BGUS_2396905_001.jpg
Sienna Miller and Oli Green watched a match at the 2022 French Open at Roland Garros in Paris.
0 Comments
Sienna Miller and Oli Green watched a
Sienna Miller and Oli Green watched a match at the 2022 French Open at Roland Garros in Paris.
Sienna Miller and Oli Green watched a
Gaming management firm Loaded has signed streamer QTCinderella to its talent roster. The agency will grow and manage her brand, while exploring business and investment opportunities.
QTCinderella’s content on YouTube and Twitch includes streaming games such as League of Legends, Fortnite, online chess and poker, as well as live vlogging.
She is the founder and host of The Streamer Awards, an event birthed this year to honor the performances and achievements of live streamers. She also founded ShitCamp, where Twitch streamers come together to participate in challenges and create content that is distributed to fans. Participants have included Myth, HasanAbi and xQcOW.
“I always appreciate when I’m invited to things, but I know that it’s hard for streamers to organize events, so I decided I would just do it myself and invite them instead,” said QTCinderella in a statement. “I’m excited to work with Loaded because they really believe in me and want to ensure I can stay focused on what I do best. I want to be able to put on a ton more events this year so having the right team around me is super important.”
Loaded’s president of talent, Bridget Davidson, adds: “QT is one of the hardest working and most influential creators in gaming right now. She is a creative powerhouse and pioneer who is dominating the current event meta on Twitch. We love that QT has friends from every corner of gaming that she is able to bring together through her collaborative content ideas and projects. She is also a huge advocate for other female streamers and is vocal around the issues that impact so many of them, which is something we really admire.”
The agency’s client list includes popular streamers such as Shroud, Myth, DrLupo and CouRage.
Gaming management firm Loaded has signed streamer
Quentin Tarantino is going back to his roots.
The iconic filmmaker teams up again with “Pulp Fiction” co-screenwriter and fellow former Video Archives coworker Roger Avary to discuss the classic collection of cult films. The duo met back in 1983 when working at the famed video rental store in Manhattan Beach, California. The long-closed shop housed close to 8,000 VHS tapes and DVDs, which Tarantino purchased in 1995, the same year he and Avary won the Oscar for Best Original Screenplay for “Pulp Fiction.”
Now, in “The Video Archives Podcast,” Tarantino and Avary rewatch the original tapes from the Video Archives collection, featuring movies like “Dark Star,” “Moon Raker,” “Demonoid,” “Messenger of Death,” and “Piranha.” The podcast launches July 19 and is produced by SiriusXM subsidiary Stitcher.
“We never imagined that 30 years after we worked together behind the counter at Video Archives, we would be together again doing the exact same thing we did back then: talking passionately about movies on VHS,” Tarantino and Avary said in a joint statement.
The duo continued, “Watching movies was what originally brought us together and made us friends, and it’s our love of movies that still brings us together today. So we surrounded ourselves with the original Video Archives collection, where we both worked before we became celebrated filmmakers, and time-traveled ourselves back to the golden age of VHS.”
The podcast promises to rewatch everything from “controversial James Bond films to surprising exploitation flicks” to ultimately “expose listeners to movies they didn’t know they’d love, give awards to their favorites, and of course, rate the quality of the video transfer.”
“The Video Archives Podcast” will also discuss the original trailers as included on the VHS tapes while discovering the “hidden VHS gems on our shelves.”
Avary’s daughter Gala Avary serves as announcer and producer of the podcast, along with Josh Richmond. The podcast is engineered by Devon Bryant, with executive producers Colin Anderson and Natalie Mooallem. Earwolf, Stitcher’s comedy podcast network, will provide production support.
“The Video Archives Podcast” premieres July 19.
Listen to the podcast trailer below.
Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
Tarantino and "Pulp Fiction" co-screenwriter Avary dive
The Weeknd and blockchain and cryptocurrency company Binance have joined forces to bring the world the first crypto powered world tour. The Weeknd’s “After Hours Till Dawn” tour, set to begin July 8, 2022, will mark the first global concert tour to integrate Web 3.0 technology for an enhanced fan experience.
To kick off the tour, Binance will be donating $2 million to the XO Humanitarian Fund, which supports lifesaving emergency operations in hunger hotspots globally. Additionally, The Weeknd and Binance partnered with HXOUSE on creating a unique designed NFT collection, where a portion of the sales will also be donated to the XO Humanitarian Fund.
BRIDGER SCOTT CLEMENTS
+ The music and podcast platform Audio Up has named Kate London head of music legal & business affairs, the company has announced. London joins from Irving Azoff’s Global Music Rights, where she was VP of business & legal affairs, and previously held senior roles at Interscope and Warner Records, Loeb & Loeb and the British law firm Clinton’s Solicitors.
“We are truly fortunate to have Kate join Audio Up as we embark on the next phase of our business,” said Audio Up founder and CEO Jared Gutstadt. “Not only is she one of the most dynamic media executives I’ve encountered, but her knowledge of the music space and ability to creatively approach the business is unparalleled. Working closely with our president of Music, PJ Bloom, Kate will provide guidance and steer our ambitious deal making as we build out our music vertical and become a true 360 media brand.”
Live Nation has added four new key hires to their Latin touring division. In Latin tour marketing, Daryivett Romo fills the role of director while Katrina Rodriguez comes on as manager. In addition, Stephanie Rodriguez becomes the new Latin tour marketing coordinator and Nadia Hernandez has stepped in as the concert division’s new director of Latin communications.
Prior to joining Live Nation, Romo spent 8 years at CMN Events where she worked as project manager for major tours such as Juan Gabriel, Maluma, Alejandro Fernandez and Ricardo Arjona. She is currently working 38 dates for Wisin y Yandel, 40 shows for Gloria Trevi and 35 for Los Angeles Azules, among other tours.
Previously, Katrina Rodriguez was the brand partnerships manager at Universal Music Group where she spent 3 years helping the global company secure artist partnerships. The tours she oversees include Bunbury, Santa Fe Klan, Rels B, Enanitos Verdes, Gera MX, among others.
Stephanie Rodriguez brings 10 years of experience to her new role, having previously worked at entertainment companies such as iHeart Media and SBS Radio. At Live Nation, she will be involved in more than 20 tours, including those of Bad Bunny, Los Bukis, Wisin Y Yandel and Angela Aguilar.
Most recently, Hernandez worked at Cashmere Agency where she led strategy for Taco Bell, Coca-Cola, and Danone. In her new role, she will monitor press initiatives and Latin media strategies for all of Live Nation’s Latin tours and touring artists. Her focus will be on theater shows, as well as global and national Latin tours.
Pictured at top (from left): Nadia Hernandez, director of Latin communications, concerts; Katrina Rodriguez, Latin tour marketing manager; Daryivett Romo, Latin tour marketing director; Stephanie Rodriguez, Latin tour marketing coordinator.
+ BMLG Records, a subsidiary of HYBE America, has signed Shane Profitt in partnership with Chris Janson’s Harpeth 60 Records. The 22-year-old Tennesse native joins the Big Machine Label Group imprint’s roster which boasts Lady A, Brett Young, Riley Green and Laci Kaye Booth.
“There are no words to describe how excited I am to work with BMLG Records and Harpeth 60 Records,” shared Profitt. “Thank you to everyone who has believed in me and made this dream come true. I can’t wait to get my music out to the world.”
The has named Seth Dudowsky head of music, overseeing booking, staging, and production of musical performance entertainment for league events, including the Super Bowl Halftime Show, where he will work with Roc Nation. A “ten-season” veteran of the league, he is also responsible for the commercial music licensing team for NFL Media, which works to enhance the quality of music curation across the League’s platforms, according to the announcement. Dudowsky also serves as a resource for the NFL’s 32 clubs in their music and entertainment booking needs and leads the NFL’s partnerships with the broader music industry.
Prior to overseeing the music team, Dudowsky as director of programming for NFL Network, where he developed content strategies. He joined the NFL in 2013 from ESPN, where he led programming for the company’s international networks in over 200 countries and managed scheduling and rights acquisitions for a wide array of sports leagues from across the world. He began his career at New York sports talk radio station WFAN.
+ Republic Records has promoted Taylor Vaughn to vice president of media, it was announced by executive VP of media and artist relations Joseph Carozza. Based in Los Angeles, she joined Republic in 2014 after three years at Epic Records.
Over her tenure at Republic she has worked with newer artists such as Glass Animals, BoyWithUke, Conan Gray, James Bay, Lord Huron and others, as well as veterans like Pearl Jam, John Mellencamp and Jack Johnson.
Carozza said, “I’ve worked with Taylor for over a decade, and she’s been beyond impressive from day one. Her passion for music is unparalleled. It’s a big catalyst for her success as a publicist as she wears her love for every artist on her sleeve.”
As a part of the largest partner class in United Talent Agency‘s (UTA) history , Mike “Mike G” Guirguis, Jbeau Lewis, Matthew Morgan and Toni Wallace have been promoted to partner.
Mike G represents a variety of artists across multiple genres, including Lil Wayne, the Kid Laroi, Romeo Santos, Burna Boy and more. Prior to UTA, he served as a talent manager for artists including Chris Brown, Akon, and Teyana Taylor, among others.
Lewis handles and equally diverse roster, including Bad Bunny, Muse, Chance the Rapper, Karol G and Jason Derulo, among others. Prior to UTA, Lewis spent 11 years in the music department at CAA, working with artists including Katy Perry, Ariana Grande and Ludacris.
Matthew Morgan is the co-head of UTA’s Nashville office and has worked with Lizzo (whose career he played a pivotal role in, introducing her to her producer and label), Zac Brown Band, Anderson East, Cam, JP Saxe, Michael Franti, Rodrigo y Gabriela and many others. He previously spent 13 years at CAA and two years at CMT.
Wallace is responsible for leading brand strategy and marketing partnerships for UTA’s music roster of over 1,000 artists including Post Malone, Marshmello, 21 Savage, Offset and many more. She also ran sponsorships and experiences for Post Malone’s “Posty Fest,” H.E.R.’s “Lights On Festival,” and Swizz Beatz and Timbaland’s Verzuz online DJ battle series. Prior to joining UTA, Wallace ran brand partnerships and licensing for five years at Columbia Records, following five years at Microsoft.
+ Snap has hired Maaliq Joseph as manager of music artists partnerships on the talent partnerships team. In this new role, Joseph will help manage and develop relationships with artists on the platform, supporting strategic content opportunities. He will report to Francis Roberts, Snap’s head of creator partnerships.
Based in Los Angeles, Joseph joins Snap after spending three years at Warner Music Group as a manager of artist development/touring. He has worked with artists like Saweetie, NLE Choppa, Isaiah Rashad, Wale, Earl Sweatshirt, Freddie Gibbs, Baby Tate and more.
Before WMG, he spent three years at Creative Artists Agency (CAA) under Mark Cheatham, global head of hip-hop/R&B. He handled touring and booking for artists including Cardi B, A Boogie Wit Da Hoodie, Fetty Wap, Young Thug, Anthony Hamilton and more.
The Weeknd and blockchain and cryptocurrency company
We consider each season of a series and each film on their own, so you might see both Stranger Things seasons 2 and 3 in the Top 10. Because titles sometimes move in and out of the Top 10, we also show the total number of weeks that a season of a series or film has spent on the list.
To give you a sense of what people are watching around the world, we also publish Top 10 lists for nearly 100 countries and territories (the same locations where there are Top 10 rows on Netflix). Country lists are also ranked based on hours viewed, but don’t show country-level viewing directly.
Finally, we provide a list of the Top 10 most popular Netflix films and TV overall (branded Netflix in any country) in each of the four categories based on the hours that each title was viewed during its first 28 days. Since some titles have multiple premiere dates, whether weekly or in parts, we count the 28 days from each episode premiere date in each country. This means that for Money Heist: Part 5, the total number of hours represents 28 days from the premiere of episodes 1-5 plus 28 days from the premiere of episodes 6-10. For titles that are Netflix branded in some countries but not others, we still include all of the hours viewed.
All of the weekly lists and weeks in the Top 10 on the site start from June 28, 2021.
Weekly reporting is rounded to 10,000 to account for any fluctuations in internet connectivity around the world.
We engaged EY – an independent accounting firm – to review the weekly lists from July 6, 2021 to January 4, 2022. See report here.
Every Tuesday, we publish four global Top
After surviving one of the most depressing winters on record, June has emerged like a welcomed FWB up in the DMs. And I’m not complaining. So it’s a good thing our pals over at Netflix have a searing selection of scary films and series that are 100% down to clown. From the demonic intercourse infections of It Follows to the sexy nightclub adventures of Slasher: Solstice, there’s no lacking of horny titles ready for you to hit up on the world’s largest streamer.
First up on the our list of horniest horror films available to stream on Netflix is It Follows, an ultimate sex-and-horror cornucopia. It’s the only film on the following list where the horniness is an actual antagonist. It gives a whole new reason to fear STIs. Released in 2014, It Follows concerns a young woman who is persistently chased down by a monstrous entity who attached itself to her after a sexual encounter … and the only way to pass it off is to sleep with someone else. Maika Monroe gives a powerful performance in this undeniable 2010s horror classic. Say what you will about It Follows, but that score by Disasterpiece absolutely slaps.
Coming in hard for second place is Cam, a 2018 horror movie written by Isa Mazzei which pulls inspiration from her personal experience working as a camgirl. Madeline Brewer delivers a pitch perfect performance as Alice (aka Lola) and there’s no denying that this indie title delivers on all levels. A subversive exploration of sex work, bodily autonomy and grotesque horror, Cam is a must-watch for fans of found footage. This title made its premiere at the always iconic Fantasia International Film Festival before getting acquired by Netflix, so give it a spin.
For those a little more interested in queer horniness, the third season of the horror anthology series Slasher will do just the trick. Slasher: Solstice concerns a gorgeous bisexual named Kit who finds himself in some pretty steep trouble. This season of the cult classic series is as queer as it gets, and there’s plenty of sex to go around. It also never shys away from the outrageous gore and heightened drama. If you’re sleeping on this show then I’d say it’s about time to wake up. The fourth season even sees a cameo from the one and only David Cronenberg.
Another hot and heavy title from the aforementioned list is the 2009 remake of Friday the 13th. And why not? Part of the thesis of these films is the repercussions of sex, making sure that most of the entries in the franchise feature a lot of it. The remake is certainly no different. From the extremely brutal opening sequence to the intense third act, there is plenty of horniness to go around. While it’s not exactly the healthiest alignment of sex and horror, there’s still certainly a good amount of both on display.
Lastly, what do you think? Are you going to make some time to hook up with any of the above horror films available to stream on Netflix? Let us know over on Twitter via @DreadCentral. We’re always around to chat all things horny horror!
Netflix is heating up for summer. After
The CW has lost more Legends.
The network’s reboot of Legends of the Hidden Temple has been cancelled after one season, TVLine has confirmed.
Hidden Temple over its 13-episode run averaged not quite 300,000 total viewers and just a 0.1 demo rating — and that’s with Live+7 playback factored in. Out of everything The CW aired this past TV season, it only drew a larger audience than Killer Camp and March. The Season 1 finale, now serving as the series finale, aired Jan. 16.
A nostalgia-filled reboot of Nickelodeon’s 1993-95 game show, The CW’s Legends of the Hidden Temple pitted four teams of two adults against one another in physical and mental challenges, until the last duo standing got a chance to run through Olmec’s temple and potentially win $25,000 in the final round. Actress and comedian Cristela Alonzo (Cristela) hosted this new iteration, while OG Legends alum Dee Bradley Baker returned as the voice of Olmec.
