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With a push from Congress, automakers and charging companies are planning to install tens of thousands of fast chargers on American highways capable of refueling electric cars in half an hour or less.

That’s good news for anyone who owns an electric car or is thinking about buying one. But it’s also confusing because of a debate about what kind of plugs those new chargers and cars will use now and in the future.

Ford Motor, General Motors, Mercedes-Benz and other automakers plan to abandon the plugs their electric cars use today for those designed by Tesla. But they won’t begin selling cars with the Tesla plugs until 2025.

Until then, cars like the Ford Mustang Mach-E or Chevrolet Bolt will come with technology that may eventually become obsolete, the equivalent of Betamax videocassette recorders.

There are two main kinds of plugs. The most widely used was developed by Tesla, which dominates the electric car business, and, so far, works only with the company’s cars. It’s known as the North American Charging Standard.

Cars made by most other manufacturers use a plug known as the Combined Charging System. Any electric car charger that is funded in part by the federal government under the Bipartisan Infrastructure Law has to be able to charge cars that use the CCS plug.

Many established automakers are switching from CCS to the North American plug, which will allow their owners to use 12,000 Tesla fast chargers and feel more confident about finding a place to refuel. Tesla has roughly 20,000 fast chargers in the United States, or about two-thirds of such chargers.

The established manufacturers will offer adapters that allow Tesla chargers to deliver power to cars with CCS receptacles in early 2024. Then, in 2025, new cars sold by the automakers will use Tesla plugs without adapters.

With so many big automakers switching to the Tesla standard, CCS’s days might be numbered in the United States. Of course, cars built for CCS plugs will stay on the road for years, which means that charging stations will need adapters or offer both kinds of plugs for the foreseeable future.

Established carmakers are switching to Tesla’s system mainly because it is more widespread than what they are using today and appears to work better.

Tesla’s charging network is often found in locations that don’t have CCS chargers. Many auto experts and drivers also say that Tesla chargers are more reliable and the company’s plug is smaller, lighter and easier to handle than the CCS plug.

In addition, Tesla has designed its system so that drivers can plug in to one of its chargers and walk away. The chargers recognize each Tesla car and bill their owners’ credit cards automatically.

The performance of the charging networks operated by other companies is notoriously uneven. Charging procedures vary. Some chargers require drivers to plug in then open an app on their phones. Others want customers to open an app first. Some chargers accept credit cards, but others don’t.

Drivers of electric cars that are not Teslas often complain about broken or finnicky chargers — complaints validated by independent studies.

It matters a lot.

Perhaps Tesla’s biggest advantage is that it has been at this for a long time. It has secured choice locations at popular shopping centers and along busy highways.

As a result, newer charging companies are often at a disadvantage. Many of them have had to place some chargers in areas that lack restrooms or restaurants. Stopping at some chargers, in empty parking lots, can feel unsafe.

In July, BMW, G.M., Honda and four other automakers announced they would jointly install 30,000 chargers in the United States and Canada. These chargers will have both plugs.

Yes, these plugs can charge any electric car, including Teslas if drivers are carrying adapters, which often come with their cars.

But the reverse is not true — the vast majority of Tesla chargers can charge only Teslas. Elon Musk, the Tesla chief executive, said in February that he intended to open his company’s charging network to cars made by other automakers. As of late August, only about a dozen of the company’s U.S. charging stations, all in California, New York or Texas, were available to other cars.

CCS technology is not dominated by one company. While Tesla has promised to hand oversight of its plug to an independent body, the company and Mr. Musk have often been confrontational when dealing with other businesses and government agencies. That’s why some auto experts believe that established automakers could regret relying on Tesla.

While charging companies that offer CCS plugs have struggled to offer reliable and easy to use services, there are many of them. Several, including EVgo or Electrify America, operate nationwide and compete with each other on price and service. Tesla is more insulated from competition, though that will change as more companies offer chargers with the plugs its cars use.

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With a push from Congress, automakers and

EXCLUSIVE: Legendary Oscar-winning Japanese composer Ryuichi Sakamoto died in March at the age of 71 after a seven-year battle with cancer.

In the years leading up to his death, Sakamoto could no longer perform live but in the final months of his life he mustered his strength to deliver one final performance for the concert film Opus.

The film, which will world premiere at the Venice Film Festival on September 5, features Sakamoto and his piano alone on a stage, performing twenty of his compositions.

Deadline can reveal a first teaser for the film in which Sakamoto gives a moving performance of his music for Bernardo Bertolucci’s 1990 romantic drama The Sheltering Sky.

The selection spans the groundbreaking composer and musician’s entire career, from his popstar Yellow Magic Orchestra period; to his film scores forThe Last Emperor and Merry Christmas Mr. Lawrence and the music of his meditative final album, 12

The production has released a posthumous statement from Sakamoto about the work.

“The project was conceived as a way to record my performances – while I was still able to perform – in a way that is worth preserving for the future. We borrowed the NHK Broadcast Center’s 509 Studio to record in, which is a place that I think offers the finest acoustics in Japan,” he explains.

Sakamoto said his filmmaker son Neo Sora who directed the film insisted he choose the pieces he wanted to include well in advance to give time for the preparation of the shoot.

“I played every piece at home which we recorded on an iPhone to construct the overall composition of the concert that will express the progression of time from morning into night. Everything was meticulously storyboarded so that the camera positions and the lighting changed significantly with each song,” he explains in the statement.

The production featured a crew of nearly 30 people headed by U.S. cinematographer Bill Kirstein, who shot the film using three 4K cameras.

“I went into the shoot a little nervous, thinking this might be my last chance to share my performance with everyone in this way. We recorded a few songs a day with a lot of care,” says Sakamoto.

The film features a number of works that Sakamoto had not previously played as solo piano performances, including The Wuthering Heights (1992) and Ichimei – Small Happiness (2011), as well as a new arrangement for the 1978 Yellow Magic Orchestra track Tong Poo.

“In some sense, while thinking of this as my last opportunity to perform, I also felt that I was able to break new grounds. Simply playing a few songs a day with a lot of concentration was all I could muster at this point in my life. Perhaps due to the exertion, I felt utterly hollow afterwards, and my condition worsened for about a month. Even so, I feel relieved that I was able to record before my death – a performance that I was satisfied with,” he concludes in the statement. a

Opus was produced by Sakamoto’s manager and wife Norika Sora alongside Albert Tholen, Aiko Masubuchi, Eric Nyari with Jeremy Thomas taking an executive producer credit.

Film Constellation is handling international sales.

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EXCLUSIVE: Legendary Oscar-winning Japanese composer Ryuichi Sakamoto

Thomas Rabe was born in tiny Luxembourg, the mini-nation squeezed in between France, Germany and Belgium. But when it comes to business, as CEO of pan-European broadcast giant RTL Group and chairman and CEO of RTL’s parent, global media conglomerate Bertelsmann, Rabe likes to think big.

At an RTL shareholders’ meeting back in August 2021, Rabe dropped a bombshell: Fremantle, RTL’s production division, making of entertainment formats like X Factor and American Idol and already one of the biggest independent TV producers in the world, was about to get a lot bigger. In four years, Rabe said, Fremantle would boost revenue by a cool $1.1 billion (€1 billion) to hit a new revenue target of $3.3 billion (€3 billion) by 2025.

RTL gave Fremantle the cash to pump into M&A expansion, fueling a buying spree that has seen the company spend more than a quarter of a billion dollars in the past three years snatching up independent companies, including Ireland’s Element Pictures, producers of Normal People and Oscar-winner The Favourite; Italy’s Lux Vide, producers of Netflix’s Medici, and Abot Hameiri, the Isreal group behind hit Shtisel. And many, many more.

The push took Fremantle out of its comfort zone in non-scripted entertainment and into the riskier business of drama and scripted production, including independent film, backing productions from the likes of Pablo Sorrentino (The Hand of God), Luca Guadangino (Bones and All) and Yorgos Lanthimos (Poor Things). As well as documentaries: Last year Fremantle took a majority stake in 72 Films, producers of BBC documentary series The Elon Musk Show, and Wildstar Films, who produce National Geographic’s America’s National Parks.

It has also transformed Fremantle into a global drama juggernaut, earning the company the inaugural honor of being named The Hollywood Reporter‘s 2023 international producer of the year.

In an email interview with THR, Rabe explains why RTL is still betting big on Fremantle, how drama fits into the company’s global strategy, and what links indie film and American Idol: “Premium content and storytelling are at Fremantle’s core.”

You are investing heavily in expanding Fremantle’s business and have very ambitious goals for the division — a $3.24 billion (€3 billion) turnover target by 2025. What is behind this strategy of doubling down on film and TV content production at this time?

Content is the lifeblood of RTL Group, as it drives audiences in broadcasting and streaming. We spend more than $2.16 billion (€2 billion) on content every year, in addition to the Fremantle productions. Fremantle is one of the world’s largest creators, producers and distributors of scripted and unscripted content. Our target to reach 3 billion Euros in revenue by 2025 is ambitious. To achieve it, we are committed to investing across entertainment, drama and film, and documentaries – both organically and via acquisitions.

Last year, Fremantle completed eight acquisitions, including Italian fiction producer Lux Vide, film and drama production company Element Pictures, and documentary producers 72 Films and Wildstar Films. Alongside acquisitions, partnering with world-class storytellers and international talent is key to Fremantle’s success. In the past two years, Fremantle has signed agreements with Angelina Jolie, Michael Winterbottom, Richard Brown and Edward Berger.

As a result, last year Fremantle’s revenue grew by 22 percent to more than $2.5 billion (€2.3 billion) – a record level and a major step towards the $3.24 billion (€3 billion) mark.

What role do you see Fremantle playing compared to the “national media champions” approach of RTL’s streaming and broadcast businesses?

Expanding our global content business Fremantle and our national streaming services are key to our growth strategy. Fremantle’s expansion into scripted has helped to establish partnerships with streamers around the world, which in 2022 accounted for more than 15 percent of Fremantle’s revenue. To replicate this success in documentaries, Fremantle has established a new global documentary division, acquired documentary production companies and set up its own premium documentary label: Undeniable.

Importantly, Fremantle’s flagship entertainment formats continue to be successful. In the first half of 2023, for example, Fremantle formats America’s Got Talent and American Idol significantly outperformed prime-time averages of the respective TV networks in the US. In the UK, Fremantle produces the country’s two leading entertainment shows: The Apprentice and Britain’s Got Talent. In Germany, Fremantle’s production company UFA produces successful formats for RTL Deutschland’s linear TV channels, such as the long-running talent show Deutschland sucht den Superstar.

Overall, in the last years, Fremantle has become an even stronger, more creative and more diverse global content powerhouse – both in terms of geographic footprint and output across entertainment, drama & film and documentaries.

In addition to the core business of non-scripted television Fremantle has expanded its drama, documentary and even film production. What is the strategic appeal of these typically lower-margin, higher-risk businesses – particularly independent film – for Fremantle?

Premium content and storytelling are at Fremantle’s core – whether entertainment, drama or documentaries. In 2022, Fremantle generated 35 percent of its total revenue from drama and film productions, with adequate returns.

Fremantle’s drama and film productions have been rewarded by multiple awards. In the past two years, The Hand of God was nominated for an Oscar, Bones and All won two awards at the 2022 Venice Film Festival, and The Eight Mountains was awarded at the 2022 Festival de Cannes. Fremantle has five titles in competition at this year’s Venice Film Festival.

In documentaries, notable examples are Arctic Drift, which won multiple awards and will return with a sequel before the end of the year, and Shadow of Truth (from Israel-based label Silvio Productions), which was acquired by Netflix and has just aired on the BBC in the UK.

Scripted is arguably more risky, and more capital intensive. But it is key for partnering with top creatives, expanding the relationship with streamers around the world and creating library value.

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Thomas Rabe was born in tiny Luxembourg,

12 Book To Movie Adaptations That The Authors Hate

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12 Book To Movie Adaptations That The

Prime Video India has set a global premiere date for crime thriller series “Bambai Meri Jaan,” produced by Excel Media and Entertainment’s Ritesh Sidhwani, Kassim Jagmagia and Farhan Akhtar.

Created by Rensil D’Silva (“Dial 100”) and Shujaat Saudagar (“The Underbug”) and directed by Saudagar, the Amazon original 10-episode series is based on a story by S. Hussain Zaidi (“Lahore Confidential”). Set in post-independence India, the series chronicles the life and rise of a young man torn between his father’s law enforcement legacy and his own journey into the heart of organized crime.

Excel is one of India’s leading studios. The outfit’s Prime Video series “Dahaad,” produced alongside Tiger Baby, premiered at the Berlinale earlier this year. The studio’s previous collaborations with Prime Video include “Inside Edge,” “Made in Heaven” and “Mirzapur.” Excel’s film “Don 3,” directed by Akhtar and starring Ranveer Singh, is in the works.

Aparna Purohit, head of India originals, Prime Video, said: “’Bambai Meri Jaan’ is an intricate and intriguing story of dreams and ambitions, where the insatiable hunger for power defines one’s choices. The story is like an immaculate symphony that delves deep into the psyche and emotions of its key characters, as they struggle with the consequences of their own choices.”

Sidhwani added: “Set in the post-independence era, ‘Bambai Meri Jaan’ chronicles the birth of the underworld in Mumbai set against the backdrop of a free nation. Viewers will witness a gripping gangster thriller, exploring the classic, universal battle of good versus evil. We are truly delighted to be working with Prime Video yet again to bring another thought-provoking series to our viewers around the world.”

Saudagar said: “’Bambai Meri Jaan’ deals with the complexity of nature vs nurture. Thematically stories which relate to dysfunctional relationships have always attracted me to tell a cinematic narrative. ‘Bambai Meri Jaan’ weaves the saga of a family inhabiting and growing through their trials and tribulations alongside burgeoning post independent Mumbai. We can’t wait to see viewers’ reactions to the series that is so close to our hearts.”

“Bambai Meri Jaan” streams worldwide from Sept. 14.

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Prime Video India has set a global

Marvel Studios’ final show of the year just received a concerning release update as two other MCU series on Disney+ are set to begin streaming soon.

Amidst worries of delays from across Hollywood, the MCU will be back in action on Disney+ soon with I Am Groot Season 2 on September 6 before Loki Season 2 (October 6) and Echo (November 29) close out the year for the red brand.

2024 is then expected to continue the MCU’s streaming run with shows like What If…? Season 2, X-Men ’97, and Daredevil: Born Again, although specific dates are still in question due to discussions about Disney+ cutbacks for this year and next.

MCU’s Final 2023 Series Gets Release Update

Marvel

TV Line shared a new update on Marvel Studios’ final Disney+ show of 2023, Echo, which is said to still be released before the year comes to an end.

A fan asked the outlet about rumors that Echo won’t release in 2023 after speculation arose about its potential delay when the series got omitted from an official slate of upcoming Disney+ releases.

TV Line explained that the list of releases was described as “not exhaustive,” noting that Echo’s unprecedented binge-style release on November 29 “remains unchanged” for the time being.

Additionally, The Cosmic Circus’ Alex Perez also noted that the news release in question “doesn’t list Loki‘s release date” even though Tom Hiddleston’s solo series was confirmed to return on October 6:

“No, calm down. The document in question also doesn’t list Loki’s release date, when we already had it announced last week. So, everyone settle down.”

Will Echo Make Its Release Date on Disney+?

With Echo being the final of three Disney+ shows releasing before the end of the year, delay concerns are certainly a factor considering the state of both Marvel Studios’ upcoming slate and the entertainment industry as a whole.

Rumors have been fairly consistent in noting that Echo is still on track for release by the end of the year, which continues to be the information on which cast members, crew, the studio, and fans are all operating for the time being.

Star Zach McClarnon noted that Echo‘s status as an MCU Disney+ show makes it “worth the wait right there,” even amidst fan concerns that its binge-release strategy could spell trouble for its quality.

But with the excitement that built up for this series thanks to Daredevil and Kingpin’s inclusions after the latter was brought into the spotlight in Hawkeye, the hope is that this series will have every chance to succeed with fans and critics.

For now, Echo is still set to debut on Disney+ on November 29.

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Summary

  • The Flash missed the chance to bring back Henry Cavill’s Superman and Grant Gustin’s Flash despite having a multiversal plot and numerous cameos from other characters.
  • Henry Cavill’s Superman only appears through CGI recreations, while Grant Gustin’s Flash is completely absent from The Flash, despite their previous meeting in Crisis on Infinite Earths.
  • Andy Muschietti explained that the decision to exclude more cameos was due to the large number of possibilities, but it could have been managed differently to include important characters like Gustin’s Flash and Cavill’s Superman.


The Flash wasted the perfect opportunity to bring back two fan-favorite DC actors. Thanks to its multiversal plot, The Flash had free rein when it came to cameos and supporting roles from other DC characters. Michael Keaton, Ben Affleck, Gal Gadot, and even George Clooney reprised their DC roles for what looks to be the last time, as the imminent DCU reboot will introduce a new universe with a fresh overarching story. Still, The Flash doesn’t fully take advantage of its cameos.

The Flash features cameo appearances by previous DC actors such as Helen Slater as Supergirl, Adam West as Batman, and Christopher Reeve, George Reeves, and Nicolas Cage as Superman. It also reveals another time-traveling Flash, who seems to be an unidentified version of Jay Garrick. But between all of these cameos, the two most logical additions are nowhere to be seen.


Henry Cavill And Grant Gustin Don’t Have Cameos In The Flash Despite Perfect Setup

The Flash brought Barry Allen back to Man of Steel‘s Black Zero event, where General Zod invaded Earth and was only stopped by Superman. But despite this opportunity to revisit Cavill’s character in the flesh, The Flash only includes CGI recreations of Superman. A CGI Superman appears in a news broadcast, where he’s shown to be busy overseas, and in The Flash‘s chronobowl sequence, where Barry Allen’s timeline shows Clark Kent during the events of Justice League.

Just as the clash between different universes in The Flash provided a brief look at Nicolas Cage’s Superman and Adam West’s Batman, it could have also featured Grant Gustin’s return as the Flash. Apart from the fact that Gustin’s portrayal of Barry Allen received high praise since the show’s first episode in 2014, Grant Gustin and Ezra Miller’s characters had already met in The CW’s Crisis on Infinite Earths event, and Gustin’s run as the Flash ended less than a month before the DCEU’s The Flash released. A tribute to Grant Gustin’s Barry Allen, however, wasn’t included in any form.

Related: DC’s New Multiverse Story Makes The Flash’s Cameos Even More Embarrassing

Why Henry Cavill And Grant Gustin Aren’t In The Flash

Nicolas Cage, Christopher Reeve, and Henry Cavill as Superman in The Flash with Grant Gustin's Barry Allen

The Flash originally featured a Henry Cavill cameo in one of its many scrapped scenes. However, that idea got cut after Warner Bros. decided not to move forward with new DCEU projects. Since the studio parted ways with Henry Cavill after Black Adam, the actor’s exit from the DCEU became definitive, and The Flash only addressed Superman through CGI reproductions of Henry Cavill’s likeness similar to how previous DCEU titles like Shazam! and Peacemaker found clever ways to feature Superman without Cavill.

As reported by Nerdist, director Andy Muschietti explained that Grant Gustin’s The Flash cameo was cut because the list of possible cameos was “huge”, and while the production team “played with the idea of including DC characters from TV,” they “just had to pick”. Although it makes sense to keep the number of multiversal cameos small, it would have still been possible for The Flash to reduce the duration of some of its cameos to be able to include a character as important as Grant Gustin’s Flash, or at least to have replaced the nondescript Jay Garrick with John Wesley Shipp, known for playing Jay Garrick in the Arrowverse.

Key Release Dates

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Summary The Flash missed the

In a recent court ruling, an 18-year-old from Oxford was identified as a member of an international cyber-crime collective responsible for a series of hacks targeting major tech corporations, including Rockstar Games. According to a report by the BBC, Arion Kurtaj, a prominent figure within the Lapsus$ group, was implicated in breaches that also affected Uber and Nvidia.

Kurtaj’s involvement went so far as to include leaking excerpts of Grand Theft Auto 6 while out on bail at a Travelodge hotel using an Amazon Fire Stick he found. Psychiatrists deemed Kurtaj unfit to stand trial, resulting in his absence from the court proceedings as a witness. The court’s focus was on determining his culpability rather than assessing criminal intent.

Another individual, a 17-year-old also on the autism spectrum, faced conviction for participating in Lapsus$ operations. However, due to legal restrictions related to their age, their identity remains undisclosed. Referred to as “digital bandits,” the UK-based, purportedly Brazilian gang was primarily composed of teenagers who blended hacking tactics to infiltrate multinational companies such as Microsoft and Revolut. Throughout their hacking spree, the gang taunted their victims on Telegram in both English and Portuguese.

Kurtaj not only blackmailed BT Group, the UK’s largest broadband service provider, but also demanded a $4 million ransom from UK mobile service provider EE. In a bold move, he even hacked the City of London Police’s cloud server, with the last attack occurring just days after Kurtaj’s arrest for the Take-Two breach.

While all the affected businesses experienced considerable repercussions, Take-Two Interactive bore the brunt of severe consequences. Kurtaj’s leak of GTA 6’s release date target and in-game map significantly impacted the company’s stock prices. Some players even used the leaked information to recreate parts of the game’s map. The incident prompted an FBI investigation.

The actions of this group prompted a review by US cyber authorities, exposing defense vulnerabilities, particularly concerning young hackers. The extent of Lapsus$’ gains remain unclear, as the affected companies have not disclosed any payments made to the group. The teenagers’ sentences will be determined at a later date. While Kurtaj is currently in custody, the 17-year-old remains out on bail. Additionally, Brazilian authorities have apprehended an individual suspected of being involved with Lapsus$ activities.

