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Spoiler alert! If you haven’t seen this week’s episode of Sister Wives, proceed with caution. 

Things are getting dark in Flagstaff, Arizona. In this week’s episode of Sister Wives, Kody Brown admits to battling an angry side of himself amid his ongoing estrangement from his wife, Janelle Brown, and his ex, Christine Brown. 

“I might not have been right, but I was angry as hell,” Kody says of the explosive fight he had with Janelle in last week’s episode. “I haven’t talked to her since. And I don’t know when I’m going to talk to her.”

A tearful Janelle says of the recent events between her and Kody, “I know what he said to me. I know what he yelled at me in the car the other day, ‘Choose your loyalties or you won’t have a husband.’ I feel like he’s just looking for ways to get rid of me. I don’t know if this is fixable.” 

But Kody says that Janelle has “triggered” him, saying that he thinks she’s the “one that’s mean” in the scenario. 

“He acts like I have done him wrong,” Janelle notes. “I think he’s played favorites for a long time and Robyn lives the way he wants to run his family, so I guess he’s going to write off all his other kids. I think he didn’t want to be a plural husband anymore.” 

TLC

Janelle is in tears, acknowledging that the split between her and Kody has put her in a precarious position financially. 

“I don’t know who this guy is. Maybe this is who he always was, but I don’t recognize this very mean person,” she says of Kody. “I’m stuck. Financially I have nothing. Christine had the house, I have nothing. My name is on property with everybody else, probably nobody will cooperate now and play ball. I can’t believe I’m 50 and can’t do my own thing ’cause I’m so tied up with them financially… I can’t believe I got myself into this position. How dumb is that? I know better.” 

The family prepares for a separate Christmas holiday, which Christine is “so excited” about while everyone else seems to be more depressed. 

Meri has been added on to Kody and Robyn’s family’s celebration, admitting that it feels like she is “the other woman.” 

Meri knows that her relationship with Kody is nearly unfixable, admitting, “I think that he regrets marrying Christine. I don’t know where he is with Janelle, but I do believe 100 percent that he regrets marrying me.” 

TLC

As for Janelle, the mother of six admits to feeling “overwhelming relief” at not seeing Kody, but admits to being sad that Kody hasn’t reached out to their youngest daughter, Savanah Brown, about the holidays. 

“I kind of told the kids, ‘Your dad and I had a bad fight that we’re not coming back from,'” she admitted. “My kids were not surprised. They’ve observed our relationship for several years and thought maybe it was time for me to do something different, do something better.”

Janelle admits that her situation with Kody has made her think long and hard about plural marriage and she says she’s open to being in another plural family down the line. 

And Meri says that the issue in the Brown family isn’t polygamy, but rather “personalities.”

And while Kody’s only remaining relationship is with Robyn Brown, things don’t seem to be in the best place with her either. 

“We’ve never had as many problems as we’re having right now in our marriage,” Robyn says of their relationship. “He’s suspicious of anybody being disloyal to him. He’s directing that at me. It’s like I don’t recognize him. I don’t really recognize him right now and I’ve never seen him like this before.” 

TLC

While Kody is having some bro time with his brother-in-law, he admits to having the urge to let his mean side out of the box. 

“I want to grow horns right now so bad. I want to say mean things. I want to be a jackass,” Kody admits. “That urge to do it, to just be mean as hell… you get in this place where you think you’ve failed God, it’s like, well, I should just be the devil I think I am now.”

Admitting that he doesn’t want Robyn to see this side of him or “to know how dark I’ve gotten,” Kody goes on to admit that he’s even considered abandoning Robyn and starting life over fresh. 

“There’s an urge to break it all and start again somewhere else,” Kody says. “I have this gut thing, I’d like to run away from my life, just escape, change my name, disappear, become somebody else. I hate my life right now.”

TLC

Robyn doesn’t seem to be too surprised by her husband’s confession, but does tearfully say that if Kody did leave behind polygamy, it might be a “deal breaker” for her. 

“Feels a little bit like a deal breaker of our marriage. It would absolutely devastate me if he decided to leave me. I know he has these thoughts,” she says. “You can’t make anybody stick around or stay. I know he would regret it. It’s just from pain. It’s not because he’s a selfish or a bad person, he’s just in pain.”

New episodes of Sister Wives air Sundays at 10 p.m. ET on TLC. 

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Spoiler alert! If you haven't seen this

For a limited time, Max subscribers can sample some of the best AMC+ shows out there, including the underrated supernatural romance A Discovery of Witches. Based on the novels by Deborah Harkness, A Discovery of Witches follows the adventures of Dr. Diana Bishop (Teresa Palmer), an American historian whose abilities as a witch connect her with a magical tome in Oxford’s Bodleian Library. Her discovery immediately puts her on the radar of the witches, vampires, and daemons secretly living amongst us. However, when she meets centuries-old vampire Matthew Clairmont (Matthew Goode), the two share more than just an interest in ancient manuscripts. This addictive love story plays like Twilight meets Outlander with time-traveling, globe-trotting, and more than a little bit of nerdiness thrown in.

Photo: Robert Viglasky/SundanceNow/Shudder/Bad Wolf

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By Meghan O'Keefe For a limited time, Max subscribers

Searchlight will sail through award season with Venice winner “Poor Things” and Telluride hit “All of Us Strangers,” but the specialty distributor slotted Taika Waititi’s “Next Goal Wins” (November 17, 2023) for audience-friendly Toronto for a reason. The world premiere audience responded warmly to what one-time Toronto People’s Choice winner Waititi (“Jojo Rabbit”) calls “a true understory” sports tale. He was developing for some time Steve Jamison and Mike Brett’s 2014 documentary about the infamously losing American Samoan soccer team who recover under heavy-drinking Dutch coach Thomas Rongen (a miscast Michael Fassbender), and eventually found a window in his schedule to film in Hawaii.

Early Twitter TIFF response ranged from the oft-repeated “crowd-pleaser” and “sweet” to “imperfect but endearing.” Waititi has had a stellar run, from “What We Do in the Shadows” and “Thor: Ragnarok” through “Jojo Rabbit,” which won the Oscar for Adapted Screenplay. On “Next Goal Wins,” critics will be less effusive.

Waititi was in high spirits at the premiere, sparring with (and breaking) the microphone and bringing onstage an obviously moved Rongen, who recalled Waititi saying, “I wanted my fat bastard friend Russell Crowe to play you but he can’t run anymore so I got Michael Fassbender.” Also onstage was the trans athlete who inspired the film’s trans soccer player Jaiyah (scene-stealer Kaimana). Searchlight knows how to market mainstream commercial fare like this, but it’s not an awards picture.

The cast of NEXT GOAL WINS. Photo by Hilary Bronwyn Gayle. Courtesy of Searchlight Pictures. © 2022 20th Century Studios All Rights Reserved.Hilary Bronwyn Gayle

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Searchlight will sail through award season with

TORONTO INTERNATIONAL FILM FESTIVAL 2023 REVIEW! Death of Whistleblower began thirty-seven years ago on a remote military base. A young woman, Emma (Inez Robertson), argues with her boyfriend, storming out of their apartment and fleeing the base. After a quick chase, Emma is captured by soldiers, but not before her eyes begin to bleed. Cut to the present day, Albert Loots (Irshaad Ally), a corporal in the South African military, discovers evidence of Emma’s disappearance and its connection to a massive cover-up. Risking his own life, Albert leaks the information on Emma to a journalist, Stanely Holloway (Robert van Vurren), hoping to expose the corruption embedded at the core of his government. 

Co-writer and Director Ian Gabriel navigates themes of corruption, justice, and the power of journalism through Luyanda (Noxolo Dlamini). Luyanda, a political journalist, is distraught as her editor scraps her most recent exposé. Finding solace in a local bar, Luyanda runs into Stanley, who is fresh from discovering the disappearance of Emma and its ties to a larger national conspiracy. But just as Stanely gets closer to the truth, he is assassinated before Luyanda’s eyes. Luyanda is now thrust into a dangerous and duplicitous world of espionage as she seeks the deadly truth behind Stanley’s murder and a missing girl. 

“Albert leaks the information on Emma to a journalist…hoping to expose the corruption embedded at the core of his government.”

After Stanley’s assassination, Death of a Whistleblower shifts from exposition-heavy drama to full political thriller. Moments of the film feel like the sub-plot of a Jason Bourne film but expanded into a feature format. That is to diminish the film, Gabriel paces the plot reveals, cleaver solutions, and Luyanda’s most prominent character moments with the precision of a Bourne film. Death of a Whistleblower may not be a total spy film, but Gabriel borrows more than a few things from Robert Ludlum and Tom Clancy, and the film is better for it. All the big reveals in the plot feel natural. And Luyanda’s arc feels earned and is magnified by Noxolo Dlamini’s superb performance. 

Dlamini and Ally’s performances as Luyanda and Albert are clear highlights in the film. Each performer brings a gravitas to the role, elevating the film’s tension. Action sequences are used sparingly in the movie, but all serve the plot well, never feeling like action for the sake of violence. A few supporting characters and some strained dialogue detract from some of the plot’s more emotional beats. Still, Dlamini and Ally’s commitment to character shines through, making Death of a Whistleblower a gripping thriller. 

The more Death of a Whistleblower feels like a Ludlum novel or even All the President’s Men, the stronger the story feels. Gabriel has created an excellent political thriller with dynamic themes, an engaging premise, and two fantastic performances. Yet, exposition overflow and some dragging scenes are noticeable throughout the film. Running at two hours and seven minutes (with credits), Death of a Whistleblower could lose a few minutes and still carry as much emotional weight with double the punch. Still, Gabriel and his crew have crafted a smart, well-rounded film. The attention to real-life whistleblowers drives home the story’s relevance even more. Gabriel’s connections to reality make Death of a Whistleblower more than an intriguing pseudo-spy film but a call for real-world change. 

Death of a Whistleblower screened at the 2023 Toronto International Film Festival.

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TORONTO INTERNATIONAL FILM FESTIVAL 2023 REVIEW! Death of

E-scooters are becoming more and more common on local streets and sidewalks.

However, these convenient conveyances may need to slow down on New Westminster roads if an upcoming motion at Monday’s council meeting is passed.

City Councillor Daniel Fontaine is proposing a bylaw that would set speed limits for motorized vehicles including E-scooters on sidewalks.

“Many of our streets are 30 kilometres an hour. We’re posting that, sending a message we want people to slow down on our main streets. Ironically if you’re riding an E-scooter on a sidewalk, there is no speed limit. You can go as fast as you want,” Fontaine shared ahead of Monday’s council meeting.

He sees a complete ban on motorized vehicles as unrealistic because the city doesn’t have a good enough network of bike lanes.

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But Fontaine admits, it’s unclear what the speed limit and penalties would be, but adding a rule is a good first step.

“I’d like to see the enforcement plan that comes with the bylaw, because if they don’t come together, to me it will make people even more cynical about local government and the ability for us to actually enforce these things,” Fontaine explained.

Currently, E-scooters are illegal on roads and sidewalks in B.C. and only allowed on roads and highways in participating pilot communities — New Westminster is not one of them.

However, despite their illegal status, few tickets are handed out for people riding them around town and many people are worried for their safety.

“If you see them coming, you can get out of the way. But sometimes they come up behind you and it feels like an accident waiting to happen. Especially if you’re turning into a store. You’ll get hit for sure,” says New Westminster resident Wayne Kirton.

Advocates for urban walkability say the restrictions on E-scooters on sidewalks are needed because, right now, it’s like the wild west.

“There’s no rules, there’s no regulations, according to Joanne Folka with the New Westminster and Burnaby Walkers’ Caucus.

“They can drive on the street, on the sidewalk, they don’t have to stop at red lights, and they don’t have to let you know they’re coming. It’s very disconcerting.”

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The motion will be presented to council on Monday.

&copy 2023 Global News, a division of Corus Entertainment Inc.

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E-scooters are becoming more and more common

In 2008, the writer-director Azazel Jacobs made a small but vivid splash with “Momma’s Man,” a Sundance comedy about a troubled dweeb hiding out in the cocoon of his parents’ downtown Manhattan apartment. The parents were played by Jacobs’ own (the avant-garde filmmaker Ken Jacobs and his wife Flo), and the movie turned their overstuffed bohemian pack-rat museum of a loft into a tiny city of its own. “Momma’s Man” showed extraordinary promise, and in the 15 years since I’ve been waiting for Azazel Jacobs to make good on it. But while he has given us a compelling movie or two (I enjoyed “The Lovers,” an offbeat marital portrait starring Debra Winger and Tracy Letts), they have all felt minor, and his last feature, “French Exit,” while it generated Oscar buzz for Michelle Pfeiffer, was equal parts charming and contrived.

Now, though, the angels have smiled. Jacobs has taken the leap I always wanted him to make and become a filmmaker of effortless and moving assurance. “His Three Daughters,” which premiered yesterday at the Toronto Film Festival, is another movie that takes place almost entirely in a New York City apartment (this one is in the Bronx), a set-up that seems, for some reason, to bring out the best in this director. The film is a finely observed, winningly unsentimental memory play about three adult sisters who have come together to take care of their father, who is dying of cancer and approaching his final days. It’s like “Cries and Whispers” recast as a fast-talking tale of sibling rivalry.

