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It has been exactly five years since Prodigal Son premiered on FOX.


This bold concept emerged from a sea of reality television series, reboots, and revivals, carving its own unique place in the television landscape.


Sadly, nothing has been able to replicate the specialness of this crime, police, and family dramedy that stole our hearts nor fill the void it left behind. Network television is still begging for everything a series like Prodigal Son provides.


In honor of the anniversary of Prodigal Son Season 1 Episode 1 dropping and changing our lives, we’re discussing everything we still miss about this late, great series.


Check it out below and hit the comments with any additions!


Snuggly, Diabolical Serial Killer Dad


It’s no secret that in a series that was fantastic from top to bottom with no complaints or drawbacks, Martin Whitly stole the show.


Michael Sheen’s ability to shift from joke-telling, a subtly manipulative but doting dad, Martin Whitly, to the sinister, sociopathic “The Surgeon” from one second to the next was utterly fascinating and enough to have you glued to the screen.


It’s also why it was so easy for Martin to win our hearts, even though we knew who and what he was. If you ever wondered how anyone could fall in love with a known serial killer, Martin made a good case for himself with his complexities, making him one of the most interesting characters to appear onscreen in the last decade.


It’s no wonder many of us had mixed feelings about his fate during Prodigal Son Season 2 Episode 13. And after that shocking cliffhanger followed by an even more stunning cancelation, it’s no wonder it didn’t spark our own villain origin story.


Tom Payne’s Remarkable Performance


Anyone familiar with Tom Payne’s previous work in series like The Walking Dead or other things knew without a shadow of a doubt that he was a talented actor who could helm his own series. But knowing that and seeing it are two totally different things.


And Payne truly shined and impressed as Malcolm Bright. He had a deceptively challenging role to make his own.


He had to capture the complexities of Malcolm’s conflicting emotions regarding his love/hate relationship with his father, navigating mental illness in an authentic and respectful way, and balancing a genre-bending series that required him to wear many hats, pulling off horror, humor, drama, and procedural elements.


Payne’s work on Prodigal Son was so nuanced and underrated, from his physicality to his diction, and we miss the hell out of it.


Rich, Complex Characters


There was nothing simple about any of the characters on this series. If, for a moment, you thought they were straightforward, you were proven wrong.


While Malcolm and Martin were undoubtedly the first to come to mind when considering complexity, each character had something to give in this regard.


Ainsley was a character that took a bit to evolve, but when she did, she became one of the most intriguing characters the series had to offer, rife with so much potential, and you could sense how much Halston Sage had fun playing this role.


Ainsley’s evolution from the seemingly “normal” child to the one with some of Martin’s tendencies made for such a compelling arc, and it was enough to have us wishing for a Prodigal Sister spinoff.


Bellamy Young’s role as Jessica was also impressive in that the character could’ve easily been written off as one-note.


Still, the series does fast work of dismantling any preconceived notions or boxes one would ascribe to her and showcasing the complexities of a woman who did everything she could to protect her children.


Dani was such a multifaceted and layered character who matched and balanced Malcolm out well.


It was genuinely one of the strongest aspects of the series that we slowly got to peel back layers about her, and she was unlike any other female detective we’ve seen in traditional procedurals.


JT was a classic scene stealer, set up to be an antagonist to Malcolm only for things to flip, becoming a great counterbalance to Malcolm and the two, forging a bromance that was fun to see evolve.


They brought a buddy-cop element to the series that nodded at the traditional procedural but put a quintessentially Prodigal Son spin on it, making it something refreshing and new.


And he was a consummate straight man to the shenanigans, amusing viewers with his dry wit and one-liners.


And Lou Diamond Phillips truly nailed the role paternal role of Gil, giving us this wonderful blend of a flawed but sage leader. His grounding force to the series made so many of the elements click.


While Edrisa was the quirky, nerdy character who came off as a popular archetype on the surface, the series would turn things on its head in such interesting ways that implied that Edrisa was so much more than she’d seem.


Kooky, Unorthodox Cases and Interesting Villains


One of the best things about Prodigal Son was that it could appeal to lovers of procedurals while offering something different from the traditional procedural.


No series could match some of the genuinely out-there cases the team would take on and all the fun things that would transpire while attempting to solve them.


Prodigal Son cases would almost put 9-1-1 calls to shame, with snakes slithering out of mouths, creepy elevator deaths, Malcolm chopping off a person’s hand, sex dungeons, and that’s not even the long-arching cases like the Girl in the Box mystery.


And the killers, villains, and antagonists within the series were always a blast. They often included incredible guest stars like Michael Raymond James, Catherine Zeta-Jones, Dermot Mulroney, and Alan Cumming.


The Romance and Ships


Prodigal Son had damn good ships that you could enjoy without them necessarily detracting from everything else great about the series.


It was genuinely endearing to watch Malcolm and Dani’s relationship evolve as it did. They seemingly became fast partners and friends, confiding in each other as they opened up and became more vulnerable over time.


The tension between them built in a lovely way, and by the time they kissed, it was well worth the wait and earned. And the obstacles and complications that came into play for them made sense for the characters and what they were up against.


We’re still Brightwell Forever!


Meanwhile, the series didn’t hesitate to deliver on a secondary romance, and it was a real thrill when that relationship was between Gil and Jessica.


It’s not often that we get romances that cater to the over-50 crowd. Jessica and Gil really sizzled as a couple with their rich history, sexual tension, and the extra drama of having Martin’s presence constantly between them.


It was hard not to root for the two through it all.


The Dark Humor


Prodigal Son was funny. Plain and simple.


There isn’t a single installment of this series that doesn’t make you laugh out loud, whether it’s the zany antics of the characters that teeter into absurdity or the whip-smart, witty dialogue and snark.


It’s one of those rare series where every single character has a comedic identity that differs from the others, and they each get to shine in their own way because of that, catering to all the comedic styles while also balancing the serious, horror, and other tones.


Prodigal Son understood the art of dark humor and executed it well in each installment.


Twisted Family Drama and Dynamics


Nothing could ever top Martin and Malcolm’s twisted father/son dynamic.


The entire series hinged on the electric chemistry between Tom Payne and Martin Sheen and their ability to create and portray the intoxicating bond between Malcolm and his father.


Martin’s obsession with drawing out his son’s “inner killer,” hoping that he’d created a progeny who was the apple of his eye and the spitting image of him to carry on the serial killing legacy, was riveting.


And it made his every interaction with Malcolm, who spent most of the series questioning his own nature and what he was capable of while desperately trying to combat it, something that kept you glued to the screen.


But that wasn’t the only compelling Whitly dynamic.


Every interaction among the Whitly family was wonderfully complex and unique in its own right. The Whitly siblings had something truly special as Malcolm often worked to protect Ainsly at every turn, only to learn that she may have been the one who closely resembled Martin’s maturity.


Ainsley’s attempts to even be on her father’s radar was something the series could’ve easily explored in future seasons and made the familial dynamic more engaging than ever.


Jessica’s respective relationship with both of her children and her constant doting and attempts to protect them were so deeply rooted, while her equal parts alluring and deadly connection with Martin was mesmerizing to watch.


It’s a shame we had to say goodbye to the Whitly family. They’re unlike anything we’ve seen on television in some time.


Five years later, we still miss the series that won our hearts so much that we dedicated a Prodigal Son Love Letter to it.


Turning things over to you, Prodigal Son Fanatics. What do you miss most about this series?


If you want to relive it all over again or rewatch the pilot in honor of its anniversary, you can stream Prodigal Son on The CW app or catch up with our Prodigal Son Reviews!

Jasmine Blu is a senior staff writer for TV Fanatic. She is an insomniac who spends late nights and early mornings binge-watching way too many shows and binge-drinking way too much tea. Her eclectic taste makes her an unpredictable viewer with an appreciation for complex characters, diverse representation, dynamic duos, compelling stories, and guilty pleasures. You’ll definitely find her obsessively live-tweeting, waxing poetic, and chatting up fellow Fanatics and readers. Follow her on Twitter.

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It has been exactly five years since

Jamie Lee Curtis has officially declared her intent to lobby Netflix for a role in the second season of live action Netflix adaptation of One Piece. And showrunner Matt Owens is all for it.

One Piece is a fantasy adventure series developed by Owens and Steven Maeda. The series is adapted from the manga by creator Eiichiro Oda, who serves as a major creative consultant.

The franchise follows the adventures of Monkey D. Luffy and his crew, the Straw Hat Pirates, wherein he explores the Grand Line in search of the mythical treasure known as the “One Piece” in order to become the next King of the Pirates. Curtis would like to play Dr. Kureha, who will be prominent in the second season.

“ONCE the STRIKE against the greed of the AMTPT is SETTLED with a FAIR CONTRACT, I will lobby along with the growing fan frenzy to become Doctor Kureha,” Curtis wrote on Instagram.

That drew a response in the comments from Matt Owens.

“Mommy dearest, that’s why we sent you that figure! No need to lobby. Once we get what we deserve and get back to work let’s talk!”

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Jamie Lee Curtis has officially declared her

Expend4bles
Photo: Yana Blajeva/Lionsgate

The summer of Barbenheimer is now well and truly over, it seems, as box office numbers coming out today reveal that we’re currently sitting in the midst of the single worst box office weekend of the year—at least so far. The primary culprit? Sylvester Stallone’s Expend4bles, which is gearing up for an incredibly tepid $8 million opening. It is, in fact, bad enough that the movie is basically neck-and-neck with The Nun II, which has been out for three weeks at this point—so little is the audience’s desire to see Sly and his boys get busy doing [remember to look up whatever the dumbass plot of Th4 Ex4endables is and insert a reference to it here].

And while this is certainly the worst opening an Expendables movie has ever received—with the franchise steadily dropping with each installment, from the relative heights of the first movie’s $35 million initial weekend—we feel moved to note that it is by no means the worst opening of Stallone’s career. (Although, if you take, say, Rhinestone, at $5.5 million, or Stop! Or My Mom Will Shoot, $7.1 million, and adjust them for inflation, 4xpendables lags pretty far behind both infamous flops.) There’s a lot of Bullet To The Head/Escape Plan/Grudge Match material over the last 20 years, is all we’re saying, although this latest result does suggest that one of Stallone’s most reliable latter-day tentpoles is no longer keeping the tent up off the ground.

And, sure, you could put at least some of the blame for the film’s poor performance on the ways the ongoing strikes have curtailed promotional efforts for the movie—but then you’re living in a reality where millions of dollars rest on the sight of Sylvester Stallone looking at Jason Statham and Tony Jaa and ruefully shaking his head about these “knuckleheads,” which is depressing in and of itself. (Also, per Deadline, it’s not like movies aren’t opening considerably better right now despite the same handicaps, including Saw X, which is expected to bring in roughly $20 million next week.)

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Expend4blesPhoto: Yana Blajeva/LionsgateThe summer of Barbenheimer is

Michael Caine questioned the purpose of intimacy coordinators in a recent interview with the Daily Mail.

“Really? Seriously? What are they? We never had that in my day,” he said. “Thank God I’m 90 and don’t play lovers anymore is all I can say.”

An intimacy coordinator for film and TV specializes in choreographing and coordinating simulated sex, nudity and other intimate scenes between actors and production.

“In my day, you just did the love scene and got on with it without anyone interfering. It’s all changed,” Caine continued.

The veteran actor also shared his thoughts on political correctness, telling the Daily Mail, “It’s dull. Not being able to speak your mind and not being able to call anyone ‘darling.’”

He added, “It’s hard. I like to learn from friends who are younger than me.”

Caine stars in the upcoming British-French drama “The Great Escaper” as real-life World War II veteran Bernard “Bernie” Jordan. The film, co-starring Glenda Jackson, is based on the true story of Jordan, who snuck out of his nursing home to attend the 70th anniversary D-Day commemorations in France in 2014.

Caine revealed to the The Telegraph in a new profile that “The Great Escaper,” which opens in U.K. theaters on Oct. 6, could be his final film.

“I am bloody 90 now, and I can’t walk properly and all that,” Caine explained. “I sort of am retired now.”

“I was so happy to do it,” he said. “I just loved the character of Bernie. I thought he was incredible, and it’s so beautifully written. With Covid and all that, I hadn’t done a picture for three years, and I thought I was finished. And I suddenly did it — and had such a wonderful time.”

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Michael Caine questioned the purpose of intimacy

Jamie Lee Curtis desperately wants to play Dr. Kureha in Season 2 of Netflix’s live-action adaptation of the manga (and anime) “One Piece,” and it sounds like the team behind the show is just as desperate to have her onboard. After Curtis announced on Instagram that she intends to ask for the role once the SAG-AFTRA and WGA strikes have concluded, showrunner Matt Owens commented, “Mommy dearest, that’s why we sent you that figure! No need to lobby.”

Owens continued, “Once we get what we deserve and get back to work, let’s talk!”

Curtis thrilled fans when she shared her original post. She captioned an illustration of the 141-year-old Kureha on Instagram, “ONCE the STRIKE against the greed of the AMTPT is SETTLED with a FAIR CONTRACT, I will lobby along with the growing fan frenzy to become Doctor Kureha in @onepiecenetflix.” The character is also the adopted mother of character Tony Tony Chopper, who will join the series for Season 2. (And yes, Curtis did get her letters confused when trying to remember the acronym for the AMPTP.)

This isn’t Curtis’s first run-in with the franchise — she previously attended the premiere of “One Piece Film: Gold” with her daughter Ruby, who later said that her mom loves Dr. Kureha and would be game to play her on screen.

Kureha is an intriguing character to be sure. Thought of as a witch by some due to her unusual and violent methods of checking for injury and illness in patients, she began mentoring Tony Tony Chopper after the death of his father figure, Hiriluk. In addition to her medical prowess, Kureha has superstrength and speed, which makes it easy for her to destroy walls and launch massive weapons by hand.

Production on Season 2 of “One Piece” has been stalled by the ongoing Hollywood strikes by writers and actors. Becky Clements, one of the show’s producers, previously explained the timeline for the show’s return once the strikes are over.

“Realistically, hopefully, a year away, if we move very quickly, and that is a possibility. Somewhere between a year and 18 months, we could be ready for air,” Clements said.

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September 23, 2023 @ 12:10 PM Jamie Lee

EXCLUSIVE: Here’s your first look at Ex-Husbands, the San Sebastian competition title, starring James Norton from director Noah Pritzker. 

The pic follows Peter Pearce, a man floundering after his father leaves his mother after 65 years of marriage and his wife (Rosanna Arquette) leaves him after 35. With his son Nick’s wedding on the horizon, Peter plans a getaway to Tulum, claiming to have had no idea that his sons and their friends would be there that very weekend for Nick’s bachelor party. Synopsis reads: The Pearce boys grapple with their own heartaches and question the role of the family as their father makes an unexpected appearance in the Yucatán.

Alongside Norton, the cast includes Griffin Dunne, Miles Heizer, Rosanna Arquette, Eisa Davis, Richard Benjamin, John Ventimiglia, Pedro Fontaine, Lou Taylor Pucci, Simon Van Buyten, Ian Owens, Echo Kellum, Rachel-Zeiger-Haag, Zora Casebere, and Nate Mann. Dunne also serves as exec producer. Bruce Cohen, Alexandra Byer, and Nicolas Celis are producers. 

Ex-husbands is Pritzker’s second feature. In 2012, he directed the short film Little Dad, which premiered at SXSW, where he also took his first feature, Quitters, in 2015. In 2017, he returned to shorts with Approaching a Breakthrough, starring Kieran Culkin, which premiered at the Tribeca Festival. 

“Ex-Husbands is the story of a man stripped bare, who for the last four decades has seen himself as Maria’s husband, Nick and Mickey’s father, and Simon and Eunice’s son. Who is Peter now that his parents are gone, his wife has left him, and his kids have grown up?” Pritzker said of the pic. 

Check out the full clip above. 

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EXCLUSIVE: Here’s your first look at Ex-Husbands,

An exclusive new trailer revealing more of what’s to come when Doctor Who returns this November has arrived.

Doctor Who returns in November with three special episodes featuring David Tennant as the Fourteenth Doctor, all coinciding with the 60th anniversary. Ncuti Gatwa’s first episode as the Fifteenth Doctor will air over the period.