Apart from the information allegedly leaked by Kurtaj and other Lapsus$ members, very little else is currently known about the upcoming GTA title. Nonetheless, statements from Take-Two suggest that a release date may be on the horizon, although fans are unlikely to see the game before 2024 at the earliest.

In related news, the individual who leaked the first 45 minutes of Starfield was recently arrested on felony charges.

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War Pony is the stunning feature debut from Riley Keough and Gina Gammell. It’s a raw look at hard lives, following two young Oglala Lakota men on the Pine Ridge Reservation as they try to make money and find accepting families. The film won the Camera D’Or at Cannes 2022.

Set mostly on the reservation, it’s a film that required several different interior and exterior locations, sometimes in the middle of harsh weather, that authentically reflected modern Indigenous lives.


As one of the film’s production designers, Terry Watson was responsible for creating these environments at a lower budget, while also ensuring that many of the film’s first-time actors were comfortable. It’s a role that needs research and sensitivity.

We spoke with Watson just after the film’s wide release to learn more.

WAR PONY – Official Trailerwww.youtube.com

Editor’s note: The following conversation has been edited for length and clarity.

No Film School: I would love to know more about your background and how you got into production design.

Terry Watson: I think since I was a kid I was always a drawer and always anything I could draw. I was never a Barbie girl or any of that. I was always just drawing on anything I could.

I remember in fifth grade they asked you questions like, “What do you want to be when you grow up?” I actually said interior designer. I grew up in a small town in Arizona, so everybody was like, “What is going on? What does she know about interior design?”

Then, slowly I started putting together that someone has to design and interior design films because I loved watching films so much. That was such a way for me to connect with my family, it was a treat for us to watch movies every Friday. So I remember doing that.

When I went to college in Arizona, I took theater. I have a background in theater. I dipped my feet into everything, which was the stage manager and painting the sets. My professor and my theater coach, basically he was like, “You’re focusing too much on the details.” He’s like, “Maybe you should do film.” The theater was more of a grand scheme of things. When he told me that, I kind of put two and two together and haven’t looked back.

NFS: What, as an overview, is your process as you start a project?

Watson: Definitely research. I think I’m very research-heavy. I think research comes from everywhere, not just you sitting down, but I think also just talking to people.

With War Pony, that was very much what I did. It was very much talking to the [Indigenous people] there and seeing how they lived because it was so secluded. We were also shooting during COVID-19. I realized that they’re not so accessible to get Amazon packages and furniture, so I always asked how they were able to get all their house items, and I think from that process, that’s how I started designing.

It always starts with research, and I always make sure to listen to everybody. I mean, you never know when your next piece of information for research is going to come in, whether that’s the actors’ or the director’s needs or just in general, I think that’s where I start. Then, I kind of let that speak for itself.

You receive so much information, but at times you also have to let that go and really see what fits the story. Not everything you can apply to what you’re doing, so I think it’s really picking and choosing and I think that really takes you just really diving into a lot of projects and making mistakes.

‘War Pony’Credit: Felix Culpa/Momentum Pictures

NFS: Because you mentioned it, one question I do like to ask people is, what are those mistakes you would advise against making?

Watson: I love doing period pieces and I remember I did a… What is this? A period piece, an ’80s period piece. I remember sticking everything ’80s in there and just making it look very ’80s.

But I also realized later on that we get furniture from different periods, and we also do not always design our homes to be what the period is. That was a mistake I had to make to learn to know how to design for a character on screen and also a period.

I learned that we grab all our furniture from different areas and sometimes hand-me-downs and things, and that was I think a very important mistake I had to learn very early on. I did that when I did the short.

NFS: I know that a lot of what you do is reflecting a character’s experiences. So how did you bring that into this film?

Watson: The cool thing about this is previous to me coming into War Pony, there was a production designer, his name’s Scott Dougan, and he basically had already designed the film and I was brought in to do additional scenes and I ended up doing a little bit more than additional scenes and going from there.

But what I noticed really well is that he captured South Dakota and Pine Ridge. At the time I didn’t know what I was feeling when I watched it because like I said, I watched the first cut at home in Los Angeles, then I remember going to finally do the rest of the film and I remember feeling what I felt when I was watching the film and I think he captured that very well.

His formula was to stay true to the characters by knowing that our actors come from the reservation and making sure that when they stepped onto set they felt the same way they felt at home and that nothing stood out too much to them. It was like, well, this is Hollywood, and couldn’t really get performances from them. I think that was something very important to Gina and Riley, that they felt comfortable wherever they were, whether they were standing behind the camera or in front of it. We all felt kind of like a family. So that’s very much the most important thing I think I learned from that.

Behind the scenes of 'War Pony.'Behind the scenes of ‘War Pony.’Credit: Momentum Pictures

NFS: What was the biggest challenge on this project?

Watson: Weather. The weather was probably the biggest challenge. I think we had to adjust a lot of our days because of it. And COVID.

There were days when we couldn’t shoot certain scenes, and so it required all of us, including the actors, to be fully present. That’s very hard to do for a film crew, especially for the art department because the art department is always supposed to be one step ahead of the film crew, and it’s hard to prep while we’re still kind of navigating what’s going on that day.

We all had to kind of practice being present and learning to just adjust the day off for whether. It was snowing that day and we had to do exteriors and it wasn’t matching and things like that. So, that was one thing that I learned from that as well. It was very difficult, but I think we pulled that off really well.

NFS: What was the shoot? How long was it?

Watson: Let’s see. Well, I know they shot prior to me getting there, they shot about 45 days, which was a pretty long shoot I think. Then, I think I came on in October of 2020, I think I ended up finishing in April of 2021. From there on I did a couple of re-shoots here and there and whatever Gina and Riley needed when they were cutting.

NFS: That’s longer than I expected. I’m glad you got that time.

Watson: It was hard too because I mean, the actors are kids and they’re growing and fighting that, so I think it was anytime Gina called like, “Hey, we might need this,” we were preparing for that as well.

NFS: You’ve already mentioned a couple of things, but do you have anything else you learned from this project that you’re going to take moving forward?

Watson: The presence. Being very present I think is something that I don’t think I’ve learned in any other film but this one, because again, as I said, we have to jump ahead all the time as an art department. It’s OK to come in and be present in the moment and really adjust the day of as well and you’re allowed to do that and be present in the moment with all the film crew as well.

NFS: What advice would you give to someone wanting to get into your field, whether it’s art department or production design?

Watson: Do all the projects that you can and learn from all the mistakes. I know it’s easier said than done because with that we’re always thinking financially, but I think even if it’s just projects with friends, I mean, I still do projects with no money with friends and those are the projects I learn the most on because we’re constantly adjusting to different budgets that I get as well as learning to work with different people. The most important thing is learning how everybody works and their energy around every film I think this is the most important thing I’ve learned.

Four boys riding bikes at sunset in 'War Pony'‘War Pony’Credit: Momentum Pictures

NFS: Since you brought that up, what advice might you have for making something that has no budget or a very low budget look more expensive than it is?

Watson: For me, it’s definitely time. If we don’t have money, we have time. So it’s something that I always try to be very clear with one of my friends, directors who are not friends that I know but are getting to know, is just time. Also, just flood me with information on locations and things that they are still thinking about and mulling over. I know there’s always a lot of changes in scripts and treatments, but I always like to know everything.

Then, come up with ideas and solutions. I mean, we’ve shot things where in water and they require a lot of special effects and things, and I’ve come to be like, “Why don’t we do certain shots?” Because I’ve been thinking about them in the shower.

So I think it’s time that really you need to just focus. I think when you have no time and you have no money, it’s hard to kind of really sit with the project. And I think once you do that and sit with it, you really come up with solutions.

I always follow this. Guillermo del Toro once said, “I think when you get all the money and all the freedom, rarely do you get a good movie out of it or a movie that you’re proud of.” I think that’s when you can use the other side of your brain to come up with other ideas and solutions, and sometimes they end up being better.

NFS: Is there anything else about this project that you wanted to bring up?

Watson: I’m so happy it’s resonating with people. It resonated from the moment I jumped on board, and I never once questioned it. I thought it was always a beautiful film and I’m so happy it’s getting recognition.

War Pony premiered July 28 in select theaters and on VOD from Momentum Pictures.

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War Pony is the stunning feature debut

‘Kandi Burruss and Todd Tucker’s The Pass’ Trailer Is Here! See Drew Sidora in Action (Exclusive) | Entertainment Tonight
































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MrBeast was the big winner at the 2023 Streamy Awards on Sunday night.

MrBeast (real name Jimmy Donaldson) won two awards out of the five he was nominated for: creator of the year and collaboration for his rock, paper, scissors video with Dwayne “The Rock” Johnson, “Surprised he didn’t pick rock every time.”

Kai Cenat won streamer of the year, with show of the year going to Michelle Khare’s “Challenge Accepted” and the international prize going to Spain’s ibai. Chris Olsen was named as the short form winner.

Other well-known figures who won this year include Jonas Brothers, winners of the crossover category; Logan Paul, who won the creator product prize; Jay Shetty, who won for his On Purpose podcast; and TikToker Dylan Mulvaney, the trans influencer who found herself caught up in controversy after she starred in a Bud Light social media promotion, who won the breakout creator award.

Additionally, the summer of Barbie continued with the Mattel doll named brand of the year as the Barbie movie continues to break records at the box office.

And Meghan Trainor’s “Made You Look,” won the Streamys’ Rolling Stone collaboration, Sound of the Year, which recognizes “the year’s most impactful songs that have dominated content creation on social media and resonated across popular culture.”

Meanwhile, special Creator Honor awards were presented to The Korean Vegan, Brittany Broski and Vivienne Medrano.

The 13th edition of the awards show, hosted by Game Theorists creator MatPat, streamed live on the Streamys’ social channels and The Hollywood Reporter‘s website.

The Streamys — which recognize creators in more than 45 categories across beauty, comedy, food, gaming, music, podcasts, sports and more — featured performances from Icona Pop and Armani White and appearances from RuPaul’s Drag Race star Shea Couleé. Mulvaney, Olsen and Khare were among the presenters, along with Anna Sitar, Brianna Chickenfry, Colin and Samir, Delaney Rowe, Dream, Drew Afualo, Druski, Happy Kelli, Kris Collins and Lizzy McAlpine.

The 2023 Streamy Awards is produced by Dick Clark Productions and Tubefilter. DCP is a unit of Penske Media Eldridge. PME is a subsidiary and joint venture between Penske Media, parent company of THR, and Eldridge.

A complete list of winners follows.

OVERALL AWARDS

CREATOR OF THE YEAR 

Airrack
Alix Earle
Charli D’Amelio
Jay Shetty
JiDion
Logan Paul
Mikayla Nogueira
MrBeast (WINNER)
Ryan Trahan
Zach King

SHOW OF THE YEAR      

AMP 
BRYCE • Brandon Rogers
Challenge Accepted • Michelle Khare (WINNER)
Chicken Shop Date • Amelia Dimoldenberg
Good Mythical Morning
Hot Ones • First We Feast
I spent a day with • Anthony Padilla
RDCWorld 
Sam and Colby 
UNHhhh • WOWPresents

STREAMER OF THE YEAR             

Emiru 
HasanAbi 
Ironmouse 
IShowSpeed 
Kai Cenat (WINNER)
Ludwig 
Quackity 
tarik 
Valkyrae 
xQc 

INTERNATIONAL             

Enaldinho (Brazil)
Gaules (Brazil) 
ibai (Spain) (WINNER)
Khaby Lame (Italy)
Mikecrack (Spain) 

SHORT FORM                   

the cheeky boyos
Chris Olsen (WINNER)
Connor Price 
Elyse Myers 
Rich Black Guy 

INDIVIDUAL AWARDS

BREAKOUT CREATOR    

Alix Earle 
Drew Afualo 
Dylan Mulvaney (WINNER)
Jake Shane • octopusslover8 
Keith Lee 

BREAKOUT STREAMER  

Agent00
ExtraEmily
Fanum (WINNER)
filian
Shylily

COLLABORATION 

albert_cancook, Chef Rush • Protein Burrito with The Big Man Chef Rush
Cleo Abram, Marques Brownlee • Quantum Computers, explained with MKBHD
Cooking With Lynja, Nick DiGiovanni • Japan Vlogs
Haley Kalil, Jared Leto • In this economy
MrBeast, Dwayne “The Rock” Johnson • Surprised he didn’t pick rock every time (WINNER)

CREATOR FOR SOCIAL GOOD 

Beast Philanthropy
DrLupo • St. Jude Children’s Research Hospital
Invisible People (WINNER)
jacksepticeye • World Central Kitchen
MrBallen • MrBallen Foundation

CREATOR PRODUCT      

BÉIS • Shay Mitchell
CrunchLabs • Mark Rober
Feastables • MrBeast
POPFLEX • Blogilates
PRIME • Logan Paul x KSI (WINNER)

CROSSOVER     

Hailey Rhode Bieber
Jonas Brothers (WINNER)
Kate Hudson 
Lili Reinhart, Camila Mendes, Madelaine Petsch • blondebrunetteredhead
Paris Hilton 

FIRST PERSON                  

Airrack
BENOFTHEWEEK 
Danny Duncan 
Ryan Trahan (WINNER)
Safiya Nygaard

JUST CHATTING               

HasanAbi
Kai Cenat
Quackity (WINNER)
xQc
YourRAGE 

VARIETY STREAMER      

Emiru 
IShowSpeed (WINNER)
LIRIK 
Ludwig
Valkyrae

VTUBER

filian
Gawr Gura (WINNER)
Ironmouse
Jaiden Animations
shxtou

MUSIC AWARDS

ROLLING STONE SOUND OF THE YEAR   

Area Codes • Kaliii 
Boy’s a liar Pt. 2 • PinkPantheress, Ice Spice
GOATED. • Armani White
Here With Me • d4vd 
In Ha Mood • Ice Spice 
Made You Look • Meghan Trainor (WINNER)
Players • Coi Leray 
Pretty Girls Walk • Big Boss Vette
Unholy • Sam Smith, Kim Petras 
What It Is • Doechii 

SHOW AWARDS

PODCAST            

Call Her Daddy
H3 Podcast
IMPAULSIVE
On Purpose with Jay Shetty (WINNER)
The Yard

SCRIPTED SERIES

BRYCE • Brandon Rogers (WINNER) 
Dhar Mann
The Game Theorists 
Ginormo! • Steven He 
RDCWorld

UNSCRIPTED SERIES      

Challenge Accepted • Michelle Khare
Chicken Shop Date • Amelia Dimoldenberg
Hot Ones • First We Feast 
I spent a day with • Anthony Padilla
Sam and Colby (WINNER)

SUBJECT AWARDS

ANIMATED

Haminations
HELLUVA BOSS • Vivziepop (WINNER)
Jaiden Animations
The Land of Boggs 
MeatCanyon

BEAUTY

Brad Mondo
colleen.makeupp 
Mikayla Nogueira (WINNER)
MissDarcei
NikkieTutorials

COMEDY             

DeMarcus Shawn 
Kris Collins 
Lucas Lopez 
The McFarlands 
RDCWorld (WINNER)

COMMENTARY                

Chad Chad 
D’Angelo Wallace 
Danny Gonzalez 
Kurtis Conner 
penguinz0 (WINNER)

COMPETITIVE GAMER  

iiTzTimmy
Scump 
tarik
TenZ (WINNER)
Typical Gamer 

DANCE                

Cale Brown 
Enola Bedard (WINNER)
Matt Steffanina
Merrick Hanna
yoolwxnder 

FASHION AND STYLE     

Gunnar Deatherage
Kenz Lawrén
Max Alexander 
Mina Le
Wisdom Kaye (WINNER)

FOOD 

Alexis Nikole 
Chef Reactions 
Cooking With Lynja
Nick DiGiovanni (WINNER)
Nigel Ng 

GAMER               

Aphmau
Caylus 
Dream (WINNER)
Markiplier
TommyInnit

HEALTH AND WELLNESS

Austen Alexander
Doctor Mike
Dr Julie (WINNER)
HealthyGamerGG 
LeanBeefPatty

KIDS AND FAMILY 

Brittikitty 
Gracie’s Corner 
Ms Rachel (WINNER)
Rebecca Zamolo
Recess Therapy 

LEARNING AND EDUCATION      

Big Weird World
Colin and Samir
TierZoo (WINNER)
Tom Scott
Veritasium

LIFESTYLE  

AMP (WINNER)
Bretman Rock 
Charli D’Amelio
Kara and Nate
Sofia Richie Grainge 

NEWS

Brian Tyler Cohen
Gay News • Josh Helfgott
HasanAbi (WINNER)
The Philip DeFranco Show
Task & Purpose 

SCIENCE AND ENGINEERING      

Allen Pan 
Hacksmith Industries 
I did a thing (WINNER)
Mark Rober
techjoyce

SPORTS               

Deestroying
Duke Dennis 
Good Good Golf
Jesser (WINNER)
Olivia Dunne 

TECHNOLOGY                   

iJustine
Linus Tech Tips
Marques Brownlee (WINNER)
Mrwhosetheboss
Supercar Blondie 

CRAFT AWARDS

CINEMATOGRAPHY       

Ashley Xu
Cole Walliser 
Lyrical Lemonade
Recider (WINNER)
Will Freeark 

EDITING              

Cooking With Lynja
Jet Lag: The Game 
Kelly Wakasa 
Savanah Moss 
Yes Theory (WINNER)

VISUAL AND SPECIAL EFFECTS                  

Buttered Side Down
Corridor Crew
Justin Yi 
SoKrispyMedia
Zach King (WINNER)

WRITING                                       

CalebCity 
Dami Lee 
Josh Zilberberg 
Leo González (WINNER)
Petey 

BRAND AWARDS

AGENCY OF THE YEAR   

BENlabs  
Content+
kvell
Reach Agency (WINNER)
Whalar

BRAND ENGAGEMENT   

Dumb Ways to Die • PlaySide Studios
Feastables • MrBeast
No Drone? No Problem! • Insta360 (WINNER)
Subs for Subs • Jersey Mike’s x TSM
SweeTARTS Film Fest on TikTok • SweeTARTS x Content+ 

BRAND OF THE YEAR     

Barbie • Mattel (WINNER)
Chipotle Mexican Grill
Insta360
Old Spice • Procter & Gamble
Prime Video • Amazon 

BRANDED SERIES

A Style Is Born • Wayfair x Made In Network 
LIVE@4:25 • Totino’s Pizza Rolls x the cheeky boyos, Flighthouse, Content+ (WINNER)
Plot Pitch • Prime Video
Real People, Real Stories • AARP
Who Wore It Best • Netflix x Harry Jowsey

BRANDED VIDEO                 

ASMcaR • Nissan x Donut (WINNER)
Give Odor The Bird • Old Spice x SypherPK x United Esports
My poor friend • Photoshop Express x beeveekee
Wait for it #corn • Chipotle Mexican Grill
When u meet her dad and Old Spice saves the day • Old Spice x Adam W 

INFLUENCER CAMPAIGN

heinzmasterz • Heinz x Whalar 
Blasting to the Top • Gel Blaster x BENlabs (WINNER)
Chainsaw Man Viewing Party • Chainsaw Man x Crunchyroll
DiGiorno Made Us Do It • DiGiorno x Reach Agency 
Nebula • Standard

SOCIAL IMPACT CAMPAIGN

Barbie You Can Be Anything Series • Barbie x Mirrored Media 
Loot for Good • Call of Duty Endowment x Activision 
Play by the Rules • International Committee of the Red Cross x PopShorts (WINNER)
Real Recipes for Real Change • Chipotle Mexican Grill x The Farmlink Project x Nick DiGiovanni
The ReTok Shop • Nature Valley x Content+

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MrBeast was the big winner at the

Picture: Netflix

Netflix is set to soon premiere Blue Eye Samurai, a new animated series from Michael Green and Amber Noizumi. Here’s everything we know so far about the upcoming title expected to be released on Netflix in November 2023.

First announced in October 2020, the new project was announced with Green and Noizumi attached as the writers and showrunners. Green is best known for his work on major Hollywood movies such as Logan, Blade Runner 2049, and Green Lantern.

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Jane Wu is directing the project who has previously worked on Disney’s Mulan, Guardians of the Galaxy, and Star Trek Beyond.

Netflix Animation is working on the project alongside “animation services” provided by French studio Blue Spirt.

“Our story is a larger-than-life action-adventure that takes place 400 years ago, yet Blue Eye Samurai’s themes are of the moment and the inspiration is deeply personal. We are grateful for Netflix’s passion for this story and for their bold vision for sophisticated animated drama,” Green and Noizumi said when the project was first announced.


What’s Blue Eye Samurai on Netflix about?

The first description we got came just before the official announcement:

“In JAPAN in 1633 MIZU is branded as an outsider due to piercing blue eyes and sets out on a journey of revenge, coming into contact with the young noblewoman, AKEMI…”

A first-look photo was released for the series on April 21st, 2023, alongside the news that the series will debut at the Annecy Film Festival in June 2023 alongside other Netflix animated projects like Nimona, Chicken Run: Dawn of the Nugget, Exploding Kittens, and Leo.

At the festival, creators and supervising directors spoke about their vision for the story of a mixed-race master of the sword who lives a life in disguise while seeking revenge in Edo-period Japan.

first look blue eye samurai annecy film festival

Picture: Netflix

Blue Eye Samurai executive producer Erwin Stoff noted, “Animation has always been a great medium for storytelling and Annecy is the best global stage to introduce audiences to Blue Eye Samurai. Michael Green and Amber Noizumi have assembled a tremendously talented team of artists and actors to bring their spectacularly creative and distinct vision to life.”

