The Saskatchewan government on Friday passed its proposed Parents’ Bill of Rights, which also received royal ascent and is now in force across the province.
On Friday, the legislature voted on the third reading, which was passed using the notwithstanding clause to prevent the new law from court challenges under certain provisions of the Canadian Charter of Rights and Freedoms. The new law also protects the legislation from challenges under the Saskatchewan Human Rights Code.
The new law will prevent children under 16 from changing their names or pronouns at school without receiving parental consent.
“Parents and guardians have a right to know what is being taught in their children’s school,” education minister Jeremy Cockrill said in a statement. “The Parents’ Bill of Rights’ is an inclusionary policy that ensures that parents are at the forefront of every important decision in their child’s life.”
Story continues below advertisement
Cockrill says he expects all school divisions to abide by the legislation.
The opposition Saskatchewan NDP has opposed the bill since it was announced in the summer.
“Teachers will have to choose between shoving kids back in the closet or putting them in harm’s way,” NDP Leader Carla Beck said.
The Saskatchewan Human Rights Commission has also heavily opposed the introduction of the policy. Earlier this week, Human Rights Commissioner Heather Kuttai resigned from her position to protest the bill.
In a new interview with ET, Hilarie Burton made it clear her bond with former One Tree Hill co-star and longtime friend Sophia Bush is an infinite one.
“She’s just not afraid to throw herself in front of the line of fire,” Burton told ET’s Deidre Behar. “She’s done it for me so many times and so, I want to protect her at all costs.”
“Everybody’s had an internet scuffle or two and Sophia is the first person that will rush in and that is why my husband loves her so much because he’s like, ‘You know, other than me — the person who comes to your defense and the person who will fight for your honor is Sophia,’ and so I love that she’s unafraid,” Burton elaborated. “Sometimes with people who are so strong and unafraid, they hide their soft inside and so it’s my job as her best friend to protect her as well because she really is the most wonderful human and, yeah, we’ll still be working together when we’re in our eighties.”
“Sophia and Ashlyn are dating and are into each other,” the source said. “Although it’s new, the two are on the same page and talk about their future together.”
While Burton did not address the new person in her bestie’s life, she did make it clear that she’s all about having her friend’s back through everything life brings. “I think being able to celebrate every chapter of a loved one’s life is so important and that even means like the chapters that are awkward or the chapters that maybe didn’t work in the past,” she said. “We were together last night and being able to just be together and hold each other and be like, ‘Whatever is coming next, like, I’m here for it’ and that’s exciting ’cause she’s held me in some dark chapters and so, for her, I wanna celebrate the wins and I wanna again, like, protect her at all costs. That’s a good woman.”
And it’s clear the feeling is mutual. Mere days after Burton’s book, Grimoire Girl: A Memoir of Magic and Mischief, was released earlier this month, Bush wasted no time celebrating it. “This book is a guide and a teacher — much like Hilarie to each of us lucky enough to be loved by her — about illuminating the world around you with mischief and goodness and found wonder,” Bush praised in an Instagram post.
Her other cheerleader? None other than her famous husband, Jeffrey Dean Morgan. “I’ve met a number of writers who are like, ‘My partner doesn’t think me sitting at the kitchen table scribbling in a notebook is real work’ and he has always treated my work as real work and that feels very nice to be supported in that way,” she said.
In addition to her life as an author and host of the podcast, True Crime Story:It Couldn’t Happen Here, Burton is also mom to son Augustus, 13, and daughter George, 5, with Morgan. Together, the proud parents have kept busy raising their youngsters on a farm.
“I think we both really liked surprising each other with the skill sets that we didn’t know the other person had,” she said of her and Morgan. “He’s really good with, like, machinery and cars. He’s building a car with my son right now.”
Added the actress, “And he’s very good looking — that doesn’t hurt.”
Grimoire Girl: A Memoir of Magic and Mischief is out now.
October is here, and with it a whole host of new movies are available to stream. There is, of course, a bounty of new horror movies coming our way this month as many are ready to celebrate Halloween, but our curated list of the best new movies to stream in October includes plenty of non-horror fare as well. We’ve gone through what’s new on Netflix, Prime Video, Max, Peacock, Paramount+, Hulu and Disney+ to put together a viewing guide that offers something for everyone. From bona fide new releases to library titles newly streaming, you won’t be disappointed.
Check out our picks for the best new movies to stream in October 2023 below.
“The Faculty”
Miramax Films
Peacock – Oct. 1
One of the most underrated movies of the 1990’s, “The Faculty” was an attempt by Dimension to replicate the success of “Scream,” which they had released two years earlier and had become a sensation. “Scream” screenwriter Kevin Williamson was brought on to juice up a script that the studio had already purchased, with Robert Rodriguez, coming on the heels of Dimension’s horror hit “From Dusk Till Dawn,” stepping in to direct (at one point Williamson was meant to direct but instead chose “Teaching Mrs. Tingle” instead). The long and short of the premise is: what if your teachers were replaced by space aliens? And as it turns out, that can go a long way! While “The Faculty” it was born of a crass exercise, it wound up being a true gem, with Williamson and Rodriguez synthesizing various tropes from “Invasion of the Body Snatchers” and “The Thing” into a fresh concoction, with a hip, youthful energy and a cast of wonderful performers, as both the students (among them: Elijah Wood, Clea DuVall, Jordana Brewster and Josh Hartnett) and villainous teachers (Robert Patrick, Salma Hayek, Piper Laurie and Famke Janssen). There was also that cool cover of “Another Brick in the Wall” by a bunch of ‘90s all-stars. If you’ve never seen “The Faculty,” you’re in for a treat. And if you’ve already watched it, it’s worth a revisit. – Drew Taylor
“Beetlejuice”
Warner Bros.
Max – Oct. 1
Tim Burton’s comedy classic is a great watch pretty much anytime, but especially so in October. “Beetlejuice” revolves around a couple who die in a car accident (played by Alec Baldwin and Geena Davis) and become ghosts trapped inside their home where they’re forced to witness its sale and renovation by a gauche family from the city. They enlist the help of a “bio-exorcist” named Beetlejuice (played by Michael Keaton), and all hell breaks loose. The film is a colorful and inventive twist on the afterlife, offering up a darkly comic spin on the living dead. And now that the sequel is officially coming, there’s no better time to brush up. – Adam Chitwood
“Meg 2: The Trench”
Warner Bros.
Max – Oct. 1
That’s right. Just when you thought it was safe to be Jason Statham, “The Meg” is back. The sequel to 2018’s entertaining-enough giant shark movie sees Statham return, along with some brand-new leviathans from the deep. This time there are multiple megalodons, plus a giant octopus and some air-breathing dinosaur-type things. It’s a real monster mash. And it’s a much more entertaining movie than the first film, full of villainous baddies, double-crosses and giant monsters. Plus, the movie is directed by Ben Wheatley, the oddball British director behind “Kill List,” “Sightseers” and that weird “Rebecca” remake that Netflix did a few years ago. His authorial stamp is absent (or maybe invisible) but he does have a keener understanding of what audiences want from this kind of thing. And what they want is Statham kicking a bad guy at exactly the moment a megalodon swims by so the megalodon eats the bad guy and everybody cheers (yes, even if you’re at home). God bless you, “Meg 2.” – Drew Taylor
“Trick ‘r Treat”
Warner Bros. Pictures
Max – Oct. 1
A Halloween classic, “Trick ‘r Treat” is a perfect pick to either kick off Spooky Season or celebrate on All Hallow’s Eve. The 2007 film is an anthology that tells five separate horror stories, all revolving around Halloween. Each one has terrifically spooky vibes, some intense R-rated gore and a twist ending that’ll have you reaching for the lights. The less said the better, but if for some reason you’ve never seen this one there’s no time like the present. – Adam Chitwood
“The Empty Man”
20th Century Studios
Hulu – Oct. 1
This horror movie flew way under the radar but quickly drew a cult following and will have you obsessing over its mythology long after it ends. Part of the delight of “The Empty Man” is the discovery, so we’ll tread lightly here, but broadly the story follows a former detective grieving the death of his wife who gets pulled into a conspiracy involving an entity known as The Empty Man. When summoned, those involved all die. Is it a supernatural death trap, secret cult or something else entirely? – Adam Chitwood
“Nightmare Alley”
Searchlight Pictures
Hulu – Oct. 1
Bradley Cooper and Guillermo del Toro teamed up for 2021’s new take on the noir “Nightmare Alley” to terrific (and shocking) results. This one could conceivably be considered a horror film as the story follows a drifter who joins a carnival and then remakes himself into a mystic, gaining success and notoriety in high society. Set in 1939 and 1941, the film finds del Toro crafting lush noir visuals and anchoring the story with an all-star ensemble that also includes Cate Blanchett, Rooney Mara, Willem Dafoe and Toni Collette. – Adam Chitwood
“Doctor Sleep”
Warner Bros.
Hulu – Oct. 1
Mike Flanagan is beloved for his Netflix horror series “The Haunting of Hill House” and “The Haunting of Bly Manor,” but his 2019 “The Shining” sequel “Doctor Sleep” is a criminally underseen effort. Based on the book by Stephen King, the film serves as a bridge of sorts between Stanley Kubrick’s iconic (but divisive) adaptation of “The Shining” and the book upon which that 1980 film is based. Ewan McGregor plays a grown up Danny Torrence who’s in recovery for alcoholism when he becomes mentally connected with a young girl named Abra with “the shining.” Rebecca Ferguson plays a devilish cult leader who sucks the souls out of children, and the story builds to an incredible finale at the Overlook Hotel. If you watch and enjoy this on Hulu, seek out the Blu-ray to watch the even longer director’s cut. – Adam Chitwood
“BlacKkKlansman”
Focus Features
Netflix – Oct. 1
Spike Lee’s 2018 film “BlacKkKlansman” is at once compelling, provocative, infuriating and funny. So, a Spike Lee joint. Based on a true story, the film takes place in 1970s Colorado Springs where the first Black officer in the department finds himself leading an investigation into the local KKK. Unable to infiltrate the hate group himself, he speaks only by phone and teams up with a white officer (played by Adam Driver) to do the actual undercover work. The film was one of Lee’s most acclaimed yet, winning the filmmaker his first competitive Oscar for Best Adapted Screenplay and securing nominations for Best Picture, Director and Supporting Actor for Driver. – Adam Chitwood
“Dune”
“Dune” (Chiabella James / Warner Bros.)
Netflix – Oct. 1
No, your eyes don’t deceive you. The relatively new release Warner Bros. adaptation of “Dune” is now streaming on Netflix, not just Max. Based on the Frank Herbert tome of the same name, the story follows the rise of a young heir played by Timothee Chalamet who is thrust into the spotlight when his family’s mining operation on the planet Arrakis is seized by a nefarious rival. Will Paul Atreides rise to the occasion or hide in the desert for the rest of his life? The film covers the first half of Herbert’s book with director Denis Villeneuve chronicling the second half in the upcoming “Dune Part Two,” which brings back nearly the entire cast and same craftspeople that brought this Oscar-winning sci-fi film to life. – Adam Chitwood
There is quite literally not a bad time to have a “Mission: Impossible” marathon, and the first four entries in the franchise are now streaming on Netflix. Each entry in this spy franchise molds itself to fit the director at the helm: Brian De Palma’s 1996 film is a sexy and duplicitous; John Woo’s 2000 sequel is full of over-the-top, balletic action; J.J. Abrams’ 2006 installment is romantic, funny and personal; and Brad Bird’s 2011 entry is almost a cartoon come to life as Tom Cruise’s Ethan Hunt tackles his highest-flying set pieces in the franchise so far. This series is a delight head to toe. – Adam Chitwood
“Haunted Mansion”
“Haunted Mansion” (Credit: Walt Disney Company)
Disney+ – Oct. 4
When “Haunted Mansion” was released this summer, it had the misfortune of both strikes and the unstoppable juggernaut that was “Barbie”/”Oppenheimer.” This is a shame, because “Haunted Mansion” is a ton of fun. Based on the Disney attraction that first opened back in 1969 (it was previously adapted, 20 years earlier, into a lame Eddie Murphy vehicle), the movie stars Rosario Dawson as a young single mother whose new home is infested with 999 happy haunts. In order to rid her of the otherworldly presence, she calls on a group of spiritual advisors – a ghost tour guide (LaKeith Stanfield), a priest (Owen Wilson), a historian (Danny De Vito) and a psychic (Tiffany Haddish). Of course, they are all in over their head, especially when they come up against the sinister Hatbox Ghost (Jared Leto), a character that has deep ties to the Haunted Mansion mythology. With a winning mixture of humor, heart and scares, “Haunted Mansion” was one of the more delightful Disney movies released this year. And now you can watch it at home – just in time for Halloween! – Drew Taylor
“The Boogeyman”
Sophie Thatcher in “The Boogeyman” (20th Century Studios)
Hulu –Oct. 5
Boo! “The Boogeyman,” based on the short story by Stephen King, was originally meant to be a direct-to-Hulu original, before being bumped to a theatrical release. And now the movie is back to where it was supposed to be – Hulu. The movie follows a family that has just lost their mother in a sudden car accident. Each member is following a different approach, but when the father (Chris Messina), a psychiatrist, diving into work. That’s where he meets an oddball patient (David Dastmalchian) who tells him the story of The Boogeyman, a fearsome creature that isn’t content until you’re scared to death, and then seemingly passes along that creature to the family. This leads the family’s teenage daughter (Sophie Thatcher from “Yellowjackets” and “The Book of Boba Fett”) to investigate who or what the Boogeyman actually is to rid her grieving family of this curse. The movie has a lot of good jump scares and expands the original King story with aplomb. You could do a lot worse this Halloween. – Drew Taylor
“Fair Play”
Netflix
Netflix – Oct. 6
Here’s a movie explicitly made for people who say “They don’t make ‘em like this anymore.” Chloe Domont’s erotic thriller “Fair Play” follows two young financial analysts at the same firm who strike up a secret romance – played by “Bridgerton” star Phoebe Dynevor and Han Solo himself Alden Ehrenreich. But can a relationship flourish in the cutthroat world of finance? Complex sexual and gender politics are explored as Dynevor doesn’t shy away from the “erotic” aspect of the genre but also digs deeper than many of the 1990s entries did. The result is something compelling and sharp, with a true humdinger of an ending. – Adam Chitwood
“Totally Killer”
Prime Video
Prime Video – Oct. 6
Why not celebrate the season with a brand-new slasher movie? “Totally Killer” is built around an ingenious set-up – a young girl (Kiernan Shipka) witnesses her mother’s murder and, thanks to a time machine, goes back to 1987 to not only stop her murder but to save several young women who fell victim to the same sadistic serial killer. Cool right? Thankfully, “Totally Killer” pays off that set-up. It’s incredibly fun – a joyful, bloody, neon-tinged extravaganza that playfully mixes scares and laughs in equal measure. (It was directed by Nahnatchka Khan, the creator of countless TV series and the director of “Always Be My Maybe.”) Shipka is great as a progressive teen experiencing all of the rougher aspects of living in the 1980’s (there are a lot of great jokes about people smoking around children, among other things) and Julie Owen and Olivia Holt play the same character at two different points in time terrifically. Also, Randall Park shows up as a dopey cop and steals every scene. It’s a bloody good time. – Drew Taylor
“Pet Sematary: Bloodlines”
Paramount
Paramount+ – Oct. 6
Remember the “Pet Sematary” remake from a couple of years ago? Well, even if you didn’t, this should serve of some interest – it’s a prequel to that film but also fills in some gaps from the story original that was written by Stephen King and first adapted in 1989 by Mary Lambert. This film follows a young Jud Crandall (played in the original by Fred Gwynne and in the remake by John Lithgow) and his dealings in the 1960’s with the evil pet cemetery and the mysteries that surround it. If, for some reason, you’re not in the spooky season mood yet, this should do the trick. – Drew Taylor
“The Caine Mutiny Court-Martial”
Showtime
Paramount+ – Oct. 6
The final film from the late, great William Friedkin is an update of the 1953 play by Herman Wouk (the original play was based on his 1952 novel “The Caine Mutiny”). The setting of the story, about a U.S. Naval captain who, following signs of mental instability, faces a court-martial, has been updated, but the drama remains the same. Kiefer Sutherland, Jason Clarke, Jake Lacy, Lance Reddick (in what would ultimately be one of his final roles), Lewis Pullman and Jay Duplass star. “The Caine Mutiny Court-Martial” got solid reviews following its premiere at the Venice Film Festival and some of Friedkin’s most compelling works, particularly later in life, were for television (just watch his crackling remake of “12 Angry Men”), meaning this is a court-martial you shouldn’t want to skip. If only to say goodbye to one of the masters. – Drew Taylor
“The Burial”
Amazon/MGM
Prime Video – Oct. 10
This looks delightful. “The Burial” tells the true story of Jerry O’Keefe (Tommy Lee Jones), a funeral home owner, who hires a flashy lawyer named Willie E. Gary (Jamie Foxx) to help him with a lawsuit against a big funeral home company. Talk about David versus Goliath. But if you know anything about the case (and, really, don’t Google it), the case had some unpredictable twists and some huge upsets. The movie premiered at the Toronto International Film Festival, where it was warmly reviewed (it has a 100% on Rotten Tomatoes) and generally seems like the kind of movie that they don’t make very often anymore. Also, how are you going to really argue against a movie with a cast that also includes Jurnee Smollett, Mamoudou Athie, Bill Camp and Alan Ruck? That’s right: you’re not going to argue with it. You’re just going to sit back and watch. – Drew Taylor
“The Devil on Trial”
Netflix
Netflix – Oct. 17
This feature-length documentary recounts the famous 1981 “Devil Made Me Do It” trial in Connecticut, where a man (Arne Cheyenne Johnson) accused of killing his landlord used, for the first time in court, the explanation of demonic possession. This was uncharted territory for many and was widely covered by local and national media. Ed and Lorraine Warren, the famous ghost hunters, were also a part of the mystery, when they attempted to purge a demon years earlier that instead chose Johnson as its host. (These events were later dramatized in the third “Conjuring” film, subtitled, of course, “The Devil Made Me Do It.”) As strange and unsual as the case was, this documentary could be even stranger, considering you’re hearing from the people that were actually involved. This one should make your skin crawl. – Drew Taylor
“Ruby Gillman, Teenage Kraken”
DreamWorks Animation
Peacock – Oct. 20
When “Ruby Gillman, Teenage Kraken” opened earlier this summer, it underperformed. And that’s a real shame, because this DreamWorks Animation feature is charming and fun, full of truly gorgeous animation. Ruby (Lana Condor) is a teenage Kraken passing as a normal human girl in a lush seaside town. Her family has been keeping her true lineage from her, which she discovers during an encounter with her mother (a fiery Jane Fonda). She also uncovers an age-old battle between krakens and mermaids, which is particularly upsetting after she discovers one of classmates is indeed an evil mermaid (Annie Murphy). Full of imaginative set pieces (including a mermaid vs. kraken kaiju battle worthy of “Pacific Rim”) and terrific vocal performances (the cast also includes Toni Collette, Colman Domingo, Sam Richardson and Will Forte), the movie, directed by animation great Kirk DeMicco, didn’t deserve to be ignored. But now is your chance to catch up with “Ruby Gillman, Teenage Kraken.” Soak it up. – Drew Taylor
“Cobweb”
Lionsgate
Hulu – Oct. 20
One of the year’s very best – and most underrated – horror movies arrives on streaming just in time for Halloween. And it’s perfect timing, because “Cobweb” is super Halloween-y – for some reason the central family (the parents are played by a wonderfully off-kilter Lizzy Caplan and Anthony Starr) have a pumpkin patch in the backyard and the climax takes place on Halloween night. The movie stars Woody Norman (the little kid from “C’mon C’mon”) as a little kid who begins to suspect a long lost sibling is trapped in the walls of his home. (Cleopatra Coleman plays his concerned teacher.) Director Samuel Bodin eschews the typical tropes for something more stylized and heightened – this is more of a fable or fairy tale than it is a traditional, modernly told scary movie. And the movie is all the better for it. When Lionsgate dumped the movie into theaters this summer, against “Barbie” and “Oppenheimer,” it quickly vanished. But this deserves to be a new cult classic. Make it a part of your Halloween programming. It’ll be an annual favorite. – Drew Taylor
“Master Gardener”
Joel Edgerton and Sigourney Weaver in “Master Gardener”
Hulu – Oct. 26
The latest from writer/director Paul Schrader, and the conclusion of his so-called “lonely man trilogy” (which started with “First Reformed” and continued with “The Card Counter”), “Master Gardener” might not be as powerful as those earlier films but it weaves its own kind of spell. Joel Edgerton plays Narvel Roth, a man with (wouldn’t you know it?) a shadowy past who gets a job as a groundskeeper for a wealthy southern woman (Sigourney Weaver). When he starts up a relationship with a young woman working on the grounds (Quintessa Swindell), it threatens to dismantle his carefully manicured new life. There’s a lot of simmering tension underneath the surface of “Master Gardner,” but it never quite reaches the boil you’re probably expecting. But that’s okay. This is a movie full of wonderful performances, with Schrader content to let the mood take hold. When it does reach its conclusion, it’s surprisingly sweet and satisfying, especially for the typically wounded Schrader hero. – Drew Taylor
“Pain Hustlers”
Netflix
Netflix – Oct. 27
David Yates, who directed several of the latter “Harry Potter” movies and the “Fantastic Beasts” spin-offs as well, trades wands for over-the-counter drugs in “Pain Hustlers.” Instead of a broader look at the opioid epidemic, “Pain Hustlers” (based on the New York Times article and book by Evan Hughes) follows a pair of unscrupulous pharmaceutical reps, played by Emily Blunt and Chris Evans. They’re both, at least initially, just trying to make a living but the cost of their aggressive salesmanship winds up costing people their lives. Told in a kind of “Wolf of Wall Street” style, Yates gives it his all, as do Blunt and Evans, who both fearlessly go to some pretty ugly places. (There are also great supporting roles from Catherine O’Hara as Blunt’s mom and a particularly sleazy Andy Garcia as the head of the pharmaceutical company.) If you want to get down to the nitty gritty and understand how the pills wound up in peoples’ hands, “Pain Hustlers” will do the job. It’s a tragedy, ultimately, but one told with style and panache. – Drew Taylor
“Sister Death”
Netflix
Netflix – Oct. 27
2017’s “Veronica” is one of the best (and indeed scariest) horror movies in recent memory. Supposedly based around a true story of a young woman who, in the early 1990’s, died following her use of a Ouija board. It was really, really terrifying. And thankfully director Paco Plaza is back for more. “Sister Death” is a prequel to “Veronica,” this time focused on a young nun (Aria Bedmar) who exhibits some very supernatural traits in the aftermath of the Spanish Civil War. Honestly, how great does that sound? Plaza is one of the world’s most creative and exciting genre filmmakers (he also oversaw the “REC” series). Any new movie from Plaza is an event but a spin-off of arguably his very best movie is cause for celebration. This one will undoubtedly scare the pants off of you. – Drew Taylor
“Five Nights at Freddy’s”
Blumouse
Peacock – Oct. 27
Continuing 2023’s streak of high-quality videogame adaptations (including “The Super Mario Bros. Movie,” “The Last of Us,” “Twisted Metal”) continues with “Five Nights at Freddy’s,” a movie that asks the age-old question: What if the Chuck E. Cheese or Showbiz Pizza was haunted by the spirit of dead children? Part of the fun of the movie is playing up the inherent creepiness of those jittery audio-animatronics that would play music while sugar-fueled kids play Skee-Ball. And this is especially true since Jim Henson’s Creature Shop, responsible for the characters in “The Dark Crystal” and the first “Teenage Mutant Ninja Turtles” (truly the height of Chuck E. Cheese’s) came up with the animatronic creatures for this movie. And there is a pretty involving mystery at its heart, too, as a beleaguered security guard (Josh Hutcherson) works to uncover the truth behind a series of disappearances somehow connected to Freddy Fazbear’s Pizza, the spooky decrepit pizza joint. Plus, this is one of those PG-13 horror movies that still has enough edge to delight every nightmare-seeker in your family. – Drew Taylor
After “Yellowstone” Season 1 scored ratings success during its broadcast debut on CBS, the network will air the second season of Paramount Network hit beginning later this month.
