Categories
Widget Image
Trending
Recent Posts
Tuesday, Oct 20th, 2026
HomeStandard Blog Whole Post (Page 977)

When the health workers arrived at Upendo Primary School on the edge of the Tanzanian capital, they instructed girls who would turn 14 this year to line up to get a shot. Quinn Chengo held an urgent, whispered consultation with her friends. What was the injection for, really? Could it be a Covid vaccine? (They had heard rumors about that.) Or was it meant to keep them from having babies?

Ms. Chengo was uneasy, but she remembered that last year her sister got this shot, for the human papillomavirus. So she got in the line. Some girls sneaked away, though, and hid behind the school buildings. When some of Ms. Chengo’s friends arrived home that evening, they faced questions from their parents, who worried that it might make their children feel more comfortable with the idea of having sex — even if some didn’t want to come right out and say so.

The HPV vaccine, which offers near-total protection against the sexually transmitted virus that causes cervical cancer, has been given to adolescents in the United States and other industrialized countries for almost 20 years. But it is only now starting to be widely introduced in lower-income countries, where 90 percent of cervical cancer deaths occur.

Tanzania’s experience — with misinformation, with cultural and religious discomfort, and with supply and logistical obstacles — highlights some of the challenges countries face in implementing what is seen a critical health intervention in the region.

Screening and treatment for cancer are limited in Tanzania; the shot could sharply reduce deaths from cervical cancer, the deadliest cancer for Tanzanian women.

HPV vaccination efforts have been hampered across Africa for years. Many countries had designed programs to begin in 2018, working with Gavi, a global organization that supplies vaccines to low-income nations. But Gavi was unable to procure shots for them.

In the United States, the HPV vaccine costs about $250; Gavi, which typically negotiates big discounts from pharmaceutical companies, was aiming to pay $3 to $5 per shot for the large volumes of vaccine it sought to procure. But because high-income nations were also expanding their programs, the vaccine makers — Merck and GlaxoSmithKline — targeted those markets, leaving little for developing countries.

“Even though we had been very vocal about the supply we needed from manufacturers, that wasn’t coming through,” said Aurélia Nguyen, Gavi’s chief strategy officer. “And so we had 22 million girls that countries had asked to be vaccinated for whom we had no supply at that time. That was a very painful situation.”

Lower-income countries have had to make a decision about where to allot the limited quantities of vaccine they have received. Tanzania chose to first target 14-year-olds who, as the oldest eligible girls, were seen as most likely to start sexual activity. Girls begin to drop out at that age, before the transition to secondary school; the country had planned to deliver the vaccines mostly in schools.

But vaccinating a teenager for HPV is not like delivering a measles shot to a baby, said Dr. Florian Tinuga, program manager for the immunization and vaccine development unit at the Ministry of Health. Fourteen-year-olds must be convinced. Yet because they’re not yet adults, parents have to be won over, too. That means having frank discussions about sex, a sensitive matter in the country.

And because the 14-year-olds were seen as young women almost old enough for marriage, rumors have spread fast on social media and messaging apps about what is really in the shot: Could it be a stealth birth control campaign coming from the West?

The government didn’t anticipate that problem, Dr. Tinuga said ruefully. The rumors were tough to counter in a population with a limited understanding of research or scientific evidence.

The Covid pandemic further complicated the HPV campaign as it disrupted health systems, forced school closures and created new levels of vaccine hesitancy.

“Parents pull kids out of school when they hear the vaccination is coming,” said Khalila Mbowe, who directs the Tanzania office of Girl Effect, a nongovernmental organization funded by Gavi to drum up demand for the vaccine. “After Covid, issues about vaccination are supercharged.”

Girl Effect produced a radio drama, slick posters, chatbots and social media campaigns urging girls to get the shot. But that effort and others in Tanzania have concentrated on motivating girls to accept the vaccine, without sufficiently factoring in the power other gatekeepers, including religious leaders and school officials, who have a strong voice in the decision, Ms. Mbowe said.

Asia Shomari, 16, was spooked the day the health workers came to her school on the outskirts of Dar es Salaam last year. The students hadn’t been briefed and didn’t know what the shot was for. It was an Islamic school where no one ever talked about sex, Ms. Shomari said. She hid behind a toilet block with some friends until the nurses left.

“Most of us decided to run,” she said. When she went home and recounted what happened, her mother said she had done the right thing: Any vaccine that had to do with reproductive organs was suspect.

But now, her mother, Pili Abdallah, has begun to reconsider. “Girls her age, they are sexually active, and there is a lot of cancer,” she said. “If she could be protected, it would be good.”

While Girl Effect aimed some messages at mothers, the truth is that fathers have the final say in most families, Ms. Mbowe said. “The decision-making power doesn’t rest with the girl.”

Despite all the challenges, Tanzania managed to inoculate nearly three-quarters of its 14-year-old girls in 2021 with a first dose. (Tanzania reached that target for first-dose coverage twice as fast as the United States.) It has been harder to persuade people to return for a second dose: Only 57 percent got the second shot six months later. A similar gap has persisted in most sub-Saharan countries that have started HPV vaccination.

Since Tanzania has largely relied on school pop-up clinics to deliver the shots, some girls miss the second dose because they have left school by the time the health workers come back.

Rahma Said was vaccinated at school in 2019, when she was 14. But not long after, she failed to pass the exams to move up to secondary school and dropped out. Ms. Said tried a couple of times to get a second shot at public health clinics in her neighborhood, but none had the vaccine, and last year, she said, she gave up.

Next year, Tanzania will most likely switch to a single-dose regimen, Dr. Tinuga said. There is growing evidence that a single shot of the HPV vaccine will produce adequate protection, and in 2022 the W.H.O. recommended that countries switch to a one-dose campaign, which would improve costs and vaccine supply, and remove this challenge of trying to inoculate girls a second time.

Another cost-saving step, public health experts say, would be to move from school-based vaccination to making the HPV shot one of the routine vaccines offered at health centers. Making that shift will take a huge and sustained public education effort.

“We have to make sure demand is very, very strong because they’re not typically going to come to facilities for other interventions,” Ms. Nguyen of Gavi said.

Now, at last, supply of the vaccine has built up, Ms. Nguyen said, and new versions of the shot have come to the market from companies in China, India and Indonesia. Supply is expected to triple by 2025.

Populous countries including Indonesia, Nigeria, India, Ethiopia and Bangladesh are planning to introduce or expand use of the vaccine this year, which may challenge even the expanded supply. But the hope is that there will soon be sufficient doses for countries to be able to vaccinate all girls between 9 and 14, Ms. Nguyen said. Once they are caught up, the vaccine will become routine for 9-year-olds.

“We’ve set the target of 86 million girls by the end of 2025,” she said. “That will be 1.4 million deaths averted.”

Ms. Chengo and her friends were convulsed by giggles at the mere mention of sex, but they said that in fact, many girls in their grade were already sexually active, and that it would be better when Tanzania was able to vaccinate girls at age 9.

“Eleven is too late,” said Restuta Chunja, with a somber shake of her head.

Ms. Chengo, a sparkly-eyed 13-year-old who intends to be a pilot when she finishes school, said that her mother told her the vaccine would protect her from cancer, but that she shouldn’t get any ideas.

“She said I shouldn’t get married or be involved in any sexual activities, because that would be bad and you might get something like H.I.V.”

The HPV vaccine is offered to boys as well as girls in higher-income countries, but the W.H.O. advises prioritizing girls in developing countries with the existing vaccine supply because women get 90 percent of HPV-related cancers.

“From a Gavi perspective, we’re not there yet, to add boys,” Ms. Nguyen said.

Dr. Mary Rose Giattas, a cervical cancer expert who is the medical director in Tanzania for Jhpiego, a health care nonprofit affiliated with Johns Hopkins University, believes any remaining hesitancy can be overcome. When she educates the public about the shot, she talks about Australia.

“I say, forget the rumors: Australia has almost eliminated cervical cancer. And why? Because they vaccinate. And if the vaccine caused a problem with fertility, we would know about it because they were one of the first countries to use it.”

Misconceptions can be resolved with “chewable pieces” of evidence, she said. “I say, our health ministry takes serious steps to test medicines: They don’t come right from Europe to your clinic. I say to women, ‘Unfortunately, you and I missed it because of our age, but I wish I could be vaccinated now.’”

Source link

When the health workers arrived at Upendo

Historical feature film Lioness, starring Aditi Rao Hydari (Jubilee) and Paige Sandhu (Emmerdale), has been set as the first official India-UK co-production under a treaty signed in 2008. 

Directed by Kajri Babbar, the film tells the story of two British Punjabi women living in the UK a century apart. 

One story is based on a historical figure, Princess Sophia Duleep Singh, the Princess of Punjab and Goddaughter of Queen Victoria, who was one of the key leaders of the suffragette movement in the UK. 

The second fictional storyline revolves around an educated, married immigrant woman, Mehak, living in Southall, a suburb of London, in the 1990s.  

Princess Sophia will be played by Indian origin UK actress Paige Sandhu, who is best known for her role in UK soap opera Emmerdale. Mehak will be played by Aditi Rao Hydari, who works in Hindi, Tamil and Telugu films, and also stars in Vikramaditya Motwane’s Prime Video series Jubilee. 

Producers on the film include Vivek Rangachari, Vaishalli Paatil, Faraz Ahsan and Clare Cahill, with Ajit Pal Singh as executive producer. Babbar is making her feature debut on the film following shorts films Khoj (2019) and Pardaa (2017). 

Peter Bance, the historian whose research into Princess Sophia inspired the project, is also an executive producer on the film. 

The film has been certified as an official co-production by India’s National Film Development Corporation (NFDC) and the British Film Institute (BFI).

Rao Hydari said: “I was instantly drawn to the story that brings to screen the life and legacy of an extraordinary woman; a story lost in history. While Princess Sophia is a heroine in the true sense of the word, Mehak is an equally strong character whose journey parallels the Lioness’s in the present.”

Paige said: “It’s an honour and a dream come true to be playing Princess Sophia Duleep Singh. I am very humbled to be portraying someone with a legacy such as hers, the work that she did, the lives she helped and the family she came from.”

Harjinder Kang, UK Trade Commissioner for South Asia, said: “It is fantastic to see the first official project under the India-UK co-production treaty getting underway. There is huge potential for deeper collaboration between the creative industries of both our countries. I’m pleased that the very first project under this initiative is one that explores an aspect of the unique living bridge that connects our people.”

English Heritage is unveiling a Blue Plaque at Hampton Court in London, in memory of Sophia on May 26. UK filmmaker Gurinder Chadha is one of the keynote speakers at the event.

Source link

Historical feature film Lioness, starring Aditi Rao

TikTok on Monday sued to block Montana from banning the popular video app, escalating its efforts to stop a prohibition that would be the first of its kind in the nation.

In a lawsuit filed in U.S. District Court for the District of Montana, the company said Montana’s legislation violated the First Amendment and parts of the U.S. Constitution that limit state powers. The ban was “unconstitutionally shutting down the forum for speech for all speakers on the app,” the company said in the lawsuit.

TikTok sued days after Montana’s governor, Greg Gianforte, signed the ban — which would fine the app if it operated in the state or app stores if they allowed it to be downloaded — into law.

The state law has become a test case for whether it is possible to prohibit the use of TikTok, which is owned by the Chinese internet company ByteDance, over national security concerns. The ban, which is set to go into effect on Jan. 1, has already raised questions about how it would be enforced within Montana’s borders.

“We are challenging Montana’s unconstitutional TikTok ban to protect our business and the hundreds of thousands of TikTok users in Montana,” Brooke Oberwetter, a TikTok spokeswoman, said in a statement. “We believe our legal challenge will prevail based on an exceedingly strong set of precedents and facts.”

Emily Flower, a spokeswoman for Montana’s attorney general, Austin Knudsen, said, “We expected legal challenges and are fully prepared to defend the law that helps protect Montanans’ privacy and security.”

The lawsuit adds to those legal challenges. A group of TikTok users filed a separate suit challenging Montana’s bill on Wednesday, the day Mr. Gianforte signed it, saying it violated their First Amendment rights and outstripped the state’s legal authority. The law has also sparked an outcry from civil liberty and digital rights groups, including the American Civil Liberties Union and the Knight First Amendment Institute at Columbia University.

TikTok, which has more than 150 million U.S. users, has been in limbo under two presidential administrations while working to quell concerns about its Chinese ownership. The company, which has been waiting for the Biden administration to approve its plan for operating in the United States, has already faced bans on government devices in more than two dozen states, as well as by universities and the military.

The Montana ban was drafted by Mr. Knudsen, a Republican, and introduced by a Republican state senator this year. Lawmakers in the state said the ban would prevent the Chinese government from gaining access to the personal information of Montanans. The debate over the ban began shortly after a Chinese spy balloon floated over the state, drawing national attention.

The new law will bar TikTok from operating the app in the state. App store operators, like Apple and Google, will also be forbidden to make it available for download in the state. TikTok, Apple and Google could face daily fines of $10,000 if they fail to comply.

In its lawsuit, TikTok said Montana lacked the legal authority to impose a ban because it would regulate commerce between states, which is the purview of the federal government. The ban also violates a constitutional prohibition on legislation that targets an individual or specific groups for punishment, the lawsuit contended.

“The TikTok ban singles out the TikTok application for this punishment, notwithstanding that the data allegedly collected by the app is no different in kind than data collected from any number of other sources and that is widely available in the data broker market,” the company said in its complaint.

Critics of the ban believe it will be difficult to enforce even if the courts don’t block it. TikTok users in Montana could still use the app if they disguised their location using virtual private network software, while Montanans living in border towns may get internet access through cell towers in other states. TechNet, a lobbying group representing Apple and Google, has said it is impossible for the app stores to restrict downloads in a single state.

Mr. Knudsen’s office said last week that TikTok could enforce the ban with technology that the online gambling industry already uses to block access to an app from a state where it is illegal.

The litigation over the ban could take months to resolve. Because the ban wouldn’t take effect until next year, there is not an immediate need for the courts to stop it from taking effect.

TikTok and its supporters have been successful in using the courts to stop a previous ban in the United States. In 2020, TikTok sued the federal government when President Donald J. Trump used his emergency economic powers to issue an executive order to block the app from operating in the United States. A judge sided with the company, and another judge blocked the ban after a challenge from a group of creators.

TikTok has been banned in some countries, including India in 2020. Britain, Canada and France recently banned the app on official government devices.

Source link

TikTok on Monday sued to block Montana

Following the untimely death of celebrated actor Ray Stevenson age 58, Lucasfilm, and “Ahsoka” executive producer David Filoni, paid tribute to the longtime “Star Wars” vet who they remembered as “a kind and caring person,” and “a great talent and friend.”

Stevenson, who died Sunday in Italy of undisclosed causes, played the character Gar Saxon in the animated shows “Star Wars Rebels” and “Star Wars: The Clone Wars.” He will next be seen in the live-action “Star Wars” series “Ahsoka,” where he plays the villain Baylan Skoll in one of his final roles.

“We are heartbroken to hear of the passing of our dear friend Ray Stevenson. Ray was an incredible combination of talent, warmth, humor, and heart,” Lucasfilm said in a statement. “We were lucky to have Ray join the Star Wars galaxy as Gar Saxon in Star Wars Rebels and then more recently as Baylan Skoll in Ahsoka. His ability to play a villain, while being such a kind and caring person in reality, is a testament to his incredible talent.”

“Ray was loved and respected by everyone who knew him. Our thoughts are with his family at this time,” the statement concluded.

“We have lost a great talent and friend in Ray Stevenson. His kindness and generosity were felt by our entire team on Ahsoka. I always looked forward to working with Ray, and I appreciated his insight and daily wisdom. I am glad that his memory will live on through his family, friends, and the many characters he created. Thank you Ray, for everything,” Filoni, who also serves as executive creative director for Lucasfilm, said in a statement included alongside the company’s.

Stevenson spoke to TheWrap in April at Star Wars Celebration, where he said of how he approached his portrayal of Skoll: “I like to think that characters have a center of gravity. Some are lower, so they’re more rooted. Others have a higher center of gravity; they’re more nimble,” he said.

Stevenson also confirmed during the discussion that he was exactly like every other “Star Wars” fan, explaining that when he handled his prop lightsaber for the first time, “then some guy turns it on. And, of course, you make the noise ‘vvvrrrrmm vvvrrrrmm’ because you can’t help it.” Read more here.

Source link

Following the untimely death of celebrated actor

Current COO Fatima Djoumer has been appointed CEO of the Europa Cinemas network.

Djoumer succeeds founder Claude-Eric Poiroux, who is stepping down from his role as general director after 30 years. Poiroux has been awarded the title of honorary president, recognizing his contribution to the creation and development of the network, which now includes more than 3,000 screens in 744 cities across 38 countries.

The network was set up in 1992 to provide operational and financial support to cinemas that undertake to give a significant part of their screenings to non-national European films and to put in place activities for young audiences.

Additionally, a new steering committee has been elected with Nico Simon (Luxembourg) remaining president for a further year. Metka Dariš (Slovenia) and Mathias Holtz (Sweden) join as vice presidents. Benoît Thimister (Belgium) was elected treasurer and Maria-Magdalena Gierat (Poland) secretary.

“The whole network will always owe a debt of gratitude to Claude-Eric whose vision has allowed us to build such an extensive and diverse network. Europa Cinemas core belief is that cinemas are essential to the future of film. Our network is constantly finding innovative ways to enhance its role in the film ecosystem and to building audiences. Europa Cinemas has a highly active membership that is committed to diversity, inclusion and innovation and we will continue to focus on turning their passion into practical action. We are proud of the development of the network and of our great partnership with the European Commission Media program,” Djoumer said.

Poiroux added: “With the creation of this network and its development thanks to the ongoing financial support of Creative Europe Media since the early beginnings we have strengthened exhibitors in their programming choices towards European films and in their dynamic and innovative strategies to build and renew audiences. This network is more than ever essential for the growth and visibility of European film.”

Europa Cinemas is supported by Creative Europe/Media, Program of the European Union (Brussels), CNC (France), Eurimages (Council of Europe, Strasbourg), FFA (Germany) and Institut Français (Minister for Europe and Foreign Affairs, France).

Source link

Current COO Fatima Djoumer has been appointed

Indiana Jones and the Dial of Destiny

Starring Harrison Ford, Phoebe Waller-Bridge, Mads Mikkelsen, Toby Jones, Antonio Banderas, John Rhys-Davies, Shaunette Renée Wilson, Thomas Kretschmann, Boyd Holbrook, Olivier Richters, Ethann Isidore, Martin McDougall and Alaa Safi. Written by Jez Butterworth, John-Henry Butterworth, David Koepp and James Mangold. Directed by James Mangold. Reviewed at the Cannes Film Festival; June 30 theatrical release. 142 minutes. STC

In the love scene at the end of “Raiders of the Lost Ark,” a triumphant but bruised Indiana Jones (Harrison Ford) says to love interest Marion (Karen Allen), “It’s not the years, it’s the mileage.”

