Categories
Widget Image
Trending
Recent Posts
Monday, Oct 19th, 2026
HomeStandard Blog Whole Post (Page 1356)

Kim Gordon has linked up with Bikini Kill’s Erica Dawn Lyle and musician/filmmaker Vice Cooler for a scathing rebuke of a growing crisis in land and real estate, “Debt Collector.” The track will appear on Lyle and Cooler’s upcoming album, Land Trust: Benefit for North East Farmers of Color, out June 3.

“Debt Collector,” with its crashing drums and gnarled, industrial synths, packs a brutal instrumental punch that pairs perfectly with Gordon’s quintessential disaffected vocal delivery. “You’re not welcome/To the gated community,” Gordon says, “We bought the block/But you gotta have cash/If you want one/You gotta bring your soul/You gotta pay the down the money.”

In a statement, Gordon explained that her lyrics were inspired by the “financialization” of housing, whereby large companies and investment firms scoop up massive shares of real estate to trade it as a speculative asset while ignoring the needs of tenants. “I’m a bit obsessed with what’s happening with these big financial corporations like BlackRock and Blackstone buying up houses, becoming landlords,” Gordon said. “They pay far beyond a house’s value, putting home ownership even out of the range of the middle class — much less working class.”

(Following the publication of this article, a representative for BlackRock sent Rolling Stone a statement disputing Gordon’s quote, saying,
“BlackRock does not buy single-family houses… BlackRock is an active investor in the U.S. real estate market, but we are not among the institutional investors buying single-family houses.)

The “Debt Collector” video, which Cooler directed, helps visualize aspects of this phenomenon, juxtaposing security cameras and tall gates with residences that are being evicted and new condo developments. “Kim created a very powerful lyrical statement on real estate and land, and the companies that have been purchasing (and laundering) properties at the expense of low-income and working class housing,” Cooler said. “Her lyrics really resonated with me because I’ve been displaced from three homes as an adult and I hold a constant anxiety that I won’t be able to obtain stable housing at all — let alone be able to afford a home.”

“Debt Collector” is the second offering from Lyle and Cooler’s Land Trust, following “Mirrorball,” which features Lyle’s Bikini Kill bandmate Kathleen Hanna. The collection will feature additional contributions from the Linda Lindas, the Raincoats, Alice Bag, Kelley Deal, and more. 

This story was update 5/20/22 at 12:13 p.m. with a statement from BlackRock.

Source link

Kim Gordon has linked up with Bikini

In just over a decade, Ruben Östlund has established himself as one of the new Cannes masters, leapfrogging from sidebar to sidebar—2011’s Play debuted in Directors’ Fortnight, 2014’s Force Majeure was selected for Un Certain Regard—before jumping to the Competition, which he won at first strike with 2017’s art-world satire The Square. This year he returns with Triangle of Sadness, starring Harris Dickinson, Charlbi Dean and Woody Harrelson. The Swedish director cheerfully offers to tell Deadline everything—even the ending—but this is a director whose films are less about plot than they are about people, and his latest subject, the fashion world, suggests plenty of food for his dark thoughts.

DEADLINE: How does it feel going back to Cannes as a Palme d’Or winner? Does that make you nervous about going back into competition?

RUBEN ÖSTLUND: I’m not nervous to go back in, but I was very nervous waiting for the decision. That was really nerve-racking. And now I’m just happy and relieved that we are in Competition, and I’m looking forward so much to showing the film to an audience. There’s also a feeling this time is that the restrictions are not as heavy anymore since the pandemic, so I’m looking forward to a festival where we are getting back a little bit more to a cinema climate.

From left, Woody Harrelson and director Ruben Östlund.
Plattform-Produktion

DEADLINE: What can you tell me about Triangle of Sadness?

ÖSTLUND: Well, I can tell you what a “triangle of sadness” is. If you have a wrinkle in between your eyebrows, it’s called “the trouble wrinkle” in Swedish, and you get it if you have had a lot of trouble in your life. But you can fix it with Botox in 15 minutes. It’s a term that comes from cosmetic surgery—not plastic surgery, cosmetic surgery—and I thought it was comical. Like, a dark, comical comment about surface and beauty—our obsession with beauty, and our obsession with looks, and our belief that our inner problems will be solved if we construct a great shell around ourselves.

DEADLINE: It’s set it in the fashion world, isn’t it?

ÖSTLUND: Yes. And the reason that I’m doing something that takes place, or at least starts, in the fashion world and in the beauty industry is because my wife, Sina Görtz, who I met in around 2014, is a fashion photographer. When I met her, I wanted to hear everything about the fashion industry—there’s something a little scary about it at the same time that it’s attractive. And she started to tell me a lot about the male models. To be a male model is not really considered a high-status profession. The male models earn, like, one third or less of whatever female models do, so it’s really a mirror of our society, where you flip the roles of the sexes. I mean, it’s one of the few professions where men earn less than women. So, with that as a starting point, I got interested in the idea of beauty as a currency.

DEADLINE: How does it unfold?

ÖSTLUND: We start in the fashion world, and then we are on a luxury yacht, and then we end up on a deserted island—basically, the film takes place in these three different environments.

DEADLINE: It’s a huge cast. Is there a lead character, or is it an ensemble?

ÖSTLUND: I would say that there’s two lead characters. It’s Harris Dickinson, a British actor, who plays a male model. And then it’s Charlbi Dean, a South African actress, who plays a female model. And this couple, we follow them through the film. But it is also in many ways an ensemble movie, because on the yacht and on the island, we have eight actors that are creating the ensemble and we have quite big parts for all of them. We have actors from the Philippines, Germany, France, Sweden, Denmark, U.S. and England, so it’s multinational.

DEADLINE: The Square took flak for being 150 minutes. Is this one going to be as long?

ÖSTLUND: It’s going to be perfect [laughs]. Not too long, not too short, hopefully. But then it’s a story that takes, of course, a little bit of time to tell, because you have to establish these three different environments. Hopefully it’ll feel like a fresco—like a rich adult rollercoaster, I like to say, because it’s going to be entertaining and interesting. But it’s for adults.

Triangle of Sadness

Ruben Östlund, second from right, with the cast of “Triangle of Sadness.”
Tobias/Plattform Produktion

DEADLINE: Does that mean adult content?

ÖSTLUND: Not really any explicit stuff. Maybe there’s… some things. I won’t talk about them now, but there are some things that you don’t want to show your kids.

DEADLINE: Your film was one of the first films made under COVID protocols, wasn’t it?

ÖSTLUND: Yeah. We started in January of 2020. And then we started to hear about this virus in China, and then in Italy, and immediately an alarm bell was ringing in the back of my head. So, we started the shoot. We stopped once in March, because of the lockdown, and then we were waiting for the fall. Actually, we shot a little bit in June: we flew Woody Harrelson to Sweden. We managed to get a window of a couple of days before lockdown started again, basically. And then, when we were in Greece and shooting the last part of the film, we managed to finish the film just one day to go before it was lockdown again. So, we completely hit the pandemic when we were shooting this film.

DEADLINE: Am I right in thinking that when you were shooting in Greece, you were slightly removed from people anyway?

ÖSTLUND: Yes, that’s true. But there were also some restrictions in that country—you were not allowed to be on a ship, for example. So, it was stuff like that we had to deal with. I think we did 1,160 Covid tests, and luckily all of them were negative, because if we would have had just one positive test—with one of the main actors or one of the main crew—I don’t know if we would have been able to finish the film. Especially when we were shooting on the yacht because it was so expensive to rent. There was a lot of pressure. But also, what was a good experience for me was that everybody was working so well together, in the film sense, because all differences were put aside—we had bigger problems to deal with, not individual, small dramas. So, I had really nice shoot, in spite of everything.

DEADLINE: So much has changed in the world in the last five or six years. Will it affect the way you work?

ÖSTLUND: Of course. I mean, I think Don’t Look Up is a great film. Even if it’s trying to [force] the satire, it’s still accurate. These things are happening! Obviously, I’m looking at smaller situations. I’m more interested in social interactions between humans when we have a kind of awkwardness, and when we are dealing with the fear of losing face and so on.

But I think there are parts of the film that actually, all of a sudden, became very contemporary. Like, on the yacht, we have Woody Harrelson as a Marxist captain, and he gets his revenge on the guests of the boat, all these rich passengers, by always having the captain’s dinner when the weather gets rough. So, they are sitting there eating a seven-course meal, and it’s going to turn into mayhem. But there’s one guy that isn’t sea-sick, and he’s a Russian oligarch. So, we have the American communist and the Russian capitalist, sitting and drinking together and starting to talk politics.

I was brought up during the ’80s and ’90s, with the Eastern and Western blocs, constantly pushing their ideologies at each other, then suddenly, this thing in Ukraine happens, and we’re back to this Eastern/Western-bloc mentality. In many ways, it’s so old-fashioned, but now it’s happening in the world again.

DEADLINE: Your 2014 film Force Majeure was remade in Hollywood as Downhill with Will Ferrell. Were you involved?

ÖSTLUND: No, I let them get on with it. I thought it was important that they were doing their own version of the film, and I was very happy that they wanted to do a remake. I didn’t have any problem with it. You have to look at it like if someone is doing a theater play over and over again—everybody’s allowed to have their take on it. There were some great scenes in the film, actually. I was a little jealous about that.

DEADLINE: How do you look back on Force Majeure? It was your breakthrough, wasn’t it?

ÖSTLUND: When I think about Force Majeure, it was really, for me, the first film when I started to look at male behavior—the male image and being a man in our times. And then The Square also is really investigating what being a man is. What are we struggling with, and how does the outside world look at us? And I would say that, in many ways, Triangle of Sadness is the third film now that is really investigating what it is to be a man. And I have gotten a lot of inspiration from my own life.

George Miller/Deadline

Read the digital edition of Deadline’s Cannes/Disruptors magazine for 2022 here.

DEADLINE: Has the film changed your views on the fashion industry?

ÖSTLUND: No. I mean, the people that are in the fashion are just nice, normal people that are not different from any other industry, I would say. As soon as you get to know them, you don’t feel so threatened by their obsession with clothes. Something that I don’t like about the fashion industry is that it’s trying to sell us clothes and products by preying on our insecurities.

Just to point out an example—and this is also in the film—if you look at the very posh brands, you see that the models basically never smile, and they look down on the consumer. Like, they’re on the top of the hierarchy, and those clothes are sold really in order for you to camouflage yourself within the social group that you feel that you belong to. So, if you pay a lot for your clothes, you can also be on top of the hierarchy and look down on other people. But the cheaper the brand gets, the more the models are smiling and welcoming, like, “Maybe we’re at the bottom of the triangle here, but we’ll have a great time together.” They know a lot about sociology, I would say, in the fashion industry.

DEADLINE: Have you chosen your outfit yet for the red carpet?

ÖSTLUND: Yes. You know what? As research, I actually did a little bit of a collection for a friend of mine. I have a brand, a fashion brand. I did my own tuxedo, and it’s called Lumière, after the cinema in Cannes. So, I will wear that one, of course.

Source link

In just over a decade, Ruben Östlund

Sarah Wayne Callies is ready to keep company with Milo Ventimiglia.

The Walking Dead alum has joined the cast of the ABC drama pilot The Company You Keep, which stars the This Is Us favorite.

The drama, one of the few pilots that remain in contention for ABC’s midseason schedule, revolves around con-man Charlie (Ventimiglia) and undercover CIA officer Emma (Catherine Haena Kim, Good Trouble), who are unknowingly on a collision course professionally. While Charlie ramps up the “family business” so he can get out for good, Emma’s closing in on the vengeful criminal who holds Charlie’s family debts in-hand — forcing them to reckon with the lies they’ve told so they can save themselves and their families from disastrous consequences. Based on the Korean format My Fellow Citizens.

Callies (Prison Break, Colony) has been cast as Birdie, Charlie’s bossy big-sister and co-owner of the bar they run together that also serves as a front to their illegitimate family business. The character is a single mother to a hearing-impaired daughter.

Also joining the drama from writer Julia Cohen (The Royals) are James Saito (Teenage Mutant Ninja Turtles) as Joe, Emma’s father; Tim Chiou (Truth Be Told, Space Force) as David, Emma’s brother; Freda Foh Shen (911) as Grace, Emma’s mother; and Felisha Terrell (Queens, Dynasty) as Daphne, the new head of the Maguire crime family.

Cohen, Ventimiglia, Jon M. Chu, Todd Harthan, Caitlin Foito, Russ Cundiff and Lindsay Goffman exec produce the drama. The Company You Keep hails from 20th Television, the studio behind NBC’s This Is Us where Ventimigila is based with an overall deal.

Source link

Sarah Wayne Callies is ready to keep

EXCLUSIVE: Here’s a clip from Mia Hansen-Løve’s One Fine Morning (Un Beau Matin) for MUBI, the Lea Seydoux-starring pic premiering tonight in the Cannes Directors’ Fortnight.

Seydoux stars as Sandra, a young mother who raises her daughter alone and pays regular visits to her sick father. While she and her family fight tooth and nail to get him the care he requires, Sandra reconnects with Clément, a friend she hasn’t seen in a while. Although he is in a relationship, the two begin a passionate affair.

The film also stars Melvil Poupaud as Clément, Pascal Greggory, Nicole Garcia, Camille Leban Martins. Les Films du Losange is handling sales. David Thion, Philippe Martin and Charlotte Dauphin are producing.

One Fine Morning has its global premiere tonight in the Directors’ Fortnight at Cannes.

Seydoux was revealed earlier this week to be leading one of the buzziest Cannes titles, Audrey Diwan’s English-language directorial debut Emmanuelle.

Source link

EXCLUSIVE: Here’s a clip from Mia Hansen-Løve’s One

Oscar-winning producer and activist Marion Cotillard is joining forces with filmmaker Cyril Dion and producer Magali Payen to launch Newtopia, a production company which will aim at delivering movies, series and shorts with socially relevant themes.

The Paris-based company’s first slate of ambitious projects include Dion’s geopolitical thriller “Le grand vertige,” and “Francoise,” a prestige English-language mini-series about the flamboyant life of Françoise d’Eaubonne, a leading feminist writer and activist who created the concept of ecofeminism. The banner’s roster also includes “Le géant Bakelite,” an underwater ecological short film by Julie Gautier.

The company’s key executives are Payen and Adrien Mazeau, who previously worked at Nord-Ouest, Studiocanal and Canal Plus. The founders and editorial board of the company includes Camille Trumer, producer at La Company
de la Seine who previously worked at Cinéart, Studiocanal France and Paramount Pictures France; Ombeline Le Lasseur and Vincent Ricordeau, founders and CEO of KissKissBankBank & Co; the Bright Bright Bright, a production company founded by Thomas Bénet, Patrick Fournier and Dion.

KissKissBankBank, a large crowdfunding platform in France, is also one of the strategic partners. The service will build active communities to support the content produced by Newtopia from the development stage through the delivery.

Dion has directed some of the most impactful documentaries promoting climate change such as “Tomorrow” and “Animal” which world premiered at Cannes in the Cinema for the Climate sidebar and was produced by Payen. He’s making his feature with “Le grand vertige,” an adaptation of Pierre Ducrozet’s novel which is penned by Ducrozet and Natalie Carter (“Love Crime”).

Exploring a father and daughter relationship, the movie follows a man who is “put in charge of a massive project to stop climate change, and is ready to gamble everything including his own daughter. Dion said the film will “look at
the choices we have to make and the way our personal journey is intertwined with history.”

Dion and Payen first met in 2018 at the march for the climate in Paris and said they share the same belief that
TV and movies industry should inspire people to live in a better world, rather than show them how bad it could be through dystopian content.

“We need other stories which deal with new ways to move, to live, to interact with animals, trees and oceans,” said the pair. “Stories which tell us how we can get out of this mess. Other stories which imagine how we could live tomorrow, refusing both dystopian apocalypses and ultra-technological fantaisies clichés.”

Citing “Arrival,” “My Neighboor Totoro,” “Captain Fantastic” and “Avatar,” Dion and Payen said they wanted to deliver “ambitious fictions, series and films to captivate a large audience on all screens and media.”

They said the idea wasn’t to make “preachy” content but rather tell “universal stories nurtured by the core issues of tomorrow: environmentalism, social justice, gender equality, solidarity, a new awareness of the living world.”

Source link

Oscar-winning producer and activist Marion Cotillard is

The trailer for Dolly Alderton’s much-hyped BBC drama Everything I Know About Love has dropped.

Based on the British writer and podcaster’s memoir, the series stars The Witcher’s Emma Appleton as lead Maggie alongside Bel Powley as Birdy, Marli Siu as Nell and Aliyah Odoffin as Amara with Connor Finch as Street, Jordan Peters as Neil and Ryan Bown as Nathan.

Directed by Pennyworth’s China Moo-Young, Working Title Television’s seven-parter is set in a 2012 London house-share, with flashbacks to suburban adolescence in the early noughties.

As with the memoir, the show is an unflinching deep dive into bad dates, heartaches and humiliations and begs the question: can platonic love survive romantic love as we grow up?

Everything I Know About Love is executive produced by Alderton, Surian Fletcher-Jones, Tim Bevan and Eric Fellner for Working Title Television, Jo McClellan for the BBC, and produced by Simon Maloney. The series is distributed internationally by NBCUniversal Global Distribution.

Source link

The trailer for Dolly Alderton’s much-hyped BBC

Edie Falco will star in Peacock’s new comedy series from Pete Davidson, Bupkis.

Falco will star as Davidson’s mom in the half-hour live-action comedy, written, starring and executive produced by the Saturday Night Live actor. The announcement was made at the NBCUniversal Upfront Monday when Falco joined Davidson on stage.

“I am so excited to be playing your mother in this show, Pete,” said Falco, who previously starred in Nurse Jackie and The Sopranos. “Finally, I get to play an overwhelmed mother of two living in a world of corruption. Except this time, it’s Staten Island.”

Bupkis is a heightened, fictionalized version of Davidson’s real-life story. The series “will combine grounded storytelling with absurd elements from the unfiltered and original worldview for which Davidson is well known.”

Lorne Michaels will executive produce Bupkis for Broadway Video, Judah Miller (Showrunner) and Dave Sirus are writing and executive producing alongside Andrew Singer and Erin David. The series comes from Universal Television and Broadway Video.

Source link

Edie Falco will star in Peacock’s new comedy

Just over five years ago, Harry Styles dropped a solo debut that absolutely no one saw coming, especially from a guy who had closed the door on his role as lead heartthrob in pop juggernaut One Direction only 18 months earlier. “Harry Styles” was a timeless, oddly genre-less album that sounded vaguely like a pop collection from the early 1970s, and like nothing else released that year. Regardless, it was a hit and gave the young singer the runway to find his sea legs as a solo artist — and more importantly, a clean slate he could follow with anything he wanted. That ended up being 2019’s more defining and definitive “Fine Line” album, which could be considered his true debut, spawning massive singles like “Watermelon Sugar” and a blockbuster (if pandemic-delayed) tour that segues directly into “Harry’s House,” which is very much a continuation and progression of its predecessor.

Which isn’t to say it’s more of the same: “Harry’s House” is a bit more intimate and less stadium-sized than its predecessor. Lyrically, it’s heavier and more serious in places — not surprising after everything that’s happened in the two and a half years since “Fine Line” dropped just before the pandemic. On a related note, the number of contributing musicians is also much smaller: The album was produced and co-written almost entirely with longtime collaborators Kid Harpoon (Jessie Ware, Shawn Mendes, Florence & the Machine) and Tyler Johnson (Sam Smith, Cam), and they played most of the instruments as well, although John Mayer and Ben Harper make six-string cameos.

After a peppy start with the horn-speckled “Music in a Sushi Restaurant” and the ‘80s-flavored “Late Night Talking,” the album eases into a loose, unhurried groove, mixing up the moods and tempos but never getting too relaxed: Just when you’re leaning back, a song like the effortlessly joyful lead single, “As It Was” (which has already topped the charts in multiple countries) bursts through like the sun after a summer downpour.

The songs are largely about romance and sex, but turn darker when seemingly addressed to specific people or situations. “Daylight” is loaded with drug references, “Matilda” is for someone with a troubled family history, and the gorgeous “Boyfriends” — premiered at Coachella last month — is for a friend in a toxic relationship: Styles sings “You love a fool who knows just how to get under your skin,” accompanied only by Harper on acoustic guitars and his own impressively multitracked harmonies. But it’s not all serious, either: There’s also the laid-back, Timberlakeian funk of “Cinema,” the Beatlesy “Grapejuice” and a lovely ballad called “Little Freak.”

Six and a half years after Harry Styles took his final bow with One Direction, it’s possible to imagine a sizable portion of his audience has no memory of his time with the group that vaulted him to stardom. And at 28, no longer so young, he’s built himself an enviable solo career that “Harry’s House” goes a long way toward furthering.

 

Source link

Just over five years ago, Harry Styles

George Carlin’s enduring comedic legacy inspired Judd Apatow and Michael Bonfiglio to make HBO’s upcoming documentary about the counterculture icon, whose observations remain eerily topical nearly 14 years after his death.

Carlin, who appeared on “The Tonight Show” more than 130 times during his lengthy career, riffed about abortion, the planet, police brutality and organized religion in his stand-up sets and also appeared in movies such as “Bill & Ted’s Excellent Adventure.” His legendary 1972 routine “Seven Words You Can Never Say on Television” is still regularly invoked in media circles.

“We were always so surprised that anytime something happened in the news, George would start trending,” says Apatow, who co-directed “George Carlin’s American Dream” with Bonfiglio, a frequent collaborator. “Most comedians’ material ages really badly, but his work was so deep — and he also liked to talk about the big picture — that it just gets better with age. Also, a lot of it feels like a warning.”

During his 1992 HBO comedy special, “Jammin’ in New York,” for example, Carlin joked about the planet defending itself against human pollution with a virus. Footage of that bit is one of many clips featured in the two-part HBO doc debuting May 20.

“George Carlin’s American Dream” explores the stand-up’s rise to fame, his struggle with cocaine, his two marriages and his arrest in 1972 after performing his “Seven Words” routine. Chris Rock, Jerry Seinfeld, Stephen Colbert, Bette Midler and Jon Stewart appear, along with Carlin’s daughter, Kelly Carlin, and his manager Jerry Hamza. The documentary incorporates never-before-seen home videos, photos and diaries; Carlin’s daughter serves as an executive producer and provided most of the archival material but did not have final cut.

“People who really know nothing about George Carlin will be surprised at how prescient so much of his work was and how relevant it still is,” says Bonfiglio. “And for the people who know more about him, I think that they will be fascinated by the early days of his career where he was really trying to find himself and made the famous transition from suit-and-tie George to hippie George.”

