.  I didn’t need all that space, I wanted to stick it to those who doubted me, underestimated me, and looked down upon me.  I wanted a place to set down roots, maybe a place for a family one day, but my middle finger played a big part in my decisions. 

My furniture was set to arrive in 10 days.  Until then, it was back to the camper before the storm hit.  If only I knew the real storm that was on its way, I’d have turned away and never gone back.

************* one week later *************

Moving in honestly wasn’t much of a move.  The furniture company delivered everything and arranged the house to the orders of my attractive interior designer, Rachel.  Everything else that I owned, I simply carried out of my camper and into the house.  Rachel was unpacking all of the kitchenware she purchased on my behalf and rolled her eyes at me when I set my coffee maker on the counter.  

“Nope, hide that away.  You can’t have a RED coffee maker when all of the appliances are stainless steel.”

“Why not?”  I asked.

“Because it’s hideous!”  She said, throwing her arms above her head with a laugh.  “This, this is why you’re single.” She said in a way that wasn’t insulting, but perhaps slightly flirtatious.

“Or maybe it’s because I like choosing my coffee maker.” I fired back, sharing her playful tone.

“Yet, here you are, hiring a woman to pick out everything in your entire house.”  She said with a cute wink. 

“Can’t argue that,” I chuckled, “First time I’ve ever paid someone to spend my money for me.  How much do I owe you anyway?

“Oh, we can discuss it over dinner.”  She said casually as if we had planned such an event. 

“Dinner?”

“Well yeah,” she said, taking a step closer, “You have me working on a Friday evening.  That’s serious overtime right there.”

“Alright, let’s go. Steak?”  I asked, testing to see how serious she was.

“I was thinking Italian,” she said with a smile, “I know an adorable place out by the lake.”  

“Sounds expensive.”

“Overtime ain’t cheap, cutie, you’re driving.”  She said, already walking toward the front door. 

“Well, I’ll be damned.”  I thought.  “Got a date with a beautiful woman and didn’t even have to come up with a shitty pickup line.”  Life was turning out alright after all.

We hopped in my truck and started driving off, but out of the corner of my eye, I saw something out of place.  A child, staring out from a window on the main floor.  I hit the brakes and turned my full attention to the window, where there was no longer a child but the drapes were swaying slightly as they had just been moved. 

“Are you okay?”  Rachel asked, staring at me intently.

“Yeah, I just thought I saw a Coyote is all.”  I lied, not wanting to look like an idiot on our date.

“Yeah, you’ll be seeing a few of those in this neck of the woods.”  She said with another soft laugh.  With that, I put the child out of my thoughts, my foot on the gas, and started driving.  

************* Later that evening *************

The evening was wonderful, one of the best nights I’d had in a long time.  The last decade of my life had been consumed by working and saving.  Long grueling days in remote locations left little time for romance, but that’s where the money was and money was the goal.  I hadn’t spent much time worrying about finding a partner, but after that date, I couldn’t help but wonder if maybe I’d found her anyway.  I hoped she felt the same.

We’d just met, of course, and had only one date, but I was smitten.  I reasoned with myself that I was setting down roots anyhow.  I had my welding business which was going great, a reasonable work/life schedule, and finally my house.  Maybe having someone to share it all with wouldn’t be so bad.  

I was just drifting off to sleep, thoughts of Rachel on my mind when the pitter-patter of bare feet hitting the hardwood floors resonated throughout the house.  I sat up in bed quickly putting my feet on the carpeted floor and froze, listening intently and wondering if I’d really heard that.  Nothing but the silence was audible.  I took a deep breath to calm my heart rate, told myself I must have dreamed it, and started to lay back down.

The pitter-patter came again, unmistakably the sound of quick footsteps running through my hallway, right past my bedroom door.  My heart rate skyrocketed as I lurched out of bed, grabbed the pistol from my nightstand drawer, and rushed out the door ready to confront an intruder.  I turned the flashlight attachment on which illuminated the hallway in the direction the footsteps ran toward, but there was nothing but a wall in that direction.  

I turned the light in the other direction toward the living area, walking down the hallway with the pistol held in front of me.  “WHO’S THERE?”  I yelled, unsure of what to do.  I flipped the lights on as I entered the open living area, revealing that like the hallway, it remained empty.  I continued through the main level of the house, flipping on every light as I went through.  Then I did the same with the basement, which was also empty.  

The last room in the basement was the laundry room.  It was large for a laundry room, but designed to double as a storage area.  For now, the mounted shelves stood empty leaving the stainless steel washer and dryer as the only things in the room.  I had cheaped out on this room, and instead of tile, I had ordered Pergo flooring to be installed.  Still, the soft grey flooring matched the rest of the house.  The room was empty, but as I turned to walk out, the light flickered, then went out entirely.

“Nope.”  I thought to myself.  The thing with the lights was too weird.  I turned to walk out, but as I did so I felt a tingle on the back of my neck as if someone was right behind me, breathing on my neck and waiting to lurch.  I felt goosebumps grow on the back of my neck from a cold puff of air that touched my neck as if someone’s icy breath had just touched me.  I gathered my guts and span around half expecting to be greeted by somebody, or something, despite knowing that the room was empty.  The room was indeed still empty, but that did little to qualm the feeling of being stalked.  I turned and sprinted back up the stairs, two at a time.

I locked my bedroom door and sat propped up on my bed, leaving my bedroom lights on.  My breathing was heavy and chest tight as I tried desperately to make sense of it all, telling myself that I had imagined it, I dreamed it.  I definitely heard something but it definitely wasn’t real.  Did it sound, childlike?  Raccoons, it had to be raccoons.  They must have nested somewhere before all the doors and windows were in place, right?  I pulled the covers over my head, like a child afraid of the boogeyman.

*************  The Following Day *************

I woke up Saturday morning with the sun already blasting the large, eastward-facing bedroom windows.  The bedroom lights were still on, and I was shocked to feel the weight of my pistol still in my hand. 

I cursed myself, for having been so scared, so damn stupid, as to drift off to sleep with a loaded weapon in my hand.  People have shot themselves in their sleep before, their fingers snagging on the trigger while they rolled over, unconsciously searching for a more comfortable position.  I cursed myself for risking my life over a raccoon, a goddamned raccoon, as I gently placed the weapon back in the quick access gun safe I kept in my nightstand drawer.  

I didn’t have too much time to quibble with myself over the previous night’s events, though, I had to get ready for the housewarming party I planned for my family, and I needed to show off.  

Before hopping in the shower, I checked my cell to see a text from Rachel.  

“Good morning, Nick!”  It read, “I had a great time last night.  Good luck with your housewarming party!”  

A smile grew on my face.  I immediately forgot about the raccoon fiasco, my thoughts changing course to the date with Rachel.  After dinner, we had taken a long stroll down by the lake and talked well into the dark hours.  I don’t normally open up about my disparate family dynamic to people, but holding her soft hand in mine gave me a giddiness enough to open my mental flood gates and spill my personal details.  Somehow, we had explained much about our life stories to each other with ease, finding many similarities between our upbringings.  

I’d thought about asking her to come but felt that it might be too much after only one date.  I had done so little dating in my adult life that I wasn’t quite sure what a normal flow should be in a romantic relationship, but I did think that we were starting one.  Besides, subjugating her to deal with my step-family seemed cruel.  So instead, I resent a text message returning her thoughts about having a great time with the date, and added that I hoped we could do it again soon. 

************* Later that afternoon *************

I had just finished setting up the large Charcuterie board, arranged based on a picture Rachel had sent me when the doorbell rang.  I closed my eyes, took a deep breath, and opened the door with a fake smile. 

 “Good to see you, Nicholas.”   My step-sister said with an equally fake smile, holding some sort of casserole over her pregnant belly.

“Thanks for coming, Abeline.”  I returned as I held the door open for the parade of her 3 kids aged 6, 4, and 2.  Her tired-looking husband, Brad, held up the rear of the formation holding a stained diaper bag.  Seeing that My stepbrother, Joshua, was rolling down the street in his silver minivan, I kept the door open.  

“It’s a little big for someone without any kids, don’t you think?”  Abeline said In the voice one makes when they are trying to mask their condescending judgment with a compliment.  The blows were being thrown early, but it was my day to show off.  I refused to let Abeline take that from me.

“Nope,”  I said, not having to fake my grin this time.  “I enjoy the space, and if I do decide to have kids, this way they won’t be stuck sharing rooms.”  Her fake smile dropped at this low blow, taking the subtle hit about how she would soon have a family of 6 living in a 3 bedroom suburban townhouse.  

“Tennessee vs Georgia is on.”  I said, tossing Brad the remote, “I have all the games though, feel free to pick whatever.  

“Sup man,” said Josh as he walked in with his wife and two kids in Tow.

“Hey Man, Brad’s getting the game on, food is on the counter, and there are some new toys in the basement for the kids.”  Josh and I didn’t bother trying to fake kind formalities the way Abeline does.  At the mention of toys, the herd of kids rushed to the basement to see what wonders I had purchased to keep them entertained.  All of the kids enjoyed Uncle Nick, much to their parent’s dismay.

It’s stupid and weird, the way we all act like a happy normal family, despite the obvious disdain we feel for each other.  But, we did it for the sake of our parents.  After my mom died from cancer in 2002, my dad had become a “born again Christian,” and married Joann, a prudent widow from his congregation.  Within 18 months of my mother’s death, I was forced into a step-family with a prude woman and her two prude children. 

Joann and her children always looked down on me.  She treated me as a second-class citizen compared to her two children whom she regarded as Angels.  They had good grades and stood out as faithful members of the congregation at their private religious school.  Meanwhile, I was lucky enough to have been kicked out of the school after slipping a Korn album into the CD player before the Easter choir program the poor children were forced to sing in.

Joann had found my CD stash after Josh snitched and told her where I hid them.  She made me watch as she broke them all, but being expelled meant I was gloriously reunited with my friends at the public school.

