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James Marsden likes playing the jackass.  

Especially when that jackass is the entitled version of himself he’s playing in Amazon Freevee’s breakout comedy “Jury Duty.”  

The improvised docu-style series follows Ronald Gladden, a real person unaware the increasingly chaotic jury he’s found himself on is completely fake. Everyone around him — including Marsden’s portrayal of himself as the out-of-touch celebrity — is an actor playing their part in the ruse. 

The acclaimed series has earned Marsden some of the best reviews of his career, at a moment when it seems like he is everywhere. Because he is.

In the past year, he closed the book on Netflix’s “Dead to Me” with its final season and popped by Starz’s “Party Down” revival for a few episodes playing another spoiled — albeit fictional — movie star. 

Being the consummate comedic character ready and willing to make a fool of himself for the sake of the material isn’t where a young Marsden thought he would be at 49. 

“When you’re young, you want to be taken seriously as a dramatic actor and sure, if given the chance, show that you can also do comedy,” says Marsden. “I never thought there was one thing that was my strength, but over the years, I just find myself being pulled back to making an ass of myself.” 

Marsden has had his fair share of dramatic turns in projects like “X-Men” and HBO’s “Westworld,” the fourth and final season of which resurrected his robot character last summer. Again, he’s everywhere. 

But the longer he’s been in the industry, the more honest he’s been about the roles he takes. At the end of a long day on set, the ones that send him home with a smile on his face, hungry for more, have often been the weirder, left-of-center comedy projects. 

“I’m way more comfortable playing that than I ever was playing the leading man,” he says. “Even in high school, I would always do musicals and plays where I was the goofy guy who did impressions. I would go to school and do ‘Saturday Night Live’ bits and Eddie Murphy stand-up. Comedy is something I have always respected.” 

And while he idolizes improv legends like Christopher Guest and recent co-stars like Ben Schwartz who are trained in the “yes, and…” style of improv, his career hasn’t been flush with opportunities to go off-script. 

Until “Jury Duty.” 

“Jury Duty”
Amazon Freevee

There were no scripts for the series, only story beats and prompts that cue up scenarios from which the actors can take the wheel. Marsden’s first major prompt instructed him to ask the judge to dismiss him from the jury pool because he thinks his star status will bring unnecessary distractions to the trial. 

Unfortunately for the cocky Marsden he’s playing, the series doesn’t dare dismiss its biggest name on day one — nor did he want to leave. 

“The projects I work on that do really well, I always look back and try to find the common thread,” he says. “I feel like those are the ones where I’m having a ball, and I’m having a ball in ‘Jury Duty.’” 

What really stuck with him from the initial pitch was the opportunity to use himself as a vessel to poke and prod at the modern concept of celebrity. 

“You’re telling me I get to play whatever version of myself I want to be and lampoon the Hollywood entitled, petulant brat?” he says. “It’s just too much fun to take the piss out of that.” 

While “Jury Duty” and “Party Down” offer a similar brand of humor, “Dead to Me”’s final season remains something of a departure for Marsden. 

What attracted him to the dark comedy, led by Christina Applegate and Linda Cardellini, was the chance to play Steve, Cardellini’s character’s horrible boyfriend in Season 1.  

This time, he wasn’t just the jackass. He was the bad guy. 

“I like playing the cocksure guy who gets his comeuppance in the end,” he laughs. “And boy does he.” 

Steve winds up dead in the pool in the first season’s finale, putting a violent bow on his one-season arc. But when he told creator Liz Feldman he would miss working with the cast and crew and jokingly suggested she could bring him back as his character’s twin brother, she took him seriously. 

“Dead to Me”
Courtesy of NETFLIX

The show always leaned into soapy storytelling, she told him, but Marsden was skeptical. He didn’t want to spoil a good thing by selfishly holding onto it beyond its prescribed expiration date. But Feldman convinced him otherwise by asking a simple favor: trust her. 

He did just that, making his debut in the Season 2 premiere as Steve’s twin, Ben, a funny, messy and loving balm to his brother, who still has his own flaws that fit right in on the tragicomedy. 

“I remember still being nervous, especially because there’s a lot of heavy lifting in his story in Season 3,” he says of playing Ben. “But Liz masterfully layers the whole character with complexity. He wasn’t just this nebbish, goofy, insecure guy in love with Christina’s character. He was also wrestling some real dragons with his alcoholism and the loss of his brother. It became a lot more for me to dive into. That’s the stuff you shoot for.” 

With four TV projects in a year, Marsden jokes he might have overextended himself. But really, he’s just proud of the work because it confirms a suspicion he cautiously embraces about his career — he’s found his groove. 

“I’m kind of feeling myself,” he says, with a smile and a head nod. “You never want to get stuck doing one thing, but it’s hard not to look back and see what’s really working. It’s fun to get into a groove. I don’t want to be an actor who is looking for longevity in this business but is timid or scared to go for it. Some of these roles have been about just going for it.” 

Having been bitten by the improv bug, he’s talking with “Jury Duty” creators Lee Eisenberg and Gene Stupnitsky about what else they could work on, and he already has one idea. 

“I think there could be a show around the jackass James Marsden,” he says. “It’s just him traveling the world trying to do benevolent things for people but he just makes it about himself.” 

Whether or not he takes the jackass James Marsden show on the road, he is at least indebted to his alter ego for one thing. The distraction claim may have not gotten him out of “Jury Duty” on TV, but the show’s success might make it impossible for him to ever serve on a real jury again. 

“I think I’ve got my out for the rest of my life,” he says, as the epiphany rolls around in his head. “I didn’t think of that. I could actually tell a judge I did a show about this and now everybody is going to think it is fake. Not that I’m excited about not doing my civic duty, but I think I may have a compelling case.” 

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James Marsden likes playing the jackass.   Especially

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Warmer weather brings out pollen, allergens and common, everyday air pollutants, while Canada’s recent wildfires have spread smoke and increased air pollution in some states. New York City’s air quality, especially, worsened to the point of city officials recommending people wear N95 masks outside. For anyone staying inside, having an air purifier will help clean up pollutants including smoke, dust and more.

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But even if you’re not among the thousands of people impacted by the wildfire smoke, the Environmental Protection Agency claims clean air will help prevent health issues such as asthma attacks, coughing, lung irritation and long-term health issues like cardiovascular disease.

While the smoke may be starting to clear from the wildfires, you may consider incorporating an air purifier into your home — especially if you have seasonal allergies. We did the digging and found reviewer-loved air purifiers — including a highly sought Dyson Air Purifier on sale for $110 off.

Purifiers can also be found from retailers including Amazon, Walmart, QVC, Wayfair, Best Buy and Target. Plus, if you’re a fan of Dyson, the tech brand has marked down similar models including its Dyson Purifier Hot+Cool HP07 and the Dyson Pure Hot+Cool HP01.

Read on to shop the Dyson Air Purifier and other air purifiers below.

Wayfair

Dyson Purifier Cool Autoreact TP7A

$439.99 $549.99 20% off% OFF

Right now the Dyson Purifer is on sale for $110 off allowing you to enjoy cleaner air — for less. The model comes built with a HEPA filter, which, according to the brand can capture 99.97% of particles 0.3 microns in size for rooms up to 1,000 square feet. It also has cool capabilities to keep you room comfortable as it automatically sense and reacts to real-time changes in air quality — which is then reported on the LCD display screen.

Note: Make sure you change the filter every 12 months or when the indicator light goes off.

Dyson

Dyson Purifier Cool Purifying Fan TP07

$499.99 $649.99 23% off% OFF

This reengineered model of the Dyson Purifier not only automatically senses a room’s air quality and automatically adjust, but features a slim design you can put in the corner of a room. Since it’s designed without blades, that will minimize noise and allow you to watch TV or WFH without distractions.

Note: Be sure you change the HEPA filter every 12 months or when the indicator light goes off.

LEVOIT Air Purifier

$104.99

Not only is this Levoit Air Purifier rated a No. 1 bestseller for HEPA filter air purifiers on Amazon, but its compact design makes it apartment-friendly. The cylinder model allows 360 degree air purification that can leave you with cleaner air in as little as 12 minutes. It also uses an ARC formula pet owners will love as it chemically decomposes pet odors to avoid second-hand pollution.

Note: This uses a H13 True HEPA Filter that should be replaced every six to eight months.

Amazon

KOIOS Air Purifier

$104.99 $109.99 5% OFF

Consider this KOIOS Air Purifier small yet mighty as it can clean rooms up to 1,200 square feet and is made small enough to display on a coffee table or nightstand. It’s also rated a 4.6 out of five stars for its ability to run quiet and effectively even as you sleep.

Note: The model requires a H13 True HEPA filter that should be replaced every three to six months.

Amazon

Molekule Air Mini+

$274.99 $349.99 21% OFF

If you’re looking for something more stylish to blend into your home, we personally recommend the Molekule Air Mini+. It works in rooms up to 250 square feet and, having tested it out ourselves, we can say that it not only works quietly to clean your home’s air, but effectively cleaned our living room of smoke pollution from the Canada wildfires as well as dust, pollen and other air pollutants. You can even connect it to the accompanying app to track the changes and real-time status of your air quality,

Note: Make sure you replace the PECO-HEPA Tri-Power Filter every six months.

Winix 5300-2 Air Purifier

$138.99 $199.99 31% OFF

For bigger spaces, the Winix 5300-2 Air Purifier can clean medium to large rooms that are a maximum of 360 square feet. Over 28,000 Amazon verified reviewers have rated it five stars for its ability to clean air of dust, smoke, pollen, odors, pet dander, mold spores and organic chemicals. Plus, it even comes with a night mode setting allowing it to work quietly while you rest.

Note: This design requires True HEPA and carbon filters that should be replaced every 12 and three months.

For more product recommendations, check out our roundup of home projectors and guides on how to clean vinyl records and how to clean AirPods.

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Angela Garbes, author of “Essential Labor” and “Like a Mother,” reflects on the relationship of parenthood to the arts, connecting four short films from In The Making as a springboard for these themes.


I’ve written two books on mothering while simultaneously raising two young children, so I consider myself attuned to the intricacies of how parenting impacts artistic expression.

There is the obvious tension: in order to survive, my children need me to nurture them, to be present. But in order for me to survive, I need to write and nurture my creativity, which requires being alone, absent from my family.

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I think about my writing and my children constantly, but I also spend a lot of time obsessing about myself: What, exactly, is my identity as an artist, a mother? A mother-artist? Can I ever balance the two?

I was surprised—and grateful—when in Cambodian Futures, culinary artist Ethan Lim says, “Where should I begin? I’m Buddhist, I’m a son, sometimes I’m a chef.” With those words, Lim pulled me out of my ever-churning brain and back into my pulsing body.

Before I was a mother or a writer, I was a daughter.

I am an American child born to Philippine immigrants who left the security of their families and native culture to pursue uncertain professional and financial opportunities. My mother was a hospice nurse; she worked long hours in other people’s homes, giving dying people care and dignity. It’s not a coincidence that I write about care work—the tremendous mental, emotional and physical labor—involved in looking after vulnerable people.

I am just like artist Jonathan Thunder who, in Good Mythology, says this about his first drawing teacher: “I remember thinking: I want to learn to draw like a great artist, like my mom.”

Artist Jonathan Thunder

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Over the years I’ve joked that I am a writer because I am “constantly trying to explain myself to my parents.” The more I said it, the more I realized it is true.

Like Lim, I grew up a confused Asian American defined by my parents’ silences, hungry for their stories, wondering if they would ever understand and accept me, hoping I could fix the pain we each experienced straddling two cultures that often felt at odds. Now I write into those silences and heave all my long-held questions into the world because I know I am not alone. I know that my Filipinx and Fil-Am peers, daughters and mothers themselves, share the same desire to know our parents. The desires, too, to be known by them and to be able to tell our children who they are.

I cannot think of myself without thinking of my mother and father, of the courageous journeys and impossible choices they made to forge a life comfortable enough that I could afford to pursue a creative lift. As Detroit painter, Senghor Reid says in Make Way for Tomorrow about his mother, with whom he shares a studio: “I paint for her.”