The father, Vinnie, is laying in his bedroom, hooked up to a heart monitor and a morphine drip, but we don’t see him, even as his presence looms. We just see the sisters (and a few peripheral characters, like a hospice worker who’s so solicitous he starts to annoy the heck out of them), as they sit around the ancient cozy nondescript apartment, which is located in a vast brick housing complex.

We expect the characters to veer into the past, diving into reminiscence and resentment and, of course, looking back at their dear (or maybe not so dear) old dad. We anticipate a movie from the well-made-play school of confined-setting filmmaking. But “His Three Daughters” is less predictable than that. A lot of the conversation spins around the practicalities the situation demands: finding a doctor to come over and sign a DNR (a do-not-resuscitate order), writing out the obituary on a legal pad, or taking shifts watching over their dad, so that they don’t miss the moment he passes on.

Katie (Carrie Coon), the oldest of the siblings, is a harried mother of three who lives in Brooklyn, and everything about her has a faintly hostile high-maintenance vibe. She’s a dyspeptic control freak who wants to get things done, and she registers a serious objection to the fact that Rachel (Natasha Lyonne), the next oldest, is smoking blunts in the apartment.

Rachel actually lives there. She’s a middle-aged stoner-slacker-loser with red-dyed hair and a husky smoker’s voice, and she’s got a bedroom in the rent-controlled flat. She’s been taking care of their father throughout his illness — but, in fact, she’s the only one who’s not his biological daughter. She was the child of his second wife, and the three grew up as stepsisters. Christina (Elizabeth Olsen), Katie’s biological sister, is the youngest and (comparatively) serene “perfect” one, who lives somewhere in the middle of the country with her husband and the daughter she’s devoted to.

The conversation is often brittle, but it’s snappy without feeling fake. Jacobs has thrillingly upped his game as a dialogue writer. And working with the cinematographer Sam Levy, he shoots the apartment from multiple layered angles, so that “His Three Daughters” always feels like a work of cinema. The exchanges hold and even rivet us, though the debates — should Rachel light up in the apartment or get high on the bench outside? (which she mostly does) — aren’t what “His Three Daughters” is really about. The movie keeps encouraging us to read between the lines.

Each of the women knows who she is and isn’t about to budge much. And there aren’t a lot of tears wasted over their dying dad. They love him, but what’s happening is what happens; in a way, they’ve already made their peace with it. So where’s the drama? It’s in what these three keep avoiding: that they may be leading separate lives, but they’re sisters who need each other in a primal way. Rachel, the stepsister, grew up feeling odd girl out, but her devotion to her father is unflagging. The prejudice that she’s a little “less” than his daughter is one that we, in the audience, may hold, but the movie quietly disarms it. The three performances work together like a piece of chamber music, but it’s Lyonne, as the wastrel who’s deceptively out-of-it, who does the most lyrical piece of acting.

In the end, Vinnie the dying dad, who has come to feel like a living ghost, makes an appearance after all. He’s played by Jay O. Sanders, and the sequence in question is mysterious and elemental. It touches things we’ve all felt about our parents, and that those who are leaving this world have all felt about the life that formed them. “His Three Daughters” is the work of a filmmaker who has finally come into his own. Azazel Jacobs was always gifted. Now he’s major.

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In 2008, the writer-director Azazel Jacobs made

Does it count as a white savior movie if the white character is the one who needs saving? In “Next Goal Wins,” the world’s top-grossing indigenous director, Taika Waititi, retells the story of how American Samoa went from having the world’s worst soccer team to, well, not the worst. While a white man was involved, the movie — which suggests how a film like “Cool Runnings” might be made with 30 years’ more cultural enlightenment — is mostly about how their coach (Michael Fassbender) needs an attitude adjustment. Come to think of it, that’s essentially the formula for most white savior movies.

In 2001, the American Samoa soccer team set a world record. They lost the World Cup Qualification game 31-0. Apparently, they only got worse from there. Enter Fassbender’s character, Thomas Rongen, a hothead with an alcohol problem and an emotional backstory which the movie keeps up its sleeve until halftime of the climactic game. His job is not to turn this team of losers into winners; his job is to help them score one goal. Will Thomas Rongen get his temper and drinking in check? Will Thomas Rongen refer to the personal tragedy that’s been making him so insufferable in the locker room before the second half of the final game?

You do not go to a movie called “Next Goal Wins” to be surprised. In fact, if you have ever seen a movie before, you have already seen “Next Goal Wins.” That movie doesn’t even have to be “Next Goal Wins,” the 2014 documentary on which Waititi and co-writer Iain Morris based their remake. Maybe you’ve seen “The Mighty Ducks.” Or “Major League.” Heck, even if the only film you’ve ever seen is “The Human Centipede,” you can figure out where “Next Goal Wins” is going. But that doesn’t mean you won’t enjoy getting on a bus doing 20 in a 35 zone, headed straight for a destination anyone can imagine a mile away.

The idea is to have a good time, and Waititi knows how to give audiences that. Fassbender is essentially playing the wet blanket: a cranky man of ambiguous ancestry (the real-life Rongen was Dutch-American, but Fassbender isn’t doing an accent) whose ex-wife Gail (Elizabeth Moss) is now seeing the head of the American Soccer Federation (played by Will Arnett). In a cute bit of exposition, Thomas passes through all five stages of grief while learning first that he’s fired and then that a job awaits in American Samoa. As Gail later tells him on the phone, “We didn’t send you there to help them.” Guess what she says next. (“We sent you there to help you.”)

The team does help Thomas, who’s too busy throwing tantrums (and folding chairs and ice coolers) to teach the players basic formations. He puts them through drills. He insults them. He quits more than once. But Tavita (Oscar Kightley), who runs the Football Federation of American Samoa (and also a restaurant), sees Thomas as his team’s last hope — which isn’t wrong. If they don’t win, American Samoa will be booted from the World Cup. The whole island, including a local priest (played by Waititi in a goofy fake mustache), suddenly seems invested in the fate of a team that’s never won.

Most of the players, including Tavita’s son Daru (Beulah Koale) and gender-fluid Jaiyah (Kaimana), just want to have fun. The Jaiyah character, a female-identifying Fa’afafine who went on to be the first trans woman to play in a World Cup qualifier, is basically reason for this movie to exist, and though she gets plenty of screentime, the film’s only surprises involve her — which means a less clichéd and far more original version of this story might have been shaped around her journey. Two other players who rejoin the team after Thomas starts coaching, goalie Nicky Salapu (Uli Latukefu) and power forward Rambo (Semu Filipo), demonstrated interesting personalities as well. The rest are basically just comic relief.

But this is a comedy, after all, so expect to see balls bouncing off of people’s faces and stunts that look like they belong in a “Ted Lasso” bloopers reel. Speaking of “Ted Lasso,” that show is probably the best thing that could have happened to this film’s chances, since the last great soccer movies were “Bend It Like Beckham” and “Shaolin Soccer” more than 20 years ago. But “Ted Lasso” showed either that people lowered their standards during the pandemic or that the audience for broad, group-hug soccer comedy is much bigger than Hollywood estimated. Either way, it’s a promising sign for “Next Goal Wins.”

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Does it count as a white savior

What is it about hit men at this year’s fall film festivals? No sooner had Bill Hader’s “Barry” finished its final season and landed a batch of Emmy nominations than David Fincher’s “The Killer,” starring Michael Fassbender as a contract killer going about his daily (and deadly) work, premiered at the Venice Film Festival to largely favorable notices on its way to a Netflix release. A few days later it was followed by Richard Linklater’s “Hit Man,” with Glen Powell as the titular assassin, which picked up more raves as it premiered in Venice, then went to Telluride and the Toronto International Film Festival.

But before “Hit Man” will have its TIFF premiere on Monday, yet another hit man showed up on Sunday night in “Knox Goes Away,” which features Michael Keaton directing and starring as … well, you can figure out what the guy does for a living.

“Knox Goes Away,” though, isn’t just one of TIFF’s three hit-man flicks; it also belongs alongside “American Fiction” and the upcoming “Memory” as a film that deals with dementia. But the film is subtle, shuffling film-noir staples while remaining surprisingly low-key in a genre that often runs on blood and passion. There are plenty of both in the film, but Keaton is more interested in the brainpower that it takes to get past the blood and the passion, and that makes for an intriguing drama with a light touch or a comedy with some dark twists.  

His character, John Knox, is a well-read and philosophically-minded hit man, which accounts for his nickname of Aristotle. (When we meet him, he’s reading Wilfrid Sellars’ “Empiricism and the Philosophy of Mind” and doling out a weekly book from his library to his steady Thursday afternoon sex worker, played by “Cold War” star Joanna Kulig.)

Knox, it seems, has done well for himself in his chosen career, though to be fair he has destroyed his family in the process. But he soon gets some career ending news from his doctor: He has a form of untreatable dementia that moves incredibly fast and gives him “weeks, not months” of lucidity in which he can make arrangements.

“I’m sorry,” says the doctor after delivering this grim diagnosis.

“That’s OK, doc,” says Knox. “Even if I hated you for telling me, I’d forget soon enough.”

As the exchange suggests, “Knox Goes Away” is not a serious drama about dementia or about murdering people for a living. But it’s not a straight comedy, either. It’s a character study and what you might liken to a whodunit, though in this case it’s a howwillhedoit. That’s because, in short order, Knox botches a hit, accidentally killing his partner in the process, and receives a visit from his estranged son, Miles (James Marsden), who has himself accidentally (or sort of accidentally) killed the 32-year-old white supremacist who seduced his 16-year-old daughter online and then impregnated her.

Knox has to evade the cops who are investigating the murder he did commit while saving his son from the crime of passion that he committed. It doesn’t help that the cops, led by Detective Rale (Suzy Nakamura), figure out pretty quickly that Knox had something to do with the first murder and are bound to connect him to the second one before long.

The good thing is, Knox has always been a whiz at figuring stuff out and staying one step ahead of everybody. The bad thing is, it’s hard to do that when your dementia is getting worse every week. So, Knox makes an extensive checklist, shares it with his shaggy pal Xavier Crane (Al Pacino, attacking the role with leonine relish because that’s what he does), and gets to work.

The audience doesn’t know what’s on the list or whether it’s going to work (Xavier says it’s “a stupid plan”), but the whole point of “Knox Goes Away” is following the execution. The movie is a knowing film-noir riff that rarely misses a chance to trot out a noir trope, either in the way it’s shot (shadows everywhere – even brightly-lit rooms have horizontal blinds casting beams of light) or the way it’s scored (solo pianos, lone trumpets).

But even with all the noir touches, the film moves quickly. It’s shadowy but also breezy, which makes sense coming from an actor whose gone from the manic nutcase at the center of “Beetlejuice” and “Mr. Mom” to a maestro of restraint. Keaton conveys a lot without raising his voice and you never see him sweat. When Xavier hears about his condition he says, “I can’t think of anything worse, except maybe your pecker stops working,” Knox shrugs and mutters, “I’m actually looking forward to forgetting some things.”

There are times in “Knox Goes Away” when the shadows almost make Knox’s face look like a death mask, but he keeps plodding away and checking things off in his little notebook. He’s casual and he may be forgetful, but he’s also forceful, even as the weeks tick off and his minds starts to fail him. Keaton, the director, indulges in occasional flourishes of distortion to capture the character’s state of mind, but for the most part he trusts Keaton the actor, which is a wise move.

“Knox Goes Away” is a character study of a disappearing character or maybe a thriller that stays away from actual thrills. However you label the film, it’s low key but satisfying. It it – who could have guessed? – another good festival movie about a hit man.

“Knox Goes Away” is a sales title at TIFF.