That was true for the franchise start in 1981, when Ford was still in his 30s. But now he’s 80, and watching him groan and grimace through his fifth and final Indy romp, “Indiana Jones and the Dial of Destiny,” the realization dawns that it’s now the years and the mileage.

Neither triumph nor disaster, “Dial of Destiny” settles for checking off franchise tropes — MacGuffin, Nazis, tombs, sidekicks — as it labours through a global quest for a compact time machine designed by the great mathematician Archimedes, who of course also broke it in two and designed an elaborate hiding place for one of the pieces.

The film is mostly set in 1969 — the Apollo 11 moon landing gets a major shout-out — but Indy and villain du jour Jürgen Voller (Mads Mikkelsen) are still fighting the Second World War. Voller is convinced he can correct Hitler’s mistakes by using Archimedes’ dial, allowing him Nazi rule of the planet.

It’s all pretty goofy and laborious over its 142-minute running time. But there’s a fabulous extended opening sequence, set in 1944, in which really great CGI de-aging tech drops decades from Ford’s face and body, allowing him to meet Voller in the past. Imagine what can be done with this tech in the future.

The film leaps to 1969 and Ford makes no pretence of being the virile man he was, although the older Indy still possesses enough strength and sass to ride a horse through the New York subway system, evading pursuers.

Indy also acquires several sidekicks. Helena Shaw (Phoebe Waller-Bridge) plays his brash and scheming goddaughter. She loves history as much as Indy does but, unlike him, she hopes to turn a profit from it.

No fears on that front, Helena: “Dial of Destiny” is sure to do boffo box office for its nostalgia value alone, no matter what the cranky critics say.

JOIN THE CONVERSATION

Conversations are opinions of our readers and are subject to the Code of Conduct. The Star
does not endorse these opinions.

Source link

Indiana Jones and the Dial of DestinyStarring

Filmmaker Jude Anthany Joseph’s critically and commercially acclaimed Malayalam-language film “2018,” which released on May 5, will bow pan India on May 26 in the Hindi, Tamil and Telugu languages.

The Hindi-language version of the film will be released via E4 Entertainment.

“2018” narrates the story of the devastating Kerala floods that occurred in 2018 when people from all walks of life came together to survive the calamity. The film aims to convey the message that humanity can win over adversity. It stars Netflix’s “Minnal Murali” lead Tovino Thomas alongside Indrans, Kunchacko Boban (Netflix’s “Ariyippu”), Aparna Balamurali, Vineeth Sreenivasan, Asif Ali, Lal, Narain, Tanvi Ram, Sshivada, Kalaiyarasan, Aju Varghese, Siddique, Joy Mathew and Sudheesh. It released in its home state Kerala and in a few neighbouring states and has earned more than $16 million theatrically so far, including U.S. and U.K. box office.

Joseph said: “We are so delighted with the kind of response audiences and critics have showered on our film. Making the ‘2018’ journey was an emotional journey for us, bringing on the screen the pains of everyone who experienced the floods. Looking at the response and box office numbers, it feels all worth it, and that’s exactly why we are now releasing the film nationwide for wider audiences to experience it. We are excited and looking forward to presenting ‘2018’ to a larger number of people and seeing their reactions.”

Lead actor Thomas added: “As an actor it gives me immense pride and joy to have audiences from different parts of the country watch my work and something that we have created with so much heart and soul as a team. While little nervousness is always there, I’m also excited for more people to watch the film. It was quite enjoyable to see the reviews and response that ‘2018’ has got until now.”

The film is produced by Venu Kunnappilly, C. K. Padma Kumar and Anto Joseph, and distributed by Kavya Film Company.

Kunnappilly said: “The current box office numbers have been amazing and surprising. More than anything else, we wanted to make a film that will resonate with the audiences. As we embrace all the warmth that’s coming our way, we have decided to release our film nationwide this Friday and have more people watch it and connect with it.”

Source link

Filmmaker Jude Anthany Joseph’s critically and commercially

Jonathan Majors’ big debut in Ant-Man and The Wasp: Quantumania as Kang the Conqueror could have hurt the character more than helped him when it comes to setting the stage for Avengers: The Kang Dynasty.

While many might be quick to think this in reference to his current legal troubles, consider those unrelated—the issue is more in the way the villain was handled for Ant-Man 3.

Kang has a lot to live up to. Josh Brolin’s Thanos is a high standard, one that the next MCU big bad will be compared to every step of the way.

So it’s a shame that the time-traveling villain’s biggest appearance sees him embarrassed by the size-changing family of heroes.

What Quantumania Offered Fans

When Jonathan Majors Kang the Conqueror was first introduced in Season 1 of Loki, audiences were already scared of the trouble he might bring.

The very first Variant of the villain certainly seemed imposing. He Who Remains had a certain air to him like he knew so much more than anyone else in the room—he controlled all the pieces on the board.

Marvel

Ant-Man 3’s post-credits tag even showcases that Tom Hiddleston’s Loki still believes the time traveler to be “terrifying.”

Jonathan Majors, Kang
Marvel

So, when it came to his theatrical debut in Quantumania, some were understandably excited to see this scary Kang that had been teased so heavily.

And, for the most part, Jonathan Majors’ big bad was still plenty intimidating. Though, at the end of the day, his presence was a letdown for many.

For someone who is shown to be a great warrior, he still managed to be defeated by heroes many see as the weakest Avengers—something directly referenced by Majors’ villain.

One of the biggest hits to the baddie’s reputation was how he wass bested by a horde of ants.

Sure, MODOK didn’t help the situation, but it’s hard to see why Kang would struggle against the insects. He should be able to just vaporize them all with relative ease, something he can be seen doing in flashbacks.

Ant-Man, Kang, Quantumania, MODOK
Marvel

Then, Scott Lang was able to keep up with Kang in hand-to-hand combat. Sure, Ant-Man gets his ass handed to him, but the villain should be wiping the floor with him in that scenario.

Jonathan Majors, Kang the Conqueror. Ant-Man, Quantumania
Marvel

Most embarrassingly, and this could just be pure luck on the Ant-Family’s side, Wasp is able to push him right into the core—possibly killing him outright.

Ant-Man, Quantumania, Jonathan Majors
Marvel

The Kang From the Comics

The Kang from the comics is a force to be reckoned with, and it’s clear his live-action counterpart was nerfed.

On the surface, he does not have the pure power and abilities like Thanos. However, his immense intellect and vast technical prowess help make up for that.

There’s a common saying that advanced technology can be indistinguishable from magic to some. This sentiment resonates perfectly with Kang’s, whose control over technology is leagues past even that of Tony Stark.

On top of utilizing energy beams, Kang is also known to summon various weapons, all of which embody immense destructive potential.

To add to his armory, he even gets access to some cosmic-level weapons in the comics that give him an even greater advantage. This includes the likes of The Forever Crystal and The Cosmic Cube (which is what the Tesseract is adapted from).

Additionally, Kang’s mastery and understanding over time give the big bad some of his biggest advantages. That, paired with his technological prowess, can often make him all but untouchable. 

One of Kang’s biggest threats, which the MCU did touch already, are his countless Variants.

It could be argued that his many alternate selves are more of a threat in the MCU than the comics due to there being less of a direct causality with Marvel Studios’ time traveling. Instead of being different versions of the same person on the same timeline, the Marvel Cinematic Universe is treating these Kang Variants as being from entirely separate realities.

Sadly, it still looks like it’ll be some time before the MCU truly takes advantage of the character onslaught of personas.

Had Kang lived up to all of these capabilities in Quantumania, Scott Lang and company wouldn’t stand a chance.

How Kang’s Ant-Man Debut Could Be Detrimental 

Given his defeat in Ant-Man 3, audiences could see Kang as a far less imposing threat for the MCU to deal with.

How can Kang go on to be seen as a true threat to the entire Marvel Cinematic Universe when he was so easily defeated by the likes of Ant-Man and The Wasp? It’s hard to imagine a situation where that version of the time despot could ever stand toe-to-toe with Avengers like Thor or Captain Marvel. 

If the Kang in Quantumania is, in fact, the same one who will go on to feature in the Avengers films, this problem is exacerbated significantly. This nerfed version of the villain may simply not be enough to live up to the threat that Thanos once possessed—especially seeing as how Josh Brolin’s villain wasn’t defeated at all until the end of Endgame. 

Of course, as it stands now, Marvel Studios is still figuring out what it’s doing with Majors’ role in the MCU after the star’s recent allegations.

If the company does move forward with a recast, perhaps a new actor could bring with him a new mindset for the audience. They might help wash away some of the funky taste that Quantumania brought with it.

Ant-Man and The Wasp: Quantumania is now streaming on Disney+.

Source link

Eric Wallace, showrunner for The Flash, revealed his initial disappointment in Grant Gustin’s decision to end the series before Season 10.

After nine seasons on The CW, The Flash will reach the end of its run (no pun intended.)

The choice of whether or not to continue on for more episodes or stop before a potential Season 10 came down to series lead Grant Gustin, whose contract was up. Ultimately, Gustin elected not to renew his contract, and after 184 episodes, The Flash, the longest-running Arrowverse show, would come to a close.

The Flash Season 10 That Never Was

DC

Showrunner Eric Wallace, who oversaw The Flash for its final three seasons, noted to Entertainment Weekly that his original plan was for the series to conclude on Episode 200 in a tenth season.

Wallace’s original response to the news that the series would end before a planned Season 10 was one of “disappointment:”

“My initial reaction to finding out that it would be not only the last season but a shortened last season was bittersweet and a lot of disappointment. But we are the lucky ones — we got a year of knowing this is the end, so let’s make this the greatest end we possibly can.”

Wallace went on to add that he hopes The Flash’s finale will offer fans “closure,” while also noting that the episode “wrapped a lot of things up:”

“I’ve wrapped up a lot of things in the series finale, and it ends on a very hopeful note that shows you how the future of the Arrowverse could continue in some way, shape, or form. It hopefully gives people closure, but also some hope for the future, because otherwise, it’s very sad to think that there won’t be an Arrowverse after May 24.”

Indeed, there will be no Arrowverse shows remaining after The Flash takes its final bow next week. The CW is under new ownership and looks to be jettisoning its superhero programming, including the long-in-development Justice U.

Is It Time for the Arrowverse To Finish?

As unfortunate as it may be for The Flash to be nearing the finish line, it’s hard to deny that the Arrowverse is not what it once was.

For starters, the pandemic wreaked havoc with these shows’ ability to stage their trademark annual crossovers. There was an attempt for some inter-universe connectivity with the Armageddon event in 2021, but it just wasn’t on the same level of the much more elaborate Crisis on Earth X or Elseworlds

An unfortunate side-effect of this nullification of crossovers was the fact that the Arrowverse was never even able to do anything with the Justice League team that was set up in the closing minutes of 2020’s Crisis on Infinite Earths, leaving fans of the superhero team high and dry.

On top of all this is the idea that the writing and production values on The Flash just weren’t as sharp as they were early on, which caused the series to hemorrhage viewers.

Factoring everything together and perhaps it’s time for the Arrowverse to end, or at least take a break for a bit. Stephen Amell, who recently reprised his Arrow role of Oliver Queen on Flash Season 9 has stated his interest in returning to the character again for a movie or limited series.

The series finale of The Flash will air on The CW on Wednesday, May 24.

Source link

A bunch of Corsair gaming accessories are on sale for Amazon’s Gaming Week, including gaming keyboards, headsets, Elgato streaming gear, and more. Many items are over 40% off, making this a great opportunity to upgrade your PC gaming or video capture setups.

Some noteworthy deals include the Corsair HS65 surround sound gaming headset for $45 (normally $80), the K70 Pro mechanical keyboard for $120 (normally $180), and the Corsair M65 Ultra wireless mouse for $90 ($130). The sale also includes a few PC gaming monitors, including Xeneon 32-inch display with 144Hz refresh rate for $830 (normally $1,000) and the Xeneon Flex 45-inch curved gaming monitor for $1,600 (down from $2,000). There are even pre-built PCs like the Corsair Vengeance i7400 series, which starts at $2,400 (normally $2,700) for the model with a GeForce RTX 4070 Ti graphics card and 32GBs of DDR5 RAM.

If you’re looking to upgrade your streaming or video editing setup, the Elgato HD60 X capture card is on sale for $180 (normally $200) and the Elgato Facecam is just $130 (normally $150), and several mics and lights are also discounted, including the Elgato Wave:3 r $120 (down from $150) and the Elgato Ring Light for $130 (normally $200).

We listed a bunch of our favorite deals in Amazon’s Corsair gaming gear sale below, and be sure to head over to Amazon to see all the discounts while they’re still available.

The products discussed here were independently chosen by our editors.
GameSpot may get a share of the revenue if you buy anything featured on our site.

Source link

Fatima Djoumer has been appointed General Director of independent exhibitor network Europa Cinemas, replacing Claude-Eric Poiroux who is stepping down after 30 years in the role.

Poiroux has been awarded the title of Honorary President in recognition of his work in building the network, which today represents 3,060 screens in 744 cities in 38 countries, which collectively pull in 83 million admissions every year.

Djoumer, who was previously COO of the network, said Poiroux has been seminal in the development of Europa Cinemas over the years.

“The whole network will always owe a debt of gratitude to Claude-Eric whose vision has allowed us to build such an extensive and diverse network,” she said.  “Europa Cinemas’ core belief is that cinemas are essential to the future of film. Our network is constantly finding innovative ways to enhance its role in the film ecosystem and to building audiences.”

Additionally, a new steering committee was also announced. Nico Simon (Luxembourg) remains President for a further year, while Metka Dariš (Slovenia) and Mathias Holtz (Sweden) take over as Vice-Presidents with Benoît Thimister (Belgium) elected Treasurer and Maria-Magdalena Gierat (Poland) elected Secretary.

The Europa Cinemas network was created in 1992 with the support of the European Union’s Creative Europe program and today exists in partnership MEDIA program. It is also supported by France’s National Cinema Centre (CNC), the Council of Europe’s Eurimages, Germany’s FFA and the Institut Français.

“With the creation of this network and its development thanks to the ongoing financial support of Creative Europe MEDIA since the early beginnings we have strengthened exhibitors in their programming choices towards European films and in their dynamic and innovative strategies to build and renew audiences,” said Poiroux.

“This network is more than ever essential for the growth and visibility of European film,” said Poiroux.

Source link

Fatima Djoumer has been appointed General Director

Listen to this episode on Apple Podcasts or Spotify.

While the MPAA’s confusing and hypocritical ratings decisions were leaving filmmakers flummoxed in the early 90s, cable TV was opening up new possibilities for erotic content. Today we will offer a brief history of sex on TV, and then focus on Red Shoe Diaries, the cheesy-but-charming late night softcore soap that was the brainchild of 9 ½ Weeks writers/producers Zalman King and Patricia Knop. 

David Duchovny in Zalman King’s Red Shoe Diaries, 1992

SHOW NOTES:  

Sources:

Channel J Pornography Is Cause Of Lockout Law by Sally Bedell Smith, NYTimes, March 5, 1984

Premiere Magazine profile by Nancy Griffin, September, 1991

“Red Shoes Diaries” by Ken Tucker, Entertainment Weekly, May 01, 1992 

“Unsafe Sex” by Ivor Davis, Los Angeles Magazine, May 1992

“Red Shoe Diaries Review”, Variety, May 15, 1992 

“TV Review: ‘Red Shoe Diaries’: A Peek at Cinematic Foreplay” by Chris Willman, La Times, May 16, 1992 

“Moviemaker Takes His Flair for Erotic Fare to Showtime” by Steve Weinstein, LA Times, May 18, 1992

“The Pleasure Principle” by Dan Zevin, US Magazine, August 1992

“Tales From The Sheets“ by Jeffrey Ressner, US Magazine, August 1992

“You Get What You Pay For: Everything You Ever Wanted To Know About Cable Sex” by Michael Kaplan, US Magazine, August 1992

“Eden Forbidden Interludes” by Tony Scott, Variety, Jun 25, 1993

“Playboy Series Makes Move Into the Mainstream” by N.F. Mendoza, LA Times, June 26, 1993

“Zalman King: His Erotic ‘Shoe’ Fits” by N.F. Mendoza, LA Times, June 27, 1993

“USA Joins With Playboy To Present Adult Series ‘Eden’ by Martie Zad, Washington Post, June 27, 1993 

“Now, The Sex Files On Pay Cable, After Hours, Men And Women Do Much More Than Communicate” by Ginia Bellafante, TIME, June 10, 1996 

“Red, White And Blue Sleaze: Al Goldstein’s Infamous ‘Midnight Blue’ Cable Access Program”, Dangerous Minds, Feb 10, 2014

“‘Wild Orchid’ director Zalman King dies at 70 by Jack Hannah” CNN, February 4, 2012 

“David Duchovny on Zalman King” by Sara Vilkomerson, Entertainment Weekly, Feb 07, 2012 

“Zalman King, Creator of Soft-Core Films, Dies at 70” by Douglas Martin, NYTimes, Feb. 8, 2012 

“REMEMBER THIS? Masturbation, Nudists, and Street Interviews: An Oral History of HBO’s Real Sex” by Molly Langmuir, Vulture, July 30, 2013

“An Oral History Of Showtime’s ‘Red Shoe Diaries’” by Chris O’Connell, MEL Magazine, Jul 25, 2019 

“Zalman King: The Forgotten Auteur Who Revolutionised Sex, Kink And Female Desire On Screen” The Independent, April 27, 2020

“‘Emily in Paris’ and the Rise of Ambient TV” by Kyle Chayka, The New Yorker, November 16, 2020

Getting Comfortable with Robin Byrd, anildash.com, Jan 28, 2021

Please note: as an Amazon Associate Karina earns from qualifying purchases. #ad

Matt LeBlanc and Nina Siemaszko in Red Shoe Diaries “Just Like That” (1992)

Music:

The music used in this episode, with the exception of the intro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.  

Excerpts from the following songs were used throughout the episode: 

Vik Fenceta Lan – The Fence

Helion Ruins – Makropulos

Mill Wyrm – Potions

Daymaze – Orange Cat

Launch Code – Kittyhawk

Bask VX – Limoncello

Cicle Vascule – Cicle Kadde

Junca – Orange Cat

Will be war soon? – Kosta T

Benbient – Canton Becker

Laura Johnson in Red Shoe Diaries, “Double Dare” (1992)

Credits:

This episode was written, narrated, and produced by Karina Longworth.