Whether they are musicians, chefs, painters, or experimental filmmakers, I feel a kinship with these Asian, Black and Indigenous artists whose work is fueled by a sense of responsibility.

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“There’s a certain responsibility that I feel to say something about our time,” says Thunder. “If not to say anything profound, to at least say this is how it was when I was here.”

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Our duty is not a heavy or unwelcome burden, but an intrinsic desire to be of service to our people, including ourselves. For Lim, cooking traditional Cambodian food is a way to heal family trauma. For country singer Rissi Palmer, songwriting is a way of connecting with her mother, who died when she was just seven: “I wish I knew her as a human…I wish I could say, ‘Were there things you gave up to have me, and what were they?’”

The best way for me to honor my parents is to be my full, creative self. It is also the best way for me to raise my daughters. The more they see me publishing my books, on a stage telling people who I am and what I believe, the more likely they are to know that it is always okay to be their truest selves. One life does not preclude another.

Underneath all the logistical conflicts of being an artist and parent lies a more complex relationship—symbiotic, generative, magical. My daughters give my work an urgency, inspiration and depth I don’t believe I would have found on my own. As a mother, it is impossible to be everything to everyone and get it all done, but as Palmer says, “I’m trying to give everything the respect, time and space that it needs so that I can give an honest assessment through song.”

Like Palmer’s albums, my writing projects often seem like “a hungry child, it keeps asking for more and more things.” But the more I work, the more I become myself. And when I am my whole self—my best self—I am also the mother I want to be to my daughters. A person worthy of the boundless admiration and love they give so freely.

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June 9, 2023 | Angela Garbes Angela

A rally is being held Sunday morning in Saskatoon to protest against the Saskatchewan government continuing to use public money to fund a Christian school that is facing a proposed class action lawsuit.

Legacy Christian Academy is a Qualified Independent School run by Mile Two Church, and the lawsuit alleges that students were subject to physical and sexual abuse. None of the allegations have been tested in court.


Click to play video: 'Sask. Government now named in $25 million church-run school lawsuit'


Sask. Government now named in $25 million church-run school lawsuit


The rally is being held at the Lawson Heights northeast parking lot from 9:30 a.m. until 11 a.m.

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“We’re also protesting that their policies don’t line up with the human rights code,” Caitlin Erickson, a former student and plaintiff in the lawsuit, said Friday.

She claimed there’s been mistreatment of students at the school, and that the province hasn’t mandated proper curriculum to this school, as well as other Qualified Independent Schools.

Independent schools in the province have been under the microscope since August 2022 when the lawsuit was launched, and the province of Saskatchewan was later added to the lawsuit.

Erickson said she’s seen a lot of community support, noting she’s received messages from people saying if they can’t be at the rally, they are supporting them in spirit.

She said this has nothing to do with religious freedom and attacking religion, pointing to other churches who have denounced Mile Two Church after the allegations came out.

Back in November, Living Skies Regional Council, the United Church of Canada in Saskatchewan released a statement supporting Erickson and “all the survivors of Legacy Christian Academy.”

“The experiences they have described should never be associated with any place of learning, or with any Christian context. As we said in an earlier statement, we reject the theology and practices surrounding beliefs espoused by the school. We reject transphobic and homophobic beliefs associated with some expressions of Christianity, including Legacy Christian Academy,” read the statement.

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Click to play video: 'Sask. NDP renews call for more government scrutiny of Legacy Christian Academy'


Sask. NDP renews call for more government scrutiny of Legacy Christian Academy


Erickson said this wasn’t an issue that was going away, noting she and the other former students will continue to be a voice in the community.

“When you’ve failed that many people, it’s time to close your doors and walk away,” Erickson said.

Erickson said there’s a bias that the current provincial government has regarding education, noting public educators are frequently crying out about a lack of funding, yet schools like Legacy Christian Academy get government funding and can charge tuition on top of that.

“I don’t think taxpayers in our community are OK with that either, with public dollars going to this place when our public schools are suffering so immensely.”

Erickson stressed that people who come out to support the rally need to keep 50 metres away from the schools due to the rules within the education act.

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The Saskatchewan NDP called on the province to freeze funding for the school back in August 2022 after former students alleged paddling, exorcisms and discrimination due to one of the students being gay took place at the school back when it was known as Christian Centre Academy.


Click to play video: 'Saskatchewan independent schools need more oversight: advocate'


Saskatchewan independent schools need more oversight: advocate


“Outwardly anti-LGBTQ2S+ sentiments and violent discipline have no place in our schools,” Saskatchewan NDP leader Carla Beck said in August.

Red flags have been raised in other areas in regard to the church, the school and its former members.

The former athletic director of Legacy Christian Academy (LCA), Aaron Benneweis, was charged with sexual assault and sexual exploitation while he was in a position of power.

Jennifer Beaudry, a 2013 graduate of LCA, reported Benneweis to the police in August 2022. Forty-six-year-old Benneweis turned himself in to the Saskatoon Police Service on Jan. 31, and was released on conditions after his arrest.

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Concerns about the curriculum at the school have been raised on several fronts.

Last November, a biology textbook from the school that was part of the ACE (Accelerated Christian Education) curriculum and SAICS (Saskatchewan Association of Independent Church Schools) received scrutiny after it was found stating that dinosaurs and people co-existed with each other, using the theme of dragons throughout history to support that theory.

A freedom of information request came back with emails last week noting that LCA offered an unapproved Advanced Placement computer sciences course from September 2020 until April 2021.

Another freedom of information request from the NDP highlighted other issues within the school, showing that the provincial government was working on addressing gaps in the curriculum for the school in November.

Beck also took issue that Qualified Independent Schools saw increased funding in the provincial budget this year.

“We see that the Sask. Party government this year increased funding to Qualified Independent Schools by 25 per cent.”

“(These reports) show that there was a surplus revenue fund created once the Sask. Party began funding these schools, and a clear lack of oversight and proper financial record keeping,” Beck added.

The proposed class action is scheduled for its first appearance in July.

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Global News reached out to both the Ministry of Education and Legacy Christian Academy for a response.

When asked why public funding is still going towards Legacy Christian Academy after several calls to freeze or stop funding, the Ministry sent the following statement:
“The Education Act, 1995 makes provision for the registration of independent schools. This provision allows parents/guardians to educate their children in accordance with their conscientious beliefs, which may include faith-based education, and provide them with a legitimate exemption from a public or separate school.”

“The Government of Saskatchewan believes in the importance of supporting parental choice and the ability to access faith-based education in Saskatchewan.”

– with files from Brooke Kruger, Nathaniel Dove of Global News, and Kelly Skjerven

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

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A rally is being held Sunday morning

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Loving him no matter what. Tom Holland is grateful that Zendaya was patient with him — and his hair — while filming his new series The Crowded Room. 

“I think a large reason for that is when you make a film, it only takes four months, and that would be considered a long film. But The Crowded Room, it’s 10 months of playing this character, day in and day out. I really did find myself kind of morphing with him in certain moments. And obviously I had that crazy hairstyle,” Holland, 27, told Radio Times in an interview published earlier this month. “I had the bangs. Bless Zendaya, she had a lot to put up with, with me looking like that for 10 months, it was rough.” 

The Spider-Man: Homecoming star noted that it wasn’t just the Euphoria actress, 26 — whom he’s been dating since 2021 — that had to deal with his coif. He wasn’t a fan of his hair being “that dark” himself — the tresses are a deep chestnut brown in the AppleTV+ series — and much prefers his hair more “like my mom’s, kind of red.” 

“Yeah, it was tough. That was a part of the show that I don’t miss for sure,” he added. 

The Crowded Room, which premiered on June 9, is a 10-episode psychological thriller set in Manhattan in the summer of 1979 that follows Danny Sullivan (Holland) after he is arrested for a shocking crime he allegedly didn’t commit. Unlikely investigator Rya (Amanda Seyfriend) must solve the mystery behind it before the true criminal strikes again. As Danny’s life story unfolds, it reveals “elements of the mysterious past that shaped him, and the twists and turns that will lead him to a life-altering revelation,” per the official synopsis. 

The heavy material is something that Holland — who is also an executive producer on the series — found it hard to break away from when stepping off-set. “I would come home from work and I would see myself in the mirror and I would see him,” he told the outlet. “So it did take a while to figure out how to put him to bed and wake Tom up and get on with my life and be myself. But I figured it out and was very happy and healthy.”

While Holland is “no stranger to hard work,” the England native revealed earlier this month that he is pressing pause on acting as he recuperates from the intense emotional toll The Crowded Room took on him. 

“The show did break me. There did come a time where I needed a break and disappeared and went to Mexico for a week and had time on a beach and laid low. I’m now taking a year off, and that is a result of how difficult this show was. I am excited to see how it turns out,” he told Extra in a Wednesday, June 7, interview. “I feel like our hard work wasn’t in vain.”

The Cherry actor’s recent vacation was seemingly alongside longtime love Zendaya. When Holland turned 27 earlier this month, the Shake It Up alum took to social media to celebrate his birthday — and shared photos of the twosome on their romantic getaway. 

In one photo, Holland could be seen swimming in the ocean. Zendaya added a red heart emoji to the picture in between Holland’s hands which made a heart above his head. The second snap saw the British actor standing on a rocky cliff with the sun setting on the ocean behind him. Zendaya captioned the moment with a heart eyes emoji and tagged Holland in the post. 

Holland and Zendaya first met in 2016 while working on Spider-Man: Homecoming. While romance rumors quickly followed, it wasn’t until July 2021 that the couple were spotted locking lips. 

“Zendaya and Tom started off as really great friends and stayed that way for a long while before things turned romantic,” a source exclusively told Us Weekly at the time, sharing that the pair’s chemistry was ”off the charts” while filming their Marvel movie.

While the duo have since worked hard at keeping their relationship private, the Impossible star confessed to Total Film in November 2021 that he was “very happy and in love.” 

The following year, Us confirmed that he and the Dune actress are still head over heels for one another. 

“They’re both in settling-down mode and are absolutely planning for a real future together,” the insider revealed in November 2022, adding that the twosome seem “serious and permanent.”

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Image Press Agency/NurPhoto/Shutterstock Loving him no matter what.

This article is a preview of The Tech Friend newsletter. Sign up here to get it in your inbox every Tuesday and Friday.

Dueling privacy promises say a lot about the battle to stop companies from guzzling your personal information.

In commercials, WhatsApp says that you can “message privately” with its chat app. New Apple ads brag that an iPhone gives you control over who sees your health data.

Those two privacy promises are also blaring on side-by-side billboards in San Francisco, as spotted by my colleague Geoffrey A. Fowler.

WhatsApp and Apple are doing great things to defend your privacy. Each company also plays a role in compromising your personal information. I’ll explain and share recommendations for you to protect yourself better.

The existence of the WhatsApp and Apple marketing messages also shows you’re winning the fight for your privacy and security — in spirit, if not entirely in practice.

It used to be common to hear that only criminals and paranoiacs worried about digital privacy. Now giant companies know that we all care.

WhatsApp’s ‘message privately’ pitch: It’s true but …

Your texts with your sister may not be top secret, but we deserve to know that the conversations we believe are private really are.

That’s what companies mean when they talk about end-to-end encryption, as WhatsApp has been doing in an advertising campaign for more than a year. Your messages are scrambled so that no one but you and the message recipients can read them. If hackers steal your messages, they’ll see gibberish.

WhatsApp is right to brag about its encryption. The app has made encryption available to billions of people.

“It’s sadly important that we scratch the surface and understand what’s behind the slogan,” said Meredith Whittaker, the president of the Signal encrypted chat app.

The biggest problem with WhatsApp’s privacy pitch is that the app is owned by Meta, a company that many of you do not trust.

Yes, the contents of WhatsApp chats and calls are private, including from Meta itself. Other details are not.

When you use WhatsApp, Meta knows the phone numbers of you and your contacts on WhatsApp, how often you open the app, your approximate location and the battery level of your phone.

