Categories
Widget Image
Trending
Recent Posts
Tuesday, Oct 20th, 2026
HomeStandard Blog Whole Post (Page 817)

The Better World Fund event in Venice took place during the 80th Edition of the Venice Film Festival, La Mostra, on the 7th & 8th of September, 2023.

More than 300 people attended at the Ca’ Sagredo Hotel & La Scuola Grande Della Misericordia di Venezia with the participation of great personalities such as:           Isabelle Huppert, Jeremy Piven, Euzhan Palcy, Tom Volf, Keira Chaplin, Nadia Farès, Elisabeth Moreno, Joyce El-Khoury, and  many others to raise awareness on: ” Women Empowerment” through Cinematic Art at the service of humanity”

 

Since 2016, BWF, Better World Fund, a Paris-based non-profit organization, has been organizing prestigious international events and inspiring cultural programs through concrete actions. This year again, in the sublime Palazzos of the Ca’ Sagredo Hotel and the Misericordia di Venezia, influential individuals from around the world were gathered, driven by the desire to positively influence the future of our society.

As stated by Manuel Collas de la Roche, President and Founder of Better World Fund: “In the heart of the magic of La Mostra, the BWF edition in Venice will celebrate women, and raise awareness about the place and power of women in the film industry. Today, we are convinced that the cinema industry holds a statutory role as a vector of social, educational and environmental values. It is therefore essential to continue supporting and encouraging the involvement of women in all aspects of the film industry in order to create a more equitable and inclusive society for all.”

Special Guests: During our gala evening, that took place on September 8th at La Scuola Grande Della Misericordia, in the presence of Isabelle Huppert, Jeremy Piven, the Soprano Joyce El-Khoury, many celebrities supported our commitment through their attendance, contributing their image to a cause that engages us all: Women Empowerment in the Image of Maria Callas.

 

Symbolising our theme, Euzhan Palcy, a celebrated filmmaker, has been commemorated for her achievements. She received an honorary Oscar last November and was recognized as the first Black director to win the Silver Lion at the 1983 Venice Mostra. She further garnered a César Award for Best First Work, a historic achievement for a female and Black director. Palcy’s work has inspired filmmakers, artists, and writers. Recently, she was honored with Medals of Honor from the Society of Dramatic Arts and Composers in France and the French National Assembly.

 

For this edition, with the underlying mission of “Women’s Empowerment”, the Better World Fund supported the Maria Callas Foundation, in honor of her centenary. By collecting archives from all over the world, including private collections and donations, the Foundation’s mission is to search and gather these archives in order to build a museum collection.

Mrs Diane Kalogeropoulos, Maria Callas’s great-niece honoured us with her presence to celebrate her memory.

 

Tom Volf, a leading expert on Maria Callas, highlighted the film he has just directed with Monica Bellucci, following the success of his last film “Maria by Callas” in 2017 which became an award-winning documentary and the most-watched French-produced film in the world in 2018. The collaboration between Tom Volf and Monica Bellucci, along with the foundation’s commitment to curating archives for a museum collection, reinforces the event’s overarching theme of empowerment.

 

On September 8th at 10:00 am, at La Scuola Grande Della Misericordia, the Better World Fund held a Masterclass Conference titled: “From Script to Screen: Empowering Women in the World of Cinema”. “ By giving women more varied and complex roles, the cinema industry offers positive role models who challenge traditional expectations and encourage women’s emancipation. This helps to create a more egalitarian and inclusive society by showing audiences that women can succeed in all domains of life whilst have a significant impact.” said Manuel Collas de la Roche, President.

We have been honored to welcome Mrs. Elisabeth Moreno, President of Tech-Foundation, Former Minister in charge of Gender Equality, Diversity and Equal opportunities, who moderated the masterclass.

Beside her, influential women and experts in their fields, who are working for the place, protection and equality of women in our society, debated with the audience.

PANEL : “Empowering Women in the World of Cinema”, with the exceptional participation of: Nadia Fares, Yasemin Samdereli, Kiera Chaplin, Tarina Patel, Valentina Castellani, Euzhan Palcy.

Individual Speakers : Empowering Women in the World of Business & Philanthropy, with the expert support of: Dr. Solanges Vivens, Karine Gros and Lorène Ferrandès.

On the same day, the Gala Dinner took place in the sumptuous hall of La Scuola Grande Della Misericordia and featured a rich artistic program with performances by Maria Elena Infantino, an international singer and actress with a unique connection to Maria Callas as the daughter of the tenor Luigi Infantino; Anna Sanachina a dramatic soprano of the great romantic tradition of Italian oper ; Daniel Alhaiby, a professional flutist, composer and arranger of unrivalled distinction; followed by an award ceremony and an auction

 

At each edition, the Better World Fund has awarded prizes to individuals committed to social, cultural and environmental causes. For this Venice Edition, Samia Yusuf Omar, posthumously, for her tragic fate, her courage and her fight against discrimination as a Muslim woman taking part in the Olympic Games; Elisabeth Moreno; Jeremy Piven ; Euzhan Palcy, the Soprano Joyce El-Khoury and Sindaco Onorevole Cateno De Luca received the Better World Best Achievement and Commitments Awards. Dr. Solanges Vivens received an award presented by Anwar Elkamony as the official Charity Partner of the Better World Fund. 

 

PICTURE OF THE EVENT: BWF – Press Photos by Better World Fund

 

 

The event is held thanks to the precious support of 314 Cannes Group, NAD Clinic, Homolog, IIWB, Joanna Plafsky, Studio Mao, Squair, Clinique La Prairie, Maia Wine, SDB New Delhi, Luxury International Magazine, Chic Icon, Paris- Saclay University, Paris-Saclay Foundation, Open Culture Foundation, Luxury Limited Edition, Luxury Investment Magazine, Rinascimento Magazine, Celebre Magazine, Fab UK Magazine, United Studio, Culture Focus Magazine, Global Event Magazine, Parole Paris, Breaking-News-Arabia.com, Qatar-Media.tv, Dubai-Media.tv, Breaking-News- Saudi-Arabia.com, Breaking-News Kingdom-of-Bahrain.com, Opportunitysaudi.com, Opportunity-Mena.com, Opportunity-Europe.com.

https://www.betterworld.fund

Source link

The Better World Fund event in

Batgirl set
Photo: Jeff J Mitchell (Getty Images)

Roughly 13 months after Warner Bros. Discovery canceled the near-complete, $90 million Batgirl movie for a tax write-down, the decision remains baffling. Sure, Warners was trying to recoup some of the $2.1 billion it lost last year, but the decision to ax Batgirl and keep titles like Black Adam, Shazam: Fury Of The Gods, and The Flash on the schedule seems even more confusing after the critical and cultural beating nearly every DC movie took last year.

Promoting their new Syrian war drama Rebel, Batgirl directors Adil El Arbi and Bilall Fallah told Insider they don’t understand why their film was sacrificed, especially after watching The Flash, which made them “sad.” However, this wasn’t the normal post-Flash depression where feelings of nausea and sorrow followed the sight of CGI Nicolas Cage fighting a giant spider. Rather, the directors thought there was room for their movie, too.

“We watched [The Flash] and we were sad,” Adil said. “We love director Andy Muschietti and his sister Barbara, who produced the movie. But when we watched it, we felt we could have been part of the whole thing.”

In addition to calling the cancelation the “worst experience of their careers,” Adil said the audience didn’t get the chance “to judge for themselves.” The filmmakers consider the moviegoers their “ultimate boss and should be deciders if something is good or bad, or if something should be seen or not.” As we know, the only people who were privy to Batgirl were those lucky enough to attend “funeral screenings” on the Warners lot.

Still, they offered some insights into the movie that we’ll never see, which was nice. Adil said their film was “more grounded” than The Flash with its “big fantasy component.” Their movie was “more like Tim Burton’s Gotham City.” That would’ve been nice, considering The Flash avoided Burton’s gorgeous production design for a CGI slugfest in the middle of the desert. Nevertheless, these gluttons for punishment say they “could never say no” to returning to the DC Universe. “If we got another chance to be part of it, we’d do it,” Adil said, presumably because no one told him he wasn’t legally required to make superhero movies for Warner Bros.

Source link

Batgirl setPhoto: Jeff J Mitchell (Getty Images)Roughly

Even though the temps are dropping, it’s always dress season in our books—and we rounded up the best plus-size dresses on Amazon to get you from autumn into the whirl of holiday events. If you’re looking for that standout cocktail dress for your office party, a special fall wedding guest dress (pro tip: one-shoulder options and puff sleeves are trendy this year), or a comfy, casual T-shirt dress to pair with structured loafers, these highly-reviewed options have you more than covered.

Our Top Picks:

And if you’re still not ready to retire your flowy floral maxis, you can always pair them with fall boots and a cute jacket to take the look from season to season. Slip dresses are great for this time of year, too—but if cozy knit autumnal dresses are more your vibe, Amazon has tons of hidden high-quality gems.

Ahead of Prime Day (which returns this October—read more about the best Prime Day deals happening at the link), take a look at the best plus-size dresses on Amazon that are begging to be added to your closet—and don’t miss our round-ups of other great wardrobe essentials on the site, including the best leggings on Amazon, the best bras on Amazon, and the best sports on Amazon.

All products featured on Glamour are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

Source link

Even though the temps are dropping, it’s

While Starz execs aren’t tied to the ratings like regular commercial channels, they have to air programs that will keep viewers subscribed. Which of their shows will be cancelled or renewed? We’ll have to wait and see.

Scripted Starz shows listed: American Gods, Ash Vs Evil Dead, Becoming Elizabeth, Black Sails, Blunt Talk, BMF, Counterpart, Da Vinci’s Demons, Dangerous Liaisons, Dublin Murders, Gaslit, The Girlfriend Experience, The Gloaming, Heels, Hightown, Minx, The Missing, Now Apocalypse, Outlander, P-Valley, Power, Power Book II: Ghost, Power Book III: Raising Kanan, Power Book IV: Force, The Rook, Run the World, The Serpent Queen, Shining Vale, The Spanish Princess, Survivor’s Remorse, Sweetbitter, Vida, and The White Princess.

Last update: Most recent ratings added for Minx, Power Book IV: Force,  and Heels.

There’s lots of data that Starz execs look at when deciding whether to renew or cancel a TV series. The ratings for initial airings don’t play as large a role as they do on commercial stations but they are still an indication of how popular a show is. Here’s an updated listing of the recent/current primetime scripted shows on Starz.


Note: If you’re not seeing the updated chart, please try reloading the page or view them here and here.

A couple of notes about these charts: These figures are updated automatically as new ratings are released (usually a day or so after the broadcasts). The averages are based on the final national numbers (live plus same day viewing).The demo numbers, which are typically most important to the broadcast networks, aren’t quite as vital to cable channels because their audiences are usually much smaller. Demo numbers are typically reported using the 10ths decimal place (2.4, for example). In the averages, I’m using an extra decimal for easier ranking.

What do you think? Are you surprised by any of the ratings? Which shows should be doing better? Which one do you think will be cancelled next?

Source link

Published: September 11, 2023 While Starz execs aren’t

Timothée Chalamet can certainly rap, but according to “Wonka” director Paul King, Chalamet’s hidden talent is his classically “beautiful singing voice.”

Oscar-nominated actor Chalamet stars as Willy Wonka in the “Charlie and the Chocolate Factory” prequel film, which King noted is not a musical while still featuring singing and dancing.

“[Chalamet]’s got a beautiful singing voice,” King told Total Film. “The person it reminded me of was Bing Crosby. There’s quite a range, because it does go from a couple of bigger, showstopper-y sort of things, to moments of real, pure emotion and he can do it all…I’m going to sound like a crazed fan.”

He continued, “The Oompa Loompas sing a lot in the book, and Roald Dahl always uses poetry. But I didn’t want it to just become a musical where people are singing dialogue to each other for no discernible reason. I felt like it was more like a movie with songs than a musical.”

King previously said that Chalamet had the “voice of an angel,” with his triple threat talent inevitably going to “blow people away.”

Sally Hawkins, Keegan-Michael Key, Hugh Grant, Olivia Colman, and Rowan Atkinson also star alongside Chalamet in the film.

King didn’t even ask Chalamet to audition for the role of Wonka after watching Chalamet’s high school musical theater clips on YouTube.

“It was a straight offer because he’s great and he was the only person in my mind who could do it,” King told Rolling Stone. “But because he’s Timothée Chalamet and his life is so absurd, his high school musical performances are on YouTube and have hundreds of thousands of views. So I knew from stanning for Timmy Chalamet that he could sing and dance really well.”

He added, “I knew that was in his arsenal, but I didn’t know how good he was. When I spoke to him he was quite keen. He’d done tap dancing in high school and he was like, ‘I’d quite like to show people I can do that.’”

Chalamet will further show off his singing chops in the upcoming Bob Dylan biopic “A Complete Unknown.”

Source link

Timothée Chalamet can certainly rap, but according

Selena Gomez is ready to bid a relationship farewell in her fun new track, “Single Soon.”

“Y’all have been asking for new music for a while,” she wrote on Instagram announcing the Benny Blanco and Cashmere Cat-produced song a week prior to its release, sharing the track’s glamorous cover art. “Since I’m not quite done with SG3, I wanted to put out a fun little song I wrote a while back that’s perfect for the end of summer.”

Gomez hasn’t released a full-length album since 2020’s Rare, though she did drop her all-Spanish EP Revalación the following year. 

