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How did you celebrate?

We went to the park, had a cake, hung out, and played music. It was a great time.

Were there any artists in particular who inspired you with your new EP, Shaking Hands With Elvis?

This EP has a lot more rock influence. The second single, “Hardcore,” was produced by Ariel [Rechstshaid, who produces Vampire Weekend and HAIM], so I think that his production lends itself to those kinds of sounds. I also really love The Mamas and the Papas, John Prime, Greta Van Fleet, and Cage the Elephant. And really good storytellers, like Brandy Carlisle or Father John Misty, will always influence me until the day I die. I know a lot of artists write incredible songs about love, but I don’t write a lot of love songs—I write songs to describe feelings or moments that maybe don’t have a song yet.

How does your fashion aesthetic compare to your on-stage style?

In my daily life, I wear the baggiest clothes of all time. I have Kiss and Slipknot T-shirts that I’m obsessed with. For my shows, though, I told my best friend and stylist Megan McDearman that I would love to look like a fairy on tour. I stumbled across this dress brand called Malicious Designs that make custom vintage dresses that are fairy-like. They were back ordered for months, but Megan somehow got them to make me two dresses in three days. It was crazy. When I zip into this neon green fairy dress, I really do feel different. It feels like I’ve had three cups of coffee when I put it on and am ready to have a 10-out-of-10 experience. Honestly, I’ll probably start wearing them in my regular life too.

What do you plan to buy with your first big paycheck?

When I first signed my deal, I bought a vintage LG-2 acoustic guitar, which I use on tour. Outside of that, I feel like I have everything I could ever want. Though one day I hope to have a bunch of animals. I would love to have ferrets, frogs, snakes, cats… a whole room just for animals. I love animals that have a little bit of an undeserved bad reputation. Basically, any animals a witch would have, I want.

What’s something that you learned from Jack Antonoff while touring with Bleachers?

In 2017, I went to my first ever big stadium concert. My girlfriend bought us tickets to see Lorde at the Barclays Center in Brooklyn, and Jack actually came on stage and performed a cover of St. Vincent’s “New York.” I cried from start to finish because it was my all-time favorite song, and it felt like that exact moment was made for me. That concert absolutely changed my life.

I knew that I had to tell him what that performance meant to me, all these years later, but I was nervous. It’s scary to talk to people who you admire. When I said to him, “Look, I have to tell you that this happened and is probably why I’m doing what I’m doing now,” he absolutely lit up and was so happy. He was so excited to hear it. I learned from Jack that it doesn’t matter how big you get or how influential you are in the culture, it’s still really important to celebrate moments that impact people. There are so many benchmarks to success, but the ones that really matter is how you reach people.

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How did you celebrate?We went to the

(Clockwise from bottom-left): Grey’s Anatomy (ABC); The Godfather (Paramount); Bridesmaids (Universal Pictures); Schitt’s Creek (Screenshot: Netflix); The Princess Bride (Screenshot: 20th Century)

(Clockwise from bottom-left): Grey’s Anatomy (ABC); The Godfather (Paramount); Bridesmaids (Universal Pictures); Schitt’s Creek (Screenshot: Netflix); The Princess Bride (Screenshot: 20th Century)
Image: Libby McGuire

Since the days of Shakespeare, weddings have played a critical role in all manner of storytelling. Whether they’re setting up conflict or signaling Happily Ever After, the formal bonding of two (or more!) characters in holy matrimony can shift focus towards the conclusion or realign elements to signify a new chapter. Plus, weddings are a great excuse to get all your favorite fictional folks drunk, kissing, and wearing fancy outfits for a dreamy opening or show-stopping finale.

Listed alphabetically by title of the film or show, here are 30 of the most memorable wedding scenes from movies and television. Crucially, this is not a “best of” list—rather a collection of moments we thought fit nicely together.

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(Clockwise from bottom-left): Grey’s Anatomy (ABC); The

Netflix subscription is required to watch on Netflix

 

Great news! “Dirty Daddy: The Bob Saget Tribute” is available to watch on Netflix USA!

 

Date Added: 10th June 2022

Want to keep forever? Try looking for ‘Dirty Daddy: The Bob Saget Tribute’ on Amazon (paid link)

 

Description:

Bob Saget’s friends and family honor the late comedian during a night of laughter and music with Jim Carrey, Chris Rock, Jeff Ross, John Stamos and more.

 

Certificate: TV-MA
For Mature Audiences. May not be suitable for ages 17 and under.

 

Year: 2022

Duration: 1hr 23m

Audio: English – Audio Description, English [Original]

Subtitles: English

– English Audio Description

 

Cast and Crew

Director: Mike Binder

 

Cast: John Stamos, Jeff Ross, Chris Rock, Jim Carrey, John Mayer, Darren Criss, Kelly Rizzo-Saget, Mike Binder, Jackson Browne, Seth Green, Mike Young, Michael Keaton, Candace Cameron Bure, Dave Coulier, Dave Chappelle, Tim Allen, Paul Rodriguez, Byron Allen, Jon Lovitz

 

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Available on Netflix USA!

Netflix subscription is required to watch on Netflix

Where else can you watch ‘Dirty Daddy: The Bob Saget Tribute’ on Netflix?


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In 2020, Greg Daniels brought together a project he had the idea for back in his days at Saturday Night Live. It started with the simple question: What if we could digitize ourselves? Years later, it became the sci-fi comedy drama known as Upload, which Amazon Prime Video has just been renewed for a third season.

Upload’s Season 2 finale, “Download,” is the latest installment of It Starts On the Page, Deadline’s annual series that highlights the scripts that serve as the creative backbones of the buzzy shows that will define the now-underway TV awards season. The scripts in our series are all being submitted for Emmy Awards consideration this year and have been selected by Deadline using criteria that includes critical acclaim, selecting from a wide range of networks and platforms, and a mix of established and lesser-known shows.

Upload takes place in 2033, where humans can “upload” themselves into a virtual afterlife. When 27-year-old computer programmer Nathan (Robbie Amell) passes away due to a crash caused by a malfunction with his self-driving car, his wealthy girlfriend Ingrid (Allegra Edwards) uploads his consciousness to an expensive server called “Lakeview,” where he bonds with his handler Nora (Andy Allo). Season 2 begins with Ingrid supposedly uploading herself, but it turns out she is using a VR bodysuit and is still alive.

The episode, written by Owen Daniels and directed by Jeff Blitz, begins with Nathan and Nora conspiring in the woods. Meanwhile, Ingrid speaks to an AI stylist about having a digital baby with Nathan, even though she is still alive.

Click below to read the full script:

More from this Story Arc

It Starts On The Page

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In 2020, Greg Daniels brought together a

Pharrell Williams has been teasing the existence of a new song for a week. Tonight, it arrived. Teaming with Tyler, the Creator (his longtime friend) and 21 Savage, “Cash In Cash Out.” This is Pharrell’s fourth collab with Tyler, previously working with him on Tyler tracks like 2013’s “IFHY,” “Keep Da O’s” from 2016’s Cherry Bomb and most recently on “Juggernaut” from last year’s Call Me If You Get Lost.

Next week, Pharrell will be putting on his Something in the Water festival in Washington, D.C. Artists slated to perform are Anderson .Paak And The Free Nationals, bLAck pARty, J Balvin, 21 Savage, Clipse, Justin Timberlake, N.O.R.E, Q-Tip, Calvin Harris and SZA. On the local front, Bad Brains: A Tribute by Black Dots, TOB and YungManny will be performing as well. The festival takes place from June 17-19

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Pharrell Williams has been teasing the existence

Antonio Campos’ depiction of documentary filmmakers Jean-Xavier de Lestrade and Sophie Brunet in HBO Max’s “The Staircase” has led to a public dispute over their portrayal in the miniseries adaptation. But now, the real-life main subject of both series – Michael Peterson – is speaking out in an exclusive series of emails to Variety.

Peterson’s wife Kathleen was found dead at the bottom of the staircase of their North Carolina home in 2001. Authorities discovered that Peterson, who identifies as bisexual, was having sexual relationships with men. He was charged with murdering his wife and convicted in 2003. He’s now free, after the charges were reduced to manslaughter in a retrial.

Peterson allowed a camera crew to film him and his family as he awaited trial, which became an extended documentary series that premiered in 2004 (it’s streaming on Netflix). While Peterson isn’t happy with Campos’ HBO series, he’s livid with de Lestrade.

“I have read about Jean de Lestrade’s sense of betrayal by Antonio Campos and HBO Max’s presentation of ‘The Staircase,’ but what has been forgotten or overlooked or simply ignored is his betrayal of me and my family,” he says. “We feel that Jean pimped us out — sold OUR story to Campos for money — what word other than pimped describes what he did?”

De Lestrade produced and directed the docuseries. In addition to a fee, he received a co-executive producer credit on the adaptation starring Colin Firth as Peterson.

“He released his archive to Campos who then created a fictional account of events, most of which trashed me (which I really don’t care about) and my children — which I really do care about,” Peterson says. “There are egregious fabrications and distortions of the truth in the HBO series, well beyond what may be considered ‘artistic’ license.”

One of the revelations of the case is that Peterson knew a second acquaintance, a neighbor in Germany, who also died by falling down a staircase.

De Lestrade suggests that Campos would have made the miniseries without his involvement. He says that when he met with Campos over a decade ago to discuss fictionalizing the “The Staircase,” the eventual showrunner made it clear to him that Peterson and his case were in the public domain. At the time, Fox Searchlight was attached to make the story into an indie film. Ultimately de Lestrade decided to sell Campos the rights to his materials, the actual amount of which is disputed by de Lestrade and Peterson.

“Since I knew that Antonio had in mind to tell the story of Michael and the documentary, I thought that it would be better to cooperate, and be involved in the process then to stay totally outside as a stranger,” de Lestrade says. “In a way I thought I was protecting Michael and his family by being involved, but I was wrong.”

In an interview with Variety, de Lestrade says he never looked at Campos’ scripts and did not take part in the HBO Max production despite his producing credit on the series.

“Antonio and I talked a lot throughout the years, and I really thought he got the story right,” says de Lestrade. “So when they started the writing process there were writers in the same room with many ideas and they worked for many hours. I couldn’t be involved in that process from Paris. Also, since I really trusted Antonio, I didn’t ask for the script. I know that it’s difficult to understand, but I now know that I can’t trust anyone in this business. I should have asked. It’s my mistake.”

Campos did not immediately respond to a request for comment on Peterson’s statements about the miniseries, which aired its finale on June 9. HBO Max had no comment on disputes swirling around the fictionalized series. Each episode contains a disclaimer that it is “a dramatization based on certain facts.”

In his email to Variety, Peterson states that de Lestrade never informed him that he sold materials to Campos. De Lestrade disputes this, saying that he told the Peterson family in and around 2008 that Campos wanted to make a feature film about the docuseries. De Lestrade cannot recall if he informed Peterson about the HBO Max series.

“If I didn’t, I should have,” de Lestrade admits.

While de Lestrade maintains that he was paid just €7,500 ($9370) for the materials he sold to Campos, Peterson asserts that the director should have been wary of the deal and concerned for the Peterson family. He also claims that the filmmaker received significantly more than that amount.

“Jean should have known that when you sell your ass/property, you assume the risk of getting fucked/betrayed,” Peterson says. “Every hooker knows this. So he got betrayed/fucked. Why should he be surprised? He was compensated — paid off. But we didn’t sell our story to Campos — were never even consulted or informed that Jean had done this. We are the ones who were betrayed, falsely depicted as fighting among ourselves (which NEVER happened), and with made up story lines that denigrate all of us in the eyes of millions.”

Campos’ dramatization depicts de Lestrade and Brunet as a documentary director and editor who are ethically compromised. Shortly after the May 5 premiere of the first episode of “The Staircase,” de Lestrade and Brunet publicly accused Campos, as well as co-showrunner Maggie Cohn, of taking their artistic license too far. But Peterson doesn’t feel sympathy for de Lestrade.

“It is disingenuous and hypocritical for Jean to talk about his integrity being challenged when he sold himself to Campos and showed no integrity or sense of responsibility to us,” says Peterson.

Peterson continues: “He is the individual responsible for what happened to us, and while I am sorely pissed at Campos for all the liberties he took with the truth (and for stealing from my book “Behind the Staircase” — the only source for his prison scenes, and for which I of course was not compensated), I am angrier at Jean who should have had our interests in mind when he sold our story. I have no sympathy for him, any more than I would for a hooker who contracted an STD after peddling her ass. Sounds harsh—but look at the result to our family for what he did.”

De Lestrade feels empathy for Peterson. “I’m working in France doing a big drama show,” he says. “I don’t need to sell the rights to [‘The Staircase’] to make money. But I can really understand Michael’s position because [the series is] terrible for him and his family. But I think in the documentary I really tried to do it with huge respect for Michael, and all his children.”

Peterson asserts that de Lestrade received $75,000 for selling the rights to the docuseries materials, pointing to his knowledge of earlier deals to adapt the project, but the filmmaker firmly refutes that, stating that the production company may have received a greater sum than him. In Peterson’s view, even that disputed higher figure was too small a sum for the damage the miniseries inflicted on his family.

“I like and respect Jean, but no matter how he tries to spin it, he received somewhere around $75,000 for our story, a paltry sum, certainly in light of the horrific damage my family suffered,” Peterson says. “And he failed to mention how he opened his entire archive of footage on us to Antonio.”

Peterson told Variety that he plans to be in New York this weekend for the Tribeca Film Festival premiere of “Subject,” a documentary that explores the subject of ethics in documentaries. Peterson’s daughter Margaret Ratliff, a documentary filmmaker herself, is a participant in it, as is her father.

Writes Peterson: “I intend to bring up the matter of documentarians’ ethic in selling their documentary to others who might exploit them, as Antonio and HBO did to us.”

Here is Peterson’s initial email to Variety:

Dear Ms Morfoot,

These are my first public remarks on the HBO Max and French documentary Staircase. Warning: obscenities to follow. Blame my daughter Margaret — she gave me your email address.

I have read about Jean de Lastrade’s sense of betrayal by Antonio Campos and HBO Max’s presentation of Staircase, but what has been forgotten or overlooked or simply ignored is his betrayal of me and my family.

We feel that Jean pimped us out — sold OUR story to Campos for money — what word other than pimped describes what he did? He released his archive to Campos who then created a fictional account of events, most of which trashed me (which I really don’t care about) and my children — which I really do care about. There are egregious fabrications and distortions of the truth in the HBO series, well beyond what may be considered “artistic” license.

Jean should have known that when you sell your ass/property, you assume the risk of getting fucked/betrayed. Every hooker knows this. So he got betrayed/fucked. Why should he be surprised? He was compensated — paid off.

But we didn’t sell our story to Campos — were never even consulted or informed that Jean had done this. We are the ones who were betrayed, falsely depicted as fighting among ourselves (which NEVER happened), and with made up story lines that denigrate all of us in the eyes of millions.

It is disingenuous and hypocritical for Jean to talk about his integrity being challenged when he sold himself to Campos, and showed no integrity or sense of responsibility to us. He is the individual responsible for what happened to us, and while I am sorely pissed at Campos for all the liberties he took with the truth (and for stealing from my book Behind the Staircase — the only source for his prison scenes, and for which I of course was not compensated), I am angrier at Jean who should have had our interests in mind when he sold our story. I have no sympathy for him, any more than I would for a hooker who contracted an STD after peddling her ass.

Sounds harsh — but look at the result to our family for what he did.

Sincerely and with best wishes, Michael Peterson

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Antonio Campos’ depiction of documentary filmmakers Jean-Xavier

The three sizable urban centers in the United States where the coronavirus is spreading fastest right now have something in common: They are major warm-weather tourist destinations.

Miami-Dade County, Fla., Honolulu County, Hawaii, and San Juan, P.R., are all averaging at least 85 new cases a day per 100,000 residents, with test positivity rates above 20 percent, according to a New York Times database. By contrast, the nation as a whole is averaging 34 newly reported cases a day per 100,000 residents, with a positivity rate of 13 percent.

As of Wednesday, new confirmed cases in the United States have been roughly flat at around 110,000 a day on average over the past two weeks, according to a New York Times database, after rising from lower than 30,000 a few months ago. And those are just the reported cases; widespread use of at-home testing means that many positive test results never make it into official tallies, experts say, and many people with mild or no symptoms may never be tested at all.

“Much of the U.S. is experiencing summer weather, yet Covid-19 cases are surging,” said Dr. Sandra Albrecht, an assistant professor of epidemiology at Columbia University. “So I wouldn’t expect to see this pattern look any different for warm weather destinations.”

The only places in the country with higher recent figures than those three urban centers are smaller communities in Puerto Rico or Hawaii and a few isolated rural counties elsewhere.

Some U.S. regions that were hit early by the latest surge, like the Northeast, have been showing signs of improvement lately. But Miami-Dade has gotten steadily worse since early April, with its daily new-case average rising more than tenfold, hospitalizations more than tripling and deaths ticking upward.

The C.D.C. now considers it, along with much of Florida, to be a high-virus-level area where extra precautions are recommended, including wearing masks on public transportation and in indoor public spaces.

Dr. Mary Jo Trepka, who heads the epidemiology department at Florida International University, pointed to several factors that could be driving the surge, including flocks of spring-break tourists, recent big events like the Miami Grand Prix race, and widening public apathy about the pandemic.

“I think people are no longer taking precautions as they did before,” Dr. Trepka said. “People were masking more here in the county, and we are seeing less of that. People are being less careful, because they are tired.”

Mayor Daniella Levine Cava dropped all of Miami-Dade’s pandemic safety mandates in February, around the time the C.D.C. shifted its strategy on measures such as masks and social distancing. At the time, the federal agency said, many such restrictions were no longer needed in most of the country, although counties should calculate their own risk as conditions change.

When the latest surge took hold in April, Ms. Levine Cava urged residents to get vaccinated, wear masks, disinfect surfaces and maintain social distance, but the county has not made any of those measures mandatory.

In a statement on Wednesday, Ms. Levine Cava once again called on residents to take precautions on their own: get vaccinated and boosted, get tested if they show symptoms, and stay home if they feel sick. “The best tools to fight the virus are the same ones we know and continue to use,” she wrote.

Ms. Levine Cava noted that Miami-Dade was “the most vaccinated county in Florida: and those efforts have paid off with fewer hospitalizations than in past surges. But caution was still warranted.

“We have not beaten this virus, but we know how to control it,” she wrote.

Mayor Rick Blangiardi of Honolulu County has taken a similar approach.

“Coronavirus is not going away,” he wrote in a statement on Wednesday. “I encourage everyone to continue to demonstrate personal responsibility and wear your masks when around others, get tested if you are not feeling well and please make sure to get your booster.”

Mr. Blangiardi said his administration was not considering reinstating mask mandates or other restrictions but that it would “consider all possible solutions to any situation that warrants a response.”

The county, which includes the islands of Oahu, Molokai and Lanai, has experienced a significant surge akin to Miami-Dade’s since early April, but in Honolulu’s case there are signs that it may have peaked. New virus cases have declined slightly over the past two weeks to 85 cases a day per 100,000 residents, and the positivity rate stopped climbing in mid-May.

Hawaii had some of the strictest travel restrictions in the country, requiring everyone arriving to the state to complete a 14-day quarantine. In March, it lifted its travel restrictions, allowing travelers from the continental United States to enter without testing and became the last state in the nation to remove its indoor masking requirement.

A month later, the state’s tourism industry recorded its highest traffic figures since the beginning of the pandemic, with more than 800,000 visitors arriving in the Hawaiian Islands, according to the state’s Department of Business, Economic Development and Tourism.

Mike McCarthy, the department’s director, said in a statement that the tourism sector was “showing strong recovery from the Covid-19 pandemic.” He said he expected a gradual resumption of international travel by Japanese citizens — typically a major share of visitors to Hawaii — to strengthen the rebound.