Meta says it doesn’t keep logs of whom you’re messaging or use contact information to tailor ads to you on Facebook or Instagram.

Privacy die-hards also ding WhatsApp for not encrypting “metadata”— details such as who you chatted with and how long your WhatsApp call lasted. As we learned from U.S. government databases of Americans’ calls and emails, metadata can be revealing. (Other companies, including Apple, also save metadata from your chat history.)

What you can do about WhatsApp privacy compromises

WhatsApp can still be a great choice.

The consumer privacy group the Electronic Frontier Foundation wrote a few years ago that WhatsApp and Signal are good private chat apps for most people. EFF said there’s no perfect chat app for everyone.

The EFF document is somewhat out of date but worth reading.

If you don’t trust WhatsApp, you can use Signal if your contacts agree to use the app, too. You can also set WhatsApp or Signal messages to automatically delete in a day or a week.

You may also want to evaluate how your phone saves copies of your WhatsApp messages.

WhatsApp doesn’t automatically encrypt backup copies of your chat history. That makes it easier to transfer your chats when you buy a new phone, but those backups can be a privacy vulnerability.

How to keep your text messages as private as possible

Should you turn on encrypted backups for Apple Messages and iCloud?

Apple’s ‘your health data. In your control’: That’s true but …

Apple’s newest marketing focuses on its Health app. That’s where your iPhone saves information like how long you slept yesterday, the number of steps you walked and whether you took your cholesterol pill. This week, Apple said it will add more health features, including an option to log your emotions.

Apple’s commercials are right that the company’s devices minimize the information they collect about you. Apple also encrypts your health information in its own apps and services. All good.

Apple also says it pays closer attention if any app on your phone wants to access information from your Health files. Apps must pledge not to sell your health information to data brokers or use the information to target ads. It’s not clear how Apple verifies those app promises.

But Apple is also complicit in the data harvesting economy, including for your sensitive health data. (Google is, too.)

Apple turns a blind eye to many of the naughty habits of apps. Apple doesn’t really stand in the way if the app you use to research your child’s rash sells that information to an advertising middleman or if a coupon app that has permission to follow your location then passes on information about people who visited abortion clinics.

Apple said that when the company finds apps breaking its rules, it works with app makers to resolve the problem. Apple also said it may ban repeat offenders from its app store.

I’m not saying Apple has a good alternative. We might not want Apple to be the all-knowing cop of app data practices. Still, it’s not entirely true when Apple says that health information on your iPhone is fully private and in your control.

What you can do about Apple’s privacy compromises

Unfortunately, your individual power is limited. Your best protection is paranoia. Don’t trust that an app on your phone is keeping your information private.

Don’t believe that if an app is health-related, you are legally protected by American health privacy laws. You probably aren’t.

Andrew Crawford, the senior policy counsel for the Center for Democracy & Technology, recommended going through your phone’s settings to make sure you feel okay about the apps that log everywhere you roam. (Here’s how to review app location permissions on an iPhone and on an Android device.)

If a coupon app wants your location data and you can’t imagine why, say no. Or that might be a sign that this app shouldn’t be on your phone at all.

If one app knows your location, it might pass it on to other companies or government agencies without your explicit consent or knowledge. That’s how a Catholic group bought records to identity a priest who went to gay bars.

Crawford also suggested that if you’re going to sensitive locations such as health clinics for depression treatment or an abortion, you may want to consider leaving your phone at home. This is not a sensible choice for everyone.

Where HIPAA protects you and doesn’t (Consumer Reports)

I checked Apple’s privacy ‘nutrition labels.’ Many were false.

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EXCLUSIVE: Actor Bella Thorne is heading to the Taormina Film Festival this month with her directorial debut, a short titled Paint Her Red. Today, Deadline can share the first official trailer for the project.

Thorne, who has branched into singing, writing, and directing since breaking out alongside Zendaya at the Disney Channel in the 2010s, wrote the original screenplay for Paint Her Red and also stars.

The work is produced by Sofie Warshafsky and Paige Starke and executive-produced by Julian Wayser. Influencer and model Juliet Sterner also features in the cast.

Paint Her Red will screen at Taormina as part of the festival’s headline Influential Shorts gala, which will screen a series of shorts curated by Thorne. The event will unfold in the festival’s landmark, open-air venue of the Ancient Greek Teatro Antico, set against the backdrop of Sicily’s Mount Etna volcano.

The shorts event was one of the first initiatives put in place by newly appointed Taormina Film Festival Executive and co-Artistic Director Barrett Wissman.

To accompany the shorts program, Thorne is also set to invite a host of well-known artists, celebrities, and influencers to screen their projects as directors and introduce fresh talent she has recently discovered. Titles set for the program include Don’t Walk Too Far from Saudi artist and author Maram Taibah.

Launched in the Sicilian town of Taormina in 1955, the Taormina Film Festival has a long track record of inviting local and international talent with recent guests, including Francis Ford Coppola, Eva Longoria, Susan Sarandon, and Nicole Kidman.

Check out the full trailer above.

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EXCLUSIVE: Actor Bella Thorne is heading to

Has there ever been a less predictable Tony Awards? Just a few weeks ago there were doubts that a televised ceremony would even happen, due to the ongoing WGA strike. That problem proved to be just a speed bump – the guild agreed not to picket the show, but the show will include no scripts, no pre-written introductions or podium banter. There will be the usual musical numbers from the nominated shows – the heart of the ceremony – as well as some additional performances, tributes to John Kander and Joel Grey, the traditional In Memoriam segment and, well, we’ll all just have to wait and see for the rest.

But the usual Will Wins/Should Wins are predictions of a different sort, and no strike or toxic-looking orange sky over New York City can stop those speculations. So here we go. Deadline’s 2023 Tony Awards Predictions, our Wills and Shoulds in select categories, along with a slew of observations, two cents and, well, who knows what else…

BEST LEADING ACTOR IN A MUSICAL

Christian Borle, Some Like It Hot
J. Harrison Ghee, Some Like It Hot
Josh Groban, Sweeney Todd: The Demon Barber of Fleet Street
Brian d’Arcy James, Into the Woods
Ben Platt, Parade
Colton Ryan, New York, New York

Worthy nominees all. Colton Ryan was the best thing about New York, New York, and the young actor’s star-making turn all but guarantees he’ll be back on this Tony stage again, but this isn’t his year. Vets Brian D’Arcy James and Christian Borle are seemingly incapable to turning in a bad performance, and the theater community’s affection shouldn’t be easily dismissed this weekend. But this category is a three-nominee race, with a too-close-to-call competition that could go in any direction. J. Harrison Ghee is wonderful in Some Like It Hot, turning in a moving and very funny performance and, as a nonbinary performer, rescuing what could have been another entry in the outdated man-in-a-dress comedy routines that all but sank Mrs. Doubtfire and the better Tootsie.

RELATED: Tony Snubs And Surprises: Aaron Sorkin, Nathan Lane, Laura Linney, Andrew Lloyd Webber, Oscar Isaac & Rachel Brosnahan Among Big Names With Empty Hands

Earlier this spring, I thought Ben Platt was a shoo-in for his terrific performance in Parade, and I wouldn’t be disappointed with that outcome, but my enthusiasm dimmed just slightly once I saw Josh Groban in the title role of Sweeney Todd: The Demon Barber of Fleet Street. A demanding role vocally, dramatically and physically, Groban does the impossible night after night: He makes long-time Broadway devotees all but forget, at least for the show’s running time, the specters of previous Sweeneys Len Cariou and George Hearn. Groban gets my vote.

Will Win: J. Harrison Ghee
Should Win: Josh Groban

BEST LEADING ACTOR IN A PLAY

Yahya Abdul-Mateen II, Topdog/Underdog
Corey Hawkins, Topdog/Underdog
Sean Hayes, Good Night, Oscar
Stephen McKinley Henderson, Between Riverside and Crazy
Wendell Pierce, Death of a Salesman

Sean Hayes has some powerful name recognition from his Will & Grace years, and his performance as legendary wit Oscar Levant certainly has the showy quality that some find appealing. Others, myself included, found the performance more than a little hammy. We’ll see if one side cancels the other.

The cancelled-out problem could strike the Topdog/Underdog stars too, which would be a terrific shame. One of the two stars, either Yahya Abdul-Mateen II or Corey Hawkins, should be accepting the Tony on Sunday, so powerful were their performances in a play revival that could have gone all sorts of wrong but didn’t.

Their strongest competitor, and likely winner, is Stephen McKinley Henderson, who played an elderly man all but crushed under a lifetime of regrets and fears for the adult son who might be making mistakes all his own. A masterful performance in a play that almost, but thankfully not quite, let the character down in the drama’s final moments. Wendell Pierce had a similar problem as Willie Loman in Death of a Salesman, when his finely calibrated performance was nearly undone by an overwrought climactic scene. Pierce was otherwise excellent, though, and could certainly pull a surprise upset here, but my prediction is Stephen McKinley Henderson. My hope is for either of the Topdog/Underdog actors.

Will Win: Stephen McKinley Henderson
Should Win: Yahya Abdul-Mateen II
or Corey Hawkins

BEST LEADING ACTRESS IN A MUSICAL

Annaleigh Ashford, Sweeney Todd: The Demon Barber of Fleet Street
Sara Bareilles, Into the Woods
Victoria Clark, Kimberly Akimbo
Lorna Courtney, & Juliet
Micaela Diamond, Parade

Another tough category, filled with Broadway favorites (previous Tony winners Victoria Clark and Annaleigh Ashford, and the massively popular – well-earned – Sara Bareilles), and relative newcomers near the starts of very promising Broadway careers (Micaela Diamond, whose Broadway debut in 2018’s The Cher Show gave little indication of the powerhouse display she brought to Parade), and Lorna Courtney, a delight in & Juliet.

And while Ashford found new and delightful dimensions in Sweeney‘s Mrs. Lovett, Clark, as Kimberly Akimbo‘s teenager on a very fast track to old age, is the one to beat. She’s my choice, and her heartbreaking, inspiring and funny performance is one for the ages.

Will Win: Victoria Clark
Should Win: Victoria Clark

BEST LEADING ACTRESS IN A PLAY

Jessica Chastain, A Doll’s House
Jodie Comer, Prima Facie
Jessica Hecht, Summer, 1976
Audra McDonald, Ohio State Murders

Jessica Hecht was wonderful in Summer, 1976 (as was her equally deserving co-star Laura Linney), but, rather unfairly I think, David Auburn’s lovely, bittersweet and intimate two-hander has been largely overlooked by the Tony folks. And while Audra McDonald is a perennial theater-crowd favorite (she holds a record six Tonys), Adrienne Kennedy’s 1991 play Ohio State Murders proved a more noble than notable Broadway endeavor.

The competition, then, is between two big-name and excellent actresses: Jessica Chastain, who proves more than up to the challenges of Ibsen’s Nora in A Doll’s House, and Jodie Comer, who meets challenges all her own in Suzie Miller’s one-woman play Prima Facie. Comer not only locates the bravado in the character of a brilliant attorney with a reputation for successfully defending rapists, but the devastation when the character becomes a victim – and survivor – herself. In lesser hands, Prima Facie could become less a case study in memorable stage drama than worthy message-making. For me, that gives her a very slight edge over Chastain.

Will Win (But Too Close To Call): Jessica Chastain or Jodie Comer
Should Win: Jodie Comer

BEST REVIVAL OF A MUSICAL

Into the Woods
Lerner & Loewe’s Camelot
Parade
Sweeney Todd: The Demon Barber of Fleet Street

Last summer, the prospect that any musical revival would top the Broadway transfer of Encores! Into the Woods seemed unlikely. But then Michael Arden’s Parade came along, as much a revitalization as a revival of a work that finally got the love it’s long deserved.

But there’s another “but” in this equation: Sweeney Todd: The Demon Barber of Fleet Street. Spellbinding, gorgeous and powerful from start to finish, this is the best revival of the season, musical or non-musical. Parade still might edge out a win, but Sweeney gets my vote.