It’s been an atypically cancellation-happy year for The CW, likely due to the network’s rumored upcoming sale (perhaps to the Nexstar affiliate group) and thus its uncertain future. Last month alone, The CW axed Legacies, Charmed, 4400, Naomi, Dynasty, In the Dark and Roswell, New Mexico, all of which joined the previously cancelled Batwoman and Legends of Tomorrow.
Riverdale, meanwhile, will end with Season 7, set to premiere in 2023.
How do you feel about Hidden Temple‘s cancellation? Tell us below.
The CW has lost more Legends. The network’s reboot
The Producers Guild of America, which earlier this year tipped the best picture Oscar race by awarding its own top honor to CODA, has set the date for its 34th PGA Awards, as well as key deadlines and events leading up to it.
After taking place this year at the newly renovated Fairmont Century Plaza, the ceremony is headed back to its prior location, the Beverly Hilton, on Saturday, Feb. 25, 2023.
This will follow a nomination voting period spanning Dec. 21, 2022 through Jan. 11, 2023 for theatrical and animated motion pictures and Dec. 14, 2022 through Jan. 11, 2023 for TV series/specials and streamed or televised motion pictures. Nominees for both of those media will be revealed Jan. 12, 2023, and final voting for both will span Jan. 23 through Feb. 17.
Here is a full listing of key dates related to the PGA Awards…
Eligibility Period for 2023 Producers Guild Awards
Notice of Producing Credits Form Deadline
Screener Submission Deadline
Nomination Polls Open
Nomination Polls Close
Nominees Announced
Final Polls Open
PGA’s East and West Coast Celebrations of the 2023 Producers Guild Awards Nominees and Producing Teams
Final Polls Close
Awards Show
The Producers Guild of America, which earlier
INGLEWOOD, CALIFORNIA – FEBRUARY 13: Mary J. Blige performs onstage during the Pepsi Super Bowl LVI Halftime Show at SoFi Stadium on February 13, 2022 in Inglewood, California. (Photo by Kevin Mazur/Getty Images for Roc Nation)
If you are anything like me, you watch the Super Bowl just for the halftime show. From Lady Gaga to Beyonce and Katy Perry, the Pepsi Super Bowl Halftime Show has seen an incredible variety of performers hit the stage in front of a worldwide audience. After the Pepsi Super Bowl, LVI halftime show saw musicians Kendrick Lamar, Snoop Dogg, Eminem, Dr.Dre, and Mary J. Blige join together this year, an even bigger light has been shed on the Super Bowl halftime show. Now that Pepsi has dropped out as a sponsor, what does that mean?
Pepsi renewed its partnership with the Super Bowl last Tuesday, which gives the company the right to use the NFL in advertisements. However, the partnership that was renewed does not include the halftime show. The company is focused on expanding its digital media efforts to increase viewership of the Super Bowl after a slight decline in viewers. While the terms of the agreement are not known, it is unclear who the new sponsor of the halftime show will be. The NFL is, however, looking for a partnership that could implement more behind-the-scenes content and expand the Super Bowl halftime show.
As of recent, there have been behind-the-scene documentaries about Katy Perry and Lady Gaga’s Super Bowl performances. A documentary focusing on Jennifer Lopez’s part in the 2020 Pepsi Super Bowl Halftime Show will debut on Netflix on June 20. With a new sponsorship set for the upcoming Super Bowl halftime shows that are coming up, the possibilities for viewers to get a greater behind-the-scenes view for years to come.
Who do you want to see perform at the Super Bowl halftime show? Sound off below in the comments!
INGLEWOOD, CALIFORNIA - FEBRUARY 13: Mary J.
Kenny and Robert begin this Season Finale joined by Composer Carol and Matt Schrader reminiscing on the best moments of Season 4 and recapping the Emmy winners in the music categories.
Subscribe to MORE SCORE on Patreon for year-round interviews, film music talk and even cool merch: http://Patreon.com/MoreScore
Then, legendary songwriter and composer Randy Newman (Toy Story franchise, Monsters Inc., Meet The Parents, Meet The Fockers, Marriage Story, James and the Giant Peach, A Bug’s Life) joins to share stories about his early days growing up around his his uncles Alfred and Lionel, closely watching maestros Jerry Goldsmith and John Williams evolve into film music titans, revealing why Frank Sinatra passed on what became one of Randy’s greatest songs and explaining why he decided to score Toy Story, which catapulted his film scoring legacy.
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
© 2021 Epicleff Media
Review on iPhone or iPad
1. Launch the Apple Podcasts app.
2. Tap the Search tab (on the bottom right) and enter “Score: The Podcast” in the search. Look for the SCORE logo to appear.
3. Select Score: The Podcast, and then tap the Reviews tab.
4. Tap Write a Review at the bottom.
5. Before pressing Send, take a screenshot of your review by pressing the Home and Power buttons on your iPhone at the same time. This is your proof of entry to win an autographed copy of SCORE: A FILM MUSIC DOCUMENTARY. (Be sure you remember to hit Send after!)
(Optional) 6. Tweet us your screenshot @ScorethePodcast. This way we’ll be able to contact you through Twitter, as the Podcasts app does not allow us to contact you. Pat yourself on the back for helping launch this podcast! Bravo, maestro!
Review on Android
1. Go to Score: The Podcast’s page on Stitcher: https://www.stitcher.com/podcast/score-the-podcast
2. Tap on the stars to rate the show and leave a review! (You may need to create an account to leave a review, if you haven’t already.)
3. Before pressing Send, take a screenshot of your review by pressing the Volume Down and Power buttons on your Android device at the same time (hold for 1 second). This is your proof of entry to win an autographed copy of SCORE: A FILM MUSIC DOCUMENTARY. (Be sure you remember to hit Send after!)
(Optional) 4. Tweet us your screenshot @ScorethePodcast. This way we’ll be able to contact you through Twitter, as the Stitcher app does not allow us to contact you. Pat yourself on the back for helping launch this podcast! Bravo, maestro!
Review on iTunes (Windows or MacOS X)
1. Open iTunes or click on this link: https://itunes.apple.com/us/podcast/score-the-podcast/id1357882784.
2. Search for “Score: The Podcast” and look for the SCORE logo to appear.
3. Select Score: The Podcast, and then tap the Reviews tab. Tap Write a Review at the bottom.
4. Before pressing Send, take a screenshot of your review (on Windows, press Windows+PrtScrn or use the Snipping Tool; on Mac, Shift+⌘+4). This is your proof of entry to win an autographed copy of SCORE: A FILM MUSIC DOCUMENTARY. (Be sure you remember to hit Send after!)
(Optional) 5. Tweet us your screenshot @ScorethePodcast. This way we’ll be able to contact you through Twitter, as iTunes does not allow us to contact you. Pat yourself on the back for helping launch this podcast! Bravo, maestro!
Follow SCORE: THE PODCAST on Twitter @scorethepodcast
Kenny and Robert begin this Season Finale
A female sunbather has been injured after being bitten by a wild boar which rushed out of the sea on a Costa Blanca beach.
Footage shows locals and tourists screaming and taking cover as the wild boar runs over their towels and along the beach.
Lifeguards managed to chase the animal away from the beach and crowded seafront bars and cafes before it caused any more problems.
Emergency responders were alerted just after 11am at El Albir beach just north of Benidorm.
The animal had been spotted in the water by boat crews who tried to catch it, but were then forced to alert lifeguards as it began to head for dry land.
While it is not known how the animal ended up in the sea, it is thought to have come from the nearby Serra Gelada Natural Park, which consists of over 5,000 acres of coastline which stretches through the Benidorm, Alfaz del Pi and Altea regions.
The boar rushed out of the water while tourists were sunning themselves and enjoying the weather.
Lifeguards sounded the alarm as the wild animal ran around the beach in south Spain, terrorising the sunbathers.
Footage shows locals and tourists screaming and taking cover as the wild boar runs over their towels and along the beach
Beachgoers tried to catch the boar but were unsuccessful in containing the beast before it injured a woman bitten on the leg
It is thought to have come from the nearby Serra Gelada Natural Park, which consists of over 5,000 acres of protected coastline in the municipalities of Benidorm, Alfaz del Pi and Altea
The boar collided with the woman and bit her, though it is not known whether the bite was intention, said medics who treated the injured woman at a local health centre.
The nationality of the 67-year-old woman hurt, the only person who was injured, is not yet known.
Medics cleansed her leg injury as a precaution, telling her to take antibiotics to prevent infection.
In a related announcement, the nearby city of Dénia is set to use archers to keep tourists safe from the problem of wild boars roaming town streets at night.
Local councillors confirmed they are in contact with expert archers in a bid to stop the animals eating farmers’ crops, causing traffic accidents, messing up golf courses and attacking humans – in what they say is a rare scenario.
The animals are leaving their natural habitat in the countryside to look for food.
Officials in Denia placed cage traps at points around the city to try to reduce the growing numbers of wild boar.
The cages were fitted with cameras to enable town hall chiefs to keep count on the amount of wild boars captured and avoid people getting trapped by mistake.
Local councillors said the cages had not worked however. Boar continued to eat farmers’ crops, cause traffic accidents, mess up golf courses and in worst case scenarios attacking humans.
The plan to use arrows as weapons has been drafted because bullets are forbidden.
The animal had been spotted in the water by boat crews who tried to catch it and saw it head for land
Wilf boar numbers have exploded across Europe, with the latest estimates now surpassing around 10 million of the animals across the continent
Boars can carry a wide variety of diseases and are increasingly drawn to cities, where they live off rubbish discarded by human
Denia’s environment councillor Maite Perez Conejero said at a full council meeting officials were in talks with the Hunting Federation in Alicante, coordinating an operation involving hunters in different parts of the municipality.
She said she was confident that in just over a fortnight draft proposals outlining how the scheme would work on public and private land would be in place.
Barcelona resident Xavier Bosch said he was bitten by a wild boar near the city’s Tibidado Amusement Park after going with his family to star gaze.
Wild boar numbers have exploded across Europe, with the latest estimates now surpassing around 10 million of the animals across the continent.
Boars can carry a wide variety of diseases and are increasingly drawn to cities, where they live off rubbish discarded by humans.
A female sunbather has been injured after
The music branch of Emmy voters is not always impressed by big names. Take last year, when Beyonce, Cher, H.E.R. and even Bruce Springsteen had songs in the mix for consideration Voters ignored them, shutting out superstars in favor of composers and songwriters within the. World of TV.
What does that mean for this year’s race? Robert Lopez and wife Kristen Anderson-Lopez, who were early frontrunners last year and ultimately won with “WandaVision’s” “Agatha All Along,” return this time with another earworm, “You Are the Music” for Apple TV+’s animated comedy “Central Park.”
Anderson-Lopez came up with the essence of the song, in which Josh Gad’s character, Birdie, is feeling threatened by Rory O’Malley’s Elwood, who he feels is going to take his job. That motif plays alongside the bigger theme of the episode about competitiveness between Tillerman siblings Cole (voiced by Tituss Burgess) and Molly (Emmy Raver-Lampman). Ultimately, the song turns into an appreciation by Birdie and Elwood of what the other is doing.
For “This Is Us,” series composer Siddhartha Kholsa co-wrote the ballad “Day of the Wedding” with Taylor Goldsmith, the frontman for the band Dawes. As the series comes to an end after a six-season run, the song was played at Kate and Phillip’s wedding and performed by Mandy Moore, the leading lady and Goldsmith’s wife. Upon release, the song beat both Harry Styles and Jack Harlow, reaching No.1 on the iTunes chart. That success could bode well for another Emmy bid for Kholsa; he also worked on the score to Hulu’s “Only Murders in the Building.”
“The Marvelous Mrs. Maisel” finally returned to the small screen with Thomas Mizer and Curtis Moore penning new songs, and “RuPaul’s Drag Race” turned to Leland to write songs for the finale queens.
While there’s no shortage of regular TV composers and songwriters who could make up the contenders’ list, as they did last year, big names from mainstream pop, rock and country music are also again looking to make a mark and add an Emmy to their trophy case.
Keith Urban wrote “Crimson Blue” for “Nine Perfect Strangers.” His directive was to write something in the “Pink Floyd trippy vein — something ethereal and other-worldly,” he says. Urban picked up his guitar and started playing a few chords, trying lyrics. Sang Urban, “I never saw the sky crimson blue.” That became the opening line, song title and the hook for the melody.
Fellow country singer Miranda Lambert also took to writing for TV with “Y’All Means All.” The song about positivity is featured in Netflix’s “Queer Eye.” Lambert turned to her younger brother for inspiration, asking him, “What are all the cool kids saying these days?’ He said, ‘Well, ‘y’all means all’ is a hashtag right now.’ Because he’s my younger brother, he knows what’s cool, and he’s gay, so he knows everything fabulous,” Lambert says of the song that became an anthem for the series.
Perhaps the biggest name vying to make an impact is Rolling Stones frontman Mick Jagger. He was called on by Apple TV+ to write the main title and end-credits song “Strange Game” for the series “Slow Horses” along with composer Daniel Pemberton.
After Pemberton sent him a basic track, “I just recorded it on my iPhone and sent it to him, and he loved it,” Jagger says. “And then we had to do a bit of crafting, trying to get a chorus, calling it ‘Strange Game’ and trying to get the verses from the point of view of the main character,” adds the rocker, referring to Gary Oldman’s curmudgeonly Jackson Lamb.
Apple TV+’s “Schmigadoon” is also hoping to push Kristin Chenoweth’s “Tribulation” number, written by the show’s co-creator, Cinco Paul. He penned all the songs for the musical-satire series, including Ariana Debose’s “With All of Your Heart.” But Chenoweth’s tune, which was 18 pages long and underscores her impeccable technique, is the song being pegged to land with Emmy voters.
Be on the lookout for numbers from “Girls5Eva,” which just returned for is second season, and “Sidelines” by Phoebe Bridgers, from Hulu’s “Conversation with Friends.”
Voting gets underway June 16. Whether voters opt for the big names, or rerun last year’s philosophy and or stick to musicians who write principally for TV, will be seen when nominations are announced July 12.
The music branch of Emmy voters is
But many of them encountered difficulties steering aging tech companies. Of those women, only Ms. Catz, Ms. Hood and Ms. Porat remain in their roles.
“The snail’s pace of progress for women leaders in Silicon Valley is worse than disappointing,” said Nicole Wong, a deputy chief technology officer for the Obama administration and a former Twitter executive. “It makes the commitments that tech leaders made around racial and gender diversity in 2014 look performative.”
In 2017, stories of sexual harassment by powerful men in Silicon Valley became part of the #MeToo movement. That year, a group of female investors created All Raise.
In 2018, California passed a law requiring publicly traded companies to have at least one female board director, leading to scores of women joining corporate boards. (A California judge struck down the law last month; the state has said it will appeal the ruling.) Another new law, passed last year, the Silenced No More Act, provides legal protection for people who speak publicly about discrimination or harassment they experienced at work.
Women in tech have continued speaking out about unfair treatment. In 2020, Ms. Brougher reached a $22.5 million settlement with Pinterest for discrimination and retaliation. A discrimination lawsuit by Emily Kramer, a former chief marketing officer at the financial start-up Carta, is working its way through the courts.
There have been some signs of progress. Over the past five years, Katrina Lake of Stitch Fix, Julie Wainwright of The RealReal, Jennifer Hyman of Rent the Runway and Whitney Wolfe Herd of Bumble took the companies they founded public. And following in Ms. Sandberg’s footsteps, female chief operating officers are now more common in tech. They include Ms. Choi at Coinbase, Gwynne Shotwell at SpaceX and Jen Wong at Reddit.
At Meta, Ms. Sandberg hired and promoted women, such as Marne Levine, the chief business officer, and Lori Goler, the head of human resources and hiring. The percentage of women in Meta’s management with titles of director or higher increased to 35 percent in 2021, from 30 percent in 2018, according to the company’s data.