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What is it about hit men at

There’s no mistaking the time-tested Rolling Stones sound on “Angry,” the first single off “Hackney Diamonds,” the band’s first album of its own songs since 2005. The beat is blunt and brawny. The guitars riff and mesh, but also tangle and tease one another. And Mick Jagger unleashes full-throated indignation as he lets a lover — an angry one — know that they’re breaking up. He’s aggrieved, petulant, wounded and flippant, almost all at once. JON PARELES

This stunning, previously unreleased song from the forthcoming third installment of Joni Mitchell’s archive series (which will cover her early Asylum Records years, 1972 to 1975) begins with a quote about life from the titular character: “It’s veils you tear off one by one.” Another voice disagrees: “No, it’s walls we put up.” Accompanied by resonant, searching piano chords, Mitchell wrestles with these dueling perspectives and as ever, doesn’t settle on an easy compromise but finds the truth between extremes. Recorded as a demo sometime between Mitchell’s intimate 1971 masterpiece “Blue” and “For the Roses,” her labyrinthine 1972 meditation on the emptiness of fame, “Like Veils Said Lorraine” sounds like a bridge between those two eras of Mitchell’s rapidly developing artistry and serves as proof that her archives still contain untold riches. LINDSAY ZOLADZ

On her remarkable 2021 album, “Outside Child,” Allison Russell recalled childhood abuse and celebrated her survival. Her new one, “The Returner,” is just as strong, and it examines larger forces as well — most directly in “Eve Was Black,” which directly confronts racism and considers the African ancestors of all humans. “Do I remind you of what you lost/Do you hate or do you lust?” Russell sings. “Do you despise or do you yearn/To return, to return, to return back to the motherland?” What starts as a bluesy, folky, foot-stomping tune drifts toward jazz, then grows molten with rage as Russell sings about lynching. The track includes an epilogue; Russell, who grew up in Montreal, sings in French, over a banjo and fiddle, about a family uprooted from Africa to America. PARELES

“You can’t just quit me/When you get lonely come pick me back up,” Ashley McBryde sings in “Women Ain’t Whiskey.” It’s a country-meets-U2 march that states the obvious; apparently it needs to be restated, loudly. At least it doesn’t have brand placements. PARELES

J Lebow, of the Los Angeles band Guppy, talk-sings through the sinewy punk-pop of “Texting and Driving,” delivering lines like “Texting your dad a curated playlist/Texting God in my head — also known as praying” with sardonic glee. Produced by Sarah Tudzin (a.k.a. Illuminati Hotties), the track is laced with little sonic eruptions — bursts of dissonant guitar, out-of-nowhere backup vocals, outright screams — and there’s plenty of cowbell to kick it along. PARELES

The FCC’s least favorite duo, Cardi B and Megan Thee Stallion, reunite on the unrelenting “Bongos,” their first collaboration since the 2020 succès de scandale “WAP.” Atop a clipped, appropriately percussive beat — bong, bong, bong — the two rappers trade boisterously braggadocious verses and winking, heavily stressed double entendre. “Bongos” feels more like a retread than a reinvention, though Megan — for once, more of a comic than Cardi — gets off a few hilariously memorable lines like “purse so big had to treat it like a person.” ZOLADZ

Auto-Tune meets acoustic instruments in “Bipolar,” a very 21st-century regional Mexican collaboration by three of its stars: Peso Pluma, Jasiel Nuñez and Junior H. It’s an old-fashioned waltz about a newish situation: giving in to the temptation to check an ex’s social media, but then deciding “I’d rather make money than waste my time with mere stories.” PARELES

The ever-provocative Puerto Rican rapper Residente harnesses an electric blues shuffle for “Problema Cabrón,” (“Problem Bastard”), a ferocious boast about being a perpetual troublemaker. “The day I die, you’re the ones who will be able to rest in peace,” he taunts in Spanish, over a track that keeps reconfiguring itself, from full band down to piano and finger snaps and back up. Like Residente’s other recent songs, the song arrives with a video; this one has him facing off with an authoritarian police force. The song itself is pure, apolitical insubordination. PARELES

The London-based drummer Yussef Dayes, the owner of one of the most distinctive backbeats in contemporary music — a taut but shrugging, hi-hat-heavy funk groove, lightly inflected with Afrobeat flavor but rooted in today — has spent years hanging out at the junction of jazz, hip-hop, garage and funk, awaiting his moment. Maybe it has arrived. His debut album, “Black Classical Music,” is both a sprawling declaration of his musical ambitions and a reminder that patience is his biggest virtue. Across 75 minutes, the focus is on catalyzing a vibe. On “Raisins Under the Sun,” he reunites with Shabaka Hutchings — they’ve known each other since childhood, and have collaborated intermittently — on a wafting, two-chord vamp, with Hutchings’s bass clarinet adding a misty layer but never forcing its way to the front. GIOVANNI RUSSONELLO

“What’s your limit? What’s my limit?” repeats throughout “No Limit,” an evocatively low-fi track by the English songwriter and electronic producer Tirzah. That question runs alongside drum and piano loops, never to be fully answered; it’s a gateway to intimacy that recognizes all its dangers. PARELES

In the verses, the English songwriter Marika Hackman dispenses random self-help advice: “Take a day off work, call your mum/Have a glass of wine, stay away from fun.” At first, there’s little more than a few piano notes chiming behind her. But as instruments assemble around her — double-time bass and drums, doleful strings — it’s clear her desperation is mounting, and the chorus is a reveal: “You got me good/And I feel so stupid.” PARELES

Is this the Samara Joy effect? If Joy’s best new artist win at the Grammys seemed like it could open the gates to a flood of young jazz singers who sound like they’ve leaped out of a reel-to-reel, then Laufey is at the crest of that wave. She’s a 24-year-old Chinese-Icelandic vocalist and multi-instrumentalist with a sepia croon and label support that’s helped her grab streaming listeners by the millions. Laufey’s tunes roll around in a plush, tear-stained bed, channeling the cool-jazz vocalists of the ’50s (think Chris Connor, but without the dangerous passion that haunts her music) by way of indie singers like Angel Olsen and Mitski at their most nostalgic. On “California and Me,” an original, she accepts heartbreak with an enthusiastic sigh, singing over London’s Philharmonia Orchestra: “Left me and the ocean for your old flame/Holding back my tears, I couldn’t make you stay.” RUSSONELLO

James Brandon Lewis has a way of holding his tenor saxophone poised at the tipping point between a melody and a holler. That’s how Mahalia Jackson sang, too, when shaken by divine inspiration: moving from robust cascades of song to gravelly shouts. Lewis’s new album devoted to the singer, “For Mahalia, With Love,” turns his all-star Red Lily Quintet loose on nine gospel hymns. On its opening track, he combines the oft-covered “His Eye Is on the Sparrow” with an original, “Even the Sparrow.” Playing in unison with the cornetist Kirk Knuffke, Lewis keeps the focus on melodic clarity; it’s a moment of peace and meditation, before the album takes wing. RUSSONELLO

Expect drones, not dance beats, from the new solo album by Vince Clarke, the synth-pop expert from Erasure and, before that, Depeche Mode and Yaz. In “Lamentations of Jeremiah,” an unswerving but subtly changing drone tone — with occasional distant-thunder eruptions — underlies the solo cello of the composer Reed Hays, which moves between moody, declarative melodic phrases and strenuous arpeggios, as if it’s wrestling with looming dread. PARELES

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Shah Rukh Khan and Farah Khan share a close-knit bond. (Image: Instagram)

Farah Khan said that Shah Rukh Khan couldn’t stop laughing when Satish Shah would spit on him during the filming of Main Hoon Na.

Ace choreographer Farah Khan turned to directing films with Main Hoon Na in 2004, starring Shah Rukh Khan, Sushmita Sen, Zayed Khan and Amrita Rao among others. The film became a mega-hit at the box office and is one of the most talked about films directed by Farah. Recently, she shared some unknown anecdotes from the film, including how it took Shah Rukh multiple takes to film the spitting scene with Satish Shah.

Talking to Maniesh Paul on his podcast, Farah said that Shah Rukh couldn’t stop laughing while filming the scene with Satish and took five or six takes to shoot the sequence. She said, “The Shah Rukh Khan and Satish ji scene was very difficult to shoot. We used to make Satish Ji drink water and he would spit on Shah Rukh in that scene. We also kept a backlight to show it clearly. Shah Rukh couldn’t stop laughing in that take and he spent five-six takes laughing. Then I told him, ‘Karle na shot, he is spitting on you.’ This was also pre-covid so this was fine.”

Satish Shah had told Bollywood Bubble earlier that it took Shah Rukh about eight takes to film the same spitting scene. He said, “Then I got really angry and said after this I won’t do it. Now everyone is laughing on the set and we went in for the 8th take, he laughed again and that is when we had to put Zayed’s insert in the film. So it was very difficult to put a straight face and do such scenes.”

Satish added that sometimes he would enunciate so much while saying his dialogues that the water would come out of his mouth as a spray, leading to another laughter riot. The veteran actor also said that he had started calling himself the “spitting cobra” after doing that role.

Meanwhile, Shah Rukh is currently enjoying the success of his latest film, Jawan. The Atlee directorial was released in theatres on Thursday and crossed the Rs. 100 mark on its first day itself, becoming the highest opener in Bollywood.

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Shah Rukh Khan and Farah Khan share

The birth centenary of Indian cinema icon Dev Anand will be celebrated with restored versions of some of his classics receiving a theatrical release across the country.

Known as one of the triumvirate of superstars who ruled Hindi-language cinema in the 1950s and ’60s (along with the late Raj Kapoor and Dilip Kumar) Anand made such hits as “Guide,” “Hare Rama Hare Krishna” and “Prem Pujari.”

The birth centenary of Anand, who died in 2011, is on Sept. 26. On Sept. 24 and 25, the “Dev Anand@100 – Forever Young” festival will screen four of his classic films at 55 PVR Inox cinemas across 30 Indian cities including Mumbai, Pune, Goa, Ahmedabad, Hyderabad, Trivandrum, Chennai, Bangalore, Lucknow, Kolkata, Guwahati, Indore, Jaipur, Nagpur, Chandigarh, New Delhi, Gwalior, Rourkela, Raipur, Noida, Kochi, Aurangabad, Vadodara, Surat and Mohali.

The films are Raj Khosla’s “C. I. D.” (1956) and Vijay Anand’s “Guide” (1965), “Jewel Thief” (1967) and “Johny Mera Naam” (1970). They have been restored by India’s National Film Development Corporation (NFDC) and the National Film Archive of India (NFAI) and curated by filmmaker and archivist Shivendra Singh Dungarpur’s Film Heritage Foundation (FHF).

In 2022, FHF curated similar seasons of films starring Dilip Kumar and Amitabh Bachchan, which were box office successes. The organization’s restored versions of Govindan Aravindan’s 1978 masterpiece “Thamp̄” (“The Circus Tent”) and Aribam Syam Sharma’s 1991 Cannes selection “Ishanou” (“The Chosen One”), played at Cannes Classics in 2022 and 2023, respectively.

Dungarpur said: “After a successful run with ‘Bachchan Back to the Beginning’ and ‘Dilip Kumar – Hero of Heroes’ to commemorate Amitabh Bachchan’s 80th birthday and Dilip Kumar’s birth centenary respectively, we knew that there was no way that we could allow the birth centenary of Dev Anand to go uncelebrated. We wanted to honor his legacy by screening four of his milestone films. The Gregory Peck of India, as Dev Anand was often called, continues to be a beloved star, and we are thrilled that contemporary audiences will have the opportunity to watch some of the films that made him an enduring legend of Indian cinema.”

Prithul Kumar, joint secretary (films) and managing director, NFDC, added: “It is important for the public to witness Dev Anand on the big screen once again, and in a manner how he was viewed during his hey days decades ago. NFDC-NFAI is sparing no efforts to ensure these films are presented in the best way possible, as hundreds of restoration artists, technicians, graders, DoPs, sound engineers and archivists, spread across multiple cities, are hard at work to once again bring these films to life. Showcasing the restoration of Dev Anand’s films on the occasion of his centenary, as a joint endeavor between both film archives, NFDC-National Film Archive of India and Film Heritage Foundation, along with our esteemed partners, Inox and PVR, is a testament to our shared commitment to preserving India’s cinematic heritage. We aspire to sustain these collaborative efforts, to provide broader public access to the gems of Indian cinema, in the quality they are meant to be seen.”

Dev Anand’s son, Suneil Anand, said: “I personally like my dad’s work, as the leading man, in ‘Johny Mera Naam.’ I think this is because the character he played closely resembled his true personality. It was an ideal vehicle for him to showcase his histrionics, mannerisms and his suave dressing sense. ‘Jewel Thief’ was another such film – it had the trappings and the look of slick western and European cinema. Dad set fashion trends in many of his films – with his cap, high collars, scarves, jackets, and colorful attire. Even his hairstyles were being copied by his fans. Dad could have easily gone to Hollywood. In fact, an established Hollywood casting agency had even offered to represent him and had lined up several projects for him. But being a true Indian at heart, he decided to remain in his Motherland India. Time marches on, mindsets change, and trends evolve, however, with each new generation of movie goers and aficionados, Dev Anand continues to remain an inspiration to the youth of India and the rest of the qorld. He was unanimously given – and continues to hold – the title of an evergreen romantic superstar.”

“Not one to rest on his laurels, dad continued to make exciting movies under his Navketan banner. As we celebrate dad’s centennial, I’d like to say that dad’s movies were decades ahead of their time. I sometimes feel we still haven’t caught up with them. I am sure the festival will be a big success and that contemporary audiences will rediscover the youthful magic of my father – who will stay forever young on the silver screen. In the continuing legacy of Dev Anand and Navketan, I am currently making a Hollywood-based film, dedicated to my dad, called ‘Vagator Mixer,’ which will release shortly worldwide. The show goes on,” Anand added.

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The birth centenary of Indian cinema icon

With Brie Larson’s absence from the promotional tour for The Marvels becoming a real possibility, the film’s director addressed the concern of taking on that challenge without her leading MCU star.

Marvel Studios officially kicked off Captain Marvel 2‘s promotional tour with its first trailer debuting in April, showing Brie Larson’s long-awaited return to the MCU in a leading role alongside Teyonah Parris and Iman Vellani.

However, due to the ongoing actors’ strike taking hold in Hollywood starting on July 14, Larson hasn’t been allowed to engage in any kind of promotional material for her new MCU sequel since then. And with Larson being one of the franchise’s most successful actors, having her star power and voice promoting the film is no small factor when looking at this MCU sequel’s potential box office earnings.