Will Win: Parade
Should Win: Sweeney Todd

BEST REVIVAL OF A PLAY

August Wilson’s The Piano Lesson
A Doll’s House
The Sign in Sidney Brustein’s Window
Suzan-Lori Parks’ Topdog/Underdog

Director Anne Kauffman (and the unjustly snubbed stars Oscar Isaac and Rachel Brosnahan) did a more than commendable job getting Lorraine Hansberry’s unwieldy but frequently compelling The Sign in Sidney Brustein’s Window onto a Broadway stage. And LaTanya Richardson Jackson’s starry revival of August Wilson’s The Piano Lesson did justice to that classic play if adding little that previous productions didn’t already reveal. The competition, then, comes down to Jamie Lloyd’s stark, modernist staging of A Doll’s House (adapted by writer Amy Herzog) and director Kenny Leon’s production of Suzan-Lori Parks’ Topdog/Underdog. I loved both productions, for different reasons, the Ibsen for its mesmerizing, chilly beauty and the Pulitzer-winning Topdog/Underdog for its sheer, visceral, grab-you-by-the-throat emotional intensity. I’ll lean into the latter.

Will Win: A Doll’s House
Should Win: Topdog/Underdog

BEST MUSICAL

& Juliet
Kimberly Akimbo
New York, New York
Shucked
Some Like It Hot

Shucked was this Broadway season’s little musical that could, an unassuming, pun-filled musical that arrived in New York City heralded only by some corny – literally – subway posters and vague rumors of a Hee Haw-like parody. Except it wasn’t (isn’t) a parody, it’s a loving homage to a comedic rural tradition that stretches back to Green Acres (don’t sneer), golden age radio and vaudeville. It’s a delight, and deserves its place in this distinguished company.

Then there’s Some Like It Hot, a musical adaptation of the 1959 classic film comedy that arrived in town with an even bigger marketing problem than the mysterious Shucked. Stage adaptations of beloved films have a pretty miserable ratio of commercial success, and they typically fare even worse with critics (see Almost Famous, or not). But here it is, more charming, engaging, relevant and downright lovely than it has any right to be. Director Casey Nicholaw gives the musical the same comic allure he brought to The Prom, and the music by Marc Shaiman, lyrics by Scott Wittman and Shaiman, and book by Matthew López and Amber Ruffin are all joys.

In any other year, either Some Like It Hot or Shucked could lay legitimate claim to the Tony for Best Musical. But this year, there’s Kimberly Akimbo, one of the finest, most enchanting musicals to hit Broadway in a decade, right up there with Hadestown, and that’s as high a praise as I know.

Will Win: Kimberly Akimbo
Should Win: Kimberly Akimbo

BEST PLAY

Ain’t No Mo’ by Jordan E. Cooper
Between Riverside and Crazy by Stephen Adly Guirgis
Cost of Living by Martyna Majok
Fat Ham by James Ijames
Leopoldstadt by Tom Stoppard

Jordan E. Cooper’s bold Ain’t No Mo’ came and went far too quickly on Broadway, but the producers’ decision to stage the surreal, farcical and poignant comedy about the Black experience as narrated by a drag queen flight attendant remains as daring as Cooper’s vision itself. I’d be tempted to give it a “Should Win” if it wasn’t for, well, more about that shortly.

The nominations of Stephen Adly Guirgis’ Between Riverside and Crazy, James Ijames’ Fat Ham and Martyna Majok’s Cost of Living have already put this year’s Tonys into the record books: Never before have three Best Play contenders landed in this category with Pulitzer Prizes already in tow. Tony voters can – and do – argue over the whys and wherefores of the Pulitzers, but I’d guess the Pulitzer pedigrees won’t carry much weight this year. Cost of Living, in particular, is the longest of shots.

As with the Best Musical category, two of the nominees could, in any other year, be front-runners: Both Between Riverside and Crazy and Fat Ham were lively and tough-minded comedy-dramas that merit whatever praise they have coming. But this is the year of Tom Stoppard’s Leopoldstadt, a breathtaking, expansive and utterly wrenching drama about the decimation of a large, wealthy Viennese Jewish family before, during and after the Holocaust. Leopoldstadt is another – possibly the final – entry in the catalog of one of our greatest living playwrights. I can’t imagine this won’t be his year.

Will Win: Leopoldstadt
Should Win: Leopoldstadt

The 76th Tony Awards, hosted by Ariana DeBose, airs on CBS Sunday, June 11, live from the United Palace theater in New York City’s Washington Heights, 8-11 p.m. ET/5-8 p.m. PT. In addition to CBS, the ceremony streams live and on demand on Paramount+.

A live, 90-minute pre-show, The Tony Awards: Act One, hosted by Julianne Hough and Skylar Astin begins at 6:30 p.m. ET/3:30 p.m. PT. The pre-show will be available for free on Pluto TV via smart TVs, streaming devices, mobile apps and online by going to Pluto TV and clicking on the “Pluto TV Celebrity” channel. No payment, registration or sign-in is required.

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Has there ever been a less predictable

Queen Charlotte: Everything We Know About Season 2

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Queen Charlotte: Everything We Know About Season

Mike Batayeh, actor and comedian known for his role in “Breaking Bad” as the manager of Gus’s notorious laundromat, has died. He was 52.

Batayeh died on June 1 of a heart attack while asleep in his Michigan home, said his family in a statement.

“It is with great sadness and heavy hearts that my sisters and I announce the passing of our dear brother,” his family said. “He will be greatly missed by those who loved him and his great ability to bring laughter and joy to so many.”

Batayeh starred in three episodes of AMC’s “Breaking Bad” as Dennis Markowski, manager of Lavanderia Brillante laundromat, which doubled as a meth lab for Walter White and Jesse Pinkman.

Throughout his acting career, Batayeh made appearances on shows like “It’s Always Sunny in Philadelphia,” “Sleeper Cell,” “The Bernie Mac Show,” “Boy Meets World” and “Everybody Loves Raymond.” He co-starred in films such as Paul Weitz’s “American Dreamz,” “Don’t Mess with the Zohan,” “Gas” and starred as the lead role of Mike in the 2012 film “Detroit Unleaded.”

In his career as a comedian, Batayeh performed and headlined at notable comedy clubs such as New York’s Gotham and Los Angeles’ Laugh Factory, Comedy Store, the Improv and the Icehouse.

Batayeh became one of the first American comedians to perform for local audiences in the Middle East. He did shows in Dubai, where he filmed a special for Showtime Arabia, as well as Egypt, Lebanon, Nazareth and Jordan. Batayeh was invited two years in a row by the royal family of Jordan to perform at the Amman International Comedy Festival.

Batayeh was born in Detroit. A celebration of life service will be heldon June 16 at the Vermeulen-Sajewski Funeral Home in Plymouth, Mich. at 2 p.m.

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Mike Batayeh, actor and comedian known for

We’ve got something exciting for all you Marvel fans! There’s only a week to go until the release of the new Stan Lee documentary.  The film will make its debut on the Disney+ streaming network on June 16, 2023, and celebrates the legendary marvel creator.  Today a brand new trailer was released to give us a taste of what’s to come when the Stan Lee documentary debuts next week! 

You can take a look at the official trailer below: 

The Stan Lee documentary first debuted at the 2023 Tribeca Film Festival earlier this year.   Last year, Marvel paid tribute to the late creator on what would have been Stan Lee’s 100th birthday.  Lee helped create some of Marvel’s most legendary superheroes including Spider-Man, Fantastic Four, Iron Man, Black Panther, The Incredible Hulk, X-Men, Thor, Silver Surfer, Ant-Man, Nick Fury, The Avengers, and hundreds more.  Lee has also become legendary in the Marvel Cinematic Universe films for his regular cameos.  

Stan Lee Iron Man

The Stan Lee documentary is being produced by David Gelb, Brian McGinn, and Jason Sterman and was developed by Marvel Studios and Supper Club.  Genius Brands International are executive producing the film.  David Gelb is also directing the film and is well known for other documentaries including Jiro Dreams of Sushi. 

Readers are encouraged to keep following along with MickeyBlog for further Walt Disney World news and updates. We’ll be coming to you LIVE! from the theme parks each and every week. 

Have you heard the news? MickeyTravels just earned the incredible distinction of being a Diamond Earmarked Agency!

Whether it’s a visit to the theme parks, a Disney cruise, a stay at Aulani in Hawaii, or the trip of a lifetime with Adventures by Disney, I can’t wait to help you plan your vacation utilizing all of our incredible concierge-level services. This includes discount monitoring, itinerary planning, flexible booking, and more.  Best of all my services are 100% FREE!

Find out more or get your FREE no-obligation quote at mroden@mickeytravels.com at 1.800.801.4025 or via Facebook

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Despite what many believe, Miles Morales was not the first non-Peter Parker Spider-Man to star in his ongoing series. Nor was he the first non-white hero to use the name. The first was Miguel O’Hara, famously known as Spider-Man 2099. Created by writer Peter David and artist Rick Leonardi, this Spidey was part of a publishing initiative by Marvel known as the 2099 universe. In the early ’90s, Marvel Comics gave many of their most popular titles futuristic updates, often with new characters wearing the famous mantles of past heroes. There was X-Men 2099, Punisher 2099, and of course, Spider-Man 2099. And thanks to Spider-Man: Across the Spider-Verse film, Miguel O’Hara’s Spidey is a household name. Here’s the backstory of this once-forgotten ’90s hero.

Miguel O’Hara: The Most ’90s Spider-Man

Marvel Comics

In the early ’90s, the comics industry was booming. DC sold millions of comics with stunts like Superman’s death. And Marvel crushed it by selling 10 million copies collectively of Spider-Man #1 and X-Men #1. This resulted in a brief comic boom, which also coincided with the rise of Image Comics. Marvel launched a whole new line of books, conceived by Stan Lee and superstar creator John Byrne. This new line of comics would take place a century in the future from the regular Marvel series, “The Marvel World of Tomorrow.”

1992's Amazing Spider-Man #364, Miguel O'Hara's first appearance, and Spider-Man 2099 #1.
Marvel Comics

That title became a bit of a mouthful, so it became Marvel 2093, then finally, Marvel 2099. Spider-Man 2009 first appeared in a preview in 1992’s Amazing Spider-Man #365, before launching in his own ongoing title a few months later. Writer Peter David named him Miguel after his friend actor Miguel Ferrer, best known for his roles in Twin Peaks and Robocop. He was given mixed ethnicity, with an Irish father and a Mexican mother. This was something that was a pretty big deal at the time when most superheroes were of caucasian and North American descent only.

The Comics Origins of Spider-Man 2099

Spider-Man 2099 striking a pose on top of a building.
Marvel Comics

Miguel O’Hara/Spider-Man 2099 was from what appeared to be the future of the mainstream 616 Marvel Universe. However, it was later revealed as Earth-928. Miguel was the head of the genetics department at the mega-corporation called Alchemax. He spent much of his time trying to replicate the powers of the original Spider-Man, Peter Parker. Miguel’s manipulative boss Tyler Stone got him addicted to a drug called Rapture, an addiction that Miguel tried to purge from himself by making himself the guinea pig in his experiments to replicate spider powers. But a co-worker named Aaron Delgado, who was always jealous of his success at Alchemax, sabotaged the machine that would give Miguel spider abilities. He now had a staggering 50% arachnid DNA. The machine exploded, and Tyler Stone began the hunt for his former employee to unlock the secrets of his powers.

Spider-Man Peter Parker and Spider-Man Miguel O'Hara meet for the first time in the '90s.
Marvel Comics

Using an old Dia de Los Muertos costume, which was made from unstable molecules (an invention of the Fantastic Four’s Reed Richards), Miguel donned the suit and became the year 2099’s new Spider-Man. Miguel embraced this new Spider-Man 2099 identity, and became an enemy to not only his former employer Alchemax, but also all the corrupt megacorporations which run the world in the future. He also fought many futuristic versions of classic Peter Parker foes, like the Vulture and the Green Goblin. Always with the help of his holographic assistant, Lyla. Eventually, thanks to some time travel shenanigans, Spider-Man 2099 even met his predecessor Peter Parker in the past. The solo Spider-Man 2099 Marvel Comics series ran for four years and had a respectable 46 issues. But in the late ‘90s, Marvel Comics hit serious financial troubles and shuttered the whole line. Miguel’s Spider-Man 2099 would be more or less absent from the Marvel Universe for a decade.

