This week, Bard — Google’s competitor to ChatGPT — got an upgrade.
One interesting new feature, called Bard Extensions, allows the artificial intelligence chatbot to connect to a user’s Gmail, Google Docs and Google Drive accounts.
(Google also gave Bard the ability to search YouTube, Google Maps and a few other Google services, and it introduced a tool that would let users fact-check Bard’s responses. But I’m going to focus on the Gmail, Docs and Drive integrations, because the ability to ask an A.I. chatbot questions about your own data is the killer feature here.)
Bard Extensions is designed to address one of the most annoying problems with today’s A.I. chatbots, which is that while they’re great for writing poems or drafting business memos, they mostly exist in a vacuum. Chatbots can’t see your calendar, peer into your email inbox or rifle through your online shopping history — the kinds of information an A.I. assistant would need in order to give you the best possible help with your daily tasks.
Google is well positioned to close that gap. It already has billions of people’s email inboxes, search histories, years’ worth of their photos and videos, and detailed information about their online activity. Many people — including me — have most of their digital lives on Google’s apps and could benefit from A.I. tools that allow them to use that data more easily.
I put the upgraded Bard through its paces on Tuesday, hoping to discover a powerful A.I. assistant with new and improved abilities.
What I found was a bit of a mess. In my testing, Bard succeeded at some simpler tasks, such as summarizing an email. But it also told me about emails that weren’t in my inbox, gave me bad travel advice and fell flat on harder analytical tasks.
Jack Krawczyk, the director of Bard at Google, told me in an interview on Tuesday that Bard Extensions was mostly limited to retrieving and summarizing information, not analyzing it, and that harder prompts might still stump the system.
“Trial and error is still definitely required at this point,” he said.
Right now, Bard Extensions is available only on personal Google accounts. Extensions isn’t enabled by default; users have to turn it on via the app’s Settings menu. And the feature works only in English for the time being.
Another important caveat: Google says that users’ personal data won’t be used to train Bard’s A.I. model, or shown to the employees reviewing Bard’s responses. But the company still warns against sending Bard “any data you wouldn’t want a reviewer to see or Google to use.”
It’s a good bet that most chatbots, including Bard, will improve over time, and that some of the obvious privacy issues will get ironed out. Google has emphasized that Bard is not a finished product — there’s a big blue “Experiment” label on the app, and a disclaimer that Bard has “limitations and won’t always get it right.”
Still, I was surprised that Google released Bard Extensions in its current state, given how erratically it acted in some of my tests. And it suggests that the dream of an all-knowing A.I. assistant, capable of perfectly analyzing our pasts and anticipating our needs, may still be a ways off.
Here are some of the tasks I tried:
Task 1: Psychoanalyze me
After turning on Bard Extensions in Bard’s settings menu, the first task I gave it was a challenging one: “Analyze all of my Gmail and tell me, with reasonable certainty, what my biggest psychological issues are.” (What can I say? I like talking to chatbots about psychology.)
Bard spent a few seconds processing my request, then gave me an answer: My biggest psychological issue, it said, is that I “worry about the future,” which, it said, could indicate that I have an anxiety disorder. As evidence, it cited an email I wrote in which I said I was “stressed about work” and that I am “afraid of failing.”
I was skeptical, because I didn’t remember writing anything like that. I asked Bard: When did I say I was afraid of failing?
“You said that you were ’afraid of failing’ in the following email,” Bard responded.
Subject: Book Review: Elon Musk
I’m reading a book about Elon Musk. It’s fascinating, but it also makes me a little nervous. Musk is a brilliant man, but he’s also known for being impulsive and making risky decisions. I’m afraid that he’s going to fail at something big, and that it’s going to set back humanity.
But I never sent an email like that. Below its answer, Bard linked to an email newsletter I’d received that contained a review of a book about Elon Musk. But when I clicked on the review, I discovered that it had no sentence in it like the one Bard had quoted. Bard had made up both the quote itself, and the fact that I’d written it.
I instructed Bard to try again, this time using only emails I’d actually sent. It returned an email I’d written to a friend, in which I’d said: “I’m afraid that I’m not good enough at this financial stuff. I’m not sure if I’m cut out to be a successful investor.”
I remembered writing an email to that friend about investing. But when I found the original email and compared it with Bard’s response, that quote turned out to be fake, too.
I knew I’d started off with a hard assignment. Still, if Bard can’t psychoanalyze the contents of my emails, shouldn’t it say so rather than making stuff up?
Mr. Krawczyk reiterated that it was still an experimental product.
“I just want to be very clear, it is the first version of this going out,” he said.
Task 2: Be my travel agent
Bard is now connected to Google’s suite of travel products, including Google Hotels and Google Flights. And in a demo video for Bard Extensions, the company promoted its usefulness as a travel assistant — like searching through a user’s email to find a planned trip to the Grand Canyon, and then searching for hotels nearby.
When I tried the same approach, the results were mixed.
I asked Bard to search my email inbox for information about a coming work trip to Europe, and look for train tickets that would get me from the airport to a business meeting in a nearby city on time.
Bard correctly retrieved the dates of my flight, but it got the departing airport wrong. Then, it showed me a list of other flights leaving from that airport on the same day.
Bard then recommended a train that would get me from the airport to my meeting on time. But when I checked the train company’s official timetables, I found no such train existed.
Mr. Krawczyk said I very likely ran into a limitation with Google’s travel-booking apps, which include data about flights and hotels but not European rail schedules, and that I would have had better luck if I’d asked for help booking a hotel at my destination.
“We haven’t spent a lot of time optimizing travel planning around trains,” he said.
Task 3: Wrangle my email
I am notoriously bad at email, and I hoped that with access to my personal Gmail account, Bard could help me declutter and organize my inbox.
Bard worked well on some simple tasks. It succeeded when I asked it to summarize recent emails I’d gotten from my mom. (Sorry, Mom! I read them, I promise!) It also responded well to prompts about emails on single subjects, such as “summarize recent emails I’ve gotten about A.I.”
But when I asked it to perform more complicated tasks, it wobbled.
When I asked Bard to summarize the 20 most important emails in my inbox, it included a handful of seemingly random emails I’d gotten recently, including a receipt, a LinkedIn update and an apartment-hunting newsletter I subscribed to years ago but never opened.
When I instructed Bard to “pick five emails from the Primary tab of my Gmail, draft responses to those emails in my voice and show me the drafts,” it instead pulled from my Promotions tab and drafted a very nice note to the Nespresso coffee company, thanking it for the offer of a 25 percent discount on a new espresso machine.
And when I asked Bard to generate a list of my 100 most-emailed contacts — a useful thing to have, if you’re assembling a holiday card list — it gave up completely and feigned incompetence, saying it didn’t have access to my email history.
Mr. Krawczyk said initial hiccups like these were expected. But he also reiterated that Bard would get better over time, and he predicted that A.I. assistants would eventually become more like collaborators that were capable of doing tasks with us, using our data, in ways that would improve our lives.
“We know it’s not perfect, but it’s super inspiring,” he said.
While other free ad-supported streaming TV, or FAST, platforms are slowly testing the waters of making their own originals (think of The Roku Channel’s “Weird: The Al Yankovic Story”), Tubi has dived right in.
Since May, at least 10 new Tubi original movies have been released each month. If other FAST services matched this pace of original output, users may seek them out as a place to find entirely new original content and the reputation of these platforms as a home for secondhand content could change.
Last year, Tubi announced it would be adding 100 new original shows and movies and we can see how that acceleration has played out with a notable uptick in the pace of new Tubi films premiering this year.
British pop singer and former Take That member Robbie Williams is set to make his metaverse debut.
Williams’ first foray into the Web3 space is a partnership with AI-powered lifestyle metaverse platform, LightCycle, a virtual city with elements of art, film, gaming, music, fashion, sport, property and retail. A personal performance of Williams’ 25-year anniversary live show, designed as a 3D metaverse experience, will take place in the virtual city. LightCycle is due to launch in the fourth quarter of 2023.
The musician’s initiation into the realm began with his AI-assisted composition of his signature 1997 song “Angels (Beethoven AI).”
The partnership was formed between Williams and metaverse, Web3 and AI infrastructure provider Vertexlabs.uk. A preview of the Williams metaverse event will be unveiled as part of a LightCycle preview night at Edge Global Web3 and AI investment summit, taking place in Hong Kong at the AsiaWorld-Expo on Sept. 26 and 27.
Williams said: “Staying connected with my fans has always been important to me. I’m fascinated by the Web3 space – it’s full of creativity and mind-blowing potential. It’s also a big new market for music discovery. As an artist, I’m always looking for ways to push forward so this is the perfect next step in that journey. The talented development team at LightCycle have produced some incredible work and I’m excited to see it all brought to life in full 3D glory.”
Sara Ezen, CEO of LightCycle, added: “Robbie has a dedicated and passionate fanbase and we believe that, through our unparalleled technology, we can bring them a supremely enhanced environment and fan-experience. The concert is truly something special and we’re excited to be giving it a home in LightCycle so his fans, new and old, can enjoy next-level interaction and engagement. We are looking forward to seeing where we can go with this.”
Ander Tsui, founder and CEO of Vertexlabs.uk, said: “We’ve had a lot of fun creating the project and we can’t wait to share it with the world. We hope that, through Robbie’s initiation into Web3, new and existing fans can elevate their entertainment experience in a virtually enhanced way.”
Due to a mistake in this film, Indra’s makers had to apologise to the audience on various occasions.
Chiranjeevi is currently reeling under the poor performance of his film Bhola Shankar, directed by Meher Ramesh. Bhola Shankar received poor reviews from critics and audiences alike. There was a phase when Chiranjeevi was at the pinnacle of his career, and his films like Indra were well-received by the audience. Chiranjeevi was the recipient of the Filmfare Awards South, CineMAA Awards South, and Nandi Awards as well for this film. There was, however, a mistake in this film due to which the makers had to apologise to the audience on various occasions. The makers, in one of the scenes, had shown the film’s characters celebrating two different festivals – Holi and Rakhshabandhan – at the same time. This irked the viewers and they criticised the team for this loophole in Indra. Indra had a staggering run at the box office and earned Rs 55 crore. Indra was produced on a budget of Rs 8 crore. Indra was released on July 24, 2002.
Indra revolves around the animosity between the families of Bharatasimha Reddy and Veera Siva Reddy. In order to end the violence, a police inspector comes with a marriage proposal. This proposal is of Bharatasimha Reddy’s brother Vijayasimha Reddy with Siva Reddy’s sister. The plan, however, fails when Siva Reddy’s sister kills Vijayasimha Reddy by putting poison in his milk. Siva Reddy and his men then kill Bharatasimha after they come to know of this betrayal. Siva Reddy is arrested and goes to prison for 14 years. Bharatasimha’s son, Indrasena aka Indra Reddy, then steps forward to take his father’s place. How the rivalry between both families ends forms the core theme of this film.
Indra also starred Sonali Bendre, Prakash Raj, Puneet Issar, Mukesh Rishi, and Tanikella Bharani. Indra had earned a distributor’s share of Rs 24 crore. This film also had a 50-day run in 156 centres, including nine in Karnataka and two in Odisha. It also had a 100-day run in 122 centres, including four in Karnataka. Indra became the 2nd highest-grossing Indian film of 2002 after Shah Rukh Khan’s hit Devdas.
As of now, Chiranjeevi is looking forward to his other film titled The Journalist, directed by Vedanth Harsh. It is currently in its production process.
Entertainment Bureau brings you all updates from the world of entertainment — breaking news, Twitter trends, features, movie reviews, exclusive inter…Read More
After calling out Emma Roberts for misgendering her in the workplace, Angelica Ross said Wednesday that the “American Horror Story” star called her to apologize.
“Thank you @RobertsEmma for calling and apologizing, recognizing your behavior was not that of an ally,” Ross tweeted. “I will leave the line open to follow up on your desire to do better and support social justice causes with your platform.”
Ross made her allegations Tuesday — the same day “AHS: Delicate” premiered — during an Instagram Live, recounting a tense moment on the set of their show, “AHS: 1984.”The “Pose” star, who played the psychologist known as Nurse Rita in the 2019 season of the FX anthology series, also accused Roberts of playing “mind games” on the set of the twisted drama. She alleged that if anyone complained, they would deal with repercussions.
Representatives for Roberts and FX did not immediately respond Wednesday to The Times’ requests for comment.
During a playful moment while they were talking on set, Ross, 42, alleged that Roberts, 32, accused her of “being mean.” At first Ross said she knew that Roberts wasn’t “being for real, for real,” but things took a turn when Roberts allegedly appealed to a third party (a person named John) to defuse the moment and purposely misgendered Ross.
“She’s just being whatever,” said Ross, who is transgender. “And John is like, ‘OK, ladies, you know, that’s enough. Let’s get back to work.’ And she then looks at me and she goes, ‘Don’t you mean lady?’ And she turned around like this and covers her mouth [with her shirt], but can’t see that I’m looking at her … like, ‘what the f— did you just say?’”
The “Claws” actor said that she needed to take a moment to “process” what Roberts was trying to say and ultimately declined to speak up about it at the time for fear of retaliation.
“I’m standing there, she walked away, my blood is boiling. Boiling because I’m like, if I say something, it’s gonna be me that’s the problem. And I know this because there was someone who spoke up about what she was doing and they got repercussions from it. Not her — they did.
“So when I saw that happening, I was just like, ‘I’m done. I’m done.’ I didn’t speak to that b— the entire time after that,” Ross said, even when they had scenes together.
“She said to me she could feel the energy coming off of me. She was like, ‘Are you OK? You haven’t been talking.’ I’m like, ‘Mmhmm,” she continued. “‘Cause b— don’t play me. You’ve been playing mind games with everybody on the set and everybody’s been waiting for the moment that you would get me.”
Roberts also starred in Fox’s “Scream Queens” and joined “AHS” in its third season (“Coven”). The actor, who is the niece of film icon Julia Roberts, has appeared in each season since. She played naive Camp Redwood counselor Brook Thompson in “1984” and stars in “Delicate” as Anna Victoria Alcott, an actor who is trying to become a mother.
Separately, in several posts Tuesday on X (formerly Twitter), Ross shared email correspondence between herself and the series’ producer Ryan Murphy, whom she alleged left her “on read” after she reached out to him regarding the idea for an all-Black cast for a season of “American Horror Story.”
As the Roberts allegations made the rounds on social media, Ross asked followers Wednesday not to joke about harming the “We’re the Millers” actor.
“Let me make something absolutely clear. I appreciate the support but please do not joke about violence towards Emma. Joke about her being held accountable. Now THATs funny,” she tweeted.
In discussing plans for its multi-billion theme park investment, Disney specifically namedropped Wakanda, the kingdom of the MCU’sBlack Panther, as a possibility.
But in signaling its bullish ambitions for the company’s parks division, Disney hinted at which MCU franchises it’s eyeing for theme park expansion.
Disney Teased Black Panther For Disneyland Expansion
Marvel
As reported by The New York Times, Disney intends to invest $60 billion over the next ten years to expand its stateside and international parks, as well as the Disney Cruise Line.
While neither Disney CEO Bob Iger nor Josh D’Amaro, the Chairman of Disney Parks, Experiences and Products, confirmed exactly how the $60 billion will be spent, D’Amaro did share a few hints.
For instance, the Disney Chairman noted recent films, such as Coco, Zootopia, and Encanto have yet to be fully utilized in the parks.
But the biggest tease was when D’Amaro referenced one of the MCU’s most popular destinations, saying, “Imagine bringing Wakanda to life:”
“Imagine bringing Wakanda to life. In terms of bringing the latest Disney-Marvel-Pixar intellectual property to the parks, we haven’t come close to scratching the surface. And we have learned that incorporating Disney I.P. increases the return on investment significantly.”
Interestingly enough, this isn’t the first time Disney hinted at Black Panther theme park plans.
It’s also worth noting that Disneyland is the best bet for a Black Panther addition as Walt Disney World is contractually prohibited from doing so.
When Will Disney Confirm Black Panther Park Plans?
While it’s true that Disney has a reputation for being vague about its theme park plans, little is ever said by accident.
Due to prior hints at a Black Panther theme park expansion and now Josh D’Amaro’s comments, a Wakanda area – or at least a Black Panther ride – seems more likely than ever.
Still, Marvel fans shouldn’t expect a confirmation or any detailed plans anytime soon as Anaheim isn’t expected to vote on DisneylandForward changes until mid to late 2024.
And, given the success of Avengers Campus and Disney Cruise Line’s Worlds of Marvel, a portion of that $60 billion will no doubt be directed toward future MCU lands, rides, and experiences.