Jane Wu spoke during the panel saying, “With Blue Eye Samurai, we are setting out to tell an ambitious new story and we can’t wait for audiences around the world to be introduced to this emotionally grounded animated drama with a live-action attitude.”


Who will voice in Netflix’s Blue Eye Samurai?

blue eye samurai cast grid

Pictures: Getty Images / IMDb

Alongside the series first being announced, we also got the majority of the main cast for the series which includes:

  • Maya Erskine (Pen15)
  • George Takei (Star Trek)
  • Masi Oka (Heroes)
  • Randall Park (Fresh Off the Boat, Blockbuster)
  • Cary-Hiroyuki Tagawa (Man in the High Castle)
  • Brenda Song (Dollface)
  • Darren Barnet (Never Have I Ever)

What’s on Netflix can also confirm that Sir Kenneth Branagh (Murder on the Orient Express, Belfast, Death on the Nile) will also voice in the new series.

Margery Simkin and Orly Sitowitz served as casting directors on the project.

For the moment, we don’t know who each actor will play, but we have got a list of the various characters you’ll see throughout:

  • Spirited and tough, MIZU is out for revenge. She is determined and has the inner focus to achieve that goal.
  • An over-eager helper who talks non-stop. RINGO doesn’t see his physical disability as a deterrent – he has no hands. His ingenuity and high energy give him the drive he needs to survive. He can be exhausting, but he is endearing and funny.
  • A young noblewoman, AKEMI is bound by the traditional ways of her society. When necessary she becomes the soft spoken, deferential, traditional sounding daughter her father expects her to be. With those she trusts, she can be herself: smart, succinct, and determined, speaking in a stronger lower register.
  • Although not born of noble blood, TAIGEN has reached a level of success that belies his humble upbringing. Considered the best swordsman in Kyoto, he has become arrogant and when his position is challenged by an unlikely person he is determined to prevail at all costs.
  • Although blind, THE SWORDMAKER misses nothing. Though sometimes cold, he is wise, resourceful, calm and measured. He cared for MIZU when no one else did.
  • AKEMI’s father, he is a lord in Kyoto who has risen from humble beginnings. Not only is he imposing in body and temperament, DAICHI is a man who has fought many battles, and has the scars to prove it. Quick to react in anger, but can be softened by his daughter, although he demands and expects to be obeyed.
  • The senior attendant in DAICHI’s household, SEKI is the one bright spot for AKEMI. Like a favorite uncle to her, he is calm, cunning, and particular.
  • A black market middleman, SHINJIN ONO works with the person MIZU is trying to find.
  • MADAME KAJIA, a woman who has managed to find autonomy over her life in a world hostile to women. Tart, unflappable, wise and unsentimental (can sometimes be charmingly persuasive). She worked her way up to this managerial role from the bottom up.

One additional note we should add is that while casting for the show, Netflix noted that all of the characters will speak English with no Asian accent.


When will Blue Eye Samurai be released on Netflix?

In January 2023, Michael Green posted a string of Tweets in which one of them implied the new show would debut in November 2023. Netflix itself has confirmed on several occasions that the series would debut in 2023.

In August 2023, another crew member, Damon Bard (who serves as a visual development artist on the project), posted on Instagram confirming a November 3, 2023 global Netflix release date for all episodes of Blue Eye Samurai. 

In the Instagram post, he states:

“This last Wednesday night we had a crew wrap party for my latest, epic, soon to be released Netflix project called Blue Eye Samurai. I was a visual development artist on the show for two years during the Covid lockdown. They handed out a poster to the crew that teases our main character that I developed in 3-D and hints at the overall style of our show.. To be released on Netflix November 3, 2023..”

blue eye samurai poster

Poster for Blue Eye Samurai on Netflix


We’ll keep you posted as and when we learn more about the future of Blue Eye Samurai when we get it. Until then, let us know if you’re excited about the project in the comments below.

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Picture: Netflix Netflix is set to soon premiere

Fasten your seat belts! African streamer Showmax and Canal+ are getting ready to go pedal to the metal.

The streaming company, co-owned by African pay-TV giant MultiChoice Group and Comcast, and the French pay TV giant has released a trailer for the eight-part gangster and extreme sports drama Spinners, which The Hollywood Reporter is revealing exclusively.

The companies’ third co-production, set in South Africa’s Cape Town, became the first African show to take part in CanneSeries’ main competition.

Spinners follows Ethan (Cantona James), a 17-year-old driver working for a gang who is trying to support his younger brother and discovers a possible way out of gang life: spinning, an extreme motorsport that features drivers performing jaw-dropping daredevil stunts. However, a looming gang war jeopardizes his plans.

The cast includes James (Arendsvlei) and Chelsea Thomas (Arendsvlei) in leading roles, along with Elton Landrew (Recipes for Love & Murder); Dillon Windvogel (Blood & Water); Brendon Daniels (Zulu, Five Fingers for Marseille), who won the South African Film and Television Award (SAFTA) for best supporting actor for his role in the movie Four Corners; Dann Jaques Mouton (Arendsvlei, Noem My Skollie); David Isaacs (co-creator of Joe Barber); and Katlego Lebogang (Wounds).

In May, James won the best performance honor at the inaugural Dakar Series event, where Spinners also took home best TV series and best editing awards (for Andrea Shaw and Matthew Swanepoel).

The African film industry will get a chance to watch the first episode of Spinners on Sept. 4, opening night of MIP Africa. The drama will then premiere across Sub-Saharan Africa on Showmax on Nov. 8, with new episodes debuting on Wednesdays for the rest of the year. It will also launch on Canal+ in Africa on Nov. 13. 

Directed by Jaco Bouwer (Gaia), who won the SAFTA for best TV drama for directing 4 Mure, the English/Kaaps/Afrikaans-language series was co-created by producer Joachim Landau and showrunner Benjamin Hoffman of Empreinte Digitale. It is co-produced by Ramadan Suleman (Zulu Love Letter, Fools) from Natives at Large, Spinners’ local co-production company. DJ Ready D is the music supervisor and also composed tracks for the series. 

StudioCanal is handling international sales for the series, which got its South African premiere at the Silwerkserm Film Festival on Friday.

In a recent interview with THR, Showmax CEO Yolisa Phahle lauded Spinners for making its way to the CanneSeries competition, “becoming the first African series to actually be selected, alongside massive productions from Hulu and HBO and everybody else.”

“Spinning is making art with your car,” said James. “Going in a donut, making an eight, people hanging outside a car while it’s spinning, standing on top of a car… it’s just thrilling.” 

Co-star Thomas knew all about the extreme sport from her childhood. “Spinning has always been a big part of culture in Cape Town, in the Cape Flats,” she said. “I grew up in Kraaifontein, and for all my childhood I would go to the pitch on a Sunday. That would be where all the cars gathered to spin. And I’ve only ever seen men spin. So when I started the job on Spinners, then only I learned that females are actually dominating the sport now. Spinners shows a different side to it: it shows the passion, the drive, the adrenaline. So I’m excited for the rest of the world to see what our people are all about.” 

Watch the trailer for Spinners below.

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Fasten your seat belts! African streamer Showmax

On August 19, Aphex Twin headlined Field Day festival at London’s Victoria Park. Today, a livestream featuring 360 video of the set is being shared by NTS Radio. Watch it below.

NTS livestreamed Richard D. James’ last Field Day headlining set in 2017. This year’s Field Day also included performances from Bonobo, Arca, Fever Ray, Jon Hopkins, Jayda G, Kelela, Moderat, Sbtrkt, Sudan Archives, Actress, Desire, Hagop Tchaparian, and Mount Kimbie. 

Aphex Twin recently released the Blackbox Life Recorder 21f / in a room7 F760 EP and released a video for the A-side. Read about Aphex Twin’s Selected Ambient Works Volume II in Pitchfork’s list of “The 150 Best Albums of the 1990s.”

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On August 19, Aphex Twin headlined Field

Sisterly love ruled at Chile’s 19th Santiago International Film Festival (Sanfic), which wrapped on Aug. 27 where female directors and actors clinched the top prizes.   

Israeli-Ukrainian drama “Valeria is Getting Married” by Michal Vinik and Kattia Zuñiga’s “Sister & Sister” snagged the preeminent Chilean festival’s best film plaudits, adding to their trove of accolades since their respective world premieres. 

Aside from best international film, Vinik also took home the best director gong in Sanfic’s international competition. Picked up by Berlin-based M-Appeal before its Venice world premiere last year, the taut family drama revolves around two Ukrainian sisters: one is content in her married life in Israel and wants her younger sister, the titular Valeria, to marry, too. She and her husband arrange for Valeria to marry but the younger sister struggles to accept the pact.  

“Israeli cinema has been very interesting of late,” noted Sanfic fest director Carlos Nuñez who praised Vinik’s “interesting mise-en-scene, clear points of view and adept work with her actors.”  

Panamanian-Chilean co-production “Sister & Sister” (“Las Hijas”) is an autobiographical coming-of-age tale that world premiered at SXSW before winning best Latin American Fflm at Spain’s Malaga Festival in March.

Aside from snagging best Chilean film at Sanfic, “Sister & Sister” co-lead Ariana Chaves also won for her debut performance. Panamanian-Costa Rican but based in Chile, Zuñiga makes her feature debut with the drama. It follows two sisters, Marina, 17, and Luna, 14, who go to Panama during their summer vacation in search of their estranged father. While tensions rise between them during the trip, they also learn to enjoy new relationships, skateboarding and their newfound freedom. 

Meanwhile, Chile’s Bernardo Quesney won best director for his third feature, “History and Geography” while his lead Amparo Noguera won for her performance in the dark comedy.  

Produced by indie Equeco, “History and Geography” follows a renowned TV comedienne/actor who treks back to her hometown to stage a play about the conquest of Chile in order to recover the artistic recognition she thinks she lost, but in fact never had.  

Best short “Pulcra” revolves around Sibila, a young seamstress who develops a strange obsession with pricking herself with needles and consuming her own blood. Her peculiar fascination strangely helps her find her identity. 

“This year’s selection was stellar; out of 25 submissions, we narrowed it down to nine fiction and nine documentaries, each displaying fresh, original perspectives,” said Nuñez, adding: “We hope that next year will yield an equally good crop.”

Sanfic ran Aug. 20 – 27.  

“Las Hijas”
Courtesy of Sanfic

19th Sanfic Winners, 2023: 

International Competition

Feature Film

“Valeria is Getting Married” (Michal Vinik, Israel, Ukraine)

Director

Michal Vinik (“Valeria is Getting Married”) 

Performance

Nicole Suazo (“Las Demas,” Chile) 

Chilean Film Competition 

Feature Film

“Sister & Sister” (“Las Hijas,” Kattia Zuñiga) 

Director

Bernardo Quesney (“History and Geography,” “Historia y Geografía”)

Best Performance

Ariana Chaves (“Sister & Sister”)

Amparo Noguera (“History and Geography”)

Special Mention

“Bastard, the Inheritance of a Genocide” (“Bastardo. La herencia de un genocida,” Pepe Rovano)

Short Film Competition

Best Short

“Pulcra” (Blanca Rojas)

Special Mention

“Concordia” (Diego Veliz) 

“Prologo de un cuento” (Ashley Salman)

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Sisterly love ruled at Chile’s 19th Santiago International

Germany is heading for a recession that is being caused by the bureaucracy around its green energy policies, the country’s opposition party has warned. 

Once one of the world’s strongest economies, Germany is now expected to have the worst performing economy of any leading nation in the world, according to stats from the International Monetary Fund and the Organisation for Economic Co-operation and Development. 

Friedrich Merz, the 67-year-old leader of the Christian Democrats opposition party, claims that this slump is a direct result of the government’s overly bureaucratised green energy policies, which are being led by The Greens in coalition with the Social Democrats, led by Chancellor Olaf Scholz. 

‘Unfortunately, 2023 will be a year of recession,’ Merz told German newspaper Bild am Sonntag. 

‘If the insane amount of bureaucracy isn’t stopped soon, if energy prices don’t fall quickly, then 2024 won’t be a good year either.

Germany’s economy stagnated in the second quarter from the previous three months, showing no sign of recovery from a winter recession and cementing its position as one of the world’s weakest major economies. In contrast, the UK’s economy grew by 0.2 per cent

Opposition politicians have blamed Germany's bureaucratic green energy policies for the slowing economy

Opposition politicians have blamed Germany’s bureaucratic green energy policies for the slowing economy

Friedrich Merz pledged to recommission the country's now-defunct nuclear power plants

Friedrich Merz pledged to recommission the country’s now-defunct nuclear power plants

The populist leader pledged to ‘lower the tax and levy burden on energy’, ‘immediately reconnect decommissioned nuclear power plants to the grid’, and ‘adopt a moratorium on bureaucracy.’

He elaborated, saying: ‘Not a single new law should trigger additional bureaucracy. That means, for example: We would stop the heating law. In this form, it is not only technologically flawed, but also sets in motion a huge new bureaucracy.’

Merz is currently leading in the polls after his party adopted several anti-immigrant policies. 

Meanwhile, the government’s ratings have slumped in recent months. Nearly three quarters of Germans, 73%, are unhappy with the current coalition government, according to an opinion poll published over the weekend. 

The ratings downturn came as new figures revealed that Germany has remained the ‘sick man of Europe’ as its economy stagnated in the second quarter while the country battles an industrial slowdown and stubborn inflation. 

The outlook for the nation long lauded as Europe’s industrial powerhouse is deteriorating, with its economy registering zero growth from April to June compared to the previous quarter, according to data from the federal statics agency Destatis. 

The figures come as a major blow to Germany’s government, which had boldly doubled its growth forecast for this year after a feared winter energy crunch failed to materialise.

Germany’s stagnating economy – which had fallen into recession earlier this year – is in stark contrast to Brexit Britain’s economy, which continues to see growth. The UK’s economy grew by 0.2 per cent in the second quarter of the year, with June’s sunny weather encouraging Britons to eat out and spend more.

But some observers have started to label Germany ‘the sick man of Europe’ again, 25 years after it earned the title in the late 1990s for poor economic growth and high unemployment.

The outlook for the nation long lauded as Europe's industrial powerhouse is deteriorating, with its economy registering zero growth from April to June compared to the previous quarter, according to data from the federal statics agency Destatis. Pictured: German Chancellor Olaf Scholz on Thursday in Munich, Germany

The outlook for the nation long lauded as Europe’s industrial powerhouse is deteriorating, with its economy registering zero growth from April to June compared to the previous quarter, according to data from the federal statics agency Destatis. Pictured: German Chancellor Olaf Scholz on Thursday in Munich, Germany 

ING economist Carsten Brzeski said the new figures will ‘do very little to end the debate on Germany being the new sick man of Europe’. ‘In fact, both the short-term and the longer-term outlook look anything but rosy,’ Brzeski added. 

Problems for Germany’s economy include weakness in the vast industrial sector and a lacklustre performance by exports, both of which have major impacts for the whole of the economy.

These two key pillars are particularly sensitive to surging inflation, rising eurozone interest rates and the struggling economy in China, Germany’s top trading partner.

As a result of rising prices as well as the cost of credit in Europe and the United States, companies’ order books are suffering, in a country where industry represents more than 25 percent of GDP.

‘Exports have created our wealth… but as the global economy weakens, Germany takes it harder than others,’ Economy Minister Robert Habeck told weekly Die Zeit.

On top of that, German firms had to contend with the energy shock triggered by Russia throttling crucial gas supplies after its invasion of Ukraine.

Although prices have fallen since peaking last year after the German government rushed to find new suppliers, they remain above their levels before the war started.

Meanwhile, when asked whether Germany was the ‘sick man of Europe, economist Veronika Grimm told Der Spiegel: ‘I think you have to take the signs seriously. The economy has experienced two profound crises. 

‘First the pandemic with the problems in the supply chains and the slump in production in this country. Then came the attack on Ukraine, which affected energy supply and prices.’ 

By registering flat growth in the second quarter, Germany officially exited a downturn that it fell into around the turn of the year after the economy contracted for two straight quarters, the technical definition of a recession. 

‘After slight declines in the previous two quarters, the German economy stabilised in spring,’ said Destatis president Ruth Brand.

The economy was supported by improved consumption and rising investments. However exports – a key contributor to German GDP – fell slightly from the previous quarter, it said.

The figures will however bring little comfort to policymakers battling myriad economic fires.

These range from still-high inflation that began surging when Russia invaded Ukraine, to lacklustre exports as key markets such as China face trouble, weakness in manufacturing, and the impact of interest rate rises.

The IMF has forecast that Germany will be the only major advanced economy to shrink this year.

Earlier this week, the Bundesbank central bank added to the flurry of bleak assessments, predicting Germany’s ‘lacklustre’ economy will continue to stagnate in the third quarter.

It is ‘still experiencing a period of weakness’, the bank said in its monthly report.

Germany’s annual inflation rate slowed to 6.2 percent in July, mainly on the back of falling energy prices, but it is still far above the European Central Bank’s two-percent target.

The current government is the first ruling coalition to consist of three parties in Germany’s post-war history, comprised of Scholz’s Social Democrats, the Greens – in charge of the economy ministry – and the pro-business FDP, who head the finance ministry.

But the coalition, which took power in late 2021, has been beset by disputes and squabbling, and economic policy is no exception.

One area of tension has been over Habeck’s plan to cap the price of electricity used by energy-intensive industries until 2030 to insulate them against sharp cost increases.

The measure is aimed at keeping sectors such as the chemical industry competitive while the country boosts its capacity to produce renewable energy from sources like wind and solar, which are cheaper.

But it has provoked opposition from Habeck’s coalition partners – Finance Minister Christian Lindner of FDP has said it is “out of the question to intervene directly in the market by distributing subsidies”.

Scholz is also against the plan, although some lawmakers from his own party have spoken in favour of it.

For his part, Lindner wants tax cuts for businesses – but the six-billion-euro package that the government was supposed to adopt last week was blocked by a Green minister.

Kullman warned that Germany, which has historically been a hub for engineering, will see bulk goods no longer being manufactured in the country (file image of a worker at a Volkswagen assembly line in Wolfsburg, Germany)

Kullman warned that Germany, which has historically been a hub for engineering, will see bulk goods no longer being manufactured in the country (file image of a worker at a Volkswagen assembly line in Wolfsburg, Germany)

Marcel Fratzscher, head of the Berlin-based DIW institute, says Germany’s problems are structural.

The country needs a “long-term transformation programme, with an investment drive, a broad (reduction of its bureaucracy) and strengthening of social systems,” he said in an analysis published over the summer.

Several concerns on the economic front are widely shared – uncertainty about energy costs in the medium term, cumbersome regulations, a lack of skilled labour, and a slow shift to a digital economy.

And to make matters worse for Germany’s stagnating economy, business chiefs in June warned that the government’s decision to shut down the last remaining power plants in favour of renewable energy would see critical industries ditch the country amid electricity shortages. 

The head of energy firm RWE said he fears that Germany will face a shortage of electricity that will see prices in the already struggling country soar. 

Markus Krebber, 50, warned that this will endanger Germany’s ‘competitiveness’ as an industrial hub, meaning companies will be driven out of the country, taking much needed jobs with them. 

‘Germany’s prosperity is based on strong industry,’ Krebber told BILD in June. ‘A scarce energy supply leads to high prices – this endangers the competitiveness of Germany as an industrial location. We are seeing the first signs of de-industrialisation.’

German energy chiefs have blamed the country’s poor economic outlook on the government’s green energy ‘disaster’ that has seen the last remaining nuclear power plants shut down. Instead, the focus is now on renewable energy supplies from solar and wind sites.

But the intermittent nature of these green energy sources, which leaves them susceptible to sudden drops during cloudy or windless periods, means Germany’s electricity system remains vulnerable to electricity shortages and price volatility.

Krebber warned that this could have a devastating impact on Germany’s industries that are trying in vain to prop up the country’s flailing economy.

‘As an industrial location, Germany has a serious problem: We don’t have as much energy available as we need,’ Krebber told Focus. ‘This gap leads to high prices and thus to justified concerns about competitiveness.’

This is all playing into the hands of Germany’s far-right parties, with the Alternative for Germany (AfD)’s popularity surging in the polls over its criticism of what it calls a costly green agenda.

Christian Kullmann, CEO of the chemical group Evonik, joined Krebber in criticising what he called the government’s ‘energy policy disaster’ and warned of its impact on Germany’s industries. 

‘In Germany we pay the world’s highest prices for electricity and energy, and every industry, every economy lives and depends on a reasonable, inexpensive, available energy supply,’ Kullmann, 54, said.

Germany faces electricity shortages that will see critical industries ditch the country after the government decided to shut down the last remaining nuclear power plants (pictured) in favour of renewable energy sources, business chiefs have warned

Germany faces electricity shortages that will see critical industries ditch the country after the government decided to shut down the last remaining nuclear power plants (pictured) in favour of renewable energy sources, business chiefs have warned

Kullman warned that Germany, which has historically been a hub for engineering, will see bulk goods no longer being manufactured in the country.

‘We will probably say goodbye to these industries here in the near future – and it won’t be too long at all,’ Kullman said in a stark warning. ‘Germany is under pressure as a business location.’

Roland Farnung, 82, the former CEO of RWE, added: ‘The energy policy now adopted by the federal government is practically an operation on the open heart of society with considerable risks for German companies and the jobs located here.’

In order to combat Germany’s vulnerability to electricity shortages, Krebber says there must be a ‘massive investment’ in green energies. But even with this investment, Germany’s power producers must continue to retool the country’s entire power system at a record pace.

Krebber said: ‘The will and money are there for [investments in green energies]. In order for investments to actually be made, a reliable framework is needed in the long term that creates incentives instead of setting hurdles.’