The Powers of Spider-Man 2099

Spider-Man 2099 as he appears in modern Marvel Comics.
Marvel Comics

Miguel O’Hara has powers similar to Peter Parker, but they are not exactly the same. Like Peter, Spide-Man 2099 has the proportionate strength, agility, and speed of a spider. But he can only climb on walls thanks to the talons he grew on his appendages. He also has a pair of fangs that deliver poisonous venom. Some have joked that, in some ways, Spider-Man 2099 is a “vampire Spider-Man.” Unlike Peter, Miguel O’Hara’s webbing comes out of his wrists naturally, a power Spider-Man 2099 had whole decade before Tobey Maguire had organic webs. He tends to prefer gliding to swinging on webs, though. Unlike Peter, Spider-Man 2099 has no traditional Spider-Man “Spidey Sense.” However, he makes up for this fact with telescopic vision, not to mention his super hearing.   

Spider-Man 2099 in Modern Marvel Comics

Spider-Man 2099 in his modern white, red, and black costume.
Marvel Comics

In the 2000s, Miguel found himself stranded in the past. Spider-Man 2099 finally showed up again in mainstream monthly titles like Amazing Spider-Man. Miguel even worked for Peter in his Parker Industries empire before Peter lost it all and went back to being an ordinary middle-class guy. He appeared a few more times, particularly in the crossover comics events like Spider-Verse or Spider-Geddon. Spider-Man 2099 even got a new white costume while stuck almost a century in the past. But without a doubt, his upcoming appearance in Spider-Man: Across the Spider-Verse is his biggest mainstream appearance—at least outside of comics.

Who Is the Animated Miguel O’Hara/Spider-Man 2099 in Across the Spider-Verse?

The animated version of Spider-Man 2099 from Spider-Man: Across the Spider-Verse;
Sony Animation

We saw Spider-Man 2099 and his assistant Lyla in the post-credits scene for Into the Spider-Verse. Then Spider-Man 2099 played a key role in its sequel, with Oscar Isaac reprising his role. In Across the Spider-Verse, we learned that Miguel runs the Spider-Society of multiversal spider-heroes in Nueva York, on Earth-928B. Unlike his Marvel Comics counterpart, this Spider-Man 2099’s home city looks utopian—not like a dystopian hellscape.

A maskless Miguel O'Hara rages at Miles Morales in Spider-Man: Across the Spider-Verse.
Sony Animation

Miguel built the device that allowed him to hop dimensions within the multiverse, something we saw at the end of Into the Spider-Verse. Eventually, he discovered a universe where he had a family and a daughter. When his alternate self there died, Miguel decided to replace him on that Earth and raise his daughter as his own. But that one anomaly seemingly caused that particular Earth to unmake itself, apparently killing everyone on it.

Now despondent over his unintended actions, Miguel created the Spider-Society, multi-dimensional Spider-People dedicated to returning any wayward Spider-People back to their proper dimension after the Super Collider event at the end of the previous film. Most importantly, his trauma caused him to enforce a strict mandate: every spider hero had to follow their intended destiny and “canon event,” usually a personal tragedy, otherwise it could lead to anomalies like the one that destroyed the alternate Miguel’s world.

Spider-Man 2099, aka Miguel O'Hara, charges towards Miles Morales in Spider-Man: Across the Spider-Verse.
Sony Animation

Miguel sees Miles Morales as the “original anomaly.” He says Miles’ unintended existence as Spider-Man is the entire reason he had to create a Spider-Society in the first place. When Miles lets it be known that he won’t allow his personal “canon event” to take place—the death of his father—Miguel sends the entire Spider-Society out to stop him. Although he thinks he’s doing the right thing, Miguel O’Hara is the real antagonist of Across the Spider-Verse. Here’s hoping he sees the error of his ways by the third film. We’d hate to see Spider-Man 2099 only as a misguided villain; he deserves a heroic turn.

Originally published on May 31, 2023.

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Despite what many believe, Miles

The US Department of Justice announced today that it charged two Russian nationals for crimes related to the 2011 hacking of Mt. Gox, the now-defunct crypto exchange that was one of the world’s largest at the time. Alexey Bilyuchenko and Aleksandr Verner are accused in the Southern District of New York (SDNY) of laundering about 647,000 bitcoins connected to the heist. In addition, Bilyuchenko faces separate charges in the Northern District of California (NDCA) related to running the infamous Russian crypto exchange BTC-e.

The pair are being charged in SDNY for conspiracy to commit money laundering. Meanwhile, the NDCA charges are for conspiracy to commit money laundering and operating an unlicensed money services business. The SDNY charges carry a maximum sentencing of 20 years for each defendant, while Bilyuchenko faces a maximum of 25 years in prison in the NDCA indictment.

The DOJ says Bilyuchenko, Verner and co-conspirators gained access to the server storing Mt. Gox’s crypto wallets in or about September 2011. Once they infiltrated the servers, the pair and their partners allegedly initiated the transfer of customers’ bitcoins to accounts they controlled. In addition, they’re accused of laundering the stolen bitcoins to accounts on other crypto exchanges also controlled by the group.

The conspirators allegedly negotiated and entered into a fraudulent “advertising contract” with a New York bitcoin brokerage service, a relationship they used to request regular transfers to “various offshore bank accounts, including in the names of shell corporations, controlled by Bilyuchenko, Verner, and their co-conspirators.” The DOJ says the group transferred over $6.6 million from March 2012 to April 2013.

“This announcement marks an important milestone in two major cryptocurrency investigations,” said US Assistant Attorney General Kenneth A. Polite, Jr. “As alleged in the indictments, starting in 2011, Bilyuchenko and Verner stole a massive amount of cryptocurrency from Mt. Gox, contributing to the exchange’s ultimate insolvency. Armed with the ill-gotten gains from Mt. Gox, Bilyuchenko allegedly went on to help set up the notorious BTC-e virtual currency exchange, which laundered funds for cyber criminals worldwide. These indictments highlight the department’s unwavering commitment to bring to justice bad actors in the cryptocurrency ecosystem and prevent the abuse of the financial system.”

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The US Department of Justice announced today

At the age of 91, journalism legend Dan Rather remains on top of the news.

Take the recent CNN town hall with former President – and current candidate – Donald Trump. Bad idea, he says.

“I think it’s clear it was a mistake to do the kind of quote ‘town hall’ unquote that CNN put on,” he tells Deadline. “It allowed straight out propaganda. It was an unpaid political commercial.”

Rather isn’t saying the news media shouldn’t cover candidate Trump. He’s saying it comes down to whether the interview happens live.

“There are times, for example in a debate for the Republican nomination, when of course it should be covered live,” he notes. “But he should not be given an opportunity to just ramble on, tell one lie after another, unchallenged.” Rather adds, “I’m not here to tell anybody how to run their journalism operation. I’ve made my mistakes, certainly, over the years. I would say if you’re going to have him on the air for an hour or more, as CNN tends to do — it’s in that neighborhood — then don’t do it live. You tape it, and then you can edit and add your own editorial comment.  But I think it’s clear that CNN made a mistake with that.”

Former President Donald Trump on June 1, 2023 in Grimes, Iowa.

Scott Olson/Getty Images

Our interview with the former anchor and managing editor of the CBS Evening News came just a few hours before Trump was indicted on federal criminal charges in connection with alleged mishandling of classified documents after leaving the White House. The newsman was in New York, his old stomping grounds, for the world premiere this evening of Rather, the documentary about him directed by Frank Marshall. 

Regarding Trump, Rather said the twice-indicted former president could still win re-election next year.

“I don’t think anyone in the press kids themselves — and no one in the public should kids themselves — should he be the Republican nominee, once again, he can win,” he says. “I’m not predicting he will win, but I’m simply saying it would be foolish to say, ‘Oh, well, after, after all these things that have gone under the bridge, what we now know about President Trump, he couldn’t possibly win.’ I would say be careful. I don’t think that’s the case.”

Our conversation turned to Tucker Carlson, the Fox News anchor fired within days of parent company News Corp settling a defamation suit brought by Dominion Voting Systems for $787 million.

“Given the situation of the lawsuit, it’s no surprise that Tucker Carlson lost his job because in the end, what it was about — beginning to end — was all about money,” Rather observes. “As long as Tucker Carlson turned out considerable revenue and great profits for Fox and the Murdoch operation, he would be exceptionally well paid himself and would be seen as a valuable, if not the most valuable property that Fox had. The second it became about big money, even by Murdoch standards, a billion dollars or anything approaching that, then no surprise that Tucker Carlson became expendable. Having said that, I want to emphasize that what I know about the inner workings and decision making process in the tiers of Fox News could be written on the stomach of a germ, which is to say, I don’t know much about it, but I think it is pretty obvious that it, in the end, it was about money and Tucker Carlson paid the price.”

Dan Rather at SXSW March 11, 2016

Dan Rather at SXSW March 11, 2016.

JEALEX Photo/Getty Images for SXSW

Rather has long been known for his aphorisms – like “stomach of a germ,” or this one: “Don’t taunt the alligator until after you’ve crossed the creek.” That manner of speaking reflects the homespun wisdom of his Texas upbringing. But Marshall’s documentary goes well beyond the epigrams to the substance of the man, his faith and family, and a career that can only be called one of the greatest in the history of American journalism.

“It certainly is a deep dive,” Rather says of the film. “Among my surprises is that there’s quite a bit of picture and audio in this documentary that I had never seen myself. The uninitiated might say, well, how can that be? But just for example to keep in mind, during my first time in Vietnam, 1965, ’66, everything was shot on film, not videotape. So, in the field as the combat correspondent, you wrote out a script by hand — computers didn’t exist — and sent the film off to New York to be processed, edited, and put on the air. And that explains why in this documentary there are scenes that I remember, but that I’ve never seen the footage before.”

The documentary shows Rather reporting from Vietnam, cheek by jowl with soldiers in the middle of a firefight.

Dan Rather reporting while under fire in Vietham in 1966.

Dan Rather reporting while under fire in Vietham in 1966.

CBS via Getty Images

“I’d be lying if I didn’t say there were any number of times when I quietly said to myself, well, you know, this could be it,” he says. “But if you’re in journalism for the right reasons, which is to be a public service, it’s a story that matters… I learned a lot when I was in Vietnam. It’s a story that matters. And you say, ‘I want to be an eyewitness to that story, so I can be an honest broker of information in trying to explain to people what’s going on, what’s really going on,’ as opposed to powerful people trying to convince you something [else] is going on. But yes, of course, you get afraid. But it’s sometimes hard to explain to people on the outside of journalism, when you get focused, really focused, hard focused, almost nothing else matters.”

That hard focus – the ability to remain calm and keep his wits about him as titanic events occured around him – distinguished Rather from his earliest days in television news. Rather shows him reporting on a hurricane in Galveston, Texas as a young man. That assignment for a local news station brought him to the attention of CBS News brass, who hired him to be the network’s Dallas bureau chief in 1962. The following year, President Kennedy would make his fateful trip to Dallas with Rather on hand to cover what was supposed to be a routine campaign swing. 

In this image shot of a television screen on November 23, 1963, Dan Rather reports from CBS television studio KRLD in Dallas, TX. on the assassination of President John F. Kennedy.

Dan Rather reports on the assassination of President John F. Kennedy November 23, 1963.

CBS via Getty Images

“I was in charge of CBS news coverage there that day. I was still young correspondent, and I was in charge only because everybody was convinced nothing was going to happen,” Rather recalls. 

CBS News anchor Walter Cronkite, citing Rather’s on-the-scene reporting, shared the bulletin with the nation that President Kennedy had been killed. Not surprisingly, Rather considers what he calls those “four dark days in Dallas” — encompassing the assassination of JFK and then the killing of Lee Harvey Oswald – as the most important breaking news assignment of his life. 