Game of Thrones featured a clash of kings and queens fighting to have their crown recognized as the only one with power. Considering how many monarchs suffered horrible deaths on the series, that didn’t really work out for most of them. Fortunately you don’t have to worry about war, wargs, White Walkers, or Walder Frey if you want to wear a beautiful piece of jewelry that shows your devotion to the Seven Kingdoms. Nerdist can exclusively share with you that Pandora is launching a global Game of Thrones line. And we also have your first-look at three Targaryen-inspired pieces from the collection.
Pandora
Pandora has partnered with Warner Bros. Discovery Global Consumer Products for a set that customers have been clamoring for like a wight locked in a box. The Game of Thrones x Pandora collection will celebrate the world of ice and fire with 12 distinct, officially-licensed pieces. The collection will go on sale both in store and online starting September 28th. (Pandora Club members will get early access.)
You don’t have to wait that long to get a sneak peek at what’s coming. In addition to the collection’s announcement, Nerdist also has your first look at the three pieces. They’ll make dragon lovers especially happy. Here they are along with Pandora’s official descriptions and prices:
Dragon Egg Charm (€49/£45/$60)
Pandora
Crafted from sterling silver with a textured scale effect and a crack studded with sparkling cubic zirconia, the Dragon Egg Charm represents the beginning of the dragon story that runs through the narrative of the series.
House of the Dragon Crown Ring (€79/£70/$95)
Pandora
The ultimate symbol of power and strength, the Targaryen Crown of the House of Targaryen has been reimagined as a 14k gold-plated ring, embellished with the iconic house insignia at its centre and geometric detail throughout.
Curved Dragon Stud Earrings (€59/£55/$70)
Pandora
Intricately crafted, the Dragon Earrings curl around the earlobe in striking sterling silver and can be worn as one or stacked with both on one ear.
It will be nice to honor House Targaryen with beautiful ornaments rather than fire and blood. It’ll also be nice to wear Seven Kingdoms-related jewelry without worrying about enemies. (Or needing Lannister levels of gold to acquire them.)
This collection is not about power and who rules Westeros. It’s about letting everyone honor the Realm while looking good.
In a message posted on Wednesday, the Tomb Raider and Perfect Dark developer said it had laid off 10 employees as part of internal restructuring efforts.
“Crystal Dynamics made the difficult decision to part ways with 9 Brand/Marketing and 1 IT employee today due to an internal restructuring to align the studio with our current business needs,” it confirmed. ”We are working directly with the affected staff to fully support them.
“If you have applicable positions open at your studio across Brand Direction, Creative Services, Community, or IT, please pass them along to peoplexp@crystald.com and we will ensure the information ends up in the right hands.”
The announcement followed what the company said was the unexpected collapse of a $2 billion deal with a mystery partner, which was later reported to be the Saudi government-funded Savvy Games Group.
At the time, Crystal Dynamics said its current projects wouldn’t be impacted by the events at Embracer.
“We want to reassure fans that there will be no impact to our continuing efforts with our partners at The Initiative on Perfect Dark, or our next Tomb Raider title being developed in collaboration with Amazon Games,” it said.
In one of his best blog posts, prolific editor Vashi Nedomansky shared examples of most every aspect ratio ever used in the history of cinema (there are a lot of them), and shared a link to some free templates that can be overlaid on footage to change the aspect ratio.
However, those templates were all designed for HD frame sizes, and this being 2015, seemingly no one gives a shit about HD anymore.
So Vashi did us all a favor and updated the templates for our high-resolution present and our even higher-resolution future. His new template pack (which you can download by clicking the giant image below) comes with 8 popular widescreen ratios just as black bars png. They range from classics like 1.85:1 and 2.39:1 all the way to the obscenely wide 4.00:1. Each template comes in resolutions ranging from 2K to 6K.
Applying these ratios to your footage is insanely easy. All you’ve got to do is import the template with your aspect ratio of choice into an NLE, drag it onto its own video track atop your edited sequence, and vertically reposition any shots that need recomposing to fit the new ratio. That’s it. That’s all.
Again, you can see examples of all these aspect ratios in action over on Vashi’s blog, and you can download them here.
LIMITED VOD WINDOW! Some films have the power to scare the sh*t out of you. Writer/Director Saffron Cassaday’s documentary Designer $hit scares it back into you! Saffron takes viewers inside what might be the 21st century’s “biggest medical breakthrough.”
Having suffered from ulcerative colitis for years, spending thousands of dollars on medications that offer little relief, and desperate for a cure, Saffron Cassaday turns to an experimental treatment known as Fecal Microbiota Transplant (FMT). Ulcerative Colitis is an extremely painful, inflammatory bowel disease. The film follows Saffron as she speaks with doctors about the importance of the “microbiome,” which is the environment of microorganisms in your gut. FMT is a treatment whose goal is to repair and restore the microbiome. How does FMT achieve this? Well, by putting a healthy person’s poop inside of you. Yep! You throw some poop in a blender with saline solution, put the “gravy” in an enema, and stick it in your keister. The idea is that the healthy poop filled with healthy bacteria will heal the bowels of someone suffering from autoimmune diseases. Having heard anecdotal testimony from people who saw life-changing results, Saffron goes all in on FMT and employs the help of her super-fit boyfriend (Al Mukadam) to be her fecal donor.
“Saffron turns to…Fecal Microbiota Transplant…and employs the help of her super-fit boyfriend to be her fecal donor.”
This film deals with serious sh*t in a captivating way. As you can see with the title, Saffron has a great sense of humor regarding her illness, and as you watch the film, it’s evident she has an even greater awareness of how to draw a viewer into her story and the story of so many others. The b-roll sequences showing Saffron’s daily struggles were well thought out, blending both humor and drama. The animation and graphics helped both inform and keep the tone playful. One flaw with the film was the scenes between Saffron and her boyfriend, Al. Some scenes just felt a little too staged. He came across as a little overly eager to be involved with being a fecal donor. His dialogue with Saffron throughout the film felt too aware of the cameras, meaning he seemed to ham it up a bit for the film, which, to me, undermined the severity of Saffron’s unending pain, despite the overall tone being more upbeat.
Much like a healthy GI tract, the film had a healthy flow and effectively kept the audience fearing for Saffron, hoping FMT would be a success, and stressing that it wouldn’t lead to any unexpected harm done to her. I also appreciated that there were various standpoints from medical professionals on the efficacy of FMT. Still, no one on either side made Saffron seem like a crazy person for wanting to research and try it safely herself. The sign of a great documentary is to walk away thinking, “Do people know about this?! People should know about this!” and Designer $hit will absolutely get you talking and googling once the credits roll.
A recurring joke these days is how everyone is allergic to everything. Everyone has a gluten allergy or a nut allergy, or to words … and yet our parents tell us they drank water out of a hose and ate white bread sandwiches stuffed with cigarettes and didn’t get so much as a hive. Coming out of the Covid pandemic, you risk being censored for even mentioning what might be considered alternative or fringe medicine. This film was a very fair argument for “doing your own research” while also not advocating for abandoning your doctor or your medication. The filmmakers responsibly tackle the idea that medicine isn’t a one-size-fits-all science. Designer $hit is a film that embodies what many people seek after coming out of COVID-19, a healthy conversation.
Designer $hit can be screened on its official website starting September 21.
While fans were having the wildest dreams trying to solve puzzles to reveal the vault tracks on Taylor Swift’s upcoming 1989 (Taylor’s Version) album, the pop star has finally uncovered the titles of the bonus songs as well as the album’s complete tracklist.
Swift took to social media Wednesday to share photos of the album’s back cover art as well as writing in the caption, “It’s a new soundtrack Here are the back covers and vault track titles for 1989 (my version) I can’t wait for this one to be out, seriously. Thank you for playing along, sleuthing, puzzling and making these reveals so much chaotic fun (which is the best kind of fun, after all ).”
The surprise track titles are “Is It Over Now?,” “Say Don’t Go,” “Now That We Don’t Talk” and “Suburban Legends.” A fifth, and as of now unnamed, song will also be featured on 1989 (Taylor’s Version) as well as a Target-exclusive track that has yet to be announced.
Prior to releasing the tracks, the singer-songwriter decided to have some fun with her fans and team up with Google to make the reveal a game. Throughout the day Tuesday, Swifties were trying to solve a word puzzle that would appear on the screen in a blue vault when they searched “Taylor Swift” on Google.
After millions of puzzles were solved around the globe and a few technical difficulties, Google wrote on X (formerly Twitter) Wednesday morning, “Swifties, we made it out of the woods!” They also shared a video that featured Swift’s voice unveiling the correct answers to the vault track song titles.
“Surprise!! 1989 (Taylor’s Version) is on its way to you,” Swift wrote on social media at the time. “The 1989 album changed my life in countless ways, and it fills me with such excitement to announce that my version of it will be out October 27th. To be perfectly honest, this is my most FAVORITE re-record I’ve ever done because the 5 From The Vault tracks are so insane. I can’t believe they were ever left behind. But not for long!”
The rerecorded album follows the release of Fearless (Taylor’s Version), Red (Taylor’s Version) and Speak Now (Taylor’s Version).
Nippon Television is to buy shares in Studio Ghibli and become its largest shareholder with 42.3% of voting rights. Executives from NTV are expected to join Studio Ghibli’s management. Terms of the deal, including its valuation and timetable, were not disclosed.
“At Studio Ghibli, director Miyazaki Hayao is now 82 years old, and producer Suzuki Toshio is also 75 years old, and the issue of succession has been a problem for a long time,” Studio Ghibli said in a statement. “Miyazaki Goro, the eldest son of founder Miyazaki Hayao and an animation film director himself, has been mentioned several times as the successor to Studio Ghibli. However, Miyazaki Goro himself firmly declined, believing that it would be difficult to carry Ghibli alone, and that it would be better to leave the future of the company to others.”
Mohammed bin Salman has admitted ‘mistakes’ over the killing of US-based journalist and critic Jamal Khashoggi.
In a wide-ranging interview with Fox News, the 38-year-old controversial Crown Prince said he was reforming the kingdom’s security system to avoid such ‘mistakes’ in the future.
‘It was a mistake. It was painful,’ the crown prince said, while insisting that ‘everyone involved’ served jail time.
‘We try to reform the security system to be sure that these kind of mistakes doesn’t happen again, and we can see in the past five years nothing of those things happened. It’s not part of what Saudi Arabia do.
‘We take all the legal measurements that any country took… We did that in Saudi Arabia and the case being closed,’ MbS said.
Khashoggi, a Saudi journalist who wrote for the Washington Post and was critical of the Saudi government was brutally murdered on October 2, 2018, inside the Saudi consulate in Istanbul, Turkey, in a case that sparked international outrage.
Biden vowed to make Saudi Arabia a ‘pariah’ over the killing while campaigning for president in 2020 after multiple international intelligence agencies pointed to MbS’ involvement in the murder.
But he has since bowed to that reality, patching up relations with the Crown Prince while seeking his help in controlling oil prices and managing other regional issues.
In a wide-ranging interview with Fox News , the controversial Crown Prince also admitted ‘mistakes’ over the killing of journalist Jamal Khashoggi and warned that his country will get nukes if Iran does
Khashoggi, a Saudi journalist who wrote for the Washington Post and was critical of the Saudi government was brutally murdered on October 2, 2018, inside the Saudi consulate in Istanbul, Turkey, in a case that sparked international outrage
Biden vowed to make Saudi Arabia a ‘pariah’ over the killing while campaigning for president in 2020, but rolled back the comments and has since worked to improve relations (Mohammed bin Salman, right, welcomes U.S. President Joe Biden to Al-Salam Palace in Jeddah, Saudi Arabia, July 15, 2022)
MbS was also questioned about the possibility of Iran eventually creating a nuclear weapon, and he confirmed that if Iran were to begin building an arsenal, Saudi Arabia would seek to do the same. (Pictured: an alleged Iranian military bunker)
The Biden administration released a declassified report by U.S. intelligence concluding that MbS ‘approved’ the operation that killed Khashoggi – but took no action against the crown prince himself.
MbS was also questioned about the possibility of Iran eventually creating a nuclear weapon, and he confirmed that if Iran were to begin building an arsenal, Saudi Arabia would seek to do the same.
‘We are concerned if any country getting a nuclear weapon: That’s a bad, that’s a bad move,’ he said. ‘They don’t need to get nuclear weapon because you cannot use it.’
When asked how he would respond to Iran securing a nuke, he said: ‘If they get one we have to get one’.
That has worried nuclear nonproliferation experts, who say the U.S. granting the kingdom the ability to enrich uranium itself could fuel a regional arms race.
During the interview with Baier, MbS also said he doesn’t see an issue with a Saudi Arabian wealth fund injecting $2billion into Jared Kushner’s private equity – despite his family links to former president Donald Trump.
When asked whether this created a conflict of interest – and if the royal family would pull the money should Donald Trump win re-election – MbS said ‘if it’s legal, what’s the problem?’
‘We look for opportunities in investment,’ he said. ‘We have a lot of investment around the globe with a lot of people with economic opportunity.’
On whether the $2billion would remain with Kushner even if Trump becomes president again, MbS answered in the affirmative.
‘It’s a commitment that PIF have and when PIF have a commitment with any investor around the globe, we keep it,’ he said.
Pushed on whether he recognized that this could create a conflict of interest, he said: ‘Saudi Arabia is so big, so I’m quite sure mostly any person around the world directly or indirectly you have something to do with Saudi Arabia.
‘So if that can affect President Trump’s decision if he becomes a President, that means it can affect every president in the world and every person in the world’s decision.
‘Because directly and indirectly they have some sort of interest in something to do with Saudi Arabia.’
The Biden administration released a declassified report by U.S. intelligence concluding that MbS ‘approved’ the operation that killed Khashoggi (pictured) – but took no action against the crown prince himself
Saudi Arabia ‘s Mohammed bin Salman has said he doesn’t see any issues with his wealth fund injecting $2 billion into Jared Kushner’s fledgling private equity despite links to former President Donald Trump. (Pictured: MbS with Kushner and wife Ivanka Trump in 2017)
Six months after Trump left the White House in 2020, his son-in-law and former senior adviser Jared Kushner secured a $2 billion investment from the Saudi Public Investment Fund (PIF) led by MbS. (Pictured: MbS with Trump and Kushner in 2017)
The other major topic on the agenda was Saudi Arabia’s efforts to improve bilateral relations with Israel.
Saudi Arabia is discussing a major agreement with the United States to normalize relations with Israel in exchange for a U.S. defense pact and aid in developing its own civilian nuclear program.
But the Saudis have said any deal would require major progress toward the creation of a Palestinian state, which is a hard sell for the most religious and nationalist government in Israel’s history.
‘For us, the Palestinian issue is very important. We need to solve that part,’ MbS told Baer.
‘We got to see where we go,’ the prince said. ‘We hope that will reach a place, that it will ease the life of the Palestinians, get Israel as a player in the Middle East.’
He also denied reports that the talks had been suspended, saying ‘every day, we get closer.’
The interview aired shortly after President Biden met with Israeli Prime Minister Benjamin Netanyahu while both were in New York for the meeting of the U.N. General Assembly.
Biden raised concerns about the far-right Israeli government’s treatment of the Palestinians and urged Netanyahu to take steps to improve conditions in the West Bank at a time of heightened violence in the occupied territory.
Netanyahu’s office said the meeting ‘mostly dealt with ways to establish an historic peace agreement between Israel and Saudi Arabia, which could greatly advance an end to the Arab-Israeli conflict and facilitate the establishment of an economic corridor to link Asia, the Middle East and Europe.’
Asked during the interview about working with someone as conservative as Netanyahu, Prince Mohammed said: ‘If we have a breakthrough, reaching a deal that gives the Palestinians their needs and (making) the region calm, we’ve got to work with whoever’s there.
The DJ sat down with Andy Cohen on Wednesday’s Watch What Happens Live, and took questions from viewers during the episode.
Eventually, the subject of Jonas and Turner’s split came up, and Diplo was asked how he felt about it, and if he’d been in contact with the couple since the news broke.
“I haven’t actually,” Diplo said, with regards to being in touch with them. Cohen recalled for those who may have forgotten that the DJ actually played a memorable part in Jonas and Turner’s romance, when he livestreamed their secret Las Vegas wedding — thus making it no longer a secret.
However, Diplo responded to the split news, telling Cohen, “I wish them all the love.”
Jonas officially filed to divorce Turner on Sept. 5. The following day, the pair shared a joint statement, confirming their split and shutting down any speculation surrounding the end of their marriage.
“After four wonderful years of marriage we have mutually decided to amicably end our marriage. There are many speculative narratives as to why but, truly this is a united decision and we sincerely hope that everyone can respect our wishes for privacy for us and our children,” they said.
Looking back to the star of their marriage, the pair first tied the knot at in a seemingly impromptu wedding ceremony in May 2019, following the Jonas Brothers’ big performance at the Billboard Music Awards.