While my step-siblings made honors and memorized their bible verses, I kept my grades just good enough to stay on the wrestling team and spent my offseason skateboarding.  Joann and her church taught me that to be happy and successful I had to go straight to college, go to church, get married, and have babies.  Metal and skateboarding taught me to stick a finger to those assholes and do it my own way.  Wrestling taught me that hard work is the avenue to success.  

Instead of going to college at the sacrifice of student loans and my dad’s retirement like Abeline and Joshua, I worked roofing during the day to pay for Welding technical school at night.  After getting my certifications debt-free, I took welding work on the pipelines for a couple of years before taking Department of Defense contracts overseas.  While my step-siblings were graduating college with student debt, getting married, and barely making ends meet after the cost of children, I was stacking my bank account. 

Sure the work was grueling, and the quality of life welding in the Middle East was less than substandard, but I worked hard and was good at my job.  Josh used his degree in business to become the manager of a tire store, and Abeline put her $25,000 piece of paper degree on the wall and became a stay-at-home mom.  Meanwhile, I made a triple-digit salary with my cost of living being almost nil.  I put almost every dollar away in savings and investments that stacked up quickly.  

Finally, 15 months ago I came back home and started my own business, which was taking off.  Now, I had my 3 employees work the shitty hours on the pipelines while I handled the work that could be done in-shop.  I did this all without wasting money on college or time at church.  That’s why I built such a nice house I didn’t need, to say fuck you to everybody who doubted me.  To let them know I did it my way and did it better.  

“Nick!  The house looks amazing, congratulations!”  This time I didn’t have to fake the smile on my face.  I turned and gave my dad a big hug, happy to finally hear someone be genuinely happy for me.  In my late teen years and early 20s, we hadn’t talked much, but in the past 4 years, we managed to put the past behind us and forgive each other.  Now, we spend every other weekend fishing. 

“Thanks, Dad,” I said, before seeing Joann’s fake smile behind him.  

“It’s a little big for someone without kids, don’t you think?”  Joann asked.  Like mother, like daughter.  

Before I could come up with anything to fire back with, Abigail (Abeline’s oldest child) tapped me on the elbow.  

“Uncle Nick, I thought you didn’t have any kids.”  She phrased the statement as if it was a question.  

“I don’t,”  I told her, crouching down to make better eye contact with her.  

“Then who’s the little girl downstairs?” 

“What little girl?”  I asked, “The only kids here are your cousins and siblings”

“No, there’s a little girl in the laundry room.  She keeps crying.”  

I shuddered at the mention of the laundry room.  Under normal circumstances, it would have been much easier to chalk this up to the imagination, but I was still haunted by a bad feeling deep in my chest about what happened the night before.  

“I promise you, there’s nobody in there,”  I told her, pushing any doubts to the corner of my mind.  

“But there is, I saw her!”  Abby insisted, getting frustrated that I didn’t believe her.  

“Okay,” I said before her mother could intervene, “let’s go take a look.”  

She grabbed my hand and led me downstairs, her parents following behind.

“See, no one here!”  I told her, secretly relieved.  

“But she was right there!  Abby insisted, pointing to the corner furthest from the door, “right there!”  

I was at a loss for words, not sure how to explain this away.  The chance to attempt an explanation was taken away from me anyhow, as Abeline started scolding her daughter.  She went off on something about making up stories, but I wasn’t listening because, for a split second, I thought I heard the faint crying of a little girl.  

************* Later that night *************

The one nice thing about my step-family is that nobody overstays their welcome.  By 3:30 in the afternoon, everybody had left and I collapsed on my couch with a beer in my left hand and a phone in my right.  I’d asked Rachel to stop by and finish off the charcuterie that had been barely touched by my family, but unfortunately, she was obligated to family dinner.  Although I wanted to see her, I couldn’t complain about an evening spent watching football and drinking a few beers.  

But before I got too comfortable, I went downstairs and tucked away all of the toys the children had enjoyed.  Cars and barbies were strewn all over the basement, but I was happy to see that the kids had dived into the books I had purchased as well.  Their books at home were largely religious-based, I figured they’d enjoy a couple of books about farts and such.  

I shoved everything into storage underneath the stairs.  The rocking horse barely fit through the door because it was so large.  It hadn’t been cheap, but the kids had absolutely loved it, making it worth every penny. 

Before I headed up the stairs, I stopped and stared at that laundry room.  I didn’t want to admit it, but the room exuded a sort of feeling that I couldn’t quite put my finger on.  It just felt wrong.  Even looking at the room from a distance left me feeling uneasy and creeped out.  It was more than just the weird experiences that both Abigail and I had, it was a feeling of hellish dread that seemed to emanate from the room.  I hurried over and closed the door before quickly moving up the stairs.

I had a dream that night, at least I thought it was a dream, where I found myself in the basement washroom.  It was crying that had drawn me to the room, the crying of a child.  She was in the corner, wearing white pajamas with pink unicorns.  She was sitting down, her legs crossed in front of her.  Her head was buried in her hands, with her long brown hair draped over her in a tangled mess.  She was sobbing uncontrollably.

I’m no expert in kids, but I guessed her to be 6 or 7 years old.  I knelt behind her and put a soft hand on her shoulder.  At my touch, she flinched and stiffened up, as if bracing for a hit.

“Heyyy, it’s okay, I’m not here to hurt you. Maybe I can help you.  What’s the matter?  I told her in the most soothing, non-threatening manner that I could.  

She loosened some at the sound of my voice but continued to cry with soft sobs. 

“I’m stuck here.” She said between sobs.

“What do you mean you’re stuck here?  How’d you get here anyway?”  I asked.

“The bad man brought me here, and we can’t leave.  We’re stuck here with the scary thing.”  She burst into another round of sobs.

“What do you mean you’re stuck?”  I asked, ignoring all of the other nagging questions. “Maybe I can help you,” I added reassuringly.

At that, she stopped crying and turned her head to face me.  “You can help me?” She asked, now facing me with her hair obscuring most of her face. 

“Of course,” I said warmly.  I reached up and brushed the hair away from her face, but immediately pulled back when I saw it.  I tried not to show the horror and disgust I felt, but that was nearly impossible.  Her face was battered, bruised, swollen, and misshapen so horribly that I couldn’t get a single idea of what she actually looked like.  She looked as if she had been ruthlessly beaten.  Her swollen neck displayed deep bruising in rings completely circling her neck. 

“Please,” she said again, grabbing my hand as she started to cry again, “Please you have to help me.  You have to help PLEASE?!”

Before I could get a grip on myself and think of something to say, the lights in the room went out.  With the darkness, a cold fell on the room, the kind of cold you’d expect to feel outside on a cold winter night.

I heard something walk-up behind me and felt it too.  It was a presence, a cold, dark, evil presence. 

The girl screamed so loud it hurt my ears.  Behind me, I heard laughter, a deep maniacal laughter 

“NO!” She screamed as the laughing intensified.

“NO, NO NO NO!  HELP!  HEEEEELLLLPPP!”

That’s when I woke up.  I rubbed my eyes, scared, but relieved that it was only a dream.  My relief didn’t last long, however, as I realized that I was not in my bed nor was I on my couch.  I was on the floor of the laundry room.  

At the realization, I jumped to my feet and hurried to the light switch nearly slamming into the wall.  I felt along the wall frantically searching for the light switch that seemed to no longer be there.  At last, I found the light switch and flipped the lights on immediately pushing out the darkness.

There was no little girl, no terrifying laughter.  But there was the rocking horse, the one I had put under the stairs only hours ago. 

*************  The Following Day *************

I hadn’t slept at all after waking up on the laundry room floor.  After that dream, which I was not sure was an actual dream) I felt genuinely shaken up.  To be completely honest, I was scared and more than just a little bit.  Too many strange things had happened in my home in such little time.  I tried to reason with myself, that everything had a logical explanation.  This house was brand spanking new, it couldn’t be haunted, could it?  But In my heart I knew something unexplainable was taking place, I could feel it. 

Rachel was on her way, though, which granted me a welcome distraction.  We had plans to make and eat breakfast together.  The text she sent telling me that she was on her way brought a smile to my face, and I immediately pushed aside my fear because I needed to freshen up.  I had a lady to impress. 

“So, Nick, how are you settling in with this handsome house?” Rachel asked as we sipped our second or third serving of mimosas.  The golden morning sun shone through the large windows that faced the rear of the home, warmly illuminating the home in such a way that made it hard to believe the unsettling experiences I’d had. 

“Ya know, it – it’s great,” I said, my mind involuntarily moved to the incident with the little girl, but I didn’t want to sound like an idiot.  “Really I’m surprised every time I see it, it seems too beautiful to be mine.”

“Why’d you hesitate?” she asked.

“What do you mean?”

“You hesitated.  Is there something that you don’t like about the house?” 

“No no, it’s just that..”  I trailed off, not sure if I wanted to finish the sentence.  

“Tell me!”  Rachel insisted, slamming the table in a pretend show of aggressive frustration.

“I think this house is haunted,” I blurted out.  

“But it’s brand new,” Rachel returned looking more serious this time.  

“I know how that sounds,” I said, putting my hands up as if surrendering, “but hear me out.

I proceeded to tell Rachel everything, starting at the beginning with the time I saw a child peering out the window as we left for our date.  I told her about the footsteps I sometimes heard at night, about the crying girl my niece insisted she had seen, and finally about the weird “dream” I had before waking up in the laundry room. 

I finished the story while Rachel listened intently.  I paused, worried that she’d think me crazy and make an excuse to leave, but her response was nothing of the sort. 

“I believe you.” She said, putting down her glass.

I let out the breath that I hadn’t realized that I was holding in, relieved to find a serious but reassuring look on her face.

“I saw a girl too, on the day you moved in.  I blew it off and kept telling myself that it was some sort of illusion, but I haven’t been able to let it go.”  She put her hand to her head as if experiencing a serious headache.  “It just felt so, well, creepy.  I don’t know how else to put it.”