“To have that as the responsibility suddenly, and saying to yourself, ‘This is about as important as it gets, so you better try to be the best you can be,’” he recalls, “certainly never be forgotten for me.”

He would go on to cover the Vietnam War, spending about a year in-country, then became CBS News’ chief White House correspondent, a post that found him sparring on more than one occasion with then President Nixon. Excerpts of Nixon’s secretly recorded Oval Office conversations reveal him obsessing over Rather and trying to find ways to “hit him hard.”

Pres. Nixon said 1/2 North Vietnam had refused to release U.S. prisoners of war in exchange for a firm U.S. deadline for total withdrawal from Vietnam. Nixon made the disclosure during a CBS television interview with correspondent Dan Rather (right). The two are shown just prior to the interview.

President Nixon interviewed by Dan Rather January 3, 1972.

Getty Images

Rather says when he first became aware of the recordings, it wasn’t a complete shock “because members of [Nixon’s] staff had said equivalent things over a long period of time, and [Nixon] made it very clear, one time after another that, let’s say he was not an admirer of my work. I was surprised, quite frankly, at how many times he referred [to me on the tapes]. After all, he’s president of the United States, most powerful man in the world. And to hear him mentioning your name, not once, not twice, but over and over, it wasn’t unsettling, but it was revealing to the extent, well, yes, I knew exactly how he felt, but I didn’t realize that he felt obliged to mention it in his office. It turned out he did.”

Dan Rather on the premiere date as anchor of The CBS Evening News March 9, 1981.

Dan Rather on the premiere date as anchor of The CBS Evening News March 9, 1981.

CBS via Getty Images

Once he succeeded Cronkite in the anchor chair, Rather would have exclusive interviews – and sometimes clashes – with presidents and presidential candidates, like the famous one he did with then-Vice President George H.W. Bush in 1988. That’s documented in the film, as is Rather’s ultimate departure from CBS News which stemmed from his reporting on President George W. Bush’s service in the Texas Air National Guard during the Vietnam War.

That report for 60 Minutes II, which alleged the elder Bush had used his influence to keep his son out of active duty in Vietnam, was partly based on documents whose authenticity was later questioned. Eventually, CBS News apologized for relying on possibly forged documents for its report, as did Rather (the controversy overshadowed the question of whether George W. Bush had in fact been shielded from serving in Vietnam).  

Rather later sued CBS, alleging he had been made a scapegoat over the controversy and sacrificed to “pacify the [Bush] White House,” but the suit was thrown out. From the vantage point of today, he sees his firing in the context of seismic changes in television news.

“For all those years from the [Edward R.] Murrow years and the Cronkite years, and from the very early years of my own being anchor and managing editor for the CBS Evening News, news was viewed as a public service,” he comments. “If it made some money, they were pleased — that is, the owners were pleased — but they saw it as public service. After that, for the industry as a whole, not just at CBS, the original owners of the network news operations sold the properties, or their heirs sold the properties. And with each sale new corporate leadership came in with new ideas about what news could be, should be. And one of the things they decided is, and this was generally across the spectrum at all networks in one way or the other, it became all about the money, no thought of public service.”

If that was the nadir of his career, Rather has enjoyed a remarkable resurgence in recent years. Into his 80s and now 90s, he has continued to pursue journalism and produce documentaries and he’s become a social media star, dispensing pointed and pithy observations to a Twitter following alone of 2.6 million followers.

Dan Rather on SiriusXM's POTUS Politics May 16, 2019.

Dan Rather on SiriusXM’s POTUS Politics May 16, 2019.

Slaven Vlasic/Getty Images

“When it was first proposed to me that Dan, if you want to have any semblance of relevance, even microscopic size, you’ve gotta be on the internet, frankly, my first answer to the people who worked with me at the time I suggested that, was that I was born too early for the internet,” he says. “But they eventually convinced me to try it. I wouldn’t say I was astounded to find an audience on Twitter and Facebook, and then later with the newsletter Steady, but I was very much surprised… I couldn’t have been more surprised if a giraffe had come loping through the room.”

He adds, “I don’t want to sound corny, but it’s true, I really am humbled by it… But at age 91 — be 92 in October — to have people who have no idea what I did on television believe that I’m worth reading, to have this many people do it, well, it’s an honor and I’m humbled by it.”

The documentary makes the case that journalism, for Rather, stems from his sense of patriotism, his sense of obligation to our form of government. Returning to the question of the Trump presidency, he sees real damage having been done to the Fourth Estate, something the Founding Fathers considered essential to democratic rule.

“[Trump’s] relentless attacks have had their effect. They’ve damaged public trust in the press. They’ve severely damaged what the press thinks of itself,” Rather maintains. “Mind you, I say this in the context that we, in the press, and I certainly include myself in this criticism, we’ve made mistakes. And every time we make a mistake, we hurt ourselves.”

He says the news media must not hesitate to use the word “lie” when Trump utters them.

“The press, including myself, had always been reluctant to use the word ‘lie,’” he says. Early in the Trump presidency, he say, “We almost got to the ridiculous point. You would say, he’s using sophistry, or anything to avoid the word ‘lie.’ But at some very important point, hard to pinpoint exactly the date, the press begin to come around and say, when a lie is a lie — it’s a provable lie, no ifs and or buts about it — then you need to say so.”

Rather adds, “President Trump, and those who helped him, got the president and everybody else in there discussing, is anything real? Is anything factual? Well, of course the answer is, yes, there are things that are factual. Two and two equals four, not five, and water does not run uphill.”

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At the age of 91, journalism legend

Few people lived a life as bold and controversial as Leonardo da Vinci. It’s easy to forget sometimes he was also a human being with doubts who struggled with the same things that trouble just about all of us.

In animated feature “The Inventor,” writer/director Jim Capobianco, who shared an original screenplay Oscar nomination with Brad Bird and Jan Pinkava for “Ratatouille,” was always interested in the more personal side of the famed painter and inventor. “The Inventor” combines traditional 2D and stop-motion animation as well as original music and lyrics by Alex Mandel.   

“I’m telling the story of [da Vinci] at the end of his life and years in France,” says Capobianco. “I knew he was going to die [at the end of the story] and I was asking what that means to a man like Leonardo da Vinci. Having researched him, I learned that he believed that he procrastinated a lot and he thought he didn’t finish a lot of the things he set out to do. So, I thought about what it would mean to this person, this character. I realized it’s about what you leave behind for others and how you affect other people with what you do, how you change other people’s lives while you’re here. I realized with Leonardo da Vinci, he’s the perfect kind of foil for that because here I am making a film about him 500 years after he lived, and we still talk about him. He has such an impact on us and the idea of invention and the idea of curiosity and everything he accomplished.” 

Capobianco co-directed the film with Pierre-Luc Granjon, whose strong stop-motion background was invaluable to creating a movie with two distinct visual styles that flow together. Pic is an Irish co-production presented by Curiosity Studio (Ireland) in partnership with Foliascope (France), Aerial Contrivance Studios, and SIE Films. 

International Sales are being handled by MK2, and U.S. sales by the Exchange. Universal Pictures Content Group  holds rights in several international territories. It was chosen to screen at the Annecy International Animation Festival as a work in progress. 

The voice cast features Daisy Ridley, Marion Cotillard, Matt Berry and Stephen Fry, among others. Capobianco was thrilled to work with so many notable actors on this story. 

Part of Capobianco’s lengthy talks about the film also included collaborating with longtime friend Mandel, who would come up with ideas for the ways his compositions could be used to tell the story that later influenced the animation.   

“This is the biggest, most complex project I’ve done,” says Mandel. “I’d written some songs for ‘Brave,’ I’ve scored films, I’ve scored streaming shows. This was artistically and technically, by far the most complicated and for a lot of reasons. We recorded strings in Budapest, but they recorded the woodwinds and the brass in New Zealand, and I did the guitar parts and I learned to play the lute. It wasn’t strictly Renaissance music. Leonardo was ahead of his time — he was designing flying machines in the year 1500. I would try stuff until it felt right for Jim because it’s his film, but it just meant I had to stay on my toes.”  

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Few people lived a life as bold

Finally, some real numbers to assess the value of PVOD play for studios. And it’s a revelation.

Top executives from Universal recently spoke at length to the New York Times, stating that the studio grossed $1 billion in less than three years (starting in July 2020). That’s when it began placing most of its films on PVOD after their third weekend (after 31 days if one opens to over $50 million).

Theatrical box office is reported daily; judging actual VOD revenue, to put it charitably, is a crapshoot. Premium Video on Demand (usually $19.99 for a 48-hour rental) and VOD (ranging from $3.99-6.99, though normally $5.99) can only be judged by their relative position on charts from platforms like iTunes, Vudu, and Google Play.

At IndieWire, we convey PVOD performance from the charts those three platforms provide on a weekly basis (here’s last week’s report, for instance), but they provide only rankings with inconsistent metrics (Vudu charts by revenue, others by transactions).

Beyond the interesting details in the Times story (like tallies of over $50 million for “Jurassic World: Dominion,” “The Croods: A New Age,” and “Sing 2,” and a surprising $25 million for “News of the World” and “M3GAN”), the figures allow a better sense of the benefits to Universal. (Of note: Though not verified, a publicly traded company is required to be truthful in financial reporting.)

News of the World
“News of the World”Bruce Talamon/Universal Pictures

For studios, VOD’s primary appeal is a revenue share of nearly 80 percent; with theaters, it’s close to 50/50. (Also: When Universal launched its three-week VOD policy in July 2020, theaters reportedly received slightly better terms).

Since the pandemic, domestic box-office revenue for Universal (including its Focus division) is around $3.5 billion. That’s ahead of #2 Disney (including Searchlight) with $3.2 billion.

Add Universal’s PVOD revenue, and the total is $4.5 billion. (PVOD includes some from the U.K., where windows are longer and the VOD platforms are less advanced. Universal sources tell IndieWire that it accounts for a small amount over the $1 billion reported.)

In revenue terms, POV adds about 30 percent. But wait — it gets better for Universal.

Its estimated theatrical film rental — best guess — is around $1.8 billion. PVOD comes to around $800 million. That’s 44 percent more.

With the industry’s most aggressive PVOD program and the most movies (53 releases since January 2022), Universal has taken in the lead in box office. That also creates a virtuous cycle: The aggressive PVOD program makes it easier for them to produce more films.

Three years ago, then-NBC/Universal president Jeff Shell announced its PVOD policy and AMC and Regal owner Cineworld suggested boycotting the studio. Universal mollified them with a deal — and today, while theaters may not love PVOD, more movies benefit theaters.

Beyond theatrical exclusivity, the move to PVOD often sustains box office LINK since home marketing can also benefit the theaters still playing the film. That reinforces the idea that much of the PVOD audience rarely goes to theaters, and theater audiences would rather pay $20 for two tickets than the same amount for home viewing.

The PVOD boost seems particularly important for Focus releases. Production and marketing costs for Focus releases are far below those of other Universal titles. With $5 million in PVOD revenue, around $4 million comes back to the studio. That’s the equivalent to about $8 million in theatrical gross, far more than most specialized titles take in. That makes it easier to greenlight these titles.

Puss in Boots: The Last Wish
“Puss in Boots: The Last Wish”Courtesy of DreamWorks Animation

Family films, a huge part of Universal’s recent success, seem utterly unharmed in their theatrical totals. After grossing $75 million, “Puss in Boots: The Last Wish” added $110 million in box office after its PVOD release. While it’s an extreme case (“Puss in Boots” benefited from many weeks of being the sole kid-friendly film in theaters), that also represents millions of people who could have more easily spent that money while staying home.

One result that could come from Universal’s revelations is to elevate PVOD in media coverage of platforms. Streaming is usually the fourth stage of release after theaters, PVOD, and VOD. But it isn’t just Universal that prioritizes PVOD, increasingly delaying streaming until all VOD revenues are maximized.