Apatow didn’t know Carlin, but his comedy had a lasting influence on the director, who performed stand-up as a teenager before branching out into TV and film.

“Listening to him over and over again, in an era where there weren’t 10,000 channels and the internet, was really impactful,” says Apatow. “It programmed me to understand how to break down ideas. How to have critical thinking. How to turn observations into humor. How to use voice. How to question authority. So, in ways that even I don’t understand, I think it was a massive influence, and I can’t even think of anyone who did it as much afterwards.”

The co-directors previously teamed up on ESPN’s “Doc & Darryl” (2016) and HBO’s “May It Last: A Portrait of the Avett Brothers” (2017). Bonfiglio produced Apatow’s doc “The Zen Diaries of Garry Shandling,” which HBO debuted in 2018.

Apatow relishes his work on nonfiction projects, considering them to be less nerve-racking, but still rewarding, creative challenges.

“I love documentaries more than anything,” Apatow says. “It’s a little less stressful for me because with a joke you never know if it’s going to work. You’ll be up all night for years thinking, ‘I wonder how this is going to play.’ But with a documentary we’re assembling footage and trying to find the best way to tell a story, and there’s something for me that’s way less painful and stressful about the process.

“I’m also a hoarder, and I love these [subjects], and I like the idea of organizing their lives and their work as a path in for people to explore everything that they’ve done.”

Source link

George Carlin’s enduring comedic legacy inspired Judd

Here’s where the leaders of Ontario’s main political parties are today:

Progressive Conservative Leader Doug Ford

Niagara-on-the-Lake: Makes an announcement. 10:30 a.m.

NDP Leader Andrea Horwath

Sault Ste. Marie: Picks up coffee at Country Style. 9 a.m., 275 Second Line W

Sault Ste. Marie: Announces plan for jobs. 10:15 a.m., Soo Foundry & Machine Ltd., 215 Drive in Rd

Sault Ste. Marie: Meets with first time & young voters. 1 p.m., Outside Canadian Bush Planes Heritage Centre, 50 Pim St

Thunder Bay: Meets with Indigenous leaders. 5 p.m.

Liberal Leader Steven Del Duca

Mississauga: Makes an announcement on affordability.9 a.m., Econo Gas Station, 7454 Airport Road

Story continues below advertisement

Mississauga: Holds an Ethnic Media Town Hall, 10:30 a.m., 2788 Slough St

Mississauga: Meets with small business owners. 11:40 a.m., Sunset Grill, 7030 St. Barbara Blvd

Brampton: Meets with small business owners. 12:30 p.m., Royal Taste, 10990 Chinguacousy Rd

Ottawa: Attends meet and greet with supporters in Ottawa. 8 p.m., Villa Marconi, 1026 Baseline Rd

Green Party Leader Mike Schreiner

No scheduled in-person public events, as he is isolating at home after testing positive for COVID-19

Virtual: Makes an announcement on protecting water and building a livable future for Ontarians, 10:15 a.m.

Deputy Green Party Leader Dianne Saxe

Toronto: Participating in and speaking at Ontario Nurses’ Association rally against Bill 124 (filling in for Schreiner), 12:30 p.m., Bridge at 4001 Leslie Street and Esther Shiner Boulevard

© 2022 The Canadian Press

Source link

Here’s where the leaders of Ontario’s main

Source link

Airbnb CEO Brian Chesky believes the future of work may mean the death of the office in its current form

(Airbnb/iStock/Washington Post illustration)
(Airbnb/iStock/Washington Post illustration)

The last two years of the pandemic has led Airbnb’s chief to make a radical change to the way 6,000 employees at his company work, and it’s nothing like the past.

“The office as we know it is over,” Brian Chesky said in an exclusive interview with The Washington Post. “It is an anachronistic form factor from a pre-digital age.”

Hybrid work is also not the ideal, he says.

The head of the home-sharing service believes employee gathering in spaces will still exist but in an entirely different form. That’s because more workers will opt for relocating to different cities, states, or countries or regularly travel, Chesky says. The CEO, who is also a co-founder, has already visited a dozen different cities since January to work remotely and plans to continue the nomadic lifestyle with his 9-month-old Golden Retriever Sophie Supernova through summer, he said. Airbnb, which reported a first quarter net loss of $19 million on a 70 percent surge in quarterly revenue to $1.51 billion from a year earlier, has been benefiting from the uptick in travel.

Chesky earlier this month unveiled policies that allow employees to live and work from anywhere in their country without a change in pay. They also can work in more than 170 countries for up to 90 days in each location. To help more people take trips to work abroad, Airbnb is working with about 20 countries to remove some of the red tape around securing a temporary work visa.

“We want to partner with countries to make it easier … so you’re not going through a crazy amount of paperwork,” he said.

We sat down with Chesky, who spoke to us from New York. Here’s what he said about the future of work.

Q: Why do you think your new work policy will be successful?

A: Partially because we announced the policy less than two weeks ago and since, we’ve had more than 1 million people visit our careers and jobs page. We only have 6,000 employees. Ultimately, I don’t believe that CEOs can dictate how people work. The market will. The employees will. Flexibility will be the most important benefit after compensation.

Q: Do you think your policy will attract a different talent pool?

A: One of the benefits of flexibility is increased diversity. If you limit yourself to hiring people only in San Francisco [for example] then you’re limited to the diversity of people that can afford to live [there]. You can add offices and other locations, but true diversity [comes] from a diverse set of communities.

Q: How are you making sure employees who go to the office don’t get preferential treatment?

A: I’m not sure that people going to the office will see management more often. My executive team is in all different cities already. And I’m not going to be in the office, so they’re not going to be seeing me very often. The most visible way to see people is usually Zoom because it’s hard to walk around the office and see what people are doing at their desk. Things are actually easy to track digitally.

At the same time, we’re trying to be super intentional, so we expect every employee to be together for one week a quarter. That one week is not going to be random meetings. It’s going to be meaningful experiences that we’re going to design to build trust, connection and do important collaborative work.

Q: Why should other companies follow your vision?

A: We’re going to help popularize and accelerate an inevitable trend. You can’t undo this. Screens will get better, Internet will get faster, it’s all going to get better. The digital experiences are going to become more and more real. People are going to have more and more freedom. So number one, companies should do this because it’s inevitable. But number two, don’t you want the best people?

Q: What is the future of compensation in remote work?

A: Location-based pay is going to be viewed as an outdated practice. In a world of flexibility, where people don’t have to be back in an office five days a week, guess what’s going to happen? A whole bunch of people that work from a laptop are going to go somewhere else. Pay is based on job, not location.

Q: How will offices look and feel different?

A: If an office didn’t exist today, would we invent it? And would it look like it is today? What I think is going to happen is there will be spaces that people will work in. Offices are going to have to be more single-use case. So if you want a creative space, you want a room with a lot of [working] space and big tables. If I want to be heads down, I’m going to have a lot of private spaces. If we do an off-site, maybe we have a retreat space with a lot of nature. We need to let go of the form factors of the last 50 years and imagine if you started from scratch, what would you do? You’d probably make something different than what you have today.

Q: Will the Airbnb office change?

A: Absolutely. It’s going to change radically. I like to see how things are used and then design them. [Chesky used to be an industrial designer.] So I’m going to see how people go back to the office first. But make no mistake, one or two years from now, our offices, [will be] somewhat unrecognizable.

Q: What impact would these ideas have on real estate?

A: Open floor plans aren’t great for towers because towers separate you by floors. I would encourage cities to think about converting commercial real estate to residential real estate.

What we need to do is design new physical communities that people want to spend time in that you don’t have to force them back to.

Q: How much of your new work policy was based on the current talent wars?

A: We’ve always been competing for talent. It’s been going on for decades. This is just the next chapter. Now instead of people competing to have the nice offices with on-site yoga, what they’re going to compete for is to have the most flexibility and the strongest culture.

Q: What technologies are needed for the future of work?

A: What would make it even better? Satellite Internet, things like Starlink where you can go off the grid or beaten path, and you’re not limited to the infrastructure in a town or city. That would help. Even better camera technology, even higher resolution screens, which are inevitable, so that when you’re dialing in from a laptop, it feels more real.

Q: Will the metaverse play a role in the future of work?

We’re living in one of the loneliest times in human history. Digital connections are not always as nourishing as physical connections. So we’re really focused on how can online or digital technology be a gateway to in-person connection.

Q: What are the biggest challenges employers will face in this next era of work?

A: If a company chooses to bring people back to the office three days a week or five days a week, those CEOs and companies are going to have trouble retaining people, maintaining morale and hiring. They’re going have some really big problems.

For companies that embrace flexibility, we’re going to have a different problem. How do you make sure people can still build meaningful relationships at work? But we don’t think the solution is three days a week in office. We think it’s going to be immersive, intentional gatherings.

Source link

Airbnb CEO Brian Chesky believes the future

“Live From My Den” heads abroad for its penultimate episode of the season, as East London rapper Kojey Radical takes Variety’s K.J. Yossman on a tour of his hometown.

The music and mixed media artist discusses what shaped his full-length release, “Reason to Smile,” and reminisces about honing his skills at Hoxton Hall, his favorite food spots and the block he grew up on.

“I think that the sheer cheekiness of some of the statements made on that album is very East London,” says Kojey Radical of the 12-track album.

The title track blends the mellow with the witty as it explores complex themes like immigration and what it means to be Black and British, and the child of immigrants.

“​I think Ghana was something I had to learn to discover,” he says. “​And I think it’s part of the experience of being a first-generation or second-generation — being part of the Diaspora in any way, shape or form. I think, sometimes you’re going to be connected immediately to your homeland. And sometimes it’s a personal journey.”

After a string of EPs and a long list of features, Radical has been sitting on “Reason to Smile” for a minute, which is why the album is bookended with a question, “So what do we do next?”

“I wanted [the album] to feel like a continuation, but also be self-contained in a way that it will loop around on itself,” he says. “So by the time you get to the final statement on the album, the question begins again, ‘So what do we do next?’ And for me, that’s always been a problem as a creative: deciding when one piece of work is finished and then deciding where you go next.”

Radical also shared what it was like to collaborate with his mom on several tracks, including “Pressure.” “It was hilarious, to be honest,” he recounts. “I hit mumsy, ‘Yo, you got to come to the studio, cool?’ She comes. My mom practiced … the whole week.”

The distinct sounds on the album are a culmination of Radical’s early influences. He cites Shaggy’s “It Wasn’t Me,” André 3000, Ghetts, Kano, Busta Rhymes, Kendrick Lamar and many more. “I think, if you limit yourself — It’s like, imagine eating one style of bread every day. Boring. No tiger bread, nothing. Just one piece of Hovis. Variety, please. Slice of life.”

Hear more about Radical’s upcoming appearances and watch him perform “Cashmere Tears,” “War Outside,” “Silk” and “Gangsta” in the video above. This season of “Live From My Den” is made possible by Hard Rock and in partnership with Fujifilm.

Source link

“Live From My Den” heads abroad for

Fox Corp. surprised the industry on Monday by hosting an upfront programming presentation that was almost entirely pre-recorded.

About 800 attendees gathered at the Skylight venue in Lower Manhattan for the presentation that unfolded in immersive fashion across giant screens for just over an hour. Once the lengthy video portion was over, Collier came out to address the group in person, as did “Monarch” stars Susan Sarandon and Trace Adkins, with Adkins performing a quick song.

Attendees sat nightclub-style in the round at small tables. As the 4 p.m. presentation began to unspool, it became clear that the event from Fox Sports, Fox News and Fox Entertainment was going to be largely pre-recorded. Fox Corp. senior executives, including CEO Lachlan Murdoch (in sneakers), sat in a long line against the far edge of the room full of media buyers and journalists.

CLICK HERE to follow Variety’s coverage of Upfronts 2022

At one point during the video, Fox Entertainment CEO Charlie Collier appeared on screen to give a virtual “tour,” of the Fox Studios Lot in Los Angeles. In Collier’s scripted walk and talk, he strategically bumped into Fox stars like “9-1-1: Lone Star’s” Rob Lowe and Gina Torres.

The pre-taped presentation that touted Fox Sports, Fox News, AVOD streamer Tubi and Fox broadcast network concluded with a blooper reel featuring “outtakes” of their upfronts bits from Collier, “The Cleaning Lady” star Élodie Yungm, “Next Level Chef” host and longtime Fox partner Gordon Ramsay, “Beat Shazam” host and “Alert” producer Jamie Foxx and more.

Aside from being a mostly pre-recorded event, Fox’s upfront was an unusual one in that it was not preceded by the release of the network’s fall schedule. Due to the fact that dramas “9-1-1” and “The Resident” took longer than expected to close their respective sixth-season renewal deals, Fox opted to give the broad strokes of its plans for the 2022-2023 season. Despite the lack of schedule to discuss, Collier and his team still held a press call earlier Monday and fielded questions about their current and upcoming shows.

 

Source link

Fox Corp. surprised the industry on Monday

Tom Blyth, who stars in Epix’s Western series Billy the Kid, is the first actor to officially sign up for Lionsgate’s prequel to The Hunger Games, the studio announced Monday.

The company’s Hunger Games franchise had earned over $3 billion globally when it wrapped up in 2014, and it is now looking to extend the lifespan with the adaptation of Suzanne Collins’ latest novel in the dystopian series, The Hunger Games: The Ballad of Songbirds and Snakes. 

Francis Lawrence, who directed three of the four Hunger Games movies — Catching Fire, Mockingjay Part One, and Mockingjay Part Two — is back in the helmer’s seat with franchise producer Nina Jacobson and her partner Brad Simpson back as producers. Lawrence is also producing.

The logline, per the studio: Years before he would become the tyrannical President of Panem, 18-year-old Coriolanus Snow is the last hope for his fading lineage, a once-proud family that has fallen from grace in a post-war Capitol. With the 10th annual Hunger Games fast approaching, the young Snow is alarmed when he is assigned to mentor Lucy Gray Baird, the girl tribute from impoverished District 12. But, after Lucy Gray commands all of Panem’s attention by defiantly singing during the reaping ceremony, Snow thinks he might be able to turn the odds in their favor. Uniting their instincts for showmanship and newfound political savvy, Snow and Lucy’s race against time to survive will ultimately reveal who is a songbird, and who is a snake.

Blyth will play the young Snow, who was portrayed by Donald Sutherland in the original movies.

“Coriolanus Snow is many things — a survivor, a loyal friend, a cutthroat, a kid quick to fall in love, and a young man ambitious to his core,” said Lawrence in a statement. “Tom’s take on the character showed us all the complex ambiguities of this young man as he transforms into the tyrant he would become.”

Said Jacobson: “Tom’s performance will both fulfill and disrupt everything you think you know about Coriolanus Snow. He’s a tremendous talent who will show why Snow always lands on top.”

The role is big opportunity for Blyth, who Blyth recently appeared in HBO’s The Gilded Age. The first Hunger Games platformed a rising Jennifer Lawrence into a global superstar and also blew strong winds for co-stars as such as Josh Hutcherson and Liam Hemsworth for years afterwards. With the property continuing to be a best-seller, and Songbirds and Snakes also being a No. 1 best-seller, the interest in the movie could prove high. Nov. 17, 2023, is the scheduled release date for the prequel.

“Tom Blyth is an explosive rising talent whose mesmerizing and charismatic presence makes him an exciting actor and perfect for this leading role,” stated Lionsgate’s motion picture group president, Erin Westerman.

Blyth is repped by Gersh, United Agents, MJ Management, and Sloane Offer.

Source link

Tom Blyth, who stars in Epix’s Western

Us Weekly has affiliate partnerships so we may receive compensation for some links to products and services.

Ready to finally turn your closet into your happy place? No more pushing hanger after hanger to the side, trying to find a single thing in your wardrobe you actually want to wear. It’s time to get rid of the “maybe someday” pieces and start replacing them with “as often as possible” pieces!

Nordstrom obviously has a ton of trendy and timeless fashion to choose from — especially within its Nordstrom Made selections. Check out 17 of our current clothing, shoe and accessory faves below!

Clothing

1. Our Absolute Favorite: If you love keeping up with the current trends, this BP. puff-sleeve prairie dress is a foolproof pick. It’s made of 100% cotton too, making it great for warm weather!

2. We Also Love: The retro vibes of these BP. flare jeans are perfected by the O-ring zip fly. They’re so flattering too!

3. We Can’t Forget: Linen-blend pants are the perfect summer alternative to winter sweatpants. This Treasure & Bond pair comes in such a cute blue print!

4. Anything But Basic: Simple and sweet yet automatically elevated, this pre-knotted Zella tee is a comfy-cute must. It has a pocket too!

5. On Trend: This Open Edit cami is another 2022 essential with its smocked fabric and ruffled trims. Definitely a piece you could dress up or down!

6. Having a Romp: This lightweight Caslon romper is a chic outfit in one comfy piece. We love the slouchy shoulders!

Shoes

7. Our Absolute Favorite: So beautiful! These metallic rainbow BP Be Proud sandals will level up any look (especially during Pride Month)!

8. We Also Love: If you want to ditch the heels for more everyday occasions, these chain-accented BP. slides are easy and stunning!

9. We Can’t Forget: These Open Edit pumps have a tapered heel but a steady base so you can confidently strut your stuff!

10. Don’t Walk, Run: Need a pair of athletic sneakers for the gym — or an hours-long mall trip? This Zella pair is cute, comfy and supportive!

11. Show-Stoppers: If you want to turn heads on your next night out, these over-the-knee BP. boots are high-shine attention grabbers!

Accessories

12. Our Absolute Favorite: Everyone needs a pair (or 10 pairs) of great sunglasses — and they don’t need to cost a fortune. This rectangular BP. pair is our pick!

13. We Also Love: Baseball caps will never get old, and this Treasure & Bond hat has a minimal design to help it go with everything!

15. We Can’t Forget: Huggie earrings will always be cute and stylish, whether you’re wearing jeans or a gown. This Nordstrom pair comes in both silver and gold!

16. It’s in the Bag: This faux-leather BP. tote is a great commuter bag you’ll want to wear on the weekends too!

17. Off the Chain: With mixed materials and multi-color and metallic beauty, this Open Edit necklace is one of the most adorable pieces of jewelry you can own!

Looking for more? Check out all Nordstrom Made products here!

Want more product recommendations? Shop more of our faves below:

This post is brought to you by Us Weekly’s Shop With Us team. The Shop With Us team aims to highlight products and services our readers might find interesting and useful, such as face masks, self tanners, Lululemon-style leggings and all the best gifts for everyone in your life. Product and service selection, however, is in no way intended to constitute an endorsement by either Us Weekly or of any celebrity mentioned in the post.

The Shop With Us team may receive products free of charge from manufacturers to test. In addition, Us Weekly receives compensation from the manufacturer of the products we write about when you click on a link and then purchase the product featured in an article. This does not drive our decision as to whether or not a product or service is featured or recommended. Shop With Us operates independently from advertising sales team. We welcome your feedback at ShopWithUs@usmagazine.com. Happy shopping!

Source link

Us Weekly has affiliate partnerships so we

The Cannes Docs sidebar of the Cannes Film Market has announced the lineup of its annual Doc Day, which takes place on May 24.

The day will open with a morning session dedicated to ACID Cannes 2022 title “Polaris,” described by organizers as “a creative and human journey interwoven with uncompromising, gentle and bold filmmaking by a woman filmmaker, set against the backdrop of the Arctic.” Entitled “A Producing Journey,” the session will bring together Marion Schmidt, the co-founder of Cannes Docs partner DAE (Documentary Association of Europe), director Ainara Vera and producers Clara Vuillermoz (Point du Jour – Les Films du Balibari) and Emile Hertling Péronard (Ánorâk Film).

The first half of the day will also feature a discussion between Polish director and screenwriter Agnieszka Holland, president of the 2022 l’Œil d’or Jury and president of the European Film Academy, and Pauline Durand-Vialle, CEO of the Federation of European Film Directors. One of the European film industry’s most acclaimed figures and a tireless social and political campaigner, Holland has won multiple awards including a Silver Bear at the Berlin Film Festival for “Spoor.” She was Oscar nominated for “Europa Europa” and “In Darkness” was Oscar nominated too.

Morning events also include a conversation between Brett Morgan (“Jane,” “Kurt Cobain: Montage of Heck”), who directed, wrote and produced Cannes 2022 title “Moonage Daydream,” the first film ever sanctioned by the Bowie estate, and Mandy Chang, global head of documentaries at Fremantle.

Five years in the making, “Moonage Daydream” features previously unreleased 35mm and 16mm footage from Bowie’s personal archives. It will be screened in the Cannes festival’s Midnight Section and will make its streaming premiere on HBO and HBO Max in spring 2023.

Doc Day afternoon sessions are “A New Generation of Indian Doc Makers – Thoughts and Impressions” and “Feminist Counterattack – A Filmic Narrative.”

The former brings together Indian filmmaker Shaunak Sen, whose feature-length doc “All That Breathes” picked up the World Documentary Grand Jury Prize at Sundance this year, and is part of the Cannes 2022 Special Screenings, directors Sushmit Ghosh and Rintu Thomas, whose debut feature “Writing With Fire” won multiple prizes including two Sundance awards in 2021 and a 2022 Oscar nomination, Rahul Jain (“Invisible Demons,” Cannes 2021), and Shirley Abraham and Amit Madheshiya (“The Cinema Travelers,” Cannes 2016).

“Feminist Counterattack – A Filmic Narrative” proposes a conversation between Marie Perennès and Simon Depardon, whose debut feature “Riposte Féministe” is part of Cannes 2022’s Special Screenings, and film critic and programmer Laura Pertuy. “Riposte Féministe” follows French activists who plaster the names of victims of feminicide on walls across the country. It is produced by Palmeraie et Désert and France 2 Cinéma, with Wild Bunch handling French theatrical distribution.

The closing keynote will be by U.S. producer Opal H. Bennett (“POV Shorts”) who will re-imagine the discussion around diversity, equity and inclusion with the question: “How can arts institutions go beyond equity, and turn their focus towards what various artist communities need to thrive?”

The Docs-In-Progress awards will be handed out at an evening ceremony and will be followed by a closing screening of “Polaris.”

Speaking to Variety, Cannes Docs chief Pierre-Alexis Chevit said: “We are excited with the very eclectic program we’ve put together for this year’s Doc Day in Cannes, from the Arctic to India…. via David Bowie! We’re also proud to be giving visibility to essential socio-political issues such as feminism, diversity and inclusion. If Doc Day can help raise awareness, even modestly, both on the extraordinary vitality of the genre itself, and on some of the most pressing challenges and battles of our time, then it’s a win!”