A small smile crept on my face.  I was aware that the smile was out of place, but I found it strangely touching to know that I wasn’t alone in these strange, even dark, experiences.  Rachel looked at me confused for a moment before she also smiled and we both broke into a weird fit of anxious laughter.  

“My brand new house is Haunted,”  I said after getting a hold of myself and finding a more serious tone.  “I’ll be honest, I’m scared of my house.” 

“Well,” Rachel started, with her flirtatious glint reappearing In her eye, “Maybe it wouldn’t be so bad if you weren’t sleeping alone.”

“I think you might be right,” I laughed, “But I’m not sure my bed is big enough, maybe we should go make sure my bed will fit us both.”  

The bed, as it turns out, was plenty big (and sturdy) enough for the both of us.

*************Two Weeks Later *************

I had woken up around 1:00 AM to the pitter-patter of feet running throughout the house, an occurrence that had happened often to both myself and Rachel over the previous 2 weeks.  We’d both heard crying a time or two, and had just ignored it.  The toys that I had kept stored underneath the stairs were often found scattered around the basement.  Although somewhat creepy, I had decided to just let it happen.

Rachel had stayed over most nights, which was great for many reasons.  I’d sometimes wondered if things were moving too fast, but it was working great and I’m not one to argue with a good thing.  Besides, I felt much more at ease not being alone at night, and I began to think that maybe I could get used to living in a haunted house.  I reasoned with myself that it was just a child ghost after all, and what harm could a child be?

Despite that, I couldn’t escape the disconcerting question as to why a child would be haunting my house?  The house was brand new, there were no previous occupants to have died in the home.  Rachel and I theorized that perhaps there had been a car accident on the road resulting in the death of a child, but had not been able to find any corroborating evidence while searching the news archives. 

That particular night, however, it felt different.  Usually, it was just a sound that I could blow off and go back to sleep, allowing the sound to be filtered out with the background noise. Instead, I felt an intrusive sense of fear, dread, and sorrow that held me tight to the bed and threatened tears as I suddenly wanted to cry.  I wanted to move, but the weight of fear pinned me to the mattress.

I heard a whisper, in the voice of a scared child, say, “Please, please help me.”

The whisper in my ear was enough to overcome my paralyzing fear and jolt me to my feet.  I had to get away from, whatever was going on, the way you feel the need to get away from a bee buzzing in your ear. 

I walked quickly, but quietly, to the master bedroom where I splashed water on my face.  The soothing touch of the cold water shocked my senses but helped bring me back to reality.  It was probably just a dream, another creepy dream brought to me courtesy of my creepy house.  My chest expanded as I inhaled a deep comforting breath, then relaxed as my chest pushed the breath out allowing me to open my eyes. 

My heart plunged into my kidney the second I opened my eyes.  There was someone (or maybe I should say something) standing directly behind me.  The monstrous thing was humanoid in form, but there is no way it could be called Human.  It towered above me, standing so tall that its head was nearly touching the ceiling.  Although it was dark, I could see that its skin was composed of a blotchy black and red, yet slightly translucent plastic-like substance that reminded me of dirty Saran Wrap. 

I desperately wanted to run, or scream or anything besides just standing there, but I once again found myself held tight with paralyzing fear.  Although it had no iris nor pupils to be seen, I felt its empty white eyes staring madly into mine.  The thing leaned forward until its head was just above mine in the reflection and placed a hand on my shoulder.  The hand was so cold that it burned as if my skin had encountered dry ice.  My reaction was to pull away from the pain, but I couldn’t, I was paralyzed and not just by fear.  Some force had stolen my ability to move, I found myself unable to so much as grimace at the pain in my shoulder.

The hideous beast smiled at me in a threatening fashion, exposing black gums with only a handful of long grey teeth.  It winked at me, as if to say, “There’s nothing you can do to stop me,” and then it was gone.  

The weight was lifted from my shoulder and the burning stopped.  I dared an attempt to wiggle my fingers and found that I had regained the freedom to move of my own free will.  I had just enough time to turn on the light before the screaming started.  

Piercing screams of intense fear and agony exploded through the house, dicing the eerie silence of the night.  My first thought was of Rachel, so I burst back into the room to find her still asleep, unphased by the horrific screams as if she could not hear them at all.  The screaming continued and my heart fell as I realized the agonizing sound was coming from the basement. 

I didn’t want to go, I was terrified and considered waking Rachel and vacating the damned house, but my inner conscience told me I needed to try and help the poor hurting souls, despite the fact that I hadn’t the slightest idea how to do so.  I made my decision, and without further hesitation, I hurried to the basement.

As I descended the stairs the screaming grew louder.  I reached the basement where I found the light in the Laundry room flickering so fast it created a strobe-like effect, casting flickering shadows across the entire basement as if a concert was playing.  I ran into the room where the toy horse was rocking violently in the middle.  Laundry detergent fell off a shelf and burst onto the floor as the screams reached an unbearable and inhuman volume, so loud it pain erupted deep inside my ears.  

I pressed my hands to my ears squeezing so hard that it hurt my head, but it did little to vanquish the intensity of my pain.  My knees were suddenly weak as I became physically and emotionally overwhelmed and I collapsed to my knees as if the weight of my body had become too much for my shaky legs to carry.  The sound was all-encompassing, not coming from any specific part of the room but existing in all parts of the room.

I squeezed my eyes shut in a feeble attempt to concentrate and find some sort of solution when it hit me.  The walls.  The screams were coming from the walls!

Before I understood what I was doing, I stood and slammed my fist into the wall closest to me.  My hand went straight through the drywall hitting the concrete behind it.  A pain shot through my knuckles and up through my elbow, but in the adrenaline-fueled moment I paid the pain little mind and ripped as much of the drywall out as I could.  I used the opening to grab more drywall and rip off piece after piece until finally, an entire board of drywall was loose.  

I grabbed one more time and pulled, forcing the entire 8-foot by 4-foot section to fall.  The screaming stopped immediately, as did the strobing of the light.  For a brief moment, all was still.  The room was quiet.

After the drywall fell, a plastic bundle fell from between the exposed framing and hit the floor with a dull thud, landing partially on my bare foot.  I was breathing heavily but managed to take a couple of deep breaths and regain some composure at the eerie but welcome silence.  I took a knee beside the bundle and rolled it over. 

What I found caused my heart to beat with the ferocity of a death metal drum solo that blurred my vision with every beat.  Tightly squeezed inside the layers of thick plastic was that little girl, the one I had seen crying in the basement.  Or, her body I should say.  I could see her misshapen and rotting face still frozen with the fear of her final moments of life.  Her brown hair, coated In decaying blood, was plastered against her face by the tightly wrapped plastic. 

It took me a few moments to notice that now I was the one screaming.  I backed away, shocked by the body that had been rotting within the walls of the home I had been so proud of.  Then, the lights went out, submerging me into a pit of darkness.  The only thing I could see was the demonic beast that I had encountered earlier, somehow visible in the eternal darkness.  “The Scary Thing.”

I backed away as it moved toward me, a menacing combination of amusement and hatred staining its almost-human face.  I felt my heel slip out from under me on the spilled laundry detergent.  I fell, hitting the back of my head on the washer. 

************* 20 Minutes Later *************

I regained consciousness outside the house, where I found myself on a stretcher being pushed down the driveway.  Flashing red and blue lights reflected off the white exterior of the home, illuminating it in a daunting fashion.  It reminded me of the day I was given the keys, and I once again found the house to appear daunting and secretive.  I knew that what I had just uncovered was only a scratch on the surface of the hellish secrets contained in that home.

A sobbing and exasperated Rachel was explaining what had happened to a shocked-looking officer as more patrol cars raced down the street.  He looked to be about my age, old enough to have some solid experience under his belt.  But the look on his face showed that no amount of training and experience could have prepared him for this.

Despite the chaos, I felt at ease.  Somehow I knew that it was over, for that little girl at least.  She’d asked for help, begged for it, and I thought that maybe I had given her the help she needed.  The help she deserved.

The next few nights were a nightmare of a different sort.  I repeatedly gave careful statements to the police, trying to describe how I came to find a body in the walls of my house In the middle of the night without raising suspicion or sounding crazy. 

They had searched my house for more bodies, thankfully there were none.  What they did find, though, was a large pentagram along with other demonic symbols painted underneath the flooring.  

The General Contractor of the house had been brought in for questioning, who quickly admitted that because I had picked cheaper finishing for the room, he had hired some guy off the classifieds and paid him under the table.  DNA evidence found on the body matched multiple crimes across the country, and the Contractor was able to successfully ID the same man in a photo lineup.  

The going theory is that this man performed some sort of satanic sacrifice in the night when nobody else was around.  He then covered it up with the flooring and by hiding the body in the wall.  The little girl had been kidnapped from her home in a different state 6 months prior, which meant he kept her for several months before killing her.

The worst part is, they have only a photo of this man, no name or solid information to be found.  Nobody knows exactly who he is, why he did what he did, or where he is now.

He’s still out there, and I know without a doubt, that he’ll kill again.

Credit: R. M. Staniforth

Copyright Statement: Unless explicitly stated, all stories published on Creepypasta.com are the property of (and under copyright to) their respective authors, and may not be narrated or performed under any circumstance.

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Newsflash: Your weekly horoscope has arrived. Tuesday’s full moon represents an energetic high, so get out and expand your mind, be social, talk to people from different backgrounds or tune into their work from afar. The emphasis is on learning and understanding multiple perspectives, while an element of confusion will reign for anyone clinging to dogma. It’s okay not to know; make space to allow understanding. 

Rule of thumb for your weekly horoscope this week, if you don’t know, ask clarifying questions

Read on to discover what’s in store for your sign during the week of June 12 through June 18, 2022.