Reporting numbers — whether grosses in theaters, or subscribers for streaming sites — concentrates attention on those elements. But in terms of direct impact on a film’s financial take, PVOD results have become a critical element. Getting specific data like this is important to understanding why early streaming has become less frequent after initial elevation. It also emphasizes how essential PVOD is in our ever-changing film financial ecosystem.

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Finally, some real numbers to assess the

Jennifer Lopez makes it rain in Hustlers, Lorene Scafaria’s glittery and gritty 2019 drama based on the excellent New York Magazine feature from Jessica Pressler. Lopez stars as Ramona Vega, an established stripper who takes Destiny (Constance Wu) under her wing and soon recruits her to join in on some not-so-legal activities to help keep the cash flowing amidst the 2008 financial crisis. Ramona, Destiny and their friends live the high life by robbing their rich clients, but the glamorous perks of fleecing Wall Street bankers only last so long. With cameos from Lizzo and Cardi B, some jaw-dropping dance sequences from Lopez and some juicy one-liners, Hustlers is a wild drama that proves J.Lo’s star power.

Photo: Everett Collection

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By Greta Bjornson Jennifer Lopez makes it rain in

Kieran Culkin felt like a “child” filming “Succession.”

The former child star admitted during Variety’s Actors on Actors with Claire Danes that playing Roman Roy in “Succession” opposite Brian Cox’s patriarch Logan Roy made him feel like he was seven years old again.

“I realize I’m doing it right now for some reason,” Culkin said. “Whenever I have to shoot with Brian, it’s like, ‘Dad, I feel like I’m seven.’ He can be a scary guy. Not to me — I can approach him as an adult. But for whatever reason, in character, I feel like I’m seven with him.”

Culkin added that filming the tense Roman-Logan relationship made the series more meta, especially shooting Episode 2.

“The way the second episode ends with Roman’s being invited in — it looks like Roman’s actually going to go with Dad and go against the siblings. But it’s sort of on the fence,” Culkin said. “The way that episode starts off, with Dad calling Roman and saying, ‘You need to fire Gerri,’ I feel like Roman feels like he’s having the worst day of his professional life, and maybe one of the worst days of his life. He has no idea how bad it’s going to get.”

Culkin revealed that “Succession” creator Jesse Armstrong shared that Logan Roy would die early on in the fourth and final season, but still set up some possible threads for a fifth season if the show were to ever continue past the shocking series finale.

“He told me what happens with Logan, and I asked him to break down everything. And he explained the entire season to me. And then when he got to the end, I said, ‘Well, that seems like that’s the end of the show,’” Culkin recalled. “And he goes, ‘Yeah, it does, doesn’t it? Although…’ And then he just started talking about all these different ideas off the top of his head. And then he just pitched an amazing fifth season and then another and another.”

Culkin summed up, “He felt like the story was complete, and creatively that was it? He’s like, ‘I feel like it’s complete.’ I feel like he’s satisfied as a writer.”

Culkin’s co-star Cox took to Instagram to call “Succession” the “greatest work experience ever” across his decades-spanning career. “The harmony between crew and cast was truly amazing,” Cox wrote. “It was on its way to become a great series but the love and commitment from crew to cast and writers, made it memorable. I would like to thank all of us in the making and creating of this show from the very bottom of my heart.”

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Kieran Culkin felt like a “child” filming

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Documentaries about celebrities are a dime a dozen these days. But docus about celebrities that don’t feel like infomercials and instead are raw, informative, and honest about their star subjects are few and far between. HBO Sports’ and Universal Television Alternative Studio’s two-part docuseries “Golden Boy,” about Oscar De La Hoya, fits into the jaw-droppingly candid, no-holds-bar category.

In the first three minutes of the doc, directed by Fernando Villena, the Olympic boxing gold medalist and multi-world title-winning professional boxer, who is now 50 years old, says, “Everyone thought they knew me. It was just all a lie because that’s what I do.”

In part one of the series executive produced by Mark Wahlberg and Mario Lopez, De La Hoya reveals some of his most spectacular lies and painful childhood traumas. The 77-minute episode also features interviews with members of the boxer’s immediate family, who don’t hold back about how they feel about the 11-time titlist. (Let’s just say that not everyone agrees on who should have won the iconic 1996 fight between De La Hoya and Julio César Chávez.)

“It’s very therapeutic and so emotional hearing my family members talk about me,” says De La Hoya. “I needed that. I needed to just hear the truth.”

De La Hoya, who participated in Eva Longoria Bastón’s 2022 doc “La Guerra Civil,” has known since retiring in 2008 that he wanted to make a documentary about his life and career.

“When I retired from boxing, I felt lost,” he says. “I felt like life wasn’t worth living anymore because I could not have my passion, which was inside the ring. So, I wanted to tell the truth. I wanted to tell my story in my words, from my heart, about what I’ve been through my whole career. It’s been quite a rollercoaster.”

Villena, who made the HBO docu for Wahlberg’s Unrealistic Ideas production banner, spent an entire year interviewing De La Hoya.

“In doing the research, I knew that there were a lot of moments in Oscar’s life when he wasn’t truthful, whether to the media or to his family,” says Villena. “So, I knew that getting to that honesty, that truth was going to be difficult.”

The director decided that the best way to get De La Hoya to open up was to interview him one on one.

“I did all the shooting and sound, and we just talked,” Villena explains.

De La Hoya says opening up to the helmer was the “scariest” thing he has ever done.

“I’ve faced the toughest individuals inside the ring throughout my whole life, but to be honest, to literally expose my feelings and my emotions was petrifying,” he says. “I can see how people in my position or of my stature would shy away from doing something like this. But I had to because it was a way for me to escape from the reality that I’ve been living for the last 45 years.”

Part two of the docuseries, which was not provided to Variety, covers topics including the boxer’s battle with substance abuse as well as the infamous photo of De La Hoya wearing women’s lingerie, which was leaked to the press in 2007.

“I told Mark (Wahlberg) and Mario Lopez to make this real,” the boxer says. “Ask the tough questions, and with the (lingerie) pictures that came out many years ago, I told them, I want you to hunt down that girl that leaked them and just get the truth.”

The first episode of “The Golden Boy” will screen at the Tribeca Festival on June 9. Part one of the docuseries will debut on HBO on July 24 followed by part two on July 25. Both episodes will be available to stream on Max beginning July 24.

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Documentaries about celebrities are a dime a

Yesterday, the Supreme Court surprised many observers by issuing an opinion that effectively reaffirmed the remaining powers of the 1965 Voting Rights Act. The decision was a reprieve for a law that many believed was in danger of being fatally weakened, or overruled entirely, by the conservatives on the court.

The consequences of that decision will be profound. The Voting Rights Act, along with the 1964 Civil Rights Act, were crucial steps in American democratization, and the laws remain an important institutional means of preserving it.

To understand the significance of this week’s ruling, you need to turn to history. “Paths Out of Dixie” by Robert Mickey, which tracks the Deep South’s transition, between 1944 and 1972, from what he called “authoritarian enclaves” — pockets of single-party rule within a federal democracy — to nascent democracies that incorporated African American voters. And “Racial Realignment,” by Eric Schickler, shows how a bottom-up alliance of powerful trade unions and groups like the N.A.A.C.P. forced the Democratic Party to embrace civil rights, even though that meant losing its longtime power base in the segregated “solid South.”

Round out those academic works with two beautifully written books for more general audiences. “South to America,” by Imani Perry, which won the 2022 National Book Award for nonfiction, explores how the history and politics of the South shaped American identity and culture.

“The Warmth of Other Suns,” by Isabel Wilkerson, tells the story of the Great Migration, the movement of nearly six million Black Americans from the segregated South to the industrial cities of the north. I consider it an essential companion to Schickler’s book, because those Black workers were crucial to the transformation of the American labor movement, and by extension American politics and democracy.

The week’s other big news story is, of course, the federal indictment of former President Donald Trump — an odd news event in that it was simultaneously momentous, unprecedented and anticipated by many legal experts.

My Times colleagues are, as always, the best source of up-to-the-minute, high-quality reporting. Follow live updates here.

But the question I get most often about Trump’s legal woes is not about what happened, but what is going to happen: namely, whether the criminal charges will affect Trump’s chances of winning the next presidential election.

No one knows the answer to that question. As I wrote in this recent column, although in the past institutions like the Republican Party and mainstream media platforms were powerful enough gatekeepers to end the careers of politicians whose actions or ideas were distasteful to the establishment, that’s no longer the case. So it will be up to voters — and at this point there is considerable evidence that many of Trump’s supporters will stand by him through scandals that would end most politicians’ careers.


Soumojit, a reader in Perth, Australia, recommends “Invisible” by Paul Auster:

I am currently wrapping up an intense semester at the University of Western Australia, which also coincides with the winter here, and needed something to keep me warm. So obviously I caved and decided to read another Paul Auster.

This one’s called Invisible, and what I am enjoying about this novel is Mr. Auster’s masterful ability to capture the passage of time through the relationships between characters in his books, which also shines through in this book.


Thank you to everyone who wrote in to tell me about what you’re reading. Please keep the submissions coming! I’m particularly enjoying your snob-literature recommendations, and have already started reading several of them.

I want to hear about things you have read (or watched or listened to) about snobs and snobbery. I’m especially looking for fiction, but nonfiction recommendations are very welcome too.

If you’d like to participate, you can fill out this form. I may publish your response in a future newsletter.


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Yesterday, the Supreme Court surprised many observers

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Netflix has picked up a sex-advice talk show from “E!’s Nightly Pop” host Zach Noe Towers as its latest addition to its SiriusXM channel Netflix Is a Joke Radio.

Airing biweekly on Thursdays on channel 93 beginning June 15 at 9 p.m. ET/6 p.m. PT, “After Hours with Zach Noe Towers” is described as “a funny, sexy, one hour radio show where no topic is too taboo and no story is too raw…as long as it gets a laugh.”

Per Netflix, “In each episode, Zach will bring listeners into his own erotic escapades, welcome special guests to share their sexual journeys, and take calls to give their best advice on everything from one night stands to epic orgies to sexy souvenirs (STIs). Grounded by Zach’s signature blend of sex-positive humor and well-mannered midwestern upbringing, the show will help make conversations around sex more accessible and fun.”

The guests joining Towers across his first batch of episodes include Billy Wayne Davis, Bob the Drag Queen, Dave Merheje, Steph Tolev and Taylor Tomlinson.

Towers is a comedian and actor best known for hosting “E!’s Nightly Pop.” He’s also appeared on Seasons 1 and 2 of “Dating: No Filter,” and on Season 3 of Netflix’s “Dear White People.”

“’After Hours’ is like the partner of your dreams; it’s funny, sexy, and just smart enough to be an absolute smash at the office holiday party,” Towers said in a statement to Variety. “Listeners are gonna laugh, learn, and definitely get aroused (also grossed out, scared, and perhaps even lightly traumatized) but it’s all in good fun. My personal hope for the show is that it helps make sex more conversational and less intimidating. Most of us have had sexual experiences that range from great to horrible, but don’t always feel comfortable rehashing the gnarlier experiences to even our closest friends. And it’s when we don’t give a voice to these events that sex has the power to turn into a really isolating experience. Because of that I think After Hours is gonna help a lot of people feel less alone. Or if you’re a sex god with perfect mental health you should still tune in to hear about the biggest d*ck Bob the Drag Queen has ever fit in his mouth.”

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Netflix has picked up a sex-advice talk

SPOILER ALERT: This video and story contains spoilers from Part 3 of Bravo’s “Vanderpump Rules” reunion. In the end — in the very end — Raquel Leviss decided to try to come clean about the #Scandoval. Six days after March 23’s fiery taping of the “Vanderpump Rules” reunion, Leviss — at the center of the show’s cheating scandal […]

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SPOILER ALERT: This video and story contains spoilers

Whether it’s a collision in an office elevator or a case of mistaken identities, fans of romantic comedies have a love-hate relationship with meet-cutes: The central couple must meet somehow and, since this is a love story, preferably they should do so in a cute way. But how many more white shirts must be killed in the name of clumsy-cute trip-and-falls while holding cups of coffee or orange juice? 