If you need a guide to follow along with Selena Gomez’s “Single Soon,” find the lyrics below:

Should I do it on the phone?
Should I leave a little note
In the pocket of his coat? Yeah
Maybe I’ll just disappear
I don’t wanna see a tear
And the weekend’s almost here

I’m picking out this dress
Trying on these shoes
‘Cause I’ll be single soon
I’ll be single soon
I know he’ll be a mess
When I break the news
But I’ll be single soon
I’ll be single soon

I’ma date who I wanna
Stay out late if I wanna
I’ma do what I wanna do
I’m picking out this dress
Trying on these shoes
‘Cause I’ll be single soon
I’ll be single soon

I know I’m a little high
Maintenance, but I’m worth a try
Might not give a reason why (oh well)
We both had a lot of fun
Time to find another one
Blame it all on feeling young

I’m picking out this dress
Trying on these shoes
‘Cause I’ll be single soon
I’ll be single soon
I know he’ll be a mess
When I break the news
But I’ll be single soon
I’ll be single soon

I’ma date who I wanna
Stay out late if I wanna
I’ma do what I wanna do
I’m picking out this dress
Trying on these shoes
‘Cause I’ll be single soon
I’ll be single soon

Yeah, I’ll be single soon (hah-ah)
Yeah, I’ll be single soon
Yeah, I’ll be single soon (hah-ah)
Yeah, I’ll be single soon

I’m picking out this dress
Trying on these shoes
‘Cause I’ll be single soon
I’ll be single soon
I know he’ll be a mess
When I break the news
But I’ll be single soon
I’ll be single soon

I’ma date who I wanna
Stay out late if I wanna
I’ma do what I wanna do
I’m picking out this dress
Trying on these shoes
‘Cause I’ll be single soon
I’ll be single soon

Well, who’s next?

Lyrics licensed & provided by LyricFind

Lyrics © Universal Music Publishing Group, Warner Chappell Music, Inc.

Written by: Selena Marie Gomez, Lisa Scinta, Ammar Malik, Benjamin Levin, Jacob Kasher Hindlin, Magnus August Hoiberg, Phil Shaouy, Ross Golan

Source link

Selena Gomez is ready to bid a

If there’s one thing you can rely on in this world, it’s that Mission Impossible movies are going to bring in audiences. The latest offering, Dead Reckoning Part One, did achieve its aim and raked in $560 million worldwide. However, it ended up as a flop thanks to its high production costs, with a loss of around $40 million for Paramount Pictures.

Dead Reckoning Part Two is set for release in 2024, and it will have to fix a few of the failures of its predecessor it if is to be a box office sensation.

 

Dead Reckoning Part One Affected by Barbenheimer

Dead Reckoning had everything that viewers want in a Mission Impossible movie: the star-studded cast, the high octane action, and the incredibly high stakes. The formula was in place for it to be a surefire hit for Paramount. The only thing that the film couldn’t control were external factors in the movie industry. According to The Review Geek, the only reason why the new Mission Impossible failed was because of the Barbenheimer phenomenon.

This was when Greta Gerwig’s Barbie and Christopher Nolan’s Oppenheimer were released simultaneously. In the lead up to their premieres, a social media storm ensued where people were encouraged to watch the two movies as a double bill. This helped both offerings exceed their box office projections, with Barbie earning more than $1.38 billion and Oppenheimer bringing in over $853 million.

 

Doesn’t Reflect Badly on Tom Cruise

Despite being a commercial failure, Dead Reckoning Part One was lauded by critics and is considered one of the best entries in the long-running franchise. The overall Rotten Tomatoes score is 96 percent, and the consensus was that the action sequences were the highlight. They helped to raise the stakes higher than ever before and took viewers to new levels of incredulity.

The failure of the picture doesn’t reflect badly on any of the team involved, especially Tom Cruise. As usual, the action star was incredible in his most famous role, and he still got to pick up his paycheck for his performance despite the production company failing to make a profit. According to a Lottoland blog article, the 61-year-old is still the highest paid actor in Hollywood with a net worth of $570 million.

Dead Reckoning Part Two Could Be Even Better

The fact that Dead Reckoning Part One wasn’t a money maker for Paramount shouldn’t be a problem for its sequel’s release. According to a blog post in Esquire, releasing pictures as Part One and Part Two in the modern age is a great tactic for production companies.

The second feature will attract most of the people who saw the first and want to know how the story ends, while it will also have a greater marketing model in place thanks to the reviews of its predecessor.

Paramount Pictures could have never envisioned the Barbenheimer phenomenon, and that’s why Dead Reckoning didn’t do as well as hoped. The second installment is likely to be a much bigger hit.

Source link

If there’s one thing you can rely

When outside intelligence officials seek evidence of North Korea’s leader, Kim Jong-un, leaving on a trip abroad — like his journey to Russia this week to meet with President Vladimir V. Putin — they always look for the whereabouts of a train painted a drab green.

One such train was spotted on Monday heading north, near where the borders of North Korea, Russia and China meet. It was moving in the direction of Vladivostok, where Mr. Putin is attending an economic forum. On Tuesday, North Korean state media confirmed that Mr. Kim had indeed left Pyongyang, the North’s capital, for Russia by train.

The green train officials look for is the special bulletproof one that Mr. Kim — and his father and grandfather, who ruled North Korea before him — have used to visit China, Russia or the former Soviet Union. Family members were said to lack confidence that they could make a safe long-distance trip using one of their country’s decrepit fleet of old Soviet-era passenger jets.

While much about Mr. Kim’s latest journey remains a mystery, here is what we know about the train:

Much of what is known about the train comes from intelligence reports, recollections of officials permitted to travel on board in previous eras and rare state news media footage.

There are believed to be at least 90 high-security carriages at the leader’s disposal, according to a 2009 South Korea news report that relied on classified information. According to the report, written during the era of Mr. Kim’s father, Kim Jong-il, three trains operate each time the leader travels: an advance security train, the leader’s train and a third carrying additional bodyguards and supplies.

Each of the carriages is bulletproof, making them thousands of pounds heavier than average. That additional weight translates to a slow ride. The trains are estimated to reach a maximum speed of just 37 miles per hour.

In Kim Jong-il’s time, according to the 2009 report, 100 security officers traveled in the advance train, searching stations for bombs and other threats and testing the safety of the track. Additionally, military helicopters and airplanes would fly overhead to provide more security.

Twenty train stations have been built across North Korea just for the leader’s personal use, according to the report.

North Korea’s state news media occasionally covered the leaders from inside the train, offering a rare glimpse at some of the many specialized cars.

When Kim Jong-un made his first state visit to China in 2018, he met a senior Chinese official who boarded his train in a carriage lined with thick pink sofas.

In 2015, Kim Jong-un was seen seated at a long white table in what appeared to be a conference room. In a similar video from 2011, his father, Kim Jong-il, is seen holding court in the same compartment. In the older video, a flat-screen television is clearly visible, and in the more recent one, a laptop computer can be seen.

In footage of the elder Mr. Kim’s trips, the leader is seen in an audience car with plush seats; leading a meeting in a dining car; and attending a banquet in a car paneled in dark wood. In that footage, Mr. Kim is seated at a table filled with food as entertainers perform in tuxedos and evening gowns.

The former leader’s office car, including a desk and computer, is preserved as a museum exhibit at the Kumsusan Palace of the Sun, Kim Jong-il’s mausoleum in Pyongyang, the North Korean capital.

Kim Jong-il was rumored to have had a fear of flying and preferred to travel on his train, which was outfitted with modern communications technology and a large staff that catered to his whims.

“It was possible to order any dish of Russian, Chinese, Korean, Japanese and French cuisine,” wrote Konstantin Pulikovsky, a Russian official who traveled with the former leader during a 2011 trip through Russia.

Mr. Kim insisted that live lobster and other fresh delicacies be delivered to the train as it crossed Siberia on trips to Russia. Cases of Bordeaux and Burgundy wines were flown in from Paris, Mr. Pulikovsky recounted in his memoir of the trip, “Orient Express.”

When bored, Mr. Kim relied on a group of female entertainers known as lady conductors to serenade him in Korean and Russian.

It is unknown what his son, Kim Jong-un, does for nourishment and entertainment while on board, but the younger Mr. Kim’s appetite is known to rival his father’s. He reportedly prefers Swiss cheese, Cristal Champagne and Hennessy cognac.

The train has been at the center of several tragic events in modern North Korean history.

More than 160 people were killed in Ryongchon, near the Chinese border, in April 2004, when trains laden with combustible material exploded because of a collision or an electrical malfunction.

There were initial rumors that the explosion was part of an attempt on Kim Jong-il’s life because the leader’s train had passed through the town hours earlier.

According to the state news media, he would later die aboard his train after a heart attack in December 2011.

After he became leader, Kim Jong-un visited China four times and Vietnam once — all by train. He also visited Russia by train and met Mr. Putin in 2019.

Source link

When outside intelligence officials seek evidence of

EXCLUSIVE: In the first major acquisition deal on the ground here at the Toronto Film Festlval, Netflix is closing on Woman of the Hour, the fact-based thriller that marks the directing debut of Anna Kendrick. We’re hearing the deal is for $11 million.

While some festival-bound pictures signed SAG-AFTRA Interim Agreements so cast members could make the trip, many didn’t. That’s because signatories especially streamers would not make quick deals on films when they are battling both WGA and SAG-AFTRA on a new deal. Woman of the Hour did not sign the IA, which is why this deal happened in the first weekend of the festival.

Pic tells the stranger-than-fiction story of a young woman who actually won a date on The Dating Game with a man who turned out to be a notorious serial killer. Rodney Alcala was convicted or murdering at least eight women, but investigators believe the number could be as high as 130. The handsome and charming Alcala lured women by posing as a photographer looking for models. He had already been a registered sex offender, and was recently released from prison. Somehow he was accepted on the popular daytime Dating Game, where a woman asked questions of three bachelors that were concealed by a wall.

The contestant, Cheryl Bradshaw (played by Kendrick), chose the killer, but he turned out to be such a creepy stalker that she never went on the date. Daniel Zovatto plays the date from hell. The pic premiered Friday as a Special Presentation at the festival.

RELATED: Toronto Film Festival 2023: All Of Deadline’s Movie Reviews

Ian McDonald wrote the script and Kendrick produced with Roy Lee, Stephen Crawford, Andrew Deane, J.D. Lifshitz ad Raphael Margules. Stuart Ford’s AGC Studios financed.

CAA Media Finance, Range and AGC Studios made the deal.

Source link

EXCLUSIVE: In the first major acquisition deal

It’s easy to measure your life in accomplishments, to look at the accumulation of honors and accolades, of personal and professional victories, and to say, “This accumulation represents empirical success.”

It’s harder to measure your life not necessarily in failures but in potentials left unfulfilled, in half-completed tasks or the stashed items left unused, and to say, “Despite or perhaps even because of this, there is still success.”

Flipside

The Bottom Line

Plucks something very universal from life’s loose ends.

Venue: Toronto International Film Festival (TIFF Docs)
Director: Chris Wilcha


1 hour 36 minutes

Chris Wilcha’s new documentary, Flipside, takes on the second challenge to deliver an autobiographical portrait of how a life seemingly of disappointments and failures can be a life well lived. Glimpse Flipside in the wrong moment or from the wrong angle and it can feel a little solipsistic, albeit in a way that will be relatable to many viewers. But taken in totality and with some reflection, it’s a borderline-profound and philosophical expression of satisfaction with everything that is unfinished in life.

Even on paper and without a documentary’s worth of reflection, Wilcha’s life isn’t a failure at all. His first documentary, The Target Shoots First, was acclaimed on the festival circuit and offered a very Gen X look at his youthful attempts to sell out, working for Columbia House in the 1990s. He won an Emmy for helping adapt Ira Glass’ This American Life for TV. Mostly, he’s worked steadily as a commercial director for some of the biggest brands in the world. He seems to have a family suitable for picture frames.

But Wilcha also has piles of hard drives filled with footage from documentaries he never completed, imagined works of art that were shelved for various reasons. All the while, his gainful employment was in glorified marketing. For a storyteller raised in a generation that, at least for a while, found some ideological expression in the no-compromises cynicism of Reality Bites, this feels like disappointment. Wilcha’s father was in marketing and that’s not the path he wanted to follow, even if all signs point to his father being very happy.

The ostensible spine of Flipside is Wilcha’s return to his New Jersey hometown, where he is simultaneously pondering two monuments to the blurred line between collecting and hoarding. There’s his childhood closet, a repository for albums, books, concert shirts and memorabilia of the juvenile he used to be. And then there’s Flip-Side Records & Tapes, a vintage record store where he worked his first job, a struggling repository from a bygone era that’s closer to a museum than a place of retail.

As he struggles to identify the value in his decently organized mess and, through conversations with Flip-Side proprietor Dan and some of Wilcha’s former friends and co-workers, he also goes through footage from some of those unrealized documentaries. And wouldn’t you know it? The values — spiritual, if not financial — all intersect.

Wilcha’s cemetery of truncated projects is an intriguing lot. There are interviews with legendary jazz photographer Herman Leonard — trust me, you know some of his images — conducted shortly before his death. There’s strange material from an Ira Glass touring show in which the host participated in fully choreographed dance numbers.

Then there are the documentaries that could have been started that are adjacent to other unrealized efforts. One of the regular customers at Flip-Side is Uncle Floyd, a television personality and New Jersey icon whose journey has included unexpected connections to Saturday Night Live and David Bowie. Wilcha’s connection to Leonard came through an association with Deadwood creator David Milch, which emerged from Milch’s connection to Judd Apatow, with whom Wilcha worked on a documentary about the making of Funny People. There’s a latticework of editing that joins these unfinished documentaries within Flipside and unites them as facets of Wilcha’s life. The idea that maybe what seem like loose ends from our past are actually plotlines awaiting unexpected resolution is both pleasantly Dickensian and wonderfully uplifting, if you think about it.