The new trailer features Neil Patrick-Harris playing “The Toymaker,” an all-powerful enemy last seen in 1966. Also, Jemma Redgrave reprises her iconic role as Kate Lethbridge-Stewart

Showrunner Russell T Davies said the tale “is just the start, as the fever starts to burn. We’re heading for a November full of Doctor Who surprises, for fans and new viewers alike. Stay alert!”

Disney+ will be the exclusive home for new seasons of Doctor Who outside of the UK and Ireland. Doctor Who will premiere exclusively on the BBC for the UK and Ireland.

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An exclusive new trailer revealing more of

“I’m talking his work on Buffy the Vampire Slayer and Angel. As Angel, he’s a flawed and tragic hero who struggles and occasionally gives into his dark side, but can also be a lovable goofball and a bit of a dork. However, when he loses his soul and becomes Angelus, his mannerisms change completely.

He’s gleefully monstrous, manipulative, and derives pleasure from people’s misery. The way David plays them both is fantastic, and you can tell he always has fun when he gets to stretch his villain muscles.” 

– u/Wackamack-98

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"I'm talking his work on

Had journalist and novelist Tom Wolfe been a painter, it’s arguable even murals wouldn’t have been large enough a medium for him. The white-suited gadfly of Virginian stock, Manhattan-sized prose and rocket-fueled renown died in 2018, but his literary legacy as the Big Bang of New Journalism lives on, even as a new documentary about him, “Radical Wolfe,” implies there will never be another. But talent and herculean commitment aside, today’s abandonment of the One Towering White Man’s Size Fits All school of American cultural storytelling (see Jann Wenner’s recent implosion) may not be such a bad thing.

Nevertheless, Richard Dewey’s revved-up biodoc, at its least haphazard, is a sprightly look at what made the reporter-trained Wolfe into the insider’s outsider, how he made the leap to explicating — in supercharged, acrobatic sentences — our fast-changing, roving world of cliques, castes and subgroups. He found subjects that expained us as a whole: a NASCAR champion ignored by elites (“The Last American Hero”), freewheeling drug experimentation (“The Electric Kool-Aid Acid Test”), an exclusive Leonard Bernstein fundraiser for jailed Black Panthers (“Radical Chic”). But most importantly, Tom Wolfe himself explained America — he was as essential to the package as his subjects.

Using clear-eyed admirer Michael Lewis’s 2015 Vanity Fair article “How Tom Wolfe Became … Tom Wolfe” as an organizing template, Dewey reconstructs the author’s life: Lewis is the primary onscreen interviewee, with Wolfe’s own voice sprinkled throughout (one supposes from his sit-downs with Lewis), while reminiscences and tributes are offered from those who knew him, got him, loved him: writer Gay Talese, agent Lynn Nesbit, journalist Tom Junod, his daughter Alexandra. Wolfe’s childhood isn’t really delved into, but from his time at Yale onward, we can sense what motivated him — courtesy in his personal life, indefatigability in his professional life and daredevil flamboyance on the page.

Tom Wolfe in his heyday.

(Sophie Bassouls / Sygma via Getty Images)

Excerpts are delivered in dutiful voiceover by Jon Hamm, but the stories behind the stories are the flavors we crave. As a young reporter, Wolfe rebuffed ambitious Senator John F. Kennedy’s attempt to squelch an article. He forged his signature immersive style during an all-nighter, typing up what he thought were just the raw notes for a magazine piece on hot-rodders he couldn’t crack, but which his Esquire editors were so blown away by, they published verbatim (“The Kandy-Kolored Tangerine-Flake Streamline Baby”). And that Bernstein Panthers party? How he crashed it is a snooping-journalist classic.

If “Radical Chic,” his rollicking satire of social-status liberalism, hasn’t aged as well as, say, his astronaut epic “The Right Stuff,” Carter positions it thoughtfully for the current moment: You’ll want to read it (or read it again), but with former Panther Jamal Joseph’s perspective ringing in your head. Though the movie tries to paint Wolfe as neither Republican nor Democrat, his conservative politics were hardly a secret, reinforced by the occasional on-screen presence of praising right-wingers Niall Ferguson and, bizarrely, Peter Thiel.

The stratosphere that “The Bonfire of the Vanities” launched Wolfe into was, the documentary suggests, a blessing and a curse. A superstar journalist had cracked The Great American Novel (even if his tendencies were already novelistic), but its success also cemented him as the main attraction. Afterward, he could still pinpoint a ready-to-burst national conversation (campus sex with “I Am Charlotte Simmons,” immigration with “Back to Blood”), but Wolfe’s breathless, anthropological, Technicolor style was fast falling out of favor. Does anyone even remember he trashed Darwinism in his last published book, 2015’s “Kingdom of Speech”?

As tributes go, the documentary is always lively. Archival clips zip by and nobody ever gets more than a sentence or two before the film cuts away, which means it never burrows in as often as you might want it to, considering the colorful, thick life on display. One imagines the subject himself — the “Me decade” coiner with the “Me” career — wondering why there isn’t more Wolfe in “Radical Wolfe.”

‘Radical Wolfe’

Not rated

Running time: 1 hour, 16 minutes

Playing: Laemmle Royal, Laemmle Glendale, Laemmle Claremont

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Had journalist and novelist Tom Wolfe

Ever since the release of Thor in 2011, the God of Thunder’s trusty hammer Mjolnir has been one of the most iconic weapons in the Marvel Cinematic Universe (MCU).

Over the last decade, fans have come to love Mjolnir, and the hammer has been a part of some of the franchise’s most iconic moments.

Source: cbr.com

As it turns out, however, Thor director Kenneth Branagh almost changed the legendary hammer’s name.

Kenneth Branagh’s Objection

In the upcoming book MCU; The Reign of Marvel Studios, Thor writer Zack Stentz recalled a memorable exchange between Marvel Studios boss Kevin Feige and Branagh during Thor’s development.

Kenneth Branagh

Source: denofgeek.com

“One of my most vivid memories of those notes sessions was Branagh didn’t like the name Mjölnir because it’s difficult to pronounce,” Stentz said. “He turned to all of us and asked, ‘Do we have to call the hammer ‘Mjölnir’? I see that it’s made out of some metal called ‘Uru.’ Could we call it Uru instead? Or would the fanboys string me up?’”

Thor

Stentz recalled, “[Feige] just gave his little half-smile: ‘Ken, the fanboys would string you up.’” Branagh acquiesced. “‘Alright. We won’t be doing that, then.’”

Marvel’s Recipe For Sucess

In the end, Feige’s instincts were right. By staying true to things like Mjolnir’s name, the MCU was able to toe the line and keep comic book fans engaged with the films. The melding of die-hard Marvel fans with more casual movie-goers would propel the MCU to unprecedented levels of success and usher in the era of the superhero movie.

Captain America

Photo: Marvel

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Ever since the

For 19 seasons, fans have followed the medicine, drama, and relationships of the doctors, residents, and interns in Grey’s Anatomy. In the beginning, most of the focus was on Meredith Grey and how she managed to juggle a new job, a dreamy boyfriend, plenty of scandals, and a mother with Alzheimer’s disease. As the show progressed, other characters were given the spotlight to see how they were managing their own professional as well as personal lives. With all of this time spent around the same people, close friendships were bound to happen.

Some friendships, like the legendary bond between Meredith and Cristina, overcame plenty of ups and downs. Several blossomed into relationships that became the ultimate “end goal” such as Miranda and Ben. Then, there are the ones that were simply overshadowed by the rest of the craziness taking place. These underrated friendships were just as strong, if not stronger, and worthy of more screen time.

Check out the 10 most underrated friendships in Grey’s Anatomy, thus far.

10 Cristina Yang and Dr. Thomas

Shondaland

When Cristina Yang moves to Minnesota, she meets Dr. Thomas again, and she wants nothing to do with him because of his old-school style of surgery and prolonged stories. After getting over her ageism, she realizes he is brilliant and worthy of her respect; eventually, this becomes a heartwarming friendship.

There is one instance when Dr. Thomas picks Cristina up on his way to work because her car was buried beneath a mountain of snow. She naturally thanked him for the ride, but genuine kindness erupted when she realized he brought her breakfast. After his passing, Cristina realized there was nothing left in the freezing cold state, so she booked it back to Seattle.

9 Callie Torres and Addison Montgomery

Callie Torres and Addison Montgomery in Grey's Anatomy
Shondaland

Callie Torres and Addison Montgomery are both smart and beautiful women, and they came together after they each slept with Mark Sloan. Their friendship is not as pronounced as others, but when they are in the same room as one another, fans can feel the warmth and understanding between the two.

Callie helps Addison talk to God when the latter’s brother is hospitalized, and Addie is the first one to bring up the idea that Callie may be bisexual due to her close friendship with Erica Hahn. There is no judgment within this friendship, and when problems do occasionally aside, the two women are fully invested in helping the other do or get what the other needs.

8 Cristina Yang and Derek Shepherd

Cristina Yang and Derek Shepherd in Grey's Anatomy
Shondaland

Derek Shepherd and Cristina Yang’s relationship always on thin ice, and their real connection was through Meredith. Professionally, they were interested in two very different fields, and personally, they did not have much in common. It is not until Derek takes Cristina fishing that they have mutual ground to stand on.

Cristina literally saved Derek’s life after he was shot, and he metaphorically saved her after she could not bring herself to practice medicine due to her PTSD. Their friendship was one of very few words, but when she ultimately says goodbye to him, fans could tell they meant a great deal to one another.

Related: Grey’s Anatomy: The Best Episode of Every Season (So Far)

7 Nicole Herman and Arizona Robbins

Nicole Herman and Arizona Robbins in Grey's Anatomy
Shondaland

When Nicole Herman first meets Arizona Robbins, she makes it very clear that they are not friends. Herman says that their relationship is strictly professional, and they have no time for personal chitchat.

As we all know, familiarity breeds fondness, and after Herman’s life-shattering secret gets out, Arizona makes it a point to make her feel like she is not alone in the world. It is not until after Herman undergoes and survives a dangerous surgery which leaves her permanently blind that she admits to appreciating everything Arizona had done for her.

6 Jackson Avery and April Kepner

Jackson and April in Grey's Anatomy
Shondaland

Before Jackson and April became a couple, they were actually really good friends. The two came into the series when Seattle Grace was forced to merge with Mercy West, and they immediately shared a bond due to being “the outsiders.” After their other friends, Charles and Reed, were killed by a shooter, they felt like they only had each other.

When Karev stupidly tried to take advantage of April, it was Jackson that stood up for her in front of all their peers. When Jackson started questioning his relationship with Lexie, he turned to April to confide in. Even after the chaos of their toxic relationship, the two clearly work better as friends who co-parents than a typical couple.

5 Derek Shepherd and Miranda Bailey

Derek and Miranda in Grey's Anatomy
Shondaland

Miranda Bailey and Derek Shepherd are two of the main people who held the show together in the very beginning. Bailey was the only one not mesmerized by McDreamy’s fancy hair or suave tactics. Instead, she would call him out on his foolishness and put him in his place. Derek, in turn, admitted that he feared Dr. Bailey (hopefully on a healthy level) when he was operating on her husband’s brain while she was in labor.

The two are always very honest with one another, and as the series progressed, they even started to be kind and friendly. Fans loved that these two could work past their issues and get along professionally as well as personally.

Related: Grey’s Anatomy: 10 Underrated Moms Who Deserve Recognition

4 Cristina Yang and Callie Torres

Cristina and Callie in Grey's Anatomy
Shondaland

Cristina and Callie are perhaps the sassiest women in the whole series, so putting them together as friends was a genius move. In the beginning, Callie openly says she does not like Cristina because of how little she cares about George. However, after they both undergo some relationship troubles, a fantastic and sarcastic relationship emerges.

The two brilliant women move in together, they confide in one another, and there is even a scene where they break down together over their failed relationships. Though they did not get the screen time they deserved, this friendship was legendary.

3 Arizona Robbins and April Kepner

Arizona and April in Grey's Anatomy
Shondaland

All the best friendships start with a moment of vulnerability, so when April found Arizona in a supply closet crying over Callie, a night of drinking turned into a great connection. Given that both women have the most bubbly and upbeat personalities in the whole series, it made sense for them to form a strong bond.

Their friendship felt authentic because it was not this blown up and in-you-face type of connection like several others had, and they would often listen to one another’s troubles and offer genuine advice, even if it was not what the other wanted to hear. Because both women went through horrible back-and-forth relationships, they should have had more screen time together.

2 Callie Torres and Miranda Bailey

Richard and Callie in Grey's Anatomy
Shondaland

As the Chief of Surgery, Richard quickly found out it was hard to make friends when he was everyone’s boss. However, Callie was never one to follow the status quo. Their friendship was subtle in the beginning, like when Richard kindly kicked Callie out of her living space in the hospital, but as the years went on, they found common ground in how much they wanted to see the hospital succeed.

When they thought Seattle Grace Mercy West was going down in quality due to their deal with the Pegasus company, Callie and Richard faked being a married couple to get information on their new system. They are often the smartest as well as the funniest people in the room, and fans wished they would have had a more personal connection.

1 Richard Webber and Arizona Robbins

Richard Webber and Arizona Robbins in Grey's Anatomy
Shondaland

After Callie starts dating Penny, Arizona feels like she needs to get back into the dating scene. She and Richard attend a trivia night together, but Arizona caves and reveals that she is really there to try to pick up women. Richard’s entire demeanor changes, and he starts scouting out the ladies with Arizona. Ever since then, Richard became Arizona’s rock in the relationship world.

She would freely go to him with the latest gossip and how she was making progress with certain women. Then, during her custody battle with Callie, Richard supported her through the trying times. The pair has come a long way since Arizona’s days of fearing authority figures, and fans are truly happy for them.

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For 19 seasons, fans have followed

Jagex announced today that they are continuing to work on making Hero Pass something that the community will enjoy and will better align with the needs of the player base. The initial backlash was unseen in the community, at least on a scale of this magnitude. There have been many protests during the game’s long life, but Hero Pass has managed to surpass even the community anguish surrounding the removal of the Wilderness and free trade, which was a big deal.

Jagex has stated that the improvement of Hero Pass will be a three-phase process which you can view below.

PHASE 1: PREPARATION & INTERIM FIXES

We have already disabled some of the paid options and Content Buffs in Hero Pass: Underworld as part of our interim fixes.

Balancing changes are up next, with more details on our proposed changes available in this consultation post.

As a reminder, we are also intending to reinstate Daily Challenges as part of these interim fixes. The latest updates on Daily Challenges are:

  • The team is still working hard to bring this feature back, with the prior mechanics and rewards.
  • Current estimates from the team are to have this back in place by early October.
  • Last week, we added 3 Treasure Hunter Keys and 3 Large Prismatic Lamps to the Daily Mission rewards while this is being worked on.

PHASE 2: COMMUNITY CONSULTATION

The consultation period will begin on Monday 2nd October and take approximately 6 weeks to complete.

  • We will start by sending out a Hero Pass player survey to ask about the various aspects of the current design
  • We will run Player Panels to bring player feedback into our design iteration
  • We will share plans on design changes to the wider community to gather further feedback

PHASE 3: REVIEW & NEXT STEPS

We will share our plans to improve Hero Pass built from your feedback in the community consultation and outline next steps.

Jagex, September 22, 2023

The first phase has already been underway as soon as Jagex realized that the intense backlash to the initial implementation was too large to be ignored and would not blow over. So far, the changes to Hero Pass include the removal of pay-to-win options, content buff removal, and the Premier Pass rewards being merely cosmetic instead of providing in-game advantages. One of the most requested changes is the return of Daily Challenges which has been slated for early October. Players also can toggle Hero Pass notifications on and off – a much-welcome change.

Phase 2 of the Hero Pass improvement plan is embarking on a six-week-long community consultation process. This will begin with all players receiving a Hero Pass survey and providing feedback and will continue with Player Panels, which will directly impact the design of Hero Pass going forward. Once this is complete, all plans and design changes will be shared with the community, and they will be able to provide feedback.