Meta also developed women who now lead other tech companies, including Ms. Simo, who oversaw the main Facebook app before becoming Instacart’s chief executive last year.
But many of them encountered difficulties steering
TV remotes suck, and YouTube is tired of dealing with them. “It’s very hard to type on TV with a remote,” says Brynn Evans, the head of design for YouTube on TV. “Like, the remote’s clunky, every remote’s different, there’s a million different buttons. They’re all bad.” Every app and service has tried to find ways around this, from those “activate on the web” screens that save you from typing your password to a heavy emphasis on voice search. Your Apple TV will practically beg you to type on your phone rather than with your remote. But even that’s not enough for YouTube.
So YouTube’s rolling out a new feature that more closely connects your phone to your TV. (It works on Android and iOS devices, so tablets should work too.) If you sit down and open the app on your streaming device, and then open the YouTube app on your phone, you should get a pop-up asking if you’re watching YouTube on your TV. Once you hit “Connect,” your phone becomes a synchronized companion for your TV. You can leave comments on the video, queue up the next up, Like and Subscribe, all the things that are much too annoying to do from your remote. YouTube promised a feature like this in a February blog post detailing its 2022 plans, and now it’s launching.
An easy way to think about the Connect feature is like Google Cast in reverse. Instead of using your phone as your TV remote, you can start the viewing process on your big screen and use your phone as a companion. And for YouTube, it means not having to worry about whether your TV supports Cast or your Wi-Fi is configured correctly. “The beautiful thing about this feature is there’s no protocols,” says Kurt Wilms, the director of product management for YouTube on TV. “Your TV doesn’t have to be on the Wi-Fi network. Your phone doesn’t have to be on the Wi-Fi network!” It’s not even your devices that are syncing, really; it’s your YouTube account across devices.
Figuring out what to do with TV viewers is an important thing for YouTube. For years, YouTube has said that TV screens are the platform’s fastest-growing surface — users now watch 700 million hours of videos every day on their TVs, and 135 million people in the US alone tune in on their big screen every day — but the company has never felt like those viewers were getting the full YouTube experience. “A lot of our content is made by creators,” says Evans, “and they make this content so their community and their fans can really engage with them … there’s so much richness in the way our community is set up. None of that exists on TV today.”
In a way, all that TV viewership actually presents a threat to YouTube. As the company has moved to shore up its position as the best place for creators to actually build a business and make money, it has rolled out a litany of ways for creators to interact with and make money from their audience. Interactive livestreams are a big part of YouTube’s future, as are Super Chat and shopping. Do you know how to start a channel membership from your Roku? Have you ever tap-tap-tapped a comment in a livestream on your Samsung TV? I bet not. On TVs, YouTube’s really just a video player. And it needs to be more than that.
There’s a world in which YouTube tackles this problem by building a TV, or a dedicated streaming device. Instead, the team zeroed in on a statistic: 88% of people watch TV with their phone in their hands. YouTube’s internal research found something similar, that a huge number of users watch YouTube on their TV while also watching YouTube on their phone. Some users load the same video in both places, so they can read and add comments; others are constantly flicking through recommendations looking for the next thing to watch. But everybody’s on their phone. So YouTube decided the trick to fixing the big screen was to make more of the small screen.
Connecting TVs and phones was the first step. The next, Evans says, is to figure out how to show the comments you’re leaving on the screen, so you don’t have to look down again to confirm it actually posted. Or to show you really popular comments on the screen, so you can quickly tap to respond. By prioritizing your phone as the interaction system, YouTube runs the risk of accidentally deprecating the TV experience and teaching users that the only “right” way to use YouTube is on your phone. So the company is trying to find ways to make things feel connected and natural, rather than treating everything as an extension of your phone.
In the long run, the real potential here comes from the fact that your YouTube account is becoming self-aware. YouTube’s systems have never previously cared what you’re watching and where; you just have an account, that account watches one thing at a time, the end. But going forward, Wilms says, YouTube is achieving a kind of state awareness: you could have a video playing on your TV, another on your laptop, and a third on your Nest Hub, and interact with them all in your YouTube app. Or you could play the same video, synchronized, on every screen you own. “We’re working towards that vision of having a truly connected living room,” Wilms says, “that will allow you to seamlessly move videos and engage with videos. Not just in your living room, but honestly, across your whole house.”
YouTube’s also trying to solve the multi-user problem inherent to the living room. If two people are sitting on a couch, can they both connect to YouTube on the TV? Whose account wins? How can you avoid your recommendations being totally ruined by your roommate’s awful music taste? “The way to do that is you have to get the people in your household signed in,” Evans says. YouTube’s working on making multi-account homes work better in general, but Evans says that’s a much longer-term project.
YouTube used to be a video player. Now it’s a social network, a shopping platform, a short-form entertainment system, a music service, a podcast player, and so many other things. Across the company, teams are trying to figure out how to be all those things, simultaneously, on all the devices you own. Some of those devices have really big screens, some have no screens at all. But they all have to have YouTube. And if you can’t comment and like and shop and Super Chat, it’s just not YouTube.
TV remotes suck, and YouTube
NASHVILLE — Bill Walker, a conductor and arranger who became a musical force in Nashville, scoring popular recordings for country stars like Marty Robbins and Connie Smith and serving as musical director for Johnny Cash’s primetime television variety show, died on May 26 at a rehabilitation facility near here. He was 95.
His death was confirmed by his daughter-in-law Terri Walker, who said he had developed pneumonia after recent knee replacement surgery.
A classically trained pianist, Mr. Walker orchestrated blockbuster hits like Eddy Arnold’s “Make the World Go Away” (1965) and Sammi Smith’s “Help Me Make It Through the Night” (1970). Both records reached No. 1 on the country chart and crossed over to the pop Top 10.
He also served as arranger and conductor for, among many other recordings, Donna Fargo’s “The Happiest Girl in the Whole U.S.A.,” a chart-topping country single that stalled just outside the pop Top 10 in 1972.
In the process he had a hand in shaping both the lush, sophisticated Nashville Sound of the 1960s and the soulful “countrypolitan” sensibility that came after it.
Empathy and elegance were his calling cards, along with a knack for plumbing the emotional heart of a song, a gift that was nowhere more evident than in his work on “Help Me Make It Through the Night.”
“Take the ribbon from my hair,” Ms. Smith implores her lover as Mr. Walker’s gossamer arrangement caresses the ache in her voice.
His sympathetic strings likewise lent pathos to George Jones’s lovelorn “He Stopped Loving Her Today,” a No. 1 country hit in 1980.
“You are there to make the artist sound good, not to show how clever you can be,” Mr. Walker said of his philosophy of recording in a 2015 interview at the Country Music Hall of Fame in Nashville.
“That’s how I used to do it,” he continued. “It didn’t matter if the artist was a hillbilly singer from back in the woods somewhere or Perry Como. You give them the same attention no matter what.”
William Alfred Walker was born on April 28, 1927, in Sydney, Australia, the eldest of three children of Alfred and Beryl (Gabb) Walker. His father was a dairy farmer, his mother a homemaker.
William began playing the piano at age 5 and soon started taking private lessons. While in high school and college he performed in clubs and taught himself the rudiments of arranging by listening to popular recordings on the radio. He received his formal training at Sydney University’s Conservatorium of Music, graduating in 1955.
In 1957 he moved to South Africa to become the musical director of the Johannesburg division of RCA Records, where he released 23 largely instrumental albums of pop and Latin music that featured him on piano backed by large and small ensembles.
He also produced sessions for the country superstar Jim Reeves, who encouraged him to move to Nashville; Mr. Walker arrived the weekend Mr. Reeves died at 39 in a fatal plane crash, in July 1964.
He started working with Mr. Arnold and helped revive the singer’s career at a time when ballad singers were being eclipsed on the country chart by artists like Buck Owens and Roger Miller, who were more attuned to up-tempo rock ’n’ roll.
Mr. Walker later turned down a chance to succeed Chet Atkins as head of the Nashville office of RCA before becoming the musical director of “The Johnny Cash Show” on ABC-TV in 1969. There, he helped bring Southern culture to living rooms and dens across the country by collaborating with Mahalia Jackson, Roy Acuff, Louis Armstrong and an array of other guests.
He also wrote and conducted the arrangement for Mr. Cash’s “Sunday Morning Coming Down,” a live recording from the show that went to No. 1 on the country chart in 1970. Mr. Cash typically signed off each episode of his program with the salutation, “Goodnight, Mr. Walker!”
After The Johnny Cash Show ended its run in 1971, Mr. Walker spent the next two decades working as an independent producer for singers like Ferlin Husky and Wanda Jackson and managing his own label, Con Brio Records. In the early ’70s he worked with Ray Charles and Loretta Lynn for an NBC television special.
From 1991 to 1998 he was the musical director for “The Statler Brothers Show,” a popular musical variety show on the Nashville Network. He remained active as a producer and arranger into the 2000s, writing scores for TV specials and movies at a time when session musicians relied primarily on improvised, or “head,” arrangements.
Mr. Walker is survived by his wife of 51 years, Jeanine (Ogletree) Walker, a former Nashville session singer; a daughter, Beth Walker; a son, Colin, from a previous marriage; his sister, Julianne Smith; his brother, Robert; and 13 grandchildren and 21 great-grandchildren. Two sons, Jeff and Peter, and a daughter, Lisa Gibson, all from previous marriages, died.
Mr. Walker worked with ensembles on at least four continents, including studio professionals on the East and West Coasts of the United States. For the arrangements that he composed, though, he preferred the intuitive, less-is-more approach of the session musicians he first encountered in Nashville in the 1960s.
“That’s the thing with Nashville players,” he said in his interview at the Country Music Hall of Fame. “They all listen to each other and they join in the licks. It’s the stuff you can’t write. You can only give them the idea and let them go with it.”
NASHVILLE — Bill Walker, a conductor and
Early last year, Kevin Hart committed to a major four-picture deal with Netflix, and lately the actor has been hard at work making one of those movies so we can later laugh our butts off in the comfort of our own homes. Hart’s newest movie has brought him to beautiful Italy, and the actor has been sharing some epic views from the filming of the upcoming release. The views are mind blowing!
Throughout the past week, Kevin Hart has updated fans on his beautiful vacation to Italy for a movie called Lift. Check out one of a few views I’m already obsessed with that he posted on Instagram:
Kevin Hart shared that the movie he’s working on right now is “special,” while sharing a gorgeous black and while photo of himself on the set of Lift next to some beautiful buildings. He also shared this one off the coast alongside his wife of nearly six years, Eniko Parrish:
The actor and comedian also took to social media to show off a picture of him posing in vacation wear and calling himself “Keviano.” See the actor in light flowy clothing and a scarf, looking Italian:
Lift is an action movie directed by F. Gary Gray, who previously helmed The Italian Job, The Fate of the Furious and Straight Outta Compton. The movie also stars Loki actress Gugu Mbatha-Raw, Daredevil’s Vincent D’Onofrio and Made For Love’s Billy Magnussen. It’s reportedly about a female master thief and her ex-boyfriend, who team up to steal $100 million in gold bullion being transported on a 777 passenger flight. Perhaps Hart is the ex-boyfriend? That has yet to be announced, but just look at these views though?
Along with starring in Lift, Kevin Hart is producing the movie alongside X-Men’s Simon Kinberg and The Batman’s Matt Reeves among others. Hart recently combined his movie and television production companies to form HartBeat, which he mentions in that first post. Hart has already produced a number of his movies and specials, and has many other projects on the way he also is heavily involved with both in front of the camera and behind the scenes.
Before we see Lift, the next Kevin Hart movie will be The Man from Toronto, which is heading to Netflix soon. The Sony flick was originally set for theaters, but has since shifted to a streaming release this summer. The action comedy stars Hart alongside Woody Harrelson, with Harrelson play ingthe “world’s deadliest assassin” and Hart playing “New York’s biggest screw-up.” When they are mistaken for one another at an Airbnb rental, comedy ensues. You can check out the movie with a Netflix subscription on June 24.
Fans of Hart can also look forward to Hart’s voice in DC League of Super-Pets alongside Dwayne Johnson’s this summer, as well as a comedy called Me Time coming out in August and the Borderlands movie coming out at a yet-to-be-revealed date.
Early last year, Kevin Hart committed to
Ted Kotcheff’s action-thriller remains an effective, subversive take on the action hero, as Rambo’s deadly skills are shown as a burdensome curse rather than assets. His instincts are not to kill, but merely survive the sadistic wrath of the country that trained him, and that now wants to execute him. Rambo is not a killer, at least, not intentionally. In many ways, “First Blood” is an anti-action movie, as Rambo’s destruction in the finale is not cheer-worthy, but a haunting reflection of the man he was molded to be.
While the sequels have their moments, I can’t help but wonder how the legacy of “Rambo” would have looked if they stuck to the ending we all know and let the film remain a singular anomaly in the action movie sphere. But when you think of Rambo in the present, it’s difficult to separate the mentally ill soldier from the action hero who turns a horde of Burmese soldiers into meat confetti.
“Last Blood” was hyped up as Rambo’s final outing, but given that he’s still breathing after the credits, and Stallone’s reluctance to keep making “Rocky” stuff after claiming he was finished with the character, I think it’s safe to say the door will always be open for more.
“First Blood” is currently streaming on HBO Max.
Ted Kotcheff's action-thriller remains an effective, subversive
The Popularity score is based on a calculation of Page Views, Video Plays, Poll Votes, Comments, Facebook Likes and Tweets.[*****]TIP: Remember if you want to see your show do better, make sure you share your shows content on Social Media (Facebook/Twitter/G+/Tumblr etc) and comment on articles/posts about your show.
[*****]Note: Shows in YELLOW have moved up the table since last month. Shows with a “-” are new entries that were not in last months Top 20.
[*****]
Here are the Top 30 most viewed posts of the past Month here at SpoilerTV in case you missed any of them.[*****]Notes
– We don’t include Ratings News Posts in the list below.
– The number to the left of the post title is the number of times the article was read last month.
– Click on the Article title to view the article.
The Popularity score is based on a
Jessica Biel not only is finding numerous meaty roles for herself these days, she has, with producing partner Michelle Purple, found a way to get them made. Her latest is the Hulu limited series Candy, which details a shocking crime that happened 42 years ago in a small Texas town where a wife and mother took an ax to another suburban mom and friend, is just one of a number of projects she has brought to fruition — not just a star but also a key producer. Others include her Emmy-nominated The Sinner, Cruel Summer and Limetown, along with the 2016 movie Book of Love, with many more in the pipeline.
She joins me today for this episode of my Deadline video series Behind the Lens, where she discusses what drew her to the strange and stunning story of Candy Montgomery; whether she believes she was guilty or not; how she shot it during a pandemic while competing against another limited series for HBO Max dealing with the same story (it airs in August); working with Melanie Lynskey in some pretty harrowing scenes; physically transforming into this woman who at 72 is still alive; and, among other co-stars, describing how she came to cast her famous husband Justin Timberlake in a surprise uncredited role in the final two episodes. The answer might surprise you.
To watch our conversation and to go “behind the lens” with Jessica Biel, who is becoming a powerhouse on both sides of the camera, check out the video above.
Join me every Monday and Friday during Emmy season for another episode of Behind the Lens.
Deadline Jessica Biel not only is finding numerous
Batwoman continued on Sunday night with the False Face Society continuing to cause chaos in Gotham, while Alice and her old friend Ocean had a surprising reunion.
In case you missed it, here’s what went down in episode 2×11, titled “Arrive Alive”.