You will probably watch Flipside thinking that many of these films, not quite unmade anymore, might be more engaging as a feature than this partial autobiography or the story of a beloved old record store. In particular, the material with Milch, who has Alzheimer’s and is interviewed in conversation with his wife, Rita, and with Apatow, left me hungry for more. That’s also the point. Wilcha thought they would be more engaging as features as well. But the care with which Wilcha uses Milch and Leonard and Uncle Floyd, finding in each of their attitudes and spirits something aspirational without really making it about him, is thoughtful and at times inspiring.

Nobody in Flipside is living exactly the life they dreamt of. Even Apatow, an executive producer here as well, is tied to Wilcha through a movie about the stand-up career he didn’t have. As Leonard puts it, though, “There will always be circumstances.” Whether you overcome those circumstances or adapt to them or find a way to learn from disappointment and move on can be a matter of perspective or determination or luck.

This can be a metaphor for the general pursuit of life, for the specific making of art or for the entirely universal experience of working your way through your clutter and debris and learning to see the treasure in the mess. Maybe you won’t connect with the moments of Flipside that are most about Wilcha, but in 96 minutes, the film makes a case for cobbling something new from whatever your own unused documentary footage equivalent happens to be.

Source link

It’s easy to measure your life in

THE CONVERT

Section: Special Presentations

Director: Lee Tamahori

Writers: Shane Danielsen, Lee Tamahori

Logline: Lee Tamahori’s action-filled historical epic stars Guy Pearce as Thomas Munro, a newly arrived preacher in a colonial town in early 19th-century New Zealand who finds himself at the centre of a long-standing battle between two Māori tribes.

Sales Agent: Mister Smith Entertainment

Premiere Date: Sept 8, 2023

Panelists: Lee Tamahori, Guy Pearce, Tioreore Ngatai-Melbourne, Jacqueline McKenzie

Key Quotes: “Most of the stories [of Māori] deal with the period after this, where there were far more European colonists and Māori were being subjugated and wiped out… this period is when they were dominant, but they were just introduced to the musket and firepower, and gunpowder and all the repercussions of that.” – Lee Tamahori

Source link

THE CONVERT Section: Special Presentations Director: Lee Tamahori Writers: Shane Danielsen,

With the ink still drying on a closely tracked carriage renewal with Charter, Disney execs Dana Walden and Jimmy Pitaro told Deadline in an interview that the agreement’s details suit the current streaming/linear hybrid environment.

The companies announced the settlement earlier today, a bit more than 10 days after their initial clash left 27 networks and ABC stations dark for the 14.7 million subscribers to the No. 2 U.S. cable system. The impasse ended just hours before the regular-season kickoff of Monday Night Football, a highly anticipated matchup between the New York Jets and Buffalo Bills.

While financial terms were not divulged, the main deal points had various puts and takes for both sides. Charter gains the right to take a wholesale fee in exchange for offering the ad-supported tier of Disney+ to its estimated 9.5 million Select video subscribers. It also will carry only a “curated” selection of networks, with Freeform, FXX and several other established outlets left without distribution on Spectrum, meaning a lower overall bill for programming. Disney, though, is getting Charter’s distribution muscle to help push its entire DTC portfolio on both a bundled and stand-alone basis, as well as the inclusion of ESPN+ with Charter’s Spectrum TV Select Plus package. And it is understood that the nine ESPN networks at the heart of the dispute secured not only rate increases but penetration minimums, both sticking points earlier in the rift.

Overall, the deal is “indicative of the times that we’re in,” summed up Walden, Co-Chair of Disney Entertainment. Asked about what the slimming-down of the Disney linear portfolio on Spectrum means for traditional networks in the future, she said, “We were prepared to be flexible and deliver the best results for our company.”

As far as viewer impact, while the new arrangement could leave a few gaps for fans of specific shows, Walden reasoned, “A lot of the programming on those channels is windowed to their cable channel siblings” as well as Disney+. Securing a boost for ad-supported Disney+, Walden said, was crucial. “This is the future of our business,” she said. The ad tier, which launched last December, had attracted about 3.3 million subscribers through the end of June. CEO Bob Iger has said the company’s ability to derive revenue both from ads and subscriptions — a double-barreled approach reminiscent of pay-TV — will be key to the company hitting its streaming targets.

As to why Hulu didn’t get integrated into the Spectrum subscriber tiers, unlike other Disney streamers, Walden said the deal still preserves “the ability for subscriber to add Hulu – so felt like there was a way for everyone to achieve their objectives.” A pending unified app interface blending Hulu and Disney+ content will also keep Hulu in the mix as Disney looks to finally close a deal to buy out Comcast’s stake in the streamer.

The last public indicator prior to today’s peace accord left plenty of doubt about whether the parties would ever get on the same page. Charter CEO Chris Winfrey indicated last Thursday that little progress had been made in negotiations, reiterating the company’s outlook that it could wind up “moving on” entirely from the video business. Asked about when the sides dug in to reach a compromise, Pitaro, ESPN’s chairman, replied, “Getting this deal done has always been a priority for us. We’ve been all hands on deck with a singular focus of getting a deal done. … I can’t tell you there was a defining moment. It was more of a gradual meeting of the minds.”

Cord-cutting has ravaged the pay-TV business, with Charter estimating it has lost about 25% of its customers in the past five years alone. Streaming, meanwhile, has an economic model that has not yet proven to be as lucrative as that during the heyday of pay-TV. Disney, meanwhile, has an interesting asset in the mix. It had been pointing customers affected by the outage Hulu + Live TV, its pay-TV service, even rolling out a $30-a-month discount in recent days. Asked how the company’s own pay service fits strategically with efforts to forge partnerships with outside distributors, Walden said, “It is definitely a tool in our arsenal” and signaled that “we were coming to market with Charter in a specific way.”

Added Pitaro, “We wanted a deal that would protected that traditional business model and also enabled us to create new pathways.”

Charter declined to make any of its executives available for additional comment to Deadline. The company’s CFO, Jessica Fischer, is scheduled to speak Wednesday at a BofA Securities conference in New York.

Wall Street appeared to view the settlement as a plus for both Disney and Charter shares, with the latter perking up 1% and the latter rising 3% on heavier-than-normal trading volume.

In a note to clients, MoffettNathanson’s Michael Nathanson scored the outcome a split decision, with pluses for each company but plenty of unknowns. In an appearance last Friday on CNBC, the veteran media analyst had predicted it would be “game over” for the Disney-Charter relationship if a compromise couldn’t be worked out before Monday night’s football game.

“While perhaps not the end of the pay-TV world as we know it, we very much can look back at this Disney/Charter deal as an opening salvo of a broader re-bundling and a step in giving customers smaller linear bundles with increased SVOD functionality,” Nathanson wrote in today’s note.

Michael Morris, an analyst with Guggenheim, was more certain that a compromise solution was likely given the near-term financial stakes. (Charter has pegged the annual value of its Disney carriage deal at $2.2 billion.) “We believe that today’s deal reflects a trade-off from linear economics, but positions both Disney and Charter to drive value amid the shift toward streaming in a digital future,” he wrote in a client note.”

Source link

With the ink still drying on a

On Oct. 29, 1975, Mike O’Neill, the editor of The Daily News, and Bill Brink, the managing editor, returned from lunch and asked whether President Gerald R. Ford, while addressing the National Press Club in Washington, had agreed to help New York City avoid bankruptcy.

The editors were read the definitive sentence from Ford’s address: “I am prepared to veto any bill that has as its purpose a federal bailout of New York City to prevent a default.”

As I recall — I was a reporter and editor at The Daily News at the time — Brink initially summed up the president’s rejection with what was sometimes quaintly described back then as a two-word barnyard epithet. Then they refined the hulking front page tabloid headline, a cri de coeur that encapsulated Washington’s response to the city’s plight and that would help cost Ford the presidential election the following year, ultimately becoming a metaphor for New York’s resilience: “Ford to City: Drop Dead.”

Those days of urban desolation, despair and painful recovery a half century ago are captured in the forthcoming documentary “Drop Dead City — New York on the Brink in 1975,” which on Monday was awarded the fifth annual Library of Congress Lavine/Ken Burns Prize for Film.

“Drop Dead City” was directed by Peter Yost and Michael Rohatyn, a filmmaker and musician who had a unique perspective: It was Michael’s father, Felix G. Rohatyn, an investment banker, who was recruited in 1975 by the heroic Gov. Hugh L. Carey of New York to help stave off the state’s municipal bankruptcy.

Michael Rohatyn was only 12 when his father helped save the city. Perusing the old footage from that time and filming 200 additional hours, he said in an interview, “I was very moved to see his charm and his intellect right there on the surface. I think he would be really proud of the film. He might think there’s not enough of him in it, and he might be right.”

The prize, awarded by The Better Angels Society, the Library of Congress and the Crimson Lion/Lavine Family Foundation, and funded by Jeannie and Jonathan Lavine, includes a $200,000 grant for final production and distribution of the film, a sum that, the award-winning documentarian Ken Burns recalled, was more than the entire budget for his first film, on the Brooklyn Bridge, which was nominated for an Academy Award in 1982.

“Drop Dead City” serves as a vivid reminder for today’s negativists of how bad the bad old days were. The contrasting scenes are poignant: a theater poster for “Man of La Mancha” — the Impossible Dream — and streets clogged with cabs juxtaposed with the carcasses of burned-out buildings, abandoned skeletal public works, graffiti-shrouded subway cars, and mobs of justifiably choleric municipal workers whose promise of lifetime civil service job security was suddenly jeopardized. Its protagonists were mostly men with long sideburns in smoke-filled rooms, palpably fearful over the uncharted consequences if the city could no longer fool some of the people all of the time to pay its bills.

Who would have first claim? The bondholders from whom the city had borrowed? Or the police officers, firefighters, sanitation workers and teachers on whom New Yorkers depended every day? Or the beneficiaries of public assistance who depended on the city?

And who would bear the blame? Former Gov. Nelson A. Rockefeller, whose worthies conceived of “moral obligation” bonds to enable more borrowing for good causes? Former Mayor Robert F. Wagner, who was re-elected in 1961 after granting the unions collective bargaining rights? His successor, John V. Lindsay, undone by the cost of good intentions? Or his successor, Abraham D. Beame, who had warned against fiscal gimmickry when he was the city’s comptroller but sanctioned it anyway by voting for the unbalanced budgets, only to find that the buck stopped with him when he was elected mayor?

And who should bear the brunt of the sacrifice? Public officials had long maintained low mass transit fares, free tuition at City University and other services, and had granted organized labor generous benefits not only to get re-elected, but to preserve the city’s legacy as a global beacon of opportunity. Bankers should have known that the city was selling tax anticipation notes without having the slightest notion of how much tax revenue was anticipated, even as they reaped hefty commissions on each borrowing that sent the city deeper into debt.

“They made the accounting sexy,” Burns said of the filmmakers. “They made the people who get dismissed human and dimensional. The headline became the haiku of the fiscal crisis.”

Hundreds of films were submitted to the Better Angels Society, a nonprofit organization whose goal is to educate Americans about their history through documentaries. It winnowed the submissions to six and presented two to Burns and to Carla Hayden, the Librarian of Congress. The runner-up was “The Disappearance of Miss Scott,” directed by Nicole London, which recounts the story of the jazz pianist and civil rights pioneer Hazel Scott, who went into exile during the Red Scare of the 1950s.

The mid-1970s evoked by “Drop Dead City” are even more distant from today’s audiences than the ancient history of the 1929 stock market crash was from New Yorkers who lived through the city’s fiscal crisis. But, as Hayden explained, what gives the film vitality and relevance is that “it puts history at the forefront.”

“Drop Dead City” deftly melds archival footage of frustrated and gravely conflicted negotiators, ordinary New Yorkers and aggrieved rank-and-file union members with candid reflections by the surviving protagonists. Unfortunately some, like former Deputy Mayor John Zuccotti, didn’t survive long enough to be interviewed on video. (Zuccotti died a day after the filmmakers spoke with him off-camera.)

Viewers might also have welcomed more of Felix Rohatyn’s pithy observations. (He once likened default to “someone stepping into a tepid bath and slashing his wrists — you might not feel yourself dying, but that’s what would happen.”)

The city came so close to default that a declaration was signed by Mayor Beame’s shaky hand, but never invoked; it later hung in the home office of the New York corporate lawyer Ira Millstein.

Asked at the time, though, whether an agreement with the municipal unions and the State Legislature to fend off bankruptcy would survive, Felix Rohatyn replied: “I don’t give odds any more. I think it has to work.”

But Rohatyn was aware of the costs, predicting that the sacrifices inflicted to satisfy the banks and the Ford administration would mean that even if New York survived, “this city will be a much lesser place.”

Yost, the film’s co-director, explained why, even though New York remains very much alive, “Drop Dead City” is still very relevant.

“Intellectually, it’s resonant at a time when we’re all at each other’s throats,” he said. “That was a moment when it could have gotten ugly and rude like New York, but seemingly irreconcilable things came together to keep the city from going over a cliff. To me that holds a lot of lessons for us today.”

Source link

On Oct. 29, 1975, Mike O’Neill, the

For the first time in the MCU’s history, Marvel Studios put an entire season of a Disney+ series up on YouTube so that fans can enjoy it from start to finish for free.

Disney and Marvel are no strangers to using YouTube to connect with MCU fans, with analytics showing just how popular some of the franchise’s biggest moments are – even from trailers.

Recently, Marvel began posting its Marvel Studios Legends series on the video streaming website, allowing fans who aren’t Disney+ regulars to catch up on all they need to know for the MCU’s upcoming efforts in the Multiverse Saga.

Marvel Puts Full MCU Show on YouTube

Marvel Studios uploaded the first season of the I Am Groot Disney+ show onto YouTube in its entirety for free, allowing fans to catch up on the animated series following the debut of its second season. You can watch the episodes below…

Shortly after his birth in the pot at the end of 2014’s Guardians of the Galaxy, Baby Groot breaks out of his enclosed space to take his first steps in a short entitled Groot’s First Steps.