There are two things that stand out about the above announcement:

  1. Despite being almost universally disliked by the community, Jagex has no intention of removing Hero Pass.
  2. Jagex plans to source a wide variety of player feedback to create a version of Hero Pass that the community will either enjoy or tolerate depending on their stance.

With the six-week-long consultation process, RuneScape players will hopefully end up with a Hero Pass that they find agreeable. At the very least, Jagex has learned a harsh yet valuable lesson that there’s only so much MTX content that players will put up with until it’s too much. The in-depth feedback and consultation process is welcome, but it should have been held at the beginning. Not as an emergency tool when hemorrhaging players. Old School RuneScape treats their community with respect, and they are heavily involved in the game’s direction. Sailing is a fantastic example of this.

One can hope that going forward, RuneScape players will receive the same respect as their OSRS counterparts. After all, they are the most important aspect of the game. Without them, there would be no RuneScape. It’s time to respect the community that keeps the game alive in 2023.

About the Author

Priscilla Wells

Priscilla is a weekend editor and freelance writer for Prima Games. She is an Australian living in the United States with her family. Priscilla has grown up playing video games, and most often plays her PS5 and Nintendo Switch consoles.

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Jagex announced today that they are continuing

Howard Stern is once again under attack by former celebrity friends. This time, it’s Donald Trump, who today said the self-described “King of All Media” was a “broken weirdo” who “went woke.”

The Trump comments follow an attack by comedian and talk show host Bill Maher, who made comments Stern’s second marriage to Beth Ostrosky. Stern responded by breaking ties with Maher.

Today on Truth Social, Trump – a former frequent guest on Stern’s radio show – derided him.

“The real Howard Stern is a weak, pathetic, and disloyal guy, who lost his friends and MUCH of his audience,” Trump wrote on Truth Social.

“I did his show many times in the good old days, and then he went woke, and nobody cares about him any longer,” he said. Stern’s “influence is gone, and without that, he’s got NOTHING,” Trump said, adding, “Just a broken weirdo, unattractive both inside and out, trying like hell to be relevant.”

Stern this week declared on Sirius XM, “I am woke, motherf–ker, and I love it!” He was reacting to a fan’s YouTube lament about his liberal leanings.

“By the way, I kind of take that as a compliment, that I’m woke,” Stern said Monday.“If woke means I can’t get behind Trump, which is what I think it means, or that I support people who want to be transgender or I’m for the vaccine, dude, call me woke as you f–king want.”

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Howard Stern is once again under attack

Michael Caine
Photo: Lia Toby (Getty Images)

Intimacy coordinators are a relatively new innovation on Hollywood sets, as more and more people down in the trenches of making TV and films begin to think seriously about how to make art about, and featuring, sex in ways that leave everyone involved feeling comfortable and safe. And while this is obviously not the point, they’ve also served a useful secondary purpose: Operating as a shockingly good litmus test for which actors—and specifically, male actors, because it’s pretty much always male actors saying this stuff—are a bit too far out of touch with modern attitudes.

Like, it’s not surprising, exactly, that Michael Caine, who turned 90 this year, is out here rolling his eyes at the idea that love scenes between two working professionals should not be wildly improvised affairs. But it is still a certain kind of irritating to hear Caine, who was talking to The Daily Mail about his new movie The Great Escaper, respond to the topic with some classic “Back in my day” rhetoric: “Really? Seriously? What are they? We never had that in my day. Thank God I’m 90 and don’t play lovers anymore is all I can say. In my day you just did the love scene and got on with it without anyone interfering. It’s all changed.”

Now, as Caine himself points out, his relationship to this stuff is largely academic these days—although it’s worth noting that Frank Langella was a strapping young lad of 84 when he disregarded the guidance of an intimacy coordinator on the set of Netflix’s The Fall Of The House Of Usher, leading to complaints from a co-star and him being recast on the show. (And then self-declared the kind of “cancelled” where you get to write op-eds about how silenced you’re being.) Caine does note that he tries to keep up with modern sensibilities, “But it’s dull. Not being able to speak your mind and not being able to call anyone ‘darling.’” Alas, for the glorious lost privileges of yesteryear.

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Michael CainePhoto: Lia Toby (Getty Images)Intimacy coordinators

“Modestly speaking, we’ve tried to create a culture at Movistar Plus+ which attracts talent. We have a lot of respect for what creators want to tell and believe in them,” Domingo Corral, Movistar Plus+ director of fiction and entertainment, has said.

One case in point is Berto Romero, whose latest series, “The Other Side” (“El otro lado”), world premieres at Spain’s San Sebastian Festival on Sunday. 

Romero broke out with star turns on Andreu Buenafuente’s “Buenafuente” and “Leit Motiv,” two late-night mainstays on Movistar Plus+ produced by El Terrat, owned by The Mediapro Studio from 2019. Over 2018-19, his first fiction series, the Terrat-produced “Look What You’ve Done,” a fresh comedic take on the tribulations of parenting, ran for three seasons on Movistar Plus+. Now “The Other Side” weighs in as a step-up in ambition for Romero.

The comedy remains. In early scenes, Nacho Nieto (Romero), once a young rising star on Spain’s premier paranormal TV show, fronted by his late mentor Dr. Estrada (Andreu Buenafuente), has hit rock-bottom. Lying in his bath, in his forlorn flat’s bathroom, bedecked by dingy ‘60s-style beige tiles which have also seen better days, he attempts suicide. He gets the post-mortem positions right, sprawling in the bathtub “The Death of Marat” style. But he can’t even bear to take his razor to his wrist. 

Later, Nacho, now reduced to homemade webcasts, attempts to interview an alleged star of Spain’s paranormal, in fact a fellow journalist working on the now hot occult TV show, Nueva Era, run by the unscrupulous but celeb Gorka Romero (a great performance by film director Nacho Vigalondo), now a rockstar. But the sound keeps on banking and the journalist has to dash to appear on Nueva Era.

All of which audiences might expect from Romero, but not the scene that comes in between: A mother and adolescent son cowering in their high-rise flat bedroom at exactly 11 p.m. as what looks like a shockingly brutal and hostile poltergeist overturns furniture and switches on the TV to play scenes from slasher gore fare.

Nacho is alerted to the attacks, which could well be the biggest paranormal case in modern-day Spain. Accompanied by the spirit of Dr. Estrada (Buenafuente,  showing his acting chops), he visits the flat and begins to unravel its often terrifying mystery. 

“Berto Romero turns to horror. The phenomenon nobody expected,” “The Other Side’s” logline runs. The real surprise, however, is that the series is a such a bingeable thriller, a “who’s doing it” where spectators want to know the identity of the poltergeist and whether Nacho gets out of the case alive….

Variety talked to Romero in the run-up to the San Sebastian Festival.

You’re a stand-up comic who, bucking expectation, has created a comedic horror-thriller. It’s maybe the thriller element which is most surprising…..

I’m a stand-up comic, TV, radio. But I’m more interested in hybrid genre than pure comedy. We’ve have such a slew of series on offer that as spectators we’ve learnt basic narrative structures. As a spectator I still want to be surprised. In the case of “The Other Side,” it comes from its genre mix. The thriller element wasn’t in the original horror-comedy idea. When writing, we realized you can’t makes audiences laugh a lot, then scare them, or do something really scary if you spark a lot of laughter. The thriller format solves all that: You’re constantly hooked.

The Other Side
Credit: Lander Larranaga

“The Other Side” is also a social-issue series, talking about TV’s ethical responsibilities, with Nacho still haunted by a case where Gorka encouraged him to lie to audiences about a girl miracle healer….

The paranormal isn’t my world. But its setting in “The Other Side,” the media world, is. I believe in the maxim of writing about what you know, because you can have something to say.  Deep down, the media is the backbone for the entire story. We didn’t mean to introduce any social commentary. It just crept in. But it’s a crucial issue right now: Truth, false truth, is a core issue in mystery shows. 

What kind of creative freedom did Movistar Plus+ give you?

A large one. The defining characteristic of Movistar Plus+’s management team is that it likes to take risks, making series that haven’t been made before. For me, “The Other Side” is a lot of risk: A change in my usual persona, in tone, and in bringing in my usual comedy partner, Andreu, to play a fictional character. But if you propose to Movistar Plus+ something that’s new, disruptive, that’s a road they’re always ready to go down.

In its direction – Nacho’s cluttered flat, for instance, with its psst times bric-à-brac forefront in frames – and its story of a loser desperately trying to get a break, “The Other Side” harks back to Spain’s great comedic tradition of Berlanga-Azcona, Fernando Fernán Gomez and Marco Ferreri. Could you comment?

I don’t have a vast film culture, but I think that in the ‘80s, ‘90s, my generation tried to make U.S.-style comedies and thrillers. But we’re not like that. We’re more chaotic. I want to connect with the Spanish character, first and foremost. Elements, things that are unmistakably Spanish, such as food. Nacho and other paranormal investigators are onto a really big case. But they still have to go out a grab a bocadillo snack and talk about the most mundane and prosaic things. That’s very Spanish, very Mediterranean, the complete opposite of the solemnity [of much U.S fiction.]. 

U.S. fiction drinks deep on a capitalist model based on control. Spain’s, Latin America’s sense the world is far less controllable, which the pandemic brought home to many people….

It’s something we have deep within us. Chaos is there the second you open the door: It can appear at any moment.

One Movistar Plus+ fiction hallmark is its localization of series and movies in specific milieu in Spain, which are often a discovery for audiences. ”The Other Side” has this sense of specific setting….

In our case, it was a reaction to the world we had shown in “Look What You’ve Done,” which took place in a cosmopolitan Barcelona, which wanted to look like Berlin or New York, populated by the children of the rich. The title “The Other Side” functions on a lot of levels. It’s set on Barcelona’s outer-radius, in a humble neighborhood. We shot, for example, in Hospitalet, setting the flat in a high-rise. Cities are ever more similar. Locating a series in a specific place with specific people is beginning to give a sense of freshness to shows which can still talk about universal truths and stories. We all have the same concerns.

The Other Side
Credit: Lander Larranaga

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“Modestly speaking, we’ve tried to create a



39 sec read

other-space-logo

Other Space Synopsis

Other Space is a Science Fiction comedy television series produced by Yahoo that premiered in April of 2015.

Created by Paul Feig (Freaks and Geeks) Other Space is set in the early 22nd century and follows the story of the inexperienced crew aboard UMP Cruiser on a routine space exploratory mission. In their travels they stumble onto a portal and get drawn into an alternate universe.

Other Space aired one season.

Episode List

Season 1

  • 1 – Into the Great Beyond…Beyond (S01E01 – 101)
  • 2 – Getting to Know You (S01E02 – 102)
  • 3 – The Death of A.R.T. (S01E03 – 103)
  • 4 – Ted Talks (S01E04 – 104)
  • 5 – Trouble’s Brewing (S01E05 – 105)
  • 6 – Powerless (S01E06 – 106)
  • 7 – First Contact (S01E07 – 107)
  • 8 – Finale (S01E08 – 108)

Also See:

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As directorial head-to-heads go, Jack Huston versus Stanley Kubrick isn’t anyone’s idea of a fair fight. But that’s exactly the clash the actor and Hollywood scion sets up for himself in his directorial debut “Day of the Fight” — named for Kubrick’s famous 1951 documentary short of the same title, and likewise following an Irish-American boxer through his daily New York routine, in the hours leading up to a climactic evening match. At 108 minutes to Kubrick’s 12, Huston’s fiction feature has bulk on its side, which isn’t quite the same as weight: Padding out its episodic day-in-the-life structure with a stakes-raising melodramatic backstory, “Day of the Fight” lunges for the tear ducts while never quite ringing true, rooted less in real life than in the tradition of countless underdog boxing dramas that have gone before.

Which isn’t to say Huston’s film is unfelt or unaffecting: It knows those past films fondly, and what it borrows from others, it doesn’t borrow with a trace of cynicism. Occasionally its sincerity even rises to the level of grace, thanks in large part to a performance of crumpled physicality and palpable emotional investment by its recently embattled star Michael C. Pitt. Still, it gets increasingly hard to return that earnestness in kind as the cliché count edges into drinking-game territory, between its heavy-handed dramatic foreshadowing, cornball Noo Yawkisms, and stock characterizations. The light and shade here is all in Peter Simonite’s splendid, inky-shadowed monochrome lensing; Huston’s visual sense outweighs his screenwriting.

“Irish Mike is back in the game,” a stray broadcaster informs us, following an introductory montage of trauma flashbacks and associated nightmares that tellingly suggests why he may have been been out of it. Mike Flannigan — or “Irish” to the running procession of pals he meets over the course of one frosty Brooklyn morning — is a former middleweight champion whose career was flattened by a DUI crash that landed him a brain injury and several years behind bars. (Other victims were less fortunate.) Now free and sober, he’s secured a controversial comeback fight at Madison Square Garden against a newer, stronger champ. With nobody fancying his chances, Mikey places a hefty bet on himself with a neighborhood bookie. Viewers can guess at the payoff.

Hunched in sweats, his face seasoned and scarred under a sweat-slicked blond thatch, Pitt is scarcely recognizable as the smooth young tough of “Boardwalk Empire,” which is to the film’s benefit — his Mike walks with the wary, guarded stride of a man reintroducing himself to the world. Which is, for much of the running time, what he does: In a series of talky vignettes, Mike makes contact and makes amends with an assortment of people from his past.

Some, like the sassy, salt-of-the-earth proprietress at his local diner, are casual acquaintances, though the encounters get more intimate and fraught as the day wears on: a kindly uncle (Steve Buscemi in a brief cameo) who offers him a family heirloom to pawn; his tough-loving trainer Stevie (Ron Perlman); his onetime best friend Patrick (John Magaro, bringing warmth and good humor to cornball dialogue), now a Catholic priest dispensing street wisdom between sermons. The hardest reunions are reserved for last: a nervy but eventually peace-making lunch with his wounded ex-wife Jessica (Nicolette Robinson), now a hard-up bartender and lounge singer raising their teenage daughter on her own; and a visit to the care home where his father (Joe Pesci), once an abusive tyrant, is now diminished and stricken with dementia.

This sheer accumulation of narrative baggage means that “Day of the Fight” cycles through several emotional crescendoes before we even reach the climactic bout. As Huston attempts to top what has gone before, the film lapses into kitsch excess, not least in an overwrought sequence that cross-cuts between Mike’s eventual walk to the ring and Jessica’s tremulous piano-bar rendition of Creedence Clearwater Revival’s “Have You Ever Seen the Rain,” complete with a single tear sliding its way down her cheek in dewy closeup.

Huston’s actors are good enough not to need such manufactured pathos; the characters’ interior pain is clearly expressed without the assistance of lumpen lines like, “You were always my hero, even when you weren’t.” As an homage to Kubrick’s short, “Day of the Fight” has little of its inspiration’s observational economy; it doesn’t have enough trust in its simplest, most humane virtues. Still, like the bruised, beaten-up fighter at the center of all such films, Huston’s debut has heart where its feet fail it.

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As directorial head-to-heads go, Jack Huston versus

Sweden’s Isabella Eklöf has followed up her acclaimed debut “Holiday” with the Greenland-set “Kalak,” this time around opting for a male protagonist.

“He’s a guy, but the story is exactly the same,” she says.

“It’s still about sexual assault and ‘restaging’ your trauma, or looking for family and connection, but I have never explored that perspective before. An artist should be able to make art about anything, but it was strangely difficult. He does become more of a perpetrator. Why? I am not sure. Just because he has a dick, he becomes more dangerous.”

Eklöf, who previously co-wrote Ali Abbasi’s “Border,” based the story on an autobiographical novel by Kim Leine, with both of them writing alongside Sissel Dalsgaard Thomsen.

Produced by Maria Møller Kjeldgaard (Manna Film), “Kalak’s” production partners take in Mer Film (Norway), Momento Film and Film i Väst (Sweden), MADE (Finland), Dutch outfit Lemming Film and Polarama Greenland. Totem Films handles sales.

In the film, Jan (Emil Johnsen) is working as a nurse in Greenland. He wants to be accepted and become a “Kalak,” a true – or “dirty” – Greenlander. But he also needs to acknowledge a painful secret he has been hiding for years. 

“Personally, I am not that drawn to fictional stories. There is enough weird stuff happening so that we don’t have to make things up, at least when it comes to art. Entertainment is a different story,” she adds.