Marvel

The Marvels director Nia DaCosta spoke with Abby News about the upcoming promotional tour for her MCU sequel, particularly touching on Brie Larson’s likely absence from the promotional tour.

With Larson almost certain to be missing from the promotional tour due to the ongoing SAG-AFTRA strike, DaCosta expressed hope that she’s not alone in promoting the sequel, teasing that people will ask “Where’s Brie Larson?:”

“I’m hoping I’m not promoting the movie by myself. No one’s there to see me, either. They’re going to be like, ‘Where’s Brie Larson?'”

DaCosta also touched on the status of the strikes as a whole, explaining that they “won’t be solved in one round of negotiations” but hoping that they end soon so that she and the rest of Hollywood can head back to work:

“I think we’re now in a new world. Everything that’s happening is an existential search that our industry is doing. It won’t be solved in one round of negotiations. But I’m hoping that the studios can end the strike soon and get us all back to work — to work for them.”

This comes amidst concerns that Captain Marvel 2 will face a delay in its release due to these strikes, with neither the actors nor writers being able to promote or talk about the film publicly.

Considering that progress on the actors’ strike has been slow-moving, just like it’s been for the writers’ strike, the odds of Brie Larson getting to join the Captain Marvel 2 promotional tour are slim to none right now.

And even amidst the worries that Marvel would be forced to delay the sequel in order to have Larson and her co-stars be able to promote their work, it appears that the studio will keep the sequel’s scheduled release date.

Larson already did her fair share of promotion for the film before the strikes began, urging fans to plan their trips to theaters to avoid the sequel’s spoilers.

And considering the positivity she’s helped to spread for her co-stars and the franchise as a whole, DaCosta’s concerns about promoting the film on her own are certainly valid as Marvel looks to climb back to the top of the box office charts.

The Marvels is still set to release in theaters on November 10.

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Summary

  • The artist mrleeee has created a visually stunning poster that brings together six live-action versions of Batman, including Robert Pattinson, Val Kilmer, and George Clooney.
  • The recent film The Flash missed an opportunity to create an epic crossover moment between Michael Keaton’s Batman and Ben Affleck’s Batman, much to the disappointment of fans.
  • With James Gunn at the helm of the future of the DC universe, there is hope that the multiverse concept will be explored further, allowing for narratives that bridge realms and create unique alliances.


In a time where the multiverse theory reigns supreme in the superhero genre, the image of the stoic, solitary vigilante Batman takes a fantastical spin, soaring to heights even a bat might find dizzying. The universe has indeed folded upon itself, offering a tantalizing glimpse into a realm where the doppelgangers of Bruce Wayne stand united, ready to uphold justice in the dark alleys of Gotham City, in a Spider-Verse styled narrative crafted with masterful strokes by the artist known as mrleeee.

In this gripping visual narrative, we witness a confluence of histories and personalities, as six live-action versions of the Caped Crusader are brought together in a convergence of epic proportions. As if drawn from the depths of every Batman enthusiast’s wildest dreams, the poster manifests the grandeur of Robert Pattinson, Val Kilmer, and George Clooney, all embodying their distinct versions of the legendary DC icon, standing alongside Michael Keaton and Ben Affleck’s rendition of the Dark Knight.

This dazzling symphony of art echoes a missed symphony in the DC cinematic universe. Despite the fever pitch surrounding multiverse narratives – a trend significantly propelled by the Marvel Cinematic Universe’s ongoing Multiverse Saga, it seems DC missed a golden ticket to capitalize on this trend in their summer ‘lack’-buster, The Flash. While the film explored alternative realities and brought back the iconic Michael Keaton’s Batman through Barry Allen’s time travels, it fell short of providing a potentially earth-shattering crossover moment for Batman fans.

This was particularly notable with the reintroduction of Keaton, marking his dramatic return since gracing Tim Burton’s Batman movies. The stage was perfectly set for a monumental interaction between Keaton and Affleck’s Batman, an event that could have etched itself into the annals of cinematic history, bridging two generations of DC audiences and offering them something profoundly unforgettable. Instead, the film navigated into somewhat murky waters with VFX cameos that didn’t quite resonate with the viewers, and a cameo by Clooney, a choice that seems to have baffled the Batman fandom given his less-favored portrayal in live-action adaptations.

RELATED: Every Live Action Batman TV Show Ever Made, Ranked


James Gunn at the Helm: Charting a Bold New Future After Affleck’s Potential Final Bow as Batman

Max

Regrettably, as Affleck potentially dons the Batman cape for the final time, it feels as though a golden opportunity was squandered; a chance to craft a narrative where Batman meets himself, stepping beyond his solitary shadow to unite with other versions of himself, each reflecting different facets of his complex personality and history.

Nevertheless, as the bat-signal never dims, all eyes are now turned towards the horizon, where James Gunn is gearing up to helm the future of the DC universe. With the establishment of DC Studios, a sense of anticipation hangs thick in the air. Gunn harbors plans for the Batman character in the budding DC universe, fostering hopes that perhaps, just perhaps, the multiverse concept might find its way back onto the big screen, weaving narratives that transcend realms, bridging gaps, and fostering unparalleled alliances.

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Summary The artist mrleeee has

You didn’t actually believe all those founder’s myths about tech billionaires like Bezos, Jobs and Musk pulling themselves up by their bootstraps from some suburban American garage, did you? In reality, our corporate kings have been running the same playbook since the 18th century when Lancashire’s own Richard Arkwright wrote it. Arkwright is credited with developing a means of forming cotton fully into thread — technically he didn’t actually invent or design the machine, but developed the overarching system in which it could be run at scale — and spinning that success into financial fortune. Never mind the fact that his 24-hour production lines were operated by boys as young as seven pulling 13-hour shifts.

In Blood in the Machine: The Origins of the Rebellion Against Big Tech — one of the best books I’ve read this year — LA Times tech reporter Brian Merchant lays bare the inhumane cost of capitalism wrought by the industrial revolution and celebrates the workers who stood against those first tides of automation: the Luddites.

Hachette Book Group

Excerpted from Blood in the Machine: The Origins of the Rebellion Against Big Tech by Brian Merchant. Published by Hachette Book Group. Copyright © 2023 by Brian Merchant. All rights reserved.


The first tech titans were not building global information networks or commercial space rockets. They were making yarn and cloth.

A lot of yarn, and a lot of cloth. Like our modern-day titans, they started out as entrepreneurs. But until the nineteenth century, entrepreneurship was not a cultural phenomenon. Businessmen took risks, of course, and undertook novel efforts to increase their profits. Yet there was not a popular conception of the heroic entrepreneur, of the adventuring businessman, until long after the birth of industrial capitalism. The term itself was popularized by Jean-Baptiste Say, in his 1803 work A Treatise on Political Economy. An admirer of Adam Smith’s, Say thought that The Wealth of Nations was missing an account of the individuals who bore the risk of starting new business; he called this figure the entrepreneur, translating it from the French as “adventurer” or “undertaker.”

For a worker, aspiring to entrepreneurship was different than merely seeking upward mobility. The standard path an ambitious, skilled weaver might pursue was to graduate from apprentice to journeyman weaver, who rented a loom or worked in a shop, to owning his own loom, to becoming a master weaver and running a small shop of his own that employed other journeymen. This was customary.

In the eighteenth and nineteenth centuries, as now in the twenty-first century, entrepreneurs saw the opportunity to use technology to disrupt longstanding customs in order to increase efficiencies, output, and personal profit. There were few opportunities for entrepreneurship without some form of automation; control of technologies of production grants its owner a chance to gain advantage or take pay or market share from others. In the past, like now, owners started small businesses at some personal financial risk, whether by taking out a loan to purchase used handlooms and rent a small factory space, or by using inherited capital to procure a steam engine and a host of power looms.

The most ambitious entrepreneurs tapped untested technologies and novel working arrangements, and the most successful irrevocably changed the structure and nature of our daily lives, setting standards that still exist today. The least successful would go bankrupt, then as now.

In the first century of the Industrial Revolution, one entrepreneur looms above the others, and has a strong claim on the mantle of the first of what we’d call a tech titan today. Richard Arkwright was born to a middle-class tailor’s family and originally apprenticed as a barber and wigmaker. He opened a shop in the Lancashire city of Bolton in the 1760s. There, he invented a waterproof dye for the wigs that were in fashion at the time, and traveled the country collecting hair to make them. In his travels across the Midlands, he met spinners and weavers, and became familiar with the machinery they used to make cotton garments. Bolton was right in the middle of the Industrial Revolution’s cotton hub hotspot.

Arkwright took the money he made from the wigs, plus the dowry from his second marriage, and invested it in upgraded spinning machinery. “The improvement of spinning was much in the air, and many men up and down Lancashire were working at it,” Arkwright’s biographer notes. James Hargreaves had invented the spinning jenny, a machine that automated the process of spinning cotton into a weft— halfway into yarn, basically— in 1767. Working with one of his employees, John Kay, Arkwright tweaked the designs to spin cotton entirely into yarn, using water or steam power. Without crediting Kay, Arkwright patented his water frame in 1769 and a carding engine in 1775, and attracted investment from wealthy hosiers in Nottingham to build out his operation. He built his famous water-powered factory in Cromford in 1771.

His real innovation was not the machinery itself; several similar machines had been patented, some before his. His true innovation was creating and successfully implementing the system of modern factory work.

“Arkwright was not the great inventor, nor the technical genius,” as the Oxford economic historian Peter Mathias explains, “but he was the first man to make the new technology of massive machinery and power source work as a system— technical, organizational, commercial— and, as a proof, created the first great personal fortune and received the accolade of a knighthood in the textile industry as an industrialist.” Richard Arkwright Jr., who inherited his business, became the richest commoner in England.

Arkwright père was the first start‑up founder to launch a unicorn company we might say, and the first tech entrepreneur to strike it wildly rich. He did so by marrying the emergent technologies that automated the making of yarn with a relentless new work regime. His legacy is alive today in companies like Amazon, which strive to automate as much of their operations as is financially viable, and to introduce highly surveilled worker-productivity programs.

Often called the grandfather of the factory, Arkwright did not invent the idea of organizing workers into strict shifts to produce goods with maximal efficiency. But he pursued the “manufactory” formation most ruthlessly, and most vividly demonstrated the practice could generate huge profits. Arkwright’s factory system, which was quickly and widely emulated, divided his hundreds of workers into two overlapping thirteen-hour shifts. A bell was rung twice a day, at 5 a.m. and 5 p.m. The gates would shut and work would start an hour later. If a worker was late, they sat the day out, forfeiting that day’s pay. (Employers of the era touted this practice as a positive for workers; it was a more flexible schedule, they said, since employees no longer needed to “give notice” if they couldn’t work. This reasoning is reminiscent of that offered by twenty-first-century on‑demand app companies.) For the first twenty-two years of its operation, the factory was worked around the clock, mostly by boys like Robert Blincoe, some as young as seven years old. At its peak, two-thirds of the 1,100-strong workforce were children. Richard Arkwright Jr. admitted in later testimony that they looked “extremely dissipated, and many of them had seldom more than a few hours of sleep,” though he maintained they were well paid.

The industrialist also built on‑site housing, luring whole families from around the country to come work his frames. He gave them one week’s worth of vacation a year, “but on condition that they could not leave the village.” Today, even our most cutting-edge consumer products are still manufactured in similar conditions, in imposing factories with on‑site dormitories and strictly regimented production processes, by workers who have left home for the job. Companies like Foxconn operate factories where the regimen can be so grueling it has led to suicide epidemics among the workforce.

The strict work schedule and a raft of rules instilled a sense of discipline among the laborers; long, miserable shifts inside the factory walls were the new standard. Previously, of course, similar work was done at home or in small shops, where shifts were not so rigid or enforced.

Arkwright’s “main difficulty,” according to the early business theorist Andrew Ure, did not “lie so much in the invention of a proper mechanism for drawing out and twisting cotton into a continuous thread, as in [. . .] training human beings to renounce their desultory habits of work and to identify themselves with the unvarying regularity of the complex automation.” This was his legacy. “To devise and administer a successful code of factory discipline, suited to the necessities of factory diligence, was the Herculean enterprise, the noble achievement of Arkwright,” Ure continued. “It required, in fact, a man of a Napoleon nerve and ambition to subdue the refractory tempers of workpeople.”

Ure was hardly exaggerating, as many workers did in fact view Arkwright as akin to an invading enemy. When he opened a factory in Chorley, Lancashire, in 1779, a crowd of stockingers and spinners broke in, smashed the machines, and burned the place to the ground. Arkwright did not try to open another mill in Lancashire.

Arkwright also vigorously defended his patents in the legal system. He collected royalties on his water frame and carding engine until 1785, when the court decided that he had not actually invented the machines but had instead copied their parts from other inventors, and threw the patents out. By then, he was astronomically wealthy. Before he died, he would be worth £500,000, or around $425 million in today’s dollars, and his son would expand and entrench his factory empire.