The Little Guy puts Baby Groot in a unique position as the biggest being around, finding a civilization of tiny beings that view the walking tree as their hero.

Groot’s Pursuit has the titular character investigating a disturbance aboard the Guardians of the Galaxy’s ship, coming face to face with a mysterious goo and even engaging in his own dance-off battle.

Looking to take a bath and relax in Groot Takes a Bath, Baby Groot churns out his own personal spa day with some crazy hijinks that end in a battle with a colorful woodland creature.

Magnum Opus features Baby Groot scavenging the ship for supplies in order to make a sentimental piece of art for Rocket Raccoon, with Bradley Cooper even making a quick appearance in the back half of the short.

We Are (Watching) Groot 

With I Am Groot Season 1 only being about 16 minutes in total for all five shorts, this release will give more fans access to check the series out before it continues.

And even with Season 2 ranking slightly lower than its predecessor in terms of runtime, there will still be plenty of excitement to see the fan-favorite tree return to action in the animated spectrum.

This new entry will also serve as a step in a new direction for the MCU, as it will be the first Guardians-centric project to not feature James Gunn as the director or writer following his move to DC Studios.

But with Groot actor Vin Diesel still in tow to play the wild central hero, I Am Groot shouldn’t fall off in terms of quality with the MCU looking to expand on the cosmic front.

Source link

Zac Efron is an American actor who began his career in the early 2000s with guest roles on several television series including Firefly, ER, and The Guardian. After his career took off with his leading role as Troy Bolton in the High School Musical trilogy, Efron starred in several other teen-oriented films including Hair Spray and 17 Again.

Zac Efron has had a long string of successful television shows since he began acting. Efron starred as Ted Bundy in Extremely Wicked, Shockingly Evil and Vile and also has a documentary on Netflix called Down to Earth with Zac Efron. Here are Zac Efron’s 10 best movies, according to Rotten Tomatoes.

10 High School Musical 3: Senior Year – 64%

Walt Disney Studios Motion Pictures

High School Musical 3: Senior Year is the third installment of the High School Musical film series. The sequel follows Troy Bolton (Zac Efron) and Gabriella Montez, who are high school sweethearts that are struggling with the idea of being separated from one another after graduation as they are about to head off to college.

Troy wants to attend the nearby University of Albuquerque on a basketball scholarship, however, Gabriella wants to attend Stanford University in California. Meanwhile, Sharpay, a shallow and spoiled rich girl, attempts to go all out planning the school’s final musical show. The Wildcats, Troy, and Gabriella stage a spring musical to address their experiences, hopes, and fears about their future.

9 Neighbors 2: Sorority Rising – 64%

Zac Efron in Neighbors
Universal Pictures

Neighbors 2: Sorority Rising is the sequel to the 2014 film, Neighbors. The film centers around Mac Radner and Kelly Radner, who are expecting their second child and are preparing to sell their home to the Baiers family. The Radner’s realtor reminds Mac and Kelly that the house is in escrow for 30 days so the Baiers will check in occasionally to make sure everything is going to plan.

Related: Best Dance Breakout Scenes in Non-Musical Movies, Ranked

Meanwhile, a group of unruly freshmen girls of Kappa Nu moves next door to Mac and Kelly. With the loud parties threatening the sale of their home, Mac and Kelly turn to Teddy Sanders (Zac Efron) to help. Their old enemy and ex-neighbor help devise schemes to get the wild sorority girls off the block, however, the women refuse to go down without a fight.

8 Gold – 65%

Zac Efron in Gold
Madman Entertainment

Gold is a 2022 Australian survival thriller film that was directed by Anthony Hayes. Two drifters Virgil (Zac Efron) and Keith are traveling through the desert when they stumble across the biggest gold nugget ever found. Dreams of immense wealth and greed take over, and they make a plan to secure the necessary tools.

After the duo fails to extract the gold with their basic tools and truck, Keith suggests one of them stay with the gold while the other finds an excavator. Virgil argues that he should be the one to stay with the gold instead since he found it. Keith then leaves Virgil with his remaining supplies and sets out to find an excavator. While Keith is gone, Virgil begins to deteriorate both physically and mentally.

7 High School Musical – 67%

High School Musical
Disney Channel

High School Musical is a musical television film that was directed by Kenny Ortega and written by Peter Barsocchini. The film follows Troy Bolton and Gabriella Montez, who are two completely different teenagers who meet while they are singing karaoke at a New Year’s Eve party. Troy is the basketball team captain and Gabriella is academically gifted and joins the scholastic decathlon team.

After returning to school after a break, Troy sees Gabriella in his homeroom, and she explains to him that she is a new student there who has transferred from Albuquerque New Mexico. The two of them become close friends and accidentally audition for the school musical. When both Troy and Gabriella receive callbacks, Sharpay becomes furious.

6 Liberal Arts – 71%

Liberal Arts- Zac Efron
IFC Films

Liberal Arts is a comedy-drama film that was written and directed by Josh Radnor. The film follows a 35-year-old named Jesse Fisher, an admissions officer at a New York City post-secondary institution, who has a romantic relationship with a 19-year-old college student, Zibby.

Jesse is invited to the retirement dinner of his second-favorite Ohio University college professor, Peter Hoberg. While at the retirement dinner, Jesse encounters Nat (Zac Efron), a free spirit who navigates life at the institution on his own terms.

Later, Zibby invites Jesse back to campus, hinting that she has feelings for him. Jesse has concerns about the 16-year age gap but agrees, and the two spend time together and kiss. However, Peter sees them together and encourages Jesse to date women his own age.

5 Neighbors – 73%

Neighbors- Zac Efron
Universal Pictures

Neighbors is a comedy film that was directed by Nicholas Stoller and written by Andrew J. Cohen and Brendan O’Brien. The film stars Seth Rogen, Zac Efron, and Rose Byrne with supporting roles from Dave Franco and Christopher Mintz-Plasse.

Mac and Kelly are attempting to adjust to life with their infant daughter, Stella. When frat brothers move into the house next door, conflict arises when the noise from the fraternity doesn’t stop. Teddy (Zac Efron) is the President, and Pete is his right-hand man. Mac asks Teddy if they can lower the fraternity’s noise and even accepts an invitation to a party one evening.

However, when Teddy goes back on his word about keeping the partying down, Mac calls the police to deal with the problem. The police blame Mac for their presence, and an all-out war begins.

4 High School Musical 2 – 83%

High School Musical 2
Disney Channel

High School Musical 2 is the second installment of the High School Musical film series. The film stars Zac Efron, Vanessa Hudgens, Ashley Tisdale, Lucas Grabeel, Corbin Bleu, and Monique Coleman.

Troy lands a job in a wealthy country club owned by Sharpay and Ryan’s family and ends up landing jobs for Gabriella, Chad, Taylor, and the entire Wildcats basketball team. When Troy is introduced to Sharpay’s parents, Troy realizes that Sharpay can help him with many opportunities and even a basketball scholarship.

Meanwhile, Troy starts hanging out with a different crowd and Chad worries that Troy will forget his friends while Gabriella feels as though she is losing Troy to Sharpay.

3 Me and Orson Welles – 86%

Me and Orson Welles- Zac Efron
Warner Bros. Pictures

Me and Orson Welles is a drama film directed by Richard Linklater and is based on Robert Kaplow’s novel. The story is set in New York in 1937 and is about a teenager who is hired to perform in Orson Welles’s adaptation of William Shakespeare’s Julius Caesar who becomes attracted to a career-driven production assistant.

Related: 25 Movies That Teach Us a Lot About Friendship

Richard Samuels (Zac Efron) takes a day trip to New York City and meets Gretta Adler where they begin a friendship based on their shared love and goal as a professional in the creative arts. While on this trip, Richard comes across the Mercury Theatre and meets Orson Welles who offers Richard an acting job as Lucius in his modern retelling of Julius Caesar.

2 The Disaster Artist- 91%

Two men get ready to fight;one is a boxer and the other a nerd.
A24

The Disaster Artist is a biographical comedy-drama film that stars, co-produced, and was directed by James Franco. The film follows an unlikely friendship between aspiring actors Tommy Wiseau and Sestero that results in the production of Wiseau’s 2003 film The Room, which was considered one of the worst films ever made. The film stars brothers James and Dave Franco as Wiseau and Sestero, respectively.

Aspiring actor Greg Sestero befriends the eccentric Tommy Wiseau. The two travel to L.A., and when Hollywood rejects them, Tommy decides to write, direct, produce, and star in their own movie. During the making of their film, Tommy is impressed with Dan’s (Zac Efron) intensity during the scene where Chris violently presses Denny for money owed to him.

1 Hairspray- 92%

Zac Efron and a few other actors smiling for the camera
New Line Cinemea

Hairspray is a musical romantic comedy film that is based on the 2002 Broadway musical. The film was directed and choreographed by Adam Shankman and has an ensemble cast including John Travolta, Michelle Pfeiffer, Christopher Walken, Amanda Bynes, Zac Efron, James Marsden, Queen Latifah, Brittany Snow, Elijah Kelley, Allison Janney, and Nikki Blonsky.

In the 1960s, Tracy Turnblad an optimistic dance-loving teen auditions for a spot on “The Corny Collins Show” and gets the part. Several of the teenagers on The Corny Collins Show attend Tracy and Penny’s high school. Tracy is particularly star-struck whenever she catches the sight of Link Larkin (Zac Efron), the show’s main lead who is also Amber Von Tussle’s boyfriend.

Source link

Zac Efron is an American actor

, data from NewsWhip showed that engagement on public posts linked to the New York Times website has dropped dramatically since late July. This is seemingly a unique issue to the NYT as other news organizations like CNN, the Washington Post, and the BBC have not seen similar dips in engagement.

According to the report, the New York Times’ reach hasn’t changed on Facebook and other social media platforms. Additionally, recent tweets by former President Barack Obama that include NYT links saw less engagement when compared to his other tweets. For example, when Obama shared articles about healthcare costs, his posts reached fewer than 800,000 users. Most of his posts reach a minimum of 10 million users.

While it’s unclear what exactly is causing the drop in user reach, this wouldn’t be the first time Elon Musk’s X appeared to be affecting user engagement. In August, X to be interfering with links to Mastodon, Bluesky, Threads, Substack and of course—the New York Times, to make them load noticeably slower. At the time, it appeared that the high-profile websites affected were only big names that Musk publicly attacked in the past.

X and The New York Times could not be immediately reached for comment.

Source link

, data from NewsWhip showed that engagement

In a first for the burgeoning realm of alternate live sports telecasts, an upcoming NFL game will be adapted in real time as a fully animated contest taking place in the Toy Story universe.

The October 1 game between the Jacksonville Jaguars and Atlanta Falcons is billed as Toy Story Funday Football. It will kick off on Disney+ and ESPN+ at 9:30 a.m. ET, an early start because it is part of the NFL’s annual series of international games, taking place at London’s Wembley Stadium. Already, the game will be a streaming affair, with the main broadcast appearing on ESPN+, one of the streaming exclusives provided for as part of media companies’ $110 billion rights renewal with the NFL. The Falcons-Jaguars game will also stream on NFL+.

Using the NFL’s Next Gen Stats and on-field tracking data, every player and play will be presented in “Andy’s Room,” the familiar, brightly colored setting for the Toy Story franchise. The action will be virtually simultaneous with the main game telecast, with most plays recreated after an expected delay in the neighborhood of about 30 seconds. Woody, Buzz Lightyear and many other characters will be visible throughout, and a press release notes they will be “participating from the sidelines and in other non-gameplay elements.” Along with game action, the announcers, graphics, scoreboard, referees’ penalty announcements, celebrations and other parts of the experience will all be rendered in a Toy Story-centric fashion. (For a glimpse of how it will look, check out the video above.)

At halftime, Duke Caboom — the motorcycle daredevil voiced by Keanu Reeves in Toy Story 4 — will attempt a jump.

Alternate telecasts, especially those with computer graphics enhancements designed to hook younger viewers have increasingly been a staple of the sports TV landscape. This NFL season will see another milestone for the trend as the Super Bowl in February gets “slimed” in a Nickelodeon-skewed complement to the main game broadcast on CBS. Disney has mined its own properties in recent years, presenting such offerings as a Marvel-themed NBA game, but the fully animated nature of the Toy Story game is new. ESPN helped popularize the concept of alternative telecasts with the success of Monday Night Football with Peyton and Eli, which is starting its third season.

Along with ESPN, the Toy Story event will be produced with contributions from ESPN’s Edge Innovation Center, Disney, the NFL, Pixar, Next Gen Stats, Beyond Sports, and Silver Spoon.

In the U.S., Toy Story Funday Football will be available live on Disney+ and ESPN+, with replay available shortly after the game ends on Disney+ for a limited time. Globally, it will be available in more than 95 markets live and/or replay.

Source link

In a first for the burgeoning realm

 

Photo Credit:  Atsushi Nishijima

 

TIFF CEO, Cameron Bailey, is excited to announce that filmmaker Ava DuVernay will return to TIFF with her latest offering, Origin. DuVernay’s film will have a Gala screening at Roy Thomson Hall on Monday, September 11th. DuVernay will be in attendance.
 
Written, produced, and directed by Academy Award nominee Ava DuVernay, Origin chronicles the remarkable life and work of Pulitzer Prize-winning author Isabel Wilkerson (played by Academy Award nominee Aunjanue Ellis-Taylor) as she investigates the genesis of injustice and uncovers a hidden truth that affects us all.
 
Origin stands as a unique account of the intimacy within a writer’s quest for truth. DuVernay creates powerful cinematic images from the stories that Wilkerson brought to light in her non-fiction work Caste: The Origins of Our Discontents, as well as the tragic moments of her personal life which framed her writing. It results in a deeply moving portrait of grief and healing — both personally and in the world.
 
