Everyone’s heart beat a little too fast during Olivia Rodrigo’s VMAs performance on Sept. 12. She totally fooled the crowd, including Selena Gomez, 31, with a faux stage malfunction. As Olivia, 20, continued singing “Vampire,” the pyrotechnics behind her looked like they were malfunctioning.
At one point, even Olivia appeared a little scared. The camera panned to the crowd, and Selena could be seen holding her hand to her ear. As she watched Olivia’s performance, her eyes appeared very worried.
Olivia was rushed off stage as the “malfunction” got worse, but it was all an act. The performance was a nod to Olivia’s “Vampire” music video where she is rushed off stage in a similar way. The HSMTMTS alum returned to the stage and sang her hit “Get Him Back.”
Selena was one of the stars who unexpectedly showed up on the VMAs carpet ahead of the show. The Only Murders in the Building star dazzled in a red floral gown. Taylor Swift, 33, Selena’s bestie, also made a surprise appearance and exuded Reputation vibes in her black Versace dress.
Olivia recently addressed rumors of bad blood between her and Taylor. Olivia notably had to give Taylor songwriting credits for two of her songs on her debut album, Sour, and therefore give up millions in royalties. In her recent Rolling Stone interview, Olivia said she does not have “beef with anyone.”
Olivia Rodrigo during her VMAs performance. (John Angelillo/UPI/Shutterstock)
However, the singer said she was “caught off guard” by the whole situation. She added, “At the time, it was very confusing, and I was green and bright-eyed and bushy-tailed. Is that the phrase?”
When asked if she would make an artist give her credit for a song if a situation like this happened in the future, Olivia responded, “I don’t think I would ever personally do that. But who’s to say where I’ll be in 20, 30 years. All that I can do is write my songs and focus on what I can control.”
Not everyone was pleased with the nominations for Best R&B during the 2023 VMAs. As Chris Brown’s name was called, “Only Murders in the Building” star Selena Gomez was caught on camera visibly sneering.
It was a fleeting moment, but a pointed one. Brown was nominated for “How Does It Feel,” his collaboration with Chlöe. Right as Brown’s name was mentioned by the announcer, Gomez’s face shifted from a neutrally pleasant smile to the above look. The Moon Man award ultimately went to SZA for “Shirt.”
Taylor Swift fangirled at the NSYNC reunion happening during the 2023 VMAs as the iconic group presented the “Anti-Hero” singer with a moonperson for best pop song.
“I’m not doing well pivoting from this [watching the NSYNC reunion] to this [ accepting an award],” Swift said while accepting the award. “Like, I had your dolls!”
Witnessing the reunion happening in full force without an announced performance or album, Swift asked the group if they had any bigger plans for an official reunion, saying “Are you doing something? What’s gonna happen now?”
“There’s something they’re gonna do — they’re gonna do something and I need to know what it is!” the “Cruel Summer” singer continued. “You guys — you’re pop personified so to receive this from your golden pop hands really it’s too much.”
Swift also thanked NSYNC member Lance Bass for the friendship bracelet he handed her when she came on stage.
“I love making pop music — I love making pop music videos — I also loved making country. I love slinking around different genres,” Swift continued in her first acceptance speech of the night. “The only reason I’m allowed to do that is because you, the fans, gave me the opportunity to do that. It’s all just one big adventure and it’s so much fun to challenge myself to make music that’s different than what I made last and I just love you for it. But I really love making pop music so thank you so so so much.”
The “Midnights” singer first expressed her joy at the reunion when NSYNC took the stage at the start of the MTV-hosted awards ceremony, without announcing any impending performance, reunion tour or anything of the sort.
“A lot has changed over the last two decades, but one thing remains constant: a creative boundary pushing video leaves a lasting mark for decades,” Bass said during the awards. “Now we just wanted to say thank you MTV and especially all of you guys.”
It’s never the VMAs without drama, real, manufactured or imagined, and the first hour of Tuesday night’s show was no exception. Either before or after her performance with Cardi B of their new single “Bongos,” fan footage of Megan Thee Stallion apparently getting into an argument with Justin Timberlake, who took the stage with his (reunited?) bandmates in NSYNC early in the show.
In a crowded area backstage, Megan is seen getting glam while the members of NSYNC pass. Timberlake, smiling, is seen leaning in to say something to her. Megan responds, pointing her finger emphatically and then turns away, looking angry.
The group’s Joey Fatone then says something as well.
It looks like an argument, but a backstage source who witnessed the exchange tells Variety there was “zero fight.”
“He said, ‘It’s so nice to meet you,’ and she said ‘No, no this don’t count, this don’t count. We gotta meet proper.’
“It was very cute,” the source says. Variety will have more on the situation as it develops.
Erica Mena has apologized for calling one of her “Love & Hip Hop: Atlanta” castmates a racist slur that resulted in Mena getting fired from the reality TV show.
The “Assistant” and “Hush” actor released a statement Tuesday addressing the incident, in which she called Jamaican musician Spice a “monkey” multiple times and taunted her with monkey noises. Mena shouted the slur on camera repeatedly during a recent episode of the VH1 series documenting the lives of the stars of Atlanta’s hip-hop scene.
“I deeply regret my insensitive comment and want to humbly apologize to anybody I hurt or offended by my thoughtlessness,” Mena said in a statement provided to The Times.
“My choice of words was wrong, and I take full responsibility for what I said. I am committed to listening to the voices of those affected and will work toward making amends. As a woman of color and the mother of two black children, I want to make it clear that my use of that word was not in any way racially driven. That said, I do understand the gravity of what I said and want to use my platform to promote inclusivity and equality.”
Less than a week after the episode premiered and sparked a backlash due to Mena’s misconduct, a statement shared on the “Love & Hip Hop” Instagram page confirmed that the former model would “not appear in the next season” of the show, “effective immediately.”
“The Love & Hip-Hop franchise has never shied away from hard conversations in our community,” the statement read.
“Working hand-in-hand with our partners, viewers will see the impact of Erica Mena’s remarks play out in the final three episodes of the season.”
During the episode, Mena flipped a table, berated and lunged at Spice after the dancehall artist told the “Stepmother” star that her son doesn’t like her. Spice later responded to Mena’s insults in a video posted on social media.
“Because I said the son ‘doesn’t like you,’ it still does not deter from the fact that she made the racist comments … slurs that she did,” Spice said in the video.
“She said what she said. … If I say I triggered something in her to get angry — that’s why she made the racist slurs — so then it’s OK to experience racism as long as someone is triggered? Is that the new way now?”
A representative for Spice did not immediately respond Tuesday to The Times’ request for comment.
Analyzing Spider-Verse 2’s Digital Release Viewership Numbers
Marvel
New data from television analytics firm Samba TV revealed that Spider-Man: Across the Spider-Verse was viewed by 321k domestic households in its first six days on video-on-demand.
Here’s how Spider-Verse 2‘s online viewership compares to other recent popular movies:
When Will Spider-Verse 2 Start Streaming?
It’s possible that fans learned about Spider-Verse 2‘s altered digital version, leading to them accessing the film through online platforms. The numbers also prove that anticipation surrounding the Marvel sequel is still high even after its stellar box office run.
But the question remains: when will the sequel be available on streaming services?
The substantial viewership numbers could mean that Sony Pictures wants to maximize the animated sequel’s digital sales first before eventually releasing it on Netflix.
If so, a safe bet for Spider-Verse 2‘s Netflix premiere could come around November 24 or even around the holidays on December 15.
Spider-Man: Across the Spider-Verse is now available on major digital platforms.
Review: Superman & Lois 3×13 – “What Kills You Only Makes You Stronger” (Season Finale)
[Editor’s note: This review may contain spoilers!]
Director: Gregory Smith
Writers: Brent Fletcher & Todd Helbing
Starring: Tyler Hoechlin, Elizabeth Tulloch, Michael Culditz, Sofia Hasmik, Chad L. Coleman, Emmanuelle Chriqui, Wolé Parks, Erik Valdez, Alex Garfin, Michael Bishop
Superman & Lois 3×13: All of Smallville comes together to view a meteor shower; Lex Luthor makes his move with a weapon that can rival Superman in raw power – and perhaps even kill him.
Positives
Thanks to the machinations of Bruno Mannheim, Lex Luthor finally has a weapon that may be capable of actually killing Superman. Finding the formally imprisoned Bizarro underground, Lex captures him and decides to experiment on and torture him. Being killed again and again, Bizarro resurrects more powerful than before. With each resurrection, Bizarro’s body becomes more and more twisted and disfigured, until Lex finally unleashes the creature upon the Man of Steel.
Negatives
I have no complaints about this episode. The action scenes were top notch, and the emotional impact was done really well. A particular scene between Lois and Superman during the battle with Doomsday stays in my mind, as Superman gives Lois a look, as if he knows he’s not going to return from battle this time.
If I had to complain about something, I hate that the next season is going to cut so much of the cast from the show. This episode saw some exciting new horizons for characters such as Chrissy and Kyle, and even Lana and John seemed to have found a potential relationship with each other. However, with the cuts being announced before the start of next season, I’m not sure what happens to these existing characters and their relationships with each other.
Verdict
Superman & Lois 3×13 was a great episode and an amazing conclusion to season three. It appears that the possible final season of the show will air in 2024 and I hope that the writers give it a proper send off for the fans it’s amassed over the years. There are so many vital parts to this show, between the villains, the action, and the entire family aspect of Clark’s life, and I hope they keep that same energy going into the final season.
As expected, 19 years after Justin Timberlake left the group and ten since their last performance together, the five members of NSYNC reunited again on Tuesday at the VMAs at the Prudential Center in Newark, New Jersey.
Their return was greeted with no small amount of enthusiasm by the crowd and especially Taylor Swift, who was seated up front next to Ice Spice.
The quintet, dressed in shades of blue, grey and white, began by recalling their VMA award-winning videos and then went straight to the Best Pop award, which not surprisingly was won by, as Timberlake put it, “the unstoppable Taylor Swift” for “Antihero.”
“I’m not doing well pivoting from this to this [from being an NSYNC fan to accepting an award],” she said. “Like, I had your dolls.”
Swift then continued the group’s ongoing reunion teasers by saying, “Are you guys gonna do something? I need to know what it is!” She gave a characteristically gracious speech, thanking her fans.
What might they be doing next? While there’s been no official word, the hints couldn’t be much less subtle.
For weeks the internet has been alight with reports that the group has recorded a new song, written by Timberlake, for “Trolls Band Together,” the upcoming third installment in DreamWorks’ animated franchise, which, judging by the trailers, has a boy band reunion storyline for Justin Timberlake’s character, Branch. The group’s other four members — JC Chasez, Lance Bass, Joey Fatone and Chris Kirkpatrick — and also expected to join Timberlake in the film.
The trailer shows the film’s boy band bears the awesome name BroZone, and there’s even a boy-band referencing bit of dialog:
“My brothers walked out on me!”
“Branch, we’re out of synch. We’ve gone from boys to men, and now there’s only one direction for us to go: The backstreets!”
The hints continued as posters bearing Nsync’s familiar logo — accompanied by an animated troll hairstyle — appeared around Los Angeles this week.
Along with stars Timberlake and Anna Kendrick, the film also features Camila Cabello, Troye Sivan, Kid Cudi, Daveed Diggs, Amy Schumer, Andrew Rannells, RuPaul, Zosia Mamet, Zooey Deschanel, Christopher Mintz-Plasse, Icona Pop duo Aino Jawo and Caroline Hjelt, Anderson .Paak, Ron Funches, Kunal Nayyar and Kenan Thompson.
Shakira stole the spotlight at the MTV Video Music Awards as she posed on the pink carpet alongside her two adorable sons, Milan, 10, and Sasha, 8.
Shakira, known for her signature hip-shaking moves and chart-topping hits, turned heads at the VMAs in a stunning gold dress that accentuated her radiant beauty. In contrast, her sons rocked stylish black and gold tracksuits, showcasing their young and fashionable flair.
Getty
Last month, MTV announced that Shakira will be the 2023 recipient of its coveted Video Vanguard Award at this year’s Video Music Awards, making her the first South American artist to earn the honor.
Shakira, a four-time VMAs winner, will accept the award and perform at this year’s ceremony, which will be her first time on an MTV stage in 17 years. She’s up for four Moon People this year: Best Collaboration, Best Latin (2x) and Artist of the Year.
In April, the Colombian songstress, who shares her sons with soccer sensation Gerard Piqué, asked for the media to respect her sons’ right to privacy amid her move from Barcelona. The “TGQ” singer took to social media to address friends and journalists in the media about the difficult year both she and her children have had amid her split from Piqué.
“At this moment of changes in my life as a public figure, it is understandable that there is a permanent curiosity from the press around me and my family. Yet my children, Milan and Sasha have lived a very difficult year, suffering an incessant siege and relentless pursuit by paparazzi and various media in Barcelona,” Shakira began. “As they begin a new phase in their lives, I urge the media on behalf of my children to please respect their right to privacy.”
In addition to asking for the media to respect her son’s privacy, the 46-year-old performer laid out a few ground rules to ensure a smooth transition for the kids as they settle into their new home, in Miami, Florida, where Shakira has lived previously.
“I ask you to refrain from following them to the exit or entrance of the school, wait for them at the door of our house, or chase them to their extracurricular activities, and games as it has happened every day in Barcelona in order to obtain photographs or better ratings,” she continued. “I trust that journalists and photographers are sensitive to the situation facing Milan and Sasha and can behave in the most humane way possible with them, given that this is the health and physical and emotional integrity of two under 8 and 10 years of just wishing they could go out on the street, and attend school feeling safe and having the peace of mind not being chased or subjected to constant surveillance of cameras.”
It’s something, Shakira added, she is asking for not just as an artist who has been in the public eye for two decades, but as a mother who wants to protect her children.
“I extend this petition no longer as an artist, but as a mother who wants to protect and care for the psychological and emotional well-being of her children so that they can live a healthy and happy life, as every child deserves,” Shakira said before ending the lengthy post.
Shakira’s call to the media came days after she announced that she and her children were moving away from Barcelona, where she had lived with Piqué and their two little ones, for over a decade.
“I settled in Barcelona to give my children a stability which we are now looking for in another corner of the world alongside family, friends and the sea,” Shakira wrote in an Instagram caption initially written in Spanish. “Today we begin a new chapter in pursuit of their happiness.”