The episode kicks off with the False Face Society stealing medical supplies while Black Mask tortures Angelique with several doses of Snakebite until she agrees to recreate the version of the drug that Ocean had.
Luke and Ryan realize that the False Face Society is planning to steal Fear Toxin, but Ryan promises she will track it all down. Ryan suits up and stops one of the getaway cars, but she soon discovers it was Sophie undercover, who blames Batwoman for ruining the plan.
Ryan decides to go undercover herself and be one of the getaway drivers, despite Sophie’s numerous protests. This can’t go wrong, right? Ryan fakes her way through the interview with the False Face agents and is given a job for that night. Thanks to some handy dandy tech from Luke, Ryan is a better driver to continue the ruse.
Sophie made the clearly dumb decision (seriously, how was she ever a Crow?) to confront Black Mask herself and arrest him. Ryan swoops in as Batwoman and saves Sophie as the pair face off against the masked villain. Meanwhile, Angelique agrees to help Black Mask track down Ocean for the rest of the toxin.
What did you think of the episode? Let me know in the comments below!
Batwoman airs Sundays at 8/7c on The CW.
[embed]https://www.youtube.com/watch?v=DRKPUNawxfU[/embed] Batwoman continued on Sunday night with the
Poet Jericho Brown won the 2020 Pulitzer Prize for Poetry for his collection “The Tradition.” The poems are vivid works of beauty and agony – each word delivered with a strong sense of urgency. In this episode of American Masters: Creative Spark, Brown breaks down the process behind writing the collection’s titular poem, “The Tradition,” and the many layers of his ever-changing consciousness that inspired its creation.
American Masters: Creative Spark presents narrative interviews that go in-depth with an iconic artist about the creation of a single work. Each episode offers a unique window into the world of art and the creative process of artists and cultural icons across a wide range of disciplines, from music and comedy to poetry and film.
American Masters has been on the air since 1986. For four decades, we’ve asked: who has changed America? We’ve aired hundreds of carefully crafted programs that illuminate the stories of our cultural giants. But just a fraction of the interviews filmed for American Masters appear in the final films; nearly 96% of the footage never gets released. Now, the American Masters digital archive makes this rich catalog of interviews available to the public.
The archive includes over 1,000 hours of footage from more than 1,000 original, never-before-seen, full, raw interviews: a treasure trove of the movers and shakers of American culture, including Maya Angelou, Patti Smith, Mel Brooks, Carol Burnett, Matthew Broderick, Carl Reiner, Joan Rivers, Audra McDonald, Lee Grant, Patricia Bosworth, Sidney Lumet, William Buckley and many others.
Established in 1996 during the Web’s infancy, The Webbys is presented by the International Academy of Digital Arts and Sciences (IADAS)—a 2000+ member judging body. The Academy is comprised of Executive Members—leading Internet experts, business figures, luminaries, visionaries and creative celebrities—and Associate Members who are former Webby Winners, Nominees and other Internet professionals.
American Masters: Creative Spark – Jericho Brown
Evacuations were underway in an area north of a gas facility located west of Red Deer, Alta., on Friday afternoon because of a wildfire burning in the area.
“There is a wildfire north of Crimson Lake,” Clearwater County officials said in an emergency alert issued at 3:42 p.m. “Alberta Wildfire has begun to evacuate north of the Ferrier Gas Plant on Buster Creek Road, north and north west five kilometres.
“To evacuate heading north, travel on Buster Creek Road to O’Chiese Road, west on O’Chiese road to Sunchild Road, south on Sunchild Road to Highway 11.”
County officials added that Clearwater Regional Fire Rescue Services and provincial wildfire crews with air support were at the scene.
More to come…
© 2022 Global News, a division of Corus Entertainment Inc.
Evacuations were underway in an area north
Next week’s CMA Fest in Nashville will feature hundreds of the hottest acts in Country Music. One thing it will not feature, however, is the Confederate flag.
Along with drones, bikes and drug paraphernalia, the festival’s list of prohibited items and activities now includes “Confederate flag imagery of any kind.” The event’s Code of Conduct further covers things like hate speech:
CMA is committed to creating and sustaining an inclusive culture where all people have access to experience Country Music. Therefore, inappropriate behavior such as discrimination, harassment, any form of abuse and/or targeted comments which may cause any person to fear for their safety at the Event will not be tolerated.
That includes “any displays of the Confederate flag,” according to a statement the Country Music Association provided to the Tennessean this week.
Some country musicians have, over the decades, wrapped themselves — or their stage setup — in the Confederate flag. Charlie Daniels, Trace Adkins and Luke Combs have all faced blowback for associating themselves with the symbol. Adkins and Combs apologized.
This year’s prohibition comes as Combs is among the top acts on the bill. So is Darius Rucker, who is Black.
“This year’s CMA Fest is our first major fan-facing event in nearly three years. We have always had policies in place that protect the safety of our fans and ban discrimination, but we felt it was important to further refine our language to explicitly outline what will and will not be tolerated,” reads the CMA statement.
The CMA Fest runs June 9-12 this year. For the fest lineup, see below. For new additions to the event, see below that.
Lineup additions include Brothers Osborne and Old Dominion will take the Nissan Stadium main stage, while opening acts include Deana Carter, Sara Evans, Everette, Randy Houser, Angie K, Kylie Morgan and Shenandoah. Unfortunately, Alan Jackson will no longer perform.
New this year, CMA Fest will host performances from the special Platform Stage in the center of Nissan Stadium, featuring Priscilla Block, Madeline Edwards, Kat + Alex, Maddie & Tae, Frank Ray, Lily Rose and Dylan Scott. Brittney Spencer welcomes the Nissan Stadium crowd Thursday night performing the National Anthem.
Russell Dickerson kicks off the CMA Close Up Stage Thursday as the Artist of the Day at Fan Fair X.
Additional acts that have been added to the CMA Fest lineup include Ryan Charles, Brooke Eden, Mae Estes and Ella Langley. Eden also kicks off the Chevy Riverfront Stage Thursday morning performing the National Anthem.
Next week’s CMA Fest in Nashville will
Small businesses will soon be able to accept payments from Apple’s Tap to Pay app thanks to a new collaboration.
Digital payment platform Square is teaming up with Apple (opens in new tab) to roll out new support for Tap to Pay on iPhones. The feature will go onto Square’s Point of Sale app to allow “in-person contactless payments”. Business owners won’t have to rely on Square’s add-on devices to accept payments.
You may be more familiar with Square if you’ve ever gone to a small business and seen that the store owner’s iPhone or iPad is connected to a dongle. Those dongles are often Square’s own card reader (opens in new tab) and they have proven to be pretty popular with business owners.
Back in February 2022, Apple launched its Tap to Pay app as a way for more businesses to accept Apple Pay and other types of contactless payments. Some were concerned this spelled doom for Square and other similar companies that rely on hardware, but that wasn’t the case.
Apple stated that it would work with payment platforms so everyone could use its new app. Stripe was the first platform to get that support, then Shopify. Now, Square is joining the mix, integrating Apple’s contactless payment support with its transaction system
The new Tap to Pay support doesn’t have an official launch date other than it will roll out later this year. We asked Block Inc. if there are any hardware limitations for the service and a representative was able to confirm that you will need an iPhone XS or later device to use the app.
Square is starting with an Early Access Program (opens in new tab) for merchants that wanted to try out the new Tap to Pay support. All you have to do is enter your contact information and the kind of business you run.
Apple adding software support for payments poses an interesting question on the future state of transaction hardware. This isn’t to say that Square and other similar payment platforms are going to go bankrupt or those card readers will be going away anytime soon.
Square’s card readers are still widely used and probably will be for a while. But the long-term future is less certain. A study from Juniper Research (opens in new tab) states that contactless payments via app will reach $49 billion transactions next year.
An ever-increasing reliance on software to manage transactions could change how people do business. Cash registers may go extinct at some point. If you’d like to know what the best contactless payment apps are, TechRadar has a list of the best ones.
Small businesses will soon be able to
Samora Pinderhughes, Cécile McLorin Salvant, and Jen Shyu discuss their inspirations, their exciting new projects, and how jazz can be used as an instrument for social change.
Samora Pinderhughes, Cécile McLorin Salvant, and Jen
If you’re looking for a movie to honor veterans this holiday, look no further than Da 5 Bloods on Netflix. With artistic flair, gorgeous cinematography, and a career-defining performance from Delroy Lindo, Spike Lee created a war movie that examines the way racism, trauma, imperialism, and violence are tragically, inextricably intertwined. It’s…
‘Da 5 Bloods’ By Anna Menta If you're looking for
For his feature film directing debut, actor Mark O’Brien couldn’t have chosen a weightier subject.
“I’ve always been interested in stories of damnation and God and the devil and your soul because that’s the ultimate stakes,” he said in a Zoom interview. “There’s nothing bigger than that.”
He not only directed but wrote and co-stars in “The Righteous,” which opened in Canadian theatres Friday, an intense psychological thriller that deals with sin, faith, penance and retribution.
O’Brien is a Newfoundland native whose face would be familiar if you’ve watched shows like “Halt and Catch Fire,” “Republic of Doyle,” “City on a Hill” and “61st Street,” or movies like “Goalie,” “Ready or Not” and “Marriage Story.”
So, yes, acting is what he’s best known for, but he said he’s always wanted to make movies.
As a student studying English at Memorial University in St. John’s — he minored in classics and very nearly double minored in philosophy — he’d do whatever theatre jobs he could get on the side, often unpaid, and make short films on the weekends with his friends. He was also a children’s show host for CBC.
“So I was just constantly learning … these thoughts were always kind of percolating,” the 38-year-old said.
Acting is “a hard racket,” he added, full of rejection, but “making a movie is like going to war. It’s a tough thing to get done.”
Still, O’Brien considers himself lucky for a first-time filmmaker. “The Righteous” took two to three years to get made with the help of Telefilm’s Atlantic office and the Newfoundland & Labrador Film Development Corporation.
“Other ones I was trying to make fell by the wayside along the way. So this one kind of came together, probably because it was a little bit smaller in nature so it was less of that leap of faith.”
It has a cast of just six, but it’s an impressive cast, led by notable Canadian actor Henry Czerny, who’s been in everything from miniseries “The Boys of St. Vincent” to TV dramas “The Tudors” and “Revenge,” and the blockbuster “Mission: Impossible” movie franchise.
In “The Righteous,” he plays Frederic Mason, a former Catholic priest who left the church to marry Ethel, played by another notable Canadian actor, Mimi Kuzyk (“Hill Street Blues,” “Workin’ Moms”). Following a tragedy, which Frederic perceives as a punishment from God, an injured stranger (O’Brien) turns up at Frederic’s and Ethel’s door. The ex-priest is forced to confront a long buried secret and asked to make an impossible choice, one he fears could completely sever his relationship with God.
“I remember when I was in university and read ‘Paradise Lost’ for the first time it had a huge effect on me; like those ideas of spiritual damnation or betterment are really fascinating,” O’Brien said. “The movie has a lot to do with confrontation, with confronting others, yourself, things you’ve done, and coming to terms with it and how you’re willing to do that. And I think you see in the film that it takes a lot of layers until you can finally get to that place.”
O’Brien wrote the script with Kuzyk in mind — he met her years before through fellow Newfoundland actor Shawn Doyle — but “Henry just came to me much later on. We’re good friends and it just hit me: I just think he’s right for it.”
The cast is rounded out by Kate Corbett, Nigel Bennett and Mayko Nguyen.
O’Brien found it useful to be a director with acting experience.
“I think every actor should direct and every director should act,” he said. “As an actor, I can’t exactly know what they’re going through each and every moment, but I do understand the process very, very well. And I know what things not to say, what situations not to put someone in, what they need as a performer and what’s appreciated.
“But mostly it comes down to a human being understanding that other human being’s situation, and being able to empathize with it and also just understand it so that they feel comfortable enough to give their performance.”
The camaraderie of the group determines the final product, he added, and he’s very happy with how “The Righteous” turned out.
It’s been well received at various film festivals, winning Best Screenplay at the Fantasia International Film Festival in Montreal and Manchester’s Grimmfest, as well as Best Cinematography at Grimmfest and the Blood in the Snow Canadian Film Festival. (Scott McClellan did the shooting, in atmospheric black and white, and got on film exactly what O’Brien said was in his head.)
But an especially important screening was to take place in St. John’s on Friday night. “I honestly get emotional thinking about it because I went to those movie theatres dreaming of making a movie,” O’Brien said earlier in the week.
Although he’s lived in Los Angeles for the last eight or nine years, “I couldn’t be more proud about being a Newfoundlander. It’s one of the reasons I wanted to go back and shoot there,” he said. The “very, very tight and supportive creative community” of St. John’s is “the only reason that I’m making a living doing this job today.”
As for that living, he’s been shooting Season 2 of U.S. TV series “Perry Mason” but says there will be more moviemaking in his future.
“I like wearing all those hats just because I love this job so much … it’s like a kid in a candy store.”
JOIN THE CONVERSATION
Anyone can read Conversations, but to contribute, you should be registered Torstar account holder. If you do not yet have a Torstar account, you can create one now (it is free)
For his feature film directing debut, actor
The unconventional sci-fi musical “Neptune Frost” (in theaters), from the co-directors and partners Saul Williams, a seasoned musician and actor from New York, and Anisia Uzeyman, a Rwandan actress and filmmaker; interrogates the notion of technological progress from the vantage point of those living in the places exploited to achieve it.
Set in the mountains of the African nation of Burundi, their Afrofuturist vision, which premiered at the Cannes Film Festival in 2021, follows a former miner and an intersex hacker as they lead an uprising against oppressive forces. The realm they inhabit is one where reality and a digital interface, imbued with a magic realism, intersect in tactile ways.
Speaking via video call from their home in Los Angeles, the duo elucidated some of their one-of-a-kind film’s key concepts. Below are edited excerpts from the conversation.
“Neptune Frost” was originally envisioned for the stage until producers persuaded you to turn the concept into a film. How did the medium of cinema reshape the project?
SAUL WILLIAMS: It allowed us to imagine what it would be like to shoot on location. We had written the story to take place in Burundi but knew that we wouldn’t be able to shoot there because of political unrest. But in the neighboring country of Rwanda, where Anisia is from, the doors were open. We arrived there in 2016 to shoot a sizzle reel and discovered a slew of Burundian refugees in Kigali who were students, artists and activists. We got excited about showing a place and faces that people haven’t really seen onscreen.
ANISIA UZEYMAN: We wanted to share the existing beauty of Rwanda that I was intimate with, as well as the language. We have an ancestral tradition of poetry.
WILLIAMS: After writing the script, working with those poets and writers from Rwanda and Burundi to translate the text into Kinyarwanda and Kirundi was an extraordinary experience. The film allowed us to share way more than the stage would have.
In creating this intricate narrative, were you drawing from specific historical events pertinent to Burundi or larger ideas about neocolonialism in Africa?
WILLIAMS: When we first started conceptualizing the project in 2011, the Arab Spring, Chelsea Manning and WikiLeaks were going on. On the continent, there were American evangelists arriving in countries like Tanzania, Kenya and Uganda offering money to pass anti-L.G.B.T. laws. We were also learning about e-waste camps [in Africa], places where our tech goes to die, village-size camps with piles of motherboards, keyboards and towers. We learned of their close connection to the mining industry and the irony that digital technology is rooted so heavily in analog exploitation.
This is connected to what has been happening on that continent for centuries. We wake up every morning and say, “I can’t start my day without my coffee,” with no sense of where that coffee comes from, where the rubber from your tires come from, where the stuff that makes your computer work comes from. The spirit of protest in the film comes from what was happening while we were writing it. We wanted to incorporate these things and to connect dots between these disparate ideas and show how they were all part of the same timeline.