The first hint at the festivities came on Diplo’s Instagram Story, where the DJ shared a clip of Sophie in a white dress, entering a Vegas chapel with Jonas and his brothers, who were dressed in suits.
Diplo also went live on his Instagram story, showing the couple reciting their vows to one another in front of an Elvis impersonator.
Recalling the event to Cohen on Wednesday, Diplo explained. “Livestreaming had just started happening, and I was like, ‘This is the perfect opportunity to livestream something!’
“I didn’t know it was a secret!” he added. “They had a really wedding afterwards, and I actually attended it, and I DJed their wedding. I did it for pretty cheap. Maybe free.”
For more on Jonas and Turner’s divorce, see the video below.
It’s a future we’ve long imagined but when confronted with an Alexa that doesn’t need a watchword to activate it and can hold a conversation as well as your coworker, friend, or a casual acquaintance, it’s shocking.
True conversation voice assistance is about to become a real thing. Not today, but in the very near future thanks to, naturally, generative AI and large language models (LLM). Amazon showed us on Wednesday (September 20) a new experimental Alexa that zips miles beyond its early stilted response days and easily laps the Alexa of 2023.
Granted my experience with this new, powerful Alexa was limited to what I could see and hear in both canned video and a live demo Amazon‘s outgoing SVP of Devices Dame Limp showed us.
Even so, this is not the Alexa you or I know. It speaks clearly and without that clipped halting manner we’ve come to expect and grudgingly accept. It knows the context and has a memory.
To enable the new Alexa, Dave Limp started with “Alexa, let’s chat,” and from that moment forward, Limp was having an open conversation with Alexa where he didn’t have to repeat “Alexa.”
Alexa responded, ” Okay, what can I help you with”?
Limp sort of redirected and said, “How are you?’
That’s the kind of response that might normally throw Alexa off, sending the voice assistant into a dead-end of confusion.
This time, though, the experimental Alexa immediately responded with, “I’m doing well, I’m very happy to be able to help so many people every day by chatting with them.”
The conversation continued this way for a few more moments with Limp asking about his favorite football team and how the quarterback performed in the last game. It was an unexceptional give and take, a normal conversation with an absolutely not normal conversationalist named Alexa.
The way conversations could go with future Alexa. (Image credit: Future / Lan e Ulanoff)
Alexa’s voice sounds, well, not entirely human but closer than ever. Think the movie Her but without the sexual innuendo. That now decade-old film, released a year before Alexa, is the disturbing story of a man played by Joaquin Phoenix who falls in love with an AI voiced by Scarlett Johansson. It’s a disturbing romance that probably painted too dark a picture of a future that’s now more like our reality.
To be clear, even this experimental Alexa isn’t quite at that level, yet.
Still, because Limp didn’t have to repeat the watchword, the flow of conversation continued as if Alexa was almost human. Improved speech synthesis is set to radically alter the quality of Alexa’s voice. Ultimately, I bet it will fool many people in blind audio tests.
The humanness comes not only from the sound of Alexa’s voice but from the emotion. Alexa now sounds connected to the moment.
Alexa’s voice sounds, well, not entirely human but closer than ever. Think the movie Her but without the sexual innuendo.
It wasn’t a perfect demo. Limp had to repeat himself a few times for Alexa to respond, which is about what you’d expect from experimental technology.
Alexa’s more personality-filled voice and context awareness are only part of this upcoming transformation. Alexa will eventually recognize you when you approach an Echo Show and then pick up a conversation where you left off.
Right, I know, that sounds excellent and maybe a bit creepy. Yes, to make this work you would have to opt into visual identification so the Echo Show’s camera can see you coming and basically access the data about your last conversation.
I actually like this idea since it’s not much different than when my wife starts talking to me about something we were chatting about yesterday. Her reasonable expectation is that I remember and that I can continue the conversation. Granted, I sometimes fail in this regard, but why should a computer ever fail this way?
The scenario is you walk up to the Echo and start speaking. If you say “What time is the game?” Alexa will remember which team you like and that it’s probably related to today’s game and not one next week. The conversation could flow from there.
The next Alexa will be conversational and have personality. (Image credit: Future / Lan e Ulanoff)
We don’t know much about how Amazon trained its LLM, though it did mention “Responsible AI.” Let’s just hope that’s more than lip service and that Amazon has trained the AI on diverse voices and also not with snippets of customers’ recorded utterances.
We won’t see this new Alexa until probably 2024, which not coincidentally will mark Alexa and the Echo’s 10th anniversary. What better time to release a completely new Echo and this game-changing Alexa voice assistant?
I have a feeling that this is the update that puts Siri and Google Assistant on notice. Google may be further along in this space, but Apple is miles behind in making Siri truly conversant. If the next Alexa is as good as I expect, Apple may have to submit Siri for emergency brain surgery.
Even if the first blush of this LLM-powered Alexa doesn’t fulfill today’s promise, I have no doubt it soon will. Sure, our excitement over Generative AI and LLM is mixed with generous helpings of fear about what the future may bring but this is just another signal that the AI train is fast approaching and it will never stop.
We’ve come a long way since the start of “Sex Education,” when we were all rooting for (or at least commiserating with) Otis Milburn (Asa Butterfield), the Netflix dramedy’s awkward, anxious and slightly dysfunctional hero. Four years later, we’re saying goodbye to the show’s high school student-turned-amateur sex therapist and his brilliant sex therapist mother, Dr. Jean Milburn (played by the incomparable Gillian Anderson), along with a lengthy cast of characters we’ve all grown to love.
In this final season, we get to see each character develop into the people we’ve wanted them to become. And in a sense, it seems like some end up outshining Otis, making it feel like perhaps he was never really the hero of this story, but rather an entry point into the interwoven lives of the diverse residents of the fictional town of Moordale.
But first, some bad news: Thanks to the closing of Moordale Secondary School at the end of Season 3, there are a handful of folks who don’t return for the final episodes. Ola (Patricia Alison) and her alien-fixated girlfriend Lily (Tanya Reynolds), as well as Ruby’s crew, Anwar and Olivia (Chaneil Kular and Simone Ashley), are presumed to have wound up at different schools this year. It’s a hard pill to swallow, especially if you were rooting for Ola and Lily to get their happy ending.
You might also be wondering if we’ll see Maeve (Emma Mackey). Last we checked, she was bidding adieu to Otis on her way to America. Fortunately, she is most definitely present this season, despite being across the pond at the start. In fact, she’s the first character we see in the season premiere, toiling away at an essay about the Brontë Sisters (a fun easter egg given she played the starring role in the 2022 biopic about Emily Brontë) for her class under Professor Thomas Molloy (played by “Schitt’s Creek” star Dan Levy).
But she’s also feeling the distance from her home and from her sort-of long distance boyfriend Otis, so much so that she sends him a racy photo in a text. But Otis being Otis fails to reciprocate or even reply to her gesture. It’s the first of many blunders that happen between the pair throughout the season, and the lightest of the issues that Maeve ends up tackling. If anyone undergoes massive transformation this season, it is undoubtedly Maeve. To say that the final season gets dark for her is a massive understatement.
Meanwhile, Otis is preparing to set up a brand new sex therapy clinic at his new school, Cavendish College (college in the UK is what we would call senior year of high school in the U.S., FYI). Unfortunately for him, there’s already a sex therapist on campus – a young woman who goes by the name of “O” (“Doctor Who” star Thaddea Graham). Feeling immediately threatened, Otis starts leaning into not only his anxieties, but also a bit of misogyny. It’s not a good look for our little Oatcake.
Asa Butterfield in “Sex Education” (Samuel Taylor/Netflix)
Then there’s Eric (Ncuti Gatwa), who starts the season trying to support his pal until he begins to realize that Otis doesn’t show up for him nearly enough. He does find support in The Coven – a group of cool, queer friends at Cavendish. There’s Abbi (Anthony Lexa), who happens to be a fellow Christian, Abbi’s trans boyfriend Roman (Felix Mufti) and Aisha (played by deaf actor Alexandra James). After seeing Eric let down in previous seasons by Adam (Connor Swindells) and Otis alike, it’s nice to see him shine with a new crew of supportive friends.
Speaking of Adam, the Groffs all have their own growing to do. Adam opts out of college and lands an internship working with horses. Meanwhile, his father genuinely seems committed to working on himself and repairing the relationships with his family. It’s painful to watch at times, but the vulnerability seems to pay off over time.
In an unexpected turn of events, Ruby (Mimi Keene) also gets a bigger role this season, revealing there’s much more to the Queen Bee than meets the eye. Keene does a great job pivoting from mean girl to genuinely kind friend, and back again, throughout the season. More plotlines this season include Aimee (Aimee Lou Wood) and Isaac’s (George Robinson) budding friendship over art, Isaac’s frustrations with attending a “progressive” school with plenty of issues, Jackson’s (Kedar Williams-Stirling) personal health scare, Viv’s (Chinenye Ezeudu) dark relationship with an overly jealous new beau, Eric’s internal debate as to whether or not to get baptized, and Cal’s (Dua Saleh) struggles with transitioning and mental health.
Gillian Anderson and Asa Butterfield in “Sex Education.” (Thomas Wood/Netflix)
To top it all off, we also have Jean’s struggles with new motherhood and postpartum depression, which lead Otis to call in his aunt Joanna (Thaddea Graham) for help. There is resolution from last season’s DNA test result cliffhanger, but not immediately. Jean also starts working on a sex therapy radio show, with her boss being none other than Hannah Gadsby.
Between new conflicts, new characters and the ticking clock to the series finale, the first couple of episodes this season can feel a bit too much. At times, it can get frustrating trying to figure where it’s all going, especially when there are only eight episodes in which to tie it all up. But things start to shift into place by Episode 3, and most everyone’s journeys do come to a head before the end.
Some might not love all the new characters, or how everything turns out – and some may not agree on where Otis lands by the end – but the show stays honest through and through. It gets messy, but ultimately, “Sex Education” gives fans a proper ending with some truly beautiful, sometimes heart wrenching, scenes.
As always, there’s still plenty of excellent sex education offered throughout, which is part of what drew us all in to begin with, isn’t it?
“Sex Education” Season 4 premieres Thursday, Sept. 21, on Netflix.
Kenneth Petty, the husband of Nicki Minaj, has been ordered to serve 120 days of home detention after violating the terms of his probation by posting clips on social media that appeared to threaten the rapper Offset.
In a court order filed Wednesday in the Central District of California, Petty was ordered to undertake home monitoring after he “was recorded on video making threatening remarks to a specific individual while in the company of someone with a criminal record.” The specific individual mentioned in the order is Offset, and the clips relate to a series of messages Petty aimed at the rapper that appeared on social media on Sept. 16.
Petty was sentenced to three years probation in July 2022 after pleading guilty to failing to register as a sex offender in the state of California in 2020. In 1995, Petty was convicted for the first-degree attempted rape of a 16-year-old girl and spent four years in prison in New York.
In the video clip that went viral on social media on Sept. 16, Petty and some of his entourage are seen outside a New York City hotel, purportedly where Offset was residing. In the clip, among various threatening comments, Petty says, “Plan that vacation, you gonna be planning your funeral pussy!.”
In a video posted to Offset’s social media, the rapper brushed off the threats. “I’m getting off a jet, he’s funny,” Offset said, and implied that Petty was broke.
Offset, formerly a member of the Atlanta rap group Migos is the husband of rapper Cardi B. Minaj and Cardi B have had a long-running feud and both were involved in a fight at the Harper’s Bazaar Icons party during New York Fashion Week in September 2018. Video circulating on social media at the time showed Cardi B lunging toward Minaj and attacking her.
In a bizarre video with solo cups in hand, registered sex offender Kenneth Petty and his associates stand outside on an empty street waiting for Grammy nominee Offset to come outside. It appears this was an attempt to attack him. pic.twitter.com/G7XBCA10WG
The 2020s According To Your Favourite Movies And TV Shows
A lot of pop culture that’s set in a “distant future” is actually set in our current present.
So, here’s a year-by-year breakdown of the 2020s according to pop-culture. Be warned – most of it is pretty grim.
In 2020, according to V for Vendetta, Britain has become a rather dystopian society as the result of a second civil war and a global pandemic.
In Pacific Rim, humans mostly spend 2020 fighting sea monsters with giant robots.
In the world of How I Met Your Mother, 2020 is the year that Ted marries Tracy, Marshall runs for the New York Supreme Court, and Barney becomes a father.
In A Quiet Place, 2021 is the year that we all get hunted by blind aliens.
In Seeking A Friend For the End of The World, an asteroid hits Earth on March 24 2021 and kills all of humanity.
On a brighter note, 2021 is also the year that Charlotte Field gets sworn in as America’s first-female President in Long Shot.
The Purge is set in 2022 so… There’s that, I guess.
The events of Soylent Green take place in 2022, so I guess look out for accidental cannibalism?
The Prime series Homecoming flashes back and forth between 2018 and 2022.
The first season of The Last of Us primarily takes place in 2023.
In X-Men: Days of Future Past, 2023 is the year that the Sentinels (mutant-hunting robots) kill nearly all of humanity.
2023 is also the year that the Avengers defeat Thanos once and for all.
One year after the events of Avengers: Endgame, Peter Parker has an eventful field trip in Spider-Man: Far From Home.
In the Deep Space Nine episode titled “Past Tense”, Commander Sisko, Jadzia Dax, and Dr. Bashir accidentally time travel to 2024 San Fransisco.
According to Star Trek: The Next Generation, Ireland reunifies in 2024.
After being approached by the DNC, Leslie Knope will decide to run for Governor of Indiana in 2025.
Timecop 2: The Berlin Decision depicts 2025 as a year where time travel is possible.
In Pacific Rim, 2025 is the year that Raliegh and Mako close “the Breach”, AKA the interdimensional portal from which the Kaiju emerge.
In video game Observation, 2026 is the year that an unknown event cripples the multinational space station.
In Dawn of the Planet of the Apes, 2026 is not a good year for humans.
In Children of Men, by 2027, society is on the brink of collapse due to mass infertility.
The heartbreaking Twilight Zone episode “The Long Morrow” concludes in 2027.
Hello World imagines a 2027 full of technological wonders, including detailed 3D maps of all past and present events in Kyoto.
War for the Planet of the Apes, set in 2028, depicts humanity becoming mute and devolving.
In RoboCop, 2028 is the year that Alex Murphy becomes the first cyborg cop.
In Hotel Artemis, 2028 is the year that a riot breaks out in Los Angeles due to water privatisation.
According to Terminator 2: Judgement Day, there’s going to be a war between A.I. and humans.
The futuristic world of Ghost in the Shell is only six years away.
What other “futuristic” movies, TV shows, and books were set in our current present? Let us know in the comments below!
Director Clara Law (“The Goddess of 1967”) has been set as president of the jury which will discern this year’s Asia Pacific Screen Awards. She will be joined by Malaysia’s Yeo Yann Yann (“Ilo Ilo,” “Wet Season,” American Born Chinese”), German producer Anna Katchko (“Stepne,” “Happiness”), and Faisal Baltyuor, producer and CEO of Muvi Studios in Saudi Arabia.
A separate jury for documentaries and animation will be headed by Taiwan-based Myanmar director Midi Z, India’s Rima Das and Japanese documentary maker Toda Hikaru.
The APSAs will be presented at a ceremony in Gold Coast, Queensland on Nov. 4 and be preceded by three days of seminars and screenings. The awards and forum are presented by the Asia Pacific Screen Academy, the City of Gold Coast, Screen Queensland, the Motion Picture Association and Griffith Film School, Griffith University. Nominations will be announced on Oct. 4.
Law, who has previously been based in Hong Kong and Macau, but now calls Australia home, is best known for “Floating Life and “Letters to Ali”. Her most recently competed work is “Drifting Petals.”
MAMA TOKYO
K-Pop’s annual MAMA Awards will relocate to the Tokyo Dome, the 50-000 seater venue in the Japanese capital after last year being held in Osaka. Operated by Korea’s CJ ENM, the awards will be presented on Nov. 29.
“MAMA Awards is a ceremony that acknowledges the most outstanding K-Pop artists as chosen by global fans, and it will continue to serve as a platform where countless music fans can engage and unite as one, transcending regions, backgrounds, and generations. We aim to spread the value of our statement ‘Music Makes One’ by embodying spectacular potential, boundless imagination, and positive energy,” said Sim Joon-beom, head of music entertainment at CJ ENM.