“What drew me to Jan is his curiosity and joy, and his complete lack of borders. He is trying to understand Greenlandic culture, he wants to jump straight in. I just love it when people aren’t afraid.”

Despite having a family, Jan enters into sexual relationships with local women, at the same time awakening a memory he tried to keep dormant. He was sexually abused by his own father. 

Isabella Eklöf

“When you don’t address these issues, it gets worse. That’s what happened in real life as well,” notes Eklöf.  

“Those who have experienced sexual trauma often use sexuality as a tool of communication. It’s a way to get to know people, to get under their skin. He immediately falls in love with these women, he wants to be saved and to belong. If you have a broken connection with someone as close as your father, you are looking for someone to pull you out of that hole.”

But in “Kalak,” an intimate story becomes political.   

“The metaphor is clear: He was raped the same way this culture raped all of Greenland. Until the 1970s, people were forcefully evicted from their villages and put in horrible concrete buildings, just because Danes assumed it would be better for them. They were infantilized, just like Jan’s father used to infantilize him.” 

While his desire to blend in with the community he doesn’t belong to could raise eyebrows these days, for Eklöf, it’s a complex issue. 

“The story is set around 2000, so today’s self-consciousness just isn’t present. But in Greenland, many people have Danish ancestry. Maybe he could have earned the right to call himself a ‘Kalak,’ but he is too enveloped in his own shit,” she says. 

“I guess I wanted to defend that naivety a little bit. It’s potentially provocative for me to even be making a film in Greenland. But I did want to defend the fact that you can become a part of something – provided you do the work. But how and when? That’s a complicated question.” 

Staying “humble” was crucial, she confesses.

“It had to feel real, even though I am not a Greenlander and never lived there outside of this context. Also, it’s not your usual story about ‘poor’ Greenlanders and their white savior. He is the most fucked up of all of them.” 

And yet he still manages to surprise. 

“I enjoy setting up dramatic situations where you expect something to happen and it never does. Like hanging up that [Chekhov’s] gun on the wall and never using it. In life, so often there is no resolution, especially when parents are involved. It’s part of my personal quest to have truth in filmmaking.”

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Sweden’s Isabella Eklöf has followed up her

In another sign that shows — even famous ones — can no longer “live forever” on streaming in the new era of media companies re-prioritizing profits, a slew of titles will be leaving Disney-controlled Hulu in the coming days as their license deals expire. For now, there are no plans to renew any of the pacts but that is always a possibility in the future.

‘Arrested Development’ and ‘Bob Newhart Show’

Everett Collection

The list of departing series includes 20 series from Disney’s 20th Television, including the David E. Kelley Emmy-winning legal shows Ally McBeal, which the studio had been looking to remake, and The Practice, as well as fellow award-winners The Bob Newhart Show, Hill Street Blues and Arrested Development.

A slew of catalog titles from Fox and Paramount also are impacted, as well as a couple of properties each from Nat Geo and NBC News. According to sources, the entire WWE hub would expire Sept. 25, and a handful of ABC News titles also will be gone, something which we have not confirmed.

The move follows a major cost-cutting content removal across Disney+ and Hulu in the spring as the two platforms are preparing to combine offerings into “one-app experience” by the end of the year.

Here is the list of confirmed Hulu library series departures:

20th TV shows leaving Sept. 30:

The Bob Newhart Show
Dollhouse
Napoleon Dynamite
Don’t Trust the B—- in APT 23
Second Chance
Shots Fired
Touch
Ally McBeal
Arrested Development
Sirens
The Cleveland Show
Hill Street Blues
Damien
Son of Zorn
The Practice
Speechless
Out There
Legends
Breakout Kings
Better Off Ted

Fox shows, most of them departing Sept. 25

I Can See Your Voice (Seasons 1-2)
Alter Ego (Season 1)
Cherries Wild (Season 1)
Beat Shazam (Seasons 4-5)
Masterchef Junior (Seasons 1-8)
Masked Dancer (Season 1)
Crime Scene Kitchen (Seasons 1-2)
Gordon Ramsay’s 24 Hours To Hell And Back (Seasons 1-3)
Cosmos Possible Worlds (Season 1)
Lego Masters (Seasons 1-2)
Masterchef (Seasons 1-12)
The Masked Singer (Seasons 1-8)
Name That Tune (Seasons 1-2)
Next Level Chef (Season 1)

Paramount catalog tittles, departing Sept. 30/Oct. 14:

Basketball Wives LA (Seasons 1-3)
Love & Hip Hop Hollywood (Seasons 1-4)
RuPaul’s Drag Race All Stars (Seasons 1-3)

Acapulco Shore (Seasons 1-4) -October 14 exp.
Catfish Mexico (Season 1) -October 14 exp.
The Hills (Seasons 1-6)
My Super Sweet 16 (Seasons 4-7)
The Real World (one or more seasons)

Sleeper Cell (Season 1)

7th Heaven (Seasons 1-4)
Beverly Hills 90210 (Seasons 1-2)

La Culpa es de Cortés

  • Paramount Network Mexico:

Dani Who (Seasons 1)

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In another sign that shows — even

“All Dirt Roads Taste of Salt” director Raven Jackson is taking her time. 

“I’m interested in patience,” she says ahead of her feature debut’s San Sebastian screening, following the Sundance premiere earlier this year. 

“I am interested in slow cinema, even though in the U.S. it’s not as prominent. When I was in the edit [with Lee Chatametikool], I knew that many audience members are not used to such a pace. But that challenge excited me.”

“I am working on a short now that takes its time too, but I wonder to what degree it will continue with my next feature. There’s no world where it makes sense for a hug to last 15 seconds and I’m not sure if every one of my films will ask for such patience. If they do, I’m going to give it to them.”

In the A24 release “All Dirt Roads Taste of Salt” – produced by Maria Altamirano, “Moonlight’s” Barry Jenkins, Adele Romanski and Mark Ceryak – Jackson focuses on a Black woman’s life in Mississippi, as well as the people and places that are important to her.

Charleen McClure, “Obi-Wan Kenobi’s” Moses Ingram, Kaylee Nicole Johnson, Reginald Helms Jr., Sheila Atim, Chris Chalk, Jayah Henry and Zainab Jah star. 

“Making this film mirrored these [on-screen] connections in a lot of ways, which was beautiful. I wanted to show love that is present,” she adds. 

“Showing this community, this feeling of being held and supported, was important to me. Even when these characters can’t be together or if they are never going to see each other again, at least they will have that embrace. 

Jackson, a poet and a photographer, tried to bring her own sensibility to the unhurried, sensual story. 

“Recently, I was talking to someone and they compared this film to a poem. I wanted to make you feel without relying on dialogue. Some of it is inside of me, but it was a balance of honoring who I am and listening to what the film wanted.”   

Without explaining too much – or without providing concrete dates – as suggested by Variety, Jackson dives right inside of her protagonist’s head. 

“I love how you put it, because when I am thinking about time, these situations are happening right now, all at once. I know the years and so did my collaborators, but I’m not giving you any clear markers. I wanted to preserve that state of feeling things rather than knowing exactly where you are,” she adds.

“I have such reverence for quiet, for stillness, for things that aren’t said. I guess it has poured its way into this film.” 

Despite covering decades in Mack’s life, Jackson chose to celebrate quiet moments instead of listing its usual milestones. 

“I wanted to focus on seemingly small moments that make up a life. It speaks to my previous short [‘Røtter’], because that film also explored insignificant yet stinging moments in the lives of different women and girls,” she says.

“Your grandmother telling you a story is a profound moment. When you are laying on the grass, listening to nature, that’s profound too. I didn’t feel the need to have really big happenings. They can seem ‘small,’ but I don’t think they are.” 

In “All Dirt Roads Taste of Salt,” they often take up the entire frame. 

“When I’m looking back on big transitions in my own life, they often had to do with these small moments or just with remembering the texture of someone’s hand. When you show them like that, when you can see every vein and the life that runs through it, it’s like showing the whole world.”

The world that’s full of joy and affection, with her characters quietly celebrating their bonds. 

“Life has many emotions, but it also has love, joy and a sense of possibility. It felt important to explore that with the film. Going forward, I know that sense of connection will be an important thread in my work,” states Jackson. 

“There is a quote that came up a lot when we were working, by [13th century poet] Rumi: ‘The wound is the place where the light enters you.’ That’s something my collaborators and I spoke about a lot. We live in a very complex world, very dense, but whether it’s through nature or silence with myself, the light gets in.”

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“All Dirt Roads Taste of Salt” director

Whether he’s speaking of friend or foe, Donald Trump isn’t alwans known for taking the high road. When it comes to former New Jersey Gov. Chris Christie, who is also in the running for the Republican nomination heading into the 2024 election, Trump has repeatedly focused on one thing about Christie that has nothing to do with his leadership skills: his weight.

In his most recent fatphobic post about his political rival, Trump shared a clip that’s been edited to show Christie apparently breaking a chair by sitting in it during an interview with CNN. Trump shared the clip on Truth Social early Saturday morning — which would be a surprising move for more traditional political figures, but not necessarily in Trump’s case.

This is far from the first time Trump has taken a swipe at Christie’s weight. In fact, the attack route is becoming so commonplace that Christie himself doesn’t seem too bothered about it. After Trump attacked both Christie’s polling numbers and his weight in June, the former governor commented, “Oh, like he’s some Adonis? I mean please.”

He then added that, like millions of Americans, “I continue to struggle and I continue to try to do better.” According to the National Institutes of Health, nearly one in three adults in the United States is overweight. Being overweight has no bearing on a person’s capacity to lead, be it a small team at their job or a nation, though weight bias can negatively impact a person’s ability to be promoted to leadership roles in the first place.

Trump came under fire in September 2022 and this August for similar comments about Christie.

Trump has appeared to harbor an obsession with his own weight and height over the years, which might be the reason why he can’t seem to stop criticizing the weight of his political rivals. The internet ran rife with speculation that all is not as it has been claimed after Trump was booked at Fulton County Jail in August and his self-reported height and weight were disclosed: 6’3″ and 215 pounds.

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September 23, 2023 @ 10:47 AM Whether he’s

Jamie Lee Curtis is ready to be a part of the Straw Hat Pirates’ story.

The Oscar-winning actor shared in an Instagram post her desire to play Dr. Kureha in Netflix’s “One Piece,” writing in the caption, “Once the strike against the greed of the [AMPTP] is settled with a fair contract, I will lobby along with the growing fan frenzy to become Doctor Kureha.”

“One Piece” co-showrunner Matt Owens voiced his support for Curtis joining the live-action cast as the 141-year-old doctor.

“Mommy dearest, that’s why we sent you that figure! No need to lobby,” Owens commented on her post. “Once we get what we deserve and get back to work, let’s talk!”

Dr. Kureha, called a “witch” by some, is an extremely elderly doctor who works on Drum Island. She is the mentor and adoptive mother of Tony Tony Chopper, the doctor of the Straw Hat Pirates, who is expected to appear in Season 2.

“One Piece” was recently renewed for a second season at Netflix. The producers behind the live-action series revealed to Variety that scripts for Season 2 are completed and the next season could be “ready to air” in a year, once the WGA and SAG-AFTRA strikes are resolved so production can begin.

“Realistically, hopefully, a year away, if we move very quickly, and that is a possibility,” said Becky Clements, president of Tomorrow Studios, which produces the live-action “One Piece” in partnership with manga creator Eiichiro Oda and publisher Shueisha. “Somewhere between a year and 18 months, we could be ready for air.”

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Jamie Lee Curtis is ready to be

In Parineeti Chopra and Raghav Chadha’s, guests have been asked to tape the phone camera. Animal new poster featuring Rashmika Mandanna is out.

Parineeti Chopra and Raghav Chadha are all set to tie the knots on September 24. Rashmika Mandanna’s character post from Animal is out.

Grand preparations are underway for Parineeti Chopra and Raghav Chadha’s wedding. The couple reached Udaipur on Friday, September 22 and will tie the knot tomorrow i.e. on September 24. Amid all this, it has now been reported that security has been beefed up at The Leela Palace Hotel where the couple is staying and will get married.

For More: Parineeti Chopra-Raghav Chadha Wedding: Phone Camera To Be Taped, Hotel Staff Not Allowed To Go Out

The wait is almost over! A new poster of Animal, Ranbir Kapoor’s upcoming film, has been released and it unveiled the first look of Rashmika Mandanna from the film. The actress shared the poster on her Instagram account and revealed her character’s name from the film. Her character’s name will be Geetanjali. In the poster, Rashmika was seen drapping a traditional Bengali red and white saree. She also wore a mangalsutra to complete her look.

For More: Animal New Poster: Rashmika Mandanna Drapes a Red-White Saree In 1st Look From Ranbir Kapoor Starrer

Rumours have been doing the rounds claiming that Katrina Kaif and Priyanka Chopra have walked out of Jee Le Zara. Directed by Farhan Akhtar, the film is set to be the first ever all-girls road trip movie. The film was announced in 2021 and was expected to go on floors this year. However, the film has been delayed several times. With no official update from Farhan, rumours claimed that Katrina and Priyanka are no longer a part of the film. Now Farhan Akhtar has finally broken his silence on the reason behind such rumours.

For More: Farhan Akhtar BREAKS Silence On The Real Reason Behind The Delay Of Jee Le Zaraa; Deets Inside

The 2023 Ganpathi celebrations is slowly reaching it’s crescendo. While the entire nation embraced the spirited celebrations and heartfelt devotion on this occasion, Bollywood celebrities had also stepped up to convey their heartfelt greetings to their fans and supporters. A grand celebration was underway in full swing at the Ambani residence, Antilia. It was graced by prominent faces like Shah Rukh Khan and Ajay Devgn. The fervour with which the stars of the tinsel town welcomed Ganpati, they are exuding the same devotion on the visarjan day. Ranbir Kapoor and his mother Neetu Kapoor are the perfect examples of that.

For More: Ranbir Kapoor Carries Bappa In Arms, Performs Aarti With Mom Neetu Kapoor At Visarjan; Watch

Vicky Kaushal and Manushi Chhillar starrer The Great Indian Family finally hit theatres on Friday, September 22. The film received mixed reviews from all but failed to leave a mark at the box office on its opening day. As reported by the industry tracker Sacnilk, early estimates suggest that The Great Indian Family earned Rs 1.40 crore on day one.

For More: The Great Indian Family Box Office: Vicky Kaushal’s Film Records SHOCKING Opening With Rs 1.40 Crore

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In Parineeti Chopra and Raghav Chadha's, guests

There are many pluses to extending the Star Wars world with Disney+ shows. We get more time with our favorite characters, we get to learn more about the Star Wars lore that we’ve seen develop over the years, and we get to travel to new and exciting worlds. But one thing that Star Wars Disney+ shows have particularly excelled at is introducing cute new Star Wars creations into our lives. Just look at the impact of Grogu, a.k.a. Baby Yoda. Happily, Ahsoka has continued this tradition. First, Ahsoka brought us the live-action loth-cat, which had us melting in our seats. And now, Ahsoka has brought two adorable new species into Star Wars canon, the howlers and the Noti. The howlers and the Noti not only added maximum cuteness to our screens, but they also played a part in Ahsoka‘s plot. Let’s take a look at these newly introduced denizens of the Star Wars world.

Sabine Wren’s Howler Tota Cannonizes the Star Wars Species in Ahsoka

Ahsoka Introduces cute star wars species Howler
Lucasfilm

At first, Sabine Wren’s mount on Peridea seemed like a dastardly dark side creature. But it turns out at least this howler, named Tota, was all bark and no bite. Although a bit of a coward, Tota loyally took to Sabine after an unfortunate encounter with bandits. And his sheepish but stubborn demeanor in recompense has probably won Star Wars fans over to the side of the howlers from here on out. Tota’s scenes with Sabine completely stole the show. Not to mention, whether or not the howler brought Sabine to the right place because he wanted water or because he could sense something more than that, he did help her to reunite with Ezra Bridger.

In the Ahsoka series, the howler species present as a reptilian wolf crossed with a horse. Interestingly, these live-action Star Wars howlers bring to mind mythology’s griffins. Although these two creatures aren’t one-to-one in their make-up, Ahsoka has been leaning into its mythological roots. So we enjoy the comparison.