The success apparently went to his head— he was considered arrogant, even among his admirers. In fact, arrogance was a key ingredient in his success: he had what Ure described as “fortitude in the face of public opposition.” He was unyielding with critics when they pointed out, say, that he was employing hundreds of children in machine-filled rooms for thirteen hours straight. That for all his innovation, the secret sauce in his groundbreaking success was labor exploitation.

In Arkwright, we see the DNA of those who would attain tech titanhood in the ensuing decades and centuries. Arkwright’s brashness rhymes with that of bullheaded modern tech executives who see virtue in a willingness to ignore regulations and push their workforces to extremes, or who, like Elon Musk, would gleefully wage war with perceived foes on Twitter rather than engage any criticism of how he runs his businesses. Like Steve Jobs, who famously said, “We’ve always been shameless about stealing great ideas,” Arkwright surveyed the technologies of the day, recognized what worked and could be profitable, lifted the ideas, and then put them into action with an unmatched aggression. Like Jeff Bezos, Arkwright hypercharged a new mode of factory work by finding ways to impose discipline and rigidity on his workers, and adapting them to the rhythms of the machine and the dictates of capital— not the other way around.

We can look back at the Industrial Revolution and lament the working conditions, but popular culture still lionizes entrepreneurs cut in the mold of Arkwright, who made a choice to employ thousands of child laborers and to institute a dehumanizing system of factory work to increase revenue and lower costs. We have acclimated to the idea that such exploitation was somehow inevitable, even natural, while casting aspersions on movements like the Luddites as being technophobic for trying to stop it. We forget that working people vehemently opposed such exploitation from the beginning.

Arkwright’s imprint feels familiar to us, in our own era where entrepreneurs loom large. So might a litany of other first-wave tech titans. Take James Watt, the inventor of the steam engine that powered countless factories in industrial England. Once he was confident in his product, much like a latter-day Bill Gates, Watts sold subscriptions for its use. With his partner, Matthew Boulton, Watts installed the engine and then collected annual payments that were structured around how much the customer would save on fuel costs compared to the previous engine. Then, like Gates, Watts would sue anyone he thought had violated his patent, effectively winning himself a monopoly on the trade. The Mises Institute, a libertarian think tank, argues that this had the effect of constraining innovation on the steam engine for thirty years.

Or take William Horsfall or William Cartwright. These were men who were less innovative than relentless in their pursuit of disrupting a previous mode of work as they strove to monopolize a market. (The word innovation, it’s worth noting, carried negative connotations until the mid-twentieth century or so; Edmund Burke famously called the French Revolution “a revolt of innovation.”) They can perhaps be seen as precursors to the likes of Travis Kalanick, the founder of Uber, the pugnacious trampler of the taxi industry. Kalanick’s business idea— that it would be convenient to hail a taxi from your smartphone— was not remarkably inventive. But he had intense levels of self-determination and pugnacity, which helped him overrun the taxi cartels and dozens of cities’ regulatory codes. His attitude was reflected in Uber’s treatment of its drivers, who, the company insists, are not employees but independent contractors, and in the endemic culture of harassment and mistreatment of the women on staff.

These are extreme examples, perhaps. But to disrupt long-held norms for the promise of extreme rewards, entrepreneurs often pursue extreme actions. Like the mill bosses who shattered 19th-century standards by automating cloth-making, today’s start‑up founders aim to disrupt one job category after another with gig work platforms or artificial intelligence, and encourage others to follow their lead. There’s a reason Arkwright and his factories were both emulated and feared. Even two centuries later, many tech titans still are.

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You didn't actually believe all those founder's

Taika Waititi’s new film “Next Goal Wins” is based on the true story of the American Samoa soccer team, infamous for their brutal 31-0 FIFA loss in 2001. Their story was immortalized in the 2014 documentary of the same name by Mike Brett and Steve Jamison, so Waititi admits he took some creative liberties in adapting the story for the screen.

“I had to twist the truth,” he told the audience before the world premiere at the Toronto Film Festival. “Otherwise, watch the documentary.”

“Next Goal Wins” picks up with the World Cup Qualifiers approaching, as the team hires down-on-his-luck coach Thomas Rongen (Michael Fassbender) in the hopes he will turn around their bleak track record.

Waititi, who was last at the festival with 2019’s Oscar-winner “Jojo Rabbit,” says the film is about finding your family. “Sometimes it doesn’t need to be related by blood,” he said, adding in a sing-songy voice: “Find your tribe.”

Will Arnett and Elisabeth Moss, Oscar Kightley, Kaimana, David Fane, Rachel House, Beulah Koale, Uli Latukefu, Semu Filipo and Lehi Falepapalangi round out the cast, but none of the stars were able to attend the festival because of the twin labor strikes that have left actors and screenwriters on the picket lines.

Instead, Waitit was joined by the real-life inspiration for Fassbender’s character as well as Jaiyah Saelua, who is portrayed by Kaimana and serves as the heart of the film. She’s a faʻafafine, a third gender in Polynesian society, and is the first openly non-binary and trans woman to compete in the FIFA World Cup. They were greeted at the Princess of Wales Theater with a heartfelt standing ovation.

“I’m really satisfied with Kaimana’s performance,” Saelua said. But, she admits, it was surreal to watch her story told in a movie. “It was hard for me to separate the documentary from Taika’s hybrid version. We understand he will do as he pleases.”

Waititi chimed in, “Never let the truth get in the way of a good story!”

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Taika Waititi’s new film “Next Goal Wins”


Banner: The best cosmic horror & Cthulhu Mythos @ DriveThruRPG.com

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The goblins and the ratfolk are at war and war… war creates opportunities.

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In this adventure for the Shadowdark RPG system a war has erupted within the echoing chambers of Hammerfall Mountain, a cataclysmic conflict brews. Goblins and ratfolk are locked in a relentless war, their tumultuous clash echoing through the rocky caverns. The fate of the region teeters on a knife’s edge. Can the daring crawlers quell this conflict before it spills beyond the mountain’s confines? Or perhaps they can harness the chaos to reap substantial rewards? Unbeknownst to all, a shadowy conspiracy lurks in the shadows, manipulating the very heart of this war.

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This adventure is set in the mountains, created for Shadowdark and other compatible OSR game systems, all you need is a mountain region to set it. (and maybe a local village to trade, etc.)

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The adventure contains

additional statblocks for goblins,

new statblocks for ratfolk,

new monsters like the growlers

a quick view into their societies,

maps, and setpieces.

3 levels of dungeon (goblin caverns, ratfolk fort, ratfolk burrows) 

Optional quests

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The war under Hammerfall Mountain is available at DriveThruRPG

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Banner: Home to Incredible Indies - Available Now @ DriveThruRPG.com

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* The goblins and the ratfolk are

“The Masked Singer” has officially made it to 10 seasons. On Sunday night, they celebrated in full force with a huge lead-in as the new football season kicks off. Following the start of the NFL’s 104th season, the show aired a special standalone episode with a huge unmasking.

Though this season’s competition hasn’t officially begun — we have to wait a couple more weeks for that — the episode featured performances from “Masked Singer” alums including Michelle Williams, Rumer Willis, Joey Fatone, Bow Wow and others. This time though, they didn’t have to perform in costume. Still, this is “The Masked Singer,” so there was one person under a mask on the night.

Known as Anonymouse, the singer took the stage to sing Heart’s “What About Love?” — a perfect song, considering the giant mouse’s outfit. With a studded leather jacket and combat boots, she rocked out exactly as hard as you’d expect her to because Anonymouse was revealed at the end of the night to be… Demi Lovato!

Granted, most fans picked out her voice immediately just from the preview released ahead of the episode, so it wasn’t a true shock. But the judges were stunned to see Lovato unmasked, as she marks one of the biggest performers to ever appear under one of the show’s trademark costumes.

That said, it’s worth pointing out that Lovato wasn’t technically a competitor for the season. The actual competitions and eliminations begin on Sept. 27. Lovato was simply a one-night only appearance, but she sure did completely commit to the bit. So this episode may be cool for the summer, but later this month “The Masked Singer” will be trying to convince audiences that it’s cool for the fall.

The full season of “The Masked Singer” kicks off on Sept. 27 at 8 p.m. ET/PT on FOX.

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“The Masked Singer” has officially made it

Every month, streaming services add movies and TV shows to its library. Here are our picks for some of September’s most promising new titles. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)

‘The Wheel of Time’ Season 2
Started streaming: Sept. 1

Season 1 of this handsome-looking fantasy series introduced some of the major characters and concepts from the first book of the novelist Robert Jordan’s hefty “The Wheel of Time” saga. Season 2 adapts parts of the second and third books — “The Great Hunt” and “The Dragon Reborn” — and continues moving the pieces into place for the grand apocalyptic battle prophesied at the start of the story. Rosamund Pike returns as the mystic Moiraine, who is helping a group of young people escape the shadowy forces pursuing them. Josha Stradowski plays Rand al’Thor, who may be his land’s last best hope to stand up against the Dark One and his minions — or may be the one to usher in a new age of chaos.

‘Neighbours: A New Chapter’ Season 1
Starts streaming: Sept. 18

The original run of the soap opera “Neighbours” began in 1985 and concluded in 2022 after 38 seasons and nearly 9,000 22-minute episodes. During that time, the show’s melodramatic tales of suburban Melbourne life were seen around the world and introduced viewers to future stars like Natalie Imbruglia, Kylie Minogue, Radha Mitchell, Guy Pearce and Margot Robbie. Now Amazon Studios and Fremantle Australia are bringing the series back, along with some of the old cast (including Pearce), who join an array of new characters. Plans are to run 200 episodes a year for the next two years on Amazon’s ad-supported, free-to-stream Freevee service, where viewers can also watch the older episodes, giving Americans a chance to immerse themselves in these Australians’ love affairs and personal crises.

‘Gen V’ Season 1
Starts streaming: Sept. 29

A spinoff of the adults-only superhero satire “The Boys,” this action-dramedy series is set at a special school for young crime fighters, where the students engage in the same kinds of cliques, rivalries and romances that happen in any normal school but with the constant threat that super powers make every conflict more dangerous. A few of the adult characters from “The Boys” will drop in on the new show (which has a creative team drawn from some of that show’s writers and producers); but the focus here is on the kids, who have a lot in common with classic comic book super teams like the X-Men and the Teen Titans. Expect plenty of irreverence and dark humor, along with some sly takedowns of familiar superhero mythology.

Also arriving:

Sept. 1
“God. Family. Football.”

Sept. 5
“One Shot: Overtime Elite”

Sept. 8
“Sitting in Bars with Cake”

Sept. 12
“Kelce”

Sept. 15
“A Million Miles Away”

“Wilderness” Season 1

“Written in the Stars” Season 1

Sept. 22
“Cassandro”

Sept. 22
“The Fake Sheikh”

‘The Walking Dead: Daryl Dixon’ Season 1
Starts streaming: Sept. 10

Like “The Walking Dead: Dead City” earlier this year, the latest entry in the long-running, ever-expanding “Walking Dead” franchise takes one of the most popular characters from the show’s original run and plops him in another part of the world. Norman Reedus reprises his role as Daryl Dixon, a talented marksman and tracker who had to overcome his loner tendencies to become a vital part of an embattled postapocalyptic community in the American southeast. In this new series, Daryl takes his talents to France, where he allies with a tough nun (Clémence Poésy) who shows him the unique ways that continental Europe handled the zombie outbreak and helps him to figure out who he can trust.

Also arriving:

Sept. 1
“Perpetrator”

Sept. 8
“Blood Flower”

Sept. 10
“Ride With Norman Reedus” Season 6

Sept. 15
“Elevator Game”

Sept. 20
“Thick Skin”

Sept. 22
“The Angry Black Girl and Her Mother”

Sept. 29
“Nightmare”

‘The Changeling’
Starts streaming: Sept. 8

Like the Victor LaValle novel that inspired it, the supernatural horror series “The Changeling” combines everyday drama with terrifying nightmares, in a story that sprawls across multiple generations. LaKeith Stanfield plays Apollo, a shy book dealer who is haunted by memories of the father he barely knew. He is also attracted to a vibrant but eccentric woman named Emmy (Clark Backo), whom he eventually marries. The show’s creator and writer, Kelly Marcel, shifts the narrative focus freely among different characters and different eras, as a crisis with Emmy and their newborn child drives Apollo to confront his troubled family history. In doing so, he finds that his past is shrouded in the kind of wondrous darkness common to fairy tales, and he is challenged to untangle fantasy from fact in an enchanted version of New York City.

‘The Morning Show’ Season 3
Starts streaming: Sept. 13

One of Apple TV+’s flagship series returns for a third season of punchy boardroom drama, set in the modern TV news business. The show is still powered by its two charismatic leads: Jennifer Aniston as the veteran morning show anchor Alex Levy and Reese Witherspoon as Bradley Jackson, a feisty hard news reporter who has become Alex’s co-host. Billy Crudup and Mark Duplass play two of the behind-the-camera bosses who sometimes make morally questionable choices. This season they are joined by Jon Hamm as a cocky tech billionaire who might be able improve their network’s cash-flow. Although “The Morning Show” started as a ripped-from-the-headlines look at how the #MeToo era has upended the male-dominated media, the series has since opened to encompass other hot-button contemporary issues, which in Season 3 include cyberattacks and corporate blackmail.

