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This transcript was created using speech recognition software. While it has been reviewed by human transcribers, it may contain errors. Please review the episode audio before quoting from this transcript and email transcripts@nytimes.com with any questions.

kevin roose

Our Uber is going to get here in four minutes.

casey newton

Perfect.

kevin roose

And that will be my second Uber of the day —

casey newton

Do you Uber hear from your house?

kevin roose

— to the place where I catch the self-driving car. Yes. Do we want to share our ride and save $3? I personally don’t.

casey newton

Can you imagine? You’re trying to get to work and two guys get in your car. And they’re like, we’re making a podcast. You would jump out of that car so fast. And you’d probably sue Uber.

kevin roose

Yeah. That’s like the cursed version of Cash Cab.

[LAUGHING]

I thought I was saving $3 but I actually —

casey newton

You’re in the Cash Cab!

[LAUGHING]

kevin roose

The Cash Cab.

casey newton

You’re in Cash Cab!

kevin roose

Oh, god. Someone is pitching that to Netflix.

casey newton

Yep. It’s happening.

[THEME MUSIC PLAYING]

kevin roose

I’m Kevin Roose. I’m a tech columnist at The New York Times.

casey newton

I’m Casey Newton from Platformer.

kevin roose

And you’re listening to Hard Ford. This week, Casey reports from Google’s AI bonanza. Then we hit the streets of San Francisco in a fully self-driving car. And finally, Cruise CEO Kyle Vogt stops by to tell us why the autonomous vehicle revolution is taking so damn long.

Casey, where are you?

casey newton

I am in a booth in the press area at Google I/O at the Shoreline Amphitheater in Mountain View.

kevin roose

And what’s going on there?

casey newton

I mean, what isn’t going on, Kevin? Did you even watch the keynote?

[LAUGHING]

kevin roose

I didn’t. I had a conflict. How was it?

casey newton

Well, people are milling around. It’s a few hours after Sundar Pichai, the CEO of Google, and recent Hard Fork guest —

kevin roose

Friend of the pod.

casey newton

— spoke, along with his colleagues, for about two hours and laid out everything that the company has been working on over the past year or so. Google I/O is their annual developer conference where they show off what they’ve been cooking.

And as you might expect, most of what they showed off today had a lot to do with artificial intelligence and how they’re going to try to use that in their products going forward. So compared to other years, this felt more eventful.

kevin roose

Yeah. I mean, I’ve missed this years. But I’ve been to previous Google I/Os. And it’s sort of like a combination product reveal and, like, party. Can you just describe the pageantry of Google I/O? Because it is a pretty big budget involved event.

casey newton

Oh yes. It’s quite a spectacle. They’ve taken over the Shoreline Amphitheater, which is an outdoor concert venue here in Mountain View. They’ve filled it up with colorful tents and drawings. I wish I could tell you that there were, like, fire dancers or sword swallowers. But it’s —

[LAUGHING] It is a tech conference at the end of the day.

kevin roose

This is still a corporate conference.

casey newton

Yeah.

kevin roose

So then I imagine, as happens most at these things, a series of executives come onto stage and make their presentations about the thing that they are announcing that day. So what were the big announcements from Google I/O?

casey newton

Well, I think the biggest one is just that generative AI results are coming to Google. So things that you might have been using ChatGPT for up until now, you’re going to be able to start using in Google itself.

So one of the examples they showed off was asking, “Of two national parks, which one would be better for a family with children and a dog?” And that’s not something that you would normally ask Google, because the core Google search engine isn’t good at parsing that many different variables. But this generative AI model that they have is able to say, well, of these two parks, you might want to go with this one because at that one dogs actually aren’t allowed.

kevin roose

Got it. So this is coming to Google search when and for how many people? And how drastically do you think it will change what people see when they go to google.com?

casey newton

So they’re starting small. It is going to be in the United States first. And it is going to be rolling out in the coming weeks. They’re keeping some of the details vague, I think because they want to give themselves the flexibility to slow it way down if something goes disastrously wrong. But my expectation is that I will probably be able to use it within the next few weeks, and I bet you will too.

kevin roose

Wow. Yeah, what could go wrong? OK. We’ve got this Google change to update its search results to have more generative AI answers. What else did they announce today?

casey newton

Well, I have to tell you about the thing that I thought was the coolest. Because I did have a moment where I basically wrote down curse words in my journal because I was so taken aback. Have you ever heard of Project Starline?

kevin roose

No.

casey newton

So this is essentially the fanciest Zoom you have ever seen in your entire life.

kevin roose

I’m intrigued. Go on.

casey newton

OK. Do you remember the metaverse?

kevin roose

I have a vague recollection that in the year 2022 people were talking about something called the metaverse. Yes.

casey newton

Right. And one of the big ideas was what they called telepresence, the idea that people in your life, you would be able to interact with them in a way that felt very realistic. And the main thing about this vision, which was mostly being advanced by Meta, was that you had to wear a giant helmet on your head. You remember this?

kevin roose

Yes. We in fact did an episode where we actually wore these clunky VR headsets on our heads and did a podcast in the metaverse.

casey newton

You can actually go back in the archives and hear the episode where we have headsets on. OK. Here’s why I’m telling you about Project Starline. Imagine if you could have an experience that was 100 times better and you didn’t have to wear a headset.

kevin roose

I’m sold. Tell me more.

casey newton

OK. So I go into this demo. And you sit down in front of what looks like a TV, like, a big screen TV. OK. And it has little speakers on the sides and something on the top that’s clearly some cameras.

And right before I had gone into this booth I had met this man who works on Project Starline for Google and saw him in the flesh. And he’s like, “I’m just going to go into my booth and you’re going to go into your booth and we’ll start talking.” I was like, “Great.”

I go and I sit down. And then this man shows up on the screen. And I am not kidding when I say the resolution of his face is as high as if he were standing in front of me. OK? So that was the first thing that was cool.

The second thing he does, Kevin, he reaches through the screen and gives me a fist bump.

kevin roose

No. Come on.

casey newton

Yes. There is something 3D about this technology. And so you can — it looks like you’re reaching through the screen.

kevin roose

No, no, no. I’ve seen “The Ring.” I don’t want anything coming through my screen. [LAUGHING]

casey newton

The horror movie potential is high. After he did that, he had an apple. He reaches through the screen and he shows me an apple. He starts turning the apple around. And I’m moving my head around. And I can, like, see different sides of the apple. I am not kidding you. I have not seen a tech demo that I think was this cool in a super long time. I’m all in.

kevin roose

That’s amazing. And it also reminds me of, like, do you remember the stories from when, like, motion pictures first came out? And people would run screaming from the theater because they thought the train was going to jump out of the screen and hit them?

casey newton

Yes!

kevin roose

You were the person —

casey newton

Yes!

kevin roose

— in the theater, running from the train.

casey newton

Completely. Completely. If you put a horror movie on this thing, you’re going to traumatize people. It was so amazing. So, look, I mean, the technology — of course I’m asking. I’m like, how expensive is one of these rigs? Well, you’ll never believe it but they don’t want to talk about it. But, you know, I was asking around afterwards. And they told me that the number one issue with getting this thing into more people’s hands is the cost. So let’s just assume it’s like some astronomical amount.

kevin roose

Yeah. Your $5 million dollar fancy Zoom call is maybe not coming to an office near you.

casey newton

But they told me that they have given some of these to Salesforce, T-Mobile and WeWork. And they are testing them at Google. And they told me that right now they’re just trying to figure out, basically what they’re good for.

And I’m like, bro, they’re good for everything. Like, put it in my house now. This is how I want to talk to my family now and my friends. I’m not even kidding when I say, like, you could have a beer with a friend on a Friday evening and you would truly feel like you hung out with them instead of having a Zoom call. It was —

kevin roose

Wow.

casey newton

Anyway. This thing was amazing.

kevin roose

I got to try this. I mean, between the fully self-driving car and the $5 million fancy Zoom, I feel like we are really living in the future this week.

casey newton

Truly, we’ve gotten a glimpse at some of the happier parts of the future, which is nice to do every once in a while.

kevin roose

But as fun as your fancy Zoom was, it is not, strictly speaking, an example of generative AI. So —

casey newton

No.

kevin roose

— bring us back to generative AI, which was the sort of focal point of this. What else did Google show off that it has been working on in some of those areas?

casey newton

Sure. So they have something called Help Me Write in Gmail. It’s exactly what you think it is. You give it a few keywords of what you want to do. It’s going to write your email for you. I think within a year lots of people are going to be using this to draft lots of emails. So.

kevin roose

And it happens right in the Gmail window itself? Or do you have to go to an app and write and then copy and paste it into Gmail?

casey newton

It happens right in Gmail. And then on the dorky side, they showed off this presentation that consisted only of slides. And they took the slides and they said, “Write speaker notes for the slide.” So essentially write the presentation based on the slides. Snap your fingers and it showed off a bunch of things.

So think of how lazy you can be as an office worker now who has to deliver — you don’t even have to write your own speaker notes anymore.

kevin roose

Right. I mean, I can see how this is all potentially very exciting and lucrative for Google. At the same time, some of these features have already existed in Microsoft products now. Is this Google playing catch up with what Microsoft has done with its products and generative AI? Or were there things that happen today that struck you as, like, oh, man, they actually are breaking new ground here?

casey newton

You’re absolutely right. Microsoft has been rolling out similar features in their office products. They call their set of features Copilot. Google is calling its features Duet. And there is a lot of tit for tat that’s happening here.

But the honest answer to your question is that my life is in Google products, not Microsoft products. And so this stuff is just hitting me harder. Because I look at this stuff and I already know how I’m going to use it.

kevin roose

Another issue that we talked about, actually with Sundar Pichai is, like, Bard just didn’t feel very powerful when it was released. By comparison to ChatGPT it wasn’t giving people the kinds of answers and problem-solving abilities and coding abilities that ChatGPT and other generative AI products were.

So did they talk about Bard at all at this event today? Are they making it smarter? Is it changing in any way? And do you think it’s actually going to be competitive with ChatGPT?

casey newton

Yeah. So a couple of things. Number one, they have added buttons, or I should say, they are adding buttons to this that lets you export the output to Sheets and Docs. And I know what you’re thinking. You’re, like, Casey, that is the most boring thing you’ve ever said on this podcast. But I’m telling you, like, this is the actual secret sauce of what is going to make this successful.

The past six months have just been a Lollapalooza of copying and pasting. Everybody’s going to ChatGPT and they’re generating text and they’re bringing it over to some other app. And the smart and obvious thing that Google did was said, hey, come use our thing and click one button and we will pre-populate a Google Sheet for you, a Google Doc for you.

The second thing that they’re doing is they’re upgrading the language model that powers it called PaLM. And so PaLM has now gone from PaLM to PaLM 2. Now can I tell you on a query by query basis what that’s going to mean? No. But in recent weeks Google has said a lot about how much better they think Bard is at coding challenges, at mathematics, which we’ve talked about in the past, as these models being really bad at doing. So it is improving over time. Their positioning that as a major upgrade.

kevin roose

OK.

casey newton

Wait. I want to make a point.

kevin roose

Yeah.

casey newton

Kevin, I read a super interesting story today in the information about where Microsoft is at with Bing. And there’s a research firm called YipitData. And they told the information that Bing’s share of global search has grown 0.25 percent since it launched the new Bing.

kevin roose

That’s it?

casey newton

That’s it. Meanwhile, the OpenAI chat bot, which launched six months ago, already draws more visitors on desktop devices than Bing does. And Bing is 14 years old.

kevin roose

Wow.

casey newton

Now why am I bringing this up? This is Google’s advantage, right, is you’re already using Google’s products. And so as the AI starts to creep into m I think they’re just going to have this tailwind that Microsoft doesn’t, because people aren’t used to using Bing. Right. And so to the extent you want to think about this as a horse race, this is where Google really could not just catch up, I think, but pull ahead is that they just have the stuff that everyone’s already using.

kevin roose

Huh. It’s basically, like, this idea that where AI is, is just as important as how good is is. Right?

casey newton

Absolutely.

kevin roose

Maybe more important. You know, I was of the mind, when these chat bots first came out, that all that mattered was the quality of the AI model. That people were really going to only use the state of the art thing that they had access to, and that you would want the most powerful AI.

But I think there’s a convenience trade-off to. Where if I’m asking about something that’s sort of the kind of question that you don’t actually need the state of the art for, you’re probably just going to use the AI that is closest to you, right. The one that is in your Gmail already or your Docs already or your Microsoft Word already. And you’re not necessarily going to go shopping for the most powerful model that can maybe refactor a code base, but maybe that’s not what you’re doing anyway.

casey newton

Absolutely. I think the most natural home for all of this stuff is inside the tools, the operating system that you’re already using. And I think Google realizes that too and they’re moving full speed ahead.

kevin roose

So one recurring theme that we’ve talked about on this show now for several months is this sense of panic inside Google about the generative AI arms race, and the fact that they are, by many accounts, behind OpenAI and Microsoft when it comes to getting these tools into people’s hands. Obviously they had their code red last year.

But I also read a story this week based on a leaked internal Google document that was written by a Google employee. And it was called, “We Have No Moat.” And it was basically an argument that, despite all of the progress that Google is making, despite the fact that they’ve invented a lot of this fundamental AI technology that’s going into these products, this person, this Google employee in this leaked document was basically sounding the alarm and saying, we don’t actually have an advantage here and neither does OpenAI.

Because there’s this third threat that we don’t have a strategy for. And that is the open source AI movement. That basically there are these open source models like the ones that have been coming out from Stable Diffusion for images, more recently like the ones that have come out of Meta, the llama models and the spinoffs of that.

And that basically these tools that people are downloading and running on their own computers, their own hardware, are rapidly catching up with the state of the art AI models from Google and OpenAI and other labs. And ultimately that Google is not positioned to stay competitive in a world where everyone can just download AI models and run them on their laptop.

So how are you thinking about that threat, the open source threat after listening to this Google event today?

casey newton

Well, so that memo is super interesting and people should check it out. But I just fundamentally disagree with the person who wrote it. Kevin, are you familiar with Linux?

kevin roose

Yes.

casey newton

Linux is an open source operating system. You could probably install it on your computer right now. Except you wouldn’t. And you want to know why? Because it’s a huge pain in the ass. And then after you install it, you spend the rest of your life wondering, can I install that on Linux? Is there a Linux version of that? That is the open source world. OK.

So for the same reasons that I don’t think Linux poses a threat to Microsoft Windows or iOS, I don’t think that these open source models pose a threat to Google, at least not in the way that we’re talking about, right, for all the reasons that I just said.

The underlying technology piece is a huge part of the problem that needs to be solved. We’re seeing a lot of progress there. But there’s also a product problem. You have to make something that is easy to use, that is pleasant to use. Right. And Google, by the nature of the fact that it makes these tools used by billions of people, just has a huge advantage there.

Now, look, could someone come along and take a bunch of open source components and make an incredible new company that winds up challenging an incumbent? Yes, absolutely.

And Meta, in particular, has released a bunch of open source stuff, which I think it thinks is going to benefit them hugely by just essentially helping people create a bunch of content that is going to populate Facebook apps. But does the existence of a bunch of open source models running around on phones and laptops mean that people are less likely to use Google search with generative AI? I don’t think so.

kevin roose

Right. And what about this other threat that people inside Google have been sounding the alarm on for months now, which is the threat of releasing generative AI to the world before it’s safe and harmless? What did Google say today about the safety of its AI tools? And were you reassured that they’ve actually done what they need to do to make sure these things are safe?

casey newton

Yes and no. Yes, they did talk about it. They talked about their responsible AI principles. It came up several times during the keynote. I was briefed on a few of these things before the event. And everyone I talked to made sure to talk to me about how responsibly they’ve developed everything.

But I do feel like, on some fundamental level, nobody really knows if it’s safe or not. You know. They’ve done their tests. They’ve done their red team exercises. They’ve tried to identify obvious misuses and to mitigate those. But at the same time I think that they know that once you give these tools to a billion people, you’re just not going to be able to predict user’s behavior.

So the approach that they’re taking is to roll it out slowly. And I do think that if there is some immediate, massive, obvious harm, they will stop the thing in its tracks and they will pull it off the market.

But at this point, basically everyone I know — including I think a lot of high ranking executives at Google do wish that things would slow down a little, both to give society a chance to adapt to what’s happened so far, and to give them a chance to just kind of see, OK, like, you can do this with this now. Is there some obvious harm that we missed?

kevin roose

Well, but they’re clearly not that interested in slowing down or they wouldn’t be holding events and showing off all the generative AI they’re shoving into their products.

casey newton

That’s exactly right. It’s a fair criticism. But at the same time, even us — both of us believe that very deeply. And both of us were also like, why is Google moving so slowly on this stuff? They’re losing.

[LAUGHING]

Right? So everyone talks out of both sides of their mouth on this, I think, except for maybe some of the most diehard AI safety researchers.

kevin roose

Yeah. So I’m curious, just taking sort of a step back at this whole event that you’ve seen today, what is the vibe there? Is it a company that was caught flat footed and is now mobilizing everything in its power to catch up with OpenAI and Microsoft? Like, what is the vibe of Google I/O this year? And how are you feeling? Have you changed your mind at all about where the company is headed?

casey newton

So I would say two things about the vibe. One is constant reminders that they’ve been doing this for a long time. So basically everything that Google announced was prefaced by a statement that was something like, in 2017 we did this. In 2019 we released this.

And the point that they’ve tried to make is, we truly have been laying the groundwork. That, you know, you jackals and hyenas in the press who accuse us of being asleep at the wheel are ignoring the fact that we’ve been laying the foundation for years. So that’s kind of the first thing.

When it comes to the products themselves though, Google’s vibe is a little bit more understated. Right. They’re less likely to come out and say, we’re the most path-breaking, innovative company in history. Instead they’re going to tell you, we have made a thing that we think is really helpful and we can’t wait to show it to you. So that’s kind of the vibe.

There’s a third thing about the vibe that — maybe this is more of a tech event thing than a Google thing, but it just really struck me, which is that every time something would be announced during this keynote there would be — somebody would, like, scream. Like “Woo!” Like at the top of their — just like outrageously excited about a development in a language model followed by laughter from everyone else in the audience. Like, look at this nerd.

And it’s such a weird, kind of whipsawing between joy and shame. And you can really only find that at a tech event. I’m just so glad they’re back for that reason.

kevin roose

Wow. This is like the tech reporter version of Coachella. This is good stuff.

[LAUGHING]

Casey, thank you for attending Google I/O on behalf of the Hard Fork podcast. Did they announce that they are renaming their chat bot Bard Fork?

casey newton

They did not. But I’m told that Hard Fork is now available on Google Podcasts. So that’s an exciting development.

kevin roose

Your $5 million Zoom call from heaven could never approach that level of excitement.

casey newton

Truly.

[ELECTRONIC MUSIC PLAYING]

kevin roose

When we come back, self-driving cars made by Cruise are now running around the clock in San Francisco. So Casey and I hailed a ride in one to find out if the driverless car revolution we’ve all been talking about and waiting for for years has finally arrived.

kevin roose

OK. I’m going to open up the Cruise app. I want to propose that we go to a coffee shop called Rise and Grind.

casey newton

You know what? That’s so great, because I think no one exemplifies the rise and grind mindset more than we do.

kevin roose

OK. It’s saying, can you meet us on Ashbury Street?

casey newton

We are on Ashbury Street. We’re at Ashbury and Waller.

kevin roose

OK. We’re getting picked up in a car called Banana Slug.

casey newton

They all have names?

kevin roose

Yes, I guess.

casey newton

You know banana slug is the mascot of UC Santa Cruz.

kevin roose

OK. It’s giving me some reminders. It says, use your phone to unlock the car.

casey newton

OK.

kevin roose

Sit in one of the back seats, and cameras will record inside the car for safety and support. So no funny business.

casey newton

It doesn’t say anything about horseplay hijinks? Antics?

[LAUGHING]

Are antics aloud?

kevin roose

I don’t know. Unclear.

casey newton

So I should say, I’ve never actually been in a self-driving car without a driver in the driver’s seat. Have you?

kevin roose

I haven’t either. No, I haven’t either.

casey newton

Are you scared?

kevin roose

I’m a little scared, although I’ve heard that these things can only go, like, 30 miles an hour, which makes me feel a little better.

casey newton

That’s exactly right. And if we get in a crash, just think how good that’ll be for the podcast. Can you imagine?

kevin roose

Oh, I think I see it.

casey newton

Oh, I think I see it too. It’s white, headlights are on.

kevin roose

And it’s got two little, like, nubbins on top. Those are the sensors.

casey newton

Let’s see if it makes a complete stop at the stop sign. It did.

kevin roose

OK. We’ve got a car. It’s pulling up.

casey newton

Hi.

kevin roose

Hi.

casey newton

There’s Banana Slug.

kevin roose

Banana Slut.

casey newton

It says Banana Slug.

kevin roose

We got a Banana Slug. OK. So now we have to go get in the car.

casey newton

Yeah.

It’s happening.

kevin roose

There’s no driver. There’s like a little Plexiglas partition like you see in taxis sometimes.

casey newton

Well, they’ve anticipated the first thing that I wanted to do, which was climb into the front seat. But you can’t actually do that in this car.

kevin roose

OK. So I have to buckle up before it’ll let me start. Good safety feature.

casey newton

Yeah. There’s like a touchscreen that we have to confirm that everyone is buckled up before Banana Slug will start moving.

kevin roose

I got to say, I’m a little nervous.

casey newton

Yeah.

kevin roose

How is this going to go? OK. So now I just push start.

casey newton

Start this ride.

kevin roose

And it’s going to take us. OK. Let’s cruise, it says.

automated voice

A few things to remember during your ride. Please keep your seat belt buckled. Always keep your hands and arms inside. For Cruise support, press the square button on the ceiling in view. To end your ride early, press the larger round button on the ceiling and we’ll pull over. Enjoy your ride.

kevin roose

OK. And now we’re just going. Holy cow.

casey newton

There’s a cute little tablet on the back that is showing us our route. It says we’re going to be dropped off in 12 minutes. We could — if we wanted we could play a trivia game or listen to the radio.

kevin roose

Do you want to do either of those things?

casey newton

I would like to play trivia and see who’s better. OK. Number one —

[LAUGHING]

kevin roose

We can’t get distracted.

casey newton

And get into the rhythm when 10 questions about music. Which band did not originate in the Bay Area? Lynyrd Skynyrd, Green Day, or Jefferson Airplane? Obviously Lynyrd Skynyrd.

kevin roose

Lynyrd Skynyrd, “Sweet Home Alabama.”

casey newton

Yep. I think it’s funny that, like, within 30 seconds of entering the car you were like, I no longer care about the driverless car that I’m in with no driver. I want to play trivia. OK. Every time I’ve bet in one of these before, I think as with you, there has been a safety driver in the front seat. And there is something a little spooky about just watching the steering wheel turn itself.

kevin roose

Yes.

casey newton

Like it sort of feels like you’re at the Haunted Mansion at Disneyland, you know?

kevin roose

Or, like, watching a player piano. You know?

casey newton

Yeah, right. Exactly.

kevin roose

OK. So we’re going downhill now. We’re coming to a stop sign at the bottom of the hill. So we’re turning right. We’re waiting for a pedestrian to cross the crosswalk.

casey newton

And this person probably has no idea that this car’s driving itself.

kevin roose

There’s a —

casey newton

And there’s a dog.

kevin roose

— man walking a dog. Oh, please don’t hit the dog.

casey newton

Don’t hit the dog.

kevin roose

Oh. Oh. OK.

casey newton

Oh, wow. That dog just looked the car straight in the eye. I think on some level it knew.

[LAUGHING]

kevin roose

We’re not getting as many weird looks from pedestrians as I thought we might.

casey newton

Well, here — because these cars have been driving around the city for years at this point. And I think — I don’t blink when I see one anymore either. Although it is true that often they do have a driver in the front seat and this one doesn’t.

kevin roose

Yeah. Oh god! We’re crossing the double yellow line.

casey newton

Oh wait. OK. That was super interesting. What just — OK. So we were sort of driving straight and the car just sort of veered into the left lane for no apparent reason.

kevin roose

Yeah.

casey newton

So that was a surprise.

kevin roose

It’s going very slowly.

casey newton

Yeah.

kevin roose

And we did not hit anything. But that was a —

casey newton

It was like the kind of move you do when you’re stuck in traffic and you want to peek out to see how much traffic is ahead of you. Like it kind of felt like that.

kevin roose

Yep. Yep. Yep. Or like a pothole that you’re trying to avoid.

casey newton

Yeah. But, like, look at — do you see the steering wheel is like rotated all the way to the left for some reason?

kevin roose

Yeah. It is strange though that they have the steering wheel. Like —

casey newton

Yeah.

kevin roose

Because technically in a fully self-driving car, you don’t need a steering wheel.

casey newton

Unless — can these things maybe be, like, remotely taken over by customer support? Like could the CEO of Cruise take over the wheel if he wanted to?

kevin roose

Oh. Oh god! Oh!

casey newton

Oh god!

kevin roose

We, like, actually just almost got driven into a sign.

casey newton

This thing just made the most erratic, sort of leftward squiggle into a median basically, and then quickly corrected. But —

kevin roose

Woo.

casey newton

— it definitely made no sense whatsoever.

kevin roose

Oh.

casey newton

Yep. This is a self-driving taxi.

man

I know. I know.

casey newton

Yeah.

man

Did you see that what happened, right?

casey newton

Yeah, how it swerved to the left?

man

Yeah.

casey newton

Yeah.

man

It almost hit. I’m like, yeah. So you probably wonder. We bought that thing.

casey newton

We’re going to. We’re going to bring this to justice. [LAUGHING]

man

Yeah. Be here for me. OK?

casey newton

Yeah. OK.

[LAUGHING] Thank you. That was a close one. This guy’s onto us.

kevin roose

I got to say, he had his kid next to him, like, in the passenger seat. And the kid just looked really jealous.

casey newton

He was so jealous.

kevin roose

He wanted to be in the car.

casey newton

How excited are you as a parent to never have to drive your kid to soccer practice in five years?

kevin roose

Honestly I’m like, I don’t know if my kid is going to ever drive. Like, he’s young enough now. I would bet that he never gets a driver’s license.

casey newton

Really?

kevin roose

Or that if he does it’s like a novelty. It’s like doing, you know, equestrian or something.

casey newton

Right. Well, frankly that’s for the best. I heard he just got into a huge tricycle accident. So —

[LAUGHING]

— I’m not sure I trust him on the road. [LAUGHING]

kevin roose

You seem much more relaxed than I am right now. I’m finding it hard to just sit back and enjoy the ride.

casey newton

I mean, I will say, like, this feels like the future to me. It just seems so obvious to me that was in a couple of years, like, people are going to be taking these taxis. They’re never going to think twice about the fact that the car’s driving itself. They’re just going be on their phones. They’re going to be playing trivia, playing the radio.

kevin roose

Yeah. I think for a lot of people they sort of gave up on driverless cars, or at least I did. Several years ago it was like all you could hear was like, these things are coming. They’re going to be everywhere. And then they didn’t. And a lot of the companies that had invested billions of dollars into developing self-driving cars sort of retrenched on those efforts.

Like, Uber sold off its self-driving car division. Lyft sort of closed down its self-driving car project. Ford had a big investment in self-driving cars that it sort of shuttered. And so Cruise and Waymo, which is the thing that’s spun out of Google, they’re really the last two standing in San Francisco at least.

casey newton

Well, I never gave up on self-driving cars for one main reason, which is, I just always saw them everywhere in San Francisco. In my neighborhood I see a self-driving car every single day, endlessly cruising around gathering data. And I just always believed at some point this is going to turn into a taxi. And indeed, here we are. We’re in a taxi.

kevin roose

Yep. That’s true.

casey newton

It’s going very slowly, due to traffic.

kevin roose

Yeah. We’re in —

casey newton

We should say, we’re in rush hour.

kevin roose

Yeah. We’re in rush hour in San Francisco. So things are crawling.

casey newton

Now do you have any way of telling Banana Slug to floor it?