In Puerto Rico, Gov. Pedro Pierluisi lifted nearly all pandemic restrictions in March, and new confirmed cases soon started rising. But tourism to the island has bounced back: Though arrivals from cruise ships had not yet reached prepandemic levels, business travel for meetings and conventions was improving, Discover Puerto Rico, the island’s official tourism website, said in late April.

Kenira Thompson, president of the coalition of scientists and vice president for research at Ponce Health Sciences University in Puerto Rico, said that older and immunocompromised people there should consider continuing to wear masks in crowded places, and that those who are eligible for booster shots should seek them out.

Dr. Alain Labrique, the director of the Johns Hopkins University Global Health Initiative, said the summer tourism season meant large gatherings and increased contacts between people, a recipe for the easy spread of infection, even if fewer people are experiencing serious illness.

“Covid-19 hasn’t disappeared as much as our patience for precautions has,” he said.

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The three sizable urban centers in the

Bollywood star Ranveer Singh is heading into the harsh forests of Serbia with adventurer Bear Grylls in an interactive special for Netflix India.

A teaser for Ranveer vs Wild with Bear Grylls has dropped showing the Indian actor, fashion icon, dancer and rapper pushing his boundaries and learning survival skills as he ventures into the wild to find a rare flower for his lady.

Like its interactive Black Mirror episode ‘Bandersnatch’ from 2018, viewers will be able to pick the course of his adventure. The show drops on Netflix internationally on July 8. Watch the trailer here.

Banijay Asia is producing the special in association with The Natural Studios, which Grylls launched as a joint venture with Banijay in 2020.

Singh is known for high-grossing Hindi-language movies such as Bajirao Mastani, Padmaavat and Simmba.

Monika Shergill, VP, Content, Netflix India, said: “Netflix brings India’s first ever interactive adventure special that will give audiences all over the world the controls to test Ranveer Singh, as he pushes his boundaries in this adrenaline-pumping experience of a lifetime.” 

Deepak Dhar, Founder and CEO of Banijay Asia added: “Ranveer vs Wild is a huge step in pushing the envelope of interactive reality TV and we are elated to bring this exciting special to Netflix members across the world. While the world is familiar with Ranveer’s electrifying spirit and adventurous side, with this show, we’ll see the best of both sides coming out as he embarks on his quest for love.

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Bollywood star Ranveer Singh is heading into

The federal government’s top auto-safety agency is significantly expanding an investigation into Tesla and its Autopilot driver-assistance system to determine if the technology poses a safety risk.

The agency, the National Highway Traffic Safety Administration, said Thursday that it was upgrading its preliminary evaluation of Autopilot to an engineering analysis, a more intensive level of scrutiny that is required before a recall can be ordered.

The analysis will look at whether Autopilot fails to prevent drivers from diverting their attention from the road and engaging in other predictable and risky behavior while using the system.

“We’ve been asking for closer scrutiny of Autopilot for some time,” said Jonathan Adkins, executive director of the Governors Highway Safety Association, which coordinates state efforts to promote safe driving.

NHTSA has said it is aware of 35 crashes that occurred while Autopilot was activated, including nine that resulted in the deaths of 14 people. But it said Thursday that it had not determined whether Autopilot has defects that can cause cars to crash while it is engaged.

The wider investigation covers 830,000 vehicles sold in the United States. They include all four Tesla cars — the Models S, X, 3 and Y — in model years from 2014 to 2021. The agency will look at Autopilot and its various component systems that handle steering, braking and other driving tasks, and a more advanced system that Tesla calls Full Self-Driving.

Tesla did not respond to a request for comment on the agency’s move.

The preliminary evaluation focused on 11 crashes in which Tesla cars operating under Autopilot control struck parked emergency vehicles that had their lights flashing. In that review, NHTSA said Thursday, the agency became aware of 191 crashes — not limited to ones involving emergency vehicles — that warranted closer investigation. They occurred while the cars were operating under Autopilot, Full Self-Driving or associated features, the agency said.

Tesla says the Full Self-Driving software can guide a car on city streets but does not make it fully autonomous and requires drivers to remain attentive. It is also available to only a limited set of customers in what Tesla calls a “beta” or test version that is not completely developed.

The deepening of the investigation signals that NHTSA is more seriously considering safety concerns stemming from a lack of safeguards to prevent drivers from using Autopilot in a dangerous manner.

“This isn’t your typical defect case,” said Michael Brooks, acting executive director at the Center for Auto Safety, a nonprofit consumer advocacy group. “They are actively looking for a problem that can be fixed, and they’re looking at driver behavior, and the problem may not be a component in the vehicle.”

Tesla and its chief executive, Elon Musk, have come under criticism for hyping Autopilot and Full Self-Driving in ways that suggest they are capable of piloting cars without input from drivers.

“At a minimum they should be renamed,” said Mr. Adkins of the Governors Highway Safety Association. “Those names confuse people into thinking they can do more than they are actually capable of.”

Competing systems developed by General Motors and Ford Motor use infrared cameras that closely track the driver’s eyes and sound warning chimes if a driver looks away from the road for more than two or three seconds. Tesla did not initially include such a driver monitoring system in its cars, and later added only a standard camera that is much less precise than infrared cameras in eye tracking.

Tesla tells drivers to use Autopilot only on divided highways, but the system can be activated on any streets that have lines down the middle. The G.M. and Ford systems — known as Super Cruise and BlueCruise — can be activated only on highways.

Autopilot was first offered in Tesla models in late 2015. It uses cameras and other sensors to steer, accelerate and brake with little input from drivers. Owner manuals tell drivers to keep their hands on the steering wheel and their eyes on the road, but early versions of the system allowed drivers to keep their hands off the wheel for five minutes or more under certain conditions.

Unlike technologists at almost every other company working on self-driving vehicles, Mr. Musk insisted that autonomy could be achieved solely with cameras tracking their surroundings. But many Tesla engineers questioned whether relying on cameras without other sensing devices was safe enough.

Mr. Musk has regularly promoted Autopilot’s abilities, saying autonomous driving is a “solved problem” and predicting that drivers will soon be able to sleep while their cars drive them to work.

Questions about the system arose in 2016 when an Ohio man was killed when his Model S crashed into a tractor-trailer on a highway in Florida while Autopilot was activated. NHTSA investigated that crash and in 2017 said it had found no safety defect in Autopilot.

But the agency issued a bulletin in 2016 saying driver-assistance systems that fail to keep drivers engaged “may also be an unreasonable risk to safety.” And in a separate investigation, the National Transportation Safety Board concluded that the Autopilot system had “played a major role” in the Florida crash because while it performed as intended, it lacked safeguards to prevent misuse.

Tesla is facing lawsuits from families of victims of fatal crashes, and some customers have sued the company over its claims for Autopilot and Full Self-Driving.

Last year, Mr. Musk acknowledged that developing autonomous vehicles was more difficult than he had thought.

NHTSA opened its preliminary evaluation of Autopilot in August and initially focused on 11 crashes in which Teslas operating with Autopilot engaged ran into police cars, fire trucks and other emergency vehicles that had stopped and had their lights flashing. Those crashes resulted in one death and 17 injuries.

While examining those crashes, it discovered six more involving emergency vehicles and eliminated one of the original 11 from further study.

At the same time, the agency learned of dozens more crashes that occurred while Autopilot was active and that did not involve emergency vehicles. Of those, the agency first focused on 191, and eliminated 85 from further scrutiny because it could not obtain enough information to get a clear picture if Autopilot was a major cause.

In about half of the remaining 106, NHTSA found evidence that suggested drivers did not have their full attention on the road. About a quarter of the 106 occurred on roads where Autopilot is not supposed to be used.

In an engineering analysis, NHTSA’s Office of Defects Investigation sometimes acquires vehicles it is examining and arranges testing to try to identify flaws and replicate problems they can cause. In the past it has taken apart components to find faults, and has asked manufacturers for detailed data on how components operate, often including proprietary information.

The process can take months or even a year or more. NHTSA aims to complete the analysis within a year. If it concludes a safety defect exists, it can press a manufacturer to initiate a recall and correct the problem.

On rare occasions, automakers have contested the agency’s conclusions in court and prevailed in halting recalls.

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The federal government’s top auto-safety agency is

Before Henry Winkler was in “Barry,” and before he was even The Fonz, his name appeared in Variety on March 12, 1973. He was mentioned in passing, in a poor review of “42 Seconds From Broadway,” which ran for one night before the reviews shut it down. But Winkler was mentioned positively, with the reviewer praising his “commendable attempts at credibility.”

Variety television editor Michael Schneider informed Winkler of his first mention in the magazine during a conversation in honor of Winkler’s 2022 Variety TV Legacy Award. When he heard the quote, Winkler simply said, “I was working really hard at being credible at that time.”

Winkler reflected on his decades-long career and his Emmy-winning turn in HBO’s “Barry,” which is currently in Season 3. Winkler plays Gene Cousineau, an acting coach who is wrapped up in Barry’s (Bill Hader’s) crimes. Winkler said after each day of shooting the series, he would “go home and have visited a land that was never in my imagination.”

“I think this is the most intense work I have ever done in my career, starting June 30, 1970, when I was hired by the Yale repertory theater for $172 a week,” Winkler told Schneider.

From “Arrested Development” to “Happy Days,” Winkler has no shortage of recognizable voice and screen roles. But his six years playing administrator Sy Mittleman on “Children’s Hospital” stands out as one of his most baffling roles.

“I went in for just a few, I stayed for six years. I never understood the jokes. I never understood why I was holding a vat of urine,” Winkler said. “All I knew was I was with these incredibly funny people. And once during an interview I said, ‘Yeah, I’m doing a wacky comedy.’ And they stopped the interview, took me aside [and said], ‘You cannot say wacky. It’s meta.’ I didn’t understand what that meant either. Sat down and went, ‘I’m doing a meta comedy.’ I have no idea.”

While he may not know exactly what was going on during “Children’s Hospital,” his memories of playing The Fonz on “Happy Days” are fond, as are his memories of first arriving in Hollywood.

“It’s taken me from there to today to taste who I knew I wanted to be as an actor,” Winkler said of his “Happy Days” role.

When asked what he wishes he knew back then, Winkler said he “was thin because of worry,” and could never have imagined the career he would go on to have.

“When I talked to students, to people, young people who want to be an actor, I said, ‘You know what? It is not easy. You have to be tenacious, but eventually you will get where you want to be. Not always, but for the most part,’” Winkler said. “It happened to me. I didn’t know that I was going to have this great journey.”

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Before Henry Winkler was in “Barry,” and

Britney Spears’ wedding to Sam Asghari on Thursday, June 9 was set to be an intimate affair with roughly 60 guests from the couple’s inner circle. However, one unexpected—and presumably unwanted—addition to the party showed up: Jason Alexander, Spears’ first husband to whom she was married to for 55 hours in 2004. 

According to TMZ, Alexander crashed the event claiming that Spears had invited him and that she was his “first and only wife.”  The Ventura County Sheriff’s Office confirmed to Variety that Alexander, who was Spears’ childhood friend, that the office was dispatched to Spears’ residence to investigate a trespassing complaint. “After running a records check, Alexander was found to have an out of county warrant and was placed under arrest for that offense,” Variety reports. “Deputies are still on scene investigating what occurred, and then will determine if additional charges will be placed on Alexander in relation to the trespassing.”

Jason Alexander, ex-husband of Britney Spears, at the 2005 BET Awards Afterparty.Enos Solomon

Alexander reportedly live streamed as he crashed the event. Earlier in the day he also posted an Instagram sharing his theories around Britney Spears with the caption, “Follow the Money.”

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Britney Spears' wedding to Sam Asghari on

You never get scripts ahead of time and have to memorise your lines as soon as you enter the voiceover booth.

Voice actors are an essential part of the animation process. They breathe life into our favourite characters and make them memorable to the audience, whether that’s through a blood curdling laugh, authoritative tone or the way they deliver a trademark phrase.


Madhouse, Wit Studio, MAPPA


But have you ever wondered how a voice actor determines what a character’s voice is going to sound like? Or how they even became a voice actor in the first place?

To find out more about the industry and the life of a voice actor, BuzzFeed chatted to Austin Tindle, who has voiced hundreds of different characters in English dubbed anime.


Supplied

Some of these include your favourite characters in popular anime like Ken Kaneki (Tokyo Ghoul), Marco Bott (Attack on Titan), Karma Akabane (Assassination Classroom), Neito Monoma (My Hero Academia) and Yu Ishigami (Kaguya-sama: Love Is War). That’s just a small sample of Austin’s impressive voice acting resume though (seriously, check out his IMDB)!

1.

First off, there is no age limit to voiceover work and you can start at any time, provided that you’re passionate and are a hard worker.


Yanyong / Getty Images/iStockphoto

According to Austin, he had finished college and was in a full-time day job for eight years before he decided to make the switch to voice acting. During that time, he was active in theatre work, which led to him getting a local agent that then booked him auditions for Funimation, a company that specialises in the dubbing and distribution of anime.

2.

In fact, one of the biggest misconceptions about anime voiceover work is that the industry prefers heightened, cartoonish voices. In reality, they’re looking for grounded performances and natural voices.


Wit Studio

Of course, there are exceptions to this with anime and cartoons like Looney Tunes, for example, where they’re looking for a cartoonish style. But for the most part, the greatest tool you can have as a voice actor is your own natural speaking voice because it’s unique and the industry is always looking for something new. 

3.

Everyone starts off somewhere, so if you’re new in the industry you’ll most likely be regulated to background voices, until you’re trusted to handle a lead role.


CloverWorks, Studio Deen

The first named character Austin voiced was Alzack Connell in Fairy Tail. Tyler Walker (a voice actor, ADR [automated dialogue replacement] engineer and ADR line producer) worked with Austin on this role, leading him to entrust Austin with the lead part in Is This A Zombie?. 


4.

Sometimes mistakes happen in the dubbing process and they don’t get noticed until after the episode has gone to air.


A-1 Pictures

In one of Austin’s first solo sessions, he played a side character in Season 2 of Black Butler. The character has a Cockney accent and according to Austin, he did one of the vowel sounds wrong. It didn’t get noticed though and even made it to air!

5.

You don’t have to be a hardcore anime fan from day one to get voiceover work in the industry.

6.

The biggest difference between voice acting in comparison to other kinds of acting is that you get to record your lines moment by moment.


Studio Bones

The way it works is that in the voiceover booth there will be screens set up — one will have the animation and the other will have a Word document or Excel spreadsheet with dialogue. You’ll then watch the scene and go cue to cue, attempting to match your speech with the character’s mouth movements.

With dubbing anime, you’ll most likely be working with a mostly finished product, which can help stir up emotions in comparison to other kinds of acting. Austin said, “When you’re in a film or on stage, you don’t have that swelling orchestral music that’s in these anime scenes, which voice actors can then use to stir up emotions. It allows you to be in the moment. I see what the Japanese actors already did, what the context of the scene is, what the music is telling me and it allows me to react naturally with my dialogue.”

7.

Plus, you don’t have actors to play off in the moment, meaning that it’s just you, in the booth, and the director trying to nail the scene.


Jacqueline Garonski / Getty Images/iStockphoto

It’s why directors are so important in voiceover work. They’re responsible for navigating the voice actor and ensuring that the ebb and flow of dramatic scenes work because they’re the ones putting all the pieces together.

8.

Each animation studio has their own process for how they do English dubbing, but a lot of it is trying to match the “flaps” of a character’s mouth movements.


@austintindle / Via instagram.com

According to Austin, Funimation likes to work cue to cue, meaning that a voice actor will watch the scene in Japanese first. The Japanese track will then be removed and the voice actor will have to try and match the character’s mouth movements.  

Comparatively, other studios do what Austin calls “the J method”, where they’ll press play and a voice actor will start speaking over the Japanese track. They’ll run through an entire episode and then go back and try and fix what doesn’t sound right.

9.

You never get scripts ahead of time and have to memorise your lines as soon as you enter the voiceover booth.


Studio Pierrot

Austin said, “When I say memorise lines, I mean right there in the moment. I have 30 seconds — sometimes it’ll be a big monologue and you’ll be going back and forth between the screens. You try to get an idea of what the line is so you can say it while monitoring the flaps. Generally, you get 30 seconds per cue and they want to get through, if they can, 30-35 cues in an hour. It’s a very technical and laborious process because not all cues are equal and some will have to be redone. It’s a skill that you develop on the job.”

10.

While it may sound easy, you have to be really specific with your rhythm of speech, especially when you have to incorporate other sounds into your cues, like breathing, laughing and gasping, to bring the animation to life.


Lerche

Each cue in anime voiceover work will start with what some people call the standard 102, which is an exhale, then an inhale sound. While these are described basically in the script, for example, “open mouth, speechless”, voice actors can change it up depending on the mood of the scene. One example Austin gave is if a character is quietly indignant about something — that would be more of an outward breath, followed by a quicker inhale.

11.

However, you have to be careful not to be repetitive with these additional sounds for multiple characters. Voice actors have to have a wide variety available in their tool kit and build upon them constantly.


J.C. Staff

Austin said, “Nowadays, I like to try and make a sound that sounds as far off from the basic structure as possible. I like to see what other things I can do, especially with blood-curdling screams or laughs. I have this kind of crazy villainous laugh and anytime I have a character like that, I keep trying to add something different to it so it doesn’t sound exactly like Accelerator [from the A Certain Scientific anime series] or whoever.”

12.

Each voice actor will have a different preparation method to get themselves into character — and their methods can change over time.


Wit Studio

When Austin was younger, he would try and get into what he calls the “mode”. He would do a bunch of vocal exercises and if the scene was particularly demanding, say a torturous scene, he would try and tap into those emotions beforehand. Nowadays he doesn’t find that helpful and instead focuses on staying present, sensitive and aware of both the scene and the character, as well as having his voice prepared and loose.

13.

Being overly emotional in a voiceover booth, for example crying during an intense scene, can actually do more harm than good.


Kyoto Animation

Austin said, “When you’re in the booth, the scene can go anywhere. You could need to be a sobbing mess one second and the next, it’s supposed to be the next day and your character is cheery again. So, I’ve noticed that actually crying in the booth can be detrimental. It doesn’t sound better and if you get too stuffy-nosed for the next scene, it can screw everything up.”

14.

The voices of characters in English anime dubs are inspired by the Japanese track, but is ultimately decided upon through a conversation with the voice actor and the director.


A-1 Pictures

Usually, the voice actor and director will first listen to the Japanese track because they want to honour that first and foremost. Then, it’s a matter of figuring out what the English version of that is. The voice actor might suggest something and the director will tweak it until they land on a voice that both parties are happy with. According to Austin, this exact process is what happened when he was cast as Yu Ishigami for the English dub of Kaguya-sama: Love Is War.

In other instances, a voice actor will be cast in a role because of their natural speaking voice and will therefore use it to determine the character’s sound. They will then use tone and vocal placement, which are informed by the intentions of the character, to inform the consistent sound of a character.

15.

There is no typical work day for an anime voice actor, but their schedule is usually determined by seasons of the show they’re working on. If they’re attached to one, it could be 12 episodes over three months, with an episode released weekly.


TNK

Keep in mind that voice actors are usually involved in multiple projects — and with anime production increasing rapidly due to worldwide interest, that means hours spent in voiceover booths recording lines. 

16.

You need to treat your voice like an instrument — which involves taking care of it.

17.

And if you don’t, the constant strain on your vocal chords, on top of a busy schedule, can result in permanent damage.


J.C. Staff

Austin recalled a moment when he was voicing Accelerator in Season 3 of A Certain Scientific Railgun, which — after an intense day of voiceover work — resulted in his voice breaking. “There was this one scene that just broke me and you can even hear my voice breaking in the scene, but we just had to get it that day. I’m pretty sure there are certain sounds I can’t make after doing that.”

Contracting the Omicron variant of COVID-19 affected Austin’s vocal range too, even though his symptoms weren’t severe. He said, “Ever since then, there are certain violent screams in my range that are getting cut off.”

18.

In some instances, you’ll have to voice scenes that aren’t fully animated or are in complete silence.