Aries 

Tuesday’s full moon shines its light on all things travel, study, and generally expanding your worldview. You got the assignment right if it’s foreign to your known universe. If not, how can you stretch out of your comfort zone this week? Talk to people from different backgrounds, or listen to their social commentary to pick up on a new angle you wouldn’t usually be exposed to. It will make sense of the world, and you’ll be more cosmopolitan as a by-product. This is a week of easy flow that supports your personality and direction. What will you share with this world this week? 

Taurus

This promises to be a steamy and intoxicating week as the full moon ripens in your zone of sex and mystery. Note what and who shows up on your radar Taurus, and where the compass of your desire is clearly pointing. It’s not always the obvious or even sensible, even if it is the truth. Social psychologist Brene Brown’s most recent work, Atlas of the heart, may help navigate the chambers and intricacies this week lays bare. Be sure to balance your forays into all things love and collaboration by securing your own patch of grass, bank account, and things that belong to you and only you, so you’re stable enough to brave the mystery of others. 

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Newsflash: Your weekly horoscope has arrived. Tuesday's

Deadline

While at the Cannes Film Festival last month I got the chance to sit down on the beach and talk with the multi-talented Lee Jung-jae, the SAG Award-winning and heavily Emmy-buzzed star of Netflix’s international phenomenon Squid Game. He was at the world’s most famous film festival though to premiere his first directorial effort for a feature film, Hunt. It debuted in the Midnight section and got good notices both for his starring turn, but also his skill behind the lens as writer and director.

He joins me on this special edition of Behind the Lens from Cannes where we talk about the challenges of taking on multiple roles in the making of the film, which also boasts plenty of action, as well as all the opportunities the success of Squid Game has opened up for him on a global basis — even for a man who is a superstar in South Korea and a 30-year veteran of the business.

To watch our conversation, click on the video above.

Join me every Monday and Friday during Emmy season for a new episode of Behind the Lens.

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Deadline While at the Cannes Film Festival last

Chinese-Canadian superstar Kris Wu is to be sentenced for rape after a secret trial in Beijing on Friday, Hong Kong media reports. He risks spending between three and ten years in jail.

Wu was arrested and formally charged in August last year after allegations were made in late July by Du Meizhu, 18, a beauty industry influencer. The woman used social media to accuse the musician and actor of date-raping her while she was 17 and a time when she was drunk. Du later also accused him of doing the same to other young women, including two minors.

Wu denied the charges at the time and police initially appeared to side with Wu. But two weeks later the Chaoyang District People’s Procurator in Beijing issued an official statement saying that it had approved Wu’s arrest “after investigation in accordance with the law.”

Reports are beginning to emerge of a trial at the Beijing Chaoyang District People’s Court that was not open to the public, apparently in order to protect the victim’s privacy. The charges included rape and “group licentiousness.”

While the Hong Kong media reports have so far not spelled out the details of the verdict, or even if there was a formal verdict, there can be little doubt about the outcome. Chinese courts have a 99.9% conviction rate. Sentencing will be announced at a later date, the court said.

In China, the crime of rape normally incurs a sentence of between three and ten years in prison. In particularly egregious cases, as well as instances of statutory rape, the sentence can run to life imprisonment or even the death penalty. China’s age of consent is 14.

Group licentiousness, defined as sex involving three or more participants over the age of 16, carries a jail sentence of up to five years.

At the time that the formal charges were made, it was reported that the court could also decide to deport Wu.

Wu was born in China but has Canadian nationality and had been one of China’s biggest entertainment stars. He rose to fame as part of the Chinese-language offshoot of Korean boyband EXO, before focusing on his career in China. The rapper became a TV fixture as a judge and mentor on shows including “The Rap of China.” In 2018 he signed an exclusive distribution deal with Universal Music.

Previously represented by UTA and CAA, Wu has appeared in Hollywood films including “XXX: Return of Xander Cage” and “Valerian and the City of a Thousand Planets,” as well as Chinese films such as Guan Hu’s “Mr. Six” and 2016 fantasy “L.O.R.D. Legend of Ravaging Dynasties” and its 2020 sequel.

Official media and organizations last year portrayed Wu’s arrest as a major victory and example of China’s strong rule of law. It was also a further opportunity, in an already far reaching drive, to call for a clean-up of toxic, money- and celebrity-worshipping culture.

After confirmation of his arrest last year, Wu was swiftly canceled by streaming platforms, broadcasters and by the local and international brands that he endorsed. In the cases of other celebrities who have fallen foul of the law, such as that of actress Zhao Wei last year, official cancelation can involve acting bans, restricting internet searches and the removal of their name from previously released works.

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Chinese-Canadian superstar Kris Wu is to be

In my previous article, Getting Into The Industry: Industry or Film School? I wrote about the advantages and disadvantages of entering the industry or going to film school. In doing so I skimmed past a crucial element of getting into the industry; how the hell you get your first step in!?

From the outside the film & TV industry can seem like an impenetrable fortress with invisible gatekeepers. I was raised in a small market town called Driffield in East Yorkshire, half way between York and Hull. Growing up in the middle of nowhere I looked at the industry as something both physically and mentally so far away that, on the surface, it seemed like I wasn’t made for it. But my experience has been the film & TV industry needs everyone from all walks of life.

Seriously!

Look at the stories exposed to the world recently; It’s a Sin, Coda, The Harder They Fall, Gods Own Country, Belfast, After Love and shorts like The Long Goodbye. The industry, whether they are aware or not, need fresh, diverse filmmaking voices on their slates.

So, if you’re fresh out of high school, film school, university or you are seeking to pursue that dream of making your way into the film & TV industry where do you start? What is that crucial first step?

1) Find Your Sector

It’s tempting to put this section as find yourself, because deciding on which sector of the industry you’d like to be part of is essentially about knowing where your passions and interests lay. Are you interested in piecing sound and image together, do you have an acute ear for good sound, do you love light and framing images, organising shoots, promoting talent and content, drawing special effects? What is it you have a keen interest in?

Once you know what you like doing it’s about realising how this can be turned into a career and whether your sector is production, camera, editing, sound recording, sound design, offline editing, VFX, catering, art department etc. Take time to make this decision and do your research on these sectors because you really want to do something you love otherwise it becomes hard work.

I realise this feels a long way from making a film but really you need to experience the way a film works from inside the industry. Professional filmmaking is a long way from you making your movies at home and you need to learn how the process of each part of the industry works and meet the people who will help you take your next step along the way. So find your sector, once you do you need to find a job in that world…

2) Research, Research, Research

It’s so crucial to take the time to look up this sector to discover the different roles within it, what they do and where it can take you.

Then, you need to look at what companies are in your reach. You aren’t going to do very well applying to a job in LA when you are based in Aberdeen. You need to consider what places are around you, or where you’re willing to move in order to work for these companies. It’s not just London as well, Glasgow, Edinburgh, Leeds, Sheffield, Manchester, Birmingham, Cardiff and Bristol all have small but buzzing creative industries like the BBC, Channel 4, ITV and indie production companies looking for entry level positions, check out your local film hub news on Twitter, Linked In or directly on their websites.

It’s a simple search in Google or even better, look at the films and TV series you love and check the credits for the main people involved then look them up, chances are you’ll find the companies they’ve worked for and how they got to where they are. Take inspiration from them in your research and look at similar roles to the ones they started from.

3) Put Yourself Out There!

Once you’ve found the sector of the industry, the company you want to work for and the job you want to begin from then don’t be afraid to let the company know that. There will be many managers who are thrilled to get notified you really want to work for them. As long as it’s realistic and not a CEO position for your first role then give them an email and let them know of your interest.

If there are no current roles going at that time start preparing for a role to come up by getting work experience, making films that might be similar to the work this company make, making a showreel or compiling documentation that would be part of that role/industry sector. It’s in your favour to do this because when that job comes up there might be 500 people applying for it, without something to make you shine that employer might pass you by.

One sneaky piece of advice, if you contact the production company directly take a chance at trying to guess their emails, you can usually find the info@ email on the website then try their name at the start and some variations to get through to them direct. That’s how I landed my first job at a production company…

4) Be Ready To Fail

Failure is the most common norm in this industry. It’s nothing to be ashamed of, if anything you should embrace failure. But you want to compete against it for every position you apply for. Ask yourself, how do I beat failure this time? Just imagine you’re bottom of the premiership and you’re attempting to top the table by the end of the season by playing each application one by one. How do you improve your tactics? How can you best prepare for the next one? Have you got an ace in the sleeve you can pull out for this one? No? You failed? No problem, beat the next one.

Failure is important, it grounds us and forces us to face reality. No one is perfect, failure effects everyone, and getting back up and fighting harder is the most important part of it. You’re allowed to be tired, take an occasional day off, but get back to it and keep pushing for that work. It might take a few weeks, a few months, even a few years. So long as you keep getting up and pushing hard, you will be the biggest winner of all, because you will have the respect of everyone around you once you get to where you want to be!

Now crack on, pick yourself up and start your journey into taking your first step into your dream job! You owe it to yourself…

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In my previous article, Getting Into The

Hundreds of Russian Wager mercenaries are thought to have been killed after Ukrainian artillery blew up an ammo dump in the Donbas, leaving just one survivor.

Serhiy Haidai, governor of Luhansk province, said today that Ukrainian forces had destroyed the base – located in a sports stadium in the town of Kadiivka – in a strike that took place Thursday.

Unconfirmed reports suggested up to 300 mercenaries had been based in the complex – which was also described as a ammo dump – with Haidai adding that: ‘According to our data, only one survived.’

If confirmed, it would mark one of the single-largest losses of military life since the Moskva was sunk – though comes against the backdrop of up to 200 Ukrainian soldiers dying per day in Donbas, according to President Zelensky‘s adviser.

Meanwhile, a French TV crew that got access to the Russian-occupied city of Mariupol visited one of the cemeteries where civilians are being buried and claimed to have discovered more than 3,000 freshly-dug graves there. 