Shakira thanked her fans for their support while she and her sons navigate the move. “Thank you to everyone who surfed alongside my many waves here in Barcelona, the city where I learned that friendship is definitely more lasting than love. Thank you to everyone who has been there to cheer me up, dried my tears, inspired me and made me grow.”
“Thank you to my Spanish fans who have always surrounded me with their love and loyalty,” she concluded. “For you, this is just a ‘See you later!’ and like my father said so many times, ‘See you around the curves! ❤️”
Shakira and Piqué first announced their split last summer, after Shakira allegedly discovered the soccer player cheating on her with the woman he is now dating publicly, Clara Chía.
In January, the singer’s new music seemingly referenced the scandal with the song lyric, “Las mujeres ya no lloran, las mujeres facturan,” which translates to, “Women don’t cry anymore, they send a bill.”
The 2023 MTV Video Music Awards is coming to you live from the Prudential Center in Newark, New Jersey, at 8 p.m. ET/PT on MTV. Follow along at ETonline.com for full coverage from this year’s VMAs, including the complete list of the nominees and the night’s big winners.
With fewer scripted originals on the broadcast networks in the fall season than in recent memory, NBC might have a hit on its hands with Found.
The network went public Tuesday with the official trailer for its upcoming drama series, and something tells us it will play well with fans of the absent CBS and NBC procedurals.
In the freshly released promo, Mark-Paul Gosselaar plays Sir, the man Gabi Mosely (Shanola Hampton_ has locked up in her basement.
We quickly learn that Sir abducted Gabi as a teenager and that she managed to escape her captor.
“Gabi was once herself one of those forgotten ones, and is still hiding a chilling secret of her own – she has found her kidnapper, Sir, (Mark-Paul Gosselaar), and uses his twisted expertise to help solve their cases.”
It’s a thrilling hook, and the trailer hams up the dynamic between the pair as Sir tells Gabi she wouldn’t be able to solve the cases without him.
But there’s also the possibility that Gabi’s one-time captor wouldn’t run off if she removed his shackles.
It makes us question whether there’s more to the kidnapping story from the past and whether Sir wants to help save other kidnap victims overlooked by the system.
The series also stars Gabrielle Elise Walsh as Lacey Quinn, Brett Dalton as Detective Mark Trent, and Kelli Williams as Margaret Reed.
Also starring is Karan Oberoi as Dhan Rana and Arlen Escarpeta as Zeke Wallace.
Found was initially set to launch earlier this year, but NBC moved it to the fall amid the uncertainty surrounding the WGA and SAG-AFTRA strikes.
The series will now premiere Tuesday, October 3, at 10 p.m.
Southern California Public Radio president/CEO Herb Scannell has announced his plans to retire after four years at the organization, which operates KPCC-FM (“LAist 89.3”), LAist.com and LAist Studios. Scannell, the Nickelodeon vet who later ran BBC Worldwide North America and Mitú, will remain in the role until a new successor is named.
The SCPR board has started a search for Scannell’s replacement. “Herb has helped accomplish precisely what we hoped when he joined us four years ago,” Drew Murphy, chair of the Board of Trustees of SCPR, said in a statement. Murphy said that included “building platforms to reach new audiences, aligning the organization to be more diverse in its staffing and its journalism, and creating a unified and more visible brand position in Los Angeles and the region. He has laid the foundation for the next era of contributions SCPR can make in the community as a reliable news source for everyone, even while managing effectively through the pandemic.
“SPCR is well positioned for the changing future we face that is fact-based and with a mind always on diversity, equity and inclusion to reflect the Los Angeles community it serves. We are grateful to Herb and wish him well as he moves into retirement.”
Under Scannell’s watch, KPCC changed its on-air branding to “LAist 89.3,” mirroring the name of the website LAist.com, which SCPR acquired in 2018. SCPR also launched LAist Studios on 2019 to produce podcass such as “How to LA” and “California City.” Recently, LAist announced the return of the limited series podcast and on-air series “Imperfect Paradise,” which relaunches on Sept. 27 and is hosted by Antonia Cereijido.
Additionally, in September 2022, LAist.com received an Online News Association Award for best website. KPCC/LAist 89.3 continues to rank as the top-rated public radio station in the Los Angeles market.
“I’m immensely appreciative of being a part of SCPR and to have helped enhance our role as an essential voice of and for Los Angeles.” said Scannell. “I will retire with confidence that the extraordinary team at SCPR can continue to bring a multiplicity of compelling voices and programming to an ever-more diverse audience within Los Angeles and beyond.”
According to SCPR, the org saw a “38% growth in revenue” under Scannell’s watch. The broadcaster revamped the radio station’s lineup around flagship show AirTalk, anchored by Larry Mantle, along with hosts Austin Cross (mid-afternoon / Friday AirTalk), Julia Paskin (weekends), Susanne Whatley (mornings) and Nick Roman (drivetime).
“SCPR’s employees are remarkable for their commitment to and accomplishments in public service,” Scannell added. “These past few years—with Covid-19, George Floyd’s death, the insurrection—have been the most difficult years of many of our lives and their journalism was more essential than ever. Our journalists, fundraising teams, and general staff kept the organization centered in the community and made sure we could provide L.A. with the information, solutions, and support to meet the challenges we all experienced. Our radio hosts—led by Larry Mantle—have been voices of reason and calm during it all. This level of excellence is the hallmark of the SCPR team, not just in challenging times, but in daily life here in Los Angeles – they bring a commitment that is unlike any I’ve seen in my long career in media.”
Scannell first joined Nickelodeon in 1988, eventually making his way up to vice chairman of MTV Networks and president of Nickelodeon Networks, where he oversaw all creative and business operations for a portfolio of brands including Nickelodeon, TV Land and Spike TV.
Scannell also expanded Nickelodeon’s brand into feature films, consumer products, magazines, online, live theatrical shows and an L.A.-based animation studio. He led Nickelodeon as it expanded its programming output to include everything from “SpongeBob SquarePants” to “Dora the Explorer.”
Later, he spent five years as president of BBC Worldwide North America, the Beeb’s U.S. production and distribution arm, building up the U.S. production operation with the development of buzzy hits such as “Orphan Black” and helping shape the BBC America cable channel. Scannell was the founding CEO of online-video network Next New Networks, which was later acquired by YouTube. And prior to SCPR, he served as CEO at Latino digital-media company Mitú.
The first Sundance deadline just passed. Most indie filmmakers aim for Sundance, often organizing their post schedules around the illustrious festival’s submission deadlines.I’ll admit, I was one of them.And like the 99 percent of filmmakers who have been rejected, I was one of them.And I survived.
There are so many more festivals now, and new distribution opportunities.If you do the research, and develop a custom strategy for your film, you have a better chance of finding a fit.
If you have a niche film, that can target SciFi, LGBTQ, or Social Impact Great.If you want to play other reputable US, International or Documentary fests, there are many to choose from.
Unfortunately, a majority of filmmakers put too much weight on top tier industry fests, instead of focusing on their film and career goals. Many indie filmmakers have had great success without Sundance.They have won awards, secured distribution deals and advanced their careers.
Here are two recent examples of emerging filmmakers who have scored, without the ever elusive Park City invite.Both are more than pleased with their festival run, and their continued success.
Beth Hawk played her film Breaking Bread in over 50 film festivals, winning numerous awards. It was acquired by Cohen Media Group in 2022.After a limited theatrical release, it became available on a myriad of streaming platforms.
Fabio Frey produced My Dead Dad, with rising star Pedro Correa.The film played at a number of quality festivals, winning awards along the way.The picture was acquired by HBO and premiered in 2023 to great reviews.
One of the most successful films rejected by Sundance played across the street at Slamdance. Oren Peli’s Blair Witch-esque low-budget thriller Paranormal Activity (2010) was acquired by DreamWorks.The $15,000 film grossed an astonishing $193 million worldwide.
Another successful filmmaker, Ava DuVarnay (Middle of Nowhere, Selma, 13th) struggled to get Sundance attention.
“I was rejected from Sundance six times,” she wrote. “For the festival in three different years. The labs in four different seasons. It is what it is. Keep making your stuff. Stay focused on what you want to say and make it and keep going. You’re okay. Keep going.”
Here are a few more famous examples of filmmakers with distinguished careers who had their first films rejected from Sundance:
Damien ChazelleGuy & Madeline on a Park Bench was rejected. Selected Credits: Whiplash, La La Land, Babylon
Doug Liman – Swingers was rejected. Selected Credits: The Bourne Identify, Mr. & Mrs. Smith, Edge of Tomorrow
Chris Nolan –The Following was rejected. Selected Credits: The Dark Night, Inception, Dunkirk
Clearly, there are many examples of life without Sundance.Yes, this Festival has done amazing things for indie filmmakers over the years, and I’m sure their incoming Director is a great fit.And if you feel like you need to submit to check that box, fine.But do so while managing expectations.Less than 1% get in.There are greener pastures beyond Park City.
I would suggest you save your money and develop a custom strategy that will help you maximize your festival run, without needing an invitation to the dance.
Jon Fitzgerald Author Bio
Jon Fitzgerald is the co-founder of Slamdance and has run many other film festivals, including AFI, Santa Barbara, Naples, just to name a few.He has also consulted to thousands of filmmakers though Cause Pictures, On the Circuit and his Film Festival Mastery course.His second edition of Filmmaking for Change: Make Films that Transform the World was published in 2017.
The model, 40, said she goes on family vacations with Bloom, 46, and his fiancée, Katy Perry. Kerr and Bloom share 12-year-old son Flynn.
“We enjoy each other’s company,” Kerr said in the interview, while also sharing the inspiration behind her KORA Organics skincare line. “It’s great.”
In 2007, Kerr and the Pirates of the Caribbean star began dating and secretly tied the knot in 2010. After three years of marriage, the couple split. However, they have seemingly maintained an amicable relationship since deciding to part ways.
Modern day friendship! Following Miranda Kerr‘s split from Orlando Bloom, the model and her ex’s new fiancé, Katy Perry, created a unique friendship over the years. Bloom and Kerr were originally married from 2010 to 2013. The pair share son Flynn, who was born in January 2011. The businesswoman later tied the knot with Evan […]
“When Orlando and I separated we just said ‘listen, at the end of the day, the most important thing is that Flynn’s needs come first, not ours,” Kerr noted. “So whatever we do, is this in the best interest of Flynn? And that’s kind of how we’ve navigated it.”
The KORA Organics founder went on to wed Snap CEO Evan Spiegel in 2017, and is currently pregnant with the couple’s third baby, her fourth. The pair share sons Hart, 5, and Myles, 3.
“It’s incredible because, you know, now with Evan as my partner for the last nine years and now we have our family and Katy and Orlando have Daisy,” she continued. “It’s like we’re a blended family.”
Phillip Faraone/Getty Images
Bloom welcomed daughter Daisy with Perry, 38, in August 2020. The actor and the American Idol judge began dating in 2016 after meeting at a Golden Globes afterparty and have been engaged since 2019.
Model moms! From the runway to the playroom, many well-known supermodels have learned to balance their careers with raising little ones at home. Gigi Hadid became a mom in September 2020 when she and then-partner Zayn Malik welcomed their daughter, Khai. (Hadid and the former One Direction crooner dated on and off beginning in 2015 […]
The bond between the two women is based on more than just their shared connection with the Carnival Row actor. Kerr and Perry have built a close friendship of their own through the years.
“I literally say how thankful I am for Katy every day,” Kerr said during an interview on the “Something To Talk About” podcast in May. “I feel very blessed to have that relationship with her. She really is like a sister to me and we’ve kind of connected from day one.”
Thank You!
You have successfully subscribed.
And when it comes to Perry, the feeling is mutual.
“We are a blended family, a modern family,” Perry said during a Vogue interview in March. “And we want to help destroy that old narrative [that] ex-wives and new wives don’t get along.’ That’s not true. We are strong, powerful women and we need each other and we are really there for each other.”
In a statement to social media, the National Book Foundation wrote “The National Book Awards is an evening dedicated to celebrating the power of literature, and the incomparable contributions of writers to our culture. In light of the announcement that ‘The Drew Barrymore Show’ will resume production, the National Book Foundation has rescinded Ms. Barrymore’s invitation to host the 74th National Book Awards Ceremony.”
The foundation added, “Our commitment is to ensure that the focus of the Awards remains on celebrating writers and books, and we are grateful to Ms. Barrymore and her team for their understanding in this situation.”
Barrymore was initially announced as host of the Nov. 15 event in late July. Now, just days after some protested her decision to bring back her talk show on Sept. 18, the foundation has revoked its decision, with no replacement host announced.
While picketers expressed anger toward Barrymore, SAG-AFTRA issued a statement ensuring that the talk show’s return did not constitute scabbing: “‘The Drew Barrymore Show’ is produced under the Network Television Code which is a separate contract and is not struck. It is permissible work and Drew’s role as host does not violate the current strike rules.”
Attendees of the show’s taping claim that the crew kicked them out on Monday due to their support of the strike. A spokesman from “The Drew Barrymore show” addressed this claim in a statement to Variety, saying, “It is our policy to welcome everyone to our show tapings,” the spokesperson said. “Due to heightened security concerns today, we regret that two audience members were not permitted to attend or were not allowed access. Drew was completely unaware of the incident and we are in the process of reaching out to the affected audience members to offer them new tickets.”
Logline: A theatre troupe finds escape from the realities of incarceration through the creativity of putting on a play in this film based on a real-life rehabilitation programme and featuring a cast that includes formerly incarcerated actors.
Key Quotes: “The story is really about this group of people who found a community through the arts, on the stage, and we told it in a community way with the people who really lived it, alongside some of our world’s greatest actors who shared the same spirit and heart.” – Greg Kwedar
“The first thing they sent me was this Esquire article about this program [Rehabilitation Through the Arts] at Sing Sing, and I thought it was fascinating… The first time we [gestures to Maclin] were on a Zoom, we were just playing. It’s like we’re going to create something together, sort of like the way you do on the playground, and I think we have an idea about something and as long as we put all of our hearts, and minds and energy towards it, we can create something new and impactful.” – Colman Domingo
“The message that we’re really trying to get out is that there’s human people inside of this prison… and I think people who see this will see that there’s a more human quality to individuals who you might cast off… There’s a man in there and you can wake him up, and art is the perfect tool to do it.” – Clarence “Divine Eye” Maclin
“On more than three separate occasions, one of the men that actually lived the experience in prison told me, ‘You know, if I had just met this acting teacher or this program before I did what I did to end up in Sing Sing, I wouldn’t be here.’ And I know that’s the truth, it’s the truth about my life because I met an acting teacher who opened me up. So, it’s a beautiful story and this program changes lives.” – Paul Raci
A rising TikTok personality has met an untimely end at the age of just 22 years old. Unthinkable.