And some experts say Germany will have to go back to nuclear eventually if it wants to phase out fossil fuels and reach its goal of becoming greenhouse gas-neutral across all sectors by 2045 as wind and solar energy will not fully cover demand. 

‘By phasing out nuclear power, Germany is committing itself to coal and gas because there is not always enough wind blowing or sun shining,’ said Rainer Klute, head of pro-nuclear non-profit association Nuklearia. 

The German government has dismissed such concerns, arguing that thanks to Europe’s integrated electricity network, Germany can import energy when needed while remaining a net exporter.

But the German business chiefs still warn that Germany could face a shortage of electricity that will see businesses flee – and such a move will be detrimental to Germany’s struggling economy. 

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Germany is heading for a recession that

Mitchel Musso, best known for playing Oliver Oken in the Disney Channel series Hannah Montana, was arrested in Texas.

The actor spent some time in jail at Rockwall, TX after he was charged with “public intoxication, theft (under $100), expired registration, failure to display a driver’s license and violating a promise to appear notice,” according to a report from TMZ.

Musso was reportedly released on a $1,000 bond after being arrested following an incident at a food market that had the former Disney star allegedly stealing potato chips. According, to the outlet staffers had asked Musso to pay for the snack and he “became verbally abusive” and ended up “walking off.”

Local authorities were called and caught up with Musso outside of his hotel who was reportedly under the influence.

Musso starred in Hannah Montana for four seasons playing Miley Cyrus’ best friend Oliver. The actor reprised his role in 2009’s Hannah Montana: The Movie. Musso would also voice Jeremy Johnson in the animated series Phineas and Ferb. In 2010, Musso would go on to star in the DisneyXD series Pair of Kings for the first two seasons.

Emily Osment, Miley Cyrus, Mitchel Musso, (Season 1), 2006

Bob D’Amico / Disney Channel / Courtesy Everett Collection

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Mitchel Musso, best known for playing Oliver

It would seem the iPad Pro models are going to get quite the revamp in 2024, with new screens and new chipsets – a revamp which is probably overdue for these premium tablets, which have had rather minor updates since 2018.

As per the usually reliable Mark Gurman in his Power On newsletter at Bloomberg, Apple is hoping that the upgrades it introduces will “shake up” a stagnant tablet market and spark some fresh interest in the most expensive iPads.

There will be two new models in the first half of next year, Gurman says, both with OLED displays – a switch that’s long been rumored. Right now the 11-inch iPad Pro uses standard LED and the 12.9-inch iPad Pro uses mini-LED.

The 11-inch screen size will be retained, while the 12.9-inch iPad Pro will become a 13-inch model. The iPad Pro screens are already very good, but the introduction of OLED should mean that they get crisper and brighter, and even better at color reproduction.

New chips and accessories

On the inside, these tablets are predicted to run the as-yet-unannounced M3 chips from Apple. That makes sense, considering that the current models run the M2 chip, so expect even faster performance and an even broader range of features.

Gurman also says that a new Magic Keyboard is in the works, an accessory that hasn’t been updated since its 2020 debut. The 2024 edition will apparently have a larger trackpad, and make the iPad Pro “look even more like a laptop”.

Like most manufacturers, Apple is seeing declines in tablet sales, according to Gurman – declines that haven’t been helped by minor iPad updates, a confusing overall lineup (see the iPad Air 5 vs the iPad Pro 2022), and underwhelming iPadOS updates.

We’ll have to wait and see if these new OLED iPad Pros can make a difference when they appear next year. In the meantime, all eyes are on Apple’s expected September event, when we should see the iPhone 15 and the Apple Watch 9.

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It would seem the iPad Pro models

When Emmy-nominated songwriter Sam Ryder was brought on to pen an original song for Apple TV+’s “Ted Lasso,” one of the first lines he wrote for “Fought & Lost” was “Go take a bow, the audience is waiting.”

At a special Variety Artisans the Nominees Event, in partnership with Apple TV+, artisans from “Ted Lasso” and “Still: A Michael J. Fox Movie” gathered for two conversations to discuss the process behind their respective Emmy-nominated series.

Moderated by Variety’s senior artisans editor Jazz Tangcay, the “Ted Lasso” panelists included casting director Theo Park, director Declan Lowney, songwriter and composer Jamie Hartman and songwriter and vocalist Ryder. The event took place on Aug. 21 at New York’s Roxy Hotel.

Said Ryder of the soaring ballad, “It’s taken from the point of view of someone who has given everything but it hasn’t turned out the way that they’d have hoped. So they’re watching the person leading this position that they were envisioning them being in and cheering them on from the sidelines, but having that gut-wrenching feeling of defeat.” The song plays towards the end of episode seven titled “Mom City” as Ted (Jason Sudeikis) has a heartfelt confrontation with his mother Dottie (Becky Ann Baker). The next day, he’s in his office to reveal a “truth bomb” to Hannah Waddingham’s Rebecca, but the end credits roll before audiences get an answer.

The show’s composers Tom Howe and Hartman collaborated with Ryder. Hartman explained the song came together in one day, adding that “96% of what you hear is what was recorded that day.”

In casting Zava, played by Maximilian Osinski, Park said the role was loosely modeled off of Zlatan Ibrahimovic, the Swedish soccer player. “If anyone knows him, he’s six-foot and five inches. The hope that he would have some sort of weird European accent was really Jason.”

Park thought she would never find such a person. But Osinski sent in an “amazing tape. I thought ‘we found him.” His commitment to the scene was out of the park. He had a top on, and was doing kick-ups and he was unbelievable.” Park added that Osinski had never played soccer in his life, but his tape had wowed everyone.

Park recalled her first time meeting Waddingham. She had first encountered the actress while she was eight months pregnant and auditioning for “Game of Thrones.” However, Park credits actor Brendan Hunt for Waddingham ending up on “Ted Lasso.”

“It was annoyingly Brendan’s idea. He said, ‘Have you tried Hannah Waddingham?” And Bingo,” she said. “That often happens. You go through a long process with lead female characters, and sometimes you can be searching for a very long time until you get the right person.”

Park continued, “As soon as she walked in, it all made sense. We flew her out to L.A. to meet Jason, and that was it.”

Lowney, who directed Waddingham (she went on to win the Emmy for best supporting actress in 2021) in Season 1’s “Make Rebecca Great Again,” recalled, “The first scene I had recorded with her she was sitting behind her desk. We were a bit strapped for time, and it was a mid-shot with the cameras pushing into a close up, and she said, ‘Hang on, I haven’t got my shoes.’ I told her not to worry about it. She said, ‘I’m not doing it unless I have my shoes because I’m not Rebecca unless I have my shoes on.’”

Michael Harte, Davis Guggenheim, and Brent Lang
Variety via Getty Images

“She knew what she’s about and she knew exactly what she was doing,” Lowney said.

Following the “Ted Lasso” conversation, Variety’s Brent Lang moderated a conversation with editor Michael Harte and director and producer Davis Guggenheim from “Still: A Michael J. Fox Movie.”

Michael J. Fox had only one request for “Still”: no violin.

“It was the only thing he ever told me, and it was basically, ‘I don’t want to be an object of pity,’” said “Still: A Michael J. Fox Movie” director Davis Guggenheim.

At a special Variety Artisans the Nominees Event, in partnership with Apple TV+, “Still’s” Emmy-nominated director Guggenheim and editor Michael Harte sat down with Variety’s executive editor Brent Lang to discuss the making of the documentary, which follows the actor’s life and struggles with Parkinson’s disease.

In addition to watching Fox’s entire filmography, Harte combed through multiple episodes of sitcoms “Family Ties” and “Spin City” for archival footage.

“‘Spin City’ was the Everest,” he said. “We’re forensically going through those clips because we’re looking for not just funny moments, we’re looking for moments where he’s trying to hide his Parkinson’s.”

When asked whether or not they were fans of Fox’s work before filming, Harte said he “grew up obsessed with ‘Back to the Future’” and “watched it 150 times.”

“Throughout my childhood, I would go to a video shop in Donegal, Ireland — where I was from, it’s kind of a quiet place — and I would rent Michael J. Fox movies over and over again,” he recalled. “The reason I’m an editor was because of his movies.”

On Fox’s openness during the interview process, Guggenheim emphasized that “Michael was just there, and that was his gift to us.”

“I think maybe if we made the film 10 or 20 years earlier, that would not have been the case. But I think he was at a moment in his life, 61 with Parkinson’s for, at that point, roughly 32 years. What am I gonna hide?” Guggenheim continued. “I pushed him and prodded him, and he was in.”

The director described “Still” as a “love letter to [Fox’s] talent,” which he admitted he “overlooked as a consumer” before working on the film.

“We think all funny people, because they’re funny, they’re not a serious actor. But when you look back, you realize how gifted he was the way he moved in his comic timing,” Guggenheim explained. “He was great before, and I really didn’t know it.”

Following the conversation, the audience was treated to a special performance by Hartman and Ryder where they performed “Fought & Lost” in an intimate setting.

Jamie Hartman, Sam Ryder, and Caitlin Sullivan perform.
Variety via Getty Images

Watch a clip from the conversations above.

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When Emmy-nominated songwriter Sam Ryder was brought

Miley Cyrus is opening up about why she doesn’t enjoy touring. The “Wrecking Ball” singer explained why going on tour is not the most healthy of things for her.

In the Used To Be Young series of videos posted on Cyrus’ TikTok account, the former Hannah Montana star explains that traveling as a cheerleader helped her with touring.

“That’s what people don’t really understand about touring — is the show is only 90 minutes, but that’s your life,” Cyrus explained. “If you’re performing at a certain level of intensity and excellence, there should be an equal amount of recovery and rest. There’s a level of ego that has to play a part that I feel gets overused when I’m on tour. And once that switch is on, it’s hard to turn it off. I think when you’re training your ego, every single night to be active — that’s the hardest switch for me to turn off.”

She continued, “Having every day the relationship between you and other humans being subject and observer isn’t healthy for me, because it erases my humanity and my connection and without my humanity [and] my connection I can’t be a songwriter, which is my priority.”

This is not the first time that Cyrus has spoken out against touring. Earlier this year the singer cleared up that she didn’t have a desire to tour again and it wasn’t because she wasn’t connected with her fans.

“It’s been a minute,” Cyrus told British Vogue about touring. “After the last [headline arena] show I did [in 2014], I kind of looked at it as more of a question. And I can’t.’”

“Not only can’t,” she continued, “because can’t is your capability, but my desire. Do I want to live my life for anyone else’s pleasure or fulfillment other than my own?”

Cyrus said that performing is “not natural,” adding, “It’s so isolating because if you’re in front of 100,000 people then you are alone.”

Watch Cyrus talking about touring in the video posted below.

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Miley Cyrus is opening up about why

The makers have officially named the movie Thammudu.

The film’s puja ceremony was held in Hyderabad with great prominence.

Nithiin, a highly reliable actor in Telugu cinema, has been consistently appearing in consecutive movies. Recently, Nithiin has joined forces with the renowned production company Sri Venkateswara Creations, known for its successful history in filmmaking and owned by Dil Raju. This esteemed banner is presenting an exciting collaboration as Nithiin partners with director Sriram Venu. Notably, Sriram Venu previously directed Pawan Kalyan’s Vakeel Saab, a film that was co-produced by Boney Kapoor and Dil Raju.

The film’s puja ceremony was held in Hyderabad with great pomp and show. Noted financier Prasad initiated the ceremonial clapboard for the auspicious opening shot, and director Anil Ravipudi activated the camera. The first shot of the movie was directed by filmmaker Vamshi Paidipally.

The makers have officially named the movie Thammudu. Interestingly, Pawan Kalyan had a successful film with the same title, which elevated his popularity. As Nithiin is a devoted fan of Pawan Kalyan, he’s chosen to use this title. Fans are ecstatic about this nod to a classic and are anticipating a strong comeback from their beloved star. Thammudu marks the 56th film from Sri Venkateswara Creations, produced by Dil Raju. The esteemed cinematographer Sethu (Satyajit Pande), known for his work on acclaimed films like Dangal, Kahaani, and Taare Zameen Par, will be the director of photography for this project.

The shoot is scheduled to commence on September 1, 2023. This marks Nithiin’s third collaboration with Dil Raju’s production house, following their previous work on Dil and Srinivasa Kalyanam. Director Sriram Venu has also established a successful partnership with SVC, having directed hit films like Nani’s MCA and Power Star Pawan Kalyan’s Vakeel Saab under the same banner.

However, all of his previous films have faced box office failures like Rang De, Check and Macherla Niyojikavargam. Despite this, Nithiin remains undeterred and continues to secure major roles. Currently, he is actively working on two projects with directors Venky Kudumula and Vakkantam Vamsi.

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The makers have officially named the movie

Audiences have gone quite a while without a substantial update on Spider-Man: Freshman Year, but the Disney+ series‘ executive producer gave new word on its status.

Announced in 2021, Spider-Man: Freshman Year is one Marvel Studios animated project that fans don’t know a lot about. Although initially assumed by many to be set in the MCU, filling in gaps from Peter Parker’s story, the first concept art for the series quickly quashed those notions as it revealed a much more comic book-inspired take

The fact remains, though, that after bringing details on Freshman Year at San Diego Comic-Con 2022, Marvel has maintained radio silence on the show’s airdate, leaving some worried that it had been unceremoniously canceled, especially as Disney’s top brass have signaled studio cutbacks.

Spider-Man Producer Clues In Fans on Show’s Status

Marvel

Jeff Trammel, who served as head writer and executive producer on the Spider-Man: Freshman Year animated series for Disney+ took to social media platform X (formerly Twitter to reassure that the show was still coming, remarking that he’s “excited for the world to see it:”

“Nothing that I can share yet, just that I’m eager for everyone to see the show. Our crew worked (and is still working) hard to make ‘Freshman Year’ feel special, fun and unique and I’m excited for the world to see it!”

Recently, Disney CEO Bob Iger discussed cutting back on producing content for Disney+. This statement, coupled with the streamer purging several titles from its platform (some recent), sparked worry of cancellation for the Spider-Man series in quite a few fans.

Previously, an announcement was made by Japan-based animation studio Polygon Pictures, acknowledging that they would work on Freshman Year, but Jeff Trammel’s post is the first direct confirmation from a key staff member in several months that the show was still in development.

Spider-Man: Freshman Year Will Swing in Soon Enough

Even though Freshman Year was first officially announced for development almost two years ago, it should arrive in front of the eyes of Disney+ subscribers fairly soon. As Trammel indicated, the series is still being worked on to ensure that it’s the best Spidey adventure that it can be.

Story-wise, little is known about this show, but it does take its visual design cues from the Silver Age Spider-Man comics, with a modernized flair, of course. Freshman Year will also incorporate the likes of other superheroes, including Doctor Strange and Daredevil, with the art shown for Strange particularly oozing with classic Marvel Comics goodness.

Some have even speculated that the cartoon will represent a multiversal Variant of Peter Parker, one who follows the path of the MCU’s Peter up to a point, but also one who exists in a much more comic book-like environment than his live-action counterpart.

Spider-Man: Freshman Year does not presently have a confimed release date.

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Summary

  • Blue Beetle narrowly surpasses Barbie at the box office, earning $25.4 million domestically and $18 million internationally.
  • The film’s total worldwide earnings of $43.4 million are considered modest and may not guarantee a sequel.
  • Despite the financial performance, director Ángel Manuel Soto remains hopeful for future Blue Beetle movies, citing support from James Gunn and the film’s potential for partnerships with other DC heroes.


Comic book movie outing Blue Beetle is the weekend’s big winner, but its early performance doesn’t necessarily ensure a sequel. The new superhero adventure from director Ángel Manuel Soto narrowly bested Barbie at the box office — barely. While the DC film did take the No. 1 spot with $25.4 million domestically, Greta Gerwig’s blockbuster made $21.5 million in its fifth weekend of release. And Soto knows that money will ultimately decide whether a Blue Beetle sequel ever sees the light of day. Soto said in an interview with Yahoo! Entertainment:

“The way the machine works, the [first] movie needs to make money for them to put more money in.”

Unfortunately, Blue Beetle didn’t fare nearly as well overseas. The Xolo Maridueña-led flick only brought in $18 million internationally, which gives Soto’s first foray in the world of DC a total of only $43.4 million worldwide. Soto said in the same interview:

But for us, we’ve always seen it that way… We love the story so much. We believe in the product so much. We believe in an actor so much. We couldn’t help but think about where his journey was going to go while we were creating this film… So, is it wish fulfillment? Are we calling it out to the universe? Sure.”

Related: Blue Beetle Cast and Character Guide


Will Blue Beetle Make Enough Money to Justify a Sequel?

Courtesy of Warner Bros. Pictures

Blue Beetle’s $43.4-million opening is just a drop in the deep bucket of movie-making expenditure when it comes to the film making a profit or just breaking even at the box office. Depending on the source, the budget for the DC project was somewhere between $104 million and $125 million. James Gunn has already gone on record as being a supporter of the superhero, and he also said that this version of the Blue Beetle is the first official character in the DCU. Soto addressed Gunn’s support, courtesy of Inverse:

“It was beautiful being able to do that and see that for James Gunn, this prologue, this first act of our saga is worthy of being canon for his superheroes so that he can embark into new adventures… I hope that means Blue Beetle is going to partner with other heroes, and I hope that means we get a Blue Beetle 2 and Blue Beetle 3.”

There’s never been any question in Soto’s mind that Blue Beetle was only a jumping-off point for more stories revolving around Jaime Reyes (Maridueña). And then there’s that mid-credits’ scene that, SPOILER, teases two more DC superheroes. Soto said in an earlier interview with Total Film:

“Our first movie, the way we wanted to do it, was always with the mentality that we wanted to do two more, at least. And taking the traditional three-act structure of a story, we wanted our first movie to practically be the first act of a saga.”

The money-making aspect isn’t looking too promising for Blue Beetle, though. Another DC title, The Flash opened back in June, and director Andy Muschietti’s film made $55 million over its opening weekend — only to be dubbed a box office fiasco. And Blue Beetle only did slightly better with audiences than The Flash.

Blue Beetle received a “B+” CinemaScore while The Flash’s “B” grade almost certainly indicated the film’s demise prior to its box office collapse. On Rotten Tomatoes, Blue Beetle has performed much better with an audience score of 92%, at the time of this writing. However, all the praise in the world won’t mean anything if Blue Beetle can’t make a decent go of it in theaters.

Blue Beetle is now playing in theaters.

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Summary Blue Beetle narrowly surpasses

Fae Farm released on September 8, 2023, and as the date draws closer, the developers are providing eager players with more and more information and content. The latest offering is that the official soundtrack for Fae Farm is now available to both buy and stream on a range of services.

Image via Phoenix Labs

The reception to the Fae Farm OST has been overwhelmingly positive. Fans have flooded the official Fae Farm Discord with positive messages and have stated that it was furthered their excitement and anticipation of the game. The soundtrack provides the cozy atmosphere that the developers have been working towards.

Related: Fae Farm Might Not Be Too Expensive After All

There are 37 different tracks in the soundtrack. Each providing a unique vibe that suits the ever-changing seasons of the game. With a game that plays out in the one location, and with seasons that repeat, it is important to have a variety of music that keeps the game feeling fresh, especially when you’re watering your seventy-second turnip crop.

It won’t be long until the magical farming sim releases on Nintendo Switch, Steam, and the Epic Games Store. The best thing of all is that no matter what platform you purchase it on, you can still play with your friends via crossplay.

About the Author

Priscilla Wells

Priscilla is a weekend editor and freelance writer for Prima Games. She is an Australian living in the United States with her family. Priscilla has grown up playing video games, and most often plays her PS5 and Nintendo Switch consoles.

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Fae Farm released on September 8, 2023,

AURORA’S SUNRISE

 

From Director Inna Shakyan

 

Thanks to my dear friend Louisa Sharamatyan (https://www.instagram.com/louisasharamatyan/?hl=en ) I found out about Amenia’s official selection for the 95th Oscar: ‘Aurora’s Sunrise’. Such a mesmerizing movie that Cher, the iconic singer, showed up at one Los Angeles screening to congratulate fellow Armenian sister, director Inna Shakyan.

This inspiring movie is based on the true life of Aurora Mardiganian who escaped the Armenian Genocide and who embarked on an amazing survival odyssey that took her to the heights of Hollywood stardom. It has been announced that Bars Media films, the newly established branch in Los Angeles of Armenia’s largest independent documentary production company was going to release this feature, a mix of animation and live action movies from the 20’s. Indeed this film is retracing the rise to stardom by Aurora who, when she reached the USA ended up filming ‘Auction of Souls’, a silent epic retracing her journey. Aurora became the face of one of the largest and most successful charity campaigns as one of the first women activists fighting against the injustice of war.  In her words, director Inna Sahakyan, always said “the Armenian genocide is the enduring pain of my nation. I was afraid of telling stories that only confirmed Armenians as a nation of victims with no historical agency and nothing but tragedy running through our veins. That is, until I stumbled upon an interview with Aurora Mardiganian. Through her words and expressions, an incredible but ordinary heroism shone she survived a genocide and refused to be a victim. This is the character I wanted to build in ‘Aurora’s Sunrise’: resilient, powerful, and heartwarming all at once”.

You will be moved beyond tears while watching this true story and how it hits a universal pain, whether you are Armenian or not. It’s a story about loss, pain, compassion, and about re-inventing your life despite all the struggles, the chaos, you are facing.