Doc Day is organized by Cannes Docs-Marché du Film, with the support of Doc Alliance – a partnership of seven European documentary film festivals including CPH:DOX in Copenhagen, Doclisboa, Docs Against Gravity, DOK Leipzig, Marseille Festival of Documentary Film, Jihlava Intl. Documentary Film Festival and Visions du Réel Nyon – and Los Angeles-based production company Participant, in association with L’Œil d’or, DAE, CNC, ACID and Unifrance.

Source link

The Cannes Docs sidebar of the Cannes

Placeholder while article actions load

SANAA, Yemen — The brothers arrived at the airport before dawn, pushing their elderly mother in a wheelchair as they rushed to board a flight they hoped might save her life.

They hurried to their gate in a compound visibly damaged from years of war and disuse. Some windows were broken. Parts of the roof had collapsed.

But battle scars aside, the airport managed to host a scene of near-normalcy Monday, when the first commercial flights since 2016 took off and landed on its runways — delivering a much-needed glimmer of hope to Yemeni civilians after years of war.

For Waleed and Mohammed Hamza, Monday’s trip to Amman, Jordan — unfathomable just months ago — could mean the difference between life and death for their mother, Lutfiya, who has multiple myeloma, a form of cancer. Like many other Yemenis, they have previously had to resort to long and dangerous road trips to reach working airports in the southern cities of Aden or Seiyun to travel abroad, braving checkpoints on both sides of the country’s war and at times taking unpaved routes to avoid active front lines.

This year, as their mother’s condition worsened, the brothers feared that the treacherous journey was so risky it would not be worth seeking medical treatment for her outside of Yemen — even if it might save her life.

“She just wouldn’t be able to make it,” Waleed said of the long, bumpy roads. “The trip to Aden could kill her.”

Instead, they staked their hopes on the possibility the airport might one day reopen.

A Ramadan truce in Yemen offers civilians respite, but no certainty

Yemen has for years been divided between the internationally recognized government, which controls most of the country’s south and is backed by Saudi Arabia, and the Houthis, who took over the capital of Sanaa in 2015 and are backed by Iran. The seven-year civil war has left tens of thousands of people dead and submerged the country in one of the world’s worst humanitarian crises. Saudi Arabia controls the country’s airspace. Aid groups have argued that keeping the airport shuttered to normal flights has effectively stranded needy civilians in the country’s north, where there is limited access to advanced medical care.

Then, in early April — after many failed attempts at peace deals and a violent uptick in hostilities earlier this year — the United Nations said it had helped broker a two-month truce between the two sides that, among other conditions, would allow some flights to begin operating from the airport in Sanaa.

But the first flight, scheduled for April 24, was canceled shortly before it was scheduled to take off, prompting fears that the conditions of the truce might not hold — and dashing the dreams of many passengers seeking urgent medical treatment abroad.

Following new discussions, the flight was rescheduled for May 16. Passengers arrived hours early for the scheduled flight — fearing again that it would not take off. Several declined to speak to The Washington Post, citing concerns that they could face repercussions because of sensitivities around the flight.

Khaled Alshaief, general manager of Sanaa Airport, said there was “great joy” in organizing the first flight, which carried more than 100 passengers to Jordan. “As you can see, the passengers are families: women and children and sick people,” he said, describing it as a “great victory” for the government in the Houthi-controlled north. Under the terms of the agreement, he said, two flights are scheduled each week, so long as the truce holds.

Officials hope to soon increase the number of flights, he said, describing the first flights as “a trial” for others, including some to and from Egypt.

Washington, which long supported Saudi Arabia’s air campaign in Yemen — which human rights groups say has killed thousands of civilians — but has more recently distanced itself from the fight and urged peace talks, hailed the flights as a crucial step toward peace. The Biden administration has pledged to end the war in Yemen and also appointed its own special envoy to try to broker a resolution.

“Yemen today is witnessing its calmest period since the war began, and these flights are an important step in further improving the lives and opportunities for the Yemeni people,” National Security Council spokeswoman Adrienne Watson said in a statement Monday.

House Democrats seek to halt remaining U.S. support to Saudi air war in Yemen

Ahmed Alwazan, over 70, looked exhausted as he sat in a wheelchair waiting for the flight. In the past, he had traveled abroad to Egypt, Jordan and Germany for medical treatments. But he and his wife have not managed to go abroad since 2011 — most recently because of the airport closure.

“I suffer from problems in my prostate, hemorrhoids, fistula and blood clots,” Alwazan said. “When I heard they opened the airport I was so happy. As you can see, I’m unable to walk, let alone travel a long and tiring trip to Aden or Seiyun.”

Nearby, a man named Ahmed sat with his relatives, waiting for his brother, whose kidneys are malfunctioning, to board the flight to Amman. He spoke on the condition that only his first name be used because of security concerns.

His brother’s long illness has left him unable to travel to Aden by road, he said. He originally planned to travel April 24 — but his hopes were dashed when the flight was canceled.

This time, the flight — scheduled to arrive empty from Aden — was delayed. The family fidgeted about, worrying it would be called off once again.

“Do you think the flight will still take place?” Ahmed asked every few minutes. “We will not leave the airport until we hear the sound of the plane landing.”

Then, at about 8:15 a.m., the jet descended into Sanaa, water cannons spraying the runway to hail its much-anticipated arrival. Shortly after, it took off again with 126 on board.

At last, Ahmed’s brother was on his way.

O’Grady reported from Cairo.

Source link

Placeholder while article actions loadSANAA, Yemen —

 

Pandit Shiv Kumar Sharma, an Indian musician and composer who was the foremost exponent of the santoor, a 100-string instrument similar to the hammered dulcimer, died on Tuesday at his home in Mumbai. He was 84.

Indian news reports said the cause was cardiac arrest.

Over a career spanning nearly seven decades, Mr. Sharma became the first musician to propel the santoor onto the world stage, at concerts and recitals in India and elsewhere.

Before Mr. Sharma started playing the santoor, it was little known outside Kashmir. Even there it was used only to play Sufiana Mausiqi, a genre of Kashmiri classical music with Persian, Central Asian and Indian roots.

The santoor, a trapezoidal wooden instrument whose strings stretch over 25 wooden bridges, is played with slim wooden mallets. On the santoor, in contrast with the sitar, sarod or sarangi, the string instruments traditionally used in Hindustani classical music, it is difficult to sustain notes and perform the meends, or glides from one note to another, essential to the Hindustani musical tradition.

That might be one reason it took Mr. Sharma so many years to be recognized for his artistry.

At the beginning of his career, purists and critics derided the santoor’s staccato sound, and many urged Mr. Sharma to switch to another instrument. Instead he spent years redesigning the santoor to enable it to play more notes per octave, making it more suitable for the complex ragas, the melodic framework of Hindustani music.

“My story is different from that of other classical musicians,” Mr. Sharma told The Times of India in 2002. “While they had to prove their mettle, their talent, their caliber, I had to prove the worth of my instrument. I had to fight for it.”

He released several albums, beginning with “Call of the Valley” (1967), a collaboration with the acclaimed flutist Pandit Hariprasad Chaurasia and the guitarist Brij Bhushan Kabra.

Mr. Chaurasia and Mr. Sharma were close friends and frequent collaborators. Together they composed music for several successful Bollywood films in the 1980s and ’90s including “Silsila” (1981), “Chandni” (1989), “Lamhe” (1991) and “Darr” (1993). Mr. Sharma was one of the few Indian musicians who straddled the worlds of classical and popular music.

In 1974, Mr. Sharma performed across North America with the sitar virtuoso Pandit Ravi Shankar as part of the former Beatle George Harrison’s 45-show “Dark Horse” concert tour, bringing Indian classical music to audiences beyond South Asia alongside some of the finest classical musicians from India — Alla Rakha on tabla, Sultan Khan on sarangi, L. Subramaniam on violin, T.V. Gopalakrishnan on mridangam and vocals, Mr. Chaurasia on flute, Gopal Krishan on vichitra veena and Lakshmi Shankar on vocals.

Mr. Sharma was awarded some of India’s highest honors, including the Sangeet Natak Akademi Award in 1986, the Padma Shri in 1991 and the Padma Vibhushan in 2001.

Shiv Kumar (sometimes rendered Shivkumar) Sharma was born on Jan. 13, 1938, in Jammu, India, to Pandit Uma Devi Sharma, a classical musician who belonged to the family of royal priests of the maharajah of Jammu and Kashmir, and Kesar Devi. He began singing and tabla lessons in with his father at the age of 5, showing great promise. In “Journey With a Hundred Strings” (2002), a biography of Mr. Sharma, Ina Puri wrote that he would spend hours immersed in music, practicing various instruments.

“There was an obsessive element in my attitude to music even then,” she quoted him as saying. “It was the air I breathed, the reason I lived.”

By age 12 he was an accomplished tabla player, regularly performing on Radio Jammu and accompanying leading musicians who visited the city. When he was 14, his father returned from Srinagar, where he had been working, with a present: a santoor.

Mr. Sharma was not happy about learning a new, unfamiliar instrument. But his father was adamant. “Mark my words, son,” he recalled his father saying. “Shiv Kumar Sharma and the santoor will become synonymous in years to come. Have the courage to start something from scratch. You will be recognized as a pioneer.”

In 1955, Mr. Sharma gave his first major public performance on the santoor, at the Haridas Sangeet Sammelan festival in Bombay (now Mumbai). The youngest participant at 17, he persuaded the organizers to allow him to play both the santoor and the tabla. He was reluctantly given 30 minutes to play the instrument of his choice, but on the day of the recital he played the santoor for a full hour — to rapturous applause. The organizers called him back for another recital the next day.

He soon received offers to play and act in Hindi films, but after one film, the 1955 hit “Jhanak Jhanak Payal Baje,” he was determined to focus on classical music. He performed around the country in an effort to establish the santoor as a classical instrument.

He moved to Bombay at 22; to make ends meet, he played the santoor on sessions for dozens of popular Hindi film songs while continuing to build his classical reputation.

He is survived by his wife, Manorama; his sons, Rahul, a well-known santoor player and composer, and Rohit; and two grandchildren.

After Mr. Sharma’s death, Prime Minister Narendra Modi was among those paying tribute. “Our cultural world is poorer with the demise of Pandit Shivkumar Sharma Ji,” he wrote on Twitter. “He popularized the santoor at a global level. His music will continue to enthrall the coming generations.”

Source link

  Pandit Shiv Kumar Sharma, an Indian musician

Leading arthouse sales company The Match Factory has acquired distribution rights to murdered Lithuanian filmmaker Mantas Kvedaravičius’ documentary “Mariupolis 2,” ahead of the film’s premiere next week at the Cannes Film Festival as a Special Screening.

Kvedaravičius was captured and murdered by the Russian army in Mariupol, Ukraine in early April. The film was co-directed by Kvedaravičius’ fiancée Hanna Bilobrova, who was with him at the time of his death, and was able to bring back the footage filmed there, and edited it with his editor Dounia Sichov.

The Match Factory worked with Kvedaravičius on his debut feature “Barzakh,” which played in the Berlinale in 2011.

The film will premiere at the Cannes Film Festival “thanks to the immeasurable effort of his producers and collaborators who have put all their strength into continuing to share his work, his vision and his films following Mantas’ death,” The Match Factory observed.

Earlier this year, Kvedaravičius – an anthropologist as well as a filmmaker – returned to the Donbass region of Ukraine, at the epicenter of the war, to be with the people he had met and filmed in 2014 and 2015. “With huge force and sensitivity, ‘Mariupolis 2’ depicts life as it continues amidst the bombing, revealing scenes that convey both tragedy and hope,” said The Match Factory.

“Mariupolis 2” is produced by Studio Uljana Kim (Lithuania), Extimacy Films (Lithuania), Easy Riders Films (France) and Twenty Twenty Vision (Germany). The sound editors and mixers were Erwan Kerzanet, Rana Eid and Rob Walker.

The producers were Uljana Kim, Kvedaravičius, Bilobrova, Nadia Turincev, Omar El Kadi and Thanassis Karathanos.

Source link

Leading arthouse sales company The Match Factory

Russia has made another failed attempt to cross a Donbas river where an entire battalion was wiped out by Ukrainian artillery – losing more men in the process with survivors forced to swim to safety. 

Putin‘s troops were trying to rescue men and vehicles that had got stranded on the wrong side of the Donets River, near Biolhorivka, after the first attempt on May 8 ended with their pontoon bridges being sunk by an artillery barrage that destroyed dozens of armoured vehicles and may have killed more than 1,000 troops.

But their rescue mission was found out and subjected to the same fate. Fresh satellite images taken near Biolhorivka show yet another sunken pontoon bridge along with half a dozen destroyed or abandoned vehicles. 

Russia has lost more than 70 vehicles and seen two infantry battalions mangled in four days of attempts to bridge the river, according to Ukrainian investigative site InformNapalm.

It is just the latest humiliation for Putin’s army – once ranked second in the world – after commanders failed to capture the capital Kyiv, were beaten back from Mykolaiv by a rag-tag band of territorial defence troops and civilians, and got their Black Sea flagship Moskva sunk by Ukrainian missiles.

Commanders are now trying to seize control of the Donbas region – cynically claiming that was their true objective all along – but have so-far failed to make any significant breakthrough in almost a month of fighting, with Kyiv claiming Russia has suffered ‘colossal’ losses.

Russian military experts linked to the feared paramilitary Wagner Group of mercenaries blasted the ‘military genius’ of the leaders who bunched up the battalions so close together, making them sitting ducks for Ukraine.

On Telegram, Maksim Fomin, writing under the pseudonym Vladlen Tatarsky, an admin of the Wagner-linked channel RSOTM, said: ‘Until we find out the name of this “military genius” who laid the BTG near the river and he does not publicly answer for this, then there will be no reforms in the army.

‘The offensive in the Donbass is being hampered, not only due to the lack of effective intelligence from UAVs, but also due to such generals. 

‘How can one not remember Comrade Stalin, who, despite the difficult war days, was not afraid to make tough personnel decisions. If this is not done, then no mobilisation will save us – another idiot in an astrakhan hat will burn our armoured personnel carriers near some village.’

Russia made a second failed attempt at crossing the Donets River near Bilohorivka, in Ukraine’s Donbas region, on Thursday and was again shelled by Ukrainian artillery

Ukraine says the second failed crossing resulted in another Russian pontoon bridge and more vehicles being destroyed, with survivors forced to swim to safety

Ukraine says the second failed crossing resulted in another Russian pontoon bridge and more vehicles being destroyed, with survivors forced to swim to safety

Ukrainian forces are trying to hold the cities of Severodonetsk and Lysychans'k from Russian troops, which have almost managed to surround them. The river crossing attempt was designed to complete the encirclement, but was foiled

Ukrainian forces are trying to hold the cities of Severodonetsk and Lysychans’k from Russian troops, which have almost managed to surround them. The river crossing attempt was designed to complete the encirclement, but was foiled

Russia used the most-recent bridge crossing (bottom right) in an attempt to rescue troops and equipment that got trapped on the wrong side of the river after their first attempt failed

Russia used the most-recent bridge crossing (bottom right) in an attempt to rescue troops and equipment that got trapped on the wrong side of the river after their first attempt failed

Satellite images reveal the remains of another Russian pontoon bridge (top) left floating in the Donets after the second mission failed, leading to more heavy casualties

Satellite images reveal the remains of another Russian pontoon bridge (top) left floating in the Donets after the second mission failed, leading to more heavy casualties

Ukraine estimates that, over the course of four days, Russia has lost more than 70 vehicles and seen two infantry battalions mangled - and has still not managed to cross the river

Ukraine estimates that, over the course of four days, Russia has lost more than 70 vehicles and seen two infantry battalions mangled – and has still not managed to cross the river

Russian soldier becomes the first to go on trial for war crimes in Kyiv 

A Russian soldier has become the first to go on trial for war crimes in Kyiv after he allegedly executed an unarmed 62-year-old man by shooting him in the head.

The trial of 21-year-old Sergeant Vadim Shyshimarin marks the first time a member of the Russian military has been prosecuted for a war crime during the 11-week conflict.

Shyshimarin, a captured member of a tank unit, allegedly shot the man through an open car window in the northeastern village of Chupakhivka in the first week of war.

Scores of journalists and cameras packed inside a small courtroom at the Solomyanskyy district court in Kyiv, where the suspect appeared in a small glass cage wearing a blue and grey outfit.

He faces up to life in prison under the penalties spelled out in the section of the Ukrainian criminal code that addresses the laws and customs of war.

Ukraine’s top prosecutor is investigating allegations that Russian troops violated Ukrainian and international law by killing, torturing and abusing possibly thousands of Ukrainian civilians.

The judges and lawyers in Shyshimarin’s case discussed procedural matters briefly before the judges left the courtroom and then returned to say the proceedings would continue on another day.

Defense attorney Victor Ovsyanikov acknowledged that the case against the soldier is strong but said the final decision over what evidence to allow will be made by the court in Kyiv. Ovsyanikov said Thursday that he and his client had not yet decided how he will plead.

It is expected that two other cases will be heard in court within the next few days.

The attack on Bilohorivka was almost certainly designed to surround the cities of Severodonetsk and Lysychansk – which straddle the Donets River – in a pincer movement from west and east. Had it succeeded, Ukrainian defenders would have been cut off from reinforcement and re-supply, facing a similar fate to those in Mariupol.

Having failed to take Bilohorivka, Russian forces now pushing into the outskirts of Severodonetsk face street-to-street fighting in order to take it. Seizing Lysychansk will require them to make a river crossing somewhere, after Ukrainian defenders destroyed permanent bridges. It remains to be seen whether they are capable of doing so.

If Russia can seize the two cities, it would allow them to claim the Luhansk region has been ‘liberated’ from Ukrainian control – providing a propaganda boost to the Kremlin months after Putin declared it to be independent and vowed to ‘defend’ it against what he claimed was Ukrainian aggression.

His commanders would then face a bitter fight to take Sloyansk and Kramatorsk – some 40 miles to the west – using the same surround-and-capture tactics. Coupled with the fall of Mariupol, where hundreds of Ukrainian troops are staging a last stand inside a steel works, it would allow Putin to claim victory in Donbas.

Provided he has enough men left to defend against Ukrainian counter-attacks, that could prompt a declaration of overall victory for his ‘special military operation’ and may see a halt in the fighting while some kind of peace deal is hashed out between the two sides.

Alternatively, the ‘victory’ could prompt Putin to push further – perhaps renewing attacks along the Black Sea coast towards Mykolaiv and Odesa, leaving what remains of the country landlocked and deprived of lucrative oceangoing trading routes.

But such an outcome is far from certain, and Kyiv is likely to be extremely mistrustful of any ceasefire agreement – fearing it will only give Russia time to rearm and renew its attack, as happened between the last invasion in 2014 and the current war which began on February 24.

At the very least, the country is sure to demand security guarantees from the West to protect it from being victimised a third time – or will simply refuse to sign and keep trying to break Russian lines using weapons supplied by the West.

In the event that Russia cannot take the Donbas, Ukraine’s foreign minister Dmytro Kuleba said this week that Ukraine’s ‘victory’ aim would be to reverse the tide of the war and push Russia back – not just to the areas it held before the invasion but entirely out of Ukrainian territory.

That would mean re-taking areas of Donetsk and Luhansk held before the current invasion, and an assault on Russian naval bases in Crimea. It remains to be seen whether Ukraine has the manpower for such attacks.

Russia attempted to bridge the Donets River to the west of the city of Lysychansk on May 8, apparently hoping to surround Ukrainian defenders dug in there - but were found out and massacred

Russia attempted to bridge the Donets River to the west of the city of Lysychansk on May 8, apparently hoping to surround Ukrainian defenders dug in there – but were found out and massacred

The remains of at least three Russian tanks and another four armoured infantry vehicles are seen on one bank of the river, along with other pieces of wreckage poking out from under the water

The remains of at least three Russian tanks and another four armoured infantry vehicles are seen on one bank of the river, along with other pieces of wreckage poking out from under the water

Newly-released images of the ambush show dozens of destroyed Russian vehicle littering both banks of the river along with sections of pontoon bridge left floating in the water

Newly-released images of the ambush show dozens of destroyed Russian vehicle littering both banks of the river along with sections of pontoon bridge left floating in the water 

A Ukrainian military engineer who took part in the operation claims he correctly predicted where the Russians would try to put their bridge, allowing artillery to bombard the area

A Ukrainian military engineer who took part in the operation claims he correctly predicted where the Russians would try to put their bridge, allowing artillery to bombard the area

Observers have so-far counted the wrecks of at least 58 Russian vehicles including tanks, armoured infantry carriers, trucks and even one tugboat that was blown up trying to position the bridge

Observers have so-far counted the wrecks of at least 58 Russian vehicles including tanks, armoured infantry carriers, trucks and even one tugboat that was blown up trying to position the bridge

Russia faced mounting accusations of war crimes in Ukraine Friday including forcing thousands of people into interrogation camps, as the number of refugees reported to have fled the conflict surpassed six million.

The Russian invasion has also led to a seismic policy change by Finland, whose leaders said Thursday the previously neutral nation must apply to join NATO ‘without delay’ – triggering a blunt warning of retaliation from the Kremlin.

Throughout the 11-week conflict, Russian forces have been accused of committing atrocities – including the killing of unarmed civilians, torture and rape.

CNN and the BBC on Thursday released what they said was security camera footage showing Russian soldiers with assault rifles shooting two Ukrainian civilians in the back.

The two men appeared unarmed – the footage showed the soldiers frisking them before allowing them to walk away at a business premises on the outskirts of the capital Kyiv. One man died on the spot, the other shortly after, according to the outlets. The killings took place on March 16 and are being investigated as a war crime, CNN said. 

Separately, investigators and witnesses interviewed by AFP Thursday accused Russian forces of shelling a residential home in an eastern Ukrainian village from a tank, killing three civilians.

The incident took place on March 27 in the village of Stepanki outside Kharkiv, the Ukrainian prosecutor general’s office said on Telegram. Local resident Denys, 40, said he saw the barrel of the tank turn towards him.

‘Someone said: let’s go hide inside the house,’ Denys said. ‘I entered last and as soon as I entered, the tank fired. Everything collapsed, I couldn’t see anything.’

The UN Human Rights Council voted 33-2 on Thursday to investigate alleged atrocities by Russian troops in Ukraine. Ukrainian prosecutors say they have received reports of more than 10,000 alleged crimes.

The UN refugee agency said Thursday more than six million people had fled Ukraine, more than half of them going to neighbouring Poland. Women and children make up 90 per cent of the refugees, UNHCR said.

The United States on Thursday accused Russia of forcibly taking tens of thousands of Ukrainians to ‘filtration camps’ in Russia or Russian-controlled territory where they are subjected to ‘brutal interrogations’.