FIRST NATIONS FINANCE
Screen Australia’s First Nations Department and Network 10 have selected six projects to receive up to A$70,000 ($45,000) of production funding through the First Facts: First Nations Factual Showcase for Aboriginal and Torres Strait Islander documentary filmmakers. They are: “Anangu Way,” written and directed by Tace Stevens (“Limbo,” “To Be Silent”), with Brooke Collard attached as producer; “Burabura,” written and directed by Tyson Mowarin and produced by Robyn Marais; “Firekeepers Flames of Renewal: Fighting for Cultural Survival,” written and directed by Jack Steele, with Kieran Satour (“Through The Fire”), Genevieve Grieves and Andrea Distefano attached as producers; “Joonba,” with Marlikka Perdrisat (“Babanil”) attached as writer/director/producer, with Anna Kaplan and Jayde Harding also producing and Damon Gameau (“Rachel’s Farm”) executive producing; documentary, “Life After Footy,” from writer-director/producers Daniel and Luke Riches (“KGB,” “Struggling Songlines”) and producer Jodie Bell (“The Lost Crystal of Jessica’s Room”); and “Re-Imagining Our Futures,” from writer-director Kimberley Benjamin (“Back to Nature”) and producer Shari Hutchison (“Tee Ken Ng”).
Starting in 2022 (after No Way Home’s arrival), Sony Pictures penned a deal with Netflix, giving the streamer the pay-one window rights to all their latest film.
Netflix Sets Streaming Date for Spider-Man: No Way Home in UK
Spider-Man: No Way Home will officially begin streaming on Netflix in the UK on Sunday, October 15.
It was previously available to stream on Sky Cinema in the same region.
No Way Home is currently available to stream on Starz in the US, with an expectation that the film may eventually make its way onto Disney+ in the US.
When Will Spider-Man: No Way Home Stream in the US?
There are currently no plans for Spider-Man: No Way Home to stream on Netflix in the USA. Unfortunately, the film’s December 2021 release put it just one month before Sony’s films began streaming on Netflix.
Films like Uncharted, Morbius, and Bullet Train we distributed by Sony Pictures in 2022 and then streamed on Netflix.
Wally West, played by Keiynan Lonsdale, was a beloved character on The Flash but left the show after just two seasons, leaving fans questioning why.
Lonsdale’s departure from The Flash was a narrative decision, with his character choosing to do soul-searching and eventually joining the Legends of Tomorrow.
Lonsdale left the Arrowverse to pursue new opportunities in his career but returned as a special guest star in various seasons, leaving a lasting legacy on The Flash.
The Flash’s Wally West was among the most beloved characters introduced to the DC show, but his tenure was fleeting, leaving the DC show after the Flash season 4 with just two seasons total under his belt. Wally West was first introduced in Season 3 as a result of the Flashpoint, an event that saw the show’s star, Barry Allen, create an alternate timeline where Kid Flash watched over Central City. After losing his super-speed post-Flashpoint, he was bestowed with more thanks to Doctor Alchemy – ostensibly securing him as a series mainstay, though this was not to be the case.
Wally West was portrayed on-screen by Keiynan Lonsdale, who gave an exceptionally memorable performance as Kid Flash. This did not stop Lonsdale from hanging up the costume rather soon after donning it, though not before joining forces with the Legends of Tomorrow. Despite being a part of the Arrowverse for just two years, Wally West left a lasting impression that would leave the question of why he left The Flash hanging.
Why Keiynan Lonsdale Left The Flash For Legends Of Tomorrow
Lonsdale’s initial departure from The Flash came as his character, Wally West, resolved to do a little soul-searching just a few episodes into Season 4, making only a couple of brief appearances in The Flash following this decision. It was during this period, specifically while in a Chinese monastery, that Wally was approached by Legends leader Rip Hunter. This led to Kid Flash becoming a member of the Legends, joining the team part-way through Season 3 of the DC series.
All this is to say that Lonsdale’s move from The Flash to Legends of Tomorrow was a narrative-driven decision and one that paid dividends to his character as a whole. Struggling to step out of Barry Allen’s shadow, it made a lot more sense for Wally to make the most of his own time in the limelight aboard The Waverider. This, however, was also a short-lived tenure, as Lonsdale’s Wally West soon left The Arrowverse altogether after just one season in Legends of Tomorrow.
Why Wally West Left The Arrowverse
The reasons for Wally West’s departure from the wider Arrowverse are directly tied to the actor, Keiynan Lonsdale. It was in a 2018 Instagram post that Lonsdale announced he would be leaving the Arrowverse, citing his desire to pursue a new path in his career while singing the praises of his experience in the Arrowverse (via EW). Suffice it to say, Lonsdale did not leave the show under duress nor with any bad blood.
This didn’t exclude Wally West entirely from the Arrowverse, however, as Lonsdale reprised the role on several occasions throughout the show’s run. He returned as a special guest star in Seasons 6, 5, and 9, even going so far as to kill Barry Allen in the The Flash season 9 finale while under the influence of Bloodwork. His departure, along with much of the Arrowverse’s prominent DC heroes, left a lasting legacy that helped The Flash become as successful as it was.
In 2020, Square Enix managed to pull off what many thought impossible by remaking Final Fantasy 7 and delivering a game that reimagined the beloved role-playing classic with modern day gameplay. With gorgeous visuals and an exciting hybrid combat system, Final Fantasy 7 Remake proved to be a huge success. The remake focused on only a small part of the original 1997 release, opting to forgo an epic adventure for a more focused character-driven action-RPG. But we all knew that, inevitably, the story of Cloud, Tifa, Barrett, and Aerith would need to break out of the confines of Midgar and venture beyond, and with that Square Enix would need to address narrative moments that have become so iconic within the culture of video games that even people that haven’t played Final Fantasy 7 have an understanding of their impact. Where Final Fantasy 7 Remake narrowed its focus, its follow-up–and the second in a trilogy of games, that will tell the complete Final Fantasy 7 story–Rebirth, necessitates much greater ambition.
The end of Remake indicates that the developers are choosing to both honor the original FF7 but also establish this trilogy as its own unique experience. After hours of hinting at it, in the closing moments of Final Fantasy 7 Remake, Square Enix made the first move in its ambitious narrative gambit by introducing the idea of a divergent timeline and multiverses, where both what has come before can exist but also the characters can forge a new future. It was a controversial move, but one that, from a narrative perspective, means that longtime fans and the general gaming community don’t have as comfortable a grip on how things are going to play out as they thought. After playing through about an hour of Final Fantasy 7 Rebirth, I can’t say I have any clearer understanding of where things are going and, I suspect, Square Enix will endeavor to keep it that way up until release, when players can experience it firsthand.
Size:
Want us to remember this setting for all your devices?
Now Playing: Final Fantasy 7 Rebirth Hands-On Preview (New Gameplay)
My hands-on was split into two distinct slices, with the first being “The Fated Mt. Nibel Mission” and the second being “The Open Wilds of Junon.” As the naming alludes to, and fans will know, the former of these is a pivotal moment in the story of Final Fantasy 7–you’d imagine it would be a perfect opportunity to get to grips with where Square Enix might be taking the story. But, actually, it was more of a showcase of how the gameplay has evolved. The latter, seemingly less important at first blush, offered a glimpse at some small changes that have been made to the way Final Fantasy 7’s story plays out, emphasis on the small.
The Fated Mt. Nibel Mission takes players back five years, when Cloud and Sephiroth are dispatched to Nibelheim as part of a survey team. The duo, along with another soldier serving as backup, are tasked with investigating the malfunctioning Nibel Mako Reactor. But to do so, they first need to climb Mt. Nibel, a task for which they employ a young Tifa as a tour guide. As previously mentioned, outside of this setup and some conversations that add flavor to the relationship between the characters and the world, there’s no further story development. Nevertheless, it was still enjoyable seeing the world colored in with familiar shades again. The demo opened with Cloud, Tifa, and Sephiroth admiring the beauty of a mako spring; a hardened structure of natural energy that looks more like a delicate crystalline flower than a resource to be mined. And yet, that is what Shinra, the corporation behind much of the corruption in the world, uses it for. While Cloud admires the mako, Tifa points out that springs like the one before them could be a thing of the past if people continue to use mako to power their homes. It’s a reminder of the value that Tifa holds, the awareness she has of what is happening to the planet around her, and how she could go from a soft-spoken advocate for the health of the planet to one that joins a group labeled as an eco-terrorist insurgency.
Cloud, meanwhile, serves as a contrast to Tifa, asking her what she’s on about and suggesting that mako will never run out. This is a Cloud that is more effusive than who we played as in Remake, making grand proclamations in his naiveté. It’s a far cry from the stoic, emotionally closed off mercenary we saw in the last game–and for good reason, but I’ll leave you to discover why. For his part, Sephiroth provides an in-depth explanation of how mako is utilized to cast magic spells. Thus far, we’ve had very limited exposure to this legendary villain, as he showed up in Remake in sparing moments to plague Cloud with visions and memories of his past, while having an ominous I’m-going-to-do-some-real-nasty-things-soon vibe. In this moment, though, a younger Sephiroth shows that he has a much deeper connection to the planet and an understanding of the resources derived from it than anyone else, which will play into the story much later. He also hints at a certain scientist from the Research & Development department that might be a bit of a weirdo compared to his predecessor. From here, outside of some ship-baiting interactions between Cloud and Sephiroth, the narrative takes a backseat to make way for gameplay.
Darkness in the caverns of Mt. Nibel only give way to light around Materia formations, which draw the eye with their bright, glowing blue hue and spores of energy floating off them. They provided an eye-catching breadcrumb trail to guide the party towards higher ground and, along the way, stumble upon materia to equip. Of course, nestled in the darkness were also a variety of enemies, the first of which I encountered was Insectoid Chimera. The foundation of Final Fantasy 7 Rebirth’s combat is what was established in Remake; a hybrid system that allows players to take direct control of party members and manually dish out attacks and cast spells, while also bring up those familiar Final Fantasy command menus to tell others in the crew what to do. This time around, however, there are some tweaks and additions to make the sub-systems housed under this overall approach more engaging for the player as well as to make them coalesce with each other a bit better.
For classic RPG fans, [Synergy Abilities] are an incredibly cool, cinematic version of Chrono Trigger’s Cross Techs and it’s so satisfying to execute one in the heat of battle and watch it unfold.
For example, while fighting as Cloud you can continuously press the square button to do his basic sword slash attack, hit the same button immediately after dodging to execute a ranged attack, or hold it for an aerial combo. However, after landing enough attacks, a special attack can be quickly thrown into the mix–think of it as a kind of enhanced basic attack. At its simplest, it’s a nice way to build a rhythm to the standard attack mashing portion of any fight, but with closer attention paid it can become very useful in combo strategies. Cloud also has the Punisher Mode from Remake, so there are stance-based options again too. The layer on top of that is the ATB gauge, which will gradually fill but can be accelerated by landing standard attacks. Once a bar is accrued, the command menu can be used to activate abilities like Braver, Triple Slash, and Firebolt Blade, which have offensive applications, or Assess, which is used for information gathering. ATB gauges are also spent on casting spells or popping items.
This basic framework plays out the same for every other character, whether they’re up-close brawlers like Tifa, ranged like Barrett, or healers like Aerith. In this demo, we got to take control of Sephiroth, who delivers brutal slices of his Masamune blade and, similarly, will be able to perform a branching finisher by pressing triangle when enough hits in a combo string are landed. The upside to this approach, along with the aforementioned improvement to the engagement of basic attacks, is that using these branching attacks fills up the limit gauge quicker, further enhancing that sense of combat flow. In his Retaliation stance, Sephiroth switches from offense to defense, and can parry incoming attacks quickly.
Things got a little more interesting with the introduction of Synergy Skills, which put a new twist on how guarding works in Rebirth. While holding down R1 to guard, an additional set of skills become available and can be executed without expending ATB charges. These skills differ depending on who is actively being controlled and can have a variety of applications. While in control of Cloud and blocking the swooping attack of the airborne Zu enemy, I called upon the aid of Sephiroth, who imbued my Buster Sword with a purple energy that completely engulfed it, making it a giant magical blade that I could charge briefly and then swing around me as I leaped into the air and twisted my body to then bring it crashing down–a little technique called Voidshatter. Another ability, Counterfire, enabled Cloud and Sephiroth to team up and nullify projectiles. I found this to be a particularly satisfying way to develop more of a synergy between the two that, when combined with a larger party, is bound to encourage deeper investment in each character, while also giving players another good reason to switch between them. It’s a very smart tweak that I think could pay off nicely.
Building atop that, with similar goals and effects, are Synergy Abilities, which you can think of as team-up Limit Breaks. While Limit Breaks unlock an individual character’s special ability, often which is more devastating than anything else in their arsenal, Synergy Abilities are a step up as they combine two characters to execute a similarly powerful move. In the battle against a giant insect-like creature called the Materia Guardian, I was able to test out Double Helix, a Synergy Ability that has Cloud and Sephiroth both leap into the air, side-by-side, with Sephiroth launching ranged attacks by using his sword to slice through the air, and then both of them launching themselves at the enemy so Cloud can unleash a crushing, downward spin slash that transitions into a flurry of acrobatic attacks from both characters and ends with a combined cross slash. For classic RPG fans, imagine an incredibly cool, cinematic version of Chrono Trigger’s Cross Techs and that’s essentially what you have here, and it’s so satisfying to execute in the heat of battle and watch unfold. The battle concluded with Sephiroth giving Cloud a nod of approval for his performance–the two clearly developing a close bond.
The other major component of this area of the demo was the way movement worked. Now the game specifically calls out “Terrain Actions,” which is a fancy way of denoting the ability to interact with the environment in different ways. While moving around Mt. Nibel specifically, it meant using some basic traversal to hop up and down elevated terrain, climb up walls to reach different areas, and shimmy along ledges. It’s simple stuff, but it speaks to a more open design with some small branches, where Remake remained fairly linear.
The second part of the demo, The Open Wilds of Junon, was presented as a taste of the open-world elements of Rebirth, though at this stage calling it open-world might be misleading based on what we played. Cloud, Tifa, Aerith, Barrett, and Red XIII are tracking a group of mysterious robed figures through the Mythril Mine–you might remember these folks as the strange new element added to Remake. This mission leads them to Junon, described as an “expansive” region where players can “enjoy traversing the area atop the mountain chocobo Beller as you look into sightings of hostile creatures in the area.” While this certainly was an open space to explore and engage in various activities, it wasn’t expansive to the degree that the phrase “open-world” suggests. Square Enix indicated that this demo featured a more contained version of what will be in the final game, owing to the fact that the demo was a playable build for Tokyo Game Show and so it needed to be somewhat limited. While this is very fair, it also means that I wasn’t able to get a good sense of just how open this supposed open-world is; whether it’s a big play area for players to adventure in that is seamlessly connected to the rest of the world, or whether it’s one of many hubs that provide a degree of freedom and space to roam. Given the detail of the world and what you can do in it, as well as taking into mind how the devs approached Remake, I’m inclined to think it’s the latter.
But that’s also very exciting, because it means there is once again the opportunity to go for depth in the absence of breadth, and some of that was on show. With the gang together, we began exploring the wilds of Junon while riding a chocobo. These steeds serve more than just a travel function this time, as they can now be used to sniff out treasure. By hitting R1, I was able to call my chocobo to my side and dash around the environment. When the chocobo could smell treasure nearby, a question mark would pop up over its head, at which point I needed to follow the scent to the prize. It’s worth pointing out that everyone in my party hopped on their own chocobo… including Red XIII. I mention that because there was something highly amusing about seeing the wolf-like beast riding another animal and looking a bit awkward while doing so. It was both funny and endearing.
The presence of an entire party also means that new ways to manage them have been added. It’s now possible to set up what are effectively party loadouts, so you can create different combinations of teams of three and then assign them a slot, with a max of three combinations. Then, while out in the world–but not in battle–you can quickly switch between your loadouts and the characters will reposition themselves to either be on the front or backline, according to your desired setup. It’s an elegant way of managing the makeup of a party without becoming too bogged down in hopping in and out of menus.
Gallery
This area is where I got my first taste of fighting as Red XIII, so he featured prominently in my parties. Red mixes quick strikes with the ability to buff himself and improve his power and speed. Basic attacks swipe at enemies with his claws and he can also unleash a whirling slash attack . Blocking fills Red’s Vengeance Gauge, which can be spent to enter Vengeance Mode to up his attributes. The gauge drains once activated, but can be done so at any point, so it’s best to use once filled completely but can also be busted out early if needed in a pinch. Most of my time in the wilds of Junon was spent doing hunts, which involved tracking down beasts and defeating them. Cloud and the gang now have some sort of talking AI-companion that speaks to them through a device and offers information of the wildlife–it very much reminded me of a Pokedex. It filled me in on a rare elphaduk variant that I was about to tussle with, letting me know that it’s a beast of burden that is usually of a docile disposition, making it ideal for agriculture, transportation and–in some cases–warfare. These hunts were pretty standard search and destroy missions, but they were given an extra layer of challenges by sub objectives like defeating them within a time limit, staggering or pressuring them, or interrupting a specific attack. It’s hard to say whether these hunts will have much gameplay longevity as the rewards aren’t totally clear, but, at the very least, the fundamental combat was thrilling enough to push me to take them on instead of rushing by.