Since it’s premiering in the Festival of Annecy in 2022, ‘Aurora’s Sunrise’ has been selected in so many other festivals and won over 10 awards: ‘Movies that matter 2023 Audience Award’, ‘Geneva international film festival and forum on Human rights 2023’ and many others. This is a testament to the incredible “tour de force” and accomplishment from director Inna Shakyan. One can only watch this movie and be moved but it’s message of justice, of fighting for the truth, for freedom, for oneness. When watching ‘Aurora’s Sunrise’ you will feel that, indeed, there is an urgency to come together as one Humanity and find viable long-lasting solutions to end war, discrimination, prejudice, racism and conclude that, together, we can be One human family living in Peace and Harmony. War is for the idiots; Peace is for We the Freedom fighters.

‘Aurora’s Sunrise’ will indeed bring a sunrise for our soul and it will give us the hope we will end up living in oneness a life of excellence. A life where we feel protected and loved.

In Oneness let’s heal the World. Amen.

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AURORA’S SUNRISE   From Director Inna Shakyan   Thanks to

In a special 100th episode of HDTGM, Paul, June, and Jason finally tackle Junior, the movie that inspired HDTGM’s original cover art! They’ll cover everything from Smartszennegger, Emma Thompson being a klutz, Schwarzenegger in drag, DeVito’s jerk off room, and how there is no scientific explanation for how Schwarzenegger’s baby could survive in his belly. Plus, everyone pitches their remake of the film. (Originally released 12/25/2014)

 

For more Matinee Monday content, visit Paul’s YouTube page: www.youtube.com/paulscheer

Go to www.hdtgm.com for tour dates, merch, and more.

Follow Paul on Letterboxd: letterboxd.com/paulscheer/

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Check out Paul and Rob Huebel live on Twitch (www.twitch.tv/friendzone) every Thursday 8-10pm EST

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Subscribe to Unspooled with Paul and Amy Nicholson here: listen.earwolf.com/unspooled

Check out The Jane Club over at www.janeclub.com

Check out new HDTGM merch over at www.teepublic.com/stores/hdtgm

Where to find Jason, June & Paul:

@PaulScheer on Instagram & Twitter

@Junediane on IG and @MsJuneDiane on Twitter

Jason is not on Twitter

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In a special 100th episode

Cliff Twemlow is an obscure figure even by British B-movie standards, a handsome, no-nonsense former Manchester nightclub doorman who attempted to create a Hollywood of the north in the early ’80s and ’90s. Born in 1937, a fact he tried to cloud for many years, he was something of a renaissance man: He acted in soaps, he composed lucrative library music, he wrote a novel about a killer pike (“Pike can be dangerous, there’s no two ways about it”), and, after a wounding experience with a botched adaptation of his autobiographical novel Tuxedo Warrior, he decided to become a filmmaker himself.

His first production, G.B.H. (1982), was shot on video — the grainy, ugly, analog kind — and it rode on the coattails of the recent hit The Long Good Friday. Twemlow starred as a handsome, no-nonsense Manchester nightclub doorman, hired to protect a local nightclub from a protection racket after returning from a stretch in prison. Anticipating the British gangster boom of the late ’90s by a country mile, it was clumsy but strangely entertaining, with killer lines like, “NOBODY TELLS BIG NICK RAFFERTY WHEN HE’S HAD TOO MUCH TO DRINK!!!” For some reason, perhaps because the video box showed a blood-spattered Twemlow holding a hammer, G.B.H. fell foul of the British censor, and so it wound up on the now-notorious “video nasties” list of the era alongside The Toolbox Murders and Mardi Gras Massacre.

Twemlow’s story might have ended there, and in some ways it does, since almost all his other films were never quite finished, or any better, or even released. But Jake West’s respectful but often very, very funny documentary Mancunian Man: The Legendary Life of Cliff Twemlow goes on to paint an engaging portrait of a man full of ideas and imagination whose eyes were bigger than his budget and who, with a bit more common sense and better business practice, might have taken on the world.

His early screen appearances, shot for the then-burgeoning home-ent market, don’t blow up well for the big screen, and the primitive style of G.B.H suggests we’re in for an irreverent sketch-portrait of an eccentric outsider artist, a kind of ’80s amalgamation of Ed Wood and Tommy Wiseau. Twemlow, though, is a more complex character than either, a smart and charismatic man who went from fancying himself as the new James Bond, like every man his age, to wanting to be the Dino de Laurentiis of Eccles.

That Twemlow was not successful is pretty evident, and the cast of talking heads assembled by West deliver proof of that failure with a stream of priceless, precision-honed anecdotes. The tone, though, is always droll and affectionate, like the eye-witness recollection of a car chase that ended in a very convincing crash — convincing because it actually was a crash (“It wasn’t a stunt, it was an accident.”). Then there’s talk of the film shoot in Grenada that was shut down by Ronald Reagan’s military intervention, and the next one, on Ibiza, where Twemlow threw a wild party on the very first night. By the end, it’s no surprise that Twemlow was still filming pick-ups for 1983’s Target Eve Island so long after principal photography that his leading lady forgot her character was Russian. And we can sympathize with Oliver Tobias, hired for 1991’s Firestar: First Contact in the mistaken belief that he was Oliver Reed.

The end, when it comes, is very rapid, and it’s sobering to think that it was all over for Twemlow at the age of just 55. And though there are some suggestions that he often wrestled with the black dog, something reflected in the increasingly bleak trajectories of his onscreen characters, the image that shines though is of a man who never took his frustrations out on his friends during any of his thwarted attempts to express himself, someone who was well loved and admired for all his flaws.

Twemlow never made a masterpiece, but this sweet, moving film will convince you that in a funny way he did. Many, in fact, all in his head, and this film is the closest we’ll ever get to seeing them.

Title: Mancunian Man: The Legendary Life of Cliff Twemlow
Festival: Frightfest
Director: Jake West
Running time: 2hr 4 min
Sales agent: Severin

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Cliff Twemlow is an obscure figure even

(Photo: Disney+)

Does the first season of the Star Wars: Ahsoka TV show on Disney+ do justice to the beloved character? As we all know, Nielsen ratings typically play a big role in determining whether a TV show like Ahsoka is cancelled or renewed for season two. Disney+ and other streaming platforms, however, collect their own data. If you’ve been watching this TV series, we’d love to know how you feel about the first season episodes of Ahsoka here.

A Disney+ sci-fi action-adventure series, the Star Wars: Ahsoka TV show stars Rosario Dawson, Natasha Liu Bordizzo, Mary Elizabeth Winstead, Ray Stevenson, Ivanna Sakhno, Diana Lee Inosanto, David Tennant, Lars Mikkelsen, and Eman Esfandi. It is a spin-off of The Mandalorian series. Set after the fall of the Empire, the story revolves around former Jedi Knight Ahsoka Tano (Dawson) as she investigates an emerging threat to a vulnerable galaxy and searches for Grand Admiral Thrawn (Mikkelsen) and Ezra Bridger (Esfandi), a former thief. In her quest, Ahsoka is accompanied by former bounty hunter Sabine Wren (Bordizzo), Twi’lek New Republic general Hera Syndulla (Winstead), and Huyang (Tennant), a lightsaber-crafting droid.

What do you think? Which season one episodes of the Star Wars: Ahsoka TV series do you rate as wonderful, terrible, or somewhere between? Do you think Ahsoka on Disney+ should be cancelled or renewed for a second season? Don’t forget to vote and share your thoughts below.

Check out our status sheets to track new TV series pickups, renewals, and cancellations. You can find lists of cancelled shows here.

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Published: August 27, 2023(Photo: Disney+) Does the first

Simone Biles just won herself a new national title and made history.

The athlete delivered a strong performance at the U.S. Gymnastics Championships in San José, California and scored her eight-national title.

“I’ve been doing it for so long, I feel like I don’t think about numbers. I think about my performance,” Biles told NBC Sports. “I think overall, I hit 8 for 8 (clean events). So eight, I guess it’s a lucky number this year.”

Biles broke a tie with Alfred Jochim who held the record up since 1933 — 90 years ago. At 26 years old, the Olympic medalist also became the oldest woman to win the championships. Biles ended up with 3.9 points ahead of Shilese Jones.

On her goals, she said, “I like to keep them personal, just so that I know what I’m aiming for. I think it’s better that way. I’m trying to move a little bit differently this year than I have in the past. I think it’s working so far, so I’m going to keep it a little bit secretive.”

As far as possibly making a run for the 2024 Olympics in Paris, Biles said she had not made a decision yet.

Watch the routine that gave Biles the title.

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Simone Biles just won herself a new

Pop artists Meghan Trainor and the Jonas Brothers joined the winners’ circle Sunday (Aug. 27) at the 2023 Streamy Awards, which this year celebrated the past, present, and future of Internet culture.

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See latest videos, charts and news

See latest videos, charts and news

“All About That Bass” singer Trainor was named as the Rolling Stone sound of the year winner, and delivered a sweet acceptance speech, during which she gave a shout-out to her kids, including her newborn baby.

Trainor won for “Made You Look,” in recognition of the song’s unparalleled impact on content creation across social media and its “resonance within popular culture,” reps say.

“Made You Look” last year peaked at No. 11 on the Billboard Hot 100 and topped Billboard’s Adult Pop Airplay chart. Her son Riley helped grow the song’s profile on social media, including TikTok, where the track had been prominent throughout its charts run run. Taken from Trainor’s album Takin It Back, “Made You Look” was announced just after Trainor shared with the world the good news of her pregnancy with a second child.

Also at the Streamys, the brothers Kevin, Jon and Nick Jonas won the crossover category.

Performers on the night included viral hip-hop artist Armani White, who performed a medley of “Billie Eilish” and “Silver Tooth”; and Swedish dance-pop duo Icona Pop, who performed their 2012 punk-channeling smash “I Love It” along with new single “Fall In Love”.

Multiple winners at the Streamys included Fanum (breakout streamer, lifestyle); Kai Cenat (streamer of the year, lifestyle), MrBeast (creator of the year, collaboration) and Vivienne Medrano (animated, Streamys creator honor).

Produced by Dick Clark Productions and Tubefilter, and held in in Los Angeles, the Streamy Awards celebrate content creators across beauty, comedy, food, gaming, music, podcasts and sports, and was hosted by MatPat, a seven-time winner.

DCP is owned by Penske Media Eldridge, a Penske Media Corporation (PMC) subsidiary and joint venture between PMC and Eldridge. PMC is the parent company of Billboard.

For more, visit www.streamys.org.

CREATOR OF THE YEAR 

Airrack

Alix Earle

Charli D’Amelio

Jay Shetty

JiDion

Logan Paul

Mikayla Nogueira

MrBeast – WINNER

Ryan Trahan

Zach King

SHOW OF THE YEAR      

AMP 

BRYCE • Brandon Rogers 

Challenge Accepted • Michelle Khare – WINNER

Chicken Shop Date • Amelia Dimoldenberg

Good Mythical Morning

Hot Ones • First We Feast

I spent a day with • Anthony Padilla

RDCWorld 

Sam and Colby 

UNHhhh • WOWPresents

STREAMER OF THE YEAR             

Emiru 

HasanAbi 

Ironmouse 

IShowSpeed 

Kai Cenat  – WINNER

Ludwig 

Quackity 

tarik 

Valkyrae 

xQc 

INTERNATIONAL             

Enaldinho (Brazil)

Gaules (Brazil) 

ibai (Spain)  – WINNER

Khaby Lame (Italy)

Mikecrack (Spain) 

SHORT FORM                   

the cheeky boyos

Chris Olsen  – WINNER

Connor Price 

Elyse Myers 

Rich Black Guy 

INDIVIDUAL AWARDS:

BREAKOUT CREATOR    

Alix Earle 

Drew Afualo 

Dylan Mulvaney  – WINNER

Jake Shane • octopusslover8 

Keith Lee 

BREAKOUT STREAMER  

Agent00

ExtraEmily

Fanum – WINNER

filian

Shylily

COLLABORATION 

albert_cancook, Chef Rush • Protein Burrito with The Big Man Chef Rush

Cleo Abram, Marques Brownlee • Quantum Computers, explained with MKBHD

Cooking With Lynja, Nick DiGiovanni • Japan Vlogs

Haley Kalil, Jared Leto • In this economy

MrBeast, Dwayne “The Rock” Johnson • Surprised he didn’t pick rock every time – WINNER

CREATOR FOR SOCIAL GOOD 

Beast Philanthropy

DrLupo • St. Jude Children’s Research Hospital

Invisible People – WINNER

jacksepticeye • World Central Kitchen

MrBallen • MrBallen Foundation

CREATOR PRODUCT      

BÉIS • Shay Mitchell

CrunchLabs • Mark Rober

Feastables • MrBeast

POPFLEX • Blogilates

PRIME • Logan Paul x KSI – WINNER

CROSSOVER     

Hailey Rhode Bieber

Jonas Brothers  – WINNER

Kate Hudson 

Lili Reinhart, Camila Mendes, Madelaine Petsch • blondebrunetteredhead

Paris Hilton 

FIRST PERSON                  

Airrack

BENOFTHEWEEK 

Danny Duncan 

Ryan Trahan  – WINNER

Safiya Nygaard

JUST CHATTING               

HasanAbi

Kai Cenat

Quackity – WINNER

xQc

YourRAGE 

VARIETY STREAMER      

Emiru 

IShowSpeed  – WINNER

LIRIK 

Ludwig

Valkyrae

VTUBER

filian

Gawr Gura – WINNER

Ironmouse

Jaiden Animations

shxtou

MUSIC AWARDS:

ROLLING STONE SOUND OF THE YEAR   

Area Codes • Kaliii 

Boy’s a liar Pt. 2 • PinkPantheress, Ice Spice

GOATED. • Armani White

Here With Me • d4vd 

In Ha Mood • Ice Spice 

Made You Look • Meghan Trainor – WINNER

Players • Coi Leray 

Pretty Girls Walk • Big Boss Vette

Unholy • Sam Smith, Kim Petras 

What It Is • Doechii 

SHOW AWARDS:

PODCAST            

Call Her Daddy

H3 Podcast

IMPAULSIVE

On Purpose with Jay Shetty – WINNER

The Yard

SCRIPTED SERIES

BRYCE • Brandon Rogers  – WINNER

Dhar Mann

The Game Theorists 

Ginormo! • Steven He 

RDCWorld

UNSCRIPTED SERIES      

Challenge Accepted • Michelle Khare

Chicken Shop Date • Amelia Dimoldenberg

Hot Ones • First We Feast 

I spent a day with • Anthony Padilla

Sam and Colby  – WINNER

SUBJECT AWARDS:

ANIMATED

Haminations

HELLUVA BOSS • Vivziepop  – WINNER

Jaiden Animations

The Land of Boggs 

MeatCanyon

BEAUTY

Brad Mondo

colleen.makeupp 

Mikayla Nogueira – WINNER

MissDarcei

NikkieTutorials

COMEDY             

DeMarcus Shawn 

Kris Collins 

Lucas Lopez 

The McFarlands 

RDCWorld  – WINNER

COMMENTARY                

Chad Chad 

D’Angelo Wallace 

Danny Gonzalez 

Kurtis Conner 

penguinz0 – WINNER

COMPETITIVE GAMER  

iiTzTimmy

Scump 

tarik

TenZ – WINNER

Typical Gamer 

DANCE                

Cale Brown 

Enola Bedard – WINNER

Matt Steffanina

Merrick Hanna

yoolwxnder 

FASHION AND STYLE     

Gunnar Deatherage

Kenz Lawrén

Max Alexander 

Mina Le

Wisdom Kaye – WINNER

FOOD 

Alexis Nikole 

Chef Reactions 

Cooking With Lynja

Nick DiGiovanni – WINNER

Nigel Ng 

GAMER               

Aphmau

Caylus 

Dream – WINNER

Markiplier

TommyInnit

HEALTH AND WELLNESS

Austen Alexander

Doctor Mike

Dr Julie – WINNER

HealthyGamerGG 

LeanBeefPatty

KIDS AND FAMILY 

Brittikitty 

Gracie’s Corner 

Ms Rachel  – WINNER

Rebecca Zamolo

Recess Therapy 

LEARNING AND EDUCATION      

Big Weird World

Colin and Samir

TierZoo – WINNER

Tom Scott

Veritasium

LIFESTYLE  

AMP  – WINNER

Bretman Rock 

Charli D’Amelio

Kara and Nate

Sofia Richie Grainge 

NEWS

Brian Tyler Cohen

Gay News • Josh Helfgott

HasanAbi – WINNER

The Philip DeFranco Show

Task & Purpose 

SCIENCE AND ENGINEERING      

Allen Pan 

Hacksmith Industries 

I did a thing – WINNER

Mark Rober

techjoyce

SPORTS               

Deestroying

Duke Dennis 

Good Good Golf

Jesser – WINNER

Olivia Dunne 

TECHNOLOGY                   

iJustine

Linus Tech Tips

Marques Brownlee – WINNER

Mrwhosetheboss

Supercar Blondie 

CRAFT AWARDS:

CINEMATOGRAPHY       

Ashley Xu

Cole Walliser 

Lyrical Lemonade

Recider  – WINNER

Will Freeark 

EDITING              

Cooking With Lynja

Jet Lag: The Game 

Kelly Wakasa 

Savanah Moss 

Yes Theory  – WINNER

VISUAL AND SPECIAL EFFECTS                  

Buttered Side Down

Corridor Crew

Justin Yi 

SoKrispyMedia

Zach King – WINNER

WRITING                                         

CalebCity 

Dami Lee 

Josh Zilberberg 

Leo González – WINNER

Petey 

BRAND AWARDS:

STREAMYS BRAND AWARDS: AGENCY OF THE YEAR   

BENlabs  

Content+

kvell

Reach Agency – WINNER

Whalar

STREAMYS BRAND AWARDS: BRAND ENGAGEMENT   

Dumb Ways to Die • PlaySide Studios

Feastables • MrBeast

No Drone? No Problem! • Insta360  – WINNER

Subs for Subs • Jersey Mike’s x TSM

SweeTARTS Film Fest on TikTok • SweeTARTS x Content+ 

STREAMYS BRAND AWARDS: BRAND OF THE YEAR     

Barbie • Mattel – WINNER

Chipotle Mexican Grill

Insta360

Old Spice • Procter & Gamble

Prime Video • Amazon 

STREAMYS BRAND AWARDS: BRANDED SERIES

A Style Is Born • Wayfair x Made In Network 

LIVE@4:25 • Totino’s Pizza Rolls x the cheeky boyos, Flighthouse, Content+ – WINNER

Plot Pitch • Prime Video

Real People, Real Stories • AARP

Who Wore It Best • Netflix x Harry Jowsey

STREAMYS BRAND AWARDS: BRANDED VIDEO                 

ASMcaR • Nissan x Donut – WINNER

Give Odor The Bird • Old Spice x SypherPK x United Esports

My poor friend • Photoshop Express x beeveekee

Wait for it #corn • Chipotle Mexican Grill

When u meet her dad and Old Spice saves the day • Old Spice x Adam W 

STREAMYS BRAND AWARDS: INFLUENCER CAMPAIGN

#heinzmasterz • Heinz x Whalar 

Blasting to the Top • Gel Blaster x BENlabs  – WINNER

Chainsaw Man Viewing Party • Chainsaw Man x Crunchyroll

DiGiorno Made Us Do It • DiGiorno x Reach Agency 

Nebula • Standard

STREAMYS BRAND AWARDS: SOCIAL IMPACT CAMPAIGN

Barbie You Can Be Anything Series • Barbie x Mirrored Media 

Loot for Good • Call of Duty Endowment x Activision 

Play by the Rules • International Committee of the Red Cross x PopShorts  – WINNER

Real Recipes for Real Change • Chipotle Mexican Grill x The Farmlink Project x Nick DiGiovanni

The ReTok Shop • Nature Valley x Content+ 

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Pop artists Meghan Trainor and the Jonas

CINEQUEST FILM FESTIVAL 2023 REVIEW! Ghyslain Raza, aka “The Star Wars Kid,” was the unwilling star of one of the Internet’s first viral videos. What started as a school project quickly brought the young Ghyslain hundreds of millions of views and a vulnerable experience with Internet culture in its infancy. Most of us have probably seen the video at some point, whether it was being homaged on South Park, riffed by talk show hosts, as a plot point on Arrested Development, or maybe even the original video from 2003. But, millions of viewers did not see the story behind the viral video, Ghyslain’s story. Star Wars Kid: The Rise of the Digital Shadows reveals the untold story behind the infamous “Star Wars Kid.” 

Ghyslain’s story begins with a simple video he made to help his friend in an AV class at high school. Without Ghyslain’s knowledge, his classmates posted the video online, making it ground zero for one of the most recognizable memes in Internet history. Instant stardom and heavy rejection follow Ghyslain as the video transports him from everyday life into a world of cyberbullying and unwanted fame. Now 20 years removed from the original post, Ghyslain seeks to create a dialogue of empathy in the age of social media.

“…the untold story behind the infamous ‘Star Wars Kid.’“

Star Wars Kid perfectly captures the early Internet ethos that thrust “the Star Wars Kid” to screens worldwide. The documentary enlists a gallery of pop culture gurus, meme historians, and internet experts to analyze the significance of the Star Wars Kid meme and the broader Internet culture in the early 2000s. Director and Co-writer Mathieu Fournier clearly understands cyberculture from a modern and historical sense, weaving the film’s themes as relevant in 2023 as they were in 2003.

Fournier and Ghyslain discuss each theme of the documentary with passion and empathy. The pair seek conversation over lectures diving into cyberbullying, Internet safety, and consent in the age of social media. Each topic is handled well, though with so many themes hitting at once, sometimes the film’s structure gets a little lost in the shuffle. Ghyslain’s back-and-forth with students in a classroom is great for setting up themes but does not deliver the same nuance as his other conversations in the film. Despite the few hangups, the message of creating a better generation of digital citizens is evident throughout the documentary, climaxing with poignant clarity.   