“Yellowstone” Season 2 will premiere Sunday Oct. 29 on CBS, with new episodes of the sophomore installment dropping on Sundays. The Season 2 launch will pick up one week after CBS airs the drama’s Season 1 finale this Sunday, Oct. 22.
Since its September debut on CBS, “Yellowstone” has secured the No. 1 primetime entertainment program each Sunday night, and has averaged 5.49 million viewers per episode.
The launch of the Taylor Sheridan series has also exposed a new audience to the Dutton family drama, with 52% of its CBS viewers having not seen a single episode of “Yellowstone” in the past year on either Paramount Network or streaming services.
CBS’ move to leverage the hit series from within its parent company came amid the WGA and SAG-AFTRA strike this summer, which prompted the major broadcast networks to shuffle their fall schedules as the labor dispute halted production on virtually all scripted programming from struck studios.
“Yellowstone” fans who recently caught the first season of the western drama will soon be able to catch Season 2. CBS reveals the broadcast event will continue on with Season 2 beginning on Oct. 29 following the telecast of the Season 1 finale, which will air on Oct. 22.
The series debuted on CBS on Sept. 17, snagging 21.6 million viewers to date that have tuned in to at least one episode of “Yellowstone,” according to the network. 52% of those viewers are new to the series, having not seen a single episode in the past year on either linear or streaming. As Variety previously reported in September, the debut episode alone delivered 6.6 million viewers to CBS. That figure eventually jumped to 7.5 million total viewers after three days of delayed viewing via VOD, DVR and other platforms.
Since then, the series has averaged an audience of 5.49 million viewers for each episode, Nielsen reports.
“Yellowstone” follows the Dutton family “who controls the largest contiguous cattle ranch in the United States. Amid shifting alliances, unsolved murders, open wounds, and hard-earned respect – the ranch is in constant conflict with those it borders – an expanding town, an Indian reservation, and vicious business rivalries,” reads the official description.
The premiere season finale titled, “The Unraveling: Pt. 2,” will follow John Dutton (Kevin Costner) who must discover which family members and allies will stand with him as he faces outside forces. The episode will air on CBS on Oct. 22. The Season 2 episode titled, “A Thundering,” follows on Oct. 29 and follows Kayce (Luke Grimes) as he settles into his new role at the Ranch. “A damaging article threatens to expose John. Rainwater pitches his new plan to the tribal council,” reads the description, per CBS.
But “strong reviews and Mr. DiCaprio’s own box office history — especially with Mr. Scorsese — provide ample amounts of good will for audiences,” he added, and work in the film’s favor. “The market hasn’t had a high-profile film targeted toward adults for a while.” (“Oppenheimer,” with a similar run time and equally serious subject matter, defied odds this year and earned $942 million worldwide.)
While Apple has said very little about its shift in strategy, theater owners are ecstatic.
Apple is “a major company that has the ability to do a lot of high-quality work, and I think that the recognition on their part that movies belong in theaters is a strong signal,” Michael O’Leary, chairman of the National Association of Theater Owners, a trade association, said in an interview. “Prioritizing theatrical will help them get major filmmakers to come into their tents, and to create even more dynamic, entertaining fare in the years ahead.”
Mr. Scorsese and his co-writer, Eric Roth, began adapting David Grann’s nonfiction book “Killers of the Flower Moon” in 2017. Paramount agreed to finance and distribute the film, but when the production costs soared, the studio brought in Apple in 2020 to finance the project.
Others wanted it, said Mr. Thomas, who initially purchased the adaptation rights to “Killers” with his partner, Dan Friedkin. It was Apple, however, that guaranteed a full theatrical release — a must for Mr. Scorsese, whose last film, “The Irishman” for Netflix, had a truncated run in theaters.
Paramount stayed on in a deal that saw Apple reimburse the studio for its development costs on the movie and a portion of Mr. Scorsese’s overall deal, according to two people with knowledge of the agreement, who spoke on the condition of anonymity because the details were not public. Paramount controls all theater bookings and media buys for the film’s trailers and commercials, while Apple controls its publicity and marketing materials.
Cher is curled on an enormous sofa at her enormous home in Malibu, a gentle ocean breeze slipping in through open doors to stir the scented candle burning between us. The weather outside is anything but frightful. Yet the 77-year-old showbiz legend is here to talk about Christmas — specifically “Christmas,” her first holiday album in a career that stretches back more than a half a century to the mid-1960s, when she broke out as half of a husband-and-wife duo with the late Sonny Bono.
“I never wanted to do a Christmas album, as you can tell, since I’m this age and I never made one,” Cher says. “But I guess this was just the time.”
With guest appearances by Stevie Wonder, Cyndi Lauper and Michael Bublé, “Christmas” features renditions of holiday classics like “Santa Baby,” “Run Rudolph Run” and “Christmas (Baby Please Come Home),” the last of which Cher does as a duet with the great Darlene Love. (At 17, Cher sang backup on Love’s original record.) It also has a handful of originals, including one called “Drop Top Sleigh Ride,” which features a verse by the rapper Tyga and which was co-produced by Cher’s boyfriend, 37-year-old record exec Alexander Edwards, whom she met at a fashion show.
Does she have a favorite Christmas album by someone else? “Nat King Cole,” says Cher, who has two children: Chaz Bono, a writer and trans activist whose father was Sonny Bono, and Elijah Blue Allman, a musician whose father was the late Gregg Allman. (The younger Allman, who’s struggled with addiction, made headlines last month when his estranged wife accused Cher of kidnapping him as part of a planned intervention.) “And I think Etta made a Christmas album,” she adds. “I was a big Etta James fan.”
Dressed in black track pants and a thin gray hoodie, the singer — whose 1998 comeback hit “Believe” just marked its 25th anniversary — offers me a sparkling water then asks an assistant to bring her a chocolate protein shake. “I’m not, like, a big eater,” she says.
Cher attends the Academy Museum of Motion Pictures opening gala in 2021.
(Matt Winkelmeyer/WireImage via Getty Images)
You just don’t care for food? It’s OK. But I’m so specific. It’s awful.
Do you remember special dishes around the holidays when you were a kid? Christmas dinner was always turkey and cornbread stuffing and my mother’s cheesecake. We were poor, but my mom was unbelievable on Christmas and birthdays — she always got it together. My favorite thing was decorating the tree. I was like, “Only three pieces of tinsel at a time, Georganne” — my sister. I did that part. “You’re not gonna do it right!”
When do you put up the Christmas tree these days? Ten days before Christmas. Maybe two weeks. I like it to smell fresh.
What do people get Cher for Christmas? My friends know the things that I like. Strange things — strange clothes and strange objects. [Points to a small sculpture of an elephant carrying a crystal ball.] That was a Christmas present. I think it’s supposed to have matches in it. But I don’t smoke.
Your mother passed away last year at 96. Would you want to live to that age? No. I’m thinking about 80. I mean, I’m already past my sell-by date. My mom was great at 80 — I did a special with my mom at 80. But I’m not so much for over 80. I don’t want to not be me.
Do you think you’ll tour again? I hope so. I want to. When I want something I’m pretty good at striving. Barbra Streisand and I were doing a telethon once and we had a break. Barbra reached over me — reached over, I don’t remember, Billy Crystal — and she said, “Why are you still doing this?” And I said, “Because there will come a time when I can’t.”
She’s still doing it. What was her answer? Well, she’s not running across the stage making 14 costume changes. I never stop moving the whole time. It takes a lot of effort. I’m gonna have to really get into shape to do it.
So as you sit here now, without a specific plan— Let’s stop there. I never have a plan.
But if tomorrow someone said, “Cher, I think you should tour next year…” They’re always asking me. But it’s daunting. What I want is the feeling I have during rehearsal where I stand on the stage and I open my mouth and I can feel stuff that’s coming from my chest, and it’s big. Because I’m small — but when I open my mouth to sing, what comes out is big. There’s nothing else that corresponds with that feeling in any way.
Elton John was very deliberate in framing his most recent shows as his farewell tour. I’ve had a million of those. Every time I call it a farewell tour, it’s not. I always think it is.
So now you’d know better than to call it that. Oh no — I’d call it that for sure.
Who was the last big pop star you went out to see? Usher [in Las Vegas]. Unbelievable.
Why’d you go see Usher? Because Alexander said, “I want you to see Usher.”
Did Usher know you were in the house? Yeah, he called out to me. He called out to a lot of people. But I got a huge applause. I was really happy.
Cher, Sonny Bono and Bob Dylan at Atlantic Studios in 1965 in New York City.
(Don Paulsen/Michael Ochs Archives/Getty Imag)
Sonny and Cher in 1977.
(Harry Langdon/Getty Images)
Do you follow the Taylor Swifts and Lady Gagas of the world? I like all of those girls a lot. I always know what they’re doing — it’s impossible not to. But I’m really proud of this new generation of women because they get a chance to do what they want to do. And I feel that I might have been a part of that. There’s a lot of us old women that were just kind of balls-to-the-wall, “Don’t f— with me, fellas.” But it took a long, long time to get there.
Did you see that Madonna has a video clip in her new show from an old interview of yours where you said that she’s mean? I said a lot worse than that.
What’s your beef with Madonna? It’s not a beef. I actually like her. But come on.
Come on? Come on.
You’re saying she’s mean? She can be. We buried that hatchet a long time ago because I called her something so much worse, and she forgave me. But I give her this: There’s no one like her that had their ear to the ground and knew everything before anybody else. I mean, she knew what was coming, and she was right on it. I always felt that was her greatest gift — that she could know the trends before any of us.
What did you call her that was worse? Look it up.
Clockwise, Cher, Chaz Bono and Elijah Blue Allman in June 1981.
(Harry Langdon/Getty Images)
Let’s say tomorrow is Election Day. Are you voting for Joe Biden, Donald Trump or Robert F. Kennedy Jr.? F—, are you kidding me? Look, I’m not thrilled with everything Joe does, but I’ve known him since 2008. And he’s not senile. He’s got a bad back. I don’t know why people don’t say that. But he’s smart, and he works hard. I agree with a lot of the things he does. Some of the things I don’t, but he’s making decisions all the time. Trump, I’m never gonna go there. I’d rather jump off a building.
Do you wish someone younger than Biden was running for president? I wish there was someone younger than me. But I still trust him. It doesn’t scare me.
Is that because you’re close to his age and you know that you’re— I’m capable. I don’t have that strength. But it’s like, he couldn’t go onstage. I’ve done that all my life. He’s done [politics] his whole life. Also, he has a moral compass. And Trump has no moral compass whatsoever.
What do you think of RFK Jr.? I don’t like his views.
Do you know him? No. I know Caroline [Kennedy], and I was around Eunice [Kennedy Shriver]. Oh, and Jackie [Kennedy Onassis]. Jackie told me once that when her kids were little, they used to sing “I Got You Babe.” But that’s as much as I know of the family.
You’ve lived in L.A. for decades. Lots of Angelenos in your socioeconomic class say this city is falling apart — that it’s not as great at it used to be. Are you optimistic or pessimistic about the state of L.A.? I’m realistic. And you can’t think that it wasn’t better before.
In what ways was it better? The crime is crazy. Homeless people are everywhere. And I know a lot about homeless people — how you strike up a conversation and how you don’t have to be frightened. I used to stop everyone that was homeless and talk to them. But I’m careful now because so many homeless people are having mental difficulties, and we don’t have the facilities to take care of them. Honestly, I don’t think the government in California is very good.
You mean Governor Newsom. He’s handsome, but I’m not so sure that he’s capable. He could be in the movies. I met [French President Emmanuel] Macron lately. He’s so suave. But I don’t like what [Newsom] is doing. He’s not taking care of anything. That you can smash and grab in Beverly Hills is insane. You shouldn’t be able to do it anywhere, but it shows the insanity of it that it’s there.
You ever get involved in city politics? Host a fundraiser here for somebody seeking office? There’s no one that I thought was great. If someone came with a vision, I would host them.
But you haven’t seen the vision. No. Also, our taxes are ridiculous.
You and Alexander have been together for more than a year. Would you ever get married again? Probably not.
Why not? Because I’ve done it. I’m really happy with Alexander. [Flashes a very large diamond ring.] He gave me that last Christmas.
But it’s not an engagement ring. Not so much. He just wanted to give it to me. Usually I wear it on my right hand because he said, “It’s the right ring for the right woman on the right hand.”
Talk about suave. He writes songs, and I almost stopped talking to him because I went, “Come on, dude — you’ve done these lines in a song.” But he just wasn’t taking no for an answer. So somehow we’re together.
Alexander Edwards and Cher attend the Balmain spring/summer 2024 show as part of Paris Fashion Week on Sept. 27.
(Stephane Cardinale – Corbis/Corbis via Getty Images)
Because he’s significantly younger than you, do you ever find yourself having to explain a cultural reference? Every once in a while. One time I got kind of pissed off and I said, “OK, you probably don’t know who Clark Gable is,” and he said, “I know who Clark Gable is, baby.”
You’ve navigated things as a parent that not all parents navigate. I wonder if your experience has been— Difficult? Challenging? Exciting? Interesting? It wasn’t easy with either husband. Sonny was a much better husband. No, not a better husband — a better father. But I was working all the time, and I’m sure my children suffered from it. When Chaz went through the transition, that was difficult for me. It shouldn’t have been because, you know, I’ve had gay friends forever. I just met some beautiful trans chicks and we have an affinity. Now I’m totally fine. But it’s hard to lose one child to get a new one, especially so late. I think that was the hard thing for me. I don’t think it was the transition. It was waiting to see who the person would be, and would they be so much different than the person that was before them…
Because you loved the previous person. Yes. But Chaz was unhappy.
Are you the type of parent to look back and think you could have done such-and-such better? Oh yeah. Because it’s the truth. But I did the best I could, which is such a bulls— answer.
You ever go to therapy? What the f— kind of question is that? I think everybody could use therapy.
Everybody could use it, but not everybody goes. I’ve had to go a couple of times. I’ve had down periods in my life, and when you’re down, you’re looking for something, you know? I had one great therapist maybe 30 years ago. I got her from the “Road Less Traveled” writer. Why can’t I think of his name?
Seems indelicate to say you’re having a senior moment. It happens. See, I don’t think Joe has them. Joe has stuttering, but I don’t think he has senior moments.
I’ll have to think about that. M. Scott Peck! I called him and I said, “I need a therapist.” He called me back and said, “OK, as luck would have it, my wife came up with someone.” I met her and I went to her for a year. She was amazing. And I’m not easily molded. But she was a genius. Then she had to move to Atlanta. But that year really changed me a lot.
Looking for a new park bag? If so, you’re in luck!
Animal Kingdom Loungefly
You can get spooky bags, festive bags, celebratory bags–even park-themed bags! And, of course, there are also plenty of bags inspired by various Disney characters–like the Spider-Man backpack we found today at Disney World!
Spider-Man Loungefly Backpack
Remember the furry Spider-Man spirit jersey…
Spider-Man Spirit Jersey
…and knit Spider-Man Minnie Ears?
Spider-Man Ears
Well, now you can complete the outfit with the Furry Spider-Man Loungefly Backpack! “Furry” and “spider” are two words we never want to hear in the same sentence–but we’re making an exception for this one. The $88 backpack has a tan, faux-fur material…
Spider-Man Backpack
…with a Spider-Man emblem on the front pocket and a blue, red, and white grid pattern trim, which imitates school paper.
Front pocket
There are accents of red around the bag, featuring the same paper-inspired trim…
Red accents
…which is also on the bag’s straps. The back of the backpack says “with great power” with a Spider-Man logo on the bottom.
Back of bag
So head over to World of Disney to grab this heroic bag! But we have a secret…you can grab it for cheaper on shopDisney, where it’s currently $70.40.
We’ll keep you updated with the latest in all things Disney, so stay tuned to MickeyBlog.com!
Thanks for visiting MickeyBlog.com! Want to go to Disney? For a FREE quote on your next Disney vacation, please fill out the form below and one of the agents from MickeyTravels, a Diamond-Level Authorized Disney Vacation Planner, will be in touch soon!
November 3 is a very special day in the annals of history. It’s my wedding anniversary. End of article. Oh, and November 3 is also Godzilla Day, the yearly celebration of Toho Studios’ infamous King of the Monsters. We are all very excited for the release of the next movie in the Japanese film series, Godzilla Minus One, and fans will be able to preorder tickets for it on Godzilla Day. The movie hits cinemas in North America on December 1. But don’t fret! Several other Godzilla offerings are available that weekend, including a one-night-only screening of the first film in the Millennium Era, Godzilla 2000.
Just so there’s no confusion, the Godzilla 2000 nationwide screening actually take place on Wednesday, November 1. It’s anticipatory for Godzilla Day.
