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Desean Terry, who portrayed former anchor Daniel Henderson on the first two seasons of Apple TV+’s “The Morning Show,” will not be part of Season 3. His contract was not picked up for the latest season of the show, Variety confirms.

On Thursday, the actor took to Instagram to share a video after receiving comments and questions about his whereabouts. While he didn’t mention the Apple TV+ series by name, Variety confirms that is what he is referring to.

“I did want to come on here and confirm for you all that no, you will not be seeing that character this season. I’m disappointed about it as well, but I’m really grateful that there are folks who reached out who felt seen by that role and narrative,” he says in the video, referencing the Black, gay anchor he portrayed. “I think in this moment of uncertainty in our union, that as we fight for what we deserve in terms of pay equity, the leaders of our union keep diversity and inclusion top of mind so that we can see more characters and narratives like that one.”

In the caption, he added, “We need more complex and diverse characters on screen, so it’s always disheartening to see one that we love disappear. But rest assured, there’s more to come! My creative journey is ongoing and purposeful. Thank you to all the fans who have reached out.”

Terry’s representatives declined to comment, explaining that he is not available due to the SAG-AFTRA strike. Apple TV+ did not immediately respond to Variety‘s request for comment.

Season 3 of the Jennifer Aniston and Reese Witherspoon-led series added new cast members Jon Hamm and Nicole Beharie and tackles racial conversations in the work place. As Variety‘s TV critic Alison Herman noted in her review, “Technically, ‘The Morning Show’ remains as flawed as ever. This takes the greatest toll on the subplot centering racial discrimination, a topic ‘The Morning Show’ has addressed before through former anchor Daniel Henderson. Terry is no longer a part of the cast, shifting the burden of sounding the alarm to other members of the series’ increasingly unwieldy ensemble: showrunner Mia (Karen Pittman); Stella (Greta Lee, sporting a fresh haircut one could politely deem ‘postmodern’), UBA’s head of news; and Beharie’s Chris, who speaks out on behalf of not just herself, but for support staff without her visibility and resources. Yet their story line trails off by the end of the season, an anticlimax that signals the opposite of the show’s intended emphasis on marginalized workers.”

The series has already been renewed for Season 4.

Watch Terry’s video below:

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Desean Terry, who portrayed former anchor Daniel

Writer-director Wes Anderson had a summer specialty hit with Asteroid City, and now he’s back, in a miniaturized form. Here is the first trailer for The Wonderful Story of Henry Sugar, a 39-minute film he adapted from a 1977 short story by Roald Dahl. Have a look above.

RELATED: Wes Anderson On Strikes & Controversial Roald Dahl Book Edits: “I Don’t Even Want The Artist To Modify Their Work” — Venice 

Described as an “extremely faithful” adaptation of the tale from The Wonderful Story of Henry Sugar and Six More, the pic centers on Sugar (Benedict Cumberbatch), a rich man who learns about a guru who can see without using his eyes and then sets out to master the skill in order to cheat at gambling. Ralph Fiennes plays Dahl, and Dev Patel, Ben Kingsley and Richard Ayoade also star. Anderson, Steven Rales and Jeremy Dawson are the producers.

The semi-short premiered out of competition at the 80th Venice Film Festival on September 1. Anderson was feted with the fest’s Glory to the Filmmaker Award during the Lido event.

RELATED: Wes Anderson Talks Terrifying First Screening Of 1996 Debut ‘Bottle Rocket’, Teases Details of Next Feature – Venice Masterclass

Anderson previously mined Dahl for 2009’s Fantastic Mr. Fox, which was nominated for the Best Animated Feature Oscar but lost to the Disney/Pixar classic Up.

The Wonderful Story of Henry Sugar will screen in select theaters starting September 20 before its starts streaming on Netflix a week later.

RELATED: Movie Release Date Calendar For 2023

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Writer-director Wes Anderson had a summer specialty

I saved the best for last. Living (2022) is by far the best new release I’ve seen in the last decade. It’s a remake of Japanese director Akira Kurosawa’s heart-breaking classic Ikiru (1956) and set in 1950s London (Ikiru (1956)). With brilliant direction by Oliver Hermanus, an astounding script by Kazuo Ishiguro and an Oscar-worthy performance by Bill Nighy, Living is one of the few movies that lives up to the original.

Bill Nighy plays Mr. Williams, a stodgy civil servant who is all about propriety and routine. He’s a widower who lives with his son and daughter-in-law and simply goes through the motions of life. In fact, he is so set in his routine that his coworkers can predict his every move.