Cavan Images / Getty Images/Cavan Images RF

According to Austin, it’s a little bit trickier to do this, but you develop experience while on the job.

19.

Voice acting generally doesn’t pay very much, which is why side hustles are a voice actor’s best friend.

20.

The most rewarding thing about being a voice actor is seeing fans appreciate your work.


Pierrot

Austin said, “Acting has always been very important to me, so it’s a joy to get to participate and it’s a joy to know that people appreciate it. You get to talk to fans and hear that these things resonate with them.”

21.

And lastly, there is no difference in skill between an actor and a voice actor.

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You never get scripts ahead of time

Because the documentary marketplace is every bit as beholden to the sway of nostalgia as any other, it shouldn’t come as any surprise that one of its most lucrative genres has focused on TV shows that helped form a target demographic.

If you’re trying to woo a hesitant audience of Gen X or millennial viewers — less a worry with today’s documentary-filled streaming landscape than it might have been a decade ago — looking back on Mister Rogers’ Neighborhood (Won’t You Be My Neighbor?) or Sesame Street (Street Gang) represents an easy way to do it.

Butterfly in the Sky

The Bottom Line

Fine, but probably could have gone twice as high.

Venue: Tribeca Film Festival (Movies Plus)

Directors: Bradford Thomason & Brett Whitcomb


1 hour 27 minutes

Not coincidentally, those shows are the two longest-running children’s series in PBS history, followed by Reading Rainbow, which gets its own documentary retrospective with Bradford Thomason and Brett Whitcomb’s Butterfly in the Sky, debuting at this year’s Tribeca Film Festival.

While Won’t You Be My Neighbor? and Street Gang both had me wishing for a six-or-eight-hour extension of their stories, Butterfly in the Sky already feels drawn out at only 87 minutes. It’s surely not without emotionally satisfying moments and it does a persuasive job of emphasizing the importance of Reading Rainbow and of star LeVar Burton, but the documentary is slight in its artistic and thematic ambition.

Part of the problem — and it’s not really a huge problem so much as a limitation — is that the story of Reading Rainbow is not one dominated by a triumph over adversity or wild evolutions to respond to an audience or market forces. Twila Liggett and Tony Buttino were tasked with creating a new show about reading, but they’d never really done a formal TV show before… so they teamed with Cecily Truett Lancit and Larry Lancit, who had. OK! They needed a host who would bring viewers in and they thought LeVar Burton, hot off of Roots, would be a good choice, but feared he would be too big… so they asked LeVar Burton and he agreed to do the show. OK! They initially struggled to convince publishers to let them showcase their books because they were an unproven commodity… so they did the show and were successful, and then publishers were happy to have their books featured. OK!

Some success stories reflect upheavals of formula or aggressive deviations from the norm, but that simply isn’t the story of Reading Rainbow. Some smart, well-intentioned people got together and did a smart, well-intentioned show and, in Burton, they found a host who represented an underserved audience and was loved by all audiences. Over 155 episodes, its structure and formula barely changed and eventually, when it was no longer a good financial investment, it was canceled.

But, like, it had a good life! Nobody’s bitter! Nobody fought about anything other than when LeVar Burton showed up for one season with a new earring; since you can see the footage of LeVar Burton with a hoop earring from that period, you can tell who won that fight. Plus, several talking heads refer to that earring (or what it represented) as a part of what inspired them about Burton, so the right decision was made.

Burton is the clear star of Butterfly in the Sky, but by virtue of having premiered over a decade after Mister Rogers and Sesame Street, Reading Rainbow also features more key behind-the-scenes talent than those shows’ respective documentaries. All four creators are present for thoughtful interviews, as are various writers and producers who have limited insights into how the show found its structure and tone.

The doc’s best sections revolve around the show’s signature kid reviewers, now grown up and full of pleasant memories of their unscripted introduction to the world of on-air criticism and how that experience and the show’s messages shaped the people they became. Steve Horelick gives an excellent, if brief, overview of how he came up with the synthesizer-fueled opening to the show’s beloved theme song. Galaxy Quest director Dean Parisot, an early Reading Rainbow contributor, tells a harrowing story about the show’s notorious bat cave sequence.

More frequently, though, the documentary’s reminiscences are a bit thin, especially when it comes to positioning Reading Rainbow alongside the foundation laid by Mister Rogers and Sesame Street. Both of those shows established the template for the documentary-style sequences in Reading Rainbow, which you’d never know here, nor would you give much thought to how Sesame Street and its commitment to diversity informed what Reading Rainbow did. A climactic scene with LeVar Burton testifying about the importance of public television funding in front of a House subcommittee is a complementary appearance to Fred Rogers’ famed 1969 Senate plea, which goes unmentioned. It’s not like anybody needs to worry about whether or not the importance of Sesame Street or Mister Rogers’ Neighborhood is being fully acknowledged, but it illustrates a general lack of context throughout the documentary.

Mostly, you’ll tune in because of the affection you feel for the brand and to see if Burton, and his cross-generational appeal, are adequately respected. And they are. Sitting in one of several library backdrops, Burton is always a welcoming storyteller, and his sincere appreciation for the show letting him be himself throughout its run, and connect to and inspire audiences, is touching. Maybe there just isn’t a bigger and more provocative story here.

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Because the documentary marketplace is every bit

 

Great news! “Gangster’s Paradise: Jerusalema” is available to watch on Netflix UK!

 

Date Added: 10th June 2022

Known expiry dates are shown above as well as on the Last Chance page.

Want to keep forever? Try looking for ‘Gangster’s Paradise: Jerusalema’ on Amazon (paid link)

History:

   01/05/2020: Added to Netflix

   01/06/2022: Removed from Netflix

   10/06/2022: Streaming Again

 

 

Description:

Lucky Kunene adopts a criminal lifestyle that balloons into big-time crime, attracting the attention of law enforcement and a powerful drug lord.

 

Certificate: Suitable for ages 15 and up

Year: 2008

Duration: 1hr 58m

Audio: English [Original]

Subtitles: Arabic, English, Spanish, French, Brazilian Portuguese

 

Cast and Crew

Director: Ralph Ziman

 

Cast: Rapulana Seiphemo, Daniel Buckland, Robert Hobbs, Motlatsi Mahloko, Jafta Mamabolo, Shelley Meskin, Kenneth Nkosi, Ronnie Nyakale, Louise Saint-Claire, Jeffrey Zekele

 

Production & Box Office Details:

“Gangster’s Paradise: Jerusalema” was produced by Muti Films and was originally released on February 11th 2008.

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Watch the trailer for “Gangster’s Paradise: Jerusalema”

 

RATINGS:

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LISTS:

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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: May 12, 2022

2022 EMMYS PREDICTIONS:
OUTSTANDING SUPPORTING ACTRESS IN A LIMITED SERIES OR TV MOVIE

AWARDS PREDICTION COMMENTARY: 

Alongside her daughter Margaret Qualley, the undervalued Andie MacDowell surprises the world again in Netflix’s “Maid.” As the show is rediscovered and gets a second wind, she may be the only one in the race that could top the front-runner Jennifer Coolidge for HBO’s “The White Lotus.”

All hail the queen of the resort! Coolidge became a phenomenon across social media and industry circles after her scene-stealing turn in the HBO limited series. She could be the surest thing, in any category, leading to nomination voting.

Always a bridesmaid, never a bride, Connie Britton is divine in HBO’s satirical take on the rich. While her many co-stars are in the mix as well – notably Coolidge, along with Alexandra Daddario and Sydney Sweeney – she’s the next likely candidate in line for a nom.

Receiving multiple nominations for “Veep” but never winning, Anna Chlumsky has become a radiant and dependable light in any project she takes on. With her co-star Julia Garner angling for attention; they could be a packaged deal, pushing her to the forefront for Netflix’s “Inventing Anna.”

Sensational and deeply moving, Kaitlyn Dever delivers her best acting performance yet in the Danny Strong limited series “Dopesick.” Standing tall next to star Michael Keaton, she is getting a considerable push that places her in the thick of the Emmy mix.

An Emmy-winner for “The Handmaid’s Tale,” the seasoned talent that is Ann Dowd, became the classic TV character Mrs. Garrett in ABC’s re-creation special – “Live in Front of a Studio Audience: ‘The Facts of Life’ and ‘Diff’rent Strokes.’” Will enough voters give it the time required to recognize another powerhouse turn from Dowd? Hopefully so.

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Hopper Stone

Exhibiting amazing acting techniques in her film career, Dominique Fishback brings that heat opposite Samuel L. Jackson in Apple’s “The Last Days of Ptolemy Grey.” While bigger names are in the conversation, the Emmys can often fall for raw talent and take the time to recognize the achievement.

With her real-life hubby Tim McGraw, the country music star Faith Hill harnesses the distress and emotion of a powerful woman in Taylor Sheridan’s “1883.” Paramount+ continues to get the word out, and in her first television series role, she impresses throughout, making a case for a nomination.

With multiple Emmy noms and wins, along with another acting contender in the guest actress in a comedy series category for “Hacks,” Laurie Metcalf hones grace and wisdom in her work. Hulu is fully behind Metcalf with “The Dropout,” and rightfully so. She could be an easy pick-up.

There always seems to be a lone nominee from a series that usually doesn’t score much in other Emmy categories. While her co-star Elle Fanning fights to land a spot, Chloe Sevigny could have a clearer path to land a nomination for her work in “The Girl from Plainville” from Hulu.

This is not the full list of submitted contenders, additions will be added every Thursday.

Read more: Variety’s Awards Circuit Emmys Predictions Hub

The Emmy eligibility period runs from June 1, 2021, to May 31, 2022. The deadline for entering programs for Primetime programming and uploading all entry materials is on May 12, 2022, at 6:00 PM PT.

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 list of programs and potential nominees listed below is incomplete and is subject to change. The full television awards season calendar is linked here.

2021 category winner: Julianne Nicholson, “Mare of Easttown” (HBO)


ALL AWARDS CONTENDERS AND RANKINGS:

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Dopesick — “The 5th Vital Sign” – Episode 103 — Doctor Finnix begins to taper Betsy off OxyContin, Bridget sees the toll the drug is taking on communities, Rick and Randy investigate the world of “pain societies”, and with sales climbing, Richard Sackler makes bigger plans for his new drug. Bridget (Rosario Dawson), shown. (Photo by: Gene Page/Hulu)
Courtesy of Hulu

AND THE PREDICTED NOMINEES ARE:
RANK CONTENDERS SERIES NETWORK
1 Jennifer Coolidge “The White Lotus” HBO/HBO Max
2 Andie MacDowell “Maid” Netflix
3 Laurie Metcalf “The Dropout” Hulu
4 Kaitlyn Dever “Dopesick” Hulu
5 Connie Britton “The White Lotus” HBO/HBO Max
6 Chloë Sevigny “The Girl from Plainville” Hulu
NEXT IN LINE
7 Dominique Fishback “The Last Days of Ptolemy Grey” Apple TV+
8 Faith Hill “1883” Paramount+
9 Ellen Burstyn “The First Lady” Showtime
10 Anna Chlumsky “Inventing Anna” Netflix
OTHER TOP-TIER CONTENDERS
11 Ann Dowd “Live in Front of a Studio Audience: ‘The Facts of Life’ and ‘Diff’rent Strokes’” ABC
12 Anika Noni Rose “Maid” Netflix
13 Rosario Dawson “Dopesick” Hulu
14 Alexandra Daddario “The White Lotus” HBO/HBO Max
15 Sydney Sweeney “The White Lotus” HBO/HBO Max
16 Melanie Lynskey “Candy” Hulu
17 Daisy Edgar-Jones “Under the Banner of Heaven” FX
18 Betty Gilpin “Gaslit” Starz
19 Cherry Jones “The Sky is Everywhere” Apple TV+
20 Edie Falco “Impeachment: American Crime Story” FX
ALSO IN CONTENTION
21 Juno Temple “The Offer” Paramount+
22 Sarah Paulson “American Horror Story: Double Feature” FX
23 Mary-Louise Parker “Colin in Black and White” Netflix
24 Kathryn Hahn “The Shrink Next Door” Apple TV+
25 Wunmi Mosaku “We Own This City” HBO/HBO Max
26 Phillipa Soo “Dopesick” Hulu
27 Jennifer Jason Leigh “Lisey’s Story” Apple TV+
28 America Ferrera “WeCrashed” Apple TV+
30 Bernadette Peters “Zoey’s Extraordinary Christmas” The Roku Channel
31 Maisie Williams “Pistol” FX
UNRANKED CONTENDERS
— Alexis Floyd “Inventing Anna” Netflix
— Amandla Jahava “DMZ” HBO/HBO Max
— Anna Deavere Smith “Inventing Anna” Netflix
— AnnaSophia Robb “Dr. Death” Peacock
— Bridget Gao-Hollitt “Super Pumped: The Battle for Uber” Showtime
— Carmen Salinas “The Valet” Hulu
— Dakota Fanning “The First Lady” Showtime
— Danielle Deadwyler “Station Eleven” HBO/HBO Max
— Denise Gough “Under the Banner of Heaven” FX
— Elisabeth Shue “Super Pumped: The Battle for Uber” Showtime
— Emily Mortimer “The Pursuit of Love” Amazon Prime Video
— Frances Conroy “American Horror Story: Double Feature” FX
— Grace Gummer “Dr. Death” Peacock
— Harriet Walter “This is Going to Hurt” BBC One
— Hayley Squires “The Essex Serpent” Apple TV+
— Jemima Kirke “Conversations with Friends” Hulu
— Joan Allen “Lisey’s Story” Apple TV+
— Josette Simon “Anatomy of a Scandal” Netflix
— Judy Greer “The Thing About Pam” Peacock
— Julia Davis “A Very British Scandal” Amazon Prime Video
— June Diane Raphael “8-Bit Christmas” HBO/HBO Max
— Kate Burton “Inventing Anna” Netflix
— Kate O’Flynn “Landscapers” HBO/HBO Max
— Katie Lowes “Inventing Anna” Netflix
— Kerris Dorsey “Ray Donovan: The Movie” Showtime
— Kerry Bishé “Super Pumped: The Battle for Uber” Showtime
— Kiki Layne “Chip ‘n’ Dale Rescue Rangers” Disney+
— Laverne Cox “Inventing Anna” Netflix
— Lily Rabe “American Horror Story: Double Feature” FX
— Margo Martindale “Impeachment: American Crime Story” FX
— Mary Steenburgen “Zoey’s Extraordinary Christmas” The Roku Channel
— Matilda Lawler “Station Eleven” HBO/HBO Max
— May Calamawy “Moon Knight” Disney+
— Michelle Dockery “Anatomy of a Scandal” Netflix
— Nancy Farino “Anatomy of a Scandal” Netflix
— Naomi Scott “Anatomy of a Scandal” Netflix
— Samantha Sloyan “Midnight Mass” Netflix
— Samara Weaving “The Valet” Hulu
— Samsara Yett “The Woman in the House Across the Street from the Girl in the Window” Netflix
— Shailene Woodley “The Fallout” HBO/HBO Max
— Taraji P. Henson “Annie Live!” Fox
— Tawny Newson “True Story” Netflix
— Taylor Schilling “Pam and Tommy” Hulu
— Tonya Perkins “Women of the Movement” ABC
— Uma Thurman “Super Pumped: The Battle for Uber” Showtime
— Vicky Krieps “The Survivor” HBO/HBO Max

AWARDS CATEGORY HISTORY (Supporting Actress Limited Series)

The Primetime Emmy Awards, better known simply as the Emmys, is television’s most prestigious artistic award. There are many records held for both wins and nominations in the near eight decades.

For wins: The rules for this category has changed many times over the years, but as it stands, five women have won this category twice – Jane Alexander, Judy Davis, Colleen Dewhurst, Regina King and Mare Winningham. King is the only person to win her two awards consecutively.

For nominations: Kathy Bates has the most nominations in this category with seven, winning once for “American Horror Story.” Coincidentally, her series is also the most nominated program in this category with 12 nominations.


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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Variety Awards Circuit section is the home

A drop in donations, diminishing volunteers and surge in demand — that’s what some Calgary non-profit animal organizations say they’ve been seeing in the last few months.

But it’s also come with something else: “a disheartening increase of abuse of our volunteers, harassment, damage, vandalism,” according to Parachutes for Pets founder Melissa David, who says they’re dealing with it daily.

“It’s been quite stressful, scary and expensive as a charity right now.”

“Our volunteers are fantastic — they’ve got us through five waves of COVID(-19) essentially,” said David. But in the last two months, there’s been a shift.

“They’re being yelled at… verbal abuse. Sometimes we’ve had stuff thrown at our volunteers.

“I was told to go kill myself the other day when I couldn’t get a hamper to someone in a few hours. I was getting it, but just couldn’t get it in that time frame — we’re all volunteers.”

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David knows times are tough. She sees it firsthand interacting with the charity’s clients.

“There’s such a real struggle right now to get mental health supports available. It’s all piling on – they can’t afford their food, bills, pets’ bills right now. It’s the perfect storm.”

ARTS Senior Animal Rescue organizers say they’ve also seen a recent rise in harassment, twofold — from people who aren’t successful in adoption and the growing number of those needing to surrender their senior pets.

“We just can’t accommodate everybody, and on a weekly basis we’re figuring out who is most urgent, who do we have room for, who we don’t — and we have to unfortunately make decisions of who we can and can’t help,” said Blair Douglas, the Calgary co-ordinator for ARTS.

“If we aren’t able to help somebody because we don’t have the space, we’ve been told that we killed somebody’s pet because they had to euthanize their pet because of it, which is obviously super heartbreaking. We spend lots of time trying to find homes.”

Douglas says it’s been tough on everyone.

“Unfortunately that leads to some people getting quite frustrated – somewhat understandable. But we’re all volunteers doing the best we can.”

Both Parachutes for Pets and ARTS say even with the recent increase in negativity, the majority of clients create no problems.

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This isn’t something isolated to animal charities, according to the Calgary Chamber of Voluntary Organizations (CCVO), it spans across much of the sector.

Read more:

Calgary charity gets ready to close doors following funding denials

“We hear from non-profits (that) the needs and complexities of the people they serve are getting greater,” CCVO president and CEO Karen Ball said.

“Everyone is feeling stress and pressure, mental health issues are increasing, there are more Calgarians facing the circumstance of living in poverty, and all of these things combined can create tension when someone is seeking services.”

Ball echoes many non-profits across Alberta also dealing with a decline in cash and supply donations along with fewer volunteers and staff.

Read more:

‘Things are tough:’ Canadian charities struggling as coronavirus pandemic continues

“In Alberta… we have seen a lot of programs and services that… have provided support to help small- to medium-size businesses to help recover our economy,” said Ball.

“And we at CCVO are in conversations with the government of Alberta about how we recover our community and what it might mean to put the same kind of investments into our social infrastructure and our non-profits to also help community recovery because these two things are interdependent.”

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The CCVO has created a blueprint to help with that community recovery, calling for 3.5 per cent of the province’s Alberta Recovery Plan to be invested into a community recovery fund “targeted to support mental health, diversity, equity, inclusion, youth engagement and digital transformation.”

Both Parachutes for Pets and ARTS know many Calgarians are struggling right now and understand that’s a big reason why donations aren’t what they have been in the past.

Both organizations are searching for more volunteers and any other support Calgarians are able to give.

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

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A drop in donations, diminishing volunteers and




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Image Credit: Sports Illustrated

Katrina Scott just had some major firsts as the first visibly pregnant woman to be featured for the Sports Illustrated May 2022 issue! Flaunting her baby bump, the model noted how she wishes to represent every woman who is expecting and said how their “bodies and minds are capable of extraordinary things.”

In the post of the photos shared by the magazine, they labeled the groundbreaking shoot as a “Major moment,” and we certainly agree! 

We also became more curious about the SI “rookie,” so here, we break down five things to know about the stunning star.

She’s The First Pregnant Model To Be Featured In ‘Sports Illustrated’

Katrina Scott
Katrina Scott on the cover of ‘Sports Illustrated’ (Sports Illustrated).