[LAUGHING]

Yeah. You know, I’m going to say, if I’m getting this as a taxi, I want it to be going the speed limit and maybe even two to three miles faster, not six miles slower.

kevin roose

No. I’m fine with this.

casey newton

Really?

kevin roose

Honestly, the experience we had a couple of blocks ago of almost getting plowed into the median, I’m fine with us going as slow as this thing — as Banana Slug needs to go.

casey newton

Do you think it heard that guy and was like, oh my gosh, I’m going to —

kevin roose

Wait. Why is it, like — oh, it’s turning. OK. We’re turning.

casey newton

We’re going right. We must be getting close to coffee.

kevin roose

It slows down for the speed bump. That’s kind of impressive actually.

casey newton

Really? Feels like that would be easy to see. [LAUGHING]

kevin roose

I love how this thing that we both had never experienced until 10 minutes ago, and now you’re like, I’m over it. OK. Now we’re making a left at a four-way stop sign.

casey newton

And once again —

kevin roose

Oh. We’re doing a little game of, like, footsie with the other car.

casey newton

Yeah. It’s extremely cautious at the stop signs, which I guess is what you want.

kevin roose

And we did just get a horrified glare from the person who just saw that —

casey newton

They are not happy.

kevin roose

— there’s no one driving this car.

casey newton

Oh, they’re talking to us now.

kevin roose

So it’s saying it’s arriving soon. OK. We’re here.

casey newton

We’re here.

kevin roose

I’m impressed. Are you impressed?

casey newton

I’m impressed.

kevin roose

OK.

casey newton

Let’s see if it lets us out.

[LAUGHING]

kevin roose

Banana Slug, let us go. Please. It says you have to solve a puzzle before I’ll let you — [LAUGHING]

casey newton

Answer me these questions three! [LAUGHING]

kevin roose

OK. Arrived at our drop off stop. Here we are.

casey newton

All right.

kevin roose

OK. Now it wants a rating. How would you rate that, one to five stars?

casey newton

Three.

kevin roose

Three? No. Really?

casey newton

It would have been much easier and faster to take an Uber.

kevin roose

You know, I’m going to overrule you. I’m going to give that a five star review.

casey newton

OK. Wow. I mean, we’re safely at our destination, and maybe I have low expectations. But that’s sort of all I could hope for.

kevin roose

True. OK. Let’s go get some coffee.

glenn

Sorry. … been hearing you guys.

kevin roose

Yeah.

glenn

Seeing those things —

casey newton

Yeah.

kevin roose

Yeah.

glenn

— and they’re training.

kevin roose

Yeah. We’re making a podcast. Can I interview you about this?

glenn

Yeah. Sure.

kevin roose

OK. So what’s your name?

glenn

My name’s Glenn.

kevin roose

Glenn.

casey newton

Hi, Glenn.

kevin roose

And Glenn is sitting — a nice man sitting next to us here at the coffee shop. And Glenn, you were just saying something about self-driving cars.

glenn

Yeah. I used to be a taxi driver.

casey newton

Oh really?

glenn

Yeah. So I wonder how those are going to affect taxi drivers. Because they’re already under enough pressure from Uber and Lyft —

kevin roose

For sure.

glenn

— for years. I know when I was driving cab they really cut into our business. And it was hard to make a living.

kevin roose

Do you get, like, what do you feel when you see a self-driving car on the street?

glenn

Suspicion —

casey newton

Yeah.

glenn

— you know, in terms of safety factor. You know, I’ve been driving cars for, like, 50 years. And the other day I was over by my apartment and I was crossing the street. And I saw one of these cars going to make a turn onto the street. So I thought, you know, I’m going to stand in front of this thing.

kevin roose

You actually stood in front of the car?

glenn

Yeah.

kevin roose

To stop it from making the turn?

glenn

Yeah.

kevin roose

Why is that?

glenn

I wanted to see if it would stop. I left myself enough room to, if it didn’t, to get the hell out of the way.

casey newton

Yeah.

glenn

But it did stop.

casey newton

Oh good.

kevin roose

That’s why you’re here.

casey newton

That’s why you’re here with us today.

glenn

Yeah, exactly.

[LAUGHING]

So I was impressed with that.

kevin roose

Well, we’re about to interview the CEO of the company whose self-driving car that was, Cruse. So what should we ask him, from a former San Francisco cab driver?

glenn

One, what’s the expected impact on cab drivers in terms of making a living? Two, how is it going to impact the Lyft and Uber drivers? And many of those people depend on that income for a living. And I wonder how they intend to address that. And also, how are they going to set the rates? So I’m real curious about that.

kevin roose

Yeah.

casey newton

Yeah. It’s interesting to me to think that, sort of, first Uber and Lyft came along and disrupted folks like yourself who are driving cabs. But now it seems like the self-driving cars are going to come along and disrupt all the people who are driving these Ubers.

glenn

I know. It seems like it’s going to disrupt the cab industry. It’s going to disrupt Lyft. And it’s going to disrupt Uber.

casey newton

Yeah.

kevin roose

I remember talking with the president of Lyft, John Zimmer about this, many years ago. Because I sort of asked this. Like, I said, like, what happens to all the drivers when the car is just driving themselves? And he says, well, they can do other things. Like maybe there’s a self-driving restaurant and they can be servers in the self-driving restaurant that sort of help you get your food as you’re driving along the street. So he had other ideas.

glenn

I think that’s ridiculous.

[LAUGHING]

I don’t buy that. That does not —

kevin roose

Oh look. There’s Wren. There’s another self-driving car. They’re all over the place. Yeah.

casey newton

Sometimes I feel like they hear us talking about them and they like to swing over and check it out.

[LAUGHING]

glenn

So that’s basically my feelings about the whole situation.

kevin roose

All right.

glenn

So we’ll see how it shakes out.

kevin roose

Yeah. We’ll see. We’ll see.

glenn

I’m not diametrically opposed to it. But at the same time there is some serious economic impacts on other people who drive for a living.

kevin roose

Yeah. That makes a lot of sense. We’ll ask him about that.

casey newton

That’s great.

kevin roose

Thank you.

casey newton

What a stroke of fortune we bumped into you.

kevin roose

Yeah.

glenn

Yeah. Thank you.

[ELECTRONIC MUSIC PLAYING]

kevin roose

We’ll be right back.

[ELECTRONIC MUSIC PLAYING]

This is our podcast studio. And this is Casey.

casey newton

Hi.

kyle vogt

Hey, good morning.

casey newton

How’s it going? Nice to see ya.

kevin roose

Kyle Vogt, welcome to Hard Fork.

kyle vogt

Hey. Thanks for having me.

kevin roose

So we wanted to talk to you because Cruise has just recently announced that you’re are operating 24/7 in San Francisco. And we actually just this morning took a ride in one of your cars named Banana Slug.

casey newton

Yes. I don’t know if that one. But —

kyle vogt

I’ve seen Banana Slug out there on the roads. Yeah.

casey newton

Yeah, yeah.

kevin roose

What was the naming convention? Like, how did you decide on the names for the cars?

kyle vogt

I mean, one of our interns named one of the early AVs, like, for fun. I think the theme then was bird names. And that stuck. And so we really leaned into it and let people suggest names. And I have no idea where Banana Slug came from. But it’s not the weirdest one that’s out there.

kevin roose

What’s the weirdest one that’s out there?

kyle vogt

I’d have to come up with a list. But people have a very emotional attachment to the first AV that they rode in. Like, Mary Barra, the CEO of GM, her first car was Tostada. And every time she comes to San Francisco she’s like, how’s Tostada doing?

[LAUGHING]

kevin roose

Actually it’s been a rough few months. She’s out for repairs. We don’t like to talk about it.

[LAUGHING]

It’s a sensitive subject. So, Casey, what were your impressions of the ride?

casey newton

Well, I mean, overall it’s super fun. This was the first ride that we had taken in self-driving cars where there was not a safety driver. We’ve each probably taken half a dozen or so rides in self-driving cars in the past but there’s always been a human. And there is something amazing about just seeing the steering wheel turn itself. Kevin was sort of likening it to a player piano, sort of watching that for the first time.

You know, at the time it made some herky jerky movements and it drove, like, six miles per hour slower than the speed limit. So we do have some questions.

kyle vogt

Yeah. And it did almost swerve us into a median at one point, which led the human driver on the other side of us to roll down his window and say, you guys should report that thing. So here we are reporting it.

casey newton

Yeah.

kyle vogt

You guys are hilarious. You are moving through San Francisco in a technical marvel that took you across the city with no one behind the seat, in probably half an hour or more, and you found three relatively small things to pinpoint. [LAUGHING]

Meanwhile —

kevin roose

This is what I told Casey. Because he wanted to give it three stars at the end of the ride. And I was like, we got safely to our destination during rush hour in a car with no driver. That’s a five star.

casey newton

I’m just trying to help them improve. But you’re right. It is a technical marvel. Yeah. Yeah, we want to talk about that.

kevin roose

So first of all, I want to ask, like, what does it mean that you’re operating 24/7 in San Francisco now? Because as we discovered when we were trying to set up this ride, it’s actually like, not everyone can just whip out their phones and start hailing autonomous drives.

kyle vogt

Yeah. So we’ve been rolling things out in phases. Our approach is — we call it envelope expansion where we operate in a small area. We basically have done the analysis. We believe it’s ready. And then we operate there. We check all the indicators. When everything is green, we expand it.

And so this can refer to the area, whether it’s the full city or a part of the city. It could refer to the hours of the day or the number of people that we allow on it. So right now we’re operating 24/7. There are a small number of cars that are out there all the time available to employees. And then over the next few weeks or months we’ll open that up to everyone else.

kevin roose

And how do prices compare right now to what people might be used to paying for an Uber?

kyle vogt

Pretty similar. And, in fact, if for whatever reason the AV takes a longer route, we charge you for what the route should have been.

kevin roose

Got it.

kyle vogt

Today though we’re pricing it at parity with rideshare as it exists. And we expect that — well, rideshare right now, it’s already about as cheap as it’s going to get. These companies have optimized it, and they’ve found that basically the minimum amount of money they can pay the drivers to keep drivers on the road.

But that’s limited by the cost of a human wage. Self-driving cars don’t have the human. So as we drop the cost of the technology and the cost of operating these cars and increase the size of the fleet so it gets more efficient, we can get way, way, way below the cost of what exists today.

And we also know from the data that people who use rideshare are very price sensitive. They want to save a buck on that ride.

kevin roose

Yeah.

kyle vogt

What that means is when you drop the cost a little bit, the number of people using rideshare as their primary mode of transportation is going to go up, which we’re excited about, because I think it helps with congestion and traffic in cities.

kevin roose

So the last time I really paid attention, close attention to the self-driving car market was in 2017, 2018. At the time there was a huge wave of sort of hype and excitement about driverless cars. Uber was investing tons of money into it. Lyft was telling people that rolling restaurants, you know, self-driving hospitality vehicles were just a couple of years away. You know.

And Casey and I both went on a number of rides at that time. And the line that we got then was like, yes, they only work on a predetermined route during certain hours now. But just wait a couple of years. They’ll be everywhere.

So we waited a couple of years. And with the exception of a couple cities, they’re not everywhere. So what happened between, let’s say, five years ago and now to make you convinced that these vehicles are ready for prime time? Is it some technical breakthrough that made them safer and more reliable? Or is it just that you’ve had more time to kind of work out some of the kinks?

kyle vogt

I want to answer that in two ways. First of all, they are scaling up rapidly and appearing in more cities now. Like, that’s starting to happen. And so we’re on the verge of that rapid scale. We launched two new cities last year. There’s going to be a lot more big announcements in news on expansion this year.

So why did that just happen now instead of five years ago? Two things. First of all, when you have a person behind the wheel and they’re in charge of taking over in all those tricky edge cases, the last one percent of the problem where the system isn’t ready, 99 percent of the time it feels like it’s done.

And so you can take an investor or a potential partner or someone on those rides and they’re like, oh, this is here. We need to invest now. Like, throw all the money at it. And that went crazy. It was like a gold rush, like maybe like crypto a couple of years ago or probably like AI and large language models right now.

kevin roose

Yeah.

kyle vogt

Maybe people are a little more excited about that than they should be. And then the rest of the time between then and now was the hard work to continuously grind away at those edge cases, that last one percent of the problem until you can safely remove that human out of the car. And that’s just what it took.

kevin roose

So it really was mostly a data collection issue then.

kyle vogt

Data collection was a piece of it. But there’s just a lot of engineering challenges that go into things like, what if someone leaves a car door open after they get dropped off? Or, like, what happens if the lane markers have been repainted and there’s a police officer waving around traffic? What’s the car supposed to do? Like, these things that don’t happen that often, but when they do, the car just can’t sit there. You actually have to find a way through it.

kevin roose

So wait, what does happen if somebody doesn’t close the door at the end of a ride?

kyle vogt

We just launched this last week. We have auto-closing doors.

kevin roose

Nice.

kyle vogt

So the doors will just like — someone logs in with a camera. When the vehicle says, hey, my door is open, they check that the coast is clear and then the door will slam shut.

kevin roose

What other things did you see in your testing? What other edge cases have you seen that maybe threw you for a loop or caught you by surprise?

kyle vogt

Yeah. So, I mean, there’s a lot of things that are weird, like situations. We see sideshows in San Francisco when people will block down an intersection and just do donuts in the middle of an intersection. Didn’t have that in our test cases early on. Right. Had to think through that. A lot of stuff with swarms of people rollerblading in the street or segues or bikes.

But that stuff, in a way, is kind of expected. Like you’d expect a large city to have a diversity of stuff, including some weird things. What I didn’t see coming is that a lot of people would essentially risk their lives and try jumping in front of a moving car to see if it’s going to stop.

casey newton

We literally talked to someone today who did this.

kevin roose

Yes. We were at a coffee shop and there was this guy there who heard us talking about self-driving cars. And he says, oh, I’m a retired cab driver in San Francisco, and starts telling us about how he once jumped in front of a self-driving car just to see if it would stop.

casey newton

And great news, it stopped.

kyle vogt

Yeah. I mean, it’s terrifying to me. Because we want to improve road safety, not create situations where people are creating new opportunities for themselves to get hurt. So I hope that this is a short lived thing and that we all understand that these cars are going to stop and don’t need to be being reckless like that.

casey newton

Have you ever thought about just, like, putting like some sort of device that shoots a beanbag at people if they’re —

kyle vogt

We thought about water guns.

casey newton

Yeah.

[LAUGHING]

kyle vogt

Maybe those, like, exploding ink things.

casey newton

Yes! Like if you’re trying to rob a bank. I’ll tell you, if that happened to you, that’d be the last time you ever mess with a Cruise robotaxi. [LAUGHING]

kevin roose

I want to ask a series of questions about safety. Because I think this is first and foremost on people’s minds. And in San Francisco most of the rides, maybe the vast majority of rides go off without a hitch. But there have been some incidents.

Earlier this year officials in San Francisco sent letters to state regulators asking them to either halt or slow the expansion of Cruise and Waymo because some of the cars had blocked traffic or gotten in the way of emergency vehicles. How do these incidents affect public support for driverless cars?

kyle vogt

You know, when there aren’t that many driverless cars, and the only thing you hear about are these relatively rare incidents. Remember, we’ve gone almost two million driverless miles at this point. On a typical night we’ll do 1,000 rides for people. There’s a lot of stuff happening without incident. But when we do have a stumble or a misstep we’ll apologize for that. Or if appropriate we’ll do a recall and inform members of the public about what we changed to improve these systems.

And so, if that’s the only thing you hear about, I think that’s going to slow things back. But on the other hand, at this point we have tens of thousands of people who have ridden in this and are starting to question, OK, is this what’s happening all the time? Or is this sort of the rare events that get sensationalized and picked up and get lots of coverage?

And our view is that over time I think people will start to see more that these things do happen, but they’re rare. And I think more importantly, we’re starting to see evidence that the presence of these vehicles on the road actually is having a positive impact on road safety. And that’s priority number one for us.

kevin roose

These cars — not on our ride thankfully, but in some cases they are making very high stakes decisions. Like, do you swerve out of the way of an oncoming car if it means swerving into another car? If it means choosing between hurting one passenger or maybe the driver of a different car?

So this is the classic trolley problem where you have to decide who to run over in a hypothetical trolley. But you’re actually dealing with a real version of this with your car. So is there any programming in your cars that has to make decisions about which humans to protect in the event of an accident and which not to? How are you approaching these more philosophical debates that you actually have to then build into real products?

kyle vogt

So, a fair question. It’s not one we’ve seen yet in two million miles of driverless operation or in the several million that we did in testing before we went driverless. But I accept that it is a possibility.

Right now we program based on trying to minimize injury on the road. And so that generally means we want to give more space to pedestrians and vulnerable road users, even if that means getting closer to a vehicle. And that’s because occupants in a vehicle generally have better protection mechanisms, like airbags and seatbelts and other things, than people on the road. So that’s a good starting point. And that generally has led to good performance and good decision-making.

We have not — because there hasn’t been a need to engage in these ethical philosophical debates on if you are in this situation where it’s equally necessary to go one way or the other, which one are you going to do, which lever are you going to pull? Because the reality is, in almost all the situations we’ve come across so far, there’s a clear choice that you can make that minimizes risk of injury. And it hasn’t really been a choice that we need to make.

But what I think people should know is that we’re using all the best research that exists to try to make these cars as safe as they can be on the road, recognizing that there are situations where there will be collisions, and it’s unavoidable.

kevin roose

One of the things that I’ve been struggling with is figuring out what our societal fault tolerance is for self-driving cars. I think if you had asked me 10 years ago, you know, when will society accept self-driving cars, I think I would have said, they just need to be safer on average than human drivers. Right. If they cause a few fewer crashes or fatalities every year then society will say that’s a good thing.

It seems like, from the evidence we have so far, like, it’s actually got to be much better than a human for society to say, OK, I want to get into that thing. How do you think about society’s, sort of fault tolerance for driverless cars. And does a self-driving car need to be 100 times safer than a human driver before we will feel safe all riding in them every day?

kyle vogt

Yeah, look. I think it’s a really interesting philosophical debate. And I’ll tell you, there’s a bunch of different lenses to try to look through to come up with an answer. One is, what do our federal safety regulators look at? And when it comes to any new technology, they’re looking for unreasonable risk and aggregate improvement on road safety.

Even our Secretary of Transportation, Pete Buttigieg, was out there saying exactly the problem you highlighted. Like, even if robots do result in far fewer people dying on our roadways, even a small number of them is going to have people go nuts.

And I guess the last way to look at it is, if you forget the fact that there is no person in the car, but think about it like segmenting different groups of the population, old drivers from young drivers or other things, like, if old drivers are 50 percent worse than new drivers, how do we feel about that? And I think the same could be said for just a different category or grouping of drivers.

So I think where we’re going to land on this is that we want safer roads. And it’s a really interesting thing to talk about now when humans and robots are maybe relatively close in performance. But over the next couple of years, given the rate of improvement that these systems have had — talking about five years ago they weren’t ready yet now they’re out there and scaling. I think this is going to be a conversation that’s in the rearview mirror. Because they’re going to be so much better than humans and we’re not even going to have this debate.

kevin roose

And when do you say rearview mirror, is that kind of a self-driving car joke, or?

kyle vogt

That was a good automotive pun. I have too many of those programmed into my head right now. [LAUGHING]

casey newton

Kyle, I have to say, like, I disagree with you. Because I think that the minute that Kyle can get me across town for $3, like, I’m not looking at the safety report for a Cruise. I’m saying, that is the cheapest way to get from point A to point B. And if the thing shows up with three wheels I’m still getting inside because it’ll probably be fine. Don’t you think most people are going to be that way?

kevin roose

I don’t know. If you got on a plane and there was no pivot in the cockpit, even if you knew intellectually that plane is just as safe as a human sitting in the cockpit —

casey newton

Yeah.

kevin roose

I think you’re still thinking twice about getting on that plane.

casey newton

Well, it is different for me because I have been driving in these things for admittedly only a handful of times. But because it’s gone back so far in my mind now that it weirdly has lost the novelty a bit. Which as you sort of alluded to earlier is an incredible moment, right, just in the history of technology that a thing that is driving itself feels a little bit boring.

But I truly think that after you take your first self-driving car taxi and it’s basically fine, you’re just going to take them a lot more. You don’t think that’s true?

kevin roose

I don’t think so. I think humans are not perfect risk assessors, right. Like that’s why we should all be a lot more scared to drive than fly, because flying is much safer statistically. But a lot more people have fears of being in an airplane.

So I just think you’re working on a problem that is as much about psychology and human, sort of comfort as it is about technology. Would you agree or disagree with that?

kyle vogt

Yeah. I mean, there will be an interesting test for society to see what happens the first time that a driverless car gets into an incident and someone gets hurt, severely hurt. It’s not a question of if but when.

And even with all the data showing evidence of positive safety impact and other things, we as a society will have a choice at that moment to decide whether we ban something that could potentially save tens of thousands of lives per year over the next several years, or we decide that this is a horrible situation and something awful, but this is something that we need. And we’re going to learn from this and keep moving forward.

And I don’t think that’s really something that I can say as a CEO of a company in the space. It’s really going to be up to our society and our regulators and our government decide what we do in that moment.

casey newton

When we were riding in Banana Slug today, I had the strong feeling that banana slug has been told, please be more cautious than the average car. Is my sense accurate?

kyle vogt

Yeah. It’s easier to drive cautiously and slow than really fast while also maintaining safety. And so as the performance of these systems improve, you’ll see them start to drive in more human-like ways in terms of assertiveness.

There are moments when cruise AVs already are at that point. And there are moments when they are around a mid-block crosswalk or a narrow street with lots of parked cars where it’s hard to see around the corner, that they’ll go slower than a human. We’re working on that. But we’re not going to move faster than we’re comfortable.

kevin roose

You mentioned a second ago that you’re seeing evidence that your driverless cars are having a positive impact on road safety. Can you just flesh that out a little bit? Like, are your vehicles safer on average than a human driver? Or are they less safe? Or about the same?

kyle vogt

Well, I’ll start by saying it’s a hard question to answer. Like, what exactly is human driving and under what circumstances? What we have done is partnered with VTTI and UMTRI, which are these transportation research institutes, and try to produce an estimate of how well the human drivers drive in San Francisco, specifically.

casey newton

Horrible.

[LAUGHING]

kyle vogt

I mean, actually yes. Because the commonly cited national statistic on collisions is off by a factor of 10 to 20 compared to what we see in San Francisco. And so what we have seen so far — and this is still early. It’s only across — we analyze our first million miles of driving. So that’s a lot, but also not a lot. Is that the AVs are getting involved in far fewer crashes, 50 percent as many crashes compared to what we observe humans doing in a similar driving environment.

What’s more exciting, though, is the more severe crashes that would be more likely to lead to injury. AVs are doing significantly better at avoiding those, I think something like 70 percent fewer.

casey newton

I think you could probably drive way safer than a human just by never going 70 miles an hour.

kevin roose

Right. And never checking your phone while you’re driving.

casey newton

Yeah.

kevin roose

I mean, that was my main thought about San Francisco, why it has worse drivers than most cities, because everyone’s constantly checking for new Bluesky invite codes or whatever.

casey newton

That really should be your whole marketing campaign is, like, Cruise robotaxi, check your phone all you want.

kevin roose

Right.

[LAUGHING]

kyle vogt

There it is. There it is.

kevin roose

I mean, is that — that’s sort of a joke, but that’s sort of not. Like, I feel like a killer moment for the AV industry is when you can actually just watch Netflix in the car —

casey newton

Yep.

kevin roose

— like, while you drive to work. Is that something that you’re thinking about? Are you putting in — I mean, we saw the trivia system in Banana Slug today.

casey newton

Which we crushed. I crushed it out, I have to say.

kyle vogt

It’s pretty hard. If you did, nice.

kevin roose

So anyway. Are you doing more with entertainment inside the cars?

kyle vogt

Yeah. I mean, so the new car we’re building, it’s a six-seater. The seats face each other. It’s more of this living room on wheels configuration. We’re testing that in Austin right now. And that really makes it clear that, OK, if you don’t need the front seat and the seat’s facing forward and the ghost steering wheel that’s moving, this becomes a really social space.

And I think that is time that we get to reclaim. And whether you want to watch Netflix or do work or talk to your friend or whatever it is, I think that’s pretty compelling. Because these days so many people in companies are competing for our attention and our time and sucking it away from us. And I think the notion of giving that back to people is really exciting.

kevin roose

Kyle, I want to ask you about the other big question, in addition to safety that I think is on people’s minds when it comes to autonomous vehicles, which is jobs and job displacement. Millions of people drive for a living, whether it’s Uber drivers or cab drivers or delivery drivers, truck drivers. How do you think about the effect that autonomous vehicles could have on those people?

kyle vogt

I mean, I think with any new technology like this you’re going to see a shift in the distribution of jobs that people have. And I think actually one of the nice things about self-driving cars, as compared to maybe like, LLMs or ChapGPT — that happened very fast and very suddenly and could be very disruptive in a very short period of time. I think with self-driving cars, you know, almost a nice side effect of the fact that five years ago we thought they were right around the corner and it took longer than people hoped, there’s a lot of people know this is coming.

And so, anecdotally, when I talk to an Uber Lyft driver in San Francisco, no one is saying this is my long term career. This is the thing I’m doing now. When the self-driving cars are here, I’ll do something else I think for maybe truck drivers and other things, it’s maybe a bit more work to enter a different job or change the distribution of jobs.

But on the other hand, like, I think we do have to take a step back as a society and say, do we wish the Industrial Revolution never happened? Or do we wish that computers didn’t come out and displace a whole bunch of manual data entry jobs? I can’t say that we do. And so I think each one of these things looks scary at the beginning, but on the other side it makes a ton of sense.

kevin roose

Yeah. I remember talking with one of the co-founders of Lyft many years ago about this. And he was saying, well, you know, yeah, people won’t be driving the cars. But you’ll have rolling restaurants and rolling gyms and you’ll need people to staff all of that. And so he was sort of — he did seem to feel some responsibility for making sure that the people who are currently driving for a living and may get displaced by this technology actually found other work.

Do you feel a similar sense of responsibility for the people who are currently driving for a living to find them new work or to create new work for them?

kyle vogt

I think we have to contribute to it, for sure. You know, I think — and that could take the form of to the extent we’re able providing training programs or alternate jobs for people. But more than that, I think it’s interacting with our government and our regulators and letting them know this is coming, when and how, and giving them some notice so we can plan ahead a little bit.

There are a lot of things that can be done if people or states or the federal government makes us a priority to ensure that this is a smooth transition. But some of that’s beyond the reach of any one individual company.

casey newton

Can you say more about these rolling gyms?

[LAUGHING]

This is like a box truck with a Peloton in it and it’s driving itself?

kevin roose

Yeah, I guess. I don’t know. I didn’t really ask for more details.

casey newton

Kyle, I would maybe move that one down lower on your product roadmap. I don’t know if that’s where the consumer demand is at the moment.

kyle vogt

How do showers work for that?

casey newton

Right. That’s what I want to know.

[LAUGHING]

Like, they have fresh towels?

kevin roose

You hit a bump, all of a sudden the weight plate is crushing you. I want to do some future-casting. But first I want to ask about the business model of self-driving cars. So Cruise, your company, is a subsidiary of General Motors. Last quarter Cruise reportedly lost $561 million, or about $6 million a day in the last quarter. It’s a lot of money. A lot of self-driving car companies have lost billions of dollars over the years.