When he learns that he has terminal cancer and has very little time left, he does something completely out-of-the-ordinary for him. He doesn’t show up at work. Instead he decides that he’s going to enjoy his final days. Mr. Williams is now enjoying every moment, allowing himself to have fun, meet new people and really connect with others and his surroundings. And he’s not about to shuffle off his mortal coil before making a significant impact on his community.

If you want to have a good cathartic cry, then Living is the movie for you. I can’t say enough good things about this movie. I first watched it when it premiered at Sundance and was blown away by the message, the story, the visuals and Bill Nighy’s powerful performance. It really instilled in me a new appreciation for life and what it means to actually live. In my original review I wrote: “It’s brilliant, heartbreaking and soul-reviving. It breathed new life into me.”

If there is one last movie I can recommend to you, let it be this one.

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I saved the best for

In the midst of the 1979 Iran hostage crisis, the C.I.A. began what came to be noted as one of the spy agency’s most successful publicly known operations: the rescue of six American diplomats who had escaped the overrun U.S. Embassy — using a fake movie as the cover story.

“Argo,” the real-life 2012 movie about the C.I.A.’s fake movie, portrayed a single C.I.A. officer, Tony Mendez, played by Ben Affleck, sneaking into Tehran to rescue the American diplomats in a daring operation.

But in reality, the agency sent two officers into Tehran. For the first time on Thursday, the C.I.A. is releasing the identity of that second officer, Ed Johnson, in the season finale of its new podcast, “The Langley Files.”

Mr. Johnson, a linguist, accompanied Mr. Mendez, a master of disguise and forgery, on the flight to Tehran to cajole the diplomats into adopting the cover story, that they were Canadians who were part of a crew scouting locations for a science fiction movie called “Argo.” The two then helped the diplomats with forged documents and escorted them through Iranian airport security to fly them home.

Although Mr. Johnson’s name was classified, the C.I.A. had acknowledged a second officer had been involved. Mr. Mendez, who died in 2019, wrote about being accompanied by a second officer in his first book, but used a pseudonym, Julio. A painting that depicts a scene from the operation and hangs in the C.I.A.’s Langley, Va., headquarters, shows a second officer sitting across from Mr. Mendez in Tehran as they forge stamps in Canadian passports. But the second officer’s identity is obscured, his back turned to the viewer.

The agency began publicly talking about its role in rescuing the diplomats 26 years ago. On the agency’s 50th anniversary, in 1997, the C.I.A. declassified the operation, and allowed Mr. Mendez to tell his story, hoping to balance accounts of some of the agency’s ill-fated operations around the world with one that was a clear success.

But until recently, Mr. Johnson preferred that his identity remain secret.

“He was someone who spent his whole life doing things quietly and in the shadows, without any expectation of praise or public recognition,” said Walter Trosin, a C.I.A. spokesman and co-host of the agency’s podcast. “And he was very much happy to keep it that way. But it was his family that encouraged him, later in life, to tell his side of the story because they felt there would be value to the world in hearing it.”

After Mr. Trosin heard Mr. Johnson and his family were visiting C.I.A. headquarters early this summer, he arranged to meet them. At the meeting, Mr. Trosin and his podcast co-host saw how much the C.I.A.’s recognition of Mr. Johnson’s work meant to his family and started looking for a way to tell the story on the podcast.

Mr. Johnson, 80, was unavailable to discuss his career on the podcast or with The New York Times because of health issues. Undeterred, Mr. Trosin dived into the agency’s classified archives.

Soon after dangerous operations, the C.I.A. often records secret interviews with the participants, to capture so-called lessons learned for its own, classified histories. In addition, for many storied officers, the C.I.A. records classified oral histories at the end of their careers. C.I.A. historians had done one such oral history with Mr. Johnson.

“We found out there was this prior interview,” Mr. Trosin said. “And at least portions of which could be made public.”

Thanks to the “Argo” movie, the C.I.A.’s role in the rescue of the diplomats, who were being sheltered by the Canadians, has become one of the agency’s best-known operations.

The C.I.A. museum, which has a tendency to dwell on the agency’s failures, features a display on the operation. Among the artifacts is a copy of the script — or at least treatment — of the fake movie complete with the Hollywood-esque tagline “A Cosmic Conflagration.” Also displayed are the business cards of the fake production company used as part of the cover story and the concept art for the movie, which featured drawings from Jack Kirby, the celebrated comic book artist who helped create the Marvel universe.

Like the painting, the museum display did not identify Mr. Johnson.

But C.I.A. officials said Mr. Johnson, an expert in languages and extracting people from tricky places, was invaluable to the operation.