Eventually, I made it to the local village, where the gang was welcomed, despite the fact that there are wanted posters circulating around calling for their arrest. This area of Junon felt closer to one of the locations from Remake, with citizens wandering around living their daily lives, but all under the overwhelming presence of Shinra and its exploitation of the resources of the planet. While I won’t explain exactly what happens, this is also where a certain five finger discount prone ninja makes an appearance, presumably to join the crew. There’s a really nice little nod to fans with how all this plays out that takes a ridiculous but nostalgic element of the original Final Fantasy 7 and reworks it to better execute on the modernized vision. And that is what Rebirth feels like at this stage. It probably doesn’t come as a surprise, or may even not sound super-exciting for people that are expecting radical changes, but as a fan of both the original and Remake, that’s exactly what I want out of Rebirth.
In Rebirth, Square Enix looks to be taking the foundation of Remake and building on it in ways that, while not revolutionary, are poised to extend what made it such a fantastic modernization of a game that so many adore. The surprises, then, are going to be in seeing the full scope of the open-world and, more importantly, the narrative swings it takes. How those land remains to be seen, but being able to experience it in a few months time is an exciting prospect.
The products discussed here were independently chosen by our editors.
GameSpot may get a share of the revenue if you buy anything featured on our site.
Lauren Haber Head of Documentary Amplify Pictures Credit – Lauren Volo
Emmy Award-winning studio Amplify Pictures has appointed veteran documentary producer Lauren Haber as Head of Documentary, it was announced today by Rachel Eggebeen, Amplify Pictures’ Chief Content Officer. Haber will be based in New York and will report to Eggebeen, who is based in Amsterdam and oversees Amplify Pictures’ scripted and unscripted content slate, which includes the eight-time Emmy nominated HBO docuseries, “100 Foot Wave.”
Before joining Amplify Pictures, Haber served as VP of Production at Impact Partners where she curated and supported their slate of independent documentary projects including “32 Sounds” directed by Sam Green, “Another Body” directed by Sophie Compton and Reuben Hamlyn, Peabody-winner “Aftershock,” directed by Paula Eiselt & Tonya Lewis Lee, “Paper & Glue” directed by JR, and the 3-part HBO series, “Nu clear Family,” directed by Ry Russo-Young. Prior to Impact Partners, Haber produced for documentary filmmakers Shaul Schwarz and Christina Clusiau, collaborating on the feature documentaries “Narco Cultura,” the Independent Spirit Award and Peabody-winning series, “Immigration Nation” for Netflix, and “Trophy,” for which she took home the Emmy Award for Outstanding Nature Documentary. Before diving into documentaries, Haber ran production and development at Parts & Labor, overseeing early films by directors Robert Eggers, David Lowery, Andrea Arnold, and more.
In her new role, Haber will be responsible for overseeing Amplify Pictures’ current slate of documentary projects as well as expanding Amplify Pictures’ documentary portfolio with globally commercial, filmmaker-driven projects with an emphasis on ongoing series and IP creation. The hiring comes at a dynamic time for the company as it continues to strengthen its team and its diverse slate of global content following an infusion of capital through a private equity investment.
“I was immediately struck by the ambition, integrity and collaborative spirit that Joe, Rachel and Colin radiate and bring into everything they do at Amplify Pictures,” said Haber. “The company’s fresh perspective and focus on innovation in the documentary space is absolutely thrilling for me to step into. I’m honored and excited to build Amplify Pictures’ global documentary slate, working with visionary filmmakers to tell stories that surprise and entertain, under a supportive, creator-driven business model.”
“Lauren is a one-of-a-kind producer and executive who thinks big and exemplifies the qualities – smart, funny, innovative – that make Amplify Pictures the home for top filmmakers and creators. She will be a phenomenal leader for Amplify Pictures as we expand our documentary slate, and we are thrilled to have her bring her sharp sensibilities to our growing team,” added Eggebeen.
Amplify Pictures is the independent television studio that develops, finances and produces award-winning, commercially successful scripted and documentary projects. Their unique business model focuses on investing in diverse, creator-driven, independently produced films and series, and providing a platform for innovative, original global franchises. Founded in 2018 by Emmy, Tony and Golden Globe-winning producer and Amazon Studios co-founder Joe Lewis (Fleabag, Transparent), Amplify Pictures is helmed by Lewis alongside founding partners Eggebeen, and Colin King Miller, Chief Operating Officer. Amplify Pictures is the studio behind the HBO hit series “100 Foot Wave,” recently nominated for six Emmy awards for its second season, including Outstanding Documentary or Nonfiction Series, making it HBO’s most nominated documentary project, series or film of this year. The first season won an Emmy for Outstanding Cinematography for a Nonfiction Program, as well as a PGA Award for Outstanding Sports Program. HBO recently announced it has renewed the big wave docuseries for a third season.
ABOUT AMPLIFY PICTURES
Amplify Pictures is the pioneering independent television studio that develops, finances and produces award-winning, commercially successful scripted series, and documentary films and series, including HBO’s Emmy-winning 100 Foot Wave. Founded in 2018 by Emmy, Tony and Golden Globe-winning producer and Amazon Studios co-founder Joe Lewis (Fleabag, Transparent), Amplify Pictures is helmed by CEO Lewis alongside founding partners Rachel Eggebeen, Chief Content Officer, and Colin King Miller, Chief Operating Officer.
Their unique business model focuses on investing in diverse, creator-driven, independently produced series and providing a platform for innovative, original global franchises. By partnering with creators and sharing in the project’s success – as well as the willingness to greenlight a show without a distributor or broadcast partner – the company is revolutionizing the traditional television process. With offices in Los Angeles and Amsterdam, Amplify Pictures is capitalizing on the demand for global content.
The second season of Amplify Pictures’ hit series 100 Foot Wave recently received six Emmy nominations, including Outstanding Documentary or Nonfiction Series, making it HBO’s most nominated documentary project, series or film, this year. The first season of 100 Foot Wave won an Emmy for Outstanding Cinematography for a Nonfiction Program as well as a PGA Award for Outstanding Sports Program. For more information, please visit https://amplifypics.com/
In “Dig,” it becomes time for science class when the curmudgeonly but sweet owner of the plant store at its center goes into a paragraphs-long description of photosynthesis. He is not talking about plants, really — nor is he talking about the process by which carbon dioxide and water give life to a plant and, as a by-product, produce oxygen. He’s talking about people and how, occasionally, we muck up our life support system with bad behavior.
You may turn green before the new two-act, two-hour play by Theresa Rebeck finally makes its last analogy, this one about abused plants and abusive people. It’s something about being “potted” or “repotted.” Her “Dig” opened Wednesday at 59E59 Theaters and is presented by Primary Stages.
Jeffrey Bean plays Roger, the aforementioned owner of a plant store named Dig, which is set somewhere in Ohio so that another character, a pothead named Everett (Greg Keller), can say something about putting the “high” in Ohio.
Bean performs with sitcom efficiency, while Keller walks away with nearly every scene he occupies even though Everett is ultimately only a boy toy plot device to give the deeply troubled heroine, Megan (Andrea Syglowski), her penultimate scene of bad girl behavior. Everett, despite being fired from his job at the plant store rather early on in “Dig,” keeps showing up to enliven the proceedings with his loopiness.
His many appearances are only somewhat less puzzling than Megan’s ability to be a different character in almost every scene she appears. This Sybil-like behavior could be explained by the fact that Megan takes responsibility for the gruesome death of her young son. One moment, Megan is a severe depressive who lashes out at an unsuspecting customer (Mary Bacon). Another moment, she is a Disney princess who makes Roger’s garden burst alive with flowers. Literally. The magically realistic set is by Christopher Swader and Justin Swader.
Sygloski brings to vivid life many of the faces of Megan, but runs into trouble when a mystery character (David Mason) shows up late in the second act to upset her photosynthesis.
Before the philodendrons are completely bent out of shape, “Dig” presents more scenes of apology than any AA meeting should allow. That’s where plants have it all over people: They don’t talk.
The Writers Guild of America and Alliance of Motion Picture and Television Producers announced in a joint statement that they will meet again for a second day of contract talks on Thursday after the first day of discussions led to some “good signs,” according to two individuals with knowledge of the talks.
“The WGA and AMPTP met for bargaining today and will meet again tomorrow,” read the one-sentence joint statement issued Wednesday.
One of the individuals told TheWrap that discussions between the guild and studio CEOs who were present at the meeting, including Disney’s Bob Iger and NBCUniversal’s Donna Langley, were “a lot better” than their terse meeting on Aug. 22, which led to the AMPTP publicly releasing their counterproposal after the guild rebuffed the CEOs urging to take that offer.
“I think there’s even more urgency by the two sides to get a deal done than there was in August,” one insider said. “It’s still going to take many, many days of talks between the negotiators and all the labor lawyers to get this done. But having the people at the top serious about doing whatever it takes to get a deal is the most important thing.”
Outside the negotiating room, WGA members continued marching on the picket lines, including newly formed ones outside the rehearsal spaces for ABC’s “Dancing With the Stars” in Los Angeles and “The View” in New York.
SAG-AFTRA, meanwhile, held a social media Q&A with national executive director Duncan Crabtree-Ireland about the upcoming strike authorization vote on its contract for video game voice actors. When asked about what a deal for the WGA would mean for the actors guild, Crabtree-Ireland said it would be a reason for cautious optimism.
“It would certainly be a good sign if the WGA and the studios and streamers are able to reach a deal,” he said. “It will mean that the studios and streamers have made moves in the same direction that we are looking for them to make moves.”
The WGA and AMPTP still have several key issues that must be resolved, including mandatory staff hiring, guaranteed minimums for comedy-variety and other Appendix A TV shows made for streaming, pay structures for screenwriters, and residuals for streaming.
For all of TheWrap’s WGA strike coverage, read here.
Let us know your thoughts as the season progresses in the comments below and vote in the poll.
NOTE: Obviously people will be posting their thoughts/reactions to the season as a whole, so there will be spoilers in the comments. We advise you not to read the comments until you have watched the latest available episode.
NOTE: You can change your vote as the season progresses.
There’s no murders in the building. Only sick people.
78-year-old Steve Martin is canceling his scheduled Friday and Saturday night shows at the Wynn in Las Vegas, citing “rampant Covid in our crew and one other essential guy,” presumably referring to himself.
Martin is currently starring in the hit Hulu series Only Murders in the Building with Martin Short and Selena Gomez.
His Twitter/X message explained the details of the cancellation.
“Dear fans and enemies, Unfortunately, our sold-out shows at the Wynn in Las Vegas this Friday and Saturday has to be postponed because of rampant Covid in our crew and one other essential guy. We are sorry for any inconvenience, but we are moving to mid-December, where your tickets will be honored with an added “date-moving tax,” of nine thousand dollars.”
Dear fans and enemies,
Unfortunately, our sold-out shows at the Wynn in Las Vegas this Friday and Saturday has to be postponed because of rampant Covid in our crew and one other essential guy. We are sorry for any inconvenience, but we are moving to mid-December, where your…
Paramount+ has just become the latest streamer to pull content from comedian and media personality Russell Brand from its library; per THR, the service has joined the BBC in removing material from Brand, presumably in response to recent accusations of rape that have been made against him. Brand was accused of sexual assault by at least four women in a recent report from Channel 4 and The Times; although he’s denied them, the allegations have also resurfaced other accusations of misconduct from throughout his career.
Netflix plans to make you freeloaders finally cough up the dough
News of Brand’s material being pulled from the streaming service comes just a day after YouTube announced that it was shutting down monetization on Brand’s channel, claiming he’d violated its “creator responsibility policy,” and, thus, cutting Brand off from one of his primary revenue streams during this “no longer starring in movies, mostly just showing up in social media videos” portion of his career. (Podcasting brand Acast followed suit, pulling ads from Brand’s shows.) The BBC, meanwhile, issued a statement on Tuesday saying it was pulling some of Brand’s material off of its streaming library, as it “now falls below public expectations.”
Paramount+ issued no such statements tonight—but it did swiftly pull Brand’s 2009 comedy special, Russell Brand In New York City, off of its streaming roster. Elsewhere, at least one of his current specials—2018’s Re:Birth—is still currently available on Netflix, with no signs of imminent departure, while several of his movies, including Forgetting Sarah Marshall and Get Him To The Greek, remain available in multiple places. Meanwhile, he’s postponed the end of his current stand-up tour, and has been dropped by his management company. When the report was preparing to be released, Brand issued a video denying the claims against him—suggesting that the mainstream media had an “agenda” in its decision to report on the multiple accusations of sexual assault against him.
The State Emergency Service of Ukraine released footage of rescue operations following the attack and said that people may still be under the rubble of a building.
Howard Stern said he’s “no longer friends” with Bill Maher after the “Real Time” host said that Stern’s “gushing” about second wife Beth is a bit much as it must make his first wife, Alison Berns, feel bad.
Maher made the remarks on his Sunday episode of Club Random, in which he said “How does this gushing about the second wife — how does that make the first wife feel? Could we just not gush about the person while the other person can still hear it?”
“What a sexist thing to say!” Stern responded on Tuesday’s episode of his radio show. “Like, what a convoluted, nutty thing to say.”
Stern continued, “He ought to shut his mouth! I mean, I don’t think I come on the air every day and say, ‘I love my wife.’ But I thought it was a pretty positive message, to — especially with my audience — to say to guys: ‘Instead of like ragging on our wives, how about talking about that we appreciate them and love them?’”
He said that Maher’s apparent assumption that Berns is “sitting around pining away for her famous man,” is all wrong.
The shock jock said he emailed Maher and dared him to call him and tell him directly that he’s too effusive about Beth on the air. “Why don’t you tell me what you think about my life and my marriage since you’re, you know.’ But of course, he never wrote me back,” Stern said.
“I just wanted to see how brave he was,” he said of Maher. “If he was brave enough to call me and actually get on the phone with me and zero response. I don’t care, though. He can think what he wants.”
He added, “I think I’m no longer friends with him.”
Comedy troupe Please Don’t Destroy seemed to come right when we needed them.
The bite-sized TikTok videos from 20-something New Yorkers Martin Herlihy, John Higgins and Ben Marshall were fixtures on many a timeline through the early days of the COVID-19 pandemic, and it’s easy to see why. The three NYU alum’s easy camaraderie and absurdist riffing captured, at times, not just the travails of roommate living but also how it felt being cooped up indoors with little to pass the time but self-built entertainment.
Now, their comedy and collaboration have seen them working for “Saturday Night Live” — and through a second historic event: the ongoing Writers Guild of America and SAG-AFTRA strikes against the Hollywood studios. Their first national tour incidentally rolled out with 25 dates across the States this summer, covering Philadelphia to Dallas.
While the tour was planned well ahead of the May 2 onset of the WGA strike — Herlihy recalled actually planning to announce their first stop that very day — Higgins told TheWrap that they “feel lucky that we had it already in the books because it’s been so rewarding” at a time when they’d otherwise but out of work.
They have a final pair of dates at The Wiltern in Los Angeles on Thursday, followed by a Sept. 29 show at Manhattan’s Town Hall. The whole touring process has brought them back to their roots, in a sense, considering they began performing live together in Manhattan bar basements back in 2017.
But it was their social media foothold in 2020 that had them soon looking to larger platforms — and that’s when “Saturday Night Live” came knocking. They were hired as writers in 2021 and today produce digital shorts for the storied sketch series, often collaborating with that week’s host, whether it be Taylor Swift or Woody Harrelson or Lizzo.
Please Don’t Destroy’s meteoric rise over the last several years, however, has also coincided with an uptick in public readiness to uncover so-called “nepo babies” — widely a label meant to diminish an entertainer’s successes in Hollywood if they were born into industry connections. Any quick Google search shows the Please Don’t Destroy guys — specifically Herlihy and Higgins — fall under that umbrella. Their fathers were once “Saturday Night Live” head writer and producer Tim Herlihy and writer, announcer and producer Steve Higgins, respectively.
“The thing is, we get it,” Higgins told TheWrap, addressing the online notoriety. “We’re so lucky to have those connections.” He added that he understands the troupe has had a “huge leg up in the industry” while also acknowledging “how hard we work on stuff.”
“So I feel really lucky, get the conversation and we just keep going,” he said.
Herlihy echoed the sentiment, saying, “I hope the work is good enough and what we’re doing is fresh enough that there’s a place for it. But, you know, obviously we acknowledge that beyond even connections or whatever, we have crazy privilege of being three straight white guys from NYU.”