Up to 300 Wagner mercenaries may have been killed in a Ukrainian strike on a base an ammo dump in Luhansk (pictured) that happened on Thursday

Regional governor Serhiy Haidai said just one solider survived the barrage, while the rest were buried under rubble of the former sports stadium

Regional governor Serhiy Haidai said just one solider survived the barrage, while the rest were buried under rubble of the former sports stadium

Alexandra Dalsbaek, a producer for various French TV channels, said it was impossible to count the full number of new graves in the cemetery – but said the side she filmed on ran into the thousands.

It came as the UK warned the city – which is only just starting to restore water supplies after they were cut off for months under Russian siege – is at risk of a cholera outbreak after sporadic cases were reported last month.

Defence intelligence sources told the MoD: ‘Ukraine suffered a major cholera outbreak in 1995, and has experienced minor outbreaks since, especially around the Azov Sea coast – which includes Mariupol.

‘Medical services in Mariupol are likely already near collapse. A major cholera outbreak will exacerbate this further.’

Conditions in the Donbas – where Mariupol is located – are rapidly deteriorating as fierce street-to-street fighting and heavy artillery barrages reduce the region to something resembling the battlefields of World War One.

Mykhaylo Podolyak, a senior aide to President Zelensky, said up to 200 Ukrainian soldiers are now dying every day – equivalent to an entire battalion being wiped out every week, with even more than that wounded.

Kyiv says Russia is suffering around the same number of deaths, though the true figure is unclear.

There are thought to be thousands of Wagner mercenaries in Ukraine, operating at arms length from the Kremlin though ultimately thought to be at the beck and call of President Putin.

Fresh graves are seen at a cemetery in the city of Mariupol on June 2, 2022

Fresh graves are seen at a cemetery in the city of Mariupol on June 2, 2022

Veterans of the first Ukraine war, as well as battlefields in Syria, Libya, South America and Africa, they are generally viewed as elite soldiers who are particularly adept at urban combat of the kind Putin’s army is engaged in.

The heaviest fighting is currently taking place in the city of Severodonetsk, the last remaining Ukrainian hold-out on the east bank of the Donets River which cuts through the region.

Russia currently has the upper hand, but Ukraine continues to hold defensive positions in the industrial zone that separates it from its sister city of Lysychansk – located across the river on high ground to the west.

Taking both cities would give Putin control over the whole of Luhansk. Combined with the nearby cities of Slovyansk and Kramatorsk, it would allow him to claim control over the whole of Donbas.

The Russia despot now claims that is the sole goal of his war, having failed in his early attempt to seize Kyiv and other large cities.

Meanwhile Ukraine said Friday it had launched new air strikes on Russian positions in the captured southern region of Kherson.

A Ukrainian soldier crouches on a position during heavy battles in the front line in Severodonetsk, the Luhansk region, Ukraine, Wednesday, June 8, 2022

A Ukrainian soldier crouches on a position during heavy battles in the front line in Severodonetsk, the Luhansk region, Ukraine, Wednesday, June 8, 2022

A Ukrainian soldier stands in a position during heavy fighting on the front line in Severodonetsk

A Ukrainian soldier stands in a position during heavy fighting on the front line in Severodonetsk

‘Our aircraft carried out a series of strikes on enemy bases, places of accumulation of equipment and personnel, and field depots around five different settlements in the Kherson region,’ Ukraine’s defence ministry said.

Moscow’s authorities in occupied Kherson have floated holding a referendum on integrating with Russia, mirroring a controversial vote in Crimea in 2014, and have announced the Russian ruble would now be used in the region.

Meanwhile Ukraine’s deputy head of military intelligence Vadym Skibitsky warned today that the military is running low on munitions and called on Western allies to deliver more.

‘Everything now depends on what [the West] gives us… Ukraine has one artillery piece to 10 to 15 Russian artillery pieces – we have almost used up all of our ammunition and are now using 155-calibre Nato shells,’ he told The Guardian.

Ukraine is expected to provide a list of weapons and defensive equipment it requires at a meeting with NATO in Brussles on June 15, following US President Joe Biden’s promise of advanced rocket systems and additional munitions last week.

Belarus also raised alarm bells this week when President Alexander Lukashenko and his advisers said the country’s military presence along the Ukrainian border would be reinforced and announced a series of new ‘military mobilisation exercises’ – moves eerily reminiscent of the build-up of Putin’s troops in western Russia in the weeks prior to the invasion on February 24.

US think-tank the Atlantic Council warned Belarus’ military scale-up represented an transition from ‘peacetime to wartime’ and boosted speculation over a ‘renewed crossborder offensive’.

If Belarusian forces were to join the conflict and invade from the north, Ukraine’s army would be forced to regroup and deploy across two fronts, stretching its defences dangerously thin.

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Hundreds of Russian Wager mercenaries are thought




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Image Credit: Willy Sanjuan/Invision/AP/Shutterstock

Priyanka Chopra and Nick Jonas have definitely been through a lot with the premature birth of their daughter, Malti Marie Chopra Jones, but those struggles have brought them closer in love.

“Despite the highs and lows [Priyanka] and Nick have gone through these past few months with their daughter being born premature, they feel indescribably blessed that their baby girl is home safe and sound,” a source EXCLUSIVELY revealed to HollywoodLife. “Priyanka has fallen even more in love with Nick after seeing how sweet and gentle he is with their baby. He is everything in a father that she sees in her own dad which is so heartwarming.”

Moreover, another insider let us know that although Nick has been “back to work” for his Las Vegas shows with his brothers, he has been “on dad duty 100 percent of the time.”

“[He’s been] checking in with Priyanka to make sure that their baby girl is doing okay, facetiming with her, etc,” they shared. “He loves being a father more than anything and this has really created a bonding experience not only for him and Priyanka, but also for him and his brothers.”

The insider continued, “Now that they are all fathers, nick feels like he is part of the Jo Bros dad’s club. He gets advice from them, and Priyanka thinks that it is super cute that he uses them as his support system. They are new to this but are handling the situation best they know how. Because their baby came out a fighter it has made her and them that much stronger. Their bond is unbreakable.”

Priyanka Chopra, Nick Jonas
Priyanka Chopra, Nick Jonas (Willy Sanjuan/Invision/AP/Shutterstock).

The couple revealed that baby Malti remained at the NICU for 100 days to receive treatment upon her premature birth, but they were finally able to bring her home before Mother’s Day. “On this Mother’s Day we can’t help but reflect on these last few months and the rollercoaster we’ve been on, which we now know, so many people have also experienced. After 100 plus days in the NICU, our little girl is finally home,” Priyanka said, sharing the first photo of their little girl on May 8. In the image, she snuggled her newborn close, but chose to cover her face for the camera.

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View gallery Image Credit: Willy Sanjuan/Invision/AP/Shutterstock Priyanka Chopra and Nick Jonas have

Why, then, do companies keep adding functions that are handy for a tiny number of people and ignored by the rest? And is there a better way to design products?

Cliff Kuang, a designer in the tech industry and an author of a book about the history of product design, singled out three culprits behind ever-growing features. First, companies add options because it helps them market their products as new and exciting. Second, products with many millions of users must appeal to people with widely different needs. And — this one stings — we are infatuated with options that seem great but that we can’t or won’t use.

Kuang described this third factor as the “the inability of users to distinguish between ‘Hey, that looks good’ and ‘Hey, I need that.’”

If it makes you feel better, Kuang said he’s guilty of this, too. He was wowed by a feature in his Tesla to automate parallel parking. “The first time I used it, it was cool,” he said. “And I never used it again.”

Technologists often grumble that they’re in a no-win situation in product design. Devoted fans demand more and more options that often make no sense for normals. (This phenomenon is often derided as “bloatware,” as in bloated software.) It is one reason technology often feels as if it’s made for the 1 percent of digital die-hards and not the rest of us.

But if companies try to pare back little-used options or change anything people have grown accustomed to, some users will hate it. Everyone has an opinion. Steven Sinofsky, a former Microsoft executive, used to joke that revising widely used software like Windows and Microsoft Office was like ordering pizza for a billion people.

In April, the technology writer Clive Thompson made a provocative suggestion to fight the temptation to stuff more features into existing technology: Just say no.

Thompson, who is a contributing writer for The New York Times Magazine, said that companies should decide in advance the set of features they want to work toward, and stop when they get there.

“Feature creep is a real thing and wrecks software every year,” he told me, citing Instagram as a product that he believes grows worse the more options it adds.

Products can’t stay frozen in the past, of course. And some features, like those to automatically notify emergency services after car crashes, could be worthwhile even if they’re infrequently used. It’s also unpredictable which add-ons might turn out to be useful for the masses.

Kuang said the best technology products change little by little to nudge users toward a future the creators have imagined. He said that Airbnb did that by evolving its website and app toward a significant recent change that prompts people to explore different types of homes without having a destination or travel dates in mind.

To get out of the bloatware trap, Kuang said, “you work backward from the future that you’re trying to create.”


Tip of the Week

Whether all the features are useful or not, you soon will be using updated software for your phone. Brian X. Chen, the consumer technology columnist for The New York Times, tells us how to get ready for this change.

In this week’s column, I went over changes coming this fall to smartphones in the next operating system updates from Apple and Google.

How should you prepare? First, I advise against installing any early test version, or beta, of the software that’s available right now. Those unfinished versions of the operating systems are still being checked for flaws.

But here’s how you can get your phone ready for new operating systems when they’re finished:

  • Back up your phone data to another device, like your computer, or to a cloud storage service if you subscribe to one. That will prevent disaster in the unlikely event that something goes wrong when you update your phone software.

  • Turn off auto updates. In your phone settings, there is an option to automatically install software updates after bedtime. I advise having this be disabled. When the operating system arrives in the fall, take a wait-and-see approach to assess what others are saying online about any major bugs that might have cropped up. New products are usually imperfect on the first day. Manually install the new operating system when you are confident it won’t muck up your phone.