‘These actions amount to war crimes,’ said Michael Carpenter, the US ambassador to the Organization for Security and Cooperation in Europe (OSCE). ‘We must not allow this evil to stand.’

The remarks backed Kyiv’s allegation that 1.2 million people have been taken to Russia or Russian-controlled areas.

Ukrainian President Volodymyr Zelensky said Thursday that Russian forces had destroyed 570 healthcare facilities. ‘What for? It’s nonsense. It’s barbarity,’ he said.

Two Ukrainian soldier keep watch at a checkpoint as a burnt-out tank is seen behind in Kharkiv, Ukraine

Two Ukrainian soldier keep watch at a checkpoint as a burnt-out tank is seen behind in Kharkiv, Ukraine

Ukrainian policemen are seen in front of the wreckage of a tank as a destroyed military vehicle is seen behind in Kharkiv

Ukrainian policemen are seen in front of the wreckage of a tank as a destroyed military vehicle is seen behind in Kharkiv

A destroyed military vehicle is seen in Kharkiv, Ukraine

A destroyed military vehicle is seen in Kharkiv, Ukraine

A Ukrainian serviceman inspects a site after an airstrike by Russian forces in Bahmut, Ukraine

A Ukrainian serviceman inspects a site after an airstrike by Russian forces in Bahmut, Ukraine

In the northeastern region of Chernihiv, three people were killed and 12 others wounded early Thursday in a strike on a school in Novgorod-Siversky, the emergency services said.

In the southern port city of Mariupol, troops at the Azovstal steelworks have been holding out against Russian bombardment for weeks, refusing demands to surrender.

Ukrainian Deputy Prime Minister Iryna Vereshchuk said ‘difficult talks’ were under way on the evacuation of 38 seriously wounded soldiers.

Russia’s army said it struck Donetsk and Kharkiv on Thursday, killing more than 170 people and destroying Ukrainian drones and rockets.

When launching the invasion of Ukraine, Russian President Vladimir Putin had cited in part what he called the threat from NATO, which has expanded eastwards since the end of the Cold War.

Rather than containing the bloc, however, the war appears to have had the opposite effect.

The leaders of Finland, a declared neutral state in East-West crises for decades, said Thursday their country should join the bloc.

‘As a member of NATO, Finland would strengthen the entire defence alliance,’ President Sauli Niinisto and Prime Minister Sanna Marin said in a joint statement.

The Russian foreign ministry warned Moscow would be ‘forced to take reciprocal steps, military-technical and other, to address the resulting threats’.

Finland shares a 1,300-kilometre (800-mile) border with Russia and its past is studded with conflict with its giant neighbour.

NATO has already declared it will warmly embrace Finland and Sweden, two countries with deep pockets and well-equipped militaries.

A special committee will announce Finland’s formal decision on Sunday. Sweden, another neutral state, is widely expected to follow.

The flow of gas from Russia to Europe meanwhile fell, spurring fears for Germany and other economies heavily dependent on that source of energy.

Russian energy giant Gazprom announced it would stop supplying gas via the Polish part of the Yamal-Europe pipeline following retaliatory sanctions that Moscow imposed Wednesday on Western companies.

Gazprom also said gas transiting to Europe via Ukraine had dropped by a third.

Ukraine and Poland are major supply routes for Russian gas to Europe and the two sides have kept flows going despite the conflict.

Europe must end its reliance on Russian gas and cut off Moscow’s ‘energy oxygen’, Ukrainian Foreign Minister Dmytro Kuleba said Thursday.

Kuleba has been invited to the meeting of G7 foreign ministers in Germany, which started Thursday with the Ukraine war set to be the main topic on the agenda.

Mutinous Russian soldiers are ‘stripped, tied up and taken away in trucks by feared general who’s been sent in to restore discipline in Ukraine’

Mutinous Russian soldiers were stripped, tied up and taken away in trucks under the orders of a feared Russian general who has been sent in to restore discipline in Ukraine, according to a recording released by Kyiv‘s intelligence services.

Meanwhile, another audio clip was released in which a Russian soldier was overheard calling Vladimir Putin an ‘old nutjob’ and criticising his war in Ukraine.

The intercepted audio recordings are the latest evidence that morale is deteriorating among Moscow’s forces as its faltering invasion of Ukraine entered its 12th week.

Both recordings were shared by Ukrainian Defence Ministry’s Main Intelligence Directorate on social media on Thursday, according to the Daily Beast.

Pictured: Russian lieutenant general Rustam Muradov, who a Russian soldier - heard in an intercepted phone call - said has been brought in to deal with discipline in his unit

Pictured: Russian lieutenant general Rustam Muradov, who a Russian soldier – heard in an intercepted phone call – said has been brought in to deal with discipline in his unit

In the first intercepted phone call, a Russian soldier is heard telling a friend that the Kremlin has sent in a general, named only in the discussion as ‘Muradov’. 

While the general’s full name is not revealed in the discussion, it is likely the soldier is referring to lieutenant general Rustam Muradov – the deputy commander of Russia’s Southern Military District, known for overseeing brutal fighting in the Syrian civil war.

‘Well, Muradov arrived and arranged a demonstrative tribunal,’ the soldier said, adding that he disciplined his unit because ‘no one wanted to keep going ahead’.

‘The commanders didn’t want to lead their boys to death, the soldier said. ‘The guys themselves just weren’t ready. 

‘So yesterday [Muradov] busted the f**k out of the commanders to make an example, he undressed them, made them pull everything out of their pockets, tied their hands. Then they loaded them into [buses] and took them away,’ he added.

It was not reported by the Ukrainian authorities where the Russian soldier was when he made the phone call with his friend, but it’s yet another example of Putin’s troops showing signs of low morale amid reports of dwindling equipment and supplies.

Muradov is one of a number of Russian military figures sanctioned by the EU. He was awarded the title of Hero of the Russian Federation in 2017, with the award being presented to him personally by Putin himself.

Mutinous Russian soldiers were stripped, tied up and taken away in trucks under the orders of a feared Russian general who has been sent in to restore discipline in Ukraine, according to a recording released by Kyiv's intelligence services. Pictured: A Russian soldier is seen in Mariupol in March, as local residents queue for humanitarian aid

Mutinous Russian soldiers were stripped, tied up and taken away in trucks under the orders of a feared Russian general who has been sent in to restore discipline in Ukraine, according to a recording released by Kyiv’s intelligence services. Pictured: A Russian soldier is seen in Mariupol in March, as local residents queue for humanitarian aid

In a second recording, another man – also identified only as a Russian soldier – can be heard airing his frustrations over the situation in Ukraine to a female friend.

His main grievance appears to be Putin’s Victory Day speech on May 9, which saw the Russian tyrant speak at a huge annual military parade to mark the end of Russia’s involvement in the Second World War 77 years ago.

The female friend tells the soldier that she thought Putin’s speech was ‘gross’, adding that she had been ‘shaking all day’ after listening to it.

The Russian soldier replies: ‘Well what do you want, he’s an old nutjob,’ before mocking Putin. ‘Yes let’s get the USSR, f**k, Lithuania, Latvia, f**king Estonia, everything that’s not part of Russia let’s win back.’

While discussing what hypothetical territories Putin would try to invade after Ukraine, they mentioned Belarus. 

The female friend said she believed Belarus would soon send its own troops into Ukraine, to which the soldier shot back: ‘let them f**king join already then, what the f**k are we taking the rap all alone here for.’

The friend then suggested Putin might not want to share his ‘victory’ over Ukraine with another country. The soldier said: ‘right, ‘victory,’ as if we didn’t f**k up enough around here already.’

Source link

Russia has made another failed attempt to

Hulu has passed on “Rodham,” writer-producer Sarah Treem’s adaptation of the 2020 Curtis Sittenfeld novel that’s been in development at the streamer since summer 2020. But 20th Television is still is shopping the project to other streamers, now that Claire Danes and Dakota Fanning are attached to play Clinton at different stages of her life. In the package, Treem will write and executive produce, and James Ponsoldt will direct, with “Handmaid’s Tale” producer Warren Littlefield’s Littlefield Co. behind it.

“Rodham” — published in May 2020, and a New York Times bestseller — imagined an alternative universe in which Hillary Rodham Clinton met and dated Bill Clinton at Yale Law School, but never married him. Instead of the life Clinton has actually led, in “Rodham,” she goes on to thrive as a Northwestern University professor, and launches an eventual presidential run in 2016. Real-world events — such as rape accusations against Bill Clinton, and Donald Trump as a significant figure in politics — also play out in Sittenfeld’s novel, but in vastly altered ways.

As a series, “Rodham” would span decades, with Fanning and Danes playing Clinton at different ages. Should the project land elsewhere and go forward, it would not be the first time Hillary Clinton has been portrayed onscreen in recent years. Last fall, Edie Falco played Clinton during her First Lady years in the FX series “Impeachment: American Crime Story.” Clive Owen played Bill Clinton, with Beanie Feldstein playing the role of Monica Lewinsky.

Treem was previously the co-creator and showrunner of Showtime’s “The Affair.” Her other credits include “In Treatment,” “House of Cards,” and “How to Make It in America.”

(Pictured: Claire Danes, Hillary Clinton and Dakota Fanning)

Source link

Hulu has passed on “Rodham,” writer-producer Sarah

YouTube earlier this year wound down most of its originals division, in a significant pullback on its investment in scripted and unscripted programming.

But it’s not totally out of the game: YouTube is continuing to bulk up its slate of kids and family originals, as part of its previously announced $100 million fund earmarked for kids, family and educational content.

YouTube announced the greenlight of four new projects: “Mindful Adventures of Unicorn Island,” an animated series from Lilly Singh set to premiere in 2023; “The Big Tiny Food Face-Off” from B17 Entertainment; “Buster’s Big Halloween” from Moonbug Entertainment; and music series “Jam Van.”

YouTube also announced the Season 2 renewal of popular preschool series “Tab Time,” starring Tabitha Brown, an actress, vegan foodie and mother — aka “America’s mom.” Tabitha (or “Ms. Tab” as the kids call her) taps into her skills as a cook, storyteller, mom and motivational leader, to teach children how to live their best life. Season 2 will comprise 10 episodes of 22 minutes each that will begin to roll out this fall.

In addition, YouTube Kids & Family has 18 projects in development, including kids’ cooking show “The Magic Cookbook” from executive producer Whoopi Goldberg. The announcements come ahead of YouTube’s May 17 upfront presentation in New York City for marketers and ad buyers.

The Google-owned video giant says the kids and family content is created under YouTube’s “Ready to Be You” learning framework in collaboration with experts worldwide, producing programming that encourages children to explore their world, ask questions and practice new skills.

“We are proud of our new kids slate, which is supercharged with learning, diversity and fun,” said Craig Hunter, global head of kids and family for YouTube Originals. “Our programming has been designed to represent a wide landscape of children’s intersecting cultures and identities.”

Nadine Zylstra is the global head of YouTube Originals, previously YouTube’s head of kids and learning originals. She took over for Susanne Daniels, who left YouTube earlier this year with the platform’s content strategy shift.

Details of the upcoming YouTube Kids & Family content:

Show Premieres in 2022

  • “Corpse Talk” (Premieres May 13): Based on the popular graphic novel series of the same name by Adam and Lisa Murphy, the comedy-led chat show is hosted by history-loving Adam (voiced by British actor and YouTube creator Joe Sugg), who is very much alive — even though his famous guests are not. In each episode, Adam will dig up the dirt on some of the most famous, infamous and incredible figures in history, unearthing the unknown and surprising stories from these amazing characters. “Corpse Talk” will premiere on the Cartoons for Kids YouTube channel with lineup of famous guests including Mozart, Ching Shih, Cleopatra, Josephine Baker and Ibn Al-Haytham. Produced by Tiger Aspect Kids and Family (“Mr. Bean”) in the U.K., part of Banijay Kids & Family.
  • “The Guava Juice Show” (Premieres June 4): Animated series follows the extraordinary adventures of 14-year-old Roi (voiced by YouTube creator Roi Fabito, aka “Guava Juice”) and his best friends — Jenny (Bethany Brown) and safety-conscious talking guava fruit Guava (Adrian Petriw) — as they work at a mysterious curio shop and travel to parallel worlds and dimensions throughout the multiverse in a magical bathtub. Produced by Studio71 and Mainframe Studios.
  • “Super Sema” (Season 2 premieres June 17): The African animated series, produced by Kukua’s female-led team including Oscar-winning actor Lupita Nyong’o, follows the adventures of superhero girl Sema as she uses her “technovation” skills to change the world and help protect her town of Dunia from the villainous robot Tobor.
  • “The Big Tiny Food Face-Off” (Premieres July 15): Three kid contestants battle it out in each episode to make mini dishes that pack real flavor and showcase their flair for the diminutive. Produced by B17 Entertainment, it will premiere on the Tasty YouTube channel.
  • “Tab Time” Season 2 (Fall 2022): From Kids at Play and Scale Productions, the preschool series starring Tabitha “Ms. Tab” Brown returns for a second season. Season 1 premiered on Brown’s YouTube channel and the YouTube Kids app on Dec. 1, 2021. Each episode features a celebrity guest as a Super Cool Expert in Tab’s Lab and two children who join for craft activities that kids can also do at home.
  • “Buster’s Big Halloween”: The star of animated series “Go Buster” and “Buster Saves Christmas” gets an all-new Halloween special for preschoolers in which Buster, his cousin Bella Bus, and all his friends must save Halloween before the big parade. From Moonbug Entertainment.
  • “The Eggventurers”: From the producers of the GoldieBlox YouTube channel, the preschool animated series features a zany cast of thrill-seeking egg characters who build spectacular Rube Goldberg machines to help them overcome obstacles and achieve their goals.
  • “Jam Van”: The road-tripping original music series for preschool kids and families comes from the team of Believe Entertainment Group (“Dear Basketball”), animation studio Global Mechanic and composer-producer Bill Sherman (“Hamilton,” “In the Heights,” “Sesame Street”). In each episode, best friends Lamb and Anne the Alligator travel to a new location around the country to visit musicians and celebrities, culminating in a new music video with positive social-emotional lessons.

Show Premieres in 2023

“Mindful Adventures of Unicorn Island”: Featuring actor, YouTube creator, producer Lilly Singh, the animated series incorporates mindfulness principles to help kids gain emotion-regulation skills to make sense of challenges in their life. In each episode, young Lilly is transported to Unicorn Island, a colorful wonderland where life’s struggles manifest in fantastical ways. (Documentary film “A Trip to Unicorn Island,” about Singh’s 2015 worldwide comedy tour, was one the first YouTube originals.) With the help of her imaginary friends, Lilly learns new mindfulness activities to overcome her troubles and brings those skills back to the real world to deal with her real problems. The series is produced by Headspace Studios, Singh’s Unicorn Island Productions and Kara Lee Burk.

Featured Projects in Development

  • “The Magic Cookbook”: From executive producer Whoopi Goldberg, Tom Leonardis, and Nobody’s Hero and ITV America, the high-concept, hybrid school-age cooking show blends fantasy and real-life elements. In each episode, a young aspiring chef who wants to create a truly incredible meal for a particular person or event arrives at the bookstore where The Owner (Goldberg) allows them to search the Magic Cookbook and then travel across time and space to learn more about the dish and its recipe, culture and history, before returning to prepare the actual meal in the real world.
  • “The Ann Ziety Show”: Created by GraveRobber Productions, the animated comedy series for school-age kids and tweens follows the soap opera adventures of preteen Rachel (singer-songwriter Julia Michaels) and her imaginary frenemy Ann Ziety (actor Gina Rodriguez) using humor and empathy to destigmatize the conversation around mental health. Each episode explores how kids deal with anxiety and presents specific coping skills, like imagining your safe space, accessing your inner wisdom, opposite action and remote control.
  • “Bob the Train”: The YouTube preschool franchise takes Bob and his friends to new levels in a brand-new series. With the help of friends, Bob navigates the challenges, fun and excitement of Toot Town through songs and lessons on perseverance, self-help and friendship. Produced by Mumbai-based USP Studios.
  • “Maddie’s Urban Jungles”: Series for primary schoolers features kid explorers alongside host Maddie Moate as they seek out wild refuges and green sanctuaries within their home cities. Zoologist Claudia Zenkert executive produces with American filmmaker Brady Valashinas, through her German production company Seetree.

The new projects join YouTube’s roster of kids and family originals. Those include popular series “Lockdown,” “Onyx Family Dinner” and “Fruit Ninja Frenzy Force” as well as ”Millie & Lou,” “Coyote Peterson’s Wild Field Trip,” “Supa Strikas: Rookie Season,” “BookTube Jr.,” “Get Curious with Vice President Harris,” “Growing With Lottie Dottie,” “The Workout Badges,” “Kid Correspondent,” “Break the Record,” “Pinkfong Wonderstar,” “Sherwood,” “We Are Savvy,” “Hyperlinked,” “Kings of Atlantis” and “DanTDM Creates a Big Scene.”

According to YouTube, one-third of the its kids and family content is available in multiple languages.

Watch a sizzle reel of the new slate:

Source link

YouTube earlier this year wound down most

EXCLUSIVE: Here’s first footage of intriguing Cannes Competition thriller Holy Spider by Ali Abbasi.

Wild Bunch is handling sales on the film about a serial killer who is killing sex workers in the holy city of Mashhad, a pilgrimage destination (and the second largest city in Iran).  Based on a true story, the film centers on a female journalist from Tehran who is trying to track the killer down – and who faces a lot of opposition from the authorities, as many secretly support the “spider killer” for removing a scandalous element.

Pic is written by Abbasi and Afshin Kamran Bahrami, and stars Zar Amir Ebrahimi and Mehdi Bajestani. Producers are Sol Bondy and Jacob Jarek.

Iranian-Danish director Abbasi won the Un Certain Regard competition several years ago for his Swedish troll movie Border.

Source link

EXCLUSIVE: Here’s first footage of intriguing Cannes

For a brand that touts its genius at “storytelling,” the Magic Kingdom faces ever-growing problems in telling its own story.

Symbolically, Disney has just broken ground on what it portrays as a “storyliving community” of 1,700 new “storytelling homes” in the desert town of Rancho Mirage, CA. “We are story tellers at heart,” its publicity release reminds us.

Yet the announcement comes at a moment when the “Disney story” itself is getting bruised by politicians, employees call for walk-outs and the state of Florida is bent on annexing areas long accepted as part of the Disney domain. Even drought-stricken Rancho Mirage is balking over the story-tellers’ looming water demands.

Inevitably, Disney’s publicity chief has now been fired after a stormy three month tour of duty. Prior to joining Disney, Geoff Morrell had managed to represent BP Petroleum through its oil spills and Defense Secretary Robert Gates through Mideast wars only to find Disney an over-the-top challenge.

His defenders might ask: Is the craft of public relations a viable profession for anyone at this moment? Corporate PR gurus used to be secure if they kept their CEOs happy. To that end, Disney’s publicists would hang with “imagineers” to promote theme park rides and cruise ships. Today, however, they find themselves defining positions on abortion or “Don’t Say Gay” or other cultural issues they sense are “no win” situations.

Labeled a “woke” corporation, the world’s biggest entertainment company is even struggling with Republican lawmakers for the right to extend copyright protection for Mickey Mouse, twice granted since 1984.

Historically, Disney has displayed great talent in fending off the crusading culture warriors, even when Walt himself went out on a limb denouncing labor unions and talent guilds. The media was dependably on Disney’s side, except when the company briefly banned the Los Angeles Times critics from reviewing its movies because the newspaper had been critical of Disneyland’s imperial relationship with Orange County politicos.

All that was child’s play, however, relative to the present crises triggering Disney to make some complicated policy swerves. Confronted with Florida’s Parental Rights in Education bill, dubbed “Don’t Say Gay,” Disney’s squadrons of lobbyists initially worked “behind the scenes” to encourage state lawmakers to delay passage of the bill. After an uproar over the company’s public silence, Disney CEO Bob Chapek called Gov. Ron DeSantis’ personally to complain about the bill, thus pleasing activist employees. Then Disney, which employs over 80,000 people in Florida, did another about-face, going silent on the issue.

Silence has also been the Disney response to DeSantis’ moves to disallow Disney autonomy over substantial sectors of the central Florida landscape. Signed in 1967, the agreement permitted Disney to act as its own municipal government. The upshot: A flurry of law suits now filed by alarmed tax payers who realize they face a billion dollar tax burden that once belonged to the Magic Kingdom.

The Don’t Say Gay maelstrom now seems a mere opening act to an even broader controversy over abortion policies. The Supreme Court’s potential overturn of Roe v. Wade is prompting companies to take contrasting positions on the abortion issue, in some cases to provide support for employees who may need to cross state lines for medical care.

Some companies like AT&T, based in Texas, have contributed to proponents of anti-abortion laws. Other companies have expressed contrary positions: Levi Strauss & Co declared that abortion bans “would jeopardize workplace gains women have made over the past fifty years.” Amazon, based in Seattle, has told employees it would reimburse up to $4,000 annually for travel expenses to cover medical treatment, including abortion. Lyft has promised to pay legal fees of drivers sued under bounty provisions.

Internecine quarrels are also evident in some announcements. A gaming company, Tripwire, released a statement from its CEO affirming the Supreme Court’s revised position, but the company’s interactive group then declared that “the comments made by our CEO are his opinion.”

Tesla, which is relocating its headquarters to Austin Texas, has told employees that its health insurance plans would cover travel for healthcare services “unavailable in their home state,” but declines to offer further updates.

At the political level, while governors like Greg Abbott of Texas and DeSantis of Florida are sharpening their “hard right” agendas, others like Gavin Newsom of California talk about creating “sanctuary states” for abortion rights. If nearby states like Arizona and Utah step up their anti-abortion policies, they would spur a flow of as many as 1.4 million women driving to California for help.

All this places companies like Disney in a cauldron of controversy, caught in the crossfire between pandering politicians, nervous stockholders, angry employees and confused consumers. Disney shares are down 30% since January reflecting not only political unrest but also concerns about subscriber growth. Yet the company reported better than expected subscription numbers in its second quarter report –some 7.9 million new subscribers – at a time when Netflix numbers went down.

Lawrence Fink, the boss of BlackRock, the giant investment firm, argues that “stakeholders increasingly are pushing companies to wade into sensitive social and political issues, especially as they see governments failing to do so effectively.“

To Fink and others, there is no longer safety on the sidelines. Not even for story-tellers taking refuge in their “storyliving” communities.

Source link

For a brand that touts its genius

The cancellations have begun at CBS.

Chuck Lorre’s sophomore comedy United States of Al has been canceled. The comedy, which hailed from The Big Bang Theory alums Lorre, Dave Goetsch and Maria Ferrari hailed from Warner Bros. Television, where prolific writer-creator Lorre has been based with an overall deal.