Mexican beauty influencer Michelle Lizarraga, known better as La Bellota, reportedly died in a horrific car crash in the early morning on Friday, just hours after posting a video showing her partying in the club.
After leaving the San Francisquillo nightclub Thursday night, she apparently lost control and drove off the road — and her car plunged into an irrigation ditch. The vehicle capsized in the canal and quickly flooded with water.
Her car was not found until 8 a.m. on Friday. Nevertheless, first responders tried to revive Michelle at the scene, but it was too late. According to reports, she was identified quickly by her distinctive tattoos (as seen above, inset).
It seems from the lack of any other victims reported that Michelle was driving — though she could clearly be seen drinking champagne in the video. Hopefully an official report will clear things up.
Many of La Bellota’s thousands of followers have been saying goodbye to her on her final videos. You can find them HERE.
Pooja Bhatt on Alia Bhatt’s is her daughter, Nana Patekar reacts
From Pooja Bhatt’s reaction to Ranbir Kapoor’s Animal teaser releasing, check out important happenings of the day.
Pooja Bhatt weighed on the wild rumour that Alia Bhatt is her daughter. The actress-filmmaker, who was recently seen in Bigg Boss OTT season 2, is Alia’s half-sister. They shared an age difference of about 21 years. While it is no secret that Pooja and Alia are daughters of Mahesh Bhatt, there were shocking rumours claiming that Alia is her daughter. Pooja reacted to the speculations for the first time and called the claims ‘absurb.’
Nana Patekar’s portrayal of Uday Shetty in Welcome continues to remain an integral part of the meme fest on social media to this date. His impeccable comic timing and banter with Anil Kapoor’s portrayal of Majnu bhai remain etched in the minds of fans. Needless to say, many were disappointed when the makers of Welcome 3, also known as Welcome To The Jungle, announced that Patekar and Kapoor aren’t a part of the film and that they have been replaced by the Munnabhai duo of Sanjay Dutt and Arshad Warsi.
Sandeep Reddy Vanga’s Animal featuring Ranbir Kapoor, has been one of the most highly anticipated films of 2023 since its inception. Fans have been eagerly waiting for the film’s teaser, and there are hints that it may finally be unveiled towards the end of September, coinciding with Ranbir Kapoor’s birthday on September 28. Now, in a recent interview, Bhushan Kumar, the producer of the film, expressed confidence in the movie’s potential to be a massive box office hit, thanks to its exceptional cast and cinematic excellence.
Kangana Ranaut had once called Alia Bhatt the ‘undisputed queen’ of Bollywood. Back in 2018, Kangana was among the many stars who made their way to the theatres to watch Raazi. The film, directed by Meghna Gulzar, starred Alia Bhatt in the lead and had surpassed Rs 100 crore at the box office at the time. Kangana had watched the film a few days after the release and had praised Raazi and Alia. In a video shared on YouTube at the time, Kangana interacted with media and the paparazzi gathered outside the theatre.
Shah Rukh Khan’s Jawan has become the biggest blockbusters of all time. Ever since its release, the Atlee directorial has been ruling hearts, headlines and of course, box office. In a recent interview with Pinkvilla, Sanya Malhotra, who is also a part of Jawan, was asked if there is an extended cut of Jawan. The actress shared, “That shows how much people love the film and are invested in all of us.”
Nicolas Cage is one of the most admired actors in the world, and given the lore surrounding his unique personality and spectrum of roles, ranging from award-winning to eccentric, he’s always a point of interest in Hollywood. In the upcoming film “The Retirement Plan,” debuting theatrically on Sept. 15, Cage plays a retired government assassin with a violent set of skills, who must protect his estranged daughter and grandchild (played by Ashley Greene and Thalia Campbell) after they get tangled up with some very bad men (including Ron Perlman and Jackie Earle Haley). Writer and director Tim Brown spoke with Variety about the art of directing and collaborating with Cage.
What were your expectations once you learned that Nicolas Cage booked the role of Matt in your movie?
My expectation was he was going to be a complete pro and just have everything down. The day that I have to have an ego and someone who’s trouble or really wants to push against what I’m thinking…I don’t know what would happen, I’d probably flip out [laughs]. He came in fully prepared. Whatever my expectations, he blew them away tenfold.
Is he the kind of actor who wants to collaborate with you on ideas or just stick to the script?
I think if I was preparing a meal, he wouldn’t touch the main ingredients, but he would come in and say, “If you add a little cumin to this, it’s going to change the whole thing.” I call it the “Nick Cage spice” — he would add something in there, and it’s because of an encyclopedic knowledge of cinema. He’s always pulling from a file. I don’t think it’s any different than how Quentin Tarantino pulls from files when he thinks of cinema and new ideas, because new ideas are just old ideas, recycled and refigured out and repositioned.
When I first talked to him was when he sent me notes on the script — only on his dialogue, nothing else. He’s a tremendous dialogue editor, in that I would over-phrase something, and less is always more. He would say something with a look. He would rewrite a line and say, “Instead of saying a line, what if I just gave her a look?” So he adds these elements where he’ll change the script, but he won’t change the line.
Cage is such a film historian. Were there any characters or actors he looked at as a guiding light from the past while playing this character?
It was actually Leslie Howard as the Scarlet Pimpernel [from the 1934 movie of the same name]. It’s very specific. We would give films to watch back and forth: Influences of mine, influences of his. The Scarlet Pimpernel is a master of disguises in the movie. At one point he’s acting as a flamboyant guy, a rich playboy during the day. That night, he sneaks out dressed as an old lady to infiltrate the French troops to try and rescue these aristocrats and bring them to safety. You realize Nic’s character in our movie is seemingly a drunk beach bum, and then slowly through time, we peel back until he’s in full uniform, puts on a flak jacket. We see him loading weapons and it’s like, “OK, this is the onion, and we’ve peeled and he’s a trick artist and a disguise artist,” except he does it without putting on a mask.
What was Nic’s process like when approaching a fight scene?
He’s there the whole time. The stunt guys do it first, show everyone what to do. He goes to the level. We didn’t throw him off a building or anything — it was relatively tame and closely shot. So he was right there. He must have a photographic memory, because his ability to have someone describe something that has 15 different moves to it and he’ll go, “OK, show me, tell me.” Then he’ll do it and say, “I got it.”
There’s a scene where he’s loading weapons, and he’s done it so much in movies. It’s like a basketball player shooting a three. We’re amazed when they keep doing it over and over, but he’s been doing it his entire life. He comes in with such a résumé that he can just pull out his bag of tools and say, “Yeah, I got that for you, no problem.”
Was there something about working with Nic Cage that you’re going to keep with you?
He taught me a lot about dialogue editing for sure, to omit a lot. I think it helped me be less afraid of hearing other people’s advice on my work, because it’s only for the better. You put the ego aside to a degree, and just allow yourself to be open to suggestions. He’s bringing in a wealth of knowledge and the intention is to help and make it better.
Watch the trailer for “The Retirement Plan” below.
While Ms. Marvel didn’t bring in the number of viewers that Disney and Marvel are accustomed to, the show was well-received by both critics and fans. Unlike, say, Secret Invasion, Ms. Marvel has a 98% rating on Rotten Tomatoes and was lauded for its fresh spin on the superhero origin story.
The question now is whether or not Ms. Marvel will follow in Loki‘s footsteps and return for a second season. The show already became the first Marvel Disney+ series to air on ABC, so clearly there is an audience for the show.
Photo: Marvel
While nothing is officially on the dockett, the show’s producer Sana Anabat has previously mentioned that fan demand could ultimately be the thing that brings the show back.
Ms. Marvel Season 2 Update
In a recent interview with The Playlist, Ms. Marvel director Adil El Arbi was asked about a potential Ms. Marvel Season 2, and revealed nothing is underway as everyone waits for The Marvels to hit theaters.
Photo: Marvel
The Marvels will see Kamala Khan team up with her hero Captain Marvel and Monica Rambeou to form Marvel’s newest superhero team. The film’s director Nia DeCosta, previously revealed that Kevin Feige and Marvel’s brass have kept future plans for the film’s main characters under wraps.
If The Marvels proves to be a success, and there is fan interest in seeing Kamala’s story continue, it sounds like a Ms. Marvel Season 2 is a real possibility. Until then, all fans can do is wait.
The Marvels. Photo: Also Entertainment Weekly
The Marvels will hit theaters on November 10.
Thanks for visiting MickeyBlog.com! Want to go to Disney? For a FREE quote on your next Disney vacation, please fill out the form below and one of the agents from MickeyTravels, a Diamond level Authorized Disney Vacation Planner, will be in touch soon! Also, thanks for reading!
Review: Green Lantern #3 [Editor’s Note: This review may contain spoilers]
Writers: Jeremy Adams and Phillip Kennedy Johnson Art: Xermanico and Montos Colors: Romulo Fajardo, Jr. and Adriano Lucas Letters: Dave Sharpe
Reviewed by: Matthew B. Lloyd
Summary
Sinestro begins his revenge on Hal Jordan with an attack on Ferris aircraft. It’s all a surprise to Hal when Carol calls on him to get to the bottom of it.
Positives
The art by both Xermanico and Montos is fantastic. They make both stories look great. Montos captures some real depth of emotion for John Stewart and Guy Gardner. Xermanico does the same though the complexity of Hal and Carol’s relationship. It’s great to see it as part of the story, but even better that the art communicates it so effectively.
The story with Guy and John has a couple of interesting aspects. Firstly, there’s an intriguing multiversal component with the Revenant Queen, but just as compelling are the decisions John is making about his dying mother. It’s a unique problem that’s not covered in super-hero stories. How much attention it gets in the continuation in the forthcoming Green Lantern: War Journal #1 remains to be seen.
With Green Lantern #3, Jeremy Adams brings the three major players of Hal Jordan’s turn as Green Lantern together. Hal clearly has just as much history with Sinestro as he does with Carol. Both of these relationships are complex. It cleverly sets Carol and Sinestro as parallels in Hal’s life. There are a number of ways each relationship could go and they aer both legitimate reasons to come back and see where things go. Focusing on these three characters invigorates the book with a nod to the history of the series. Additionally, it makes the series about the people and not simply the heroics.
Negatives
There’s a bit of a hangover from Knight Terrors as the opening of Green Lantern #3 doesn’t follow exactly from the ending of Green Lantern #2 or Knight Terrors: Green Lantern #2. It’s still a shame this series had to be interrupted by the Knight Terrors event. It may prove to be helpful to go back and reread the first two issues of the series as a refresher.
Verdict
Green Lantern #3 is a good issue that suffers from having to overcome the Knight Terrors event. It has to work a little harder to get the momentum going again after the great first two issues that this Green Lantern relaunch built. While there remains an awkwardness, the issue does reset the focus and bring Hal into contact with his greatest nemesis, Sinestro. The triangle of Hal, Carol and Sinestro isn’t a love triangle, but an interesting intersection of lives that is unique in comics.
Influencers have been using TikTok to land brand deals and promote products for years, but now the company is ushering in a more formal shopping experience. TikTok is launching its e-commerce product in the United States in an attempt to capitalize on the app’s popularity, and turn its viewers into consumers. In a recent , the company announced its TikTok Shop — which includes a host of features for users, content creators and businesses.
The TikTok Shop includes a “Shop Tab” for businesses to display their products, affiliate videos placed in users’ feeds that allow creators to earn commissions and for businesses. TikTok is also launching its own logistics arm called “Fulfilled by TikTok,” which will facilitate storage and shipping for registered merchants.
In an interview with , TikTok executive Nico Le Bourgeois said the TikTok Shop had more than 200,000 registered sellers, with over 100,000 creators already having access to its livestream shopping buttons. Bourgeois went on to discuss the company’s plans to shake up the industry.
“We have a very aggressive plan to make a splash in the industry and make sure that people out there understand that TikTok is a place for shopping,” he said. “We’ll be very through a combination of traffic, free shipping and deals.”
TikTok Shop is based on a similar and hugely successful feature on its sister app, Douyin, available across Asia. While there’s no doubt that hashtags like #TikTokMadeMeBuyIt has fueled product discovery on TikTok, live shopping hasn’t quite taken off in the US yet. Of course, TikTok isn’t the first social media app to attempt a pivot to e-commerce. Meta has tried for years with and Instagram. has also been navigating the e-commerce waters by offering its users an easier and faster way to by what they see. However, those efforts have not skyrocketed just yet.
As of right now, the Shop Tab is available for 40 percent of TikTok users. The feature will be rolled out gradually and become available for all users by early October.
It’s funny to think about, but technology is only able to move as fast as technology lets it.
And that’s true for not just film and video tech, but any industry as we see time and time again new innovations springing up that promise big changes, only to be nerfed by the infrastructure around it which hasn’t caught up to the most recent trends.
For the latest example, we have the new CFexpress 4.0 cards that have just been announced with specifications which double the performance of these iconic memory cards in all formats. Great news for us filmmakers and video pros, right?
Yes, while it’s obviously great news, it’s also moot at this point because no camera currently exist which can utilize these new cards and their updated specifications. At least not yet…
Introducing CFexpress 4.0
Rumored to release earlier this year, the Compact Flash Association (CFA) officially announced the specification for CFexpress 4.0 in August and confirmed that it is set to double the performance of current memory cards in all formats. This includes Type A cards (which only Sony uses) and the more common Type B cards (which are usually cheaper).
These new CFexpress 4.0 cards are set to double the theoretical maximum throughput which is set to make these new 4.0 Type A cards as fast as current Type B cards, as well as push the new Type B cards to some insane levels never before seen for these types of memory cards.
CFexpress 4.0 for Video Recording
On top of that, because of these new speeds and specifications, the CFA is also set to add a new specification for Video Performance Guarantee (VPG) which will go well beyond the current VGP 400 certification, guaranteeing that these new cards will never go lower than 400 MB/s transfer speeds.
But what does all of this mean for video recording? Well, at first nothing really as cameras have not been designed with these new speeds in mind. However, in theory, CFexpress 4.0 is going to unlock new speeds for video recording which should provide higher resolution at faster frame rates and with much greater bit depth.
This all sounds well and good, but when will we actually see cameras and gear that can handle this new generation of CFexpress cards?