After seven movies from 1984 to 1995, Toho relaunched the Godzilla continuity in 1999 with Godzilla 2000. It saw a theatrical release in North America in summer 2000 and was the last Japanese Godzilla movie to have such a release until Shin Godzilla in 2016. The movie depicts a world where Godzilla is a literal force of nature, like hurricanes or tornados, and a government agency tracks his movements. At the same time, an ancient, frozen flying saucer is discovered and suddenly springs to life. The aliens need genetic information only Godzilla possesses. What happens when an irresistible force meets an immovable object? Kaiju battles! We’re definitely looking forward to Godzilla 2000 returning to theaters for Godzilla Day 2023.
Toho Studios
But that is not the only Godzilla goodness in store. Both the Pluto TV Godzilla channel and Shout TV (Shout! Studios’ streaming service) will marathon giant monster movies all day long on November 3. Shout!’s sister channel, TokuSHOUTsu, will likewise stream kaiju movies all week long in the lead-up to Godzilla Day, beginning October 30.
“Gotta go fast! – Today, SEGA® released “Sonic Superstars”, the highly-anticipated new take on classic 2D Sonic the Hedgehog™ high-speed action platforming, featuring Sonic, Tails, Knuckles and Amy in a never-before-seen adventure.” – SEGA.
Britney Spears‘ “The Woman in Me” won’t hit the shelves until Oct. 24, the memoir has already made headlines for its shocking and scandalous revelations about the embattled pop star.
Spears is apparently not pleased with how she has been painted by the media thus far, as excerpts about her tumultuous relationship with Justin Timberlake, short-lived acting career and conservatorship make the rounds.
“My book’s purpose was not to offend anyone by any means! That was me then… that is in the past! I don’t like the headlines I am reading… that’s exactly why I quit the business four years ago!” Spears wrote in a statement posted to social media. “Most of the book is from 20 years ago… I have moved on and it’s a beautiful clean slate from here! I am here to establish it that way for the rest of my entire life! Either way, that is the last of it and shit happens!”
Spears continued, “This is actually a book I didn’t know needed to be written… although some might be offended, it has given me closure on all things for a better future! Hopefully I can enlighten people who feel particularly alone in most cases or hurt or misunderstood! Again, my motive for this book was not to harp on my past experiences, which is what the press is doing and it’s dumb and silly! I have moved on since then!”
The latest gossip from Spears’ memoir to stir up the internet is about her fling with Colin Farrell. Spears writes that after her relationship with Timberlake dissolved, she began seeing the Irish actor, with whom she “had a two-week brawl” (per Time magazine). “Brawl is the only word for it — we were all over each other, grappling so passionately it was like we were in a street fight,” writes Spears.
Previously leaked excerpts revealed Spears’ thoughts about Timberlake’s 2002 music video for “Cry Me a River,” which Spears says turned her into a “harlot who’d broken the heart of America’s golden boy.” The video painted Spears as a villain in the mainstream media as it featured Timberlake dealing with an unfaithful girlfriend that looked more or less like the “Baby One More Time” singer. That seemed to confirm the song was inspired by Spears and perpetuated a rumor that Spears had cheated on Timberlake.
Spears also reveals in the memoir that she had an abortion with Timberlake, writing in an excerpt obtained by People magazine, “Justin definitely wasn’t happy about the pregnancy. He said we weren’t ready to have a baby in our lives, that we were way too young. It was a surprise, but for me, it wasn’t a tragedy. I loved Justin so much. I always expected us to have a family together one day. I don’t know if that was the right decision. If it had been left up to me alone, I never would have done it. And yet Justin was so sure that he didn’t want to be a father.”
Bob Odenkirk knows he should probably leave his kids alone. But the Better Call Saul star spent the pandemic working on an Audible murder comedy podcast with his son, Nate, 23, and collaborating on a children’s book with his artist daughter, Erin, 22. “If I want to do a good job as a dad, I know I have to let them be,” he says. “But that’s not easy because they’re very fun people and their ideas are so exciting.”
Zilot & Other Important Rhymes (Little, Brown Books for Young Readers) combines illustrations by Erin (the recent Pratt Institute grad calls her dad Bob) with poems written by the kids when they were young, with an update by the Odenkirk family (including Odenkirk’s wife, Naomi); it hits bookstores Oct. 10. The father-daughter duo’s national book tour includes an appearance at the opening night of the SCAD Savannah Film Festival on Oct. 21. The pair offers a sneak peek:
How did the idea to publish your old childhood poems come up in the first place?
ERIN ODENKIRK We’d always had the idea in the back of our minds, and then I was home from college during the pandemic, and Bob was like, “Let’s get to work.” I didn’t think it would ever be a real book!
BOB ODENKIRK I thought that publishing their old poems was something I’d do as a grandfather one day, but the pandemic gave us loads of free time. I loved looking back on what they wrote as kids. I saw something similar to what I look for when I produce sketch groups: There’s a shared sensibility throughout, which is the same thing Monty Python had.
Zilot & Other Important Rhymes
Courtesy of Little, Brown Books for Young Readers
What did you learn about each other from working together?
BOB Erin has really grown in the past few years. She was extremely shy …
ERIN Not extremely shy.
BOB She listened well but didn’t speak up for herself, which can be worrisome because I want her to have the strength to speak out — there are many times life will call upon you to do that. She also learned to take notes, which is something only a truly confident person can do.
In your screenwriting and comedy career, did taking notes come easily to you?
BOB No, no, no. Every note that was true, every critique that was impactful and smart, would hurt my feelings. When I was at Saturday Night Live, I often had that feeling when someone else saw a better way forward for an idea. I worked with writers like Jack Handey, Jim Downey and Al Franken, and whenever they had a pitch for a sketch I wrote, I would have to learn to sacrifice my part in it in order to have a better sketch in the end.
What are you most excited about with this book tour?
BOB Savannah, to be honest with you. We have a whole day off to take in the town, which I’ve heard wonderful things about.
ERIN We’ve always traveled well together. We like to walk around a lot and go to cafes early in the morning, then hit bookstores and get nice dinners. We take big family trips every couple of years, and after the last one, Bob and I went to Berlin together at the end and spent the week just meeting people and going to bars, libraries and museums.
Zilot & Other Important Rhymes
Courtesy of Little, Brown Books for Young Readers
Erin, I assume you’ve spent time visiting your dad on set, but is this your first time seeing the publicity side of his job firsthand?
ERIN He’s told me stories about it, like getting flown to London and spending four days there, but never once stepping outside the hotel because he was just on the phone doing interviews all day. It’s been quite the experience doing this, and I feel a little overwhelmed but also grateful because he’s shown me the way and made me feel a little less crazy about all of it.
BOB She’s come to talk shows with me before, but never on a full tour. I’m doing one of the first post-strike episodes of The Late Show With Stephen Colbert [which aired Oct. 5], and that interview will be just me, but I think she’ll get to come. And that is just really, really cool. I can’t believe we’re back.
Have you had a hard time dealing with the work stoppage element of the strikes?
BOB Yes, but I’ve always been like that. One of the reasons I chose to aim my career toward writing was that I didn’t want to have to wait around for somebody to give me a job. With acting, someone has to put you in a project, but a writer can just go make something right now. During a strike, or any break, if you give me a piece of paper, I’ll fill it with ideas and figure out which one is worth chasing.
What’s next for you both?
ERIN I’m actually not sure. I’d like to get back to drawing every day, get a studio and see what I come up with. I’d love to work on a graphic novel or short story, but we’ll see.
BOB Hopefully, the SAG strike will be over when this book tour is done. If not, I’ll be picketing until it’s settled. If we can find a way to fair terms, I’ll get to make — hopefully — some movies. And I’m going to do a USO tour over Thanksgiving.
Interview edited for length and clarity.
This story first appeared in the Oct. 11 issue of The Hollywood Reporter magazine. Click here to subscribe.
Erin Foster had some choice words for ex-boyfriend Chad Michael Murray following a DeuxMoi claim that Murray “cheated on her with Sophia Bush” in 2002.
“That is what happened,” Sara alleged of the unconfirmed scandal.
“He definitely did cheat on me with her in, like, a pretty egregious way—while we were living together,” Erin claimed, before sarcastically calling the alleged experience “pretty cool.”
“I’ve moved on though,” Erin added. “I’m over it now. I mean, just barely. Just barely over it.”
Representatives for Murray and Bush did not respond to Page Six’s requests for comment. So, for now, the Foster sisters’ account of what went down is total hearsay.
Erin Foster and Murray dated from 2001 to 2002 while he was starring on the hit teen drama One Tree Hill. Murray publicly debuted his romance with Bush one year later in 2003 before the two got engaged in 2004 and wed in 2005. Of course, Bush and Murray’s relationship wasn’t built to last either. The pair filed for divorce a mere five months into their marriage.
ID’s Evil Lives Here: The Killer Speaks explores the case of Lorenzo Gilyard, dubbed Kansas City Strangler. The all-new episode titled after the notorious killer’s moniker will air on Sunday, October 22, 2023, at 9 p.m. ET.
Gilyard, a former trash company supervisor from Kansas City, reportedly murdered at least thirteen women and girls between 1977 and 1993. The now-convicted serial killer strangled his victims to death right after he had sex with them. In 2007, a judge found him guilty of six counts of murder, sentencing him to life in prison without parole.
According to the Missouri Department of Corrections, Gilyard is currently serving his sentence at the Crossroad Correctional Center in Cameron.
Serial killer Lorenzo Gilyard aka the Kansas City Strangler had a troubled family
The Sun reported that serial killer Lorenzo Gilyard came from a family of murderers and convicts. His brother and sister were convicted murderers and his father, Lorenzo Sr, was a convicted rapist. The serial killer’s other brother Darryl was also convicted in a 1989 drug-related murder, receiving a life sentence without parole. His other sister Patricia sister, a prostitute, was also a convicted murderer. She reportedly murdered a client and eventually got a 10-year term.
Several reports such as NBC News further state that Gilyard allegedly murdered at at least 13 women and girls. Most of his victims were prostitutes. He would first have sex with his victims and then strangle them to death. Most of his victims were prostitutes and their shoeless bodies were found dumped in isolated areas around Kansas City, Missouri.
The outlet stated that Prosecutor Jim Kanatzar commented on the case: “All were found dead during the same one-and-a-half-year period, all were left in secluded or obstructed locations, all were strangled, all showed signs that they were involved in a struggle, all were missing their shoes and all but one showed distinct signs of sexual intercourse.”
Where is Lorenzo Gilyard aka the Kansas City Strangler now?
NBC’s report claimed that DNA evidence linked Lorenzo Gilyard to all 13 killings. In fact, he had been a suspect for years before police finally arrested him in April 2004. The names of his victims are Catherine Barry, Naomi Kelly, Ann Barnes, Kellie Ford, Angela Mayhew, Sheila Ingold, Carmeline Hibbs, Stacie L. Swofford, Gwendolyn Kizine, Margaret Miller, Debbie Blevins, Helga Kruger, and Connie Luther.
In early 2007, prosecutors charged the Kansas City Strangler with seven counts of first-degree murder. They dropped six counts and agreed not to seek the death penalty. In exchange, they asked the serial killer’s defense to accept a trial in front of a judge without a jury. The judge found him guilty on six counts, sentencing him to life in prison without the possibility of parole.
According to the Missouri Department of Corrections, Gilyard is currently serving his life sentence at the Crossroad Correctional Center in Cameron.
Evil Lives Here: The Killer Speaks airs on Sunday at 9 p.m. ET on ID with a new episode.
[This story contains major spoilers from the Upload season three premiere “Ticking Clock” and second episode “Strawberry.”]
In the season three return of Greg Daniels‘ genre-mashup Upload, a dangerous voter suppression plot begins to unfurl.
For those who haven’t been consistently following the Prime Video series, that story element alone would seem confusing. The sci-fi comedy stars Robbie Amell as computer programmer Nathan Brown, whose consciousness is uploaded into a virtual afterlife called Lakeview by his girlfriend Ingrid Kannerman (Allegra Edwards). But once there, he begins to develop feelings for Nora Antony (Andy Allo), his “Angel” — a living, breathing personal afterlife assistant who works for Lakeview’s parent company, Horizon.
For two seasons, the show primarily existed as a rom-com that juggled big issues like classism, the growing impact of AI and VR, and what it means to be “alive.” It was funny and heartfelt, but also smart and unnervingly timely. It has remained all of that (particularly the timely part), but with one major plot development for season three: The end of season two introduced a major voter suppression effort by one of Nathan’s Lakeview neighbors, billionaire David Choak (William Davis), who in name seemingly alludes to a set of real-life plutocrat siblings.
Choak and a group of other highly wealthy and equally influential power players had Nathan murdered and stole his code to create Freeyond, a version of Horizon’s Lakeview, but affordable for lower income people. With it, they plan to bait and switch millions, promising a digital afterlife but actually taking their (literal) heads and leaving them on cartridges, where they’ll be unable to vote.
Season three of Upload picks up in the midst of this, with Nathan downloaded back into his human body and racing against the clock with Nora and a group of activists called Ludds — they support dying naturally and are against the concept of uploading — to stop Choak’s plot.
“The opening of season three had to wrap up the cliffhangers of season two and also launch us into our new storylines,” episodes one and two director Jeff Blitz tells The Hollywood Reporter. “Nathan is back in the real world, finally ready to explore his relationship with Nora, even as they both grapple with the bigger conspiracy of Freeyond and the ticking time bomb that is Nathan’s actual head.
“Simultaneously, Ingrid is ready for a much-needed life makeover when she discovers there’s a way for her to step back into the life she had going before and try again,” he continues. “Also, there’s the mystery of what the sinister cabal is up to and whether our heroes stand a chance of succeeding or even surviving.”
For the Upload season three premiere, Blitz spoke to THR about juggling those plot lines, making a head explode, working with Amell on playing two versions of Nathan, and capturing the hilarity and horrors of advancing tech in Lakeview and the real world.
This is the first time Robbie is playing two versions of Nathan. How did you both approach personifying them similarly and differently? Were there any challenges around him pulling double-duty?
We made choices with Robbie about ways to help signal whether he was playing “Nathan” or “Back-Up.” Some of these were physical, like subtle changes to his appearance, but many were unspoken choices Robbie would make in posture, gesture, ways of speaking. This was double-duty for Robbie, asking him to keep straight where each version of Nathan is on his specific journey. Later in the season, the costume changes get increasingly challenging.
We finally see Nora and Nathan get to be an “in-real-life” couple, while Ingrid is back in the hug suit in Lakeview trying to be more honest — despite also trying to make herself into Nora. How did you think about defining and differentiating these couples who feel like they’re on parallel journeys of discovery right now?
We talked a lot about the fun of shows that let us see hero couples change as their circumstances do. Before they’re in the real world together, Nathan and Nora have a dreamy idea of what they’d be like as an actual couple. But once they’re actually here, there’s all sorts of surprises for them. In episode two, they’re visiting a long-married couple, and they’re asked basic questions about their wishes for the future — and discover suddenly there’s lots they’ve never talked through and maybe aren’t even on the same page about. We get to be a fly on the wall as they navigate the real stuff of relationships — even set against a backdrop of a frightening and glitchy future. There’s a similar thing that happens with Ingrid and Back-Up, even though it’s in a weirder key, set in Lakeview and hammed up with all of Ingrid’s melodrama. Even so, it’s fundamentally the story of people figuring out how to be vulnerable and real with the person they love.
The last time we saw a downloaded person’s head explode, it was from a distance, but you kick off the season by recreating the experience up close. How did you execute that both in terms of VFX and your cast?
If you’re ever asked if it’s easy to make someone’s head explode on TV, trust me when I tell you the answer is “no,” and also that it’s absolutely worth every meeting you’ll have to discuss the extent of blood splatter — whether to build a VFX neck flap and which explosive take to put the series lead in for. Basically, as in all things Upload, we came from a character place first: Here’s a scene about Nora and Nathan connecting as they’ve wanted to connect since early on. We need to feel the reality of that connection, to imagine it’s the beginnings of a scene that will develop in a romantic, intimate way — only to have it end abruptly and horribly. How we shoot it, how they perform it, it’s all in service of that emotion. And the twist to the scene isn’t just shock value — though anytime you’re talking neck flap, let’s be honest, it’s not not that — but also succinctly setting up a major tension of the season: Will the long-awaited development of Nathan and Nora’s love be interrupted by the bloody realities of the world?
For episode two, you had the nightmarish yet comedic storyline of Upload’s version of factory farming. What exactly was coming out of that “cow,” and how did you navigate delivering that concept with the Upload team?
We discussed holding a contest for Future Farmers of America to see how quickly some kid could genetically create the Cowenstein Monster that cameos in episode two, but decided instead to use an old-fashioned mix of fantastic VFX from Eddie Anton, brilliant production design from Rachel O’Toole and cinematography from Simon Chapman, and truly horrific, cottage cheese-based SFX from Jak Osmond. No cows were harmed or even used during the filming of that scene. (I cannot speak to potential harm to any viewer’s psyche.)
We see several versions of AI Guy struggling to grasp basic human experiences,but we also see AI hairdresser who has a distinctive, more competent personality. How did you work with Owen Daniels on crafting those various AI guys, and how do you explain the hairdresser navigating human interaction better than the AI guys in training with Aleesha (Zainab Johnson)?
Because Owen is one of the show’s writers, he comes to each scene already with a very clear take on the story of AI Guy in that scene. And then his gift for unexpected comedy choices just elevates everything. As a director, my role is to create space for someone with that kind of aptitude for endless play and discovery. Just hold space and let him go. As for AI Hairdresser’s navigation of human interaction, as we see with real world AI skimming for human stuff to copy, the Lakeview AI program has a wealth of data from juiced-up portrayals of hairdressers to draw from and that’s what we see in AI Guy’s salon-inspired chitchat. But it’s all empty, really. It’s when AI Guy is taken out of a skimmable context and asked to try to think and feel for itself — to self-reflect — that things get dicey.
Luke tries to forget Nathan and Aleesha in episode two by wiping them from his memories and replacing them with Dragon Tales. The entire sequence is really silly, but Kevin Bigley really captures the emotions of abandonment and the desperation of wanting to move on. Did you want to play that scene funnier or more emotional for Luke?
The facts of the dressing of the scene are dark and weird, but the emotion is relatable: A former soldier who, in his afterlife, is so distraught at missing his best pal that he tries to wipe his memories clean. For me, the comedy comes from when you play a scene like that for its emotional truth. It’s all about heart, and Kevin and Zainab knew that instinctively. We can all connect to the feeling of missing a best friend. Setting in a memory parlor of the future, using a critique of Dragon Tales to goose the comedy, all of that just serves to make the emotion of it that much more unexpected when it pokes through. Aleesha sees it first: Luke is a big baby, but she loves the guy and empathizes, and hopefully we do too.
The first two episodes of Upload season three are currently streaming on Prime Video.
Billy McFarland, the creator of the infamous Fyre Festival who served nearly four years in prison for fraud and lying to the FBI, is facing a new civil lawsuit claiming he ripped off an investor who gave him $740,000 for his new PYRT venture.
In a summons filed in New York Supreme Court on Tuesday (Oct. 17), an attorney for 54-year-old Jonathan Taylor of New York — who met McFarland while both were serving prison sentences at Elkton Federal Correctional Institute in Ohio, as reported previously by Billboard – states that McFarland needs to appear in court and agree to repay Taylor or face legal action for civil fraud, conversion, civil conspiracy, breach of contract and unjust enrichment.
According to the summons, Taylor struck an agreement with McFarland and his business partner, Michael Falb (also named as a defendant), in which they allegedly offered him one-third equity in the venture, PYRT Technologies, in exchange for a $740,000 investment. Taylor claims McFarland and Falb then reneged on the deal by refusing to grant him the equity they promised or to return the money despite his demands that they do so.
Taylor is asking for monetary damages in the amount of $740,000, along with statutory damages, punitive damages and attorneys’ fees.
Notably, the $740,000 figure is $100,000 more than what Taylor had said he was owed last October, in emails between McFarland’s lawyer and Taylor’s lawyer that were obtained by Billboard. Taylor now says that the increase is the result of an investigation conducted by Taylor’s attorney, which found $100,000 in new charges using Taylor’s money since the men first began settlement talks in September 2022.
McFarland did not respond to requests for comment on the summons.
In 2016, Taylor landed at Elkton Federal Correctional Institute after pleading guilty to a single count of child sex trafficking stemming from his relationship with a 15-year-old prostitute in Florida. Taylor, who is 23 years older than McFarland, struck up a friendship with the festival founder shortly after McFarland arrived at the low-security prison following his expulsion from a minimum-security prison in Otisville, N.Y., for contraband violations.