At the time of the hostage crisis, Mr. Johnson was based in Europe, focusing his Cold War work on learning how to get in and out of countries that were not always hospitable to Americans.

When Iranian revolutionaries overran the American Embassy and took 52 diplomats hostage, six Americans working in the consular office escaped. They eventually ended up under the protection of Kenneth D. Taylor, Canada’s ambassador to Iran, and the C.I.A. began working on a plan to sneak them out of the country.

Mr. Mendez, who had worked with Hollywood experts to hone his tradecraft, came up with the plan to use a fake movie, which he named “Argo” after the story of Jason and the Argonauts, the ancient Greek heroes who had undertaken the arduous mission to retrieve the Golden Fleece.

While some C.I.A. extraction operations at the time used single officers, the agency decided that for the rescue of the six diplomats, two officers would be needed, said Brent Geary, a C.I.A. historian who has studied the agency’s history in Iran.

Mr. Johnson was fluent in French, German, Spanish and Arabic. He did not, however, speak Persian, the predominant language in Iran.

Dr. Geary said the agency had Persian speakers, but could not risk sending in someone who might be known to current or former Iranian officials. The belief was also that someone fluent in the local language could draw questions, and what was critical to the mission was having people with Mr. Mendez’s and Mr. Johnson’s skill sets.

“They had trained to get in and out of tight spots,” Dr. Geary said.

Even without Persian, Mr. Johnson’s languages came into use. Soon after arriving, Mr. Mendez and Mr. Johnson mistakenly ended up at the Swedish Embassy, across the street from the U.S. Embassy, which was occupied by the Iranian revolutionaries.

Outside the embassy, Mr. Johnson discovered that both he and the Iranian guard spoke German, and the two began talking. The guard then hailed a taxi and wrote the address of the Canadian Embassy on a piece of paper and sent the two fake movie producers off.

“I have to thank the Iranians for being the beacon who got us to the right place,” Mr. Johnson said in his oral history.

In the “Argo” movie, Mr. Affleck, portraying Mr. Mendez, is shown swiping Iranian forms that were needed to enter and exit the country. But in reality, it was Mr. Johnson who performed the sleight of hand to steal the documents. (Mr. Affleck did not respond to a request to comment.)

In his oral history, Mr. Johnson said the “biggest thing” was to persuade the diplomats that they could pull off the movie team cover story.

“These are rookies,” Mr. Johnson recalled in the recorded session. “They were people who were not trained to lie to authorities. They weren’t trained to be clandestine, elusive.”

But Mr. Johnson recounted that the six diplomats pulled it off, putting aside their nervousness and adopting the persona of a happy-go-lucky film crew.

The climax of the real movie — spoiler alert for a film that has been out for more than a decade — involves Iranian government officials reacting skeptically to the cover story, then realizing the “film crew” were American diplomats and chasing the plane down the runway. None of which happened.

In reality, there was simply one last security check as the group left the departure lounge.

“A couple of young Iranians, they’re patting people down as they went through,” Mr. Johnson recalled, noting that the diplomats were leaning into their parts, cracking jokes as they approached the checkpoint.

With that, the diplomats, Mr. Mendez and Mr. Johnson were through the last checks. In the oral history, Mr. Johnson recalled boarding and seeing the plane’s name painted on the side. It was named Aargau, and Mr. Johnson thought to himself, “What the hell?”

“After a bit, I forget when, I picked up The Herald Tribune and did the crossword puzzle,” Mr. Johnson said, adding, “One of the clues was Jason’s companions … Jason and the Argonauts.”

In the C.I.A. podcast, Mr. Trosin said the name of the plane and the crossword were simply coincidences.

“To be clear,” Mr. Trosin said, “this is not C.I.A. officers with excess free time just planting clues.”

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In the midst of the 1979 Iran

J Balvin’s new single “Dientes” has landed with a matching, neon-colored music video featuring guest artists Usher and DJ Khaled.

The EDM and reggaeton track “Dientes,” meaning teeth in Spanish, was made using an interpolation of Usher’s 2004 record-breaking hit, “Yeah!” The music video is set against lively city streets and bright indoor dance floors that place all three stars on center stage. Khaled even hits his signature, viral dance move atop a Dance Dance Revolution-looking video game.

Usher’s 2004 cover of Vibe magazine also regularly flashes on the screen (with the same “Cheating, Fighting and Getting High… Yeah!” headline) in reference to R&B artist’s career.