Credit: ProGrade Digital
The Next Generation of CFexpress 4.0 Cameras
Luckily we do have news that ProGrade Digital has announced a new third generation of its CFexpress Type B memory card which is set to be fully compliant with these new CFexpress 4.0 specifications. This new card will allow for read speeds up to 3,400 MB/s, burst write speeds up to 3,000 MB/s, and sustained write speeds up to 2,800 MB/s — all great specs for high-resolution and cinema-grade video recording.
Still though, even with these new ProGrade Digital cards, we’re only talking about relevant speeds for post-production workflows. There are no current cameras capable of handling these speeds unless you have some setup with USB 4.0.
In the next year or so we’d expect to see more new cards released as well as a host of support features like updated card readers and new internal camera tech which will be able to support CFexpress 4.0. After all, even while technology might be in its own way right now, it’s also been very good at catching up to the curve.
Horror has long been seen as underground. Films such as Rosemary’s Baby (1969), The Exorcist (1973), or The Evil Dead (1981) have been, for decades, talked about as corrupt media. Things to be afraid of and keep the children safe from. And if you grew up in a Christian environment—as I did—you’d learn to keep your distance from it.
It was only when in university that I began to truly explore this part of cinema. So, imagine my surprise when rewatching The Exorcistand suddenly noticing how apologetic the film was towards Christianity, and borderline conservative at times. Once I saw it, I couldn’t stop. The list of films with Christian mythology, characters, and ideology was endless and I kept wondering: why? Isn’t horror supposed to be a genre that questions mainstream mentality?
That is whereInvisible City comes in. Created by Carlos Saldanha, Invisible Cityis a Brazilian fantasy/horror show produced and distributed by Netflix.
The series follows Eric (Marco Pigossi), an environmental police officer who, after the mysterious appearance of a Boto Cor de Rosa on a beach of Rio de Janeiro, is lured into an underworld of magic and dangerous schemes. Importantly, the Boto Cor de Rosa is a creature from Brazilian folklore that transforms into a man to impregnate women, only to return to its animal form and disappear.
It all starts with the death of Eric’s wife, Gabriela (Julia Konrad), an anthropologist who studied a local community and its folklore. He was the skeptical person of the relationship and even after Gabriela dies in strange circumstances, he refuses to believe anything magical had an influence on it. It’s only after the dead body of the Boto Cor de Rosa, which he rescued from the beach, shapeshifts into a human corpse, that Eric is forced to acknowledge that some things might be beyond his understanding.
The first time the show introduces the idea of different kinds of mythology is not via the creatures, but through the debate between Eric and Gabriela. You could argue that Eric is a thematic representation of a Christian mentality. He might not necessarily believe in a God or a Devil. But he’s attached to the idea of a black-and-white world. He’s a police officer and works inside a system in which there are rules that you must follow, no questions asked. On the other end of the spectrum, we have Gabriela, a person dedicated to listening and understanding the many different cultures and experiences in the world.
This kind of right and wrong, good versus bad mentality creates a dangerous precedent to what Lucas Eric Harold Bergeson (2020) calls a sanitation of narrative. He explains that “(…) assuming the sameness of all stories, or universal archetypes, in the general adherence to a specific and defined mythic structure reduces the intricacies and characteristic differences that make cultures and religions unique (…).” Essentially, if you believe there are only two ways of telling a story—the right and the wrong one—you bear the risk of erasing nuance.
It is fair to say that these characters encapsulate the thesis of the show of needing to move from a Christian mentality, where you are either saved or damned, to a more nuanced approach to existence. However, there might arise the question of why any of this is relevant. How is a show about folkloric beings important to the debate about our understanding of the world? Well, to answer that we must take a look back in time.
For decades, places like the USA and the UK have dominated the production and distribution of horror. These were industries with large international reach, something that helped them shape many of the tropes and conventions that would come to be associated with the genre. This influence reached many places, including Brazil, a country that was—and still is—an avid consumer of horror flicks. However, during the time these foundational films were being produced, the film industry in Brazil was still very new and its creators were actively trying to distance themselves from what was considered foreign cinema and horror movies were part of that.
Even though much of Brazilian cinema has approached mystical topics, filmmakers were hesitant to fully adopt the language and aesthetic of horror cinema. In his 2002 book, Dicionário de Filmes Brasileiros (Dictionary of Brazilian Films, in free translation) Antônio Leão da Silva Neto listed that from the 3,415 finalized movies in the 150 years of film in the country, only 20 were classified as horror and most were from the same creator, José Mojica Marins aka Zé do Caixão.
Unfortunately, this pushback against horror backfired. With the genre practically abandoned by Brazilian filmmakers, there was a gap in the market to be filled and Hollywood took advantage of that. Now, instead of a genre cinema rooted in local folklore, mythology, and culture, as was intended by Brazilian filmmakers of the time, the country was swapped into the puritanical dilemmas coming from the USA.
In his book, Religion and Popular Culture: Rescripting the Sacred (2008), Richard Santana explains that: “The United States is the world’s primary creator and exporter of popular mass culture and arguably one of the most religious countries in modern history. As a result, the coexistence of American Religion with popular culture has created a fertile yet caustic environment for new religious belief structures, new texts, and new worldviews that are uniquely American.”
That is why a show like Invisible City is such an interesting phenomenon. Even though the genre scene has been gaining traction in Brazilian cinema since the mid-2010s, with films such as Friendly Beast (2016) and Clarisse(2017), none would so openly adopt an alternative mentality to the dominant Christian-coded horror.
Unlike most horror films, where the Christian dualistic mentality dominates characters’ morals, Invisible City brings forward a different kind of mythology and therefore ideology to its narrative. For instance, when Luan (Manu Dieguez), Eric’s daughter, is shown to be possessed by an evil spirit named Corpo Seco, they don’t call an exorcist. Instead, they bring in a Pai de Santo—a healer usually associated with Afro-Brazilian religions—to help Luna find her way back into the physical world. Unlike in films such as Pet Sematary(1989), where an Indigenous burial ground is the source of the problem, these beliefs and cultures alternative to the mainstream are the solution to our characters’ troubles.
This is also reflected in the characters. Slowly we are introduced to the fact that folkloric beings such as Saci-Pererê, Cuca, and Iára live amongst humans. And while some of these beings are in fact dangerous, others are a little more nuanced and challenge our understanding of what is moral.
This is not to say the show never approaches Christianity. After all, Brazil still is a very Catholic country. However, when it does depict the church, it is never as the sole hero of the story, but just as a different and, at times, flawed approach to the topics presented by the show.
In season two we have the story of the Mula Sem Cabeça, a creature that is a mule with a pit of fire in place of its head. This creature only exists if a woman has an affair with a priest. She is then cursed with transforming into a mule every night. At first, we believe it’s the woman who is the sinner and who’s being punished. However, as their story progresses, we are shown that being the mule is not a burden, but a blessing. She doesn’t regret having the affair, because they truly loved each other. It is the priest, who is cowering in the face of challenge, that is causing them trouble. The monster has become a symbol of freedom, not of shame.
Of course, this is not the perfect show. Production and script issues do weigh down some of the impact the series could have. However, by exposing a new perspective and by questioning the stories horror films have been telling us for decades, Invisible Citymight have just sparked a new movement, one to recuperate horror from the tight clasp of God and The Devil.
Gannett’s USA Today Network has listed a job posting for a Taylor Swift Reporter who would work specifically at The Tennessean.
The outlet describes the candidate they are seeking as “an experienced, video-forward journalist to capture the music and cultural impact of Taylor Swift.”
“The successful candidate is a driven, creative and energetic journalist able to capture the excitement around Swift’s ongoing tour and upcoming album release,” the posting reads. “While also providing thoughtful analysis of her music and career. “
Posted Tuesday, the job listing outlines criteria such as a bachelor’s or master’s degree in communications, at least five years of journalism experience, content creation, willingness to travel extensively and more.
”Swift’s fanbase has grown to unprecedented heights, and so has the significance of her music and growing legacy. We are looking for an energetic writer, photographer and social media pro who can quench an undeniable thirst for all things Taylor Swift with a steady stream of content across multiple platforms,” the listing adds. “Seeing both the facts and the fury, the Taylor Swift reporter will identify why the pop star’s influence only expands, what her fanbase stands for in pop culture, and the effect she has across the music and business worlds.”
Swift recently wrapped up the United States leg of her “Eras” tour, which spans nine of her ten studio albums and culminates in a three-plus hour show. The European leg starts in November and picks up later in the new year.
“We are looking for a journalist with a voice — but not a bias — able to quickly cultivate a national audience through smart content designed to meet readers on their terms,” the posting concludes. “This reporter will chronicle the biggest moments on the next portions of Taylor Swift’s tour, offering readers of USA Today, The Tennessean and more than 200 local news sources an inside view.”
I’ve been loving Season 2 of HBO’s energetic sports dramedy Winning Time. A slam dunk of ’80s basketball nostalgia, the second season centers on the historic rivalry between Magic Johnson’s Lakers and Larry Bird’s Boston Celtics, with the two future Hall of Famers set to square off in the 1984 NBA Finals. A strong cast (John C. Reilly, Quincy Isaiah, Adrien Brody, Jason Segel, Solomon Hughes, and Jason Clarke), unique cinematography, and obvious reverence for basketball combine to make Winning Time a Sunday night staple.
“The Drew Barrymore Show” returned from its summer hiatus Monday and all hell broke loose.
The WGA picketed Barrymore’s daytime talk show, which employed three WGA members prior to the strike. The program joins the ranks of ABC’s “The View,” which also returned. “The Talk,” “The Jennifer Hudson Show,” and “The Kelly Clarkson Show” have all announced their intention to return before the strike ends; they can expect the same treatment.
All daytime talk shows are not created equally as far as the WGA is concerned. “Tamron Hall,” “Live with Kelly and Mark,” and “Sherri” don’t employ WGA writers and should have cleaner comebacks. Of course, they still can’t have actor or writer guests promoting their films or TV shows. (SAG-AFTRA has been on strike since July 14; the WGA strike started May 2.)
While late-night talk shows often have heavily written sketches, monologues, and hosts who are also WGA members, daytime shows have looser writing responsibilities.
Shows like “The View,” “The Talk,” “The Jennifer Hudson Show,” and “The Kelly Clarkson Show” each employ two or three writers. (IndieWire understands “The Kelly Clarkson Show” employs 178 individuals.) And because some are largely unscripted panel shows, a program like “The View” has remained on the air throughout the writers strike, just without any writers working.
Any show that employs a WGA writer falls under the MBA, or minimum bargaining agreement, that encompasses all film and TV writers. Those shows are all considered “struck” by the guild. That’s a key difference between the WGA and SAG-AFTRA. Daytime talk shows are covered under a different contract, “Network Code,” which explains why SAG-AFTRA members like Barrymore, Whoopi Goldberg, and Kelly Clarkson are still working on daytime TV. (SAG-AFTRA issued a statement obtained by IndieWire saying that Barrymore is not in violation of its strike rules.)
Still, some SAG-AFTRA members, like Mayim Bialik of “Celebrity Jeopardy,” are voluntarily stepping away to support the overall cause. That’s probably doesn’t help the case for Barrymore, a former movie star. “The West Wing” star Josh Malina called Barrymore a “scab.” In an Instagram comment, actress Milana Vayntrub asked her to “turn back now.” WGA negotiating committee member Adam Conover begged her to “please reconsider.”
“The Kelly Clarkson Show”Weiss Eubanks/NBCUniversal
Also not helping Barrymore is her decision back in May to step down as host of Neither the 2023 MTV Movie & TV Awards. In her Instagram post explaining why she’s returning to daytime, Barrymore reminded fans of her prior decision to step away from hosting the MTV awards show in solidarity with the writers. This time, she said, “is bigger than just me.”
“[The MTV Awards were] also in the first week of the strike and so I did what I thought was the appropriate thing at the time to stand in solidarity with the writers,” Barrymore wrote in her post. “I am also making the choice to come back for the first time in this strike for our show, that may have my name on it but this is bigger than just me. I own this choice. We are in compliance with not discussing or promoting film and television that is struck of any kind. We launched live in a global pandemic. Our show was built for sensitive times and has only functioned through what the real world is going through in real time. I want to be there to provide what writers do so well, which is a way to bring us together or help us make sense of the human experience. I hope for a resolve for everyone as soon as possible. We have navigated difficult times since we first came on air. And so I take a step forward to start season 4 once again with an astute humility.”
Barrymore said she will not violate SAG-AFTRA’s rule to not promote work made by the AMPTP studios, but she is returning to a struck WGA show. Critics of her choice have argued that she has the means to support her staff out of her own pocket while the strike continues.
And then there was the Monday taping incident. Two audience members at her show’s first taping were reportedly asked to leave after security spotted them wearing WGA pins.
“It is our policy to welcome everyone to our show tapings. Due to heightened security concerns today, we regret that two audience members were not permitted to attend or were not allowed access. Drew was completely unaware of the incident and we are in the process of reaching out to the affected audience members to offer them new tickets,” a spokesperson for the show told IndieWire.
“The Talk” and “The Jennifer Hudson Show” are reportedly set to return September 18; reps for both shows had no comment. Sherri Shepherd’s talk show is set to return the same day.
“The View” cast in 2021ABC
Clarkson’s show has a convenient loophole. Her daytime talk series, off for the summer like so many, moved from Los Angeles to New York City. That means it needs to build a brand-new set at 30 Rock, which is currently under way. With that preplanned delay, Clarkson has not announced a return date. It also means that her writing staff for the 2023-24 season is not finalized; technically, Clarkson’s camp can claim the show had no WGA writers employed for this season. They used WGA writers in previous seasons.
Also at issue is the definition of “writing” itself as it pertains to daytime TV. IndieWire talked to some talk-show sources who feel the shows will be able to continue without any “writing” being done. “The View” host Goldberg addressed this in May, saying audiences would notice what it’s like when things are “not slicked up” by writers. Segment producers often did the most basic writing — notes and questions, for example — on these types of shows. They are generally not WGA writers.
The WGA doesn’t see it this way. Its rules about what constitutes “writing” have tightened since the 2008 writers strike, when all major late-night talk shows (eventually) returned to the air without writers a full month before the strike ended.
Today, the guild has strict strike rules for its MBA writers that restrict responsibilities known as the “(a)-(h) functions.” These are meant to prevent showrunners from taking on minor script edits like cutting for time, adding stage directions, or reassigning lines from one character to another — all tasks that studios sometimes don’t think of as “writing.”