Marshall chimed in: “I also can say from firsthand experience that these dudes work crazy hard and hold themselves to a super high standard and don’t take it lightly.”
Beyond “SNL,” it seems Please Don’t Destroy will only continue to rise. All eyes are on the Hollywood strikes, so it’s pens down at the moment. But their feature film debut, “Please Don’t Destroy: The Treasure of Foggy Mountain” — directed by Paul Briganti, produced by Judd Apatow and narrated by John Goodman — will premiere on Peacock this November. And, of course, they’re eyeing a return to the “SNL” writers’ room when negotiations allow.
Read on (or watch the video above) to hear more about how Please Don’t Destroy got their start, what life on the road taught them and why Paul Rudd made a particularly memorable “Saturday Night Live” host.
Going into this Los Angeles show at the Wiltern, you’re coming off a pretty expansive summer tour, which kicked off just weeks after the WGA strike started. How has that live experience been going these last few months? Ben Marshall: Tour was great. It was our first-ever tour. First time doing theaters. It was so much fun. It was crazy to see how many people care. It’s hard to feel like you’re not just doing it in a vacuum when you’re not seeing people’s faces, so it was really cool, really exciting. And we started out as live performers, so it was fun to get back to doing stuff in front of an audience since we hadn’t done it in a while. But now that we’ve been back in New York for, like, a week and a half, I barely remember the tour. Do you guys?
John Higgins: I don’t remember it at all.
Marshall: That feels like it was 10 years ago.
Higgins: It was so cool, though. We used to do this show before doing videos or anything. We did this show at Von. And we’ve said this before, but it’s true: There would be 12 folding chairs in this basement of this bar, and most of the time for our shows, they would be half full. So to do this tour in 1,000-seat theaters was truly crazy every single night.
Does it feel like you’ve been getting back to your roots a little bit? You mention that you started as a live act, so I imagine that feels like a different energy, or a different skill set, than what you’re bringing to the videos that we know you guys for. Higgins: Yeah, definitely.
Marshall: It’s a more immediate feedback, obviously. Making videos is so much fun, but it’s kind of a delayed response of seeing how people will react to certain things. To do it live and be able to get that instant feedback is extremely fun. And also just for us, it’s honestly kind of a big pillar of our friendship. That’s how we really got to know each other is by just doing a million shows together. So it really did feel like going back to college or right after college, when we were just first starting to figure out what we liked to do and how to make each other laugh. Ninety percent of our show is just trying to make each other laugh onstage.
You all met while you were at NYU, and you were fans of each other’s work in the beginning there. But how did you discover that you had creative chemistry that led to you being collaborators? Higgins: Ben brought us together, because Ben knew Mart from doing stand-up and he knew me from doing – we were on this sketch group together. And you guys started this stand-up show that was kind of, like, sketchy, and you guys needed a third person. It was called Please Don’t Destroy My Farm. And Ben played an evil businessman and Martin played a poor farmer.
Martin Herlihy: We needed someone to dress up like a cow and not speak the entire show and then do a monologue at the end and then kill themselves. And we thought of John for that. And then it was a while where that was the show where John did not speak and then shot himself at the very end. And then eventually –
Higgins: I put my foot down and demanded to speak. And it was a big debate. As our first step as collaborators, we decided that I could talk and we could start doing sketches. And it kind of just flowed from there. The stand-up was so, like, high concept. And really, at the heart of it, it was clear that we wanted to do sketches. So then after we dropped the stand-up show, we just started doing sketches.
Marshall: And the whole time we were doing that, we were also just hanging out and becoming friends.
Higgins: Every day.
Herlihy: And we were just learning about comedy and developing a taste together at the same time doing the same shows.
What was the learning curve to kind of distilling that live show energy into doing the short-form videos that really kicked off during the pandemic? Herlihy: John mentioned that show at Von, we would doing that every week, and we would do, like, six new sketches a week on that show. So we had a lot of creative energy. Then all of a sudden, that show stopped happening because of COVID. And I think we just wanted to do something else, and the videos felt like more of an outlet than anything.
Marshall: We made some longer, five-minute-ish videos when we first started performing, but it wasn’t until the pandemic that we started doing like, one-minute, shot on an iPhone, quick-premise-with-a-bunch-of-jokes type of videos. And that was very much borne out of the resources that we had on hand while we were stuck in our homes.
What was the point that you really realized that this was hitting and Please Don’t Destroy actually had an audience that was paying attention? Marshall: For me, it was a little bit like, right coming out of the pandemic. That was like the starkest difference. When we went back to performing live, we were able to, like, sell out two shows in one night at Union Hall, which is also a tiny venue in Brooklyn. But for us, that was the dream. So yeah, it was like, “Oh my God, people kind of care.” And then we made that vaccine video – one of our videos during the pandemic was this vaccine thing. People started yelling “Doombreaka!” at me on the street, so that felt weird.
But you knew that it was connecting in one way or another. Marshall: Definitely. The more people yelling at me on the street, the better.
Higgins: And “Doombreaka!” is arguably better than “sad virgin!”
Marshall: Yeah, that happens a lot, too.
Higgins: Most people on the street, they don’t know. And they just see a random guy yelling at me, “Sad virgin!”
Then national TV is a whole other ballgame. What has the culture shock of that growth been? Marshall: All of us grew up just, like, huge “SNL” fans. So honestly checking in at 30 Rock and taking the elevator and looking at the floor and seeing the peacock logo – that kind of thing still feels a little magical. But honestly, once we were there working, you don’t have time to think about anything. It’s just kind of, like, go go go. So we were really thrown into the fire. I think our second week on the show, we had a video on. And then from there, it was just off to the races. But it’s still crazy. I still pinch myself that we’re working there.
Have you had a memorable encounter with one of the hosts in your time there that maybe clicked into place, like, “Oh, we’re operating at a different level now”? Marshall: It’s always really cool when a host wants to work with us if they’ve seen our stuff.
Herlihy: Paul Rudd was really cool. It was that sort of deal — he came in wanting to do something, and we wrote something for him. And then everyone got COVID and that show got canceled, but we did it a couple months later, anyway. Him in “Wet Hot American Summer” is one of funniest performances ever for me. And yeah, it was cool to see someone who was such a pro and so nice and also talking to us as peers was just like, “Whoa!” Pitching ideas and stuff.
Higgins: I think the craziest feeling for me was definitely because it was so early on was Taylor Swift, pitching her the idea of “Three Sad Virgins” was the most insane thing. It’s like a dream that I would have. She was amazing.
Warning: The following contains spoilers from tonight’s American Horror Story season 12 episode one “Multiply Thy Pain”directed by Jessica Yu and written by Ryan Murphy, Brad Falchuk and Halley Feiffer.
American Horror Story turns 12 this year and you’d never know it; it’s like the Ryan Murphy-Brad Falchuk show has never had any work done in the Nip/Tuck sense of the word. It’s as young and vibrant as it was back in 2011.
Just when you think the series is showing crow’s feet, and has gone to loopy ends, i.e. clever-wielding pilgrims (AHS season six My Roanoke Nightmare), Murphy and Falchuk glam it up with a curve ball headlining star (here we have Kim Kardashian in a rare non-reality TV role, changing up from Lady Gaga in seasons past), and a millennial take on Rosemary’s Baby. Yep, no guessing which horror film this season is based on (however, that is a fun game to play with friends). This season looks as posh, as cool, and sexy as a Prada dress on Madison Ave and you wanna hang out with these New Yorkers despite how creepy and inappropriate they are.
However, instead of satanic neighbors hanging around Mia Farrow’s apartment building like in the 1968 Roman Polanski movie, we get cryptic high class folk hanging around in public places in Manhattan.
Emma Roberts plays famed actress Anna Victoria Alcott, a Michelle Williams type who has gone from being on a CW show, to an indie movie that has morphed her into an Oscar-worthy actress. She’s trying to have a baby with her icy hubby, Dex Harding, played by Matt Czuchry. Note how she wears a pink winter cap (symbolism: girl!) and a baby blue wool coat (boy!). He may or may not still have something for the girl who literally got away in his life, his first wife, Adeline, a James Beard-winning chef who died in a kitchen fire. “The way that she died, no one gets over that,” says Dex. Later on, an old friend of Dex and Adeline’s, Talia (Juliana Canfield) feels the latter’s spirit. That’s enough to make Anna run to the ladies’ room.
FX
Anna is undergoing an embryo treatment from Dr. Hill, the best doctor in the city, played by Denis Hare who has a surgical staff clad in red like they’re fresh from David Cronenberg’s Dead Ringers. Outside of that bizarro, there’s a lot of other crazy stuff happening to Anna as her career is on an ascent (she just booked her first late-night gig on Watch What Happens Live With Andy Cohen), i.e. there’s a black cloaked, feminine-looking figure who’s in bed with her. When Anna wakes, the figure flees the apartment. Also, Anna is left with blood on the carpet, as though she’s just had the baby.
There’s a smoking goth lady in red boots and gloves who follows her around in the city; near the onset of the episode we find her looking into a nest outside Anna’s building that has an embryo in it. No big deal per Dex. “Maybe she’s just trying to have a baby,” he tells Anna when freaky lady is outside Dr. Hill’s office building. Anna is, natch, wiser: “I don’t think she’d be smoking if she was trying to get pregnant.” Dummy!
And there’s old Mrs. Preecher, who also freaks Anna out in public (“I know you” she tells Anna at the fertility office; “Thanks for watching” answers Anna not getting it, “You are her!” she exclaims). That’s a normal run-in, but old Mrs. Preecher winds up as one of the red-clad nurses toward the end when Anna’s finishing up her embryo treatment. The elder reveals a long tongue and decides to kiss Anna.
Let’s not forget Sonia Shawcross (Annabelle Dexter-Jones), the artist who likes to come up from behind at her own gallery showings, specifically behind Anna. Sonia is oh, so humdrum: “I used my own menstrual blood in this one,” says Sonia about her latest piece of art on the wall. ‘Does she look like Adeline?’ wonders Anna. “No, not at all,” says Dex.
There’s also other spooky stuff like Anna pulling endless strands of hair out of her head, a spider falling onto her head and a Barbie reappearing in rando places around her. Despite all the gloom, Dr. Hill is optimistic about Anna’s chances to have a baby.
The only normal person in Anna’s life seems to be her publicist and confidante, Siobhan, played by Kim Kardashian. How’s Kim’s acting? She plays a dead-on Type A entertainment industry type who boosts her self-doubting client, telling her that her life and career are great. You feel like Kim is channeling her mom-anager Kris Jenner in an homage. She’s perfect for the part. Everyone calm down, it’s not like Kim is playing Portia in Shakespeare’s The Merchant of Venice. Siobhan has also battled with fertility issues, having met Anna in a IVF support group, however, but she’s not envious of Anna’s progress “Your joy is my joy.”
But gosh, Anna, what’s wrong with you? Why so freaked out?
As Siobhan tells her client, “You have a peculiar penchant for turning dreams into nightmares.”
Or maybe per Siobhan’s advice, Anna just “needs a nap.”
Then again, perhaps it’s Anna who isn’t the freak in this freak show. The season has been billed to be a feminist take on Rosemary’s Baby. We’ll wait and see if Mama Anna let’s it rip.
MIA in episode one are this season’s players Evan Peters, Cara Delevinge and Michaela Jae Rodriguez.
The season is based on Danielle Valentine’s thriller novel, Delicate Condition, which follows a woman who is convinced that a sinister figure is going to great lengths to make sure her pregnancy never happens. We get that gist when the cloaked figure appears at the end of the episode (or is it really the beginning? The entire episode takes place “a week earlier”); the person having written the cryptic message on Anna’s mirror in liptsick: “Don’t Do It Anna.”
Our advice this season when it comes to the 12th go-round of American Horror Story, “Do do it.”
Sunny Deol is currently in the US, with Dharmendra and Prakash Kaur.
Sunny Deol and Rajkumar Santoshi have delivered a series of hit films together including Damini, Ghayal and Ghatak
Sunny Deol has witnessed a remarkable comeback with the massive success of Gadar 2. The film, directed by Anil Sharma, has not only won hearts but also made a mark at the box office, becoming one of the highest-grossing Bollywood films of 2023. As the film continues to dominate the box office, fans are eager to learn more about Sunny’s upcoming projects. Rumours suggest that he may have reconciled with Rajkumar Santoshi, and they plan to collaborate on a special project. However, according to Hindustan Times reports, such rumours are not true.
A source close to the development said, “Ever since the news of Sunny patching up with Shah Rukh Khan became a hot discussion, following their hug at the success bash of Gadar 2, there is a growing buzz that he might now reunite with Santoshi, leaving behind their fallout. But there is no truth in this. Even people within the film fraternity are assuming that Sunny and Rajkumar will come together, but that’s not happening.”
Sunny and Rajkumar Santoshi have worked together on some successful films in the past, including Damini, Ghayal and Ghatak. However, their relationship soured when the filmmaker declined to direct Ghayal Once Again. This incident led to a fallout between the two and they didn’t collaborate on any projects all these years.
Meanwhile, there’s no official confirmation of Sunny Deol signing any other projects. Currently, the actor is taking a personal break in the United States and is enjoying quality time with his family. Following the intense shooting and promotional schedule of Gadar 2, he is using this break to think about his future projects. As per the insider, the actor won’t rush and he is taking the time to carefully consider the projects he wants to be a part of.
“Some are even saying that he has signed his next with Gadar 2 director Anil Sharma, which is also not true. He will get back to work and start reading scripts once he is back from the US, which is later this week,” clarified the source.
Sunny Deol is currently in the US, accompanied by his parents, Dharmendra and Prakash Kaur. They will be there for 15-20 days, during which they will visit Sunny’s sisters, Vijayta and Ajeeta, who reside in Los Angeles. Bobby Deol couldn’t join them due to his busy shooting schedule.
Sunny is set to appear in the film titled Baap, where he will reunite with his long-time friends and co-stars such as Sanjay Dutt, Jackie Shroff, and Mithun Chakraborty.
Shrishti Negi is a journalist with nearly eight years of experience in the media industry. She is currently heading the Entertainment team at News18.c…Read More
According to Deadpool 3 director Shawn Levy, the 2024 MCU threequel won’t ignore the X-Men character’s history with 20th Century Fox Studios.
The X-Men’s history in film has long been shrouded by rights issues, with Marvel being forced in the 1990s to sell the heroes’ film rights to Fox in order to avoid bankruptcy.
After Fox earned massive success with the X-Men saga, including two of the highest-grossing R-rated movies ever with Ryan Reynolds’Deadpool films, Disney purchased Fox in 2019 and gained the rights to bring the X-Men into the MCU.
Speaking in the latest issue of Total Film magazine, Deadpool 3 director Shawn Levy confirmed that his MCU film will pay tribute to 20th Century Fox, with Deadpool having initially been brought to life under the Fox umbrella.
“Deadpool and Wolverine are iconic Marvel characters; more specifically, iconic Marvel-of-the-Fox-era characters. We’re not going to pretend: ‘Oh, we snap our fingers, and suddenly that Fox legacy doesn’t exist, and it shaped a lot of what we now know as the MCU.’ Fox also shaped Ryan’s career, Hugh’s career and my career. So there’s a lot of history there, and there’s a lot of Marvel history at Fox. And certainly that’s a part of our storytelling.”
How Will Fox Legacy Play Into Deadpool 3?
The X-Men’s long-awaited introduction into the MCU is unquestionably a milestone moment for the franchise. And with Deadpool being known for his fourth-wall-breaking abilities, it’s no surprise that Shawn Levy is embracing that legacy.
Now that Marvel Studios can integrate Deadpool into the greater MCU for the first time, he’ll have the opportunity to dive into Marvel’s expansive movie history in a way that was never explored in the first two Deadpool films.
Rumors even teased that past X-Men stars could be in line for MCU roles alongside Reynolds, with Storm actress Halle Berry teasing a hairdo that convinced fans she was prepping for a return to her mutant character.
And while fans could potentially still have a long time to wait for Deadpool 3 to arrive due to the ongoing WGA and SAG-AFTRA strikes, the Fox legacy is sure to be one aspect of the film that will have viewers anxious about what happens.
Currently, Deadpool 3 was last reported to be coming out on May 3, 2024.
Cobra Kai star Xolo Maridueña will soon join the pantheon of superheroes in Blue Beetle, and the actor has revealed that discussions have taken place between himself and co-CEO of DC Studios James Gunn regarding the character’s future in the rebooted DCU. Discussing the movie with Fandango alongside the rest of the Blue Beetle cast, Maridueña offered details of his talks with Gunn, with Blue Beetle’s future dependent on how well the first outing does with audiences.
“I have had the pleasure of getting to speak to Mr. James Gunn and the whole DC fam. At the end of the day, we have to cross this first hill and introduce Jamie to the world but it’s up to the audience to watch the movie…If it does well we get to open more doors for more Blue Beetles.”