“Ava DuVernay’s Origin is a brilliantly crafted showcase of her talent as a writer, producer, and director. This is audacious filmmaking on a grand, global scale,” said Bailey, “DuVernay deftly weaves Isabel Wilkerson’s big idea about how we live into a beautiful narrative of passion and discovery. I can’t wait for Toronto audiences to feel its power.”
 
Paul Garnes and DuVernay produced Origin under her ARRAY Filmworks banner, and Thane Watkins serves as co-executive producer.
 
Along with Aunjanue Ellis-Taylor and Jon Bernthal, Origin stars Niecy Nash-Betts, Vera Farmiga, Audra McDonald, Nick Offerman, Blair Underwood, Connie Nielsen, Emily Yancy, Jasmine Cephas Jones, Finn Wittrock, Victoria Pedretti, Isha Blaaker, and Myles Frost. The team of artists behind Origin was led by cinematographer Matthew J. Lloyd, ASC, production designer Ina Mayhew, editor Spencer Averick A.C.E, composer Kris Bowers, costume designer Dominique Dawson, and casting director Aisha Coley.
 
Tickets for Origin go on sale Monday, September 4 at 10 AM ET.  Check tiff.net for more information.

 

Social Media: 
Twitter: @TIFF_NET & @TIFF_Industry
Instagram, TikTok & Letterboxd: @tiff_net
Pinterest: @tiffnet
Facebook.com/TIFF
#TIFF23

TIFF prefers Visa.

The Toronto International Film Festival takes place September 7–17, 2023. 

TIFF will respect SAG-AFTRA protocols regarding the participation of its members at the Festival.

 

 

Source link

  Photo Credit:  Atsushi Nishijima   TIFF CEO, Cameron

Alexander Payne brought his 1970-set dramedy The Holdovers to the Toronto Film Festival on Monday, and earned a rapturous ovation from the Princess of Wales Theatre audience on Monday.

But the Sideways director expressed sadness that he had come on stage alone and without his principal cast, led by Paul Giamatti and newcomer Dominic Sessa, owing to Hollywood actors strike restrictions. “It is, of course, heartbreaking that the actors and the screenwriter can’t be with us,” Payne said.

In The Holdovers, Giamatti plays a curmudgeonly private school instructor at a New England prep school who forms an unlikely bond with Angus Tully, a damaged, brainy troublemaker played by Sessa. Also unable to appear on stage is screenwriter David Hemingson, who also produces alongside Mark Johnson and Bill Block.

Payne added he told Sessa, a first-time actor fresh out of drama school, that he had been “deprived” of the immediacy of seeing a film festival audience watch his breakout performance, much as musicians and stage actors can connect with their audience.

 During the post-screening Q&A, Payne explained casting Giamatti was a given to play the prep school instructor, but finding a young actor to play Angus Tully was a bigger challenge. He said 800 submissions for the role came in, and Payne viewed around 60 digital auditions, but without success.

So he and casting director Susan Shopmaker decided to call up the drama departments of the schools where they were set to shoot the prep school dramedy. “And there he (Sessa) was, at Deerfield Academy… He’d never been in front of a camera. He starred in the drama department, a real ham,” Payne recalled.

Many Payne movies have screened in Toronto, but The Holdovers also marks a return to TIFF as Focus Features nabbed the worldwide rights to the Miramax pic, excluding the Middle East last year as the movie played as part of an informal market and outside the main festival lineup.

 The Toronto Film Festival continues through to Sept. 17.

Source link

Alexander Payne brought his 1970-set dramedy The

Two things that I think are very important to discuss are better heard than written so I would like to kindly direct you to today’s Daily Roundup, and that is Kaitlyn talking about the breakup with Jason, as she gives us a reason to why it happened. And also what Arie said in his IG stories earlier this week regarding the Maui fires and what he wants to do to help. Although I’m guessing it’s not a reason that will be suitable for most people that want/need everything to be about tea and salacious rumors. Her answer is straight forward and, frankly, boring – but it’s their reality. Just because it’s not what you’d like her answer to be and you want something more juicy doesn’t mean it’s not true. I suggest to everyone that any opinion you have on their breakup you just keep to yourselves or within your inner circle in a text chain or whatever. You don’t need to express it publicly on either Kaitlyn or Jason’s page, or even behind a screen name on any site, because that’s something they could ultimately end up seeing/reading. Keep it to yourself. It’s their life and their breakup. As for Arie, I don’t agree with what he posted on his IG stories on Monday and I hope we get a little more transparency about what he’s doing. Because where he left it at Monday is quite head scratching. Hopefully he’ll clarify more going forward. And I really hope he’s not going to Maui with Lauren on Friday to scout/purchase land which seems to be a big issue happening right now.

Anyway, you can listen to more of my thoughts on those two topics on today’s podcast on a number of platforms, but you can also tune in by clicking the player below:


Subscribe:
Apple Podcasts,RSS, Stitcher, Spotify
Music written by Jimmer Podrasky
(B’Jingo Songs/Machia Music/Bug Music BMI)

A couple things that would’ve been in yesterday’s column if I didn’t fall asleep yesterday morning after posting the podcasts…

Did you see the sign in the audience Monday night held by one of the people? “Charity I have your Clarity?” Who made that? What does it mean? And for someone sitting at home who doesn’t realize the audience doesn’t bring their own signs and they are given to them by production, that makes it even more ridiculous. So an oblivious fan sitting at home sees someone in the audience who thinks they have Charity’s clarity based on what? What did that person do? What do they know? Are they going to share it with her? And how do we know it’s right? My point being, these signs that production makes for the audience at all the Tell Alls are laughable. They look made by a 6th grader and then their phrases are something even a 4th grader would come up with. I get they want to make them lighthearted and fun. But at least make them make sense.

I understand why this show brings back alumni to their Tell All shows or brings them down to Mexico to be part of dates, or to even bring date cards on the Bachelor or the Bachelorette. But Monday night was a little different. You had Trista, DeAnna, and Desiree showing up to support Charity. There’s nothing wrong with that per se. But it’s kind of random to have the 1st, 4th, and 9th Bachelorettes come out for the 20th Bachelorette. My guess is Charity had never met or spoken to any of those women before that day. I understand that it doesn’t help matters when the previous three black Bachelorettes that you had basically want nothing to do with the show anymore. You essentially ran Michelle out of the franchise when you took her off Bachelor Happy Hour, probably stemming from how she called you out for not having Erich speak about black face on his ATFR. Rachel Lindsay would rather gouge her eyes out with a pencil then want anything to do with your show. And Tayshia hasn’t seemed to do anything related to this show since you removed her and Kaitlyn has hosts after Michelle’s season. Nothing wrong with bringing Trista, DeAnna, and Desiree out. But lets be real here, it’s not like they have any sort of connection to Charity other than holding the same position as she did – over 10 years ago. Weird choice.

Suzana at @BachelorData has your latest statistics on the “Men Tell All” in case you missed them…

“Reader Emails” begins on Page 2…






Source link

Share Tweet Share Share Email Two things that I think are very

Folks online are calling out Drew Barrymore and slamming her over the decision to start production back up for her daytime talk show “The Drew Barrymore Show” despite the ongoing writers’ and actors’ strikes.

“Drew Barrymore’s writers are outside the studio picketing while she continues without them, she’s ‘writing’ the show (most likely with some help) so effectively scabbing, and anyone with a WGA pin or shirt is being removed from the audience? This is villain s–t,” journalist and TV writer Alex Zaragoza.

Their words came after Barrymore announced her show would start production back up.

“I made a choice to walk away from the MTV, film and television awards because I was the host and it had a direct conflict with what the strike was dealing with which was studios, streamers, film, and television,” Barrymore said in an Instagram post. “It was 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. And to be clear, our talk show actually wrapped on April 20th so we never had to shut down the show. However, 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,” she added. “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.”

While that announcement was probably enough already to ruffle some feathers, the news that Barrymore fans wearing WGA buttons were being removed from the audience seemed to have only made it worse. However, Barrymore said she was totally “unaware” that fans were having that experience and expressed her regret.

“It is our policy to welcome everyone to our show tapings,” a spokesperson for “The Drew Barrymore Show” told TheWrap on Monday. “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.”

Nevertheless, fans online haven’t held back any of their thoughts — good, bad or ugly. Here’s what people have to say about Drew Barrymore and her show’s return amid the WGA and SAG-AFTRA strikes.

Source link

September 11, 2023 @ 2:35 PM Folks online

The 2023 MTV Video Music Awards will be packed to the gills with must-see performances. 

It was most recently announced that Cardi B and Megan Thee Stallion will reunite for a debut performance of their just-released single, “Bongos,” while Bacardi is sponsoring a show-stopping finale featuring some of hip hop’s most iconic tracks performed by DMC, Doug E. Fresh, Grandmaster Flash and the Furious Five, LL COOL J, Lil Wayne and Nicki Minaj.

Minaj is also returning to the VMAs stage this year as both the evening’s emcee and for a performance of her new single, “Last Time I Saw You.” It’s the second consecutive year that the 40-year-old “Barbie World” rapper will host and perform after serving in the same role for the 2022 show. Throughout her impressive career, Minaj has racked up 25 VMA nominations, including the six she has at this year’s show, and six wins. Her first VMAs appearance was in 2012.

On top of these artists, Olivia Rodrigo is returning for a special performance at this year’s ceremony after her 2021 debut.

And in addition to the the hip hop tribute, Lil Wayne, a nominee this year for Best Hip Hop, will make a long-awaited return to the VMAs stage with his first performance at the show in more than a decade. The rapper will perform his new single, “Kat Food,”  live for the first time.

Sean “Diddy” Combs, who will be honored with the Global Icon Award, and Shakira, who will accept the Video Vanguard Award, will both also perform during the awards show for the first time in nearly two decades.

Epic Records

The list of 2023 MTV Video Music Awards performances does not stop there. MTV revealed Anitta, Doja Cat, Kelsea Ballerini, and TOMORROW X TOGETHER will take the stage for their own performances inside New Jersey’s Prudential Center. 

On top of that, Demi Lovato, Karol G, Måneskin, and Stray Kids are set to entertain viewers across the country during the VMAs. 

Lovato returns for her first VMAs performance in six years, which comes mere days before she drops her highly anticipated new album, REVAMPED. The new album features rock versions of her hit songs, including the recently released rock versions of “Confident,” “Heart Attack,” “Cool for the Summer” and “Sorry Not Sorry,” featuring Slash. The award-winning singer has previously been nominated 14 times and is up for two categories this year: Best Pop and Video for Good.

Jamie McCarthy/Getty Images for iHeartRadio

Taking a break from her first-ever stadium tour, Karol G will make her debut on the MTV VMAs stage and compete for her first win in three categories, including Artist of the Year.

Måneskin makes their return after their history-making win for Best Alternative last year. This time around, the globally dominating rockers set their much-anticipated return to the storied MTV stage for the world premiere performance of their forthcoming new single, “HONEY (ARE YOU COMING?),” dropping Sept. 1. The group is also up for Best Rock, again setting records as the first Italian act to be nominated for two consecutive years in a main show category.

Global K-Pop mavens Stray Kids will also be making their debut, marking their first time performing at the VMAs with the U.S. broadcast premiere of “S-CLASS,” off their latest record-breaking #1 album, 5-STAR. The group is in the running to claim their first MTV Moon Person for Best K-Pop, the same category which earned them their first VMAs nomination last year.

The annual awards show will also feature a slew of celebrity presenters, including Bebe Rexha, Charli D’Amelio, Coco Jones, Dixie D’Amelio, Emily Ratajkowski, French Montana, GloRilla, Ice Spice, Jared Leto, Madelyn Cline, Rita Ora and Sabrina Carpenter.

Kevin Winter/TAS23/Getty Images for TAS Rights Management

MTV previously revealed the nominees for this year’s festivities, with Taylor Swift leading the pack with an impressive eight nominations and SZA following up with six total nominations. Doja Cat, Kim Petras, Miley Cyrus, Minaj, Rodrigo and Sam Smith trail close behind with five noms each. 

Additionally, this year’s VMAs will also see a record-setting 35 first-time nominees, including GloRilla, Ice Spice, Metro Boomin, Peso Pluma, PinkPantheress, Reneé Rapp, and many others.

While many awards shows recruit critics to determine winners, MTV puts the power in the public’s hands to decide who is the best of the best for the year. 

Fans can find out who reigns supreme when the 2023 VMAs air Tuesday, Sept. 12, at 8 p.m. ET on MTV. And 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.

RELATED CONTENT:

Source link

The 2023 MTV Video Music Awards will be packed

Directors Andres Alegria and Abel Sanchez share their journey to creating A Song for Cesar, an ode to the farmworkers’ movement and Cesar Chavez.


Abel Sanchez, Cheech Marin and Andres Alegria.

In 2006, a friend asked me to meet Abel Sanchez, a well-known San Francisco musician, to talk about creating a music video for a new recording called “Song for Cesar.” The video led to a DVD release distributed by the Cesar Chavez Foundation and a decision to dig deeper into the stories of the musicians and artists who supported the farmworkers’ movement during the 1960s and 70s. Abel and I launched into a 15 year labor of love, interviewing dozens of artists and activists who told us their stories about playing music, painting murals, doing skits on top of flatbed trucks in the fields of Central California, all in support of the struggle of the farmworkers for fair wages and working conditions.

I was producing radio shows in the 1970s and had covered Cesar Chavez and the farmworkers’ movement, among other issues. I had also produced music shows and I knew that people have always used music and art to illuminate various aspects of their lives, including social realities such as poverty and violence. The arts have inspired social movements and, in turn, artists have taken inspiration from the struggles that people engage in.