However, late-night, daytime, game shows, or variety shows are covered under separate “Appendix A” rules in which “writing” could mean anything from scripting a monologue to developing and researching questions for guests or putting those words on cue cards.
Put more simply: If you’re replacing the work that a writer would otherwise do, the guild views it as scabbing. Penalties include monetary fines or a potential lifetime ban from the WGA (for current members or future hopefuls) for the individual, and a visible protest for the show.
The WGA isn’t starting any disciplinary proceedings or publicly accusing Barrymore or her staff of wrongdoing (yet). It has made clear that “The Drew Barrymore Show” is struck, and if any work is done on it, there will be issues. Barrymore may not have a concern about one day being a staff writer on a Netflix series, but she does have a reputation to worry about.
“Oh, you own it. For sure, @DrewBarrymore,” actor Bradley Whitford, one of many stars who publicly slammed her Monday, said on X. “And we’ll never forget it.”
Machine Gun Kelly fans were seeing double during a recent concert, when Pete Davidson surprised the crowd by joining the performer onstage in a nearly identical ensemble.
The Saturday Night Live alum joined MGK onstage for his Thursday performance at the Mohegan Sun Arena in Uncasville, Connecticut, wearing matching black crop tops and camo pants. But Davidson wasn’t the only surprise guest of the evening, as he was joined by a child holding a pink guitar. In a fan-captured video from the show, Davidson held the little one up in the air as Kelly jokingly teased him for going “full Lion King.”
Kelly referred to the kiddo as “Leo” and offered him a high five before launching into his song, “Drunk Face.”
BACKGRID
The child appears to be the 5-year-old son of Davidson’s pal, Ricky Velez, who shared a photo of the on-stage appearance along with a video of Leo backstage with MGK on his Instagram.
“Happy Birthday to the coolest, kindest, smartest 5 year old in the world!” he captioned the sweet carousel. “I am very lucky that I get to be your dad.”
The appearance comes a few months after ET reported that Davidson had entered rehab for his mental health in the wake of a March car crash for which he was charged with misdemeanor reckless driving.
“Pete Davidson has been in rehab and is being treated for mental health issues,” a source told ET. “He can be manic and wasn’t sleeping well or taking good care of himself, so he decided to go to get help, take a break, and get back on track. Pete is focusing on himself.”
“Everything between Megan and Machine Gun Kelly has been great lately. They’re in a really good place in their relationship and have worked to get things back on track,” the source said.
“They are fully back together and enjoying it,” the source added. “They are talking about their future plans and about moving forward with their engagement and wedding planning.”
“Wonka” director Paul King worked with Hugh Grant on “Paddington 2,” but he knew getting the actor to play an Oompa Loompa in the upcoming Warner Bros. musical would take extra convincing. So King wrote Grant a letter in which he said the actor was great at playing “washed-up old hams,” which is exactly what King was looking for in his hunt for the perfect Oompa Loompa actor.
“I was enchanted by the idea of these impossibly tiny beings, far smaller even than the child-sized me,” King said. “The voice and the attitude of the Oompa Loompa came from revisiting the books – long songs full of humor, sarcasm, superiority and scorn. So it was really just thinking about that character – someone who can be a real shit. And I went, ‘Ah, Hugh [Grant]!’ Because he’s the funniest, most sarcastic shit that I’ve ever met!”
“I had to write him this awkward letter, saying, ‘You’re good at playing washed-up, old hams…’” King added. “Once you see Hugh Grant as an 18-inch high orange man with green hair, you go, ‘Ah, yes. I know what Oompa Loompas are. It all makes perfect sense.’”
King told Empire magazine in July that he was still tinkering with the visual effects needed to bring Grant’s Oompa Loompa to life. “He looks terrific,” the director said, “but because it’s CG, it looks terrible until it looks good. And then you go, ‘Ah, perfect!’ It’s a miracle.”
Grant’s look as an Oompa Loompa matches the same version of the characters seen in Mel Stuart’s 1971 musical fantasy “Willy Wonka & the Chocolate Factory,” which famously starred Gene Wilder as the eponymous chocolatier. King said Stuart’s interpretation of the Oompa Loompas is so definitive that there was no reason to stray from it in his “Wonka” movie.
“It just felt like that’s what an Oompa Loompa was, in my head,” King told Empire magazine. “I suppose because the ’71 movie is so beloved by me, as well as other people, I didn’t really want to reinvent the wheel on that. I felt like doing something that sat with that iconography. I love ‘Pure Imagination’, I love the Oompa Loompa songs, I loved how the Oompa Loompas looked. And that felt like the iconic look of Oompa Loompas.”
“Wonka” opens in theaters December 15 from Warner Bros.
Survivors of Morocco’s deadliest earthquake in sixty years have told of the horror of living alongside dead bodies still submerged under collapsed homes, which four days on from the disaster are beginning to rot.
Aziz, a villager from Ijoukak, 10 miles from the quake’s epicentre, said: ‘Until now we have found no survivors, only the dead buried under the rubble… the smell of corpses is very, very strong. We still have no electricity and no water.’
The death toll has now surpassed 2,800 and is expected to rise even further, as hopes fade of bringing out those still trapped under piles of debris following Friday’s 6.8-magnitude quake.
Desperate villagers still waiting for aid in the worst-hit regions of the Atlas mountains reported being left to search for survivors themselves, digging with their bare hands to get the bodies of their neighbours and loved ones out of the rubble.
After the fourth night sleeping outside for many Moroccans on Monday – either in makeshift tents or under the stars in rural areas and on the streets of Marrakech – many are waking up today still waiting for help.
A victim covered in a sheet is carried to a makeshift grave that has just been dug in Talat N’yakoub
Desperate villagers still waiting for aid in the worst-hit regions of the Atlas mountains reported being left to search for survivors themselves
A victim is carried away by rescue workers in Talat N’yakoub, Morocco
A group of men carry the body of a local who was killed in the quake to place them in a freshly dug grave
Because homes in quake-hit villages of the High Atlas mountains are typically made of mud bricks, stone and clay, it is usually harder for people to survive in them than in modern buildings destroyed by quakes.
‘When all of that collapses, you don’t have much chance of surviving, because there are no air pockets,’ Rescuers Without Borders’ founder, Arnaud Fraisse, said.
‘People are generally suffocated by the dust.’
Abdelqader Tarfay, the general secretary of Morocco’s National Health Union, said that the greatest challenge for medics and rescue teams is still to get trapped people out.
‘Then they have to work on removing the remaining corpses under the rubble so that they do not rot,’ he told Al Jazeera.
Homes, mosques and schools have been decimated, with a religious teacher in the village of Tafeghaghte saying that 22 of his students had been killed.
Some residents in the worst-hit mountain regions criticised the government’s relief efforts, saying that while other communities had received assistance they have had to fend for themselves.
Said Hartattouch said it was understandable why some communities were receiving state assistance while others were not, due to the enormity of the destruction that has killed more than 2,800 people.
Remote hamlets in the areas around Ijoukak are still not accessible, the Guardian reports, with ‘huge boulders blocking the roads’.
‘The problem for Atlas Mountains is that it is big… ‘It’s not possible to help everyone’.
The 34-year-old was at work in Marrakech when the 6.8 magnitude earthquake struck.
The moment the earth began to shake, he rushed to his family’s village more than 60 miles away in the High Atlas Mountains, anxious to get to his mother and two sisters.
Moroccan rescuers carry a body out of the rubble in Talat N’Yacoub village of al-Haouz province
Said Hartattouch, 34, was at work in Marrakech when the 6.8 magnitude earthquake struck
Women react as they walk on the rubble of Imoulas village in the Taroudant province
When he arrived several hours later, his childhood home lay in ruins.
Speaking outside the rubble of the earth-and-straw house, Hartattouch said that in the days following the quake he had sometimes felt like he was in a horrible dream.
‘But then you wake up the day after and you find reality,’ he said.
While Hartattouch’s mother and sisters survived, fifteen other people from the close community of about 100 people perished.
Among them was his uncle, who was buried by a collapsing wall after he fled his home, and a close family friend who lived next door.
The village of Tinmel lies in a state of devastation. The homes have been crushed and the historic 12th-century mosque that sits at the end of the village and attracted tourists from around the world is now a ruin.
Recounting his return to the village, delayed due to a road blocked by a landslide, Hartattouch described a scramble inside his destroyed family home to gather blankets and his mother’s insulin.
A Moroccan soldier comforts a man sitting on the ruins of a home in the mountainous area of Tizi N’Test
People wait as emergency personnel open a road to their village in the mountainous area of Tizi N’Test, in the Taroudant province
Family members hold a woman as she is overcome with grief as the body of her husband is removed from beneath a collapsed house
An excavator digs through the rubble of collapsed buildings on September 11, 2023 in Douz
Boxes of humanitarian aid prepared to be sent to quake-hit Morocco following the deadly earthquake
With nowhere to go, the villagers have slept out in the open since the earthquake struck on Friday.
Residents say the village has received little government help and instead relied on charitable donations. A mother of a 15-day-old baby boy said the child needed milk formula and medicine.
There is an urgent need for tents to protect the people from the dropping temperatures at night.
‘It is the beginning of the cold weather, the first day was very tough,’ Hartattouch said.
If Beyoncé’s Renaissance World Tour outfits and the New York Fashion Week runways are any indication, metallic silver (AKA chrome) is still going strong as one of this year’s hottest trends. Bold and futuristic, chrome clothing exudes confidence by catching the light from every angle — and accessories are an easy way to incorporate the trend into your fall wardrobe.
This season, Coach encourages you to stand out from the crowd with its latest collection in eye-catching chrome. The brand is best known for its luxurious selection of leather goods, but you don’t have to spend a lot to add some pops of silver to your purse rotation. Coach Outlet is offering major deals on all things silver and shiny, with up to 65% off best-selling styles.
From ’90s-inspired shoulder bags in quilted chrome to silver-studded denim we think even Queen Bey would approve of, Coach’s Wear Your Shine collection has so many chic offerings to wear in 2023 and beyond. And with prices starting at just $27, you don’t have to break the bank to rock these bold bags and shoes.
Below, shop our favorite pieces from Coach’s Wear Your Shine collection.
The Anti-Defamation League has created a media and entertainment institute to focus on improving the understanding of Jewish people and antisemitism in society.
“It’s not uncommon to see Jews in movies and television, but it is most common to see Jews boxed into stereotypes and tropes that create a narrow — and often negative — impression of the Jewish people,” ADL CEO and national director Jonathan A. Greenblatt said in a statement. “We know that many Americans only learn about Jews and Judaism through the media, and many say they have encountered antisemitic comments or tropes from movies, TV and pop culture. At a time of rising antisemitism, we must take a hard look at how Jews are portrayed onscreen and in culture more broadly.”
The Los Angeles-based institute will work with industry leaders as well as nonprofit organizations, including Common Sense Media, which provides entertainment recommendations for families and educators and will soon release a list of recommended movies and TV shows in partnership with ADL.
The institute is launching with five pillars of focus:
Publishing research, such as reports evaluating positive and negative Jewish representation in entertainment
Establishing best practices for producers, writers and creators when developing Jewish characters and storylines
Educating industry creatives about antisemitism and diverse Jewish narrative representation
Responding to both positive and negative Jewish content through recognition and accountability, respectively
Partnering with other media advocacy organizations to support positive portrayals of all marginalized groups
The move comes after the ADL unveiled its 21-member Entertainment Leadership Council in March. The new institute will formally be announced Tuesday night at an ADL dinner hosted at the Academy Museum.
Netflix has dropped the first trailer for The Fall of the House of Usher ahead of the show’s October 12 premiere.
From creator Mike Flanagan, the 8-episode limited series based on the works of Edgar Allan Poe, follows ruthless siblings Roderick and Madeline Usher who have built Fortunato Pharmaceuticals into an empire of wealth, privilege and power. But past secrets come to light when the heirs to the Usher dynasty start dying at the hands of a mysterious woman from their youth.
The Fall of the House of Usher stars Bruce Greenwood, Carla Gugino, Mary McDonnell, Carl Lumbly, Mark Hamill, Michael Trucco, T’Nia Miller, Paola Nuñez, Henry Thomas, Kyleigh Curran, Samantha Sloyan, Rahul Kohli, Kate Siegel, Sauriyan Sapkota, Zach Gilford, Willa Fitzgerald, Katie Parker, Malcolm Goodwin, Crystal Balint, Aya Furukawa, Daniel Jun, Matt Biedel, Ruth Codd, Annabeth Gish, Igby Rigney and Robert Longstreet.
Flanagan and Michael Fimognari will each direct four episodes. Executive producers include Trevor Macy and Flanagan of Intrepid Pictures; Emmy Grinwis and Michael Fimognari.
Watch the trailer in full above and check out more first-look photos below.
Carla Gugino as Verna
Eike Schroter/Netflix
T’Nia Miller as Victorine LaFourcade
Ruth Codd as Juno Usher
Bruce Greenwood as Roderick Usher
(L to R) Bruce Greenwood as Roderick Usher, Kyliegh Curran as Lenore Usher, Ruth Codd as Juno Usher, Crystal Balint as Morella Usher, Matt Biedel as Bill-T Wilson, Mary McDonnell as Madeline Usher, Henry Thomas as Frederick Usher, Igby Rigney as Toby, Samantha Sloyan as Tamerlane Usher, Aya Furukawa as Tina, T’Nia Miller as Victorine LaFourcade, Mark Hamill as Arthur Pym, Rahul Kohli as Napoleon Usher, Kate Siegel as Camille L’Espanaye, Sauriyan Sapkota as Prospero Usher i
Ryan Reynolds and Blake Livelyshare one of the most loving and witty relationships in Hollywood. The couple who has been married for more than a decade often engages in playful banters that always tug at fans’ heartstrings. However, the ever-creative and charming Reynolds also draws the companionship of Lively’s family, which includes her older sister, Robyn Lively. Throwing a guiding light to gauge their relationship, the elder Lively sister once brought to the fore her and the Deadpool star’s relationship.
ADVERTISEMENT
Article continues below this ad
Robyn Lively once spelled out an expansive social media post dedicated entirely to Reynolds.