Katrina, who was born Nov. 4, 1983 in New Hampshire, was proud to represent all expecting mothers for the amazing shoot — for the first time in the magazine’s history. She also spoke EXCLUSIVELY to HollywoodLife about the experience.

“For as long as I wanted this, I’m really happy that it didn’t happen in my 20s. It means so much more as someone who is 38, who is a mom, and how much I appreciate my body now versus in my 20s,” Katrina, who was 38 and a half weeks pregnant at the time, told HL. “To be able to represent more women, and more moms out there, and more women that may even feel like it’s too late for them, because I thought maybe it was too late for me, and then this happened.”

Katrina added that “for years, a lot of women had been told to hide their bumps to be in SI: Swim, or to as soon as possible postpartum, as soon as you can, get back into those pre-pregnancy pants,” and her shoot shows that times have changed. “I think it’s really beautiful now that the media and people are starting to open up and say, ‘Hey, this chapter of a woman’s life is really beautiful too, and it should be celebrated, and it should not she should not rush to look anything other than who she is, as she is postpartum.”

When she was asked by editor MJ Day to shoot for the new issue, Katrina admitted they “didn’t even hesitate” when she told them she was expecting. “They were like, ‘Yes, absolutely. This is a moment, let’s do this,’” she recalled. “They are incredible and they just really empower women. I felt amazing. It was the best maternity suit I could have ever asked for, and I’ll have these forever.”

She’s A Fitness Guru

Katrina is a model, but she’s also a big-hitter in the fitness industry, working as the co-founder of the YouTube health and fitness channel Tone It Up with friend and business partner Karena Dawn. Their health brand even spawned a reality TV series Toned Up in 2014 that aired on Bravo.

After receiving her bachelor’s degree in health science and fitness with a minor in nutrition, Katrina also earned certifications as a master trainer and fitness instructor. She then began creating YouTube videos and eventually formed a business.

According to her website, Live Beautifully, Katrina now focuses on helping people with their fitness and nutrition and to aid them in their wellness journeys.

“Growing up, I was teased for being overweight,” Katrina wrote on her site. “I asked my dad for a treadmill… instead, he empowered me with a home gym equipped with fitness books, barbells, weights, a bench, and of course the treadmill I asked for… I was in the 5th grade” 

She added, “From strength training, to toning, and teaching abs classes, I had found my passion. That’s when I decided to go to college to become a fitness and health professional. Now, you can work out with me along with the most incredible trainers on Tone It Up!” 

Her Husband, Brian Scott, Is Also In The Fitness Industry

As for her personal life, Katrina, whose maiden name is Katrina Hodgson, is married to Brian Scott. The couple tied the knot in 2013 after dating for 10 years, and Brian also has a background in the fitness industry, founding Perfect Fit Protein (the brand was later acquired by Tone It Up in 2012).

The couple apparently met when Katrina’s friend invited her to a movie night party Brian was hosting. It was basically love at first sight for the star, who told Inside Weddings: “At the end of the evening, Brian picked up a guitar and sang to all of us. I fell in love right then and there.”

Brian then proposed by jumping in a lake and emerging having “found” an engagement ring. Katrina later recalled in a blog post on her site, “He proposed with the kindest words—he’s my best friend and the love of my life. I was so surprised, but also smiling ear to ear hearing my mom excitedly yelling ‘OMG’ (possibly low key cursing) to the left of me.”

Brian has been with Katrina every step of the way, as the pair worked together on Tone It Up, where he began as Co-Founder and Vice President of Product Innovation before evolving into his current role in product development and innovation, according to his LinkedIn page. He’s also made appearances alongside Katrina and her co-founded Karena when they took their empire to Bravo for the series Toned Up. 

These days, Brian is also the founder and president of baby brand called Baby Barn, which sells baby, toddler and kids clothing that the website refers to as “soft, stylish [and] timeless.”

They share a daughter, Isabelle Margaret Scott, 3, and a newborn daughter, Colette Jane, who was born on May 24.

She Underwent Fertility Issues For Over Two Years

In addition to baring her baby bump for Sports Illustrated, Katrina has been candid about her struggles with pregnancy. “After experiencing two miscarriages, a chemical pregnancy and over two years of fertility struggles, we welcomed our rainbow baby on May 24,” the fitness founder told PEOPLE on June 3 following the birth of her second daughter. “We are so overjoyed to introduce Colette Jane. Her name means victory — and she has already brought so much joy into our lives.”

Katrina apparently faced some difficulties around getting pregnant, but she never let that deter her from her dreams of having a family. 

She also made even more waves for Sports Illustrated when she walked the runway for their swimsuit display at Miami Swim Week in July 2021 while undergoing IVF. While talking to outlet Today, Katrina Scott revealed she was initially hesitant when the outlet called for her participation. 

“I didn’t feel ready — [the] amount of swelling and hormones, the amount of things that were happening [with my body], but I said, “I’m going to agree to this even though this is such a crazy time in my body.”‘

She’s Been Candid About Her Difficult Journey With Postpartum Depression

In addition to IVF struggles and issues around pregnancy, Katrina has also been open about struggles that happen after pregnancy, aka postpartum depression.

“This is Postpartum… Hospital Edition ❤️ What is the most unexpected thing you experienced after delivery?” she wrote in a lengthy Instagram post where she detailed those issues.

The model revealed that the delivery with her second daughter “didn’t go the way we envisioned” as she had to undergo a C-section and “hemorrhaged during my surgery,” losing half her blood volume resulting in “3 blood transfusions.”

“It was scary for both me and Brian, and it still feels like an out-of-body experience,” she continued. “[B]ut I’m so grateful for Brian, my doctor, the nurses and for people who donate blood. I only recall a few moments in the OR… one of them being Brian’s eyes welled up with tears telling me I was strong and that I could do this— I didn’t think I could.”

Katrina noted “how much of a miracle life is” and that nothing was more important than “cherishing every moment that we have together.”

“Women are warriors,” she added. “Doctors and nurses are heroes. People who donate blood are angels. This is postpartum.”

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Dell has launched a revised XPS 13 and revealed an upcoming convertible tablet, both powered by Intel’s newest 12th Alder Lake processors.

The new XPS 13 is on sale right now (opens in new tab) starting at $999 on Dell’s website in the US and Canada with a Developer Edition on the way. The difference between the two (opens in new tab) is that the base XPS 13 runs on Windows 11 (Home or Pro) while the Developer Edition has Ubuntu 20.04. Dell states the Developer Edition is also on sale, but it currently can’t be found on the company website.

Lightweight power

Availability issues aside, one of the notable aspects of the XPS 13 is its size. It’s 0.55-inches thick with a starting weight of 2.59 pounds. Dell claims it had to create a new type of motherboard, the smallest it’s ever made, in order to fit inside the thinner XPS 13. But this size comes at a pretty substantial cost: The XPS 13 only has two Thunderbolt 4 ports for power and outputting video.

There are no earphone jacks. Granted, the XPS 13 does support Bluetooth 5.2 for wireless headphones and comes with a USB-C to 3.5mm headset adapter. So there are ways around the missing port (as long as you don’t lose the adapter).

Hardware-wise, you have two choices for the Alder Lake 10-core CPU (i5-1230U or i7-1250U), three options for RAM (8GB, 16GB, and 32GB), and two SSD types (512GB or 1TB). Intel’s Iris Xe graphics card is the only GPU available for the XPS 13. All this power is displayed on a 13.4-inch Full HD+ screen that sports anti-glare tech.

At its most power-efficient, Dell claims the XPS 13 has a max battery life of 12 hours. Other notable features include a new woofer in the speakers and a fingerprint reader on the backlit keyboard.

XPS 13 2-in-1

Not much is known about the XPS 13 2-in-1 which is the convertible tablet mentioned earlier. Its price tag is still pending and is slated to release later this summer. 

Dell states the convertible XPS will be the first in its line to offer 5G connectivity. It will also have eSIM tech installed. Dell claims you’ll be able to travel with this particular model to other countries and connect to their network providers without much hassle. Like the base XPS 13, the convertible has just the two ports with the same headphone adapter.

Apart from the Alder Lake CPU, hardware specs are unknown. Dell did reveal the 2-in-1 tablet has a 3K resolution screen, plus it’s thinner and lighter than the base model (0.29-inches thick and 1.6 pounds).

The XPS 13 comes in Sky blue or Umber brown. The 2-in-1 model will have the same Sky blue plus a darker Slate. If you’re interested in shopping for a new laptop, TechRadar has a list of the top picks for 2022.

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Dell has launched a revised XPS 13

Tribeca: Jon Hamm’s corporate drone finds a secret door none of his colleagues can see in a movie that’s almost worth the busywork of watching it.

Orson (Jon Hamm) is an upwardly mobile corporate drone who suffers from Main Character Syndrome in a Kafkaesque work environment, his arrogance so vigorously rubbing against his anonymity that the friction created between those two forces is almost powerful enough to sustain the ultra-droll office satire that “Corner Office” constructs around it. Adapted from Jonas Karlsson’s lightly surreal (but extremely Scandinavian) novella, “The Room,” Joachim Back’s feature-length debut promotes a typical skewering of corporate drudgery with the hint of a curious new twist.

Whereas stories about paper-pushing worker drones have been done to death — to the point that Back’s film can seem perversely familiar when it isn’t futzing with the blueprints of reality — the human cog at the center of “Corner Office” might be even more screwed up than the machine he’s screwed into. It’s hard to say — at least at first.

In large part, that’s because this story is subjectively told from Orson’s POV, and carried less by dialogue than by the kind of skewed but self-affirming narration you’d find in a Tom Perrotta novel. Shortly after arriving for his first day of work at the drab and towering headquarters of The Authority, Inc (the kind of “Severance”-core super-conglomerate that manufactures only mysteries and metaphors), Orson thinks to himself: “I could view the world as something ominous, or I could choose to see the light.”

True to his word, Orson immediately discovers a ray of hope in the hallway that leads to the bathrooms near his open-plan cubicle. It’s a door, and behind that door is a lavish yet curiously unused executive’s office, furnished with enough mid-century flair to make it seem like the throne room of Don Draper’s wildest dreams. Since nobody else seems to be using it, Orson starts going in this “corner” office whenever he needs to clear his head. Being in there helps him think. Sitting behind its large mahogany desk grants him a sense of authority. The room mirrors his private suspicions of superiority, granting him a space that looks as special as he feels. The only problem is that Orson’s colleagues don’t quite see things the same way. Maybe they’re jealous of his initiative. Or maybe, well… maybe Orson is just a bit too overconfident in his assumption that he’s one-of-a-kind (or in his assumption that being different is inherently better).

The dry pleasures of “Corner Office” — most of them intermittent and after-the-fact — stem from the film’s ambivalence towards Orson’s value at The Authority. The mystery of his beloved room is completely explained by the end of the story, and yet Ted Kupper’s screenplay refuses to resolve the more pressing question that takes its place: At what point do Orson’s differences become a liability? Asked another way: Is lemming-like conformity any worse than delusional individualism?

Hamm’s implosively kooky performance is determined to leave things open to interpretation, as the actor remains perfectly calibrated against the film’s premise from start to finish; the more deranged Orson appears (or the more annoying he becomes), the less harmful he seems. The mustachioed character is never more insufferable than he is at the beginning, when he rolls up to The Authority HQ with a sociopathic look that I can only describe as “someone cosplaying Stanley Tucci from ‘The Lovely Bones,’” flashes a shit-eating smile at the beautiful receptionist (an overqualified Sarah Gadon, who nevertheless manages to hold the film steady together during its biggest swing), and precedes to look down on the other people who work on his floor. As if he’s the first person who’s ever rolled his eyes at the department boss (Christopher Heyerdahl) who’s so obsessed with keeping the floor clean that he makes all of his employees wear plastic booties as they shuffle around the office. As if he’s the first person to see this life for what it is.

To Orson, these people are all just different kinds of idiots. Mitchell (Bill Marchant) is the over-the-hill idiot who never figured out how to climb the corporate ladder, Shannon (Kimberley Shoniker) is the giggly idiot who laughs whenever anyone says anything, and Carol (Allison Riley) is the severe idiot so busy judging everyone else that she can’t even recognize the “stupidity” of her own children. Worst of all is Rakesh (Danny Pudi), who stacks his paperwork in maddeningly unorganized piles that threaten to spill over onto Orson’s desk from day one.

None of these people seem to like Orson very much either, even though he keeps the majority of his thoughts to himself. There’s just not much to enjoy about someone who exudes all of Don Draper’s brute condescension but none of his mystique — someone who acts like he’s the only person with access to the Matrix, and then constructs his entire reality around a single glitch.

It’s an intriguing dynamic, but one that “Corner Office” frequently struggles to articulate; Back’s direction lacks the wry kick of Karlsson’s writing, while Kupper’s script compromises between satire and surrealism in a way that often neutralizes them both. The results can be rather one-note to watch, though even tedious scenes give rise to fresh interpretations (much like the book on which it’s based, “Corner Office” could be read as a damning parable about the conditional acceptance of mental illness in modern society, which is often determined less by health than by convenience).

It’s only towards the very end, when the film’s satire and surrealism pull apart from each other like a party cracker, that the tension brewing in Orson’s department becomes compelling enough to justify the busywork of creating it. By the same token, it’s only when the differences between Orson and his colleagues grow irreconcilable that “Corner Office” is able to meaningfully suggest why that might not be the case.

Grade: C+

“Corner Office” premiered at the 2022 Tribeca Film Festival. It is currently seeking U.S. distribution.

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Tribeca: Jon Hamm's corporate drone finds a

True to its title, Magic Pony Ride embraces Paradinas’ sugary side. Synths froth and squeak. Kitschy piano riffs ascend to euphoric heights. Sampled vocals coo. Songs like “Uncle Daddy” and “Turquoise Hyperfizz” contain some of his most unabashedly happy arrangements to date, ironing out the jazzy, occasionally dissonant wrinkles of traditional IDM in favor of pure indulgence. It’s the most exciting of the new developments in Paradinas’ style, merging the plasticky stringed melodies of Planet Mu signee Jlin with the dreamy headspace of Orbital.

The lower end of these mixes feels less inspired. On “Magic Pony Ride (Pt. 2)”, drum fills bob awkwardly beneath squelching synths, merely fleshing out the soundscape where a Lunatic Harness break might have pushed the track into unknown territory. Take the mangled percussion that crops up two-thirds of the way into that record’s now-classic “Brace Yourself Jason,” for instance, which slows things to a lossy, glitched-out crawl before Paradinas rattles off a pseudo drum solo. It’s a jarring detour, but the break reinforces the impact of the song’s melodic theme as it resurfaces one last time. The tracks on Magic Pony Ride may resemble these ancestors at a surface glance, but they lack the adventurous whimsy that earned comparisons to his buddy Richard D. James. “Unless,” which clocks in at a full six minutes, is the record’s most stagnant offering on this front, riding a flat, unadorned bassline for half of its runtime before a single kick or snare enters the fray.

Some of Magic Pony Ride’s best moments take place when Paradinas ditches the breaks altogether. “Picksing,” built around an oddly looped sample of his daughter’s voice, is both eerie and inviting, weaving breathy synths, bouncing keys and chopped vocals to immersive effect. The intro to “Don’t Tell Me (It’s Ending),” likely an homage to Brian Eno’s “An Ending (Ascent),” is also lovely, featuring cute pulses of vocoder that would feel right at home on a PC Music single.

The past 24 years of Paradinas’ work as head of Planet Mu have considerably broadened the horizons of mainstream club culture, introducing his audience to genres like footwork and bubbling house while encouraging the label’s artists to experiment and evolve. So while μ-Ziq ranks lower on his list of priorities than it did in 1997, it’s a little disappointing to hear such a retrospective project from an artist who’s always been down to toy with the sounds of the present. The flirtations with trap and dubstep that appear throughout his latter discography haven’t always succeeded, but they were at least admirable in their willingness to swing for the fences. Look to the remix EP μ-Ziq dropped in April for that missing sense of abandon: In the hands of footwork producers like RP Boo and DJ Manny, his tracks are pared down to the bare essentials, flayed to bits and rearranged into inventive polyrhythmic mosaics. Based on these two releases, Paradinas’ talents as a curator have eclipsed his own musicianship—when you’re surrounded by the future, looking backward can look like regression.

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True to its title, Magic Pony Ride

Rashmi Rocket
Director: Akarsh Khurana
Cast: Taapsee Pannu, Priyanshu Painyuli, Abhishek Banerjee, Supriya Pathak

In a patriarchal society like ours, every sphere is ridden with added struggles for women and there is hardly any space we can claim is free of gender biases. In Akarsh Khurana directorial Rashmi Rocket, Rashmi Vira (Taapsee Pannu) a resilient athlete from Gujarat finds her world crashing after she is falsely indicated in a gender verification test in a space where she was at the top of her game.

After winning three consecutive medals for the country, her talent and technique come under scrutiny due to her body type and actions that don’t sit well with the preset gender norms. Her not following the stereotypes is underlined several times in the film, be it Rashmi riding a bike or slapping a guy- her actions make the people around her ask, “Chora hai ya chori?”

Read: Rashmi Rocket is Not Dutee Chand’s Story, But Tribute to Several Sportswomen: Writer Aniruddha Guha

When Rashmi fails the gender test, not only her capability but her identity is questioned and the rest of the film follows her fight for justice aided by her lawyer, her husband and her family.

However, the plot is pretty much predictable and one of the very few things that we find new than what we did in the trailer is that Rashmi is pregnant. It deals with a poignant issue like gender testing on women athletes but barely scratches the surface, and the arguments never rise above common sense.

The film navigates through several genres – romance, sports and courtroom drama and doesn’t adhere to the common tropes of the said genres. It delivers the right sort of message without getting too preachy and maintains the mainstream Bollywood entertainment quotient. But it lacks in weaving these different things together into a seamless end product.

Priyanshu Painyuli, who had shown quite the range with Mirzapur 2, Bhavesh Joshi Super Hero and Extraction, feels like a prop in the film. His character’s heart was at the right place and he became a rock hard support system of the protagonist but his talents could have been explored well within the screen space he got. Abhishek Banerjee does a good job breaking his villainous image with his portrayal of a goofy, underdog lawyer who starts his argument in court by addressing the Honourable Judge as ‘ma’am’.

Read: Priyanshu Painyuli on Playing an Army Officer in Rashmi Rocket: Wanted to Make My Father Proud

Taapsee Pannu, who is known for spearheading women-centric films, delivers what is expected from her. However, she couldn’t make up for the shortcomings. Supriya Pathak as Rashmi’s mother adds charm to the story.

Aniruddha Guha’s screenplay, based on Nanda Periyasamy’s story, is an ambitious project that aspires to be a lot of things. It is not our regular sports flick as it attempts to pay homage to several female athletes whose careers took a sidetrack for a test that has no base in modern-day science. However, the launch of this rocket is a shaky one and it fails to fly with the same speed it started off with.

Now, the only thing that one should look forward to is Rashmi Rocket starting a dialogue and making people ask why an archaic concept like gender testing still exists after several examples of it wrongly ending the careers of women.

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Rashmi RocketDirector: Akarsh KhuranaCast: Taapsee Pannu, Priyanshu

“I tried on a lot of different emotional suits, and I tried the freaked-out-I-can’t-sleep-at-night. But, ultimately the people who survive keep their sense of humor. I don’t think that has to be separate from being serious and emotional and profound. I think you can laugh about something while still recognizing that it is serious,” said Adam McKay, who did just that in his 2021 Oscar-nominated Netflix planetary-disaster satire Don’t Look Up.

He’s at work on a new feature script now, he said at a Q&A for the Tribeca Festival.

“If the last movie was about the outcome of what’s broken about us, that we’re staring at the collapse of the livable climate, this one is more about the actual arterial blocks in our hearts, what’s causing it, which is, of course, big, dirty money. And it’s a comedy as well … blended with drama, but I would overall call it a comedy,” is all he’d say, rather cryptically. He’s also writing the HBO Max anthology series The Uninhabitable Earth based on the bestselling David Wallace-Wells book.