So how long do you think you can sustain those kind of losses and when do you expect to be profitable, if ever?

kyle vogt

Well definitely not —

casey newton

Definitely ever. Yeah.

kyle vogt

Yeah, it’s happening. So it is a lot of money. And I think this is a really unique situation, because you have — typically, like, an independently funded startup would not be able to go after a capital intensive initiative like this.

And so what we’ve seen is that the only companies out there who are willing to invest the necessary capital, kind of the activation energy to make this new technology exist, are a company like the major tech companies who can afford to invest in something on a longer time horizon or an automotive company that understands that this is the future and wants to be on the right side of history when things inevitably shift to people being driven by their cars rather than driving them.

On the other hand, we do feel a really strong sense of, I guess, gratitude towards General Motors to getting us to where we are. And we want to return that capital and make sure that GM is wildly successful, financially for making this bet.

So we do have an eye towards profitability. And one of the key factors there is driving down the cost of the vehicles, which we’re doing through investments like building our own chips and machine learning accelerators to take costs out of the vehicle, and then also increasing the scale, which actually makes the cost per ride much, much less.

And so if it is the case that this is really hard to do well, only a couple of companies crack it, and you have that opportunity to go after that market, just in the US, that’s worth a big investment up front, I think, if you have conviction that we can get there.

casey newton

I mean, my pitch is, like, I probably was never going to buy a GM car. Not because I have anything against GM. But just, like, I don’t want to buy a car in general. It’s annoying to have a car in the city.

But if you guys come up with some sort of subscription program for, like, I don’t know, a couple of hundred bucks a month and you give me 40 miles of rides, you’re going to make $200 a month off me for the rest of my life. So, I mean, to me it just seems obvious that there’s a lot of money in it. It’s just insanely expensive to get there.

kyle vogt

I think a lot of people are going to say, why do we even bother owning a car? As long as it’s there when I need it and it can do everything I want to do with a car, I’m not going to own a car. Or at least I won’t have so many cars in my driveway.

kevin roose
casey newton

I think one thing that we’re sort of very bad at as people who write and think about tech for a living is thinking about second order consequences. Right. Like, the car was invented, and we didn’t know it at the time but it was going to sort of invent the suburb and change the entire fabric of American civic life.

What are some changes that you think this era — if you are correct and autonomous vehicles are coming to cities all over the country, what other effects do you think that could have beyond sort of the obvious, like, it’ll change the way you get to work?

kyle vogt

Well, I think from a city planning perspective there’s a lot of things that, I think, if you had a clean slate we would do differently than what we did decades ago when most of our city plans were laid out. I don’t think we’d have as much space for parking cars, like inventory or garage inventory on the streets for people.

I think we’d do a lot more public transit and walking paths and biking paths as a general matter. And I think that AVs will make us a little bit easier for us to do that in the future. If cities do decide that certain parts are AV only, just like the streets in Europe that don’t allow cars, walking only. If there are certain streets that are AV only, what that will let you do is get a lot more throughput for a lot less square feet of city space.

If you have roads that are only AVs that can travel in caravans, like maybe just three feet apart going at high speed, you can fit, maybe three of them in every two lanes of city traffic that you use today. And so I think we’ll be able to reclaim a lot of that space for other purposes, while still being able to move a large number of people through our cities per square foot of road area that we allocate.

kevin roose

So you think there will be some highways or something where it’s like, this is the robot only highway. You can’t go on that if you’re driving the car.

kyle vogt

Yeah. It depends. If a goal of a city is to optimize the efficiency of its transportation system, the benefits of AVs is that they can sort of go at high speed on these AV only highways, but they can go point to point. They can show up at your doorstep, which a bus system won’t do and mass transit won’t do. So it’s a pretty powerful tool if we design cities in the right ways.

kevin roose

And one final question that I always like to ask CEOs, which is, if five years from now we call you up and things have not gone according to your plan, if Cruise was never able to reach mass adoption, if GM has shut you down to save money, if none of this comes to pass, why will that have been in your best estimate?

Is it because regulators didn’t make concessions to the industry? Is it because the hardware costs just never come down? If you fail, what do you think the reasons for that will be?

kyle vogt

Well, I’m very confident in the cost coming down. I’m confident in the capabilities of the technology improving. I’m confident in how attractive and preferential this is going to be, in terms of a ride experience compared to the status quo. And I’m confident in the safety performance.

And so if it doesn’t get there, it would be for something that is valid but maybe not in the best interests of society. Like maybe we do struggle with how to rationalize collisions caused by robots instead of humans, even though there are fewer of them. Like, that could cause delays or cause, like a shift of this deployment to going to other countries first.

In particular, if you at China, they’re wide open. The government gets it. They’re going full speed. I think that is a risk to the US economy if we’re caught a decade behind on that. Or it could be, if not for that, then maybe one of these other forms of transportation, like electric vertical takeoff and landing plane comes in and we’re not really talking about cars anymore.

But, I mean, you tell me. Like, it really seems like at this point we’re past the critical gate. We’ve gone from R&D to these products scaling out there in the field. And it just seems very obvious that this is the way the world is going. And it’s a matter of time. And I think from a pure system of constraint standpoint, unless we as a society do something to block this or slow it down, I think it’s going to happen really soon and I think we’re all going to benefit.

kevin roose

I think that could be true. I mean, I also felt that way six or seven years ago. So maybe I was just too eager. But when I have friends come in from out of town or colleagues from other cities, one of the most reliable things they say about San Francisco is like, oh my god, there are so many self-driving cars. I didn’t realize these things were so ubiquitous in San Francisco.

casey newton

Also, like, the only thing that prevented your enthusiasm from becoming a reality was just that the technology hadn’t caught up. Which I think happens to tech reporters all the time. We are constantly seeing stuff that is just not ready to be deployed. But now it actually is being deployed.

And I don’t know. I think the minute that people can take these taxis, and they’re cheap, they’re going to do it. I think the minute you can own a self-driving car, that becomes such a status symbol. Think of all of the people who are going to be thrilled to be like, oh, you’re still driving your car?

[LAUGHING]

Sucks for you. So the market is ready. You just got to get more of these things on the road, Kyle.

kyle vogt

On it

casey newton

All right. [LAUGHING]

kevin roose

Kyle Vogt, thank for coming.

casey newton

Thanks for coming.

kyle vogt

Yeah. Thanks for having me.

[ELECTRONIC MUSIC PLAYING]

kevin roose

Hey. Before we go, we wanted to say thank you to everyone who has sent in voice memos for our segment, Hard Questions. This, of course, is our segment where we hear your tech dilemmas related to ethics and technology, points in your life where you’re struggling to decide what to do with respect to tech. We’ve gotten a lot of great submissions already, and we’re eager to hear more. If you have one, you can send it to us at hardfork@nytimes.com.

Hard Fork is produced by Davis Land and Rachel Cohn. We’re edited by Jen Boylan. This episode was fact checked by Caitlin Love. Today’s show was engineered by Alyssa Moxley. Original music by Dan Powell, Marion Lozano, and Rowan Niemisto. Special Thanks to Paula Szuchman, Pui Wing Tam, Nell Gallogly, Kate LoPresti, and Jeffrey Miranda. You can email us at hardfork@nytimes.com. And if you see us in a self-driving car, say hi.

[MUSIC PLAYING]

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This transcript was created using speech recognition

It’s Election Day! Episode 8 of the final season of “Succession” finds the Roys and crew navigating the momentous occasion, the first that American Television Network will be covering without its late founder Logan Roy at the helm.

Though titled “America Decides,” the nail-biting hour is really about network boss Tom Wambsgans (Matthew Macfadyen) figuring out how to spin the night’s news for ATN’s rabid conservative audience base, all the while fighting interference from the business and partisan considerations of Roy’s children Kendall (Jeremy Strong), Roman (Kieran Culkin), Connor (Alan Ruck) and Siobhan (Sarah Snook), who also happens to be the wife Tom had an earth-scorching argument the night before.

May the best candidate win. SPOILER ALERT: They won’t.

No Leaks, No Adult Diapers

Tom, presumably not having slept after the big fight with Shiv, is gearing up for the 5 p.m. report. His human chew toy Cousin Greg (Nicholas Braun) sticks his head in the office, all excited.

“I’ve got to deliver the best election numbers ever,” Tom says of the night’s ratings, “because my bosses want to rip my heart out as a peace offering to all comers. So I’m a little bit tense.”

“Well, I’m feelin’ pretty good,” Greg announces, characteristically obtuse.

In an upper suite at ATN, Tom’s boss Kendall calls him to demand gangbusters. Tom assures good numbers from below and asks news manager Pam (Lori Wilner) how things are going. She mentions a news van in trouble in Portland, something going down in Milwaukee. He asks about a woman who claims to have voted 40 times for Democratic candidate Jimenez. He’s told she was checked out and judged crazy. Tom tells Pam she’s not a doctor and to get the nut on air. Pam makes fun of his dress shoes.

“I’m perfectly comfortable, Pam,” he replies. “I’ve got good arches, they’ve been remarked upon.”

Walking into a group meeting, Tom asks Darwin (Adam Godley) — who’s apparently the only actual journalist employed by ATN — if they wear adult diapers on these long, crucial nights. He’s told there’s always time for the bathroom.

Darwin issues the night’s instructions. Greg whispers to Tom about going out on the town with Lukas Matsson (Alexander Skarsgård) and his GoJo Swedes, who are in position to buy ATN’s parent company Waystar.

“Pretty monstrous,” Greg trembles. “His crew knows some unseemly venues. I danced with an old man! I drank things that aren’t normally drinks. And I got the impression… Do you know about Matsson with Shiv, and their sort of, like, their business alliance agreement?”

Tom does now.

“Well, I’m sure I don’t know what you’re talking about,” he feigns. “Information, Greg, it’s like a bottle of fine wine. You store it, you hoard it, you save it for a special occasion. And then you smash someone’s f—n’ face in one.”

Darwin says they’re hearing Republican candidate Jeryd Mencken may be overperforming in Georgia and Arizona. It’s privileged information; no leaks that could affect turnout allowed. Upstairs, Ken gets a call from Tom saying exit polls show the Democrat, Daniel Jimenez, leading. Shiv and Roman Roy argue over the emojis they’re getting from their favored campaigns, hers Jimenez and his Mencken’s.

“I’m feeling sick,” the still secretly pregnant Shiv says.

“Oh why? It’s fun,” Roman taunts. “My team’s playing your team. It’s only spicy because if my team wins they’re going to shoot your team.”

Shiv mentions Nazi vans. Rome calls them fun buses. In Florida they’re picking people up, lying that they’re taking them to polling places and leaving them by the highway. Shiv calls it kidnapping. Roman snaps “false flag.”

Shiv sneaks off and calls Matsson. Jimenez should be good for his buyout deal, but he doesn’t want to announce GoJo’s hinky India numbers as soon as she thinks he should. She’s surprised to hear he discussed it with Greg last night. He calls her cousin a “normalist.”

Former lover and Jimenez operative Nate (Ashley Zukerman) calls Shiv with all of his election worries, including “disturbance in Wisconsin.”

Roman and Kendall discuss what a Jimenez win will mean for the GoJo deal that they don’t want. Today’s the moment of maximum leverage. Mencken’s people call Roman; they want to see him. He leaves and Ken’s ex-wife Rava (Natalie Gold) calls him. An SUV is following her car; she’s with their adopted, South Asian daughter Sophie, who was kinda maybe assaulted by a Mencken follower earlier. Ken sent the pursuing vehicle to guard them. Rava’s pissed he’s surveilling them.

“It’s an extra layer of bubble wrap,” he rationalizes. “She OK?”

“She’s scared, Ken. I’m scared. There is shit burning, there is intimidation…”

“Relax,” Ken says, emphatically and ineffectively. “Tell Sophie I love her and that is why I do everything I do. Hey Soph? I love you, sweetie. Are you OK? Nothing’s going to happen. Exit polls say Jimenez, OK? I won’t let the world push you.”

Ken hangs up and calls Nate. The Democrat mentions Victory Vans and s—theads in Milwaukee, does ATN want to cover? Ken says he’ll talk, but has to let the network do its thing. He wants to talk to Jimenez (Elliot Villar). The candidate takes his call. Ken tries to put an anti-tech bug in his reluctant ear, promises to make sure tonight’s coverage will be “fair as f—k.”

succession-elliot-villar-hbo
Elliot Villar in a still from “Succession.” (HBO)

Roman goes to Mencken’s hotel suite. The Republican (Justin Kirk) busts him for not getting his brother, independent libertarian candidate Connor Roy, to drop out of the presidential race; and asks ATN to run fraudulent coverage of his opponent. Rome says he keeps his hands out. They go off to a side room.

“We still think we can win,” the not-so-crypto-fascist tells the media heir. “But I am very focused on losing. Winning’s easy, winning will take care of itself. But if I lose, I need to work on what assholes would call the narrative. If I lose, I want it correctly characterized as a huge victory. Overperformed. I wanna be a president. I want you to be a partner in that. And if it isn’t tonight, it will be next time.”

“Even if you’re not going to be THE president, you’re going to be our president,” Roman understands.

“Exactly. You and me, we’ll go far.”

“Over the road and into the bar.”

Mencken gives Roman a hearty shoulder pat.

succession-ashley-zukerman-hbo
Ashley Zukerman in a still from “Succession.” (HBO)

Touchscreen Trauma

Greg wants to talk about how he should play Matsson. Tom wants his coffee.

“Tom, I don’t do coffee anymore.”

“No Greg!” Tom rants. “I have to be clear. I have to! If I get drowsy and I miscall Colorado, instability, right? Then the U.S. loses credibility, China spots an opportunity, invades Taiwan, tactical nukes, s—t goes kablooey and we’re back to amoeba. It’s a long way back from pond life because you failed to get me a double shot.”

And this is before Greg talks him into a couple of cocaine bumps. Greg’s reluctant to snort with Tom, though, having railed it up with the Swedes the night before.

“Don’t be Mom, c’mon! It’s medically good for your brain. It is! What’re you saying, all Aztecs are stupid?

Don’t be a racist little bitch about it,” Tom wheedles, mislabeling Incas.

Greg snorts. Returning to his desk, Tom’s appalled to see containers of bodega sushi stacked up for dinner. Greg tries to blame it on someone named Sampson.

“Not Sampson! Not! I want you Greging for me! You’re busted back down to Greg tonight.”

“Nooo,” Greg squeals.

“Yes! Tonight, my digestive system is basically part of the Constitution, OK?”

Connor calls Tom. He complains there’s an ATN camera crew in his hotel suite but no footage of him on air.

“I expected to be frozen out by all those other mooks,” the one-percent polling candidate says. “But you guys? C’mon! Gimme some sugar, Man. I mean, maybe everyone voted for me, we don’t know.”

Connor’s playwright/ex-call girl wife Willa (Justine Lupe) whispers “Schrödinger’s cat” in his ear. He babbles about boxes and presidencies into the phone.

After Tom hangs up, CoWilla happily agree that anything can happen.

“I’m so glad I didn’t drop out,” Connor tells the air. “It makes an election so much more interesting when you’re in it.”

ATN anchors announce 7 p.m. ET poll closings. Mencken beats Jimenez in Kentucky, the one state where Connor imagined he had a chance. Willa pats his back.

“F—k Kentucky, Con.”

“No,” he mewls. “I shan’t become that. Alas Kentucky, Willa. Alas vanity.”

succession-alan-ruck-justine-lupe-hbo
Alan Ruck and Justine Lupe in a still from “Succession.” (David M. Russell/HBO)

Pam asks Tom how much airtime he wants to give to reports of intimidation. A fire in Milwaukee could be nasty. Could be electrical. Tom shakes his head no. The on-air touch screen showing Pennsylvania county votes suddenly malfunctions. F—k Milwaukee, this is a real disaster. Tom explodes, runs into a control booth. Upstairs, Ken and the Waystar execs see it too. Ken makes the wtf call to Tom, who says he’s on it. Ken says he’s not. Tom hands his phone to Greg. It’s 9 p.m. ET and a batch of new numbers are about to come in. If it’s not fixed Ken threatens to put someone’s head through that touchscreen.

Pam tells a panicking Tom they have three touchscreens lined up and no one will notice anyway. He says he noticed. “Do I look like no one? Do I?”

Ken notices that ATN is behind social media on the Wisconsin fire. Shiv calls Tom about it, Ken wonders aloud why they aren’t covering it.

“Well, because we always have to choose what to focus on,” Tom says. “Just because something is on fire, it doesn’t make it news.”

Nate’s on another phone on Shiv’s other hand. He says Jimenez’s camp is hearing it’s not an electrical fire. Ken says they need to be all over this.

“I just think it’s important to keep our unique perspective because we are getting conflicting reporting,” Tom equivocates.

“What about the actual photos I can see of it happening on my f—g phone?” Shiv asks.

“Look, there are many many things happening in this nation right now,” reports Tom, accurately but beside the point. “There are a million data points and we have to select the ones that are consequential.”

“If these nut jobs are going paramilitary, we can say that?” Ken proposes.

“Yes. We just need to respect our viewership,” Tom says, mimicking a Fox News lawsuit deposition.

“By not telling them anything they don’t want to hear?” Shiv, saying the quiet part out loud.

“You guys get this about the Antifa firebombing in Milwaukee?” Rome, walking in, asks his siblings.
Nate says they’re hearing it was Mencken’s people. Shiv mentions that the fire is at a vote-counting center. Ken tells Tom it’s a story. Tom asks not to be micromanaged. Tom hands off his phone to Greg again. Ken says “We’re not talking to Greg! Amateur Hour down there.”

An ATN report on the fire appears. Shiv and Roman hear from each of their favored campaigns that ballots have been lost in the flames. Rome marches onto the newsroom floor, closely followed by Shiv. Tom tells him no brass on the battlefield, that was one of Logan’s “Geneva conventions.” Ken’s now there too. Tom asks Greg to help the Roys back upstairs. While Greg tries to wrangle his male cousins, Shiv leads Tom down a hallway for “a word.”

“I just wanted to apologize for some of the things I said last night,” she tells him while he shuffles multiple phones. He doesn’t take the opportunity to reciprocate and asks if his wife is scared he’s going to blab about her and Matsson. She wants a little consideration, her father having just died and all.

“Sure,” the husband says. “It means you hated him, Siobhan.”

She says no, the opposite.

“Well, it was complicated,” Tom concedes, “but sometimes you certainly hated him. And you also sorta killed him.”

“Oh. Yeah. ‘Sort of.’ That’s the part I’m going to remember,” Shiv says, shocked and pissed. “Thank you. You know what, actually? Also, I’m pregnant. By you. And there’s never a good time to say, but you need to know so, OK! Now ya know.”

“That even true?”

Shiv fights becoming a tear puddle, walks away biting her hand. She joins her brothers, who Greg’s still trying to move upstairs. She tells them things are tough with Tom. Rome offers to have him killed.

“Maybe,” she says half-heartedly. “He’s just a piece of filth and there’s stuff I’d like to tell you, but…”
Tom walks between them as Greg follows, saying, “I’ve been trying to get them to move. Not in an aggressive way, but…”

ATN reports all workers escaped the burning Milwaukee building safely.

“Who’s responsible is the story, right?” Ken asks a roomful of ATN senior staff. “Who burnt this place down?”

succession-jeremy-strong-hbo
Jeremy Strong in a still from “Succession.” (HBO)

“To me it always comes down to a couple of old favorites,” Roman says. “The Blacks or the Jews?”
Everyone shoots him appalled looks. Tom asks Greg to please get the Roys out of there. Connor calls Rome as they’re walked through the newsroom again. He wants to know if Mencken’s earlier offer of an ambassadorship if he dropped out of the race was still valid.

“That was kind of a yesterday offer, Connor,” Rome explains. “You know if he doesn’t make this you’re gonna be partially f—g responsible.”

Connor pleads that he spent $100 million on his stupid campaign.

“Couldn’t I get a sniff of even a little guy?” the eldest Roy cajoles. “Organize a coup down in old Peru? Put me in a van to Tajikistan? Couldn’t I just be our fun guy in Uruguay?”

“Your rhymes are compelling but what’s in it for him, Con?”

“Oh, maybe just one of the finest political operators of his generation sorting s—t out.”

“I’ll get back to you.”

11 p.m. on the East Coast. Shiv’s told that under Wisconsin state law, the vote can’t be certified until the absentee ballots are counted. 100,000 of those are missing in Milwaukee. Mencken leads in the state without them. Shiv insists every vote must be counted. Roman makes a dismissive “Eh” face. He argues with her about whose “f—ks” burned the ballots.

“If Mencken wins it’s the end of the world!” Shiv genuinely feels.

“Jimenez won’t block the GoJo deal,” Roman counters. “So f—k the guy, right?”

“That’s not the thing,” Shiv asserts. “Right Ken?”

Awkward silence until her older brother finally says “I don’t know.”

Tom comes into the room to announce that lesser right-wing networks are calling Wisconsin for Mencken.

“Great, the maniacs,” Shiv characterizes them.

“Can’t get outflanked,” Roman insists. “We need to be fast. I think we should call it.”

Shiv says no. Ken asks for Decision Desk input.

Jimenez, on TV, says a decision in Wisconsin will have no legitimacy if it does not account for all the ballots cast.

Sarah Snook in a still from “Succession.”

Just a Hint

Darwin is brought into the Roys’ room and tells them Mencken has an unbeatable lead with existing Wisconsin votes, not counting the ones destroyed. A revote would be incredibly rare and not covered by state laws. Roman says that means Mencken. Shiv holds out. The term “do know,” related to how the heavily Democratic district’s burned ballots probably went, gets bandied about and redefined with each mention.

Shiv starts repeating “bulls—t.” Tom says she sounds unhinged. Ken tells his brother-in-law to watch it. Roman leaves. Ken remains noncommittal. An ATN pundit broadcasts right wing rhetoric. It quickly degenerates into talk of guns being confiscated and sons turning into daughters. The Roys are back in the newsroom. Greg calls security. On a stairway Rome marches past Ken, who says he doesn’t feel good about the “powerful commentary” his little brother rushed on air. “Shucks,” Roman says, not slowing his upward stride.

Matsson calls Shiv. “Feels like it’s getting hairy in there,” he says. “Don’t let ‘em break my toy Shiv, OK?” She says she can handle it.

The pundit is making fun of the idea that the fire only burned Democratic votes as Shiv takes Greg into a storage room. She wants to know about his night out with the Swedes, then provocatively asks, “Do you find me attractive, Gregory?”

“I don’t, uh, think of things such as that,” he stammers back.

“Oh. I thought you were a Disgusting Brother. Is that too disgusting for you?”

“This is not appropriate.”

“I’m just letting you know that if you try to f—k me, I’ll kill you.”

Greg nods, asks how golden silence is. “Is there an offer?”

“Yeah,” Shiv purrs. “How about I offer for you to keep all of your internal organs on your insides rather than I pull them out your asshole?”

Kendall’s alone in a conference room when Roman walks in and tells him if Mencken wins, he’ll straight up block the GoJo deal — in exchange for their support tonight. Roman goes into Tom’s office, says to call Wisconsin for Mencken. Darwin is there. Greg is eating the bodega sushi.

“On what authority?” Tom wants to know.

“By the power of me,” Rome orders. “The CEO of Waystar, telling you what to put on the telebox mouth people.”

“I don’t think we can do that, guys,” Darwin says.

Rome thinks they can. Darwin enumerates all of the political and legal implications of the incomplete Wisconsin vote.

“That’s great,” Roman appreciates/doesn’t. “But I’m just gonna say we’re good and that’s on me. The votes that exist have been tallied and that gives Mencken the state.”

There’s a three-way argument between Rome, Tom and Darwin about who gets to make the call. The term “call it” gets bandied about, redefined with each mention. A “pending” call could be done, with a camera on Darwin to explain it to the audience.

“Could there be a graphic that makes it clear the call isn’t a call call?” the closest thing to a real journalist in the room asks. Assured, Darwin sits down, opens his laptop, accidentally touches Greg’s nearby sushi tray and rubs his eyes. Wasabi blindness ensues, as does panic. Shiv walks in, asks “What did you do to him?” Greg opens a can of water, pours some in Darwin’s eyes, makes it worse.

“That’s lemon!” Tom screams.

“It’s clear. It’s LaCroix,” Greg says in his defense. “It’s lemon-y. It’s natural. It’s medical.” Greg takes a sip. “It’s not that lemony. It’s just a hint of lemon.”

Rome asks if Darwin is good to call it. Shiv says he can’t. Tom says they just did. As he and Roman walk out, Tom tells Greg “Do not put any more lemon water or wasabi in his eyes, OK?”

Kieran Culkin as Roman Roy in "Succession"
Kieran Culkin as Roman Roy in “Succession” (HBO)

A Good Guy

Connor and Willa enter ATN as Tom and Roman come down the stairs. Tom tells him he shouldn’t be there. Roman greets him with “Hey, El Presidente.”

“How about I concede in his direction?” Connor asks Rome. “I scratch his balls, he scratches mine.”

“That’s interesting,” Roman replies, half meaning it. He’ll check with Mencken.

A teleblonde announces that “ATN is projecting that Jeryd Mencken has won the state of Wisconsin.”

Nothing “pending” is mentioned. The three brothers watch on monitors in a conference room. Roman tells Connor Mencken will make his deal, he wants to keep the momentum going. Connor’s immediately in hair and makeup, telling Willa “Slovenia.”

“I am torn, he’s very right wing,” Willa pouts. “But, Vienna for lunch, Venice for dinner…”
“…. And Dubrovnik for breakfast,” Connor completes.

Waystar execs watch Connor make his concession speech in a viewing room. “Connor was running for president?” COO Frank (Peter Friedman) cracks in perfect deadpan.

succession-ashley-zukerman-hbo
Ashley Zukerman in a still from “Succession.” (HBO)

ATN projects Jimenez wins Michigan. That leaves both candidates with 262 electoral votes. Alaska and Arizona, which has the kingmaking 11 electors, are the only states that remain to be called. Tom and Darwin tell Ken and Rome that their data nerds say Arizona is gonna go red. Darwin doesn’t feel comfortable calling the election for Mencken because of the Wisconsin situation. Roman, of course, is eagerly all-in. Ken asks for a minute with his brother.

“I dunno, maybe we revisit Wisconsin,” he haltingly tells Rome.

“I get it, you’re gonna, like, big brother it right now,” Roman responds. “Like when you wanted roast chicken and I wanted steak, we’d always have chicken.”

Chicken and steak are further debated as if they were Democrats and Republicans. Roman finally makes the argument that if they don’t call it and Mencken wins anyway, the lesser right wing networks will leave them dickless eunuchs. Plus, Mencken will block Matsson if ATN gives it to him.

“I dunno, Dude,” Ken shakes his head. “My kids. The whole thing…”

“Ooh, America,” Rome parodies concern.

“It is kind of a nice idea, y’know? All of the different people, together.”

Rome looks at the upside for them of wrecking the country. Ken tells him one of Mencken’s nativists pushed his daughter. Rome makes vulgar sexual references to the historic moment and why they have to take advantage of it.

Ken enters another conference room where Shiv is watching. She says they called, so they’re f—d. She hopes ATN can recant. Ken tells her Mencken was very direct about squelching Matsson’s deal.

“We call it for him, that gives him legitimacy to declare,” Ken explains. “I mean, we’re in bed with him.”
Ken wants to be totally honest, about his ambitions, their family connections, Mencken’s relationship with Roman threatening that – which is why he may want to pull away from that.

“Also, you’re a good guy,” Shiv adds.

Ken’s not so sure. But we all want to stop Matsson, right? Shiv nods.