  • Take the opportunity to do some digital spring cleaning. Delete apps you no longer use and files you don’t need anymore. Occasionally, new operating systems take up more space than their predecessors, so it’s a good idea to do some purging ahead of time to ensure you get a fresh start.

  • A contested plan to reinvigorate U.S. chip-making: An unlikely group of billionaires, including a longtime Democratic donor and a Trump supporter, want $1 billion from Congress for a nonprofit investment fund to expand computer chip manufacturing in the United States. My colleague Ephrat Livni wrote that the group’s unusual proposal is divisive in Washington.

  • His TikTok posts claimed he was a juror in the recent trial of Johnny Depp and Amber Heard. He wasn’t, CNN explains, and it was another example of the often misogynistic online mania over the case.

  • Apps for kids are doing WHAT? A Washington Post columnist wrote that more than two-thirds of the top 1,000 apps for children are sending personal information to the advertising industry. (A subscription may be required.)

Meet a goose named Duck-Duck and the man who became the goose’s adopted parent.


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Why, then, do companies keep adding functions

“Bridgerton” is most famous for the scenes where the cast gets undressed, but that doesn’t mean time and attention isn’t paid to the period clothing of the Shondaland Regency love story.

For Season 2 of the smash-hit Netflix series, Sophie Canale was promoted to head costume designer of the series.

“I was really fortunate to be part of the design team on Season 1, as an assistant costume designer,” Canale told Variety. “I wanted to develop what Ellen had created and really look at the characters. We had this foundation from them, and I really wanted to push the individualism of each person and looking at how each of their stories were being told in Season 2.”

Canale spoke to Variety senior artisans editor Jazz Tangcay for Variety Artisans presented by HBO. During the interview, Canale broke down some of the most iconic looks of the season and the process behind designing signature looks for each family of the ton.

For Kate Sharma (Simone Ashley), Canale gave her dark colors for the first episodes, before slowly putting her in lighter colors as she falls in love. For her bridesmaid’s dress during her sister’s ill-fated wedding, Canale drew inspiration from Indian styles, using fabrics from the country for the embellishments and fashioning the seam in a manner similar to a sari.

One of the most memorable scenes of Season 2 of features male lead Anthony (Jonathan Bailey) trip and fall into a lake, emerging with a sheer, almost see-through white shirt. According to Canale, the white shirt Bailey wore in the scene is different from his usual outfit, and was specifically picked out to be as sheer as possible.

“We actually had a fitting with Johnny and we were spraying him with water, and he was like ‘No, just give it to me,’ and we just absolutely soaked him in the fitting room,” Canale said. “Then I recorded it and sent it to Chris [Van Dusen] to say ‘This is how sheer we’re going to go.’ So yeah, that was fun.”

“Bridgerton” Season 2 is currently streaming on Netflix. Watch the full Artisans video above.

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The lights went out for the last time on Ramsay Street yesterday, as the very final scene of Australian soap Neighbours was put in the can.

Former stars of the show, including Kylie Minogue, Jason Donovan and Guy Pearce had all returned to join in the final scenes of the show which had made them household names in Australia and beyond, but was calling it a ‘G’day’ after 37 years.

Stefan Dennis, the only actor in Neighbours to be with the show from the beginning (bar a few breaks along the way), told Australian breakfast programme Studio 10 the experience of filming the last scenes had been “melancholy.”

He said: “I sort of closed the studio door behind me on my very last scene, my very last dialogue scene and… I suddenly surprised myself by getting incredibly emotional.

“I just kept to myself and went to my dressing room… so I’m keeping a very low profile today. I think I’ll just be an absolute mess if I sort of hang around too long.”

As well as Minogue, Donovan and Pearce, the show launched the careers of several internationally successful Australian actors, including Margot Robbie, Liam Hemsworth and Russell Crowe.

The show’s executive producer Jason Herbison told the BBC about signing off the show with a bang, not a whimper, revealing: “I was really keen to have an ending that would be fulfilling, joyous and would be very Neighbours – it would feel satisfying in terms of where the characters and the storylines are.”

The decision to finish making the soap came after Channel 5, the broadcaster airing the show in the UK, confirmed it would no longer be acquiring the show from Fremantle Media in Australia, and this left too large a gap in the show’s funding. The scenes filmed this week will be broadcast on August 1.

 

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The lights went out for the last

A talented Pokémon fan and artist has created artwork of all Starters up to Generation 5, giving the characters a crochet animation makeover.

A skilled artist and Pokémon fan has been working to give all the Starter characters a digital crochet makeover, and the adorable results show the design style would be perfect for future Pokémon games. Multiple franchises have turned real-world crafts into game designs over the years, including games like the Paper Mario series, the knitted world of Little Big Planet, and Yoshi’s Crafted World.

One doesn’t have to go very far on the internet to find Pokémon-inspired fan art. A quick search on any content creation site like YouTube, DeviantArt, or Reddit will reveal hundreds if not thousands of pieces of fan art dedicated to the decades-old franchise. Pictures, sculptures, animations, and t-shirts are just a few of the creations made by such passionate fans. Even the materials vary, from clay to LEGO, pancakes, and even yarn. There have been many Pokémon fans who’ve turned the series’ characters into crochet creatures, with one even going so far as to recreate 500 crochet Pokémon.

SCREENRANT VIDEO OF THE DAY

Related: Pokémon Red & Blue Get Stunning Remake Featuring Original Manga Art

Redditor Kooale325 has taken crochet Pokémon one step further, turning Starters into digital animated art that wouldn’t look out of place in a future Pokémon game. Kooale325’s latest creation is the Generation 5 Tepig, but they have previously covered other Starters including Bulbasaur. The attention to detail and proportion is phenomenal, but what elevates these crocheted creations is the incredibly lifelike animation. Everything from the natural shadows to the reflections in their button eyes gives these crochet puppets a hypnotic sense of realism. As of now, Koolale325 has made the Starter sets of all but three of Pokémon’s named regions, with Kalos, Alola, and Galar coming soon.


The smooth, realistic animations show that a crochet art style could be an interesting new direction for future titles in the Pokémon series. As mentioned, Nintendo already has first-party titles with a yarn visual aesthetic: 2010’s Kirby’s Epic Yarn for Nintendo Wii, which received a 3DS port in 2018 entitled Kirby’s Extra Epic Yarn, and 2015’s Yoshi’s Wooly World for the Nintendo Wii U. Outside of Nintendo, the gaming industry has also tailored a few experiences as well, with Electronic Art’s Unravel and, of course, Sony’s Little Big Planet series. Since the yarn aesthetic seems to have already proven its novelty, it would not be so farfetched to one day see an in-game crocheted Farfetch’d.


While it’s fun to imagine new directions for a series like Pokémon, such a decision would ultimately be up to Nintendo. One thing is certain, fans will continue to show their love for the franchise in every way they can. Much like the Pokémon games that inspire art, the work will always be enjoyed and appreciated by members of the community. And if one style happens to inspire a new entry in the Pokémon series, all the better.

Next: Pokémon Art Turns Lapras And More Into Lilo & Stitch Experiments

Source: Kooale325/Reddit (1, 2)


Kojima and Margaret Quailey

Kojima Horror Game Reportedly Leaked, Could Be Revealed This Week


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American Rust has found a new home at Freevee.

The Showtime series, starring Maura Tierney and Jeff Daniels, was previously canceled after just one season. However, Freevee, the ad-supported streaming service from Amazon, decided to revive the show and add it to their slate of original programming.

Dan Futterman created the series, which is based on a 2009 novel of the same name by Philipp Meyer. The show takes place in the Rust Belt in Pennsylvania and revolves around Chief of Police Del Harris (Daniels) getting pulled into a murder investigation where a past lover (Tierney) is the prime suspect.

Tierney and Daniels will likely return for Season 2, as well as Futterman as executive producer and writer.

“American Rust is exactly the type of gritty and engaging storytelling Amazon Freevee audiences love, and we could not be more excited to bring this prestige series to our customers, free of charge,” Lauren Anderson and Ryan Pirozzi, the co-heads of content and programming for Freevee, said in a statement. “We can’t wait to dive in with Boat Rocker and Dan Futterman to continue the story that intrigued audiences during the first season and to see the evolution of characters so expertly portrayed by Jeff and Maura in this next chapter.”

 

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American Rust has found a new home

The Boys has finally returned as part of the 2022 TV premiere schedule, dropping three episodes for all fans to enjoy. And boy, did it come back with a vengeance. We all love this show for its dastardly (and sometimes heroic) supes, as well as its crazy moments and intense storylines. As it happens, The Boys Season 3 decided that in order for us to get properly situated back into this world was to give us twice the blood, and three times the gross-ness. 

And I am here for it. 

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The Boys has finally returned as part

Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official awards predictions for the upcoming Oscars and Emmys ceremonies, curated by Variety senior awards editor Clayton Davis; Awards Circuit Column, a weekly analysis dissecting the trends and contenders by television editor Michael Schneider (for Emmys) and Davis (for Oscars); Awards Circuit Podcast, a weekly interview series with talent and an expert roundtable discussion; and Awards Circuit Video analyzes various categories and contenders by Variety's leading awards pundits. Variety's unmatched coverage gives its readership unbeatable exposure in print and online, as well as provide inside reports on all the contenders in this year's awards season races.

To see all the latest predictions, of all the categories, in one place, visit THE EMMYS COLLECTIVE
Visit each category, per the individual awards show from THE EMMYS HUB
To see old predictions and commentary, click the EMMY PREDICTIONS ARCHIVES
For film awards predictions go toTHE OSCARS HUB

UPDATED: June 10, 2022

2022 EMMYS PREDICTIONS:
OUTSTANDING REALITY COMPETITION PROGRAM

AWARDS PREDICTION COMMENTARY: 

Four wins in a row for VH1’s drag competition program, with RuPaul making history last year as the most awarded person of color at the Emmys. A frontrunner once again for its 14th season, “RuPaul’s Drag Race” is something you can expect to see, especially with those prominent personalities on the stage once again. 