“We have less than eight years before we cross the tipping point of a livable planet. No one is even arguing with that and yet we are all like ‘Johnny Depp, Amber Heard.’ So you have to laugh at it, but you also have to get to work on it,” he said.

McKay came from SNL, sketch comedy, co-founded Funny or Die and made Anchorman and a handful of comedies with Will Ferrell, whom he called “the least neurotic creative person I have ever met.” He said that “with every one of the comedies that we made, we would have a conversation about the political, social economic center of the movie, and say ‘Let’s never tell anyone that we had this conversation.” In Step Brothers, it’s consumerism — “that the customer is always right, which I think is the headstone of America. I think that has killed us.”

“At a certain point, I was really starting to be disturbed at where the country was headed,” he said. Then came The Big Short and Vice. He also really wanted to do Garth Ennis’ comic book series The Boys but everyone he took it to said an R-rated superhero movie was a no go. (It was later adapted into a hit TV series by Amazon Studios.) “I have no complaints. There are 10,000 other filmmakers that can complain more than me. But that would have been a cool movie… I was dying to do that movie.”

McKay also directed the pilot for Jesse Armstrong’s HBO’s Succession, based on the Murdoch family. “It was the best pilot script I’d ever read. This is exactly where we are. What I loved about the show is that it didn’t glorify wealth.”

Don’t Look Up — nominated for an Oscar Best Picture, Original Screenplay, Film Editing and Original Score – “just poured out.” The film about an asteroid set to destroy earth amid rampant social media conspiracy-theory denial was polarizing to say the least. “That was the wildest experience I have ever been through,” he said.

Of his latest, HBO’s Winning Time: The Rise Of the Lakers Dynasty, he said: “It was supposed to be my fun project coming off Don’t Look Up. It was supposed to be the good time. We had just dealt with the fact that maybe our culture is murdering us, even though it was a comedy. And then it was like, I’ve been a hoops fan for 40 years, let’s go do Winning Time. And it ended up a lot of controversy as well around that show.”

The series was criticized for historical inaccuracies. And for its depiction of African American culture, racism and sexism. Touching on those subjects “is of course why we made it,” he said.

“I love that show. We always try and make stuff where.. I just play the game of ‘I just turned off the channel and what would I say about this.’ And with Winning Time it was like we tried to make a show where, at the end of it, when the first episode ends, I would go, ‘Holy crap, I’ve been waiting for that.”

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“I tried on a lot of different

Evan Hunter’s bestselling 1954 novel, “The Blackboard Jungle,” was inspired by the author’s previous job as a teacher at the Bronx Vocational High School. Back in 1950, Hunter lasted two months before becoming disillusioned and quitting. Glenn Ford played that teacher in the 1955 movie version of “Blackboard Jungle,” with Sidney Poitier cast as his rebellious but gifted student. In the following decade, Poitier switched roles to play the teacher trying to educate students in the tough East End of London in “To Sir, With Love.”

Nothing Evan Hunter or those two fictional teachers faced comes close to replicating what Mr. Isaiah encounters in Donja R. Love’s tough new play, “Soft,” which opened Thursday at the MCC Theater. Playing that dedicated teacher, Biko Eisen-Martin could show both Poitier and Ford a few techniques on how to handle an unruly classroom. He’s teaching Shakespeare’s “Othello” to six teenagers at a correctional boarding school. Unlike the teachers in “Blackboard Jungle” or “To Sir, with Love,” Mr. Isaiah can hold the threat of more time in that institution, or worse, over his students to achieve discipline.

The “Othello” assignment goes better than expected. What the Bard is doing isn’t all that much different from rap, and the students often ask for “a beat” from Mr. Isaiah before they can begin their dissertations. Mr. Isaiah is expert at replicating a DJ’s mixing with his cupped hands and mouth. Also expert is Love’s writing in the opening scene that immediately establishes each of the students in their yellow fatigues (costumes by Qween Jean). The suicide of the most gifted student, Kevin (Shakur Toliver), comes early in the play, and is bookended by two scenes between Mr. Isaiah and Mr. Cartwright (Leon Addison Brown), who runs the correctional facility. 

Two scenes are probably not enough to establish this complicated relationship between two men at opposite ends of their respective careers. Love’s writing here is more manipulative than inspired. Mr. Cartwright is too dismissive in the first scene and two damning in the second. Back to back, the two scenes certainly evoke frustration at the injustice of the boss’ treatment of a subordinate, but it also detracts from Mr. Isaiah’s pain regarding his perception that he has failed a student. 

Over the ensuing scenes, “Soft” slowly begins to build a stronger foundational portrait of a community of young men. Love wisely drops us into ongoing debates between the characters. In the beginning, that approach can leave us grasping to put together all the loose ends, but once we’ve spent time with these characters an extremely tangled and fascinating web of relationships emerges. Some of those relationships even precede their time in the correctional facility.

At its core, “Soft” is a meditation on masculinity and why a young man like Kevin couldn’t survive the hard culture engulfing him. Kevin is that kind of character that disappears early in a play but is the one everyone talks about until the end. Antoine (Dharon Jones) and Dee (Essence Lotus) were the closest to Kevin, and their ongoing competition over that memory fuels the play with surprising revelation after revelation. 

Whitney White’s direction loads the drama with provocative details, and she is particularly effective not only with her actors but in creating visually arresting segues that link the play’s many scenes. Also inspired is Adam Rigg’s scenic design that surrounds the beat-up classroom with gardens of gorgeous flowers. Their petals sometimes drop down from the ceiling at key moments in the drama. 

The characters here are real men and they’re soft.

The talented ensemble also features Travis Raeburn, Dario Vazquez and Ed Ventura.

Robert Hofler, TheWrap’s lead theater critic, has worked as an editor at Life, Us Weekly and Variety. His books include “The Man Who Invented Rock Hudson,” “Party Animals,” and “Sexplosion: From Andy Warhol to A Clockwork Orange, How a Generation of Pop Rebels Broke All the Taboos.” His latest book, “Money, Murder, and Dominick Dunne,” is now in paperback.

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Evan Hunter’s bestselling 1954 novel, “The Blackboard

Jurassic World: Dominion – Picture: Universal

The Jurassic World franchise is a monster for Universal and hoping to achieve Avengers: End Game status is the third entry in the dinosaur movie franchise with Dominion. With it now releasing in theaters, you may be wondering if the movie will come to Netflix. The answer is likely yes but when depends on where you live.

Jurassic World Dominion, directed by Colin Tervorrow, sees Chris Pratt and Bryce Dallas return alongside a slew of older faces you’ll remember from the Jurassic Park days.

The sixth installment of the franchise isn’t exactly getting rave reviews with it currently carrying a 36% on RottenTomatoes with the Financial Times saying that the “franchise is aware of its looming extinction“. Ouch.

Nevertheless, the movie is expected to do big numbers at the box office around the world.


When will Jurassic World: Dominion be on Netflix in the United States?

In previous years, we’ve had no idea whether Universal movies are coming to Netflix but thanks to a deal announced and struck in July 2021, we do know that Jurrasic World: Dominion is headed to Netflix US but we’ve got quite a wait.

If we look back to the deal announcement, the part that pertains to Jurassic World: Dominion is the following:

“As part of the deal, Netflix will also license rights to the full Animated and Live Action slate from UFEG about 4 years after release as well as rights to select titles from Universal’s vast movie library.”

So applying the dates outlined above we won’t see Jurassic World: Dominion on Netflix US until at least June 10th, 2026 at the absolute earliest.

Before then, the movie will be headed to Peacock in the first window which based on additions of Ambulance and The 355 could be as soon as July 25th, 2022. This is because the Universal theatrical window has collapsed in recent years to just 45 days.

If you don’t have Peacock, we are expecting Netflix DVD (Netflix’s DVD rental service which only operates in the US) to be carrying the movie within the next few months.


Will Jurassic World: Dominion be on Netflix internationally?

Unlike the United States, we don’t have information on windowing in other regions but we can look at additions this year and years prior to guess which Netflix regions will receive Jurassic World: Dominion in the coming months and years.

Some of central Europe is getting new Universal movies within 3 months of its theatrical debuts based on the addition of The 355 to the Czech Republic, Hungary, Romanic, and Slovakia on April 1st. Based on this, those regions of Netflix will receive the movie in September 2022.

Netflix in South Korea is currently receiving new Universal movies around a year following its theatrical debut which would mean they receive it in 2023.

For the bulk of Netflix users in countries like Canada, Japan, South Africa, India and the United Kingdom, you’re currently receiving new Universal movies (such as Dolittle added to Netflix in most of the regions outlined above between late last year and today) around 2 and a bit years following its theatrical release. That means you won’t see it on Netflix until at least 2024.

Of course, all those international dates are subject to change and are purely based on prior additions where contracts were in place but may not be now.

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Jurassic World: Dominion – Picture: Universal The Jurassic

The “Captain America” icon looked to “Toy Story” vet Allen as a “blueprint” for voice acting.

Chris Evans didn’t have to look to another galaxy for his take on “Toy Story” legend Buzz Lightyear.

The “Captain America” star couldn’t help but harness the iconic Buzz Lightyear voice originated by Tim Allen in the animated franchise spanning back to 1995 when portraying the “real” astronaut Buzz in “Lightyear,” out June 17.

“It’s tough,” Evans admitted to Variety on the red carpet for the film’s premiere. “The first time you have to do that iconic line, ‘To infinity and beyond,’ you just kind of do a shameless Tim Allen impression, because it’s intimidating.”

Space Ranger Buzz (Evans) sets out to save his fellow astronauts after being marooned on another planet for decades. Directed by Angus MacLane (“Finding Dory”), “Lightyear” also stars Uzo Aduba, Peter Sohn, Keke Palmer, Taika Waititi, James Brolin, Mary McDonald-Lewis, Efren Ramirez, and Isiah Whitlock Jr.

“Angus and everyone at Pixar was so collaborative and you kind of let them guide you, and eventually you feel comfortable enough to try to make your own tracks in the snow and find your own interpretation while still using Tim Allen as the blueprint,” Evans added.

The “Gray Man” actor previously called Disney/Pixar’s “Lightyear” a “dream come true,” saying, “Anyone who knows me knows that my love for animated films runs deep. I can’t believe that I get to be a part of the Pixar family and work with these truly brilliant artists who tell stories unlike anyone else. Watching them work is nothing short of magic. I pinch myself every day.”

The film first screened during 2022 CinemaCon to rave reviews, and director MacLane credited the actors’ dedication to voice acting for the success of the space buddy movie.

“Each of the performers immediately inhabited their character, which gave us the opportunity to play a bit during recording sessions,” MacLane said earlier. “This resulted in a level of specificity that elevated the material and brought additional depth to the characters’ relationships. It has been a privilege to work with such a talented and generous cast.”

“Lightyear” marks Evans’ first major voice acting role to date. He previously voiced Casey in 2007’s “TMNT,” plus reprised his role of Johnny Storm in the “Fantastic Four” videogame circa 2005.

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The "Captain America" icon looked to "Toy

TRIGGER WARNING: Those familiar with Matt Walsh and his views on Transgenderism should know what to expect when watching this documentary. These are his views and findings, and my review of this movie is based solely on the material presented in the film and my opinion of said material. If you have issues with the questioning of the Trans lifestyle, open debate about it, and/or criticisms about Trans-related topics, then you probably shouldn’t read this review and direct your attention to something more…safe.

As the country celebrates the LGBTQIA+ festivities known as PRIDE month, we are painfully reminded of how divided we are on the subject of gay and queer matters. But nothing is more divisive than the ideology surrounding the Trans community as it relates to traditional gender roles in our society.

What is a woman? A question any one of us could have answered less than ten years ago without flinching is now undefinable by even medical physicians. As the Trans community has gotten more vocal and mainstream, the conversation about gender has become a hot-button issue that has been the fuel for outrage on both sides of the political aisle. And now, as we’re in 2022, we can’t answer what used to be a simple question:

What is a woman?

Matt Walsh: Author, Political Commentator, and host of the Matt Walsh Show on the Daily Wire, poses this very question to a number of medical experts, psychologists, and, yes…women. What is a woman is a deep dive into the conversation of: “are Trans women real women,” and, more important, does biology matter anymore.

I’m just going to put this out there. It’s no secret that Walsh, to say the least, is a right-wing provocateur who goes hard after anything “liberal” whether it be on his show or in his tweets. He has been outspoken about the Trans movement for the past couple of years, gaining more and more followers who believe in his cause.

But it wasn’t until he published his best-selling children’s book, “Johnny The Walrus,” an allegory for children who believe they’re Trans, that he became more of a household name. This led to the famous Dr. Phil episode where he sat opposite a Transgender couple and where he first posed the question to them, “What is a woman,” to which the transgender couple had no honest answer. This episode and this question sparked the idea for this movie.

So… What is a woman?

If I took a shot of whiskey every time, Walsh genuinely asked this question in the film, I would’ve lost my liver. Walsh asked everyone from “medical experts,” politicians, and professors, to just normal people on the street this question. Unfortunately, he either received non-answers posing as answers or no answer at all. Some even stopped in the middle of the interview and just left without explanation. Watching this happen countless times throughout the film, I even became frustrated with why people can’t just give him a real answer.

But it wasn’t just the question of “what is a woman” that he tackles in this film. To no one’s surprise, male-to-female trans athletes were discussed as well. And you can’t even hop on social media without seeing controversial college swimmer Lia Thomas’ name mentioned at least several times a day for shattering women’s swimming records that no biological woman has even come close to. But Thomas isn’t the only trans-athlete in women’s sports. As the film shows, this is happening at colleges all over the country. And as this is becoming the norm, biological-female students are being threatened or shamed into silence for speaking out against what they consider a majorly unfair advantage.

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TRIGGER WARNING: Those familiar with Matt Walsh

President Biden met for the first time on Thursday with President Jair Bolsonaro of Brazil, the leader of the second-largest country in the Western Hemisphere, in a face-to-face discussion that was one of the most anticipated of the ninth Summit of the Americas.

The two leaders were gracious to each other in a photo op before the closed-door session.

“Brazil is a wonderful place with magnificent people,” Mr. Biden said, noting that he had been lucky to visit the “magnificent country” three times in the past. He praised Brazil for making real sacrifices in an effort to protect the Amazon rainforest.

“I think the rest of the world should be able to help you preserve as much as you can,” Mr. Biden told Mr. Bolsonaro.

The meeting had the potential to be one of the most tense of the week.

Mr. Bolsonaro is a close ally of former President Donald J. Trump and a supporter of many of the policies that Mr. Biden has tried to combat. He has opened the Amazon to more logging and mining, made it easier to buy guns in Brazil, denigrated the idea of transgender rights and moved Brazil closer to President Vladimir V. Putin of Russia.

But what is most concerning to U.S. officials is Mr. Bolsonaro’s efforts to question the reliability of Brazil’s voting systems ahead of October’s presidential election, a contest in which polls show him trailing. Mr. Bolsonaro has even questioned the legitimacy of Mr. Biden’s electoral victory, mimicking Mr. Trump’s rhetoric, including as recently as this week.

“I will not discuss the sovereignty of another country. But Trump was doing really well,” he said in a local media interview on Tuesday when asked about allegations of voter fraud in the 2020 U.S. elections, which have been repeatedly debunked. “We don’t want that to happen in Brazil.”

Jake Sullivan, Mr. Biden’s national security adviser, told reporters ahead of the meeting between the two leaders that no topic was off limits. “I do anticipate that the president will discuss open, free, fair and transparent democratic elections,” he said.

Sitting next to Mr. Biden on Thursday and speaking in Portuguese, Mr. Bolsonaro addressed the concerns about his country’s democratic traditions.

“I came to office through democracy, and I’m quite certain when I leave office it will also be through democratic means,” he said, according to an unofficial translation of his comments.

Several members of Congress had publicly urged Mr. Biden to press Mr. Bolsonaro to increase efforts to find Dom Phillips, a British journalist, and Bruno Pereira, a Brazilian Indigenous expert, who went missing in the Amazon on Sunday after facing threats from illegal fishermen. The Brazilian government’s response has been widely criticized as slow and ineffective.

On Thursday, editors of many of the world’s largest news organizations, including The New York Times, sent a letter to Mr. Bolsonaro, asking him to “urgently step up and fully resource the effort to locate Dom and Bruno.”

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President Biden met for the first time

Unwanted guest? Britney Spears’ first husband, Jason Alexander, showed up at her house on Thursday, June 9, to allegedly stop her wedding to Sam Asghari.

“Britney Spears invited me here,” Alexander, 40, claimed during an Instagram Live video on Thursday after arriving at the pop star’s Los Angeles residence. “She’s my first wife. My only wife.”

The “Toxic” singer’s former flame, whom she was married to for 55 hours in 2004, added: “I’m her first husband. I’m here to crash the wedding cause nobody [is] here but Sam. So where the f–k’s the family?”

Alexander, who can be heard speaking to a security guard in the video obtained by TMZ, doesn’t take no for an answer.  He then runs toward the house before his phone cuts out.

After managing to get into the home, Alexander again starts filming despite being asked to leave the premises. “Don’t put your hands on me,” he says in one clip, before asking, “Hey, where’s Britney?” He eventually made his way back outside where he was reportedly restrained.


Jason Alexander
Angello Picco/Shutterstock

During a separate video, Alexander lashes out at security saying, “Don’t f—k with me,” and insists that Spears, 40, and Asghari’s nuptials is a “bulls—t wedding.” He manages to get a glimpse inside what appears to be a reception tent at the Crossroads actress’ home, which shows pink decorations and an altar covered with pink roses.

Us Weekly confirmed that the Ventura Country Sheriff’s Department is on scene after receiving a trespassing call this afternoon. The incident is currently being investigated.

“I confirm a subject by the name of Jason Alexander was arrested for an outstanding warrant,” the Ventura County Sheriff’s Office tells Us. “I don’t have a time yet. He hasn’t been booked in yet so no mugshot.”

Alexander was previously arrested in December 2021 for allegedly violating a restraining order, Us confirmed at the time. He was taken into custody in Franklin, Tennessee, and charged with a violation of order of protection as well as aggravated stalking. Alexander was released from police custody in January.

When it comes to Spears, Alexander exclusively told Us in August 2020 that the two have kept in touch and he still had feelings for her.

“Oh, yeah, definitely,” he said when asked if he wanted the Grammy winner back. “If they would give us an honest chance, you know? And she really wanted that. I’d give it a shot. I’ve got love for her, definitely.”

Spears, for her part, moved past her childhood relationship with Alexander after the duo annulled their marriage in 2004. She wed Kevin Federline later that year, but the pair called it quits in 2007. The “Gimme More” singer shares sons Preston, 16, and Jayden, 15, with Federline, 44.

The “Circus” songstress began dating Asghari, 28, in 2016. The duo got engaged in September 2021 two months before Spears’ 13-year conservatorship came to an end.

Us confirmed on Thursday that Spears and Asghari would tie the knot later that day. Her sons, however, will not be in attendance, according to Federline’s attorney Mark Vincent Kaplan. “Although the boys will not be in attendance, Kevin and the boys are happy for Britney and wish her and Sam all the best going forward,” he told TMZ in a statement.

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Unwanted guest? Britney Spears’ first husband, Jason

The children’s television program “Reading Rainbow” aired on PBS from 1983 to 2006, and “Butterfly in the Sky” is the story of how that show came to be, what it was like to work on it and its afterlife. The people interviewed here are all so nice, warm and likable that watching this movie is like sinking into a warm bath.

The key creators of the show were Twila Liggett, who started out as a teacher of eight- and nine-year-old kids, and Cecily Truett Lancit and Larry Lancit, a married couple who had a production company in New York. Liggett left teaching because she didn’t like the excessive and superficial testing of young kids, and she wanted to take what she had learned and bring it to television, which was seen as an enemy of reading for children in the early 1980s.