“Mencken’s the nightmare,” she pleads. “Plausible in a decadent era. He says the bad s—t, he believes the bad s—t.”

“We wouldn’t actually be making him president.”

“Sure, we might not be able to crown him, but we can stop him. He has momentum tonight, it makes it possible. He needs our call.”

“I don’t think I’m a very good father,” Ken deflects after a thoughtful pause. Shiv tells him he’s OK, he tried, that’s all we can do.

“Maybe the poison drips through,” he muses.

“No. No! You know what? I don’t think Dad would even back him tonight.”

“He basically picked him.”

“Sure. But we throw the whole thing in for him and then in a month, a week from now the courts go the other way, we’re essentially done as a news organization.”

“It’s just hard to think we’d give it all away to Matsson. Could you try, once, direct to Nate, to get something from them to block the deal?”

Shiv gives an unconvincing “yeah.” They hug, she tells her brother he’s a good guy, goes into a side room dialing her phone. Ken can barely hear her end of a conversation with “Nate,” but not an out-of-service recording playing into Shiv’s ear.

Deals for Crap

Shiv follows Ken into another conference room where Tom and Roman wait. Tom leaves. She tells her brothers Jimenez is willing to think.

“That sounds like horses—t,” Rome accurately notes. It’s too “probably” for him, while Mencken is rock solid. She says even Dad would’ve respected the process in this situation.

“No!” Roman insists. “Dad did whatever the f—k he wanted. Want facts?” He took out a government.”
Shiv argues Logan liked stability. Ken wants to know what Nate actually said. Shiv tells more vague lies.

Ken walks out onto a catwalk, dialing Nate. Roman’s telling Shiv they can’t have uncertainty b/c China, while she nervously watches Ken through the room’s windows. Ken hangs up, glares at Shiv as he walks over to Greg, asks him if there’s something going on. There’s discussion, Ken re-enters the room.

“Really?” he says to Shiv. “’I think you’re a good guy?’”

She dissembles.

“Smart. Really good, Shiv. But you lied.”

She scratches behind her ear. Ken tells Roman she didn’t speak to Nate and she’s in with Matsson.
Shiv says no three times, she got close to him as they agreed. Ken says she’s f—g him and Rome. More nos and a bunch of “I’s” from her. Ken repeats the latter.

“I f—n’ asked you some real questions, Shiv! I wondered why you looked like a goose trying to s—t a house brick, you piece of dirt!”

“You got yourself a little f—g side deal here?” Roman asks.

“I have some options…” Shiv says.

“We-elll, Mencken!” Rome cuts her off. Ken echoes “Mencken.” Rome shouts for Tom. More recrimination between Ken and Shiv. Rome makes fun of her concerns for the state of the republic and pluralism. She threatens to go to the papers.

“Well, if you’re going to be hysterical, we’ll have to ask you to leave,” Roman sneers. “We’re trying to do some serious work in here.”

“F—k you! This is about the future of the country.”

“No, I think it’s because you broke up with your boyfriend,” Roman demeans his sister.

Tom comes in. Roman and Ken tell him to call Arizona and the election. Shiv says no.

“Hey guys, it’s not my call,” Tom lifts two hands washed in phones. “It’s your call.”

Shiv makes the required Pontius Pilate accusation.

Tom calls Greg, says to tell him he’s coming down to call it for Mencken. The brothers praise his work as he walks out. Shiv has never looked so devastated. Tom joins Greg in the booth, calls it for Mencken. Darwin looks appalled, defeated.

The ATN Decision Desk announces Jeryd Mencken will be the next President of the United States.

Grinning like a gargoyle, the candidate makes his fascist-friendly victory speech. ATN staff and management watch with uniformly unhappy faces. Mencken says the election’s been called for him “by an authority of known integrity.”

As Darwin turns his back and walks out of the control room, Tom says to Greg: “Maybe we should get, like, a history guy? Y’know, like a real brainiac to say why this sort of thing has happened in the past and that it’ll all be fine?”

Ken says, “He’s a guy we can do business with.” Roman agrees, adding “He’ll play ball.”

“We just made a night of good TV,” Roman continues. “That’s what we’ve done. Nothing happens.”

“Things do happen, Rome,” Shiv gravely pronounces from a doorway and walks away. Roman takes out his cellphone, flashes the screen at Ken.

“President calling,” he says.

“You and me, Man! We’ll go far,” we hear Mencken say to Roman.

“Over the road and to the bar,” Rome says back.

In the control booth, Pam tells Tom the legal process could go on for months. Greg tells him his phone is red hot, “A lot of very important people want to scream at you.” Monitors show other networks are blasting Tom for premature projectulating.

“Darwin wants to know when to do his caveats,” Greg tells Tom. “Is there time for him to do it?”

Tom wags a finger and shakes his head no.

Matsson calls Shiv with a JFC as she exits through the ATN building’s revolving doors. “Crazy” is pronounced several different ways.

“Yeah, well, we’re gonna do a number on them,” Shiv assures him once outside. “We’re gonna f—k them so hard! We’re gonna fix this, yeah?”

In his rain-spattered limousine, Ken calls Rava, asks to come see his kids. They’re asleep. He says he’ll see them at Logan’s funeral tomorrow. He hangs up, sighs and to himself says, “Some people just can’t cut a deal for crap.”

Best One-Liners:

For such a presidential special, we think the historical record demands both Connor Roy’s self-pitying Libertarian concession and Jeryd Mencken’s Goebbels-inspired victory speeches should be recorded in full.

Connor Roy:

“My fellow Americans, it’s becoming clear tonight that as far as we can tell, Mr. Jeryd Mencken will likely be the next President of the United States, and I for one wish him well.Although I set a clear and compelling path the divine wisdom has chosen to take another. Well… good luck. And I’d like to say to my first running mate, who I will not dignify with a name check, but had that woman not dropped out, and then had I not had to replace her with another figure who turned out not to be able to bear the weight of public scrutiny… Had I not been betrayed by those two jackrabbits, who knows? Politics of envy. Ugly game. I happen to be a billionaire. Sorry. But honestly America, you flunked it. I guess you’re gonna have to find some other poor mug’s paps to suckle on. The bipartisan zombie marches on. And so I call out to my friends tonight, to my people, I say Conheads I salute you and America be afraid. Be warned. For the Conheads are coming.”

Jeryd Mencken:

“To my critics: I am not a demagogue. I am a defender of democracy. But democracy, it has this tendency, that we have to beware to become mere transaction. I give you this, you give me that. I come begging for your vote, welfare checkbook out. Crowning the welfare kings and queens ‘til everyone’s become a little tyrant crowned by the state. The model that I follow isn’t from the scorched marketplace where cunning men haggle for the best price. That’s not me. The democracy I believe in is where a leader emerged from the people, willed almost into being, brought forth by the great sweetness of the virtue of the combined wisdom of the good people of this republic. Don’t we long sometimes for something clean, once, in this polluted land? That’s what I hope to bring, not something grubby with compromise. Something clean and true and refreshing. Something proud and pure. Thank you very much, and God bless the United States of America.”

succession-jeremy-strong-sarah-snook-kieran-culkin-hbo
Jeremy Strong, Sarah Snook and Kieran Culkin in a still from “Succession.”

Stray Observations:

It’s classically tragic how Shiv’s secrets and schemes come around to destroy the thing she may care most about, American democracy.

Seems like quite a coincidence that this episode awash in self-serving media cynicism comes within a week of CNN’s much-criticized Trump Town Hall. Could cross-promoting their corporate cousin HBO’s show have been part of the news network’s rationalization?

The wordplay in this one is stellar even by the “Succession” writers room’s high, natural-sounding yet fiercely intelligent standards. The way words and phrases are repeated to mean different things in the same arguments is a tribute to both their writers and the actors speaking them. WGA solidarity at its best.

After ending the last several episodes depressed and uncertain, Roman is the undisputed winning Roy sibling this time around. The most despicable, too, but we already knew that.

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It’s Election Day! Episode 8 of the

Fire Island, Anything’s Possible and We’re Here are among the 2023 GLAAD Media Award winners presented in New York Saturday night.

Fire Island and Anything’s Possible tied for best streaming/TV film and We’re Here won for best reality series.

Other award recipients announced Saturday night include The Problem With Jon Stewart (best variety or talk show episode), “Logo’s Trans Youth Town Hall” (outstanding online journalism, video or multimedia), Heartstopper (best live action kids and family programming), Dove Cameron (breakthrough music artist) and A Strange Loop (best Broadway production).

Those projects and the other award recipients named at the New York GLAAD Awards ceremony at the Hilton Midtown join the winners announced in a Los Angeles ceremony on March 30, where prizes went to Bros, A League of Their Own, What We Do in the Shadows, The White Lotus and more.

At the New York event, hosted by What We Do in the Shadows‘ Harvey Guillén, Jonathan Van Ness was recognized with the Vito Russo Award, presented by ALOK, and Maren Morris received the Excellence in Media Award, introduced by Cynthia Lee Fontaine and Alyssa Edwards.

The ceremony, where Idina Menzel performed, featured appearances by Bowen Yang, Karine Jean-Pierre, Joel Kim Booster, Colman Domingo, Tamron Hall, Amrit Kapai & Nicholas Kouchoukos, L Morgan Lee, Raquel Willis, Lisa Ann Walter, Chris Perfetti, Frankie Grande, Bob the Drag Queen, Eureka and GLAAD president and CEO Sarah Kate Ellis.

A complete list of winners announced at the New York GLAAD Media Awards ceremony follows.

Outstanding Film – Streaming/TV: Fire Island (Hulu) and Anything’s Possible (Prime Video) (TIE)

Outstanding Reality Series: We’re Here (HBO)

Outstanding Variety or Talk Show Episode: The Problem With Jon Stewart (Apple TV+)

Outstanding Online Journalism – Video or Multimedia: “Logo’s Trans Youth Town Hall” (LogoTV.com)

Outstanding Kids & Family Programming – Live Action: Heartstopper (Netflix)

Outstanding Kids & Family Programming – Animated: Dead End: Paranormal Park (Netflix)

Outstanding Breakthrough Music Artist: Dove Cameron (Columbia Records)

Outstanding Broadway Production: A Strange Loop

Outstanding Video Game: Apex Legends (Respawn Entertainment/Electronic Arts)

Outstanding TV Journalism Segment: “HIV in the Deep South” In Real Life (Scripps News)

Outstanding TV Journalism – Long-Form: “PRIDE | To Be Seen” Soul of a Nation (ABC)

Outstanding Live TV Journalism – Segment or Special: “The Last Thing Before We Go: Stephanie Ruhle Talks Spirit Day” The 11th Hour (MSNBC)

Outstanding Print Article: “Pediatricians Who Serve Trans Youth Face Increasing Harassment. Lifesaving Care Could Be on the Line” by Madeleine Carlisle (Time)

Outstanding Online Journalism Article: “Alabama Is Trying to Raise the Legal Driving Age for Trans People to 19” by Nico Lang (TheDailyBeast.com)

Outstanding Blog: Mombian

Outstanding Podcast: TransLash Podcast with Imara Jones (TransLash Media) and Sibling Rivalry (Studio71) (TIE)

Outstanding Spanish-Language Online Journalism Article: “Proyectos de ley anti LGBTQ+ en Florida son una ‘licencia para discriminar’ y reviven el dolor de Pulse, dicen grupos locales” por Jennifer A. Marcial Ocasio (OrlandoSentinel.com)

Outstanding Spanish-Language Online Journalism – Video or Multimedia: “Las abuelas trans buscan dignificar su vejez” por Liliana Rosas y Silvana Flores (ReporteIndigo.com)

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Fire Island, Anything’s Possible and We’re Here

Saif Ali Khan will be soon seen in Adipurush.

Eleven years after actor Saif Ali Khan and two others allegedly assaulted a South African businessman and his father-in-law at a hotel in Mumbai, the trial in the case is likely to begin from next month.

Eleven years after actor Saif Ali Khan and two others allegedly assaulted a South African businessman and his father-in-law at a hotel in Mumbai, the trial in the case is likely to begin next month.

The additional chief metropolitan magistrate, Esplanade court, on April 24 read out charges against Khan and his two friends– Shakeel Ladak and Bilal Amrohi. It also issued summons to witnesses for the recording of evidence, paving the way for the trial which is likely to begin on June 15, the next date of hearing in the case.

The accused were arrested following a complaint filed by businessman Iqbal Mir Sharma after an alleged fight at the Wasabi restaurant inside the Taj Hotel on February 22, 2012. The three accused were later released on bail.

Saif Ali Khan was accompanied by his wife and actor Kareena Kapoor Khan, her sister Karisma Kapoor, actors Malaika Arora Khan, Amrita Arora and some male friends at the time.

According to police, when Sharma protested the raucous chatter of the actor and his friends, Saif Ali Khan allegedly threatened them and subsequently punched him in the nose, fracturing it. The NRI businessman had also accused Saif and his friends of hitting his father-in-law Raman Patel.

On the other hand, Saif Ali Khan said Sharma made provocative statements and used abusive language against the women accompanying him, which led to the ruckus.

The police filed the charge sheet on December 21, 2012. Saif Ali Khan and his two friends have been charged under Indian Penal Code Sections 325 (voluntarily causing grievous hurt) and 34 (common intention).

Saif Ali Khan is known for his work in films like Hum Tum, Kal Ho Na Ho, Tanhaji and Omkara. His recent release, Vikram Vedha has is now available on an OTT platform too. Next, Saif will be seen in Adipurush along with Prabhas and Kriti Sanon. Om Raut’s directorial will hit theatres on June 16.

(This story has not been edited by News18 staff and is published from a syndicated news agency feed)

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Saif Ali Khan will be soon seen

Will Jonathan Majors be recast as the MCU’s Kang the Conqueror ahead of Avengers: The Kang Dynasty and Avengers: Secret Wars?

The Avengers 5 actor found himself in hot water after being arrested for the strangulation, assault, and harassment of his now ex-girlfriend who worked on Ant-Man and The Wasp: Quantumania. Further allegations emerged after the New York City incident claimed Majors has abused multiple women over the years.

While Majors’ team continues to deny the allegations and has even shared text messages to help prove his innocence, the ongoing case has taken a toll on the MCU star’s thriving Hollywood career.

The actor has already been removed from a US Army ad campaign and is set to be recast in several of his upcoming projects.

Why Jonathan Majors Is Hard to Lose

Jonathan Majors

While other studios have been quick to cut ties with Jonathan Majors, Marvel Studios has a much tougher decision under its belt. After all, the MCU has already committed to building the next three years of Multiverse Saga storytelling and the next two Avengers movies around his Kang the Conqueror.

According to Joanna Robinson, the author of the upcoming book MCU: The Reign of Marvel Studios, who spoke on The Ringer’s The Big Picture, the plan to place Kang at the “center of everything” only even came about after seeing Majors’ performance as Kang and the reactions to him: 

“I was told by someone who works for Marvel, it was not the plan to make Kang the center of everything until they saw the dailies from ‘Quantumania’ and after his performance in ‘Loki,’ which was so strong they were like, ‘This is it. This is our way forward. We’ve lost our varsity hero team, but let’s set up around this guy Kang and this performer that so many people are reacting to.’”

Majors has also become a huge name lately after taking on villain roles in Ant-Man 3. and Creed 3, with particular praise given to his show-stealing performances. Early screenings of the upcoming bodybuilder flick Magazine Dreams have even claimed he delivered an Oscar-worthy performance in the movie.

So, with the decision to place Kang at the forefront of the MCU having only been made due to Majors’ own talent and what he brought to the role, finding a new actor to simply slot into that is no easy task. 

5 Ways Marvel Could Handle Its Jonathan Majors Problem

1.) A Simple, Unexplained Recast

Kang Recast, Jonathan Majors
Marvel Studios

If the worst comes to pass, and Jonathan Majors has to leave the Marvel Cinematic Universe, perhaps the cleanest option is a simple recast.

In this scenario, Marvel Studios would make no attempt to explain why Kang suddenly looks different, and instead just push forward with another actor who can embody the look, traits, and talent that Majors brought to the role.

There is precedent for this in the MCU, as Edward Norton’s Hulk, Terrance Howard’s Rhodey, and Emma Fuhrmann’s Cassie Lang were all recast with no explanation, and the same is expected to happen next year as Harrison Ford replaces the late Willaim Hurt as General Ross in Captain America 4.

2.) Using Other Kang Variants

Kang Variants, Ant-Man 3
Marvel Studios

Alternatively, Marvel Studios could do something akin to the prior solution, but while also establishing not all of Kang’s Variants are played by the same actor – either through a larger explanation or just an off-handed line.

Loki and Spider-Man: No Way Home proved Variants of a character can be played by different actors. However, Ant-Man and The Wasp: Quantumania appeared to throw a spanner in the works as the post-credits scene showed off countless Kangs, all of which were played by Jonathan Majors.

Perhaps the MCU could revisit the Council of Kangs, but this time including a variety of Variants played by different actors. This would set a precedent for someone new to become the leading Kang actor in the MCU, shifting the focus off Majors.

3.) Guardians 3 Holds The Solution

Chukwudi Iwuji, High Evolutionary, Guardians of the Galaxy Vol. 3
Marvel Studios

Ever since Guardians of the Galaxy Vol. 3 released and Chukwudi Iwuji delivered one of the MCU’s greatest villain performances yet as the High Evolutionary, many have suggested he may be the perfect choice to replace Jonathan Majors.

On some level, the High Evolutionary does share some traits with Kang in their mutual scientific interest, desire for control, and somewhat crazed personality. Both are even purple-wearing villains who are played by Black actors, so it wouldn’t be a massive stretch to retcon the Guardians villain into a Kang Variant.

There’s no reason the High Evolutionary being revealed as the Earth-616 Kang would have any impact on the Guardians’ own story, and, if anything, it would help make Vol. 3 a more important chapter in the Multiverse Saga.

4.) Finding a New Big Bad

Doctor Doom
Marvel

As mentioned before, Kang supposedly wasn’t always the plan for the MCU’s current saga until Jonathan Majors came along. Since Marvel Studios always plans far ahead, that would seem to suggest they had a previous direction and perhaps villain in mind which they could pivot back to.

Many had already been calling for Doctor Doom to be the lead villain of Secret Wars, as he is in the comics. Perhaps Victor von Doom could be introduced sooner rather than later to become the new focus of the ongoing Multiverse Saga.

But this notion becomes far more unlikely when one considers how Avengers 5 has already been announced and begun writing as The Kang Dynasty. So, unless they are looking to start over and reannounce the movie, Marvel Studios is stuck with Kang, but not necessarily Jonathan Majors.

5.) Keep Calm and Carry On

Jonathan Majors as Kang the Conqueror in Ant-Man and the Wasp Quantumania
Marvel Studios

Marvel Studios may still opt to continue forward with Jonathan Majors, provided the verdict of his trial comes back not guilty. If the actor were to be found guilty of the assault and abuse allegations, his time in the MCU will undoubtedly be at an end, especially given he could face as much as a year in prison.

Even if Majors is found to be innocent in his case, there will likely be a portion of the fan base who continue to call for his cancelation and firing. This is why a “not guilty” verdict for the actor doesn’t necessarily mean Marvel Studios will keep him on as Kang, but they could equally choose to turn a blind eye to those pleas.

How Will Marvel Resolve the Jonathan Majors Situation?

Marvel Studios has reportedly been “discussing options” with Majors’ team regarding his future as the MCU’s Kang the Conqueror, although it seems no decision has yet been made regarding his future.

While certain reports have claimed Marvel Studios may be exploring a recast and may even have a particular actor type in mind with Damson Idris, others have suggested that idea hasn’t been brought to the table yet.

Back when James Gunn was fired from Guardians of the Galaxy Vol. 3 after a series of controversial old tweets resurfaced, Disney’s Alan Horn, who was the one to oust the director, supposedly “couldn’t sleep” over the decision. So perhaps the studio will look to take its time to see how things play out this time around.

Much of Marvel Studios’ response to Jonathan Majors’ allegations will likely hinge on his legal proceedings and any evidence that may emerge from them. The actor already appeared for a hearing via Zoom, with his next court date set for June 13.

Whatever happens with Majors’ verdict and how it affects public opinion ought to help guide Marvel Studios’ decision on whether to recast Kang. In the meantime, the studio will likely continue to closely monitor the situation, remain in contact with Majors’ team, and weigh a number of options.

If Majors is found guilty, it’s tough to imagine a world where Disney, Marvel, or any major studio for that matter, would be looking to work with him anytime soon. This is especially true when it comes to a role like Kang which would make Majors the face of the MCU’s storytelling for several years to come.

So, will Jonathan Majors be recast as the MCU’s Kang? The honest answer, for now, is nobody knows, and it’s unlikely any decision has even been made.

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It is only three years ago since the now defunct DC Universe network premiered Swamp Thing, an ambitious live-action series based on the DC comics character, but now a new iteration is coming as part of James Gunn and Peter Safran’s new DCU plans. Announced today as part of the first slate of projects for the rebooted comic book franchise, the Swamp Thing movie will seemingly be a dark entry in the franchise that will remain “interconnected” but will be tonally different to other DC projects that have been announced today. Speaking about the movie, Gunn said:


“The final film we want to talk about is Swamp Thing, and we bring it up because it’s important to point out that in these stories, although interconnected, they’re not all tonally the same. Each set of filmmakers brings their own aesthetic to these films, and the fun is seeing how these tonally different works mash up in the future. This is a film that will investigate the dark origins of Swamp Thing.”

The original Swamp Thing stories centered on scientist Alec Holland, who after an explosive accident jumped into the swamp to put out the fire and found himself fused with the plant life of the swamps. What has not been depicted on screen is that Swamp Thing’s creator Alan Moore explained years later that Swamp Thing was actually an elemental force of nature brought to life and scientist Alec Holland died after diving into the swamp, with the force that was Swamp Thing only taking on his memories as a direct result of the accident. Whether any of this will be in the new movie is yet to be revealed, but the movie certainly seems to be one of the more out there projects on the slate.

MOVIEWEB VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT

Related: Aquaman 3 Might Still Happen with Jason Momoa’s Future in the DCU Uncertain


How Can Swamp Thing Actually Be Connected To Other DC Projects?

Warner Bros. Television Distribution

One thing that seems to be apparent with the new slate of DCU projects is that it has a similar problem to the old DCEU in that whatever connection there is between these project is currently thinner than a spider’s thread. Although Gunn has said that he has a long term plan, which would assumedly include where everything fits together, launching the new DCU as a cohesive universe with a seemingly unconnected group of projects scattered along an unclear timeline seems a very bold move.

Swamp Thing is about as far away from the likes of Superman and Batman, and certainly a Wonder Woman prequel, as you can get in terms of setting, tone and story. That means that fans will have to put a long term investment into the long-term DC plan without being entirely certain of where it is going. There has been a lot of excitement about some of the individual projects announced today, and reservations about others. With a two year wait for the new DCU slate to begin rolling out, there will be a lot of time to ponder and speculate on exactly how invested fans want to be.

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It is only three years ago since

Jack Black has created yet another catchy song – and this time, it’s a love letter to video games.

Following up on his song “Peaches” for The Super Mario Bros. Movie, his band Tenacious D released “Video Games” with an accompanying music video that sports more game references than you can count on two hands. You can watch the full video here.

It opens up with an animated version of Jack Black singing about how he doesn’t play video games (we all know that’s not true) with bandmate Kyle Gass playing guitar. As the video goes on, Black begins to name a bunch of video games he’s played… while Gass gets killed by various video game creatures and characters.

Throughout the song, he references God of War, Fallout 4, Sonic the Hedgehog, Red Dead Redemption 2, The Legend of Zelda, Street Fighter, Minecraft, Tomb Raider, Team Fortress 2, Mega Man, and Super Mario Bros.

It’s only Black’s latest mix of music and games. Last month, “Peaches” had climbed to the Billboard Hot 100 list. It was listed at No. 83, making it the first song in his solo career to make it on the list. Before that, the last time he was featured on the Billboard Hot 100 list was in 2006 when Tenacious D made the “The Pick of Destiny.”

For more Jack Black-related news, check out our story on how he wants the Super Mario Bros. movie sequel to star Pedro Pascal as Wario and why he was hesitant to sing in the Super Mario Bros. Movie.

Luis Joshua Gutierrez is a freelance writer who loves games. You can reach him at @ImLuisGutierrez on Twitter.

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Jack Black has created yet another catchy

This new hybrid camera packs loads of features for photographers and video shooters, but does it spark joy?

Nikon is a company that’s been around for more than 100 years. That’s a century. They opened their doors before penicillium was invented. 

Over that time, Nikon created some of the best photography cameras and lenses. I still shoot on vintage Nikon lenses from the ’70s, and my Cine-Modded lens kit is all in Nikon F-Mount.

When the Nikon Z9 was released, I was impressed with the feature set and floored by the price point. It was a hybrid camera focused on photographers and offered amazing video capacities and internal RAW. 

This has now been followed by the Nikon Z8, a more compact and affordable version of the flagship. It’s equally impressive. 

So, why does it feel like such a lackluster release? Before this turns into a philosophical conversation about the tools we use, let’s see what the Nikon Z8 is hiding under the hood. 

The Nikon Z8 — 8K N-RAW Internally

More compact than its older sibling, The Nikon Z8 contains the same 45.7 MP full-frame sensor with a processor that can output 8K60p and 4K 120p video recording. Creatives will also find internal 10-Bit ProRes 422 HQ and 12-Bit Raw in Nikon’s own N-RAW. Will that last? That depends on how the lawsuit with RED will end.

The Nikon Z line is a photographer’s dream. The company has always been known for its photography prowess, and the Z8 doesn’t disappoint. A blackout-free viewfinder and 4-Axis tilting monitor make shooting efficient and comfortable. The camera also doesn’t have a mechanical shutter, which produces a minimal rolling shutter, makes shooting absolutely silent, and offers raw or JPEG bursts at 20 fps at shutter speeds up to 1/32000 of a second.

Size-wise, the Nikon Z8 is also a lot more manageable, being 30% smaller than the flagship Z9. If you need the extra oomph of a battery grip, a dedicated vertical battery grip is also available.

Credit: Nikon

Audio, Video, and Autofocus

The Nikon Z cameras are some of the few cameras that actively support internal RAW recording. Much like the Z9, the Z8. include 12-bit internally using Nikon’s N-RAW, as well as 10-bit ProRes. All this comes out at up to 8K60p recording or 4K 120p for slow-motion.

Autofocus on the Z8 uses deep learning to offer precision tracking across a wide range of subjects. This can capture humans, animals, and vehicles in difficult lighting environments or when the subject moves quickly. 

Nikon Z8 card slots
Cards slots for SD Cards and CFexpress Type BCredit: Nikon

With video tools that you’ve come to expect, like a waveform monitor, zebras, focusing peaking, and timecode, as well as 24-bit linear PCM audio recording with the ability to break out to XLR mics via an adapter, the Nikon Z8 feels more like a production camera than a photography one. But in this new hybrid world, is there really a difference?

Nikon Z8 illuminated buttons
Illuminated rear buttonsCredit: Nikon

For the size, the Z8 is impressive. The only other internal RAW hybrid camera that I can think of is the Canon RC 5. Sure, there are others, but those mostly fall into the cinema camera space.

So why am I not more excited?

A Clinical Tool

Once upon a time, a camera did one of two things: took photos or a moving image.

That lasted right up until Canon released its game-changing EOS 5D Mk II and 7D. But even as the lines blurred, we still got some unique cameras. The original BMCC 2.5K, the AJA Cion, the Canon C300, and most recently, the Sony FX3 and Fujifilm X-H2s.

Not all of these cameras were successful, but they ignited that urge inside me to go out and shoot. They were fun to use and allowed me to create images I was fond of. 