Featuring Noah Segan as the voice of Zalman King. 

Our editor this season is Evan Viola. 

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

David Duchovny in Red Shoe Diaries, “Jake’s Story” (1992)

Source link

Listen to this episode on

Network: CBS
Episodes: 323 (hour)
Seasons: 14

TV show dates: September 22, 2009 — May 21, 2023
Series status: Cancelled

Performers include: Chris O’Donnell, LL Cool J, Peter Cambor, Daniela Ruah, Adam Jamal Craig, Linda Hunt, Barrett Foa, Eric Christian Olsen, Renée Felice Smith, Miguel Ferrer, Nia Long, Medalion Rahimi, Caleb Castille, and Gerald McRaney.

TV show description:      
This NCIS spin-off represents a special Naval Criminal Investigative Service division, the Office of Special Projects (OSP). The Los Angeles-based team targets dangerous and elusive criminals threatening the country’s security. They assume false identities and utilize the most advanced technology to go deep undercover and put their lives on the line.

Agent G. Callen (Chris O’Donnell) is the lead agent on the team, and his natural talent for doing undercover work is legendary. He can be a bit of a chameleon. His partner is Special Agent Sam Hanna (LL Cool J), an ex-U.S. Navy SEAL who’s seen action in Afghanistan and Iraq. From this experience, Hanna has a great knowledge of Arabic which makes him an expert on Middle-Eastern culture. He’s also a surveillance expert who uses state-of-the-art monitoring equipment to help feed crucial information to his comrades.

Callen and Hanna are assisted by a top-notch group. Special Agent Kensi Blye (Daniela Ruah) is the very bright daughter of a slain Marine. She lives for the rush that comes with undercover work. Operational Psychologist Nate Getz (Peter Cambor) is an expert at getting in everybody’s head, at profiling the target and monitor agents’ states of mind before, during, and after their missions.

Dominic Vail (Adam Jamal Craig) is the most recent and very qualified addition to the team but lacks practical experience. Henrietta “Hetty” Lange (Linda Hunt) oversees the backroom support staff who is charged with providing everything from micro-surveillance cameras to cars on demand.

Series Finale:     
Episode #323 — New Beginnings, Part Two
The NCIS team continues the case with ATF and the stolen military-grade weapons. Also, Callen and Anna decide on an impromptu wedding.
First aired: May 21, 2023

What do you think? Do you like the NCIS: Los Angeles TV show? Do you think it should have been cancelled or renewed for a 15th season?

Check out our CBS status sheet to track the Tiffany network’s new series pickups, renewals, and cancellations. You can find lists of cancelled shows here.

Source link

Network: CBSEpisodes: 323 (hour)Seasons: 14 TV show

Linda Lewis, a critically acclaimed soul singer and songwriter whose pyrotechnic voice propelled four Top 10 singles as a solo artist in her native Britain and led to work as a backup vocalist on acclaimed albums by stars like David Bowie, Cat Stevens and Rod Stewart, died on May 3 at her home in Waltham Abbey, outside London. She was 72.

Her sister Dee Lewis Clay confirmed the death but did not specify a cause.

Ms. Lewis drew raves for her soaring five-octave vocal range and impressed listeners with her genre-hopping instincts, drawing from folk, R&B, rock, reggae, pop and — with more than a nudge from label executives — disco.

She grew up studying Motown hits note by note, and her first single, “You Turned My Bitter Into Sweet” (1967), was a joyous up-tempo number that sounded straight out of Berry Gordy’s recording studio on West Grand Boulevard in Detroit.

After that she joined the Ferris Wheel, a rock and soul band that was popular on Britain’s club circuit, before moving on to a solo career as a guitar-strumming singer-songwriter and signing with Reprise Records in 1971.

“That was a great time,” she said in a 2007 interview with Record Collector magazine. “I was living in a sort of commune, and loads of people were popping in and out. Cat Stevens turned up a lot, as did Marc Bolan and Elton John. There was a lot of jamming going on there, some very creative vibes.”

She ended up touring the world with Mr. Stevens (who later took the name Yusuf after converting to Islam), as well as lending her voice to albums like David Bowie’s “Aladdin Sane” (1973) and Rod Stewart’s “Blondes Have More Fun” (1978).

Her first solo album, “Say No More,” released in 1971, failed to make a splash commercially. The next year she released “Lark,” an album marked by a California breeziness that received strong reviews and included the song “Old Smokey,” which the rapper Common sampled in his 2005 song “Go!” An American tour in 1973 helped create buzz.

But still, she needed a hit.

She found one that same year, with the buoyant, racy single “Rock a Doodle Doo,” which hit No. 15 in Britain (although it failed to chart in the United States). It showed off her range with vocals that swung from husky lows to shimmering highs, to the point that the song could be mistaken for a duet.

In the mid-1970s, she signed with Arista Records, whose founder, Clive Davis, chose to package her as a disco diva like Gloria Gaynor. That decision paid dividends, at least commercially. Her 1975 single “It’s in His Kiss,” a Studio 54-ready spin on Betty Everett’s 1964 hit “The Shoop Shoop Song (It’s in His Kiss),” reached No. 6 in Britain, although it, too, barely made a splash in the United States.

But Ms. Lewis bristled at the forced career turn. “I didn’t really stick to my guns, I’m afraid,” she later said. “I saw myself as a singer-songwriter; they didn’t.”

Even so, the album with the single, “Not a Little Girl Anymore,” hit No. 40 in Britain, with Rolling Stone noting that it brought “this multi-styled English artist into the mainstream of contemporary R&B.”

By the 2000s, her music had crossed over to a new generation, as she sang on albums by Oasis, Basement Jaxx and Jamiroquai.

Linda Ann Fredericks was born on Sept. 27, 1950, in Custom House, an area in the docklands of East London. She was one of six children of Eddie Fredericks, a musician, and Lily Fredericks, who worked as a bus conductor and managed pubs. (It is unclear why the singer chose Lewis as her stage surname.)

Her mother had great ambitions for her as a performer and enrolled her in stage school, an experience on which Ms. Lewis did not look back fondly.

Her compass was set toward music. She got her first taste of the limelight in her early teens, when her mother took her to see John Lee Hooker perform at a club and pushed her to the stage to belt out, with the blues titan’s permission, a rendition of Martha and the Vandellas’ “Dancing in the Street.”

In addition to Ms. Lewis Clay, she is survived by two other sisters, Shirley Lewis and Patsy Wildman; her brothers, Keith and Paul Fredericks; and her son, Jesse. Her three marriages ended in divorce.

While Ms. Lewis angled to escape stage school at the earliest possible opportunity, her flirtation with acting was not a complete waste. She made a brief appearance in the Tony Richardson film “A Taste of Honey” (1961). She also popped up as a screaming fan in the Beatles movie “A Hard Day’s Night” (1964).

She was not the only future musical notable in the crowd of hysterical Beatlemaniacs. Phil Collins, in his schoolboy jacket and tie, was also on set as an extra. “Many years later, I bumped into him and said, ‘Hey, we made a film together,’” Ms. Lewis told Record Collector. “He gave me a very funny look. I think he thought I was a nutter.”

Source link

Linda Lewis, a critically acclaimed soul singer

After a devasting loss, a young woman tries to snap back into reality through a dangerous arms deal in writer-director Ryan J. Smith’s Talking to Ghosts. Nina Holland-Smith plays Ciara, who recently lost her child in utero. Time has passed, and Ciara has decided for the umpteenth time to get out of her sister’s house and be “useful” once again. Finding a typical 9-to-5 job will not be easy, so her friend Peter (Jake Waring) offers to let her be part of a “job” he’s working on.

The catch is that it’s a dangerous job. It is also slightly illegal. All they have to do is buy a gun from a mysterious dealer looking for quick cash. Hesitant yet desperate, Ciara accepts the job as she’s assured nothing will go wrong. When Ciara and Peter arrive at the given address, they discover the dealer is the famed crime novelist Joseph Skinner (Grahame Edwards). He has the gun, but thanks to an administrative mix-up, the courier with the money won’t arrive until the next day. Seeing red flags, Ciara wants to bail, but she won’t get paid, so they reluctantly stay at Skinner’s home for the night. Of course, Skinner has some secrets Ciara and Peter are unaware of. He is a crime novelist, after all.

Talking to Ghosts is a thriller in dramatic clothing. I mention this because the way the film is shot may throw you off a bit. While I hope not to let my prejudice come through, Smith’s film comes across as very British. Here in the States, thrillers build tension through suspenseful music, quick cuts, and mood lighting. Here, the thriller part of the tale plays out in dramatic fashion with no frills or usual tropes to rely on.

“When Ciara and Peter arrive…they discover the dealer is the famed crime novelist Joseph Skinner…”

In reviewing the film, the use or non-use of these tropes will stand out a lot. I appreciated the fact that the filmmaker did not rely on cinematic tricks to tell his story. However, at the same time, it could have used a trick or two. This is where I wrestle with Talking to Ghosts the most, as the film comes across more as a drama when it has psychological thriller elements to it. Ultimately, it would’ve found a good home somewhere between a drama and a thriller.

For an independent production, this is a well-crafted film with an interesting story of a crime novelist who has himself embroiled in a crime that he would have written. However, it is all about the performances. Nina Holland-Smith is the highlight. She gives an every-person performance in that this could be you or me if we were desperate for quick cash or excitement. Edwards is affable, yet creepy, as the slightly eccentric author, and Waring is equally good as the confident thug.

In the end, Ryan J. Smith has a great indie career ahead of him. Overall, his film is worth watching, but its tone is where Talking to Ghosts just falls short. The job that Ciara and Peter are on is inherently dangerous, but ultimately what’s missing is the immediate sense of peril at all times.

For more information about Talking to Ghosts, visit the Skint Film official website.

Source link

After a devasting loss, a young woman

Russian forces have walked into a trap by taking control of Bakhmut after a grinding nine-month battle for the Ukrainian city, Kyiv has said.

Moscow claimed to have taken full control of the eastern city over the weekend, in what would be a largely symbolic victory that has come at the cost of tens of thousands of Russian and Wagner mercenary troops. Kyiv disputed the Russian claim, but acknowledged its forces now control only a small district.

But while the situation in Bakhmut itself appears bleak for Ukraine, Kyiv says its fighters’ presence has played a key role in their strategy of exhausting the Russian military ahead of a planned counteroffensive, while manoeuvring around the flanks of the city.

Ukraine now says its current positions in the areas surrounding Bakhmut – where its forces have fought to surround the city from the north and south in recent weeks and sent Russian troops running – will allow them to strike back. 

According to Ukraine’s Colonel General Oleksandr Syrskyi: ‘Wagner’s men went into Bakhmut like rats into a mousetrap.’

Pictured: A map showing the on-going situation on the ground in the eastern Ukrainian city of Bakhmut. While Russia claims its forces have taken the city (centre), Ukraine’s troops are working to encircle it from the north and the south

Pictured: Ukrainian artillerymen fire a cannon near the city of Bakhmut on May 3

Pictured: Ukrainian artillerymen fire a cannon near the city of Bakhmut on May 3

Pictured: Wagner boss Yevgeny Prigozhin is seen in front of his soldiers holding Wagner Group and Russian flags in Bakhmut on May 20, claiming full control of the city

Pictured: Wagner boss Yevgeny Prigozhin is seen in front of his soldiers holding Wagner Group and Russian flags in Bakhmut on May 20, claiming full control of the city

While Moscow may control the centre of Bakhmut, analysts say the Kremlin’s victory is not strategically advantageous, as it is unlikely to provide a springboard for either Wagner or Russia’s armed forces to advance further west.

What’s more, as Wagner pushed relentlessly through the city, Ukraine’s forces launched rapid counterattacks in the fields to the north and south of Bakhmut, meaning Kyiv’s troops surround the city from three sides.

Kyiv now holds the high ground around the city, putting any Russian unit in the sights of Ukrainian artillery from multiple directions. 

Even more important for Ukraine has been the high numbers of Russian casualties and sapping of the morale of enemy troops for the the small patch of the 932-mile front line as Ukraine gears up for a major counteroffensive in the 15-month-old war.

‘Despite the fact that we now control a small part of Bakhmut, the importance of its defense does not lose its relevance,’ said Syrskyi, the commander of ground forces for the Ukrainian Armed Forces, amid reports of Russia taking control of the city.

‘This gives us the opportunity to enter the city in case of a change in the situation. And it will definitely happen,’ he added. ‘The enemy failed to surround Bakhmut. They lost part of the heights around the city. The continuing advance of our troops in the suburbs greatly complicates the enemy’s presence,’ said Hanna Maliar, Ukraine’s deputy defence minister. 

‘Our troops have taken the city in a semi-encirclement, which gives us the opportunity to destroy the enemy.’

Meanwhile, Ukrainian and British intelligence has said Russia is reinforcing the region around Bakhmut with several battalions as Wagner head Yevgeny Prigozhin has signalled his intention to pull his troops out by May 25.

This could force Moscow to replace the mercenaries in the city with its own troops, or run the risk of losing control of the city.

Prigozhin has been at loggerheads with Russian military leadership for months, publicly chastising them for their failures on the ground and for not supplying his Wagner mercenaries with enough ammunition.

‘Wagner will leave Artemovsk (Bakhmut was previously known as Artemovsk) from May 25 to June 1,’ Wagner boss Yevgeny Prigozhin said in an audio recording on Telegram.

Prigozhin said the mercenaries had set up ‘defence lines’ on the western outskirts of the city before a planned transfer of control to the Russian army.

‘If the ministry of defence does not have enough personnel, we have thousands of generals,’ said Prigozhin.

Pictured: Smoke rises from buildings in this aerial view of Bakhmut, the site of the heaviest battles with the Russian troops in the Donetsk region, Ukraine, at the end of April

Pictured: Smoke rises from buildings in this aerial view of Bakhmut, the site of the heaviest battles with the Russian troops in the Donetsk region, Ukraine, at the end of April

Pictured: An aerial view of Bakhmut, the site of heavy battles with Russian troops in the Donetsk region, Ukraine, Sunday, March 26, 2023. The city, once home to around 80,000 people, has all but been levelled to the ground in the on-going fighting

Pictured: An aerial view of Bakhmut, the site of heavy battles with Russian troops in the Donetsk region, Ukraine, Sunday, March 26, 2023. The city, once home to around 80,000 people, has all but been levelled to the ground in the on-going fighting

Russian president Vladimir Putin – who has been desperate for any form of victory in Ukraine – congratulated his forces on the victory over the weekend.

Russia’s defence ministry said the Wagner mercenaries – backed by Russian troops – had seized the city, but Ukraine President Volodymyr Zelensky said Bakhmut was not being fully occupied by his counterpart’s troops.

In a video posted on Telegram, Prigozhin claimed the city came under complete Russian control at about midday Saturday.

Holding a Russian flag before a group of at least nine masked fighters in body army who were toting heavy weapons, Prigozhin proclaimed: ‘This afternoon at 12:00, Bakhmut was completely taken.’

Meanwhile, Ukrainian and Russian sources have reported on-going fighting on Bakhmut’s northern and southern flanks, according to the Institute for the Study of War (ISW), a Washington-based think tank.

It said fighting in on-going in the directions of Ivanivske (4 miles west of Bakhmut), Stupochky (8 miles southwest of Bakhmut) and Bila Hora (7.5 miles southwest of Bakhmut), while Russian forces have reported that Kyiv’s forces are conducting localised attacks near Klishchiivka (4 miles southwest of the city).

On May 19, Ukrainian forces reported that they had recaptured approximately 1.5 square miles of territory near Bakhmut.

Footage has emerged in recent weeks of the city’s surrounding areas showing Russia’s conventional forces retreating across shell-scarred fields as Ukraine’s forces advance quickly with tanks and mobile units, taking out dozens of Moscow’s troops.

The battle for Bakhmut has been likened to a First World War ‘meat grinder’, with Russia crashing tens of thousands of its troops against Ukraine’s defences in ‘human wave’ attacks.

The losses on both sides are estimated to be in the tens of thousands, with Wagner alone – which recruited around 50,000 convicts from Russian jails to join the battle – seeing an approximate 40,000 of its mercenary either killed or wounded.

Despite throwing huge resources at the city, analysts have said Russia’s control of it offers little in the way of tactical significance.

According to the ISW’s latest on-the-ground assessment: ‘Prigozhin’s claimed capture of the remaining blocks in Bakhmut is not strategically significant as it will not allow exhausted Wagner or conventional Russian forces to establish a meaningful springboard for further offensive operations.’

It added: ‘Ukrainian ongoing counterattacks north, west, and southwest of Bakhmut will complicate any further Russian advances beyond Bakhmut in the near term.’

In reference to Prigozhin claiming he would withdraw his Wagner troops from the city on May 25, the ISW said: ‘Prigozhin’s withdrawal announcement, whether Wagner withdraws from the city or not, indicates that Prigozhin does not intend to continue an offensive effort to push directly west of Bakhmut.’ 

An aerial view shows destructions in the frontline town of Bakhmut, amid Russia's attack on Ukraine, in Donetsk region, Ukraine, in this handout picture released on May 21, 2023.

An aerial view shows destructions in the frontline town of Bakhmut, amid Russia’s attack on Ukraine, in Donetsk region, Ukraine, in this handout picture released on May 21, 2023.

Ukrainian soldiers walk in an area of the heaviest battles in Bakhmut, Donetsk region, Ukraine, Friday, April 21, 2023

Ukrainian soldiers walk in an area of the heaviest battles in Bakhmut, Donetsk region, Ukraine, Friday, April 21, 2023

About 34 miles north of the Russian-held regional capital of Donetsk, Bakhmut was an important industrial centre, surrounded by salt and gypsum mines and home to about 80,000 people before the war, in a country of more than 43 million.

The city, named Artyomovsk after a Bolshevik revolutionary when Ukraine was part of the Soviet Union, was known for its sparkling wine produced in underground caves.

It was popular among tourists for its broad tree-lined avenues, lush parks and stately downtown with imposing late 19th century mansions. 

All are now reduced to a smoldering wasteland.

Fought over so fiercely by Russia and Ukraine in recent months has been Bakhmut’s urban center, where Ukrainian commanders have conceded Moscow controlled more than 90 per cent. 

But even now, Ukrainian forces are making significant advances near strategic roads through the countryside just outside, chipping away at Russia’s northern and southern flanks by the yard with the aim of encircling Wagner fighters inside the city.

Ukrainian military leaders say their months-long resistance has been worthwhile because it limited Russia’s capabilities elsewhere and enabled Ukrainian advances.

‘The main idea is to exhaust them, then to attack,’ Ukrainian Col. Yevhen Mezhevikin, commander of a specialized group fighting in Bakhmut, said Thursday.