Star Wars Jedi Knight game Howler
LucasArts

But have howlers appeared in Star Wars before? This cute species has made a few prior appearances but not in canon Star Wars properties. Howlers first appeared in the Star Wars: Jedi Knight games, which belong to the Star Wars Legends world. In the games, howlers appeared much more reptilian, almost resembling dragons. These howlers lived on the moon Yavin 4. Although this implies that more than just purrgil have been able to cross Star Wars galaxies in canon, it does not confirm it. However, the appearance of howlers does continue Ahsoka‘s trend of incorporating Star Wars Legends material into canon. And, we, for one, are enjoying the adorable fruits of that convergence.

The Noti Kept Ezra Bridger Safe After Star Wars Rebels

Ahsoka Introduces adorable Star Wars species Noti
Lucasfilm

The second species of absurdly cute aliens that Ahsoka introduced into the Star Wars world are the Noti. The Noti have not appeared before in any other Star Wars properties, but we hope to see more of them on Ahsoka. Although we don’t yet know the full story, it seems like the Noti adopted Ezra Bridger into their community after he became stranded on Peridea.

In Ahsoka, Tota the howler sniffs out a Noti and gives him a bit of a shock. But once calmed, the Noti recognizes Sabine Wren’s Rebellion symbol and reveals that he wears one as well. Suddenly, a whole crowd of Noti appear to excitedly chatter. It turns out they do know Ezra Bridger. The Noti take Sabine back to their village, and there she is finally reunited with Ezra for the first time since he disappeared at the end of Star Wars Rebels. We’re glad such cute creatures could facilitate this happy moment.

In Ahsoka, the Noti are adorable bug-like aliens. The Noti have rock-like shells on their back, which they can hide beneath at any sign of trouble. They seem to be a joyful and peaceable species.

Both the Noti and Sabine’s howler seem like great additions to the Star Wars universe. We just hope we don’t have to leave them behind on Peridea in the next episodes of Ahsoka.

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There are many pluses to extending the

isarai212d ago (Edited 212d ago )

Dont get what this has to do with “console elitists”. People just think it’s a lame cash grab, which it is, and are tired of GAAS, as proven by the many GAAS games dying as of late. Not to mention DOOM is know for being an FPS not a top down roguelike.

Bottom line is, no one asked for this, no one wants this, there is no d3mand for this, it’s dumb. Not like bethesda do3snt have tons of other ips that would’ve worked better for this.

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isarai212d ago (Edited 212d ago )Dont get

A sardonic view of Popular Unity, the left-wing alliance once led by the assassinated Chilean socialist president Salvador Allende, Raul Ruiz’s docu-fiction hybrid, “Socialist Realism,” world premiered at the San Sebastian Film Festival on Sept 23, 50 years after the prolific filmmaker was forced to abandon it.

It finally unspools after his widow, filmmaker-editor Valeria Sarmiento, with the backing of actress-helmer Chamila Rodríguez’s Poetastros production company, rescued and reconstructed the film. 

Both Sarmiento and Rodríguez are in San Sebastian to present the pic. 

Ruiz, who died in 2011, was forced to flee the brutal 1973 coup d’état in his country and was never able to finish editing the hybrid feature. 

What some pundits hailed as one of the filmmaker’s “most ambitious and political works” is made up of a series of short stories where two contrasting worlds collide, that of the workers and the bourgeois intellectual supporters of the Popular Unity coalition. Its trailer shows the growing clashes within the alliance. 

“At a certain moment,” Ruiz once described, “these characters intersect in an apparent friendship that ends in action-packed scenes with crossing bullets and songs shouted at the top of their lungs, thus producing a satirical reading of the time.”

“The movie contains a valuable record of the turbulent political climate that Chile experienced during the Popular Unity period, the government led by Salvador Allende, the first socialist president to come to power through a democratic election in 1970,” said Rodriguez, who also produced two earlier films of Ruiz’s (“La telenovela errante” and “El tango del viudo y su espejo deformante”), with “Social Realism” completing the trilogy.

“Much of the film material was in poor condition, and the violence of its timeline is evident in every scratched and damaged frame,” she noted, adding: “This required a meticulous effort to rescue and repatriate the material. High dynamic range scanning was necessary, which was carried out in laboratories in New York City and at the Royal Cinematek in Belgium.” 

With the support of Cineric in Portugal, the selected material was restored under the direction of Poetastros co-founder/co-director Galut Alarcón who oversaw the entire process, said Rodriguez, who added that once the final sequences were assembled, the post-production process for both image and sound was completed in Chile under the direction of Sarmiento.

Sarmiento had the support of Duke University, Royal Film Archive of Belgium-Cinematek, and Cineric Portugal for this endeavor.

What makes the documentary even more poignant is that its director of photography, Jorge Müller, who was detained and vanished after the coup, remains missing to this day.

“With these elements, it becomes possible to reflect on the commemoration of the 50th anniversary of the coup. Its visionary clarity now appears as a prophecy of our present-day history,” said Rodriguez. 

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A sardonic view of Popular Unity, the

The Great Indian Family, Review: Pandit pop’s bhajan singing son is a Muslim

What a roundabout route it has taken to emerge as The Great Indian Family! It began with the 2010 British film The Infidel, starring Omid Djalili (the D is silent), directed by Josh Appignanesi and a cast that included South Asian sounding names like Archie Panjabi, Saamiya Nasir, James Krishna Floyd, Nabi Nasir, Mina Anwar, Amit Shah, Uzma, Ravin J. Ganatra and Niraj Naik. Five years later, we had an Indian adaptation, an official one, called Dharam Sankat Mein (Religion in Crisis, 2015). This was a comedy drama film, directed by cinematographer Fuwad Khan, in his debut. The film featured Paresh Rawal, Annu Kapoor and Naseeruddin Shah in pivotal roles, and told the story of an ordinary Hindu man who discovers that he was originally born a Muslim. Cut to 2023. Studio major YashRaj Films produces and releases The Great Indian Family (TGIF), based on the same subject, but with several twists of its own. It is largely the handiwork of the man who made three Dhoom films for the same banner, Vijay Krishna Acharya. However, this time around, we might not have as great a member as many of its predecessors joining the great YRF Family Super-Hit List.

Narrated largely through a Voice-Over, the film is about a Pandit (Hindu priest) family, the Tripathis, living in Balrampur. They are highly regarded and invited to perform the religious rites of most locals, rites usually related to birth, marriage and death. Another Pandit, by name Mishra, is their arch-enemy and has the pie of ceremonial fees in his eye. He is waiting to push aside Siya Ram Tripathi and, along with his son, TD (Tulsidas), fill in the vacuum. Tripathi’s son Ved Vyas, meanwhile, has grown-up to become a pop bhajan singer. Bhajan, a form of devotional singing, is usually slow and mellow. Not for Ved. On one occasion, Ved Vyas arrives on the scene and tells the DJ to stop playing Pankaj Udhas (popular ghazal and bhajan singer) bhajans and launches his own extravaganza. The audience swoons. No wonder he is known as Bhajan Kumar. A dull student in his schooldays, he now hangs out with a couple of louts, one a local and another who is a Bengali by birth.

An event of humungous proportions is coming up: a wedding in the Malpani family. The Malpanis, like many Balrampurians, are devoted followers of Pandit Siya Ram Tripathi. Right from matching the horoscopes of the couple, to fixing a date for the wedding to performing all the rituals, the Tripathis stand to make a decent chunk of money. But it so happens that shortly before the marriage, Siya Ram is due to go on an annual pilgrimage to the Himalayas and meditate there for 10 days. There is no real problem, because the dates of the various ceremonies do not fall in the pilgrimage period. And Balak Ram is quite capable of standing in, should the need arise. Though he is a bit concerned, Tripathi goes ahead with his plans. While he is away, a letter arrives, addressed to Siya Ram. Since he would be away for several days more, the family opens the letter and Ved Vyas reads it aloud. The contents sweep the ground away from the family’s feet. According to the sender, a one-time Ward Boy at a hospital, the boy raised by the Tripathi family, born in 1992, was the child of Muslim parents. He goes on to give details to prove his statement. Ved Vyas Tripathi, alias Bhajan Kumar, a Muslim? Strong repercussions follow, some imaginable, others unimaginable.

Giving writing credit in this case is a knotty affair, but the present version is written and directed by Vijay Krishna Acharya. ‘Written’, here, would mean story, screenplay and dialogue, with only some elements of the story borrowed from Dharam Sankat Mein. When it comes to religious affairs and the confrontation between Tripathi and Mishra, Acharya is in his element. The scene where Tripathi suddenly feels uneasy in the middle of his meditation hints at telepathy, but can be attributed to belief. Turning bhajan into a pop form may sound original, but there have been beat masses in churches all over the world, including India, at least since the 1970s. With the entry of the female lead, Acharya begins to lose his grip over the narrative. When the great Indian family, which includes Ved’s twin sister, uncle and aunt, starts getting to grips with the profound discovery and its ramifications, it seems nobody knows what to do, including the writer. Ved asking his new-found Muslim friends to show him how Muslims eat borders on the ludicrous, especially when he notices that one of them is eating with his left hand, and suggests that Muslims must be eating that way. In one scene, Ved says that he is a Muslim, whose birth was possible due to the efforts of a Parsee, Dr. Irani, he was raised by a Hindu, is in love with a Sikh woman (Jasmeet) and has just visited the church. Secularism achieved. Communal harmony attained. There is really no need to make a 112-minute film on the subject. A 1.12-minute film would convey the message loud and clear. The trick about manipulating DNA tests, if original, is brilliant.

TGIF (not Thank God It’s Friday) opens with a man walking with a swagger. He is dressed in a stage costume, and the camera follows him from the back. You could be forgiven for thinking this is Karan Johar in a special appearance, but for the 1.83cm height that Vicky Kaushal commands. He goes up on stage and holds sway as Bhajan Kumar. After the performance, a group of attractive girls heads towards him, seeking his autograph, only to bypass him and head farther, towards a more venerated figure. In their first encounter, Jasmeet behaves in a highly illogical manner towards Ved. It seems highly convenient that a Muslim family is like a foster family to Jasmeet, who is Sikh. The three friends quibbling over who saw Jasmeet first and who, therefore, should have the right of passage, is slice-of-life. Childhood and school scenes are funny and irreverent, but in a childish kind of way. Almost the entire track is put across by way of Voice-Over, which, to me, did not sound that of Vicky Kaushal. And it should have been Vicky Kaushal. I believe Hospital Ward Boys do not issue birth certificates. And then, why should a Ward Boy keep sending annual letters to Siya Ram, on the same issue, though he never replies? And why for the last ten years only? Practicing democracy at home, through a huge ballot box and just six voters, on every major issue, elicits a chuckle, which, I am sure, the writer did not foresee.

There is little doubt that Vicky Kaushal has oodles and oodles of talent. It has yet to achieve a 360° status, though. Here, he has been tested, and found lacking in some parts. There are occasions when he gives you the impression that he is lost. It is not a case of perfect casting, as he does not blend with the milieu. It’s a performance on par, but you expect more from Vicky. Manushi Chhillar returns to the YRF fold after her debut in Prithviraj Chauhan last year. She is bubbly and beautiful, with very few scenes of her own.

The press was invited to attend the launch of the trailer and an interaction with the team. Prithviraj Chauhan was the last Hindu ruler of Delhi before the foreign conquest of Hindustan for nearly 565 years (1192-1757). The film chronicled how Prithviraj fought and killed many of the invaders, who happened to be Muslims, from neighbouring countries. It was very clear that the film was made to cater to anti-Muslim sentiment. They even had a retinue of bouncers with slogans painted on their T-shirts, standing behind the media, shouting Hindu war cries throughout the event. And then here comes a film that holds an olive branch to fanatic communal forces.

To put it in context, producer Aditya Chopra’s father, late Yash Chopra’s first two films as director were Dhool ka Phool (1959) and Dharamputra (1961), both against religious bigotry and championing secularism. In 1961, late Ali Raza Rizvi, husband of actress Nimmi, who later directed Pran Jaye Par Vachan Na Jaye, wrote a script called Ram Mohammed D’Souza. This was about a child who is brought up by three individuals with different faiths. Since he could not get backers for filming it, he published it as a book. Come 1969, and along came the South film Nannha Farishta, with exactly the same theme. Writing credits were attributed to Inder Raj Anand and Thuraiyoor K. Moorthy.

Manoj Pahwa as Balak Ram, Siya Ram’s brother, is a powerhouse. Though I have some reservations about him fitting into the family, that does not detract from his effort. Now here is one that had me captivated: Kumud Mishra as Pandit Siya Ram Tripathi. In a most unlike Kumud Mishra portrayal, he had us rivetted. Like Manoj Pahwa, Yashpal Sharma as Pandit Jagannath Mishra seems a bit like an outsider. There is little doubt about his talent, though. Sadiya Siddiqui as Hema is a veteran and carries off serious roles particularly well. Aasif Khan as Tulsidas Mishra is part caricature, but why blame him? The role was written that way. We also spotted Alka Amin as Sushila Kumari, Srishti Dixit as Gunja, Bhuvan Arora as Bhaata, Ashutosh Ujjwal as Sarveshwar, Bharti Perwani and Sougata Ghosh (Bengali?).

Starting on a lighter note, Nakash Aziz sings ‘Kanhaiya Twitter pe aa jaa’. Should resonate with generation z+. The other three songs are serviceable too, cornering over 15 minutes of time. All songs are composed by Pritam. The point worth noting is that these songs are all lip-sync, which is becoming a rarity in the post 2010 era. Cinematography by Ayananka Bose uses many two-shots and over-the-shoulder shots, as well as playing with foreground and background focus. Editor Charu Shree Roy is well in control, and the films is of a standard length. Background score is by Kingshuk Chakravarty (Suraj Pe Mangal Bhari). The sound department revels in keeping the needle in the red zone, something the audience could have done well without.

The Great Indian Family has a title that is misleading and a narrative that is centrifugal. It deals with very, very serious issues, and is unable to do full justice to each aspect of the complex conundrum that is religion/religiosity in the India of 2023.

Rating: **

Trailer: https://youtu.be/jxRgnlvep94

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The Great Indian Family, Review: Pandit

The world of Only Murders in the Building is so stylish and fun, and I’ve always wanted to be immersed in it. Well, I had the opportunity to do just that, because there is a pop-up event in New York City that takes you into Charles, Oliver and Mabel’s world. As I walked through “Goosebury Theater,” and saw the sets for Death Rattle Dazzle and the costumes featured in Season 3 (including Selena Gomez’s mysterious wedding dress), I really felt like I was helping solve the mystery of who killed Ben Glenroy. 

(Image credit: Riley Utley)

I Literally Stepped Into The World Of Death Rattle Dazzle And Only Murders In The Building

For two days, the historic United Palace Theater in Washington Heights has been transformed into the Goosebury Theater for fans of Only Murders in the Building. I had the pleasure of attending the press preview for this event, and as an avid viewer of the mystery comedy, I was blown away by how immersive this pop-up was. I really felt like I had stepped into Death Rattle Dazzle’s home. 

Make Your Way Into The World Of Only Murders In The Building

Sing at the theater of Only Murders Experience.

(Image credit: Riley Utley)

Where: United Palace Theater – 4140 Broadway, New York, New York 

When: Saturday, Sept. 23 – Sunday, Sept. 24, 11 a.m. – 7 p.m. (Last entry at 6:30 p.m.) 

You can reserve tickets or join the standby line at the theater, which is served on a first come first served basis.

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The world of Only Murders in the

We’re less than a month away from the theatrical release of Martin Scorsese’s “Killers of the Flower Moon.” The $200 million historical epic, based on David Grann’s nonfiction book of the same name, tells the story of a series of murders targeting wealthy Osage Nation members in Oklahoma during the 1920s.

In addition to the inevitable excitement that always accompanies a new Scorsese movie, the film has been praised as one of Hollywood’s most serious efforts at telling Native American stories accurately. Scorsese invited the Osage people to play a large role in the film, consulting with leaders and hiring many local crew members during the Oklahoma shoot. “Killers of the Flower Moon” also features Osage actors in prominent roles, most notably the film’s breakout star Lily Gladstone, who has earned early Oscar buzz for her role as Mollie Burkhart.