Given that the music represents an integral storytelling aspect here, can you explain the thought process behind its composition?
WILLIAMS: The music came first. I grew up on musicals and one of the goals was to make one that corresponds with the musical interests that have been a part of my exploration as an artist. I was interested in polyrhythm because we made the connection between drum rhythms and coding because drums themselves have been used for wireless communication. We were playing with the idea of drum coding in terms of computer programming, and the exploration of what is beyond the binary in the question of gender.
UZEYMAN: Music was also a great means to communicate with the actors who are all singers and musicians. They have that very privileged relationship to rhythm. It was a way of working toward their own understanding of the characters that they were playing and how their voices evolve over the arch of the story.
There’s a striking visual quality to the costumes and set decorations that’s both otherworldly and recognizable, how were these designed?
UZEYMAN: We met Cedric Mizero, the young designer behind those costumes and the décor, in 2016 in Rwanda. After hearing the story that we wanted to tell, he came back the next morning with sandals made of motherboards. Cedric’s work also inspired the writing of the film because he already was working with people in the village recycling and transforming materials that are seen as waste into art installations and zero-waste fashion.
WILLIAMS: For example, making backpacks out of water containers or using African wooden sculptures as the guns that we used in the film.
How does Afrofuturist art, which incorporates folklore and culture into futurist tropes, allows you to address today’s issues from a decolonized lens?
WILLIAMS: There’s something experienced and understood about the fluidity of things in Indigenous cultures that transcends Western projection. These things have been a part of reality and storytelling in Africa and other places for a long time, but the rigidity of the Western lack of imagination has closed the doors on those ancient myths and mythologies. It’s crucial for us to not participate in poverty porn or the expectations white people have of Africa.
UZEYMAN: From the perspective of artists on the continent, what’s important is the possibility of telling whatever story we want to tell, not the story that you are waiting for us to tell or that you’re willing to finance. We want to tell all tales from our perspective — science fiction or historical dramas — freed from the Western framing.
The unconventional sci-fi musical “Neptune Frost” (in
The real mystery of Season 4 seems to be why we aren’t getting a clear answer about Will’s sexuality — which is something that has been hinted at since Season 1.
? There are some spoilers ahead for Stranger Things Season 4! ?
Alright, as you’re probably more than aware, after almost three years of waiting, Season 4 Vol. 1 of Stranger Things finally dropped last week.
Tina Rowden / Tina Rowden/Netflix
And while the season answered a lot of questions/theories we’ve had about the show — through the amazingly acted but very intense flashback scenes revolving around Eleven’s backstory — it also left us with new ones and some still unanswered ones.
Courtesy Of Netflix / Courtesy of Netflix
One of those still unanswered questions: Is Will gay?
Atsushi Nishijima/Netflix
If you’re unfamiliar with this theory, then here is a quick recap: Will has always been portrayed as very shy, artistic, and sensitive (even before he was taken into the Upside Down). But it was during Season 3 that fans began to really speculate that he was gay and possibly in love with his BFF, Mike.
Netflix/Courtesy Everett Collection
Now, even before Season 3, it was obvious that Will was jealous of the attention Mike gave Eleven. And once the two started dating during Season 3, it was clear Will was upset by that.
Netflix / Courtesy of Netflix
The theories of Will being gay got even more intense during Season 4.
Courtesy Of Netflix / Courtesy of Netflix
Eagle-eyed fans caught the fact that during the first episode, Will’s choice for his famous hero presentation was Alan Turing. Turing was a British mathematician and code breaker who was gay and convicted of “gross indecency” in 1952 (when homosexuality was against the law in the UK).
Netflix
Which, OK, maybe not the biggest giveaway, but def seems like a big hint.
It was also during this episode that Will rejects a girl in his class who tries to play footsies with him.
The moment when girl tried to flirt with Will ?
I immediately had gay panic vibes ?
Will Byers is gay. He has to accept it?
#StrangerThings4 #StrangerThings #willbyers
Netflix/ Twitter: @EugThoughts
Then there is the painting. In her letters during the first episode, Eleven tells Mike that Will is working on a painting that he refuses to show her, but that she suspects is for a girl.
Netflix / Courtesy of Netflix
Will is later seen in the second episode carrying the painting at the airport when they go pick up Mike — which seems to suggest that the painting was meant as a gift for him. However, after their frosty exchange and Mike clearly only being excited about seeing Eleven, it seems that Will might have changed his mind about giving it to him.
Netflix/Courtesy Everett Collection
Later in that episode, Will continually tries to expose Eleven’s lies about being friends with Angela — which seems to be driven by his jealousy and his desire to embarrass her in front of Mike.
Courtesy Of Netflix / Courtesy of Netflix
And finally, in Episode 5, after the two have rekindled their friendship, Mike tells Will he wishes he had done a better job expressing his feelings toward Eleven, to which Will replies: “Sometimes, I think it’s just scary to open up like that. To say how you really feel, especially to people you care about the most. Because what if…what if they don’t like the truth?”
While he is seemingly giving Mike his thoughts on him not being more emotionally open with Eleven, it’s clear that he is actually talking about his own experience and is subtly confiding his feelings about not being able to be fully honest about how he feels about Mike.
Courtesy Of Netflix / Courtesy of Netflix
Obviously, fans feel like all of this pretty much confirms that Will is, well, gay.
However, in an interview earlier this week with Variety, Noah Schnapp (who plays Will) said he thinks his sexuality is purposely being left ambiguous so the audience can decide, saying, “I feel like they never really address it or blatantly say how Will is. I think that’s the beauty of it, that it’s just up to the audience’s interpretation, if it’s Will kind of just refusing to grow up and growing up slower than his friends, or if he is really gay.”
Roy Rochlin / Getty Images
While Mille Bobby Brown added, “Can I just say, it’s 2022 and we don’t have to label things. I think what’s really nice about Will’s character is that he’s just a human being going through his own personal demons and issues. So many kids out there don’t know, and that’s OK. That’s OK to not know. And that’s OK not to label things.”
With that being said, Noah did tweet last night that he is shipping a Will and Mike relationship:
Well, a lot of fans of the show were not exactly excited to hear that Will’s sexuality was up for “interpretation,” and they had thoughts:
In a world where Our Flag Means Death and Heartstopper get renewed for more seasons by being word-of-mouth hits among queer circles I need Stranger Things to get it’s shit together and make Will explicitly gay we’re not doing “interpretation” anymore
No actually it is very weird and odd how stranger things uses gay fairy and even the f slur to describe will in context where he gets bullied but when you tell them to say that will is actually gay they stay quiet??
Alright, so for what it’s worth, yes we’re dealing with a show about monsters and alternate realities, but Will is 15 years old in 1986. While that time period wasn’t exactly a super-repressive time and many, many gay people were out, being gay was still something that was largely stigmatized. So realistically, Will probably would’ve been closeted — even if he knew without a doubt that he was gay.
And while the argument from fans that confirming Will is gay is important for representation — considering the series’ young fan base — is very valid, we also have to acknowledge that we are getting queer representation from Robin, whose storyline as a lesbian on the show continues to be a core part of her character. Also, even her character had a build up (albeit a much shorter one) before coming out. But even Robin is largely in the closet because of her age and the time period (which, again, is realistic).
In an interview yesterday with Variety, the Duffer Brothers, Matt and Ross (the creators of the show), weighed in on the discussion about Will’s sexuality. When asked if they would directly address it, they responded: “The full arc of the story hasn’t come to pass yet because we really are in Episode 7, it’s what we call the end of our second act. So there’s a lot more resolution in the story; we’re trying to do the same with the characters’ arcs. And I would say that applies to Will’s arc. So it’s going to be much easier to talk about for everyone — the actors and us — once those final two episodes have played. But certainly, his journey and arc is far from finished.”
Angela Weiss / AFP via Getty Images
So by the sound of their response, I do think Will’s sexuality will most likely be addressed during Season 4 Vol. 2 (coming up in July). If we know anything about the Duffer Brothers, it’s that they wouldn’t be leaving all these hints if they weren’t building it up to something.
Ursula Coyote / Ursula Coyote/Netflix
What did you think of how Will’s sexuality is being handled on the show or if you even knew about it? Tell us everything in the comments below!
My Fake Boyfriend, a new LGBTQ+ rom-com from BuzzFeed Studios starring Keiynan Lonsdale, Dylan Sprouse, and Sarah Hyland, is out June 17 in the US — just in time for Pride! Sign up for Prime Video now so you’re ready to watch.
Amazon Prime Video
Not in the US? My Fake Boyfriend is coming to Prime Video in the UK, Canada, Australia, New Zealand, LATAM, and Brazil on June 10, and all other territories on June 24.
The real mystery of Season 4 seems
Sort
Genre
Rating
Audience score
Tomatometer®
Sort
Close
Most popular
Newest
A → Z
Tomatometer® (highest)
Tomatometer® (lowest)
Audience score (highest)
Audience score (lowest)
Action
Adventure
Animation
Anime
Biography
Comedy
Crime
Documentary
Drama
Faith And Spirituality
Fantasy
Foreign
Game Show
Lgbtq
Health And Wellness
History
Horror
House And Garden
Independent
Kids And Family
Music
Musical
Mystery And Thriller
Nature
News
Other
Reality
Romance
Sci Fi
Short
Soap
Special Interest
Sports And Fitness
Stand Up
Talk Show
Travel
Variety
War
Western
TV-Y
TV-Y7
TV-G
TV-PG
TV-14
TV-MA
Audience score
Clear all
Close
Fresh
At least 60% of reviews for a movie or TV show are positive.
Rotten
Less than 60% of reviews for a movie or TV show are positive.
Fresh
At least 60% of reviews for a movie or TV show are positive.
Rotten
Less than 60% of reviews for a movie or TV show are positive.
Where to watch
Clear all
Close
Vudu
Peacock
Netflix
Hulu
Prime Video
Disney+
HBO Max
Apple TV+
Apple TV
HBO Go
Pushpa: The Rise – Part 1
Director: Sukumar
Cast: Allu Arjun and Rashmika Mandanna
Allu Arjun and Rashmika Mandanna’s latest flick Pushpa: The Rise – Part 1is a complete package of story, romance, comedy, mass scenes and good direction. Sukumar has hit the right chords with the backdrop of the movie and the tone of the film. Allu Arjun clearly shoulders the movie throughout with his acting and dialogue delivery. His transformation for the role is surely commendable and his efforts do pay off in the film.
There are some typical Allu Arjun scenes thrown here and there in the film and is a sheer joy for his fans to watch the ‘Icon’ star to walk and perform his action in slow motion with the right amount of massy elements added to the scenes.
Rashmika somewhere meets the expectations, too. She delivers what is needed of her and even performs well in the “de-glam” look. Her character, Srivalli, brings the much-needed light-hearted scenes on screen and compliments Allu Arjun in the right way.
About the action sequences, if Rohit Shetty can make cars fly, Sukumar has taken things a notch above and we’ve trucks flying in slow motion sequences. Leaving aside the exaggeration, Allu Arjun yet again has impressed as always with his action sequences in this film. His action sequences with power-packed performances and punch lines surely call for some wild reactions from the audience. And the audience just cannot stay calm when that happens on the big screen.
The story and the narration is a little fast paced and could have been slowed down, but it is understandable as the film is already a lengthy watch. The second half of the movie sees the narrative escalate to showcase the bigger picture of the smuggling industry and is filled with action-packed sequences. However, what lacks is how the smugglers avoid or con the police, which is the usual basic expectation when it comes to such movies.
Devi Sri Prasad has delivered yet another hit in terms of music. All the songs are catchy and lift the vibe of the film well. The picturization of songs are colourful and is filled with swag moments for Allu Arjun’s fans to enjoy. Samantha has also impressed in her much-hyped item song.
Fahadh Faasil’s entry towards the end of the movie only elevates the whole film. Though not as massy as Allu Arjun, but Fahad’s entry, dialogues and punch lines are surely impactful. The movie takes a different turn after Fahad steps into the frame and then it’s all about Allu Arjun and Fahad till the end. Overall, the film is a massy entertainer with a decent story line and is custom-made for Allu Arjun’s fans.
Read all the Latest News, Breaking News and Coronavirus News here.
Pushpa: The Rise – Part 1Director: SukumarCast:
After getting married, Anupama and Anuj Kapadia are now planning to adopt a child. Recently we saw how Anuj Kapadia told Anupama about his desire to adopt Anu – a young orphan girl who lives in an orphanage in Mumbai. While this leaves Anupama shocked, in the Friday episode, we saw Anupama agreeing with Anuj for adoption.
Yes, you read it right. In the episode, we saw Anupama telling Anuj that even though parenting is a huge responsibility, she is ready to take it with his help and support. The two then visit the orphanage and inform Anu that they will be soon adopt her. They further mention that once formalities regarding adoption are done, Anu will be taken to the Kapadia’s residence with her.
While Anupama and Anuj Kapadia are super happy and excited to adopt a young girl, fans are rather upset and disappointed. Several fans took to social media asking makers to either delay or remove the adoption track. One of the social media users talked about how the Shah family is already messed-up and therefore adopting a child might end up affecting her mental health. Another viewer urged makers not to ‘misrepresent’ the adoption process.
#Anupamaa @ketswalawalkar Please stop mis-representing adoption and adoption process. No one I repeat no one can just simply walk into any orphanage and adopt. There’s a process for it. Showing way Anuj Anupama are adopting it sends wrong message and signal to all the viewers.
— Supriya (She/Her) (@SUPRIYADEVERKON) June 3, 2022
Anupama giving bhashan on why not to adopt a child now and then suddenly saying yes for the adoption.
Le my reaction be like: pic.twitter.com/HVZw3kpDkX
— Bhumika Chauhan (@bhumiikka) June 3, 2022
I have realized that DKP wale don’t do research while handling sensitive issues in the show . Be it any track .. Anupama’s surgery , dv , adoption and many other things
— SSai0618 (@SSai0618) June 3, 2022
See , when any child is abandoned by biological parents it already damages the child to great extent.
Adoption of a kid in a messed up family and busy life of a couples will do more damage than good to kid .. WTF! #Anupama— Angelmjsdivya (@angelmjsdivya) June 3, 2022
For the unversed, Anupamaa is one of the most popular shows on television and has been ruling TRP charts for over a year now. It stars Rupali Ganguly, Gaurav Khanna, Sudhanshu Pandey, Paras Kalnawat, Madalsa Sharma, Nidhi Shah and Aashish Mehrotra among others. The show airs on Star Plus.
Read all the Latest News , Breaking News and IPL 2022 Live Updates here.
After getting married, Anupama and Anuj Kapadia
An Ellen Burstyn interview reveals the fact that she has already shot her scenes in the upcoming Exorcist reboot film from David Gordon Green.
Ellen Burstyn has revealed that her scenes from the upcoming Blumhouse reboot of The Exorcist have already been shot. The new film is set to come to theaters on October 13, 2023, with a pair of sequels coming to the NBC Universal streaming service Peacock. The film is being helmed by David Gordon Green, who gave a similar reboot/sequel treatment to the Halloween films, bringing back Jamie Lee Curtis as consummate final girl Laurie Strode in a new set of sequels that is only in continuity with the original 1978 Halloween. In this case, however, the canon of the original franchise will remain intact, including the much-maligned Exorcist II: The Heretic.
The original Exorcist, which is based on the William Peter Blatty novel of the same name, came to theaters on December 26, 1973. Burstyn starred in the film as Chris McNeil, an actress who is shooting a film at Georgetown University but is pulled away from her work when her daughter Regan (Linda Blair) starts to exhibit signs of demonic possession. After going to every doctor possible, she turns to skeptical priest Father Karras (Jason Miller) and veteran exorcist Father Merrin (Max von Sydow) for help. The film is still considered one of the scariest movies of all time and has spawned two sequels, two prequels, and a television series, including an entry directed by Blatty himself: 1990’s The Exorcist III.