I still shoot on an old Nikon FG-20. I adore my Canon 7D. My Fujifilm X-H1 is a joy to use. The last two cameras also have adapters for my Nikon lenses. I love Nikon. So why doesn’t the Nikon Z8 spark that joy?

Come to think of it? None of the last few Canon releases (besides the EOS R5 C) sparked any joy, either.

The more I sit with this question, the more I come to the conclusion that creatives may need a bit of creativity in their tools. If you have the skillset, 99% of the time, no matter what camera you get, it’s going to produce gorgeous images. So what makes you choose one over the other? Feature set? Resolution? Dynamic range?

When I choose my tools, I look for something that will give me that burst of inspiration, get out of my way, and allow me to create something cool I get this with all my cameras. But I think when a tool tries to be too clinical, kinda like what the Nikon Z series feels like, it lacks that je ne sais quoi.

Will the Nikon Z8 be an incredible tool for those who need it, be it for video or photography? Of course. It’s a brilliant camera, but will it spark the fire in every creative? At this point, I can’t really say it will. Maybe I’m just not the shooter this camera is made for.

What do you think? Do you want the Nikon Z8 in your kit? Let us know in the comments!     

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This new hybrid camera packs loads

Bill Hader is certainly happy that people like “Barry,” but he also wants to be clear: the episodes you see are the product of a lot of refinement. Specifically in Season 4 Episode 6, there was an entire Sally storyline that would have (maybe) involved Jennifer Lawrence that was jettisoned and a scene that was reshot mere weeks before the series premiered.

“When you’re doing this stuff, people can tell you you’re great until they’re blue in the face, but you make a lot of mistakes,” Hader told TheWrap in our episodic breakdown interview for Episode 6. “People watch the show and go, ‘Oh my God it’s so good,’ and it’s like, ‘No, I make a lot of mistakes!’ You need smart people who aren’t afraid to tell you you’ve made a mistake to be like, ‘What are you doing?’”

Initially, Sally (Sarah Goldberg) was going to have a daydream that she flew to LA, made up with Natalie (D’Arcy Carden) and ran into Jennifer Lawrence who was supposed to play Sally in the Barry Berkman movie. In that run-in, Lawrence would have told Sally that she should play herself in the movie, and then Sally would wake up.

“My problem with that was it was similar to Cousineau’s journey. So while we were in the prep for Episodes 1 and 2, Liz Sarnoff and Duffy Boudreau and I had a meeting of what is Sally’s story in Episode 6?” Hader said. “We kept going back and forth and then, kind of like Episode 5, I was like, ‘Let me just try something’ and I wrote that sequence with her and the guy and the truck and everything. I was like, ‘What if it’s like this? Like a manifestation of her guilt,’ and they were like, ‘Great!’ and we ended up doing that.”

Read on for our full breakdown interview with Hader about “Barry” Season 4 Episode 6, which was conducted before the WGA strike.

Note: This will be our final episodic interview with Hader until the strike is over, as Hader is standing in solidarity with the WGA and not doing any more press. We will return with interviews with Hader for Episode 7 and Episode 8, the series finale, once the strike is over.

So Episode 6 begins with this idea that Barry is going to kill Gene, and it’s a righteous thing to do, but in reality he just doesn’t want Gene to be the one telling his story.

Yeah, it goes back to his anger at Lon O’Neill in Episode 3 and how he doesn’t like Gene telling his story, because Gene Cousineau’s version of things makes Barry look really bad. Barry doesn’t want that out there, and now that he has this kid who sees him as the perfect version of himself, he just wants John to think of him as this hero and this great guy. If that comes out, that’s bad. I like that he says, “Because I want the truth, and what Gene says is not the truth,” and Sally says, “Yeah but our son thinks my name is Emily” and he says “Yeah but he knows the real you,” which is just brutal (laughs). And Amy Gravitt’s favorite line of the entire season, the hardest she laughs, is when Barry says, “It’s either we do this or we take John to an orphanage and then we kill ourselves.” That’s such an extreme way to look at the situation (laughs). And Sally is right, she says this is just about you and Gene. It’s not gonna really stop anything, but in his mind if Gene’s dead it can mess up the movie in some way.

I love that she then changes tracks and says, “I don’t think this is God’s plan for you.”

Yeah she’s using what he cares about against him.

Tell me about the pastor podcasts that he’s listening to and this idea that he’s just hopping from one pastor to another until he gets the answer he wants.

Yeah that’s his journey of “Is it a sin?” You know, “Now I’m this guy but my old self used to sin,” so again it’s less about religion to me and more about you can find anything on the internet, whatever your view is. It’s just him actually searching things that are correct, murder is a sin, and he’s gotta go down the wormhole to find this ex-hockey player who’s somehow a pastor (laughs). That’s Bill Burr by the way, he’s Pastor Nick. The first pastor is our composer Dave Wingo and then the second pastor is James Austin Johnson from “Saturday Night Live” and they all did amazing jobs. That kind of came late in the episode actually. Barry doesn’t have a lot to do. In the episode initially, he just kind of drives up, shows up, and then he’s just kind of following Cousineau around. We thought it’d be nice if she says that and that sticks with him and he’s like, “Wait, is that a sin?” He’s not that bright, but he can find something that validates his feelings. It’s the same thing as looking up the baseball stuff.

There’s a reference in there when he’s leaving that they’ve moved around a lot, that they haven’t been in this place for long.

Yeah they move a lot, I don’t think that’s where they’ve been the whole eight years. I think it’s been a wide variety of places probably. And Sally doesn’t wanna get caught, she doesn’t wanna go to jail.

Now we can talk about Fuches as a badass. When did you come up with this idea of his evolution in prison and his big re-introduction in this episode?

Yeah The Raven becomes a reality. In Season 3, we introduced the idea of that scene where Hank goes, “They call him the Raven,” and everybody goes, “It’s such a terrible name.” I just said it’d be really interesting if in Season 4, somehow you go to the Raven, like he actually becomes a badass. And then when we came up with this idea of a time jump, it’s like, “Oh, now this makes a lot of sense that he would be in jail and get beaten to a pulp and everything and then come out with all his respects as The Raven. That is a sequence that is purely from the song. In Season 3 I had the radio on and that “The Wizard” song came on by Black Sabbath and I just immediately, just driving to set, it all popped into my head as you see it. Then I went and I acted it out for Duffy (Boudreau) and Gavin (Kleintop) and they were like “Oh that’s great.” And we were shooting stuff with Stephen on that farm with all the goats and I acted it out for him and he was like, “Sure, OK. OK Bill!” (laughs).

barry-season-4-episode-6-sarah-goldberg
HBO

When I asked him about it he said he loved it. He was super into the whole transformation.

He was so funny and so game. He came up with the idea of the black fingernails. So that’s why I had him kind of showcase that and that little moment with him and the guard, we kind of came up with that on set. It was really fun.

And he immediately gets a family.

That was the other idea. Most times you have those scenes where guys come out of prison and they go and have sex with somebody and I was like, “I think what he wants is a family, so what if he got out and immediately gets a family?” Interestingly, the woman who plays his daughter is a great young lady by the name of Autumn and she was a PA on our show. She was so sweet and funny and I was talking to Duffy and was like, “What if that’s the woman’s daughter?” So Autumn was cast before we cast the woman who plays her mom. Aida Rodgers came up to her and was like, “Hey, would you be interested in being in this?” She was like, “Yeah, are you kidding?” Aida asked, “Do you act?” and she was like, “No, but I’m in film school and everything,” and she did a great job. She’s really good. She did her part and then we shot her stuff, and then when I came back, she had her walkie on and was walking up and I was like, “Wow, back to PA,” and she’s like, “Yeah man!” She went right back to work.

What came first, the idea of Hank as this tech guru crime boss or the idea that he would have to kill Cristboal to get there?

To me Nohobal and the statue of Cristobal is like Barry looking up Abraham Lincoln and all these things, it’s just a way for him not to feel bad. It’s this giant corporation to his denial. “I won’t have to feel bad if I build up Cristobal’s legacy. He died, but if I do this and have a big statue of him, I won’t feel bad,” and live in denial that way. By the end, you see how deep that denial is. The question is, can he be a crime boss?

I also like the idea that Fuches is his foot soldier and now all he wants is Barry dead.

He’s had eight to stew about Barry because Barry sold him out, and now he’s just a different guy. It’s a question of does he still love him or not? It seems like he doesn’t. His whole thing is Barry alone in a room with my guys.

Meanwhile, back home, Sally is giving John alcohol. She is miserable, locked in this place. And I think you realize she didn’t want Barry to go partly because she didn’t want him to kill Gene, but partly because she didn’t want to be alone with their son.

Yeah, and she knows her son hates her. There’s a lot of self-hatred because the kid hates her and she has to take care of him, and he’s crying and she’s drunk. So now, maybe if she gives him a little vodka he’ll pass out and she won’t have to deal with it. The big thing for us in the edit was making sure you can hear John snoring because people were like, “Wait, is he dead?” and you’re like, “No, no, I can hear him snoring,” (laughs). I think she doesn’t want to be left alone.

Initially, the Sally storyline was way different in this episode. It was her going online and seeing what people were saying about the movie. Then that stuff with D’Arcy Carden’s character Natalie was kind of a setup to see her start to watch the final episode of “Just Desserts,” but then she goes and it’s like the “Just Desserts” finale is #3 on some list and the Barry Berkman movie is #2, so it gives her this feeling of like, “Oh maybe this is my comeback” kind of thing. You see her read it and you see all these people online and on social media saying who they think should play Sally, and then she looks at John and then you cut and they get on a plane and fly to LA. They go into Warner Bros. and they see that it’s her and they’re so excited. They say, “You’re not gonna believe this, Jennifer Lawrence wants to play you.” Then she goes to this party and sees Natalie who’s so nice to her, like, “You taught me everything” and apologizes to her. Then she meets Jennifer Lawrence and Jennifer is like, “You know what? You should play Sally, not me,” then you cut and realize Sally is still at her keyboard and this has all been her daydream.

My problem with that was it was similar to Cousineau’s journey. So while we were in the prep for Episodes 1 and 2, Liz Sarnoff and Duffy Boudreau and I had a meeting of what is Sally’s story in Episode 6? Because I start pulling the thread of, “Isn’t this in the same ballpark of what Cousineau is doing?” Is that really her thing, or is it about being safe? We kept going back and forth and then, kind of like Episode 5, I was like, “Let me just try something” and I wrote that sequence with her and the guy and the truck and everything. I was like, “What if it’s like this? Like a manifestation of her guilt,” and they were like, “Great!” and we ended up doing that. The only thing that changed was when we got there, that guy initially you never saw him. You just heard his voice and you saw his foot come through a window. There was a scene where she’s looking in the mirror in her bathroom, and then behind her she notices a foot, like a man trying to get in through the window, and you see just his foot. She screamed and starts hitting the foot, and then the leg and the guy screams and falls out the window. I was just looking at it and thinking and I said, “What if it’s just this guy all in black?” The costume designer brought in some ideas and I was like, “No not a robber, it’s almost like he just blends in.” The first thought I had was you remember the poster for the Todd Haynes movie “Safe?” It was like that, but all in black. So that was what we were trying to do, but I had the idea of the costume basically that day so costumes was running around trying to make it work. How all that came about was being less about her being like, “Maybe I can make it” and more about her guilt.

A thing that came way late, I’m talking like early April, was what Sally heard initially through the door was a voice but it was a combination of me, Henry Winkler, Anthony Molinari who played the guy she killed, the actor who played Sam her husband and the actor who played her dad. So it was gonna be all of us saying the same thing, but it was gonna be modulated into one voice. Then I got this idea of what if it’s like I do one sentence and then Henry does the other sentence and then Anthony does one sentence, and we’re talking to the sound guys and I can just see the look on their faces. There’s a different look you get from people. Sometimes it’s, “That’s cool. F–k, that’s gonna be hard,” then there’s like, “That’s gonna be hard, and I don’t know if that idea is gonna work,” and that’s how Matt Taylor was looking at me (laughs). Then Duffy called me that night and he goes, “I think it should just be Anthony Molinari. It should just be his voice. Shane is who she feels the guilt about killing, that’s the guy who’s peeking over the seat in Episode 1.” Then, while we were in the edit, I got the idea of, “What if we just put the audio of when she stabbed him in Season 3?” It worked really well. So then we brought Anthony back and recorded everything after that, and then you hear him say, “Hey kid wake up your mom put something in my eye.” That was done and recorded a week before we premiered.

And then when the truck hits the house, that was something that I said, “’I’d love a truck to hit the house and I’d love the room to tilt,” and Aida Rodgers got really excited and said, “You mean a gimbal?” She was like, “Oh my God I would love to shoot on a gimbal!” That scene was the very first day of shooting the last block of “Barry,” Sarah in that room and us tilting the room on its side. I wanna say she had a lot of fun. We did it relatively fast. When she looks out the crack in the wall and you see that truck backing up, that was actually done months and months beforehand when we were shooting all this stuff out in Lancaster. We just put a wall up and put a giant tear in the middle and then shoot the truck backing up. Of course, we get out there, pick a truck, transportation brings the truck out there and the truck dies and we’re losing the light (laughs). For a wrap gift for the whole series, Aida Rodgers gave me a series of photographs and one of the photographs is a really beautiful black and white photo that Merrick, our amazing still photographer — who was the still photographer on “The Big Lebowski” incidentally — he has this amazing photo of me, Aida, Eric Schoonover, Gavin Kleintop and Wade Allen all next to that truck just laughing. The actual moment where we were like, “Are you f—king kidding me?” That kind of sums up film production right there, us next to this truck that’s smoking and we’re laughing. So the truck we used is actually Kenny our transportation coordinator’s truck that we had to convince him to let Wade get it dirty. He was like, “You can use my truck but you’ve got to clean it!”

Let’s talk about Gene’s headspace in this episode, because he seems to be acting pretty selflessly in not wanting this movie to be made.

So initially, Episode 5 was going to be half of Barry and Sally half of Cousineau on a kibbutz in Israel. He was gonna be Bar Mitzvah’d so it was this thing of him in Israel becoming a man and it was him doing his lessons and stuff with this 13-year-old boy. The episode initially ended with him, right before he’s officially a man, Tom calls him and is like, “They’re coming out with a movie about you guys,” and he flees (laughs). But I was like, he actually has to be selfless. This hurts the whole story. It’s more interesting if he’s actually changed. So then I wrote the version that we filmed, which was he’s being pitched a movie in an office and he’s listening, and then you see him with Josie the executive. And she’s saying we’re really excited, this is great, and he’s like, “I’m very excited” and then he goes from being excited about the movie to then like rope a doping her and being like, “Actually, I’m not into the movie. I just wanted to hear what you guys were planning, and now I know about it, I’m gonna take you down.” So story-wise, it was a surprise where you think Barry’s worst fear is Cousineau showing everyone what a monster Barry is and he’s gonna do the movie, and then at the end of the scene you’re like, “Oh my God, he’s actually not into it.”

So we do that and we shoot it and I show it to people, and Emma Barrie one of our writers goes, “That scene makes no sense. Why would Cousineau come back just to say he’s gonna do it but he doesn’t want to do it?” I’m like, “Well, it’s a big turn, see?” She said, “Right, but you’re looking at this more from a story point of view, from a character point of view, he wouldn’t do that, he would just come back. If he actually changed his life and became a selfless person, he would just come back and say, ‘I’m not doing this movie.’” And I was like, “But there’s no turn in that, and the article!” Initially the article we see at the end of Episode 5 said, “Gene Cousineau to Work on Barry Berkman Project,” it seemed like Gene was the one who had the idea of doing the movie. Like the studio wasn’t gonna do a movie, but because Gene came back, now they’re doing it. We had a long back-and-forth over text while I’m doing reshoots of the SWAT guys beating people up in Dave and Buster’s (laughs). Finally we talked on the phone and I go, “I don’t get why you don’t get this,” and she was like, “OK, just explain Cousineau’s plan to me,” and I started to do it and it sounded so dumb (laughs). We were done with reshoots so I go in with Ali Greer and Frankie Guttman and we tried to go in and re-edit that scene and use ADR to take that big turn out. Aida came in and I was explaining it all to her and she goes, “Why don’t we just reshoot the scene?” and I was like, “Can we do that?” and she goes, “I’ll call HBO right now.”

That’s why, when you’re doing this stuff, people can tell you you’re great until they’re blue in the face, but you make a lot of mistakes. People watch the show and go, “Oh my God it’s so good,” and it’s like, “No, I make a lot of mistakes!” You need smart people who aren’t afraid to tell you you’ve made a mistake to be like, “What are you doing?” That’s why Emma Barrie is somebody I will always show my stuff to forever, because she’s really smart and she isn’t afraid to be like, “I don’t get that.” So we went back and the very, very last thing forever that we shot of “Barry” was that scene with Tom and Gene and the studio where we just simplified it. I wrote it real fast with Duffy and gave it to Henry and we just did it really quickly. Then the very, very last shot ever of “Barry” was that DEA agent coming and going, “Gene Cousineau, take two more bites of that salad and come with me.” That was a series wrap for the whole thing.

barry-season-4-episode-6-henry-winkler-fred-melamed
HBO

The very first shot of “Barry” was the establishing shot of Goran’s house in the pilot and then the second shot of “Barry” was Anthony coming out going “Hey, I’m Hank, you must be Barry.” Those are the first two things we shot and the last thing we ever shot was that guy going, “Two more bites of that salad and come with me” (laughs). The actor improvised that, by the way, which was very funny. He improvised, “Two more bites of that salad.” But yeah, it’s wild man. It’s funny when that happens.

But yeah, Emma deserves all the credit for making that storyline simpler. Because sometimes people can tell you what’s wrong, but she’s really good at saying, “This doesn’t make sense to me” but she doesn’t say here’s how to fix it, which is really helpful.

Where did the idea of Jim Moss capturing Barry come from?

That was always kind of a thing from the beginning, so in Episode 3 when he goes, “Hey, would you like to go to my garage?” and Lon goes to the garage and he comes out speaking German and you’re just like, “What does Jim Moss do to people?” that was always a setup to us knowing that at some point, Barry is going to end up in the garage. That garage is not a place you want to go. Because that was very early on when we came up with the idea of we should put Barry in the Cousineau hot seat.

Of all the ideas to have or places to go, that was definitely one that we all wanted to see was, at some point, Jim Moss captures Barry. The hardest scene to write and edit in that entire episode was Barry out in the car and Cousineau and his son inside, and just trying to pace that. It became this thing of “How long is Barry in there? Why isn’t he coming in?” You wanted to have this sense of he can come in at any moment. We had to cut down what Cousineau and his son were saying to each other. Here’s a fun thing when you’re editing a scene like this, is sometimes you’re cutting stuff and you don’t understand why it doesn’t work, and you’re cutting it and cutting it and you realize a line in the middle is really funny. So the first line that Cousineau now says to him is, “I’m sorry I shot you, I thought you were someone else” and “Your injuries weren’t life-threatening Baruch Hashem,” that was actually in the middle of the scene. Making that the first line made us laugh really hard. It’s such a thing to say having not seen him in eight years.

I also wanted to say that Ali Greer did an amazing job cutting the dinner scene with Fuches. We worked on that for a day and a half, there was so much stuff, and we really found the right sweet spot for that scene. It was a tough scene t cut because it was only four or five shots. There was a whole run of things that Hank was known for.

“Barry” airs on HBO on Sundays at 10 p.m. ET.

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Bill Hader is certainly happy that people

Update, May 14, 2023: Kelly Clarkson has responded to Rolling Stone’s allegations in an Instagram post. “In my 20 years in the entertainment industry, I’ve always led with my heart and what I believed to be right,” she wrote on May 13. “I love my team at The Kelly Clarkson Show, and to find out that anyone is feeling unheard and or disrespected on this show is unacceptable.”

Read the full statement here:

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

NBCUniversal responded with a statement of its own, per Vanity Fair: “We are committed to a safe and respectful work environment and take workplace complaints very seriously, and to insinuate otherwise is untrue. When issues are reported, they are promptly reviewed, investigated and acted upon as appropriate. The Kelly Clarkson Show strives to build a safe, respectful and equitable workplace that nurtures a culture of inclusivity and creativity.”

Original story, May 12, 2023:

While The Kelly Clarkson Show is sunny and full of song onscreen, employees allege that the program is toxic for workers behind the scenes, according to a new Rolling Stone report. 

One current employee and 10 former staffers, all anonymous, characterized the NBC daytime talk show, which debuted in September 2019, as an environment where employees are overworked, underpaid, and subjected to bullying and favoritism from high-level producers. But sources made clear that host Kelly Clarkson isn’t privy to the alleged issues plaguing her namesake show. “NBC is protecting the show because it’s their new moneymaker, but Kelly has no clue how unhappy her staff is,” a former employee told Rolling Stone. (NBC, Clarkson, and the show’s executive producer, Alex Duda, didn’t respond to the outlet’s requests for comment. Vanity Fair has reached out to reps for NBC, Clarkson, and Duda for comment as well.)

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Update, May 14, 2023: Kelly Clarkson has

Someone in Hollywood must have rolled a nat 20, because the new DnD movie—Dungeons & Dragons: Honor Among Thieves, which is now available on demand—is a critical hit. If you have no idea what that first sentence means, don’t worry, because Dungeons & Dragons requires no prior knowledge of the popular tabletop role-playing game. For the uninitiated, it’s a delightful adventure film, packed with creative action sequences, laugh-out-loud jokes, and Chris Pine’s irresistible charm. And for the nerds with a character sheet at home, co-directors Jonathan Goldstein and John Francis Daley have included plenty of references, Easter Eggs, and wink-wink moments. Those magnificent madmen actually did it: They made a great DnD movie.

Photo: ©Paramount/Courtesy Everett Collection

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By Anna Menta Someone in Hollywood must have rolled

The 2023 BAFTA TV Awards took place at Royal Festival Hall in London on Sunday evening, honoring the best performances in British television in 2022. The ceremony, which was hosted by comedians Rob Beckett and Romesh Ranganathan, paid tribute to an eclectic mix of popular British shows and international hits.

The third and final season of “Derry Girls” was a big winner, with Lisa McGee’s Netflix-distributed series winning Best Scripted Comedy and Best Female Performance In a Comedy Program for Siobhán Mcsweeney.

Kate Winslet also had a big night, winning Best Leading Actress for her role in the Channel 4 series “I Am Ruth.” The series was also honored with a win in the Single Drama category. Best Leading Actor went to Ben Whishaw for his work on “This Is Going to Hurt.” Netflix’s “Dahmer — Monster: The Jeffrey Dahmer Story” won Best International Series.

On the unscripted side, the BBC’s coverage of Queen Elizabeth’s Platinum Jubilee received plenty of accolades. The “Party at the Palace” broadcast won for Best Live Event, while the viral video of the Queen meeting Paddington won Memorable Moment.

Keep reading for a complete list of winners from the 2023 BAFTA TV Awards.

Female Performance In A Comedy Program
Daisy May Cooper – “Am I Being Unreasonable?” – Boffola Pictures, Lookout Point/BBC One
Diane Morgan – “Cunk On Earth” – Broke And Bones/BBC Two
Lucy Beaumont – “Meet The Richardsons” – Second Act Productions/Dave
Natasia Demetriou – “Ellie & Natasia” – Nit Television/BBC Three
Siobhán Mcsweeney – “Derry Girls” – Hat Trick Productions/Channel 4 – WINNER
Taj Atwal – “Hullraisers” – Fable Pictures/Channel 4

Reality & Constructed Factual
“Freddie Flintoff’s Field of Dreams” – Andrew Mackenzie-Betty, Naomi Templeton, Cath Tudor – South Shore/BBC One
“RuPaul’s Drag Race U.K.” RuPaul Charles, Fenton Bailey, Tom Campbell, Bruce Mccoy, Matt Green, Tony Grech-Smith – World of Wonder/BBC Three
“The Traitors” – Studio Lambert/BBC One – WINNER
“We Are Black And British” – Narinder Minhas, Becky Clarke, Lindsay Davies, Rebecca Nunn, Ryan Samuda, Jessica Mitchell – Cardiff Productions, Open University/BBC Two

Short Form Program
“Always, Asifa” – Shiva Raichandani, Alex Balcombe – Raisilience, Together TV/Together TV
“Biscuitland” -Jess Thom, Matthew Pountney, Christine Robertson, Jon Rolph – Fremantle, North Bridge Media/All 4
“How To Be A Person” – Anna Hashmi, Sindha Agha, Samira Mian, Anne Perrie, Tobi Kyeremateng – The Corner Shop/E4 – WINNER
“Kingpin Cribs” – Zandland Films/YouTube – Channel 4

Specialist Factual
“AIDS: The Unheard Tapes” – Wall To Wall Media/BBC Two
“The Green Planet” – Michael Gunton, Rupert Barrington, Paul Williams, Peter Bassett, Rosie Thomas, Elisabeth Oakham – BBC Studios Natural History Unit, PBS, Bilibili, ZDF, China Media Group CCTV9, France Télévisions, The Open University/BBC One
“How To Survive A Dictator With Munya Chawawa” – Rumpus Media/Channel 4
“Russia 1985-1999: Traumazone” – Adam Curtis, Sandra Gorel, Rose Garnett, Grigor Atanesian – BBC Film/BBC iPlayer – WINNER

Daytime
“The Chase” – Michael Kelpie, Martin Scott, Helen Tumbridge, Caroline Sale, John L. Spencer, Hester Davies – Potato/ITV1
“The Repair Shop: A Royal Visit” – Ricochet/BBC One – WINNER
“Scam Interceptors” – BBC Studios/BBC One

Sport
“Birmingham 2022 Commonwealth Games” – BBC Sport, Sunset+Vine/BBC One
“UEFA Women’s Euro 2022” – Whisper, BBC Sport/BBC One – WINNER
“Wimbledon 2022” – BBC Sport, Wimbledon Broadcast Services/BBC One

Male Performance in a Comedy Program
Daniel Radcliffe – “Weird: The Al Yankovic Story” – Funny or Die, Tango Entertainment/The Roku Channel

Jon Pointing – “Big Boys” – Roughcut Tv/Channel 4
Joseph Gilgun – “Brassic” – Calamity Films/Sky Max
Lenny Rush – “Am I Being Unreasonable?” – Boffola Pictures, Lookout Point/BBC One – WINNER
Matt Berry – “What We Do In The Shadows” – FX Productions/Disney+
Stephen Merchant – “The Outlaws” – Big Talk Productions, Four Eyes Entertainment/BBC One

Entertainment Program
“Ant & Dec’s Saturday Night Takeaway” – Lifted Entertainment, Mitre Studios/ITV1
“Later… With Jools Holland: Jools’ 30th Birthday Bash” – BBC Studios/BBC Two
“The Masked Singer” – Derek Mclean, Daniel Nettleton, Claire Horton, Diccon Ramsay – Bandicoot Scotland/ITV1 – WINNER
“Strictly Come Dancing” – BBC Studios/BBC One

Supporting Actress
Adelayo Adedayo – “The Responder” – Dancing Ledge/BBC One
Anne-Marie Duff – “Bad Sisters” – Merman, ABC Signature/Apple TV+ – WINNER
Fiona Shaw – “Andor” – Lucasfilm/Disney+
Jasmine Jobson – “Top Boy” – Cowboy Films, Easter Partisan Films, Dream Crew, Springhill Entertainment/Netflix
Lesley Manville – “Sherwood” – House Productions/BBC One
Saffron Hocking – “Top Boy” – Cowboy Films, Easter Partisan Films, Dream Crew, Springhill Entertainment/Netflix