In a new interview with British Vogue, Gladstone offered a nuanced opinion about the film’s success. While she admitted that one major film is not a panacea for all of the problems that Native Americans face in Hollywood, she also dismissed concerns that Scorsese lacked the proper heritage to direct it. As she sees it, collaboration with A-listers like the “Goodfellas” director is necessary until Native filmmakers achieve the stature to make their own projects with studio budgets.

“Nobody is going to hand an Osage filmmaker $200 million,” Gladstone said. “There’s a level of allyship that’s absolutely necessary.”

In the same interview, Gladstone’s co-star Leonardo DiCaprio echoed her sentiments about Native American representation in Hollywood. He explained that he sees “Killers of the Flower Moon” as a first step towards offering more accurate portrayals of tribal stories in Hollywood and hopes that it paves the way for more comparable films.

“Hollywood has a long history and checkered past in its depiction of Native American people,” DiCaprio said. “We need to do more. You know, we are coming towards a great reckoning of our past. The more that these stories can be told in a truthful way, the more it can be a healing process.”

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We’re less than a month away from

Rich Mallery might be best known to a certain kind of audience for having written Samurai Cop 2: Deadly Vengeance. But the man is also a director, and with Borderline, the man takes both writing and directing duties. Is this dramatic crime thriller as intentionally goofy as that cult sequel, or is it a serious affair that effectively hits the mark?

Charli (Kate Lý Johnston) is a 20-something with borderline personality disorder (BPD). Her roommate is Zee (Kylee Michael), and when not working, the best friends do drugs, have sex, and talk about getting more drugs. For Charli, drugs such as Oxycodone are easy to come by, as she swipes them from the hospital where she’s a nurse. She also lets Trevor (Quentin Boyer), a doctor there, use her in return for payment and drugs.

While Charli and Zee’s life may seem carefree, it is far from it. Charli’s explosive emotional swings are becoming more frequent, so she and Zee are almost constantly at each other’s throats. Or at least, that’s the reality her brain is feeding her, even if it isn’t true. On top of that, Charli’s pseudo-boyfriend Kyle (Irmon Hill), is pressuring her to label their situation, which she’s freaking out about. Will the new pills Charli’s doctor prescribe help, or is she doomed to live in an unreality haze her whole life?

“Charli’s explosive emotional swings are becoming more frequent…”

Borderline eventually morphs into a thriller, but it is a drama for 80 minutes of its 100-minute runtime. Mallery watches as the lead falls further into a drug-fueled downward spiral. Do the drugs help Charli make sense of the wrapped reality her brain makes? Or is she simply an addict because what else is there to do? Scenes at a bar hint it all going one way, but there’s enough ambiguity at the end for audiences to interpret it all however they see fit.

Unfortunately, said ending is a negative. The filmmaker concludes the story in too-tidy a fashion and fails to give a true answer as to the state of Charli. Knowing whether or not the main character is going to live happily ever after (or at least as much as possible) or if she’s off the deep end does matter, given the topics being explored. Not taking a stance leaves all watching unsatisfied despite all the good that precedes it.

Johnston delivers a terrific performance, nimbly going from extreme to extreme without missing a beat. Her out of nowhere yelling is so shocking that viewers are as off-kilter as the subjects of Charli’s ire. Michael makes the best friend role into something far more profound than how it’s written. The little ways she shows how she feels about her friend suggest a long unseen history that instantly makes these two a believable pair of besties. Hill is also quite good, though a few of the more minor parts are less well-acted.

Still, Borderline remains engaging because Mallery keeps the tension high until he does not (i.e., the final 2 or 3 minutes). The cast is game, baring it all, both literally and figuratively, as a few twists and turns keep audience members on their toes. If the conclusion were better, this thriller would be a must-see. As it stands, it is handsomely produced and well-acted, which is enough for a solid recommendation.

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Rich Mallery might be best known to

Angelina Jolie is many things. She’s an Academy Award-winning actress, taking home the Oscar for Best Supporting Actress in 2000 for her role in Girl, Interrupted. She’s a celebrated director, getting behind the camera for films like Unbroken, First They Killed My Father, and In The Land of Blood and Honey. She’s an activist, working with the United Nations High Commission for Refugees and other humanitarian efforts. But, perhaps her most valued title is that of mother. Angelina and her ex-husband Brad Pitt share six children — Maddox, Zahara, Pax, Shiloh, and twins Vivienne and Knox.

Though Angie and Brad’s 2016 split resulted in contentious divorce proceedings and a custody battle, the couple has tried their best to coparent their kids and keep their drama out of the limelight. Angie offered a rare glimpse into her life as a mother when talking with British Vogue in 2021.

“I was never very good at sitting still,” she said. “Even though I wanted to have many children and be a mom, I always imagined it kind of like Jane Goodall. Traveling in the middle of the jungle somewhere.”

“I didn’t imagine it in that true, traditional sense. I feel like I’m lacking in all the skills to be a traditional stay-at-home mom,” the actress explained. “I’m managing through it because the children are quite resilient, and they’re helping me, but I’m not good at it at all.” Adding that she and the kids are “a team,” the Academy Award winner said, “They’re pretty capable.”

Learn more about the “resilient” and “capable” Jolie-Pitt siblings below.

Maddox Jolie-Pitt

Shutterstock

Maddox (born August 5, 2001) is Angelina’s oldest child. Angelina adopted Maddox from a Cambodian orphanage in 2002 when he was seven months old. The actress was still married to Billy Bob Thornton at the time, but she adopted Maddox on her own. In 2019, the young adult began attending Yonsei University in Seoul, South Korea. Angelina dropped her son off at the school, and the emotional ordeal left her a crying mess.

In 2020, he returned home to study remotely due to the COVID-19 pandemic. Angelina told a South Korean outlet in April 2020 that Maddox will return to campus once the pandemic gets better. “He’ll be back as soon as things settle,” she said. “He’s using the time to focus on his Korean and Russian studies. We are all so happy, as a family, that we will have the opportunity to get to know South Korea even better through Maddox, and with him, during his studies.”

The eldest Jolie-Pitt has worked in Hollywood. He served as a producer on his mother’s First They Killed My Father, a biographical war film about the Khmer Rouge’s reign of terror, and an assistant on By the Sea, the 2015 romance drama that starred Angelina and Brad.

In 2022, Maddox reportedly celebrated his 21st birthday with his mother and siblings. Brad was absent from the party due to work commitments. In 2020, a source told HollywoodLife EXCLUSIVELY that Brad and Maddox’s strained relationship had “improved” somewhat. However, since Maddox turned 18, he was under no legal obligation to spend time with his father.

Zahara Jolie Pitt

(Terma,SL / BACKGRID)

Zahara (born January 5, 2005) is one of Angelina’s adopted children. She adopted her daughter from Ethiopia in 2005 at six months old. Zahara has helped inspire her famous parents’ charity work. The Jolie-Pitt Foundation created the Zahara Program and the Zahara Children’s Center, launched to treat drug-resistant tuberculosis and provide further research on the disease in Ethiopia. The foundation similarly created the Maddox Chivan Children’s Centre in their son’s name to help families affected by HIV/AIDS in Phnom Penh. Like her brother, Zahara has forayed into Hollywood, having starred alongside her mom in Kung Fu Panda 3 as the voice of Meng Meng.

During a TIME 100 interview with activist Vanessa Nakate in July 2020 amid discussions of Black Lives Matter, Angelina revealed she had learned a lot from Zahara.

“My daughter is from Ethiopia, one of my children,” she said. “And I have learned so much from her. She is my family, but she is an extraordinary African woman, and her connection to her country, her continent, is very — it’s her own, and it’s something I only stand back in awe of.”

In August 2022, Angelina announced that Zahara would attend Spelman College in Atlanta, Georgia. Spelman College is an HBCU — a “historically black college or university, which has been a way for higher education to offer “all students, regardless of race, an opportunity to develop their skills and talents,” per the U.S. Department of Education. When dropping off her child at college, Angelina got emotional.

“I’m gonna start crying! I have not started crying yet,” she said at the time, adding that she’s holding it together.

Brad raved about his eldest daughter during an interview at one of his Bullet Train premieres. “She’s so smart. She’s going to flourish even more at college,” he said, per Vanity Fair. “It’s an exciting and beautiful time to find her own way and pursue her interests. I’m so proud.”

Pax Jolie-Pitt

(Shutterstock)

Angelina Jolie adopted Pax (born November 29, 2003) from Vietnam in 2007 when he was three years old. In an interview with Vogue India, the actress reflected on adopting her son from Vietnam after adopting Maddox from Cambodia, two places that have been at war.

When asked if it were a conscious decision, Angelina said, “I did think about that. I did originally think not to adopt from Vietnam because Mad was Cambodian, and the two countries have a complex history,” she said. “Then I was reading a book on human rights and found myself staring at an image of a Vietnamese fighter held captive by Americans. I thought of my own country and our involvement in Southeast Asia. I thought of focusing on a future where we were all family.”

“I am very blessed to have been allowed to be their mom,” Angelina continued. “I am grateful every day.” Like his siblings, Pax has worked in a few of his mom’s films, starring in Kung Fu Panda 3 as Yoo and working in camera and electrical in First They Killed My Father.

Pax graduated from high school in 2021, but it’s unclear if he decided to pursue higher education like his older brother and sister.

Shiloh Jolie-Pitt

shiloh pitt
Backgrid

Shiloh is Angelina and Brad’s biological firstborn child. The teen was born in Swakopmund, Namibia, on May 27, 2006, and has dual citizenship in the African country and the United States.

In an interview with Vanity Fair in June 2010, Angelina opened up about her daughter’s personality. “Shiloh’s hysterically funny, one of the goofiest, most playful people you’ll ever meet,” she said, adding that she was most like Shiloh as a kid. “Goofy and verbal, the early signs of a performer, I used to get dressed up in costumes and jump around. But at some point, I got closed off, darker. I don’t remember anything happening. I think you just get hit with the realities of certain things in life, think too much, start to realize the world isn’t as you wished it would be, so you deepen.”

Shiloh has an interest in the arts and loves her dance class. In 2022, her dance moves with the Millennium Dance Complex went viral thanks to a few social media videos. In one video, Shiloh danced along to Doja Cat’s “Vegas,” showing off grace and coordination that left her father stunned.

“It brings a tear to the eye,” Brad said in a 2022 interview. “I love them to find their own way, find things they’re interested in, find their own voice and flourish. … I don’t know where she got it from. I’m Mr. Two-Left-Feet here.”

Like her siblings, Shiloh has appeared in her mother’s films, including Kung Fu Panda 3 as the voice of Shuai Shuai.

Vivienne Jolie-Pitt

vivienne pitt and angelina
(Backgrid)

Vivienne (born July 12, 2008) is Angelina and Brad’s youngest daughter and twin of son Knox. Like her siblings, she has starred opposite her mom in her films, including Maleficent as a young Princess Aurora. In an interview with Entertainment Weekly in 2014, Angelina explained that they cast her daughter in the role because she was the only child who was not afraid of her in her costume.

“We think it’s fun for our kids to have cameos and join us on set, but not to be actors. That’s not our goal for Brad and I at all,” she explained. “But the other 3- and 4-year-old [performers] wouldn’t come near me. It had to be a child [who] liked me and wasn’t afraid of my horns and my eyes and my claws. So it had to be Viv.”

Speaking with BBC Radio 4 in 2016, Angelina also revealed that Viv had a strong interest in learning Arabic. The actress said that all six of her children were learning new languages. “I asked them what languages they wanted to learn, and [Shiloh] ‘s learning Khmer, which is the Cambodian language, Pax is focusing on Vietnamese, Mad has taken to German and Russian, [Zahara] ‘s speaking French,” she said. “Vivienne really wanted to learn Arabic and Knox is learning sign language.”

Knox Jolie-Pitt

SL, Terma / BACKGRID

Knox is Angelina and Brad’s youngest and twin of Vivienne. Both siblings were born in Nice, France, on July 12, 2008. In her interview with Vanity Fair, Angelina offered this tidbit about the twins’ personalities: “Knox and Viv are classic boy and girl,” she said. “She’s really female. And he’s really a little dude.” Like his siblings, Knox has starred in his mom’s films, having voiced the character of Ku Ku in Kung Fu Panda 3. As it turns out, Knox and his twin Vivienne have a bit of an entrepreneurial flare, as they were spotted selling organic dog treats with their famous mom at a park in Los Angeles in 2019 to raise funds for Hope For Paws, an organization that rescues homeless dogs.

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Lionsgate and Millenium’s Expendables 4 has hit theaters with $3.2 million in Friday grosses as the movie heads for a franchise-low opening. Friday’s tally includes $750,000 in Thursday evening previews.

The $100 million budgeted film, financed by Millenium, had been looking to open in the $15 million range, with some estimates on the high end placing it closer to $17 million. But early returns, however, now show it coming in around $8 million. The Nun II could even beat it.

Sylvester Stallone and Jason Statham return to the blow-em-up franchise, along with alumni Dolph Lundgren and Randy Couture. The official synopsis for the film reads: “The Expendables are the world’s last line of defense and the team that gets called when all other options are off the table. But new team members with new styles and tactics are going to give ‘new blood’ a whole new meaning.” Megan Fox, 50 Cent, Tony Jaa, Iko Uwais, Jacob Scipio, and Levy Tran are among the newcomers to the series, along with Andy Gracia.

It has been nearly a decade since the last Expendables film hit theaters. The first three Expendables outings, released in 2010, 2012, and 2014, have collectively grossed an impressive $800 million at the global box office. The 2014 film, the most recent to hit theaters, grossed $15.8 million in its opening weekend and went on to a total of $214 million at the global box office. The 2010 original opened to $34.8 million, while the 2012 sequel bowed at $28.5 million.

The critical reception for film has been less than stellar, with the THR review of the movie reading, “This edition — essentially a sub-par Jason Statham vehicle (after this and Meg 2: The Trench, some quality control might be in order for the actor) featuring a brief appearance by Stallone and several new castmembers who fail to make much of an impression — indicates that it’s time to put a fork in the series; it’s done.”

Elsewhere, Sony rolls out awards hopefully Dumb Money in a limited release. I, Tonya filmmaker Craig Gillespie directed the film about the GameStop stock market story that took news cycles by storm during the COVID-19 pandemic (and inspired several Hollywood projects in the process). Paul Dano, Seth Rogen, Shailene Woodley and Pete Davidson are among the stars in the ensemble cast.

Box office holdovers include New Line/Warner’s The Nun II, which is heading into its third weekend with over $160 million in receipts, and Disney and Kenneth Branagh’s A Haunting in Venice, the third installment in his Agatha Christie-inspired movie series, is entering its second weekend.

Pamela McClintock contributed to this report.

Sept. 22, 3:23 p.m. Updated to include new estimates for Expendables 4.

Sept. 23, 9 a.m. Updated to include new estimates for Expendables 4.

This story originally published Sept. 22 at 9:47 a.m.

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Lionsgate and Millenium’s Expendables 4 has hit

Bebe Rexha and Tyler Hubbard’s surprise performance in Las Vegas was… wait for it… meant to be.

Although country music was absent from this year’s Life Is Beautiful lineup, the genre, which is having a huge moment on the charts, made an appearance at the festival thanks to Rexha. During her set on the JBL Stage, the pop star welcomed Hubbard, formerly of Florida Georgia Line, for a performance of their hit duet “Meant to Be.”

“Let me tell you, this guy has been so awesome,” Rexha told the crowd as he joined her onstage. “We’ve become so close. I’m just so thankful that you’re here tonight. Thank you so much.”

“Two minutes ago, I pulled up. I had a show down the street so thank you for having me, Bebe,” Hubbard said, before giving the pop star a hug and singing the track’s first lyrics. “You ready to rock, or what?”

Hubbard — who is on an indefinite hiatus from Florida Georgia Line, his duo with Brian Kelley — performed earlier that evening for his own headlining show at the Red Rock Casino Resort.