Lorre has four shows at CBS, with United States of Al, fellow sophomore comedy B Positive, Bob Hearts Abishola and Big Bang prequel Young Sheldon on the network’s schedule. Abishola scored an early renewal, Young Sheldon is safe for years to come as part of a multiple-season pickup and B Positive remains on the bubble.

United States of Al, which will air its finale this month, revolved around Riley (Parker Young, Enlisted), a Marine combat veteran struggling to readjust to civilian life in Ohio, and “Al” Awalmir (Adhir Kalyan, Rules of Engagement), the interpreter who served with his unit in Afghanistan and has just arrived to start a new life in America. The series was reworked in its second season following the fall of Afghanistan.

With upfront presentations to Madison Avenue ad buyers set for next week, CBS is expected to make renewal decisions on its remaining bubble shows in the coming days. Beyond Lorre’s B Positive, Magnum P.I., Good Sam and How We Roll remain on the bubble. The latter trio are all produced in-house at CBS Studios, with ownership and streaming deals set to play a big role in those decisions. Veteran Bull was previously revealed to be ending this season.

Keep track of all of the broadcast pilots, castings and series orders with THR’s handy scorecard. And follow along as all the bubble shows await word on their futures with our renewal guide.

Source link

The cancellations have begun at CBS. Chuck Lorre’s

This month, the Criterion Channel is featuring a special collection called “Directed By Richard Linklater,” a group of 15 films helmed by the preeminent chronicler of the Gen X experience. At first glance, Linklater’s A Scanner Darkly (2006) would appear to be a bit of an outlier for the indie filmmaker, in that it’s based on a novel by Philip K. Dick, whose work has inspired big budget sci-fi classics like Blade Runner, Minority Report, and Total Recall. Once you watch it, though, you see where it fits in Linklater’s ouevre; it’s a very talky picture, it revolves around drug culture, and it contains some big ideas about identity and consciousness.

Darkly is a strong showcase for Robert Downey Jr., an immensely gifted actor who has spent the last 15 years getting unfathomably rich making Marvel movies but also one whose talents seem wasted in these paint-by-numbers kiddie movies. Like other Dick adaptations, it’s also very prescient about where society was headed; written in the late-’70s and filmed in the mid-Aughts, it’s hard not to see parallels between the Substance D epidemic in this story and the opioid crisis that the country is still currently in the grip of.

Photo: Everett Collection

Source link

By Mark Graham This month, the Criterion Channel is

The list of 2022 Tony Awards nominees — announced early Monday morning — is a picture of pandemic theater.

Following a truly unique season on the Great White Way, Tonys voters largely shirked spring celebrity this year — including acting nods for Plaza Suite‘s Sarah Jessica Parker and Matthew Broderick, Macbeth’s Daniel Craig and Funny Girl‘s Beanie Feldstein — in favor of honoring many of the season’s fall and early winter shows, which took the plunge and reopened New York’s theater district after COVID-19 shut it down for nearly two years.

The 2022 nominees landscape includes early openers like Ruben Santiago-Hudson’s one-man show Lackawanna Blues and the rock concert-esque retelling of the lives of Henry VIII’s wives SIX: The Musical — runs that not only beat back big-named competition and pandemic-weary audiences on their way to earning nominations but navigated the season’s strictest version of health protocols (currently being rolled back) while defying a potential short-term memory advantage held by voters for spring shows.

Representing up to around 600 days of (paused) creative work, around half of this year’s nominees had already debuted in early 2020 before the industry’s stages went dark at 5 p.m. on March 12.  Among those shows that opened or were in previews during the 2019-2020 season when the pandemic swept the globe are Company, The Lehman Trilogy, The Music Man, Hangmen, American Buffalo, Take Me Out, Caroline, or Change, Diana, The Musical, The Minutes, Mrs. Doubtfire, Plaza Suite, Clyde’s and Dana H.

Flying Over Sunset, which received four nominations, was even slated to begin previews on the exact day of the shutdown, while others, like the Mary-Louise Parker and David Morse How I Learned to Drive, which scored three nominations, were on their way to opening later that spring.

Post-return, out of almost 30 productions nominated for the 2022 awards, around half opened, were scheduled to open or began previews between Broadway’s official reopening night on Sept. 14, 2021, and Feb. 1, 2022. That includes The Lehman Trilogy, SIX: The Musical, Girl From The North Country, MJ, The Music Man, Clyde’s, Trouble in Mind, Caroline, or Change, Diana, The Musical, Lackawanna Blues and Mrs. Doubtfire.

Several of these were omicron debuts — or any shows that ran previews between mid-November and early February when the original version of the variant swept through Broadway. That’s when revival and box office juggernaut The Music Man, starring Hugh Jackman and Sutton Foster, opened to previews at the Winter Garden Theatre before having to cancel more than a week of performances after both stars contracted COVID-19.

The time between Thanksgiving and early February was one of the most difficult of the season, hitting productions significantly harder than the late August and September delta wave productions faced. The COVID-19 variant’s high transmissibility resulted in a string of cancellations that brought saw nine separate Broadway productions shutting down for single or even multiple performances in one week alone, during one of the busiest — and most financially lucrative — times of the year.

For Skeleton Crew, Dominique Morisseau’s third entry in her acclaimed Detroit cycle (it received three nominations including best play), previews were even pushed into early 2022 during its limited-engagement run at the Manhattan Theatre Club. With its official opening delayed several times, Skeleton Crew is one of a handful of nominees, which also includes musicals Mrs. Doubtfire, SIX and Music Man, whose show openings and schedules were directly impacted by the winter holiday omicron surge. More than 10 out of the 29 nominated productions running through spring experienced COVID-related show cancellations due to breakthrough cases of a day or more.

Omicron-fueled shutterings — which included previous Tony nominees and winners Jagged Little Pill, Ain’t Too Proud and Waitress — are also represented in this year’s nominees pool. Despite weathering a nearly two-year production pause, Lucas Hnath’s reconstruction of his mother’s kidnapping, Dana H., is among this year’s Tony nominees that represent the season’s pandemic-impacted closures.

While other shows like Trouble in Mind and Take Me Out, which both scored four noms each, are limited runs, Dana H., for colored girls who have considered suicide/when the rainbow is enuf and Flying Over Sunset all closed early, with some citing COVID impacts or low ticket sales during a complicated season.

Two Tony nominees also showcase how producers took unprecedented steps during the season (after others received grant funding through the Save Our Stages Act to relaunch) in order to keep their productions going despite closures. Girl From the North Country — which earned seven noms including best musical directing and best orchestrations (another major nod for duo Conor McPherson and Simon Hale following a Grammy nom earlier this year) —  and Mrs. Doubtfire, which earned one honor for the musical’s leading actor Rob McCure, took hiatuses. These official closings, with the intent to reopen post-omicron, saw the latter even change theaters to make a spring comeback.

Another way the 2022 Tony nominations captured the unique nature of the pandemic season is through its recognition of Black playwrights. Eight Black writers, including the deceased Alice Childress at Charles Randolph-Wright’s direction, debuted their work not only in one of the riskiest times on Broadway but in the same season — a historic high. Half of those productions — Lynn Nottage Clyde’s, Morisseau’s Skeleton Crew, Santiago-Hudson’s Lackawanna Blues and Childress’ Trouble in Mind — received a total of 13 nominations. (Nottage garnered five, Childress four, Morisseau three and Santiago-Hudson one.)

Meanwhile, Hollywood names including nominees Ruth Negga, Sam Rockwell, Jesse Williams, Billy Crystal, Hugh Jackman, Sutton Foster, Mare Winningham, Uzo Aduba, Jesse Tyler Ferguson, Phylicia Rashad, Ron Cephas Jones and Rachel Dratch, among others, underscored that celebrity is still good for business on Broadway, racking up noms in major leading and supporting actor categories for both musicals and plays.

Musical A Strange Loop, which counts Don Cheadle & Bridgid Coulter Cheadle, RuPaul Charles, Alan Cumming, Ilana Glazer, Jennifer Hudson, Mindy Kaling and Billy Porter among its Hollywood-heavy list of producers, garnered the highest number of nominations for a total of 11. That includes nods for best book of a musical, best original score, best leading actor in a musical, best direction and best musical.

But the snubs of Parker, Broderick and Craig — all three of whom missed performances due to COVID-19 diagnoses ahead of the nomination deadline that was ultimately extended due to COVID-related opening delays — as well as Feldstein, Funny Girl co-star Jane Lynch and Company‘s Katrina Lenk, shows that this season is a more complicated and unpredictable version of live performance, regardless of who you are.

Source link

The list of 2022 Tony Awards nominees

Brad Paisley’s first new release of 2022 is here, and it’s… a very short, very silly, very catchy song about eating lunch in the nude, “Theme for Naked Lunch.”

Like pretty much everyone else, Paisley is pivoting to podcasts, but only briefly in his case. His new song is the theme for the new pod Naked Lunch, in which David Wild, the longtime Rolling Stone feature writer who now writes for television — including the annual Grammys ceremony — teams up with Everybody Loves Raymond creator Phil Rosenthal for a weekly interview series… over lunch.

“Many years ago, when we were working on a project together and I thought he owed me a big favor, I booked Brad to play my funeral someday,” Wild says. “But earlier this year, I told Brad that if he would write our theme song, then I would allow him not to perform at my funeral, but rather just sit back and enjoy the festivities.”

“I just wanted to do my part to calm a world rattled by the very notion that David Wild and Phil Rosenthal might be doing anything unclothed,” Paisley says. “Once I realized the title was a metaphor, I felt relieved and honored to write the theme song for their podcast… These two love to talk and love to eat, and it’s the perfect setting.”

The first two episodes, which drop May 12, feature interviews with Paisley himself (“I really had a blast,” he says), and Raymond stars Ray Romano and Brad Garrett. “It’s a double serving that sort of defines the origins of the show,” Wild says. “Brad‘s a friend of mine who’s become a friend of Phil’s. I’ve become friends with Ray because of Phil — although I’m still slightly intimidated by Brad because of the height differential.”

Other upcoming episodes include interviews with Jimmy Jam, Allison Janney,  Everything Everywhere All at Once stars Michelle Yeoh and Ke Huy Quan, Sheryl Crow, Elaine May, Susanna Hoffs, and Jay Roach.

Source link

Brad Paisley’s first new release of 2022

Hot Docs has wrapped its 11-day hybrid edition, handing out three more cash prizes, announcing audience top picks, and tipping the hat to the 225 films from 63 countries that screened during the festival.

The animated documentary “Eternal Spring,” by Jason Loftus, won the Rogers Audience Award for Best Canadian Documentary, which comes with Cdn. $25,000 cash, and also claimed the top spot in the overall audience poll of cinemagoers and online doc-watchers.

“Eternal Spring,” which had its North American premiere at Hot Docs and has racked up other awards this year at European festivals, mixes 3D and new live footage to trace the story of comic-book illustrator Daxiong (“Justice League,” “Star Wars”), a Falun Gong practitioner, who fled China after police began cracking down on members of the outlawed spiritual group.

Mark Bone’s “Okay! (The ASD Band Film),” which follows four autistic musicians as they prepare for their first live gig, is the second Roger Audience winner and received a Cdn. $15,000 cash prizes.

“Unloved: Huronia’s Forgotten Children,” Barri Cohen’s account of abuse inside Ontario government-run home for disabled children, placed third and was awarded Cdn. $10,000.

The audience favorite medium-length documentary was “Sexual Healing” by Elsbeth Fraanje, while auds chose “Dad Can Dance” by Jamie Ross and their top short doc.

“The past 11 days have been an exhilarating and deeply rewarding experience after a three-year pause to our in-person festival,” commented Hot Docs president Chris McDonald. “We are proud of the multitude of rich, important, and timely stories that were shared at Hot Docs 2022, proving that documentary cinema matters more than ever. We are thankful to our volunteers, filmmakers, industry stakeholders, and partners who helped make this year such a success, and we look forward to celebrating 30 years of Hot Docs at next year’s festival.”

Here is the Hot Docs Audience Top 20:
1. “Eternal Spring” (Dir: Jason Loftus, Prod: Jason Loftus, Masha Loftus, Yvan Pinard, Kevin Koo, Canada)
2. “Okay! (The ASD Band Film)” (Dir: Mark Bone, Prod: Gregory Rosati, Amalie Bruun, Canada)
3. “Unloved: Huronia’s Forgotten Children” (Dir: Barri Cohen, Prod: Craig Baines, Canada)
4. “Beautiful Scars” (Dir: Shane Belcourt, Prod: Corey Russell, Canada)
5. “The Smell of Money” (Dir: Shawn Bannon, Prod: Shawn Bannon, Jamie Berger, U.S.)
6. “Navalny” (Dir: Daniel Roher, Prod: Odessa Rae, Diane Becker, Melanie Miller, Shane Boris, U.S.)
7. “Handle with Care: The Legend of the Notic Streetball Crew” (Dir: Jeremy Schaulin-Rioux, Kirk Thomas, Prod: Ryan Sidhoo, Canada)
8. “Hunting in Packs” (Dir: Chloe Sosa-Sims, Prod: Hannah Donegan, Ann Shin, Canada)
9. “The Kids in the Hall: Comedy Punks” (Dir: Reg Harkema, Prod: Nick McKinney, Kim Creelman, Canada, U.S.)
10. “Batata” (Dir: Noura Kevorkian, Prod: Paul Scherzer, Noura Kevorkian, Canada, Lebanon, Qatar)
11. “Returning Home” (Dir: Sean Stiller, Prod: Andrew Lovesey, Gilles Gagnier, Canada)
12. “The Quiet Epidemic” (Dir: Lindsay Keys, Winslow Crane-Murdoch, Prod: Daria Lombroso, Lindsay Keys, Chris Hegedus, U.S.)
13. “Category: Woman” (Dir: Phyllis Ellis, Prod: Phyllis Ellis, Howard Fraiberg, Canada)
14. “In the Eye of the Storm: The Political Odyssey of Yanis Varoufakis” (Dir: Raoul Martinez, Prod: Sol Tryon, Amir Amirani, U.K.)
15. “How Saba Kept Singing” (Dir: Sara Taksler, Prod: Sara Taksler, U.S.)
16. “The Unsolved Murder of Beverly Lynn Smith” (Dir: Nathalie Bibeau, Prod: Tara Jan, Canada)
17. “Dad Can Dance” (Dir: Jamie Ross, Prod: Jamie Ross, Canada)
18. “Who We Will Have Been” (Dir: Erec Brehmer, Angelina Zeidler, Prod: Erec Brehmer, Germany)
19. “Alis” (Dir: Nicolas van Hemelryck, Clare Weiskopf, Prod: Alexandra Galvis, Radu Stancu, Nicolas van Hemelryck, Clare Weiskopf, Colombia, Romania, Chile)
20. “Relative” (Dir: Tracey Arcabasso Smith, Prod: Tracey Arcabasso Smith, Laura Poitras, Jenya James Hamidi, U.S.)

Source link

Hot Docs has wrapped its 11-day hybrid

Ontario is reporting 1,213 people in hospital with COVID on Monday, with 201 in intensive care.

This is up by 46 for hospitalizations but a decrease of six for ICUs since the previous day, though officials noted not all hospitals reported updated figures due to the weekend.

Last Monday, there were 1,423 hospitalizations with 211 in ICU.

According to latest data for hospitalizations from the weekend, 58 per cent were admitted for other reasons but tested positive for COVID-19. For those in ICUs, 32 per cent were admitted for other reasons.

Read more:

COVID-19 booster shots will be a focus going forward, vaccine makers say

Ontario COVID cases, deaths, vaccinations, recoveries, testing

Meanwhile, Ontario also reported 1,206 new lab-confirmed COVID-19 cases on Monday, though that is an underestimate of the true widespread transmission of the virus due to PCR testing eligibility. The provincial case total now stands at 1,276,116.

Story continues below advertisement

The death toll in the province remained at 12,972 from the previous day as no new virus-related deaths were added. Last Monday, no new deaths were added as well.

There are a total of 1,239,781 recoveries, which is around 97 per cent of known cases. Resolved cases increased by 1,976 from the previous day.

For vaccinations, of the aged 12 and older population, 91.2 per cent are fully vaccinated. First dose coverage stands at 93.1 per cent. Third dose immunization is at 56.7 per cent — more than 7.3 million Ontarians have received a booster shot.

For young children aged five to 11, first dose coverage stands at 56.4 per cent with 35.6 per cent who are fully vaccinated.

The province administered 6,019 doses in the last day.

The government said 7,702 tests were processed in the previous 24 hours. There are 2,966 tests currently under investigation.

The test positivity rate stands at 12 per cent, down from 14 per cent reported a week ago.


Story continues below advertisement


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

Source link

Ontario is reporting 1,213 people in hospital

Source link

David S. Goyer thought he had scratched his Batman itch for good, but then a unique challenge presented itself in the form of the narrative podcast.

Goyer, who’s written for Batman across four movies and numerous comic books, returns to the character by way of Batman Unburied, a narrative podcast from Spotify, DC and Warner Bros. The first two episodes were released on May 3, and they’re already ranking atop Spotify’s podcast charts in the U.S. and eight other countries.

The story begins in uncharted territory as Bruce Wayne (Winston Duke) is a forensic pathologist who’s investigating a Gotham serial killer known as the Harvester. If that premise wasn’t unique enough already, it’s also worth noting that Thomas (Lance Reddick) and Martha Wayne are still very much alive in this unconventional Batman story.

The Michigan native, who’s most known for his writing contributions to Christopher Nolan’s Dark Knight trilogy, imposed his own mandate if he was going to commit to telling another Batman story.

“It wasn’t a mandate that DC or Spotify gave me. I just wanted to do something I hadn’t done before. So I was interested in coming up with a storyline that had a number of twists and turns in which we pull the rug out from under the audience,” Goyer tells The Hollywood Reporter.

Goyer recently had a unique moviegoing experience courtesy of Matt Reeves’ The Batman. It was the first time he’s been able to watch a live-action, Batman-centric movie that he wasn’t involved with since Joel Schumacher’s Batman & Robin (1997). 

“I didn’t know exactly what to expect or what I would think of it. I saw it with a number of my crew members on Foundation, and they were all expecting me to hate it. But I really enjoyed it a lot. I really like [Robert] Pattinson’s Batman, and I like what they did with the Riddler. Reeves is a really good filmmaker, so I was in for the ride,” Goyer says.

In a recent conversation with THR, Goyer also discussed the ways in which he changed his writing style for Batman Unburied’s audio format. Then he looks back at The Dark Knight Rises as its 10th anniversary is right around the corner. 

You’ve been a part of a few Batman stories over the years. What made you come back to the character in this fashion?

Well, it was two-fold. Spotify actually reached out to me and asked if I would be interested in doing a narrative podcast, an original audio story. I’m a fan of them, and I always like experimenting in different mediums and different formats. When I worked on the Call of Duty franchise, for instance, I’d never worked on a video game before. So the different challenges of what each medium requires kind of excite me as a creator. When I worked on Vader Immortal, the VR project, I had a similar experience. And it’s the same here with an audio original. This story, if you were applying it to comic books, is like an Elseworlds Batman story, or it’s like something we might do with DC’s Black Label. It’s just more hard hitting. Suspense and horror, those things work really well in the audio space, and so I was interested in doing a Batman story that was more psychological and verging on horror.

Did you change your writing style at all for the podcast medium? 

The way that you deal with exposition is different than if you were dealing with a purely visual medium. Certain things like car chases or action scenes don’t really work well in the narrative medium, whereas you might be able to communicate information purely visually if you were doing a television show or a feature. So we had to figure out different ways of getting that information across either through the voice acting or through the soundscape and the sound cues. So just as a creative technical challenge, that interested me.

There are some really cool casting choices such as Lance Reddick as Thomas Wayne. What was the casting philosophy in general?

We had a lot more liberty with the voice casting than we might have if we were making a feature film. So when I talked to Spotify, Warner Bros. and DC, I said that I really wanted to go for some actors who might not be traditionally thought of to play Batman, the Riddler or Barbara Gordon, and they were completely open. In fact, they were excited about it, so that’s how we got such an incredibly exciting casting. Winston Duke [as Bruce Wayne] was one of my first choices. I’m a huge fan of his and I love what he’s done. 

The story begins in a unique place as Bruce is a forensic pathologist, and he’s doing an autopsy to learn more about this serial killer known as the Harvester. Was it a prerequisite for you that you couldn’t begin where most Batman stories begin?

Yes, it was for me, but it wasn’t a mandate that DC or Spotify gave me. They just said, “Hey, we want to know if you’d love to come up with a Batman story.” But I’ve written Batman comic books, and obviously, I’ve worked on at least four Batman movies. (Laughs.) So I just wanted to do something I hadn’t done before. I’ve also never worked on a Batman serialized streaming or television show. The last time I dealt with Batman in an episodic format was in the comic books, and one of the things that’s fun with comic books is that you can play around with cliffhangers. You can turn over different cards. So I was interested in coming up with a storyline that had a number of twists and turns in which we pull the rug out from under the audience.

One of the things that’s really fun about this story is that the primary villains who are pulling the strings behind what’s happening to Bruce and Batman aren’t immediately apparent in the first few episodes. Even though they exist and appear in the first few episodes, not all is what it seems.

Batman stories are often shaped by their villains. How did you arrive at Harvester as a new villain who’s first up to bat?

I was interested in seeing if I could explore some different members of Batman’s rogue’s gallery. To be frank, I think if we did the [Harvester] justice in the visual medium, it would probably get an NC-17 rating or something like that. (Laughs.) So what’s cool when you’re just doing audio is that you can let the audiences’ imagination fill in the gaps. And often, what they fill in is either more graphic or horrific or disturbing than anything we could have come up with as filmmakers. So that was interesting.

How else did the medium change your past approach to the character?

A lot of Batman stories are told from an objective standpoint. You’re showing different characters as they relate to Batman, and we’re on the outside looking in. But what was interesting with something like this is that you almost have to figure out ways for Bruce or Batman to narrate it. So that allows us a more internal or more subjective perspective on the character that we don’t frequently see depicted. Ironically, though, one of the things that I liked about Matt Reeves’ The Batman is that we were hearing his voice-over diary, which is frankly not something that had occurred to me before in that regard. But we were able to tackle that when he’s leaving his lab notes to himself or recording things. We’re getting his internal observations or we’re hearing him in phone conversations or over the radio or things like that. So instead of being on the outside looking in, this story takes place more from the inside looking outward, and that was a fun opportunity for me.

You’ve been involved with four Batman movies since 2005 including The Dark Knight trilogy and Batman v Superman, so Matt Reeves’ film was the first time in a while where you were able to watch a Batman-centric movie like any other fan. Was that a rewarding experience for you?