Current Affairs
“Afghanistan: No Country For Women (Exposure)” – Ramita Navai, Karim Shah, Eamonn Matthews, Mark Summers, Ali Watt – Quicksilver Media/ITV1
“Children Of The Taliban” – Marcel Mettelsiefen, Jordan Bryon, Juan Camilo Cruz, Stephen Ellis, Aman Sadat – Moondogs Films/Channel 4 – WINNER
“The Crossing (Exposure)” – Handa Majed, David Modell, Ella Newton, Jamie Welham, Nechirvan Mando, Ben Ferguson – DM Productions/ITV1
“Mariupol: The People’s Story (Panorama)” – Robin Barnwell, Guy Creasey, Hilary Andersson
Darren Kemp, Tom Stone, Serhiy Solodko – Top Hat Productions, Hayloft Productions/BBC One

News Coverage
“BBC News At Ten: Russia Invades Ukraine” – BBC News/BBC One
“Channel 4 News: Live In Kyiv” – ITN/Channel 4 – WINNER
“Good Morning Britain: Boris Johnson Interview” – ITV Studios/ITV1

Single Drama
“I Am Ruth” – Dominic Savage, Krishnendu Majumdar, Josh Hyams, Kate Winslet, Richard Yee, David Charap – Me+You Productions, Juggle Productions/Channel 4 – WINNER
“The House” – Paloma Baeza, Niki Lindroth Von Bahr, Emma De Swaef, Marc James Roels, Charlotte Bavasso, Christopher O’Reilly – Nexus Studios/Netflix
“Life And Death In The Warehouse” – Joseph Bullman, Helen Black, Tracie Simpson, Aysha Rafaele, Tim Hodges, Steve Lawes – BBC Studios/BBC Three

International
“The Bear” – Christopher Storer, Joanna Calo, Josh Senior, Hiro Murai – FX Productions/Disney+
“Dahmer – Monster: The Jeffrey Dahmer Story” – Ryan Murphy Productions/Netflix – WINNER
“Wednesday” – MGM Television/Netflix
“Oussekine” – Anthony Lancret, Pierre Laugier, Juliette Lassalle, Antoine Chevrollier, Pauline Dauvin, Kevin Deysson – Itinéraire Productions/Disney+
“Pachinko” – Soo Hugh, Michael Ellenberg, Lindsey Springer, Theresa Kang, Richard Middleton, Kogonada – Media Res, Blue Marble Pictures/Apple TV+
“The White Lotus” – Mike White, David Bernad, Mark Kamine, John Valerio, Heather Persons – HBO, Rip Cord, The District/Sky Atlantic

Features
“Big Zuu’s Big Eats” – Alex Gilman, Sam Grace, Chris Faith, Zuhair Hassan, Errol Ettienne, Rohan Minhas – Boom Cymru/Dave
“Joe Lycett Vs Beckham: Got Your Back At Xmas” – Rumpus Media, My Options Were Limited/Channel 4 – WINNER
“The Martin Lewis Money Show Live” – Martin Lewis, Mike Blair, Clare Miller, Jaime Corby, Richard Jack, Ravinder Dehele – Multistory Media/ITV1
“The Misadventures Of Romesh Ranganathan” – Rumpus Media/BBC Two

Mini-Series
“A Spy Among Friends” – Alexander Cary, Nick Murphy, Chrissy Skinns, Patrick Spence, Damian Lewis – ITV Studios, Sony/ITVX
“Mood” – Nicôle Lecky, Margery Bone, Lisa Walters, Dawn Shadforth, Stroma Cairns – Bonafide Films/BBC Three – WINNER
“The Thief, His Wife And The Canoe” – David Nath, Richard Laxton, Chris Lang, Alison Sterling – Story Films/ITV1
“This Is Going To Hurt” – Adam Kay, Jane Featherstone, Naomi De Pear, James Farrell, Holly Pullinger, Lucy Forbes – Sister, Terrible Productions/BBC One

Factual Series
“Jeremy Kyle Show: Death On Daytime” – Kira Phillips, Barry Ronan, Rosina Andreou, Graeme Mcaulay, Abi Walker, Charlie Macdonald – Blast! Films/Channel 4
“Libby, Are You Home Yet?” – Anna Hall, Josephine Besbrode, Luke Rothery, Danielle Jones, Celia Jennison – Candour Productions/Sky Crime – WINNER
“Vatican Girl: The Disappearance Of Emanuela Orlandi” – Mark Lewis, Dimitri Doganis, Tom Barry, Chiara Messineo, Simon Mills, Kaylin Simmons – Raw TV/Netflix
“Worlds Collide: The Manchester Bombing” – Label1/ITV1

Single Documentary
“Chernobyl: The Lost Tapes” – James Jones, Darren Kemp, Rupert Houseman, Serhiy Solodko, Joanna Marshall, Sasha Odynova – Top Hat/Sky Documentaries
“Escape From Kabul Airport” – Jamie Roberts, William Grayburn, Dan Reed – Amos Pictures, HBO, Arte/BBC Two
“Our Falklands War: A Frontline Story” – Guy King, Saskia Rusher, Simon Mcmahon, Zac Beattie, Guy Meachin, Libby Taylor – The Garden Productions/BBC Two
“The Real Mo Farah” – Leo Burley, Hannah Richards, Rick Barker, Marvyn Benoit, Shona Thompson, Zad Rogers – Atomized Studios, Red Bull Studios/BBC One – WINNER

Comedy Entertainment Program
“Friday Night Live” – Geoff Posner, Susie Hall, Lucy Ansbro, Shane Allen – Phil Mcintyre Television, Boffola Pictures/Channel 4 – WINNER
“The Graham Norton Show” – So Television/BBC One
“Taskmaster” – Alex Horne, Andy Devonshire, Andy Cartwright, James Taylor – Avalon/Channel 4
“Would I Lie To You?” – Peter Holmes, Rachel Ablett, Barbara Wiltshire, Adam Copeland, Jake Graham, Zoe Waterman – Zeppotron/BBC One

Soap & Continuing Drama
“Casualty” – BBC Studios/BBC One – WINNER
“Eastenders” – BBC Studios/BBC One
“Emmerdale” – ITV Studios/ITV1

Live Event
“Concert For Ukraine” – Guy Freeman, Richard Valentine, Anouk Fontaine, Tom Cuckson, Laura Djanogly, Jen Bollom – Livewire Pictures/ITV1
“Platinum Jubilee: Party At The Palace” – BBC Studios/BBC One – WINNER
“The State Funeral of HM Queen Elizabeth II” – BBC Studios/BBC One

Entertainment Performance
Big Zuu – “Big Zuu’s Big Eats” – Boom Cymru/Dave
Claudia Winkleman – “The Traitors” – Studio Lambert/BBC One – WINNER
Lee Mack – “The 1% Club” – Magnum Media/ITV1
Mo Gilligan – “The Lateish Show With Mo Gilligan” – Expectation, Momo G/Channel 4
Rosie Jones – “Rosie Jones’ Trip Hazard” – CPL Productions/Channel 4
Sue Perkins – “Sue Perkins: Perfectly Legal” – Rumpus Media, Croydon Films/Netflix

Memorable Moment
“Derry Girls” – The finale, the people of Northern Ireland vote overwhelmingly for peace
“Platinum Jubilee – Party at the Palace” – Paddington meets Queen Elizabeth II – WINNER
“Stranger Things” – Lucas, Dustin, and Steve rescue Max from the demonic Vecna by playing her favourite song “Running Up That Hill”
“The Real Mo Farah” – Sir Mo Farah reveals he was illegally trafficked to the U.K. as a child
“The Traitors” – The final round table
“Heartstopper” – Nick and Charlie’s first kiss

Supporting Actor
Adeel Akhtar – “Sherwood” – House Productions/BBC One – WINNER
Jack Lowden – “Slow Horses” – See-Saw Films/Apple TV+
Josh Finan – “The Responder” – Dancing Ledge/BBC One
Salim Daw – “The Crown” – Left Bank Pictures, Sony Pictures Television/Netflix
Samuel Bottomley – “Somewhere Boy” – Clerkenwell Films/Channel 4
Will Sharpe – “The White Lotus” – HBO, Rip Cord, The District/Sky Atlantic

Drama Series
“Bad Sisters” – Sharon Horgan, Dearbhla Walsh, Faye Dorn, Brett Baer, Dave Finkel, Johann Knobel – Merman, ABC Signature/Apple TV+ – WINNER
“The Responder” – Chris Carey, Laurence Bowen, Tony Schumacher, Tim Mielants, Rebecca Ferguson, Toby Bruce – Dancing Ledge/BBC One
“Sherwood” – James Graham, Lewis Arnold, Rebecca Hodgson, Juliette Howell, Tessa Ross, Harriet Spencer – House Productions/BBC One
“Somewhere Boy” – Pete Jackson, Petra Fried, Emily Harrison, Gavin O’Grady, Alex Winckler – Clerkenwell Films/Channel 4

Leading Actor
Ben Whishaw – “This Is Going To Hurt” – Sister, Terrible Productions/BBC One – WINNER
Chaske Spencer – “The English” – Drama Republic, Eight Rooks/ BBC Two
Cillian Murphy – “Peaky Blinders” – Caryn Mandabach Productions/BBC One
Gary Oldman – “Slow Horses” – See Saw Films/Apple TV+
Martin Freeman – “The Responder” – Dancing Ledge/BBC One
Taron Egerton – “Black Bird” – Apple Studios/Apple TV+

Scripted Comedy
“Am I Being Unreasonable?” – Daisy May Cooper, Selin Hizli, Jonny Campbell, Pippa Brown, Jack Thorne – Boffola Pictures, Lookout Point/BBC One
“Big Boys” – Jack Rooke, Jim Archer, Ash Atalla, Alex Smith, Bertie Peek – Roughcut TV/Channel 4
“Derry Girls” – Lisa Mcgee, Liz Lewin, Caroline Leddy, Michael Lennox, Brian J. Falconer, Jessica Sharkey – Hat Trick Productions/Channel 4 – WINNER
“Ghosts” – Monumental Television, Them There/BBC One

Leading Actress
Billie Piper – “I Hate Suzie Too” – Bad Wolf/Sky Atlantic
Imelda Staunton – “The Crown” – Left Bank Pictures, Sony Pictures Television/Netflix
Kate Winslet – “I Am Ruth” – Me+you Productions, Juggle Productions/Channel 4 — WINNER
Maxine Peake – “Anne” – World Productions/ITV1
Sarah Lancashire – “Julia” – Lionsgate Television, Mad Ben Productions, Modern O Productions, Inc., 3Arts Entertainment, HBO Max /Sky Atlantic
Vicky Mcclure – “Without Sin” – Left Bank Pictures/ITVX

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The 2023 BAFTA TV Awards took place

Ryuichi Sakamoto died on March 28, having been diagnosed with colon cancer in 2021 and throat cancer in 2014. When his management initially announced the news of his death, they wrote that the late artist had been engaging with music in his home studio as often as his health would allow: “He lived with music until the very end.” Today, the late composer’s management team shared what they call the artist’s “final playlist.”

Sakamoto, his management said, privately worked on the 33-song collection “to be played at his own funeral to accompany his passing.” The collection includes classical works by Bach, Debussy, and Ravel. It opens with an 11-minute piece from Sakamoto collaborator Alva Noto. There are soundtrack pieces from Ennio Morricone and Nino Rota, as well as works by David Sylvian and Bill Evans Trio. It closes with Laurel Halo’s “Breath” from 2020’s Possessed. Find the playlist below.

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Ryuichi Sakamoto died on March 28, having

Your mother may have once told you that “a tidy home makes for a tidy mind,” and we’re inclined to believe that the same is true of the tech products we use everyday. 

Take the humble iPhone, for example. iPhone users have long debated whether you should close apps running in the background to improve performance and save battery life, and while Apple’s official line on the matter is that there’s no need to close apps unless they become totally unresponsive, we can confidently say that the story is a little different when it comes to open browser tabs. 

We’re all guilty of letting an excessive number of tabs run amok in the Safari app, and – in addition to becoming laggy – Apple’s in-house browser has been known to unexpectedly delete Safari tabs (opens in new tab) if too many are left open at any one time. 

To help you avoid the headache of a slow Safari browser, then, the good folks over at Today Years Old (opens in new tab) have seen fit to highlight a two-second iPhone trick that lets you delete Safari tabs en masse. 

See more

If you navigate to the bottom right-hand corner of Safari, you’ll see the open tabs icon. Clicking it once will bring up all your open tabs as normal, but holding down that icon will bring up a menu that contains an option to delete all open tabs in one fell swoop. See the images below for the two-step process:

(Image credit: Future / Axel Metz)

Suffice to say, this is a neat trick that spares you the need to manually swipe away Every. Single. Open. Tab. one by one – and followers of the fact-finding Twitter account were quick to express their gratitude. 

“Omg. This changed my life. Thank you,” one user (opens in new tab) wrote in response, while another said: “I just closed 238 tabs in one second. Thanks for saving my time.”

One more thing…

But wait! There’s another, even-more-helpful trick buried deep in your iPhone’s settings that does away with the need to ever again manually delete another open Safari tab. 

Apple actually introduced the option to automatically close open Safari tabs after a chosen amount of time back in 2019 with iOS 13. How, you ask? Allow us to explain. 

Firstly, navigate to Settings and select the Safari options page. Once there, scroll down and select the “Close Tabs” menu. By default, the option is set to manual – meaning your out-of-the-box iPhone makes you delete open Safari tabs by hand – but by selecting this menu, you can choose to have open tabs close automatically after one day, one week or one month. Huzzah!

Settings interface on an iPhone screen

(Image credit: Future / Axel Metz)

But what if you need to recover a tab that was automatically closed? Fear not. If you want to revisit a closed Safari tab, long-press the Plus icon in the bottom left-hand corner of the tabs preview screen to bring up a list of recently closed tabs. 

And voila! Just like that, you’re on your way to living a tidier digital existence. For more on keeping your tech clutter-free, read our guides on how to clean a phone charging port and how to close iPhone apps.

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Your mother may have once told you

Sunday’s episode of “Succession,” titled  “America Decides,” offered a heart-pounding hour of television as Kendall (Jeremy Strong), Roman (Kieran Culkin), Shiv (Sarah Snook) and Tom Wambsgans (Matthew Macfadyen) oversee ATN’s first election coverage since the shocking death of Logan (Brian Cox) – and the stakes couldn’t be higher.

After Shiv and Roman argue over whether to call the election for the far-right Jeryd Mencken, Kendall becomes racked with guilt about ultimately backing him in an effort to put a stop to the Gojo deal. Earlier in the episode, he receives a concerned call from his ex-wife Rava (Natalie Gold) about being followed by an SUV, only for that concern to quickly turn to anger as she learns that it was Kendall that ordered the vehicle in an attempt to protect her and their adopted daughter Sophie, who is pushed and has racial slurs thrown at her by a Mencken follower in the previous episode.

TheWrap spoke with Gold about collaborating with Jeremy Strong over the course of the HBO drama series, returning for the final season and the “unrest” that’s yet to come. Check out TheWrap’s full conversation below.

What’s it like to work on the final season one of the biggest drama series of our time?
It’s been six years of the most deeply creative and fulfilling projects I’ve ever had the joy and the luck to work on and I am forever grateful to Jesse Armstrong, to his team of writers, to this brilliant cast and crew, to our directors, to the executives at HBO. It’s the most creative freedom I’ve ever had, it’s the most fun show that I’ve ever worked on. So it’s a kind of a dream and it’s sad that it’s over, but it’s also kind of perfect that it’s over. I think they are the smartest writers out there and have done an epically beautiful final season.

How much of the storyline for the season did Jesse Armstrong lay out for the cast before filming started?
I can only speak for myself and I knew less than I think a lot of the other actors on the show because I enter in later. The cast and crew and writers on “Succession” had a hard job in keeping a very hard secret, but they did exceptionally well. So when I was brought in for episode seven and I read the script, my mouth was basically on the floor because it was pretty clear that Logan had died and I wrote Jesse an email and said, ‘I’m pretty speechless. I don’t know if I’m allowed to put this in an email. I have so many questions, should we talk on set? Should we talk by email? I don’t wanna say anything. I don’t want to ruin anything, but I have some blanks to fill in.’ So he was very wonderful. Before we shot episode seven, we had a wonderful talk about kind of what had happened so far leading up to the events of this episode and where my character had been or not been and why my character had not been involved until this point.

How has Rava’s relationship with Kendall evolved over the course of the series?
First of all, I think that Jesse and his team of writers have created such an incredible character in Rava. She’s a straightforward, funny, intelligent, vulnerable, complicated woman. I have loved playing her. I have loved figuring her out and her evolution with Kendall. Obviously, she starts the series being separated from him. But she is doing in her mind her very best to make everything nice. I think we start seeing that there is love between them, there’s attraction, there was a marriage there and I think Rava really genuinely wants him and has always rooted for him to be healthy, happy, sober and a present co-parent to their children. She keeps showing up with the kids to all the Roy family events. She’s separated from this guy but she knows this family is pretty hard to get out of and she’s trying to do everything to make it OK and that obviously starts to fracture.

I don’t think Rava was ever the biggest Logan fan. I think he was the father-in-law from hell. You know, he hits her kid in the face in the Thanksgiving episode in Season 1. But she also starts to see Kendall going back to familiar and dangerous patterns of behavior, which is why she left him initially. And I think in his manic behavior, Rava and the kids are always the collateral damage and I think she tries and tries and eventually gets to a point where she just realizes she can’t fix him and she stops trying. 

In my mind, I think Rava has gone to a lot of therapy. Maybe she has some unsanctioned, exclusive private Al-anon meetings in her nice apartment because going to a public meeting wouldn’t be an option given her relationship to the Roys. But I think what we’re seeing is that her very patient veneer and her compassion for him which she always holds, especially in this season, is really starting to crack. She’s getting pushed too far and I think kind of the brilliance of this season and the storyline for Rava and Kendall in this season, especially as it plays into their daughter, she just finally loses it. He crosses the line. 

He accuses her of being an absent parent, which I don’t even have words to express how mortifying that is. She can’t hold it together anymore. We’re finally getting to see her get pissed. I think she’s usually pretty good at holding it in. And I think she’s cracking and I also think she’s really scared. Obviously, her daughter is getting pushed on the street, her daughter is having racial slurs thrown at her by some guy in a Ravenhead shirt and then Kendall’s solution in Episode 8 is to put security on them without consulting her or telling her and basically scaring them even more and the solution is basically putting a band aid on a gaping head wound.

It’s so beautifully written, I think, because firsthand we’re seeing the media machine of the Roys, the evil and the hatred that is spouted on their network, how they’re ushering in this fascist president. Kendall and Rava’s daughter is a real person suffering because of that and there are millions of people suffering because of that. But this one hits close to home for Rava and for Kendall as well because it is home, and I think Rava is genuinely scared and I think she is taking a good hard look at not only Kendall’s complicity but her own complicity in this situation. So, I think this season we’re seeing Rava really just start to be done making things nice. 

What has been like collaborating with Jeremy Strong over the course of the series and on the final season? 
It’s been incredibly, incredibly fun. For as difficult as those scenes are, so much fun. Jeremy is a tremendous actor, he is deeply committed, he’s deeply invested. Jeremy and I met on the pilot, although knew of each other, we had both done a lot of theater in New York, but we had never gotten a chance to work together. But I remember that first day that we shot our very first scene on the pilot, there was this feeling of immediate chemistry and a sense of history between our characters, which is obviously a testament to the writing because the writing is so good, but there was something intangible between him and I that just felt like there were decades of history between us and it was a beautiful feeling because I felt just immediately familiar with him and trusting of him. So everything that I’m lucky enough to have with him on this show, that history just continues to deepen and we continue to play with the love between each other, the hurt, the resentment, the attraction, the disappointment, I think in Rava’s mind the unfulfilled potential. It’s so much fun to play. 

These are all painful scenes, beautiful scenes but the excitement of working on the writing on this show as well as working with Jeremy and just the environment that Jesse and the entire cast and crew creates on this show is that there’s so much trust. So I get to show up knowing obviously what the scene we’re gonna shoot is that day, but just see what happens and be so alive and spontaneous and I just feel really lucky that we get to play these things together because I never quite know how they’re gonna go or what’s gonna happen which is amazing as an actor. That’s kind of what you wish for, that lightning-in-a-bottle feeling of I don’t know how this is gonna play out. Let’s see. And there’s so much trust that we’re just allowed to do it a million different ways and a million different takes and each take it goes another way and then what they end up using is a value to the overall story that they’re telling. It all starts from the writing. But working with Jeremy has been pretty magical.

succession-jeremy-strong-hbo
Jeremy Strong in a still from “Succession” Season 4 (HBO)

How much of your scene work has been improvisation versus what’s on the page?
What’s on the page is so deeply brilliant that there’s nothing that I would ever deign to read that just one of his writers have written and would think that I would want or need to change that by any means. What they do is really give you the luxury of time in filming a scene. So you absolutely do what’s on the page which is a joy to do. And then you see kind of where that takes you. You get some that are directly what’s on the page and you get some that there’s an improv that comes before the scene starts or after the scene starts, things that happen. It’s also the joy in working. There’s just so much trust there, there’s nothing you have to improv but there’s stuff that comes up that you end up improving just because they let the camera run for so long that they give you the room to do so.

The trust that is built up there and the trust that Jesse has in his actors saying, “You know your characters.” He knows the characters. I’m not gonna speak for Jesse, but he is so invested in the emotional truth of the characters that everything he writes, everything that the writers write is based in such deep emotional truth that we always do what’s on the page. And then if there’s a surprise, then we get to go with that and they love it.

We filmed Episode 7 and there was some improv in there. Will Tracy wrote that episode and I said “Will, did we go off too much?” And he said, “It was messy goodness. I felt that that was messy goodness. Real people talking messy goodness. That was a messy fight.” And I think they were happy with that.

What are some of your favorite memories from working on the show? What will you miss the most?
Every moment I get to spend on set – and I am not saying this hyperbolically – is a favorite moment because it’s the best cast, it’s the best crew, directors, writers. We had at least three writers on set at all times throwing alternate lines at us, answering questions, solving problems, spinning gold. We have our brilliant directors, all of them, and I get to work a lot with Mark Mylod who I love. We do a scene a million times and then he says, “Great, we’ve got it, let’s do another one just for fun, do whatever you want.” It’s just allowing for an environment that fosters unbelievable collaboration and that’s what I’m gonna miss the most, the collaboration, because for me the joy of making something is in the collaboration and the community and I’m going to miss this community.

What can you tease about the remainder of the season?
I think it’s safe to say you’re gonna see a funeral. I think Rava is terrified by this election, I think she is terrified for her kids, she’s terrified for the country and I think she knows Kendall had something to do with this. His network made the call, nothing happens on his network without his ok. So I think in that phone call, I think Rava is beside herself. I think she’s terrified. And I think she knows Kendall maybe ended up selling out his own kid for his own benefit. It’s not that simple, obviously, but in Rava’s mind, think that’s what she thinks is Kendall will pick Kendall first and in that phone call, that’s what’s going through her mind. And I think she’s scared. I think I can tease a little unrest in the world. 

This season takes place in such a very compressed amount of time. Like it’s really happening over 10 days. So when he says I’ll see you at the funeral tomorrow, elections happen on a Tuesday. So I can tell you that episode nine would be the very next day.

I could never deign to predict [how the season is going to play out] because any time I think, ‘Oh, this is where they’re gonna go.’ It’s never where they go. They’re too smart for me and they’re so subtle. The writing is so beautiful. I think the ending will be perfect because it’s Jesse and his team who have written it. And I think it will play out exactly how it is supposed to, whatever that means. But any time I’ve ever tried to predict where this show is going to go, I’ve just been dead wrong and then I read the script and my mouth is hanging on the floor and I kind of slap my forehead and go, ‘Oh my God, they’re so genius. Of course, this makes so much sense’ and it’s just too subtle and so unobvious and so human. They’re so brilliant at what they do and walking this fine line of the tone of the show because all of these characters that they’ve created, they’re living, breathing complicated, funny, real people and they have made hilarity in the most tragic moments and they have made deep sadness in the funniest moments. So how it ends, I don’t know, but I know it will be perfect.

What are your thoughts on the Writers Guild of America strike?
My take overall on the strike is that there is nothing without writers. There is no story without writers, there are no words without writers, there is no content without writers. They are the lifeblood of every creative thing that we get to see. So I as an actor and especially in talking about “Succession,” we could not have done “Succession” without the writers being on set with us answering questions, literally writing in real-time, they never stopped working. So I support the writers. They need to get what they deserve.

I want to make it clear. I’m an actor. We don’t exist without writers. And I’m a part of a union too. I stand with them, I support them and they need to get what they deserve. There is nothing without writers.

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Sunday’s episode of “Succession,” titled  “America Decides,”

The 2023 BAFTA Television Awards were held at the Royal Festival Hall in London on Sunday, May 14 to celebrate the best of British television. Rob Beckett and Romesh Ranganathan were the hosts of the night.

RELATED: 2023 BAFTA TV Awards Winners List

Stars that attended the event included Kate Winslet, Sharon Horgan, Golda Rhseuvel, Taron Egerton, Claudia Winkleman, Cillian Murphy, Stephen Merchant, Ben Whishaw and Martin Freeman, among many others.

RELATED: Kate Winslet Wins Best Leading Actress – BAFTA TV Awards

Apple TV+ series Bad Sisters took the Best Drama Series award with Anne-Marie Duff taking the Best Supporting Actress award from the same show. In the Best Actress category, Kate Winslet took the trophy for her work on Channel 4’s I Am… Ruth with the series also taking an award for Best Single Drama.

RELATED: ‘Bad Sisters’ Creator Sharon Horgan Puts Pen Down For Writers Strike: “Solidarity With My WGA Brothers & Sisters”

Other awards of the night went to Claudia Winkleman for Best Entertainment Performance on BBC One’s The Traitors, Ben Whishaw took the Best Actor award for BBC One’s Adam Kay — This Is Going to Hurt and Adeel Akhtar took the Best Supporting Actor award for his work on BBC One’s Sherwood.

Check out some of the looks from the red carpet at the 2023 BAFTA TV Awards:

 

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The 2023 BAFTA Television Awards were held

Most viewers, though, probably know Messina best for his work on “The Mindy Project,” starring as the sometimes ill-tempered, sometimes charismatic Danny Castellano opposite the series creator, Mindy Kaling. When casting began in 2011, Kaling was specifically seeking actors she “hadn’t seen do a lot of comedy” or, if they were experienced, “weren’t the usual suspects they always send you,” she said in a recent interview.

She knew he was perfect straight away. Describing him as one of the most comical actors she’s worked with, she said Messina was “so rooted in the truth of his character that he can’t help but be funny.”

She attributes that expressly to the fact that he is not a traditional comedian. “Your average sitcom actor wants to hit their moments, make the day, and go home. Chris isn’t like that,” she said. “It’s almost exhausting, the level of honesty and truth he brings to every scene. He was really listening to my character and reacting if the character did something funny or absurd. He made me a better actor. I was listening better when I was with Chris, because he set the bar so high.”

Although Messina proved well suited for the role, he originally didn’t even want to do it, turning down the part multiple times before relenting. (“Mindy wouldn’t take no for an answer,” he explained.) He was, he said, “very worried about every aspect of it,” including the commitment to a network comedy with 20-plus episodes per season, potentially for many years — perhaps making it more difficult for him to do the kind of serious work he dreamed of as a performer.

“I wanted to do ‘Dog Day Afternoon.’ I wanted to do ‘Midnight Cowboy,’” he said. Though he liked the role and Kaling, “I was afraid of it running forever.” And, of course, he was afraid of something else: the genre. “I was afraid of not being able to keep up with them comedically,” he said. “I am afraid of jokes.”