Ghyslain’s goal is to help the world reflect on ourselves as people and who we are online. Star Wars Kid shows the highs and lows of self-reflection, featuring Ghyslain’s joyous acceptance by the nerd community at Comic-Con to the intense rejection of the comment sections in the web’s dark corners. Those looking for a fun stroll down memory lane through the filter of the young Internet should look elsewhere. However, those wishing to reflect and learn the unseen story of the Star Wars Kid will have plenty to gain from this insightful documentary. 

Star Wars Kid: The Rise of the Digital Shadows screened at the 2023 Cinequest Film Festival.

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CINEQUEST FILM FESTIVAL 2023 REVIEW! Ghyslain Raza, aka “The

The home hex has finally been lifted.

Canadian quarterback Tre Ford threw for 317 yards, a touchdown and ran one in himself as the Edmonton Elks ended a massive drought and finally got a win at home, defeating the Ottawa Redblacks 30-20 on Sunday.

“We did what we had to do, it certainly wasn’t pretty. But we did what we had to do to win the football game,” said Elks head coach Chris Jones.

“Tre’s given us a spark, he played some really good football. He accounted for nearly 400 yards of offence, he’s taken care of the football, didn’t have turnovers. That’s probably one of the biggest indicators that the offensive line’s playing at a high level right now.

“We ran the ball decently, effectively and we’ve played pretty good defence for the most part.”

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Ford also ran for 74 yards as the Elks snapped an horrific 22-game losing streak at home, the longest in North American professional sports history.

Major League Baseball’s St. Louis Browns, who lost 20 straight in 1953 before becoming the Baltimore Orioles the following season, previously held the record.

The Elks had not won at home since Oct. 12, 2019. It was their first win at Commonwealth Stadium since changing the team name from the Eskimos.

“Yeah, that’s definitely been a long time, it was definitely overdue,” Ford said. “It was pretty good, I thought we executed offensively. Lots of running around for me, not a ton of stuff on timing, but sometimes it turns out like that. I mean, a win’s a win.”

After going 0-9 to start the CFL season, the Elks have now won two straight.

The Redblacks have been going the other direction of late, losing five in a row to fall to 3-8.

“It was obviously a very frustrating loss,” said Redblacks head coach Bob Dyce. “I don’t know that we won the battle in any of the phases today. Any loss we take very hard, no matter what the situation. So this is very, very disappointing.

“We dug this hole ourselves and now we have to make a way to climb out of it. We still have a lot of games against the East and we are going to do exactly that.”

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After a lacklustre first quarter which only saw Ottawa register a punt single, the Elks drew the first significant blood of the contest when quarterback Ford called his own number and scampered eight yards into the end zone for the touchdown a minute into the second frame.

The Redblacks responded with a 46-yard Lewis Ward field goal on their next possession.

Edmonton got those points back when Dean Faithfull booted a 17-yard field goal with three minutes to play in the second.

Ward added a single off a missed 34-yard field goal.

Edmonton was able to add to its lead with a dynamic play late in the first half as Ford threw it deep to Eugene Lewis, who won a jump ball with defender Brandin Dandridge and kept his footing before taking it all the way to the end zone for a 66-yard touchdown and a 17-5 Elks lead at halftime.

Ford, a University of Waterloo grad, came out of the dressing room to start the third quarter still firing on all cylinders, completing a 68-yard bomb of a pass and run to Gavin Cobb down to the three, setting up a short-yardage TD plunge by backup QB Taylor Cornelius.

Ottawa once again chipped away at the lead with a 53-yard field goal by Ward, before Faithfull responded with a 38-yarder for Edmonton.

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The Redblacks got their first major of the game to start the fourth as QB Dustin Crum handed it off to Devonte Williams and he slipped a sure tackle and ran 23 yards for the touchdown. The two-point convert attempt failed.

Faithfull added a 29-yard field goal to Edmonton’s total with three minutes to play.

Ottawa tightened up the score with a minute remaining as Tyrell Pigrome scored on a one-yard QB keeper. However, the two-point convert attempt once again failed.

“It is tough, especially how we have lost some of them, the manner that we have lost them,” Crum said of the five-game losing skid. “It is hard, but we have a lot of fighters in our locker room, guys who are going to bounce back.

“We are going to use this bye week to come back fresh and ready to go.”

NOTES

The Redblacks won the previous meeting between the two teams 26-7 in Week 4 in Ottawa … The two squads came into the contest having allowed the most net yards per game, with Edmonton sitting last in the CFL at 392.6, followed by Ottawa at 377.8 … The Elks added legendary receiver Terry Vaughn to the Edmonton Wall of Honour. Among his many accomplishments, Vaughn was the first player in CFL history to eclipse 1,000 career receptions and set a CFL record for 1,000-yard receiving seasons with 11 … The Elks gave out free tickets to those affected by the wildfires in the Northwest Territories.

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UP NEXT

The Redblacks are on a bye week. The Elks take on the Stampeders in Calgary on Labour Day Monday.

By Shane Jones, The Canadian Press

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The home hex has finally been lifted. Canadian




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Image Credit: TLC

Kody Brown and Christine Brown met face-to-face for the first time since she moved away on the season 18 premiere of Sister Wives, and their conversation continued on the Aug. 27 episode. Kody admittedly “didn’t want to be” at the lunch with Christine, and flat-out told her he still had “anger issues” over the end of their relationship. “Christine, herself, her face, doesn’t bother me,” Kody explained. “It’s what she’s doing with our children, talking [to them] behind my back about the reason she left.”

Christine continued to defend herself against Kody’s claims that she was trying to pit the kids against him. “That’s not true,” she insisted. “I am their sounding board. They get to talk to me about things that are hard and I listen.”

kody brown
Kody Brown on the Aug. 27 episode of ‘Sister Wives.’ (TLC)

The exes also had different viewpoints about why their marriage fell apart. Christine felt that Kody became distant when he married his fourth wife, Robyn Brown, in 2014. She admitted that it felt like Robyn was the “favorite” wife because Kody spent most of his time with her. Kody did not agree with this opinion.

“I’ve thought about doing breakup counseling with you,” he told Christine. “Like, let’s get to a place where we can be functional. I gotta get to a place where I don’t hate you so I don’t speak bad about you to my children.” Christine said she was “fine” with doing counseling with Kody, but in a confessional, she admitted that she didn’t think it would ever actually happen.

kody christine brown
Kody and Christine Brown before their split. (Arlene Richie/Shutterstock)

“Kody’s been bringing up going to counseling and therapy for years,” she explained. “We’re not going to do it. I’m just going to flat out tell you, we’re just not going to. For years I cared. Whatever he needed, whatever he wanted…I wanted to be the best wife ever. Even when it didn’t matter to him. I would’ve done anything he needed me to do, but I’m done. I’m not going to do a thing for him anymore.”

Christine told Kody that she just wanted to get to a place where they could be friends, especially for the sake of their youngest daughter, Truely. Kody was more pessimistic about that happening. “I feel like I need to figure out how to forgive her, but am I ever going to trust her? Probably not,” he said. “There’s no way for me to enjoy her company.”

The episode was filmed ahead of Thanksgiving 2021. Kody and Christine split earlier that year and she moved away from him to live closer to some of her kids in Utah. Since then, Kody has also split from two of his other wives, Janelle Brown and Meri Brown.

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View gallery Image Credit: TLC Kody Brown and Christine Brown

Weak laws discouraged police from investigating a serial cyberstalker who was spreading nude photos of several women online

Madison Conradis, left, and her twin sister, Christine Messier, in Bradenton, Fla., on March 9, 2022. Each was victimized by someone posting intimate photos of her on the internet. (Eve Edelheit for The Washington Post)

A decade ago, Madison Conradis received an alarming message from a Facebook account she didn’t recognize: nude photos of the then-24-year-old were all over the web.

The photos of Madison, who was just starting a marketing job in Florida, were from behind the scenes of a shoot she had done in college — a blip in her former modeling and acting career. Any photos that showed her nude were not supposed to be public. She suspected that they had been obtained when the photographer’s proofing site probably was hacked a year earlier in a campaign targeting similar photographers’ portfolios. Now the photos along with her name and contact information were on 4chan, a lawless website that allows users to post anonymously about topics as varied as music and white supremacy.

“My heart dropped,” Madison said. “It’s scary thinking, ‘How did someone get these? Where did they get them? Who else are they sending these to?’”

Whoever was spreading the photos wanted more: Facebook users registered under fake names such as “Joe Bummer” sent her direct messages demanding that she send new, explicit photos, or else they would further spread the already leaked photos.

Some pictures landed in her father’s Instagram messages, while marketing clients told her about the nude images that came their way. Madison was at a friend’s party when she got a panicked call from the manager of a hotel restaurant where she had worked: The photos had made their way to his inbox.

After two years, hoping a new Florida law against cyberharassment would finally end the torture, Madison walked into her local Melbourne police station and shared everything. But she was told that what she was experiencing was not criminal.

What Madison still did not know was that other women were in the clutches of the same man on the internet — and all faced similar reactions from their local authorities. Without help from the police, they would have to pursue justice on their own.

Technology has raced ahead in the 10 years since Madison’s photos first appeared online, and artificial intelligence combined with social media has made it even easier for abusers to distribute intimate images on the internet without consent. But legislation to protect victims still falls short. Most of the 48 states and the District of Columbia that have laws prohibiting the nonconsensual distribution of intimate images, many passed in the past decade, require that victims prove that the distributors of their photos intended to harm them.

The Biden administration has recently pushed for further protections for victims of nonconsensually distributed intimate images. (The widely used term “revenge porn” has fallen out of favor since not all cases are motivated by revenge.) In late April, the White House held a meeting with legislators, survivors, and legal experts on the topic amid what a Pew Research Center survey shows are rising rates of severe forms of online harassment.

A bipartisan bill that Sens. Amy Klobuchar (D-Minn.) and John Cornyn (R-Tex.) introduced in February to combat the nonconsensual distribution of intimate images passed the Judiciary Committee in May. “One of the primary strengths of the bill is that it does not include intent to harm as an element of the offense,” said Mary Anne Franks, a professor at George Washington Law School and the president of the Cyber Civil Rights Initiative. The proposed legislation is based on a model federal statute that Franks developed in 2013.

These intent-to-harm requirements often prevent prosecutors from moving forward with cases, according to Danielle Citron, a professor of law at the University of Virginia. In her view, laws need to deter intimate-privacy violations, “and state laws with intent requirements are not serving that interest if cases aren’t brought.”

Although lawsuits can help victims fight back — a woman in Texas was just awarded $1.2 billion in a case against her former boyfriend — there is a downside to the civil route: a lack of privacy in public records if the court doesn’t allow the plaintiff to sue as a Jane Doe or John Doe (it’s up to the judge).

Franks, who welcomed the widespread adoption of state laws, said “a federal law would provide a uniform definition of the crime that would apply across jurisdictions, providing victims with an urgently needed, clear path to justice.”

Florida passed its sexual cyberharassment statute in 2015, making the online publication of sexually explicit images without the depicted person’s consent a misdemeanor — a felony for subsequent convictions — if intent to harm can be proved. And intent is hard to determine when victims do not know their harassers’ true identities. In Madison’s case, her harasser’s anonymity masked whether his intent was to cause her “substantial emotional distress,” a condition required by the statute in Florida, where Madison was living and working.

Even when the perpetrator can be identified, intention is hard to qualify. Who could say whether Madison’s tormentor was motivated by a desire to inflict pain or by his own sexual pleasure?

For Madison, the harassment continued to escalate after she went to the police, so she asked her twin sister, Christine, who had recently passed the bar exam, to help. But Christine, who had taken a particular interest in environmental law, knew almost nothing about cybercrimes. As she researched the issue, she realized how little the law could do to protect her sister.

Meanwhile, Madison felt embarrassment when meeting new people, knowing that they would see her nude photos if they looked up her name online. Still, in 2016, she let a man into her life, dating Jeffrey Geiger, whom she met through the company for which she works, which is affiliated with Geiger’s family business.

Geiger lived in Maine, so they traveled to see each other as much as possible. For Thanksgiving in 2016, they took a vacation to the Florida Keys. Madison tried to stay off social media during their trip, but she made an exception for one beachfront sunset. She posted a photo to Snapchat.

The next morning, she had a Facebook message from one of the accounts that had been harassing her: “You guys having a great time in the keys I see.”

Madison realized he must have seen her Snapchat post. She hurried to take a screenshot of the followers who had seen her story. There were 39 views. And the very last person who opened it was Christopher Buonocore, someone she knew from college.

Still, Madison wondered whether he could be her tormentor. A Snapchat view was far from proof.

By late 2017, Madison said, her relationship with Geiger was falling apart. She always kept watch for her photos resurfacing on 4chan, and it was around that time that Madison found more pictures, including some of Christine, being shared around the internet.

Geiger had helped Madison upload some of her modeling photos from CDs to Dropbox, according to a complaint Madison and Christine later filed in civil court. A few boudoir shots Christine had taken for her husband were in the mix. They were now online, along with sexual photos Madison had privately shared with Geiger. The twins alleged in their complaint that when they confronted Geiger, he admitted to contacting one of the accounts that had been harassing Madison. (In his response to the complaint, Geiger admitted to helping Madison upload photos to Dropbox but denied the other allegations.)

The anonymous marauder finally got the new photos for which he had been asking. And now he was targeting Christine, too.

Madison swiftly ended the relationship, according to the complaint. Geiger left a handwritten note for Christine, a copy of which she included in the court records: “I am an idiot and don’t deserve your sister. I’m not asking you to forget or look past what I did. I’m just hoping one day you’ll forgive me. … I swear on everyone I love that I was only trying to help.”

They reported Geiger to his local police department in Lewiston, Maine, but then-Assistant District Attorney Lisa Bogue decided not to prosecute, according to a police report, citing “one key element missing from the case against Geiger.” That was malicious intent. The report said Geiger had emailed Madison to say he “only wanted to send the photos to the male in New York to gain his trust and obtain more information.” Bogue declined to comment.

In closing the investigation, the reporting officer wrote: “It does not appear Geiger intended to harass, torment or threaten either [sister].” Geiger declined to comment when reached by phone.

With the help of a lawyer, Madison and Christine were able to get some of the images removed from 4chan using copyright takedown requests, a method suggested by the Cyber Civil Rights Initiative. But without police assistance — and, also crucial, proof of who was spreading the images and for what reason — they could not hold anyone criminally accountable.

Clues across the internet

In September 2018, the sisters filed a lawsuit against Geiger and a “John Doe,” claiming invasion of privacy, intentional infliction of emotional distress and other torts.

Their primary goal was to open discovery, allowing them to subpoena 4chan and internet service providers for IP addresses and contact information to expose their John Doe.

The sisters also continued their investigation outside of court while they waited for their subpoenas to be answered. They tracked their harasser across the internet, looking for recurring Kik Messenger usernames he shared on 4chan to solicit more photos of victims and for patterns in punctuation — for example, abundant ellipses between clauses but no periods at the end of long paragraphs. It looked like the same 4chan user was sharing images of four other women, too. When Madison and Christine looked up those women on Facebook, they saw they all had one connection in common — Chris Buonocore.

She remembered him as an awkward guy from Long Island, always wearing a Yankees hat over his moppy brown hair. He attended the Florida Institute of Technology with Christine and was a member of the same fraternity as Christine’s future husband, Dana Messier. Madison played softball at the nearby Brevard Community College, so Christine, Dana and some of Dana’s fraternity brothers — including Buonocore — would drive up to watch the games.

Madison and Christine felt immediate relief, followed by a sickening realization: At the height of his harassment campaign against Madison, Buonocore had attended Dana and Christine’s wedding in March 2017.

It was a massive affair with hundreds of family members and friends, including Dana’s fraternity brothers from his graduating class. It did not occur to anyone that, as Madison stood up and sang a parody version of Taylor Swift’s “Love Story” for her maid-of-honor toast, the man who had caused her years of agony was in the audience, watching. “I never even had interactions with him at their wedding at all, but he was definitely there,” Madison said.

The sisters were hesitant to contact the other victims. They did not know whether any of them had strong loyalties to Buonocore. But in spring 2019, Christine decided to make contact.

One was Buonocore’s ex-girlfriend, who had been enduring his sexual harassment since 2013, according to a plea agreement later signed by Buonocore. She filed a report in 2016 in Osceola County, Florida, saying that an unknown person had posted on 4chan nude photographs she had taken for a weight-loss program and kept on her laptop, but the report does not say whether the poster was ever identified.

Another of the women was one of Buonocore’s relatives. In 2016, when she was 14 years old, Buonocore shared photos of her in her school uniform on 4chan, asking others for advice on how to trick her into sending him nudes, according to the plea agreement. He repeatedly expressed wanting to have sex with her, according to the plea agreement. In one post, he wrote, “I have a strong desire to watch [her] get raped,” and he offered to pay someone to do it, the plea agreement said.

The third victim was a childhood friend of Buonocore’s from New York. Although she was now an adult, he had somehow obtained an old photograph of her bare chest that she had sent to a boyfriend when she was just 15, the plea agreement said. Buonocore spread it online, and she started receiving text messages demanding that she “cooperate,” then phone calls from strange voices saying things like “you have on a nice blue sweater,” leading her to believe someone was following her, according to the plea agreement.

Thanks to his trademark punctuation, this woman figured out in late 2016 that Buonocore was behind the posts. After she confronted him and he confessed — and after Buonocore’s brother assured her his family would address the problem — she decided not to press charges, according to screenshots of Facebook messages that she shared with Christine.

The fourth woman was Buonocore’s ex-fiancée in New York. After they split up, he started posting intimate photos of her, which she learned about when Christine contacted her, according to the plea agreement.

(These women are unnamed in court records. To protect their privacy, The Washington Post is not naming them.)

With these developments, Madison and Christine again tried going to law enforcement, this time where Buonocore lived, Suffolk County, New York. But Christine said the police expressed doubt over the illegality of his actions.

“Offenders who share intimate photos without the subject’s consent cause far-reaching trauma. The Suffolk County Police Department considers these cases important and handles them with the utmost care for the rights of the victim,” said Suffolk County spokesperson Dawn Schob.

“The victim in this case, who was not a resident of Suffolk County, was advised to report the incident to the local law enforcement agency that had jurisdiction to open a criminal investigation,” Schob said. However, in 2019, a Suffolk County officer told Christine that the county would have jurisdiction if the photos were posted to the internet from there.

Some officers told Christine she should not have had the photos taken at all. Now well-accustomed to the judgment that came with having her intimate pictures stolen, she says she deployed a quick rebuttal: “Your wife doesn’t send you nudes? That must be so sad for you.”

Undeterred, Christine prepared a 59-page document mapping the entire case with evidence and relevant statutes in each of the victims’ jurisdictions. She sent the document to all the women involved, and each showed up at her respective law enforcement offices, dropped the packet in front of investigators and demanded a criminal investigation.

They were finally making progress. The sheriff in Florida’s Manatee County, Christine’s locality, passed the case up to federal investigators. And in July 2019, the FBI took over on behalf of all six women on the basis of the evidence of interstate cyberstalking that Christine had compiled.

Madison and Christine still had their civil case open. In spring 2020, they received the contact information corresponding to the poster’s IP addresses from the internet service providers, confirming what they already believed. In April, they amended their civil complaint to replace “John Doe” with the name Christopher Buonocore.

Buonocore’s lawyers did not respond to requests for comment. Buonocore never responded to the civil complaint.

The civil case had essentially done all it could. The sisters unmasked Buonocore. But once that happened, he filed for bankruptcy, and Madison and Christine did not expect to be able to collect damages from him.

Eventually, the sisters settled with Geiger for an undisclosed amount, according to court records. The presiding judge granted default judgment against Buonocore, since he never filed a response in court, ordering him to remove and destroy the images of Madison and Christine.

Criminal charges, meanwhile, were underway.

‘Not a typical cyberstalking case’

The U.S. attorney for the Middle District of Florida took action at the end of December 2020, but without a federal law criminalizing the nonconsensual distribution of intimate images, she charged Buonocore with six counts of cyberstalking instead, which can apply to some cases involving interstate communication done with the intent to kill, injure, intimidate, harass or surveil someone. He pleaded guilty to all counts the following January.

But Madison said she worried that the judge would go easy on Buonocore at sentencing. If the local police response was any sign, they thought, Buonocore could get away without much more than a scolding.

In November 2021, Madison stood at the front of a Tampa courtroom and delivered a statement at Buonocore’s sentencing. She described Buonocore’s reposting his victims’ photos thousands of times. She spoke of her pain and of the senselessness of his actions. “Someone you love could have been his target,” she said to U.S. District Judge Thomas Barber.

Sextortion cases rarely go so far in the courts, and this one was especially foreign to Barber. “I don’t do any of this stuff. I don’t even have Facebook,” he said. The case was further complicated by the fact that Buonocore was charged with cyberstalking, but his actions went beyond that. “This is not a typical cyberstalking case at all,” the judge said.

Buonocore had asked Barber to consider his guilty plea, his otherwise clean record and what he said was his need for mental health treatment. He was seeking a sentence below a minimum guideline of 41 months.

Barber sentenced Buonocore to 15 years in federal prison — almost four years more than the prosecutor had requested. Madison triumphantly let out an expletive that broke the tension in the courtroom. (Buonocore is appealing from prison.)

But as Madison and her sister left the courthouse, they realized that full closure would be impossible.

Buonocore’s four other victims were granted privacy in the public record — something Madison would have had if only investigators had helped her from the beginning. By launching a civil case, Madison and Christine removed Buonocore’s shroud at the cost of their own anonymity.