Taylor and McFarland shared an affinity for entrepreneurship and stayed in touch after Taylor was released from prison in 2020 with plans to work together. Their first project — a podcast about McFarland’s life in prison recorded from behind bars — landed McFarland in solitary confinement for six months. It was during that half-year stretch in “the hole” that McFarland wrote out a 50-page investor deck — obtained by Billboard — of how he would harness continued interest in Fyre Fest and launch PYRT, a post-prison project to repair his image and “make the impossible happen.”
The PYRT document indicates that McFarland planned to officially launch the project with a treasure hunt revealed through hidden clues in a memoir he would publish telling his side of the Fyre Fest story. The global treasure hunt was intended to draw people to the Bahamas, to be followed by the building of the physical and digital architecture for a 24-villa PYRT Cay development. Eventually, he wrote, a metaverse would be built around PYRT allowing millions of “elevated people” to digitally interact with the island paradise, “changing how the virtual interacts with and affects the real world.”
After McFarland was released from solitary confinement in April 2021, he sent the plan to Taylor, who transferred money to McFarland and Falb and gave McFarland access to debit cards and accounts.
But on Sept. 20, 2022, McFarland wrote to his attorney, Harlan Protass, alleging that Taylor had misrepresented his criminal charges to McFarland when the men became friends in prison and alleged that McFarland had only recently learned about the true nature of Taylor’s crimes.
“I am uncomfortable having any association with Mr. Taylor,” McFarland wrote in the email, obtained by Billboard. “After receiving the documents from his attorneys on Saturday, I acted swiftly and scheduled a meeting with Mr. Taylor on Monday. I proceeded to meet with him yesterday (Monday) and I notified him that we must sever ties.”
At the end of the meeting, Taylor demanded the repayment of the money he had paid to McFarland, but McFarland explained that the money had already been spent, according to an email from Taylor to his attorney obtained by Billboard.
In the same email exchange, Taylor revealed that the payment made to McFarland was tied to a number of unfinished projects McFarland had offered as collateral for the loan, including a memoir of McFarland’s life, a documentary on McFarland’s efforts to launch PYRT and a proposed celebrity boxing match between McFarland and his former business partner, Ja Rule.
On Oct. 27, lawyers for McFarland offered to pay Taylor $1 million to buy out his equity interest in PYRT by making “payments in the amount of 5% of its gross revenues up to $1 million,” wrote McFarland attorney Craig Effrain in a document obtained by Billboard.
Taylor rejected the offer and demanded the immediate repayment of what he then said was a $640,000 loan plus $5 million paid out over a two-year period, according to copies of email communications.
McFarland didn’t respond to the counteroffer and stopped responding to communications from Taylor’s attorneys, emails from Taylor to his attorney show.
In July, McFarland took to TikTok to announce that he was pausing the PYRT concept to form a new LLC, Fyre Holdings, for Fyre Fest 2. In July, he emailed potential investors announcing that he was looking to raise $2 million.
“I’m a master at raising the tide, and I’ve already created a tidal wave,” he wrote in the July 6 email obtained by Billboard. “As demonstrated throughout history, the business opportunity is to steer our ship dead center into the wave and use its push to conquer the market.”
Britain’s biggest independent film festival, Raindance is considered a champion of maverick filmmaking on a limited budget. Raindance celebrates these bold, creative, and risk-taking filmmakers with the Raindance Maverick Award at the annual BIFAs (British Independent Film Awards C.I.C), the awards ceremony founded by Raindance in 1998. Formally the Raindance Discovery Award, changes have been made to reflect the spirit of the award –maverick filmmaking on a limited budget – and includes a rise in budget cap from £500k to £1m, and no limit on UK theatrical distribution.
This year’s BIFA Raindance Maverick Award longlist comprises 11 remarkable films. Documentaries lead the selection with 9 longlisted docs tackling topics as diverse as climate change, youth violence, and confronting terminal illness. Two features complete the longlist.
“The Raindance Maverick Award longlist captures all that is radical and rebellious about independent cinema,” says Elliot Grove, founder of Raindance and BIFA. “Raindance will always be a place to discover maverick films, and we are thrilled to champion these risk-takers and rule-breakers.”
A strange story from Somerset, A LIFE ON THE FARM documents a filmmaking farmer and the inspiring legacy of his long-lost home movies. Inside the core of the climate movement, concerned citizens in Germany and England put their bodies on the line to stop new coal mines being developed in FINITE: THE CLIMATE OF CHANGE. As youth violence rises in London, a rebellious group of young people tear through the city’s streets in the name of ‘Knives Down, Bikes Up’ in IF THE STREETS WERE ON FIRE. While navigating daily discrimination, a filmmaker explores what it takes to love oneself fiercely despite the pervasiveness of ableism in IS THERE ANYBODY OUT THERE? Void of any language, Lawand struggles to piece together his surroundings in his new home in Derbyshire after a traumatic year of seeking asylum in NAME ME LAWAND. Faced with a terminal diagnosis, a filmmaker enlists his family on an intimate and darkly humorous journey in RED HERRING. In THE TASTE OF MANGO, the filmmaker probes raw questions her mother and grandmother have long brushed aside. HOW WE WATCHED documents how independent news reporting in India and beyond is increasingly under threat by budgetary cuts and extremists leveraging alternative platforms to spread misinformation. And YOUR FAT FRIEND documents the rise of Aubrey Gordon, from anonymous blogger to bestselling author.
Set in 1973 on an uninhabited island off the Cornish coast, a wildlife volunteer’s daily observations of a rare flower turn into a metaphysical journey that forces her to question what is real and what is a nightmare in ENYS MEN. An undocumented Filipina immigrant lands a job as a care worker for a terminal old man, but a dark discovery threatens to destroy everything she’s strived for in RAGING GRACE.
The list includes our very own RED HERRING, directed by Kit Vincent, screening at this year’s festival, which is already completely sold out.
Full Longlist
A LIFE ON THE FARM – Oscar Harding
ENYS MEN – Mark Jenkin, Denzil Monk
FINITE: THE CLIMATE OF CHANGE – Rich Felgate
IF THE STREETS WERE ON FIRE – Alice Russell, Gannesh Rajah
IS THERE ANYBODY OUT THERE? – Ella Glendining, Janine Marmot
NAME ME LAWAND – Edward Lovelace
RAGING GRACE – Paris Zarcilla, Chi Thai
RED HERRING – Kit Vincent, Ed Owles
THE TASTE OF MANGO – Chloe Abrahams, Elliot Whitton
WHILE WE WATCHED – Vinay Shukla, Luke Moody, Kushboo Ranka
YOUR FAT FRIEND – Jeanie Finlay
Previous recipients include Ben Wheatley, receiving an early accolade for his first feature Down Terrace. The BIFA Raindance Discovery Award was presented in 2022 to Hassan Nazer’s Winners, the story of two children from a small Iranian community who discover the lost Academy Award statuette of Asghar Faradi.
The final list of nominations will be announced on Thursday 2 November, winner announcements at the BIFA awards ceremony on Sunday 3 December.
Raindance promotes and supports independent filmmaking and filmmakers.
From new and emerging to industry pros, Raindance connects, trains, supports, and promotes visual storytellers through every step of their career.
The Raindance Film Festival runs each Autumn in London’s Leicester Square.
This article is a preview of The Tech Friend newsletter. Sign up here to get it in your inbox every Tuesday and Friday.
I wrote the introduction of this newsletter on my phone, without pecking any letters with my fumbling fingers.
I used an artificial intelligence feature in my phone’s keyboard that is sometimes called glide typing or swipe to type.
I slide a finger toward each letter of a word without lifting my finger from the keyboard. AI calculates the likelihood of the word I’m trying to type and inserts it into the text.
It’s not perfect and this typing method takes practice. But I type faster and make fewer typos with glide typing than I do tapping letters on my glass screen.
Glide typing is a standard keyboard option on iPhones, Samsung Galaxy phones and some other Android phones. I’ll explain how it works and why glide typing is the best AI technology you’re probably not using.
Mundane AI features like auto-correct, Netflix recommendations and web searches have proven their worth — unlike many AI chatbots.
To this point, my glide typing messed up twice. AI mixed up an “it’s” versus “its”(humans get this wrong, too). And it inserted “glucose” once when I meant to type “glide.”
I’m focusing on Google’s Gboard keyboard because that’s what I use on my Pixel phone. Glide typing works essentially the same on iPhones, Galaxy phones and other keyboards you can download.
On your phone is an AI system that “learns” to recognize patterns and predict outcomes. There are three clues to divine what you’re glide typing, said Akshay Kannan, group product manager for Gboard for Android.
Spatial coordinates: AI examines how close your finger is to letters as you swipe across your screen. AI ranks the likelihood of your chosen word.
When you lift your finger from the screen, the keyboard will insert a likely word. You may also see other alternative words to pick, similar to auto-correct suggestions.
Language: Just like with auto-correct on your phone, AI assesses that you’re probably going to repeat words you’ve typed before.
If you type “How are,” the software can predict your next word is probably going to be “you,” Kannan said.
If your word choice is fairly predictable, you can sloppily swipe your finger and AI still gets it.
Personalization: If there are certain words that you type a lot, AI should start to suggest them even if they’re not in a dictionary.
Names are one example. Gboard gets my name almost right when I glide type. (Strangely, it often doesn’t capitalize my first name but it does for my last name.) When I tried glide typing Akshay Kannan, it came out as “Amanda’s Kansas.”
The language and personalization clues are also used by auto-correct. Calculations of your finger coordinates are unique to glide typing, Kannan said.
You can use the glide-typing feature anywhere you type text.
I use glide typing for text messages, emails and sometimes to draft newsletters. (I’m far better with a computer keyboard.)
I find glide typing doesn’t work well for web searches when I’m typing keywords rather than full sentences.
I swipe to type naturally now, but some people hate it.
Kannan wouldn’t say how popular glide typing is for Gboard. He said it’s more prevalent in countries with Latin alphabets including English and Spanish and can be especially useful if you’re typing one handed.
(The One Tiny Win section below has more information to get started with glide typing.)
On 1990s flip phones, the T9 technology predicted words as people tapped the number keypad. There are novel technologies for mobile keyboard typing in character-based languages such as Chinese.
“I’m proud that we initiated a technology that became globally adopted,” said Mike McSherry, Swype’s former CEO and current head of the digital health-care company Xealth.
McSherry recalled the “magical” feeling people had when they first tried swipe to type. He loves glide typing on his phone today. “I am a single thumb swiper,” McSherry said.
Be careful about keyboard privacy and security
Kannan said what you glide type on Gboard stays only on your phone. The information from your keyboard is not traveling to Google’s computers over the internet.
He said that Google uses a privacy-conscious approach called federatedlearning to collect batches of information from Gboard users to improve glide-typing AI.
Citizen Lab, a cybersecurity research organization, previously found flaws in at least one Chinese keyboard app that could leak anything people were typing while information was flowing over the internet. (Again, Google says glide-typing information doesn’t flow over the internet.)
The basic advice: Before you use any app — particularly a keyboard that could collect everything you type — make sure you trust the company behind it. I trust the keyboards from Google, Samsung and Apple. You’re probably using one of them already.
If you can’t be bothered to learn a new way to type, I get it. I still have flashbacks to the Mavis Beacon typing tests on my family computer.
But try glide typing. I love it and maybe you will, too.
You should be able to glide type right now on your iPhone. If it’s not working, go to the Settings app → General → Keyboard → turn on the button for “Slide to Type.” (You’ll see a green color when the button is on.)
Google’s Gboard with glide typing is the standard keyboard for some Android phones or you can download it separately for iPhones and Android phones. (Kannan said the iPhone version is a bit less accurate at glide typing.)
Glide typing is also a feature in some other keyboard apps, including Microsoft’s SwiftKey app that you can install on Android phones and iPhones.
Glide typing may not be available for all languages.
You still need to tap on individual virtual keys for some things including punctuation marks, numbers and single-letter words such as “I.” As a shortcut, you can generally press the space key twice and the keyboard will insert a period at the end of a sentence.
If the glide typing AI doesn’t recognize words you’re typing, your best approach is to type out the individual letters in that word or name a few times until the AI “learns” it.
I tried that with my first name that typically isn’t capitalized when I glide type. I deleted the lowercase “shira” a time or two and manually tapped out the letters for “Shira.” I think it works now.
EXCLUSIVE: Here’s your first look at Dilli Dark, an upcoming comedy set for Tallinn Black Nights featuring a rare crossover between Indian and Nigerian culture on screen.
Described as an “amusing and current hip-hop comedy,” the film follows Michael Okeke, a young Nigerian man living in New Delhi who wants to get his MBA and settle in India. But his part-time job as a drug dealer will jeopardize his plans, not to mention the open racism he is facing.
Nollywood actor Samuel Abiola Robinson stars in the film alongside Geetika Vidya Ohlyan (Netflix’s Soni) and Shantanu Anam. The film is set to debut in the South Asian Competition at MAMI in Mumbai and the First Feature Competition at Tallinn Black Nights.
The pic is written and directed by Dibakar Das Roy, who left a career in advertising in the USA to come back to India to tell contemporary Indian stories that are globally relevant. He is a self-taught filmmaker and balanced jobs in advertising and communications while prepping Dilli Dark. The film is his first feature and he developed the story at India’s NFDC Work-in-progress Lab.
Producers on the pic are Udayan Das Roy and Dibakar Das Roy from Reeligion Films LLP. A local distributor is yet to be attached. Totem Films is handling international sales. Tallinn Black Nights runs November 3rd-19th. The festival will debut new works by Emma Dante, Gust Van den Berghe, and Rezo Gigineishvil.
Last February, after Coldplay performed an emotional, choir-backed “Fix You” on SNL, Chris Martin ran into his biggest fan. “I kind of forced him to meet me,” Jilian Medford recalls with a laugh. “He had just come off the stage and I was like, ‘Hi! I love you so much. I’m so sorry, can we take a photo?’ And he was like, ‘I have to go pray.’ But I was just begging him.”
Martin, who did reluctantly take a photo, had no idea he was talking to Ian Sweet, one of the most thrilling and experimental voices in indie rock. Under this name, the 30-year-old Medford has released three albums, and her fourth, the incredible Sucker, is out Nov. 3 via Polyvinyl. If her recent cover of “Yellow” wasn’t telling enough, Medford continues to draw inspiration from Coldplay on Sucker, an album whose version of indie pop is often unabashedly anthemic. “That’s my MO,” she says, smiling. “I think it’s ’cause I love Coldplay.”
But Medford also dips her feet into other sounds on Sucker, from art rock to dreamy shoegaze, making it difficult to reduce her to a single genre. “Sometimes that confuses listeners, or it’s almost like people malfunction,” she says. “Being like, ‘Where should I put this? Where should this land?’… I keep wanting to explore every genre, and I just want to make music that I’m excited about. I want to feel like I can listen to my own songs.” (She takes a pause and begins to laugh: “I don’t.”)
Medford is sitting at an outdoor table at Brooklyn Botanic Garden, wearing denim overalls, a white blouse, and a 2000s-era stainless-steel ball-chain necklace. She moved from the Lower East Side to near Prospect Park a couple weeks ago, a much-needed change for her and her Jack Russell-Chihuahua, Blueberry.
“I was living a funny Sex and the City fantasy in my little studio, but it was unbearably loud,” she says of her old Ludlow Street apartment, directly across from Katz’s Deli. Now in Brooklyn, she spends her mornings blissfully drinking coffee and playing fetch with her dog at the park. “I’m a crazy homebody now,” she says. “Nobody’s ever going to see me, ‘cause I love my place so much.”
Editor’s picks
This feeling of contentment extends to the making of Sucker, which Medford wrote and recorded at the Outlier Inn, a studio located on a farm in upstate New York. She made two trips there, the first being in October 2022, when she and her mom drove cross-country from her hometown of Los Angeles. They stopped at multiple national parks along the way, listening to hours and hours of Howard Stern.
“My mom is an angel,” she says. “Then [she] and my sister went to Hawaii together, and I said, ‘Why wasn’t I invited?’ My mom was like, ‘We did the road trip.’ And I was like, ‘That’s not the same! At all!’”
Medford hadn’t written any new songs, but she had just ended a relationship and desperately wanted to leave the West Coast. “I was really itching to leave L.A.,” she says. “I just knew I wanted to see what I could do, isolated from everyone and everything, and be with unfamiliar gear in a weird place.”
Medford got her wish, spending two weeks on 12 acres of land, all by herself except for the owner’s yellow lab, who would often doze on the porch. “Suddenly, I had an infinite amount of ideas,” she says. “Smoking Again,” one of the record’s highlights, is a power-pop gem with stormy synths that carry Medford’s dainty vocals. Medford wrote it quickly after she noticed she was smoking and drinking a lot of wine, which helped her lean into her creativity.
“Although I was being unhealthy with my habits, I [felt] like these things are helping with the process,” she says. “‘Smoking Again’ is an anthem about self-destruction, but not being mad at yourself about it and understanding that we all do it. I think there’s clarity through that. This record as a whole is recognizing my behavior and taking accountability, and also a lot of self-acceptance for the first time, kind of ever.”
Related
It’s a far cry from Show Me How You Disappear, Medford’s 2021 album that she wrote while she was in an outpatient therapy program for anxiety. Tracks like “Drink the Lake” and “Get Better” offered an intense look into Medford’s mind at the time, but their swirling sounds also provided comfort — not only to Medford, but to many listeners in the pandemic.
By the end of the album’s press cycle, Medford found herself exhausted from discussing her mental health struggles. “So many people grasped onto the story behind Disappear, like, ‘Oh my God, you were an intensive outpatient, and how was that?!’” she says. “People want to hear what you’re going through, but it was clickbait-y. And then I get pigeonholed into being the mental health advocate girlie. I believe that everyone should be checking in with themselves, but I’m not out here screaming from the rooftops.”
Still, she looks back on that period with immense gratitude. “That record saved a part of me,” she says. “If I didn’t make it, I don’t know where I’d be. It was like sifting through the weeds, grasping onto things, like, ‘I hope this lyric will help me literally to survive.’ But the very, very intense emotions that were on Disappear aren’t as present on this one. It’s a lot more confident and secure in where I’m at in my life, and feeling for the first time ever that I’ve reclaimed a lot of power and strength. That’s growth for me, and I’m really proud.”
As Medford notes, Sucker isn’t all “sunshine and rainbows.” “Emergency Contact,” her personal favorite on the record, documents her pandemic breakup. Medford says that although she initiated the split, she regretted it afterwards, experiencing a delayed sense of sadness. “The light is out in my kitchen/But I’m still washing the dishes,” she sings over twinkling instrumentation.
Then there are lighter moments, like the title track and the finale “Hard,” which she wrote about falling in love with her boyfriend Martin Herlihy. Medford met Herlihy, an SNL writer and member of the sketch comedy trio Please Don’t Destroy, through cast member Sarah Sherman. The two SNL comedians star in her video for “Your Spit,” the lead single for Sucker. It’s a song about making out, and the poppiest moment on the album by far.
Trending
“I was just thinking about this genre of indie rock, whatever the fuck that is supposed to mean, [and how] people really want you to have had something traumatic to share,” she says. “I started feeling that it was OK to have fun with it.”
Sitting in the peaceful Botanic Garden, with the crisp fall afternoon sunlight hitting her brown hair, she begins to smile. “It’s OK to not be the darkest, saddest girl in the room.”
On X — the social network formerly called Twitter — about 74% of the most-viral posts promoting misinformation about the Israel-Hamas war in the first week of the conflict were shared by verified blue check-mark accounts, according to a new study.
For the first seven days following Hamas’ deadly terrorist attack on Israeli civilians (Oct. 7-14), NewsGuard, a company that maintains a system rating the credibility of news and information websites, analyzed the 250 most-engaged posts on X/Twitter that promoted 10 “prominent false or unsubstantiated narratives” relating to the conflict. According to the NewsGuard analysis, 186 of the 250 posts (74%) were posted by accounts verified by X. Collectively, the posts in the analysis advancing false or unsubstantiated information received about 1.35 million engagements and were cumulatively viewed more than 100 million times in the one-week period, according to NewsGuard.
Under Elon Musk’s revamped blue check-mark verification program, users of X Premium (which costs $8 per month) are able to get verified status, which under Twitter’s previous regime was intended to signal authentic and reliable accounts. Currently, posts from X Premium users are prioritized by the platform’s algorithm so they appear more prominently in users’ feeds. “That decision turned out to be a boon for bad actors sharing misinformation about the Israel-Hamas War,” NewsGuard said in its study. “For less than the cost of a movie ticket, they have gained the added credibility associated with the once-prestigious blue checkmark and enabling them to reach a larger audience on the platform.”