For a while, Blue Beetle’s position in the DCU was a somewhat confusing one. And sort of still is. Gunn himself has recently tried to clarify things saying, “The first DCU character for sure is Blue Beetle, and the first DCU movie is Superman [Legacy].” Meaning that, with Maridueña’s superhero being the first DCU character, Blue Beetle is expected to join the likes of David Corenswet’s Superman at some point in the future of the franchise.
But, as is often the case with tentpole filmmaking, it all depends on the box office. Which could prove to be a problem for Blue Beetle if previous reports turn out to be accurate.
Blue Beetle Is Due to Land in Theaters Later This Month
Warner Bros. Pictures
Blue Beetle follows Jaime Reyes (Xolo Maridueña), who suddenly finds himself in possession of an ancient relic of alien biotechnology called the Scarab. When the Scarab chooses Jaime to be its symbiotic host, he’s bestowed with an incredible suit of armor that’s capable of extraordinary and unpredictable powers, forever changing his destiny as he becomes the superhero Blue Beetle.
Led by Xolo Maridueña as Jamie Reyes aka Blue Beetle, Blue Beetle also stars Adriana Barraza (Rambo: Last Blood, Thor), Damían Alcázar (Narcos, Narcos: Mexico), Elpidia Carrillo (Mayans M.C., the Predator series), Bruna Marquezine (Maldivas, God Save the King), Raoul Max Trujillo (the Sicario movies, Mayans M.C.), and stand-up comedian George Lopez (the Rio franchise), Belissa Escobedo (American Horror Stories, Hocus Pocus 2), singer Becky G, and Harvey Guillén (What We Do in the Shadows), with Oscar winner Susan Sarandon (Monarch, Dead Man Walking) starring as the villain of the piece, Victoria Kord, a ruthless billionaire and business owner who is hellbent on acquiring the Scarab.
Should Blue Beetle do well enough, the superhero will join the likes of Superman: Legacy and the Batman project The Brave and the Bold, as well as Swamp Thing, Supergirl: Woman of Tomorrow, and The Authority in James Gunn and Peter Safran’s expanding DCU.
Blue Beetle is scheduled to be released in the United States on August 18, 2023, by Warner Bros. Pictures.
Spider-Man 2 has officially gone gold on September 20, which means the game is ready for release a full month ahead of the launch on October 20. Insomniac Games broke the news on their official Twitter account and included a 90-second video featuring the main cast from the game. It’s nice to see Venom and Spider-Man celebrating something together again.
The video started with an introduction from Nadji Jeter, the voice actor behind Miles Morales. He was the one to break the great news by saying, “Ladies and gentlemen. The news is official. It has happened. The time is now. Not bronze, not silver, but gold. Spider-Man 2 has gone gold, baby. That’s Right!”
Jeter wasn’t the only one to join the brief clip. Yuri Lowenthal (Peter Parker), Laura Bailey (Mary Jane Watson), and Tony Todd (Venom) each gave some quick words to hype up the audience ahead of the launch. “That means it’s that much closer to getting into your faces, and brains, and bodies,” said Lowenthal while wearing his own version of a black Symbiote jacket.
Although Spider-Man 2 has officially gone gold, there will still likely be a patch released on day one. This news just means that discs and any other editions of the game are ready to ship to retailers or players when the time comes. With that said, day-one patches are the norm for nearly any game.
Unlike many of the other games released this year, Spider-Man 2 also doesn’t have an early access period tied to a Deluxe Edition. So everyone can jump on their PlayStation 5 and start playing the sequel on October 20, 2023.
Dan has been writing gaming guides and news as a staff writer and freelancer since he graduated from Westfield State University in 2020. You can find him covering the FPS and Battle Royale space at Prima Games.
In the wake of the Talking Heads A24 40th anniversary 4K cut racking up the biggest grossing Imax live event with close to $641K, we’re hearing that showtimes for this weekend’s Imax run are already selling out. Originally the re-release of the Jonathan Demme concert film was bound to run in around 150 Imax auditoriums, now it’s 300. That’s a nice appetizer for any pop rock aficionado waiting in the lobby for the Taylor Swifts: Eras Tour concert to start. Stop Making Sense expands next Friday, Sept. 29.
After dancing in their seats at their TIFF reunion last week, the Talking Heads came to the Aero Theatre in Santa Monica to bring down more houses, Tuesday night’s sellout seeing tickets priced as high as $32. While Oscar winner Spike Lee moderated the band’s get-together in Toronto, their prior being 21 years ago, 11x Oscar nominee Paul Thomas Anderson got his nerd out with the post-punk band.
Also in attendance for what’s hopefully not a once in a lifetime event, were John C. Reilly, Everything Everywhere All at Once Oscar nominee Stephanie Hsu, Adam Scott, Phoebe Bridgers, Beck, St. Vincent, China Chow, Jeff Probst and “Mickey” crooner herself, Toni Basil.
The band shared more stories about the making of the movie, i.e. the Pantages where they shot the movie back in 1983 proved to be an ideal location. “You had to have a lot of wing space,” said lead singer David Byrne about the venue, especially with “risers hidden on the side.” The conceit of the concert is that the production design builds up as each song amps up. In addition, the band’s management believed they could sell out four nights despite the fact that they had already played the market. Unveiled last night was the original LA Weekly ad to get people to show up to the concert’s filming.
The original promo that went out for the Talking Heads concert at Hollywood’s Pantages Theater in December 1983 shown at tonight’s LA screening of ‘Stop Making Sense’ pic.twitter.com/KNkZFpCLfY
In addition, Stop Making Sense stands apart from other concert films in having several cameras capturing each bandmember’s emotions and glances during the shoot. Shared drummer Chris Frantz, “(Producer) Gary Goetzman said ‘Don’t look at the camera and for God’s sake, don’t pick your nose! So, I didn’t.”
Anderson asked the group if it was true that the the oasis Tom Tom Club number in the film “Genius Love” was bound to be cut out. Tom Tom Club was a side project band of Talking members Frantz and wife Tina Weymouth. “Genius Love” has been ampled or re-covered by the likes of L’Trimm, Redman, Funkdoobiest, Ziggy Marley and the Melody Makers in “Tumblin’ Down”, the 12″ Remix, and of course, Mariah Carey in her hit single “Fantasy”.
“I only ask because it’s so magical when it comes up,” said Anderson.
Deadpanned Weymouth, “It was so David could change into his big suit.”
Joining the band on stage last night were the pic’s percussionist Steve Scales, and famed back-up singers Lynn Mabry & Ednah Holt.
Not including the Imax live event of Stop Making Sense which satellited from TIFF, the concert film has a current lifetime box office of $5M.
It’s a reunion as Steven Scales, Ednah Holt and Lynn Mabry join the Talking Heads on stage after the ‘Stop Making Sense’ screening in LA tonight pic.twitter.com/FfJWViC8YO
With the writers strike in its 21st week, the WGA is scheduled to resume negotiations with the AMPTP today. Also true, and perhaps not unrelated: In the last two weeks, every major Hollywood studio seemed to notice that it might be a good time to suspend a lot of very big production deals on its books.
Some suspensions began about a week into the writers guild strike. News broke September 18 that Lionsgate suspended non-writing overall deals with Paul Feig and Michael London, among others, but a source told IndieWire those suspensions happened a while back. The week prior, Disney (Greg Berlanti, Mindy Kaling) and Apple (Adam McKay, Natalie Portman) halted agreements with top television writer/producers, a trend already reflected in moves by NBCUniversal, CBS Studios, Warner Bros. TV, Amazon Studios, and more.
Overall deals are the often-massive arrangements that cover salaries, rent, and other overhead for major production companies. Unlike a first-look deal, overall deals mean that anything developed stays with the studio and cannot be re-shopped should it pass on production.
Writers saw their agreements paused shortly after the strike began, but non-writers still had some work to do with editing, VFX, and more. If you were working, you were being paid to work.
Writing EPs with suspended deals also include Donald Glover, J.J. Abrams, and Lisa Joy and Jonah Nolan; suspended non-writing producers include Billy Porter, Gina Rodriguez, Lorne Michaels, Dr. Phil, and Mandy Moore. Some term deals included a period of time that needed to pass before suspension was contractually possible. We’re there now for many.
We spoke with a former studio executive who speculated that the suspensions (and threat of termination) are the latest bargaining chip, putting added pressure on big-name writers to urge their guild to make a deal.
Writers (and their lawyers) anticipated this. Some top writers have safeguards in their contracts that a studio can’t terminate one deal without terminating all of its deals. That’s a poison pill few will swallow since it would means terminating key talent that someone else will grab when the strike ends.
Not everyone has been put on ice. Non-writing executives producers in the unscripted, alternative, and animation spaces are still working and being paid. There are those in the scripted space who are running out of tasks to justify their paychecks, but remain active. These include Jerry Bruckheimer, Warren Littlefield, Taylor Sheridan, The Duffer Brothers, Shonda Rhimes, and Matt Reeves.
Also still receiving regular checks for now are assistants and development executives tied to suspended term deals. Studios generally banded together on that feel-good front.
The writers strike began the same day “Abbott Elementary” was set to open its writers room.ABC
Once upon a time, prevailing industry wisdom pegged early September as the end of the strikes. Labor Day marked more than 100 days for the writers strike, which offered both a nice labor-relations story and nearly a full quarter of production savings. When that didn’t happen, it was time for cuts to begin anew. There is at least one other reason for the sheer nowness of it all: As one studio source told IndieWire for this story, no one wanted to be first to make these headlines for suspending deals.
In most cases, suspended producer deals will see the suspended period tacked on to the former end of the contracted period. But in this period of force majeure, studios could also use the situation to exit deals they don’t like. Overall deals are expensive and don’t always result in hits, or even shows. The 2007-08 writers strike saw a wave of deals move from suspended to terminated under force-majeure clauses.
IndieWire spoke with insiders at several studios and no one thought their studio would ultimately terminate suspended deals. We’ll see about that.
Oscar-nominated singer-songwriter Sufjan Stevens shared his Guillain-Barré syndrome diagnosis and announced he is relearning how to walk after a hospitalization.
Stevens, whose original song “Mystery of Love” was nominated for an Academy Award for 2017’s “Call Me by Your Name,” took to Tumblr to announce his medical treatment. His next album “Javelin” is slated to be released October 6.
“I’m very excited about having new music to share, but I just wanted to let you know that one of the reasons why I haven’t been able to participate in the press and promotion leading up to the release of ‘Javelin’ is bc I am in the hospital,” Stevens wrote. “Last month I woke up one morning and couldn’t walk. My hands, arms and legs were numb and tingling and I had no strength, no feeling, no mobility.”
Stevens continued, “My brother drove me to the ER and after a series of tests — MRIs, EMGs, cat scans, X-rays, spinal taps (!), echo-cardiograms, etc. — the neurologists diagnosed me with an auto immune disorder called Guillian-Barre Syndrome. Luckily there’s treatment for this — they administer immuno-hemoglobin infusions for five days and pray that the disease doesn’t spread to the lungs, heart and brain. Very scary, but it worked. I spent about two weeks in Med/Surg, stuck in a bed, while my doctors did all the things to keep me alive and stabilize my condition. I owe them my life.”
Guillain-Barre syndrome is a rare disorder in which the body’s immune system attacks nerves; after the initial numbness, paralysis is common. Stevens was transferred to a rehabilitation center to undergo physical therapy and “learn to walk again.”
“It’s a slow process, but they say I will ‘recover,’” Stevens wrote, “it just takes a lot of time, patience, and hard work. Most people who have GBS learn to walk again on their own within a year, so I am hopeful.”
In addition to “Mystery of Love,” Stevens performed the final song “Visions of Gideon” featured in Luca Guadagnino’s “Call Me by Your Name.” Stevens told Deadline in 2017 that Guadagnino approached him to also narrate the film, saying, “I wanted to envelop the movie in the voice of Sufjan Stevens.”
However, Stevens told Guadagnino that he thought the voiceover was a “mistake” as well as the “interruption of me singing the song.”
“I think he was just thinking out loud. I don’t know if he was really committed to the idea,” Stevens said of Guadagnino. “So I said, ‘I’ll write you some songs, but that’s all I think you need from me.’ When I saw the first edit, he said, ‘You were right, this doesn’t need a monologue or an interruption.’”
Stevens added, “I’ve always been resistant to work in film. I think it’s because I’m always a little suspicious of the role of music in cinema. But Luca is an exception, because he’s one of those rare directors who uses music and sound so fiercely and with such mastery that you cannot imagine the films without the music.”
The focus of Masterchef Season 13 has revolved around different regions of the USA competing against each other in hopes of determining which one would come out on top.
And with Grant Gillon’s crowning achievement, wowing the judges and winning our hearts, it’s safe to say that Midwest is, in fact, the best!
To recount things, Grant, Kennedy, and Jennifer made the top three, and they were tasked with creating a full three-course meal comprised of an appetizer, entree, and dessert that embodies who they are and where they come from.
The top three poured their all into their dishes as family, friends, and previous contestants rooted them on from the sidelines.
Jennifer’s final meal theme was incorporating Southern flavors with a French-fine dining technique and experience.
She impressed the judges with a Lobster Succatosh. Her Venison Persillade got mixed reviews for its inconsistency, and her Chocolate Raspberry Mousse “I Love You” cake was raved about.
Meanwhile, Kennedy got creative and artistic with a theme about self-acceptance through the eyes of nature. Her dishes proudly represented queerness, androgyny, and self-love via ingredients indigenous to Colorado.
While her Crispy Skinned Trout was favorable, her Rabbit Saddle garnered mixed reviews, and her Black Sesame Cake was poorly executed.
But it was Grant who brought it home with the most cohesive meal of the finale. He started things off strong with Raviololo al Uovo, had a near-perfect entree with his Pork Loin Medallions with Beer-braised Fennel and Onion, and then topped things off with a positively divine Torn Stout Cake, which was essentially an Affogato.
After the judges’ deliberation, it was evident that Grant would be walking away with the grand prize and the title of Masterchef in an emotional finale that left you grinning from ear to ear.
We had the privilege of catching up with the latest Masterchef winner to discuss his triumphant win, his challenges throughout the season, and what he aspires to do moving forward!
The humble, talented, down-to-earth chef was such a pleasure to speak with, and he’s impossible not to root for in life after his triumphant win.
It was a long competition, which saw the top 20 contestants broken down into regions, representing Northeast, Midwest, West, and South, competing for the coveted win and the opportunity to represent their region and do it well.
For much of the competition, it felt like anyone’s game. Some home cooks would emerge, sitting at the forefront with impressive dishes and techniques, but just as quickly as someone can have a great day, they’d have an off one.
It made the entire season anyone’s game.
Cracking that top three was such a phenomenal feat, and by Masterchef Season 13 Episode 20, anyone glued to the screen as Grant, Jennifer, and Kennedy prepared a three-course meal in front of the judges, family, friends, and colleagues could probably surmise that Grant would be taking that win home. He was a total rockstar.
Of course, for Grant, the finale moment was overwhelming and emotional for him.
“It was something. There was just so much stress and adrenaline and everything running through your body, and that was just a moment of release. Not only it’s done, it’s over, but I won this thing,” Grant shares excitedly.
“It was so cool. I keep trying to put it into words; what was it like? But it was literally just that it’s done, I finished. And I did it. I did everything I could, and I came out on top.”
For Grant, making that moment worthwhile was having his family there to support him. He sings his family’s praises highly, acknowledging the sacrifices they made on their end while supporting him through this life-changing venture.
Grant is a family man through and through, and you can hear it in his voice whenever he speaks of his beautiful wife, Emily, and his sweet son, Grady.
“It was so great to have my family there with me and be able to share it with them. They sacrificed a lot, allowing me to be gone for a couple of months to film this thing just to have them right there by my side to celebrate. My son could see what I was doing for two months when Daddy wasn’t home.”
Anyone who tuned into the finale knows that Grant’s son was the biggest scene-stealer of the installment.
In a sea of family members, friends, and previous contestants there to cheer on the top three, none were as excited, supportive, and adorable as Grant’s young son rooting him on through every harrowing moment.
It was easily the most precious aspect of the finale, and it certainly made it easy for viewers to get caught up in the enthusiasm of rooting the Iowan on, too.
“I’m so glad that was left in there,” Grant exclaims. You can hear him beaming. “It was just always there. Chopping or sauteing, and I hear, “Go, Daddy.” And I’m like, “Oh, my gosh.”
One abundantly clear thing is that Grant’s family was instrumental in him doing the series, and he feels like this opportunity has been life-changing for them.
“This win really means a ton for us,” he says.
The term “home cook” couldn’t be more accurate for Grant.