The case will show up if someone searches for their names on the internet, and even though Buonocore was imprisoned and most of the photos were removed, they had already been shared thousands of times by Madison’s count. Untold people have seen them and maybe downloaded them to post again at any time. Madison knows she will always have to live with what Buonocore did. “We want to use this to raise awareness and help people,” she said. “All this pain has to have a purpose.”

correction

A previous version of this story indirectly said the bill from Sens. Klobuchar and Cornyn had not advanced out of committee. The bill passed the Judiciary Committee in May. The story has been corrected.

Additionally, a previous version of this story incorrectly said Mary Anne Franks is a professor at the University of Miami School of Law. Franks is a professor at George Washington Law School. The story has been updated.

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Weak laws discouraged police from investigating a

Chinese crime action film “No More Bets” headed the mainland China box office for the fourth consecutive weekend, cementing its place as one of the biggest films in the world this year.

Between Friday and Sunday, it earned $33.5 million (RMB241 million), according to data from specialist consultancy firm Artisan Gateway. Global data provider Comscore ranked that as the third highest performance of the weekend anywhere in the world, narrowly behind “Barbie’s” $35.3 million.

The latest increment advanced “No More Bets’” cumulative score to $469 million (RMB3.37 billion).

“Papa,” a comedy about parental efforts to improve their son’s education, held an unchanged second place in its second week. It earned $14.9 million over the weekend, a 37% week-on-week decline that gives it a 10-day cumulative of $59.2 million. The film is produced by comedian Huang Bo, who also stars. Huang appears in two of this year’s other hits, “Creation of the Gods” and “One and Only.”

“Creation of the Gods I: Kingdom of Storms,” which released more than a month ago, proved its resilience again. In third place in its sixth weekend, it earned $14.9 million. That gives it a cumulative of $338 million.

Giant screen provider, Imax reported that, within those weekend scores, “Creation of the Gods” earned $1.4 million at its venues, for an Imax sub-total of $34.4 million, and that “No More Bets” scored $830,000 for an Imax sub-total of $12 million.

The highest-ranked new release film in China was “Heart’s Motive,” which scored $4.9 million (RMB 35.5 million) in fourth place. It stars Huang Xiaoming as a whistleblower lawyer who seeks a comeback.

“The Woman in the Storm,” which released on Aug. 17, climbed to fifth place over the latest weekend. It earned $3.8 million (RMB27.1 million) for an 11-day cumulative of $16.8 million (RMB121 million).

(Narrowly outside the top five in China, “Meg 2: The Trench” earned $1.3 million for a China cumulative of $120 million. Comscore calculated that the China-U.S production earned $20.3 million planet-wide this weekend and now has a global total of $353 million, with $74 million of that coming from North America.)

After nine consecutive weekends with China’s nationwide box office clocking in at more than $100 million, the latest weekend fell to $81.9 million, suggesting that the summer season may now be coming to an end and that a shakeup is in prospect.

The next days will see the releases of “Oppenheimer” (on Wednesday, with Imax screens among the mix) and “Gran Turismo” (on Friday), as well as Chinese suspense-romance “Everything Is Unknown” and art-house title “Ripples of Life.” Advanced ticket sales suggest that “Oppenheimer” could lead the chart.

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Chinese crime action film “No More Bets”

Warning: The following contains spoilers for “Telemarketers” on HBO.

The HBO docuseries “Telemarketers” runs its third and final episode Sunday, bringing to a close one of the most unexpected onscreen journeys in recent memory — from the hard-partying offices of a shady New Jersey call center to the office of a sitting U.S. senator.

Directed by Sam Lipman-Stern and Adam Bhala Lough, the series exposes what’s really behind those seemingly endless phone calls asking for money for various charities, many involving legitimate-sounding police organizations.

Lipman-Stern began working at a phone center as a high-school dropout in the early 2000s, placing fundraising calls for sketchy charities while working for a company called Civic Development Group, or CDG. Very little of the money from those telemarketing calls went to actual charities, though: Upward of 90% went into CDG’s coffers instead.

And as long as employees were bringing in money, they could do whatever they wanted. When Lipman-Stern started bringing a camcorder to work, he captured video of people drinking, doing drugs, pulling pranks and more, all while making lots and lots of fundraising calls.

One of his co-workers was Patrick J. Pespas, who was seen as a telemarketing legend for his ability to land donations even as he nodded out from heroin use. It was Pespas who encouraged Lipman-Stern to turn his camera on the company itself and explore how deep these scams went.

Pretty deep, as it turned out.

In the course of the three-episode series, Lipman-Stern and Pespas transform themselves into a dirtbag Woodward and Bernstein, unraveling how the world of telemarketing really works — until sometime in the early 2010s, when Pespas abandoned Lipman-Stern and the project. Lipman-Stern subsequently moved to Los Angeles, where he worked various jobs, including as a videographer shooting weddings, bar mitzvahs and foot fetish videos. Years went by, but his days at CDG and his time with Pespas always lingered in his mind.

“I was always kind of obsessed with the story. I would have dreams about telemarketing, about being back in the CDG office,” said Lipman-Stern. “I always obsessed over it becoming something. When Pat disappeared, it kind of stopped. I always thought maybe one day, maybe before I die, something has to come out, someone’s got to see this stuff. Because it was just so wild.”

Sam Lipman-Stern in “Telemarketers.”

(HBO)

It was during that break in the project when Lipman-Stern reached out to Bhala Lough, a cousin he didn’t really know who is a documentary filmmaker. The footage of CDG and the investigation of telemarketing scams was intriguing to Bhala Lough, but it was the people, the characters, that really made it special. Bhala Lough had a deal with David Gordon Green and Danny McBride’s production company Rough House Pictures; they came on as executive producers.

Bhala Lough in turn took the project to “Uncut Gems” filmmakers Josh and Benny Safdie. Bhala Lough was initially thinking of them to direct the project — they had previously made the documentary “Lenny Cooke,” which was similarly rooted in archival footage — but they instead also signed on as executive producers through their company Elara Pictures.

It was Safdie who struck on the three-episode structure. The first is rooted most deeply in Lipman-Stern’s old footage of the party days at CDG. The second follows Pespas and Lipman-Stern’s investigation of CDG and a string of imitators that popped up after the Federal Trade Commission shut down the company in 2009, using their research as a lens on the persistent, ever-evolving realm of telemarketing scams. Sunday’s finale, made up mostly of footage shot since production reconvened in 2020, finds Lipman-Stern reunited with Pespas to finish the job.

“We ended up honing in on the buddy movie trope because Pat was such a great character. And Sam was obviously the Robin to his Batman,” said Bhala Lough. “And then the goal was, can we find Pat? When I came onto the project, Sam did not know where Pat was. He was like, ‘The last I heard, Pat was pumping gas on the New Jersey-Pennsylvania border.’ And I was like, ‘Really? That’s awesome. Let’s go find him.’”

Once they found Pespas, they were relieved that he was in a good place, sober and caring for his ailing wife. And he was all in on picking up their investigation right where they’d left off years before.

“You see how happy he is on these investigations,” said Safdie. “The best moment is when his wife says to him, ‘You’re happy, right?’ And he’s like, ‘Oh, it’s the best.’ That little crack and you’re just like, ‘Oh, my God. This is so unbelievable for Pat.’

“The fact that the documentary has to deal with Pat makes you feel really close to him, and then you trust him too,” said Safdie. “You feel like it’s really good for him to do this, and you’re rooting for him.”

In the intervening years, many telemarketing companies had moved from hustling money for charities to fundraising for political action committees, which are governed by even looser regulations. Among the most unnerving moments in the film is when one of the filmmakers receives a robocall during shooting in which the prerecorded voice on the other end of the line is from someone they know to be dead.

“The most surprising thing to all of us was how the scam had evolved in those eight years since we had given up on the investigation,” said Lipman-Stern. “It had evolved into something so much less regulated, so much more Wild West, so much more dystopian.”

Pespas makes for an eccentric detective. At one point, he refuses to get on a plane, causing the entire production to drive cross-country to make a scheduled interview. In another moment, equally heartbreaking and hilarious, Pespas approaches the national head of the Fraternal Order of Police at a convention, hoping to confront him about state and local FOP lodges’ involvement in phone solicitation scams. But Pespas calls the man by the wrong name and the potential interview slips away.

“We just let Pat be Pat,” said Lipman-Stern. “We’re letting it flow naturally, and we’re just documenting everything. I think that was the most important thing. Just document it. All right, he messed up the name. We’re not going to worry about it.”

“I always had this feeling that everything we were getting with Pat on camera was gold,” said Bhala Lough. “I never felt like this is a problem for the show… You see how human Pat is. He’s leading with his heart.

“There’s something beautiful about that, something poetic. Me coming in as the professional documentary filmmaker, I tried to stay out of the way as much as possible. Because what’s special about it is that they’re making this. If you were on CNN or whatever, and you said the guy’s name wrong, you’d be fired. But for me, it’s the exact opposite.”

A smiling man wearing a phone headset leans down in front of a 1990s computer monitor.

Patrick J. Pespas in “Telemarketers.”

(HBO)

The ostensible finale of the story comes when Pespas meets with Sen. Richard Blumenthal (D-Conn.), who has long championed efforts to take on the telemarketing industry. The meeting was in part facilitated by Ann Ravel, onetime chair of the Federal Election Commission and another interview subject in the film.

“When we first started out doing these interviews in Episode 1 with guys inside the [CDG] office, we didn’t know what we were doing at all,” said Lipman-Stern. “All the interviews that he had done kind of culminated in that moment with Sen. Blumenthal. I think that was Pat at his best. We were all really proud of him in that moment because he just came ready. To see his progression from where he started to where he is now, you can see it most in that interview.”

Pespas excitedly begins monologuing at Blumenthal, explaining all that they have uncovered in a breathless rush, as the senator looks increasingly bewildered by the man in front of him.

Blumenthal passes Pespas off to his staff, who in turn quickly end the meeting. A potential moment of action becomes something of an anti-climax. Except for the fact that Pespas and Lipman-Stern had made their way from a grimy New Jersey phone bank to a meeting with a U.S. senator. Regardless of the outcome, that’s an accomplishment in itself.

“We followed up with what they asked for, 80 pages’ worth of documentation of this scam and what we had discovered. We followed up a couple times and never heard back,” said Bhala Lough of the results of the meeting. “We were hoping Sen. Blumenthal was going to kind of vouch for Pat and help get him in front of Congress to testify about this stuff, especially the PAC problem.

“That was our goal. We weren’t just putting on airs or trying to make a scene,” said Bhala Lough. “Because every regulatory body we went to, and we went to all of them, the FTC [Federal Trade Commission], the FEC [Federal Election Commission], the FCC [Federal Communications Commission], the IRS, they all told us the same thing: ‘Congress needs to change the rules.’ We hope that happens. We hope the senator will call us up and be like, ‘I saw the show. Let’s talk.’”

In a statement to The Times, a spokesperson for Blumenthal wrote, “We consistently welcome information and complaints about wrongdoing and consumer abuse. Senator Blumenthal has a long record of leadership on this issue, and we will continue to call for accountability against scammers and telemarketers especially anyone who impersonates nonprofits and charities.”

“It’s the climax of this whole adventure, and it doesn’t end the way you think it should end. It’s like, ‘That kind of went way south,’” said Safdie. “You don’t know what to make of it.”

“Even though it didn’t go perfectly for a normal documentary, this kind of succeeds on the level that they were going to succeed,” he added. “And not only that. They made a movie about it, and now that’s going to do the work they wanted to do in the first place. It’s going to get people aware, and they’re going to start calling their senators and trying to change things. So they did do it.”

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Warning: The following contains spoilers for

A new trailer for My Adventures With Superman revealed a big Kryptonite twist in the show’s upcoming finale.

For those who might not know, Kryptonite is one of the few things in existence that weakens the Man of Steel. It’s an iconic part of both the character’s lore and pop culture as a whole.

Surprisingly, it didn’t appear until Episode 7 of the series, when Mr. Mxyzptlk dropped it off with Lois Lane. Fans have been wondering how the deadly gemstone would be making its way to Clark Kent, and now it’s been revealed.

Superman’s Kryptonite Twist Spoiled

A new teaser for the season finale of My Adventures With Superman spoiled the big twist between Kryptonite and Clark Kent.

In the very brief trailer, Clark can be seen picking up the orb given to Lois Lane by Mr. Mxyzptlk, after it falls from where Jimmy and Lois are standing.

DC

Once it’s in the hero’s hands, videos of other evil Supermen across the Multiverse start to play out in front of Clark, who watches in shock.

My Adventures With Superman
DC

Then, the orb opens, revealing the sinister green crystal hidden within, Kryptonite.

My Adventures With Superman, Lois Lane
DC

Unsurprisingly, the Kryptonite is quick to affect Clark, bringing Superman to the ground—oddly enough, it seems to hit particularly harder than other adaptations. 

My Adventures With Superman, Lois Lane
DC

The full teaser for the show’s finale can be seen below:

What’s Next for Kryptonite and Superman?

Ever since Lois Lane got the Kryptonite in Episode 7 of My Adventures with Superman, the show wanted audiences to think perhaps she would use it against Clark. Given their dynamic, it seemed clear that was never going to happen.

Instead, as everyone assumed, the green stone eventually made its way to Clark, where it was unintentionally used against him.

One can likely expect there’s some other twist ready to show itself. The world knows what Kryptonite is to Superman, so its whole interaction with him is nothing new—and surprisingly standard for a show that’s been extremely unique throughout its run.

Perhaps the other shoe set to drop will be in regards to Mr. M. After all, he did provide the deadly gem, maybe he’s watching from the sidelines, ready to jump in.

To what ends is unclear, but his involvement does beg for some resolution.

While Clark is just now being introduced to his stone allergy, odds are that by the end of the finale, someone else will get access to it. The two most obvious choices would be The General and Alex (who many believe to be a young Lex Luthor).

My Adventures With Superman is now streaming on Max.

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A leaked toy from Aquaman and the Lost Kingdom offered a look at Jason Momoa as the title character in DC’s sequel.

Aquaman 2 had a long road to travel towards its release date. After the original 2018 film earned massive success at the box office, Warner Bros. was quick to greenlight a sequel, but due to COVID-19 and production setbacks, Lost Kingdom suffered numerous delays.

Now, with the movie set to release at the end of 2023 (barring any further complications) the marketing campaign should kick off imminently. And with any superhero movie media push comes merchandise.

A new piece of leaked merch from Aquaman and the Lost Kingdom (via ActionToyNow on Instagram) showed the first promotional art of Jason Momoa’s title character Arthur Curry aka, Aquaman.

The Aquaman vs. Black Manta Battle Set from Spin Master showcased Momoa’s Aquaman brandishing his Atlantean trident in the top right-hand corner of the toy’s packaging:

Instagram

A zoomed-in view offers a closer look at the actor’s face in character. Curiously, Arthur’s irises appear colorless again as they were in Justice League, but they were not colorless in Aquaman, which was made after the 2017 team-up film.

Jason Momoa, Aquaman 2 action figure
Instagram

For comparison to footage from the actual movie, a screengrab from a DCEU sizzle reel released in 2022 can be seen below, featuring Aquaman in the forthcoming sequel.

Jason Momoa, Aquaman
Warner Bros.

The back of the box shows Curry fighting Black Manta (played in the movie by Yahya Abdul-Mateen II), who brings along a fearsome-looking submarine. Whether or not this vessel is actually seen in the sequel remains to be seen, but it wouldn’t be the first time a toy company produced a vehicle that wasn’t in the film.

Black manta submarine, Aquaman 2
Instagram

Could Aquaman 2 Get Pushed Back Again?

So, after suffering a year-long delay, could Aquaman and the Lost Kingdom fall victim to yet another release date setback? At this point, it’s difficult to say, as the situation is very fluid. 

Obviously, Hollywood is smack dab in the middle of two major work stoppages; the Writers Guild of America and the Screen Actors Guild have been on strike for some time, leaving film studios gun-shy about releasing their projects in theaters without the promotional backing of their stars.

The most recent word on Aquaman 2 is that it will hold to its December slot, but again, as the strikes drag on, things remain up in the air.

Currently, Aquaman and the Lost Kingdom is set to swim into cinemas on December 25.

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IRetrouk17m ago(Edited 14m ago)

He lies so much, and people just eat it up?
https://ibb.co/MZTqtWr
It’s gone from lower resolution to cutting game modes but calling them features, even though the series s was promised to do everything the x could do just at reduced resolution, and I’ll quote the original promise while im at it, you know, the one from the video ms removed from their youtube channel. “The same experiance and features, just at a reduced resolution”

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IRetrouk17m ago(Edited 14m ago)He lies so much,

The 2023 Streamy Awards honored the best in content creation on social media and Dylan Mulvaney took the trophy for Breakout Creator.

“I’m really shocked because I thought the only award I’d ever win was maybe a Tony Award but now I’m a musical theater gal with a Streamy,” the social media star said while accepting her award at the Fairmont Century Plaza Hotel in Los Angeles.

Mulvaney went viral after receiving backlash from conservative media over promoting Bud Light.

“532 days ago, I made a coming-out video that turned into my ‘Days of Girlhood’ series, and my life has been changed for the better,” she continued. “But on the flip side, there’s also been an extreme amount of transphobia and hate, and I know that my community is feeling it.”

Mulvaney ended her speech with a nod to the controversy saying, “I’m gonna go have a beer and I love ya.”

MrBeast took the Creator of the Year award while Michelle Khare won Show of the Year for Challenge Accepted. Other notable winners included Dream, Nick DiGiovanni and Leo González.

2023 Streamy Awards Winner List

Creator of the Year

MrBeast

Show of the Year

Challenge Accepted
Michelle Khare

Streamer of the Year

Kai Cenat

International

ibai (Spain)

Short Form

Chris Olsen

Breakout Creator

Dylan Mulvaney

Breakout Streamer

Fanum

Collaboration

MrBeast, Dwayne “The Rock” Johnson

Creator for Social Good

Invisible People

Creator Product

Prime
Logan Paul x KSI

Crossover

Jonas Brothers

First Person

Ryan Trahan

Just Chatting

Quackity

Variety Streamer

IShowSpeed

Vtuber

Gawr Gura

Rolling Stone Sound of the Year

Made You Look
Meghan Trainor

Podcast

On Purpose with Jay Shetty

Scripted Series

Bryce
Brandon Rogers

Unscripted Series

Sam and Colby

Animated

Helluva Boss
Vivziepop

Beauty

Mikayla Nogueira

Comedy

RDCWorld

Commentary

penguinz0

Competitive Gamer

TenZ

Dance

Enola Bedard

Fashion and Style

Wisdom Kaye

Food

Nick DiGiovanni

Gamer

Dream

Health and Wellness

Dr Julie

Kids and Family

Ms Rachel

Learning and Education

TierZoo

Lifestyle

AMP

News

HasanAbi

Science and Engineering

I did a thing

Sports

Jesser

Technology

Marques Brownlee

Cinematography

Recider — Nicholas Adams

Editing

Yes Theory — Thomas Dajer, Cam Peddle, Tristan Kevitch

Visual and Special Effects

Zach King

Writing

Leo González

Agency of the Year

Reach Agency

Brand Engagement

Insta360
No Drone? No Problem!

Brand of the Year

Barbie
Mattel

Branded Series

Live@4:25
Totino’s Pizza Rolls • the cheeky boyos • Flighthouse • Content+

Branded Video

ASMcaR
Nissan • Donut

Influencer Campaign

Blasting to the Top
Gel Blaser • BENlabs

Social Impact Campaign

Play by the Rules
International Committee of the Red Cross • PopShorts

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The 2023 Streamy Awards honored the best

Rockin’ Engine’s new EP “Altered By Evil” is not only a solid dose of full-throttled rock that will have your body moving, but it’s also a homage to some of the best horror characters and events. The third single from the recently released record is “Carnival of Evil” presented now in video form. Inspired by the works of Rob Zombie, they went all out in the production of this video with the help of Joe Lyko of Dark Moon Productions and Light is Art Studio. Vocalist and guitarist Steve O Leff enthusiastically shares details about it:

“Having spent almost our entire budget on the production of our EP and music video for Monsters Under Your Bed, we only had enough money left to shoot one more music video. So, we had to go out big, and with a bang! When we started brainstorming for the concept of our video, we came up with some absolutely crazy, and even disturbing ideas… so we decided to create them all! From a wheel of torture to a magician box, from fake silicone limbs to a rusty butcher cleaver, we built everything from scratch. Even the fake blood is corn syrup and water-based.”

The music for this song was written by lead guitarist Ste Vy Leff. At that time, vocalist Steve O Leff was watching Rob Zombie’s Devil’s Rejects and it occurred to him that Captain Spaulding, the evil clown character in the movie, would be absolutely perfect for the track’s subject matter. He draws a similarity between the traveling circus of the movie and Rockin’ Engine.

“They are ruthless yet charismatic, and they will stop at nothing to deliver a performance to die for!”

Those who get to check out one of their gigs can expect great chemistry and very contagious energy from all of them. They’re explosive in our playing and always go full throttle. The focus is never only on one musician, they all have their time to shine during live performances.

This piece is heavy, punchy, and catchy, and will satisfy the eyes and ears of any horror movie fanatic. It is recommended for fans of Lamb Of God, Gojira, and Metallica.

The band’s new EP “Altered By Evil” is available on Rockinengine.bandcamp.com (CD, Digital), Spotify, and Apple Music.

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Rockin’ Engine’s new EP “Altered By Evil”

There’s no stopping “Barbenheimer.”