Russia has deployed reinforcements to Bakhmut to replenish the lost northern and southern flanks and prevent more Ukrainian breakthroughs, according to Ukrainian officials and outside observers. This could weaken their position elsewhere.

Putin badly needs to claim victory in Bakhmut, where Russian forces have focused their efforts, analysts say, especially after a winter offensive by his forces failed to capture other cities and towns along the front.

Ukraine’s tactical gains in the rural area outside urban Bakhmut could be more significant than they seem, according to some analysts.

Ukrainian soldiers ride on a BMP infantry fighting vehicle toward Bakhmut, on May 20, 2023, amid the Russian invasion of Ukraine. Ukraine on May 20, 2023

Ukrainian soldiers ride on a BMP infantry fighting vehicle toward Bakhmut, on May 20, 2023, amid the Russian invasion of Ukraine. Ukraine on May 20, 2023

Ukrainian servicemen fire a BM-21 Grad multiple launch rocket system towards Russian troops, amid Russia's attack on Ukraine, near the frontline town of Bakhmut, Ukraine May 19, 2023

Ukrainian servicemen fire a BM-21 Grad multiple launch rocket system towards Russian troops, amid Russia’s attack on Ukraine, near the frontline town of Bakhmut, Ukraine May 19, 2023

‘It was almost like the Ukrainians just took advantage of the fact that, actually, the Russian lines were weak,’ said Phillips O’Brien, a professor of strategic studies at the University of St. Andrews. ‘The Russian army has suffered such high losses and is so worn out around Bakhmut that … it cannot go forward anymore.’

Ukrainian forces in the outskirts of Bakhmut and in the city bore relentless artillery attacks until a month ago. Then, Ukrainian forces positioned south of the city spotted their chance for a breakthrough after reconnaissance drones showed the southern Russian flank had gone on the defensive, Col. Mezhevikin said.

After fierce fighting for weeks, Ukrainian units made their first advance in the vicinity of Bakhmut since it was invaded nine months ago.

In all, nearly 20 square kilometers (8 square miles) of territory were recaptured, Maliar said in an interview last week. 

Hundreds of yards more have been regained almost every day since, according to Serhii Cherevatyi, spokesman for Ukraine’s Operational Command East.

‘Previously we were only holding the lines and didn’t let Russians advance further into our territory. What has happened now is our first advance (since the battle started),’ Maliar said.

Victory in Bakhmut does not necessarily bring Russia any closer to capturing the Donetsk region – Putin’s stated aim of the war. 

Rather, it opens the door to more grinding battles in the direction of Sloviansk or Kostiantynivka, 12 miles away, said Kateryna Stepanenko, a Russia analyst at the Institute for the Study of War.

Satellite imagery released this week shows infrastructure, apartment blocks and iconic buildings reduced to rubble.

In the last week, days before Russia announced the city had fallen into their control, Ukrainian forces retained only a handful of buildings amid constant Russian bombardment. Outnumbered and outgunned, they described nightmarish days.

Russia’s artillery dominance was so overwhelming, accompanied by continuous human waves of mercenaries, that defensive positions could not be held for long.

‘The importance of our mission of staying in Bakhmut lies in distracting a significant enemy force,’ said Taras Deiak, a commander of a special unit of a volunteer battalion. ‘We are paying a high price for this.’

The northern and southern flanks regained by Ukraine are located near two highways that lead to Chasiv Yar, a town 6 miles from Bakhmut, that serve as key logistics supply routes. One is dubbed the ‘road of life.’

This video grab taken from a handout footage posted on May 20, 2023 on the Telegram account of the press service of Concord - a company linked to the chief of Russian mercenary group Wagner, Yevgeny Prigozhin - shows members of Wagner group waving a Russian national flag and Wagner Group's flag on the rooftop of a damaged building in Bakhmut

This video grab taken from a handout footage posted on May 20, 2023 on the Telegram account of the press service of Concord – a company linked to the chief of Russian mercenary group Wagner, Yevgeny Prigozhin – shows members of Wagner group waving a Russian national flag and Wagner Group’s flag on the rooftop of a damaged building in Bakhmut

Ukrainian soldiers fire a cannon near Bakhmut, an eastern city where fierce battles against Russian forces have been taking place, in the Donetsk region, Ukraine, Friday, May 12, 2023

Ukrainian soldiers fire a cannon near Bakhmut, an eastern city where fierce battles against Russian forces have been taking place, in the Donetsk region, Ukraine, Friday, May 12, 2023

A Ukrainian soldier holds his helmet as he rides an APC in Bakhmut, in the Donetsk region, Ukraine, Wednesday, April 26, 2023

A Ukrainian soldier holds his helmet as he rides an APC in Bakhmut, in the Donetsk region, Ukraine, Wednesday, April 26, 2023

Ukrainian forces passing this road often came under fire from Russians positioned along nearby strategic heights. Armored vehicles and pickup trucks driving toward the city to replenish Ukrainian troops were frequently destroyed.

With those high plains now under Ukrainian control, its forces have more breathing room.

‘This will help us design new logistic chains to deliver ammunition in and evacuate the injured or killed boys,’ said Deiak, speaking from inside Bakhmut on Thursday, two days before Russia claimed control of the city. 

‘Now it is easier to deliver supplies, rotate troops, (carry out) evacuations.’  

Source link

Russian forces have walked into a trap




View gallery




Image Credit: Smalls / SplashNews.com

New momma recap! Just a few short days after Ireland Baldwin, 27, announced the arrival of her daughter, Holland, on May 18, she took to Instagram once more to share a new carousel of photos of her new life as a mother-of-one on May 21. “what a week,” she captioned the adorable set of photos over the weekend. In the first slide, Ireland sweetly held onto her newborn daughter’s hand, while she also tagged the baby’s dad, André Allen Anjos (RAC).

The blonde beauty got a bit more vulnerable with her 674K followers in the third slide, as she posed hunched over what appeared to be a bedside in maternity underwear and a grey bra top. Ireland also had a fetal heart monitor strapped to her stomach in the third and fifth slides. Andre posed with his newborn daughter in his arms on the fourth slide, as he sweetly held her on his bare chest.

In the last slide, Alec Baldwin‘s daughter posed with her new mini-me in what appeared to be a hospital bed. Ireland rocked a black hooded sweatshirt and she carefully covered up baby Holland’s face with a pink heart emoji. Soon after she shared the newborn pics, many of her followers flooded the comments with their reactions. “The center of your universe just changed. Enjoy every minute with your little miracle,” one admirer penned, while another added, “Congrats! She’s so lucky to have you as a mom.”

Ireland first announced Holland’s arrival on May 18, via Instagram. She shared a sweet selfie with Andre and her baby with the caption, “holland.” In the photo, Ireland wore an unbuttoned green hospital gown, while her daughter rested on her momma’s chest. The very next day, Alec, 65, took to his own Instagram to congratulate his daughter on welcoming her first child. “My first baby had her first baby. Much love to the three of you!”, he wrote in the caption of a throwback photo of him and Ireland. Alec welcomed Ireland with his ex-wife, Kim Basinger, in 1995. He is now a father-of-eight.

ireland baldwin
Ireland Baldwin announced the birth of her daughter on May 18. (Smalls / SplashNews.com)

In addition to the carousel of photos Ireland shared on Sunday, she also took to Instagram on May 19, to share a photo of herself slumped inside of a bathtub with the fetal heart monitor on her belly. “The photo I’m going to show my daughter when she back talks,” she joked in the caption. Many of her fans quipped in agreement in the comments, including mom-of-one Gigi Hadid. “Word,” the 28-year-old model penned. Meanwhile a fan added, “May as well print and frame it. The backtalk is brutal.”

Source link

View gallery Image Credit: Smalls / SplashNews.com New momma

Amazon is rolling yet another major update to its Kindle Scribe e-reader – making this the third one since the device’s launch back in November 2022.

Users will be getting four new features with this patch. Chief among them is the long-awaited support for “direct on-page writing”. Unfortunately, you may be disappointed with the feature as it’s not as extensive as some would have preferred. It only works with certain content such as “guided journals and word games” like crossword puzzles.

Amazon has a section on its online marketplace highlighting which ebooks support the write-on feature. Or you can visit the Kindle Store on the Scribe to see the same thing. For the latter, be sure to keep an eye out for content that has either “Write-on Books” or “On-page writing” listed as a feature.

Kindle Scribe new lasso tool. (Image credit: Amazon)

Moving down the list, Amazon is introducing a lasso tool for selecting written notes or pen strokes on the device. Unlike on-page writing, the lasso isn’t restricted to just a few apps. You can use it to cut, move, copy, paste, or resize selected content “across your notebooks, sticky notes, and PDFs.” Speaking of which, PDFs will now be easier to read as users will be able to “switch between portrait- and landscape-view mode”. Margins can also be cropped “to increase font size”. Plus, text in PDFs can be highlighted so you can look up a word’s dictionary definition or a translation in another language.

The final inclusion is the ability to convert your Scribe notebook into a .txt file so you can share it via email. There are two ways to do this, according to Amazon. To quickly send out your notes, you select “Convert to text and quick send” in the on-device Share menu. If you want ample time to make a few edits, you choose “Convert to text and email” – also in the Share menu.

In a better state

Kindle Scribe convert

Kindle Scribe’s new convert-to-text feature. (Image credit: Amazon)

Together with the previous two updates, Amazon has now introduced 10 new features to its e-reader.

Keep an eye out for the patch as it makes its way to a Kindle Scribe near you. If you prefer, you can force install by going to the Kindle E-Reader Software Updates webpage and downloading the package from there. But this isn’t the end as the tech giant promises more “free software updates” later this year.

It is good to see Amazon paying so much attention to this new device. When the Kindle Scribe was first released last year, it fell somewhat short of expectations. The Scribe wasn’t awful at launch – far from it. However, it faced stiff competition from better E Ink tablets at the time like the Kobo Elipsa and the Onyx Boox Note Air2. This steady stream of updates is bringing it more in line with the competition.

Needless to say, we’re looking forward to Amazon’s future plans for the Scribe and would love to see notes syncing between the e-reader and the Kindle mobile app get a significant upgrade.

Be sure to check out TechRadar’s list of the best Kindle for 2023 if you’re stuck on which one to buy or our guide to the best ereaders if you’d like more choices.

Source link

Amazon is rolling yet another major update

Warner Bros. released the first movie trailer of The Color Purple Broadway musical adaptation directed by Blitz Bazawule (The Burial of Kojo, and Beyonce’s Black Is King). The film stars Fantasia Barrino, Taraji P. Henson, Halle Bailey, Elizabeth Marvel, Aunjanue Ellis-Taylor, Danielle Brooks, H.E.R, Coleman Domingo, Corey Hawkins, Louis Gossett Jr., David Alan Grier, among others. Marcus Gardley, Alice Walker, and Marsha Norman penned the screenplay.

The upcoming film is based on the Tony-winning musical from Norman, Brenda Lee, Allee Willis and Stephen Bray, which was based on the Pulitzer Prize-winning book by Alice Walker. It comes on the heels of a classic 1985 film adaptation from director Steven Spielberg and centers on Celie, a Black Southern woman who struggles to find her identity after suffering abuse from her father and others over the course of forty years. 

The original Broadway musical debuted in 2005, scoring 11 Tony Award nominations in 2006 and Best Performance by an actress in a leading role for award for LaChanze in her role as Celie. The 2015 revival garnered four more Tony nominations and won for Best Revival of a Musical for Cynthia Erivo in her Broadway debut. The musical has also won Grammy and Emmy awards.

Spielberg directed and produced the 1985 adaptation of the Alice Walker novel which received 11-time Oscar-nominations. The film scored Winfrey a Supporting Actress Oscar nomination, and Leading Actress Oscar nomination and Golden Globe Award for Whoopi Goldberg.

The Color Purple (2023) producers include Steven Spielberg, Oprah Winfrey, and Quincy Jones with executive producers Alice Walker, and Rebecca Walker.

Source link

Warner Bros. released the first movie trailer

[This story contains spoilers for the second season finale of NCIS: Hawai’i.]

The season two finale of NCIS: Hawai’i introduced — or rather, re-introduced — a character who will join the cast next season.

In the episode, Jane Tennant (Vanessa Lachey) and Kate Whistler (Tori Anderson) find themselves under attack in Venezuela — until an unseen ally comes to their aid. Jane’s phone rings, and a very familiar voice is on the other end: Sam Hanna (LL Cool J), last seen in the Moroccan desert in the series finale of NCIS: Los Angeles on Sunday night.

After Tennant thanks him for the overwatch, Hanna says he was “in the neighborhood” and thought he could lend a hand. “You just happened to be in Venezuela?” she asks.

“Morocco, actually, but hey — what’s a few borders and an ocean, anyway?” he replies.

The cameo in the finale won’t be a one-off: LL Cool J will join the cast of NCIS: Hawai’i in a recurring part in the 2023-24 season, reprising his role as Hanna and continuing his 14-year run in the NCIS franchise. Monday’s season finale marked his second appearance on the show, following a crossover involving all three NCIS series earlier this season.

“All of us at NCIS: Hawai’i have been huge fans of LL Cool J for years and couldn’t be more thrilled or honored to be adding his spectacular talent to our ohana for season three,” executive producers Matt Bosack, Jan Nash and Christopher Silber said in a statement.

Added Lachey, “One of the most beautiful things about working on NCIS: Hawai’i is the show’s ability to bring the franchise together. We have had so much fun spreading the aloha to NCIS and NCIS: LA with the triple crossover. Now, we have the amazing opportunity to bring Sam Hanna to Hawai’i to help the island solve some cases and maybe have a few laughs in the process. Welcome to the ohana, Todd! It’s going to be a fun ride!”

Source link

[This story contains spoilers for the second

Films can take years to make, and at age 80, the director Martin Scorsese is aware he has a finite amount of both films and years left.

“He’s got many things in his head he wants to do, and I don’t know that we’ll live long enough to do them,” his longtime editor, Thelma Schoonmaker, 83, said at the Cannes Film Festival on Sunday.

Because of that, anything Scorsese commits to has to be doubly worth it, the man behind classic films like “Taxi Driver,” “Goodfellas” and “The Departed” said.

“I’m at an age now where everything I try, I want it to matter for me,” Scorsese said. “It always did, but even more so now because we’re just running out of time.”

His latest film, “Killers of the Flower Moon,” took around seven years to come together, Scorsese and his collaborators explained on a sunny Cannes terrace the day after the Apple-financed project premiered there to glowing reviews. (It will be released in theaters this October, then debut on the streaming service at a later date.)

Still, the finished film is very different than the one Scorsese and his star, Leonardo DiCaprio, originally intended to make: The material couldn’t be cracked until they were willing to throw out every notion of what they first thought “Killers of the Flower Moon” should be.

The initial version was meant to be a gripping mystery like its source material, the nonfiction book by David Grann that follows the straight-arrow F.B.I. agent Tom White as he investigates a string of murders of Native Americans in 1920s Oklahoma. There, the Osage Nation is the country’s most prosperous tribe; indeed, the discovery of oil on their land has turned them into the wealthiest people per capita in all of America. But members of the Osage are regularly dying in suspicious ways, and even though the tribe has received pledges of help from the prosperous cattle baron William Hale (played in the film by Robert De Niro), no one has yet been brought to justice.

White eventually uncovers a vast conspiracy that implicates not only the wealthy cattleman but also his nephew Ernest, who has married an Osage woman, Mollie, and stands to benefit if other members of her family perish, since their land rights will eventually make their way to his wife (and then him). This real-life twist is the revelation the book is building to, but when the screenplay by Scorsese and Eric Roth was structured in the same way, it never came alive.

“I think Marty and I just looked at each other and we felt there was no soul to it,” DiCaprio said. “It was about an investigation, and I said to Marty, once you see De Niro as Hale, you’re going to go, ‘I think I know who did it.’ What are we going to unravel?”

Instead of concealing those plot points, then, Scorsese and DiCaprio decided to lean in: Over the film’s sprawling three and a half hours, they’d let us in on the murders as soon as Hale and Ernest begin plotting them. And as the story gravitated toward those malevolent men, DiCaprio decided he would rather play Ernest instead of the lawman Tom White, a role Jesse Plemons (“The Power of the Dog”) stepped in to fill.

“The tricky thing was to work against this cliché of white savior,” Plemons said. After all, it’s white people who perpetrated these crimes, too. But the subjects of his character’s investigation have motivations that often appeared baffling, like DiCaprio’s Ernest, so loving and attentive to his wife.

“It was one of the most twisted love stories I’d ever come across,” DiCaprio said. “I can’t even believe it myself that these two people were in love and stayed together.”

De Niro still found himself at a loss for words when asked to unpack Hale, who goes out of his way to endear himself to the Osage Nation even while reducing its numbers. Did playing the role help him reconcile the man’s tendencies?

“In some ways, no,” said De Niro. “He’s a sociopath. You don’t know why he would love them and betray them in such a way.” It wasn’t simply about money, De Niro said: Hale had plenty of it already. “Greed is a real condition, but it seems like a simpler word than what has happened,” he said. “Greed can make greedy people, but they don’t behave like that.”

So what was that additional motivation that led Hale and Ernest down such dark paths? When asked, Scorsese didn’t mince words: It has to do with white supremacy, he said.

“It’s about somebody not being from European culture, or white culture,” the filmmaker said. “Just ‘not up to par,’ and therefore, it’s maybe easier to kill them. I mean, whoa! And I believe that’s real thinking.”

And it has plenty of contemporary parallels, too, Scorsese and De Niro said. At the film’s news conference yesterday, De Niro spoke about the film’s depiction of “the banality of evil” and said, “We see it today and you know who I’m talking about but I’m not going to say his name — that guy is stupid.” Later, he couldn’t help himself: “I mean, look at Trump!”

With Scorsese, I mentioned how Ernest’s willingness to carry out his uncle’s cruel orders reminded me of another film at Cannes, “The Zone of Interest,” which follows a Nazi commandant and his family, who live next to Auschwitz and ruthlessly compartmentalize the atrocities carried out on the other side of their garden wall.

“What scares me is how easy it is for all people — well, I hope not all people, but most people — to fall into that,” Scorsese said. “I’ve had a number of people say, ‘No, I think everyone is capable of that.’ I hope not. I wonder how I would act.”

To broaden the film’s perspective past these white men’s malevolent deeds, Scorsese consulted extensively with the Osage to ground the film in their traditions and lived experiences. Already, “Killers of the Flower Moon” has provided an awards-worthy breakthrough for the Native American actress Lily Gladstone, who plays Mollie, Ernest’s wife. She more than holds her own against DiCaprio and De Niro with her sly smiles and formidable center of gravity, and after the film’s premiere, cameras in the theater captured tears filling her eyes in a moment that went viral online.