The farmworkers’ movement of the 60s and 70s sparked a huge cultural blossoming. Abel and I had been witnesses to this history and as cultural workers, once the inspiration hit us, we had to make this film. As people today – especially young people – join movements to make our lives safer and more fulfilling and our world a fairer and better place, they can benefit from the fundamental lesson of this film, “Beware of a movement that sings.”

—Andres Alegria, Film Editor • Producer • Community Activist

On the set of “A Song For Cesar”

After writing and recording “Song for Cesar” with Jorge Santana, and after joining forces with Andres Alegria, I was inspired, encouraged and moved to further explore the legacy of Cesar Chavez and the farmworkers’ movement. The inspiration resulted in a commitment that began a 15-year journey of making this film. The dream was that in some way this film would serve to educate, inspire and motivate current and future generations to think about social justice and what they might be able to do in their own lives. Diversity, inclusion and social justice have always been a part of my previous work as a diversity development and affirmative action professional. Taking on the making of this film was an easy fit because of my own experience and growing up as a Mexican American in the United States.

I related to the plight and struggles that farmworkers faced and, in many ways, still do.

I knew how important Cesar was to the farmworkers and their families and, as Andres and I filmed interviews with more and more artists, I was deeply moved by the courage and sacrifice this legacy contained. As the film progressed, being a songwriter and musician myself, I started to see and hope we were beginning to create a film that would inspire young songwriters and artists to think about what they might be able to do with their art, perhaps contributing to society much like the artists featured in this film so eloquently and beautifully did. In my own case, just as Chuy Varela so eloquently quoted, “You can learn the truth from a song.” Personally, I learned many truths in the making of A Song for Cesar.

—Abel Sanchez, Filmmaker • Musician • Songwriter • Activist

Source link

Directors Andres Alegria and Abel Sanchez share

Kim Jong Un is believed to be en route to Russia ahead of a summit with Vladimir Putin that has sparked western concern about a potential arms deal that could bolster Moscow‘s on-going war in Ukraine.

A brief statement on the Kremlin’s website said the visit is at Putin’s invitation and would take place ‘in the coming days’.

It also was reported by North Korea‘s official Korean Central News Agency, which said the leaders would meet – without specifying when and where.

Reports in South Korean – citing intelligence sources – said the North Korean dictator is currently in transit, travelling from North Korea’s capital of Pyongyang to Russia, likely the eastern city of Vladivostok where Putin arrived today.

However, unlike most modern-day diplomatic meetings, it is understood that Kim is not travelling by private jet, but rather on his very own heavily armoured train.

Kim Jong Un (left) is believed to be en route to Russia ahead of a summit with Vladimir Putin, with reports suggesting he is travelling on his own armoured train (pictured)

As is the case with many aspects of North Korea, little is known about Kim's train itself, and few outside the country have ever stepped on board. But thanks to photographs from state media, accounts from the select few who have travelled on it and intelligence reports, we do at least have some idea. Pictured: Kim waves a hat as his train leaves Khasan train station, Russia, 2019

As is the case with many aspects of North Korea, little is known about Kim’s train itself, and few outside the country have ever stepped on board. But thanks to photographs from state media, accounts from the select few who have travelled on it and intelligence reports, we do at least have some idea. Pictured: Kim waves a hat as his train leaves Khasan train station, Russia, 2019

A green train with yellow trimmings, resembling one used by North Korean leader Kim Jong Un on his previous travels, is seen steaming by a slogan which reads 'Towards a new victory' on the North Korea border with Russia and China from China's Yiyanwang Three Kingdoms viewing platform in Fangchuan, Monday, September 11, 2023

A green train with yellow trimmings, resembling one used by North Korean leader Kim Jong Un on his previous travels, is seen steaming by a slogan which reads ‘Towards a new victory’ on the North Korea border with Russia and China from China’s Yiyanwang Three Kingdoms viewing platform in Fangchuan, Monday, September 11, 2023

Pictured: A train believed to be Kim's is seen en route to Russia as it passes near China today

Pictured: A train believed to be Kim’s is seen en route to Russia as it passes near China today

Kim has rarely left his isolated country since he assumed power in 2011 following the death of his father Kim Jong Il, and has not done so at all since before the pandemic.

When he has, he tends to use the luxuriously decorated racing-green locomotive to make state visits to neighbouring China and Russia as an alternative to air travel.

As is the case with many aspects of North Korea, little is known about Kim’s train itself, and few outside the country have ever stepped on board.

But thanks to photographs from state media, accounts from the select few who have travelled on it and intelligence reports, we do at least have some idea.

Firstly, we know that it’s slow.

According to reports, Kim’s train has a top speed of 37 miles per hour. (By comparison, across most of the UK trains have a maximum speed of 125mph).

The distance from Pyongyang to Vladivostok is – as the crow flies – slightly less than 430 miles, meaning even if the train could travel in a perfectly straight line at its top speed, the journey between the two would still take around 11 hours and 40 minutes.

Naturally, that is not the case.

Instead, the lumbering train must wind its way through the North Korean hills before crossing the narrow border with Russia and finally navigate around Amur Bay.

A lack of information about North Korea’s rail routes means it’s hard to gauge exactly how long the journey takes, but his last journey to Vladivostok took 20 hours.

Kim is seen onboard the train, surrounded by cameras, while speaking with Chinese officials in 2018

Kim is seen onboard the train, surrounded by cameras, while speaking with Chinese officials in 2018

Kim Jong Un waves at the Dong Dang railway station in Dong Dang, Vietnam, on March 2, 2019

Kim Jong Un waves at the Dong Dang railway station in Dong Dang, Vietnam, on March 2, 2019

A train carrying North Korean leader Kim Jong Un arrives for a planned meeting with President Vladimir Putin in Vladivostok, Russia, on April 24, 2019

A train carrying North Korean leader Kim Jong Un arrives for a planned meeting with President Vladimir Putin in Vladivostok, Russia, on April 24, 2019

The vagaries around Kim’s arrival, as well as the time and date of his meeting with Putin, suggests this has been accounted for.

From what we know of the train, it is easy to understand why it’s so sluggish.

According to a 2009 article from South Korean newspaper Chosun Ilbo, which cited intelligence reports, the train has up to 90 rail cars in total.

What’s more, each of these cars is understood to be heavily armoured.

Georgy Toloraya – a Russian diplomat who travelled with Kim in 2001, wrote at the time Russian technicians had found armoured sheets beneath the two main rail cars used by the North Korean dictator for accommodation and official purposes.

The technicians, who carried out an inspection of the train, also found the cars originated from the Soviet era, but had been heavily modified at some point since.

Some cars are also believed to have been designed to carry vehicles. Toloraya later wrote that two armoured Mercedes were carried on the train when he travelled on it. 

This suggests a host of other weighty cargo could be carried in the 90 carriages.

On board, Kim also enjoys impressive luxury.

Pictures released by state media show it is complete with pink leather sofas, dark wood panelling and – it is understood – plentiful supplies of alcohol. 

There are also long tables for meetings and flat screen monitors.

One of the most detailed accounts of the train comes from Konstantin Pulikovsky, another Russian official who told the tale of his trip across Russia’s Far East with Kim Jong Il in a book called ‘Orient Express.’

In the book, Pulikovsky describes a gourmet menu with a vast variety of food.

North Korea's leader Kim Jong Un leaves a train carriage after arriving at the border station of Khasan, Primorsky Krai region, Russia, on April 24, 2019

North Korea’s leader Kim Jong Un leaves a train carriage after arriving at the border station of Khasan, Primorsky Krai region, Russia, on April 24, 2019

Kim Jong Un, center, waves as he was given a send-off at a train station in Beijing, 2018

Kim Jong Un, center, waves as he was given a send-off at a train station in Beijing, 2018

North Korea's security officers wait for North Korean leader Kim Jong Un near the train as he leaves Russia, at the main train station in Vladivostok, Russia, on April 26, 2019

North Korea’s security officers wait for North Korean leader Kim Jong Un near the train as he leaves Russia, at the main train station in Vladivostok, Russia, on April 26, 2019

‘It was possible to order any dish of Russian, Chinese, Korean, Japanese and French cuisine,’ Pulikovsky wrote, adding the train was stacked with cases of Bordeaux and Beaujolais, which had been flown in from Paris especially, and live lobsters.

He also recalled that travellers on the train were kept entertained by young female singers, who were introduced as ‘lady conductors’.

In addition to its massive weight, the fortress-like train brings with it a vast security operation that makes most presidential motorcades seem understated.

The Chosun Ilbo article says that around 100 security agents are sent ahead of the train to sweep stations for potential threats.

Meanwhile, the power is turned off at all stations it passes through to prevent other trains from moving, bringing other rail routes to a temporary halt.

Kim’s train also receives support from a logistical support group that includes Soviet-made Mi-17 helicopters and Il-76 transport planes.

What’s more, another decoy train is sent ahead of Kim’s to make sure the tracks are safe, while a third train brings up the rear, bringing support personnel and bodyguards, while also keeping a look out for any possible attacks. 

It is also understood that Kim had 20 stations built across the country that only his train can use.

Travelling by rail does bring its benefits for someone like Kim Jong Un, however.

His father was reportedly afraid of flying, and his grandfather – North Korean founder Kim Il Sung – also used a train to conduct international travel.

Unlike planes, trains can’t be spotted with flight-tracking data or radar, and most of Kim’s rail journeys have been announced after he arrived at his destination.

The special armored train, by which North Korean leader Kim Jong Il travelled from the Far East to Moscow across Russia, is pictured during a brief stopover at the local railway station July 31, 2001 in Novosibirsk, Russia

The special armored train, by which North Korean leader Kim Jong Il travelled from the Far East to Moscow across Russia, is pictured during a brief stopover at the local railway station July 31, 2001 in Novosibirsk, Russia

In stark contrast to Kim's travel arrangements, Putin was pictured riding in a helicopter during his working trip to Russia's far eastern Primorsky region

In stark contrast to Kim’s travel arrangements, Putin was pictured riding in a helicopter during his working trip to Russia’s far eastern Primorsky region

That being said, for some high-profile summits – such as the 2018 meeting with former US President Donald Trump – Kim used a Air China-operated Boeing 747.

That same year, he also used a North Korean aircraft to meet with Chinese President Xi Jinping in the city of Dalian.

Meanwhile, in stark contrast to Kim’s travel arrangements, Putin was pictured riding in a helicopter during his working trip to Russia’s far eastern Primorsky region.

The pair last met in April 2019, in Vladivostok, where Kim arrived after a 20 hour journey. The train also took him to Beijing, and to Vietnam in 2019.

Source link

Kim Jong Un is believed to be

Image Credit: Eric Charbonneau/Shutterstock

After Danny Masterson was sentenced to 30 years in prison for rape, it was revealed that some of his former That 70s Show co-stars penned letters to the judge on his behalf. Most notably, Ashton Kutcher and Mila Kunis both wrote letters and received tons of backlash. The couple filmed an apology video and explained why they wrote the letters of support. Besides the couple, some other stars like Leah Remini took to social media to show support for the victims after Danny was sentenced.

Since the sentencing, Danny’s attorneys have revealed that they plan to challenge the verdict, as the actor has maintained his innocence. Following the trial, HollywoodLife has rounded up some of the biggest celebrity reactions to the sentencing.

Danny was charged on two counts of forcible rape. (LUCY NICHOLSON/POOL/EPA-EFE/Shutterstock)

Christina Ricci

Christina Ricci released a statement on social media following the verdict and the backlash to Ashton and Mila’s letters. While The Addams Family star didn’t directly mention Danny or his co-stars, she seemed to be sharing her thoughts on Mila and Ashton in an Instagram Story. “So sometimes people we loved and admired do horrible things. They might not do these things to us and we only know who they were to us but that doesn’t mean they didn’t do the horrible things and to discredit the abused is a crime,” she wrote.

She continued and explained that even though someone may have a positive experience with someone, they can still do awful things. “People we know as ‘awesome guys’ can be predators and abusers,” she wrote. “Unfortunately I’ve known lots of ‘awesome guys’ who were lovely to me but have been proven to be abusers privately. I’ve also had personal experience with this. Believe victims. It’s not easy to come forward. It’s not easy to get a conviction.”

Ashton Kutcher & Mila Kunis

Before Danny was sentenced, Mila and Ashton both wrote letters to the judge on behalf of their former co-star. Each highlighted positive attributes of The Ranch actor, including his relationship with his daughter and anti-drug stance. “I wholeheartedly vouch for Danny Masterson’s exceptional character and the tremendous positive influence he has had on me and the people around him,” Mila wrote in her letter, via Tony Ortega’s Substack.

At the end of his letter, Ashton also asked that his letter be considered in the sentencing. “I do not believe he is an ongoing harm to society and having his daughter raised without a present father would [be] a tertiary injustice in and of itself,” he wrote.

After it was revealed that they both wrote letters, they faced a slew of backlash, including a response from Chrissie Carnell Bixler, who was one of Danny’s accusers. “Dear Ashton, I know the secrets your ‘role model’ keeps for you. Ones that would end you. Did you forget I was there?” she wrote on her Instagram Story. She also had a direct message for Mila. “I pray you begin to process what you experienced as a child on that set. Your old interviews are very telling,” she wrote.

Following the backlash, Ashton and Mila released a video message apologizing for the letters and explaining why they wrote them. “We are aware of the pain that has been caused by the character letters that we wrote on behalf of Danny Masterson,” Ashton said. “[The letters] were intended for the judge to read and not to undermine the testimony of the victims or re-traumatize them in any way. We would never want to do that. And we’re sorry, that has taken place.”

The couple explained that Danny’s family asked for them to write letters that “represent the person that we knew for 25 years.” Mila concluded the video by showing support for victims. “Our heart goes out to every single person who’s ever been a victim of sexual assault, sexual abuse or rape,” she said.