Recently, an interview with Burstyn from Daily Blast LIVE was unearthed. The interview, which took place three months ago, was largely about her Paramount+ film Three Months, in which she appeared opposite pop singer Troye Sivan, however, they did take a moment to acknowledge her participation in the new Exorcist project. When asked about the notorious strange occurrences on the set of the original Exorcist, she mentioned in passing that “I’ve already shot the new version.” Check out her full quote below:
On the new set, because I’ve already shot the new version, nothing weird happened, no. There was a lot of weirdness on the first one, but there’s a lot of weirdness in every movie.
The extent to which Burstyn is participating in the film is still unknown. While it may be an appearance of just a scene or two, she will be instrumental in a brand new tale of demonic possession. In the new film, Chris McNeil is sought out by a brand new beleaguered parent played by Hamilton‘s Leslie Odom Jr., whose child has recently become possessed.
This will mark the first time that Burstyn has appeared in The Exorcist franchise since the original film. Although characters and performers from the original film have recurred (including Linda Blair in Exorcist II and the character of Father Merrin in Exorcist: The Beginning), Chris McNeil has been unseen for nearly five decades. Burstyn, who holds 1 Oscar amid 5 other nominations, was likely lured into the project by an intriguing script, so fans of the franchise can certainly expect another high-caliber performance from the actress in another terrifying story.
Source: Daily Blast LIVE
About The Author
Amber Heard issued a statement via social media after the jury reached the verdict in the defamation trial between her and ex-husband Johnny Depp.
Amber Heard issued a statement in reaction to the verdict of her defamation trial with ex-husband Johnny Depp. Heard has been involved in the defamation trial since it began in April 2022, which Depp filed against his ex-wife. The couple were married in 2015, with Heard filing for divorce a year later, citing domestic abuse in an op-ed for The Washington Post a short time later. Although Depp was not explicitly named in the op-ed, it was commonly known that it was Depp. In response, Depp filed a defamation suit against the Aquaman actress, saying that she had cost his reputation, causing the loss of multiple roles.
The Depp/Heard defamation trial has been highly-publicized as it was streamed live throughout, painting a portrait of their tumultuous relationship. While Depp lost a former lawsuit against The Sun for calling him a “wife-beater” in their publication, much of that same testimony was used for the defamation trial, resulting in a win for Depp, although not a total loss for Heard. The final verdict ruled in favor of more than $10 million to Depp for defamation by Heard, while it also ruled in favor of $2 million in damages to Heard for defamation by one of Depp’s lawyers.
In a statement released on Twitter, Heard said she was “disappointed” by the verdict, stating that she believes it to be a “setback” for women. Heard relayed that she felt Depp’s attorneys had convinced the jury to “overlook” Heard’s Freedom of Speech while “ignoring” evidence that was “so conclusive” in the UK libel trial that Depp lost. She concludes by saying that she’s “sad” that she lost the case, which she believes took away her right to free speech. Read her complete statement below:
Throughout the trial, much has been revealed about the couple’s turbulent relationship and the negative results they’ve experienced as a result of it, including the loss of major film roles. Heard’s agent Jessica Kovacevic testified that she believed the actress’s career should’ve taken off in a big way and that her legal woes may have impacted her career, including a scaled-back role in Aquaman 2. However, DC Films president Walter Hamada testified that it was more about Heard’s chemistry with star Jason Momoa than anything else and that the actress was still brought back to the film in a reduced role, as the plan had always been for it to be a buddy film between Momoa and co-star Patrick Wilson.
Now that the trial is over, it’s unclear how much of an effect it will have on the careers of either Heard or Depp. Both actors have been noticeably absent from big-name projects in the last few years, with Depp doing voice work on an obscure animated series and Heard appearing in The Stand mini-series and a very brief appearance in Zack Snyder’s Justice League. Whether or not the verdict puts either actor back on the right path remains to be seen. Still, it’s always possible that the publicity of the trial, however ugly or revealing it may have been, could amplify their status and get them back to work sooner than later.
Source: Amber Heard
About The Author
The jury found that Mr. Depp was defamed by Ms. Heard when she described herself in an op-ed as a “public figure representing domestic abuse,” but also that she had been defamed by one of his lawyers.
From left, Kevin Lamarque/Reuters; Steve Helber/Associated Press
Johnny Depp says Virginia jury ‘gave me my life back.’
Amber Heard testified that Mr. Depp sexually assaulted her and engaged in a ‘pattern’ of violence.
Johnny Depp portrayed Ms. Heard as the aggressor in his testimony.
The two sides clashed over what caused the damage to Mr. Depp’s career.
A judge in Britain found in 2020 that Mr. Depp had assaulted Ms. Heard and put her ‘in fear of her life.’
A jury in Virginia on Wednesday found that the actor Johnny Depp had been defamed by his ex-wife Amber Heard in a 2018 op-ed, a verdict that handed the actor a victory in his long, messy battle over domestic abuse allegations.
But the jury’s decision was split, also finding that one of the three statements at the center of Ms. Heard’s lawsuit, by one of Mr. Depp’s lawyers at the time, had been defamatory.
The jury awarded Mr. Depp $15 million in compensatory and punitive damages, but the judge capped the punitive damages total in accordance with legal limits, resulting in a total of $10.35 million. The jury awarded Ms. Heard $2 million in damages.
The jury’s decision came after a six-week trial that transfixed the nation, with millions of people watching it on television or streaming it online as the two major Hollywood stars made charges and countercharges of physical abuse against one another in court, sometimes in lurid detail. It was one of the highest-profile civil cases of the #MeToo era to go to trial.
Mr. Depp fiercely denied Ms. Heard’s accusations that he subjected her to repeated physical abuse that included punching, head-butting and dragging by the hair, as well as several instances of sexual assault.
“It’s insane to hear heinous accusations of violence — sexual violence — that she’s attributed to me,” Mr. Depp testified. “I don’t think anyone enjoys having to split themselves open and tell the truth, but there are times when one just simply has to because it’s gotten out of control.”
Mr. Depp’s lawsuit accused Ms. Heard of defaming him in a Washington Post op-ed in which she referred to herself as a “public figure representing domestic abuse” and said she witnessed “how institutions protect men accused of abuse.”
The article, which was spearheaded and prepared by the American Civil Liberties Union, never mentioned Mr. Depp by name, but he argued that it clearly referred to their marriage, which began in 2015 and fell apart just over a year later.
Ms. Heard, 36, maintained throughout the trial that everything written in the op-ed was true and that she was the one who was defamed when, in 2020, a lawyer representing Mr. Depp, 58, made statements to a British tabloid calling her abuse accusations a “hoax.” She sued Mr. Depp for those statements, arguing that the lawyer was acting as his agent. But as part of its decision on Tuesday, the jury declined to find that her ex-husband had defamed her.
The win for Mr. Depp, who denies ever hitting Ms. Heard or any other woman, is at odds with a legal loss in Britain, where Mr. Depp had sued the publishers of The Sun, a tabloid newspaper, in 2020. The Sun had called him a “wife-beater” in a headline, and the case ended with a ruling by a judge, Andrew Nicol, who found there was evidence he had assaulted Ms. Heard.
The jury found that Mr. Depp was
Paramount+ today announced Amanda Peet (“Dirty John: The Betty Broderick Story”) will join the cast of the service’s upcoming original series FATAL ATTRACTION, from Paramount Television Studios and Amblin Television. Peet joins previously announced cast members Lizzy Caplan (“Castle Rock,” “Masters of Sex”), who stars as Alex Forrest and Joshua Jackson (“Dr. Death”), who stars as Dan Gallagher.
Peet will star as Beth Gallagher, a loyal wife, loving mother and successful small business owner whose world unravels when her husband Dan’s (Jackson) indiscretion threatens to destroy their life together.
A deep-dive reimagining of the classic psychosexual thriller and ‘80s cultural touchstone, the new series will explore fatal attraction and the timeless themes of marriage and infidelity through the lens of modern attitudes toward strong women, personality disorders and coercive control.
Amanda Peet starred in season two of the anthology series “Dirty John: The Betty Broderick Story.” Before that, she was in “The Romanoffs,” “Brockmire,” and “Togetherness,” created by the Duplass Brothers, as well as “Studio 60 on the Sunset Strip.” She has appeared in the films “Please Give,” “Something’s Gotta Give,” “The Whole Nine Yards,” “Syriana” and “Igby Goes Down,” among others. Her play “The Commons of Pensacola,” which was produced by Manhattan Theatre Club, starred Blythe Danner and Sarah Jessica Parker. Her most recent play, “Our Very Own Carlin McCullough,” ran in 2018 at The Geffen Playhouse in Los Angeles. Most recently, Peet created the series “The Chair” starring Sandra Oh.
Alexandra Cunningham (“Dirty John,” “Chance”) serves as writer, showrunner and executive producer on the series alongside executive producer Kevin J. Hynes (“Perry Mason”), with whom Cunningham shares co-story credit, and executive producers Darryl Frank and Justin Falvey for Amblin Television. Silver Tree will also executive-produce and direct.
FATAL ATTRACTION joins Paramount+’s growing lineup of original series, including 1883, EVIL, THE GAME, THE GOOD FIGHT, HALO, MAYOR OF KINGSTOWN, THE OFFER, STAR TREK: DISCOVERY, STAR TREK: PICARD, STAR TREK: STRANGE NEW WORLDS and more, as well as upcoming series including GREASE: RISE OF THE PINK LADIES, TULSA KING and WOLF PACK, among others.
About Paramount+
Paramount+, a direct-to-consumer digital subscription video on-demand and live streaming service from Paramount Global, combines live sports, breaking news and a mountain of entertainment. The premium streaming service features an expansive library of original series, hit shows and popular movies across every genre from world-renowned brands and production studios, including BET, CBS, Comedy Central, MTV, Nickelodeon, Paramount Pictures and the Smithsonian Channel. The service is also the streaming home to unmatched sports programming, including every CBS Sports event, from golf to football to basketball and more, plus exclusive streaming rights for major sports properties, including some of the world’s biggest and most popular soccer leagues. Paramount+ also enables subscribers to stream local CBS stations live across the U.S. in addition to the ability to stream Paramount Global Streaming’s other live channels: CBS News Streaming Network for 24/7 news, CBS Sports HQ for sports news and analysis, and ET Live for entertainment coverage.
For more information about Paramount+, please visit www.paramountplus.com and follow @ParamountPlus on social platforms.
About Paramount Television Studios
Paramount Television Studios is a leading studio, developing and financing a wide range of cutting-edge and entertaining television content across all media platforms for distribution worldwide. The studio’s robust slate includes THE OFFER (Paramount+), GREASE: RISE OF THE PINK LADIES (Paramount+), FATAL ATTRACTION (Paramount+), AMERICAN GIGOLO (Showtime), “Made For Love” (HBO Max), “Station Eleven” (HBO Max), “Shantaram” (Apple TV+), “Time Bandits” (Apple TV+), “Defending Jacob” (Apple TV+), “Home Before Dark” (Apple TV+), Tom Clancy’s “Jack Ryan” (Prime Video), “Reacher” (Prime Video), “Devil in the White City” (Hulu), “The Spiderwick Chronicles” (Disney+), “Joe Pickett” (Spectrum Originals), “Long Slow Exhale” (Spectrum Originals), “The Haunting of Bly Manor” (Netflix) and “The Haunting of Hill House” (Netflix), among others. Paramount Television Studios is a subsidiary of Paramount (NASDAQ: PARA; PARAA), a global content company with premier television, film and digital entertainment brands.
About Amblin Television
Amblin Television, a long-time leader in quality programming, is a division of Amblin Partners, a content creation company led by Steven Spielberg. Amblin Television’s Presidents, Darryl Frank and Justin Falvey, oversee all development, production and programming for the company. Amblin Television currently has twelve projects in various stages of production and release including season two of “Resident Alien” for SYFY, “Halo” and “Fatal Attraction” for Paramount+, “Billy the Kid” for Epix, “Masters of the Air” for Apple, a third season of “Animaniacs” for Hulu, season four of “Roswell, New Mexico” for The CW, two seasons of “Gremlins: Secrets of the Mogwai” for HBO Max, two seasons of “Tiny Toons Looniversity” for HBO Max and Cartoon Network, and documentaries “Big Vape” for Netflix, “Good Night Oppy” for Amazon Prime Video, and “Mama’s Boy” an adaptation of Oscar-winner Dustin Lance Black’s autobiography.
Amblin Television also produced the Emmy, Golden Globe and Peabody Award-winning drama “The Americans” for FX, the Golden Globe-nominated and double Emmy Award-winning mini-series “Into the West” for TNT, Emmy-winning documentary series “Why We Hate” for Discovery, the Emmy-nominated HBO movie “All the Way” starring Bryan Cranston, “Smash” for NBC, “Under the Dome” for CBS, “Falling Skies” for TNT, “The Borgias,” “The United States of Tara” for Showtime, and “Las Vegas” for NBC. For more information, go to www.amblin.com.
Paramount+ today announced Amanda Peet (“Dirty John:
The majority of the audience for Tom Cruise’s latest movie was over 35, something unheard of for a major blockbuster
After a year in which younger adults were the kingmakers at the box office, Paramount/Skydance’s “Top Gun: Maverick” has become one of the biggest hits of the pandemic era thanks in large part to Gen X moviegoers who saw the original “Top Gun” back in the 1980s.
With a four-day estimated opening of $156 million, “Top Gun: Maverick” has passed “Pirates of the Caribbean: At World’s End” for the highest Memorial Day weekend opening ever. Even “Maverick’s” three-day opening of $126.7 million ranks fourth-highest among all films released in the U.S. since theaters reopened.
And that’s especially impressive when you consider this: Paramount’s demographics reports show that a staggering 55% of the opening audience was over the age of 35. By comparison, that age group’s opening audience share for “The Batman” back in March was just 31%, while the opening audience share for Tom Cruise’s last blockbuster, “Mission: Impossible — Fallout,” was 37% over 35.
Since “Top Gun: Maverick” was first added to Paramount’s release slate, both the studio and box office analysts expected the film to be driven by moviegoers in their 40s and 50s who have fond memories of seeing the original “Top Gun,” which became one of the top 10 highest grossing movies of the decade back in 1986. But for this sequel to show such excellent results off of that Gen X nostalgia is truly unique, as “Top Gun: Maverick” is performing like a superhero or a “Fast & Furious” film that has been historically driven by millennial and Gen Z fans.
But those younger demos are also flying into the Danger Zone, and that is even better news for “Top Gun: Maverick.” Paramount reports that 21% of the opening weekend audience came from the 18-24 age demo, showing that the overwhelming critical and audience acclaim for this sequel is grabbing the attention of those who weren’t born when “Top Gun” premiered.
While Cruise’s generation should continue to lead turnout for “Maverick,” there’s even more upside for the film’s interest among the 18-35 moviegoers that may not have shown up on opening weekend like they did for “Spider-Man: No Way Home” but could buy a ticket over the next two weeks thanks to the overwhelming post-release buzz. That should drive “Top Gun: Maverick” to an excellent run throughout June, even though it will face stiff competition from “Jurassic World: Dominion” and “Lightyear” in a few weeks.
Last May, CBS aired what we thought was All Rise’s series finale.
Most couples and storylines ended neatly, but the fans still longed for more.
In September, the Oprah Winfrey Network (OWN) saved and renewed the series for a third season.
All Rise has been off the air for a year. What do we want to see the most when it returns?