On Monday, “Barbie” will overtake “Harry Potter and the Deathly Hallows Part 2” as the highest grossing global release in the history of Warner Bros. Over the weekend, it earned $18.2 million from 12,852 screens in 75 international territories, to push its worldwide gross to a smashing $1.34 billion. And it’s not done breaking records. It seems likely that “Barbie” will soon bypass “The Super Mario Bros. Movie” to become the top film of the year at the global box office.

And then there’s Christopher Nolan’s “Oppenheimer,” which is barreling towards the $800 million mark at the worldwide box office after earning $29.1 million from 7,555 screens in 82 territories. That’s giving the biopic about J. Robert Oppenheimer and the creation of the atomic bomb a massive $777 million worldwide gross — an astonishing figure for a somber R-rated drama. A debut in China looms on the horizon.

Sony’s “Gran Turismo” added $11 million to bring its global haul to just over $53 million. The racing adventure claimed the top spot at the domestic box office, earning $17.3 million, but it may end up surrendering the crown to “Barbie” when final figures are tallied.

“Meg 2: The Trench” added $15.2 million from 16,224 screens across 77 offshore markets. That brings its global gross to $352.5 million. Unlike other Hollywood films, which have struggled in China lately, “Meg 2” has gotten a big boost from the market, earning $112.9 million. Warner Bros. released the film about a primordial shark, as it did with “Blue Beetle,” an adaptation of a DC comic. The superhero adventure earned an estimated $10 million for the weekend in 71 offshore markets and on 10,421 screens.  Globally, the picture has earned $81.8 million, a disappointing result for a movie that cost more than $100 million to produce.

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There’s no stopping “Barbenheimer.” On Monday, “Barbie”

Well that was certainly a trip down memory lane last night. In case you missed it, Vice ran a retrospective on the Bachelor franchise during their “Dark Side of the 2000’s” series, which featured a ton of footage from the early seasons of the show, did a whole origin story of Mike Fleiss featuring old interviews, etc and even mentioned me unfortunately. I say unfortunately because they pulled up a quote from my old site that I’m just embarrassed about now. Granted, it was literally 20 years ago I wrote that and you know how much I’ve distanced myself in recent years from those writings. But still, it’s not fun to see. Whatever the case, the show covered a lot of stuff longtime fans of the Bachelor probably already knew, but to hear it directly from people involved kinda drives the point home even more. The crazy thing is 3 of the 6 people they interviewed the most of this show are former podcast guests of mine: Michael Carroll, Trish Schneider Cullins, and Lorenzo Borghese. Put it this way, this show does nothing to paint the Bachelor franchise in a positive light whatsoever. I mean, I guess that’s the whole point of the “Dark Side Of…” series Vice does, but yeah, it really makes the show look horrible and brings up a ton of the points I’ve been telling you about the show for years. Check it out if you can. It’s on the Vice channel as I’m sure it’ll repeat 1000 times. Not sure what streaming service it is on.

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


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Music written by Jimmer Podrasky
(B’Jingo Songs/Machia Music/Bug Music BMI)

So an update from the world of the Golden Bachelor. They’re already at hometown dates. Filming started Aug. 3rd, so it kinda makes sense 3 weeks later they’re at hometowns when you think of it. This was never going to be a 7 week filming process like the Bachelor/Bachelorette. And even though we don’t know if hometowns/overnights will be the same in terms of the amount of women who get them, I heard from the beginning it was gonna be about a month total of filming, this lines up. However, because the show has yet to release any of the women who are on this season, I can’t fill you in on who got these hometown dates. On Monday they were in Minnesota, so seemingly when the cast list comes out, if there’s only one woman from Minnesota, you can pencil her into the final four. They were somewhere else this past Saturday that I have a picture of, so, same goes for that woman. Should be in a different city today for another hometown, so I’ll update if I see/hear anything. And oh yeah, I’m hearing former MLB journeyman pitcher Dickie Noles ex-wife Susan is on this season. No idea how long she lasted or if she’s still there. So there’s that.

Quick update on Paradise: I’ll have more in the coming weeks, but since the first preview dropped on Monday, thought I’d address a few things:

-Obviously they showed 4 former leads in that preview in Charity, Hannah Brown, Katie, and Rachel. Well, 3 of those 4 are just down there to give advice/hand out a date card. Only Rachel is there to actually be a contestant on the show.

-The couple they show Jesse marrying on the beach is Kenny and Mari. Told you back in June I heard they were down there, but assumed it was just for another date card hand out. Well, now we know the real reason. I’m sure that was just a favor to production to do a “ceremony” down there, since their real wedding is set for this upcoming October or November.

-I told you weeks ago that Kat Izzo and John Henry Spurlock definitely left the show engaged and even showed you video of them together post filming in Virginia. Also showed you video footage of Aaron B. and Eliza in the Vidanta hotel post filming, so assumed they were a couple. I can confirm they also got engaged at the end of filming as well. Aven and Kylee are definitely seeing each other post-show as evidenced by their IG stories a couple weeks ago in Charlottle, but they are not engaged.

More to come in the upcoming weeks, but wanted to give you that for now.

“Reader Emails” begins on Page 2…






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Share Tweet Share Share Email Well that was certainly a trip down

Substitute “ears” for “eyes,” and “Can’t Take My Eyes Off You” still applies for much of the world when it comes to the music of Frankie Valli and the Four Seasons. It’s a dozen major hits from the ‘60s and ‘70s that remain foremost in the thoughts of pop fans, but the catalog of group and solo material goes much deeper than almost anyone who’s not a truly seasoned Valli fanatic would guess. How deep? Well, there’s a new Four Seasons boxed set, “Working Our Way Back to You — The Ultimate Collection,” that includes what feels about 400 seasons’ worth of material… 45 discs’ worth, to be precise.

Very few acts in music have gotten a boxed set this comprehensive, but then again, few have the kind of output that started out so prolifically and then went on to span a half-century of releases. What will be at least as valuable for the faithful as having those dozens of hours of music in one thick doorstop of a set will be the accompanying printed material, including a hardback coffee-table book that includes an essay by Paul Sexton and interviews by Ken Sharp, with the musicians and writers involved all providing memories, as well as talks with celebrity fans from Billy Joel to Little Steven. A collection of sleeve art and softcover album-by-album annotation by Ken Charmer also round out the set, not to mention the 44 CDs being supplemented by an LP copy of the cult favorite album “The Genuine Imitation Life Gazette.” Something this extraordinarily comprehensive doesn’t come at a cost that’s accessible to someone who really just wants the basic hits, or in massive quantities — it’s a limited edition of 2,500 and the rock-bottom sale price is around $400. But for anyone who is more than just “a regular Frankie fan,” this is an example of the kind of physical media that dreams are made of.

At 89, Valli remains musically active. He released a jazz album in 2021 (one of the few things he’s recorded that is not part of the new boxed set), and he still tours, with his next shows in the SoCal area being Thousand Oaks and Rancho Mirage gigs coming up in October and November, followed by a Las Vegas residency in 2024. Valli got on the phone with Variety to discuss the lavish “Ultimate Collection” package and some of the issues and memories it brings up.

It’s pointed out in the liner notes for this set that you own your masters and your publishing, which has to be one of the reasons a comprehensive set like this can even happen — the rights aren’t scattered around a million places. Was that just amazing foresight on your part?

We had to make a sacrifice for that. In most cases, we were not dealing with major record companies. Major record companies would never gone for a deal where you lease your records to them, and at the end of the period of time that they’ve been leased to have, they come back to you. So that was a big sacrifice. But in the end, it paid off. It was a sacrifice to be on top of your career and in charge of what happens with your career, knowing that at the end of the day, everything comes back to you [while not getting the push of a major label]. I’m sure that, without that, there are many artists out there that have recorded material that’s still in the can.

The way that whole thing happened was, when we left Vee-Jay Records [in 1963], there were some situations with money that was not coming to us that should have been, and that helped us to make up our mind what we wanted to do. Instead of settling with them for the money, we settled for taking back everything that we recorded and owned it. And we went on to the next record company and leased our records to the next record company, so that they came back to us at the end of the lease.

A lot of artists have to wish they had followed that model of owning and leasing their material.

Yeah. I can’t begin to tell you how many people in our industry and our business that I tried to talk into doing exactly what we did. I was a very strong believer that you could get four or five artists, put it together, and go to a major record company and get $25-30 million for them to distribute your records on your label, and the artists would own the record company. But I just couldn’t get that message across — either that or I didn’t do a good job. It would’ve been a great idea. I mean, I don’t know if the Bee Gees own any of their catalog; they should. Robert Stigwood was their manager, the record company, their promoter — I mean, there’s a conflict of interest!

I recall talking with you when the “Jersey Boys” movie came out, and asking, “Will there ever be a really, really comprehensive Four Seasons box set?” So this is kind of a dream come true for people who wanted that. There’ve been some good collections of the essential material over the years, including one Rhino put out, but now, for the really hardcore people, it’s a chance to look at some of the songs that fell through the cracks.

Yeah, so to speak. There are a lot of of songs that never came out that I thought should have been singles, and it just never happened. There was just so much that we almost forgot about. I think that some of the stuff that we recorded and put on albums was superior to a lot of stuff that we put out as singles.

Do you have some underdog favorites that are in the boxed set you would point people toward?

I’ll see what I can remember offhand. There was a song called “You’re Ready Now” that was in the can forever, and all of a sudden, years later, some disc jockey in the U.K. started playing it and we had a big hit with it. [The song was first released in 1966 but didn’t become a British hit till 1970.] That also happened with “Beggin.’” There were a whole bunch of songs in that particular period of time we were with Motown, like a song called “Poor Fool” [which was released in 1975 and never charted], written by a keyboard player that we had working with us. Bob Gaudio had written a whole bunch of songs that we had recorded that just never came out.

Some of the cover stuff we did… I don’t know if you remember the song “Sunny”? Well, we did a version of that as a ballad that I thought should definitely been a single. And another song that we used to do in the show quite a bit, “Book of Love,” we did a version of, and there’s no doubt in my mind that it should have been a single. There’s a Bob Gaudio production of “Will You Still Love Me Tomorrow?” that I thought was a brilliant record.

Another discovery is gonna be — again, back to Motown — we did a song called “Sun Country” that is on a Chameleon album. It is really a work of art. And it could have been a hit for Chicago; it’s that far away from everything else that we did. We were not afraid to do different material or material that sounded totally different than what we had originally done. “Silence Is Golden,” we had the first record on it. The record company wouldn’t release it as a signal. Another group came along and recorded it exactly the same, and it was a hit [for the Tremeloes, three years later, in 1967]. We had the first record on “We’re All Alone,” the Boz Scaggs song, which again got no promotion. The record company wasn’t that crazy about it. Rita Coolidge had the hit with it [a year later, in 1977].. And “The Sun Ain’t Gonna Shine.” It was copied by the Walker Brothers, note for note.

After leaving Motown, you immediately bought something back, that worked to your benefit, right?

“My Eyes Adored You” was originally recorded for Motown. And we bought back the track when we left Motown and brought it to another record company and had a big hit with it. It was in the can for at least three years. That happens. “Can’t Take My Eyes Off You” was in the can for a year and a half or two years. The record company didn’t believe in it, right? So, who is really right or wrong? You need to follow your instincts.

You know, I also did a jazz album, and I wasn’t accepted in the jazz community as far as radio was concerned, because I’m Frankie Valli. I did it with a guy that was probably one of the greatest jazz organists that ever lived, Joey DeFrancesco. [That album, “A Touch of Jazz,” came out in 2021. DeFrancesco died in 2022.] But that’s what happens. Sometimes you get into things and you believe in things.

It’s funny just looking at the earliest album titles, which are transparently all about the single: “Sherry & 11 Others.” “Big Girls Don’t Cry & 12 Others.” “Dawn Go Away & 11 Others.”

Right. Which was mainly the producer’s idea. They just tried to put albums out very quickly then, not always with a whole lot of thought.

And then on the opposite end of that, this set includes not just the CD but a vinyl LP of “Genuine Imitation Life Gazette,” a concept album from 1969. It’s kind of a legendary album that maybe more people have heard of than have actually heard. You say it’s a favorite of yours — why?

It’s a favorite of ours because we took a different path and tried to get away and create conceptual ideas. And it wasn’t accepted by radio because it didn’t have any falsetto and it was nothing like “Sherry” or “Big Girls” or “Walk Like a Man.” A lot of thought was put into it. There was another album that Gaudio did with Sinatra, that I helped put together, which was also a concept album, called “Watertown.” And that didn’t get a chance, either. The whole idea of it was sold to Frank on the basis of that it was a story of a guy’s life all put into an album. And “Watertown” has become an underground hit. Anybody that’s heard it, even, especially college kids, they love it. The same thing with “Genuine Imitation of Life Gazette” — they can’t believe that that’s us.

On a different tack, the group’s Christmas album, “Four Seasons Greeting,” was only your second album ever, back in 1962. It’s something a lot of us still pull out every December for your distinctive and fun take on that holiday material. Do you have any memories of doing that?

Yes, I do. That album was done in 24 hours, that entire album. We finished at 11:30 in the morning and went through Harlem to the Apollo Theater and did five shows with Jerry Butler and Ike and Tina Turner. It was a lot of work, but it was a lot of fun.

The liner notes in in the book that comes with the boxed set includes great commentary from those of you who made the music, but also interesting perspectives from people outside the group. Little Steven, Steven Van Zant from Bruce Springsteen’s band, makes the point that really only two American groups survived the British Invasion — the Four Seasons and the Beach Boys — and everyone else kind of fell away. Does that strike you the same way, as you look back?

Yes, it does. The thing that strikes me most about it is the Beach Boys continued to do what they did, and we continued to do what we did. And it seemed that most of the American groups, except for the R&B groups, were copying a little bit of the British sound, or trying to be more like the British sound. It all comes down to be who you are, and that’s where it’s at.

And Little Steven also makes the point in those liner notes that the Four Seasons felt like “neighborhood guys,” who kind of reminded you of your uncles. That could have pluses and minuses, but ultimately it ended up being a plus that you guys felt like people somebody might run into down the block, especially on the east coast. And of course there couldn’t have been a “Jersey Boys” Broadway play if that wasn’t part of the appeal, rather than moptops coming over from another land. It not being exotic was finally what made it iconic, even if it takes decades for that to really come into focus for everybody.

Well, I still have difficulty believing the impact that we made. I mean, when we started out, we just wanted to have a hit record, and to be able to make records and do whatever we felt like doing and not really try to be like anybody else or sound like anybody else. I was always a very strong believer that if you’re gonna do something, you have to give it a rendition that is totally different from anybody else’s and is totally yours. To do it exactly the same never felt right for me.

The liner notes include some other really great testimonials, like Barry Gibb saying, “At the time of the Beatles, Frankie Valli’s voice reigned as the voice you would hear when you fell in love.”

Who’s that — Barry? It’s funny, you know. When I got to do “Grease” [the movie’s title song, written by Gibb], the Bee Gees were doing the “Sgt. Pepper’s Lonely Hearts Club Band” movie, and I got a call from his office and they said, “Barry has a song that he’d like you to take a look at  and possibly do.” And Allan Carr was my manager at the time, who was one of the partners in the “Grease” production, with Robert Stigwood. And Carr knew I wanted to do some acting. So he said, “Well, you could be in the movie and do a song like ‘Beauty School Dropout,’ or sing ‘Grease’ and you won’t be in the movie.” And I listened to both songs and almost knew immediately which it would be. Even though I’m not sure anybody really realized how big a record that would be.

You have to love the fact that with the “Jersey Boys” musical and movie, the story ultimately hinges on you being kind of… responsible. A lot of times in pop culture, we celebrate the people who are really wild and out of control. And here we have a show where the third act revolves around you doing what it takes to get out of debt. On paper, that doesn’t sound like the most exciting third act, but it works, and that’s a testiment to what you did in taking control behind the scenes.

It was really important to understand, because of where we came from… I grew up and lived in a project for my entire life, almost, up until we had some success, and I had a great appreciation for things, and I knew that everything that went up came down. And it was really important not to spend the whole wad of whatever you got all on one thing, but to think about tomorrow, because if nothing is happening, you would still be able to take care of yourself. I’ve seen so many singers who ended up broke, in hospitals. When Jackie Wilson died, he didn’t have anything going for him; I think he was on welfare. Some of the Supremes, that happened with, and there are more and more and more of the same kind of situation.

But the one thing I really feel good about is how we opened everybody’s eyes as to getting involved in owning masters and having publishing. The funny thing about artists is that publishers and writers get paid every time a song is played on the radio, but artists don’t get anything if they didn’t write the song and they didn’t publish the song. What do they have going, except for the now?

Earlier this year you sang “Can’t Take My Eyes Off You” at the annual Clive Davis pre-Grammy gala. It must be an interesting feeling after all these years to be going to this event where it’s the hippest artists of the moment — and of course Clive reveres veteran artists too, so he tries to have a mixture. But the fact that he wanted to put you on there this year, and you’re in front of the cream of the crop of the hitmakers of today…

I couldn’t believe the response. Most of those people weren’t even born when when we were having that particular song as a hit. And when Clive asked me to do it, I wasn’t sure I wanted to do it. What will it mean? Who’s even gonna know what I’m doing? He said, “This’ll be one of the biggest moments in your life.” And Clive has been known for having that kind of an insight. He’s a brilliant guy and a great humanitarian.

To be so well thought of and respected at this point in your career, does that scrappy underdog feeling go away after a certai point? Or coming from humble roots in Newark, is there always a little bit of that underdog feeling left?

Well, we’ve been up and down so many times, and every time somebody said “that was it,” we seem to have come back with something. We’re always working on something or other. There’s a possibility there could be a movie done on the “Watertown” project, for instance. So it feels good, but I do think back, and there are things about the past that stay with you — the camaraderie, and the difference between today and yesterday.

The competition was great in those days — I mean, it was really terrific. There were a lot of records, and artists and radio were like brothers. You got to know each other. If you were promoting a record, you went into Detroit or Philly or in the Baltimore area or Chicago and visited all the radio stations and all the different jockeys and went to their hops at night and lip-synced something from what you had recorded. It was fun.

You worked smaller venues back in the day, and you had to do two shows at night. Today, the venues have gotten bigger and and bigger, and I don’t know how the public is gonna be able to afford it if it continues like this.

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Substitute “ears” for “eyes,” and “Can’t Take

The Oscar race got a shake-up this week with Warner Bros. officially moving “Dune: Part Two” to 2024. It’s a game changing move that could benefit the summer’s second-highest blockbuster “Oppenheimer.” The two seemed destined to dance at the upcoming Academy Awards in several artisan races.

I should note, I agree with the move by WB to move “Dune 2.” Why have its auteur director Denis Villeneuve, who was shockingly snubbed for the first entry, be forced to go toe-to-toe with several cinema masters? Sequels in franchises (i.e., 2002’s “The Lord of the Rings: The Two Towers”) missed out on a directing nom, before the third installment swept the next ceremony.

The first “Dune” walked away with six Oscars — production design, cinematography, film editing, sound, visual effects and original score. Based on the trailer and early buzz, the second installment would likely be competitive once again in those same races (perhaps even more). With “Oppenheimer,” Nolan assembles another dynamite team of talented artists, all of which are competitive in those same races.

But, why does it matter?

Well, if you’re Universal Pictures and you want to win best picture after coming up short with “1917” (2019) and “The Fabelmans” (2022), you are anxious to get your first best picture trophy since “Green Book” (2018). You’re also likely aware one of the best ways to craft the narrative “it’s Nolan’s time,” is best achieved when multiple techs statuettes are bestowed upon a single film.

Throughout history, the most awarded movies at the Oscars have been period pieces or tech-driven features such as James Cameron’s “Titanic” (1997) and Peter Jackson’s “The Lord of the Rings: The Return of the King” (2003). Since the expansion of the best picture lineup from five to 10 nominees in 2009, there have been others that dominated their respective ceremonies but came up short with the top prize such as “Gravity” (2013), which despite winning seven statuettes lost out to “12 Years a Slave,” which netted only three in total.

The removal of “Dune 2” allows “Oppenheimer” to plead its case among the tech branch members. When it comes to nominations, each of the categories are voted on by their respective branches. However, after noms, the entire membership (who are eligible) cast ballots determining the winners.

Barring unforeseen shortcomings (which you can never count out in an Oscar season), “Oppenheimer” is currently projected to land in the realm of 12 Oscar noms — picture, director, actor (Cillian Murphy), supporting actor (Robert Downey Jr.), supporting actress (Emily Blunt), adapted screenplay, production design, cinematography, costume design, film editing, sound and original score. With 12, Nolan’s atomic bomb origin tale would be on par with others such as “Ben Hur” (1959), “Dances with Wolves” (1990) and “Schindler’s List” (1993). If it can also find a way to muster in additional noms such as makeup and hairstyling, visual effects or perhaps even a Matt Damon double dip in supporting actor, it would be in a powerful, tentpole position.

Keep in mind, it’s very early, with fall festivals nearing kickoff later this week with Venice and Telluride. Any number of films slated to come down the pike such as Bradley Cooper’s partly monochrome “Maestro” or Yorgos Lanthimos’ sci-fi period dramedy “Poor Things” could offer competition. In addition, we know Martin Scorsese’s “Killers of the Flower Moon” has more than enough juicy bits to whet the appetites of industry voters. Not to mention, Greta Gerwig’s “Barbie,” slated to likely become to the highest-grossing film globally, could be the “pink” engine that could as the slog of awards season draws out.

With a $777 million global box office, critical acclaim and a “Dune”-less year ahead, “Oppenheimer” stakes its claim as an early frontrunner.

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The Oscar race got a shake-up this