It was rewarding for me. It’s interesting because when you read Batman comics, there are miniseries, graphic novels, Earth One versions, Elseworlds stories and Black Label stories, and all of these different writers and artists doing their particular take on a Batman story. So, many of them are quite different and many of them are quite unusual, and that’s one of the fun parts of consuming comic books. So I just saw [The Batman] fairly recently in Prague, and I didn’t know exactly what to expect or what I would think of it. I saw it with a number of my crew members on Foundation, and they were all expecting me to hate it. But I really enjoyed it a lot. (Laughs.) It was a fun experience. I really like [Robert] Pattinson’s Batman, and I like what they did with the Riddler. Reeves is a really good filmmaker, so I was in for the ride. 

The selling point of The Batman was that it showed Batman as “the World’s Greatest Detective” for the first time, which would often prompt me to remind people that Chris Nolan’s movies certainly had detective elements and sequences in them. So what do you remember about your conversations with Chris regarding how much detective material to include?

It was something that we were aware of and something that we played around a bit more in The Dark Knight, in particular. And it was also something that I was interested in exploring with Batman Unburied. He’s not a detective per se, at least when the story begins, but he is a forensic pathologist. So the character lies in this intersection between solving crimes and still being a medical expert. The inciting incident that usually turns Bruce into Batman is the murder of his parents, so I was interested in exploring what would happen if his parents had never been murdered. Would he have gone into crime fighting? Would he have gone into the medical field? He probably wouldn’t have become Batman, so at least in this version, that’s how we arrived at him still being a detective. He’s just more of a forensics detective. But yeah, I was interested in exploring his detective side both in The Dark Knight films with Chris and in this new story.

Batman movies have probably gone as dark as they can possibly go without becoming R-rated theatrical releases. Do you think there will eventually be a paradigm shift that leads the character back to a lighter, maybe even campier tone?

I do. I think that these stories wax and wane; they’re cyclical. While there might be die-hard comic book readers that want to see an R-rated Batman, I don’t know that there’s a mainstream audience that necessarily wants to see an R-rated Batman. I’m curious how much longer the audience’s hunger for a completely bleak and nihilistic version of Batman exists out there. So I do think we’ll eventually swing back the other way. I mean, there will be campy versions, there will be animated versions, but could there be a more fun and kind of breezy adventurous Batman? I think we’ll eventually see that in the next five or six years. I think these things tend to happen in 20-year cycles.

I know there are more DC character podcasts in the works, but are you involved in any of them?

I am involved in at least two others right now. I don’t want to say what they are, but one exists in the Batman: Unburied universe and one doesn’t.

The 10-year anniversary of Dark Knight Rises is right around the corner, and its themes are as relevant as ever today. So how does that movie resonate with you now?

When we were working on those films, it was really important to Chris and myself to hopefully make films that were timeless. So as much as we were looking at current events when we were writing the films and coming up with the storylines, we were also looking backward and taking inspiration from films that we loved 40 or 50 years ago.

So we asked ourselves why these films haven’t lost any of their luster 40 or 50 years after they’d been made, and what makes something a classic. And more often than not, it’s because you’re dealing with timeless themes. You’re dealing with the Joseph Campbell myth, but you’re also not trying to come up with a plotline that is specifically ripped from today’s headlines, because those stories tend not to date well. So it’s all about what’s classic, what’s timeless and what are the concerns that every generation deals with. Those were certainly the kinds of questions we asked ourselves when we were crafting those stories.

I’ve enjoyed some of the smaller films you’ve produced recently such as The Night House and Antlers. Since you’ve mostly worked on huge tentpoles, how do these experiences compare?

They’re immensely rewarding. That’s why I started doing it with my producing partner, Keith Levine. It’s two-fold. It’s liberating to do a movie that doesn’t have a $150 million or $200 million price tag because, in some ways, you can take more chances. There’s less at stake economically with a $6 million film than there is with a $150 million film. Not every story requires a $150 million price tag and not every TV show requires $14 million an episode or something crazy like that. The other thing is that I really like collaborating with filmmakers, writers and directors, such as [The Night House director] David Buckner. So hopefully I can lend some of my experience to their film or my name, if it can help get something made. I get just as much joy from being a godfather to a project as I do from creating something original. It’s just a different kind of joy. It scratches a different kind of itch, I would say.

Interview edited for length and clarity. 

Batman Unburied is now airing on Spotify.

Source link

David S. Goyer thought he had scratched

Mxmtoon, the 21-year-old singer-songwriter from Oakland, California, who has become one of the indie world’s major breakthroughs, recently graced the Artists Den with a performance of new and older songs on “Live From My Den.” Recorded at the same Brooklyn studio where she made her debut album, the singer unveiled some songs from her forthcoming album “Rising,” which comes out on May 20.

The singer is already on tour supporting the album, but she talked with us about the album, her history and the evolution that her songwriting undertook during the pandemic. Her earlier songs had a comedy bent, then turned darker during the pandemic, and have since boosted into dance music as lockdown has lifted.

“I think comedy was just a ways of expressing a side of myself that maybe people didn’t necessarily see in my everyday life in high school,” she says. “I was very much an ‘Okay, I’m gonna do everything everybody expects of me and asks of me’ kind of person, and so writing songs that felt funnier or more self-deprecating but vulnerable still felt like an expression of my individual that I hadn’t really gotten to explore yet. Eventually I moved out of it, and I became kind of more true to my actual self and less, I guess, shielded in my own kind of vulnerability, with having to format it through comedy.

“But [during the pandemic], like a lot of people, I was really sad and it’s hard to find joy when you have your life ripped out from underneath you. I was about to go on a tour for EPs that I was releasing in 2020, and all of that stopped being a possibility. So I wrote a really, really bunch of sad lyrics because there was really nothing else that I could feel at that point. But I realized at a certain point that music was always supposed to be a way for me to both express myself but also to feel release. So ‘Rising,’ I just really felt so strongly about being able to make songs that I could experience joy through while assessing and understanding the sadness that I was feeling. And through the pandemic, like many people, I think I leaned on the things that I found most comforting growing up – like music that I had listened to on CDs when I was 5 years old, and taking inspiration from those things to help me find my voice now as a 21-year-old musician.”

Watch the full interview and performance above.

New episodes of “Live From My Den” will premiere each week exclusively via Variety.com. “Live From My Den” is made possible and brought to life by Hard Rock and in partnership with Fujifilm North America Corporation (Fujifilm). Artists include Latin star Justin Quiles, synth-pop duo Magdalena Bay and singer-songwriter Nicole Atkins.

Source link

Mxmtoon, the 21-year-old singer-songwriter from Oakland, California,

A ridiculously satisfying underdog sports story set in the highly specialized arena of Chinese lion dancing, “I Am What I Am” features a plot familiar enough that it could have been generated by computer, peppered with specifics unique enough that the experience consistently manages to surprise. The result is an inspired mix of engineering and ingenuity, distinguished by some of the most human character animation this side of the uncanny valley — not realistic, mind you, but relatable, and a welcome departure from the cutesy cartoony-ness of Pixar and its American ilk, produced at a mere fraction of the budget.

World premiering as a work in progress at Los Angeles’ Animation Is Film Festival, this “Karate Kid”-like crowd-pleaser from “Kung Food” creator Haipeng Sun represents another breakthrough for China’s fast-growing animation scene. Packed with culturally specific humor, the toon is clearly intended to serve local audiences (on the Douban and Maoyan platforms, it proved to be 2021’s highest-rated domestic release after opening in China on Dec. 8), though foreigners should also appreciate such a relatable glimpse behind the mask of the colorful custom, in which teams of trained dancers steer the two-person costume across tall pedestals and other challenging obstacles.

A sheepish, scrawny boy with a girl’s name, teased by others for looking like a “sick cat,” Juan lives alone in a rural town in Guangdong province while his parents work in the big city. His self-esteem is nearly nonexistent until one day he witnesses a mystery contestant outmaneuver the local bullies in a lion dance competition — a thrilling “capture the flag”-style game set on an elaborate bamboo scaffolding, which the virtual camera observes with all the dynamism of a wuxia movie. The winner turns out to be a girl his age, also named Juan, who gifts the kid her lion mask and gives him the motivation he needs to give the sport a try.

The next half-hour will seem fairly familiar, as Juan (the boy) enlists fellow-reject friends Cat and Dog to form a team, then seeks out former champion Huang Feihong, now a salted-fish seller, to coach them to victory. The movie stacks one montage after another, alternating between obvious and unexpected jokes along the way, to compress the kind of physical training that would normally take a decade or more. After Juan wins an early local competition, the plot takes an unexpected turn, as Juan does the honorable thing in order to help his parents, bowing out of the next level and instead moving to Shanghai to earn money for the family.

In moments like this, the film walks the line of feel-good propaganda, reinforcing how honorable and obedient citizens are expected to behave, instead of celebrating the kind of personal glory to which American audiences are more accustomed (although rest assured that U.S. toons feel like a kind of behavioral brainwashing to foreign auds). Screenwriter Zelin Li gives these gangly kids memorable personalities, which prove all the more lively through the endearingly exaggerated way they’ve been rendered — to say nothing of the elegant, accelerated lion dance moves.

In China, the film drew criticism for its character designs, which include small, squinted eyes (reportedly done to differentiate the style from Japanese animation) and unflattering proportions (one of Juan’s pals is a Fat Albert-style stereotype). But the truth is, the faces here are so expressive, they raise the experience above its relatively formulaic plot, reminding that animation is a bit like lion dancing, as artists hide behind elaborate avatars and try to convey behavior and emotions the general public can recognize. The backgrounds are especially impressive, including a golden-hued forest with its crepe-paper canopy of saffron red leaves, demonstrating just how far computer animation has come.

While “I Am What I Am” clearly speaks to various national-identity issues, the feelings represented are universal. There’s something to be said for how it celebrates characters from the bottom of society, like working-class Juan. It’s still quite uncommon to encounter a Chinese film that centers ordinary people, as opposed to mythical and magical heroes (like “Ne Zha”), but easy to understand why that would resonate with audiences.

Of course, the movie wouldn’t be nearly as satisfying if Juan didn’t have a last-minute change of heart, showing up to compete in the big Shanghai competition. Kudos to the team for conceiving a surprising way for that to play out, where winning isn’t nearly as important as Juan proving his own value to himself.

Source link

A ridiculously satisfying underdog sports story set

Fremantle-Owner RTL Group Boosts Revenues By 11.3%

Fremantle-owner RTL Group increased revenues by 11.3% to €1.5BN ($1.6BN) in the first quarter of 2022, with streaming revenues for RTL+ and Videoland shooting up by 23%. Around 4.4% of the overall turnover boost was reported to be organic, coming in a quarter when Fremantle acquired 70% of Italian Devils producer Lux Vide. American Gods producer-distributor Fremantle’s turnover went up by 6.5% across the quarter to €461M ($487M), which the group put down to positive foreign exchange rate effects, the acquisitions of This is Nice Group and Eureka and deliveries of season one of AppleTV+’s The Mosquito Coast and season three of Starz’ American Gods. RTL Group is targeting €7.4BN ($7.8BN) for full year 2022 and €1.15BN ($1.22BN) adjusted EBITA, with closure on the sale of RTL Croatia expected imminently along with “major consolidation moves in France and The Netherlands,” according to Group CEO Thomas Rabe. “RTL Group started dynamically into the new year despite the uncertainties resulting from the war in Ukraine,” he added.

BBC Studios TalentWorks Unveils Black Creator Initiative

BBC Studios Talentworks, the producer-distributor’s division for bringing through young talent, is giving four Black content creators a guaranteed BBC commission. The In The Mix 2022 scheme will help the successful applicants under the mentorship of experienced producers and they will also produce a short film for BBC Reel, which will be unveiled at an event at London’s Barbican in November. The Barbican and Black Creators Matter are partners on the initiative, which launched yesterday. “We’re passionate about supporting new talent and we’re excited to be partnering with Black Creators Matter to offer this opportunity for four emerging creators to develop their craft,” said TalentWorks Development Producer Katrina Bell.

Miso Film Hires DR Drama Boss

Nordic production outfit Miso Film has signed former DR Head of Drama Christian Rank as Head of Development & Producer. Starting in August 2022, Rank will have a view across local and global productions, working on the development and production of scripted projects, bringing in IP and building a roster of creative talent. At DR, he was responsible for a wealth of productions including Borgen, When the Dust Settles and Cry Wolf. “The decision to hire Christian is an important step in accomplishing Miso Film’s ambition of growing the company’s profile and fulfilling its huge market potential,” said Peter Bose, Miso Film Group CEO.

UK Directors Charitable Foundation Launches Mental Health Service

The UK’s Directors Charitable Foundation (DCF) has launched a wellbeing and mental health support service with psychotherapy organization Solas Minds. The DCF Directors Wellbeing Hub will contain specifically curated wellbeing resources as well as one-on-one therapy sessions at a substantial discount. DCF chair Andrew Chowns said directors “often feel isolated and pressurised in their role” and the discounted therapy will help “those in need at a time of their choosing.” “We are helping to remove the barriers to entry, and this will encourage more directors of stage and screen to seek help and resources when they need it most,” he added.

Source link

Fremantle-Owner RTL Group Boosts Revenues By 11.3% Fremantle-owner

‘Good With Wood’
When to watch: Now, on Discovery+.

Let the well of earnest, British skill-based reality contest shows never run dry. Baking, painting, sewing, pottery, flower design — and now woodworking. “Wood,” hosted by Mel Giedroyc, formerly of “The Great British Baking Show,” is just six episodes, and it follows the familiar format: Talented yet humble artisans compete in a series of telegenic challenges in which they are assessed by sage yet snazzy judges, and then we all revel in the spiritual peace of a job well done. If you like “Making It” or can conjure the smell of fresh sawdust with the power of your imagination, watch this.

‘Outnumbered’
When to watch: Now, on the Roku Channel.

This British ensemble comedy has come and gone from streaming platforms over the years, and now all five seasons are available again. The show follows the Brockman family — mom, dad, three young children — and is partially improvised, with an easy naturalism that feels instantly familiar and intimate. “Outnumbered” has a light touch, and it often reminds me of a grown-up version of “Bluey” or a grounded version of “Modern Family,” happy in the comfortable tension between familial bonds and individuality. The real draw here, though, is some of the best comedic kid acting I’ve ever seen, particularly from Ramona Marquez as the impish youngest child.

‘Clark’
When to watch: Now, on Netflix.

Bill Skarsgard stars in this six-part mini-series (in Swedish, with subtitles or dubbed) as Clark Olofsson, a Swedish gangster credited with inspiring the term Stockholm syndrome and committing a bunch of crimes. So many current docudramas feel as if they’re in the same bland key, with the same inert performances, but “Clark” is audacious, distinctive and energetic. It leans hard into its characters’ “Goodfellas”-inflected braggadocio and also their profound loserdom; there are so many ways in which scuzzy criminality is glamorized on television, but so few shows in which our bank-robber protagonist has a masturbation session thwarted by the curious and judgmental glare of an associate’s ferret.

Source link

This weekend I have … a few

Deadline

Sandra Oh has a whopping 13 Emmy nominations covering her performance as Eve Polaski in Killing Eve as well as her producing credits on the acclaimed series, as well as for guest stints on SNL and another five nominations for playing Dr. Cristina Yang on ABC’s long-running Grey’s Anatomy, which she left in 2014 after working on the show for a solid decade.

She is sure to be back in the Emmy conversation again this year not just once for the fourth and final season of Killing Eve but also for the Netflix series The Chair. This means she could be back in contention the Lead Actress Drama for Eve as well as Lead Actress Comedy for The Chair. Both would be richly deserved for this terrific actor, who also is making statements with her career choices about being one of the rare Asian leads on television series. We talked about all of it when she joined me for this week’s edition of my Deadline video series The Actor’s Side.

Oh has made her mark on the big screen as well, notably in Sideways and Under the Tuscan Sun among other live-action films, and then in animated features like 2020’s Over the Moon, 2021’s Oscar nominated Raya and the Last Dragon, and the current Pixar release Turning Red. She is constantly working and winning high praise for her performances as well as for her social conscience.

In The Chair she plays Ji-Yoon Kim, the rare female Asian leader of a small college where her professional and personal life gets intertwined in unique ways. We talk about that, as well as the emotional and surprising end of the line for Killing Eve, plus so much more.

To watch our conversation click on the video above.

Join me every Wednesday during Emmy season for another episode of The Actor’s Side.

Source link

Deadline Sandra Oh has a whopping 13 Emmy

Category is…children’s books!

“RuPaul’s Drag Race” star Nina West is set to release her first book for kids, “The You Kind of Kind.”

“It is a dream come true to be able to release my very first children’s book and share a message that is so needed right now,” West tells me. “’The Kind You Kind of Kind’ celebrates loving yourself for who you are and giving the gift of kindness to the world! I am so excited for kids of all ages to be inspired by acts of kindness- to not only be better to themselves, but inspire the entire world to act in kindness.”

West’s friend Dolly Parton even provided a statement to Variety about the book. “Well, to quote some lines in a song I wrote, I always say: whatever you are, be that. Whatever you do, do that. Anything else is just an act. Whoever you are, be that, be that. Whatever you are, be that,” the country music legend said. “Nina West’s ‘The You Kind of Kind’ teaches the same lesson—  just be yourself!”

Lazy loaded image

The colorful 32-page book, with illustrations by Hayden Evans, will be released on Oct. 25 by Princeton Architectural Press.

West, whose real name is Andrew Levitt, appeared on Season 11 of “RuPaul’s Drag Race,” where she was named Miss Congeniality. Since then, she starred in a national tour of “Hairspray” and has become a favorite on Hollywood’s red carpets for her jaw-dropping looks. She has also appeared in ads for Pantene, Pepsi and OraQuick.

 

Source link

Category is…children’s books! “RuPaul’s Drag Race” star Nina

London-based documentary specialist Dogwoof has closed a host of sales for Daniel Roher’s “Navalny” and Jono McLeod’s “My Old School,” both of which premiered at Sundance and are screening this week at the Hot Docs Canadian International Documentary Festival.

Roher’s riveting documentary thriller (pictured above) won the Festival Favorite Award and the U.S. Documentary Audience Award at Sundance. It follows the Russian opposition leader and anti-corruption activist Alexei Navalny, as he and investigative news organizations Bellingcat and CNN try to unravel the botched effort to assassinate him in 2020.

Following CNN’s world premiere broadcast on April 24, TV rights were sold to BBC (U.K.), RTL (Germany), Discovery (Italy), SVT (Sweden), DR (Denmark), NRK (Norway), RUV (Iceland), VRT (Belgium), VPRO (the Netherlands), Channel 8 (Israel), Yesdocu (Israel), TVN (Poland), and Aleph (Romania).

The film was released theatrically last month by Warner Bros. Studios and Fathom Events in North America and by Dogwoof in the U.K., as well as in Denmark (CPH:DOX) and Switzerland (DCM). Upcoming theatrical releases include Germany (DCM) and Italy (I Wonder), with a summer rollout planned for Australia and New Zealand (Madman) and Japan (Transformer)

“Navalny” is presented by CNN Films and HBO Max. Directed by Daniel Roher, it’s produced by Odessa Rae of RaeFilm Studios, Diane Becker and Melanie Miller of Fishbowl Films, and Shane Boris of Cottage M. Amy Entelis and Courtney Sexton of CNN Films and Maria Pevchikh are executive producers.

“My Old School”
Courtesy of Sundance Institute

Following Sundance, “My Old School” has played at the Dublin International Film Festival, the Glasgow Film Festival, and at the Docville documentary festival in Belgium. The film recounts the stranger-than-fiction story of director Jono McLeod’s former classmate, Brandon Lee, who became Scotland’s most notorious imposter.

Told through animation reminiscent of the iconic cartoon “Daria,” “My Old School” includes the award-winning actor Alan Cumming (“The Good Wife”) voice-acting the role of Lee and features interviews with his former classmates and teachers as it delves into themes of identity and deception, of thwarted ambitions and what could have been.

“My Old School” was picked up by Magnolia for a 22 July release in North America and by Madman for Australia and New Zealand; Dogwoof’s U.K. theatrical release is planned for later this summer. The film has also sold to BBC (U.K.), DR (Denmark), NRK (Norway), SVT (Sweden), VPRO (Netherlands), Yesdocu (Israel), and HBO Europe (CEE).

“My Old School” is directed by Jono McLeod and produced by Olivia Lichtenstein and John Archer for Hopscotch Films, with editing by Berny McGurk and Jono McLeod. It was executive produced by Mark Thomas, Jono McLeod, John Archer and Clara Glynn. The film was developed and supported by the Scottish Government and the National Lottery through Creative Scotland.

Source link

London-based documentary specialist Dogwoof has closed a

Russia is attempting to storm the Azovstal steel works in Mariupol after heavy bombing overnight which killed two civilians, the Ukrainian defenders have said. 

Captain Sviatoslav Palamar, deputy commander of the Azov battalion which is holed up inside the plant, said Russia spent all night bombing and is now trying to storm the complex using armoured vehicles, tanks, boats and ‘a large number of infantry’. 

Palamar said two women were killed in the bombardment with another ten injured, and called for an immediate ceasefire so hundreds of civilians still stuck inside the plant can be evacuated.

Moscow acknowledged bombing Azovstal but said its troops were taking out new defensive positions set up during a ceasefire at the weekend. 

Commanders made no mention of storming the plant, after Putin vowed last month that the operation had been called off to preserve the lives of his troops.

Smoke rises over the Azovstal steel works in the besieged city of Mariupol, as Russia says it has hit the industrial complex with artillery and bombs

Inside Azovstal

Inside Azovstal

Ukrainian defenders say Russia spent all night bombing the steel plant (interior damage, pictured) and are now trying to storm inside

The Azovstal steel plant is the last holdout of Ukrainian resistance in a city that is otherwise controlled by Moscow’s forces and key to their campaign in Ukraine’s east.

The UN confirmed today that it had helped to evacuate 101 people – mostly women and children – from the plant last week during a five-day operation.

It said ‘most’ of those people arrived in the city of Zaporizhzhia, 125 miles from Mariupol through Russian-held territory, today – though some had decided to remain in occupied areas.

The BBC reported that 156 people arrived in Zaporizhzhia as part of a convoy,  which had grown in size as people from outside the steel works joined en route.

Images and video of those arrivals showed some people weeping as others – including a disabled man – were helped off buses to be given medical care. 

Mariupol has come to symbolize the human misery inflicted by the war. 

A Russian siege has trapped civilians with little access to food, water and electricity, as Moscow’s forces pounded the city to rubble. 

The plant – where about 1,000 civilians sought shelter in a warren of underground bunkers along with some 2,000 fighters who have refused to surrender – has particularly transfixed the outside world.