Lively once opened her heart out for her brother-in-law
ADVERTISEMENT
Article continues below this ad
Robyn Lively exceeds her half-sister, Blake Lively, by fifteen years of age. Regardless, she is an ever-supportive and fiercely loving sibling. Thus, it is a given that she would have come across Ryan Reynolds on numerous occasions. Turns out that she definitely has and she absolutely adores her brother-in-law. In November 2022, Ryan Reynolds was felicitated during the 36th American Cinematheque Award for being an extraordinarily talented artist with acting, creative, and entrepreneurial skills. Overwhelmed by it, Robyn Lively dedicated an Instagram post to her brother-in-law by highlighting his charm, kindness, good looks, and talent.
“His work ethic is unparalleled, his talent is limitless, his kindness is abundant,” wrote Lively in her Instagram post. Additionally, she also adorned praise on her sister for her speech at the same. “She’s actual magic,” wrote Robyn Lively for Blake Lively. Further, Robyn Lively has always mentioned Reynolds to be her “best brother-in-law” and so has Reynolds echoed back by quipping that she was the best sister-in-law too. The duo share a very affectionate and heartfelt bond which highlights the ever charming persona of Ryan Reynolds.
Rightfully, both Ryan Reynolds and Blake Lively are worthy of praise. The fan-favorite couple is living a successful married life with each other’s dedicated support.
Ryan Reynolds and Blake Lively are torch-bearers of a ‘wittily’ prosperous married life
ADVERTISEMENT
Article continues below this ad
Green Lantern, the 2011 movie, may have been the subject of criticism and lackluster movie-making, yet it did live on to give something lasting. Ryan Reynolds met Blake Lively as they starred together in the 2011 flick. Following this, in 2012, the couple got married in a surprise ceremony. Moreover, the pair has become one of the most successful and beloved in all of Hollywood, with four kids. Reynolds is at a dream high with his Wrexham AFC, Alpine F1, Mint Mobile, Maximum Effort, and others.
Blake Lively, meanwhile, is taking over the internet with her acclaimed fashion sense and Betty Buzz business. The actress has always supported and cheered on Reynolds’ movie projects such as his latest upcoming production, Deadpool 3 while Reynolds has taken over as the honorary creative and marketing sidekick for his wife.
ADVERTISEMENT
Article continues below this ad
What do you think of Robyn Lively’s bond with Ryan Reynolds and the latter’s love for his wife, Blake Lively? Let us know in the comments below.
Tarell Alvin McCraney, an acclaimed playwright who won an Oscar for writing the story that became the 2016 film “Moonlight,” has been named the next artistic director of the Geffen Playhouse, a prominent nonprofit theater in Los Angeles.
The Geffen, like many regional theaters in the United States, has been hit by a downturn in the field — as of this spring, its subscriptions were 40 percent below prepandemic levels. But it was among the more innovative theater companies when theaters were closed during the pandemic, producing some popular virtual shows, and it is now in better shape than many.
McCraney, 42, said he was fully aware of the crisis facing the field, which he said was the impetus for him to decide to step into leadership.
“We’re at a place where, if I really love this, if I really want to effect change, I have to get in,” he said. “I can’t just sit on the sidelines. Across entertainment and across the arts there is a strong shift for everybody. Everybody is feeling this new something — that something else is coming — and I could wade through it, or I could be helpful by being in leadership.”
McCraney, an important figure in the American theatrical landscape, won a so-called genius grant from the MacArthur Foundation in 2013, and he recently wrapped up six years as chairman of the influential playwriting program at Yale’s David Geffen School of Drama. He is also a member of the ensemble at Steppenwolf Theater Company in Chicago, and an associate artist at the Royal Shakespeare Company in Britain.
His play “Choir Boy,” about a gay adolescent at an elite prep school, was staged on Broadway in 2019 and has been performed in theaters around the country, including at the Geffen. Among his other plays are “The Brothers Size” (a part of his “Brother/Sister Plays” trilogy), which has been discussed for a possible Broadway production, and “Head of Passes.”
“Moonlight” was adapted from a script McCraney wrote called “In Moonlight Black Boys Look Blue”; in 2017 he and Barry Jenkins shared the Academy Award for adapted screenplay.
McCraney said he would keep writing his own work, for the Geffen and for other theaters, even as he assumes this new role, in which he will choose the productions staged at the Geffen and oversee their artistic development.
Stepping into a leadership role, he added, is not as much of a swerve as it might seem. “It’s been something that’s been with me for a long time,” he said. “As a young person in Miami, I always imagined I would run the Coconut Grove Playhouse, which has been shuttered for years.”
The Geffen, founded in 1995, has two stages — the 512-seat Gil Cates Theater and the 149-seat Audrey Skirball Kenis Theater. The Geffen has 45 full-time staffers (and another 150 part-timers) and a $12 million annual budget. McCraney succeeds Matt Shakman as artistic director; Gil Cates Jr., whose father founded the theater, serves as its executive director and chief executive.
McCraney currently lives in Miami, which is where he grew up; he said he would relocate to Los Angeles. He has worked in Los Angeles, not only on “Moonlight,” but also in the writers room for the television show “David Makes Man,” and for a variety of other projects, including a production of “Head of Passes” at the neighboring Center Theater Group.
“Los Angeles is a city that is reminiscent of Miami,” he said, “and it has a theater scene that is often thought of as secondary, but I always thought it had a rich community of artists who were hybrid, and that’s exciting for me to connect to folks who have those multi-hyphenate careers.”
Building stronger relationships with U.C.L.A., which is across the street from the Geffen, will be among his priorities, he said, as well as nourishing playwrights in a way that he felt nourished by nonprofit theaters early in his career.
“We don’t necessarily take care of our artists,” he said. “I want to be more intentional about that.”
Season 1 of Ms. Marvel served as the origin story for Iman Vellani’s Kamala Khan, showcasing how she got her powers and setting up her upcoming appearance in The Marvels.
The show’s producer, Sana Amanat, spoke about the possibility of a Season 2 being made, saying that “it’s great to see more demand” and that fans could ultimately drive Marvel Studios to bring the show back in the future.
Is Ms. Marvel Season 2 in the Works?
Marvel Studios
In an interview with The Playlist during itsThe Discourse podcast, Ms. Marvel directors Adil El Arbi and Bilall Fallah were asked about where Ms. Marvel stands in terms of receiving a Season 2.
El Arbi stated that the pair are “waiting on The Marvels,” and that the film “will decide what the next step will be.” The director then added how excited they are for the upcoming movie, especially to see “Iman Vellani doing great work:”
“No, we’re waiting for ‘The Marvels,’ so that will decide what the next step will be. So we’re very much looking forward to that. I can’t wait to see it, man. It’s great to see the trailers and to see the whole family back there and Iman Vellani doing great work, so looking forward to that.”
It seems as though The Marvels will have a direct impact on whether Season 2 of Ms. Marvel will be in Marvel Studios’ future plans.
Does Ms. Marvel Season 2 Fit Into the MCU?
If The Marvels has a successful run at the box office and sets up Kamala Khan to have more solo stories within the MCU, then a Season 2 of her own show would be the best place for that to happen.
However, the upcoming slate of projects at Marvel Studios (both films and Disney+ series) is currently overflowing, with the next few years of the franchise already mapped out.
It also doesn’t help that the Writers Guild of America (WGA) and Screen Actors Guild (SAG-AFTRA) strikes are currently pushing those already announced projects back even further, meaning that if Season 2 were to become a reality, it may be a long time before there would be an opening in the release slate.
It is always possible that Marvel Studios could prioritize Season 2 over other upcoming projects, especially if the character shines in The Marvels and fans start requesting to see more of her.
Ultimately, the likelihood of Season 2 coming out most likely comes down to fan response and box office numbers. If Marvel Studios sees that a Season 2 could potentially perform extremely well on Disney+, it would be a mistake not to capitalize on it.
Season 1 of Ms. Marvel is available to stream on Disney+, and The Marvels is set to be released in theaters on November 10.
Aquaman and the Lost Kingdom promises to take movie-goers on a thrilling adventure, delving deeper into the intricate plots and breathtaking landscapes of Atlantis.
The sequel features higher stakes, more formidable villains, and unexpected alliances, including Aquaman teaming up with his estranged half-brother Orm.
Director James Wan and a stellar cast bring depth and richness to the narrative, harmonizing heroism, vengeance, and redemption in a universe that blends spellbinding visuals with personal discovery.
The cinematic world braces itself for a tidal wave of adventure with the forthcoming blockbuster, Aquaman and the Lost Kingdom. Leveraging the monumental success of its predecessor, this epic sequel promises to plunge movie-goers deeper into the depths of Atlantis’ intricate plots and breathtaking landscapes. Recent revelations hint at a narrative replete with alliances forged in the crucible of vengeance and survival.
Arthur Curry, the mighty Aquaman portrayed by the charismatic Jason Momoa, is set to grace the silver screen once more, navigating the treacherous waters of kingship and new fatherhood. Meanwhile, the embittered mercenary, David Kane, infamously known as Black Manta, seems to harbor an intensified resolve to obliterate everything Aquaman cherishes.
But in the grand tradition of riveting sequels, the stakes are higher, the villains more formidable, and alliances more unexpected. Amid the swirling currents of vengeance and power, Black Manta, brought to life by Yahya Abdul-Mateen II, finds himself wielding a mystical weapon of immense force – the ominous Black Trident. This relic, resonating with an ancient and malevolent energy, propels Manta on a ruthless quest to honor his father’s memory through destruction and vengeance.
With the shadow of an unfathomable threat looming, Aquaman finds an unlikely ally in his estranged half-brother Orm, once the sovereign of the underwater realm. Portrayed by Patrick Wilson, Orm transitions from nemesis to reluctant partner in a bid to safeguard their kingdom from the impending apocalypse. This uneasy coalition forms the backbone of a narrative that promises heart-stopping action, complex relationships, and a dive into the deeper, darker realms of Atlantis. You can read the new synopsis for Aquaman and the Lost Kingdom in full below:
“Having failed to defeat Aquaman the first time, Black Manta, still driven by the need to avenge his father’s death, will stop at nothing to take Aquaman down once and for all. This time Black Manta is more formidable than ever before, wielding the power of the mythic Black Trident, which unleashes an ancient and malevolent force. To defeat him, Aquaman will turn to his imprisoned brother Orm, the former King of Atlantis, to forge an unlikely alliance. Together, they must set aside their differences in order to protect their kingdom and save Aquaman’s family, and the world, from irreversible destruction.”
Aquaman and the Lost Kingdom Reimagines Atlantis with a Stellar Cast & Narrative Nuances
Warner Bros. Pictures
The luminous Amber Heard reprises her role as Mera, the formidable Queen of Atlantis and a beacon of strength and leadership in a sea teeming with uncertainties. Alongside her, a stellar ensemble cast returns, including Nicole Kidman as Atlanna, Dolph Lundgren as King Nereus, and Randall Park embodying the ever-curious marine biologist Dr. Stephen Shin. These seasoned actors bring depth and richness to a narrative that swirls like the ocean’s currents, unpredictable and brimming with secrets.
Helming this underwater odyssey once again is the acclaimed director James Wan, who steered the maiden voyage of Aquaman to record-breaking success. Collaborating with producers Peter Safran and Rob Cowan, Wan crafts a universe that is at once familiar and astonishingly new. The screenplay, penned by David Leslie Johnson-McGoldrick, narrates a tale that harmonizes the essence of heroism, vengeance, and redemption, with story contributions by Jason Momoa and Thomas Pa’a Sibbett adding nuanced layers to the sprawling epic.
Per Comicbook, Wan has expressed his exhilaration at elevating the Aquaman narrative to novel heights, emphasizing the film’s autonomy within the DC cosmos. It remains rooted in its unique universe, offering audiences an immersive experience that blends spellbinding visuals with a narrative that sings the siren’s song of adventure and personal discovery. As fans of this aquatic hero brace themselves to ride this new wave, they can expect an expansion of a world they have grown to adore, peppered with exhilarating action sequences and deeper explorations into the complex character dynamics that define Atlantis.
Aquaman and the Lost Kingdom will premiere in theaters on December 20, 2023, with a full trailer set for release on Thursday.
“iPhone 15 Pro gets a major performance upgrade from the A17 Pro chip,” Apple claims in the promotional video below. “With a new 6-core GPU and a faster Neural Engine, it becomes a ridiculously powerful mobile gaming machine, enabling higher-quality graphics and rich, immersive game worlds never seen before on a smartphone.”
All new iPhone models will be available for pre-order starting on September 15 and will be released on September 22.
iPhone 15 will be available from $799, iPhone 15 Pro from $999, and 15 Pro Max from $1,199.
Notice: To display this embed please allow the use of Functional Cookies in Cookie Preferences.
Enjoy the best of both worlds: Film & Festival News, exploring the best of the film festivals community.
Launched in 1995, relentlessly connecting films to festivals, documenting and promoting festivals worldwide.
Working on an upgrade soon.
For collaboration, editorial contributions, or publicity, please send us an email here.
Established 1995 filmfestivals.com serves and documents relentless the festivals community, offering 92.000 articles of news, free blog profiles and functions to enable festival matchmaking with filmmakers.
THE NEWSLETTER REACHES 199 000 FILM PROFESSIONALS EACH WEEK (december 2020) .
The news in French I English This content and related intellectual property cannot be reproduced without prior consent.
Food Film Fest 10th Edition wrapped
Food portrayed by the cinema. This is the path proposed by Food Film Fest Bergamo coming up for it s 10th edition from August 23 to 27. A project conceived in 2014 by the cultural association Art Maiora and the Bergamo Camera di Commercio, with the participation of Coldiretti Bergamo, Slow Food Bergamo Valli Orobiche Bassa Bergamasca and Ascom Bergamo. Five days of screenings, video premieres, food talks and workshops in the historic heart of Città Alta, in Piazza Mascheroni, a natural open-air theater, to promote the values of sustainable development and attention to the environment through food storytelling.
Food Film Fest is a big hug That welcomes all those that cherish savor and new live emotions .
A festival for professionals of the world of cinema, the art lovers, the food connoisseurs, the passionate and curious about culture and tradition .
The tithe edition with the theme FEELING FOOD wanted to represent cinema and food through our emotions, feelings and sensations .
Piazza Mascheroni opened to the public with products genuine of the territory, premieres, debates tied to current events of the world in which we live and host excellence that they have there Done smile and reflect .
Among them guests That Saturday night they have once on stage , Domenico Iannacone acted as the star polar .
In the entitled meeting “ Take it and eat it all”, the journalist and author television told his story _ relationship with food , which is an important vehicle for social justice .