On the terrace at Cannes yesterday, I asked her about it. “You mean the moment where you can visibly see me tear up and break down and try to shoo it all away,” she said, “and I turn around and Cate Blanchett and I are locking eyes — my favorite actress since I was 15?”

Gladstone said she felt a lot of things in that moment, but what she could sense most of all was that the applause, in large part, was for Mollie, a character who grew in importance as Scorsese kept revising and shaping his film.

“I was grateful that the audience saw Mollie the way they were supposed to, and the way they should have,” she said. “It was an affirmation of what fine storytelling this is. What people thought would be an impossible feat is the story we were able to do.”

Source link

Films can take years to make, and

According to the Avengers 5 and Ant-Man and The Wasp: Quantumania writer, Jeff Loveness, he’s not the infamous Marvel leaker. 

Back in March, Disney took action when an accurate Ant-Man 3 script and other MCU details leaked online. 

When one of those spoilery accounts took to defending Loveness and his Quantumania choices, fans began to question if the MCU writer was the leaker in question. 

Jeff Loveness Calls Out ‘Bogus’ Accusations

Marvel

When a Twitter user raised the question of whether Marvel leaker @thewatcher_2099 is, in fact, Jeff Loveness, the Avengers 5 writer responded, saying “Nah. That’s not me:”

“Nah. That’s not me. Didn’t leak anything. All Bogus”

In the past, the mysterious leaker called out the “Loveness hate train” due to backlash surrounding Ant-Man 3, as well as the writer being “fed to the wolves” before asking, “Where is Peyton Reed?”

In addition to Quantumania‘s poor reception, Jeff Loveness was met with negative fan responses to his unwavering position on MODOK, as well as his defense of the threequel’s ending. 

Currently, the writer is set to pen Avengers: The Kang Dynasty. However, in addition to allegations made against Kang actor Jonathan Majors, unverified rumors suggest Loveness is no longer attached to the upcoming Avengers film. 

Marvel’s Post-Endgame Problem

The idea that Jeff Loveness would risk his Marvel Studios career to feed leaks and spoilers to the online community may just be as crazy as Quantumania‘s MODOK.

Still, there’s no doubt that both leaks and fan disappointment have been on the rise in the wake of Avengers: Endgame and the start of Phase 4. 

Ahead of Ant-Man 3, a steady stream of leaks preceded 2021’s Spider-Man: No Way Home. 

Also, prior MCU films like Doctor Strange in the Multiverse of Madness and Thor: Love and Thunder were largely met with mixed reviews by MCU audiences.

Now, while both leaks and film backlash are unrelated, Jeff Loveness’ social media response suggests that he, as well as other creatives at Disney and Marvel, are paying attention. 

It will be interesting to see how the red brand continues to respond to both internet spoilers and the online conversations concerning Loveness and Quantumania moving forward.

Ant-Man and The Wasp: Quantumania is streaming now on Disney+.

Source link

With a plethora of streaming services out there, it’s no wonder that TV shows are as popular as ever. Some TV shows have massive budgets, and those are typically the ones that look and feel more like a movie than a show. Producers know that audiences want shows that are epic and grand in scale, but also digestible and easy to understand, even if you aren’t familiar with the franchise a show belongs to.


Lately, there have been more and more shows coming out that contain episodes that feel like a stand-alone movie. Shows like Yellowstone and Succession have used this tactic to great effect, drawing audiences in with slower plot points but stronger characters. Here are some shows where each episode could be a movie because of their strong cinematography, editing, acting, and other qualities.

MOVIEWEB VIDEO OF THE DAY

SCROLL TO CONTINUE WITH CONTENT

10 Yellowstone

Paramount

Yellowstone is a show on Paramount+ that features Kevin Costner as John Dutton, a wealthy farmer who is fighting to keep control of his family ranch. One of his sons lives off the ranch, while the other is into politics. Both are vying for his attention and his power. But Dutton’s right-hand man is Rip Wheeler (Cole Hauser), a gruff cowboy who does the boss’ bidding even if it means bending the law.

Yellowstone is the epitome of a show where every episode feels like a movie. The way the show is shot is very cinematic, with sweeping views of the Montana landscape and on-point music that makes every scene feel tense. Costner and Hauser’s performances drive the show and the audience never knows what to expect from each member of the conniving Dutton clan.

9 Game of Thrones

Tommen in Game of Thrones (1)
Warner Bros Television

Game of Thrones aired on HBO from 2011 to 2019. The show was based on the legendary novels by George R.R. Martin and revolved around nine families fighting for the throne of an ancient, mythic world. GOT jumped around a lot, often featuring too many characters to keep track of in each episode. Nevertheless, the show always felt so ambitious that it could be a movie.

While the plot of Game of Thrones sometimes moved at a snail’s pace, each episode was meticulously thought out and filmed with every detail in mind. The battle scenes were epic, and the special effects – particularly of the dragons – were nothing short of mind-blowing. Some fans were unhappy with the eighth and final sloppy season, though. Considering there was a Starbucks cup in one Game of Thrones scene, they’re not wrong.

8 Succession

Succession
HBO

Every episode of Succession – which airs on HBO Max – feels like a taut game of cat and mouse. Logan Roy (Brian Cox) is the wealthy head of a media empire, and he rules with a take-no-prisoners attitude. He’s past retirement age but nothing is good enough for Logan, and he’s certainly not ready to hand his empire to any of his entitled children which include Connor (Alan Ruck), Siobhan (Sarah Snook), Roman (Kieran Culkin), and Kendall (Jeremy Strong).

Succession is simply an excellent show filled with dramatic twists and turns. Whether it’s following Kendall’s downward spiral, Roman’s twisted dabbles in debauchery, or Connor’s anti-establishment rants, every episode feels like it could be its own movie. The cast makes Succession great, but sadly, the show is ending after its current fourth season.

RELATED: Best TV Series Coming to HBO Max in May 2023

7 Under the Banner of Heaven

Man in suit stands looking serious.
Hungry Jackal Productions

Under the Banner of Heaven is a riveting miniseries that came out in 2022. Filmed in and around Alberta, the show is based on the novel of the same name by acclaimed author Jon Krakauer. Detective Jeb Pyre (Andrew Garfield) is tasked with solving the ritualistic murders of Brenda and Erica Lafferty in 1984. The clues send Detective Pyre down a rabbit hole, and he soon uncovers a web of lies and deceit within the Mormon faith. Under the Banner of Heaven contains some great performances.

Under the Banner of Heaven plays out like a murder mystery, using flashbacks to tell Brenda’s story and how her entrance into the Lafferty family angered some people. Every episode feels like a movie because clues are revealed slowly, keeping the viewer hooked up to the epic conclusion. There’s a casino scene near the end of the series that draws you in with its keen attention to detail and dramatic moments.

6 Twin Peaks

Miguel Ferrer in Twin Peaks
ABC

Twin Peaks was a short-lived but impactful show that aired for two seasons from 1990-1991. Set in the small town of Twin Peaks, WA near the Canadian border, the show focused on the FBI Special Agent Dale Cooper (Kyle MacLachlan) as he tried to solve the murder of a popular high school student.

As the series evolved, more and more supernatural elements were pulled into the plot. Twin Peaks was a town filled with eccentric characters, and Agent Cooper didn’t always know who he could trust. Twin Peaks felt like a movie because each episode unveiled clues that led to more clues, and it always left the viewer feeling unsettled at the end.

5 The Last of Us

the-last-of-us-joel-pedro
HBO

Another series filmed in Alberta that feels like each episode could be a movie is HBO’s The Last of Us. Based on the video game of the same name, Pedro Pascal plays Joel, the survivor of a zombie apocalypse who is trying to get young girl Ellie (Bella Ramsey) to safety. Joel believes Ellie may be resistant to the zombie virus and hopes that a cure for the strain may be hidden in her DNA.

The Last of Us was produced with an epic budget and it shows. Each episode is not only grand in scale but is shot in many different locations in Alberta, including Calgary, Edmonton, Fort Macleod, Waterton Lakes National Park, and more. The show did a great job of incorporating stand-alone plot points and characters in each episode. Fans won’t have to wait long for more as season 2 of The Last of Us is filming soon.

4 Euphoria

Rue apologizes to Ali euphoria
HBO

Euphoria is another HBO show with a very cinematic feel. It’s about a group of teenagers who cope with life by living an excessive lifestyle, dabbling in drugs, and trying to deal with various problems. The show’s main character is Rue Bennett (Zendaya), a girl who lost her father to cancer and doesn’t know how to deal with her emotions or her grief.

Although the show has been criticized for being too over-the-top in its depiction of drug use, sex, and violence,both millennials and Gen-Z generations can relate to Euphoria. The show uses dark cinematic techniques to create movie-like visuals. Euphoria features top-notch cinematography and editing, making it feel like each episode could be a movie.

3 The Mandalorian

Mandalorian and Grogu
Disney Platform Distribution

The Mandalorian recently completed its third season on Disney+. Pedro Pascal is the title character, an armored warrior from the planet Mandalore. He fights to protect Grogu, a being with special powers, from the forces of evil. In their adventures, Din Djarin and Grogu encounter threats at every turn, including killer robots, sand creatures, and hostile pirates.

With the help of his friends Greef Karga (Carl Weathers) and Bo-Katan Kryze (Katee Sackhoff), the Mandalorian manages to protect Grogu and even attempts to restore his civilization’s society back home on Mandalore. Each episode features the duo in a different setting, with new characters being constantly introduced. The Star Wars universe has a long history of creating cinematic TV shows, and The Mandalorian is one of the best.

RELATED: All Season 3 Episodes of The Mandalorian, Ranked

2 Mindhunter

Mindhunter Sensitive subject matter 1200 x 630
Netflix

Mindhunter is a serial TV thriller that features Jonathan Groff as FBI special agent Holden Ford. Agent Ford leads a task force that studies the minds of serial killers, with the goal of trying to gain insights that could be used to solve current cases. The show is based on real events and the first season focuses on notorious killer Edmund Kemper (played by Cameron Britton) who murdered ten people, including his own mother, back in the early 1970s.

Director David Fincher is one of the executive producers of Mindhunter, so you know it’s going to have very cinematic elements. Fincher is known for directing dark psychological thrillers like Seven, Fight Club, and Zodiac, and Mindhunter is crafted with his style in mind. With excellent dialogue and crazy twists, it’s one of the best crime shows on Netflix.

1 The Crown

The Crown
Netflix

The Crown is one of the most expansive and immersive TV shows about the royal family ever made. Every episode engulfs you in its universe and plays out like a movie. Claire Foy portrayed Queen Elizabeth II in the first two seasons before Olivia Colman took over for seasons three and four, and finally Imelda Staunton for season five. The show also features an all-star cast of supporting actors, with Helena Bonham Carter, Lesley Manville, John Lithgow, Gillian Anderson, and more appearing since its debut in 2016.

The Crown is insanely detailed, with the sets, costumes, and makeup effects standing out as highlights. Season five in particular contains some great fashion moments. Fans can look forward to the sixth and final season of The Crown, which recently wrapped up filming, to air in late 2023 or early 2024. The total budget for the show is reportedly upwards of $260 million, so it’s no wonder that every episode feels like it could be its own movie.

Source link

With a plethora of streaming services

Gamers have now hit the ten year anniversary of the infamous reveal of the Xbox One in 2013, and the occasion has led to a mix of opinions. Was it as much of a disaster as we remember, or in some ways, was the Xbox One actually ahead of its time?

Source link

FallenAngel1984|13m ago|Opinion piece|7|▼InfoAdd Alt SourceGamers have now

Joaquin Phoenix is taking it up another notch after Ari Aster’s “Beau Is Afraid,” teaming up with Todd Haynes for an NC-17-rated gay romance film.

Haynes spoke to IndieWire at the Cannes Film Festival following the Saturday premiere of his romantic drama “May December,” starring Natalie Portman and Julianne Moore. In the interview, Haynes teased an upcoming project he co-developed with Phoenix.

“The next film is a feature that’s an original script that I developed with Joaquin Phoenix based on some thoughts and ideas he brought to me,” Haynes told IndieWire. “We basically wrote with him as a story writer. Me and Jon Raymond and Joaquin share the story credit. And we hope to be shooting it beginning early next year. It’s a gay love story set in 1930s L.A.”

Haynes added, “Joaquin was pushing me further and going, ‘No, let’s go further.’ This will be an NC-17 film.”

Phoenix is no stranger to intense roles that push past the expected limits of actors. As for Haynes, between “Carol,” “Far From Heavens,” “Poison, “Velvet Goldmine” and his latest, “May December,” the director is no stranger to the romantic period drama, nor the queer film.

“All I can do is just keep hunkering down and committing to each project,” Haynes said. “I have more features planned. I have also episodic projects coming that are planned, that are really exciting. I’m going back to work with Kate Winslet with something she brought me for HBO.”

Hayne’s latest project, “May December,” is loosely based on the American scandal of Mary Kay Letourneau. In Variety‘s review, film critic Peter Debruge wrote: “Tone is everything in movies like this, and Haynes goes out of his way to avoid the sensationalism… Withholding moral judgment as best he can, Haynes keeps things more emotional than intellectual, trusting audiences to do that unpacking on their own.”

Source link

Joaquin Phoenix is taking it up another

For one wonderful moment, it sounds and looks as if Mira Nair’s stage adaption of her 2001 film, “Monsoon Wedding,” has taken a page from George Furth and Stephen Sondheim’s “Company.” It comes early in the first act of this new musical when three families in Delhi, India, welcome an Indian-American family from Hoboken into their home. The families have arranged a marriage between the young woman Aditi Verma and Hemant Rai, an up-and-coming banker from New Jersey. The bouncy, infectious song being sung by no fewer than 10 characters is titled “We Are Like This Only” and everyone keeps insisting that they’re having “fun fun fun” all the way to Aditi and Hemant’s wedding. The bachelor Bobby in “Company” could be said to have too many married friends. Aditi and Hemant definitely have too many relatives. What could anything possibly go wrong with their engagement and wedding?

The new stage musical “Monsoon Wedding” opened May 22 at St. Ann’s Warehouse in Brooklyn, and except for “We Are Like This Only,” the show lacks focus focus focus.

A musical about an arranged marriage needs to ask and quickly answer the question, Where is the love? Composer Vishal Bhardwaj and lyricists Masi Asare and Susan Birkenhead deliver the answer with a conditional love song. Instead of putting it at the top of the show, however, Aditi and Hemant (Salena Qureshi and Deven Kolluri in fine voice) sing “Could You Have Loved Me” about halfway through Act 2. Even more problematic is that Aditi is introduced to us with an ongoing argument she’s having with her lover, Vikram (Manik Singh Anand), who like a lot of married locked into affairs with single women in the workplace, is a real cad. Most baffling, late in “Monsoon Wedding,” this fraught illicit affair is explained away as a sign of Aditi’s status as a young liberated woman.

Aditi (Salena Qureshi) and Hemant (Deven Kolluri) embrace in “Monsoon Wedding” (Photo credit: Matthew Murphy)

A musical with a messy love story rather than a strong love story is a musical that’s in deep trouble. The solution for book writers Arpita Mukherjee and Sabrina Dhawan (who also wrote the screenplay) is to introduce a second love story, which, unfortunately, generates little more heat than Aditi and Hemant’s non-affair. In this secondary plotline, the wedding planner Dubey (Namit Das) falls in love with the Verma family’s maid, Alice (Anisha Nagarajan), but apparently doesn’t know her any better than he would a mail-order bride. No sooner does Dubey declare his love than he expects Alice to give up her Catholicism. A weak wordsmith, Alice retorts in song, “So I am not Hindu/Why does it matter to you?” That little deal-breaker is resolved almost as soon as it is introduced when Dubey’s mother (Sargam Ipshita Bali) begs her son to follow his dream with “The Heart Knows,” a song title, among many here, that defines the word “derivative.” Never asked is how such a freethinking mother raised such a Neanderthal?

Mukherjee and Dhawan don’t introduce a conflict that they can’t resolve in record speed. Even a big fight over money between the Hoboken family (the book is loaded with bad Jersey jokes) and the Delhi families is quickly swept under the colorful saris. Clearly, “Monsoon Wedding” needs a Big Reveal in act two to keep our attention. It pops up out of nowhere two hours into the show, and proves to be far more arresting than any plot twists preceding it. Broadway musicals used to have what’s called the Eleven O’Clock Number. “Monsoon Wedding” is the first to have an Eleven O’Clock Bombshell.

How good a musical theater director is the film director Mira Nair? “Monsoon Wedding” fails even to turn the bride’s entrance in her wedding dress (a gorgeous ensemble by Arjun Bhasi) into an event worth stopping the show. Much more damaging, Mukherjee and Dhawan’s book lifts fragments from the movie without bothering to meld them into cogent scenes, and Nair’s slack direction only emphasizes the disconnect. She often lets one character slowly exit the stage while others take their time to move into place.

The stage at St. Ann’s Warehouse is part of the problem here. This performing space has taken many forms since the theater moved into its new space, an old tobacco factory, in 2015. Of all those configurations, the huge thrust stage designed by Jason Ardizzone-West for “Monsoon Wedding” may be the least intimate. This family drama needs a living room, not a stadium. David Bengali’s delightful projection designs often give us something to look at when the actors prove to be far less dazzling.

Robert Hofler, TheWrap’s lead theater critic, has worked as an editor at Life, Us Weekly and Variety. His books include “The Man Who Invented Rock Hudson,” “Party Animals,” and “Sexplosion: From Andy Warhol to A Clockwork Orange, How a Generation of Pop Rebels Broke All the Taboos.” His latest book, “Money, Murder, and Dominick Dunne,” is now in paperback.

Source link

For one wonderful moment, it sounds and

After 23 seasons in a red swivel chair, The Voice’s Blake Shelton took a load off Monday night to watch his last bunch of finale performances as a coach. He was sitting pretty, too, considering that the members his team, whittled down to just showman NOIVAS and country singer Grace West, were the likeliest to win the title. Did anyone from Team Kelly Clarkson, Chance the Rapper or Niall Horan deliver such a knockout that they might pull off an upset? Did NOIVAS and/or Grace stumble? Read on, and we’ll discuss.

Grace West (Team Blake), “The Night the Lights Went Out in Georgia” — Grade: C+ | Miss Vicki Lawrence might have something to say about the fact that Blake and Grace kept calling this classic a Reba McEntire number. Sure, she did it, too, but c’mon, give credit where it’s due. That quibble notwithstanding, it just wasn’t a great selection for the 19-year-old. The talk-singy verse didn’t adequately show her off her vocal abilities, and the chorus here just felt… leaden, like no one had ever plugged in the lights for them to have gone out.