LeVar Burton had become a star on TV in the miniseries “Roots” in the late 1970s, and when he was approached to host “Reading Rainbow,” he immediately saw its potential and committed himself to it. Burton had studied for the priesthood in his youth, and he was a serious theater student before getting his groundbreaking TV role, so he always had a sense of vocation. Burton says here that when “Roots” aired and caused major discussions about the reality of slavery in America versus the myth, he realized that “all television is education.”

Burton shot the pilot for “Reading Rainbow” in 1981, and it aired in 1983. The producers wanted him to look the same in each season in order to provide some continuity for kids, but Burton trusted that children would understand that he was still the same host even when he wore a mustache or an earring.

So much of the success of “Reading Rainbow” was based on Burton’s relationship to the camera and to his audience of young kids, and the reason for that is as intangible, ultimately, as the reason why Fred Rogers was such an innately soothing and kind authority figure on “Mister Rogers’ Neighborhood.” Burton himself analyzes what he brought to the show: “It’s LeVar, but it’s a version of LeVar that appeals to an eight-year-old.” The simplest way to express it may be that the camera loves Burton’s open face, and he knew how to direct his positive energy to that camera when he addressed the children watching him.

In one episode of “Reading Rainbow,” where Burton introduces rap music to his audience, he is very wholesome-seeming while explaining, “It’s a kind of street poetry,” with his trademark upbeat and energetically earnest sense of wonder. But we see a different side of Burton in footage from when he addressed Congress in the mid-1990s in order to save funding for public television. Republican politicians were actually saying that “Reading Rainbow” was “anti-family propaganda,” a reminder that members of this party have been beyond belief for a long time. Burton expresses anger at this foolishness very directly; it seems clear that he is as genuinely sweet off-screen as Fred Rogers was, but Burton is no pushover.

“Butterfly in the Sky” contains stories about filming episodes of the show in some dangerous places like bat caves, and Burton even filmed one episode against the backdrop of an erupting volcano in Hawaii. Some of the young kids who did the book-report segments for the show are interviewed today, and we find out that what the kids said about the books they were promoting came directly from them.

“Reading Rainbow” stayed on the air even when Burton got a time-consuming role on the series “Star Trek: The Next Generation,” and he made time where he could for “Reading Rainbow,” because the producers knew that they couldn’t ever find another host who had just the right quality for their show. Everyone gets very emotional talking about the end of the series in 2006, for it had been a key part of their lives for such a long time.

Liggett recalls that George W. Bush’s No Child Left Behind Act, with its emphasis on the excessive testing she so disliked in her own days as a teacher, sounded a death knell for what they were trying to do. But the legacy of “Reading Rainbow” is indestructible, and hearing directly from the people who made it is as inspirational as some of the best episodes of the series itself.

“Butterfly in the Sky” makes its world premiere at the 2022 Tribeca Film Festival.

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The children’s television program “Reading Rainbow” aired

UPDATE Friday 1:50 PM ET: This is a disappointment. The webcast is poorly produced. There are all sorts of difficulties with the audio. Mics are overmodulated or poorly placed. Cameras are shaky. This is a major event for a high-profile film, but the production is simply unacceptable. Fans are voicing their displeasure:

PREVIOUSLY: Star Wars fans take note: Twitter will be livestreaming a special event Friday ahead of the premiere of Rogue One: A Star Wars Story. And it sounds pretty cool. Twitter is teaming up with Disney and People for the show, which will start at 1pm ET/10am PT. Twitter says you can expect footage that hasn’t been seen before from Rogue One, along with Q&A with the film’s director and cast members. According to the Twitter press release:

Fans can submit questions on Twitter for the cast to answer during the event by Tweeting with #AskRogueOne. Fans can also Tweet with the following hashtags and a Star Wars Twitter emoji will automatically appear: #RogueOne, #DeathStar, #StarWars and #StarWarsRogueOne.

The event will be streamed at RogueOne.Twitter.com, in Twitter Moments and at the Twitter handles @StarWars and @People. The Star Wars feed is offering this option for a reminder:

This is another big test for Twitter as it continues to push into live video. The past few months have seen successful efforts in streaming the NFL and presidential politics. This event is an exclusive – and a smart move from all parties concerned. Rogue One has big shoes to fill. Last year’s Star Wars Episode VII: The Force Awakens set all sorts of box office records, including the fastest film to gross $1 billion. This is the first “spinoff” Star Wars film, part of a bigger plan Disney made when it acquired Lucasfilm in 2012 for more than $4 billion. Rogue One: A Star Wars Story opens in theaters December 16. Pre-sale tickets are available now.

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UPDATE Friday 1:50 PM ET: This

Actor Nayanthara and filmmaker Vignesh Shivan are now officially married. The duo tied the knot today, June 9, in a private ceremony attended by Shah Rukh Khan, Atlee, Rajinikanth, Ajith Kumar, Boney Kapoor, and Vijay Sethupathi, among many others. The celebrity power couple got married at a five-star hotel in Mahabalipuram in a traditional South Indian wedding ceremony. Vignesh shared the first photo from their wedding some time back and the bride and the groom look nothing short of ethereal.

For more: Nayanthara, Vignesh Shivan Marriage LIVE: First Pics of Newlyweds Go Viral; Rajinikanth Blesses the Couple; Samantha, Katrina Send Wishes

Wedding bells are ringing for Britney Spears and her longtime boyfriend Sam Asghari! Yes, you read that right. If a report by People Magazine is anything to go by, the Criminal singer will get married in Los Angeles on Thursday. The event will be a fairly intimate wedding attended by around 60 guests of those in the couple’s close circle. For those excited to know about the bride’s attire, Britney will don a dress by famed fashion house Versace, insiders say.

For more: Britney Spears To Tie The Knot With Longtime Boyfriend Sam Asghari On Thursday? Here’s What We Know

Actress Pooja Hegde took to social media on Thursday to express her disappointment over an airline company and alleged that their staff member behaved rudely toward her. The Radhe Shyam actress was travelling out of Mumbai. She took to Twitter to write, “Extremely sad with how rude @IndiGo6E staff member, by the name of Vipul Nakashe behaved with us today on our flight out from Mumbai.Absolutely arrogant, ignorant and threatening tone used with us for no reason.Normally I don’t tweet abt these issues, but this was truly appalling.”

For more: Pooja Hegde Slams Airline for Staff’s ‘Rude’ Behaviour: Arrogant, Ignorant, Threatening Tone Used With Us

Filmmaker Taika Waititi and British pop star Rita Ora are reportedly engaged to be married. According to a recent report by a British tabloid, the couple are planning to get married in an intimate ceremony.The Sun quoted a close friend of the couple saying, “This isn’t about them doing a big showy thing and crowing about it beforehand. It’s just about them being in love and deciding the time is right to formalise their relationship. They couldn’t be happier.”

For more: Taika Waititi and Rita Ora Engaged? Reports Claim Summer Wedding on the Cards

Anupam Kher revealed Mahima Chaudhry battled breast cancer. The actor took to Instagram and shared a video in which an emotional Mahima opened up about her diagnosis and her treatment. Mahima revealed that she opened up about her breast cancer diagnosis with Anupam after he reached out to her for a role in his upcoming film, The Signature. She revealed that she found out about breast cancer during her yearly sonography.

For more: Mahima Chaudhry Battles Breast Cancer, Pardes Actress Breaks Down While Sharing Her Story; Watch

Read all the Latest News , Breaking News and IPL 2022 Live Updates here.

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Actor Nayanthara and filmmaker Vignesh Shivan are

Disney-Pixar’s “Lightyear” sees Chris Evans voicing a new version of one of the company’s most famous characters, Buzz Lightyear. First introduced in 1995’s “Toy Story,” Buzz was made famous thanks to Tim Allen’s voice performance across the franchise’s four films, and Evans admitted that taking on the title role was a daunting prospect

“The first time you have to do that iconic line, ‘To Infinity and Beyond…,’ you kind of just do a shameless Tim Allen impression. It’s intimidating,” Evans told Variety senior entertainment reporter Angelique Jackson at the “Lightyear” premiere. “But Angus [MacLane, the film’s director] and everyone at Pixar was so collaborative, and you kind of let them guide you. Eventually you feel comfortable enough to make your own tracks in the snow and find your own interpretation, while still using Tim Allen as the blueprint.”

Evans was joined at the “Lightyear” premiere by his co-stars Keke Palmer, Uzo Aduba and Peter Sohn, as well as MacLane and producer Galyn Susman to discuss the new film, which styles itself as the blockbuster ’80s action movie the Buzz Lightyear toy featured in “Toy Story” was based on. On the purple carpet, the cast and crew — which also includes James Brolin, Isiah Whitlock Jr., Dale Soules, Mary McDonald-Lewis and Efren Ramirez — reflected on their own “Toy Story” fandom and launching a new interpretation of Buzz onto the big screen.

Palmer, who voices new recruit Izzy Hawthorne, is a self-proclaimed fan of the “Toy Story” franchise and shared her excitement about audiences getting to hear Evans’ take on the character.

“Wait until you guys hear how Chris Evans did Buzz, ” Palmer teased. “A lot of people probably feel like, ‘Oh my gosh, how can you do Buzz again? How can you replace Tim?’ There’s no replacing, but there is some evolution, and Chris nailed it. I can’t wait for the kids to get into it, and the parents.”

Palmer also shared the “Toy Story” character she’d most like to see get the “Lightyear” treatment with their own origin story movie. The answer was obvious — the lovable cowboy Woody, voiced in the original films by Tom Hanks.

“Point blank period! I need to know where my man Woody came from,” Palmer said.

Both Evans and Aduba — who voices Izzy’s grandmother and Buzz’s best friend, commanding officer Alisha Hawthorne — shared Palmer’s excitement for Woody, but she also offered another idea: “Mr. Potato Head. Who Wouldn’t want to see that?” Aduba asked.

These are the types of stories that “Toy Story” fans have been itching to see and Aduba believes audiences will be particularly satisfied as they explore the backstory of the human Buzz Lightyear and come to understand who the man is versus the toy through this films

“I think a lot of us had questions about who Buzz was and now we get a lot of those answers through this film,” Aduba said, sharing her top queries: “What does ‘To Infinity and Beyond’ mean, and why [is he] so serious?”

Buzz and Alisha’s friendship plays a major part in this space ranger story, which also explores Alisha’s family life and sexuality (the character is married to another woman). Earlier this year Variety exclusively reported that a kiss between the spouses had been cut and later restored to the film, as a wide-spread debate raged about LGBTQ representation in media. On the carpet, Aduba discussed the kiss and the conversation it sparked.

“I was not aware of the in-or-out of it at all. I knew that it had happened. [The kiss] is still in the film … which, appropriately so,” Aduba said. “It’s wonderful that a character such as she exists. This film is doing such a tremendous job of including all of the stories effortlessly and allowing for everyone to dream.”

“Lightyear” arrives in theaters June 17.

The cast of “Lightyear”: (L-R) Mary McDonald-Lewis, Dale Soules, Keke Palmer, Efren Ramirez, Chris Evans, Uzo Aduba, James Brolin, Isiah Whitlock Jr. and Peter Sohn.
Rich Polk/Getty Images for Disney

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Disney-Pixar’s “Lightyear” sees Chris Evans voicing a

“Johnny is great for Dior ads and the occasional rock concert,” wrote one manager in an email, “but Mel Gibson status is about right.”

In this edition of Career Watch, IndieWire’s occasional vocational checkup of actors and directors and those who hope to get there, we take on Johnny Depp.

As a maligned victim of slander, the 58-year-old’s most recent performance played well with the trial jury as well as the court of public opinion. He won $10 million in compensatory damages and $350,000 in punitive damages against his ex-wife Amber Heard, who wrote in a 2018 Washington Post op-ed a year after their divorce that she was a “public figure representing domestic abuse.” The jury ruled that she failed to prove that he physically abused her.

Since then, Depp has discovered TikTok and gratefully calls his fans his “employers,” but of course, they don’t write the checks. Those who do are less likely to be swayed by viral social memes — or at least, as Sony recently learned through the spectacular failure of its “Morbius” re-release, they should be.

Bottom Line: A solid marquee draw in five Disney “Pirates of the Caribbean” movies that grossed more than $4.5 billion worldwide, Depp lost the role of Jack Sparrow in that franchise amid domestic violence allegations, as well as the recurring role of Grindelwald in Warner Bros.’ “Fantastic Beasts” series after losing his UK libel case against The Sun, which called him a wife-beater. Neither producer Jerry Bruckheimer nor Warner Bros. plan to restore Depp to their respective franchises. While Depp gets a lift from winning his defamation suit, he’s more bankable for foreign-financed indie projects than big-budget studio movies.

Latest Misfire: Depp played a sad-sack alcoholic photographer making a play at career redemption in Berlin 2021 entry “Minamata” (Metascore: 55), which drummed up $1.8 million worldwide. Thanks to Depp’s hefty fanbase, the film ranked third place in the Oscars Fan Favorite contest at the 94th Academy Awards in 2022.

Career Peaks: From his start in the mid-80s, Depp tested his mettle in indies like John Waters’ “Cry-Baby” (1989), Jim Jarmusch’s “Dead Man” (1996), and Terry Gilliam’s surreal Cannes entry “Fear and Loathing in Las Vegas” (1998) before breakout roles in Tim Burton’s “Edward Scissorhands” (1990) and Lasse Hallström’s “What’s Eating Gilbert Grape” (1994). The actor collaborated with Burton on eight movies: “Ed Wood” (1994), “Sleepy Hollow” (1999), “Charlie and the Chocolate Factory” (2005), “Corpse Bride” (2005), “Sweeney Todd: The Demon Barber of Fleet Street” (2007), “Alice in Wonderland” (2010), and “Dark Shadows” (2012). Disney’s hugely lucrative “Pirates of the Caribbean” franchise began in 2003 with “The Curse of the Black Pearl” and transformed Depp from rising actor to movie star.

Awards Attention: Depp earned his first Oscar nomination for his outrageous channeling of Keith Richards as impishly wicked Jack Sparrow in “Pirates of the Caribbean: The Curse of the Black Pearl.” Depp gained respect for taking chances with an audacious over-the-top performance that entertained audiences worldwide. He earned his second Oscar nod for his touching role as “Peter Pan” writer J.M. Barrie in “Finding Neverland” (2004), and his last for his all-out performance as the murderous Demon Barber of Fleet Street in Stephen Sondheim’s “Sweeney Todd,” which won him a Golden Globe.

Biggest Problem: Depp is well past his movie-star prime. Unlike Brad Pitt, or Robert Downey, Jr. (who cleaned up and embraced sobriety and robust fitness), Depp appears seedy and dissipated from years of admitted drug and alcohol abuse. After wrestling in court with managers and financial advisors, he also appears to be addicted to spending like a drunken sailor. Seeking hefty paydays led to a Nic Cage-level of overexposure and too many bad reviews, from “The Ninth Gate” (Metascore: 44) to “The Tourist” (Metascore: 37). Depp’s last positive review on Metacritic was for “Fantastic Beasts and Where to Find Them” in 2016.

Long before his Amber Heard troubles, Depp had a reputation for Marlon Brando-scale set behavior, from lateness to not showing up to working high. His former agent, Tracy Jacobs, who shepherded his career for decades, testified in the defamation trial about Depp’s misbehavior on the set of the fifth and last “Pirates of the Caribbean” film, “Dead Men Tell No Tales” (2017, Metascore: 39), where he was constantly late and needed his lines fed to him through earpieces. She flew to Australia twice in an attempt to intervene. “I was very honest with him,” she told the court. “[I] said, ‘You’ve got to stop doing this, it’s hurting you.’”

That wasn’t the worst of it. Global Road Entertainment pulled the 2018 release of Brad Furman’s LAPD detective thriller “City of Lies” (Metascore: 44) after a location manager sued Depp for assault. Saban Films acquired the film and released it in 2021 in 501 theaters. It grossed $275,049 in its opening weekend.

“He has to take responsibility,” said one studio production executive who asked not to be named. “He’s a smart guy with taste and good instincts. If he wants to act, he has to change his work habits and not be a diva.”

Johnny Depp as Jack Sparrow in “Pirates of the Caribbean”

Disney

Assets: The guy can act. No matter how strange and mumbly he can be in person (he should stay away from TV interviews), Depp is a veteran who — when he’s paying attention — knows what he is doing. Movies from “The Score” and “Public Enemies” to “Black Mass” and “Don Juan de Marco” show what he can do when he gives his all. He’s also an accomplished musician who can sing, from “Sweeney Todd” to “Into the Woods.” He’s never been interested in romances, but he can handle dramas (“Donnie Brasco”), the athletic demands of an action western (“The Lone Ranger”), a broad comedy (“Dark Shadows,” “The Rum Diary”), and far-flung fantasy (“Alice in Wonderland,” “Hugo,” “The Imaginarium of Dr. Parnassus”).

Current Gossip: Depp recently toured the UK with guitarist Jeff Beck, releasing his first TikTok video (10 million followers so far) that featured brief shots of the actor rocking out on guitar. Beck announced the July release of a new album with Depp. The actor thanked his “most treasured, loyal and unwavering supporters” after his trial win. “From the very beginning, the goal of bringing this case was to reveal the truth, regardless of the outcome,” he stated after the trial. “Speaking the truth was something that I owed to my children and to all those who have remained steadfast in their support of me. I feel at peace knowing I have finally accomplished that.”

That said, the jury in the case also ruled that Depp defamed Heard and awarded her $2 million in compensatory damages. Her spokeswoman said: “As Johnny Depp says he’s ‘moving forward,’ women’s rights are moving backward. The verdict’s message to victims of domestic violence is… be afraid to stand up and speak out.”

Next Step: Depp has not filmed a feature since “Minamata,” a sincere effort to portray a troubled artist with a conscience. He continues to participate in various documentaries, music videos, and shorts. He has signed to star as King Louis XV opposite actor-director Maiwenn in “Jeanne du Barry,” about the king’s last official mistress. This is one route forward for Depp, as it has been for Woody Allen and Roman Polanski: foreign-financed indies. “This case didn’t damage [Depp] in Europe,” said one independent producer.

An independent distributor added, “He’ll get European B movies for a while. It’s been a while since he had a great performance. He was great in ‘The Rum Diary,’ which was too weird to do more than arthouse business. If he was really sobered up, he’d have to have a good, strong part. Producers are thinking they can get him for a lower price. I can’t see the streamers or Disney hiring him. It’s going to take a long time.”

Hollywood is mixed on Depp’s potential for recovery. Awareness of Depp’s passionate fanbase should fuel some offers. And many cite his gentle warmth and generous charity-giving for Make-a-Wish and other foundations. But he never earned an Oscar like Cage, nor has he shown much interest in the occasional naturalistic performance. And he hasn’t shown evidence of a serious effort to get sober, either.

EDWARD SCISSORHANDS, Johnny Depp, Kathy Baker, 1990. TM and Copyright (c) 20th Century Fox Film Corp. All rights reserved.Courtesy: Everett Collection"

“Edward Scissorhands”

Everett Collection

“Johnny is great for Dior ads and the occasional rock concert,” wrote one manager in an email, “but Mel Gibson status is about right.”

“I think he has a shot to be more than Mel,” wrote one studio producer. “Downey is the best example. Though all he really hurt was himself. If I was in charge of Johnny’s career, I would tell him to do a couple of pure art-house movies that showcase how damn good he is as an actor. Then with some time gone by and some reminder of what he is capable of, I would try and put him in as a villain in a bigger movie… then see what happens.”

One specialty distributor said that Depp is not yet showing up on casting lists. “He’s viable,” she said. “You can tell from the amount of support he’s gotten. He was always a special actor, and still is.”

Career Advice: While fans were hoping that Burton would cast Depp as Gomez in the upcoming “Addams Family” TV series, Depp’s best hope for the future is that Burton or another top-flight director to take a chance. Depp loves character roles, and meaty supporting roles should come his way. It’s unlikely that a studio will count on him to carry a big-budget movie unless he proves himself — as Downey did — by going into rehab and staying clean.