Also arriving:

Sept. 20
“The Super Models”

Sept. 22
“Still Up”

Sept. 29
“Flora and Son”

‘The Other Black Girl’ Season 1
Starts streaming: Sept. 13

Part wry social commentary and part intense mystery-thriller, “The Other Black Girl” examines the racial and gender dynamics of the New York publishing industry. Sinclair Daniel plays Nella, an aspiring assistant editor who befriends Hazel (Ashleigh Murray), her publishing house’s latest hire and the only other Black person in her department. When Hazel’s collegial advice starts derailing Nella’s career — around the same time that Nella starts experiencing some unnerving paranormal activity around the office — she begins looking into her new friend’s past and the history of their employers. Adapted from a best-selling Zakiya Dalila Harris novel, this show finds the humor and the anxiety inherent in the life of a woman who is struggling to stand out in a tough business without losing her identity.

Also arriving:

Sept. 6
“Never Let Him Go”

Sept. 13
“Welcome to Wrexham” Season 2

Sept. 14
“Dragons: The Nine Realms” Season 7

Sept. 20
“American Horror Story: Delicate” Part 1

Sept. 22
“No One Will Save You”

Sept. 27
“Love in Fairhope” Season 1

‘Starstruck’ Season 3
Starts streaming: Sept. 28

This charming romantic comedy is one of the streaming era’s hidden gems, and it is ripe for discovery now that the fall TV schedule has been thinned out by the actors’ and writers’ strikes. Through its first two seasons, “Starstruck” followed the unlikely on-again/off-again love affair between Jessie (Rose Matafeo), a young New Zealander struggling to make ends meet in London, and Tom (Nikesh Patel), an A-list movie star who is smitten with her. Season 3 has the couple going their separate ways but still frequently and awkwardly crossing paths. The show’s short, breezy episodes capture how the “getting to know you” phase of romance can be equal parts exciting and difficult, especially when one of the people involved is rich and famous.

Also arriving:

Sept. 2
“The Venture Bros.: Radiant Is the Blood of the Baboon Heart”

Sept. 13
“Donyale Luna: Supermodel”

Sept. 21
“Young Love” Season 1

‘Star Trek: Lower Decks’ Season 4

Starts streaming: Sept. 7

“Star Trek” fans who are still buzzing from the excellent, recently completed second season of “Strange New Worlds” should roll those warm feelings over to the fourth season of the animated “Lower Decks,” which has established its place as one of the best of the modern “Star Trek” shows. Like “Strange New Worlds,” “Lower Decks” balances old-fashioned “interstellar adventure of the week” stories with involved subplots and rich character development. This cute-looking cartoon is fundamentally comic — following the goofy mishaps of a bunch of Starfleet’s least vital employees — but its writers and animators respect the franchise’s lore enough to deliver cleverly plotted, action-packed episodes, season after season.

Also arriving:

Sept. 8
“Dreaming Whilst Black”

Sept. 12
“Football Must Go On”

Sept. 17
“The Gold”

Sept. 18
“Superpower”

Sept. 22
“Deadlocked: How America Shaped the Supreme Court”

Sept. 26
“72 Seconds”

‘The Continental: From the World of John Wick’
Starts streaming: Sept. 22

Fans of the first “John Wick” movie will always remember the moment when its weary hit man hero walked into a strange, assassin-friendly hotel called the Continental and was reminded of its arcane codes of behavior. Suddenly a movie that had previously seemed like a low-stakes underworld revenge thriller opened up into something more fantastical and globe spanning, with a dense mythology. The TV mini-series “The Continental: From the World of John Wick” is set in the 1970s and stars Mel Gibson as Cormac, the hotel’s New York manager at that time. Colin Woodell plays a young version of the franchise’s Winston Scott, who is tasked by Cormac to solve a family problem that may threaten the viability of this super secret criminal hideaway.

Also arriving:

Sept. 4
“Chucky” Season 2

Sept. 28
“Dino Pops” Season 1

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Every month, streaming services add movies and

Drew Barrymore has made the surprising announcement that her talk show will return to the air, despite the ongoing SAG-AFTRA and WGA strikes. Barrymore explained on Instagram, “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.”

In response, WGA spokesperson Jason Gordon told Vanity Fair that the union is planning to picket outside Barrymore’s studio. He said, “‘The Drew Barrymore Show’ is a WGA-covered struck television show. It has stayed off the air since the strike began on May 2nd, but has now (unfortunately) decided to return without its writers.”

Gordon added, “The Guild has, and will continue to, picket any struck show that continues production during the duration of the strike.”

In her statement explaining the decision, Barrymore cited her own previous pro-strike stance. She began, “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.”

“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,” she continued. “And to be clear, our talk show actually wrapped on April 20th, so we never had to shut down the show.”

The actress and host continued, “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.”

Barrymore explained “I own this choice” and that her show intends to be in compliance with “not discussing or promoting film and television that is struck of any kind.”

The WGA strike rules have stated that most daytime talk shows can continue to air new episodes because they do not employ writers. The two exceptions have been “The Talk” and Barrymore’s show.

CBS previously announced Barrymore’s show would be back for Season 4 on Wednesday. President and CEO of CBS News and Stations and CBS Media Ventures Wendy McMahon stated in a press release, “From launching during the height of the COVID-19 pandemic to successfully pivoting to a groundbreaking half-hour format, this show has demonstrated spectacular resilience and creative agility on its journey to becoming the fastest-growing show in daytime.”

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September 10, 2023 @ 5:57 PM Drew Barrymore

Richard Davis, an esteemed bassist who played not just with some of the biggest names in jazz but also with major figures in the classical, pop and rock worlds, died on Wednesday in Madison, Wis. He was 93.

His death was announced by Persia Davis, his daughter, who said he had been in hospice care for the last two years.

Mr. Davis, who was named a National Endowment for the Arts Jazz Master in 2014, appeared on more than 600 albums. A first-call player for some of the most important figures in jazz history, he had fruitful collaborations with the reed player Eric Dolphy (whose composition “Iron Man” was named for him) and the pianist Andrew Hill. He was a member of the Thad Jones-Mel Lewis Orchestra, which performed every Monday night at the Village Vanguard in New York, from the ensemble’s debut in 1966 until 1972.

His advanced technique, especially with the bow, led to work with classical orchestras under Igor Stravinsky and Leonard Bernstein. His adaptability resulted in sessions with Van Morrison, Bruce Springsteen, Paul Simon and Bonnie Raitt.

Mr. Davis made 30 albums as a leader or co-leader from 1967 to 2007. He was named best bassist in the DownBeat magazine readers poll from 1968 to 1972.

Reviewing a 1986 performance at Sweet Basil in Greenwich Village by a band led by Mr. Davis and featuring Freddie Waits on drums, the New York Times music critic Robert Palmer wrote: “The relaxed, slightly behind-the-beat swing typical of so many jazz rhythm sections is not for them. Their accents fall right up on top of the beat, and they vary their springy forward momentum with rhythmic whirlpools and rapids and an explosive sense of dynamics.”

Richard Davis was born on April 15, 1930, in Chicago. His mother died in childbirth, and he was adopted by Robert and Elmora Johnson. He was exposed to music through the records his mother had collected in her native New Orleans and the hymns Mr. Johnson would sing around the house.

He attended DuSable High School in Chicago, where he studied music under Walter Dyett, who mentored many future jazz stars, and he started playing the bass at 15. As he recalled in a 2013 interview published in the American Federation of Musicians magazine Allegro: “I was just enthralled by the sound. The bass was always in the background and I was a shy kid. So I thought maybe I’d like to be in the background.”

Mr. Davis credited Mr. Dyett with pushing him to play across styles, and during high school he also studied with Rudolf Fahsbender of the Chicago Symphony Orchestra. He would go on to receive a bachelor’s degree in music education from the VanderCook College of Music in Chicago in 1952.

As a young player in Chicago, he was mentored by local bassists like Wilbur Ware and Eddie Calhoun. While still in college, he performed with the pianist and bandleader Sun Ra, who at the time was still billed as Sonny Blount.

His first major gig was with the pianist Ahmad Jamal in 1952. He then went on the road with another pianist, Don Shirley (whose story was told in the movie “Green Book”); this led to his initial recordings and eventually to his move, in 1954, to New York, where he worked with the singer Sarah Vaughan from 1957 to 1962.

In a 2005 interview for The New York City Jazz Record, Mr. Davis spoke of how he used aspects of his classical study and his time with Ms. Vaughan to create his particular bowing technique:

“Some of the first bass players used the bow to play the walking bass line. And I heard all of that coming up as a kid. Therefore, when you start to study books of bass methods, you start out with the bow no matter what your intentions are, so there must be some intertwining of what I heard as a kid, what I heard working with Sarah Vaughan, wanting to imitate those vocal sounds.”

After his time with Ms. Vaughan, Mr. Davis’s reputation began to grow rapidly, as did his discography. The year 1964 was an especially significant one; he played on Mr. Dolphy’s last studio recording, “Out to Lunch!”; Mr. Hill’s seminal “Point of Departure”; the drummer Tony Williams’s first album, “Life Time”; and the saxophonist Booker Ervin’s “The Song Book.”

Three years later, Mr. Davis made his first album under his own name, “Heavy Sounds,” on which he and the drummer Elvin Jones were co-leaders, released on the Impulse! label. Over the next several years, his work outside the jazz world expanded: His credits included acting as musical director for Mr. Morrison’s album “Astral Weeks” and providing the haunting bow work at the end of “The Angel,” on Mr. Springsteen’s album “Greetings From Asbury Park, N.J.”

Mr. Davis continued to release albums regularly through the new millennium. In the late 1960s and ’70s he was also a member of the New York Bass Violin Choir, led by his fellow bassist Bill Lee, playing alongside other luminaries of the instrument like Ron Carter, Milt Hinton and Sam Jones. In the late 1980s he was a founding member of New York Unit, a trio with the pianist John Hicks and the drummer Tatsuya Nakamura, which recorded eight albums for Japanese labels through 1998.

In an email, Mr. Carter said Mr. Davis was “an incredible bassist, a great teacher and my dear friend.”

In 1977, Mr. Davis left New York to take a position as a professor of music and music history at the University of Wisconsin-Madison. “I got a call offering me a job at the university in Madison because they didn’t have a bass teacher on campus,” he told OnWisconsin, the university’s alumni magazine, in 2011. “I said, ‘Where’s Madison?’ I asked around if anyone had heard of the place because this school kept calling me. Martin Luther King Jr. talked about the importance of teaching others, and I had always wanted to teach young people. I thought maybe it was time.”

He retired from teaching in 2016. In 2018, Richard Davis Lane in eastern Madison was named in his honor.

Complete information on survivors was not immediately available.

In addition to his recorded work and his influence on generations of students, Mr. Davis leaves behind two legacies — one musical, the other societal.

The Richard Davis Foundation for Young Bassists, which he created in 1993, conducts an annual conference for young players to learn from professionals and perform with one another. And in 2000, Mr. Davis established the Madison chapter of the Center for the Healing of Racism, an outgrowth of his founding in 1998 of the Retention Action Project at the University of Wisconsin to improve graduation rates for students of color.

His activism was connected to his earliest experiences trying to be a classical player., he said in the 2005 interview:

“My environment with race issues started the day I was born. You’re born with dark skin, and that itself brings on attitudes of other people who are not dark-skinned to see you as someone to be oppressed and not to be given equal chances in society. So that is something that is permanent.

“I was 18 years old and I could play any and all of the European classical music,” he continued, “but you weren’t allowed to participate in the symphony orchestra because there were racial issues and prejudices. They didn’t want to see you.”

The bassist William Parker, who studied with Mr. Davis as a young man in New York, said: “Richard Davis was a beautiful musician and human being. He reminded me of an African king, regal and strong. I praise him not because he could play both classical and jazz. I applaud him because the brother had a big, poetic sound full of freedom.”

Mr. Davis, he added, “taught me some things about music, but his main message was ‘Be yourself.’”

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Richard Davis, an esteemed bassist who played

TORONTO: “Humanist Vampire,” “Solo” Heat Up Market for Toronto’s Quebec Feature Slate

By Jennie Punter

Toronto has long been a go-to place for Quebec filmmakers to launch new work, connect directly to the U.S. marketplace and, by extension, propel their careers to the next level — Denis Villeneuve, Phillippe Falardeau and Jean-Marc Vallée, for example, premiered most of their early films here.

Many of this year’s bumper crop of mostly world-premiering Quebec titles explore less familiar corners of society — First Peoples and newcomer stories, the drag scene — and there are also fresh takes on romantic dramedy (Monia Chokri’s “The Nature of Love”), true-story-inspired WWII drama (Louise Archambault’s “Irena’s Vow”) and horror comedy (Ariane Louis-Seize’s “Humanist Vampire Seeking Consenting Suicidal Person,” which just nabbed Venice Days GdA Director’s Award).

Five of the festival’s eight Quebec features are directed by women. Sophie Dupuis, whose third film, the drag-scene character study “Solo,” told Variety that support from government funding agencies Telefilm and SODEC (Quebec) has improved for women filmmakers in recent years. “When it comes to bigger budgets, we’re getting there. I’m happy for Quebec to have all these films by women being celebrated around the world.”