For serialized romances, the challenge is even greater. Directors and writers must create interesting run-ins for characters to help sustain interest for longer than it takes for audiences to eat a bucket of popcorn. 

“I feel like the bar now is, if you are expected to figure out a meet-cute, it has to be your new slightly subversive never-before-seen version of it,” says director Jay Karas. “I don’t think it’s a trope that we can totally get away from, because people have to meet somehow, and it’s just about how do you modernize it.” 

Karas has a personal connection to the genre — he met his wife, author Monica Osborne, in a bar. He also got to do a send-up of both it and teen movie tropes with “Woodstone’s Hottest Couple,” an episode of the CBS comedy “Ghosts.” There, he played matchmaker for the ghost of an ax-murdered ‘80s teen (Odessa A’zion) stuck forever in her prom dress and the spirit of a young man (Tyler Alvarez) who died during an 1832 cholera outbreak. They meet as a sea of other cholera victims slowly part, but she doesn’t truly understand how handsome he is until he takes off his glasses. Later, per the script notes from writer Kira Kalush, they bond while the Thompson Twins’ “If You Were Here” plays. 

Meet-cutes can also serve to contrast what audiences already expect from a character. “Sunflowers,” the Amsterdam-set episode of Apple TV+’s “Ted Lasso,” sent Hannah Waddingham’s poised and calculated Rebecca hurling over a bridge and into a canal. She’s drenched when she connects with Matteo van der Grijn’s handsome houseboat dweller. 

“You’re leading the audience along a certain path that they feel comfortable with,” director Matt Lipsey says before adding that they could have made the fall shorter (and thus, less shocking and, well, wet) but “playing with expectation just make it a little bit more dramatic and a little more over-the-top.”  

Meet-cutes nest nicely in musicals thanks to their optimism; they help sell a world where people are so in love that they will burst out in song. Broadway vet Thomas Kail, who also directed the first two episodes of Hulu’s musical comedy series “Up Here,” notes that Tony and Maria, the “West Side Story” star-crossed lovers, “didn’t know each other for that long and, all of a sudden, they’re fully in love.” 

The first two episodes of “Up Here” are opposing backstories and points of view for Mae Whitman’s Lindsay and Carlos Valdes’ Miguel. But the way they meet is only really seen in the first episode and from her perspective. No one is arguing the circumstances of their awkward first encounter when she was wearing uncomfortable plastic pants and guarding a bar bathroom so that her roommate could hook up with a stranger. And no one (especially not the audience) wants to linger on it. 

“There is this compression of time that can happen in a romantic comedy that also happens in the musical [where] it feels like they’re in sync,” Kail says. “It felt like it was a way to introduce the audience to some of the rules of the game we were going to be playing.” 

He says the focus of the series isn’t about the first meeting because “it was about what happened after that.” 

Just like in a real relationship.

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Whether it’s a collision in an office

The couple is set to get engaged tonight in Hyderabad.

The couple is expected to exchange engagement vows at the luxurious residence of Varun Tej in Hyderabad.

Telugu stars Varun Tej and Lavanya Tripathi are all set to get engaged today. On Thursday afternoon, popular Telugu stars’ spokesperson SivaCherry took to Twitter to not only confirmed the news of the engagement but also shared the digital invite the couple is sharing with their industry friends. The invite features Varun and Lavanya’s photo and it read, “Two hearts, one love. Congratulations Mega Prince Varun Tej and Lavanya Tripathi. Wishing a lifetime of happiness together.” The invite also featured the engagement date.

The couple is expected to exchange engagement vows at the luxurious residence of Varun Tej in Hyderabad. The private ceremony will be attended by their close friends and family members, including the entire Allu and Mega family – comprising Ram Charan, Allu Arjun, Sai Dharam Tej, Panja Vaisshnav Tej, Allu Aravind, and others. Now, pictures have surfaced of Ram Charan and Upasana Kamineni arriving for the ceremony. In the pictures that are now going viral on social media, Ram Charan can be seen in a powder blue shirt, while Upasana looks pretty in a bottle green ensemble with heavy choker neckpiece. Megastar Chiranjeevi also arrived.

Meanwhile, Lavanya Tripathi was also papped. She hid her face as paps tried to get a better picture. From the video, it can be made out that she wore a tangerine sari and completed her look with flowers in her hair and a traditional choker. Check out the video here:

Varun Tej and Lavanya Tripathi first crossed paths on the sets of Mister back in 2017. During the shoot, they developed a strong bond as close friends. Over time, their friendship transformed into a romantic relationship, but the couple chose to keep it confidential. It was during the filming of their second movie, Antariksham 9000 KMPH, that the news of them dating came to light. Eventually, Varun Tej and Lavanya started making public appearances together, attending parties and events as a couple. Lavanya’s presence at the wedding of Varun Tej’s sister, actress Niharika Konidela, in 2020 further fuelled speculation about their relationship.

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The couple is set to get engaged

Fury, you there?

Ahead of the release of Marvel Studios’ Secret Invasion, a search across social media unfolded for clues to unlock an encrypted file on a secure website. And with no help from Fury himself (where is he?), it’s up to viewers to untangle this web for a taste of what awaits in the thrilling series. 

The Skrull Invasion has begun. Take a look at the full grid above — can you crack the code? 

In Secret Invasion, set in the present-day MCU, Fury learns of a clandestine invasion of Earth by a faction of shapeshifting Skrulls. Fury joins his allies, including Everett Ross, Maria Hill, and the Skrull Talos, who has made a life for himself on Earth. Together they race against time to thwart an imminent Skrull invasion and save humanity.

Secret Invasion stars Samuel L. Jackson, Ben Mendelsohn, Cobie Smulders, Martin Freeman, Kingsley Ben-Adir, Charlayne Woodard, Killian Scott, Samuel Adewunmi, Dermot Mulroney, Christopher McDonald, Katie Finneran, with Emilia Clarke and Olivia Colman, and Don Cheadle.

 

Ali Selim directs the series and executive-produces, along with fellow executive producers Kevin Feige, Jonathan Schwartz, Louis D’Esposito, Victoria Alonso, Brad Winderbaum, Samuel L. Jackson, Ali Selim, Kyle Bradstreet, and Brian Tucker. Kyle Bradstreet is also the head writer, and Jennifer L. Booth, Allana Williams, and Brant Englestein serve as co-executive producers. 

No backup. Just Fury. Secret Invasion premieres June 21 on Disney+. 

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Fury, you there? Ahead of the release of

The search for the DC Universe’s Superman continues, and according to some reports, it all points to James Gunn possibly continuing a major Superman change in Superman: Legacy that began when Zack Snyder cast Henry Cavill. Superman was the hero that kicked off the DCEU, but unfortunately, this universe didn’t give him a consistent story after his debut in Man of Steel. After Man of Steel 2 was announced to be in development, these plans changed with the introduction of the DC Universe, which will have a younger version of Superman, thus leaving Henry Cavill’s version out of this new branch.

SCREENRANT VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT

The DC Universe’s “Gods and Monsters” chapter will begin in 2025 with Superman: Legacy, which will follow a young version of the man of steel during his days as a reporter. Superman: Legacy will focus on Superman’s journey to reconcile his Kryptonian heritage with his human family in Kansas, so it will be a more personal story. Superman: Legacy is scheduled for a July 11, 2025, release, and the search for its lead actor has begun – and based on various casting reports, James Gunn seems to be continuing a Superman change that started with Zack Snyder: casting a British actor as Clark Kent.

Related: 7 Details James Gunn Has Confirmed (& Debunked) About His Superman Movie


Zack Snyder Cast The First British Actor As Superman With Henry Cavill

There have been certain casting traditions with various characters for years, such as casting British actors to play James Bond, and in Superman’s case, all its actors had been American until Man of Steel. For his Superman movie, Snyder cast Henry Cavill, born in Saint Helier, Jersey, in the Channel Islands, making him the first British actor to play Superman. The first live-action Superman was Kirk Alyn, who played the man of steel in the 1948 movie serial Superman and its sequel Atom Man vs Superman, in 1950. Next was George Reeves in the 1951 movie Superman and the Mole Men, after which he starred in the TV series Adventures of Superman.

In 1978, Christopher Reeve put on the Superman costume in the movie Superman, and his performance was so well-received that he’s considered the best Superman to date. Reeve was followed by John Haymes and Gerard Christopher in the TV show Superboy, Dean Cain in the series Lois & Clark: The New Adventures of Superman, Tom Welling in Smallville, and Brandon Routh in Superman Returns. After Henry Cavill, Tyler Hoechlin played the man of steel in the TV series Superman & Lois, but Cavill might not be the only British Superman as Superman: Legacy might have its own.

Two Of The Top Contenders For James Gunn’s Superman Are British

Nicholas Hoult as Superman

A recent report (via Deadline) revealed the top three contenders for the main role in Superman: Legacy, and two of them are British: Nicholas Hoult, David Corenswet, and Tom Brittney. Nicholas Hoult had been rumored to be among the top choices to play Superman, and funny enough, he was also a top choice to play Batman before Robert Pattinson was cast. Hoult is also no stranger to the superhero genre, as he played Hank McCoy in the X-Men prequels. Tom Brittney is known for his role as Will Davenport in Grantchester, and Superman: Legacy would be his first role in the superhero genre. Superman: Legacy is scheduled to begin filming in January 2024, so an official casting announcement might not be too far away.

Key Release Dates

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The search for the DC Universe’s Superman

Ubisoft‘s newly announced Prince of Persia title doesn’t appear to have won over players at this early stage.

Prince of Persia: The Lost Crown was the opening game reveal at Thursday’s Summer Game Fest showcase.

The brand new title is a side-scrolling 2.5D adventure, providing a similar viewpoint to the original game.

However, the game has been getting a mostly negative response.

Across all five of the most viewed uploads of the trailer – posted on the official Ubisoft, PlayStation, Nintendo of America, IGN and GameSpot YouTube channels – only the Nintendo version has more likes and dislikes, and even then the difference is marginal.

At the time of writing, combined across all five videos, the total number of likes is 21,163, compared to 52,691 dislikes.

This means, in total, only around 28% of votes have been positive.

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It’s not entirely clear why the game has received such a strong negative reaction, as it doesn’t show any of the typical ‘triggers’ (often involving inclusivity) that can lead to a mob mentality resulting in widespread downvoting.

Instead, comments under each video give a range of reasons as to why the trailer doesn’t appear to be appealing to many players.

Some suggest the game doesn’t look like a ‘true’ Prince of Persia game, with one comment from user _p4n0s_ reading: “Wow, amazing game! Now show us Prince of Persia.”

Others have said the game looks visually basic. “Can’t wait for this to drop on the PS2,” said user Srm3101 Gaming.

Not all the negativity is aimed at the game itself, however – some have instead expressed displeasure at the way it was presented in the trailer, particularly its use of rap music.

One user referred to the trailer as “The Fresh Prince of Persair”, while another complained: “Nothing takes me out of the atmosphere of a game more than using modern hip hop in a trailer.”

Not all the responses have been negative. Some fans have been pointing out that the side-on viewpoint means the game looks more faithful to the original Prince of Persia titles than Ubisoft’s more recent 3D adventures have.

Addressing the issue of the rap music in the trailer, others have noted that the critically acclaimed Prince of Persia: Warrior Within had an alt-rock main theme, which was also tonally different to the game’s setting.

Ubisoft says it will show more of Prince of Persia: The Lost Crown at its Ubisoft Forward presentation on June 12 at 10am PT / 1pm ET / 6pm BST.

One game that won’t be shown is Prince of Persia: The Sands of Time Remake, which is “still in an early stage” of development following a project reboot.

When it was announced in September 2020, the game had been in development for two and a half years at Indian studios Ubisoft Pune and Ubisoft Mumbai, and was planned for release in January 2021.

But following a negative reaction to the game’s reveal trailer it was delayed several times, and last May it was announced that Ubisoft Montreal, which made 2003’s original Sand of Time, had taken over development duties.