These are some of our must-haves for the legal drama. Did any of your wishes make our list?
Since the series picks up six months from where the second season finale ended, we’re hoping Mark and Amy’s wedding didn’t happen off-screen. It was such a beautiful proposal that we hope the wedding occurs sometime in the first few episodes.
Mark and Amy worked hard to be together. They have dealt with Rachel making a play at Mark, and Mark learned that Amy was technically still married.
Hopefully, Amy’s divorce is finalized, and the wedding can happen. The group needs a reason to celebrate.
Ideally, they could have a nontraditional wedding, where Lola stood up on Mark’s side as his “best person,” since Mark and Lola are so close. It’s one event that could bring the entire group of friends together.
Luke and Emily spent most of All Rise Season 2 apart as they dealt with their issues and found themselves.
Luke realized that Emily was the only person he felt truly safe with. They both confessed their love at the airport, but Emily still needed time alone to process her challenging year.
Since Luke promised to wait for her, hopefully, we’ll see some conversations about where their relationship is heading upon Emily’s return. They’re also both working for the public defender, so hopefully, we see them work together on some cases.
Judge Lola Carmichael had a rough year last year. She was arrested unfairly during a protest, and a video went viral, nearly wrecking her career.
Many colleagues thought she’d try cases unfairly, especially when hate crimes came across her docket. Things became heated when she brought Sheriff McCarthy to justice, and Corrine Cuthbert defended him.
Lola thought her job was safe but learned that others were contesting her seat for judge in the finale.
Hopefully, Lola retains her chair and continues to kick butt in the courtroom. It looks like she’s in for a fight from the promo, but she’ll have her friends by her side.
We love every bit of All Rise, but Lola Carmichael is at the center of the series, and so are her relationships.
Since the series has recast her husband Robin (Christian Keyes) as a stay-at-home dad, we hope to see more of the married duo.
Lola and Mark have always been fan-favorite friends as they bolster each other through issues, so they need to keep them front and center with their chats, whether on the steps or the rooftop terrace.
Hopefully, Lola and Sherri will bring lots of laughter and fun as they prep for court cases. We’ll miss Sara as part of their trio, but she got another job.
Emily has always been passionate about fighting for the rights of domestic abuse and mental illness clients. These subjects are rarely discussed and are often considered taboo.
In the second season, Emily admitted that she had been in therapy for a year. Hopefully, on All Rise Season 3, we could see some of her therapy sessions and notice how Emily uses those skills to help her clients.
Sara will be helping the victims’ assistance program during Season 3 after she realizes how much she helped Nikki get out of an abusive home. We hope we see more of Sara in action and not just as a supportive friend.
Luke has a soft heart for first-time offenders, especially young ones, and tried to develop a restorative justice program back on Season 2.
Restorative justice involves making amends to the victim. Both Good Trouble and Law and Order: SVU also featured episodes with restorative justice in the last few years.
Now that Luke and Emily will be working together at the public defender’s office, hopefully, we can see them get help for both young offenders and their victims.
When Mark and Luke teamed up against Detective McCarthy and the sheriffs, they went after a giant shark that almost cost Luke his job.
Since they both survived and came out stronger, we’d love to see the two of them take on another considerable case together.
Ideally, we’d like it if Reggie Lee returned as DA Choi since all three of them were so much fun in scenes together.
Lisa Benner finally experienced love last season with Georgia (Amy Acker). Georgia was the first person to get Lisa to open up.
While it’s a pipe dream, we’d like to see Georgia’s answer to Lisa’s proposal and know if we get a two-weddings season!
What do YOU want to see on the third season? Share your thoughts below.
All Rise Season 3 Episode 1 premieres on OWN on Tuesday, June 7th at 8/7c.
Laura Nowak is a staff writer for TV Fanatic. Follow her on Twitter.
Last May, CBS aired what we thought
After 15 years in the game, English-born Carey Mulligan has proven herself to be one of the most talented and exciting actresses working today. With two Oscar nominations to her name, she’s delivered an incredible array of characters and performances, many of which should have been recognized by the Academy.
Many remember her film debut in Joe Wright’s breathtaking “Pride and Prejudice” (2005) as Kitty Bennett opposite Keira Knightley. Her big break came when she was given the starring role of Jenny in the coming-of-age drama “An Education” (2009). Helmed by Lone Scherfig, the movie’s best picture nomination by the Oscars marked the first time two women-directed features were nominated in the top category in the same year. The other was Kathryn Bigelow’s “The Hurt Locker,” which won. Mulligan’s wistfully methodical portrayal earned her a BAFTA statuette for best actress and an Oscar nom.
After her nom, Mulligan continued exploring challenging and dynamic roles over the next decade, working with some of the most talented actors and directors in Hollywood. As Irene, she surrendered to the Driver (Ryan Gosling) in an elevator in Nicolas Winding Refn’s “Drive” (2011). As Sissy, she displayed heartbreak in the lyrics of the song “New York, New York” opposite Michael Fassbender in Steve McQueen’s criminally underrated “Shame” (2011). Finally, as Jean, she showed frustration in choosing between Oscar Isaac and Justin Timberlake in the Coen Brothers’ masterpiece “Inside Llewyn Davis” (2013).
Her next Oscar nom wouldn’t happen until she was steered by Emerald Fennell in the revenge drama “Promising Young Woman” (2020). In the third instance of two female-directed films nominated for the Academy’s top prize, Mulligan won the second most precursors for her turn as Cassie, a woman looking to the right the wrong caused by the men who assaulted her friend during college. Unfortunately, with a global pandemic, a changing BAFTA voting practice that resulted in an egregious snub, and an overlong awards season, she wound up losing the prize to Frances McDormand’s third best actress win for “Nomadland.”
More to come from the wife of Mumford and Sons’ leading vocalist Marcus Mumford and the mother of two. She’ll star opposite Adam Sandler and Paul Dano in “Spaceman” from Johan Renck. She’s also expected to be in the awards conversation once again when she takes on the uncovering of the sexual misconduct of Harvey Weinstein in the #MeToo movement feature “She Said” opposite Zoe Kazan and director Maria Schrader. The film is scheduled to be released later this year and distributed by Universal Pictures.
She’s also in the middle of filming “Maestro,” the next directorial effort of Bradley Cooper, where she’ll play Felicia Montealegre, the wife of Leonard Bernstein. The film will be released by Netflix and is expected in 2023.
To align with her birthday on May 28, Variety is ranking her 10 best film performances to date to celebrate her birthday. Read through the list below and watch the clip of the “scene that proves it” with each entry by clicking on the image.
Honorable mentions: “Pride and Prejudice” (2005), “The Great Gatsby” (2013), “The Dig” (2021)
After 15 years in the game, English-born
“Such things should never happen, but we die / The swallow finds an oak to nest her young / Defenseless between the Earth and the sky / Uncounted beneath the vast, indifferent sun.” These poetic lyrics, intoned by Nick Cave over saintly instrumentation, are just a taste of Seven Psalms, a new spoken-word album previewed in April by the beloved Bad Seeds frontman. If you’re a Cave follower hoping for ominous gothic rock serenades in the vein of “Red Right Hand,” (a track made famous by the Scream movies and as the Peaky Blinders theme song), you may be surprised to learn that there’s no deep-baritone crooning to be found here. Much like the first half of “White Elephant” from 2021’s Carnage, this seven-track opus is all thought-provoking talk over music co-written by longtime collaborator and Bad Seeds bandmate Warren Ellis, marking their second musical project as a duo. Much like their previous outing, this project also sprung to life during the pandemic. “While in lockdown I wrote a number of psalms, or small, sacred songs—one a day for a week,” Cave said in a statement about the new LP. “The seven psalms are presented as one long meditation—on faith, rage, love, grief, mercy, sex, and praise. A veiled, contemplative offering borne of an uncertain time. I hope you like it.” Thanks Nick, we’re sure we will. [Gil Macias]
“Such things should never happen, but we
Screen Time is your curated weekly guide to excellent documentaries and nonfiction programs that you can watch at home.
We at IDA are heartbroken at the passing of Heddy Honigmann, documentarian extraordinaire and a true master of the form. As big fans and admirers, we are dedicating this week’s Screen Time to celebrate her and her art.
Honigmann’s Buddy takes an unsentimental look at six canine and human pairs to “reveal what’s really given and received.” Many critics have noted the ease with which the filmmaker would open people up to trust her and the camera. “I don’t do interviews. I make conversation,” she once said. Buddy, streaming on Mubi, is a shining example of that approach.
In O Amor Natural, Honigmann explores the erotic poetry of the great Brazilian poet Carlos Drummond de Andrade and its relationship with people who read it. The filmmaker travels across Rio de Janeiro and asks elderly men and women to read some of Drummond’s explicit verses, and weaves together an ode to love interspersed with humor, nostalgia and grief. Watch it on OVID.
Also on YouTube is a conversation with Honigmann, hosted in 2002 by Minneapolis’ Walker Art Center, when they presented a retrospective of her work. In this conversation with City Pages arts editor Michael Tortorello, she speaks of, among other things, being a medical school dropout who was simultaneously writing poetry and searching for “a film school somewhere.”
A lot of Honigmann’s fans count Forever as their favorite. This documentary travels to the Père-Lachaise Cemetery in Paris, and, moving through the gravesites of legendary icons, it meditates on the relationship between the dead and the people who inherit their world, outlive them, and keep drawing inspiration from their art. Watch the film on OVID.
The Underground Orchestra follows musicians on the Paris subway, none of whom are native French, most being refugees and members of an orchestra. Honigmann befriends them and allows us a peek into their lives as they play music in their quest for better lives. Watch the film on Eye Player.
In Metal and Melancholy, Honigmann’s “offbeat road movie,” the filmmaker travels with taxi drivers in Lima who, given Peru’s inflationary economy, have taken to driving their own cars as taxis in order to overcome financial hardship. In true Honigmann style, the conversations are candid and the accounts heartfelt. Watch the film on OVID.
Screen Time is
Ukrainian soldiers launched a counteroffensive yesterday in Kherson, the key city that Russia has used as a staging ground for operations across southern Ukraine. Ukrainian forces attempted to hold off Russia’s efforts to conquer and cut off a strategic strip of eastern Ukraine. Follow the latest updates from the war.
The announcement of the Ukrainian counteroffensive — “Hold on, Kherson, we’re coming!” the military said yesterday morning on Twitter — signaled what might prove to be a new chapter in a war that has geopolitical, economic and humanitarian significance.
In recent weeks, Russian forces, stretched thin and taking heavy losses as they gained ground in the eastern Donbas region, have concentrated their efforts on fortifying defensive positions in the south. It was not clear if they were prepared for the Ukrainian counterattack.
Morale building: Volodymyr Zelensky, the Ukrainian president, yesterday visited the country’s northeast, near Kharkiv, where he praised military forces for their success in pushing Russians back from the city’s outskirts. Kharkiv, which endured months of shelling that killed many civilians and forced tens of thousands to flee, was struck again hours after he left.
In other news from the war:
President Biden traveled to Uvalde, Texas, with the first lady, Jill Biden, to visit a memorial outside Robb Elementary School where 19 children and two teachers were gunned down last week.
Less than two weeks earlier, the couple had observed a moment of silence near the site of a racist massacre at a supermarket in Buffalo. The frequency of the shootings has spurred a new round of negotiations over gun control measures in Congress, and some liberal states, including New York and California, are moving to pass stricter gun-control laws.
The Justice Department said yesterday that it would review the law enforcement response to the mass shooting in Uvalde. The protracted response came despite the fact that some children inside the classrooms were calling 911 for help, raising questions about whether lives could have been saved had officials acted sooner.
Bipartisan approach: After Uvalde, Republicans said they wanted to do something, at least on issues of school security and mental health. Democrats are demanding at least stronger background checks at gun shows and internet gun bazaars. Many Democrats say they believe that Congress should go even further.
Two anti-establishment candidates, Gustavo Petro, a leftist, and Rodolfo Hernández, a right-wing populist, captured the top two spots in Colombia’s presidential election yesterday, delivering a stunning blow to the dominant conservative political class. The two will compete in a runoff election on June 19.
The election is shaping up to be one of the most consequential in the country’s history. At stake: the country’s economic model, democratic integrity and the livelihoods of millions of people who have been pushed into poverty. Colombia has long been the strongest U.S. ally in the region: Petro has called for a reset of the bilateral relationship, including a re-examination of a trade agreement.
A win for Petro would mark a watershed moment for one of the most politically conservative societies in Latin America. His rise reflects not just a leftist shift across Latin America, but also an anti-incumbent fervor that has gained strength as the pandemic has deepened poverty and inequality.
By the numbers: With more than 99 percent of the ballots counted on Sunday evening, Petro received more than 40 percent of the vote. Hernández received over 28 percent, an unexpected second-place victory ahead of the conservative establishment candidate, Federico Gutiérrez, who had been polling in second place.
It’s easy to forget today that pay phones were once essential in the daily lives of New Yorkers; in 1978, a pay phone in New York’s Penn Station was the busiest in the U.S., with an average pickup rate of 5,500 times a month.
As the effort to remove the final examples from the streets of New York City was completed this week, reporters for The Times looked back through our archives for stories about and images of the humble yet ubiquitous pay phone. One 1966 classic, about two stolen chimpanzees, begins: “Tarzan and Jane were found in a Brooklyn phone booth early yesterday.”
The months ahead are shaping up to be the most normal summer in years — even if things aren’t quite back to normal.
Perhaps you’re considering a summer break. Don’t assume that old travel patterns will necessarily continue. Flights may be more challenging than you remember, and beach houses may be harder to find in some places and easier in others.
Still deciding where to go? The Times is running a series — “A Summer of Cycling” — with reports on Vancouver, British Columbia; Vermont; Alaska; Hawaii; a 150-mile journey from Italy to Croatia; and seven cities around the world that are fun to explore on a bike.
If you’re staying home, here are some recommendations for great barbecue and cookout recipes that can be prepared ahead of time. That way, you don’t need to be working in the kitchen while everyone else is having fun. The ultimate advance-preparation meal is a picnic, and our recipe columnist David Tanis has plenty of advice.
And if all you really want to do is to get lost in a great movie or a wonderful book, we have you covered. Here’s The Times’s list of the 101 most interesting movies of the season and our Books desk colleagues’ guide to summer reading. They have 88 books to transport you this season, including thrillers, historical fiction, romance and cookbooks.
Ukraine strikes back in the southUkrainian soldiers
Gigi Hadid showed another way to wear a monokini in the city. While all the stars are walking the streets of Cannes, Gigi remains in New York with her daughter and is engaged in personal projects. So, the model became a guest of the party on the occasion of the launch of a new collection of swimwear, which she created with Frankies Bikinis.
Gigi Hadid has returned to the runways after taking a break from the birth of her daughter with musician Zayn Malik, and now she is once again striving to get to the top of the world’s most sought-after models. In addition, to photoshoots and participation in the show, Bella’s older sister Hadid is developing a personal brand and even acts in a new role as a designer. The celebrity has teamed up with longtime friend Frankies Bikinis brand creative director Francesca Aiello to create a swimwear collection.
At the bikini and monokini launch party, Gigi appeared in one of the novelties. The model wore a one-piece white swimsuit with a delicate blue pattern along with low-rise trousers, an extremely short shirt, from which only sleeves remained, and classic pumps and a cap. We remember the styling trick for the summer: as the celebrity showed, the monokini can play the role of a spectacular bodysuit.
In a previous post, One of the most beautiful couples in showbiz has announced the end of their relationship. The separation of 26-year-old Gigi Hadid and 28-year-old Zayn Malek occurred against the backdrop of a family scandal: the model’s mother, Yolanda Hadid, accused her daughter’s lover of domestic violence. According to her, the singer hit her when she came to their house to visit her daughter and granddaughter – Zayn and Gigi are raising one-year-old Kai, whose birthday was celebrated in September.