“ Through food _ tale stories of men , like that of Bartolo Mercuri , made known to the public through the What am I doing up here program Raitre ”
Between knowledge and flavors , the sociologist Maximian Bucchi led the audience _ on the roller coaster from the story in one roundup of events and curiosities , from Socrates to Newton’s chicken , from the invention from the milk chocolate , Franklin beer .
Among the 500 nominated films they reached the final of the X Edition of Food Film Fest 3 1 screenings .
On the awards stage Luca Cavadini , Artistic Director of Food Film Fest, to accompany The spectators to know the winners of the 3 categories in the competition :
ANIMATION, MOVIE, DOC and the 3 prizes special .
For the category ANIMATION the award goes to the director Federico Ajellofor the film Living re (Paint) – Van Gogh Experience , which say thank you through video greeting .
For the FOOD MOVIE category , the award goes to Domenico Onorato for the film What remains , That say thank you through video greeting
Award category DOC Don’t Star(v)e, Italy. Film made by director David Carminati
ASCOM Award for the best Opera on the territory . Collects the Luca Rabotti Award , director of I Lader de érba
Award Special from the Direction Artistic dedicated to Emanuele Prati winning film Enrosadìra – Of roses and magic , directed by Giancarlo Rolandi
If you are curious to know what happened, click below . _
Food Film Fest is a project conceived in 2014 by the Art Maiora cultural association and the Bergamo Chamber of Commerce , with the participation of Coldiretti Bergamo, Slow Food Bergamo Valli Orobiche Bassa Bergamasca and Ascom Bergamo.
Five days of screenings , videos previews , food talks and workshops In the Heart historic center of the Upper Town , in Piazza Mascheroni , a theatre natural in the open air , to promote the values of one development sustainable and attention to the environment through food storytelling .
The traditional image of gambling usually involves smoke-filled rooms, bustling casino floors, the perpetual clinking of slot machines, and poker tables filled with high-stakes players. The modern, digital era has, however, revolutionized the gambling experience entirely. Online casinos are a testimony to the immense technological advancements that are transforming the gambling industry. One such example that stands out in the online gambling sphere is i8 Live, a pioneering online casino platform that caters to players from Malaysia, Thailand, Indonesia, and Australia who are aged 21 years and above.
Emergence of Online Casinos: A New Era of Gambling
The rise of online casinos is undeniably one of the most remarkable transformations in the gambling industry. This shift from physical casinos to digital platforms has dramatically changed the gambling experience. Digital casinos offer unprecedented convenience and comfort, allowing players to enjoy their favorite games from the comfort of their own homes and at their own pace. Online casinos are becoming more accessible, promoting inclusivity for players worldwide.
i8 Live: Transforming Online Gambling
i8 Live is at the forefront of this transformation. This online casino platform is not merely a digitized version of traditional gambling; it is an entirely new experience that is designed to be intuitive, user-friendly, and exciting.
Range of Games
i8 Live offers a diverse range of games, satisfying the tastes of a broad spectrum of gamblers. From classic games like poker, blackjack, and roulette to modern slots, i8 Live brings the entire casino to the player’s fingertips.
Bonuses and Promotions
One aspect where i8 Live truly outshines traditional casinos is in its exciting bonuses and promotions. These features add an extra layer of thrill and anticipation, keeping players engaged and eager to play. Online casinos use such promotions to reward loyal players and attract new ones, a strategy that has proven effective in maintaining an active and growing player base.
Round the Clock Support
An essential feature of i8 Live is its 24×7 support. Unlike traditional casinos, which may not always be available to assist players, i8 Live ensures that help is just a click away. This customer-centric approach enhances the overall gambling experience and instills a sense of trust and security among players.
Secure and Fast Transactions
Security is a paramount concern for online gamblers. i8 Live tackles this issue head-on by providing fast, secure transactions. Players can enjoy their games without worrying about the safety of their money, thanks to the state-of-the-art encryption technology implemented by i8 Live.
Impact on the Gambling Industry
The advent of online casinos like i8 Live is reshaping the gambling industry. These platforms are not only increasing accessibility but also introducing an unparalleled level of convenience and security that traditional casinos struggle to match.
Greater Accessibility and Convenience
The most noticeable advantage of online casinos is their accessibility. Players no longer need to travel long distances to enjoy their favorite games. With i8 Live, players from Malaysia, Thailand, Indonesia, and Australia can access a wide variety of games at any time, from any location.
Higher Level of Security
Online casinos also offer a higher level of security. With secure transactions, player anonymity, and advanced encryption, online platforms provide a safe environment for players to enjoy their games.
Enhanced Player Engagement
Digital platforms offer a range of features that help enhance player engagement. From live chat options to interactive games and exciting bonuses, online casinos go the extra mile to keep players entertained.
Looking Towards the Future
Online casinos are more than just a passing trend; they are the future of the gambling industry. Platforms like i8 Live are continuously innovating and improving their services to provide a superior gambling experience. As technology continues to advance, we can only expect the online casino industry to grow and become even more immersive, secure, and engaging.
Online casinos are transforming the gambling experience in ways we could not have imagined a few years ago. The convenience, security, and diversity offered by platforms like i8 Live are revolutionizing the industry and setting new standards for what players can expect from their gambling experience.
As we embrace this new era of digital gambling, one thing is clear – the future of gambling is online, and it is more exciting than ever. Whether you’re an avid gambler or a casual player, the online gambling world has something to offer everyone. With online platforms like i8 Live leading the charge, it’s time to gear up for an exhilarating gambling journey right at your fingertips!
“The Haunting of Hill House” and “Midnight Mass” creator Flanagan acts as showrunner and directs four out of the eight episodes; Michael Fimognari helms the other half.
Per the official synopsis, ruthless siblings Roderick (Bruce Greenwood) and Madeline Usher (Mary McDonnell) have built Fortunato Pharmaceuticals into an empire of wealth, privilege, and power. But past secrets come to light when the heirs to the Usher dynasty start dying at the hands of a mysterious woman from their youth.
Flanagan’s frequent collaborator Carla Gugino stars, along with Carl Lumbly and Mark Hamill. The ensemble cast additionally includes Michael Trucco, T’Nia Miller, Paola Nuñez, Henry Thomas, Kyleigh Curran, Samantha Sloyan, Rahul Kohli, Kate Siegel, Sauriyan Sapkota, Zach Gilford, Willa Fitzgerald, Katie Parker, Malcolm Goodwin, Crystal Balint, Aya Furukawa, Daniel Jun, Matt Biedel, Ruth Codd, Annabeth Gish, Igby Rigney, and Robert Longstreet.
Trevor Macy and Flanagan of Intrepid Pictures, along with Emmy Grinwis and director Fimognari, serve as executive producers. “The Fall of the House of Usher” is expected to be Flanagan’s final Netflix project after his Intrepid Pictures signed a first-look deal with Amazon Studios in December 2022. Flanagan is currently adapting Stephen King’s “The Dark Tower.”
“Predating our deal with Amazon, we acquired the rights to ‘The Dark Tower,’ which if you know anything about me, you know it has been my Holy Grail of a project for most of my life,” Flanagan said at the time. “We actually have those rights carved out of our Amazon deal, which doesn’t mean that they can’t or won’t get behind it at some point — you don’t know. But that’s something we’ve been developing ourselves and are really passionate about finally getting it up on its feet at some point.”
Flanagan previously adapted King’s “Gerald’s Game” and “The Shining” prequel “Doctor Sleep” for the big screen. “The Dark Tower” is set as a limited series.
“The Fall of the House of Usher” premieres October 12 on Netflix. Check out the trailer below.
Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Sept. 11-17. Details and times are subject to change.
Monday
THE PARENT TRAP (1998) 5:45 p.m. on Freeform. If you grew up in the ’90s, like I did, there is a good chance that you know by heart the quite intricate handshake made famous by this movie, which stars Lindsay Lohan as identical twin sisters separated at birth who accidentally meet at summer camp. They decide to switch places and hatch a plan to get their parents back together. Obviously, shenanigans ensue.
Tuesday
MTV VIDEO MUSIC AWARDS 8 p.m. on MTV. Starbucks has released their pumpkin-themed menu, influencers and celebrities have flocked to New York for Fashion Week and people are saying it’s fall even though temperatures are dangerously approaching 100 degrees. All of this can only mean one thing: It’s time for the annual MTV VMAs. Airing live from the Prudential Center in New Jersey, Olivia Rodrigo, Demi Lovato, Lil Wayne and many others will perform, and Shakira and Sean “Diddy” Combs will be among the awardees.
WELCOME TO WREXHAM 10 p.m. on FX. In 2020 Rob McElhenney (of “It’s Always Sunny in Philadelphia” fame) and Ryan Reynolds (of “Deadpool” fame) bought the third oldest soccer club in the world, which resides in Wrexham in North Wales, with the goal of bringing it back to glory. Now, the second season begins as the team, McElhenney and Reynolds prep for a visit from King Charles III.
Wednesday
DONYALE LUNA: SUPERMODEL 9 p.m. on HBO. The supermodel Donyale Luna died in 1979 at just 33 years in old. But in those 33 years, she gained the reputation of breaking barriers in the fashion industry, becoming the first Black model to grace the cover of both Harper’s Bazaar and Vogue. Now, this documentary is taking viewers behind the scenes of Luna’s modest upbringing to her life in the spotlight.
Thursday
JIMI HENDRIX: ELECTRIC CHURCH 8:30 p.m. on PBS (check local listings). On July 4, 1970, Jimi Hendrix drew a crowd of almost 500,000 people to his performance at the Atlanta International Pop Festival. Because of the 16-mm footage taken at the show, we can relive this concert, featuring performances of “Electric Church,” “Purple Haze,” “Hey Joe,” and others, over and over again.
BUDDY GAMES 9 p.m. on CBS. Josh Duhamel directed and starred in a 2020 movie about six best friends who compete in silly physical and mental challenges in an attempt to win $150,000. Now Duhamel is hosting a reality game show with a similar premise: six teams of friends join him at a lake house to compete in challenges to win the championship title and some prize money.
HEELS 10 p.m. on Starz. Football has “Friday Night Lights,” soccer has “Ted Lasso” and wrestling has “Heels.” This show, about two brothers, Ace and Jack, carrying on their father’s legacy through the Duffy Wrestling League, is wrapping up its second season, which gave us a few deep dives into the characters’ emotional sides.
Saturday
48 HOURS: THE GILGO BEACH SERIAL KILLINGS and THE NIGHT OF THE IDAHO STUDENT MURDERS starting at 9 p.m. on CBS. If you’re catching up on your true-crime news, “48 Hours” has you covered with these back-to-back episodes. First up is the Gilgo Beach serial killings: Between the years of 1996 and 2011, the remains of 10 bodies were found on a stretch of a Long Island beach; earlier this year, Rex Heuermann was charged with killing three of the people. In November 2022, four college students were found murdered in Moscow, Idaho. Now, Bryan Kohberger, a Ph.D. student in criminology at a nearby university, has been charged with four counts of murder.
Sunday
CHRISTMAS IN JULY (1940) 8 p.m. on TCM. This movie, directed by Preston Sturges, is about a prank that simultaneously goes very right and very wrong. Jimmy is trying to win a slogan competition so he can buy a ring to propose to his girlfriend. When the winner still hasn’t been announced, Jimmy’s co-workers write a fake telegram and leave it on his desk so he thinks he won. Shticks, fake outs and confusion quickly follow.
WINNING TIME 9 p.m. on HBO. Based on the book “Showtime: Magic, Kareem, Riley, and the Los Angeles Lakers Dynasty of the 1980s” by Jeff Pearlman, this fictionalized account of the NBA team is wrapping up its second season, which has focused on Magic Johnson (Quincy Isaiah) after his knee injury and tension with the team. It seems important to note that some of the Lakers stars that are fictionalized in this series are not at all happy with their portrayal.
“Ahsoka,” the live-action series starring Rosario Dawson as Ahsoka Tano, premieres on Disney+ this week.
The character of Ahsoka was originally created for “Star Wars: The Clone Wars” by Dave Filoni. Filoni serves as the writer and executive producer of “Ahsoka,” and directed the series premiere.
Dawson first portrayed the dual lightsaber-wielding former apprentice of Anakin Skywalker in Season 2 of “The Mandalorian,” where she battled Morgan Elsbeth. “Star Wars: Ahsoka” picks up shortly after those events, with Elsbeth in custody and Tano pursuing rumors of the return of Grand Admiral Thrawn.
But if you’re wondering when, how and where to watch new episodes of “Ahsoka,” we’ve got you covered.
When Does “Star Wars: Ahsoka” Premiere?
“Star Wars: Ahsoka” premieres on Tuesday, Aug. 22 on Disney+.
You can read TheWrap’s review of “Star Wars: Ahsoka” here.
What Time Does “Star Wars: Ahsoka” Stream on Disney+?
New episodes of “Star Wars: Ahsoka” are available every Tuesday at 6pm PT/9pm ET on Disney+.
Are New Episodes Released Weekly or All at Once?
New episodes of “Star Wars: Ahsoka” are released weekly. The first two episodes premiere on August 22. There are a total of 8 episodes in Season 1
Below is the full “Star Wars: Ahsoka” Season 1 release schedule:
“Ahsoka” Season 1 Episode 1 “Master and Apprentice”: Tuesday, August 22
“Ahsoka” Season 1 Episode 2 “Toil and Trouble”: Tuesday, August 22
“Ahsoka” Season 1 Episode 3 “Time to Fly”: Tuesday, August 29
“Ahsoka” Season 1 Episode 4 “Fallen Jedi”: Tuesday, September 5
“Ahsoka” Season 1 Episode 5 “TBD”: Tuesday, September 12
“Ahsoka” Season 1 Episode 6 “TBD”: Tuesday, September 19
“Ahsoka” Season 1 Episode 7 “TBD”: Tuesday, September 26
“Ahsoka” Season 1 Episode 8 “TBD” (Season finale): Tuesday, October 3
Who Stars in ‘Star Wars: Ahsoka’?
The “Star Wars: Ahsoka” Season 1 cast includes:
Rosario Dawson as Ahsoka Tano
Natasha Liu Bordizzo as Sabine Wren
Mary Elizabeth Winstead as Hera Syndulla
Eman Esfadi as Ezra Bridger
David Tennant as Huyang
Hayden Christensen as Anakin Skywalker
Genevieve O’Reilly as Mon Mothma
Ray Stevenson as Baylan Skoll
Ivanna Sakhno as Shin Hati
Diana Lee Inosanto as Morgan Elsbeth
Lars Mikkelsen as Grand Admiral Thrawn
Paul Darnell as Marrok
Will There Be a Season 2 of “Star Wars: Ahsoka”
Lucasfilm has not yet announced a second season of “Star Wars: Ahsoka,” but the character is expected to play a role in the “Star Wars” movie that Filoni is writing and directing.