Mariupol Deputy Mayor Sergei Orlov told the BBC that high-level negotiations were underway among Ukraine, Russia and international organizations on evacuating more people.

A Russian rocket artillery truck opens fire on the Azovstal complex, where the last Ukrainian defenders of Mariupol are holed up

A Russian rocket artillery truck opens fire on the Azovstal complex, where the last Ukrainian defenders of Mariupol are holed up

Moscow's commanders have not mentioned storming the complex, and instead say they are destroying new defences set up during a ceasefire at the weekend

Moscow’s commanders have not mentioned storming the complex, and instead say they are destroying new defences set up during a ceasefire at the weekend

101 civilians - mostly women and children - were evacuated from the Azovstal steel works at the weekend and today arrived in Zaporizhzhia (pictured)

101 civilians – mostly women and children – were evacuated from the Azovstal steel works at the weekend and today arrived in Zaporizhzhia (pictured)

But Russian forces and their allies resumed strikes on the plant on Tuesday. Vadim Astafyev, a Defense Ministry spokesman, said that Ukrainian fighters at the plant used the cease-fire that allowed civilians to flee to take up new positions.

They ‘came out of the basements, took up firing positions on the territory and in the buildings of the plant,’ he said. Russian troops along with the Moscow-backed separatist forces used ‘artillery and aircraft … to destroy these firing positions.’

After failing to take Kyiv in the early weeks of the war, Russia withdrew some of its forces and then said it would switch its focus to Ukraine’s eastern industrial heartland of the Donbas. Mariupol lies in the region, and its capture would deprive Ukraine of a vital port, allow Russia to establish a land corridor to the Crimean Peninsula, which it seized from Ukraine in 2014, and free up troops for fighting elsewhere in the Donbas.

Michael Carpenter, U.S. ambassador to the Organization for Security and Cooperation in Europe, said Monday that the U.S. believes the Kremlin plans to annex much of eastern Ukraine and recognize the southern city of Kherson as an independent republic. Neither move would be recognized by the United States or its allies, he said.

Russia is planning to hold sham referendums in the Donetsk and Luhansk regions in the Donbas that would ‘try to add a veneer of democratic or electoral legitimacy’ and attach the entities to Russia, Carpenter said. He also said there were signs that Russia would engineer an independence vote in Kherson.

Mayors and local legislators there have been abducted, internet and cellphone service has been severed and a Russian school curriculum will soon be imposed, Carpenter said. Ukraine’s government says Russia has introduced its ruble as currency there.

Getting a full picture of the unfolding battle in the east has been difficult because airstrikes and artillery barrages have made it extremely dangerous for reporters to move around. Both Ukraine and the Moscow-backed rebels fighting in the east have introduced tight restrictions on reporting.

But so far, Russia’s troops and their allied separatist forces appear to have made only minor gains, taking several small towns as they try to advance in relatively small groups against staunch Ukrainian resistance.

Women and children evacuated from Mariupol arrive in Zaporizhzhia, 125 miles to the west, after a weekend ceasefire allowed them to flee

Women and children evacuated from Mariupol arrive in Zaporizhzhia, 125 miles to the west, after a weekend ceasefire allowed them to flee

A family who managed to flee from Mariupol arrives in Zaporizhzhia, where reception centres for those displaced by the fighting have been set up

A family who managed to flee from Mariupol arrives in Zaporizhzhia, where reception centres for those displaced by the fighting have been set up

A father with children in the back of his car - and a sign on the side reading 'kids' in Russian - arrives safely at a reception centre in Zaporizhzhia

A father with children in the back of his car – and a sign on the side reading ‘kids’ in Russian – arrives safely at a reception centre in Zaporizhzhia

Hryhorii, a member of the Ukrainian military hugs his wife Oksana who he had not seen for nearly a year, after she fled from a Russian-occupied village to Zaporizhzhia

Hryhorii, a member of the Ukrainian military hugs his wife Oksana who he had not seen for nearly a year, after she fled from a Russian-occupied village to Zaporizhzhia

: A woman from Mariupol cries after arriving at an evacuation point in Zaporizhzhia

: A woman from Mariupol cries after arriving at an evacuation point in Zaporizhzhia

In its daily Twitter statement on the war, the British military said Tuesday it believes the Russian military is now ‘significantly weaker’ after suffering losses in its war on Ukraine.

‘Recovery from this will be exacerbated by sanctions,’ the ministry said. ‘Failures both in strategic planning and operational execution have left it unable to translate numerical strength into decisive advantage.’

Ukraine’s resistance has been significantly bolstered by Western arms, and British Prime Minister Boris Johnson on Tuesday announced a 300 million pounds ($375 million) in new military aid – including radar, drones and armored vehicles.

In a speech delivered remotely to Ukraine’s parliament, he echoed the words of Britain’s World War II Prime Minister Winston Churchill as he lauded the country’s defiant response to the Russian invasion.

‘The so-called irresistible force of Putin’s war machine has broken on the immoveable object of Ukrainian patriotism and love of country,’ he said. ‘This is Ukraine’s finest hour, that will be remembered and recounted for generations to come.’

Pope Francis was quoted Tuesday in an Italian newspaper as saying that he offered to travel to Moscow to meet President Vladimir Putin about three weeks into the invasion. The pontiff told Corriere della Sera that he has not received a response.

On Monday, Ukraine said Russia struck a strategic road and rail bridge west of Odesa, a major Black Sea port. The bridge was heavily damaged in previous Russian strikes, and its destruction would cut a supply route for weapons and other cargo from neighboring Romania.

Evacuees from the Azovstal steel plant hug each-other as they are evacuated from Mariupol to Russian-controlled areas of Donetsk

Evacuees from the Azovstal steel plant hug each-other as they are evacuated from Mariupol to Russian-controlled areas of Donetsk

A convoy of evacuation buses heading from Mariupol into Russian-held territories in Donetsk is seen in an image released by the Kremlin

A convoy of evacuation buses heading from Mariupol into Russian-held territories in Donetsk is seen in an image released by the Kremlin

A satellite image captured by Planet Labs PBC and analyzed by The Associated Press showed the bridge still standing as of noon Monday.

Another image, taken Monday, showed nearly 50 Russian military helicopters at Stary Oskol, a Russian base close to the Ukrainian border and some 175 kilometers (110 miles) northeast of the Ukrainian city of Kharkiv.

Highlighting the toll of the war, Ukrainian President Volodymyr Zelenskyy said Monday that at least 220 Ukrainian children have been killed by the Russian army since the war began, and 1,570 educational institutions have been destroyed or damaged. He also noted that some people trying to escape the fighting are afraid they’ll be taken to Russia or Russian-controlled areas.

More than 1 million people, including nearly 200,000 children, have been taken from Ukraine to Russia, Russia’s Defense Ministry said Monday, according to state-owned news agency TASS. Defense Ministry official Mikhail Mizintsev said that number included 11,550 people in the previous 24 hours, ‘without the participation of the Ukrainian authorities.’

Zelenskyy said that the U.N. assured him people fleeing Mariupol would be allowed to go to areas his government controls.

Separate from the official evacuations, some Mariupol residents left on their own, often in damaged private cars.

As sunset approached Monday, Mariupol resident Yaroslav Dmytryshyn rattled up to a reception center in Zaporizhzhia in a car with a back seat full of youngsters and two signs taped to the back window: ‘Children’ and ‘Little ones.’

‘I can’t believe we survived,’ he said, looking worn but in good spirits after two days on the road.

‘There is no Mariupol whatsoever,? he said. ‘Someone needs to rebuild it, and it will take millions of tons of gold.’

Source link

Russia is attempting to storm the Azovstal

After almost 20 years of medical emergencies and juicy drama, “Grey’s Anatomy” is gearing up for its landmark 400th episode this May.

Set to air on May 26, the 400th episode of the series will air as a two-part Season 18 finale. The episode’s plot remains unknown, but will feature the return appearance of cast members Jesse Williams and Sarah Drew, as the super couple Jackson and April (aka “Japril”). The finale has already wrapped filming.

On Monday, the cast and crew of the series celebrated the 400 episodes with a cake cutting. In attendance were executive producers of the show Krista Vernoff, Debbie Allen, Meg Marinis and Zoanne Clack; Megha Tolia, president of production company Shondaland; Hulu Originals and ABC Entertainment president Craig Erwich; Walt Disney Television entertainment chairman Dana Walden; ABC Signature president Jonnie Davis; and Disney General Entertainment Content chairman Peter Rice. On Tuesday, the cast and crew will also celebrate with a Season 18 wrap party.

Created in 2005 by Shonda Rhimes, “Grey’s Anatomy” stars Ellen Pompeo as Meredith Grey, the chief of general surgery at Grey Sloan Memorial Hospital. The cast has undergone multiple shake-ups over the course of its history, with Pompeo, Chandra Wilson and James Pickens Jr. as the only original main cast members remaining on the show. The 18th season has also featured Kevin McKidd, Caterina Scorsone, Camilla Luddington, Kelly McCreary, Kim Raver, Jake Borelli, Chris Carmack, Richard Flood, Anthony Hill and Scott Speedman. The series is the longest-running primetime scripted series currently airing on ABC, and has already been renewed for a 19th season.

Also in today’s TV news:

TRAILERS

The Apple TV+ sports documentary series “Greatness Code” has unveiled the trailer for its upcoming second season. Directed by Gotham Chopra, each episode of the series profiles a different world-class athlete, featuring a recreation of a particular career highlight through the use of visual effects. Season 2’s episodes will feature Lindsey Vonn, Marcus Rashford, Russell Wilson, Leticia Bufoni, Scout Bassett and Bubba Wallace. Chopra executive produces the series with Ameeth Sankaran and Giselle Parets for Religion of Sports and Maverick Carter, Jamal Henderson, Devin Johnson and Philip Byron for Uninterrupted.

LATE NIGHT

Benedict Cumberbatch, Sydney Sweeney and musical guest Father John Misty will guest on “The Tonight Show Starring Jimmy Fallon” this Tuesday, José Andrés, Ron Howard and musical guests Lucius and Sheryl Crow will appear on “The Late Show With Stephen Colbert.” “Late Night With Seth Meyers” will feature Bill Hader, Minnie Driver and Hernan Diaz, while “The Late Late Show With James Corden” will feature Tom Cruise, Monica Barbaro and musical guest Teddy Swims. Mike Birbiglia will guest host “Jimmy Kimmel Live,” featuring Mike Myers, Iliza Shlesinger and musical guest the Black Crowes.

Source link

After almost 20 years of medical emergencies

The universe of The Suicide Squad may be growing some more.

Viola Davis, who played Amanda Waller in the film (and its definite article-less predecessor), is in talks to reprise her role for a series project in the works at HBO Max. The show would spin off from the streamer’s Peacemaker, which featured a couple of brief appearances from Davis’ Waller in its first season.

HBO Max and producer Warner Bros. TV declined comment.

Plot details are being kept quiet, but sources say the potential series would build on Davis’ appearance in the Peacemaker season finale, which debuted in February on HBO Max. Danielle Brooks’ character in the series, Leota Adebayo, is Waller’s daughter.

Christal Henry (Watchmen) will write the spinoff and executive produce with The Suicide Squad writer-director and Peacemaker creator James Gunn, Davis and Peter Safran, an EP on Peacemaker.

Gunn has spoken about his interest in a Peacemaker spinoff, and HBO Max says the show performed well (though, as usual with streaming platforms, it did not cite precise figures). The streamer says viewing of the finale was 44 percent higher than that of the series debut, and that the season ender had the largest single-day audience for any HBO Max original thus far.

Davis is currently starring in Showtime’s The First Lady. The Oscar and Emmy winner’s recent credits also include features The Unforgivable and Ma Rainey’s Black Bottom and ABC’s How to Get Away With Murder. She is repped by CAA, Lasher Group, Licther Grossman and Wolf-Kasteler PR.

Henry is repped by UTA and attorney Robert Szymanski.

Source link

The universe of The Suicide Squad may

Cristela Alonzo is returning to Netflix for her second comedy special. Middle Classy, a follow-up to her 2016 comedy special, Lower Classy, will premiere globally on Netflix on June 28.

The special is produced by Page Hurwitz and Wanda Sykes for Push It Productions, and Hurwitz also directs.

In Middle Classy, with more money and a smile big enough to show off her hard earned new teeth, Cristela is living the American Dream. She hilariously shares the joys of aging in her forties, her first ever experience with a gyno, and the importance of family.

Alonzo also executive produces, along with Hurwitz and Sykes.

Alonzo became the first Latina to create, produce and star in her own network sitcom, ABC’s Cristela, in 2014. She simultaneously guest hosted on the network’s popular talk show series The View. Alonzo made history again by becoming the first Latina to lead a Disney Pixar film when she voiced the part of Cruz Ramirez in Cars 3. She most recently portrayed Hestor on HBO’s His Dark Materials, recurred on The Upshaws and hosted the first season of CW’s competition series Legends of the Hidden Temple.

Source link

Cristela Alonzo is returning to Netflix for

International sales company Andana Films has acquired Islamic State documentary “Rojek,” which has its North American premiere in Hot Docs’ Canadian Spectrum section on Saturday.

The film, which had its world premiere in the International Competition section at Visions du Réel, will have a theatrical release in Canada through Maison 4:3.

In the film, director Zaynê Akyol talks to imprisoned members of the Islamic State, alternating their words with aerial views of the countryside. It is “an unexpected look at a far-reaching current political issue, and a film whose subject matter and rhythm create an impressive cinematic object,” Andana stated.

Mariam Zaidi at Hot Docs said: “The Syrian Democratic Forces, mostly Kurdish, as well as the international coalition, have succeeded in dislodging the Islamic State from their last stronghold and ending their project of establishing a caliphate in Syria. Today, thousands of Islamic State members, along with their wives and children, end up in prisons and camps under the supervision of the Kurds.

“With extraordinary access, we travel through Syria and inside makeshift prisons, where detainees speak candidly about their motivations, experiences and loyalties, offering an incredible range of perspectives on the formation, rise and defeat of the Islamic State.”

The film is produced by Audrey-Ann Dupuis-Pierre and Sylvain Corbeil at Metafilms in Canada.

Akyol’s first feature documentary “Gulîstan, Land of Roses” was screened at Visions du Réel in 2016, as well as in many other festivals, including Locarno, Hot Docs and Dok Leipzig, and was awarded many times including the Doc Alliance Selection Prize at Locarno.

Source link

International sales company Andana Films has acquired

Quebec reported three new deaths attributed to COVID-19 as hospitalizations continued to drop Monday.

There were 2,170 patients being treated for the disease, a net decrease of 12 from the previous day. This comes after 97 admissions and 109 discharges in hospitals across the province.

Intensive care unit cases related to the pandemic stood at 78, a rise of three.

The daily tally included 906 new novel coronavirus cases but the count is based on results from PCR testing, which remains off limits to most of the population.

Read more:

COVID-19 is killing fewer people, but Quebec still reporting dozens of deaths daily

Health authorities say 11,556 tests were administered at screening sites on Saturday, the most recent day for which that information is available.

Story continues below advertisement

Quebecers also continued to declare the results of their rapid tests on the province’s online portal, adding 371. Of those, 310 were positive for the virus.

Meanwhile, 7,850 doses of the COVID-19 vaccine were issued in the last 24 hours. More than — million shots have been given to date.

Since 2020, the province has reported 1,044,638 official infections. The death toll stood at 15,009 in the latest roundup.

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

Source link

Quebec reported three new deaths attributed to

SPOILER ALERT: Do not read until you have watched “Outlander” Season 6, Episode 8 titled “I Am Not Alone.”

Despite a tightly packed sixth season comprised of just eight episodes, Starz’s “Outlander” did not disappoint with its dramatic finale episode “I Am Not Alone.”

At the start of the finale, Jamie (Sam Heughan) and Claire (Caitriona Balfe) — a couple who can never catch a break — barricade themselves inside their home while facing off against Richard Brown (Chris Larkin) and his militia. Brown has come to fetch Claire to make her stand trial for the murder of Malva Christie, a “trial” both Claire and Jamie know will not end well if Brown and his mob get their hands on her. As bullets rip against the walls of their Fraser’s Ridge abode, the two have a heartfelt discussion as to whether this could truly be the end of their story.

Their salvation comes in the surprising form of Tom Christie (Mark Lewis Jones), who says he’ll ride along with Jamie and Claire as she is taken to trial to ensure justice is fairly served. The trek to find an open court amid growing Revolution chaos proves difficult for the Browns, and Jamie and Claire are constantly met by angry mobs who have already deemed Claire a murderer, and worse: a witch. Eventually, young Ian (John Bell) is alerted of his aunt and uncle’s perilous predicament and tracks them down, which comes in handy quite soon.

While chaos has come to Fraser’s Ridge, Brianna (Sophie Skelton) and Roger (Richard Rankin) are completely unaware while on the road to Edenton, where Roger plans to be ordained as a minister. The two actually discover delightful news when their son Jemmy needs to have his hair cut due to lice. Bree discovers a birthmark on Jemmy’s head, one that Roger explains is genetic and notes he has as well. The two joyfully realize at that moment Jemmy is truly Roger’s son, and not the product of Stephen Bonnet’s assault on Bree in Season 4.

Jamie is separated from Claire in the final moments of the finale, with the Browns deciding to take justice upon the Scotsman for the murder of Lionel Brown (Ned Dennehy). Claire is put in jail, with Tom Christie trying to assure her she’ll face a fair trial and Jamie’s fate will not be a deadly one. Just as Jamie is about to be shipped back off to Scotland, seemingly a deal Brown planned instead of having him murdered, Ian arrives with the Mohawk to save his uncle. Jamie rides off in valiant fashion to go rescue his wife — hopefully, he gets there in time.

Variety spoke with stars Sam Heughan, Caitriona Balfe and executive producer Maril Davis about the epic Season 6 finale and what lies ahead for our “Outlander” couple and their loved ones.

We’ve got quite a cliffhanger with this finale. When learning that’s where the sixth season would stop, what were your reactions?

CAITRONA BALFE: We originally were supposed to film 12 episodes. That was the original idea. But this felt like a really natural point. If we had to stop somewhere, this felt like a good place to stop. It’s such a great cliffhanger to be on. There’s that point of hope, but you’re definitely left kind of on the edge of your seat wanting to see what’s gonna happen next.

SAM HEUGHAN: I mean it’s pretty breathless, right? The last two episodes, so much happens. So in a good way, I think it’s good that we have this ending and give time for the viewer to catch up.

Absolutely. What has been interesting for this season is with just eight episodes, so much has happened and it feels as if each episode is more intense.

BALFE: The interesting thing about that is none of these episodes were adapted. That was always the way they were written, even when we were going to still do 12 episodes. I think we had a long time before all that lockdown, the writers were thinking very deeply about everything they wanted to put in and it just sort of was organically like that.

HEUGHAN: Also there were several episodes of this season that are longer. There is more time to sit with the characters in those scenes. I think the first episode especially, you see a lot of intimacy as well as, you know, stuff happening. So I’m really proud of the season. I think it’s actually a really strong one, possibly one of our strongest.

Maril, how did the decision come about to end the season here?

MARIL DAVIS: So originally we’re supposed to have 12 episodes, right? Due to COVID and a variety of factors, we kind of realized very quickly after we started the season that we couldn’t accomplish those 12 episodes. It just so happened eight was a perfect point to cut it off. Not only because that’s as long as we thought we’d go, but also it was a perfect way to end the season, with Jamie and Claire separated. We didn’t know what was gonna happen. We’d leave a cliffhanger moment. So it was perfect. There was a little bit of a tag at the end of this episode that we pushed into Season 7. But that was honestly the only change we made to this episode. This episode was always planned to be this way, this shootout at the O.K. Corral. I just love it. That shootout at the beginning is so cool. And I just love that shot of Claire coming around the corner with the rifle.

I just love seeing Jamie and Claire with their backs against the wall, it’s them against the world. It’s so symbolic of this whole season. We talk so much about the Ridge, and what happens when your home turns against you? Its climax is at this episode. Everyone is against Jamie and Claire. Everyone believes Claire did it, and no one speaks up for them. There’s a very small group of people who do. And it’s a huge surprise when Tom Christie speaks up for Claire. We don’t know whether he thinks she’s guilty or not, but we do know he’s gonna ensure she has a fair trial.

It’s been really interesting to watch Tom Christie’s relationship with Claire. He’s wavered between respect and disgust for her and the work she does. Throughout the finale, he remains by Claire’s side vs. just letting the Browns take justice into their own hands. Maril, why is it so important to him to stay there for her?

DAVIS: We will see in Season 7 kind of the reasons why Tom has done what he’s done. Tom is a flawed character, played so brilliantly by Mark Lewis Jones. He’s flawed and he’s conflicted. He’s always at war with himself. He knows what’s right or what he thinks is right. He’s a very pious man. He’s very judgmental. Deep down, he’s a fair man and he wants to see justice for his daughter. I think deep down, he probably knows Claire didn’t do it. But regardless if she did it or not, he’s not okay with this vigilante justice. He’s not okay with Richard Brown taking her off. He knows if Richard Brown takes her, he’s just gonna kill her by the side of the road. She’s never going to see a fair trial. So for him, he does want this to be done the right way. And he knows he’s also the only one that can make sure that happens because… the justice is his.

Let’s discuss where Jamie and Claire are in the finale. For Jamie, he’s been rescued by Ian and needs to go save his wife. As for Claire, she is sitting in jail awaiting a trial for Malva’s murder and fearing for Jamie’s life. So many at Fraser’s Ridge have turned against them, making this finale a pretty unsettling one for them both.

HEUGHAN:
Jamie and Claire’s world has been completely destroyed here. Normally, the popularity and the strength of their reputation is something that they’ve utilized, but this time it’s strange. Their allies come in different shapes and forms. In this standoff with the Browns, Tom Christie, in a very odd way, comes to help them. The situation they’re in now, for Jamie certainly, he’s clearly gonna go find Claire and luckily does have some allies left. But it’s a very different world that we’re used to. We see that throughout this journey of the last two episodes. We see the world, the actual physical world around them, is also very unsettled. A lot of terrible with the upcoming revolution. But you can count on one thing and that’s that Jamie’s gonna go find Claire.

Caitriona, this season explored how all of the trauma Claire has endured can, with the right amount of pressure and triggers, overflow in a destructive way. On the outside, she appears so strong. Near the finale, she’s realizing how all she has experienced is affecting her and opening up about that. How did it feel to explore that side fo Claire this season?