Along with the country collab, Rexha performed some of her massive EDM crossovers, including David Guetta’s “Hey Mama” and “I’m Good (Blue),” and Martin Garrix’s “In the Name of Love.” She also played one of her newer EDM collabs, one with Two Friends, titled “If Only I.”

Rexha told Rolling Stone earlier this year she’s considered going the full electronic route. “I’m kind of like, ‘Shit. Should I have done an EDM album?” she said.  “In the future, I’m going to make a straight-up dance project.”

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Rexha is wrapping up a year of touring and festival performances after releasing her LP Bebe earlier this year, as is Hubbard, who released his self-titled LP in January.

Also performing at Life Is Beautiful 2023 Friday were headliner the Killers, Blxst, Yeah Yeah Yeahs, Flume, Slayyyter, and Cloonee. Saturday will see Kendrick Lamar headline, while Odesza will close out the festival on Sunday.

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Bebe Rexha and Tyler Hubbard’s surprise

“Lots of things to remember up here,” Neil Young muttered as he stood onstage Thursday night at the Roxy, and you knew he wasn’t just talking about the words to some of his oldest songs.

The veteran Canadian rocker was headlining the second of two sold-out gigs with his band Crazy Horse to commemorate the 50th birthday of the storied West Hollywood club, whose grand opening he’d played with the same core of musicians over three nights way back in September 1973. Each a $1,000-a-ticket fundraiser for kids with disabilities at the Bridge School and the Painted Turtle, the shows were part of a larger Roxy50 campaign spearheaded by the nightspot’s co-founder, Lou Adler, and his son Nic; this weekend, Stephen Marley will undertake a tribute to a widely bootlegged concert his father, Bob, gave at the Roxy in 1976.

But Young, 77, was also marking a pair of important moments in his own history: his albums “Everybody Knows This Is Nowhere,” from 1969, and “Tonight’s the Night,” recorded in 1973 and released two years later, both of which he and Crazy Horse performed from front to back for just the second time (after the previous evening’s Roxy gig) in Young’s half-century-long career.

The LPs straddle his ascent to rock’s superstar class as a member of Crosby, Stills, Nash & Young, whose smash “Déjà Vu” came out less than a year after “Everybody Knows,” and with his folky solo single “Heart of Gold,” which topped Billboard’s Hot 100 in 1972. “Tonight’s the Night” — the finale of the so-called Ditch Trilogy that Young made after “Heart of Gold” brought him to what he viewed as pop’s middle of the road — is itself a shadowy compendium of memories, with songs inspired by and addressed to two of Young’s friends who’d recently died of drug overdoses: former Crazy Horse guitarist Danny Whitten and Bruce Berry, the trusty roadie and L.A. scenester whose brother Ken opened Hollywood’s Studio Instrument Rentals, where Young recorded much of “Tonight’s the Night” in a humble practice space.

“Bruce Berry was a working man / He used to load that Econoline van,” he sang Thursday, a blend of sorrow and respect still detectable in his signature rough-edged whine.

At the Roxy, Crazy Horse featured the stalwart rhythm section of bassist Billy Talbot and drummer Ralph Molina along with guitarist and pianist Nils Lofgren, who thanks to his job in Bruce Springsteen’s E Street Band hadn’t planned on being there but who turned up after Springsteen canceled a string of tour dates for health-related reasons; these OGs were joined by Willie Nelson’s son Micah Nelson, who’s backed Young for years as a member of Promise of the Real and who here handled much of the steel guitar once played by the late Ben Keith.

The show started with a complete run through “Tonight’s the Night,” deep cuts and all, after which the musicians took a break of 90 seconds or so before returning to the stage to do all of “Everybody Knows This Is Nowhere.” The crunchy opening riff of the latter’s “Cinnamon Girl” went off like a bomb in the room, which was packed with die-hard fans and VIPs including Lou Adler and actor Rob Lowe.

What’s amazing about watching Young with Crazy Horse — who’ve released a string of LPs over the last few years even if they hadn’t performed together publicly since before the COVID pandemic — is that they still sound like they just met. Whether they’re doing a fuzzed-out rocker like “World on a String,” a bleary ballad like “Round & Round (It Won’t Be Long)” or a loping country tune like “Roll Another Number (for the Road),” 50-something years of jamming somehow hasn’t made them any tighter, which is exactly how you want them; the music was beautifully disheveled, as though time had done nothing to harden its surfaces or even out its lopsided proportions — all the more remarkable given Young’s philosophical rigidity as perhaps the hippie generation’s last idealist standing. (Remember his vaccine-misinformation-related boycott of Spotify? Go look — his stuff’s still not there.)

Young, who recently mourned the death of his bandmate David Crosby, spent some time this summer touring in solo-troubadour mode, but at the Roxy you could sense how excited he was to be playing with these guys again — to match acoustic strums with Lofgren, to harmonize tenderly with Nelson, to look back at Molina and Talbot and see two musicians around the age of 80 driving a sturdy groove they’ve been tending-not-refining for more than half their lives.

The songs were old, the stories inside them too. Yet the emotion — the certainty of losses past and still to come — felt powerful and new.

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“Lots of things to remember up

Summary

  • New fan art envisions potential upgraded costumes for the Smallville Justice League, including Tom Welling’s Superman and other iconic characters.
  • Despite Smallville ending in 2011, there is still a strong desire from fans to see a continuation of the Smallville Justice League storyline.
  • Smallville almost had a Justice League spinoff show, but it ultimately didn’t happen, possibly due to Warner Bros.’ cinematic plans for the characters at the time.


New Smallville fan art gives Tom Welling’s Superman and the rest of the Justice League from his universe new costumes. While the DCEU brought the Justice League together on the big screen, the team came to life on the small screen through the Superman prequel live-action show, Smallville, focusing on Clark Kent’s origin story. Throughout the later seasons, numerous members of the Justice League made their way into the DC TV show while fleshing out Smallville’s own version of the DC Universe and adding to Clark’s heroic journey before becoming the Man of Steel.

While the show ended in 2011, the season 11 tie-in comic saw the Smallville Justice League roster expanded even further, with heroes like Wonder Woman, Batman, and Green Lantern joining the team. Despite it having been over a decade since Smallville’s conclusion, the audience still wants to see a continuation for these characters.

To show what they could look like in a potential Smallville sequel, Buffy2Ville shared a gallery of the Justice League, showing them with upgraded costumes. The images include Welling’s Superman, Aquaman, Impulse now operating as The Flash, Green Arrow, Cyborg, as well as Kara Zor-El, finally in a proper Supergirl suit. The artwork also features Michael Rosenbaum as Lex Luthor, both in his presidential suit as well as Lexosuit armor.

RELATED: Every Superman Villain Used on Smallville


How Smallville Almost Had A Justice League Spinoff Show

While Smallville didn’t get to expand its universe in the way that the Arrowverse did, the Superman prequel show was actually close to making a Justice League spinoff show. In 2007, during Smallville season 6, Steven DeKnight, one of the long-time writers on the show, wrote and directed the episode “Justice,” which saw the team finally come together. According to DeKnight, the episode was meant to serve as an unofficial backdoor pilot for a potential Justice League show, focusing specifically on Green Arrow, Impulse, Aquaman, and Cyborg.

If Smallville’s Justice League show had happened, it would have been set in Metropolis, likely to make crossovers with Welling’s show easier to happen. A new version of Brainiac would have been introduced rather than have James Marsters continue playing him. The reason why Justice League never happened is likely because of whatever cinematic plans Warner Bros. had for them at the time. In the end, Smallville’s Justice League spinoff became another big DC TV show that never happened.

It would be interesting to see what Smallville’s Justice League would look like today if the show got a series revival. Whether it be in live-action or through the animated project that Welling and Rosenbaum have been developing, it would be fun to follow their story, especially if they introduced other Justice League members. Even if Smallville never comes back, the audience can relive every season of the show through Hulu or on Blu-Ray/DVD.

Source: Buffy2Ville/Instagram

Key Release Dates

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Summary New fan art envisions

The New York Police Department (NYPD) is implementing a new security measure at the Times Square subway station. It’s deploying a security robot to patrol the premises, which authorities say is meant to “keep you safe.” We’re not talking about a RoboCop-like machine or any human-like biped robot — the K5, which was made by California-based company Knightscope, looks like a massive version of R2-D2. Albert Fox Cahn, the executive director of privacy rights group Surveillance Technology Oversight Project, has a less flattering description for it, though, and told The New York Times that it’s like a “trash can on wheels.”

K5 weighs 420 pounds and is equipped with four cameras that can record video but not audio. As you can guess from the image above, the machine also doesn’t come with arms — it didn’t quite ignore Mayor Eric Adams’ attempt at making a heart. The robot will patrol the station from midnight until 6 AM throughout its trial run that’s running over the next two months. But K5 won’t be doing full patrols for a while, since it’s spending its first two weeks mapping out the station and roaming only the main areas and not the platforms.

It’s not quite clear if NYPD’s machine will be livestreaming its camera footage, and if law enforcement will be keeping an eye on what it captures. Adams said during the event introducing the robot that it will “record video that can be reviewed in case of an emergency or a crime.” It apparently won’t be using facial recognition, though Cahn is concerned that the technology could eventually be incorporated into the machine. Obviously, K5 doesn’t have the capability to respond to actual emergencies in the station and can’t physically or verbally apprehend suspects. The only real-time help it can provide people is to connect them to a live person to report an incident or to ask questions, provided they’re able to press a button on the robot.

NYC is leasing K5 for around $9 an hour for the next two months. The mayor sounds convinced that’s worth what the robot can do even though, as The Times notes, he recently ordered several agencies to reduce spending by 15 percent. “This is below minimum wage,” he said. “No bathroom breaks, no meal breaks.” Adams has a history of supporting the use of machines as police tools. Earlier this year, the mayor also announced that the NYPD will acquire two Digidog robots for $750,000 each for use in hostage and other critical situations. That’s quite a reversal from the NYPD’s decision in 2021 to cancel its lease on what was then known as Boston Dynamics’ Spot after facing backlash for its use.

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The New York Police Department (NYPD) is

[Editor’s Note: No Film School asked Adrijana Lazarevic to collect these 99 templates because of her expertise working with filmmakers at Filestage.io.]

No one really feels like doing paperwork, but let’s be honest: no good film comes without organization and planning.


That’s where templates can help you out. I work at a startup that creates software for filmmakers, and we see how busy you are every day, so we collected the most helpful templates, guides, and checklists out there to make your life a little easier.

They really help save time for what matters most: letting your creativity flow and producing breathtaking movies that won’t be forgotten. We’ve also covered the topic of free filmmaker documents before, as well as how you can use free templates for production reports.

The categories covered in this list are: Script Prep/Pre-production, Storyboard/Mood Board Templates, Shot List Templates, Script Breakdown Sheets, Budgeting, Accounting, Personnel/Cast Forms, Insurance Forms, Equipment Documents, Production/Shooting, and Music Releases.

Script Prep/Pre-production

Much of your planning happens well before production, including trying to get investors on board and starting to determine who your audience will be. Here are some templates for early steps, including a form for “optioning” a story that you want to produce, and a director’s worksheet that lays out what you’d like to see happen in each scene.

1. Director’s Worksheet – Film Contracts
2. Guide to Formatting a Screenplay – Final Draft
3. Literary Option & Purchase – Sonnyboo
4. Ultimate Creative Brief – Filestage
5. Cinematography Pre-Production Checklist – Film Contracts
6.Buyer Persona Template – Filestage

Storyboard/Mood Board Templates

Storyboarding is a cornerstone of the filmmaking process. A storyboard is a sequence of drawings that paint a picture of the your storyline, showing the structure of, and vision for, key scenes. We’ve also included a moodboard sheet for establishing the visual style of your film.

7. Moodboard Template – Filestage
8. Storyboard – Filestage
9. Storyboard – Sonnyboo
10. Storyboard – Filmsourcing
11. TV Storyboard – Film Contracts

Shot List Template

Organization is the key to a successful shoot. With the help of a shot list, you can easily arrange single shots within any given scene. You can determine, for example, the number of shots necessary to capture a particular action most effectively. Give it a try with one of these practical templates.

12. Shot List – Film Contracts
13. Shot List – Learnaboutfilm
14. Shot List – LAvideoFilmmaker
15. Camera Shot List – Filmsourcing
16. Camera Shot List Advanced – Filmsourcing

Script Breakdown Sheets

Here you can find helpful templates providing detailed descriptions of scenes, and the equipment and personnel assigned to each one. This way, you never lose sight, and can make sure everything is going according to plan.

17. Script Breakdown Sheet – Studiobinder
18. Breakdown Sheet – Michael Wiese Books
19. Script Breakdown Sheet – Sonnyboo

Budgeting

While making a film, you or your producer have to keep a lot of things in mind and, before you know it, you can easily go over budget. This compilation of templates will help make sure that you don’t lose sight of your financial statements. Some of them additionally provide examples of budgeting.

20. Sample Budget – Sonnyboo
21. Budget and Invoice Template – Fstoppers
22. Film Budget Top Sheet – Making the Movie
23. Questions & Budget Creation – Michael Wiese Books

Accounting Records

Once you have a budget, you have to actually do the accounting. Maintaining an overview of your finances and money flow is crucial. Check your financial resources by making notes of their movement. These forms will help you keep track.

Inflows 30
24. Amount Received – Film Contracts
25. Cash or Sales Receipt – Film Contracts
26. Promissory Note – Film Contracts

Outflows
27. Daily Cost Overview – Film Contracts
28. Cash Flow Sheet/PO Log – StudioBinder
29. Final Cast List SAG-UBCP – Film Contracts

General Forms
30. Check Request – Film Contracts
31. Invoice Template – Going Freelance
32. Simple Invoice Template – Steve Hall Video
33. Expense Report – HowtoFilmschool

Personnel Forms

From general contracts and agreements to crew templates, many of these forms are necessary to lay out a foundation for the business behind your film and get a good team on board.

Cast & Crew Lists
34. Crew Contact List – Filmsourcing
35. Cast and Crew List – Studiobinder
36. Cast List – Film Contracts

Crew Deal Memos, Contracts and Agreements
37. Crew Deal Memo – New Brunswick Filmmakers’ Co-Operative
38. Writers Deal Memo – Film Contracts
39. Deal Memos – Film Contracts
40. Producer Contract – ISP Group Inc
41. Producer Video Release & Contract – Film Contracts
42. Contractor Agreements – Film Contracts
43. Photographer Work For Hire – ISP Group Inc
44. Producer Agreement (Short Form) – Film Contracts
45. Producer Agreement – Sonnyboo
46. Producer’s Royalty Attachment – ISP Group Inc
47. Executive Employment Agreement – ISP Group Inc

Partnership Documents
48. General Proxy – ISP Group Inc
49. Consulting Agreement – ISP Group Inc
50. Investor Suitability – ISP Group Inc
51. General Partnership Agreement – ISP Group Inc
52. Joint Venture Agreement 1 – ISP Group Inc
53. Loanout Agreement – Film Contracts

Cast Forms
54. Basic Actor Info Sheet – Sonnyboo
55. Casting Sheet – Film Contracts
56. Cast Scene Number Breakdown – Film Contracts
57. Cast Deal Memo – Film Contracts
58. Actor Contract – Sonnyboo
59. Freelance Actors Contract – Film Contracts

Appearance Releases
60. Personal Release – Film Contracts
61. Talent Release – PremiumBlog
62. Actor Release – Film Contracts
63. Freelance Performer Agreement – Film Contracts
64. Actor Player Casting Agreement – Film Contracts
65. Nudity Rider for Casting Agreement – Film Contracts

So you found the most suitable locations to portray your vision. Now, as with everything else, you need to do the paperwork and take care of business These templates have you covered. But also don’t forget to read our primer on locations in the first place!

Site Info
66. Location Contact List – Film Contracts
67. Location Scouting – Filmsourcing
68. Location Fact Sheet – PremiumBeat
69. Location Information Sheet – Film Contracts
70. Cinematography Location Information Form – Film Contracts

Contracts & Releases
71. Location Contract – Film Contracts
72. Production Location Contract – Film Contracts
73. Location Release – PremiumBeat
74. Production Location Release – Film Contracts
75. Location Agreement – Sonnyboo

film set-shutterstock

Insurance Forms

Keep in mind that life doesn’t always have a bright side. Especially when it comes to accidents or health problems. Therefore, always insure your crew, yourself and the equipment. These templates will get you started.