The 10 false or unsubstantiated claims identified by NewsGuard shared by X verified accounts included the following: the falsehood that Ukraine sold weapons to Hamas; a video purporting to show Hamas fighters celebrating the abduction of an Israeli toddler; a bogus claim that CNN staged footage of a news crew under attack in Israel; and the conspiracy theory that Hamas terrorist attack was a “false flag” carried out by Israel and/or Western nations.
Per NewsGuard’s analysis, far-right activist Laura Loomer, a former Project Veritas reporter who is verified on X and has more than 633,000 followers, shared three war-related myths, including that the U.S. sent $8 billion in military aid to Israel. Her Oct. 7 post falsely claiming the U.S. had given military aid to Israel was viewed 360,000 times through Oct. 14, according to NewsGuard.
A request for comment about the NewsGuard study sent to X’s PR email account returned an autoreply message that said, “Busy now, please check back later.”
X has said it is taking numerous steps to fight misinformation about the Israel-Hamas conflict. In response to an EU inquiry on the subject last week, CEO Linda Yaccarino said X has “taken action to remove or label tens of thousands of pieces of content” that could include false information about the attacks in Israel.
“X is committed to serving the public conversation, especially in critical moments like this and understands the importance of addressing any illegal content that may be disseminated through the platform,” Yaccarino wrote in the response to EU commissioner Thierry Breton. “There is no place on X for terrorist organizations or violent extremist groups and we continue to remove such accounts in real time, including proactive efforts.”
NewsGuard said it has also identified false or unsubstantiated narratives relating to the war “spreading widely on Facebook, Instagram, TikTok, Telegram and elsewhere.” But the company said it chose to focus on X “because it appears to be the only platform that has been public about the reduction in its moderation efforts” and that it found that “most of the false narratives relating to the Israel-Hamas War so far appear to go viral on X before they spread to other platforms such as TikTok and Instagram.”
Musk has touted X’s Community Notes crowdsourced fact-checking feature as providing a critical way to flag misinformation. Indeed, NewsGuard found that Community Notes fact-checks did appear on 21 of the top 25 posts it had identified as advancing the false claim that a video showed Hamas fighters with a kidnapped Israeli toddler. However, according to the NewsGuard report, Community Notes were “inconsistently applied to top myths relating to the conflict” in the first week and were not applied to posts containing misinformation 68% of the time.
Meanwhile, Musk early Friday announced that X would soon launch two new tiers of X Premium: one that is lower cost “with all features, but no reduction in ads,” and the other one “more expensive, but has no ads.”
New York-based NewsGuard says it provides “a human solution to misinformation by rating the reliability of news and information sites.” The firm’s ratings, on a scale of zero to 100, are based on “nine objective journalistic criteria” and “give people more context for what they read online.” Investors in NewGuard include Investors include the Knight Foundation, Publicis Groupe, Cox Investment Holdings and Leo Hindery.
After roughly five months, the Writers Guild of America has negotiated a contract with the Alliance of Motion Picture and Television Producers.
While the Screen Actors Guild remains on strike, the Writers Guild (WGA) has already returned to work.
Source: Deadline
In this week’s MarvelBlog News, we’ll discuss what this means for Marvel titles and what comes next.
Dog Days Are Over
Image: Marvel
At the end of Guardians of the Galaxy Vol. 3, the remaining residents of Knowhere dance to the Florence and the Machine song, Dog Days Are Over.
The underlying premise involves change and how that even when things are different, much stays the same.
Photo: Disney Plus
I’ve thought about that a lot in the wake of the WGA’s agreement. Without editorializing much, the industry-wide perception is that the writers won.
The guildmembers held out longer than anticipated and held strong in the face of some frankly unconscionable actions by other, more powerful people in the industry.
Source: Marvel/ Disney
A new three-year contract ensures that some fairly sweeping changes are at hand in Hollywood.
Writers earned their requests for three-person staffing. In other words, the writer’s rooms are back, news that will alter the way Disney+ does business.
Realistically, many of the updated rules will impact Disney, the corporate owner of Marvel.
Source: Marvel/ Disney
We’ll organically discuss those at length over the next couple of years, as some of it feels almost orchestrated against Disney.
Marvel and Disney loved the mini-writer’s room, a concept that ensured a minimal amount of payment for creatives.
Similarly, Disney hasn’t paid much (if any) in residuals to writers on its streaming series.
Source: Marvel Studios
Both these practices change now, as does Disney’s practice of understaffing series with limited episodes.
The precise rules of the new agreement require three writer-producers. Meanwhile, the number of writers depends on the episode count.
Something like Secret Invasion, which had six episodes, would need three writers. A longer series like She-Hulk would require five.
Source: Marvel Studios
Then, something like Daredevil: Reborn would need six writers in the room. That’s going to increase production costs, but it’s terrific news for Marvel fans.
A larger number of writers might have meant the difference in Secret Invasion being watchable.
What Happens Next?
Source: ComicBook.com
Here’s the first thing to keep in mind. As long as the actors remain on strike, Hollywood projects cannot resume production.
During the dual strikes, the writers and actors worked in concert to ensure that all parties attained better contract terms.
While anything is possible, I fully expect actors to agree to a new deal soon. That’s because writers already showed them the path.
Photo: Alberto E. Rodriguez/Getty Images for Disney
Since someone else has done the heavy lifting with the collective bargaining, a second agreement should be simple. There’s a skeleton outline already.
In the interim, writers are already back on the job as of this past Wednesday, and that’s huge for Marvel.
Once again, the world’s most gifted storytellers are creating future Marvel tales. I don’t mean to sound grandiose, but it’s true.
(Photo by Jerod Harris/Getty Images)
Nothing happens in front of the camera until someone writes the words. That’s just math. It’s also why AMPTP had to get a deal done.
Now, we’re ready for actors to agree as well. Until then, Marvel writers will firm up details on projects that have gestated for the past five months.
Once the actors agree to a new deal – and Deadline indicates that this could happen soon – production may start again.
Photo: EW
What does that mean for Marvel fans? Most importantly, Deadpool 3 will start again soon.
Marvel fully intended to hotshot filming on that project in hope of it debuting next March. Obviously, that ain’t happening.
Disney already delayed the theatrical release of the film, but it doesn’t have to be for that long.
Source: @VancityReynolds
We’re about ten weeks into the acting side of the strike. Theoretically, we could still get Deadpool 3 next summer.
Disney has currently slotted the film for May 3, 2024. That strikes me as ambitious, but July doesn’t, presuming the actors settle quickly.
Other Impacted Marvel Projects
Source: Marvel Studios
Several Marvel films and television series were in various stages of principal photography/reshoots when the actors struck.
Thunderbolts and Captain America: Brave New World are probably the most recognizable titles of the bunch.
However, Daredevil: Reborn and Wonder Man also shut down. And starting up again comes with new complications.
Source: Marvel
Many performers will face dramatic demands for their time. Actors stack work, and many of the existing contracts didn’t account for a strike.
So, anything I say about what happens next is pure speculation. But Marvel should come first for most workers. It’s the highest-profile gig.
Image: Marvel
As such, I believe right now that some titles should be filming again by November. And I’m hoping for sooner.
I’ll provide additional clarity as soon as the actors broker a new deal, one that’s hopefully as good as what the writers got.
Marvel Miscellany
Image: Marvel
We’ve got a couple of other stories to discuss this week beyond the conclusion of the strike.
First, The Motion Picture Association of America has given The Marvels a PG-13 rating, which seems to be Marvel’s specialty.
Also, some reports suggest that Echo will air as a five-episode series rather than six.
Source: Marvel
The idea is that Echo plays too slowly for six full episodes. So, they’ll tighten it into five.
While I’d like to be optimistic here, I must be honest. This sounds exactly like the approach Max took with the absolutely disastrous The Idol. And that’s not good.
Thanks for visiting MarvelBlog.com! Want to go to Disney? For a FREE quote on your next Disney vacation, please fill out the form below, and one of the agents from MickeyTravels, a Diamond-Level Authorized Disney Vacation Planner, will be in touch soon!
The Flash movie features a unique and diverse cast, including multiple versions of Batman portrayed by Ben Affleck, Michael Keaton, and George Clooney.
The return of Michael Keaton’s Batman was highly anticipated, but his character meets a tragic end, emphasizing the inability to save everyone.
Gal Gadot’s appearance as Wonder Woman is one of her final portrayals in the DCEU, as the franchise moves away from the Justice League.
The Flash movie brings a wide cast of familiar and new faces to the world of the DCEU. While James Gunn and Peter Safran just signed on to reboot DC’s movie franchise on both the big and small screen, 2022 saw the last of the old-guard DC movies, with Blue Beetle, and Aquaman and the Lost Kingdom finishing things off. While The Flash earned itself a controversial spot in the overall DCEU timeline, to say the least, its status also makes aspects like its cast all the more noteworthy.
The Flash‘s cast is perhaps the most unique aspect of the film, as its multiversal plot means it’s able to do things like have three different versions of Batman in one installment. Indeed, the movie is essentially a love letter to the superhero universe as it formerly was known, featuring final performances from big actors like Ben Affleck and Gal Gadot. However, some casting decisions were regarded with less excitement and more scorn, especially as the movie made the controversial decision to posthumously recreate some big DC actors from history, generating conversations about the moral implications such a move had.
Barry Allen (the titular Flash) is the focal point of the movie, and The Flash brings in two versions of the character, both played by Ezra Miller. When the main Barry Allen goes back in time to alter history to save his mother – who was murdered when he was a child – he ends up distorting the timeline and then accidentally meeting a younger version of himself, who he promptly recruits to help to get to the bottom of things. That said, the younger Barry doesn’t have the same mindset as his older counterpart due to their differing upbringings, placing them into some considerable conflict in the film.
One of the consequences of Barry’s time travel is the return of Michael Keaton’s Batman — and this version of Bruce Wayne was inarguably one of the most anticipated DC characters in The Flash movie, with his movie ending lamented by those who hoped he could be becoming the DCU Dark Knight. As it stands, Keaton’s Wayne had put down the cape for many years when the two versions of Barry Allen meet him, and comes out of retirement to help his unusual allies. Sadly, this doesn’t end well for the character, as his death is then used to explain to the main Flash that he can’t save everyone.
Ben Affleck’s Bruce Wayne/Batman
While Keaton’s return was a key talking point surrounding The Flash movie cast, he’s not the only Batman in the film, as Ben Affleck’s Batman returns for what appears to be the last time. Affleck’s Batman is shown first in a high-speed chase he recruits Barry to help with, but then takes on a more emotional role as he warns Barry against messing with the timeline, with his monologue about his past and how he wouldn’t change it receiving much praise despite being a relatively small part of the overall movie.
George Clooney’s Bruce Wayne/Batman
There were a lot of theories about how The Flash‘s ending would conclude, but few guessed it would close out with Barry Allen’s attempts to right the multiverse meaning that George Clooney would exist in the universe as Batman instead of Michael Keaton or Ben Affleck. In fact, Clooney’s Batman ending was one of three possible endings considered throughout the movie’s production process, eventually being chosen as the definitive option. While the moment certainly proves both surprising and amusing, it’s also one that generated some considerable confusion in audiences, as it initially suggested Clooney might be the future DCU Batman – though this was later reported to not be the case.
Gal Gadot’s Wonder Woman
Gal Gadot appears as Wonder Woman towards the start of The Flash, in what now appears to be her final performance in the role given the DCU will reportedly contain no hero castings from Justice League.After Affleck’s Batman and the Flash chase down a criminal, Wonder Woman comes in to save the day, establishing the general dynamic among the superhero team when not having to face off against imaginably powerful enemies. As such, it’s quite a casual appearance, providing one final look at the hero before the DCEU concludes.
Henry Cavill’s Superman
Perhaps the most surprising cameo was one that technically didn’t even fully happen, as Henry Cavill’s Superman is recreated twice in The Flash. Initially, the back of Superman can be seen on a report showing him protecting the world – justifying his absence from the hero trio team up at the start of the movie. Later, Superman is shown in Speed Force scenes, which recreate Cavill’s likeness to a questionable degree, raising some criticisms about the special effects in the film.
Jason Momoa’s Aquaman
The final Justice League hero appearance comes in The Flash‘s post-credits, and see Barry Allen desperately attempting to explain his adventures to an intoxicated Aquaman, who instead chooses to lie down to sleep in a puddle. This sequence suggested Momoa might be continuing as Aquaman in the future of the franchise, but this has since been challenged, with it instead appearing the actor may play Lobo in the DCU going forward.
Temuera Morrison’s Thomas Curry
Aquaman’s father also reprises his role in The Flash. When Barry Allen is trying to find other heroes who still exist in the altered universe, he calls up Thomas Curry to try and find his son. The elder Curry reveals there is still an Arthur Curry in this universe, but it’s not his son, and instead the name he gave his dog, providing some suitable levity to balance the fact that it’s slowly revealed all of DC’s movie heroes have ceased to exist in this new world.
Jeremy Irons’ Alfred Pennyworth
Jeremy Iron also reprises his role as the iconic Alfred Pennyworth in The Flash, assisting Batman in fighting crime and providing a final glimpse of the character before the franchise reset. Given this is Affleck’s last appearance as the Dark Knight, it’s also fitting that Irons’ Pennyworth appears alongside him, cementing the bond between the hero and his most trusted ally.
Ron Livingston’s Henry Allen
Ron Livingston plays Barry’s father, Henry Allen, and replaced Billy Crudup, who had to depart due to scheduling conflicts. Crudup was cast as Barry’s remaining parent figure, framed for the murder of his wife. He had been in prison for years. Crudup first appeared in 2017’s Justice League. Despite it being given that he’d appear in The Flash movie, it was reported the actor was in negotiations to reprise the role before he had to drop out altogether. While Crudup had to leave, Livingston remains a solid choice to take his place, and provides the emotional core of the movie as he attempts to take care of his son despite being incarcerated.
Kiersy Clemons’ Iris West
One of the most important people in Barry’s life always will be Iris West, the love of his life. Kiersey Clemons takes on the role The Flash movie, after making her debut in Zack Snyder’s Justice League. While Iris doesn’t have a lot of screen time, her blossoming romance with Barry do play an integral role in the film, and connect the movie closer to its comic origins.
Sasha Calle’s Supergirl
Supergirl makes her big-screen debut in The Flash. Sasha Calle appearing as Kara Zor-el was a surprise casting, as the focus for the movie was previously thought to be just on The Flash himself and what then appeared to be two iterations of Batman. The Flash’s Supergirl repeats the premise of Superman’s story in the Flashpoint comic, as she’s held prisoner until Batman and the Flash duo are able to rescue her. Calle’s Supergirl also finds herself unable to escape death after repeatedly losing in battle against Zod, making it more unlikely that this iteration of the character willl continue into the DCU.
Maribel Verdú’s Nora Allen
Barry’s mom, Nora Allen, is a crucial character in the Flashpoint storyline, and her tragic death is what leads the scarlet speedster to time travel to the past to stop her from being murdered – which is faithfully adapted in The Flash movie. Known best for roles in Pan’s Labyrinth and Y Tu Mama Tambien, Maribel Verú officially joined the cast of The Flash movie as Nora, whose relationship with her son is just as heartbreaking on-screen as it is in the panels of the comics they’re inspired by.
Michael Shannon’s General Zod & Antje Traue’s Faora
One of the biggest surprises with DC characters in The Flash came when General Zod (Michael Shannon) showed up in the trailer as the major villain of the movie — or one of them, at least. However, the movie reveals Superman doesn’t exist in Barry’s altered version of the universe, leading the Flash duo, Supergirl, and Keaton’s Batman to instead try and save the Earth from the Kryptonian villain. Antje Traue also returns to the role of Zod’s lieutenant, Faora-Ul, with both villains proving impossible for anyone other than the Man of Steel to properly stand up against.
Saoirse-Monica Jackson’s Patty Spivot & Rudy Mancuso’s Albert Desmond
Saoirse-Monica Jackson and Rudy Mancuso play the roles of Barry Allen’s coworkers, who show some genuine concern for their compatriot, unaware of his superhero and time travel shenanigans. The duo work well to provide a glimpse into what the normal, non-superhero side of the world and Barry Allen’s life is like, providing some vital grounding to a movie about time travel and the multiverse.
Sanjeev Bhaskar’s David Singh
David Singh also plays a character who works with Barry Allen, but it’s worth noting that the actor doesn’t play a coworker but rather Allen’s tired boss, who’s grown accustomed to and annoyed of hearing his excuses as Barry tries to avoid giving his secret identity away. In a film where the main stakes are life and death – and the destruction of the entire multiverse – having some more relatable risks is certainly helpful to make the superhero scenes pack more of a punch.
Adam West’s Batman
Adam West’s Batman features in the main multiverse scene of the movie, with the scene appearing to use archival footage to highlight the universe of the 1960s Batman show, showing him running in a repeated clip on-screen.
Christopher Reeves’ Superman & Helen Slater’s Supergirl
Adam West’s Batman is by no means the only multiversal cameo in The Flash, as Christopher Reeves and Helen Slater also appear as Superman and Supergirl respectively.
George Reeves’ Superman
George Reeves’ iteration of Superman is also recreated for The Flash and its multiverse sequence, showing the character in his universe – set in sepia to establish the time period this version existed in – striking the iconic Superman pose. Both versions of the Superman cameos were criticized for their recreations of the respective actors, as the decision to recreate the since-passed individuals came under fire because both actors had previously expressed statements that suggested they may not have wished for their likenesses to be used in this manner.
Nicolas Cage’s Superman
Perhaps the longest of the multiverse cameos in The Flashis given to Nicolas Cage, giving audiences a glimpse into what the unmade Superman movie starring the actor could have looked like. While even this is a quick scene – with Cage himself joking he was glad he didn’t blink – it’s a nice memento to the corner of the movie franchise that both satisfies viewers who know of the canceled film, and intrigues those who don’t.
Nintendo of America president Doug Bowser has commented on the company’s relationship with Microsoft, after Xbox was revealed to be a potential suitor for the Mario maker.
“I totally agree that Nintendo is THE prime asset for us in gaming”, the executive told a colleague in an email exchange in 2020, in which he also said Microsoft’s board was “fully supportive” of such an acquisition should the opportunity arise.
Nintendo’s Bowser was asked about the leaks during an Inverse interview published on Friday.
“We have a great relationship with Microsoft,” he said. “We consider them to be partners in many, many ways, and you only have to look at Nintendo Switch to see that partnership.
Spencer’s leaked email concluded: “At some point, getting Nintendo would be a career moment and I honestly believe a good move for both companies. It’s just taking a long time for Nintendo to see that their future exists off of their own hardware. A long time.”
“We’ve seen the conversation around old emails and documents,” he said. “It is hard to see our team’s work shared in this way because so much has changed and there’s so much to be excited about right now, and in the future. We will share the real plans when we are ready.”
Saw X, which many have labeled Saw 1.5 has been “Certified Fresh” by Rotten Tomatoes and brought in a global total of $73.1 million (according to Box Office Mojo). It’s safe to say fans of the franchise approve of the latest installment.
A recurring topic around this film has been how it resembles the grittiness of the original and earlier installments. A grittiness that cinematographer Nick Matthews has brought to life through the guidance of director Kevin Greutert, who has also served as the editor on most of the Saw films.
When discussing the shoot, Matthews says, “To try and shoot digitally while still honoring the feeling of 35mm film, we settled on the Sony Venice. We shot 4K 4:3 (4096×3024) with 1.85:1 cropmarks, so we could use the extra recorded information for top and bottom reframes.”
Matthews also wanted to shoot in 360 degrees because “It felt like a practical reality where we needed to consider spatial lighting rather than lighting it shot by shot or by direction. I knew it was the right approach with the amount of coverage we were shooting (there are over 4,000 edits in the film) and with the style of filmmaking where we used two cameras on nearly every take. Kevin trusted me and it’s something we discussed in advance, but Saw’s brutality and edginess aided this approach.”
Matthews sat down with No Film School to chat about the cinematography of Saw X.
SAW X (2023) Official Trailer – Tobin Bellyoutu.be
No Film School: What did preproduction look like for you on Saw X?
Nick Matthews: Preproduction was a grueling, exciting journey where director Kevin Greutert and I defined the visual style of Saw X. The moment I landed in Mexico City, I was immersed in the world of Saw. I scouted all our major locations and took videos of the sun’s path and photos of all the sites.