Bijou Phillips

Danny’s wife, model Bijou Phillips, has stood by and supported her husband throughout the whole trial. While she has not spoken out since the sentencing, she did write a letter in support of her husband, speaking about their family and daughter. Bijou concluded by saying that they wanted Danny with them. “We need him more than you can imagine. I know he has been convicted of serious crimes. But the man I married has only been an extraordinary husband to me and a devoted father to our daughter,” she wrote.

Leah Remini

Throughout Danny’s trial, Leah Remini had been vocal in support of the victims, as she called out both the actor and the Church of Scientology. When the That 70s Show star was sentenced to 30 years, Leah released a lengthy statement on X (formerly Twitter). “For over two decades, Danny Masterson avoided accountability for his crimes. While Danny was the only one sentenced, his conviction and sentence are indictments against Scientology, its operatives, and its criminal leader, David Miscavige,” she wrote in part.

She continued by saying she was “relieved” that Danny was going to prison, and thanking the victims for coming forward. “I am relieved that this dangerous rapist will be off the streets and unable to violently assault and rape women with the help of Scientology, a multi-billion-dollar criminal organization with tax-exempt status,” she wrote. “The women who survived Danny’s predation fought tirelessly for justice. Their tenacity, strength, and courage have given hope to all victims of Scientology that justice is possible. For that, we will forever be grateful.”

Other ‘That 70s Show’ Actors

While Ashton and Mila faced the most backlash, some of Danny’s other co-stars also penned letters on his behalf to the judge. Debra Jo Rupp, who played Kitty Forman on the sitcom, wrote that she “respect[s] the law” after his conviction, but still shared anecdotes about Danny saying he was “always respectful and kind.” She concluded by expressing how difficult it was to wrap her head around the sentencing. ” It’s so hard for me to express on paper but I understand that he is facing a lengthy sentence and I really wanted to tell you about these moments. He would take the time to do it for me,” she wrote.

Kurtwood Smith, who played Red Forman on the show, also wrote a letter in support of Danny. He said that the actor “treated all women on the show with respect,” including both the cast and crew. He also shared stories about working with Danny and seeing him as a father. “For all the reasons I have mentioned I consider myself fortunate to have had Danny Masterson in my life,” he wrote.

Cedric Bixler-Zavala

Following the sentencing, Mars Volta singer Cedric Bixler-Zavala, who is married to the accuser Chrissie Carnell Bixler, took to his Instagram to share a video thanking those who helped in the trial that ultimately led to Danny’s conviction. He also shouted out those who spoke out in support of the victims. “This is an appreciation post for the people who helped put danny masterson away for rape. Thank you for being as fearless as my wife and her sister survivors. Thank you for never wavering in your pursuit of justice. Yesterday was a heavy day,” he wrote.

While Cedric didn’t name names just yet, he also revealed that he’d be writing an “I don’t appreciate you post,” on Instagram. “It’s just a post dedicated to people that suck. No harm no foul. Just a list of bootlickers,” he wrote.

Amy Schumer

After commenting on a photo of Nicole Kidman about the actress being “human,” Amy shared — then quickly deleted — an Instagram post, in which she seemingly slammed Ashton and Mila’s apologetic video. 

“I want to apologize to all the people I hurt posting a photo of Nicole Kidman and alluding to her being an alien,” Amy wrote in the since-deleted caption. “I will be asking the cast of That ’70s Show to write letters advocating for my forgiveness.” 

Source link

Image Credit: Eric Charbonneau/Shutterstock After Danny Masterson was sentenced to

When wildfires swept across Maui last month with destructive fury, China’s increasingly resourceful information warriors pounced.

The disaster was not natural, they said in a flurry of false posts that spread across the internet, but was the result of a secret “weather weapon” being tested by the United States. To bolster the plausibility, the posts carried photographs that appeared to have been generated by artificial intelligence programs, making them among the first to use these new tools to bolster the aura of authenticity of a disinformation campaign.

For China — which largely stood on the sidelines of the 2016 and 2020 U.S. presidential elections while Russia ran hacking operations and disinformation campaigns — the effort to cast the wildfires as a deliberate act by American intelligence agencies and the military was a rapid change of tactics.

Until now, China’s influence campaigns have been focused on amplifying propaganda defending its policies on Taiwan and other subjects. The most recent effort, revealed by researchers from Microsoft and a range of other organizations, suggests that Beijing is making more direct attempts to sow discord in the United States.

The move also comes as the Biden administration and Congress are grappling with how to push back on China without tipping the two countries into open conflict, and with how to reduce the risk that A.I. is used to magnify disinformation.

The impact of the Chinese campaign — identified by researchers from Microsoft, Recorded Future, the RAND Corporation, NewsGuard and the University of Maryland — is difficult to measure, though early indications suggest that few social media users engaged with the most outlandish of the conspiracy theories.

Brad Smith, the vice chairman and president of Microsoft, whose researchers analyzed the covert campaign, sharply criticized China for exploiting a natural disaster for political gain.

“I just don’t think that’s worthy of any country, much less any country that aspires to be a great country,” Mr. Smith said in an interview on Monday.

China was not the only country to make political use of the Maui fires. Russia did as well, spreading posts that emphasized how much money the United States was spending on the war in Ukraine and that suggested the cash would be better spent at home for disaster relief.

The researchers suggested that China was building a network of accounts that could be put to use in future information operations, including the next U.S. presidential election. That is the pattern that Russia set in the year or so leading up to the 2016 election.

“This is going into a new direction, which is sort of amplifying conspiracy theories that are not directly related to some of their interests, like Taiwan,” said Brian Liston, a researcher at Recorded Future, a cybersecurity company based in Massachusetts.

If China does engage in influence operations for the election next year, U.S. intelligence officials have assessed in recent months, it is likely to try to diminish President Biden and raise the profile of former President Donald J. Trump. While that may seem counterintuitive to Americans who remember Mr. Trump’s effort to blame Beijing for what he called the “China virus,” the intelligence officials have concluded that Chinese leaders prefer Mr. Trump. He has called for pulling Americans out of Japan, South Korea and other parts of Asia, while Mr. Biden has cut off China’s access to the most advanced chips and the equipment made to produce them.

China’s promotion of a conspiracy theory about the fires comes after Mr. Biden vented in Bali last fall to Xi Jinping, China’s president, about Beijing’s role in the spread of such disinformation. According to administration officials, Mr. Biden angrily criticized Mr. Xi for the spread of false accusations that the United States operated biological weapons laboratories in Ukraine.

There is no indication that Russia and China are working together on information operations, according to the researchers and administration officials, but they often echo each other’s messages, particularly when it comes to criticizing U.S. policies. Their combined efforts suggest a new phase of the disinformation wars is about to begin, one bolstered by the use of A.I. tools.

“We don’t have direct evidence of coordination between China and Russia in these campaigns, but we’re certainly finding alignment and a sort of synchronization,” said William Marcellino, a researcher at RAND and an author of a new report warning that artificial intelligence will enable a “critical jump forward” in global influence operations.

The wildfires in Hawaii — like many natural disasters these days — spawned numerous rumors, false reports and conspiracy theories almost from the start.

Caroline Amy Orr Bueno, a researcher at the University of Maryland’s Applied Research Lab for Intelligence and Security, reported that a coordinated Russian campaign began on Twitter, the social media platform now known as X, on Aug. 9, a day after the fires started.

It spread the phrase, “Hawaii, not Ukraine,” from one obscure account with few followers through a series of conservative or right-wing accounts like Breitbart and ultimately Russian state media, reaching thousands of users with a message intended to undercut U.S. military assistance to Ukraine.

China’s state media apparatus often echoes Russian themes, especially animosity toward the United States. But in this case, it also pursued a distinct disinformation campaign.

Recorded Future first reported that the Chinese government mounted a covert campaign to blame a “weather weapon” for the fires, identifying numerous posts in mid-August falsely claiming that MI6, the British foreign intelligence service, had revealed “the amazing truth behind the wildfire.” Posts with the exact language appeared on social media sites across the internet, including Pinterest, Tumblr, Medium and Pixiv, a Japanese site used by artists.

Other inauthentic accounts spread similar content, often accompanied with mislabeled videos, including one from a popular TikTok account, The Paranormal Chic, that showed a transformer explosion in Chile. According to Recorded Future, the Chinese content often echoed — and amplified — posts by conspiracy theorists and extremists in the United States, including white supremacists.

The Chinese campaign operated across many of the major social media platforms — and in many languages, suggesting it was aimed at reaching a global audience. Microsoft’s Threat Analysis Center identified inauthentic posts in 31 languages, including French, German and Italian, but also in less prominent ones like Igbo, Odia and Guarani.

The artificially generated images of the Hawaii wildfires identified by Microsoft’s researchers appeared on multiple platforms, including a Reddit post in Dutch. “These specific A.I.-generated images appear to be exclusively used” by Chinese accounts used in this campaign, Microsoft said in a report. “They do not appear to be present elsewhere online.”

Clint Watts, the general manager of Microsoft’s Threat Analysis Center, said that China appeared to have adopted Russia’s playbook for influence operations, laying the groundwork to influence politics in the United States and other countries.

“This would be Russia in 2015,” he said, referring to the bots and inauthentic accounts Russia created before its extensive online influence operation during the 2016 election. “If we look at how other actors have done this, they are building capacity. Now they’re building accounts that are covert.”

Natural disasters have often been the focus of disinformation campaigns, allowing bad actors to exploit emotions to accuse governments of shortcomings, either in preparation or in response. The goal can be to undermine trust in specific policies, like U.S. support for Ukraine, or more generally to sow internal discord. By suggesting the United States was testing or using secret weapons against its own citizens, China’s effort also seemed intended to depict the country as a reckless, militaristic power.

“We’ve always been able to come together in the wake of humanitarian disasters and provide relief in the wake of earthquakes or hurricanes or fires,” said Mr. Smith, who is presenting some of Microsoft’s findings to Congress on Tuesday. “And to see this kind of pursuit instead is both, I think deeply disturbing and something that the global community should draw a red line around and put off-limits.”

Source link

When wildfires swept across Maui last month

HGTV has sold the iconic house from “The Brady Bunch” for $3.2 million.

The sale, which transfers the residence over to 53-year-old fan Tina Trahan, marks a 9% loss for the network after originally buying it for $3.5 million in 2018, according to the Wall Street Journal, which first reported the news. After renovating the house in the style of ABC sitcom for TV series “A Very Brady Renovation,” HGTV originally listed the house for sale for $5.5 million in May.

Prior to the renovation, which was estimated to total about $2 million, the home remained owned by a family for nearly 50 years. 

“The Brady Bunch” house adds to Trahan’s collection of unusual homes, which includes a Italian Renaissance-inspired residence located in Lake Geneva, Wisconsin, and Trahan, who is married to former HBO chief executive Chris Albrech, intends to use the home for fundraising and charity-based events.

Despite representing a loss for the network, Trahan told the Wall Street Journal the sale still felt overpriced with a lack of modern appliances.

“It’s almost like a life-size dollhouse,” Trahan said. “Nobody is going to live in it. No one is going in there to make pork chops and applesauce in that kitchen. Anything you might do to make the house livable would take away from what I consider artwork.”

In fact, Trahan said the network likely overpaid for the house when it acquired the property in 2018 due to a bidding war with former NSYNC member Lance Bass, and called the house “the worst investment ever.”

“I can’t even say the word investment—I’m going to say liability, since potential buyers drawn by the home’s connection to ‘The Brady Bunch’ are aging,” Trahan continued in her interview with the Wall Street Journal. “I asked my 27-year-old tennis instructor, ‘Have you heard of ‘The Brady Bunch?’ He’s like, ‘Yeah, Wayne Brady?’” I’m like, ‘Noooo.’”

The house, which was built around and spans nearly 5,000 square feet after HGTV added a second story comprising of 3,000 square feet.

Source link

September 11, 2023 @ 1:47 PM HGTV has

Kore-eda Hirokazu returns to Japan for his latest film “Monster,” which poses this question to audiences: “Who really is the monster?” While location scouting, the filmmaker was looking down at a lake, dark and almost black, and “I thought of Sakamoto Ryuichi music. He was the only person who could do the music for this film.”

It would mark the first time in years that the legendary composer behind “The Last Emperor” and “The Revenant” had worked on a Japanese title

The film opens with Minato, played by Kurokawa Soya, an 11-year-old fifth grader who watches a burning building from afar. Kore-eda returns to this sequence three times, each from a different perspective. Is young Minato the monster? Or is it Mr. Hori (Nahayama Eita), the schoolteacher, or Minato’s mother, Saori (Ando Sakura)? The plot twists and turns in each retelling, as it’s revealed Minato has feelings for his classmate and friend Yori (Hiiragi Hinata) and he doesn’t quite know how to handle them.

Kore-eda hoped a collaboration would happen after an earlier opportunity to work together over a decade ago fell through. He penned a letter to Sakamoto, who said yes. However, Sakamoto, who died earlier this year, said he didn’t have the strength to write the music for an entire score.

Sakamoto contributed music for two scenes in the film, including an important scene with Saori as she confronts Mr. Hori on insulting and hitting the children at school. Sakamoto’s music underscores that moment. He also wrote the end cue. Unable to give him a full composition, Sakamoto gave the director access to use music from his last solo album “12.” “He is such a unique talent,” Kore-eda says.

Aside from the music, casting his two young protagonists was key. Of his casting process, Kore-eda says, “I went through so many auditions. As for what I’m looking for, it’s who I’m drawn to who I want to work with and who I want to film.” The audition process narrowed his search down to eight children who came in to play various roles. Hinata and Soya “really stood out,” he says.

Once he had found his leading teens, who are central to the coming-of-age tale, Kore-eda got together with them six months before filming. Of the bonding process, he says, “We would have rehearsals or play soccer. Sometimes, we’d have meals together.”