76. Insurance Claim Worksheet Personal – Film Contracts
77. Actor Insurance Claim Worksheet – New Brunswick Filmmakers’ Co-Operative
78. Insurance Claim Worksheet Damage – Film Contracts
79. Insurance Claim Worksheet Automobile Accident – Film Contracts
80. Injury / Illness Report Form – Film Contracts

Equipment Documents

A movie is usually not made by a smartphone in one hand and a music player in the other. You need a whole bunch of stuff, plus, you have to deal with it. Cameras, recorders, lights, a whole set, and so on; all this has its price and needs to be paid attention to. These forms can help.

81. Box / Equipment Rental Inventory – Film Contracts
82. Equipment List – Dependent Films
83. Video Equipment Rental Agreement – Film Contracts
84. Special Camera Rigging Authorization – Film Contracts

Production/Shooting Forms

You’ve got your cast & crew, locations, and equipment and now you’re onto the shoot: the time when staying organized is most crucial. To avoid slip-ups, interruptions or any other negative factors that make your life as director harder than it should be, use these forms. This list includes call sheets, your essential tool for communicating requirements with everyone on set.

Production Papers
85. Production Tracking Form – Film Contracts
86. Filming Notice – Filmsourcing
87. Production Requirement – Film Contracts

Daily Tracking
88. Shot Log – Film Contracts
89. Scene / Take Log – Film Contracts
90. Daily Production Report – New Brunswick Filmmakers’ Co-Operative
91. Continuity Log Sheet – Filmsourcing
92. Actors Production Time Report – Film Contracts

Call Sheets
93. Call Sheet – G-Casper
94. Call Sheet – Cast and Crew Call
95. Call Sheet – Filmsourcing
96. Call Sheet Cast – G-Casper

Music Releases

Imagine movies without any music—unthinkable! Music is an essential part of a film experience. But, just as films have their patents and rights of use and enjoyment, sounds and music do too. And the legal use of music can be complicated. Here are some of the papers that help you do things right.

97. Sound Report – Filmsourcing
98. Music Reference – Filmsourcing
99. Music Release – New Brunswick Filmmakers’ Co-Operative

Filestage is a web app for filmmakers to share, review and approve videos efficiently. Clients and co-workers comment directly in your videos and design-frames accurately. All visual projects can be managed at ease.

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[Editor's Note: No Film School asked Adrijana

19 Movies That Made People Cry Their Eyes Out

I love a good cry session, so when I saw user u/gaby2277 recently ask the Reddit community about the movies that make them cry, I was immediately intrigued! And when I noticed there were some on the list that I hadn’t seen, I had to share them with you.

Here are a few of the films that made people extra emotional:

Is there a movie that always makes you emotional? Tell us about it in the comments below!

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19 Movies That Made People Cry Their

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SEP 12, 2023

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SEP 15, 2023

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SEP 8, 2023

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AUG 30, 2023

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AUG 24, 2023

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AUG 9, 2023

Meghan Markle and Prince Harry Seen ‘Laughing and Smiling’ Amid Divorce Rumors

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AUG 4, 2023

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JUL 19, 2023

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JUL 19, 2023

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JUL 2, 2023

Meghan Markle Accused of Faking Spotify Interviews After $20M Deal Abruptly Ends

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JUN 20, 2023

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MAY 15, 2023

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Movies

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SEP 19, 2023

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SEP 15, 2023

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SEP 15, 2023

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SEP 15, 2023

'Aquaman and the Lost Kingdom' Trailer No. 1

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SEP 14, 2023

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SEP 14, 2023

Salma Hayek on Her ‘Growing’ Friendship With Angelina Jolie and Viral Bikini Pics! (Exclusive)

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SEP 14, 2023

'Haunted Mansion': LaKeith Stanfield Gets Spooked By a Floating Head (Deleted Scene)

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SEP 13, 2023

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SEP 10, 2023

Priscilla Presley Tears Up Discussing 'Love of My Life' Elvis at Venice Film Festival

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SEP 4, 2023

Gwyneth Paltrow Reacts to Fans Asking Why She Hasn’t Returned to Marvel

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SEP 1, 2023

50 Cent Allegedly Launches Microphone Into Concert Crowd, Hits Fan in Head

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AUG 31, 2023

Amal Clooney Stuns in Lace Gown as She Accepts DVF Leadership Award

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AUG 31, 2023

Inside Black Hollywood

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SEP 19, 2023

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JUN 28, 2023

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MAY 26, 2023

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MAY 6, 2023

'College Hill' Trailer: Ray J, Amber Rose and More Get Schooled in Season 2 of Celebrity Edition (Exclusive)

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APR 25, 2023

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APR 21, 2023

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MAR 10, 2023

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FEB 26, 2023

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FEB 13, 2023

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FEB 12, 2023

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FEB 8, 2023

GRAMMYs: Questlove Says Will Smith Dropped Out of Hip Hop 50 Tribute Last Minute (Exclusive)

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FEB 5, 2023

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JAN 10, 2023

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JAN 6, 2023

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DEC 16, 2022

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NOV 21, 2022

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NOV 21, 2022

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NOV 1, 2022

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OCT 27, 2022

Source link

Lindsie Chrisley Explains Why She Blocked Sister

Video game industry icon Cliff Bleszinski has discussed why his previous game studio Boss Key never ended up making a game based on the Alien franchise.

Why didn’t Boss Key Productions end up making an Alien game?

While speaking with ComingSoon, the topic of Ridley Scott’s iconic Alien franchise came up. Bleszinski mentioned that the studio had the chance to work within the world of Alien, but these plans fell through when Disney announced it was purchasing Fox in late 2017.

“When I was at Boss Key, we made some solid stuff, but we had a chance to work in the Aliens franchise,” Bleszinski stated. “That’s one of the very, very few existing IPs that I would ever consider working on — that and Firefly. Pitching that to my team was a complicated meeting. Then Disney bought Fox and then everything got effed. So it was what it was, but live and let learn.”

The Alien franchise has spawned quite a few games in the years before and since Boss Key Productions was planning on developing one. Most recently, the Xenomorph and Ellen Ripley crossed over into the massively popular asymmetrical multiplayer game Dead by Daylight, with the paid downloadable content releasing last month.

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Video game industry icon Cliff Bleszinski has

Lionsgate/Millennium’s “Expend4bles” isn’t doing much to stop the slide in overall grosses that the box office has seen over the last two weeks, as the action sequel is set to earn a franchise-low $8 million opening from 3,518 theaters after a $3.2 million opening day.

Pre-release projections had the film, which Lionsgate only paid North American and UK distribution rights for, earning around $15 million this weekend, similar to what “Expendables 3” earned in 2014. It’s possible that not having lead star Sylvester Stallone or the rest of the cast for this ensemble action film around to promote the film due to the SAG-AFTRA strike contributed to the lower numbers.

But strike or no strike, “Expend4bles” isn’t getting strong reception. The film was panned by critics with a 16% Rotten Tomatoes score while audiences gave the film a B- grade on CinemaScore, the lowest for the series.

“Expend4bles” may not even take No. 1 at the box office as its low opening has put Warner Bros./New Line’s “The Nun II” within striking distance of keeping the top spot for a third weekend. Industry estimates have “Nun II” earning $7.9 million in its third weekend, bringing its domestic total to $68.7 million.

Overall grosses are estimated to only reach $50 million this weekend, down 20% from last weekend’s poor $62.8 million and only slightly better than the year-low $47.8 million recorded on Super Bowl weekend.

Theaters should see ticket sales rebound starting next weekend thanks to a variety of new releases, including Lionsgate’s “Saw X,” Paramount’s “Paw Patrol: The Mighty Movie,” Disney/20th Century’s “The Creator,” and the wide expansion of Sony/Columbia’s “Dumb Money.”

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Lionsgate/Millennium’s “Expend4bles” isn’t doing much to stop

Stephen Gould, a tenor who after a detour into musical theater established himself as a leading interpreter of the operas of Richard Wagner in performances at the Bayreuth Festival in Germany and elsewhere, died on Tuesday in Chesapeake, Va. He was 61.

His death was confirmed by his longtime agent, Stephanie Ammann. Early this month Mr. Gould announced on his website that he had bile duct cancer, that the disease was terminal and that he was retiring from singing.

The Bayreuth Festival paid tribute to him on its website after that announcement.

“Stephen Gould was, with interruptions, one of the mainstays of the Bayreuth Festival from 2004 to 2022,” the festival’s post said. “Highly esteemed by audiences, the press and within the festival family, he was rightly dubbed the ‘Wagner Marathon Man’ and thrilled audiences with his distinctive voice and condition in countless performances.”

Mr. Gould established himself as a reliable heldentenor, a singer who takes on heroic roles, mostly in the German repertory, requiring a particularly powerful voice. Such roles are among the most demanding in opera.

He first appeared at Bayreuth in 2004, performing the title role in Wagner’s “Tannhäuser,” a production that dazzled Olin Chism of The Dallas Morning News.

“One of the heroes was American tenor Stephen Gould, who sang the title character,” Mr. Chism wrote. “This was his Bayreuth debut, and by the end of the evening he had become a festival favorite.”

He remained so over the next 18 years, performing in 20 Bayreuth productions; he regularly sang the title role in “Siegfried” and Tristan in “Tristan und Isolde.” He also performed in leading opera houses around the world, including with the Metropolitan Opera, where he made his debut in 2010 as Erik, the hunter, in Wagner’s “The Flying Dutchman.”

Mr. Gould knew that the major roles he undertook required a certain maturity.

“Everyone wants their heroes to be young and vibrant and look like Brad Pitt in his early days,” he said in a 2019 interview with the German news outlet Deutsche Welle. “But you have to give the voice time to develop.”

As his voice developed, he noted in the same interview, so did his view of how and why he was deploying it.

“I don’t try to sing for the public anymore,” he said. “I did when I was younger, of course. You want to be popular, you want the critics to love you, you want your career to go high and all of that. Now when I’m onstage, what I enjoy most is discovering something for myself.”

Stephen Grady Gould was born on Jan. 24, 1962, in Roanoke, Va. He studied at the New England Conservatory of Music in Boston before joining Lyric Opera of Chicago’s developmental program for young artists, the Center for American Artists. He originally imagined himself as a baritone before switching to tenor.

He was put to the test at age 27 when he had to substitute for Chris Merritt in the demanding role of Argirio in Gioachino Rossini’s “Tancredi” when Mr. Merritt became ill during a run in Los Angeles, where the opera was being staged jointly by Lyric Opera and the Los Angeles Music Center Opera.

“He gamely tackled the patriarchal ardors of Argirio with a light, often pinched voice and reasonable dramatic presence within the static staging context,” John Henken wrote in The Los Angeles Times. “The stratospheric climaxes were forced out as high-pressure bleats, and initially much of the passage work was smeared. But he seemed to gain strength and composure, and more than held his own in the big Act II duet with Marilyn Horne in the title role.”

Soon after, on what he said was a whim, he auditioned for the national touring company of “The Phantom of the Opera” and was cast. He spent several years with that troupe, performing various roles, though not either of the male leads.

“When I finished with musicals, I just was going to quit,” he said in 2019, “but I wanted to give it one more chance and met a teacher from the Metropolitan Opera who told me that I’d been singing incorrectly from the very beginning.”

He rededicated himself to opera, working on his technique and growing into the Wagnerian roles for which he became best known.

“By then,” he said, “I was at the right age to actually sing Wagner. Too many singers today are pushed into their big Wagnerian roles in their 20s.”

Information about Mr. Gould’s survivors was not immediately available.

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Stephen Gould, a tenor who after a

Edmonton police are investigating a “stranger sexual assault” that occurred on Tuesday afternoon in southeast Edmonton.

The incident happened in the area of 34th Avenue and 33rd Street between 3 p.m. and 4 p.m., the Edmonton Police Service said.

According to police, an 11-year-old girl was walking home with her bicycle in the Fountain Lake neighbourhood when she was allegedly pulled into a van by a male suspect and was sexually assaulted.

The girl was then pushed out of the van before the man fled the scene, heading south on 34th Street past a 7-11 store, police said.

The suspect has been described as between the ages of 25 and 35, and around five-feet, 10-inches tall with dark prickly hair. The suspect’s facial hair is described as a sole patch and he was wearing a black shirt, dark grey pants and white sneakers – possibly Nike’s – at the time of the attack.

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The suspect’s vehicle is described as a white van which potentially has rear “barn style” doors and tinted windows. Police say the van may have been parked on the north curb of 43rd Avenue by the community lake.

The 11-year-old girl is receiving services at the Zebra Child Protection Centre.

The Edmonton Police Service is asking any residents in the Fountain Lake or Larkspur area to check their home and business camera for possible images of the suspect vehicle driving in the area between 3 p.m. and 4 p.m. on Tuesday Sept. 19.

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Michael Allio and Danielle Maltby.
Courtesy of Michael Allio/Instagram; Courtesy of Danielle Maltby/Instagram

Before Michael Allio and Danielle Maltby went their separate ways, they tried hard to salvage the relationship.

“We did go to couples therapy to see if we could find common ground in the relationship and, sadly, we couldn’t do that,” Allio, 39, revealed during a lengthy Instagram Story Q&A on Friday, September 22. “She wanted me to wait [to announce the breakup] and I felt, like, because I was the one that broke it off with her I should be respectful of that. So, I kind of waited for her lead and when she started taking down posts on Instagram, I kind of followed suit.”

Maltby, 37, sparked split speculation earlier this month when she started deleting photos of the pair from her Instagram page. Weeks later, Allio confirmed their separation during the Thursday, September 21, episode of Jason Tartick’s “Trading Secrets” podcast.

“We broke up, it was [the] last week in June and it’s just coming up now because we wanted to take our time with this,” Allio added on Friday.

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Allio’s Instagram remarks came hours after Maltby addressed the breakup for the first time, in which she claimed the decision was “not mutual” after there was “some perception of incompatibilities.”

Michael Allio and Danielle Maltby Tried to 'Find Common Ground' in Couples Therapy Before Split

Michael Allio
Courtesy of Michael Allio/Instagram

Maltby then went on her “Wo Med” podcast, which also dropped on Friday, and alleged that the split occurred shortly after he supported her egg-freezing procedure.

“Dani did not know that I was going to [confirm the breakup] on Jason’s podcast and there’s a reason why. We broke up 13 weeks ago and over the span of that 13 weeks, we spoke multiple times about how we want to roll this out,” Allio, who shared 6-year-old son James with late wife Laura Ritter-Allio, noted in his Friday social media upload. “I suggested doing a mutual breakup post, but she did not want to do that mainly because this breakup was not mutual. She told me, ‘Go out there, say what you want to say, do what you want to do. I’ll follow suit.’”

According to Allio, Maltby even asked him to refrain from calling or speaking to her since it would make healing “that much more difficult.”

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In addition to going to couples therapy with Maltby, Allio further noted via his Stories that he’s individually worked with a therapist “for a very, very long time.”

Michael Allio and Danielle Maltby Tried to 'Find Common Ground' in Couples Therapy Before Split

Danielle Maltby and Michael Allio.
Courtesy of Michael Allio/Instagram

“It is helping, but I do think people are very quick to assume that if I’m dating somebody and it doesn’t end in marriage that it must be because I’m not over my dead wife,” he said on Friday. “It is so rude, so arrogant and so disrespectful; have some class, people. There’s more to it than just grief. Dani and my relationship had nothing to do with grief. I welcomed her into my life. I feel more ready now than I ever have been and sometimes, at the end of the day, you’re just not compatible.”

He continued: “[If] there’s something that you’re looking for that doesn’t exist in that other person and it doesn’t mean you try to change that person and turn them into this perfect version for you because that’s wrong too.”

Allio and Maltby met on the Bachelor in Paradise beach during season 8, opting to continue dating in the real world after filming ended. The nurse moved to Allio’s native Cleveland — where he lives with James — earlier this year in pursuit of their relationship.

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Michael Allio and Danielle Maltby. Courtesy