D.Smooth (Team Kelly), “My, My, My” — Grade: B+ | Satisfying his coach’s craving for ’90s R&B, the only Playoff Pass recipient in the finale D-livered a rendition of Johnny Gill’s hit that was even smoother than the moves that his backup dancers were pulling off. I do wish he’d opened his eyes more often during his performance, but big whoop. He didn’t have to see anything to hear from the crowd’s reaction that they were lapping up what he was dishing out (and lining up for seconds).

Sorelle (Team Chance), “Million Reasons” — Grade: B- | As usual, the siblings’ harmonies were hella dreamy. But their individual vocals, led by baby sis Bella, weren’t quite as flawless. Plus, toward the end of the trio’s Lady Gaga cover, they got a little shouty. By that time, I may have been a little distracted, though, wondering why the light show made it look like the young women were being engulfed in flames. That’s not the way to convince us that a performance was fire, gang.

NOIVAS (Team Blake), “Cold” — Grade: A | Welcome to Goosebump City! From the start of his Chris Stapleton number, Season 23’s frontrunner absolutely owned the stage — without ever moving, even. His presence was cranked up to 11, and when he was able to fully unleash his massive voice, the combination of charisma and talent was nothing short of thrilling. Dude sang with such raw intensity, he coulda cracked a rib.

the-voice-recap-top-5-finale-performances-gina-miles-d-smoothGina Miles (Team Niall), “Style” — Grade: B- | I didn’t have high hopes for Gina’s rendition of Taylor Swift’s smash; “Style” just didn’t seem as dark or moody as the kinda number on which the 19-year-old typically shines. But she proved me wrong… mostly. Her unique voice made me feel like I was listening to Florence + the Machine cover Tay Tay, which isn’t a bad thing, just… an odd one. Wish Gina and Niall had rejiggered the production a little bit to better suit her style.

Grace West (Team Blake), “She’s Got You” — Grade: A- | Ahhh! Now this was the sorta Grace performance that could actually win her the title. She was as comfortable with the Patsy Cline classic as a cowgirl would be riding a horse. Her vocals were brimming over with emotion and just dazzlingly beautiful. If there’s anything to nitpick here, it’s just that it would’ve been nice to have seen some of the feeling that we heard in her voice… on her face.

the-voice-recap-top-5-finale-performances-gina-miles-d-smoothNOIVAS (Team Blake), “Fly Away” — Grade: D | Uh-oh. The energy was certainly there on NOIVAS’ rendition of Lenny Kravitz’s raucous rocker, but the vocal? Not so much. “Fly Away” is a song that gets roared as much as sung, granted. But even still, it would’ve been cool if it hadn’t been painfully pitchy. This was, in an unfortunate word, a disaster — especially what with it being NOIVAS’ last performance before viewers started voting.

D.Smooth (Team Kelly), “What You Won’t Do for Love” — Grade: C+ | There was nothing really wrong with D’s rendition of Bobby Caldwell’s golden oldie. And it had a cool arrangement (his idea, his coach told us). But the number never really took off. Instead, it kinda hovered at pretty much the same altitude throughout. Exceptional singer but not an exceptionally memorable performance.

Sorelle (Team Chance), “Ain’t No Mountain High Enough” — Grade: B | Tackling Marvin Gaye and Tammi Terrell’s hit, the sister act again sounded mostly divine when singing together but were less impressive on their solo vocals. (The living embodiment of “The whole is greater than the sum of its parts”?) And I really appreciate that the sibs move on stage, but I’m not 100-percent-sure that their high-school-talent-show choreography doesn’t hurt them more than help.

Gina Miles (Team Niall), “Nothing Compares 2 U” — Grade: A | Perfect, perfect song choice. Sinead O’Connor’s Prince-penned No. 1 allowed Gina to give us a stunning reminder of how special her voice is. And she packed so much ache into her vocal… it might’ve even made my cold, dead heart beat a little. Dunno if even a performance that magnificent could steal the win from Blake, but if one possibly could… this was it.

It all comes down to this. Who do you think will win Season 23… and who do you think should win? Vote in the polls below, then rank the Top 5 in the comments.

Source link

After 23 seasons in a red swivel

Abbott Elementary

Abbott Elementary

ABC/Ser Baffo

After winning Emmys last year for its debut season — including best writing for a comedy series (creator Quinta Brunson, pictured) and best supporting actress (Sheryl Lee Ralph) — the ABC sitcom won Critics Choice Awards for best comedy and supporting actress (Ralph), Golden Globes for best actress (Brunson) and supporting actor (Tyler James Williams) and a SAG Award for best ensemble.

Dahmer — Monster: The Jeffrey Dahmer Story

THE JEFFREY DAHMER STORY

The Jeffrey Dahmer Story

Netflix/Courtesy Everett Collection

Emmy winner Evan Peters (pictured) won a Golden Globe for his chilling portrayal of the infamous serial killer in Ryan Murphy’s latest anthology series for Netflix, while Niecy Nash-Betts — a four-time Emmy nominee — scored a Critics Choice Award and a Golden Globe for her supporting role.

Weird: The Al Yankovic Story

Weird The Al Yankovic Story

Weird: The Al Yankovic Story

Aaron Epstein/Roku

The satirical musical biopic, which director Eric Appel co-wrote with the eponymous comedy musician, earned Daniel Radcliffe (pictured) a Critics Choice Award for his portrayal of the accordion-slinging Yankovic. The film also won best TV movie at the January awards show, and Radcliffe earned a BAFTA nom for the comic role as well.

The White Lotus

The White Lotus

The White Lotus

Fabio Lovino/HBO

The second season of HBO’s star-studded satire has netted top awards at the Golden Globes (where it was still considered an anthology series) and SAG Awards (where it was classified as a drama). Jennifer Coolidge (pictured) — who won an Emmy for season one — picked up supporting actress prizes at the Critics Choice Awards, Globes and SAG Awards.

The Bear

THE BEAR

The Bear

FX on Hulu / Courtesy Everett Collection

Jeremy Allen White won a Golden Globe, a Critics Choice Award and a SAG Award for his leading role in FX/Hulu’s gritty workplace comedy set in a chaotic Chicago sandwich shop. Co-star Ayo Edebiri (pictured) won best supporting actress at the Indie Spirit Awards (where the show also won best new series) and earned nominations from the Critics Choice and Gotham awards.

This story first appeared in the May 17 issue of The Hollywood Reporter magazine. Click here to subscribe.

Source link

Abbott Elementary Abbott Elementary ABC/Ser Baffo After winning

The 76th Cannes Film Festival has already delivered a slew of breathtaking red-carpet looks, including Elle Fanning’s Alexander McQueen “dress of dreams” for the opening ceremony and Naomi Campbell’s crimson Valentino gown with a pink feathered cape at the Killers of the Flower Moon screening. However, Natalie Portman’s arrival at the May December premiere in a glittering custom Dior number that’s an ode to a museum piece really captivated die-hard fashion enthusiasts.

Samir Hussein

Samir Hussein

The actor’s ivory strapless gown—meticulously adorned with ornate beading and featuring a layered skirt reminiscent of a fan of eyeless peacock feathers—is inspired by the Junon dress that Christian Dior himself created for his 1949–1950 autumn-winter collection (named after the Roman goddess, who was wife to Jupiter and patron goddess of Rome). Although it’s not currently on display, the original dress is a part of The Metropolitan Museum of Art’s Costume Institute collection.

The original Junon gown, on display at the Metropolitan Museum of Art.

Courtesy of the Metropolitan Museum of Art

While Portman’s look—which was dreamt up by Dior’s current creative director, Maria Grazia Chiuri—pays homage to the legendary piece, the construction and fabrication of the garment are not identical to the original. This has divided the internet’s style watchers, with some praising the reference (“This is insane,” asserts fashion Twitter account @SaintDoII), and others, like Cherie Balch of Shrimpton Couture, suggesting that certain historic gowns just shouldn’t be recreated. (Naturally, the vintage expert advocates for true archive over recreations on the red carpet.)

“Natalie looked stunning, and her place as a long time ambassador of the house certainly justifies remaking this gown,” Balch noted on Instagram. “But, for me, the reproduction pales in comparison—the line is not quite right, the embellishment is less, and the movement didn’t have the ease and beauty of the original.”

A model on the runway at the Christian Dior Haute Couture show as part of the Paris Fashion Week Spring/Summer 2010. (Photo by Stephane Cardinale/Corbis via Getty Images)Stephane Cardinale – Corbis/Getty Images

Jeff Kravitz

The dress has been referenced on numerous occasions in the past at Dior, as well as by other design houses. Some of the most notable moments include dresses from John Galliano’s spring 2010 haute couture and Grazia Chiuri’s spring 2017 haute couture collections at Dior, as well as Zuhair Murad’s bespoke scalloped number for British Vogue’s June cover star, Miley Cyrus, which she wore to the 2009 Oscars.

This article first appeared on British Vogue. 


Source link

The 76th Cannes Film Festival has already delivered

NOW ON VOD! Prepare for tales of midnight adventures from those who weathered the neon storm in Colin J. Felger’s zippy rock documentary Falling Higher: The Story of Ampage. Standing tall after remaining active for an impressive 45 years, the hard rock band Ampage is still a band few have heard of. This is despite opening for Def Leppard, Eric Clapton, and Blue Oyster Cult back in the day. Founded and maintained by Mark Mason, who has worn many hats in the band (mostly cowboy ones), they hit Hollywood at the dawn of the 1980s and became staples on the Sunset Strip. They even wrote songs about going to the famed Rainbow Bar, L.A.’s temple of hair metal.

In interviews, drummer Mark London talks about how he was never into metal, as he was devoted to more classic rock like Mott the Hoople. However, one night they were approached by Mitch Mitchell of The Jimi Hendrix Experience, who was blown away by their set. London’s reaction to the memory of them doing coke all night is priceless. Mitchell ended up producing Ampage’s debut album, Champagne and Caviar, released in 1988. It features misspelled credits thanking Happening Harry, the one-time road manager and professional party animal who is also interviewed. Harry is a dime-store Dionysus who has some charming stories about the powder white good times.

“…remaining active for an impressive 45 years, the hard rock band Ampage is still a band few have heard of.”

Soon the good times catch up, and Mason and London are getting high non-stop in seedy motels, disappearing for months. Mason cleans up his act and starts doing triathlons. Soon Ampage is putting out new albums and making music videos with Jeff Conway. With band members like Earl Slick, who played with John Lennon and David Bowie, as well as John Easedale of Dramarama, Mason keeps Ampage alive and evolving, having good times.

Rock docs are a lot like pizzas. Everybody loves them, but only if they have their favorite toppings. Sometimes pizzas have toppings very few people have tasted, like potato or corn. Ampage is an untasted topping that many may hesitate to try. This goes double for anyone who views glam metal as their own personal anchovy. The main reason I gave it a go is it is narrated by Jake Busey. And now I am here to tell you that Falling Higher: The Story of Ampage is one of the tastiest f*****g pizzas I have watched in a while. The secret is the rocket sauce it is slathered in as the plot flies fast.

Source link

NOW ON VOD! Prepare for tales of

For the Schweb family in the North Okanagan, it’s the time of year they get their cattle ready to go to the summer pasture. But this year’s not like the rest, as the Schwebs worry about the future of the industry.

“It’s hard to say what’s gonna happen in the next few years,” said Trudi Schweb owner of Schweb Family Cattle.


Click to play video: 'Community rallies around North Okanagan farms dealing with storm damage'


Community rallies around North Okanagan farms dealing with storm damage


The family has been farming for four generations and doesn’t plan on slowing down anytime soon. However, they’ve noticed that mindset changing for other ranchers in the region.

Story continues below advertisement

“There’s a lot of people getting out of it right now because the prices are good on the mama cows. They’re finding that now’s the time, if they’re gonna downsize, now’s when they’re gonna do it,” said Trudi.

More established ranchers are stepping away from the farm as costs rise in this ever-changing industry, and that can lead to serious side effects within the next few years.

“We’re gonna have a lack of numbers. There’s not gonna be cows, especially in our province,” Trudi said.


Click to play video: 'No days off during calving season at one family ranch near Falkland'


No days off during calving season at one family ranch near Falkland


And it’s not any easier for new farmers stepping into the profession, as the cost of building their own ranch could come with a hefty bill.

“Just like anything whether it’s buying a house or starting a ranch or anything. You’re blessed if you have generations that pass things down. I think it’s definitely harder for anybody to get into this business,” said Cody Schweb.

Story continues below advertisement

Hans Sedlneir and his wife Helga have been helping the Schweb’s with their cattle for decades and say it’s not an easy transition for a new farmer.

“They put so much effort into everything they do to produce really good quality cattle and beef,” said Hans Sedlneir.


Click to play video: 'Natural disasters translate into feed shortages for B.C. ranchers'


Natural disasters translate into feed shortages for B.C. ranchers


The Schweb family has owned their ranch for over 50 years and will continue to hand the reins to the next generation. Including to four-year-old Macy who just can’t get enough of the animals.

“I just love the range,” Macy said.

The family hopes they can inspire other kids like Macy to take an interest in ranching and they’ll be doing so at this year’s BC Cattlemen’s Association Convention.

“We’re doing our best to make it so it’s really enjoyable for the kids. Maybe they’ll say, ‘Well I want to have a farm one day right or I want to join 4H.’ There’s lots of opportunity,” said Trudi.

Story continues below advertisement

The convention takes place May 25 to 27 at Kal Tire Place in Vernon.

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

Source link

For the Schweb family in the North

Forming a truce. Carl Radke revealed that he’s made amends with Danielle Olivera’s ex Robert Sieber following their rift on season 7 of Summer House.

“We have chatted. I don’t know the full details of Danielle’s and Robert’s breakup. I was sad to hear that [they split], but I did chat with him a little bit and we kind of cleared the air,” the Bravo star 38, exclusively told Us Weekly on Monday, May 22, while promoting his partnership with Talkspace for its “Celebrate Every Step” campaign in honor of Mental Health Awareness Month. “I have always really liked Robert and I can’t really say anything bad about him.”

Carl and Robert’s conflict stemmed from the tension between Danielle, 34, and Carl’s fiancée, Lindsay Hubbard, after Danielle wasn’t involved in Carl’s proposal plans. The app developer also voiced her concerns about how fast the pair were moving in their relationship, which led to the two women having a falling out.

Robert, for his part, slammed Carl for excluding his then-girlfriend. (In February, Danielle confirmed that she and Robert had called it quits in November 2022 after two years of dating.)


Carl Radke, Danielle Olivera and Robert Sieber
Stephanie Augello/Shutterstock (2); Todd Williamson/Bravo

“I’m extremely happy for you guys, but obviously a lot has happened this summer,” the chef, 33, said during the May 15 episode “The biggest thing for me is why you didn’t come to her and tell her anything. For her to be one of the last ones to know, it’s almost kind of embarrassing for her.”

As this season of Summer House winds down — the reunion kicks off on May 29 — Carl, for his part, has been candid about his mental health struggles throughout his time on the reality series, which he has been part of season 1.

“Every season of the show’s been hard at times,” Carl recalls. “If you go all the way back to seasons 1 through 5, I had a lot of things that were difficult, and I probably dealt with it way differently in those early seasons, whether it was drinking or partying.”

In honor of Mental Health Awareness Month, Carl teamed up with Talkspace to raise awareness for the positive outcomes of therapy for its “Celebrate Every Step” campaign.

“I’ve been on a mental health journey for many years. It’s something I’m really passionate about,” he tells Us. “I did family therapy in my youth and always was very quiet about it. I didn’t really share because you’re screwed up or you’ve got a lot of problems. It’s kind of embarrassing. There’s a lot of shame. So it’s something I experienced on the other side of it. ”

He continued: “I had a stigma against it and, maybe, judged people for it because it just seemed like I just didn’t understand it. As I’ve gotten older, [I’ve] understood that I’ve had tons of things that I needed to address, you know, it could be childhood traumas, it could be relationships, it could be conflict [and] all sorts of things.”

Summer House airs on Bravo Mondays at 9 p.m. ET.

Source link

Forming a truce. Carl Radke revealed that

Lukewarm reception to recent Marvel and DC films shows why studios are looking to reboot their franchises

It’s been a decade and a half since the first “Iron Man” movie kicked off the Marvel Cinematic Universe, and four years since “Avengers: Endgame” smashed box office records. But the pandemic disrupted moviegoers’ habits, and new heroes (“Eternals”) and villains (“Ant-Man and the Wasp: Quantumania”) don’t seem to have excited fans. The DC Extended Universe hasn’t fared much better with “Black Adam” and “Shazam 2: Fury of Gods.” Are we living in the age of superhero fatigue?

The numbers tell a more nuanced story. Yes, we are watching a box office decline, but superhero movies remain highly in demand, according to Parrot Analytics‘ data, which takes into account consumer research, streaming, downloads and social media, among other engagement.

Become a member to read more.

Source link

Charlene Deleon-Jones, executive director of Film Alula, joined Variety’s Nick Vivarelli for a conversation about the growing presence of film in Saudi Arabia including Alula, which has already hosted several shoots including “Cherry,” “House of Dragons,” and “Kandahar.”

Saudi Arabia is a swiftly expanding film destination. As film is a generally new industry in Saudi Arabia, the country is justly expanding its infrastructure to sustain new projects. After being approached to create a business model for the development of studios in the country, Deleon-Jones says they are now a year into the process. “The biggest change is awareness and infrastructure,” said Deleon-Jones at The American Pavilion during the Cannes Film Festival.

“The first two stages [of the plan] are almost complete,” said Deleon-Jones. “We have paid really close attention to [the] technical build of [the] stages so that we see that [they] actually work really well.”

Ensuring that crew members will be available onsite for various film projects is also something that Deleon-Jones says is kicking off smoothly.

“We have the very beautiful ability to turn around visas very quickly,” said Deleon-Jones. “In the summer I have a crew of 100 people from Mexico coming in for [a] film. So we’re not necessarily active about where [the] crew had come from, [but] we [recognize] that there’s also space to meaningfully involve Saudi crew who are established and trained as well.”

Deleon-Jones isn’t just focused on the stages alone, “The other really important thing, because we are in the desert, is what are the surrounding facilities and support that you need,” she explained. Expanding on their larger plan for a communal experience for those filming.

Watch the full conversation above.

Source link

Charlene Deleon-Jones, executive director of Film Alula,

James Cromwell, nominated for a Best Supporting Actor Oscar in 1995 for his role in Babe, expressed solidarity today for the WGA members who are out on strike.

“It begins with the words. Nothing happens without them,” wrote the actor on Twitter. He then linked the assertion to his own recent work in Succession, where his character Ewan rips recently-deceased brother Logan Roy in his eulogy. “I got to a give a brilliant speech recently, which not only explicated my and my brother’s characters, it illuminated an entire narrative.”