A lot of our energy was spent locking locations, hiring the right crew, testing cameras and lenses, designing the color arc of the film, shot-listing, and designing the traps. Our production designer, Anthony Stabley was crucial in making this happen. Once they were designed, we tested the traps three or four times to ensure that each element would work seamlessly across the many departments involved. You only get one or two days to shoot each trap and you cannot lose hours to a minor malfunction.
NFS: Was it intimidating stepping into an already existing, very popular franchise?
Matthews: Every film is daunting at the beginning. You’re faced with the unknown and I strive to make something compelling, unique, and great no matter the film. That said, the first Saw was something that thrilled me in high school and I had a real affection for its style and legacy. I felt that we had the best script of the franchise largely because it focused on the emotional story of John Kramer, giving Tobin Bell the opportunity to flex his brilliant skills as a performer.
I was thrilled to make this… but the pressure is very real. I lost sleep on that for sure. You want to serve the story–honoring the original while bringing something inventive. You want to serve your own artistic ambition and create a space that honors the strength of the actors, while also giving the fans the best damn ride of the series.
‘Saw X’
Credit: Lionsgate
NFS: A lot of critics have discussed the look of Saw X, saying that stylistically this one is bringing back the grittiness of the original. Was that a conscious decision for you?
Matthews: This was absolutely a conscious decision. Something Kevin and I talked about from the beginning. This film is placed between Saw and Saw II, so that directly affects the visual language. I wanted it to feel like it fit into those worlds.
From the beginning, we wanted to immerse the audience into a gritty, grimy world that felt like the original films. We wanted it to feel dark, textural, and scuzzy. I wanted audiences to feel like they needed a tetanus shot afterward, but at the same time, we wanted to honor the strong Giallo color palettes of the early films. At the same time, we tried to elegantly pay homage to those films and their choices, while still bringing an elegance and an arc to the photography that served this individual story. That’s part of why we shot with a 1.85:1 aspect ratio.
NFS: Which death sequence was the most difficult to shoot?
Matthews: Every trap presented new macabre and technical challenges. From a stylistic and technical perspective shooting Gabriela’s Radiation Therapy presented the most challenges. It meant multiple makeup changes and working with stunts to rig and hoist the actor and the radiation machine. We shot a lot of the material using a Technocrane and Scorpio head to be able to capture the action appropriately–operated by 2nd Unit DP and B-Camera Op Edgar Luzanilla. It’s just a really exhausting and tedious process to capture the material we needed.
From a gut perspective and what jolted me on set–Mateo’s Brain Surgery trap was the most effective. The prosthetics company Fractured FX (who did The Knick, Westworld, and many other films) was the best team I’ve ever worked alongside. They crafted such disturbingly beautiful pieces. And it certainly made an impression–I shuddered a few times while shooting those scenes. I mean watching someone rip out pieces of their brain is jarring.
NFS: Saw X was shot in Mexico and you had shot a film there previously, so you knew the ins and outs. What is different about shooting a movie in Mexico than the US?
Matthews: I love working in Mexico City. The crew are absolutely brilliant creatives and technicians. My A Camera 1st AC Zitali Vargas was instrumental in bringing together an amazing camera team and my gaffer Ignacio Sanchez was an incredible collaborator. They were two of the biggest reasons we had a successful film. Some of the best crew in the world. I knew that our production budget would go further and we’d pull off astonishing things by shooting in Mexico.
There are a number of differences. In CDMX, it’s expected that there is a 6-day work week. This is very taxing on your body and ability to reset and prep for the next week, but it’s just the way things work. Additionally, the gear tends to come with technicians from the rental house who aren’t a part of your standard crew, so the crew size is rather large. Furthermore, you’re dealing with a lot of transportation nuances. The city is unpredictable in how the traffic will flow or what streets will shut down–so occasionally that creates challenges. Inherently there was a language barrier since I don’t speak Spanish which slowed things at certain points, but the amount of planning and tenacity we all had kept us moving at an unbelievable pace. I can’t wait to go back and work together again. Every country has its own way of making films.
‘Saw X’ BTSCredit: Lionsgate
NFS: Can you talk about the equipment you used on Saw X?
Matthews: We wanted to capture a gritty, textural, filmic look to hearken to the early Saw films that were shot on 35mm stock, grainy, and pushed. To achieve that we shot Saw X on the Sony Venice at 2000 ASA and used the Cooke Panchro/i Classic lenses and Pearlescent 1 filters. We further added grain in post. This combination gave us a textured look and lots of range to maneuver in post. I love these lenses because they give a very vintage quality but have all the convenience of modern lenses. We wanted to avoid the crisp, hyper-realism of digital in favor of a more painterly, organic film.
For our larger location work, we used a range of 20Ks, M90s, M40s, and M18s alongside a battery of LEDs. For the interiors of the main trap location, we completely blacked out the warehouse space and built the entire room out of LED film lights dressed into practical housings. This was a range of Skypanel S60s, Arri Orbiters, Aputure Accent B7c, Astera Titans, and Mc7’s on the camera for eye lights.
Because we designed some expressive shots that felt perfectly Saw to us, we used a range of styles of gear for camera movement. This included revisiting the circular dolly track and 12:1 zoom lens, lambda heads for specific spinning movement, probe lenses to place the audience into the eye tube trap, techno cranes to move the camera for a variety of scenes, and Steadicam. We did a number of shots that feel like kinetic flash frames shooting at 6 fps, 270-degree shutter. Some of that was even shot on my Blackmagic 6K Pocket Camera with a mixture of lens whacking because it was so much faster to mount or grab for certain types of shots.
NFS: You mentioned in the EPK that you wanted to shoot in 360, which the director (Kevin Greutert) hadn’t done before. Did he look to you to educate him on how this would be done?
Matthews: It felt like a practical reality where we needed to consider spatial lighting rather than lighting it shot by shot or by direction. I knew it was the right approach with the amount of coverage we were shooting (there are over 4,000 edits in the film) and with the style of filmmaking where we used two cameras on nearly every take. Kevin trusted me and it’s something we discussed in advance, but Saw’s brutality and edginess aided this approach.
Nick Matthews on the set of ‘Saw X’Credit: Lionsgate
NFS: What is key when shooting 360-degrees?
Matthews: I look at the space and think deeply about the color arc and palette of the space and the progression. So I think, “How do I craft something that walks you into that kind of space and into that sort of a world? How do I create shape and darkness within a space?” For me, it’s about thinking in terms of deep background, midground, and foreground, and then letting things fall off in a lot of places. I want the light to reflect John Kramer’s design and perspective. So the lighting articulates and changes as the traps evolve and change. I’m using color separation and a mixture of poisonous green, jaundiced yellow, sodium vapor orange, crimson red, and fluorescent blue. It’s all embedded into the space as practical lights in industrial fixtures.
We couldn’t shoot everything 360 degrees–it just doesn’t always work. But if you’re keying from the far side of the character or from above it gives you a lot of leverage and makes a variety of angles look great simultaneously because of where the shadows are being thrown. Because we’re using all LED, we’re able to dial everything on the fly–even the eye lights that we have attached to the cameras.
I took the palettes of the first two movies and mixed them in the spaces to create a film that would bridge Saw I and II with a certain elegance. I didn’t want this to feel monochromatic.
NFS: The first part of Saw X is more of a drama and then it gets into more of a horror film. Did you change techniques or anything when the movie shifted?
Matthews: The photography really follows the form of the film, so we elevate the color palette to a more heightened place and an edgier place as the film moves along. The story is one of elation and devastation, so the photography goes from more beautiful to brutal. It goes from more Rembrandt and side-lit and brighter to more gritty, grimy, and dark with a lot more color mixing.
NFS: Anything else you would like to add?
Matthews: I love world-building and it brought me such joy to play in the dark, macabre world of Saw. I hope to continue crafting unique looks and thematic worlds like this film for the rest of my career. I hope the fans really enjoy the attention to detail we baked into the movie.
Saw X is now available for digital and physical purchase on Amazon Prime, Vudu, Apple TV, and more.
EXCLUSIVE: BAFTA winner Dev Patel (Slumdog Millionaire), Blue Jean breakout Rosy McEwen and Jade Croot (The Serpent Queen) are starring in under-the-radar horror movie Rabbit Trap, which recently completed filming on location in Wales.
Bankside Films and CAA Media Finance are launching the project for sales at the upcoming AFM. Producing are Elijah Wood and Daniel Noah’s SpectreVision (Mandy) and Lawrence Inglee (The Tale), along with Elisa Lleras and Alex Ashworth and Sean Marley of Mad As Birds (Poms).
Set in 1973, the film charts the story of married musicians Daphne and Darcy Davenport, who have relocated from London to an isolated cabin in Wales in order to complete their new record. When they accidentally make a field recording of a mystical sound never before heard by human ears, a strange child enters their lives who gradually untethers them from reality, and the couple soon find themselves caught between the ancient spirits of the natural world and the lives they once knew. Above is a first look at the movie.
Written and directed by first timer Bryn Chainey, the film was funded by Adrian Politowski’s Align, who serves as a producer on the film alongside Executive Vice President of Production Martin Metz. Chairwoman Nadia Khamlichi, Commercial Director Nessa McGill and Vice President of Production Sierra Garcia will also serve as executive producers. Align and SpectreVision previously teamed on Nicolas Cage horror Mandy.
Bankside, which recently found success with Australian horror Talk To Me, is handling international sales and CAA Media Finance is aboard for domestic. A promo reel will be available during the AFM.
Having previously worked with composers including Oscar winner Volker Bertelmann and the late Jóhann Jóhannsson, for the soundscape of Rabbit Trap SpectreVision hired Lucrecia Dalt, whose 2022 album AY! was named Best Album of the Year by Wire Magazine, sound designer Graham Reznick (Ti West’s X) and sound supervisor Brent Kiser (Everything, Everywhere, All At Once).
Additional executive producers include Dev Patel, Wiser Film’s Benjamin Kramer and Carte Blanche’s Kyle Stroud, Tom Ogden and Bankside Films’ Stephen Kelliher and Sophie Green. The movie shot under Equity contracts so hasn’t needed an interim agreement.
Chainey’s short film, Jonah and the Vicarious Nature of Homesickness, won the Young Director’s prize at the Berlinale Talent Campus. Bryn went on to direct further shorts including, Moritz and the Woodwose and Kill Your Dinner, which premiered at the Berlinale.
“Bryn’s vision for Rabbit Trap artfully fuses the world of the BBC Radiophonic Workshop with authentic Celtic Faerie lore to create a mythical marriage story that unfolds in a sonic landscape. It’s an utterly unique vision from an important new voice in cinema that we’re privileged to be a part of,” said producer Elijah Wood.
Stephen Kelliher of Bankside Films added: “We were immediately drawn to Bryn’s arresting and authored take on a horror story which will immerse audiences in the most cinematic and sonic world, full of spirits from the ancient world. The creative team behind and in front of the camera is exceptional and we are thrilled to bring this highly anticipated debut to the world.”
“What did you do, Paolo? What did you do to them?”
The first look at season two (below) of Peacock’s anthology series Dr. Death shows Mandy Moore confronting Edgar Ramírez, hinting at the sinister secrets that lie beneath the charming celebrity surgeon named Paolo Macchiarini, who rose to fame after performing the world’s first synthetic organ transplant.
The follow-up season to true-crime thrillerDr. Death, which starred Joshua Jackson as neurosurgeon Dr. Christopher Duntsch, is also based on the hit Wondery podcast (season three) of the same name and this time around tells the true story of “Miracle Man” Paolo Macchiarini, who is described for the series as “a charming surgeon renowned for his innovative operations.”
Moore, in her next and darker TV turn following the end of her matriarch role on the beloved NBC family saga This Is Us, plays investigative journalist Benita Alexander, who approaches Paolo for a story. According to the synopsis, “the line between personal and professional begins to blur, changing her life foreve. As she learns how far Paolo will go to protect his secrets, a group of doctors halfway across the world make shocking discoveries of their own that call everything about Paolo into question.”
The eight-episode season, which launches in full Dec. 21, was written by showrunner and executive producer Ashley Michel Hoban. Luke Kirby, Ashley Madekwe and Gustaf Hammarsten round out the cast.
Executive producers for the UCP-produced series include Patrick Macmanus, Todd Black (Escape Artists), Jason Blumenthal (Escape Artists), Steve Tisch (Escape Artists), Taylor Latham (Escape Artists), Aaron Hart (Wondery), Hernan Lopez (Wondery) and Marshall Lewy (Wondery), Linda Gase and director Jennifer Morrison, who helmed the first four episodes. Laura Belsey directs the final four.
Peacock will also be releasing a companion documentary, Dr. Death: Cutthroat Conman, about the shocking rise and fall of Paolo Macchiarini onthe same day the season releases. The documentary is from Maxine Productions and Universal Television Alternative Studio.
Edgar Ramírez as Dr. Paolo Macchiarini
Courtesy of Scott McDermott/PEACOCK
Mandy Moore as Benita
Courtesy of Scott McDermott/PEACOCK
In a note about the series, showrunner Hoban said the anthology series format provides freedom to explore variations on a theme. “Dr. Death is a show about systemic failures, and this season, these issues reach a global scale. Amid complex narratives, we’ve been fortunate to delve deeply into a story that, while entirely unique, remains surprisingly familiar, as it taps into a truly universal part of the human condition: illness. Even putting aside any recent global pandemics, we all know what it’s like to feel sick. It renders us vulnerable, small, in desperate need of help. A doctor we can trust.”
She continues, “This pursuit of trust and truth is what ties our two stories together this season. Two stories that, on the surface, may not seem to have much else in common: Doctors in Sweden on the verge of a breakthrough. A journalist in New York falling in love. However, both revolve around individuals made to feel small. They’re about people standing up to something bigger, for something bigger, and how their seemingly small choices ripple out into the world to give power and voice to those who have been made to feel powerless and silenced. These are stories that you don’t think could happen to you, until you watch this season of Dr. Death.”
Ramírez as Dr. Paolo Macchiarini and Moore as Benita
The creative minds behind Keanu Reeves’ BZRKR comic book series and Doctor WhoMagazine have teamed up to deliver a new sci-fi limited series, coming in 2024 from Dark Horse Comics. The sci-fi epic, If You Find This, I’m Already Dead, will comprise three issues; the series is slated to begin its run in February of next year.
As revealed by Popverse, Eisner and Harvey Award nominated writer Matt Kindt has combined forces with writer and artist Dan McDaid for If You Find This, I’m Already Dead,
Cover art from McDaid and Brian Hurtt can be found below, while it’s been confirmed that Alice Darrow and Sumeyye Kesgin will illustrate future covers.
Matt Kindt is best known as one of the creators and co-writers of BZRKR, alongside Keanu Reeves. Dan McDaid’s credentials include writing “The First” storyline from Doctor Who Magazine, along with providing artwork on projects like Judge Dredd: Mega-City Zero, Greg Pak’s Firefly, and Joe Hill’s Sea Dogs. Speaking to Popverse, Matt Kindt joked that the pair’s upcoming series is, “If Moebius, Richard Corben, and Jack Kirby had a baby… Well… they actually did. And it’s us.” If You Find This, I’m Already Dead follows Robin, a reporter in the big city ready for her next big story, who gets wrapped up in something bigger than she could have imagined.
Robin accompanies a team of U.S. marines on their way to a pocket dimension called Terminus, which is filled with cosmic gods fighting with each other over political power. The marines in question are all killed almost immediately upon the start of their mission, forcing mild-mannered Robin to find a way out on her own – if she doesn’t suffer the same fate first. Aside from the exciting plot, another interesting thing about If You Find This s that the issues themselves are said to be released in “magazine-sized” format, measuring 8” to 10.875”, which is substantially large compared to the average comic book issue.
Kindt and McDaid Hope To Recapture A Bygone Pulp Sci-fi Aesthetic
With the oversized format of If You Find This, I’m Already Dead, Kindt and McDaid are attempting to recreate the classic pulp vibe from classic sci-fi magazines, as Kindt confirmed to Popverse: “We wanted to capture the great tradition of such great sci-fi magazine as Heavy Metal, Epic Magazine, and 1984 with a big scuzzy cosmic sci-fi story and format.” Kindt and McDaid have thought through every last detail of their story, including the presentation and aesthetic. By revisiting an old format, they will transport their readers to a bygone era, while pushing the medium forward at the same time, in what appears to be one of Dark Horse Comics’ most exciting upcoming titles.
Peacock is unveiling the official teaser and premiere date for Season 2 of Dr. Deathstarring Edgar Ramírez and Mandy Moore. All eight episodes will drop Thursday, Dec. 21 on Peacock.
Season 2 is based on the “Miracle Man” season of the Wondery podcast. It follows Paolo Macchiarini (Ramírez), a superstar celebrity surgeon who ascended to global fame after performing the world’s first synthetic organ transplant. When investigative journalist Benita Alexander (Moore) approaches him for a story, the line between personal and professional begins to blur, changing her life forever. As she learns how far Paolo will go to protect his secrets, a group of doctors halfway across the world make shocking discoveries of their own that call everything about Paolo into question.
Other cast members include Luke Kirby, Ashley Madekwe and Gustaf Hammarsten.
DR. DEATH — Episode 201 “Like Magic” — Pictured: (L-R) Edgar Ramírez as Dr. Paolo Macchiarini, Mandy Moore as Benita — (Peacock)
Peacock
“The joy of an anthology series is the freedom to explore variations on a theme,” said Ashley Michel Hoban, Dr. Death showrunner, EP and writer. “Dr. Death is a show about systemic failures, and this season, these issues reach a global scale. Amid complex narratives, we’ve been fortunate to delve deeply into a story that, while entirely unique, remains surprisingly familiar, as it taps into a truly universal part of the human condition: illness. Even putting aside any recent global pandemics, we all know what it’s like to feel sick. It renders us vulnerable, small, in desperate need of help. A doctor we can trust.”
“This pursuit of trust and truth is what ties our two stories together this season,” Hoban continued. “Two stories that, on the surface, may not seem to have much else in common: Doctors in Sweden on the verge of a breakthrough. A journalist in New York falling in love. However, both revolve around individuals made to feel small. They’re about people standing up to something bigger, for something bigger, and how their seemingly small choices ripple out into the world to give power and voice to those who have been made to feel powerless and silenced.”
Other EPs for Dr. Death include Patrick Macmanus,Todd Black (Escape Artists), Jason Blumenthal (Escape Artists), Steve Tisch (Escape Artists), Taylor Latham (Escape Artists), Aaron Hart (Wondery), Hernan Lopez (Wondery) and Marshall Lewy (Wondery), and Linda Gase. Jennifer Morrison directed episodes 1-4, while Laura Belsey helmed episodes 5-8.
Dr. Death is produced by UCP, a division of Universal Studio Group.
The streamer will also release a companion documentary called Dr. Death: Cutthroat Conman, about the rise and fall of Macchiarini, on Thursday, Dec 21.It’s from Maxine Productions (a part of Sony Pictures Television), and Universal Television Alternative Studio and chronicles how the surgeon was exposed as an international con man whose web of lies extended decades.
Mary Robertson, Eli Holzman, Aaron Saidman and Adam Ciralsky serve as executive producers. John Pappas will serve as co-executive producer and director.
New York City was buzzing with anticipation as news of the Rolling Stones’ special celebration for their latest album, Hackney Diamonds, trickled in. The event was initially shrouded in mystery, described as a “Rolling Stones event on the evening of Oct. 19.” But as the rumors spread, it was soon revealed to be an album-release party, with hints of a potential live performance that left fans ecstatic.
Word on the street suggested that the iconic rock band might treat 500 lucky attendees to a 25-minute set at Racket, a Chelsea venue formerly known as the High Line, according to Variety. The excitement only grew as multiple sound trucks, barriers, and tight security lined West 16th and 17th streets just an hour before the announced 8 p.m. start time.
Kevin Mazur/Getty Images for RS
As the night unfolded, the Rolling Stones delivered an unforgettable performance that exceeded all expectations. Opening with their 1978 New York City anthem, “Shattered,” the band thrilled the audience with several tracks from the new album. Classic hits like “Tumblin’ Dice” kept the crowd rocking, and they closed their main set with the timeless “Jumpin’ Jack Flash” before returning for an encore that featured a special guest, Lady Gaga.
Kevin Mazur/Getty Images for RS
Gaga, clad in towering platform heels and a sparkling half-maroon, half-black bell-bottomed jumpsuit, took the stage with the legendary rockers. She joined the group for “Sweet Sound of Heaven,” a track from the new album, where her soaring counterpart to Mick Jagger’s lead vocal added a unique twist. In-person, the performance exceeded the studio recording, with Gaga and Jagger duetting, sharing smiles, and egging each other on.