Fist-bumping his victory over Heard did not play well in many quarters. He should stay humble and not gloat.

The best way for Depp to regain his status as an A-list movie star is to forget the paycheck and make fewer movies of higher quality. The more movies he makes, the less likely they will turn out well.

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“Johnny is great for Dior ads and

As longtime television viewers know, soap operas filled the networks’ daytime schedules. Today, only four of them remain — The Bold and the Beautiful (CBS), Days of Our Lives (NBC), General Hospital (ABC), and The Young and the Restless (CBS). Their ratings are a fraction of what they used to be, even just a few years ago, so it can feel like they’re on borrowed time. How long will these four survive? That will likely have a lot to do with the ratings. Stay tuned.

Note: Each network measures the success of its own programming. Still, it’s fun to see how the four remaining soap operas rank against each other.

Note: If you’re not seeing the updated chart, please try reloading the page or view it here.

Season-to-date averages are compared to previous season averages. Raw data courtesy Soap Opera Network.

 

What do you think? Are you surprised by any of the ratings? Which shows should be doing better? Which one do you think will be cancelled next?

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As longtime television viewers know, soap operas

The 1971 San Francisco oil spill that dumped more than 800,000 gallons of crude off its coast was an environmental disaster. But for a shrewd Black trucking entrepreneur named Charlie Walker, it was a golden opportunity to puncture the racism in his industry and to make some serious cash from a rich, embattled oil company. For as long as the system let him, of course.

In telling the story of Walker’s crafty exploits saving a beach and fighting discrimination, the independently made “I’m Charlie Walker” from writer-director Patrick Gilles is its own amorphous discharge, if not so slick.

It boasts a commanding, old-school star-wattage turn from Mike Colter (“Luke Cage”) as the hustling, tussling Walker, but its mix of sidelined Black history and fight-the-power narrative is too messy to have the impact it should, especially after the handful of memorable black-themed Bay Area stories we’ve gotten of late (“The Last Black Man in San Francisco,” “Blindspotting,” “Sorry to Bother You”).

Archival footage and narration from Safiya Fredericks (as Walker’s wife Ann) set us up with an overview of Bay Area racial and political tensions at the height of the Vietnam war, and how an independent, proud trucker like Charlie Walker (Colter), trying to feed a family with three kids, couldn’t get work from white contractors favoring white trucking outfits. Not above a hostile reaction to such open discrimination — he pranks one bigoted dispatcher, only to get thrown in jail for it — Charlie mostly just wants that fair shake to prove how hard he’ll work.

When two Tower Oil tankers (the fictional name for Standard) collide in the fog-ridden bay, Charlie sees his chance to grab one of the fossil-fuel behemoth’s hastily-assembled and lucrative beach cleanup jobs. He readily accepts the gig none of the unionized white truckers want: Marin County’s un-touristy, hard-to-access, furthest-from-the-spill Stinson Beach. It becomes a fateful one, though, when weather and waves send most of the oil Charlie’s way, inadvertently making a Black man the most important, and public, on-site boss of the whole operation.

His resourcefulness and managerial skills make a difference. But lest you think there’s some clear-cut morality tale in Charlie’s struggles to keep his work order when white truckers and an optics-obsessed oil exec (a hammy Dylan Walsh) want him out, the movie presents a more complicated hero. Smooth-talking Charlie’s equal opportunity crusade also means skimming from the money spigot as any crooked white contractor would, and playing mob-tough when needed with his antagonists.

While this makes for a compellingly layered scenario at the intersection of racial injustice, personal integrity, and white-controlled capitalism, “The Wire” or a righteous Spike Lee joint this isn’t. A ham-fisted dramatist, Gilles too often ladles on the wife’s narration to explain Charlie for us when acting, dialogue, and action should — and yet elsewhere, an absence of clarification hampers our grasp of why certain events are happening. (Also, ironically, his home life is barely depicted.) On top of that, the swerve into vice, menace, and blackmail is awkwardly handled, as is the comically gangster-ish tone of the movie’s more confrontational exchanges.

The less said about the actors surrounding Colter, the better. At least the star’s colorful line delivery and powerful physicality (especially in natty three-piece suits) offer a much-needed throughline of sly charisma — whenever, that is, the choppily-edited 78-minute running time gives him a chance to wield it. But his neo-blaxploitation vibes still feel underserved inside the tonally convoluted screenplay and cheap-looking direction, with Gilles’ shooting style reminiscent of ‘70s television, not the era’s vivid anti-hero entertainments. It’s so talky and un-visual that despite it taking place in multiple locations, including the California coastline, it feels like a play barely opened up for the cameras.

That talk, however, is occasionally its strong suit, articulating with a fair amount of fire and wisdom the economics of racism that motivated Walker in his brief time getting all he could out of a twist of opportunity before, as text informs us at the end, his legal troubles began years later. Is “I’m Charlie Walker,” which lists its subject as a producer, an unashamedly image-burnishing piece? No doubt, and the cabdriver cameo by former San Francisco mayor Willie Brown — an old pal from Walker’s trucker days (portrayed in the film by Carl Lumbly) — is there to let us know that ascent and longevity has its rewards.

Ultimately, it’s also the kind of wild, hidden history that might have been served better by a deep-dive documentary instead of a muddled docudrama.

“I’m Charlie Walker” opens in US theaters and on demand June 10.

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The 1971 San Francisco oil spill that

Sam Neill in Jurassic World: Dominion

Since the first Jurassic Park movie in 1993, paleontologist Dr. Alan Grant has been winning over audiences with his deep knowledge of dinosaurs. Over the years since he first started playing the role, Sam Neill has seemingly developed a similar affection for the creatures that are, thankfully, still extinct in our world.

In a new interview with The Hollywood Reporter, the New Zealand-born actor was asked to look back at the iconic scene where Grant turns paleobotanist Dr. Ellie Sattler’s head (Laura Dern) around when they arrive at the park and see a Brachiosaurus for the first time. Their portrayal of awe, alongside Jeff Goldblum as chaos theorist Dr. Ian Malcolm, has made the clip memorable for nearly 30 years.

“I said to Steven [Spielberg], ‘Look, after a lifetime of imagining dinosaurs, to actually see a dinosaur, Alan Grant just might flat out faint,’” Neill recalls, noting that the scientist wouldn’t be much of an action hero. “And Steven said, ‘Yeah, okay.’ So that’s why you see me stagger around and I have to sit down and put my head between my legs.”

In the upcoming Jurassic World: Dominion, Neill, Dern, and Goldblum are finally reuniting onscreen, alongside the franchise’s new faces Chris Pratt and Bryce Dallas Howard. However, they won’t be joined by that first Brachiosaurus, which met its downfall in 2018’s Jurassic World: Fallen Kingdom, when a volcanic eruption devastated Isla Nublar. The Hollywood Reporter had to break the bad news to Neill.

“Well, that is heartbreaking,” Neill says. “Such a sweet creature.”

Grant was last seen in 2001’s Jurassic Park III, and despite his passion for research, Neill hints that Dominion finds the character apprehensive about the new age of dinosaurs.

“He’s turned his back on a new world in which dinosaurs are so much a part of human existence,” Neill says. “He’s always regarded all of that as something of an aberration. So he is in his crusty tent doing his crusty digging. He’s a scientist. He believes in facts.”

Jurassic World: Dominion is in theaters this weekend. Elsewhere in the dino-verse, the fifth and final season of the animated series Jurassic World: Camp Cretaceous arrives on Netflix on July 21.

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Since the first Jurassic Park movie in

Kenny and Robert begin this Season Finale with special guest, Matt Schrader discussing the trailer release of The Batman, Travis Scott & Ludwig Göransson’s chart-topping single release for TENET, Hans Zimmer’s new cue release for WW84 and checking Score: The Mailbox. Plus, the team reflects on their favorite moments from this season of the show.

Later, 3x Oscar-winning composer Howard Shore joins sharing stories of his iconic work on The Lord of the Rings trilogy and why he couldn’t turn the project down, why the maestro spends so much time finding the proper venue for recording the orchestra, the tricky task of underscoring Robin Williams in Mrs. Doubtfire and why he had to write his own version of the “Happy Birthday” song for Big, which later got cut from the film.

This episode is presented by Spitfire Audio.

Follow us on Twitter @ScoreThePodcast or send Kenny and Robert your questions for the mailbox at ScoreTheMailbox@epicleff.com.

Hosts: Robert Kraft & Kenny Holmes

Executive Producer: Matt Schrader

Coordinator: Carol Kuswanto

© 2020 Epicleff Media

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Kenny and Robert begin this Season Finale

Vladimir Putin has lost two more colonels in Ukraine – including one of Russia’s youngest to reach such a high rank – as a video showed a Russian battalion being hit with artillery fire while attempting to rescue a casualty.

Elsewhere, in another blow to the Kremlin’s war efforts, a separate video released this week showed Ukrainian bombs destroying a Russian ammo depo in a huge ball of flames. Images released by Kyiv also appeared to show a destroyed Russian unit.

These are the latest examples of Ukraine’s forces putting up a fierce resistance against Putin’s invading forces. Moscow expected to capture Kyiv within days of invading on February 24, but its forces have instead been drawn into a protracted conflict that has resulted in tens-of-thousands Russian military losses.

Meanwhile, bitter fighting for the eastern city of Severodonetsk continued to rage on Thursday, after Ukrainian President Volodymyr Zelensky said the fate of the whole Donbas region hinges on the ‘very fierce’ battle.

The deaths of the two high-ranking military figures mean the Kremlin has seen at least 52 colonels killed during the bloody conflict.

Lt-Col Vadim Gerasimov, aged only 36, a battalion from Leningrad region, was posthumously awarded a Hero of Russia – the country’s highest honour – on Putin’s orders. His widow was also expected to receive his posthumous Order of Courage.

His funeral was being held on Thursday in Russia’s Leningrad region. A graduate of the prestigious Frunze military academy, he was the father of a daughter.

Details of his citation for the Hero of Russia award were not immediately available.

The second high-ranked officer whose death was revealed today is Colonel Ruslan Shirin, a brigade commander, who ‘heroically died in battle’.

He was chief of staff of the 336th Separate Guards Marine Brigade, part of the Baltic Fleet. He was posthumously awarded the Order of Courage.

It was not clear how and where in the Ukrainian war zone the colonels were killed. 

Reports of their deaths came as a video showed a Russian battalion being shelled by Ukrainian forces as they attempted rescue a casualty.

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Russia said Colonel Ruslan Shirin, a brigade commander, 'heroically died in battle' in Ukraine

Lt-Col Vadim Gerasimov (pictured left), aged only 36, was a battalion from Leningrad region. He was killed in Ukraine, as was Colonel Ruslan Shirin, a brigade commander (pictured right)

Pictured: Russian soldiers are seen trying to recover and injured comrade on a road in Ukraine

Pictured: Russian soldiers are seen trying to recover and injured comrade on a road in Ukraine

As the soldiers tried to drag their comrade back towards their armoured vehicle, a Ukrainian air strike landed feet away from the vehicle

As the soldiers tried to drag their comrade back towards their armoured vehicle, a Ukrainian air strike landed feet away from the vehicle

Pictured: Russian soldiers are seen injured next to an armoured vehicle after Ukrainian artiller fire landed just feet away from their vehicle

Pictured: Russian soldiers are seen injured next to an armoured vehicle after Ukrainian artiller fire landed just feet away from their vehicle

The aerial footage, showing a dirt road running through some woodland, saw Russian soldiers trying to drag their fallen comrade back to what appealed to be an armoured personnel carrier. 

Suddenly, a large explosion rocked the soldiers as Ukrainian artillery landed just feet away from the armoured vehicle. Smoke covered the scene as the soldiers attempted to crawl back to vehicle in a desperate attempt to escape.

Reports suggested at least one soldier was killed in the strike, and others injured. 

Elsewhere, more aerial footage showed a Ukrainian attack on a Russian ammunition dump on Wednesday in Voskresenka, Zaporizhia Oblast, in Ukrainian territory that is currently held by the Russian invaders.

The attack was carried out by members of the 44th Artillery Brigade of the Ukrainian Ground Forces with the support of aerial reconnaissance by the 81st Airmobile Brigade of the Ukrainian Air Assault Forces, the 44th said.

Video of the attack showed a series of massive explosions as Ukrainian artillery hit its mark, igniting munitions inside the warehouse – some of which could be seen firing off in different directions into the air above the building.

Initial strikes appeared to only collapse the roof and cause a number of smaller fires, but as the attack continued, one huge fireball erupted from the warehouse, ripping it apart and destroying at least half the building completely.

According to the Daily Express, a 15-year-old boy used a camera drone to locate the warehouse, which in-turn allowed Ukraine’s military to target it. 

The brigade said on 8th June: ‘Artillerymen of the 44th OAbr of the Armed Forces of Ukraine, with the support of aerial reconnaissance of the 81st brigade of the 5th BTGR, bombed the accumulation of enemy equipment and ammunition in the Pologovsky district.

‘It is known that Russian troops fired at three settlements in the Pologovsky district. Enemy shells hit Gulyaipole, the villages of Dobropolye and Upper Tersa.

‘Earlier, the Russian military left some positions in the Melitopol and Vasilyevsky regions. As it became known, they moved in the direction of Kherson region.’ 

Pictured: A warehouse in Ukraine being used by Russian forces to store ammunition, moments before it was targeted by Ukrainian artillery fire

Pictured: A warehouse in Ukraine being used by Russian forces to store ammunition, moments before it was targeted by Ukrainian artillery fire

Smoke is seen rising from the Russian ammo dump as it comes under attack by Ukainian artillery. The first strikes caused smaller explosions and fires in the warehouse

Smoke is seen rising from the Russian ammo dump as it comes under attack by Ukainian artillery. The first strikes caused smaller explosions and fires in the warehouse

Suddenly, a huge fireball was seen erupting from the ammo dump as the aummunition inside caught fire when it came under attack by Ukrainian missiles, destroying the building

Suddenly, a huge fireball was seen erupting from the ammo dump as the aummunition inside caught fire when it came under attack by Ukrainian missiles, destroying the building

The deaths of the two colonels were revealed two days after the 50th colonel – artillery commander Lt Col Vladimir Nigmatullin, 46 – was confirmed dead.

Russia recently lost its 11th general of the conflict, Major-General Roman Kutuzov was the chief of staff of the 29th Combined Arms Army.

He was awarded a posthumous promotion to Lieutenant-General.

Some sources have claimed that Russia lost a second and more senior general – Lieutenant-General Roman Berdnikov, 47 – in the same incident in Donetsk region.

There have been claims that Ukraine has received Western intelligence assistance to target Putin’s commanders in the field, in an attempt to weaken the morale of Russian forces.

Whether or not this is the case, a large number of high ranking officers have been killed, with almost one colonel every two days in the war.

The news came after a mercenary who gained notoriety for butchering prisoners of war and civilians in the Donbas was also been killed, in another blow to Putin.

Vladimir Andonov, 44, a fighter for the shadowy Wagner Group, was shot by a sniper near Kharkiv during a reconnaissance missions on June 5, Russian media says.

Andonov was known to Russians as ‘Vakha’ or ‘the volunteer from Buryatia’ after the region he was from, but to Ukrainians as ‘the executioner’ for massacres he helped carry out during Russia‘s first invasion of the country in 2014.

His death was confirmed by Zhambal-Zhamso Zhanaev, head of the region where Andonov was from, who spoke to Russian newspaper Moskovskij Komsomolets.

Artillery commander Lt Col Vladimir Nigmatullin was killed two days ago in Ukraine, become Russia's 50th colonel casualty of the war

Artillery commander Lt Col Vladimir Nigmatullin was killed two days ago in Ukraine, become Russia’s 50th colonel casualty of the war

Vladimir a soldier with the notorious Wagner Group, was shot dead by a sniper during a reconnaissance mission near the city of Kharkiv on June 5

Vladimir a soldier with the notorious Wagner Group, was shot dead by a sniper during a reconnaissance mission near the city of Kharkiv on June 5

Ukraine said Thursday it was losing up to 100 soldiers every day in frontline fighting against Russian troops and that as many as 500 were being wounded in battles.

‘The situation at the front lines is difficult. Every day we have up to 100 of our soldiers killed and up to 500 wounded. 

The Kremlin continues to press by sheer mass, stumbles, faces strong resistance and suffers huge casualties,’ Defence Minister Oleksiy Reznikov said on social media.

Ukrainian forces continued to fight for the industrial zone and adjacent areas in eastern the city of Sievierodonetsk, which Kyiv holds.

Mayor Oleksandr Stryuk said on Thursday that the situation is ‘difficult but manageable’, and Kyiv said Russian forces are now largely in control of the city itself.

He said defence lines were holding despite intense Russian artillery fire but that it was now impossible to evacuate people from Sievierodonetsk. 

He added about 10,000 civilians remained in the city, which is now the main focus of Russia’s offensive in Ukraine.

The strategic city has become the focus of Russia’s offensive as it seeks to seize an eastern swathe of Ukraine, after being repelled from other parts of the country.   

Western long-range artillery would enable Ukraine to beat back Russian forces and capture Severodonetsk within days, another regional Ukrainian official said Thursday.

‘As soon as we have long-range artillery to be able to conduct duels with Russian artillery, our special forces can clean up the city in two to three days,’ Lugansk regional governor Sergiy Gaiday said in an interview distributed on his official social media channels.

Moscow’s forces are concentrating their firepower on the strategically important industrial hub as part of efforts to capture a swathe of eastern Ukraine.

Pictured: An image released by Ukraine's military shows Russian armoured vehicles

Pictured: An image released by Ukraine’s military shows Russian armoured vehicles 

Pictured: A destroyed Russian tank is seen amongst the ruins of buildings in Ukraine

Pictured: A destroyed Russian tank is seen amongst the ruins of buildings in Ukraine

Pictured: Another destroyed Russian tank is seen on a road running through a Ukrainian town

Pictured: Another destroyed Russian tank is seen on a road running through a Ukrainian town

Pictured: Another Russian tank is seen in Ukraine in images released by Kyiv's armed forces

Pictured: Another Russian tank is seen in Ukraine in images released by Kyiv’s armed forces

Ukraine President Volodymyr Zelensky late Wednesday described the battle as ‘one of the most difficult’ since the start of the war.

‘Severodonetsk remains the epicentre of fighting in the Donbas,’ Zelensky said, referring to the region in eastern Ukraine that includes the provinces of Lugansk and Donetsk.

‘It is a very fierce battle, very difficult, probably one of the hardest in the course of this war,’ Zelensky said in his evening address to the nation.

Gaiday said Thursday that Ukrainian forces in the city remained ‘highly motivated’ and that ‘everyone is holding their positions’.

‘Russia is constantly shelling areas controlled by Ukrainians with artillery,’ he added. 

The US and Britain have announced they are providing Kyiv with long-range precision artillery batteries, defying warnings from Russian leader Vladimir Putin.

The Lugansk region more broadly was under continued mortar, artillery and rocket attacks, the Ukrainian presidency said.

It said four people were killed and five more wounded in a Russian air strike on Toshkivka, a village around 25 kilometres south of Severodonetsk.

Russia’s offensive is now targeting the Donbas, after its forces were pushed back from Kyiv and other areas following the February 24 invasion.

The cities of Severodonetsk and Lysychansk, which are separated by a river, were the last areas still under Ukrainian control in Lugansk.

Lysychansk remains fully under the control of the Ukrainian army but is under ‘powerful and chaotic’ shelling, Gaiday said, accusing Russian forces of deliberately targeting hospitals and humanitarian aid distribution centres.

‘The destruction is enormous,’ he added.   