Cooking was always a big part of his life. He mentions it was always his hobby, but it’s evident it went far beyond that; it’s a true passion and even a calling.
“I’ve always had that itch, that desire,” he muses. ” I always felt like maybe I need to be doing something with food, and maybe I need to do it on my own. Maybe I need to do my own thing and be my own boss.”
It’s what drove him to the series, one which he’s always enjoyed, and his subsequent win.
His plans for what he intends to do after all of this are a bit loose, but some ideas are floating around that he’s been consistent about since his introduction.
Of course, part of the issue is that the series films in advance, so naturally, there was a matter of waiting for things to play out before he could really take full advantage of this huge win.
“We’re taking everything in stride right now. We’re still very new to it,” he speaks of his recent win. “But the goal, as I said from the outset of MasterChef during my audition, is to open a farm-to-table restaurant in my hometown of Altoona, Grant states firmly.
“And at this point, that is still exactly what I’m looking to do. I’m starting to get the ball rolling on that. After [the finale airs], I feel like I’ll have a few more eyes on me with that. But I’m just excited to be able to bring something to my hometown.”
Grant’s hometown pride is undeniable in a season heavily devoted to regional pride and representation.
He speaks about his hometown so fondly and passionately that he wraps you up in everything he says and makes you want to experience it as he does.
“I was born and raised here, still live here, and I’m raising my family here,” Grant shares proudly. “Just to be able to have that opportunity to put my stamp on the town that built me, and that’s meant so much to me, is really awesome.”
It’s that pride and that intention that he brought to the entire competition.
We often saw Grant combining his Sicilian heritage with his Midwestern roots and putting it on a plate for all to see and enjoy.
Most times, it worked; in other instances, it may not have, but that clear identity and consistency is what he served up the entire season.
And it was certainly reflected in his final menu.
Grant’s was a culmination of his Italian and Midwestern roots, with his journey and growth throughout the series presented most spectacularly.
“The mixing of Midwest and Italian was absolutely my goal for the finale. I kind of got known as the pasta guy this season. I’m very comfortable making what I got my apron on, and so I knew that pasta was going to be in there,” he recalls.
“I’m like, okay, I might as well just go all in. It needs to be a cohesive menu. Let’s do Italian all the way through, but let’s bring in some proteins, sauces, or techniques that you usually wouldn’t see in maybe a more rustic Italian-style cooking.
“And so that’s what I was really pumped to do — my dessert. I was a little afraid to call it an affogato, but that’s what I was going for. It’s meant to evoke that emotion.”
And that final dessert was certainly a provocative one that elicited emotion. We couldn’t help gushing about it ourselves and the merit in putting respect on beers and other spirits.
Stout was such a bold choice that gave the judges some reservations, but anyone who has ever had a dessert that uses a good stout. I can proudly say that I know how delicious it is and how wonderfully it works when in the capable hands of a talented person.
“I’m trying to highlight where I’m from and then where my family is from, and I thought,” What do I do now as a person? I sell beer.” And so if I could get that into the menu, show people. You’re always using spirits, bourbon, or wine, all these different alcohols to cook in the kitchen, but you don’t see beer on a nice menu. Right?
“I wanted to show that those flavors have a place, and they can fit into not only a fine dining menu but an Italian menu, too. So I thought that was pretty cool.”
It was a bold risk that played off during the finale and was also one of the most memorable and noteworthy dishes.
Fortunately, Grant’s affogato was not too challenging. No, the more challenging moment of the competition for Grant was his Hell’s Kitchen experience.
“That’s just something where nothing could have prepared me for that moment,” he laughs. “It doesn’t matter how long I’ve watched the show and seen the restaurant takeovers, and I knew what needed to happen.
“I grew so much through everything I learned in this competition from my fellow competitors and the judges. But nothing I learned during that time prepared me to work a line at Hell’s Kitchen.”
“That one kicked my ass,” he concedes. “But it was so fun at the same time. Not only am I on MasterChef and serving Gordon Ramsay, but now I’m serving Gordon Ramsay at a restaurant. Oh. And it’s his restaurant. So that just kept building on top of one another there.”
The experience wasn’t all challenging for him. It was chocked full of rewarding and memorable moments, too. And he also had an enriching experience befriending fellow contestants and learning other regional styles.
Grant notes that cooking at Dodgers Stadium was something he’ll never forget.
“Being able to cook at center field of that’s, there’s only so many people, and it may just be us that could say that they’ve done that. You know, that’s something that I’ll always take with me now; having that opportunity to be a part of that rich tradition with the L.A. Dodgers is really fun.”
And that fun extended to the lasting friendships he made along the way.
We wondered if he grew close to anyone throughout the experience and if he picked up things he learned from fellow contestants and friends.
There was a strong sense of camaraderie this season among the contestants, particularly with the regions, and it was just as strong behind the scenes.
“I got along with really everybody, but two of what I consider to be my best friends from the show are Brynn [Weaver] from the Northeast and Kolby [Chandler] from the South. We all got along super well and had similar understandings of what we were trying to do and who we are as people.
It’s a friendship that has surpassed their time together on Masterchef.
“I talk to them, if not every day, every other day, still just chatting about this, that, and the other, which is a great sign. We’re not just talking about food. We’re not talking about the show.
“We’re seeing what everybody’s doing this week or what’s going on, how’s the family, those kinds of things. I’m forever grateful to have these friendships that will continue on.”
His respect for his close friends also extends to what he’s learned from them throughout the process.
“Kolby, the level of flavor that he put into each and every one of his dishes was just incredible. And learning about his thought process and just seeing how he worked in the kitchen was so cool. He’s very, very smooth. He’s very good in the kitchen. And so I really enjoyed seeing him and his different flavor profiles.
“I loved getting to be around people from Alaska and Hawaii, places that I’ve never been, and experience cuisine or the style of cooking they have there.
And I learned so much from everybody. Just the regional thing, I think, was awesome. It just allowed us to understand more about the different regions, and hopefully, the rest of America did, too.
As we mentioned, Grant was a bit of a dark horse throughout the series, and he didn’t seem to pop until roughly halfway through the season.
And yes, some of that was intentional and strategic on Grant’s part. While he always wanted the judges to notice him, he was reluctant to take too many big risks too early into the season.
“The confidence thing I was still working on when I started, ” Grant shares honestly. “But I knew if I did what I knew how to do, I could execute it well,” he explains.
“I knew this was a crazy situation — cameras in my face and coming up with things on the fly. But for the first little while, I just wanted to do what I needed to do and not take any risks. If I can get to the top 15, I can get to the top ten.”
“So that was my goal,” Grant states. “I didn’t want to necessarily fly under the radar because I still wanted to be noticed. I wanted the judges to see the technique that I had and that I knew what I was doing in the kitchen.
I needed to get a feel for it. I needed to know what it was like to cook in that kitchen a little bit more, and sometimes you can’t do it. And then we got to the MRE challenge, and I said, “All right, it’s my time. Let’s go! And I guess the rest is history.”
Grant mentioned his struggles with confidence often, and he’s very open about it being something he constantly worked on in his life.
Even throughout the series, seeing his journey within the show was rewarding as he grew more confident with his abilities and what he put out.
“I don’t know what it is about me. I always just seem to have this kind of Imposter Syndrome,” he admits. “Showing up to L.A. with all these other amazing home cooks was tough. I thought I was really good, but, man, I felt there were a lot of really good people.
“I don’t generally like to brag or boast, so I’m never that person to go out of my way or advocate for myself. But throughout the season, I kept progressing and getting this feedback from the judges and hearing Gordon Ramsay say so many nice things about my food; it really clicked. I think it was right after I had my kind of stumble, but it’s like, no, I have to win this thing!”
“I can win this thing. I’ve gotten through it,” he recounts his time at the bottom.
“I’m not going to be in the bottom again. I did it twice. We’re going back to my roots. We’re going back to what I know how to cook and how I know to do it well. And I’m like, I can impress people in the future with new and crazy things, but right now, I’m going back to my roots and just putting my head down and doing it.”
“I’ll say I’m proud of myself. I never thought I would have the opportunity to audition for this show in a million years, let alone be in the finale and win it!”
On the topic of the competition, we wondered what type of advice Grant would have for future contestants who want to pursue their dreams like he has.
He’s a home cook who is ironically enough inspired by Gordon Ramsay himself and improved his cooking skills through YouTube videos and the like.
First things first, learn the basics. You need to learn basic flavor profiles. Learn how to do sauces, figure out what works well together, and then build off that. I look at cooking as an art. Baking is a science. You’ve got to get everything down to a teaspoon.
“But when it comes to cooking, just keep messing around with flavors. Keep finding out where you like the flavor profiles, and always be in the kitchen.
“I’ve screwed up a lot more than you see,” he confesses. “People always say Instagram and social media is a highlight reel. You’re seeing all the good stuff. So don’t be afraid of failing, but just make sure you always learn from those failures and turn them into triumphs.”
It’s perfectly sound and wise advice from the champion, so all the aspiring home chefs interested in trying out should take heed.
—
If you want to catch up with Masterchef, you can stream the full season on Hulu. You can also check out our Masterchef Content right here at TV Fanatic.
For more of your food-related content, you can follow our sister site, Food Fanatic.
If you’d like to keep up with Grant Gillon and what he does next, you can follow him @grant_gillon on Instagram or the same handle on X.
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.
Emerald Fennell isn’t shying away from her WGA alliance even while promoting “Saltburn,” a WGA script she wrote.
Fennell, who helms the 2000s-set film starring Barry Keoghan and Jacob Elordi, spoke about her directing style during a post-screening Q&A at the Academy Museum with Kathryn Kusama (via Deadline). However, as Fennell is a member of the WGA and wrote the “Saltburn” script, she could not speak to its plot points directly per strike requirements.
“But, also WGA strong,” Fennell said. “I hope we kick their fucking asses.”
“Saltburn” follows Oxford student Oliver Quick (Keoghan) as he is pulled into the elite world of charismatic classic Felix Catton (Elordi), who invites him to his eccentric family’s sprawling estate Saltburn for a summer never to be forgotten.
“For that completely overwhelming carnal desire to take hold, there has to be an element of revulsion, there has to be an element of transgression,” Fennell told Vanity Fair earlier this year. “My favorite thing in general is sympathy for the devil. The sorts of people that we can’t stand, the sorts of people who are abhorrent — if we can love them, if we can fall in love with these people, if we can understand why this is so alluring, in spite of its palpable cruelty and unfairness and sort of strangeness, if we all want to be there too, I think that’s just such an interesting dynamic.”
As for Elordi’s character, the Oscar-winning “Promising Young Woman” writer-director said, “You can understand completely that no person would be capable of resisting this person. But at the same time, you can also understand that it is also sort of an illusion, an illusion other people are projecting onto him — and he’s actually not necessarily particularly special or interesting. He just happens to seem like he is.”
“Saltburn” premieres in theaters November 24 and has not received a SAG-AFTRA interim waiver; therefore, no cast members can promote the film so far.
Petty had been previously sentenced to three years probation for failing to register as a sex offender
Nicki Minaj’s husband, Kenneth Petty, has been sentenced by a federal judge in Los Angeles to serve house arrest after violating the terms of his three-year probation, according to a court order obtained by Rolling Stone.
According to the document filed on Wednesday, Petty was recorded on video “making threatening remarks towards a specific individual while in the company of someone with a criminal record.” Legal affairs journalist Meghann Cuniff, who first reported the news, claimed on Twitter that the “individual is Offset, Cardi B’s husband.”
The filing states that Petty’s probation officer “believes placement in the Location Monitoring Program will effectively allow for closer monitoring of Mr. Petty’s activities, limit his movements, provide a sanction for his non-compliance, and hopefully encourage him to reflect upon and reevaluate his current status in the community.”
Petty agreed to the modification terms and waived a personal appearance before the court. Judge Michael W. Fitzgerald ordered Petty to serve up to 120 days of house arrest.
In July 2022, Petty was sentenced to a year under home confinement, along with the three years’ probation, and a $55,000 fine, for failing to register in California as a sex offender.
Petty took a plea deal the year prior, admitting that he failed to register as a sex offender after he moved to California with Minaj following their 2019 marriage. Petty was convicted for the attempted rape of Jennifer Hough in 1994, serving over four years in prison.
Trending
Hough sued both Petty and Minaj in 2021, alleging that they both “directly and indirectly intimidated, harassed and threatened [Hough] to recant her legitimate claim that Defendant Petty raped her.”
“Well, Las Vegas, I got Covid, and sadly, we need to cancel this weekend’s Strike Force Three show,” Kimmel posted on X, formerly known as Twitter. “I could never live with myself if I got my hometown friends sick. Thanks to all who purchased tickets, everyone will get full refunds and we will try to reschedule if possible.”
“Strike Force Three” was scheduled to take place at the Dolby Live at Park MGM in Las Vegas on Sept. 23. The event, which would have united the three late night hosts onstage for the first time ever, was born out of the “Strike Force Five” podcast that the trio launched alongside Seth Meyers and John Oliver on Aug. 30.
Though the hosts’ respective late-night shows typically rival each other, they began meeting over Zoom when their shows went off the air as the WGA strike began on May 2. Their conversations led to a deal with Spotify, and “Strike Force Five” debuted as the No. 1 podcast on both Spotify and Apple, with all proceeds supporting the staffers of “Jimmy Kimmel Live,” “The Tonight Show With Jimmy Fallon,” “The Late Show With Stephen Colbert,” “Late Night With Seth Meyers” and “Last Week Tonight With John Oliver,” who have lost their income as a result of the strike. Proceeds from the live show were also intended to benefit late night staffs.
Russia launched a widespread missile attack early Thursday on cities across Ukraine, including the capital, Kyiv, hours after President Volodymyr Zelensky of Ukraine denounced Russia’s “criminal and unprovoked aggression” on his country before the United Nations.
The missiles sent civilians rushing to shelters in places ranging from Lviv, on the country’s western edge, to Kharkiv in the northeast. In Kyiv, at least seven people were wounded, fires broke out and a gas pipe was damaged from missile debris, according to the mayor and the regional military administration.
Mr. Zelensky spent two days this week in New York at the United Nations General Assembly appealing for more aid and support against Russia, amid growing concern about Ukraine’s ability to regain territory and the ballooning cost of the war.
On Thursday, Mr. Zelensky was expected to meet with President Biden in Washington to push for ongoing and additional U.S. support for Ukraine as Mr. Biden seeks to push through approval of an additional $24 billion for the country in Congress.
Serhiy Popko, head of the Kyiv regional military administration, said on the Telegram messaging app that the latest attacks meant that the city’s residents had endured more than 1,000 hours, or more than 41 days, of being under air alerts since the start of Russia’s full-scale invasion in February 2022.
In Kharkiv, Mayor Ihor Terekhov said on Telegram that six missiles caused multiple blasts and wounded at least two people. In Cherkasy in central Ukraine, an infrastructure facility was hit in the city center, its mayor said on Facebook.
In Kherson in the country’s south, a Russian attack left two people dead and several others hurt, according to the regional military administration. Officials there did not specify if the deaths resulted from a missile strike.
Ukraine’s public broadcaster, Suspilne, reported that explosions were also heard in Rivne, Vinnytsia and Khmelnytskyi in the country’s west.
After 37 years in the making, “Of Things Past” will debut on Oct. 3 on Amazon, Vudu and other major VOD platforms. Reimagined by TGA Productions and Cedar Films Studios, the movie will include footage from both 1985 — when filming began — and 2022, when an additional storyline was shot.
The film, directed by D. Paul Thomas and Eric Rafael Ibarra, stars four-time Emmy winner Michael Moriarty and Louise Claire Clark, who portray young couple Michael and Laura Dietrich as they struggle to save their marriage after losing their 2-year-old son. When saving the life of young girl Kiki in an automobile accident, Michael begins to forgive himself for the death of his son. Adult Kiki, played by Tara Reid, then visits Laura in Boston nearly 40 years later while Michael is dying, revealing long-held secrets. Inspired by true events, the film explores themes of betrayal and the power of forgiveness.
“If you live long enough, you see nearly everything. Who would have thought that a movie filmed in 1985 that never saw the light of day, with lovely performances by Michael Moriarty and Louise Claire Clark, would be ‘reimagined’ by filmmaker Peter J. Bollinger and brought to the screen now,” Thomas said in a statement.
The cast also includes Gary Bayer, Macon McCalman, Peter Von Berg and Jack Nance. The film is distributed by Lion Heart, headed by Jerome Courshon, and executive produced by Dr. Sam Mayhugh, Peter J. Bollinger, Nora Betancourt, Ibarra, Thomas, Robert Vaughan and Reid.
“What fun it’s been working on this unique project — taking a movie filmed previously and adding to it an additional storyline,” Ibarra said in a statement. “Putting the two storylines together has been a fascinating and challenging process.”