On the other hand, being afraid is what Messina wants. “Being scared of a role, of an opportunity, being challenged, that’s what I’m looking for. Maybe it’s corny or too actorly, but I do like finding closed doors inside of me.”

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Most viewers, though, probably know Messina best

Taylor Swift might have had a brief moment of “Bad Blood” during her latest concert.

The singer appeared to defend a fan amid a situation with a security guard while performing in Philadelphia on Saturday night. In various videos from attendees of the Eras tour stop, she is shown shouting toward a specific spot on the floor of the Lincoln Financial Field.

“She’s fine, she wasn’t doing anything!” Swift shouted while performing her “1989” hit. She then said “Hey, stop!” while pointing and waving away.

So what happened? Two Swift fans claim that they were the attendees the musician defended from the stage.

“Basically, the guard had been harassing our group all night,” said Caitlin Gabell in a TikTok video. “He just kept telling us not to touch the rail, and every time we did anything, he was on top of us. We’re dancing, we’re having fun, and he didn’t like it. And Taylor noticed that I was having fun and that he didn’t like it, and she didn’t like it.”

Gabell noted in her video that the situation was handled quite swiftly. “Then he basically got escorted out, and then they offered us free tickets for tonight,” she continued. “It wasn’t this big crazy thing. It was like just a bunch of girls having a good time, and he didn’t want us to have fun.”

Another fan named Cheyenne Piper recounted on Twitter that Swift “was yelling at a security guard because they fully kept putting their hands on us to physically push us off of the barricade instead of just telling us to move … we weren’t throwing anything, we weren’t screaming anything insane, she was fully coming over to dance and sing with us and it resulted in security being extremely aggressive for no reason.”

Swift is set to perform her last of three Eras Tour shows in Philadelphia on Sunday before moving on to Foxborough, Mass. She is scheduled to wrap the tour with a five-night stand at Inglewood’s SoFi Stadium in August.

The tour — Swift’s first in five years — has been a newsmaker since it began in March, including a performance in the rain after a lightning delay and an announcement of her next album, and rumors of a new relationship with 1975 frontman Matty Healy.

At the kickoff performance in Glendale, Ariz., the Eras Tour “rolled out like fan service of the most thorough and elaborate kind,” wrote Times critic Mikael Wood in a review of the show. “The concert was also a showcase of the range and versatility that have made Swift the most successful singer-songwriter in an age defined by hip-hop. … Her photo-album approach inevitably played to the nostalgia of an audience that’s grown up with Swift.”

The Times has reached out to Swift and the venue for additional comment.

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Taylor Swift might have had a

An actor best known for his role in Game of Thrones has joined the cast of Secret Invasion, becoming the 18th actor from the HBO series to join Marvel Studios’ MCU.

Game of Thrones holds one of the biggest casts ever assembled on screens, with hundreds of actors appearing in the eight-season sprawling tale of Westeros.

And as a high-budget HBO series, the show had no shortage of massive movie-level stars, along with some who have since become among the biggest names in Hollywood.

Game of Thrones Star Cast in Secret Invasion

Game of Thrones‘ Beric Dondarrion actor Richard Dormer has officially joined the MCU as a character called Agent Prescott in Marvel Studios’ Secret Invasion series on Disney+.

Marvel Studios

Dormer’s casting emerged after his character appeared speaking to Martin Freeman’s Everett Ross in a new featurette for the Disney+ series.

Dormer becomes the 18th Game of Thrones actor to join the MCU, following his role as Berric Dondarrion across six seasons of the HBO show.

Richard Dormer, Game of Thrones, MCU
HBO, Marvel Studios

The full list of the other 17 actors to appear in both Game of Thrones and an MCU project can be seen below:

Natalie Dormer – Private Lorraine

Natalie Dormer, Game of Thrones, MCU
HBO, Marvel Studios

Natalie Dormer played Margaery Tyrell, the wife of King Joffrey Baratheon in Game of Thrones, but that came after she had a minor role in Captain America: The First Avenger as Private Lorraine. The actress’ US army private and SSR member attempted to seduce Steve Rogers after he bravely saved a number of prisoners.

David Bradley – Church Keeper

David Bradley, Game of Thrones, MCU
HBO, Marvel Studios

Many will undoubtedly forget David Bradley in the MCU, as he appeared only briefly as an unnamed church keeper in The First Avenger from which Red Skull took the Tesseract in Norway. Meanwhile, in Westeros, Bradley played Lord Walder Frey, who famously headed the infamous Red Wedding massacre. 

Joseph Gatt – Grundroth

Joseph Gatt, Game of Thrones
HBO

Joseph Gatt played the Frost Giant warrior Grundroth in 2011’s Thor, his character was killed by Heimdall at the Bifrost Bridge. In Game of Thrones, Gatt played the Thenn warg, a member of a tribe of Free Folk in Season 4.

Adewale Akinnuoye-Agbaje – Algrim the Strong/Kurse

Adewale Akinnuoye-Agbaje, Game of Thrones, MCU
HBO, Marvel Studios

Adewale Akinnuoye-Agbaje played the secondary villain Kurse, aka Algrim the Strong, in Thor: The Dark World, while in Game of Thrones, he tackled the role of Malko, a slave ship captain who appeared in Season 5.

Clive Russell – Tyr

Clive Russell, Game of Thrones, MCU
HBO, Marvel Studios

Clive Russell played Tyr, the Asgardian God of War, in Thor: The Dark World, taking on a minor role despite the character’s important place in Norse mythology. This came after his Game of Thrones debut as Brynden Tully, aka the knight more commonly referred to as the Blackfish.

Richard Brake – Einherjar Captain

Richard Brake, Game of Thrones
HBO

Richard Brake was the first of two actors to play the Night King in Game of Thrones, with him playing the key villain across Seasons 4 and 5. In the MCU his role was small, appearing in a flashback as an Einherjar Lieutenant under King Bor’s command in the battle against Malekith in Thor: The Dark World.

Enzo Cilenti – Watchtower Guard

Enzo Cilenti, Game of Thrones
HBO, Marvel Studios

Enzo Cilenti played a Yunkai slave trader called Yezzan zo Qaggaz across Seasons 5 and 6 of Game of Thrones. On the MCU side, Cilenti’s role was a minor one as a watchtower guard in Guardians of the Galaxy.

Ralph Ineson – Ravager Pilot

Ralph Ineson, Game of Thrones
HBO

Ralph Ineson played a background Ravager pilot in the first Guardians of the Galaxy movie, but he had a slightly more significant guest star role in Game of Thrones as Dagmer Cleftjaw, a loyal ironborn raider of House Greyjoy.

Hannah John-Kamen – Ghost

Hannah John-Kamen, Game of Thrones, MCU
HBO, Marvel Studios

Hannah John-Kamen joined the MCU as the villain Ghost, aka former SHIELD agent Ava Starr, in Ant-Man and the Wasp, and she will soon be back in 2024 as a member of the Thunderbolts. In terms of her role in Westeros, John-Kamen brought the Dothraki Ornela, a friend of Daenerys Targaryen, to life.

Peter Dinklage – Eitri

Peter Dinklage, Game of Thrones, MCU
HBO, Marvel Studios

Coming off an eight-season run as Tyrion Lannister, one of the main characters of Game of Thrones, Peter Dinklage joined the MCU as the Eitri, the King of the Dwarves, in Avengers: Infinity War and a deleted Thor: Love and Thunder scene. That wasn’t even his first Marvel role, having also portrayed weapons tycoon Bolivar Trask in X-Men: Days of Future Past.

Richard E. Grant – Classic Loki

Richard E. Grant, Game of Thrones, MCU
HBO, Marvel Studios

In Game of Thrones, Richard E. Grant played Izembaro, a playwright and actor who once took on the role of Robert Baratheon. The British star came to the MCU as the Classic Loki Variant in The Void and quickly became a fan favorite, although the chances of him returning are unclear after his run in Loki.

Richard Madden – Ikaris

Richard Madden, Game of Thrones, MCU
HBO, Marvel Studios

Following his breakout starring role as Robb Stark in Game of Thrones, Richard Madden finally joined the MCU in Eternals. Madden’s Ikaris was by far the most powerful of the Eternals, however, he ultimately took a villainous turn by the end of the movie and seemingly met his demise as he flew into the sun.

Kit Harington – Dane Whitman

Kit Harington, Game of Thrones, MCU
HBO, Marvel Studios

Madden wasn’t the only House Stark alum to join the MCU in Eternals, as Jon Snow actor Kit Harington entered the franchise as Dane Whitman. Harrington’s character is expected to become the heroic Black Knight down the line, although his planned return in Blade may, unfortunately, have been scrapped.

Rhys Ifans – Curt Connors/Lizard

Rhys Ifans, House of the Dragon, MCU
HBO, Marvel Studios

Rhys Ifans was a recent addition to the Game of Thrones universe, starring in House of the Dragon as Otto Hightower, a Hand of the King. Ifans’ Marvel tenure started off outside the MCU as Curt Connors, aka Lizard, in The Amazing Spider-Man, but he made an appearance in the main timeline as one of the Multiversal villains seen in Spider-Man: No Way Home.

Emilia Clarke – G’iah

Emilia Clarke, Game of Thrones, MCU
HBO, Marvel Studios

Emilia Clarke, the actress behind Game of Thrones‘ Mother of Dragons, Daenerys Targaryen, will enter the MCU alongside Richard Dormer in Secret Invasion. The iconic star will play Talos’ grown-up daughter G’iah, and she might even have a bright MCU future ahead of her it seems.

Finn Jones – Iron Fist

Finn Jones, Game of Thrones, MCU
HBO, Marvel

Finn Jones played the tourney knight Loras Tyrell in Game of Thrones and later joined the MCU on Netflix as Iron Fist, starring in the series of the same name and even teaming up with other heroes in The Defenders. Jones’ Iron Fist portrayal proved controversial with fans, and it’s unclear whether he will reprise the role.

Jessica Henwick – Colleen Wing

Jessica Henwick, Game of Thrones, MCU
HBO, Marvel

Funnily enough, Iron Fist‘s co-lead Colleen Wing, played by Jessica Henwick, was also a Game of Thrones alum, appearing as one of Prince Oberyn Martell’s daughters, Nymeria Sands, in several episodes. The actress has expressed hopes to return to the MCU in a different role, although many fans have shared a desire to see Colleen Wing becoming the next Iron Fist.


Secret Invasion will premiere on Disney+ on June 21.

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DC co-CEO James Gunn discussed the “emotional” and “human” nature of his rebooted Clark Kent in a new interview.

After making fans cry with Guardians of the Galaxy Vol. 3‘s sentimental story and emotion-driven character arcs, Gunn, along with Peter Safran, will be bringing his directorial style and witty writing to his new role at DC.

The first movie in the new slate of upcoming projects, Superman: Legacy, is the talk of many DC circles, with Gunn promising a serious take on the characters that differ from his Marvel tone with seemingly some of the more lighthearted, comic-like elements missing in the SnyderVerse.

How Emotional Could Superman: Legacy Be?

DC

In an interview with Gizmodo, James Gunn discussed his plans regarding utilizing emotion in Superman: Legacy.

He started by explaining how Guardians of the Galaxy Vol. 3 ended up as emotional as it did, saying “I don’t come to Guardians 3 and say, ‘I wanna write a movie that’s gonna make everybody cry.'” Instead, Gunn focused on “treat[ing] the characters with dignity and compassion:”

“You know, listen… I don’t come to ‘Guardians 3’ and say, ‘I wanna write a movie that’s gonna make everybody cry.’ I don’t think about that. I just think I want to tell a story that treats the characters with dignity and compassion and is the best, most surprising, most moving story I can possibly tell. And if that ends up being just moving, because it’s a fun blast of a film or if it ends up being moving because you’re sobbing, or it makes you feel that rage, or whatever it makes you feel, I’m good with all of those things as long as it works.”

As such, as he looks ahead to his upcoming Superman: Legacy, Gunn “[doesn’t] want to deny that” Clark Kent’s Superman is an “emotional” character and will be portrayed as such in the reboot:

“And so, I can’t say I’m looking for any particular emotions to bring out through ‘Superman,’ but I don’t want it to be unemotional. I don’t want it to deny that we are, as human beings, emotional characters and that Superman is also that.”

This aligns with previous quotes from Gunn about how he is looking to cast someone with “humanity,” “compassion” and the comfort that comes with a “hug.” This person will possibly be young, too, adding to the freshness of this story.

Will Superman: Legacy Make Audiences Cry?

Given that James Gunn did not approach Guardians 3 with the goal of making audiences cry and is seemingly treating Superman: Legacy similarly, one may assume the emotion will be in the latter regardless, just as it was in the former.

While this could be true, Gunn is also known for his comedy interspersed with emotion. Potentially, it could be more reminiscent of the first Guardians of the Galaxy, which tells the first story in a new franchise chapter that is full of heart, humor, and, yes, emotion.

It will not be the build-up of almost a decade of movies in the way Guardians 3 was, but it is not meant to serve that role. Rather, it is meant to, as Gunn put it, show that “we are, as human beings, emotional characters and that Superman is also that.”

Superman: Legacy will hit theaters on July 11, 2025.

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The Legend of Zelda: Tears of the Kingdom Mayachin Shrine Puzzle seems somewhat tricky at first. It involves a rolling ball that needs to hit a target, but you need to figure out a way to do that. Here’s our guide to help you solve the Mayachin Shrine Puzzle in Zelda: Tears of the Kingdom.

How to solve the Mayachin Shrine Puzzle in The Legend of Zelda: Tears of the Kingdom

The Zelda: Tears of the Kingdom Mayachin Shrine is found in Hyrule Field, which is further south of Lookout Landing. In fact, it’s right next to the Skyview Tower in the area.

Once inside, hop across the gap, and take note of the tools and devices in front of you:

  • A large ball periodically rolls down the incline.
  • There are Zonai Stakes, which can be pushed through objects to get them stuck completely.
  • There are a few logs.
  • Stepping on the plate will reveal the bullseye target.
  • Hitting the switch right next to the plate will make the central device rapidly rotate.
Mayachin Shrine location

Given the above, you’ll want to do the following:

  • Bring one of the Stakes and rotate it horizontally, making sure to stick it straight through the central device.
  • Attach one log to it. Then, attach the second log slightly on top of the first one to maximize its impact.
  • Impact? Yes, we’re going to use this device as a makeshift bat. Go back to the switch and wait for the ball to roll. Once it’s close enough, hit the switch and the bat will smack the ball, causing it to roll up and strike the bullseye target.
Mayachin Shrine makeshift bat
Mayachin Shrine makeshift bat

This will complete the Zelda: Tears of the Kingdom Mayachin Shrine Puzzle. The door is already open, so you can claim the Light of Blessing.

But what about the chest? Well, we can also grab that. Here’s what you need to do:

  • Bring out the Stake at the right-hand side (the one with the stone slab). Push that Stake vertically through the ceiling.
  • Use Ultrahand to lift the stone slab, and attach it flat to the Stake. This will mean that it no longer covers the bullseye target to the right.
  • Just like before, wait for the ball to roll, then hit the switch to swing the bat. With a bit of trial and error, the bat should smack the ball to the other bullseye target.

Gallery

Left: Mayachin Shrine main puzzle; Right: Mayachin Shrine chest.

That’s it, you’ve completed the Zelda: Tears of the Kingdom Mayachin Shrine Puzzle and you also opened the chest. Don’t forget to take a look at our Shrine locations main guide for other brain teasers.

There are numerous mechanics and facets to learn in The Legend of Zelda: Tears of the Kingdom. For more information, you can visit our guides hub.

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.

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Learn cinematography from a legend. 

Every so often, I come across a name from Hollywood that I had never heard before. Usually, I don’t tell anyone because most people roast you for it. But today, I wanted to share this person with you because the more I read about him and the more of his movies I watched, I think he has a case to be the greatest cinematographer of all time. 

I’m talking about James Wong Howe. 

James Wong Howe is one of the most influential cinematographers in the history of cinema. He was a master of his craft, with a career spanning over five decades, and was responsible for some of the most iconic shots in film history.

Today, I wanted to go over his career with you and make a case for why I think he should be in the conversation when it comes to some of the greats. 

Let’s dig into Howe’s past and see his journey in Hollywood. 

James Wong Howe with director John Frankenheimer on the set of ‘Seconds’ (1966)Credit: Paramount Pictures

The Cinematography and Life of James Wong Howe

Born in Guangzhou, China in 1899, Howe moved to the United States with his family when he was five years old. He started his career as a lab technician at Famous Players-Lasky (later known as Paramount Pictures) and as an assistant to Cecil B. Demille before eventually becoming a cinematographer.

Howe’s innovative and experimental approach to cinematography made him a pioneer of the medium. He was one of the first cinematographers to use deep-focus photography, a technique that allowed him to keep both foreground and background subjects in focus at the same time.

He also used low-angle shots, high-angle shots, and wide-angle lenses to create a sense of depth and dimensionality in his images. For that, he earned the nickname “Low-Key Howe.”

His work got him noticed, and he rose in the ranks as a cinematographer, gaining notoriety among many directors. 

One of Howe’s most notable films was The Rose Tattoo (1955), directed by Daniel Mann and starring Anna Magnani. His use of color in the film was groundbreaking. The film’s vibrant colors and stunning visuals were a testament to Howe’s mastery of the medium.

Howe earned ten nominations for the Academy Award for Best Cinematography, winning twice for The Rose Tattoo (1955) and Hud (1963). He also received Oscar nominations for Algiers (1938), Abe Lincoln in Illinois (1940), Kings Row (1942), The North Star (1943), Air Force (1943), The Old Man and the Sea (1958), Seconds (1966), and Funny Lady (1975).

An absolutely breathtaking run. 

Howe’s work was not limited to Hollywood, as he also shot several documentaries and independent films. He worked on the documentary The Fighting Lady (1944), which chronicled life aboard the aircraft carrier USS Yorktown during World War II. Howe’s ability to capture the action and drama of the war was essential to the film’s success.

In addition to his technical prowess, Howe was also known for his collaborative spirit and his ability to work well with directors. He was able to bring their visions to life on the screen, while also adding his own creative flair to the mix.

Check out this video from Turner Classic Movies that sums it all up. 

What Are Some of James Wong Howe’s Best Cinematography Moments? 

I spent a few weeks watching James Wong Howe’s movies, and I felt thinking that the work he did paved the way for so many contemporary filmmakers. He was a master of cinematography and created many iconic shots throughout his career.

Here are some of his most notable shots that stuck out to me. 

  1. The shot of the burning house in Hud (1963): This shot is one of the most iconic shots in cinema history. The shot shows Paul Newman standing in front of a burning house, with smoke and flames billowing behind him. The shot perfectly captures the brooding and atmospheric mood of the film, and the use of shadow and contrast adds to the intensity of the scene.

  2. The opening shot of The Sweet Smell of Success (1957): This shot shows the busy streets of New York City at night, with a close-up of a newspaper being printed. The shot sets the tone for the film and establishes the fast-paced, cutthroat world of the characters.

  3. The shot of the sailboat in The Rose Tattoo (1955): This shot shows a sailboat on the water, with the sun setting in the background. The shot perfectly captures the beauty and tranquility of the scene, and the use of color creates a warm and inviting atmosphere.

  4. The shot of the mirror in The Thin Man (1934): This shot shows William Powell and Myrna Loy looking into a mirror, with the reflection of a third person visible. The shot is cleverly staged and adds to the mystery and intrigue of the film.

These are just a few examples of James Wong Howe’s many outstanding shots. His innovative and experimental approach to cinematography paved the way for new techniques and styles, and his stunning visuals continue to captivate audiences today.

A black and white still from 'The Thin Man' (1934)
‘The Thin Man’Credit: Metro-Goldwyn-Mayer

Does James Wong Howe Have an Argument for Being the Greatest Cinematographer Ever?

James Wong Howe certainly has a strong argument for being one of the greatest cinematographers in the history of cinema. His pioneering and innovative approach to cinematography, his extensive career spanning over five decades, and his contributions to the medium through his collaborations with numerous directors, are all factors that make his work exceptional.

If nothing else, he’s a cinematographer we should talk about more. 

While it is difficult to claim that anyone cinematographer is definitively the greatest ever, James Wong Howe’s contribution to the art of cinematography is undeniable. His mastery of the medium, his groundbreaking techniques, and his ability to collaborate with directors make him one of the most influential cinematographers of all time.

In Howe’s words, he was just doing his job. 

“It’s very easy to take a light meter and get the proper exposure, but there’s one thing that meters will not tell you: whether you got the right mood or not,” TCM reports Howe saying. “That, you have to decide for yourself. You’ve got to see. Learn to see. Learn to feel light.”

Summing Up James Wong Howe and Cinematography 

James Wong Howe was a true master of his craft, and his influence can still be seen in the work of cinematographers today. His innovative and experimental approach to cinematography paved the way for new techniques and styles, and his stunning visuals continue to captivate audiences worldwide.

What are your favorite films among his work? 

Let me know in the comments.       

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Learn cinematography from a legend. 

Although Justin and Hailey Bieber have both expressed their desire to have children together, there’s something holding the Rhode Skin founder back. 

In a new interview with The Sunday Times, the 26-year-old model got candid about one reason she’s afraid to expand their family. “I literally cry about this all the time,” she said, per People. “I want kids so bad but I get scared. It’s enough that people say things about my husband or my friends. I can’t imagine having to confront people saying things about a child.”

Hailey continued, “We can only do the best we can to raise them. As long as they feel loved and safe.”

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

Though Hailey Bieber is no stranger to online hate, things got particularly volatile in March when the model was accused of making fun of Selena Gomez during a FaceTime with Kylie Jenner. The backlash went on for weeks until Selena asked her fans to back off after hearing that Hailey was receiving death threats. “This isn’t what I stand for,” Selena wrote on Instagram Stories at the time. “No one should have to experience hate or bullying. I’ve always advocated for kindness and really want this all to stop.”

Though the women are now Instagram mutuals, plenty of people are still leaving nasty comments on the model’s social media posts. In April, Hailey described that period of time as “some of the saddest, hardest moments” of her adult life. “I like to make jokes about how I feel because sometimes it’s easier than admitting I’m having a hard time,” she wrote on Instagram Stories, adding, “My mind and emotions have been fragile to say the least.” 

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Although Justin and Hailey Bieber have both

In 2000, when UPN landed The Hughleys from ABC as well as Buffy the Vampire Slayer and Roswell from The WB Network, industry insiders dubbed it the “Used Parts Network.” Flash forward two decades and The CW’s roster of homegrown scripted originals has tumbled from 18 in the 2021-22 broadcast season to only two shows, with three remaining on the bubble at press time.

The writing has been on the wall for what has become of The CW — whose current name represents its former owners, CBS Studios and Warner Bros. TV. But what is The CW’s brand under station group Nexstar, which has vowed to make the formerly younger-skewing network profitable by 2025? With CBS Studios and Warners now owning a mere 12.5 percent of the network each and Nexstar’s new focus on low-cost acquisitions and unscripted fare, The CW’s brand now may best be described as “Castoffs Wanted” or even “Curated Wreckage.”

“When they announce a fall schedule next week, mostly of the Canadian shows, this AMC drama and FBoy Island, they will have turned the clock back 25 years and truly turned it into the Used Parts Network,” one industry stalwart tells The Hollywood Reporter.

Nexstar president Dennis Miller (no, not that one) and entertainment president Brad Schwartz (formerly of Pop TV) are set to outline The CW’s first Nexstar-controlled schedule and strategy on Thursday with a breakfast in New York for press, though it’s unclear if the network is formally pitching media buyers. The CW’s fall schedule will feature 61st Street, the Courtney B. Vance-led legal drama that aired its first season in April 2022 on AMC. The basic-cable network initially ordered two seasons of the series but dropped the already-produced sophomore run as part of a wave of cancellations tied to tax write-offs, with the second season scheduled for 2024 on The CW. (Though it’s fair to expect there won’t be a third season of 61st Street, given the costs of making a cable show compared to programming The CW has already canceled and the fact that everyone’s deals have expired.)

Sources say The CW’s early renewal decision for All American was part of Nexstar’s deal with Warners as the studio continues to profit from the show’s lucrative streaming deal with Netflix for the series from exec producer Greg Berlanti. Also returning is Walker, with a 13-episode order that will keep star Jared Padalecki on the network and CBS Studios with at least one original on what remains of The CW. All American: Homecoming and the DC Comics dramas Superman & Lois and rookie Gotham Knights remain on the bubble as sources say The CW and Warners are reviewing costs for all three programs. Homecoming, it’s worth noting, also has a lucrative streaming deal for Warners with Netflix. Schwartz, sources say, wants to keep at least one DC show on the network with a move to HBO Max possible for the veteran (and pricey) Superman & Lois. Other sources note that no matter how many homegrown originals The CW winds up with, none will feature episode counts of more than 13, with Walker already confirmed for its shortest order to date. (Full disclosure: My wife co-created Gotham Knights.)

As for the rest of The CW’s fall slate, the network has Lea Thompson in The Spencer Sisters, which aired earlier this year in Canada; fellow Canadian import Sullivan’s Crossing, starring former network favorites Chad Michael Murray (One Tree Hill) and Gilmore Girls grad Scott Patterson; and the HBO Max castoff unscripted dating series FBoy Island. While The CW, under former CEO Mark Pedowitz, had focused on year-round homegrown originals and a mix of lower-cost programming in the summer, Nexstar has instead bulked up on the latter with entries including British drama The Rising, Australian entry Barons, Canadian comedies Son of a Critch and Run the Burbs, Canadian dramas Moonshine and Family Law, and Aussie comedy Bump, all of which aired elsewhere within the past two years. (Family Law and Bump, it’s worth noting, were acquired by Pedowitz.)

In addition to parting ways with Pedowitz and the bulk of his development execs, Nexstar has beefed up The CW’s unscripted department with the hiring of former USA, Syfy and Peacock unscripted chief Heather Olander. Lower-cost reality fare including FBoy Island and its newly ordered spinoff, FGirl Island, will be joined this summer by Greatest Greek Year Ever and Down to Earth With Zac Efron (which previously streamed on Netflix). Those join an unscripted lineup that already includes 100 Days to Indy and Nexstar’s deal to air PGA rival LIV Golf — which sources say cost the network nothing.

“As we reimagine the new CW, we had to make some tough programming decisions,” The CW said in a statement Thursday tied to its decision to cancel Kung Fu and The Winchesters.

Nexstar was paid $54 million to take The CW off of CBS Studios and Warners parent companies Paramount Global and Warner Bros. Discovery. CEO Perry Sook has vowed to make the network profitable by 2025 by reducing overhead — i.e. rich licensing fees paid to CBS Studios and Warners for homegrown original content. The strategy has not gone over well among The CW’s affiliates, with eight stations owned by CBS opting to go independent rather than be in business with Nexstar. CW stations in Philadelphia, Seattle, Atlanta, Detroit will drop the affiliation and instead program content from across Paramount’s sprawling portfolio (which likely will serve as a big promotional tool for Paramount+).

Showrunners, too, have voiced their heartache over the loss of what The CW, under Pedowitz, represented. “This is so sad. CW was a great place to work. Talented kind executives who supported us at every turn. First thing Mark Pedowitz said to us: ‘Don’t ever pull yourselves back.’ At one point 67 percent of their showrunners were female. RIP to one of the best places I ever worked,” Crazy Ex-Girlfriend showrunner Aline Brosh McKenna wrote. Added Julie Plec, who had captained the Vampire Diaries franchise for The CW before it was unceremoniously killed last year ahead of a formal sale to Nexstar as part of a day she compared to the “Red Wedding” on Game of Thrones: “Agreed. Looking back, what an incredible era of job security, mentorship, creative support and beloved programming.” Other showrunners who cut their teeth at The CW, including Arrow’s Beth Schwartz, singled out the network’s willingness to send writers to set — currently a central topic in the Writers Guild’s strike against the Alliance of Motion Picture and Television Producers. “I was sent to Arrow as a writers’ asst season one. Fun fact: the studio wanted to cut my $700 weekly pay because I was on set and not doing my writers’ asst duties. Luckily @mguggenheim fought to make sure that didn’t happen,” she wrote.