“The Circle,” hosted by the wonderous Michelle Buteau, is as popular as ever, with the fourth season bringing the first LGBTQ winner with Frank Grimsley and the fan-favorite “Bru” Brubaker. Netflix may be able to squeak this one out. 

Fifteen Emmy wins later, the CBS competition show “The Amazing Race,” celebrated over two decades of memorable TV continues to be an Emmy darling, and there’s no indication it will stop anytime soon. 

Nineteen seasons later, Bravo’s culinary contest has impressive numbers, with Padma Lakshmi continuing to gain industry respect. Look for the love for “Top Chef” to continue as it ventures into its 20th season. 

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James Clark/Amazon Prime Video

Thirteen women competing to be dancers for music sensation Lizzo’s world tour brought the fierce confidence we like to see on television but are never afforded the opportunity. So Amazon Prime has mounted a loud campaign to get “Lizzo’s Watch Out for the Big Grrrls” recognized, and they might succeed. 

It’s been six years since the TV Academy recognized the once-dominating singing competition “American Idol.” In its fifth-year revival on ABC, can the charms of judges Lionel Richie, Katy Perry and Luke Bryan, with seasoned host Ryan Seacrest, bring it back to the Emmys? 

While singing competition shows have struggled with ratings and TV Academy voters, NBC’s 21st season of “The Voice” was still as big as any other program with coaches Kelly Clarkson (winner with contestant Girl Named Tom), John Legend, Ariana Grande and Blake Shelton. After missing out in 2020, it returned with a nom last year and could pop up again. 

The voguing competition series “Legendary” on HBO Max missed out in this category for its inaugural season but did pick up a pair of creative arts noms. As more discover it, there’s a chance to show up unexpectedly. 

Once one of the biggest shows on television after premiering in 2019, the charm for “The Masked Singer” subsided significantly this year when the producers decided to cast none other than controversial politician Rudy Guiliani, which produced one of the lowest-rated episodes of the series’ history. The TV Academy may pass on the Fox program altogether. 

The bake-off competition series “Nailed It” is popular on Netflix, with host Nicole Byer bringing the laughs and charm to each episode. It’s been nominated in this race before, and this looks like an easy pickup for a nom.

This list below is not complete and more shows will be added during the phase one voting period. 

Read more: Variety’s Awards Circuit Emmys Predictions Hub

The nomination round of voting runs from June 16 to June 27. The official nominations for the 74th Emmy Awards will be announced Tuesday, July 12.

The programs and potential nominees listed below are incomplete and subject to change. The complete television awards season calendar is linked here.

2021 category winner: “RuPaul’s Drag Race” (VH1)


ALL AWARDS CONTENDERS AND RANKINGS:

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The Circle Season 4. Rachel Evans as Rachel in The Circle Season 4. Cr. Tom Dymond/Netflix © 2022.
Tom Dymond/Netflix

AND THE PREDICTED NOMINEES ARE:
RANK SERIES NETWORK
1 “RuPaul’s Drag Race” VH1
2 “Nailed It!” Netflix
3 “Top Chef” Bravo
4 “Lizzo’s Watch Out for the Big Grrrls” Amazon Prime Video
5 “The Amazing Race” CBS
NEXT IN LINE
6 “The Voice” NBC
7 “The Circle” Netflix
8 “Legendary” HBO/HBO Max
9 “The Masked Singer” Fox
10 “American Idol” ABC
ALSO IN CONTENTION
11 “The Challenge: Spies, Lies & Allies” MTV
12 “Survivor” CBS
13 “Tough as Nails” CBS
14 “Making the Cut” Amazon Prime Video
15 “Queen of the Universe” Paramount+
UNRANKED CONTENDERS
— “America’s Got Talent” NBC
— “American Song Contest” NBC
— “Baking It” NBC
— “Bullsh*t: The Game Show” Netflix
— “Chopped” Food Network
— “Dancing with the Stars” ABC
— “Hell’s Kitchen” Fox
— “Making It” NBC
— “That’s My Jam” NBC
— “The Bachelor” ABC
— “The Bachelorette” ABC
— “The Wall” NBC
— “The Wall” ABC
— “The Weakest Link” NBC

AWARDS CATEGORY HISTORY (Reality Competition Program)

Awards history to be added.


2022 Primetime Emmy Awards Predictions

2022 Creative Arts Emmys Predictions

About the Primetime Emmy Awards (Emmys)

The Primetime Emmy Awards, better known as the Emmys, are given out by the Academy of Television Arts & Sciences (ATAS). Since 1949, the awards have recognized excellence in American primetime television programming. They are divided into three classes – Primetime Emmy Awards, the Primetime Creative Arts Emmy Awards (honors artisan achievements), and the Primetime Engineering Emmy Awards (recognizes significant engineering and technological contributions). The typical eligibility period is between June 1 and May 31 of any given year. The Television Academy comprises over 25,000 members, representing 30 professional peer groups, including performers, directors, producers, art directors and various artisans and executives.

  • The 74th Emmy Awards will take place on Monday, Sept. 12, and air on NBC.

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Julee Cruise, a singer who brought a memorably ethereal voice to the projects of the director David Lynch — most famously “Falling,” whose instrumental version was the theme for Mr. Lynch’s cult-favorite television show, “Twin Peaks” — died on Thursday in Pittsfield, Mass. She was 65.

Her husband, Edward Grinnan, said the cause was suicide. He said she had struggled with depression as well as lupus.

Ms. Cruise was building a career off Broadway in the early 1980s when serendipity struck: She met the composer Angelo Badalamenti when they worked on a show together.

“I was in this country-and-western musical in the East Village,” she told The San Francisco Chronicle in 1990. “I was a chorus girl with a big skirt and a big wig, singing way too loud. Angelo was doing the music for the show, and we became friends.”

A few years later, Mr. Badalamenti was engaged by Mr. Lynch, who was still early in his career, as a vocal coach for Isabella Rossellini in the 1986 Lynch movie “Blue Velvet” and ended up writing the score for that film as well. Mr. Lynch and Mr. Badalamenti had written a song for the film that needed a vocalist.

“Angelo asked me to find someone to sing a song for the soundtrack called ‘Mysteries of Love,’ but he didn’t like any of the singers I recommended,” she told The Chronicle. “He wanted dreamy and romantic. I said, ‘Let me do it.’”

Ms. Cruise had always thought of herself as “a belter,” as she often put it (she had once played Janis Joplin in a musical revue called “Beehive”), but the voice she came up with for “Mysteries of Love” was something else entirely, enigmatic and wispy. It suited that and other Lynch-Badalamenti compositions perfectly. One writer called her style “angel-on-Quaaludes vocals.”

The three were soon collaborating on Ms. Cruise’s first album, “Floating Into the Night,” which featured songs by the two men, including “Mysteries of Love” and “Falling.” They also collaborated on a stage production called “Industrial Symphony No. 1,” performed at the New Music America festival at the Brooklyn Academy of Music in November 1989, with Ms. Cruise performing amid an elaborate set that included an old car.

“Often, Ms. Cruise floated far above the stage, like a prom-gowned, bleached-blond angel,” Jon Pareles wrote in his review in The New York Times. “At one point, her body plummeted to the floor and was packed into the car’s trunk by helmeted workmen; later, she re-emerged to face a video camera and sing ‘Tell your heart it’s me,’ as 10 chorus girls in gold lamé danced next to her image on television screens.”

National exposure came the following April when “Twin Peaks” premiered on ABC, with an instrumental version of “Falling” serving as its theme. Ms. Cruise appeared in the pilot and subsequent episodes as a roadhouse singer.

The show quickly became the talk of television, and in May 1990 it led to an appearance by Ms. Cruise on “Saturday Night Live.” She wasn’t in the original lineup, but the controversial comic Andrew Dice Clay (he called himself “the most vulgar, vicious comic ever to walk the face of the earth”) was the scheduled host, which led to protests from at least one cast member, Nora Dunn, who refused to appear in that episode, and caused the original musical guest, Sinead O’Connor, to drop out at the last minute.

Ms. Cruise was one of two acts summoned to replace her. Mr. Grinnan said in a telephone interview that Ms Cruise, who was still not well known, was working as a waitress at the time and had to skip out on her job. But, he noted, she didn’t call in sick.

“She said that she called in famous,” he said.

Though “Twin Peaks” brought Ms. Cruise wide exposure, Mr. Grinnan said she found a stint touring with the B-52’s in the 1990s to be particularly enjoyable. She replaced Cindy Wilson, an original member, when Ms. Wilson took a break from the band.

“It was probably the happiest performing of her life,” Mr. Grinnan said.

Julee Ann Cruise was born on Dec. 1, 1956, in Creston, Iowa, to Wilma and Dr. John Cruise. Her father was a dentist, and her mother was his office manager.

Ms. Cruise was something of a musical prodigy on the French horn, her husband said, and received a music degree in the instrument from Drake University in Iowa. He said she had applied the delicacy and phrasing of classical French horn to the voice she came up with for the Lynch projects.

But once she graduated, she thought that acting and singing would be more appealing than playing in an orchestra. She went to Minneapolis, a good city for theater, and spent several years performing with the Children’s Theater Company there before moving to New York in about 1983.

After “Twin Peaks,” Ms. Cruise made another album with Mr. Lynch and Mr. Badalamenti, “The Voice of Love” (1993). She also continued acting. Mr. Grinnan said it was her performance in an Off Broadway musical, “Return to the Forbidden Planet,” in 1991 that caught the attention of the B-52’s. Mel Gussow, reviewing that show for The Times, said she stood out.

“Only Julee Cruise invigorates the show with musical personality,” he wrote. “Well remembered for her singing on ‘Twin Peaks,’ she is spunky as well as amusing, although the script unwisely keeps her offstage for most of the first act.”