BALFE: This whole season is in a way of deconstruction of Claire. Claire, as a product of her time, as a product of her profession, has always been very good at compartmentalizing everything. I think in the medical field, you have to be able to do that. You have to be able to experience trauma, see trauma, but put blinkers on and focus on the job that needs to be done. You put away your feelings about it and you’re very good at shelving your emotions. I think Claire has always been able to do that. But I don’t think anybody, doesn’t matter if you’re a strong person or not, I don’t think anyone is able to go through life without allowing yourself to process these emotions. It’ll come up one way or another. I think for Claire this season, that’s what we really explored. How does she get through trauma and get over what happened or heal from what happened if she’s not processing it, if she’s not dealing with it. And the answer to that is that it rears its ugly head and forces her to find a new way of approaching things. I think what’s beautiful is that we are still showing her continued journey and it’s like a growth now, which is so beautiful. We see that she’s learned a new coping mechanism. She’s learned that she can’t shut down and hide things and try and manage things on her own. She needs to be able to share.

Especially with Jamie, it’s that connection that they have, but if she’s not open with him and if she’s not allowing him to see her at her most vulnerable, then she’s not being fully present I suppose. That was the big lesson that she learned from Season 6 — everything with Malva and all of that. What I loved Episode 7 is that we really explore her subconscious and this guilt that she’s been feeling. When we see her in Episode 8, I wouldn’t say she’s healed, but she’s definitely on that journey. But now, of course, mentally, she’s in a better place, but physically she’s in a really bad place. She can’t really catch a break. The most pressing concerns for her at the moment are that she’s stuck in this jail, but because of the Revolutionary War, the system of justice that would normally be in place is sort of completely blown apart. So I think for Claire, her biggest fear is that she’s just gonna be left to rot in jail.

Sam and Caitriona, this season packed so much into just eight episodes. What about your character’s stories, or others, this season did you enjoy the most?

HEUGHAN: I was really impressed and loved, especially in this last episode, Brianna and Roger’s storyline, just some really intimate moments with them. I think it’s nice to spend time with the other characters and to see this beautiful relationship that they have.

BALFE: I think this season, there was actually a lot of time dedicated to everyone else. I mean, you know, Marsali and Fergus, that was like a great storyline early on. And its really sad that they’ve moved to New Bern. And young Ian, we get to see a lot more of his back story. I think it’s really lovely. I think it opens up the world. It allows the audience to get to know all these great characters a little bit deeper. We have such an amazing group of actors around us. And it’s just so lovely to get to see them shine as well.

As for you Maril, how do you feel about where many of the characters are left at the end of Season 6, and what can you tease about what’s to come for them?

DAVIS: We’ve kind of purposely had Roger and Brianna in a pretty great place when we’re ending Season 6. They’re completely unaware of where Jamie and Claire are. They’re unaware of the danger they’re in. We’re purposely setting them up that way because there might be rocky waters ahead for them in Season 7. But we also wanted to see that Roger and Brianna had finally settled into this place. They had tried to go home last season. They finally realized this is where their home is and we see them trying to set down roots. This season, Brianna is pregnant again. They find out Jemmy is actually Roger’s and not Steven Bonnet’s. So they’re in a very good place. Obviously, Jamie and Claire are not in a good place. But that’s typical of Jamie and Claire. Things never run smoothly for them for very long. For Ian, I mean, I’m so impressed with John Bell this season. Every season I am, but I just think we’ve seen young Ian and I love that we call him that. But young Ian turned into a man this season. He’s really coming into his own. Everything we saw in Episode 4, his backstory with the Mohawk and his tragic love story. I’m so excited for where we’re going with Ian and Season 7. We’re gonna see such a great arc for him. I’m just so impressed by John and the way he’s transformed that character from boy to man. We saw that before our eyes this season and it was really lovely.

While hiding within their home from the angry mob led by the Browns, who want to collect Claire for the murder of Malva Christie, Claire and Jamie discuss the possibility of this being the end. Jamie remembers a fortuneteller who told him he had nine lives, and he recounts several of his near-death experiences. I believe he’s at five (Wentworth, Culloden, Laoghhaire’s shot, a snake bite, and Doughal’s axe being the count so far). Maril, can we consider what happened in the finale as his sixth?

DAVIS: Actually it’s funny. We purposely didn’t include all of his near deaths in there because we want to keep it kind of vague about how many lives he has left. I never considered this one of his nine lives, but it’s interesting you bring that up because I’m not sure. I wonder if Diana [Gabaldon] considers that one. I’m not sure.

Any teasers you can give for Season 7? This season, the theme has been what happens when your home turns against you. What theme would Season 7 center on?

DAVIS: I can’t get into the theme too much. I will say we’ve talked so much about the Revolution coming — it’s like “winter is coming” in “Game of Thrones.” Next season, the Revolution is here. It’s our biggest season yet. We’re gonna straddle so many storylines and so much ground is covered in this season. Everyone goes on such a crazy arc this season. It’s the biggest season we’ve ever done and I’m so excited. I’m particularly excited about young Ian. He has a great storyline. Jamie and Claire, there’s so much I can’t talk about because I don’t want to spoil anything.

This interview has been edited and condensed.

Source link

SPOILER ALERT: Do not read until you

Atlas Entertainment, which scored a box office hit this year with Sony Pictures’ “Uncharted,” has taken legal action to block a crypto firm from marketing a new coin tied to the movie based on the hit PlayStation video game.

Atlas Entertainment insiders were shocked last month to see online references to an “Uncharted” coin with PR materials that referenced Atlas Entertainment, used the company’s logo and even referencing Atlas’ historic movie credits such as “The Dark Knight” and “Wonder Woman.”

Last week, Atlas Entertainment attorney Bert Deixler, of Kendall, Brill & Kelly, sent a cease and desist letter to Net Savings Link and Silverbear Capital, two entities cited in the PR materials that alerted Atlas to the unauthorized use of its moniker. Net Savings Link issued a press release on April 6 announcing the launch of the UNCHARTED token, which asserted that “Uncharted is backed by Atlas Digital Entertainment, a subsidiary of Atlas Entertainment.”

“This partnership intends to have NSAV and UNCHARTED explore the infinite possibilities of NFT as a creativity infrastructure and to subvert existing content and value sharing models with community co-creation,” the April 6 release stated.

The release appears makes a subtle distinction in spelling the token in all capital letters, while references to Atlas use the conventional spelling with only a capital U. But the use of Atlas’ name is unquestionably unauthorized, per Atlas leaders Charles Roven and Alex Gartner. It’s notable that there is no mention of Sony or PlayStation — both larger entities that would have drawn more immediate scrutiny of the claim.

The press release was distributed through the Globe Newswire, which subsequently removed it after contact from Atlas’ legal team. Atlas moved quickly to call out the infringement especially as they have high hopes for “Uncharted” to endure as a family-friendly movie franchise.

“Atlas Entertainment has demanded that an over the counter traded public company, NET SAVINGS LINK, and UNCHARTED GAME, an entity of unknown status, immediately cease and desist from associating Atlas Entertainment or its affiliate, Atlas Digital, with a game and crypto coin completely unrelated to both Atlas and the movie ‘Uncharted’ which Atlas produced for Sony Pictures based on the Playstation/Naughty Dog game. Atlas and its endeavors are not the same as those falsely claimed to be related to Net Savings Link, Silverbear Capital Inc or their Uncharted game and crypto coin,” Atlas said in a statement.

Net Savings Link and Silverbear Capital did not respond to email requests for comment on Atlas’ legal action.

Source link

Atlas Entertainment, which scored a box office

The Film That Lit My Fuse is a Deadline video series that aims to provide an antidote to headlines about industry uncertainty by swinging the conversation back to the creative ambitions, formative influences and inspirations of some of today’s great screen artists.

Every installment asks the same five questions. Today’s subject is Liam Neeson, whose latest film, the Martin Campbell-directed Memory, opens today through Briarcliff Entertainment. Born in Northern Ireland, Neeson cut his teeth on the stage in Belfast and London before finding his way into British TV series, and finally movies. His cinematic run began when John Boorman saw him onstage and cast him as Sir Gawain in the cult classic Excalibur.

Neeson worked his way up to Hollywood leading man starring in such prestige projects as Michael Collins, Schindler’s List, Love Actually and others. A boxer as a teen, Neeson put his rugged good looks and strapping physique to use as an action star. The Luc Besson-directed Taken became a global hit, with audiences connecting to his down-and-out protagonist whose special set of skills made him uniquely qualified to rescue his daughter after she heads to Paris for a trip and is kidnapped by sex traffickers bent on auctioning her off to be sent to the Middle East.

Neeson climbed to the top of the action-star salary scale. He continues to be a reliable box office draw, with Memory his latest turn in that genre, and Neeson still is thriving at age 69. Here are the influences that shaped his formidable path.

Source link

The Film That Lit My Fuse is

In the mid-2000s, after about a decade of reporting in Japan, American journalist Jake Adelstein came upon a story that would change the trajectory of his life and career. Adelstein discovered that four major figures in yakuza organizations —Japan’s crime syndicates — had traveled to UCLA Medical Center to receive liver transplants. The most prominent was Tadamasa Goto, head of a notorious yakuza gang called Goto-gumi, who was able to gain entry into the U.S. only after pledging to provide information to the FBI about the yakuza and their cross-border financial operations.

The news was especially explosive as it appeared the four gangsters had jumped the transplant line thanks to large donations made to the medical center — and they ended up providing little significant information to the FBI.

For Adelstein, the story came with some obvious risks. Getting on the wrong side of major crime figures could very well lead to retaliation (the Goto-gumi was known for ignoring the rules that some yakuza clans make at least a pretense of following, such as avoiding unnecessary harm to “civilians”). But it ultimately paid off. The story helped cement Adelstein’s reputation as an unflinching chronicler of organized crime in Japan, propelling him to minor celebrity status as one of the primary experts on a shadowy underworld few had access to. This would be an impressive feat for any journalist in Japan, but in Adelstein’s case, it was downright extraordinary.

After leaving Missouri at age 19 to pursue his interest in Japan, Adelstein graduated from Tokyo’s Sophia University in 1993 and landed a coveted job as a cub reporter at the Yomiuri Shimbun, one of Japan’s leading news outlets and, at the time, the biggest newspaper in the world based on circulation. He was the first Westerner to be hired as a reporter at the paper.

“For a foreigner to learn Japanese that well, report and write articles in Japanese, work and function inside that culture, was truly impressive,” says Naoki Tsujii, who started with Adelstein at the Yomiuri’s Urawa bureau, north of Tokyo.

After leaving the Yomiuri in 2005, Adelstein would thrive as a freelance journalist, contributing articles to The Daily Beast, Vice and the Los Angeles Times, among others. He would also write several books, most notably the 2009 memoir Tokyo Vice: An American Reporter on the Police Beat in Japan, which now has been adapted into a limited series from Endeavor Content and HBO Max, with Michael Mann — producer of Miami Vice and writer-director of the cinema crime classic Heat — serving as exec producer and directing the pilot. The show stars West Side Story’s Ansel Elgort as Adelstein, chronicling in painstaking, albeit typically stylish detail — this is Michael Mann, after all — how a wildly ambitious, hardworking young American was able to secure a job as a crime reporter and develop contacts within the cloistered world of the yakuza. It is, by any measure, an improbable tale of grit and determination. But with the high-profile nature of the show, which debuted April 7 on HBO Max, there is renewed focus on the veracity of some of the stories Adelstein has been telling about himself over the years — under the guise of nonfiction memoir. Did Adelstein, for instance, really use aikido skills to beat up a huge yakuza bouncer? Was he the target of yakuza “snipers”? Did female sources agree to give him information only if he would sleep with them — with one woman in his book throwing a wad of 10,000 yen ($100) bills at him and demanding sexual satisfaction? Among those who have known and worked with Adelstein, sources assess that some of his more far-fetched adventures run the gamut from merely colorful and larger-than-life to “exaggerated” or, simply, “fiction.”

In early April, I met up with Adelstein on a terrace at the Roppongi Hills complex where Tokyo Vice premiere events were taking place to discuss some of the doubts surrounding his version of a handful of the events in his memoir, and his subsequent journalism. (In the interest of transparency, I covered Adelstein’s news conference at the Foreign Correspondents’ Club of Japan for its in-house magazine in 2009 and quoted him in a THR article in 2013 about a proposed film version of Tokyo Vice that never came to fruition.) Adelstein is an engaging raconteur, but one whose narratives frequently shifted during our two hours of conversation.

On the fundamental question of his memoir’s most extravagant tales, Adelstein insists: “Nothing in the book is exaggerated. Everything is written as it happened.” (A disclaimer in the book says that Adelstein changed names and nationalities of sources, but not situations.)

Endeavor Content/HBO Max’s Tokyo Vice stars Ansel Elgort (center) as Jake Adelstein, the first Westerner to work at Japanese news outlet Yomiuri Shimbun.
Courtesy of HBO Max

For Tokyo Vice’s Oscar-winning exec producer John Lesher (Birdman), the question of whether Adelstein is telling the truth is immaterial since, he’s quick to point out, the show is merely “inspired” by the book. “There were so many things that we embellished and created that had nothing to do with, let’s call it ‘the real Jake Adelstein story,’” says Lesher. “Whether the book is true or not, you should take it up with him and the people depicted in the book. I wasn’t there.”

Someone who was there at the beginning with Adelstein is his former colleague Tsujii. On the HBO show, a Francophile character inspired by Tsujii is referred to as Tin Tin, while in the book he’s called “Frenchie.” Tsujii laughs at the book’s description of him: “He was always immaculately coiffed, wore tailored suits and was constantly reading some obscure Japanese novel or French masterpiece.”

“Nobody has ever called me Frenchie, that’s a creation of his,” says Tsujii, now a literature professor at Kyoto University of the Arts with multiple novels to his name. “Newspaper journalists like us … all wore very plain suits and ties.”

Tsujii emphasizes his admiration and affection for Adelstein repeatedly during a lengthy video call and in two emails afterward.

“I believe it was dangerous for him to write about the Goto-gumi,” says Tsujii. “I think most Japanese journalists would have given up if they were threatened.”

But Tsujii has worked as a journalist, written novels and teaches creative writing, and he knows the difference between the disciplines.

“Japan is a country that works according to systems, so there are certainly things in the book that wouldn’t have happened the way they are written. There are definitely exaggerations,” he says using the English word. “But that’s part of what makes Jake interesting.”

Lazy loaded image

Jake Adelstein, author of the memoir Tokyo Vice: An American Reporter on the Police Beat in Japan. Adelstein’s memoir is the basis for HBO Max’s limited series.

An early chapter of Adelstein’s memoir is titled “It’s the New Year, Let’s Fight,” which chronicles a spectacular martial arts duel between Adelstein and a co-worker at his first newspaper bureau year-end party. Adelstein, as the story goes, takes his opponent briefly off his feet with what he calls a “one-inch punch” from Wing Chun Kung Fu, and before long, two other colleagues are brawling. Tsujii was at the party and says, “I didn’t see any kind of fights.”

Adelstein maintains that such brawls were a regular occurrence. “Our bonenkais [year-end parties] were violent. The Yomiuri was like the military; there were a lot of people with a sports mentality. That’s what happened at the end-of-year parties at this company.”

In another episode in an action-packed first year, Adelstein goes undercover — with the blessing of two of his superiors — to impersonate the Iranian friend of a murder suspect.

“There is absolutely no way that a journalist at the Yomiuri would be allowed to go undercover — a journalist wouldn’t even ask their bosses if they could do that,” says Tsujii. “In Japan, even the police don’t do real undercover operations; it’s basically illegal and evidence can’t be gathered that way, though there have been some legal reforms recently. … The Yomiuri was very strict about that kind of thing.”

Adelstein insists the story is true. “We don’t have any rules like that … for obtaining information; it was by any means possible, except buying information is forbidden.” Though, later, in answer to another question about newspaper protocols, he says, “They take that shit seriously at the Yomiuri. … We had a notebook with our code of ethics and what we’re about — it’s like we’re fucking superheroes. It’s like the Green Lantern’s oath.”

To be fair, Adelstein is certainly not without his supporters, and there are those who back up his claims about his life being threatened after writing about Tadamasa Goto. “Goto was the scariest and most dangerous yakuza of his time,” says Grant Newsham, an acquaintance of Adelstein’s and a former U.S. Marine colonel and diplomat who spent years advising Morgan Stanley Japan on risk management, including how to avoid yakuza front companies. “I’m surprised Goto didn’t kill [Adelstein], and I think he would have if he could have gotten away with it.”

As depicted in the opening pages of Adelstein’s memoir, a Goto-gumi enforcer made what appeared to be a direct threat on Adelstein’s life at a face-to-face meeting, rather dramatically telling Adelstein not to report the story about Goto agreeing to provide information to the FBI: “Erase the story, or we’ll erase you. And maybe your family.” According to Adelstein, he was accompanied at this meeting by a police detective (the meeting is dramatized on the HBO show, with Ken Watanabe as the detective).

Lazy loaded image

The offices of the Japanese news outlet Yomiuri Shimbun.
Kyodo/Newscom

When it’s put to Adelstein that it seems unlikely a gangster would threaten to kill him in front of a policeman, he offers up an alternate translation of the threat: “It was more like, ‘Either the article disappears or something else disappears. You have a family, right?’ in Japanese.”

A key element of the Adelstein story has been the five-plus years he spent under the protection of the Tokyo police beginning in March 2008 to keep him safe from Goto’s thugs. Many who saw Adelstein in Tokyo during that time noted he kept a high profile for a man in fear of his life from a genuinely dangerous gangster.

CBS’ 60 Minutes interviewed Adelstein at his then-Tokyo home about the threat to his life for an installment that aired in November 2009. Asked by Lara Logan what he did to stay alive, Adelstein replied, “You have to keep your rooms shuttered, because you don’t want a sniper to pick you off across from somebody’s house.” Yakuza weapons of choice are widely known to be knives, the odd samurai sword and pistols. There is no history of yakuza snipers. Put to Adelstein, he initially denies making the remark before noting he was playing it for laughs. “If I said it, I was joking because I was not fucking serious. … I don’t think anyone took that seriously. … I guess when I’m joking sometimes it doesn’t come across, sorry.”

Lazy loaded image

Lara Logan interviewed Adelstein for a 2009 segment for 60 Minutes.
Courtesy of 60 Minutes

Adelstein’s own frequent use of colorful quotes attributed to unnamed sources in news articles has long raised eyebrows among foreign correspondents and others in Tokyo. The quotes come from yakuza, police, politicians, public officials and members of the public. THR asked him about a selection of 25 of his articles with such quotes published in the L.A. Times, Asia Times, the Daily Telegraph, Forbes, The Atlantic and The Asia-Pacific Journal.

At the end of our interview, Adelstein invited THR to come to his Tokyo home three days later to look at his reporter’s notebooks and other materials in order to verify the existence of his anonymous sources, with the understanding they wouldn’t be exposed. The following day, he emailed to say he needed more time to prepare and that THR would have to sign a non-disclosure agreement drawn up by a lawyer. Adelstein rescheduled the meeting for two weeks after the interview but canceled it less than an hour beforehand.

(Adelstein on April 20 sent a message to a senior executive at THR’s parent company: “In Japan … police and government officials cannot share confidential information with reporters without violating the civil servants laws … I can’t in good conscience share my sources.”)

Occasionally, improbable phrases seem to emerge from the mouths of more than one of Adelstein’s unnamed sources. In an article about the decline of the gangs in The Daily Beast in March 2014, Adelstein quotes a disgruntled yakuza complaining about paying the gang’s membership fees but not being able to use its name to intimidate people: “Can you imagine running a McDonald’s without being able to use the golden arches?” Variations of this quote appeared in articles by Adelstein in The Japan Times in October 2015 and in The Washington Post in April 2017, seeming to be attributed to two different gangsters.

Early questions about the legitimacy of Adelstein’s yakuza exploits and contacts emerged in 2010 when he was hired by National Geographic as a consultant and fixer for a documentary called Crime Lords of Tokyo. Philip Day, the director-producer on the project, says he was looking forward to meeting Adelstein and some of the many colorful characters that recur through Tokyo Vice’s pages.

But before Day and his crew arrived in Tokyo, they began to have doubts about Adelstein when he called to say he’d been beaten by a yakuza in the street with a phone book. “The way he described it, it didn’t sound credible at all to any of us,” recalls Day.

Lazy loaded image

Tokyo Vice producer John Lesher.
Matt Winkelmeyer/Getty Images

Producer Calder Greenwood remembers his first impression on meeting Adelstein: “His outfit, his demeanor was sloppy and crude, with no charisma. The real Jake Adelstein was a far cry from the hero in the book.”

More material to their task, the Nat Geo production team soon became concerned that Adelstein didn’t have the yakuza connections he said he did.

According to Day, Adelstein’s strategy was to have the crew meet and interview a number of peripheral characters in order to finally gain access to an aging former yakuza. The ex-mobster, who has since died, was said to have worked for a time as a driver for Adelstein (who also says he doubled as a bodyguard) but was then long retired and not the kind of “crime world insider” the filmmakers felt they could base their production around.

As tensions were beginning to mount, Adelstein suddenly announced — in the middle of the three-week shoot — that he was traveling to the U.S. for his daughter’s birthday. In retrospect, Day says it was “the best thing that could have happened.” The team quickly shifted its reliance to another fixer.

With the assistance of the new fixer and a series of introductions, they were able to track down three active gangsters — two brothers and a senior figure in a Tokyo crime family — as well as a yakuza turned Buddhist priest and a woman once kidnapped by the mob.

On his return to Tokyo from the States, instead of being pleased at the progress, Adelstein was furious, says Day. “Next thing, we heard via National Geographic that Adelstein had contacted Fox [then owners of Nat Geo] and told them that the brothers we had interviewed had called him in the dead of the night and threatened to kill him,” recounts Day. “I didn’t believe it for one second — not one second — and I told him that he was full of it, which didn’t go down well.”

Day points to this exchange as the trigger for what came next: Adelstein filed a lawsuit in the District of Columbia against National Geographic Television.

The suit alleged that Adelstein’s life would be in danger, along with that of anyone involved in the film, if it was broadcast and that the yakuza interviewed for the doc had withdrawn their consent to appear. To back this up, Adelstein included in the complaint anonymous quotes from yakuza and police sources. As part of the suit, Adelstein said he agreed to work on the show but had an understanding with producers that members of the yakuza or anybody with current dealings with the yakuza couldn’t be interviewed. The show aired in 2014.

The following month, the case was settled and dismissed “with prejudice” — meaning Adelstein would be unable to try to sue again.

“Jake Adelstein might have known that one driver, but in my opinion, he didn’t have any access to any other yakuza,” says Day. “I don’t think half of that stuff in the book happened, it’s just in his imagination. It’s fiction.”

This story first appeared in the April 27 issue of The Hollywood Reporter magazine. Click here to subscribe.

Source link

In the mid-2000s, after about a decade