Dupuis’ long interest in the creative versatility of drag artists and the political aspect of their performance inspired “Solo,” which stars former TIFF Rising Star Théodore Pellerin.

“To have a queer story on the TIFF Gala screen and to celebrate this together on the red carpet is huge,” Dupuis said. “The majority of the cast is queer, and we know this kind of film can change lives — even save lives. It can be a validation for some people who need that right now.” SND Films is handling world sales.

Henri Pardo’s debut fiction feature “Kanaval” — in which a young Haitian boy sneaks out to experience the annual carnival before fleeing to Quebec with his mother — allowed the actor-turned-director to “work towards my Haitian culture,” which felt far away after years living in Montreal, he told Variety.

“A lot of stuff about Haiti has been completely forgotten. It’s a beautiful culture, and now I’ve got the power now to latch on to that and to put it out there for all of us because it’s not just important — there are beautiful stories there.”

Pardo, whose new film was part of the inaugural Project Development Accelerator initiative from the Canadian Film Centre and Netflix, is a founding member of Montreal’s Black on Black Film collective and is developing new projects through his production company Black Wealth Media.

He explained, “Quebec was really late in progressing its diversity compared to the States and Toronto, so we had to create our own space. What are our stories, and how do Black people in Canada fit into this global story? We want to write the stories that were missing before.”

Montreal distributor and aggregator H264, which launched its world sales arm in June, lands in Toronto with the North American premiere of “Humanist Vampire” — a hot property, having picked up the director’s award at Venice Days. H264 founder and president Jean-Christophe J. Lamontagne told Variety he expects to confirm France and U.S. distribution for the film in Toronto.

After a rough few years, the cinema biz and audiences are bouncing back in Quebec. “There’s (former Les Films Séville president) Patrick Roy’s new company Immina Films, and we just had record breaking box office this year with many Quebec titles, so jumping into the future-film feels like the right timing,” said Lamontagne, whose company is also has world sales rights to Quebec auteur Denis Côté’s “Mademoiselle Kenopsia.”

“International though is a challenge, but our approach is to focus on films we are representing and our strong presence at festivals,” he continued. “And also our model is hybrid, we don’t do world sales in a traditional form because we’re also an aggregator — we are kind of a two-headed dragon. With everything now happening in the market, being a smaller company makes us more creative in our approach.

“There’s more space now for a new generation of storytellers,” he added. “And I think audiences are ready to discover them.”

Other Quebec features not mentioned above include Chloé Robichaud’s “Days of Happiness” and Charles-Olivier Michaud’s “Ru.”

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TORONTO: “Humanist Vampire,” “Solo” Heat Up Market

Novak Djokovic defeated Daniil Medvedev to win the US Open and his 24th grand slam title.

In the match against Medvedev, it took Djokovic three hours and 17 minutes to defeat his opponent 6-3, 7-6, 6-3. The Serbian tennis star is now tied with Margaret Court which they have held since the 1970s.

As the tennis star made his way to the player box to celebrate, Djokovic pulled out a t-shirt to honor his friend Kobe Bryant. The graphic tee that said “Mamba Forever” had a photo of himself with the late basketball star.

Djokovic’s was not at the US Open last year due to the tennis player not being vaccinated and refusing to do so.

His win was even more special as it’s his wedding anniversary and said he wanted to take the title for his wife as he did back in 2021.

“I’m really living my childhood dream,” Djokovic said as he thanked his parents, his family and his team.

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Novak Djokovic defeated Daniil Medvedev to win

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The French know a thing or two about skincare and there are a number of luxe French beauty brands that prove it. From the celebrity-approved Augustinus Bader to the classic Creme de La Mer, there is no shortage of French brands that deliver on their promise of soft, smooth and supple skin.

But luxury skincare isn’t always affordable, especially coming from the serene streets of Paris. That’s why we’re big fans of Laboratoires Embryolisse, a French pharmacy brand that’s been around since the 1950s. A cult favorite in Europe, the brand’s line of affordable face and body products is now available in the U.S. through Amazon, with products starting at just $11.

One of the most popular Embryolisse products is their Lait Creme Concentre Fluide, a multi-fuctional moisturizer for the face and body. Dubbed the “24 Hour Miracle Cream” by skincare junkies and reviewers, the lotion can be used as a daily moisturizer, cleanser, make-up remover, aftersun cream or after-shave. The best part: it’s available on Amazon right now for just $14.

Amazon

Embryolisse Lait Creme Fluid, 2.54 Fl Oz $14.00 on Amazon.com

Buy now

The Lait-Crème Fluid is a lightweight lotion that goes on smooth and clear — no streaky white marks here. The light texture is easily absorbed, with no stickiness or greasy residue.

Made in France, the cream’s formula features a mix of shea butter, beeswax, aloe vera and soy proteins. Together, the ingredients work to help soften and soothe dry skin, and protect the skin barrier from external stressors. The result: a smoother, brighter, healthier-looking complexion.

We’ve been using the Lait-Crème Fluid for months now and it’s gentle enough even for our sensitive skin (the 75 ml bottle size is also perfect for traveling). Users say the lightweight cream is super moisturizing, and they praise the thin texture. Many also like the subtle floral fragrance, with one reviewer writing that “it reminds me of camellias.”

The Embryolisse moisturizer has an overall 4.4-star rating (out of five) from hundreds of verified shoppers online. Get the Embryolisse 24 Hour Miracle Cream on sale now for $14 on Amazon.com.

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EXCLUSIVE: In 2021, Louis C.K. released a comedy concert film on his website entitled Sorry. What did Louis C.K. have to be sorry about? Well, there’s the sexual misconduct allegations against him that came to light in a New York Times article published in 2017 – allegations he admitted were true.

But was he really sorry? When the story broke, C.K. responded by saying he was “remorseful” and acknowledged he had “hurt” people. But he never used the word “sorry.” 

The documentary Sorry/Not Sorry, making its world premiere tonight at the Toronto International Film Festival, explores the aftermath of the revelations of misconduct about C.K. At first, it looked like he’d been canceled, as had other men in the entertainment industry and media who had allegedly committed acts of sexual misconduct or worse (Harvey Weinstein, Les Moonves, Brett Ratner, Charlie Rose, Matt Lauer and more). But within a year, C.K. was back out on the comedy hustings, doing his thing. We have your first look at the film directed by Caroline Suh and Cara Mones in the clip above. 

“Sorry/Not Sorry dwells strongly on the period from 2015 to 2017 when blogs and podcasts were increasingly dropping innuendo over C.K.’s toxic actions,” according to a description of the film written by TIFF documentary programmer Thom Powers. “Despite growing rumors, C.K. wrote and directed the 2017 film I Love You, Daddy about a middle-aged film director pursuing a teenage girl. The documentary raises questions over who knew what when, and how things might have gone differently. 

“Sorry/Not Sorry includes extensive interviews with women who were prominent in raising accusations against C.K. and paid a hefty cost for doing so. Suh and Mones lean into complexities and ask pointed questions to all the surrounding players about their own complicity. Sorry/Not Sorry holds up a mirror to viewers and forces us to re-examine our own belief systems.”

In an interview, Suh said she was a fan of the comedian’s work before the scandal broke and initially asked herself what punishment would be proper in light of his behavior. Should his career be over? But when C.K. returned to the comedy stage in 2018, she said, “I began to wonder, how come we rarely hear the full stories of the women who came forward? From that point on I really wanted to make a film that explored these questions, and when The New York Times asked me if there was anything I might want to collaborate with them on, Louis’ story was top of mind.”

Mones came on board the project after Suh. “After talking to Caroline about her hopes for the film, I learned that there was so much missing from the public conversations around Louis C.K.,” she noted in an interview. “I had known very little about the women who had spoken up about Louis’ behavior, and I certainly knew nothing about their treatment in the wake of speaking out. I was disappointed with myself that I hadn’t even considered the impact of coming forward. Now six years after The New York Times story broke and Louis C.K. is selling out venues internationally, this story remains as relevant as ever.”

Sorry/Not Sorry is a production of the New York Times. CAA is handling sales.

In the clip above, a variety of commentators unpack Louis C.K.’s apology/not apology.

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EXCLUSIVE: In 2021, Louis C.K. released a

After more than a year-long hiatus, Virgin River has finally returned with it’s highly-anticipated fifth season. When we last left Virgin River’s residents at the end of Season 4, Mel and Jack were engaged and expecting a baby girl, Denny revealed he has Huntington’s Disease, Brie and Brady were back on track, several unwelcome visitors arrived in town, and Jack learned he wasn’t the father of Charmaine’s twins after all. *GASP* Season 5 of the romantic drama — based on Robyn Carr’s novels — features more jaw-dropping revelations, exciting new romances, and fresh storylines related to loss, fertility issues, medical diagnoses, a massive drug operation, wildfires, and more. Fans of the show’s signature small-town charm and big-time drama won’t want to miss the latest emotional, heartwarming chapter in Virgin River‘s story — especially since Season 5, Part 2 is headed to Netflix in November. Grab some snacks and tissues, and prepare for a solid weekend binge.

Photo: Netflix

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By Nicole Gallucci After more than a year-long hiatus, Virgin

When Ynon Kreiz arrived at Mattel in April 2018, the newly installed chief executive had one mantra when it came to a feature film starring Barbie, a project he really wanted to get off the ground: He didn’t care if the movie sold a single additional doll.

But “Barbie” the film had to be good and a cultural event. It had to be different. It had to break molds.

And if that meant turning the chief executive of Mattel — i.e., himself — into the object of comic ridicule in the portrayal of the chief executive character in the film (“vain and foolish to the nth degree,” as The Guardian put it), then so be it.

That approach has paid off to a degree that even Mr. Kreiz could hardly have believed possible. “Barbie” is close to grossing $1.4 billion and passed one of the “Harry Potter” movies as the top-grossing Warner Bros. film of all time. It could end up near the $2 billion mark. (The record-holder is 2009’s “Avatar,” at $2.9 billion.)

How Mattel pulled off a feat that had eluded the company for years was the subject of recent interviews with Mr. Kreiz; Robbie Brenner, Mattel’s executive producer of films; spokespeople for Margot Robbie and Greta Gerwig, the film’s star and its writer-director; and others familiar with the doll’s sometimes tortuous path to the big screen.

Mattel and Warner have zealously guarded their financial arrangements. But people with knowledge of their agreement said Mattel earned 5 percent of the box office revenue, as well as a percentage of eventual profits as a producer of the movie and additional payments as owner of the Barbie intellectual property rights. At $2 billion in box office revenue, that amounts to $100 million. In addition, there are sales of merchandise connected to the movie as well as an expected boost in sales of dolls.

Representatives for Mattel and Warner declined to comment on the financial arrangements, though the company’s chief financial officer said at a conference on Thursday that the company would make about $125 million in total billings from the film.

Even though Barbie results weren’t reflected in Mattel’s latest earnings, released July 26, all anyone wanted to talk about at the earnings call was “Barbie.” Mr. Kreiz hailed the film as a “milestone moment” in the company’s strategy to “capture the value of its I.P.” and demonstrate its ability to attract and team up with top creative talent — a cornerstone of its ambitious slate of more toy-themed movies.

After the first “Barbie” trailer — showing a hyper-blond, Day-Glo-clad Ms. Robbie and Ryan Gosling skating along Venice Beach — went viral in December, anticipation started building. Mattel stock has been on a tear. It has gained 33 percent, from $16.24 on Dec. 19 to this week’s $21.55. The S&P 500 rose 16 percent over the same period.

Wall Street has been reluctant to give much credit to one hit, on the theory that such success is hard to replicate. (“Barbie” has had no discernible impact on Warner Bros. Discovery’s stock price.)

But for Mattel, the positive impact of “Barbie” goes far beyond just one film. The company’s yearslong strategy to become a major film producer, using its vast storehouse of toys as intellectual property, had been met in Hollywood with skepticism, if not outright mockery. A-list talent wasn’t lining up to direct a plush purple dinosaur like Barney. But now the perception that Mattel’s leadership is willing to trust and support an unorthodox creative team that delivered both a box office bonanza and a possible awards contender has radically altered that.

And Mattel’s surprising willingness to make fun of itself was one of the elements that mostly delighted critics and added to the buzz that roped in many more moviegoers than the “Barbie” fan base.

That Mr. Kreiz was willing to laugh at his own caricature came as something as a surprise to some acquaintances and former colleagues. An Israeli military veteran with dual Israeli and British citizenship, a former professional wind surfer, an avid kite surfer and a fitness buff, with more than a passing resemblance to a younger Arnold Schwarzenegger, the 58-year-old Mr. Kreiz comes across as more of a square-jawed G.I. Joe action hero than a Barbie fan with a sense of humor.

Mr. Kreiz’s entire career was in media and entertainment, not retail. His longtime mentor, the Power Rangers entrepreneur and billionaire Haim Saban, hired him fresh out of the University of California, Los Angeles, to launch Fox Kids Europe, a joint venture with Fox. He later ran Maker Studios, a YouTube aggregator, which Disney acquired in 2014. Mr. Kreiz left in 2016, and Maker was folded into the Disney Digital Network in 2017.