Kevin Mazur/Getty Images for The Rolling Stones
The star-studded audience included celebrities like Daniel Craig, Mary Kate Olsen, Chris Rock, Jimmy Fallon, Trevor Noah, Taylor Hill, Rachel Weisz, Christie Brinkley, Ed Burns, Keegan-Michael Key, Minka Kelly, Christy Turlington, Hackney Diamonds producer Andrew Watt, and many more. Elvis Costello and Diana Krall secured the closest viewing position in the balcony. Questlove handled the DJ duties before and after the performance.
Kevin Mazur/Getty Images for The Rolling Stones
Mick Jagger acknowledged during the set that this show was part of a tradition of dramatic New York City announcements by the band, such as playing on a flatbed truck down Fifth Avenue in 1975 and driving across the Brooklyn Bridge in 2004. This event aimed to launch the new album, which coincidentally dropped around 90 minutes after the band left the stage, but it also hinted at the possibility of another tour in the near future.
Kevin Mazur/Getty Images for The Rolling Stones
With their new album showcasing remarkable vitality and energy, the prospects of a new tour by the Rolling Stones appear promising.
The Rolling Stones closed Hackney Diamonds with a cover of the traditional “Rolling Stone Blues,” a nod to their beginnings 61 years ago. While it might suggest the end of the road for the legendary group, Thursday night’s performance hints at something new and exciting on the horizon.
LA FEMME INTERNATIONAL FILM FESTIVAL 2023 REVIEW! In Linjie Huang’s short film, Chasing Jupiter, a young woman’s day has finally come. Our protagonist (Flora Jiwu Hwang) is beyond excited. The day has come for this astrophotographer, as the first meteor shower has come over a century from Jupiter.
With five minutes to go, the photographer prepares to shoot what will be the astrological photo contest winner. The problem is that her cute doggie (ironically named Jupiter) has stolen the key to her lens case and won’t return it.
“…her cute doggie (ironically named Jupiter) has stolen the key to her lens case…”
Running at a brisk four minutes, filmmaker Huang’s quick storytelling gets us right to the heart of the issue about our priorities in life. Sure, once-in-a-century opportunities come around, say, one time every hundred years, but we should never look sight on what’s truly important.
Chasing Jupiter is almost a silent movie. As the photographer, Flora Jiwu Hwang tells her emotional story beautifully through her body language and facial expressions. Yet, the most difficult challenge is finding a satisfying ending for this kind of story, and Huang sticks the landing beautifully.
Yobs are being hunted in South Africa for animal cruelty after force-feeding Carling Black Label lager down the throat of a terrified python.
The gang had grabbed the protected six-foot-long reptile as they partied in the bush and forced open its jaws to pour beer down its throat.
Snake experts say that the reptile’s organs would have no way of dealing with alcohol and that it would have burned its internal tissues and caused severe damage or death.
The 14-second clip shows two men holding the snake upright and a third man emptying a whole 750ml bottle of the Canadian lager down the snake’s throat.
The crowd are baying and laughing and one of the tormentors looks poised to pour a second bottle down the python’s gullet as it is held helplessly up in the air.
These drunken yobs are being hunted in South Africa for animal cruelty after force-feeding Carling Black Label lager down the throat of a terrified python
UK snake expert Michael Grover said on his reptile website that even a tiny amount of alcohol can be deadly and it causes ‘disorientation and a loss of co-ordination’.
He said: ‘If a snake drinks alcohol it can be fatal as it is highly toxic to them and can cause severe damage to its liver and other organs leading to organ failure and death’.
The angry National Society for the Prevention of Cruelty to Animals (NSPCA) has uploaded the sickening video onto its SA website and is appealing for information.
A spokesman said: ‘This is a threatened or protected species of African rock python being effectively tortured and we will bring the full force of the law into play.
‘The snake is being force fed with beer and it is clearly cruelty and it is causing the python immense suffering and it could very well have caused a painful death for it.
The boozers grabbed the protected six-foot-long reptile as they partied in the bush and prised open its jaws and poured a quart of beer into the stricken creature
‘A full investigation is underway and any substantial information will be of great help as it is difficult to trace perpetrators from an anonymous video posted online.
‘The public outrage on social media has born full testament to the fact that animal cruelty is not only not accepted in South Africa but also won’t be tolerated’ he said.
Anyone with any information can call the NSPCA Special Projects Unit at +27 11 907 3590 or email specialprojects@nscpa.co.za and their identity will be fully protected.
Que Pasa wrote beneath the video on the NSPCA website: ‘How utterly despicable. May these people get dealt with by the heaviest hand of the law. This is absolutely heartbreaking’.
Louise Thompson said: ‘Absolutely heartbreaking’.
The NSPCA is the South African version of the RSPCA which is determined to track down the three men and are posting the video horror on websites across the country.
African Rock Pythons are known as TOPS – Threatened or Protected Species – and can grow to over 20 feet long and weigh over 200lbs and kill by constricting prey.
It means they wrap their coils round their victims and every time the prey breathes out it tightens a little until it has no oxygen left and usually dies of cardiac arrest.
The non-venomous snakes can give a nasty bite if threatened and can swallow large antelopes and even crocodiles and in rare cases have been known to swallow humans.
One python killed by hunter K H Krof in South Africa in 1958 was measured at 23 feet long and when it was opened up a 5 foot Nile Crocodile was found dead inside!
Sentences for killing-pythons vary from fines starting at £2000 to two 9-year sentences for a local man who killed and skinned one and another who eat its meat to treat back pain.
Share or comment on this article:
Drunken yobs force a python to drink a bottle of Carling Black Label lager: Police hunt gang whose stunt is likely to have killed the snake
SPOILER ALERT: This interview contains spoilers from the Season 2 finale of “The Challenge: USA,” now streaming on Paramount+.
“The Challenge: USA” was even harder than it looked, in part because one of the competitions was cut from the final edit.
When asked about the toughest part of the final — a multi-day race with numerous legs — winner Desi Williams tells Variety that it was “sheer amount of uphill running on rough terrain” — especially since she was “dehydrated, because we had stayed up all night the night before doing an overnight challenge that wasn’t shown.”
The season’s other winner, Chris Underwood, describes the edited-out overnight challenge, which is shown in the photo above.
“After Day 1, we had set up camp, we built a fire, and 30 minutes into us doing our ‘Kumbaya’ stuff, TJ Lavin came in and basically told us that we had to stand up individually on these 12×12 pillars, that had barely enough room for your feet to stand on,” Underwood says.
The group had to guess when an hour had passed, counting the seconds. After they thought they reached an hour, they could step off. However, if they stepped off before the hour was up or after an hour and five minutes had passed, they had to restart.
The cast — minus Johnny “Bananas,” who chose to do the competition alone — counted together and got it wrong three times, which meant they were stuck standing for more than three hours.
Photo by Jonne Roriz, courtesy of Paramount
“It was just one of those terrible, torturous, aggravating things,” Underwood says. “The final was hard and that uphill climb, it was vertical. At some times, we were grabbing trees to pull ourselves up the incline. But that night challenge, not having sleep going into it and then just the fear of like, ‘What if we get it wrong again?’ We had up to six tries, so there was a lot of pressure to get it right.”
Both Underwood and Williams came on the show with a purpose — he was determined to change his reputation as the least-deserving “Survivor” winner of all time, while Williams’ partner quit during the Season 1 finale, which meant she was disqualified and didn’t have the chance to show she had what it takes to win. Now that they’re both champions, neither feels the need to play again.
“I’m getting married. I own a business. So it is a huge sacrifice to leave for seven weeks. I’ll never say never, so I could do it again but the stars have to align,” Williams says. “It has to be the right timing, where I feel like things are stable at home, I feel like things are stable with the business.”
Underwood says they’re on the same page. He didn’t expect to get a call to play at all, and now that he has, he doesn’t feel the need to return.
“For me, wanting to play the game was kind of a comeback tour, out of retirement. I didn’t think I was gonna get a call to play shows again. I wanted to prove that I had the dog me to win and compete. I didn’t get a lot of good publicity after winning ‘Survivor,’” he says. “I was going to go and give it my all and didn’t really care if I was going to come back or not, I just want to make this worth it for the sacrifices I made back home. If I were to play again, it would have to be an all-winners version of ‘The Challenge’ or something like that, because it would take a lot for me to leave what I’m doing now. I’ve got a 1-year-old daughter. Work is taking up a lot of my time, so there are definitely sacrifices. I’ve got things outside of the reality television life, so it would really depend. I don’t think I can’t say that I have the bug.”
Thirty years ago, in September of 1993, Nirvana released its final record, the Steve Albini-produced “In Utero.” Nirvana, comprised of Kurt Cobain, Krist Novoselic and Dave Grohl, was considered the “it” group of the moment following the monumental commercial success of its influential sophomore effort “Nevermind.” “In Utero” was the response to their mounting fame.
In honor of the three-decade milestone, O’Brien hosts Novoselic, Grohl and Albini for a new episode of “Conan O’Brien Needs a Friend” to talk about the recording process for the album. Though they say it took less than two weeks to complete, there are still new tidbits and resurfaced memories the band recalls from the “In Utero” sessions in this upcoming episode.
“We were done with the drums and I think the basic tracks in three days or three or four days so that left me with a good week of sitting around doing fucking nothing in that house [Pachyderm Studios],” said Grohl. “Like ‘The Shining,’ just watching those David Attenborough videotapes.”
Novaselic recalled killing time by “tending to the fire,” ultimately leading to the guys lighting other items and even each other on fire. “How long was your ass on fire for?” O’Brien asks Grohl at one point in the episode. Elsewhere, Albini remembers impersonating Cobain on prank calls with Kiss’ Gene Simmons, offering his best impressions for a reenactment of the conversation.
“So, the word comes down that Gene Simmons is desperate to get Nirvana on [“Hard to Believe: A Kiss Covers Compilation” album]… the appeal comes from management, directed through management like ‘We got this call from Gene Simmons, he’s really hot to have you guys on this album — do you want to call him back?’ And Kurt is like, ‘I don’t want to talk to fucking Gene Simmons’ and I said I’ll do it.”
The full interview will run on Oct. 23 in the Conan O’Brien “Needs a Friend” feed and an extended version that includes music will air on Monday at 6 p.m. on SiriusXM’s Lithium (channel 34).
Watch an exclusive sneak peek of the episode below.
How can a company use marketing to make a memorable impact when the average human attention span is less than that of a goldfish?
Shreya Kushari, chief client officer at OMD USA, noted this statistic in conversation with Frank Cortese, global head of brand media at Canva, and John Campbell, senior vice president of client partnerships at Disney. They spoke on a panel together as part of the Variety Studio presented by Canva at Advertising Week.
“Use those two seconds really well,” Kushari continued. “And go into the insights of ‘What is it that they’re doing, what are they looking for? Are they laid back? Are they leaned in?’ And therefore, customize the branded experience that we do for them.”
Cortese mentioned that Canva is working on the fourth version of a campaign called “What Would You Design Today?”
He noted the importance of finding ways to make a campaign interesting: “Showing up with experiential activations at tentpole moments, integrating ourselves into popular television and film content along the way, where we can take the message from the campaign and also infuse it into various touch points that a consumer might come into contact with.”
Campbell shared an anecdote about creatively using technology to capture audiences’ attention — especially new audiences. Disney recently partnered with the NFL to showcase Pixar’s “Toy Story” characters playing football, which brought in “millions of new audiences.”
He said, “You start to have families watching the NFL that never looked at that before, just because it didn’t appeal to them. But when you put it in a ‘Toy Story’ format, all of a sudden, my 7 and 5-year-old love Woody, and they want to watch the NFL.”
Also on the topic of technology, Cortese discussed how AI can be used to facilitate a more efficient and creative experience in Canva’s Magic Studio. He offered several examples; users can, for instance, have a brainstorming session summarized into a document.
“We’re really trying to make it easy for people to take the mundane tasks that maybe they’ve had to spend a lot of time on, but give them more time to think creatively and think strategically. So that’s how we think about it being a co-pilot for people on the side,” Cortese said. Kushari agreed that AI should be used to “make life easier.”
“We can’t teach emotions, true emotions,” Campbell said. “We want to make sure we have that balance of technology as well as human creativity.”
Cortese concluded the conversation by saying, “We are trying to do bigger, fewer, better partnerships with our partners, making sure that we’re really driving impact and attention with our consumers, and engaging them in a way that is helpful to them.”
Lainey Wilson, the breakout country star who leads the pack in this year’s CMA Awards nominations, has announced a headlining tour that will take her across the U.S. in May through November of 2024.
The singer and “Yellowstone” actor will celebrate her string of No. 1 country singles with dates that begin and end in the regions she calls home — starting May 31 at Nashville’s Ascend Amphitheatre and wrapping up Nov. 15 in Monroe, Louisiana’s Civic Center. In-between, the “Country’s Cool Again Tour” will hit venues such as New York’s Radio City Music Hall (on June 26) and L.A.’s Greek Theatre (on Sept. 1).
These 2024 dates aren’t Wilson’s first time out as a headliner — she just played Colorado’s Red Rocks — but it’s her first time traveling the U.S. as an amphitheater and theater topper, after a 2023 tour that mostly found her in smaller venues.
A series of presales will begin Monday and run throughout the week before the general onsale starts Oct. 27 at 10 a.m. local time at LaineyWilson.com. Live Nation is producing the tour.
Wilson is going into this year’s CMA Awards with nine nominations, far ahead of the nearest contender, Jelly Roll, who has five. She is up for the top prize, entertainer of the year, along with other awards like album of the year (for her sophomore album, “Bell Bottom Country”) and single of the year, where she has two nominations, for “Heart Like a Truck” and “Wait in the Truck,” the latter being a collaboration with Hardy.
Wilson has spent three weeks at the peak of the Billboard Country Airplay chart this month with “Watermelon Moonshine,” her third No. 1 single. It marked the first time a solo female artist topped the chart for one week, let alone three, since her own breakout hit “Things a Man Oughta Know” her breakout hit,” reached No. 1 two years earlier. She is also currently on the chart as a featured artist on Jelly Roll’s fast-rising top 20 hit “Save Me,” which could ultimately put her in the top spot again.
Jackson Dean, Ian Munsick and Zach Top are booked as the opening acts.
The full 2024 itinerary for Wilson’s tour:
5/31 – Nashville, TN (Ascend Amphitheater) *^
6/14 – Camden, NJ (Freedom Mortgage Pavilion) *^
6/15 – Gilford, NH (Bank NH Pavilion) *^
6/20 – Saratoga Springs, NY (Broadview Stage at SPAC) *^
6/21 – Syracuse, NY (Empower Federal Credit Union Amphitheater at Lakeview) *^
Makers of Maama Maschindra unveiled the release date of the film.
Directed by Harsha Vardhan, Maama Maschindra features an ensemble cast including Sudheer Babu, Eesha Rebba, Harsha Vardhan, Mrinalini Ravi, and Ajay in pivotal roles.
Prime Video today announced the global streaming premiere of the Telugu action-drama Maama Maschindra. Directed by Harsha Vardhan, the film features Sudheer Babu, Eesha Rebba, Mrinalini Ravi, Harsha Vardhan and Ajay in pivotal roles. The film will exclusively stream in India and across 240 countries and territories worldwide on October 20 in Telugu.
Maama Maschindra revolves around Parasuram (Sudheer Babu) who portrays three different characters in the film. His childhood trauma impacts his life making him a self-centered man, who wants nothing more than to safeguard his daughter and get rid of any threat. The story further develops where Parasuram learns that his mother’s property is with his maternal uncle, whom he manages to impress and thus marries his daughter. In his determination to gain complete access and eliminate any threats, he takes on his brother-in-law’s family. The events that follow, his change of heart and transformation, makes for an engaging watch.
Maama Maschindra is a part of Prime Video’s festive line-up for the Great Indian Festival 2023. The line-up also includes several other original series and blockbuster movies across multiple languages.
Written and directed by Harsha Vardhan, Mama Maschindra also stars Ajay and Sudheer Babu Posani in crucial roles. Actors including Mirnalini Ravi, Dayanand Reddy, Rajeev Kanakala, Hari Teja and Ali Reza are also seen in pivotal roles.
The film is produced by Narayan Das Narang and Puskur Ram Mohan Rao under the banner of Sree Venkateswara Cinemas, Srishti Celluloid banners. The music has been composed by Chaitan Bharadwaj, and the cinematography of the film has been handled by PG Vinda.
Yatamanyu is a multi-disciplinary Journalist & Photographer who dabbles in Films, Poetry, Music, Politics, Pop-Culture and everything in between. …Read More
Ravonna was first introduced last season where audiences discovered Judge Renslayer was originally the hunter who captured Sylvie, as well as a Variant of Rebecca Tourminet, a high school vice principal.
However, Loki‘s latest season suggests there may be more to Judge Ravonna Renslayer’s backstory than what even she knew in Season 1.
Loki Reveals Renslayer’s Backstory
Marvel Studios
Update: Season 2, episode 3 of Loki said a good bit more about Judge Renslayer. Namely, that she appears very devoted to He Who Remains’ cause. It’s revealed in the episode that Ravonna is working alongside Miss Minutes to restore the Sacred Timeline under the orders of the dangerous, but dead Kang Variant.
Renslayer spends much of the episode trying to gain the trust of Victor Timely in the year 1893, but he ultimately betrays him only to have her turn a time stick on him. “All that matters is order versus chaos. I’m order.” she says, indicating her strong desire to gain some control.
Of course, shortly afterward, she comes face to face with He Who Remains’ dead body after being kicked through a time door by Sylvie. It’s then that Miss Minutes teases that she knows something about Renslayer that will make her very angry.
The last audiences saw of the TVA’s Judge Ravonna Renslayer she was leaving through a time door in pursuit of free will, otherwise known as He Who Remains.
But despite her absence throughout Season 2 thus far, Episodes 1 and 2 contained hints of her unknown backstory.
Marvel Studios
For instance, in Loki‘s latest episode titled “Breaking Brad,” Loki shared new details about an old recording he heard in Episode 1 involving Renslayer and He Who Remains, saying, “It sounded like they were partners.”
“Hang on… When I was in the past, I heard something. An old… a conversation between Renslayer and He Who Remains. It sounded like they were partners.”
The fact Loki heard this recording when he timeslipped into the past is a bit of a twist.
It suggests that Renslayer and He Who Remain’s partnership happened before the events of Season 1 or, at least, a past point in time.
Marvel Studios
The content of that recording also teases Ravonna Renslayer’s participation in a prior “war.” The transcript reads as follows:
He Who Remains: “For us. For All Time”
Renslayer: “Always.”
He Who Remains: “Ravonna Renslayer, you are quite a marvel. I will be proud to lead with you. You made a difference in this war. Thank you for being on my team.”
Interestingly enough, Ravonna Renslayer’s comic book story was also complex.
In print, Ravonna was a princess, not a TVA judge. But she was Kang the Conqueror’s romantic interest who was both for him and against him at different times.
Marvel Comics
Speaking of two different times, her comic book narrative resulted in two different Ravonnas with two different stories.
Whether that’s what Loki has in store for the MCU’s Renslayer remains to be seen.
More Renslayer History To Be Revealed?
While fans don’t know when Gugu Mbatha-Raw’s Ravonna Renslayer will make her Season 2 debut, series producer Kevin Wright already hinted at her important role, revealing audiences will “get a real understanding” of her perspective of her purpose:
“Sylvie wants to burn it down because the apple is rotten, as she says… Mobius and B-15, they’ve dedicated their whole life to it. They’re not quite ready to give it up. Renslayer feels like she’s been keeping it together, and you get a real understanding of why she thinks she should be the one to get this thing back on track.
However, since the TVA currently views her as a villain, it will be interesting to see if and how she returns to her role.
As for being “partners” with He Who Remains, like the recording itself, that answer may lie in the past.
In this month’s The Sandman Universe: Nightmare Country: The Glass House #5, we see several puzzle pieces finally falling into place.
Thessaly’s protecting Madison, in her Dream-given cat form, and Max. Both are on the run from the evil angel and corrupt millionaire behind the nightclub that doubles as a gateway to hell. Meanwhile, The Corinthian has infiltrated the club, in an effort to liberate Kells, Max’s undead girlfriend.
Positives
I’m wondering whether you’re reading this review without having enjoyed any issues of this remarkable series. Why? Because the last paragraph should have your head swimming and asking yourself, “OK… what?!?” I’m also asking myself, regularly, why more people aren’t reading this title, because it’s consistently fantastic.