The track was produced by an impressive team comprised of Mura Masa, Fred Ball, DJ Luian, Mambo Kingz, Tainy, and Michael Brun, and is described as a “testament to J Balvin’s ability to reinvent and reimagine music while staying true to his Latino roots,” in a press release.

Balvin has not released a full-length studio record since his 2021 album “Jose,” which included hit singles like “Qué Más Pues?” with Maria Becerra, and “Un Día (One Day),” a song by J Balvin, Dua Lipa, Bad Bunny, and Tainy.

The Colombian singer has been credited for inspiring several of the rising and top reggaeton artists on today’s charts including Karol G, with whom Balvin recently shared a stage for Karol’s stadium trek in the United States. His music catalog boasts over 110 billion streams to date, recording the most number of streams in the history of Vevo. 

Watch the video below.

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J Balvin’s new single “Dientes” has landed

Review: The Penguin #0

[Editor’s Note: This review may contain spoilers]

Writer: Chip Zdarsky

Artists: Belen Ortega

Color Artist: Luis Guerrero

Letterer: Clayton Cowles

 

Review by: Kendra Smart

 

Summary

The Penguin #0 gives readers a peek into the Penguin in his element and prime. The spotlight is on him as he maneuvers his way out of Gotham with a false death and into a normal life. Seems feasible, right? But in his absence, there is a definite squabble that Catwoman finds herself in the middle of as the descendants of Penguin and his many rivals come to pick the bones clean. Gotham is about to find itself with many more corpses.

In Memory

The cover that we get for The Penguin #0 is astounding indeed. Belen Ortega provides great artwork, coupled with Alejandro Sánchez’s color work. We get a scene for Catwoman, and even meet a new character this issue who is a robotic creation known as The Executor.  The Executor is quite the pun given what happens this issue. Let’s jump right in.

Nom De Plume

The Penguin’s Iceberg Lounge has been a laundering site for many of those looking to make their money “clean”. It is an empire prized by many, and this is proven by the vultures coming to claim his bergs now that he is “dead”.  The Iceberg Lounge is like Boardwalk on a Monopoly board, and everyone is gunning for it. Catwoman finds herself between Finbar Sullivan and The Yakuza, both of whom wish to lay claim.

Interrupted by The Underbroker and his associate The Executor, they insist, quite pointedly, that the will must be honored. That should settle things, but Catwoman has her own mess to clear when The Executor requests her help with finding Cobblepot’s  next of kin. Of course, she is given a monetary incentive, but the problem is… they keep dying. Will Catwoman finish her mission or will she have to seek counsel from beyond the grave?

Positives

The Penguin #0 presents us with many high points. From the artwork to the story, new characters and fiendish foes, everything is executed splendidly. I loved every twist and turn, even when they were predictable. If Chip Zdarsky is giving us the type of story telling we can expect for this series… it heightens my anticipation ten fold.

Negatives

There really are none in The Penguin #0. Given that this is a zero issue, I expected a lot of fluff, but there was none. It was wonderful from panel to panel.

Verdict

With The Penguin #0, it feels like we are in for a wild ride. One that will explore Cobblepot on a different level then we have seen, and that is always exciting to a fan. Exploring the world of Gotham in a deeper way is always fun, but I also like that we get to see the stark, raw comparison of Metropolis and Gotham at their centers. Definitely a recommended pick up.

 

Score: 5/5

 

 

Images Courtesy of DC Entertainment. 

 

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104 Review: The Penguin #0 [Editor’s Note: This review

Sony has revealed that it will be releasing three new DualSense and console cover colours, this time with a “smooth metallic finish”.

The three colours – Volcanic Red, Cobalt Blue and Sterling Silver – are due for release in the coming months, and all come under the name The Deep Earth Collection.

The controllers will each cost $74.99 / €74.99 / £64.99, while the console covers will cost $59.99 / €59.99 / £49.99.

The Volcanic Red and Cobalt Blue controllers and console covers will released on November 3, while the Sterling Silver ones will arrive on Jaunary 26, 2024.

Sony says pre-orders for all models will start on October 4.

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“While crafting this new collection of DualSense controller and PS5 console cover colors, we drew inspiration from the beautiful and powerful hues found in the depths of planet Earth,” Sony’s design team member Satoshi Aoyagi said. “We elevated the colors by adding a metallic finish for a touch of sophistication.”

Fellow design team member Leo Cardoso added: “Volcanic Red boasts a rich blazing red tone. Cobalt Blue, on the other hand, presents a deep shade of blue with intriguing hints of purple. Lastly, Sterling Silver showcases a classic aesthetic with a subtle blue undertone.”