That “Barbie” even got made was no small feat. It had languished at Sony for years, with Mattel routinely renewing the option, as various writers struggled to adapt the doll for the big screen. Although one of the most popular toys ever, Barbie was the subject of intense controversy, seen both as a symbol of female empowerment and as an impossible standard of beauty and femininity. The only feasible approach seemed a parody. The comedian Amy Schumer was once slated for the part. But scripts came and went.

Weeks after becoming chief executive in 2018, Mr. Kreiz refused to renew the Sony option, according to multiple people interviewed for this article. He called Ms. Robbie’s agent and asked for a meeting. Ms. Robbie was among the most sought-after young actresses in Hollywood, fresh from acclaimed performances in diverse roles — as the ill-fated ice skater Tonya Harding in “I, Tonya”; in Martin Scorsese’s “The Wolf of Wall Street”; and as a fixture in Warner’s DC Comics universe as Harley Quinn, the Joker’s former girlfriend. And while no human could replicate Barbie’s exaggerated dimensions, Ms. Robbie came reasonably close, while also radiating wholesome beauty.

Ms. Robbie was simultaneously reaching out to Mattel and Mr. Kreiz after learning that the “Barbie” option hadn’t been renewed. She was looking for a potential franchise to take to Warner, where her production company, LuckyChap, had a first-look deal. But she wasn’t looking to star in the film herself.

Over breakfast at the Polo Lounge at the Beverly Hills Hotel, the plush entertainment and celebrity hangout not far from Mattel’s less glamorous El Segundo headquarters, Mr. Kreiz shared his vision: He didn’t want to make movies in order just to sell toys. He wanted something fresh, unconventional, bold.

“Our vision for Barbie was someone with a strong voice, a clear message, with cultural resonance that would make a societal impact,” he said, recalling his message.

Mr. Kreiz’s obvious enthusiasm and determination, and his pitch for creative integrity make him hard to resist, as Ms. Brenner, a producer, discovered when he recruited her to run the newly created Mattel film division during another meal at the Polo Lounge. Ms. Brenner, a respected producer and an Academy Award nominee for “Dallas Buyers Club,” was attracted to his idea for the movie. In Mr. Kreiz’s vision, Mattel would be as much a movie company as a toy company. The two bonded after he asked her who should play Barbie, and she, too, volunteered Ms. Robbie.

At their first meeting, Ms. Robbie suggested Ms. Gerwig for the director. The two were friends and had talked about working together. Mr. Kreiz loved the idea in part because it was so unexpected — Ms. Gerwig had directed and written acclaimed but offbeat independent films like “Frances Ha,” “Lady Bird” and a new take on the classic “Little Women,” but no big-budget fare.

“Lady Bird” was one of Ms. Brenner’s favorite movies. But would Ms. Gerwig consider such a mass-market, commercial proposal?

Ms. Gerwig, it turned out, had played with Barbie dolls and loved them. She even had old photos of herself playing with Barbie. Ms. Brenner met with Ms. Gerwig and her partner, Noah Baumbach, also an acclaimed screenwriter and director, at an editing facility in New York. They kicked around a few ideas, but nothing concrete emerged. Anything seemed possible.

A deal was struck, and Warner signed on as co-producer. Once Ms. Gerwig was on board, Ms. Robbie agreed to star.

At which point Ms. Gerwig and Mr. Baumbach retreated. “I know it’s not conventional and not what you’re used to, but we have to go into a room for a few months. That’s how we work and want to do it,” as Ms. Gerwig put it, Mr. Kreiz recalled.

When the script did land in Ms. Brenner’s email, it was 147 pages — the length of a Quentin Tarantino film, epic by Hollywood standards. She closed her office door and started reading. “It was like going on this crazy ride,” she recalled. It broke rules, including the so-called fourth wall, addressing the audience directly. It poked fun at Mattel.

New to the company, Ms. Brenner didn’t know if this would prove too much for Mattel executives. But she believed it was a great script.

Ms. Brenner’s first call was to Mr. Kreiz. “I’ve read a lot of scripts, and this is so different,” she told him. “It’s special. You don’t get this feeling many times in an entire career.”

Mr. Kreiz read the script twice, back to back. “It was deep, provoking, unconventional and imaginative,” he said. “It was everything I was hoping it would be.”

Ms. Brenner was pleasantly surprised. “Ynon is a very confident person,” she said. “He can laugh at himself.”

At one point Mr. Kreiz flew to London, where “Barbie” sets were being built at Warner’s studio outside the city. He and Ms. Gerwig spent a half-hour discussing the perfect shade of pink.

Mr. Kreiz and Ms. Brenner knew they had a potential hit. “It was our secret that we couldn’t talk about,” Ms. Brenner recalled.

The original budget target of $80 million jumped above $120 million once Ms. Gerwig was signed. But even that wouldn’t realize the director’s full vision for the film. For Warner executives it was a struggle to find what are known as “comps,” similar films that had grossed enough to justify such an outlay.

Would “Barbie” be another “Charlie’s Angels” from 2019 — which was budgeted at $55 million but grossed only $73 million and, after marketing costs, lost money? Or another “Wonder Woman” from 2017, budgeted at over $100 million, with a worldwide gross of $822 million?

Eventually the budget hit $141 million and, with some reshoots, ultimately topped $150 million.

On opening night, July 21, Mr. Kreiz took his 19-year-old daughter to the Regal cinema complex at Union Square in Manhattan. As they neared the theater, droves of moviegoers — and not just young girls — were heading to it in pink outfits. Five screenings were in progress. All were sold out.

Mr. Kreiz and his daughter dropped in and out to gauge audience reactions. People laughed, applauded and in a few cases shed tears.

Of course the success of “Barbie” has drastically raised the bar — and expectations — for Mattel’s movies in development, starting with “Masters of the Universe,” written and directed by the brothers Adam and Aaron Nee. Twelve more films are in various stages of development, including a “Hot Wheels” produced by J.J. Abrams, also at Warner. Some of these may need to be rethought.

And there will no doubt be “Barbie” sequels, perhaps even a James Bond-like franchise, which would be Mr. Kreiz’s ultimate fantasy (although he said it was too soon to discuss any such plans).

Mr. Kreiz acknowledged that in a notoriously fickle and unpredictable business, future success is hardly assured. But “Barbie” has given Mattel momentum — the beginning of what he calls “a multiyear franchise management strategy.”

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When Ynon Kreiz arrived at Mattel in

A look at the opening 10 minutes of Disney+’s Loki Season 2 was shown to attendees at Destination D23.

Marvel Studios’ most viewed Disney+ series was none other than Loki Season 1, which arrived back in 2021. So, naturally, the hype for the Asgardian trickster’s second solo outing is reaching peak levels.

Loki Season 2 arrives in early October, and the marketing for the series has shown an exciting romp through time and space as its titular character leaps uncontrollably through different eras and perhaps universes.

Description of Loki Season 2’s Opening Scene

Marvel

At Destination D23 this weekend, Loki Season 2 executive producer Kevin Wright was on hand to unveil the first 10 minutes of the show’s upcoming premiere.

Descriptions of this footage appeared online shortly afterward with attendees discussing several key plot points and events, including a chase scene through the TVA.

Laughing Place explained that the second season “begins at the exact same spot as the Season 1 cliffhanger,” with Tom Hiddleston’s Loki in the TVA library and a statue of time-traveling villain Kang looming in the background.

As devotees will recall, Loki’s newfound pal Mobius somehow has no idea who he is, which prompts the TVA agent to “chase him through the halls” with a squad of armed guards by his side. To escape, Loki jumps out of a nearby window and “lands in the bed of a yellow hover truck,” startling the driver and nearly making her careen into the Kang statue.

After the truck crashes into a building, “Loki tumbles out into an office where Casey also doesn’t recognize him.” It’s at this point that the brother of Thor takes notice of the office floor “which has the TVA shield and sword crest inlaid,” but it‘s been damaged. He has no chance to process this before he “glitches.”

The glitching is what’s known in the series as “timeslipping.” None of the characters know why it’s happening, but it’s causing Loki to jump through time without his consent.

When he rematerializes, Loki is “standing in the exact same room, with Casey staring at him quizzically.” But this time, Eugene Cordero’s character is fully aware of who he‘s speaking to, seemingly indicating that this is the version audiences met in Season 1.

But something puzzles the God of Mischief – the TVA crest on the floor is “still damaged,” which must mean that Loki was sent to the future of the moment he was just in. He “asks Casey to get Mobius, and then he glitches again.“

ScreenRant additionally pointed out that the truck chase scene is “funny,” meaning the first season’s dry sense of humor must be at least somewhat intact.

What Else Can Fans Expect From Loki?

With the hotly anticipated MCU series less than a month away, what does Season 2 hold for Loki and company?

Apart from the aforementioned timeslipping, the season will also deal with the dangerous Kang Variant known as Victor Timely. Jonathan Majors, who plays Kang and his many Variants in the MCU, is currently facing trial for assault charges, but the actor will still appear in roughly half of Loki’s six-episode second season.

Beyond that, the show will check on Sophia Di Martino’s Sylvie after she plunged her sword into He Who Remains’ chest, killing him and fracturing the Sacred Timeline, as seen in the first season’s finale.

Audiences can obviously also expect Loki to further the arcs of its other lead characters, such as Mobius M. Mobius, Hunter B-15, and, of course, Loki himself.

Marvel Studios‘ Loki Season 2 will drop its premiere episode on Disney+ on Wednesday, October 6.

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Fans got their first new look at the exciting upgraded super suit that will be seen from the villain of the next DC Universe movie, Aquaman and the Lost Kingdom.

With Warner Bros. coming off of three consecutive massive flops from the DCU at the box office, it appears that Aquaman 2 is taking every bit of time that it can to start off its official marketing campaign.

The promotional tour has only just moved into the merchandising stages in the last few weeks, although many are wondering if the studio will have enough time to get fans truly excited for this next step in the Aquaman adventure.

Aquaman 2 Merch Shows Villain Costume

Amazon listed an officially-licensed costume from Warner Bros.’ Aquaman and the Lost Kingdom highlighting full looks (front, back, and side) at the new suit for Black Manta, played in the sequel by Yahya Abdul-Mateen II.

Amazon

The costume highlights the mostly black suit Black Manta dons in Aquaman 2 along with the red and silver mask and new blue elements that weren’t present on his original suit.

Aquaman 2, Black Manta Halloween costume, side view
Amazon

The costume also includes a jetpack on the back that allows Black Manta to either fly through the air or blast through the water with ease.

The Direct Image

As is the case with most superhero sequels, Black Manta will come with a brand-new suit as he returns to action to face off against Jason Momoa’s Aquaman.

Aquaman 2, Black Manta concept art
Warner Bros.

He’ll be one of a number of villains to take the spotlight in Aquaman 2, which includes Randall Park’s Dr. Stephen Shin returning from the original film.

Black Manta costume
Warner Bros.

Fans have also seen a number of concept art images from Aquaman 2, including the one below from DC FanDome featuring the titular hero and Black Manta.

Aquaman vs. Black Manta fight
Warner Bros.

What’s in Store for Aquaman 2 Villains?

Aquaman 2 will show Arthur Curry reluctantly teaming up with his brother, Patrick Wilson’s Oceanmaster, to stop Black Manta as the villain becomes more powerful than he’s ever been to this point.

This will also pit them face-to-face with an unforeseen natural disaster that threatens the Earth and its people – a danger that Black Manta will only add to as he seeks revenge on Curry for killing his father in the original Aquaman.

The big question now is when exactly fans will get a new look at this powerful villain and the rest of the cast in the form of a trailer, which already broke a disappointing DCEU record for the shortest promo window before a given film’s debut.

And with Warner Bros. breaking other unfortunate records from a box office perspective thanks to the DCEU, the studio is certainly hoping for solid returns on this outing after the first film broke the billion-dollar marker in theaters.

Aquaman and the Lost Kingdom will debut in theaters on December 20.

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The offices of Stalker 2: Heart of Chornobyl developer GSC Game World have suffered a fire.

As reported by Vortex and posted to Twitter by @HazzadorGamin, a floor of the developer’s office was damaged by a fire on Thursday. While no one was hurt, it’s been estimated that repairs could cost as much as $70,000.

According to the report, the fire took place near backup servers for the game, but it currently isn’t clear if any data was lost.

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One developer wrote on Discord: “It is true. Fortunately, none of the employees or office staff were injured in the accident.”

They went on to say: “No anomaly, not even a ‘Burner’ will make us stop in our pursuit of our final goal. We’ve dealt with worse than that before. This is fine.”

It was recently confirmed that Stalker 2 will now launch in the first quarter of 2024.

The game’s release date has seemingly been up in the air since Russia’s invasion of Ukraine last February. At the time, GSC Game World was based in Kiev, but it has since partially relocated to the Czech Republic.

Not all of its staff were able to leave Ukraine, however, with a number of developers continuing to work on the game from the war-torn country, where their lives had been turned upside down.

Other GSC Game World staff joined volunteering efforts in Ukraine or the country’s armed forces, including several employees featured in a development diary released last June, which showed how the war had impacted the team and its work.