Then Cromwell, who is no stranger to social activism, got specific in his support.

“This is what great writers do. And they need to be compensated in accordance with their contribution. At the very least, they need to be able to provide for themselves and their families,” he wrote.

“In this era of corporate greed and union busting, management seems to hold all the cards. Except for the most important ones: Unity; Solidarity; Fraternity. All of us win when the writers win. And we will win. Union! Strike!”

More from this Story Arc

Writers Guild Strike

Source link

James Cromwell, nominated for a Best Supporting

Both Penn Badgley and Chloe Bailey have unintentionally reignited a decades-old debate online this year about the need for sex scenes in movies and TV. Badgley revealed that he requested fewer sex scenes in his show You, and the horror series Swarm was released which features a sex scene between Bailey and actor Damson Idris — a scene many deemed “explicit.”


One side argues that sex scenes are always unnecessary, citing the discomfort they feel while watching them. They question the actors’ consent to filming the scenes and believe that audiences are voyeuristic in some type of way. The other side of the debate asserts that sex scenes are necessary, often helping move the plot forward, telling us more about certain characters, or normalizing the realities of sex.

So I’m wondering which side you’re on — if you think all sex scenes are pointless, if you think they’re an important part of storytelling, or if they should be judged on a case-by-case basis. I’ve gathered some of the best, worst, and most memorable sex scenes in movies, and I want to know if you think they’re necessary or not.

What are some other memorable sex scenes that you think are either completely unnecessary or are absolutely vital to the movie’s plot? Let me know in the comments below!

Source link

Kim Kardashian deals with tantrums too. Sometimes four of them.

The beauty mogul recently opened up about the challenges of parenting her four children — North, 9; Saint, 7; Chicago, 5; and Psalm, 4 — an experience that she called “the best chaos.”

“I mean there [are] nights when you don’t wash your hair for days, as a mom, and you have spit-up all over you, and you’re wearing the same pajamas,” Kardashian said on a recent episode of the “On Purpose With Jay Shetty,” a health and wellness podcast. “There’s nothing that can prepare you for this experience — it is the most challenging rewarding job.”

But not everyone is ready to empathize with the billionaire entrepreneur and reality TV personality, who raises her kids in a luxe-but-spartan mansion in Hidden Hills, near Calabasas.

“Kim Kardashian with her nannies, wealth, and literally having every resource possible is NOT the person to interview about the challenges of parenting,” @anjelllyyyyy wrote on Twitter.

“We can trade places,” @Shakelahthedon proposed via tweet. “I’ll take the $$$, Nanny’s, butlers, maids etc !! And you can take my place & be a real single mom sis.”

Kardashian is currently co-parenting her children with Ye, formerly known as Kanye West, under a joint-custody agreementthat has the rapper-designer paying $200,000 in child support each month.

When mental-health guru Shetty asked about expectations versus the reality of parenting, Kardashian painted a chaotic scene where “the days are long and the years are short.” She described mornings scrambling to do her children’s hair before school, cooking or, when they were babies, balancing feeding them and other parental duties.

“I’d say parenting is the thing that has taught me the most about myself — it has been the most challenging thing — there are nights I cried myself to sleep, like what just happened?” Kardashian said, referring to moments when she has had to moderate fights between her children. Then comes the challenge of bedtime, when all of her kids want to be tucked in by her at the same time.

“I’m locked in a room with kids banging outside of the door because they want me to put them to bed, and I’m like, I can’t cut myself in four pieces,” she said, adding that she is trying to create a schedule for her kids’ bedtime needs.

For rest, the aspiring attorney and “American Horror Story” actor said she turns to early-morning workouts and solo car rides where she is “blasting whatever music I want to.”

“Don’t try be relatable because you never had to starve, pick which bill to pay, and deprive your kids while working two or more jobs,” @751bklyn barked back on Twitter, as Kardashian’s parenting comments continued to circulate online.

“Her and Kanye worth over a billion,” @Alicia_Jones_ added. “She act like she a typical single mom working two jobs struggling to make ends meet. She has nanny’s, chefs, and tutors. Them struggling single moms gotta do all that s— by themselves.”

Kardashian and Ye’s divorce settlement, which was finalized in November, revealed aspects of their massive wealth, which includes 19 properties between them across four different states. They own mansions, condominiums, estates, ranches and office space, plus empty plots of land in expensive Southern California ZIP Codes.

For parenting decisions such as where the children go to school, non-emergency medical appointments, extracurricular or religious activities, where the children live and when they will obtain driver‘s licenses, both Ye and Kardashian must give consent, court documents said. The former spouses may celebrate special events such as birthdays together with the children.

Amid Ye’s public downfall as he made a slew of racist and antisemitic comments, Kardashian said co-parenting her children through the turmoil had been hard.

“But if we’re riding to school, and they want to listen to their dad’s music — no matter what we’re going through, no matter what is happening in the world — I have to have that smile on my face and blast his music and sing along with my kids and act like nothing’s wrong,” she said in December on the “Angie Martinez IRL” podcast. “As soon as I drop them off, I can have a good cry or text back and do what I gotta do.”

Other members of the Kardashian-Jenner family, including Khloe Kardashian and Kendall Jenner, have appeared on Shetty’s podcast in the past. The show has also featured other high-profile guests including Will Smith, Selena Gomez, Paris Hilton and the late Kobe Bryant.

Source link

Kim Kardashian deals with tantrums too.

Madame Web star and Marvel newcomer Sydney Sweeney shared her excitement at being introduced to the superhero movie world alongside a group of “badass females.”

Sony’s Spider-Man Universe will deliver its first female-led film behind Sweeney’s efforts, taking her award-winning efforts from Euphoria and White Lotus and moving to the comic book movie world.

Recent inside information revealed that Sweeney’s role will see her as a version of Spider-Woman, Julia Carpenter, pitting her as a key player in Sony’s Spidey world alongside other major players like Venom and Morbius.

Marvel’s Sydney Sweeney Praises “Badass Females”

Marvel

Speaking with Total Film magazine, via Games Radar, Madame Web star Sydney Sweeney highlighted her female co-stars with whom she’ll share the screen in her Marvel debut.

Discussing her excitement for the movie, Sweeney exclaimed that she “couldn’t be more excited” and that she “can’t wait to be able to talk about it” more openly when the time comes.

She went on to praise her co-stars – Dakota Johnson, Isabela Merced, and Celeste O’Connor – reminiscing on the fun they had and sharing how excited she is for “a powerhouse of badass females” to take the spotlight:

“I can’t wait to be able to be next to the girls that I filmed with – Dakota and Isabela, and Celeste. We had so much fun together. And I’m really excited that it’s just gonna be a powerhouse of badass females for the world to see.”

Sweeney also spoke with Elle in October 2022 about her role, which is one that she “fought for” before joining the Madame Web cast:

“I fought for the character. It’s been a really incredible journey that I’m very, very excited to be a part of.”

Additionally, in her more recent interview, Sweeney looked back to the way superheroes have been such a big part of her life.

Revealing that she’s seen Marvel Studios’ The Avengers “probably 20, 30-plus times” with her parents, she couldn’t help but laugh as she notes how happy she made the people closest to her by being in Madame Web:

“Superheroes have been my entire life! Those [films] are all my parents ever wanted to go see. I think I’ve seen ‘The Avengers’ probably 20, 30-plus times. My family, they love [them]… I could not have made them happier choosing to do that project [‘Madame Web’].”

“Female Badass” Cast Driving Marvel Movie Forward

While Sony continues to struggle in developing its Spider-Man stories outside of the MCU, Sydney Sweeney expressed plenty of confidence in herself and her female co-stars to make Madame Web a success for the studio.

Sweeney has put in a great deal of work physically to take on this new superhero property, and with Johnson and O’Connor also embodying powerful female characters, there’s plenty of potential for them to make their mark on Sony’s Marvel legacy.

Fans got their first look at Sweeney in her new role last October, although plenty of work still remains before Sony has this new story completed and ready to add to the Spider-Man Universe.

And with Madame Web‘s release being delayed until quite a long time after shooting was completed for the movie, anticipation continues to build to see what Sweeney and her castmates have in store.

Madame Web will arrive in theaters on February 16, 2024.

Source link

Spider-Man: Into the Spider-Verse blew everyone away in 2018, introducing mainstream audiences to Spider-Man Miles Morales, as well as a host of multiversal variants of everyone’s favorite wall-crawler. The film was a hit at the box office, and won Best Animated Feature at the Academy Awards. Now, after several delays, the first of two sequels is finally hitting theaters next year, Spider-Man: Across the Spider-Verse. A third film, Beyond the Spider-Verse, arrives in 2024.

A new clip from the upcoming film every Spider variant pointing, in a very committed tribute to the Spider-Man pointing meme. Bonus: the clip ends with some excellent Spider-Cat action.

Here is everything we know about the first, long-awaited continuation of Miles Morales’ adventures across the multiverse.

Title

Miles Morales returns in Spider-Man: Across the Spider-Verse (Part One) trailer first look
Sony

The title for the first sequel to Spider-Man: Into the Spider-Verse is Spider-Man: Across the Spider-Verse.

Spider-Man: Across the Spider-Verse‘s Plot

Image

In this movie, Miles Morales will reunite with his friends Spider-Gwen and Peter B. Parker, and also team up with Spider-Man 2099, Spider-Punk, and the original Spider-Woman, Jessica Drew. Whatever multi-dimensional shenanigans the story entails will see multiple animation styles at play. The villain is an often mocked villain from the comics, called the Spot. But for the film, they have given the Spot a power upgrade. Now he has abilities that allow for him to create portals to other realms of the multiverse. Early toy reveals for also show that Ben Reilly, the so-called “Spider-Clone” from the ’90s, as well as a Cyborg Spider-Woman also feature in the plot.

Of course, we will also see many new Spider-Man variants in Across the Spider-Verse and per a recent article on Empire, five new worlds in total. According to the article, there’s Spider-Gwen’s Earth-65, which is done in watercolors. Additionally, we’ll visit Mumbattan, an India-inspired world, Nueva York where Spider-Man 2099 lives, and New London, the world of Spider-Punk. There’s one more universe besides all of those, but that’s a secret for now. Or is it the mysterious LEGO world?

Jake Johnson, who voices Peter B. Parker, added one more to the pile. He teased a LEGO universe would be a part of the movie. Johnson offered, “Everything in this movie, the animation is so wild. It’s pushing so many boundaries that at times I’m like, ‘what are they doing now?’ Like the Lego world was really neat, remember where it jumps into a LEGO universe for a little bit? And I’m like, ‘man, what is happening?’” Will this LEGO Spider-Verse location be central to the movie or just a passing place we’ll visit? Only time will tell.

At CinemaCon 2023, we learned that Across the Spider-Verse begins more than a year after Spider-Man: Into the Spider-Verse. It seems like Gwen and Miles have been apart for that time. And, according to Slash Film, Gwen has been involved in some multiversal adventures, having joined a society comprised of Spider-People. Reports indicate that the society works to prevent universes from collapsing.

Additionally, the main theme of the movie appears to be: “It’s how you wear the mask that really makes you a hero.”

Spider-Man: Across the Spider-Verse‘s Cast

Spider-Man Across the Spider-Verse's villain The Spot, full
Sony Pictures Animation

Across the Spider-Verse will see many returning cast members from the first film, like Shameik Moore (Miles Morales), Hailee Steinfeld (Gwen Stacy), Jake Johnson (Peter B. Parker), Oscar Isaac (Spider-Man 2099), Brian Tyree Henry (Jefferson Davis), Luna Lauren Vélez (Rio Morales), Issa Rae (Jessica Drew/Spider-Woman), Jason Schwartzman (the Spot), and Daniel Kaluuya (Spider-Punk). Shea Whigham is also part of the cast, as police captain George Stacy, Gwen’s father. Jorma Taccone plays the Vulture, as a secondary villain. Andy Samberg has also joined the cast in a mysterious role. Additionally, according to the co-director of the movie, Joaquim Dos Santos, Scarlet Spider will appear and be voiced by a mysterious and notable celebrity. Apparently, no one knows who the mystery actor is, but we’re excited to find out.

Spider-Man: Across the Spider-Verse Miles Morales
Sony Pictures

Recently, we learned that Deadpool franchise actor Karan Soni would join Across the Spider-Verse as Pavitr Prabhakar or Spider-Man India. This is an exciting addition to an already incredible cast.

There’s no official word yet if we’ll see cameos from some characters from Into the Spider-Verse not officially listed in the cast for the sequel. As far as the official cast listing, there’s no indication that variants like Peter Porker will appear again. But it would not surprise us to see some of them. It would also not shock us to see and hear animated versions of the live-action Spider-Mans like Tom Holland, Andrew Garfield, and Tobey Maguire, although none of them are confirmed.

Spider-Man Noir into the Spider-Verse
Sony Pictures

A Spider-Man we won’t see returning, though is Nicolas Cage’s Spider-Man Noir. Here’s what Cage had to say about Spider-Man Noir’s presence in Across the Spider-Verse.

You’d have to ask Sony. I don’t know what’s going on with that… No one’s spoken to me about that. Ask them. I don’t know. I really don’t. I wish they would. I love Spider-Man Noir, too. I think that’s a great character. Spider-Man’s the coolest superhero. And then you combine that with [James] Cagney and [Humphrey] Bogart and Edward G. Robinson, come on, it’s a great character.

That’s one Spider-Man variant we’re sad to see go.

Behind the Scenes

Miles Morales' Spider-Man fighting with Spider-Man 2099 in Spider-Man:Across the Spider-Verse (Part One) first look trailer
Sony

Across the Spider-Verse is directed by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson, in their feature directorial debuts. The script comes from the original film’s writing team of Phil Lord, Christopher Miller, and David Callaham. Like the first film, this one is a Sony Pictures Animation production, and Marvel Studios had no involvement.

Spider-Man: Across the Spider-Verse‘s Release Date

Spider-Man: Across the Spider-Verse hits theaters on June 2, 2023. 

Source link

Spider-Man: Into the Spider-Verse blew

BMW announced new EVs today as part of its summer 2023 lineup. The new models include the i4 xDrive 40 (an all-wheel-drive variant of the i4), the single-motor i7 eDrive50 and the hybrid 750e xDrive. In addition, the automaker revealed an updated infotainment operating system for some models.

The 2024 i4 xDrive40 is an all-wheel-drive, 396-horsepower variant of the popular Gran Coupe. The all-electric vehicle has dual motors that provide an estimated 307-mile range using the standard 18-inch tires (it drops to about 282 miles with optional 19-inch wheels.) In addition, the EV can accelerate from zero to 60 in 4.9 seconds. The i4 xDrive40 will start at $61,600 with an added $995 destination fee. BMW expects US-based deliveries to begin in the third quarter of 2023.

Meanwhile, the rear-wheel-drive i7 eDrive50 is powered by a single GEN5 motor, supplying 449 horsepower. BMW will announce range and performance details “closer to market launch” this fall, but we know the model will start at $105,700 (plus destination fee). Finally, the 750e xDrive combines a 308-horsepower six-cylinder internal combustion engine with a 194-horsepower electric motor. It also offers 483 horsepower and 516 lb-ft of torque. In addition, the plug-in hybrid’s purely electric range is rated at 35 miles. The 750e xDrive will start at $107,000 and the same $995 destination fee. It also launches in the US this fall.

BMW

The automaker is updating its infotainment operating system “in certain models.” BMW Operating System 8.5 gives the home screen “clearly arranged functions” designed to work better on the company’s curved display. Ridding itself of sub-menus, it uses a “zero-layer principle” that keeps all relevant controls and information on a single level, using widgets arranged vertically on the driver’s side. In addition, it includes symbols to quick-access the climate control menu, app library, navigation and Apple CarPlay / Android Auto.

Source link

BMW announced new EVs today as part

In our Member Lens series, we’re spotlighting a cross-section of current Film Independent Members to see how they got where they are now, what they hope to do next and what being a part of Film Independent means to them. This profile originally ran in May 2022.

May is for Members! This week only: 50% off Filmmaker Lover or Filmmaker Pro. This month, we’re celebrating our Membership experience for filmmakers and film lovers all over the globe. All month-long you can enjoy an array of special discounts on Membership.

Melissa Haizlip isn’t someone who had to go searching for culture. The New York-based director, producer and actor grew up immersed in a world of creators, her uncle Ellis—host of the landmark PBS variety show SOUL! (1968-1973) and subject of Haizlip’s Peabody-award nominated 2018 documentary Mr. SOUL!—acting as the catalyst bringing of the 20th century’s most important Black cultural figures into her literal living room. It’s a tradition the proud Film Independent Member and Project Involve Fellow has continued, with further documentary projects chronicling creative lives and work of Black and female artists.

But even boasting this incredible origin story, when Haizlip reflects back on her career she sees two clear chapters: before Film Independent and after it, starting with a revelatory experience at a 2009 community screening of Lisa Leeman’s One Lucky Elephant at the late, great LA Film Festival (fittingly Mr. SOUL! would have its LA premiere at the final iteration of the Festival, in 2018.) Today, Haizlip has a bevy of in-development projects to keep her busy—like a lot a lot.

Despite her packed schedule, we recently chatted with Melissa about the unique perspective her childhood provided, early gigs and the most important thing she’s learned about being a part of the indie film community.

 

MELISSA HAIZLIP

Haizlip at the 2019 Film Independent Forum in Los Angeles (photo: Getty Images)

To start, when did you first develop an interest in film and media?

Haizlip: My parents have dedicated their lives to the culture. When I was growing up they were huge movie buffs, so we were always going to the movies and watching them on TV. My Aunt Mauryne Taylor Brent was an actress in the Black Westerns – she starred opposite Mantan Moreland in a 1948 Black-audience film called Come On, Cowboy! My uncle Ellis Haizlip [subject of Mr. SOUL!] knew all the Black artists and actors who were working in New York and Hollywood, and he’d bring them over to our apartment on West End Avenue and 80th Street, on the Upper West Side of New York City. This was while he was producing SOUL! and I was fascinated by all these magical people who were in movies, theater, and on television. Because I was so young I couldn’t understand how they went from being on the big screen and on TV, to being in my living room. It wouldn’t be until much later that I would realize I’d bounced on James Earl Jones’s knee, or my uncle had interviewed Nikki Giovanni, or brought over Betty Shabazz and her children of the late Malcolm X to play with me in my home.

That sounds incredible. And you initially started out in the industry as a performer, correct?