An emergency officer carries out work in wrecked building after shelling amid Russian attacks on Ukraine in Kharkiv, Ukraine on June 9, 2022

An emergency officer carries out work in wrecked building after shelling amid Russian attacks on Ukraine in Kharkiv, Ukraine on June 9, 2022

Smoke and dirt rise from shelling in the city of Severodonetsk during fight between Ukrainian and Russian troops in the eastern Ukrainian region of Donbas on June 7, 2022

Smoke and dirt rise from shelling in the city of Severodonetsk during fight between Ukrainian and Russian troops in the eastern Ukrainian region of Donbas on June 7, 2022

A view of a building partly destroyed in a shelling in Saltivka neighbourhood of Kharkiv, June 8

A view of a building partly destroyed in a shelling in Saltivka neighbourhood of Kharkiv, June 8

Part of the Donbas had already been held by pro-Russian separatists since 2014.

At the United Nations, Secretary-General Antonio Guterres added his voice to increasingly dire warnings about the war’s impact.

‘For people around the world, the war is threatening to unleash an unprecedented wave of hunger and destitution, leaving social and economic chaos in its wake,’ he said.

Severodonetsk appeared close to being captured just days ago but outgunned Ukrainian forces launched counterattacks and managed to hold out.

Lugansk regional governor Sergiy Gaiday said Western artillery would help secure a Ukrainian victory, echoing Kyiv’s repeated calls for more military aid.

‘As soon as we have long-range artillery to be able to conduct duels with Russian artillery, our special forces can clean up the city in two to three days,’ he said.

Gaiday added that Ukrainian forces in the city remained ‘highly motivated’ and that ‘everyone is holding their positions’, while describing Russian tactics as ‘very primitive.’

The United States and Britain have announced they are providing Kyiv with long-range precision artillery batteries, defying warnings from Putin.

RUSSIA’S FALLEN GENERALS 

Russia has been losing generals at an alarming rate, with unconfirmed reports suggesting Western intelligence – particularly that of the United States – has been helping Ukraine target Putin’s most senior military figures in Ukraine.

Losing even two generals in a war would be considered extreme in most conflicts since the Second World War. As of June 9, 11 Russian generals have been reported dead – with rumours of a 12th.

General Magomed Tushaev: Chechen special forces leader who had led ‘anti-gay purges’ killed in an ambush near Hostomel on February 26;

Major General Andrei Sukhovetsky: Deputy commander of the 41st Combined Arms Army of the Central Military District killed during a special operation by a sniper on March 4;

Major General Andrei Sukhovetsky, 47, deputy commander of the 41st Combined Arms Army of the Central Military District

Chechen general Magomed Tushaev was one of 56 highly-feared elite soldiers killed at Hostomel

General Magomed Tushaev (right) was blown up in the early stages of the war by Ukraine after they joined the Russian invasion

Major General Vitaly Gerasimov: First deputy commander of Russia’s 41st army who took part in operations in Syria and Crimea, killed in fighting around Kharkiv on March 8;

Major General Andrei Kolesnikov: Commander of the 29th Combined Army Army killed on March 11;

Major General Oleg Mityaev, died fighting near the city of Mariupol on 16 March;

Lt Gen Andrey Mordvichev, killed in the Kherson region on March 19 ;

Lt Gen Yakov Rezantsev, commander of Russia’s 49th combined army, was killed in a strike near the southern city of Kherson on March 25;

Major General Vladimir Frolov was deputy commander of the 8th Guards Army in east Ukraine; 

Major General Vitaly Gerasimov (left) was the first deputy commander of Russia's 41st army

Major General Andrei Kolesnikov of the 29th Combined Arms Army

Major General Vitaly Gerasimov (left) was first deputy commander of Russia’s 41st army, taking part in operations in Syria and Crimea. He was killed in fighting around Kharkiv on March 8

Lt Gen Yakov Rezantsev, commander of Russia's 49th combined army. He was killed in a strike near the southern city of Kherson on March 25

Lt Gen Yakov Rezantsev, commander of Russia’s 49th combined army. He was killed in a strike near the southern city of Kherson on March 25

Major General Anton Simonov, 55, was seen as the Russian military’s leading electronic warfare specialist. He died during an attack on a Russian army command past in northern Ukraine in early May;

Major General Kanamat Botashev, was enjoying retirement when Russian tanks rolled across the border on February 24 and had not flown since 2012. His Su-25 fighter jet was hit by a Stinger missile on May 22 in the Donbas skies, and he was unable to eject;

Major-General Roman Kutuzov was the chief of staff of the 29th Combined Arms Army. His death was confirmed on June 5, and is believed to have been slain in an ambush carried out by Ukrainian forces.

The grave of Major General Vladimir Frolov in Serafimovskoe Cemetery, St Petersburg. The circumstances of his death remain unclear

The grave of Major General Vladimir Frolov in Serafimovskoe Cemetery, St Petersburg. The circumstances of his death remain unclear

Major General Andrey Simonov (picture date unknown) was an electronic warfare commander

Major General Andrey Simonov (picture date unknown) was an electronic warfare commander

Russia confirmed the death of Major-General Roman Kutuzov (pictured) on Sunday

Russia confirmed the death of Major-General Roman Kutuzov (pictured) on Sunday

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Vladimir Putin has lost two more colonels

Paul Yanover is stepping down as president of Fandango after nearly a decade atop the country’s leading movie ticketing service. He will be replaced by Will McIntosh, who currently serves as executive VP of NBC Sports Next.

His new role will be slightly different, as he will serve as president of both NBC Sports Next and Fandango. NBC Sports Next operates GolfNOW, GolfPass, SportsEngine and other sports-related digital and e-commerce applications. McIntosh will report to Pete Bevacqua, chairman of NBC Sports and Matt Strauss, chairman of direct-to-consumer.

The well-liked, whip-smart Yanover will leave the company later this summer and will take time off before pursuing other endeavors. He joined Fandango in 2012, and worked to transform the business into more than a movie ticketing app, making it more of a digital network for film fans. Under his leadership, Fandango expanded its ticketing reach by buying MovieTickets.com, but it complimented that by buying Flixster, a social-networking movie website, and Rotten Tomatoes, which aggregates movie and television reviews. He also oversaw the expansion of Fandango Movieclips on YouTube and the purchase of transactional on-demand streamer, Vudu. Fandango reaches 50 million customers every month.

“Paul led Fandango for nearly a decade, growing the business from a popular movie ticketing app into an award-winning digital network that also includes MovieTickets.com and Flixster, Rotten Tomatoes, Vudu and Fandango Movieclips on YouTube,” Strauss said. “A respected and compassionate industry executive, Paul’s vision and leadership will be missed across the organization, and we wish him well as he enjoys some much-deserved time off prior to pursuing other endeavors.”

Before being named to his post at Fandango, Yanover served as executive VP and managing director of Disney Online, where he oversaw everything from Disney.com to Disney’s suite of premium digital products including online games, virtual worlds, network of family targeted sites, and streaming service Disney Movies Online.  Yanover began his career with Disney at Walt Disney Feature Animation, ultimately becoming VP of technology and digital production for the division, and also served as senior VP of Disney Parks and Resorts Online, overseeing the e-commerce business across Disney’s resorts and theme parks.

McIntosh previously spent a decade as the head of digital for Golf Channel, most recently as its executive vice president, business and strategy. Prior to that, McIntosh owned and operated his own business ventures with a focus on interactive marketing and software development within the hospitality industry.

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Paul Yanover is stepping down as president

HBO Documentary Films is currently producing a doc about the Y2K scare, which many at the turn of the century feared would signify a technological doomsday. Filmmakers Brian Becker (“MLK/FBI” producer) and Marley McDonald are currently looking for American home videos from Dec. 31, 1999, TheWrap can exclusively reveal.

Executive produced by Penny Lane and Gabriel Sedgwick — the team behind “Listening to Kenny G” — the feature will be told entirely through archival material and explore “how we narrowly averted the largest technological catastrophe to ever threaten humanity, and what, if anything, we learned from it.”

The as-yet-untitled project will explore the transmutation between early-90s calm to late-90s hysteria, where mass populations became increasingly concerned about a computer coding flaw that would cause all programs to crash and cease working — in the worst case, leading to nuclear annihilation.

The calls for home video and raw footage, made in partnership with the nonprofit Center for Home Videos, will include firsthand accounts from programmers, apocalypse survivalists, militia members and doomsday Christians

“Marley and Brian are incredible talents and it’s really gratifying to be able to support their first feature,” Lane said in a statement. “I can’t imagine a better match for me and Gabriel in terms of team, subject matter and creative approach as we foray for the first time into executive producing.”

Becker will also produce the film, which will be edited by McDonald. Senior producer Tina Nguyen and executive producers Nancy Abraham and Lisa Heller will produce for HBO. CAA Media Finance brokered the deal on behalf of the filmmakers.

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HBO Documentary Films is currently producing a


Matthew Lillard
Ja Tecson

Zoinks! Matthew Lillard is traveling back in time to visit the Scooby-Doo Mystery Machine 20 years after the live-action film’s 2002 release.

The Good Girls alum, 52, has teamed with Airbnb to invite fans to book a stay in the Mystery Machine van, which will be decked out in the grooviest gadgets from the ’60s-era. He will welcome the lucky guests with a virtual video — (“They didn’t make me put the bell bottoms on, thank God!”) — but don’t expect Lillard to reprise the role of Shaggy on the big screen any time soon.

‘Scooby-Doo’ Cast: Where Are They Now?

“We are all now in our fifties. I can’t imagine us as meddling teenagers and playing meddling teenagers anymore. The good news is that the thrilling thing for me is I still get to do the voice so I’m still engaged in the character. I’m still engaged in the franchise,” he exclusively told Us Weekly on Monday, June 6. “I hold this character as mine until they replace me and move me out to pasture. I take a lot of pride in that, so it’s really nice to be connected to a character all these years later. But if they ever did Scooby apocalypse, maybe then I would do it.”

Lillard starred as Norville “Shaggy” Rogers in Scooby-Doo and the 2004 sequel Scooby-Doo 2: Monsters Unleashed alongside Freddie Prinze Jr. (Fred), Sarah Michelle Gellar (Daphne) and Linda Cardellini (Velma).

Matthew Lillard Can't Imagine Reprising Scooby-Doo Shaggy 4

Matthew Lillard
Warner Bros/Kobal/Shutterstock

“I flew down to audition for the part. I was the first person they saw. We auditioned at like 10:00 AM on a Saturday morning,” Lillard recalled to Us. “And the only way I could do the voice originally was to scream myself horse. So I pulled into the audition and — I’ll never forget — the director [Raja Gosnell] and the producer were walking across the parking lot. I didn’t see them at the time. And I was screaming in my car, ‘Ahhhh! Ahhh!’ And they come up to the window and they knocked on the window. And they’re like, ‘Are you OK?’ I’m like, ‘Yeah, just getting ready for the voice.’”

‘Scream’ Cast: Where Are They Now?

Once he landed the role, the Scream star “had to figure out how to do it” for “hours on end” on set.

Matthew Lillard Can't Imagine Reprising Scooby-Doo Shaggy 3

Matthew Lillard
Warner Bros/Kobal/Shutterstock

“Every day on the way to work, whether it was a five-minute drive or a half hour drive or an hour drive, I would listen to Casey Kasem on a loop,” he said of the late radio DJ, who originated the voice. “I had the AV department cut together, like, 15 episodes of just Casey doing Shaggy. I still have it somewhere.”

For Lillard, it’s been “super rewarding” to be a part of the iconic franchise. “It’s fun to celebrate a movie I did so long ago that people still care [about.] It’s humbling,” he said. “I’m just thrilled to be a part of it.”

‘Summer Catch’ Cast: Where Are They Now?

The Mystery Machine stay is now bookable on Airbnb and is located on a private property along the Southern California coastline. It will include all-you-can-eat snacks and a selection to choose from for dinner (including Shaggy and Scooby’s favorites like hot dogs and eggplant burgers!), mystery games, a chance to listen to Sugar Ray’s album on a portable CD player while setting the mood with a lava lamp, a late-night rewatch of Scooby-Doo, an outdoor setup with lounge seating and more.

Matthew Lillard Can't Imagine Reprising Scooby-Doo Shaggy 2

Freddie Prinze Jr, Linda Cardellini, Matthew Lillard, Sarah Michelle Gellar
Hannah Barbera Prods/Atlas/Kobal/Shutterstock

“It’s spectacular. … I just think that for fans of the movie, they’re gonna love it,” the She’s All That actor told Us. “They spared no expense in creating this experience. I walked out to see it and the whole crew kind of stepped back and let me have a moment [to look around]. … It’s inspiring.”

Guests will be able to book three individual one-night stays on June 24, June 25 and June 26 for only $20 a night. Mystery Inc. fans can request to book this stay beginning Thursday, June 16, at 1 p.m. ET. For more information, go here.

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Matthew Lillard Ja TecsonZoinks! Matthew Lillard

By now you’d think you know what you’re getting with an Adam Sandler sports movie. “Happy Gilmore” and “The Waterboy” have conditioned us to expect silly voices and left hooks from irritated game show hosts.

But in “Hustle,” Sandler’s new basketball movie on Netflix, he pulls a crossover. The film, directed by Jeremiah Zagar, isn’t the farce you might expect. Rather, it’s one of the most textured and affectionate films about basketball that’s come along in a long time. Starring Sandler as a road-weary NBA scout and with several teams’ worth of all-stars in cameos, “Hustle” has a surprisingly good handle and feel for the game.

A longtime Knicks fan and pick-up player, it’s probably inevitable that Sandler would eventually find his way to a hoops movie. “Uncut Gems,” one of his most recent leading roles, as a gambling-addicted jeweler with a big bet on a Boston Celtics game, veered closer to the sport and co-starred Kevin Garnett. The LeBron James-produced “Hustle,” which debuts Friday, isn’t as distinctive or (thankfully) as stress-inducing as Josh and Benny Safdie’s film, but it’s likewise rich in atmosphere and finds Sandler in fine dramatic form.

Sandler plays Stanley Sugarman, a talent scout for the Philadelphia 76ers, who spends his days circling the globe looking for the next Dirk Nowitzki. Life on the road has beaten him down — his wife, Teresa (Queen Latifah) and daughter (Jordan Hull) are accustomed to his absences — and Stanley harbors dreams of transitioning to the coaching ranks. Or not dreams, exactly.

“Guys in their 50s don’t have dreams,” he says. “They have nightmares and eczema.”

Stanley’s opportunity finally comes when the team’s longtime owner, Rex Merrick (Robert Duvall), promotes him to assistant coach. But after Merrick dies, the team is taken over by the owner’s brash son Vince (Ben Foster), who has feuded before with Stanley over the potential of a German prospect. Vince puts Stanley back on the road. “You’re valuable as a coach,“ he tells him. “You’re indispensable as a scout.”

Back on the road, Stanley is in Spain when he notices a crowd gathering outside a gym, on the blacktop. There he sees a construction worker named Bo Cruz (played by NBAer Juancho Hernangómez) whose talent is off the charts, even playing in Timberlands. Stanley, agog Bo’s defensive and shooting prowess, trails Bo to his home to recruit him to the Sixers. After a fallout with Vince, Stanley devotes himself to getting Bo into the NBA draft. Along the way, Sandler gets to put his own spin on that fabled sports movie type, the hard-training coach. “Hustle” doesn’t veer wildly from the “Rocky” formula, but it does capture something fresh about the bond between player and coach. It’s also a clever twist that Bo’s greatest talent is his defense, and his biggest hurdle to success is keeping his cool.

All of this plays out in Taylor Materne and Will Fetters’ script with a keen sense of detail that will delight NBA fans. There is even a reference to a woebegone Andrea Bargnani trade that will make Knicks fans chuckle (and cringe). The cameos keep coming, including most of the current Sixers roster, Allen Iverson, Boban Marjanović, Luka Dokic, Trae Young and some more fleshed-out characters, like Bo’s rival draft pick Kermit Wilts, played charismatically by Timberwolves guard Anthony Edwards.

With each appearance, the distance between “Hustle” and the actual NBA grows increasingly small. Stanley’s great fear is being left outside “the game,“ and “Hustle” is often intoxicatingly close to it. This is a movie where you get to see Sandler call Nowitzki “Schnitzel” on FaceTime and marvel at Julius “Dr. J” Erving (a still extremely potent presence) showing up to a playground court.

Some might say “Hustle” verges close to NBA advertisement, but Zagar, a South Philly native who emerged with the 2018 indie “We the Animals,“ frames the pros who populate his film like people and players, rather than stars. And Sandler imbues Sugarman with not just genuine basketball obsession but the common mid-life struggle of finding only ingratitude from an employer after half a life of tireless service. After some less strenuous workouts for Netflix, Sandler works hard to give “Hustle” the full-court press — even if his wardrobe of jerseys and mesh shorts might have come right out of his closet.

Sandler’s film would make a solid double-header with another Netflix film, Steven Soderbergh’s “High Flying Bird,” the ,-penned 2019 drama with Andre Holland as a sports agent hustling during an NBA lockout. “Hustle“ is a more amiable film, less interested in prying into the underpinnings of the league. But for a sport that has only occasionally been captured authentically by the movies, “Hustle” has genuine flow.

“Hustle,” a Netflix release, is rated R by the Motion Picture Association of America for language. Running time: 117 minutes. Three stars out of four.

___

Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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By now you’d think you know what

Dirty Daddy

Bob Saget’s death at the beginning of the year was a major shock to the comedy community, both because it was unexpected and because he had made so many long friendships with other comedians—many of whom loved to point out the incongruity of the clean-cut image of his Full House character with the real guy they knew. Then, back in March, we heard that Netflix had bought the distribution rights to the video of a tribute show held in Saget’s honor at the Comedy Store in February. (So, if you’re concerned about this seeming ghoulish, it sounds like Saget’s friends chose to tape it and then they offered it to Netflix, rather than Netflix saying “hey, let’s tape this.”)

Today, Netflix released a trailer for the special, called Dirty Daddy: A Tribute To Bob Saget, along with the announcement that it will be released tomorrow, June 10. The special will feature appearances from Jim Carrey, Chris Rock, John Mayer, John Stamos, Saget’s widow Kelly Rizzo, his daughters Lara and Aubrey, Jeff Ross, Darren Criss, Michael Keaton, Seth Green, and what seems to be many, many more.

Of course, while the concept seems very maudlin on paper, Saget’s friends would never allow that to really be the tone of this thing. The trailer, at least, plays like more of a roast, making it a loving nod to Saget’s dark sense of humor rather than a teary-eyed ode to a good guy. Bob Ross, for example, refers to the event as “The Bob Super Spreader,” prompting Carrey to fake a hacking cough and say “we’re coming to see you, Bob.” Chris Rock also jokes that “it’s sad that motherfucker had to die to get Jim Carrey back on stage.”

Dirty Daddy: A Tribute To Bob Saget will be available on Netflix tomorrow.

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There’s only one thing a Gin Guy wants for Father’s Day, according to Ryan Reynolds: A “Vasectomy.”

The Aviation Gin founder released a new ad for his spirits company on Thursday, June 9, starring fellow Hollywood dad Nick Cannon, who currently has eight children, with a ninth on the way. 

In the spot, Cannon shares the recipe for “the mother of all cocktails”—the “Vasectomy.” 

“Lord knows I need one,” says Cannon. 

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Cannon shared the video to Instagram and tagged Reynolds in the caption, writing “Yeah…thanks a bunch.” Reynolds replied to Cannon in the comments section, expressing solidarity: “I’m making mine a double.” 

Reynolds and his wife, Blake Lively, share three daughters together: James, 7, Inez, 5, and Betty, 2. The actor is notoriously candid about fatherhood, and is the first to tease himself about parenting. 

When asked in March about his brief break from acting, which he said was necessary in order to spend more time with his family, he joked, “It’s been hell, I’m going right back. I’m taking the first movie I can find.”

“No, it’s been great,” he added, referring to time with the daughters. “I’m still busy but I get to be there for my kids in the morning and at night I get to put everyone to bed, so I love that.” 

Sharing the ad to his own Instagram account, Ryan Reynolds conceded that the cocktail is “not 100% effective,” which, duh. But what does it mean for the future of the Reynolds family? Personally, I’m choosing to believe there’s still a chance of another baby in Blake and Ryan’s future. Who wouldn’t want more of these curls?!


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There's only one thing a Gin Guy