Gigi Hadid showed another way to wear
Thanks to “Stranger Things” Season 4, Kate Bush’s hit song “Running Up That Hill (Deal With God)” has finally made its way to the top of the charts for the first time ever. It only took 37 years to get there.
After the new season dropped of Netflix this weekend, the track originally recorded in 1985 soared to the No. 1 spot on iTunes and landed on streaming charts for the first time. It currently sits at 106 on Spotify’s Top 200, with 1,099,174 plays. The “Stranger Things 4” soundtrack – which also features the Talking Heads, KISS, and the Beach Boys, among others – holds the No. 5 spot on iTunes’ Top 200 Albums.
The song first comes into play during the season premiere, when Max (Sadie Sink) strolls through her school hallways listening to it on her Walkman. The song returns a few episodes later, taking on added significance as she mourns her brother’s death and struggles to escape meeting the same fate.
“Running Up That Hill” might be Max’s favorite song, but she isn’t the only Kate Bush fan among the cast of “Stranger Things,” which is set in the 1980s. Winona Ryder accessorized her premiere look with a Kate Bush pin and called the English singer-songwriter “a hero of mine.”
“I’ve been obsessed with her since I was a little girl,” she told USA Today. “I’ve also for the last seven years been dropping hints on set wearing my Kate Bush T-shirts. I don’t know if you did this, but in my school you had to dress down for P.E., and sometimes I just wouldn’t. I’d just sit there with my headphones listening to her. She’s a hero of mine.”
Released in 1985, “Running Up That Hill” was the lead single on Bush’s fifth album, “Hounds of Love.” It peaked at No. 3 on UK’s Singles Chart and reached 30 on the Billboard Hot 100. In 2012, Bush released a remix that peaked at 22 on the Irish Singles Chart and 6 on the UK Singles Chart.
Both “Stranger Things” and Kate Bush fans delighted at the song’s inclusion, though some diehard Bush fans rolled their eyes at younger generations learning her music through a Netflix show.
Read below for some of the best reactions on social media.
Thanks to “Stranger Things” Season 4, Kate
CNN’s Dana Bash went head-to-head with Rep. Dan Crenshaw about the ongoing gun control debate that has reopened with new intensity following last week’s mass school shooting, pointing out to the Texas Republican that there are more guns than people in the U.S.
Reporting from Uvalde, Texas, where 19 students and 2 adults were massacred at Robb Elementary School, Bash opened by asking Crenshaw what he sees as the “solution” to mass shootings, considering that he has said “no to a lot of the solutions people are talking about.”
“The way that the answers are coming out now, it’s that nothing is going to change,” she said. “And I don’t think people in this community and across the country want to hear that after their babies are being massacred by these guns.”
Crenshaw, who was elected to Texas’ second congressional district in 2019 and is running for reelection this year, argued that increasing security at schools would have the most “immediate” and “tangible” effects.
Bash suggested that securing schools and restricting access to guns “in a way that respects the second amendment” is not mutually exclusive, but Crenshaw disagreed. Not only would Democratic gun control policies “infringe on the rights of millions and millions of gun owners,” but they also “probably wouldn’t have the outcome you’re hoping for,” he told Bash.
“The correlation between gun violence and gun ownership is not very strong, it’s not as strong as people tend to believe it is,” he said.
Bash persisted. “Congressman, it sounds like you’re saying guns in this country are not a problem,” she replied. “I mean, there are 300-something million people, 400 million guns. You don’t see that as a problem?”
Crenshaw said no, citing the country’s longstanding “culture” of gun ownership. “If I destroyed all my guns, it would have zero effect on gun homicides because I’m not the person who goes and shoots somebody,” he said. “I am a person who might protect somebody from being shot.”
“There were 19 people who were highly trained in the hallway and they couldn’t save these children,” Bash responded, referring to the fact that Uvalde police waited more than an hour to enter the classroom where the shooting took place.
They both agreed that this was, indeed, a problem, one that Bash pointed out could never have been anticipated when the 2nd amendment was written.
“Do you really think the Founding Fathers when they wrote ‘well-regulated militia,’ intended for enough guns – weapons of war – that you are so highly trained in using, should be used to massacre children?” she asked.
According to the non-partisan voter information organization Vote Smart, Crenshaw holds a 92% approval rating from the NRA and won their endorsement for his upcoming election. He voted “no” on all key gun reform legislation during his tenure, except for the Violence Against Women Reauthorization Act of 2021, on which he abstained from voting.
CNN’s Dana Bash went head-to-head with Rep.
What does winning a prize at Cannes mean in the long run? It depends on which one — the Palme d’Or and acting prizes have more impact than any of the nine awards. For every Penélope Cruz in “Volver” or Rooney Mara in “Carol,” who went on to Oscar nominations, there’s a Renate Reinsve, who rode a surge of nominations for “Worst Person in the World,” but got no Oscar mention.
A Cannes prize can help a Screenplay winner like “Boy from Heaven” to land distribution, including in North America. And it boosts a film’s chances of being submitted for the Oscar by its home country, although neither Swedish-Egyptian filmmaker Tarik Saleh’s “Boy from Heaven” nor Iranian-Danish Ali Abbasi’s “Holy Spider,” which won Best Actress for Zar Amir Ebrahimi as a journalist fighting for justice for slain prostitutes, will be submitted by Egypt or Iran, respectively. Both filmmakers are persona non grata in those countries for taking on taboo subjects. (Sweden or Denmark could do the honors, though.)
“This movie is about women,” said Amir Ebrahimi. “It’s about their bodies, it’s a movie full of hands, feet, breasts, sex, everything that is impossible to show in Iran. Thank you Ali Abbasi for being so crazy and so generous, and thank you for directing against all odds this powerful film.”
“Holy Spider”
Most of the non-English-language films at Cannes that could wind up in the Oscar race will compete for Best International Feature Film, although in recent years “Parasite,” “Cold War,” “Drive My Car,” and “Worst Person in the World” wound up competing in other races as well, including Screenplay, Cinematography, Director, and Picture.
Cannes can make careers. “25 filmmakers made love for the first time with the cinema and this Cannes film festival,” said Rossy de Palma, president of the Camera d’Or jury, which voted the first-film prize to Un Certain Regard entry “War Pony,” an indigenous story directed by Riley Keough and Gina Gammell, the only American winner from the Cannes selection; David Cronenberg’s “Crimes of the Future,” Kelly Reichardt’s “Showing Up,” and James Gray’s well-reviewed “Armageddon Time” did not make the Competition jury cut.
The jury was positively radiant after their two week experience debating 21 films. “I’m terribly sad, happy, and joyful,” said president Vincent Lindon. “I loved everything: the people and the films, the electricity that permeates the air in the streets. The jury was so generous, demanding, and combative, as spectators and film experts…The riveting and passionate debates were exhausting. The decisions were all reached with a nice majority.”
“Broker”
screenshot
Neon did well in Cannes, scoring their third Palme winner in a row. The “Titane” and “Parasite” distributor will be sure to push their surprise Palme d’Or winner “Triangle of Sadness,” which the distributor won in a bidding war, plunking down north of $8 million. The hilarious satire of the super-rich became the consensus pick for the diverse jury of men and women, actors and filmmakers, even though Swedish filmmaker Ruben Östlund won in 2017 for “The Square.” But the film will be competing on its merits as an English-language film, Östlund’s first; it should prove a commercial theatrical release, and a screenplay Oscar nomination would be a good bet.
The filmmaker kissed every jury member. He sought to entertain and provoke post-screening conversation at the same time, he said: “It’s a unique thing with cinema, watching together, to have something to talk about but also have fun and have an experience we want to share with others.”
Neon will push Japan to submit “Broker,” from Cannes regular and 2018 “Shoplifters” Palme d’Or winner and Oscar nominee Hirokazu Kore-eda, whose Korean star Song Kang Ho (“Parasite”) took home Best Actor. It was a good day for Korea, which should submit for Oscars the Cannes Directing prize-winner Park Chan-wook’s moody noir policier “Decision to Leave” (Mubi), starring Tang Wei as a femme fatale suspected of murder. This stylish critical hit could play for audiences around the world.
“With the pandemic, borders between countries were closed,” said Park. “It was difficult to communicate; sometimes it was quite complicated. We were very afraid of each other. And movie theaters were empty. We have overcome the virus and hopefully people will go back to the theaters.”
“Decision to Leave”
Courtesy Cannes Film Festival
The shared Jury Prize went to Poland’s “Eo” (“Hee-haw”), from puckish 84-year-old Cannes perennial Jerzy Skolimowski, who said, “Thank you, my donkeys, eeoooo!” Belgium will have a dilemma when it comes to choosing its Oscar submission. They have three choices: “The Eight Mountains,” co-directed by husband-and-wife team Charlotte Vandermeersch and Felix Van Groenigen, who learned Italian to shoot in Italy. Another Belgian winner, though, was those frequent Cannes winners the Dardenne brothers, who have won the Palme twice before (“Rosetta,” “L’Enfant”) and thus settled for a Special Prize for the 75th anniversary of the festival for their moving drama “Tori and Lokita,” which tells the story of two African refugees under duress. This film has not been picked up in North America.
The likeliest Belgian submission, however, the one which inspired the most cheers among the Palais audience, was Lukas Dhont’s tender relationship drama “Close,” which shared the second most important award, the Grand Prix, with Claire Denis’ English-language romance “Stars at Noon,” starring Joe Alwyn and Margaret Qualley. The veteran French filmmaker discovered the young actress at Cannes in Quentin Tarantino’s “Once Upon a Time in Hollywood” and “went into a state of ecstasy,” she said. Both are distributed by A24.
“These last few years, we had to stand at a distance from those we loved, to protect them,” said Dhont. “I realized how much I needed my friends…I wanted to make a film of tenderness about young people…When you allow people to come close to you, it can be superpower.”
France will have several candidates for Oscar submission, per usual, including Competition title “Mother and Son,” from Léonor Seraille; neither “Brother and Sister” from Arnaud Desplechin nor Michel Hazanavicius’ opening-night comedy “Final Cut” were well enough received to be strong candidates. Mia Hansen-Love’s Léa Seydoux romance “One Fine Morning” (Sony Pictures Classics), which unaccountably played Director’s Fortnight, is another possibility.
“Corsage”
Cannes
And Austria could submit lauded filmmaker Marie Kreutzer’s irreverent costume drama “Corsage,” starring versatile Berlin actress Vicky Krieps (2021 Cannes entry “Bergman Island”) as Austria-Hungary’s rebellious Empress Elisabeth (“Sissi”), which many thought should have been programmed in the Competition. Krieps shared the Un Certain Regard Best Actress award. With the right handling from IFC Films, the revisionist 19th-century royal slice-of-life could compete for Best Actress and Best Costume Design, as well as International Feature Film.
On the documentary front, Cannes has always had trouble finding prime slots for the year’s best documentaries, ceding that ground to Sundance and other festivals from Tribeca and Toronto to New York. The highest-profile documentary, Brett Morgen’s “Moonage Daydream” (Neon), the IMAX-bound kaleidoscopic portrait of David Bowie, debuted in the midnight section, while playing in Special Screenings were Ethan Coen’s “Jerry Lee Lewis: Trouble in Mind” (A24) and Shaunak Sen’s lyrical portrait of the black kites of Delhi, Sundance-debut “All That Breathes” (HBO), which won the Cannes 2022 documentary jury prize. All could be Oscar contenders.
“Elvis”
screenshot
As for the more mainstream Cannes premieres, Joseph Kosinski’s “Top Gun: Maverick,” starring Tom Cruise, is wowing at the box office, and will likely compete in the same Oscar tech categories as most studio sequels; a screenplay nomination for writers Ehren Kruger, Eric Warren Singer, and Christopher McQuarrie would also be well-deserved. One Oscar it could win: Lady Gaga’s song “Hold My Hand.”
Also heading for likely Oscar consideration is Baz Luhrmann’s dazzling musical biopic “Elvis” (Warner Bros.), which could follow the “Bohemian Rhapsody” playbook and not only vault Austin Butler into the Best Actor race, but Luhrmann for director and wife Catherine Martin for another Costume Oscar, not to mention Sound, Editing, and Hair and Make-up. As for “Three Thousand Years of Longing,” George Miller’s gorgeously mounted fantasy and romance starring Idris Elba and Tilda Swinton, the September release will need special handling from MGM/UA in order to last through to Oscar season.
Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
Cannes sets up audience hits and award
It’s been a grand slam of a week for Michelle Zauner.
The Grammy-nominated musician and author who performs under the moniker Japanese Breakfast performed the season finale of Saturday Night Live, got named as one of TIME’s 100 Most Influential People of the Year, and just last night threw the first pitch at a New York Mets game at Citi Field.
And Zauner takes her baseball as seriously as her “piggy T’s.” After all, her last band was called Little Big League.
While Zauner wore her custom #69 Mets jersey with “JBREKKIE” emblazoned on the back, she was not-so-secretly rooting for the opposing team, the Philadelphia Phillies. “My socks / heart,” Zauner captioned a close-up of her ankles, which bore the Fightin’ Phils’ Phanatic.
My socks / heart pic.twitter.com/QCPMzvzqhs
— Japanese Breakfast (@Jbrekkie) May 27, 2022
During last week’s SNL finale, Japanese Breakfast played “Be Sweet” and “Paprika” from their acclaimed album, Jubilee.
Soon thereafter, SNL‘s Emmy-winning castmember Bowen Yang provided some context about why Zauner was the perfect choice to close out the season in an admiring tribute:
My first exposure to Michelle was seeing her dressed in a Korean hanbok, shredding guitar while sitting on an 18-wheeler. I immediately knew I would be obsessed with this person. Her recent output has been just as thrilling and affecting. Crying in H Mart is a memoir I will never forget, and the Japanese Breakfast record Jubilee captures joy in its true, ephemeral spirit. Like all her work, they are beautiful conduits for empathy.
This is what makes Michelle so incredible to me and many others. While she intertwines the threads of her art into perfect plaits, she lets us find something in our own lives, a new strand with which to adorn ourselves. It doesn’t get better than that. Everybody wants to love her.
It’s been a grand slam of a
May 27, 2022 · 12:01 PM
Coming to theatres today, Friday, May 27:
FANNY: THE RIGHT TO ROCK
Director:
Bobbi Jo Hart
World Premiere:
Hot Docs 2021
Select Festivals:
DOC NYC, DOXA, Inside Out, Frameline, Outfest, Los Angeles Asian Pacific, Santa Barbara, Athena, Cleveland, In-Edit, Hawaii, Doc’n Roll, Woodstock, Florida
About:
Ferocious female rockers Fanny, who shattered glass ceilings in the ’70s, collecting fans like David Bowie before being buried in retro record bins, reunite fifty years later with a new record deal and a chance to rewrite history.
May 27, 2022 · 12:01 PM Coming to
:format(webp)/https://www.thestar.com/content/dam/thestar/entertainment/movies/2022/06/03/newfoundland-actor-mark-obrien-realizes-his-filmmaking-dream-with-a-thriller-about-god-and-damnation/the_righteous.jpg)
:format(webp)/https://www.thestar.com/content/dam/thestar/entertainment/movies/2022/06/03/newfoundland-actor-mark-obrien-realizes-his-filmmaking-dream-with-a-thriller-about-god-and-damnation/mark_o_brien_headshot.jpg)
/https://www.thestar.com/content/dam/thestar/columnist_logos/Yeo_Deb_logo2015.JPG){kind=logo}