Haizlip: I had performed in musicals on Broadway, but it was my love for movies that inspired me to become an actor. I spent many years in front of the camera, watching all the directors and all the crews so closely, trying to figure out how everyone was able to do their job. I was more fascinated by the people behind the scenes than seeing the final product. When I first moved to Los Angeles, I got a job working in development at AFI, and then moved over to the alumni department. So I did everything. I would AD and PA. I even started working as a casting director, to help directors tell the bigger picture.

During this period, what was the most unusual job that you did as you were sort of learning the ropes of the film industry?

Haizlip: There were a lot of unusual things; no job was too big or too small. I remember I was a second AD on a short film by the brilliant Kate Marks called 7 Day Gig that involved roller skaters, and I was trying to lock off the street and just take care of all these actors on roller skates! But just the proximity to filmmaking was so important to me, to see everything happening from the inside out. It’s one thing to be an actor; it’s another thing to understand the craft of storytelling and the extraordinary effort it takes to pull a team together and the importance of everybody’s job.

‘Mr. Soul!’ (2018, dir. Melissa Haizlip)

What’s one thing you learned in these early days you found particularly valuable? Something about how to act on set or a communication tip? What was valuable skill you feel you picked up?

Haizlip: I learned that nobody can make a film by themselves; it’s the result of a team effort and you have to respect that, even though it may be your vision or you helping to create someone else’s vision and bring that to fruition. It made me understand the value of really seeing people for who they are and what their gifts and talents are and—as a director or producer—really knowing your strengths and weaknesses. I work a lot as a producer as well; I found if you’re able to create a team that can incorporate other people’s good ideas, you can help facilitate good ideas. So, finding your tribe and empowering and elevating collaborators is the most important thing.

And at what point along this journey did you first hear about Film Independent?

Haizlip: I was thinking about that. I shot the first interview for my debut feature documentary in Los Angeles in November 2009, and I remember knowing what I wanted to do at that point and wishing I could belong to and rely on a community of filmmakers. Around the same time I noticed there was going to be a free community screening at the LA Film Festival of a film called One Lucky Elephant. I went and it was packed. I sat in the very last row, blown away by this documentary, and mesmerized when the filmmakers came out for the Q&A. When I got home, I googled the festival and learned about Film Independent —and I knew at that instant that I had found my tribe.

Was Project Involve the first program you applied for at Film Independent?

Haizlip: Yes. I was rejected the first two times I applied, but I was so determined. I had to be a part of it. The third time was the charm. I entered the program and became a Film Independent Fellow in 2012, in the class of 2013, which I believe was the 20th anniversary class. And now when I think of my career, I define it as before Project Involve and after Project Involve. There are professional workshops, free screenings. Most of all, it’s about access to resources and top industry professionals. Everyone gives this kind of crucial trade intel you wouldn’t be able to get anywhere else, especially as an unknown filmmaker who all too often may have been traditionally and unfairly marginalized, for being a different race, LGBTQ or nonbinary. I was also awarded the Chaz and Roger Ebert Producing Fellowship though Project Involve. And, Mr. SOUL! premiered at the very last LA Film Festival, in 2018. So everything sort of came full-circle. I was so excited, because we started from just this seed of an idea, and Film Independent nurtured that. And now the film is on HBO Max after taking over 10 years to create. That’s not lost on me.

A section of Fabiola Jean-Louis’s “They’ll Say We Enjoyed It” (source: fabiolajeanlouis.com)

What are you working on now?

Haizlip: Now I’m co-executive producer on a four-part docuseries for Netflix on the history of Black womanhood in America, explored through the lens of women in hip-hop—their lives and their music. I’m also working on another new documentary about Renée Elise Goldsberry, the Tony Award-winning actress who created the role of Angelica Schuyler in the Broadway musical Hamilton, which I’m really excited about. I’m developing a docu-series about gospel music, and I’m a showrunner on a new Black culture docu-series that hasn’t been announced yet. Also, we just wrapped picture on a major project which I can’t talk too much about, but it’s a behind-the-scenes documentary on the making of a major motion picture coming out this year on Apple TV. So, I’m a little busy right now.

I’ll say!

Haizlip: I’m also developing a documentary about the artist Fabiola Jean-Louis entitled “Rewriting History.” Fabiola is a large-format photographer, and she’s also a visual artist whose work is now featured in the new “Afro-Futurist” period room at the Met. Fabiola centers Black women in her work, putting them back into the narrative of art history. I’m so excited to tell her story, because it really speaks volumes about the emergence of Black women and the stories we tell.

Last question! Why do you think it’s important to support or join an organization like Film Independent?

Haizlip: It’s important because filmmakers still need to have a training ground to workshop and the freedom to share their ideas. I got to produce a short film and hang out with people like John Chu, Justin Simien and Lena Waithe. Film Independent provides a safe space in which to learn how to be better, from the people you admire the most.

Mr. SOUL! is nominated for a Peabody Award, and is currently streaming on HBO Max. To learn more about the film, visit the film’s website, and be sure to follow Melissa on Twitter.

Film Independent promotes unique independent voices by helping filmmakers create and advance new work. To become a Member of Film Independent, just click here. To support us with a donation, click here.

Keep up with Film Independent…

Source link

The Disney Plus series Percy Jackson and the Olympians is on its way to the streaming platform, with the highly anticipated TV show set to make its debut soon. But when is its release date, so viewers finally get to stream it? Here’s what you need to know.

When is Percy Jackson and the Olympians coming to Disney Plus?

The Percy Jackson and the Olympians TV series is coming to Disney Plus in early 2024, so presumably before the end of Q2 which would mean it would be released between January–June 2024.

However, we have received no additional details about the series so far, so this date could still be delayed. A brief teaser trailer was released back in 2022 saying that the series would be “streaming soon,” but we don’t have a concrete date beyond that.

The trailer for the upcoming series can be viewed below:

What is Percy Jackson and the Olympians about?

Percy Jackson and the Olympians is based on the series of hugely popular novels of the same name, created by Rick Riordan. The titular hero already received a film series starting in 2010, though they failed to set the world alight. This new Disney Plus series aims to be much more in line with the events of the books, with viewers of its teaser trailer already praising the similarities to Riordan’s works.

“Twelve-year-old Percy Jackson is on the most dangerous quest of his life,” the series’ official synopsis reads. “With the help of a satyr and a daughter of Athena, Percy must journey across the United States to catch a thief who has stolen the original weapon of mass destruction — Zeus’ master bolt.”

The series will star Walker Scobell as Percy Jackson, with James Bobin, Anders Engström, and Jet Wilkinson directing across the six episodes of the show’s first season.

Sign up for Disney+

Source link

The Disney Plus series Percy Jackson and

Chrishell Stause is the latest celebrity to prove wedding dresses don’t have to break the bank.

On May 10, the 41-year-old Selling Sunset star surprised fans when she revealed her secret wedding to 29-year-old Australian musician G Flip. The pair wed in an intimate Las Vegas ceremony after one year of dating. “Love doesn’t always go as planned…. Sometimes it’s immeasurably better,” Stause captioned an Instagram reel earlier this month, which featured a photo from the ceremony in the clip’s final moments.

In a recent interview with Fashionista, the reality star revealed she pulled her white Gemeli Power wedding dress from her own wardrobe. “I was going to an event, and [Power] gave me two versions of the dress, and one was hanging in my closet because I didn’t end up using it,” Stause said. “I wanted to give it back to her, and she was like, ‘Just keep it.’” 

She continued, “I think she was surprised to see that I did end up wearing it. I think she was really happy about that. It was a fun Vegas dress to get married in. It looks like I planned that out, but I actually had it in my closet. I felt really confident in it. It’s actually a little iridescent. I love it because she’s an Australian designer who’s the sweetest person.”

The She Fancy bodycon dress in ivory pearl retails for $529 on gemelipower.com and features a sculpted bust, dramatic high slit, and your choice of a rectangular or heart-shaped belt buckle (it appears Stause opted for the rectangle). Sizes range from 0 to 12. 

Instagram content

This content can also be viewed on the site it originates from.

Recently, Olympic gymnast Simone Biles opted for a $120 tiered halter dress for her courthouse wedding to NFL player Jonathan Owens in April. “Everything was ordered this week,” Biles told fans during a wedding Q+A on Instagram Stories following the ceremony. “Dress. Wedding bands. Shoes. Bouquet.” She paired the last-minute find with wide-fit strappy sandals from Pretty Little Thing. 

Source link

Chrishell Stause is the latest celebrity to

In episode 7, the penultimate episode of Barry, the storyline was split into 4 main parts. Barry trying to escape Moss, Noho Hank VS Fuches, Gene accidentally setting himself up and Sally and John getting themselves into a world of trouble. So much going on and yet the stories melded together so well, all coming together for an epic ending that will lead in to one hell of a series finale. Hader’s special creative and humorous directing was on display in this episode, and we got to see the entire Barry cast take center stage as each character and actor shined in their respective plot.

Read the Season 4 Episode 6 Recap Here

In episode 6 we see Barry set out on a mission to Kill Gene after learning about the Barry Berkman biopic, Sally is left at home to watch h John, while back in LA Fuches gets out of prison and meets up with Hank for a job, but things soon go sideways when he says Hank killed Christobal. In a thrilling ending, we see Barry about to enter Gene’s house as he is taken by someone, only to wake up tied to a chair… across Jim Moss.

 

SPOILERS AHEAD FOR BARRY SEASON 4 EPISODE 7


As the episode begins, we hear Barry praying desperately for his son, and for Sally to be able to take care of him (if only he knew), we see a scenic view of a field as the sun rises “Lord, please watch over me and fill me with your courage and grace… please watch over my son and fill him with his daddy’s love,” Barry says. We hear Jim Moss’s voice say “So, you’re a man of god now? You think because you’ve repented you get to choose where you’ll go when you die… you know where you’re going, and you’re afraid.” he says. We then see the shot change to a beach, but not just any beach, the same beach Barry dreamt of in season 3 when he saw all his

victims. Barry then asks “Why can’t I feel my arms and legs?” and Moss replies “I cut them off… I wanna watch you experience seeing the people you love for the last time.” In that moment Barry sees his son John, but it’s not all as it seems, all that time Barry had been bound to a chair, wearing what looks like VR (virtual reality) or blackout goggles and been hooked upto different types of hallucinogenic drugs. A very advanced method of torture, of the mind. Suddenly Barry sees Gene in his head and apologizes, but what catches Moss’s attention is when Barry accidentally mentions the 250,000$ he gave him. The money he got from the Chechen mob. Suddenly, Jim has a new goal in mind.

Courtesy of HBO

We then see Gene and Tom read an article by Gene about Boycotting Warner Bros. Production of Barry’s story and how it exploit’s Janice’s Death. Meanwhile NoHo Hank is planning to deploy a group of Four Ultimate Badass Killers (FUBAKs) to assassinate Fuches and his crew, whom he was dining with just a few hours ago. He makes sure to say “Before you kill him, tell him NoHo Hank did this.” However as it always is with Hank, things do not go according to plan, later on he receives 4 boxes from Fuches, they are the heads of his 4 FUBAKs. After that, Hank decides he’s going to take out Fuches himself. As always, Anthony Carrigan really brought the humor in these scenes, Hader and Carrigan somehow always manage to take the most deadliest subject matter and make it hilarious.

Gene receives a phone call from an agent named Matt who claims to be representing Daniel Day-Lewis. He says DDL is interested in playing Gene in the Barry Berkman film. Of course this immediately strokes Gene’s ego and he starts to shy away from his stance against the Barry Berkman feature, especially after being told DDL wants to come out of retirement to play Gene. Matt asks to meet Gene, and he suggests a place they can meet in secret. To add to the drama, Sally calls him and reveals that she is now in LA with John. Considering her husband was on his way to kill him, she’s releived to hear he’s alive, Gene tells Sally they can meet at her house, so she begins to head there. Matt meets Gene in an outdoor area in a park, where he pretends not to know him. Matt informs Gene that Mark Wahlberg is also about to be attached to the film as Barry, which only deepens his interest in the film. Matt tells Gene that Mark does not want to play a cop killer. Gene appears to defend Barry’s actions to try and get Mark to join the film. Matt asks Gene to come speak to Mark at the Four Seasons in Beverly Hills.

Hank who decided to take on Fuches on his own has now arrived at his house, now taken over by Fuches with his driver, the two launch a rocket aiming at the compound, unfortunately, it simply zooms past it, alerting everyone of their location. Fuches and his men start shooting at Hank and his driver as they speed away, not very far though, Hank calls Fuches and you can hear him tell Fuches you killed my driver, and as for Hank, well it sounded like Hank fell down a cliff. This scene was filmed in an extremely entertaining and creative way, by giving the audience a look at what is going on from one perspective with an eagle eyed view and Hank’s phone call but never really letting us know what happened.

Courtesy of HBO

Now back to Barry. As Barry wakes, tied up in his chair, he realises Jim is gone and that this might be his one chance to escape. He sees a knife on the edge of Jim’s table. Barry lifts the chair and moves it to the table, then using the knife he cuts his restraints and then uses the same knife to pick the lock, accidentally cutting his hand open while doing so. While in the kitchen, trying to stop the bleeding with some paper towels, he passes out. This is yet another example of Hader’s skills with tension building, as discussed in the previous episode, as we have to watch each storyline unfold until we finally get the answer to the question, what is going to happen to Barry Berkman? Trust me, the end result is well worth the wait.

We then see a man knock at the door of a woman’s house looking for his friend, it’s one of Hank’s employees, we see him appear from the back of the house where he’s no doubt been hiding. He’s okay after that tumble down the mountain, just a little scuffed up and he’s thirsty for revenge. After deciding what his next move will be he asks his employee to track down Barry by going to Gene’s house and bringing Gene to him. Slight problem though. It’s not Gene who’s at his house.

Sally and John have made it to Gene’s house, but obviously, he’s not home so they wait outside. Sally spots a police officer, she tells John to stay in one place and heads towards the cop. Sally’s intention is to turn herself in, you can even hear her say I’d like to turn myself in, but then Sally notices one of the officers eyes is bleeding. Yet another side effect of her trauma from stabbing that motorcross riders eye out and killing him in season 3. The blood trickles down his face, Distracted by it, Sally forgets about it and heads back to John. As she does Sally notices some strange men putting John in their vehicle, and then they head towards her.

Courtesy of HBO

Matt leads Gene into a Hotel room. What Gene does not realize however is that all of that was just an elaborate set up, which he fell right into. As he sets foot into the room at the Four Seasons he sees Jim, his son, the district attorney and the agent who apparently was just an actor. They confront him about the $250,000 Barry gave him in season 3, and as his son pointed out, he could never come up with a straight answer. “Nobody was listening to me, and I already spent some of it,” he says, but even his son isn’t on his side. Following this revelation the DA now has a new theory, after Janice killed a Chechen gangster at his acting school in Season 1, the police found money stashed in a bathroom, (that money belonged to Barry). Soon after, she was murdered at his cabin by Barry, “a guy he claimed would do whatever he’d say.” When they found her body stashed in the trunk of a car (Again, by Barry), he was at the scene with the “Chechen criminal assassin known as The Raven.” Gene says the allegations are “disgusting” and “insane”, they even think he shot his son on purpose, he denies it all, but the verdict of the room is clear: he’s a “very good actor” who’s played everyone this whole time. Mr Cousinea is in it deep this time.

Courtesy of HBO

Now we’ve come to the conclusion of this action packed episode, what could possibly happen next? We see Sally and John sitting in a room, Hank then appears and removes Sally’s brunette wig. He already knows who she is and what she means to Barry, and he knew exactly what to do with that. Meanwhile Barry finally wakes in Jim’s kitchen. He hears his phone ring, he immediately thinks it’s Sally, but Hank is on the other end, this is when things get intense, he threatens to kill John and Sally if Barry does not meet him. The episode ends with a classic back shot of Barry’s head, he is clearly furious, but that’s not it. All this time he’s been living raising his son, far away from LA he’s been resisting the darkness and the murderer inside him, and now with one phone call from Hank, threatening his family, we are about to see the old Barry unleashed.

After episode 6, it goes without saying that fans were expecting a lot from this episode, and Bill Hader delivered. This episode was written by Elizabeth Sarnoff who has written the 7th episode of every season of “Barry”, and every one has been one to remember. We have well established that Bill Hader has a penchant for building tension in his episodes and throwing completely unexpected plot twists our way. Which always keeps the “Barry” fans interested and on their toes. A perfect example of that would be Episode 6 and 7.

Now with only one episode left, the question remains, how does Bill Hader plan on going out?

Barry streams new episodes every Sunday at 10 pm on HBO and HBO Max.

In episode 7, the penultimate episode of

So far in 2023 we’ve had the sixth installment of the Scream franchise and a fifth Evil Dead movie in Evil Dead Rise. Both did surprisingly well at the box office, given that the failure of the 13th iteration of Halloween suggested that horror fatigue might be setting in. But for genre crowds, the real story this year was a Canadian film, shot entirely in the director’s family home, that cost just $15,000 and freaked out audiences with close-ups of a creepy Fischer-Price toy telephone. Given a speciality theatrical release in January, Kyle Edward Ball’s Skinamarink brought in a worldwide gross of $2 million, even though it was set to appear on streaming service Shudder less than three weeks later.

From left: Gabrielle Echols, Nell Fisher, Lily Sullivan, Morgan Davies and Alyssa Sutherland in Evil Dead Rises.

Warner Bros./Everett Collection

Skinamarink followed Zach Cregger’s fall 2022 release Barbarian by becoming a genuine word-of-mouth hit, but where Cregger’s movie caused a stir for its outlandish bait-and-switch slasher-movie plotting, Skinamarink stood out for its near-total lack of plot, being the nightmarish tale of two unseen children facing a deadly dream demon. One could draw parallels with Paramount’s Smile, which spent a lot on a gimmicky ad campaign, or AI chiller M3GAN, which came from the tried-and-trusted Blumhouse stable, but the difference is that both films went viral in a very different way, with audiences colluding to keep their secrets and emphasising the necessity of in-person screenings.

Read the digital edition of Deadline’s Disruptors/Cannes magazine here.

Ironically, Shudder is firmly on the case with the latter, as proved by their handling of special effects genius Phil Tippett’s animated feature debut Mad God. Made as a side project over 30 years and described by Fangoria as “a primordial world of tortured souls, globular monsters, and gore-filled hospital beds,” Mad God doubled its $150,000 budget at the box office — even while it was streaming — and since its limited U.S. release in June last year has sold to Japan, France, Germany, Italy and Scandinavia.

It’s too early to speculate quite how this kind of success can be replicated, but the lesson to the majors is that, in the drive to get audiences back into cinemas post-pandemic, the horror movie is still an important tool. As the late George A. Romero said, “If one horror film hits, everyone says, ‘Let’s go make a horror film.’ It’s the genre that never dies.”

Source link

So far in 2023 we’ve had the