In working with them, he took a different approach to working with the boys. “In the past, I’d give them their lines and their personalities and vocabulary would create the dialogue. In this case, there was a script and they had to stick to that.” He continues, “So, for me, it was about looking at the emotional shifts within the children that became important.”

Kore-eda worked closely with screenwriter Yuji Sakamoto. When Kore-eda came on board, Yuji didn’t give him a full script, but the idea to tell the burning building three different times from different perspectives was already in the first outline. Says Kore-eda, “He gave me a plot outline and from there we worked on that script for three and a half years.”

With the boys’ casting, Yuji and Kore-eda worked together to evolve the script with the boy’s interaction in mind.

As for the interaction and friendship between Minato and Yori, Kore-eda says he wanted to show a contrast between the boys when they’re with adults and when they’re together. When they’re around their parents or even in school, Kore-eda wanted to show an oppressive world. “They couldn’t be themselves at home and school.”

Their freedom comes when the boys are together in nature and away from home or school. The natural environment, when they’re playing outside, walking and even playing is lit by sunshine and vibrancy: “That’s where they can be themselves and be true to who they are.”

Source link

Kore-eda Hirokazu returns to Japan for his

UPDATE: In a statement to The Wrap, a spokesperson for the show expressed “regret” that the two audience members were ejected. “It is our policy to welcome everyone to our show tapings,” they 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.”

Source link

When Olivia Rodrigo has big, messy feelings to process, she tends to do it behind the wheel.

That’s where the singer-songwriter set “Drivers License,” the instant-smash breakup ballad that two years ago vaulted her from a teenage gig in the Disney universe to A-list pop stardom complete with a quadruple-platinum debut and a Grammy Award for best new artist.

And now it’s where she finds herself in “Making the Bed,” a hazy lament that arrives halfway through her knockout of a second album, “Guts.”

“Every night I wake up from this one recurring dream / I’m driving through the city and the brakes go out on me,” she sings, her voice trembling with regret against the lonely-sounding twang of a reverbed electric guitar. In the dream she “can’t stop at the red light” and “can’t swerve off the road,” which — Rodrigo being Rodrigo — she diagnoses as a manifestation of her anxiety (“I read somewhere it’s ’cause my life feels so out of control”) before she drops a couplet that perfectly crystallizes this emotional chaos: “I tell someone I love them just as a distraction / They tell me that they love me like I’m some tourist attraction.”

Yes, “Guts” is the inevitable what-hath-fame-wrought album from a 20-year-old star who was already pondering the wages of celebrity on 2021’s “Sour.” Back then, Rodrigo’s experience as an actor in the durable “High School Musical” franchise — and, of course, as an inhabitant of the digital panopticon that is social media — gave her plenty to rue.

“Sour” spun off a pair of No. 1 singles in “Drivers License” and the thrashing “Good 4 U” and brought plaudits from Billy Joel and Cardi B. But its enormous success invited an entirely different level of scrutiny, such that Rodrigo opens the 12-songs-in-39-minutes “Guts” with “All-American Bitch,” an alternately wistful and punky song about the impossible balancing act she feels compelled to pull off as a woman entering young adulthood in the spotlight.

“I’m grateful all the time / I’m sexy and I’m kind / I’m pretty when I cry,” she sings, each line heavier with resentment than the last. Other tunes describe punishing female beauty standards (“Pretty Isn’t Pretty”), the quarter-life crisis of a fresh-faced prodigy (“Teenage Dream”) and Rodrigo’s general unpreparedness for Hollywood schmoozing (“Ballad of a Homeschooled Girl,” in which she tragically/hilariously recounts “searching ‘how to start a conversation’ on a website”).

Goes another key lyric from “Making the Bed”: “I got the things I wanted — it’s just not what I imagined.”

Indeed, Rodrigo’s bitterest discovery here is that, for all its perks, megastardom turns out to be a real disruptor of one’s ability to connect person-to-person. As on Billie Eilish’s “Happier Than Ever” — just one of several sophomore LPs that “Guts” evokes, along with Hole’s “Live Through This” and Paramore’s “Riot!” — Rodrigo intertwines her tales of social-professional disillusionment with stories of romantic betrayal. On “Vampire,” the album’s rock-operatic lead single that recently topped the Hot 100 and is likely to score numerous Grammy nominations, she roasts a “fame-f—er” of an ex who lives in a “castle built off people you pretend to care about”; “Get Him Back!” has her plotting revenge against (and maybe longing to reunite with) a preening rich guy who displays her like a trophy.

Rodrigo also sings about what appear to be her frayed relationships with two of her musical idols: Taylor Swift, whose retroactive songwriting credit on Rodrigo’s debut seems to have inspired “The Grudge” — “You have everything and you still want more,” she wails — and Gracie Abrams, whose whispery indie-folk sound she borrows for “Lacy,” about a “dazzling starlet” with ribbons in her hair.

“I despise my jealous eyes and how hard they fell for you,” Rodrigo sings, her breath almost uncomfortably hot on the microphone. “I despise my rotten mind and how much it worships you.”

As those lines make clear, Rodrigo’s flair for melodrama has grown only more vivid since “Drivers License.” But “Guts” showcases a sense of humor that “Sour” merely hinted at; the album really comes alive at its funniest, as in “Get Him Back!” and “Bad Idea Right?,” both Gen Z dating satires where you can hear her actor’s background in pitch-perfect line readings that shift between comic registers on a dime — from naturalistic to screwball, faux-earnest to deadpan.

There’s more rock here too than on her debut. Working closely with producer Dan Nigro, who also oversaw “Sour,” Rodrigo pulls from emo, new wave, shoegaze, even Beastie Boys-style rap-rock, switching up guitar tones and drum sounds to give each track a distinct signature. And her vocal phrasing is flexible enough to keep up with the changes: Just listen to the way she rides the lopsided beat in “Get Him Back!” or the path she slices through Nigro’s beautifully distressed guitar fuzz in “Love Is Embarrassing.”

Among the many other lessons she’s learned from Swift, this talent for embodying various sides of her character feels like a defining attribute of “Guts” — and she’s made only two studio albums compared to Swift’s 10.

However painful she found it to cut in Swift for her perceived contributions to “Sour,” Rodrigo fills her follow-up with easily identifiable references to other pop-culture artifacts: “All-American Bitch” quotes Joan Didion; “Love Is Embarrassing” nods to Sky Ferreira; “Teenage Dream” recycles a song title of Katy Perry’s and echoes a twisty-turny melody of Lana Del Rey’s.

Yet Rodrigo’s emotional presence is so strong throughout “Guts” — so believable even at its most unrelatable — that you never lose the sense of a specific young person navigating a trial of her own making.

“When am I gonna stop being wise beyond my years and just start being wise?” she asks in “Teenage Dream.”

Looks like right now.

Source link

When Olivia Rodrigo has big, messy

Christmas items are already hitting the stores, and now the LEGO Advent Calendars are on shopDisney! 

Advent calendars are a great way to celebrate with small gifts through the month of December. Disney combines LEGO and some of our favorite characters to bring extra magic in the holiday season! 

shopDisney, star wars, marvel avengers

Image: shopDisney

Check out the Advent calendars on shopDisney this year!

LEGO Star Wars

Star Wars fans, you do not want to miss this awesome LEGO Advent Calendar! 

star wars

Image: shopDisney

I have purchased these every year for the last 3 years for my own kids, and they’ve been a hit every time! 

From mini figures to ships and so much more, you can add to your collection each day. You’ll love the holiday touches added to some pieces, like an ugly Christmas sweater!

star wars

Image: shopDisney

It’s not just a collection of random figures. One side of the box folds down to reveal the calendar, with one section numbered for each day of December. 

That’s not all – when unfolded, it creates a backdrop and base to display and play with all your creations! 

star wars

Image: shopDisney

If you’ve purchased one of these calendars before, you know just how fun they are! Don’t let that keep you from buying another one, though; the calendar has new figures each year. 

LEGO Marvel Avengers

marvel avengers

Image: shopDisney

Do you prefer the Avengers? Then check out the LEGO Marvel Avengers Advent Calendar also on shopDisney!

This set features some of our favorite Avengers, like Iron Man, my personal favorite, and Captain America. 

Marvel Avengers

Image: shopDisney

Just like the LEGO Star Wars Advent Calendar, this one has pieces with holiday touches. Check out Spider-Man’s amazing sweater!

This Advent calendar will create a fun and festive holiday scene that you can add to throughout the entire month of December. 

Marvel Avengers

Image: shopDisney

So add a little extra magic to the holidays for the Avengers fan in your life with this LEGO Marvel Avengers Advent Calendar! 

Disney Holidays

Whether it’s with Advent calendars like these, other items on shopDisney, or even a Disney vacation, Disney is a great way to add magic to your holiday season!

Mickey's Christmas Party 2023

Photo: Disney

Don’t wait until the last minute to do your Christmas shopping – shopDisney is ready now. Check out the Gift Guide section to find the perfect gifts for everyone on your list. 

Whether you’re looking for toys, housewares, or apparel, there’s something for everyone. 

shopDisney gift guide

Image: shopDisney

If you feel like you have plenty of all those things, an experience gift is the way to go! Take your family on a Disney vacation to experience the holidays like never before. 

Disney+ save

Photo: Disney

Ready to plan your next Disney vacation? Let MickeyTravels help! Complete the form below or email me directly at MCook@mickeytravels.com for your FREE, no-obligation quote today! 

Source link

Christmas items are

If you want to keep not seeing commercials, it’s going to cost you even more. Disney, the company that commands 28% of the media landscape, has announced it will raise its prices for ad-free tiers of both Disney+ and Hulu. Disney+ Plus Premium (ad-free) will go from $10.99 per month to $13.99 per month, an increase of just over 27%. Hulu’s ad-free offering will also raise its price $3, from $14.99 to $17.99, an increase of 20% per month. There will also be a bundle of Disney+ Premium and Hulu (No Ads) for $19.99. The yearly subscription model will also go up accordingly.

Additionally, Hulu’s Live TV packages will see increases as well, both the ad-free and ad-supported plans will increase by $7.00. Hulu’s Live TV with ads plan will go from costing $69.99/month to $76.99/month, and Hulu’s Live TV ad-free plan will increase from $82.99/month to $89.99/month. The Hulu and Disney+ subscription cost increases will come into play on October 12.

Disney

This all comes in addition to even more ad-supported tier options for international subscribers, including folks in Canada and Europe. The ad-supported tiers in the United States are currently $7.99 per month for each Disney+ and Hulu. A statement in the press release reads:

The strong momentum of our ad-supported plans in the U.S. demonstrates the importance of providing consumers with choice, flexibility and value,” said Joe Earley, President, Direct-to-Consumer, Disney Entertainment. “We are excited to expand that offering in more markets across the globe, including in Europe and Canada, and to launch a new premium duo bundle of ad-free Disney+ and Hulu this Fall, as we take steps toward making extensive Hulu content available via Disney+ later this year for Bundle subscribers.

As The Hollywood Reporter points out, this move is a bid by Disney to “bring its direct-to-consumer business to profitability.” This move comes at a particularly interesting time for big media corporations and their streaming services with regards to the striking WGA and SAG-AFTRA members. The lack of profit sharing and residuals from streaming content are at the forefront of the guilds’ complaints against the AMPTP, of which Disney is a member.

With its estimated 150 million subscribers as of September 2022, a $3 per month increase for premium subscribers could net as much as $450 million more per month. In 2022, Disney+ had a revenue of $7.4 billion, which contributed to Disney’s total revenue of $84.7 billion that year. And lest you fear, Disney has been losing money in 2023: Q1 2023 was the company’s largest on record, with $23.51 billion. Q2 tied for the second-highest ever, along with Q1 2022, at $21.82 billion. According to Reuters, Disney CEO Bob Iger’s new contract, which he signed in July, could net him five times his base salary in annual incentive bonus. His previous contract gave him $27 million per year in total compensation.

A shot from DuckTales of Scrooge McDuck diving into the pile of gold coins in his money bin like it's a swimming pool.
Unrelated photo, Disney

Why am I sharing all of these revenue and salary numbers? Well, it’s interesting to see just what “weak” box office means to a company like Disney. Disney, who still managed to bring in $55 billion in 2022 from media and entertainment. It may only be $3 extra dollars a month out of your pocket for Disney+ and Hulu each, but look where it’s going and know who is actually benefitting.

As mentioned, the new tiers and prices will take effect on October 12. The new Disney+ and Hulu ad-free bundle meanwhile arrived on September 6. Remember, both apps will merge in the fall as well, while the services will still remain separate.

Originally published on August 9, 2023.

Kyle Anderson is the Senior Editor for Nerdist. You can find his film and TV reviews here. Follow him on Instagram and Letterboxd.

Source link

If you want to keep not seeing

Bethesda has confirmed plans to introduce official mod support for Starfield in 2024.

Asked about mod support in an interview with Famitsu, game director Todd Howard said the studio intends to support modding “in a big way” – as it has done with past games including The Elder Scrolls V: Skyrim and Fallout 4.

“You will be able to do almost anything, just like in previous works”, Howard said (via Google Translate). “Mod support will be available next year, but we love it too, so we’ll do it in a big way.”

Starfield was released last week and appears to have broken Microsoft‘s record for the biggest launch day for an Xbox Game Studios title.

Over six million people played the game by the end of its first official day of release, including more than one million concurrent players, according to the platform holder.

A variety of unofficial mods have been released since the game launched, including one which removes the FSR2 upscaling tech present in the game, which is designed for AMD graphics cards, and replaces it with DLSS, the equivalent tech used in Nvidia‘s graphics cards.

Bethesda looks set to release a number of Starfield story expansions. While a lunch window hasn’t been confirmed, the game’s “first story expansion” will be called Shattered Space.