All the breadcrumbs James Tynion’s been dropping since Nightmare Country #1 are starting to bear fruit, including the huge bombshell that closed issue #5. Dream has become embroiled in the events occurring in this series, so I can’t wait to witness the fireworks when he discovers that, once again, one of his younger siblings is neck-deep in the whole mess. In fact, it looks like they’re the one who’s behind the whole scenario.
I’ve been following Dream and his siblings since day one, and seeing them honored and homaged in great new comics makes me very happy indeed. Lisandro Estherren and Patricio Delpeche keep taking us into a world that feels like it’s come out of our darkest dreams. The art’s creepy, yet beautiful, and the colors are spooky and ethereal. All put together, these comics stand out from the crowd. This is intelligent, psychological horror at its finest.
Never in my wildest imaginings could I ever have believed that love between an undead girl and a mortal man could feel beautiful and real, but Max and Kells are so brilliantly written and drawn that I can’t help but root for them. Thessaly has always been infuriating, and now that she knows who’s been pulling the strings, even hers (from waaay back in the original Sandman series) I know that sparks are going to fly. Will she and Daniel cross paths?
Seeing Azazel, The King Of Pain, Dream, and his siblings in this book always makes me happy, so this issue ticked a lot of boxes.
Simon Bowland keeps up the class, too. His lettering is as elegant, essential, and perfect as the script and the art. I can feel the heat coming from those candles as I hear them light up.
Negatives
I WANT TO SEE DREAM AND THESSALY CONFRONT THE ENEMY! AAAARRRGGGHHH!
Of course, this is just me being selfish and impatient.
Verdict
I’m sure that it will come as no surprise that I loved Nightmare Country: The Glass House #5. Everything about this title just works for me, and I leave every issue wanting more. The only trouble is, I don’t want to wait.
Venom plays a major role in the story of Marvel’s Spider-Man 2, which launched today, October 20. And the symbiote could possibly get a starring role in a spin-off to the PS5 exclusive in the future.
Asked by Insider about a Venom game similar to Spider-Man: Miles Morales, Spider-Man senior narrative director Jon Paquette sort of danced around the question. “We’re focused on Spider-Man 2, and what we’re gonna do is we’re gonna wait to see how the fans react,” he said. “We’re gonna listen to the fans and we’re gonna ask ourselves, ‘Okay, what do the fans really want?'”
Size:
Want us to remember this setting for all your devices?
But first, Paquette said developer Insomniac needs some rest and relaxation. “We’ll kind of talk about stuff after we’ve all had time to sleep and take vacations,” he said. Though the studio isn’t totally moving on from Spider-Man 2. The PS5 exclusive should get New Game Plus sometime this year, in addition to mission replay via an update.
The products discussed here were independently chosen by our editors.
GameSpot may get a share of the revenue if you buy anything featured on our site.
New Line’s The Nun II, one of the few bright spots at the fall box office rocked by the actors strikes, will hit Max on Oct. 27. That premiere date is after the pic’s 50-day theatrical window.
The Michael Chaves directed sequel in the Conjuring universe opened to $32.6M and through yesterday counts $84.4M at the domestic box office and over $258M worldwide.
The movie follows young Sister Irene’s (Taissa Farmiga) crusade against a sinister, evil Mother Superior spirit, aka Valak, who takes over the souls of people around her. Set in 1956 France, the pic picks up after The Nun when Maurice (Jonas Bloquet) becomes possessed.
In a real-time reminder of the dangers of covering international conflict, CNN anchor Sara Sidner was reporting live from the West Bank city of Ramallah when a man accosted her on-air to voice criticism of the network’s coverage of the Israel-Hamas War.
“You are genocide supporters. You are not welcome here, genocide supporters,” said a man who came up to Sidner while she was in the middle of reporting on air. “Fuck CNN! Fuck CNN! Genocide supporters.” The scene was transmitted live during “CNN This Morning,” the Warner Bros. Discovery-backed network’s regular A.M. program
Sidner maintained her composure, but there were a few moments on screen when CNN’s cameras appeared to be forced back from her. Security personnel were seen moving in to her position, and, after a few moments, escorting her away from the scene. She continued to respond to anchor Erin Burnett, on the ground in Tel Aviv even as she was walking away.
“We’re fine.” said Sidner, flanked by security agents. “But what you are seeing is the heightened fear, anger, frustration with what is happening in general.”
Sidner is a former international correspondent who has lived in the region and covered Israel and Gaza for years, dating back to 2014. She was part of a team that won a Peabody award for CNN’s coverage of the Arab Spring, and has been recognized in the past for work done in Libya while reporting in the midst of rebel fighters during the fall of Tripoli. In 2011 Sidner shared the Achievement of the Year Award from SKY WFTV Women in Film & Television in the United Kingdom for her war coverage in Libya.
Alyssah Farah Griffin, the former Trump White House staffers who is now a CNN contributor, praised Sidner on social media, citing incredible composure and poise.”
Actress Haydn Gwynne died today following a recent cancer diagnosis. She was 66.
Her representatives confirmed the news Friday with a statement handed to multiple news outlets. The statement said Gwynne died in hospital “in the small hours of Friday, October 20, surrounded by her beloved sons, close family, and friends.”
“We would like to thank the staff and teams at the Royal Marsden and Brompton hospitals for their wonderful care over the last few weeks,” the statement added.
Born in Sussex, England, Gwynne studied Modern Languages at the University of Warwick before taking a five-year lectureship in Italy, where she taught English. She became an actress in her mid-twenties and first came to notice on television as starring in the David Lodge campus comedy/drama Nice Work (1989) before joining the comedy series Drop the Dead Donkey (1990), for which she earned a BAFTA TV nomination in 1992.
Some of her other small screen credits included Peak Practice, Merseybeat, and the HBO/BBC historical series Rome. Gwynne also briefly portrayed former royal aide Lady Susan Hussey, who resigned from the royal household following a racism row, in the fifth series of Netflix’s The Crown.
Alongside her work on the small screen, Gwynne had a celebrated career on stage, receiving four Olivier Award nominations for her performance in the West End productions of City Of Angels, Billy Elliot The Musical, The Threepenny Opera, and Women on the Verge of a Nervous Breakdown. She was also nominated for the Best Performance for a Featured Actress in a Musical Tony Award for Billy Elliot on Broadway in 2009.
Gwynne’s other prominent West End roles included Margaret Thatcher in The Crown creator Peter Morgan’s 2013 production The Audience. She starred alongside Helen Mirren in the play. Gwynne had been set to appear in a new London production of Stephen Sondheim’s Old Friends, but withdrew in early September. A statement at the time sighted “sudden personal circumstances.”
Paying tribute to Gwynne on social media, the writer Jack Thorne said: “Haydn was the kindest, loveliest soul and a wonderful performer. She gave everything to everything.”
There’s a lot that made The Sopranos a great show during its run. The late, great James Gandolfini was the show’s star. The overall idea of having a mob boss go see a therapist is such an alluring subplot of the show. The depth of the characters in the writing is also a big draw. One of the most standout characters was Christopher Moltisanti, someone whom Tony Soprano referred to as his nephew (in reality, he was related in a more convoluted way). A role played perfectly by Michael Imperioli. Christopher had a lot of famous quotes on the show. He was a brash, tough guy with a sensitive side.
Christopher had a string of episodes where fans either loved him or hated him. He was Tony’s protégé who wanted to have a lot of power in the crew but never wanted to overstep any boundaries. Despite being a stone-cold killer, he was also a bit of an artist, as he pursued a passion for screenwriting, as most know. Thus, he was one of many who knew how to deliver emotion in dialogue, either on the page or in person. So here are the best quotes from Christopher Moltisanti.
10 “In my thought, I use a technique of positive visualization. How come I always feel undermined?”
HBO
Christopher is never really a hothead on the show. But when he gets impatient with things, it can get him to overact and get into his head a little bit. Christopher has always kind of been what has felt like a sidekick to Tony, but in Christopher’s mind, he’s no sidekick. In the second episode of the entire show, Christopher drops this line out of frustration. When he sorts out a lot of major issues for Tony, he begins to feel that he has earned the right to be a made guy in the crew. Tony, of course, finds humor in Christopher’s frustration.
Christopher again gets real philosophical here in another early episode of the show. He’s supposed to go out with his buddy Brendan to hijack a truck. However, he decides to opt out of the gig based on advice from his uncle Tony. Apparently, the job would only make things worse between Tony and Uncle Junior, which is something Christopher wants no part in doing. He’s alone, maybe a little high, and sounds like a frustrated employee at a job where management is clashing with one another.
8 “Wait here, I’ll get your Viagra.”
HBO
The first few quotes on this list are definitely deep-rooted in the fiber of Christopher’s being in thought process. However, from time to time, he can crack a joke at the expense of one of his colleagues being a little too confident in themselves. As Tony, Silvio, and Christopher are sitting outside of one of the crew’s fronts, they all take notice of a beautiful woman across the street. Silvio lets it be known to the others that if she gave him a chance to court her, so to speak, he would know what he was doing. Without missing a beat, Christopher says, “Wait here; I’ll get your Viagra.”
7 “I f*cking deserve it. Ain’t got no spleen, Gene.”
HBO
Christopher’s hard work at attempting to become a made man in the crew begins to pay off eventually. In an episode where he is put in charge of two wannabe gangsters, his abilities as a leader are about to be tested. Christopher then gets an attempted double cross against him by the two new employees of the crew, who try to have him killed for their own personal gain. Christopher handles the issue like a pro, and then Tony lets him know he’s going to be made. His response to the news is this quote.
6 “I don’t care if they shove a scud missile up your ass, this is my corner.”
HBO
Despite being in a relationship with someone who eventually becomes an informant for the FBI, Christopher knows how to handle gangster life quite well. He knows how to act when business is being discussed, and he knows how to act when it’s wartime. Sometimes he knows how to blend the two. In an altercation with someone who owes him money, but Junior Soprano came and collected and stole it, Christopher decided to drop this line on someone while they were on the ground, and he was kicking them around. Christopher may not have technically been the boss, but he knew how to act like one sometimes.
5 “Fear knocked on the door. Faith answered. There was no one there.”
HBO
Christopher battled a lot of demons throughout the show. He was an addict who had stints in rehab and NA, and plenty of relapses on the show. His character oftentimes felt like it paralleled Tony and all his demons. However, through all his issues, Christopher always had this unexpected positive reinforcement he would instill in his thoughts. He always knew he would overcome his demons and create a better life for himself. He used quotes like this one that he heard in NA meetings a lot. They may not have been sayings he thought of, but they sure helped him through dark times.
4 “Why don’t you just f*ck yourself, save a little money.”
HBO
One of the best character dynamics in the whole show was between Paulie and Christopher. The two went out on jobs together all the time. They whacked many guys who had it coming throughout the show. The famous Pine Barrens episode was completely devoted to them being lost in the woods in the dead of winter. The two were yin and yang. When Paulie was up, Christopher was feeling down, and vice versa. So one time, when Paulie was in pursuit of finding a lady for the night, Christopher responded with this quote.
Dramas about mob life always have gimmicks to them that feel like they’re nodding to past classics like The Godfather or Goodfellas. The Sopranos stay away from things like that for the most part. However, sometimes there are nods to mob life that have been portrayed on screen. In a scene that has Christopher talking to Salvatore Big Pussy Bonpensiero about a hit Christopher did that did not get the proper go-ahead, Christopher lets the insults trickle down his back as he says “Louis Brasi sleeps with the fishes”.
He is attempting to quote a famous line from The Godfather: “Luca Brasi sleeps with the fishes”. Salvatore corrects this. It’s funny that Christopher wants to be a screenwriter, but it seems his movie knowledge can be a little off at times.
2 “You ever feel like nothing good was ever going to happen to you?”
HBO
Another great aspect of The Sopranos was the deep existentialism woven throughout the writing. In a scene where Paulie comes and sees Christopher, who has seemed to have gone into hiding a bit. There are beer cans everywhere, pizza, and Chinese food lying around his apartment, which is a few days old. He’s having writer’s block, and also seems to have some sort of mental block about life. He says this line to Paulie out of desperation, as he feels like nothing is going right in his aspirations or even in the life of a gangster.
There is a lot of melancholy in this scene, and Paulie only adds to it with his response of saying, “Yeah, and nothing did, so what? I’m alive; I’m surviving.” The gut punch of the scene is where Christopher compares himself to a character in a screenplay and how he’s a character with no story arc.
1 “What I’m saying is…”
HBO
The quote “What I’m saying…” is only part of a big monologue that Christopher has as he gives a eulogy at Tony’s mother’s funeral. At this point in the show, Christopher’s drug addiction has become a serious problem. He looked strung out in the scene and slouched on the couch with Adrianna by his side. After the funeral, he decides to speak up during a gathering of family. In his head, what he thinks he’s saying is most likely very profound. However, it makes no sense whatsoever.
It’s a roller coaster of a scene. It’s uncomfortable to watch as he clearly embarrasses himself. The reaction shots of the people in the room having no clue what this man is saying are hilarious. But it’s also sad to watch Christopher clearly need help.
J.A. Bayona’s Netflix drama “Society of the Snow” recounts the tragic story of the 1972 Uruguayan airplane crash high in the snow-covered Andes, of which 29 of the original 45 passengers initially survived, stranded on a glacier 4,000 meters above sea level aptly named the Valley of Tears.
Survivors of the doomed flight, which carried a rugby team and their friends and family members from Montevideo to Santiago, managed to stay alive for two and a half months by consuming the flesh of the deceased.
While it’s not the first cinematic re-telling of the harrowing ordeal, Bayona’s take and his source material — the book of the same name by Uruguayan writer and journalist Pablo Vierci — ensured that it would be unique not only in its authenticity, but also in giving voice not just to those who survived, but also to those who perished.
“We always intended to make the most realistic and the most respectful version of the story possible,” Bayona tells Variety.
For the Spanish filmmaker, whose credits include such major Hollywood productions as “Jurassic World: Fallen Kingdom” and “The Lord of the Rings: The Rings of Power,” making the film in Spanish with local actors was an essential condition in order to attain that realism.
Shooting in very similar conditions was likewise vital, he adds. Bayona filmed at the site of the crash in the center of the Andes mountain range between Chile and Argentina, as well as in Spain’s Sierra Nevada in Granada.
“It was very important for us precisely so audiences could experience that sensation of reality and have that immersive feeling of putting you on that plane with the characters,” Bayona explains.
To maintain that style, they kept CGI to a minimum. “Visual effects are a tool at the service of the story. They are not the objective of the story,” Bayona says. “One has to be careful because it is very attractive to work with visual effects. You also have to be very careful because the use of CGI can change the tone of the story. It can affect the realistic tone of a film like this.”
All of the visual effects work was done using real footage, Bayona adds. For example, he replaced the backgrounds of the Sierra Nevada with real images of the Andes.
His ambitious vision for the film was anything but easy, however. “Unfortunately, the ceiling for making films in Spanish at a budget level is very low, and it took us 10 years to obtain financing and to be able to shoot the film with the ambition that we wanted,” he says.
But Bayona’s efforts appear to have paid off. The film has had an impact on audiences. At the recent San Sebastian Film Festival, “Society of the Snow” won the audience prize with the highest ever score – 9.23 points out of 10. The Netflix film, which premiered in Venice, is also Spain’s entry for the Oscars.
“Our intention was to create a cinematic experience and, in a way, an immersive experience in which the public has the sensation of being on the plane experiencing the trip with them,” Bayona says. “And from there, understand what they did and in some way also feel the emotions that they felt. It is an intense film, but it is a film that leaves you with a very strong appreciation of life. It’s a life-affirming experience.”
Despite the impressive achievement, Bayona says making ambitious Spanish-language films remains a challenge. He points to his own track record, noting that his films have performed well at the box office. “And yet it has taken us a long, long time to finance this one. I think because it was in Spanish,” he says. “It is a very, very important opportunity to show the world that competitive cinema can be made with Latin and Ibero-American talent. This movie is a rarity. The normal thing would be that this film would not exist. And yet we have managed to make it. Now it’s very important for me that the film has the best possible reception because we are breaking a glass ceiling in making a movie like this.”
Netflix, which produced “Society of the Snow” with Spain’s Misión de Audaces Films and El Arriero Films, made it possible, he adds.
“Netflix is an interesting studio because it continues to bet on filmmakers and on films that, like this one, would not exist if we only depended on the classic financing windows. Movies like ‘Roma,’ like ‘The Irishman’ or Guillermo del Toro’s ‘Pinocchio’ were able to be made thanks to Netflix.”
The story of the Andes tragedy has remained popular over the decades, especially in Spanish-speaking countries, and widely talked about. “But,” Bayona says, “those who have not spoken are those who could not speak in these 51 years, who are the dead. I think there is something that has been inspired by Pablo Vierci’s book that seems very important to me, which is to have given the living the opportunity in the film to give voice to the dead, to seek that perspective that is a bridge between the living and the dead and give the dead the opportunity to say what they have not been able to say. I think that has been something healing for the survivors.”
Speaking to Variety, Vierci points out that unlike the many tales of desperate survivors in which savagery emerges, in this story a new society forms in which compassion, mercy and generosity arise.
“At this time of wars and terrorism, it is a very optimistic vision of human beings,” Vierci says. “And this is real, it is not fiction — we have 16 witnesses and we have three letters written by boys who died who tell the same thing. That is, the famous pact of mutual provision, saying, ‘You can use my body if I die in order to survive.’”
For Vierci, happenstance has played a large role not only in the writing of his book but also in its adaptation to film. The tragedy has long accompanied the writer, who as a young man attended Stella Maris College in Montevideo along with survivors of the flight disaster. It was his close relationship with them that made his intimate account possible.
“In that sense I think it was a coincidence,” Vierci says. “I would tell you, it was an alignment of the stars. And I was a contemporary and friend of all of them. That’s a double coincidence. And then a third coincidence is the appearance of J.A. Bayona, who has the sensitivity, the talent and who is interested in opening doors that are closed, linked to life and death.”
Bayona adds, “I think that perspective opened the doors to all of us, to the survivors, to the families of the deceased, and it has been something that I have the impression now when I watch the film with them, that it has been a healing experience for them.”
“There is something very beautiful in this story, in which the characters sacrifice themselves for the others and understand that there is something that is above them and even above their own lives, which has to do with friendship, with love, with camaraderie,” he says. “I think that’s the goal when I talk about the audience seeing this film as an experience so that through empathy they can feel something similar: that there is something that is above all of us, more important even than us, which is love, friendship, camaraderie. I think it’s a message that is eternal, that was true 51 years ago and is still almost more relevant now than it was then.”
FRANKLIN, TN – NOVEMBER 30: ***EXCLUSIVE COVERAGE*** Honoree Taylor Swift and Recording Artists Hayley Williams of the group Paramore and Kid Rock at the CMT Artists of the Year at The Factory on November 30, 2010 in Franklin, Tennessee. (Photo by Rick Diamond/Getty Images for CMT)
Taylor Swift and Hayley Williams have been friends almost as long as they’ve been making music — and if it weren’t for Swift’s mom, the two may not have grown as close as they are today.
Talking to Jimmy Fallon on The Tonight Show this week, Williams recalled the GRAMMYS party that landed the two musicians in the same circle — and not for the last time.
“A woman came up to me,” Williams told Fallon, “and she said, ‘I’m Taylor Swift’s mom and, you know, Taylor doesn’t have a lot of friends her age that do music. And I would love to, like, you know, introduce you guys or get your number.’”
The two have been friends ever since, and music has continued to bring them together even as they’ve navigated their individual successful careers. Most recently, Williams collaborated with Swift on the Speak Now (Taylor’s Version) vault track “Castles Crumbling.” Paramore will soon open for Swift on the next leg of the ongoing Eras Tour.
Genuine friendship among artists can’t be easy, especially in instances where they’re nominated for the same awards. But true friends support each other on and off the stage, and this has never been an issue for Williams and Swift.
Soon, the two friends will get to spend quality time together on tour for the first time. But not before Swift has one of the busiest Octobers of her career — at least in terms of release dates. The Eras tour film comes to theaters next weekend. and two weeks after that exactly, the latest re-recording of one of her albums releases to the public. 1989 (Taylor’s Version) drops on October 27, so Swifties will have plenty to do in the weeks to come that doesn’t involve rumors about who the artist is or isn’t dating (we’re going with isn’t).
‘Saw X’ BTSCredit: Lionsgate
Nick Matthews on the set of ‘Saw X’Credit: Lionsgate