Season 1 of “Star Wars: Ahsoka” and all seasons of “Star Wars: The Clone Wars” and “Star Wars: Rebels” are available to stream on Disney+.
Award-winning composer Sherri Chung has been recognized for her work on various television shows and movies. Involved in CW Network shows such as Arrow, Batwoman,Kung Fu, and Riverdale, Sherri Chung has also worked on MAX’s Gremlins: Secrets of the Mogwai, Peacock’s Based On A True Story, Sherri Chung has worked toward creating authentic and exciting scores for different projects, culminating in an impressive list of credits under her name. Sherri Chung discusses the research and thought that goes into composing music.
Culturess: How do you work toward making the music you compose authentic?
Sherri Chung: There’s a project I just completed called Gremlins: Secrets of the Mogwai, and it’s an animated prequel series to the original Gremlins movies directed by Joe Dante, scored by Jerry Goldsmith, and one of the sort of assignments or tasks, if you will, in that project was to, part of where the show takes place is in 1920s in Shang Hai, so one of the things that they wanted to do was make sure the music was sounding at least a little in some cases, set in that time.
So, I was using instrumentation. I was using an erhu and, some bamboo flutes, some percussion. Things that were specifically Chinese. There were even places where we had to do some songs that were sort of in the 1920s style and feel in that time. So I guess in some ways, if that’s what you mean by authentic, I actually had to do some research to make sure I was being as close to the time period as possible or at least having that influence in there. So sometimes it takes some research to do.
Culturess: Is there a difference in composing music for films versus television?
Sherri Chung: I do think that there are some differences in some ways between television music and composing for film. My process isn’t any different in terms of creating themes for characters or places or sounds. Certainly, I think some of the differences lie more in the time constraints. Sometimes episodic moves very, very quickly, and once an episode is done it’s finished. You can’t go back and revisit it. Whereas in a film you can work on the entire film and keep working, go back from beginning to end, go back to the beginning, and skip to the end again. You get to see the entire arc in a film, and I think that in some cases that makes it, I don’t know if easier is the right word, to create themes.
But you know that your themes are going to work because you can place them in any part of the film in the timeline and when you work an episodic you don’t oftentimes get to see the very end of the show and then go back and retroactivity re-fit or re-outfit anything. So if you wrote a theme in the first episode, it needs to be a solid theme where it can go not only until the last episode of the season but it could go on for say multiple seasons, maybe six or seven years, like the entire series. So I do think there are differences but I wouldn’t say that my process is any different.
Culturess: How did you approach composing music for Based On A True Story?
Sherri Chung: The approach for composing the music for Based On A True Story was actually a good challenge. It was a challenging one but it was one that I enjoyed creatively. The tone of the show is a comedic thriller so you’re mixing funny with something that’s pretty gross and pretty horrific. I think that those polar opposites in visuals and in feeling is sometimes difficult to translate those to music as well. Sometimes it was polar opposites in the music.
But it was a lot of back and forth with the show’s creator and showrunner Craig Rosenberg. We had a lot of conversations. We had a lot of meetings about what was working, what felt too funny, what didn’t feel funny enough, what didn’t feel horrific enough. So there was a lot of talking about it, a lot of playing him the music that I was writing, then us dissecting it and going through it and working through a lot of the aspects of it. It was a much more involved process than some of the other shows that I’ve worked on but it was very rewarding.
Culturess: Is there a difference in how you handle scoring a series based on if you worked on it for a few months compared to a few years?
Sherri Chung: I don’t know if it’s that the process becomes different but I will say this. On a new project, let’s say if it’s an episodic project, and I’m working on it for however long the first season is, there’s always, for me anyway, anything that’s a new season of something comes a little bit slower because themes are still getting created. Sounds are still being worked out. The sound pallet is still being figured out. The characters, even the actors are still learning the show. I’m learning the show. I think the writers are learning the show. I think that if a show goes on for a second season or a third or fourth or that kind of thing obviously there’s new characters and new storylines and there’s new themes but I think everyone sort of gets into a rhythm.
I think in some cases, I have almost more fun because then I can kind of play a little bit more and I think less about the ‘Oh, there has to be this consistency. I have to figure this out.’ It’s like nah the consistency is already there. It’s a world that we already exist in. Now it’s like this is something that the music sounds like as opposed to now I have to figure out what it’s supposed to sound like. So I think the longer I spend working on a project the more fun it can be.
Culturess: Has there ever been a score that was the most challenging to work on?
Sherri Chung: It’s very true. They all present their challenges. I think that Gremlins: Secrets of the Mogwai has been a challenge. But I want to be clear that when we say challenge for me that’s not always a bad thing. Sometimes the challenges really help me grow as a composer and I can say that with Gremlins, I really do feel like I grew as a composer.
I think because the music was such a much more of a muscular orchestral score and I hadn’t done that much music orchestrally and done it live for such a long time. I worked on that project for three years and I hadn’t done that at that pace and that kind of music, animation music which was fully orchestral. So it was a challenge but it was a good one. It was really creatively fulfilling. It was probably been one of my favorite experiences probably for that reason, the most challenging. Or maybe vice versa. It was the most challenging and for that reason was my favorite or one of my favorites.
Culturess: In the three years that you were working on it, what went into composing all the music?
Sherri Chung: A lot of time. And like I said with Gremlins: Secrets of the Mogwai there was some research involved. If any of your listeners, or your readers, have watched the show because it’s for young audiences but it’s also for older sort of nostalgic adults as well especially if you’re fans of Gremlins. It’s like when you watch a show every episode was its own adventure from start to finish. With that, I was creating themes for each of the characters that we were just meeting just for that episode. Sometimes they came back but most of the time it was just for that episode. So I think what goes into that is you have to create something special and unique for each episode for each of those adventures that’s happening.
In episode four, they go to a tea house and it’s sort of this seemingly haunted strange happenings tea house and they’re trying to figure out what’s going on so there was a sound that was created specifically for Meng Po, specifically for her tea house, and specifically for the happenings that went on in the tea house. That was very different from say, the next episode that was about Jiangshi, which are these sort of Chinese mythical, legendary zombies, essentially, and there was a very different sound for them. So I think what went into each one of them was just to get into the story and really create something that was unique to just that episode while still incorporating the themes and the musical pallet that was part of the show in its entirety.
Culturess: You composed music for Based On A True Story, Gremlins: Secrets of the Mogwai, and Riverdale. How did you get into the mindset of when you’re working on such different projects?
Sherri Chung: Yeah, I think every project, for me, I’m very visually influenced. So they all look different and of course, the characters look different and stories feel different. I think if I worked on projects that were too much alike that would be even more challenging because it would feel like ‘Oh, I’m just doing another version of this type of score.’ But working on different projects, for me, it’s like there’s almost no overlap. There was gonna be no way for me to mistake a Riverdale score with a Gremlins score or a Riverdale episode with a Gremlins episode. But I do think that a lot of that comes from establishing a specific sound from the beginning of the project. Even if the sound evolves and grows which all sounds do, and they should, I think.
At least on the projects that I’ve done, I feel as though they should have grown and evolved as the characters have expanded and grown and evolved. But I think that a lot of that work happens at the very beginning when you’re establishing those parameters. You’re establishing boundaries of your playground, if you will, and from there you can kind of build your different toys in the playground and use them to create different worlds that each of these stories live in. So if that groundwork is properly and effectively laid then it becomes a very different show or a very different project as you move from each one to each one even if you’re working on them simultaneously.
Culturess: What is your favorite type of score to work on?
Sherri Chung: That’s a hard one, I think for the same reason. If I work on something that was the same as something else, like if it was always romcoms or if it was always animation or if it was always action adventure or something like that I think that I would get bored. I think that I like to work on different types of projects. But I think lately my favorites have been action adventure, fantasy, I think those have been some of my favorites to work on. But I really do like a lot of different kinds.
There’s maybe only one kind I don’t like. Maybe that’s better to say. The only type of project I don’t particularly like is cartoons or kid’s shows, which I know I did Gremlins: Secrets of the Mogwai, I know I did an animation. But to me that was geared toward an older audience or even a younger audience and nostalgic adults so there was a lot of adult angles, an adult spin on it almost. I think the ones I had the hardest was the ones where the sound keeps changing, it just has to change on the turn of a dime, I think the stuff like that is a little frenetic for me.
Culturess: What is your role as the Co-Governor of the Music Branch of the Academy?
Sherri Chung: I am a Co-Governor of the Music Branch of the Television Academy. So that’s the Academy that hands out the Emmys and deals with episodic television, it used to be just episodic but now television kinda means anything, well anything that’s on streaming. So even movies that don’t go into theaters basically. So the Television Academy is just dealing with all episodic and streaming-only content.
My role as Co-Governor is really to be, I think like a lot of elected positions, it’s really to be the voice of the rest of my peer group. The peer group would be composers, songwriters and lyricists, music directors, and music supervisors who are also in the television industry. It’s to really just navigate our way through all the changing types of content you can have. We have AI now as like a new topic obviously so we, myself and the other sixty-one governors, of the Television Academy, meet together and we talk about revising rules for the Emmys. Also just putting together different ways to outreach to our members as well and be a reference to them.
Culturess: What would you say is the significance of the Composers’ Diversity Collective?
Sherri Chung: I’m a member but I’m not on their board so I don’t want to misspeak about the mission statement so I’ll try to just speak very carefully of what I know. But the Composer Diversity Collective is a group of composers that really is celebrating composers from diverse backgrounds. That includes anything from gender to ethnicity. I think that it’s a really great group of composers which I’m very honored to be a part of. We meet and get together and talk about composing.
We don’t really talk about the diversity aspect of it. I mean there is some of that too but first, we are composers and we all wanna be seen as composers, and not just diverse composers or composers that identify as this, this, or this. So I think it’s a really great way for composers who, in the past, have felt, or maybe currently feel, underrepresented to get together and share ideas and share networking and referencing opportunities and possibilities. I think that it’s one of the many great conglomerates of composers and a way to seek other individuals that we identify with and just share what we do as a profession.
TORONTO INTERNATIONAL FILM FESTIVAL 2023 REVIEW! The Dead Don’t Hurt, Viggo Mortensen’s second film as a writer-director,is a curious beast. It defies and subverts traditional tropes of the Western, almost deconstructing it in the same way Unforgiven did, and yet it manages to fit solidly into the genre, too.
One of the nontraditional aspects of The Dead Don’t Hurt is that it is told somewhat non-chronologically. We start close to the end—Nevada in the 1860s, Holger Olsen (Mortensen) watches his wife Vivienne (Vicky Krieps) on her deathbed. Meanwhile, a figure clad in all black shoots up the town. As Olsen is burying his wife, we see he’s got a son, and he’s also the sheriff. The mayor rides up to tell Olsen one of his deputies has been shot by the villain, and we see the mayor and the sheriff don’t quite get along. So far, we’ve got the classic Western setup—good vs. evil, and everyone is afraid of the man in black except for our hero.
“…dares to tell the story of the brutality of life in the West for women…”
But this is where The Dead Don’t Hurt diverges from traditional Western tropes. We flashback to Vivienne, both to her previous relationship in San Francisco and even to her childhood in French settlements in Canada. Then there’s a somewhat linear progression as we see her meet Olsen, and their life together is filled in.
The Dead Don’t Hurt is being called a “feminist Western.” That might evoke lady gunslingers or some other Hollywood fantasy, but the film is too smart for that. Instead, it is going for period accuracy. It dares to tell the story of the brutality of life in the West for women, an area that has been criminally unexplored in cinema. The world may still be ruled by men today, but just imagine a life with little law, one ruled almost entirely by guns and one where women are only allowed in a few narrow roles and jobs. Once you see a woman who is more than simply a background character or a love interest in a Western, you have to wonder — why hasn’t that part of the story been told before? It resonates perfectly with so many struggles today. As writer and director, Mortensen deserves a huge amount of credit for, I hope, changing Westerns for the better going forward.
A Toronto man faces multiple charges, including impaired driving, following an incident north of Peterborough, Ont., on Monday.
According to Peterborough County OPP, around 6:15 p.m., an officer attempted to conduct a traffic stop for a vehicle that had failed to stop at a stop sign on Buckhorn Road in Selwyn Township.
“The officer turned to proceed after the vehicle which was observed traveling at a high rate of speed and passing vehicles unsafely,” OPP stated.
Police say the officer was unable to conduct the traffic stop but relayed the information to other officers who located the suspect vehicle a short time later. Officers determined the driver was under the influence of alcohol.
John Enriquez Guerron, 35, of Toronto was charged with two counts of impaired driving (alcohol and alcohol concentration 80-plus) along with dangerous operation of a motor vehicle and flight from a peace officer.
Story continues below advertisement
His driver’s licence was suspended for 90 days and the vehicle was impounded for seven days.
On Monday night, Taylor Swift stepped out for dinner with some famous friends!
Swift was photographed at New York City’s Emilio’s Ballato Italian restaurant, where she was joined by Blake Lively, Ryan Reynolds, Gigi Hadid, Zoë Kravitz, Channing Tatum and Cara Delevingne.
Backgrid
For the night out, Taylor opted for a light blue dress, platform sandals, and red lipstick.
Taylor and Blake have been friends since at least 2015. Taylor even name-checked Blake and Ryan’s kids in some of her songs!
Taylor and Zoë seem to have gotten close while collaborating on her recent songs like “Lavender Haze” and “Karma.” Zoë recently revealed that she quarantined with Taylor during the beginning of the COVID pandemic. She told GQ, “She was my pod. She was a very important part of being in London, just having a friend that I could see and that would make me home-cooked meals and dinner on my birthday.”
Gigi and Cara have been close with Taylor for years! They appeared in her 2015 music video for “Bad Blood.”
The video also featured big names like Karlie Kloss, Hailee Steinfeld, Selena Gomez, Lily Aldridge, Ellen Pompeo and Ellie Goulding.
Swift is currently on a break from her massively successful “Eras” tour, which will resume in November in Buenos Aires.
Despite the break, Taylor is keeping busy. Last week, she was spotted twice at Electric Lady Studios in New York City, which might mean new music is on the horizon!