Ms. Cruise later toured with Bobby McFerrin and worked with electronic musicians like Marcus Schmickler. In 2003 she fulfilled a longtime goal of performing at the Public Theater in New York when she was cast in the musical “Radiant Baby,” about the graffiti artist Keith Haring.

It was a demanding assignment. As The Times wrote, she played “Andy Warhol, Haring’s mother, a demonic nurse and a critic who resembles Susan Sontag.”

Which of the roles was most difficult, a reporter asked?

“The costume changes,” she said. “I’m the oldest person in this cast.”

Ms. Cruise alternated between homes in Manhattan and the Berkshires. In addition to her husband, whom she married in 1988, she is survived by a sister, Kate Coen.

Ms. Cruise reprised her “Twin Peaks” role in “Twin Peaks: Fire Walk With Me,” Mr. Lynch’s 1992 film, and, a quarter-century later, in an episode of Showtime’s reboot of the TV series. In an interview with The Los Angeles Times in 2017, she reflected on her long “Twin Peaks” ride.

“It was so much fun to be part of something that just went ba-boom!” she said. “You didn’t know it was going to do that. What a nice surprise life takes you on.”

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Julee Cruise, a singer who brought a

I’ve said it many times: bonus points always go to a film that is different and takes huge chances narratively. So let me introduce you to Stacey Maltin and Jay DeYonker’s Triple Threat. It’s the story of three best friends’ journey to producing a Broadway musical.

Our story opens with Maggie (Margarita Zhitnikova) and Chloe (Stacey Maltin) previewing their musical, Firefly, hoping it finds an investor. At the pre-party, the two are under a blanket dreaming about their future. Yet, Chloe’s ambition spells certain doom for her relationship with her boyfriend, Liam (Michael Varamogiannis). Chloe and Liam soon make a new friend named Gus (Jay DeYonker), who instantly bonds with them both. However, he helps solidify the couple’s breakup by engaging in a menage a trois, where Liam feels a little left out.

Meanwhile, Firefly star Griffin (Aramie Payton) is pulling out of the production to pursue a national commercial, which Maggie sees as selling out. Luckily, Chloe spot Gus dancing by himself, post-coitus, and he instantly lands the spot as their new lead. Crazy? We’re just getting started.

Triple Threat picks up months later, as Firefly proves a huge hit during its indie run, and feelers start going out hoping to bring the musical to the Great White Way. Gus announces to Chloe and Maggie that he wants to have a child and considers this the perfect time. He just needs an egg and a surrogate. Maggie volunteers to be the surrogate, and the career-driven Chloe offers the egg under the condition that she is not involved with the child unless it’s on her terms. Now, our story is full-on crazy. Did I mention I like bold storytelling?

“…wants to have a child and considers this the perfect time. He just needs an egg and a surrogate…”

What I like about the film is the relationship dynamics at play between the leads. Their friendship is pushed in truly unexpected directions as each goes on their personal journeys. Gus is so focused on being a parent that his performance in the play starts slipping. Chloe is so intent on success that insecurity sets in when faced with the gentle criticism from Broadway investors. Maggie’s partnership with Chloe is tested when Griffin returns, hoping to take back his role from Gus while feeling like a mere incubator for the child.

All the characters of Triple Threat fall along some point of the LGBT spectrum. Gus describes himself as pan-sexual and laments to his ex-boyfriend about his feelings for Chloe. Maggie is in a relationship with lead actress Chiara (Aury Krebs). By bringing this up, representation is put on full display, but attention is never drawn to it. What we have here is a diverse group of friends whose life path sees them hitting on universal themes like putting on a show, having a child, and dealing with the trappings of self-fulfillment and fame.

My only criticism is the acting. The performances felt odd… maybe a little too melodramatic. Well, until I remembered my days hanging out with young, struggling actors. Yeah, the acting reminded me of that. Inside the circle, the interactions felt normal, but looking on the outside, it can feel slightly annoying. DeYonker, Zhitnikova, and Maltin, who all wrote, directed, and produced the, give fantastic performances. All three understood their characters and what was needed to pull them off.

Also, it should be noted that this is a partial musical. I’ll be honest, listening to music in indie films can be cringey at times. Thankfully, the songs here are fantastic. They have something to say and contain good melodies (any prerequisite for a song). While no one breaks into song haphazardly, the singing is done in the context of the play within the film.

For me, the out-of-the-box nature of the story is what intrigued me most about Triple Threat. For anyone looking for a film that’s fun and provocative, this is a must-see.

For screening information, visit the Triple Threat official website.

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I’ve said it many times: bonus points

It looked like the Ottawa Redblacks were going to spoil the banner raising party, but the Bombers backup quarterback saved the day.

The Bombers made a field goal with six seconds left to beat the RedBlacks 19-17 in their season opener at IG Field on Friday.

Bombers starting quarterback Zach Collaros was hit in the head with less than two minutes left while trailing by a single point. Injury spotters removed him from the game, but backup QB Dru Brown completed three consecutive passes to get them in striking range. And Marc Liegghio hit a 25-yard field goal to give the back-to-back champs the victory to start off their quest for the three-peat.

It was the first time the Redblacks lost their season opener since 2014 when they were also beaten by Winnipeg.

The two teams hadn’t played each other in almost three years since July of 2019.

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There wasn’t much to like from the Bombers, except for the final score.

The Bombers offence struggled at times to move the chains, while the secondary was giving up big chunks of real estate. The offence went 2-and-out in a stretch of five of their six possessions in the second and third quarters.

Ottawa had a big edge in possession time and total offence with the Bombers giving up 441 net yards of offence.

After not taking a single snap in the pre-season, Collaros completed 18 of his 26 passes for just 188 yards with one touchdown and no interceptions, while Redblacks quarterback Jeremiah Masoli passed for 380 yards.

Former Bombers receiver Darvin Adams made seven catches for 71 yards in his return to his old stomping grounds.

New Bombers receiver Greg Ellingson had 74 yards receiving with a touchdown in his blue and gold debut.

READ MORE: Winnipeg Blue Bombers confident in Collaros as they chase third consecutive Grey Cup

Replacing the now departed Andrew Harris, the Bombers new starting running back, Brady Oliveira, made his mark in the first quarter. He took a toss from Collaros before sprinting 24 yards down to the RedBlacks three-yard line.

And two plays later Ellingson made a five-yard catch for his first touchdown in the blue and gold, and the Bombers first TD of the season.

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Ottawa answered right back with a 20-yard touchdown catch by Shaquille Johnson on their very next possession to even the score. It was an 11-10 Redblacks lead at halftime.

The Redblacks added a field goal to lead by four, and things were looking bleak for the Bombers after receiver Dalton Schoen fumbled the football.

But the Bombers’ defence took the ball right back as Nick Taylor intercepted Masoli late in the third quarter.

Midway through the fourth quarter, quarterback Dakota Prukop scored on a one-yard quarterback sneak. But they missed the convert and Ottawa soon made a field goal to take a one point lead with three minutes remaining.

But after Collaros was removed from the game, Brown marched the Bombers into field goal distance where Liegghio won the game for Winnipeg.

READ MORE: Blue Bombers cut 11 players including Whop Philyor

Before the start of the game the Bombers revealed their latest championship banner, recognizing their 12th Grey Cup title in franchise history.

The Bombers travel to Ottawa next week for the rematch against the Redblacks on Friday night.


Click to play video: 'DT on the Bombers – June 8'







DT on the Bombers – June 8


DT on the Bombers – June 8

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

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Julianne Hough and Brooks Laich.
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Officially single. Julianne Hough and Brooks Laich have finalized their divorce nearly two years after calling it quits.

Hough, 33, and Laich, 38, finalized their divorce on Friday, June 10, after a judgment was made in the case, per TMZ. Specifics of the agreement have not yet been released.

The ballroom dance pro filed the paperwork to end her marriage in November 2020. Us Weekly confirmed in February 2022 that progress was being made in the legal process, with Hough submitting a Declaration for Uncontested Dissolution. “The parties have entered into a written agreement regarding their property and their marriage or domestic partnership rights, including support, the original of which is being or has been submitted to the court,” read docs obtained by Us.

The former couple tied the knot in July 2017 and announced their spilt nearly three years later. “We have lovingly and carefully taken the time we have needed to arrive at our decision to separate,” they noted in a joint statement in May 2020. “We share an abundance of love and respect for one another and will continue to lead with our hearts from that place. We kindly request your compassion and respect for our privacy moving forward.”

At the time, a source exclusively told Us that the breakup was “a long time coming,” claiming the twosome “argued a lot and just had different viewpoints on important issues.”

Two months later, the Dancing With the Stars alum seemingly opened up about her mindset while coping with her split by sharing a cryptic quote on social media. “When feeling stuck, depressed, anxious, or hopeless, try taking your attention off of yourself and helping someone less fortunate than you. Selfless acts of service ignite life force energy in the giver,” read a passage via her Instagram Story in July 2020.

Though the now-exes briefly sparked reconciliation speculation in the wake of their separation, Laich moved on with Icelandic athlete Katrín Tanja Davíðsdóttir. The Footloose actress, for her part, was spotted with rumored flames Ben Barnes and Charlie Wilson since pulling the plug on her marriage.

In October 2020, the Utah native’s brother, Derek Hough, exclusively told Us how he was trying to be a supportive presence for both Julianne and the retired hockey player.

“For anybody that you love and that you care about, that’s all you want. You just want people around you to be happy and to support them in any way you possibly can and to serve them,” Derek, 36, explained at the time. “And that’s really the key. For me, whenever I’m at my happiest is when I’m helping others or serving others. And sometimes I could just be holding a space for somebody and that’s it.”

The choreographer continued: “I think that’s what we all want, right? We just want all of our family, we want all of our friends and everybody to be happy. And then if we can help that, then we’re happy to do it.”

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Julianne Hough and Brooks Laich. Shutterstock