As showrunners pen obituaries for what was The CW, Nexstar’s strategy to age up and broaden out the network appears to be working. The network lost $83 million in the first quarter of 2023, an improvement from losses of $94 million in the Q4 2022, though that does reflect airing of the 10-plus homegrown originals that remained in the 2022-23 season. Nexstar reported record quarterly net revenue of $1.26 billion, up nearly 4 percent year-over-year. “We’re also making continued progress on our plan for The CW with key personnel appointments, further overhead cost reductions and new programming additions, including our exclusive multiyear partnership with LIV Golf,” Nexstar CEO Sook said.

The CW, it’s worth noting, was never designed to be a profitable network, but rather a platform for homegrown originals that CBS Studios and Warners could profit directly from sales of their foreign and streaming rights. The CW previously had a $1 billion output deal that saw all of its originals stream the following season on Netflix. That deal ended when both studios opted to send their respective programs to their own streaming platforms, Paramount+ and HBO Max, while also keeping foreign rights.

Looking ahead, The CW is no longer developing homegrown scripted pilots and Nexstar has an option in August 2024 to acquire the remaining 25 percent stake that remains split between CBS Studios and Warners, which would officially put a cap on the network’s WB Network and UPN era and the end of more than 25 years of a specific brand of programming.

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In 2000, when UPN landed The Hughleys

What makes an R-rated movie? Is it crass and foul language? What about nudity? Violence, too? Or it could be a combination of these different elements, which is often the case for some of the best comedies of all time. 

Below is a list of 25 R-rated comedies that really earned their R-ratings, either because of language, nudity, violence, or simply because the subject matter was too harsh for audiences under a certain age. With classics like Blazing Saddles and modern gems like The Hangover, and just about everything in between, here are some of the raunchiest comedies and why the MPA felt they should be “restricted” at the box office, but not enough to earn the dreaded NC-17 rating.

(Image credit: Warner Bros)

The Hangover (2009)

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What makes an R-rated movie? Is it

A YouTuber who posted a video of his single-engine airplane crashing in a California national forest in 2021 has admitted in a guilty plea agreement that he deliberately crashed the plane to get enough video views for a sponsorship deal.

According to the U.S. Attorney’s Office for Central California, Trevor Jacob, a 29-year-old former Olympic snowboarder turned YouTube video host, agreed on Friday to plead guilty to one count of destruction and concealment with the intent to obstruct a federal investigation. He will formally enter the plea in court in the coming weeks and could face up to 20 years in prison, though he will likely receive a lesser sentence as part of the plea deal.

On Dec. 23, 2021, Jacob posted a video to his YouTube which showed his plane appearing to suffer a propeller failure as it flew over the Los Padres National Forest. Cameras mounted to the plane and to Jacob showed him jumping out of the plane with a parachute before it crashed into the mountains below.

The video, titled “I Crashed My Plane,” has over 4 million views on YouTube at time of writing.

In a press release, federal attorneys say that Jacob told investigators that he had intended to use the video for a sponsorship deal with an unnamed wallet company. Jacob also admitted to hiring a helicopter company to airlift the plane wreckage from the Los Padres forest and later cut up the destroyed plane to dispose of it.

Jacob also confessed to lying to a Federal Aviation Administration official when asked whether he knew where the plane wreckage was located and claimed that he had suffered full loss of power while flying the plane and could not find a safe place to land the plane.

Scrutiny surrounding the plane crash came just weeks after Jacob’s video was posted, as The New York Times published an article in January 2022 speaking with aviation experts about the crash. Jacob told the Times that he “did not purposely crash my plane for views on YouTube.” The FAA revoked Jacob’s pilot license in April 2022 after it was determined that there were several locations Jacob could have safely glided the plane to land.

“No reasonable person flies an airplane with the intention of jumping out of it and allowing the aircraft to just fly off in the distance,” aviation lawyer Timothy Loranger told the Times. “It just goes against everything that a pilot stands for. Safety is absolutely paramount.”

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A YouTuber who posted a video of

Sunday (May 14) marks 25 years since Frank Sinatra died at the age of 82. That’s hard to imagine, because he remains an icon and a cultural force. His compilation Nothing but the Best reached No. 2 on the Billboard 200 in May 2008, a decade after his death. Jay-Z gave him a shout-out in “Empire State of Mind,” his 2009 smash with Alicia Keys: “I’m the new Sinatra, and since I made it here/ I can make it anywhere, yeah, they love me everywhere.”

Sinatra had major hits spanning 40 years, from “I’ll Never Smile Again” in 1940, which he recorded with Tommy Dorsey and His Orchestra, to “Theme From New York, New York” in 1980, in which he took a song Liza Minnelli had introduced three years earlier in the film of the same name and simply took it to another level. It became his final top 40 hit on the Billboard Hot 100.

Sinatra had four No. 1 albums on the Billboard 200 (which originated in 1956): Come Fly With Me (1958), Frank Sinatra Sings for Only the Lonely (1958), Nice ‘N’ Easy (1960) and Strangers in the Night (1966).

He topped the Billboard Hot 100 (which originated in 1958) twice — with “Strangers in the Night” (1966) and “Somethin’ Stupid,” a duet with his daughter, Nancy Sinatra (1967).

Sinatra won nine Grammys and an Oscar. His classic 1965 TV special Frank Sinatra: A Man and His Music won an Emmy for outstanding musical program, but he didn’t personally win for it and never officially won an Emmy. (I hate it when that happens!)

Here are 10 facts you should know about Sinatra.

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Sunday (May 14) marks 25 years since

It’s been two weeks since out-of-control wildfires began forcing evacuation orders in parts of Alberta and the situation remains critical.

“The wildfire situation is extremely volatile,” said Colin Blair with the Alberta Emergency Management Agency on Sunday afternoon.

“Our crews have had the opportunity to build fire guards and…  for the vast majority, those are holding,” said Josee St-Onge, an information officer with Alberta Wildfire.

“We are expecting challenging conditions to continue and that will be the case for the next few days as the hot and dry conditions persist.”

It was on April 30 that parts of Yellowhead County west of Edmonton were ordered to evacuate because of a wildfire threatening the community. Dozens of homes have since been destroyed in Wildwood, Shining Bank and Evansburg areas.

On May 3, thousands of residents of Fox Creek in northern Alberta were forced to flee the flames. Roughly 100 structures were burned there.

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Then, on May 5, Edson, a town west of Edmonton, was evacuated.

A provincial state of emergency was declared on Saturday, May 5.

As of Sunday, there were 19 local states of emergency in place, as well as five band council resolutions. There were 14 evacuation orders in place, affecting 19,342 Albertans, an increase from Saturday’s total because of three new evacuation orders in Rainbow Lake, Sturgeon Lake First Nation and Leduc County.

Alberta Wildfire said there were a total of 87 wildfires burning across the province, 24 of which were listed as out of control.

So far this year, there have been 451 wildfires in Alberta, burning 521,000 hectares.

“We are continuing to see hot and dry conditions… with little chance of rain,” St-Onge said.

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Click to play video: 'Alberta wildfires: Officials say number of evacuees grow to about 19,000'


Alberta wildfires: Officials say number of evacuees grow to about 19,000


There are 1,500 Alberta wildland firefighters battling the various blazes and 800 people from other agencies across North America helping in the fight, including 200 wildland firefighters from the U.S. and 300 members of the Canadian Armed Forces.

The fire danger was considered extreme again Sunday, St-Onge said, adding that the peak risk is still ahead.

“The heat event that we’re seeing in the province is starting to impact the south as well, so that means that conditions are drying out and wildfire danger is rising.”

St-Onge said the fire risk is still not as extreme as it is in the north.

“We position our resources in strategic places so they’re able to react quickly to new wildfire starts. We’ll be analyzing the situation in the coming days, seeing where the fire danger is the highest and moving our resources around. Even though most of resources, obviously right now, are concentrated in the Boreal Forest, we still have crews that are in position in our Rocky Mountain and our Calgary forest areas.”

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She said if wildfires started growing quickly in the south, resources would have to be repositioned. Support coming from other jurisdictions could help as well, St-Onge added.

“We do feel within North America and all the resources that are available to us, we’ll be able to keep getting enough people to continue fighting these wildfires as the situation evolves.”

She urged Albertans to remain extremely vigilant by following province-wide fire and off-highway vehicle bans in order to prevent sparking any new fires.

Blair said people in areas that are threatened should prepare in advance to evacuate, including having an evacuation kit ready.

“Everyone should know what to do, where to go and how to stay in touch with each other for those who are not together or at home when an evacuation order is issued.”


Click to play video: 'Canadian military helping with Alberta wildfires'


Canadian military helping with Alberta wildfires


The long waits and uncertainty is beginning to wear on some Albertans.

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Residents of the Town of Fox Creek have been out of their homes for a week.

“We’re on Day seven, so people are getting exhausted,” Mayor Sheila Gilmour told Global News from the Whitecourt reception centre. “It’s a long time to be out of your home and unsure about when you’ll be able to go back.

“The roller coaster of emotions has been interesting this week.

“We’ve seen everything: frustration, upset, devastated. All of them because (at) every given moment, you have no idea.”

As of Saturday, the wildfire was still out of control and displayed some expected behaviour. It also grew outwards a little bit, away from the community, Gilmour said.

There are lots of fire professionals working out of the emergency operations centre, she said, and the addition of military troops and firefighters from other communities.

“The amount of manpower has been growing steadily over the week,” Gilmour said. “They wanted to see how the fire was going to react to the heat dome… as they’re also trying to fight it.”

Still, everyone is worried about what more hot, dry and windy conditions will mean.

“They’re definitely, I’m sure, nervous,” Gilmour said. “I’m nervous about what this heat is going to bring.”

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Click to play video: 'Cell video shows frightening moments as residents flee northern Alberta wildfire'


Cell video shows frightening moments as residents flee northern Alberta wildfire


After hosting evacuees from Rainbow Lake and Fox Lake, High Level was preparing to accommodate even more.

“We started setting up beds because we were told that 250 evacuees were coming from Garden River,” High Level Mayor Crystal McAteer said. “In the meantime, 1,000 from Chateh were evacuated to High Level. We have people in our arena, people in our curling rink, people in the friendship centre, people out at the campsites, at the golf course, and at the school now. We have been using every available space.”

While the town doesn’t want to turn anyone away, McAteer admits High Level is straining at the seams.

“I know how people feel about leaving the community that is close to them. They feel disjointed and they like to be together as communities,” she said.

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“There is a lot of — I don’t want to call it stress — pressure on our team. We’re a small town,” McAteer added.

“We’ve been lobbying our government for an evacuation centre and this certainly was a year to prove that we needed it up here in the north. We know we could do a much better job of medical services and veterinary services and housing and food if we had a centre where everyone could be together.”


Click to play video: 'Residents of Grande Prairie and surrounding areas on edge over Alberta wildfire threat'


Residents of Grande Prairie and surrounding areas on edge over Alberta wildfire threat


Around the County of Grande Prairie, Reeve Bob Marshall is keeping an eye on the winds and the heat.

“Our crews have made significant gains on the hot spots,” he said Sunday. “There are still a number of hot spots they’re tackling. The heat is another issue. With our crews on the ground, they can’t just work in T shirts and shorts. They have protective clothing. That makes this extremely difficult for them… it’s even hotter. They’ve got to watch out for heat stroke.”

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Marshall said the winds are predicted to be more erratic on Monday.

“It could turn on a dime on us. Mother Nature has a huge role to play.”

He said the approximately 100 military personnel have been a huge help.

“They’re assisting our firefighters with the hotspots. You have to dig them out and then douse them with water. We’ve also got resources from the Calgary fire department, Chestermere, Strathmore, Vulcan, there’s a lot of resources that have come in fro the rest of the province.

“We are so grateful for that help. Our (firefighters) were getting so tired after last weekend. So when those resources arrived on Monday, it was a huge relief,” Marshall said.

For a complete list of evacuation orders, visit the Alberta Emergency Alert website.


Click to play video: 'Alberta government building wildfire guards around threatened communities: Ellis'


Alberta government building wildfire guards around threatened communities: Ellis


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It’s been two weeks since out-of-control wildfires

Riley Keough saluted the late Lisa Marie Presley today via Instagram on the first Mother’s Day holiday without her.

“Lucky to have had the best and most deeply loving mama I could have asked for,” Keough said on Instagram. It featured a photo of her mother and father, Danny Keough, holding her as an infant.

Keough, the star of “Daisy Jones and the Six,” was Lisa Marie’s oldest child from her relationship with Danny.

Expressing her sorrow over her mother’s death has been difficult for Keough. She had her husband, Ben Smith-Petersen, read her eulogy at the funeral.

The social media post comes as relations are strained between Keough and Priscilla Presley, her grandmother. Priscilla Presley is contesting Lisa Marie’s will, which removed her mother as a trustee.

The 2016 amendment named Riley as the trust controller of Elvis Presley’s Graceland mansion and 15% ownership of the singer’s estate.

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Riley Keough saluted the late Lisa Marie

“Masters of the Universe” alum Meg Foster will return to the franchise for Netflix’s upcoming animated series “Masters of the Universe: Revolution.”

After voice acting as Evil-Lyn in the 1987 live-action film, Foster will assume a new role as Motherboard, an ancient sorceress of technology in the fight for the soul of Eternia, who stands as a formidable force against the Masters. Motherboard is a sentient AI force that serves as Hordak’s liasion on Eternia while she conspires against Skeletor and the people of Eternia.

Foster joins the voice cast alongside Chris Wood as He-Man, Melissa Benoist as Teela, Mark Hamill as Skeletor and William Shatner, whose role has yet to be announced.

“My part in ‘Masters of the Universe’ more than 35 years ago remains one of my most cherished roles,” Foster said in a statement. “I am both thrilled and honored to come back into the fold to embody a brilliant, all-new villainous character that adds color to the vibrant storytelling that Kevin Smith and Mattel have brought to life for fans around the world.”

The animated series, which is set to premiere on Netflix in 2024, will follow-up on the 2021 “Masters of the Universe: Revelation” as it focuses on the longstanding He-Man vs. Skeletor rivalry.

The official logline is as follows: “It’s technology up against magic as He-Man and the heroic warriors face the forces of Skeletor and a deadly threat to the planet in the next epic chapter in the battle for Eternia.”

“It’s not often that original and beloved actors return to their legacy franchises, so we are excited for the opportunity to welcome Meg Foster back to Eternia,” Senior Vice President and General Manager at Mattel Television Fred Soulie said. “Her presence in the original live action film left an undeniable impact on fans, so much so that it cemented the film in the pop culture zeitgeist for over 30 years, causing her formidable work as Evil-Lyn to set the stage for Meg to enrapture audiences once again, now as the villainous Motherboard.”

Executive producers for the series include Mattel’s Fred Soulie, Rob David and Christopher Keenan, along with Ted Biaselli and Kevin Smith. Meg Foster is represented by Chris Roe Management.

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“Masters of the Universe” alum Meg Foster

“Sons of Anarchy”

 

The number one reason to check out this crime drama series is because of Taylor Sheridan. But no, he wasn’t the creator of this one but rather a character on the show. With the story revolving around a biker gang in California, Charlie Hunam stars as Jax Teller, a biker struggling with balancing his involvement with his outlaw friends and being a father.

 

The impressive and revolving supporting cast includes names like Katey Sagal, Drea de Matteo, Maggie Siff, Ron Perlman, Jimmy Smits, and of course, the aforementioned Sheridan, who appeared in 21 episodes as a Deputy Police Chief named David Hale. It was the last recurring role for Sheridan in a series until he cast himself as the likable cowboy Travis Wheatley in “Yellowstone.”

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"Sons of Anarchy"   The number one reason to

In 1988, Boogie Down Productions, Eric B. & Rakim, Doug E. Fresh, Kool Moe Dee, and Biz Markie were in the middle of the Dope Jam Tour when an altercation broke out during a stop at the Nassau Coliseum in Uniondale, New York. Concertgoer Julio Fuentes, 19, was stabbed once in the chest amid an apparent robbery attempt mere minutes after he entered the venue. He died 30 minutes later at Nassau County Medical Center. Coupled with the murder of DJ Scott La Rock—a founding member of Boogie Down Productions who’d been fatally shot while attempting to break up an argument just months earlier—the climate around hip-hop in the city at the time was dark. The deadly concert stabbing proved to be KRS-One’s tipping point.

Fed up with the violence littering the rap community and the media’s often skewed portrayal of the genre, he founded the Stop The Violence Movement. With the assistance of journalist Nelson George and Jive/RCA executive Ann Carli, KRS-One recruited an all-star roster of MCs to contribute to the 1989 single “Self-Destruction.” Produced by D-Nice and The Bomb Squad’s Hank Shocklee, the track boasted a formidable list of artists, including KRS-One, Stetsasonic’s Daddy-O, Public Enemy, Doug E. Fresh, Heavy D, Just-Ice, MC Lyte and Kool Moe Dee. The song debuted at No. 1 on the Billboard Hot Rap Songs chart, remaining for 10 consecutive weeks. Proceeds from the track—which ultimately totaled more than $100,000—were donated to the National Urban League. An accompanying VHS cassette, Overcoming Self-Destruction: The Making of the Self-Destruction Video, gave fans a behind-the-scenes look at the creation of the song.

Unfortunately, violence remains an issue in the rap community. Tupac, The Notorious B.I.G., Big L , Nipsey Hussle, and Jam Master Jay are among the many who’ve lost their lives to gun violence since the release of “Self-Destruction.” In 2021 alone, more than two dozen rappers — both on the national and local level — were either fatally stabbed or shot, including Young Dolph, Drakeo The Ruler, and Slim 400. The internet has made it much more apparent, with countless videos of violence being uploaded to various platforms daily.

As a result, Hip-Hop Alliance (HHA) Chairman and Temple of Hip-Hop founder KRS-One has decided to revive the Stop The Violence Movement and recruit several of his fellow Hip-Hop pioneers to help bolster the cause. Former Profile Records artist Special Ed — widely known for his 1989 single “I Got It Made”—got involved following a sobering phone call with Tha Dogg Pound rapper Kurupt who was familiar with the Hip-Hop Alliance’s work.

“Kurupt, my little homie, mentioned they wanted to bring some attention to stopping the violence that’s been going on,” Special Ed explains to Rolling Stone. “I said, ‘Yeah, you know what? We have to do it, because otherwise, it’s not going to get done. Nobody’s saying anything.’ So I reached out to KRS-One and Kurtis Blow. I joined the table and brought up the fact that listen, ‘We need to do something about the violence going on. Artists are coming out under the notion that this is the climate and the behavior—and that’s not acceptable.”

He says they all agreed and decided to start scheduling calls to bring members of the hip-hop community together in order to tackle the issue. “We have participants from the East Coast, West Coast, South, Midwest—all over the country—even some from overseas,” he said. “They see the need and see what’s happening to us as a culture. It seems as if it’s being magnified by most of the hip-hop community, so we have to address this.”

Kid Capri, another legendary New York City-bred artist contributing to the cause, has been tasked with uniting a roster of artists for another Stop The Violence project. “KRS-One asked me to be a part of it, and I was honored,” he recalls. “I produced the beat, sent it in and they loved it. I know KRS-One and Special Ed are on it, but they’re putting together older rappers and newer rappers. I gave them two tracks for the album so far. It’s a project that will coincide with the Hip-Hop Alliance. It all goes together.”

“The music is simply a catalyst to the message across that this is not right by any means. We’re being driven in the wrong direction, mentally, spiritually and otherwise, and we hold ourselves accountable for our actions, our families and our loved ones,” Special Ed adds. “We want to go out here with a conscious behavior.”

As Kid Capri pointed out, the Stop The Violence Movement and Hip-Hop Alliance are intertwined, however, they do have separate objectives. The Hip-Hop Alliance is a labor force organization intent on promoting and securing fair wages, fair royalties, and strong health and retirement benefits for all creators in the Hip-Hop and R&B community. The Stop The Violence Movement is focused on spreading a message of nonviolence as it did in the ‘80s.

“The Stop the Violence Movement was a powerful Movement that brought attention to the impact of violence in our society and urged us to make a change,” Kurtis Blow, founder, and executive director of the Hip-Hop Alliance, says. “We need that same energy—not just as a symbol of our past but also as a call to action for our future. We also need to come together and use our voices to promote peace, unity, and positivity in the culture. Hip-Hop is not violence!”

Kid Capri can’t stress enough the importance of the Stop The Violence project. “Direction needs to be out here. Hip-Hop runs the whole music industry, and it’s one of the biggest influences on kids,” he says. “They look at artists like superheroes. A lot of kids don’t have fathers, so the streets become their fathers. We gotta reverse the violence and calm it down.”

As far as the steps the Stop The Violence Movement is taking to gain momentum, Special Ed and his co-masterminds have an evolving laundry list of ideas “We are putting operating procedures in place in terms of how we handle things, what the message is, and how we’re going out and delivering that message. But in addition, we have programs in place to educate,” he explains. “The first thing to stop violence is information and knowledge. Ignorance is a major cause of violence, so we have many opportunities and areas of interest for people to educate themselves. We have knowledge ciphers, where we have an open forum and free education for all. So that’s one thing we do at SEAL and in conjunction with the HHA.”

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It’s a slow, uphill climb to show young rappers caught up in street culture that there’s another way. Tales of violence — including robberies and murders — are all too common. Not to say it wasn’t present in the late 1980s and ‘90s when West Coast gangsta rap was making its ascent, but the OGs learned the hard way and are hoping to impart some wisdom on the current generation.

“Be yourself,” Special Ed advises. “Whatever else you perpetrate that’s not you will seek you. So attract whatever’s in you — your goodness, spirit, energy — and put that into your music. Don’t worry about what someone else sounds like or how many records they sold. Make some art based on the message you want to send to the world.”

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In 1988, Boogie Down Productions, Eric

Jason Sudeikis’ affable football coach in the Apple TV+ series “Ted Lasso” would have had a very different demeanor if it wasn’t for Donald Trump. 

While speaking with The Guardian, Sudeikis dished on the early origins of Ted Lasso. He revealed that the character was initially conceptualized to be much more “belligerent,” but that observing the behavior of Trump forced a change.

“It was the culture we were living in,” Sudeikis said. “I’m not terribly active online and it even affected me. Then you have Donald Trump coming down the escalator. I was like, ‘OK, this is silly,’ and then what he unlocked in people.”

He continues by explaining that he “didn’t want to portray” Lasso in the way that he was originally conceived: “I hated how people weren’t listening to one another. Things became very binary and I don’t think that’s the way the world works. And, as a new parent – we had our son Otis in 2014 – it was like, ‘Boy, I don’t want to add to this.’”

Ahead of the premiere of the third season of “Ted Lasso,” Sudeikis and his fellow castmates visited the White House to discuss “the importance of mental health to promote overall wellbeing.”

“I’d been in a fake Oval Office a number of times,” Sudeikis said of his visit to the White House. “There’s a little bit of me that’s nonplussed by it and just holding my shit together. And I’d met the president when he was vice president and he’s a very warm guy. It’s like meeting your good friend’s father or your young friend’s grandfather. He just makes you feel at home and that home just happened to be the White House for that afternoon.”

Season 3 of “Ted Lasso” debuted on Apple TV+ on March 15, with no official announcement of a fourth season being revealed yet. 

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Jason Sudeikis’ affable football coach in the

Disney just announced that Disney+ subscribers will soon have less content to watch on the streaming platform.  

During Disney’s second-quarter earnings report, CFO Christine McCarthy announced plans to remove select content from Disney+ in order to cut costs and focus on curating quality content. 

The question fans and subscribers are left asking is what does Disney intend to drop and will any of the axed content belong to the Marvel brand?

Is Disney Removing Marvel Content from Disney+?

Disney+

While this announcement is new, the Disney+ purge has been underway for some time now. 

Following Disney CEO Bob Iger‘s return and in advance of this news, a number of Disney+ series have already been canceled, such as Willow, The Mighty Ducks: Game Changers, and National Treasure: Edge of History. 

Still, this new step is different in that removing content requires the company to absorb impairment charges which, as reported by The Wrap, range from $1.5 billion to $1.8 billion and are expected to appear in Disney’s third quarter. 

This strategy mirrors that of Warner Bros. Discovery which removed its own original content from HBO Max last year. 

And, like Warner Bros. Discovery, it’s possible that Disney will be able to classify its newly cast-off shows/films as tax write-offs. 

Fortunately, it’s unlikely that Disney will drop any of Marvel Studios’ shows and films.

As data has shown, MCU Disney+ series are some of the highest-viewed content on the streamer and are a massive contributor to its success. 

While the same could be said for Star Wars projects, and particularly The Mandalorian, Lucasfilm has yet to release a theatrical Star Wars film since 2019. 

Meanwhile, Marvel Studios releases several theatrical films per year which traditionally dominate the box office before becoming available on Disney+ to subscribers. 

Another point in Marvel’s favor is its interconnected universe where its various projects contribute to the other, a trademark that’s only expected to expand throughout the ongoing Multiverse Saga as non-MCU Marvel projects are being incorporated as well. 

It simply wouldn’t make sense for Disney to remove any of its valuable MCU content, nor would removing any other Marvel-branded entertainment ahead of its resurge relevancy.

Why Disney Cutting Content is Good for Marvel

The reasoning behind dropping content is part of Iger’s long game, and it’s expected to benefit the MCU.

According to the Disney CEO, “we made a lot of content that is not necessarily driving sub growth” and he prefers not to spend “money marketing things that are not going to have an impact on the bottom line.”

As previously stated, MCU shows and films are huge contributors to Disney’s bottom line, and Iger actually expressed interest in getting to “lean into those more:”

“We actually believe we have an opportunity to lean into those more, put the right marketing dollars against it, allocated more away from programming that was not driving any stops at all.”

Still, that’s not to say that no Marvel Studios projects will emerge from Iger’s initiative unscathed. 

In fact, Iger’s interest in aiming for less content in exchange for higher quality has already impacted the MCU’s 2023 slate. 

As of now, only Secret Invasion and Loki Season 2 are confirmed to release on Disney+ in 2023.

The release dates for other previously announced shows such as Echo, Ironheart, Spider-Man: Freshman Year, and more are currently unknown. 

At the moment, it’s hard to imagine Marvel Studios ever producing the same volume as it did in 2021. 

However, given MCU’s drop in quality and connectivity of late, the strategy of less is more may be just what the red brand needs. 

Further details concerning Disney’s plan for its streamer, as well as new MCU announcements, renewals, and greenlights, may be revealed during Disney’s Upfront presentation on Tuesday, May 16.

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The Exorcist has long held the title as the scariest possession horror film ever made, and all the subsequent films to follow haven’t been able to measure up in the eyes of some viewers. According to Den of Geek, there will never be one scarier than The Exorcist. However, movies are of their time, and over the last decade, the horror subgenre that showcases demonic possession has gotten pretty creative in terms of the storytelling that goes into these films. The Evil Dead franchise is a great example of a series of films that takes on its own demon to deliver both flat out horror and hidden comedy.


A common misconception about possession films is that there needs to be a demon inhabiting one’s body, and an exorcism always seems to be the go-to answer. Contrary to popular belief, there are many other ways for one to become possessed by something that doesn’t come straight from hell and not everybody’s soul has the capacity to be saved. From raining hell blood to possessed items, here are some of the best possession movies to watch next.

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10 Christine

Columbia Pictures

Christine is a 1980s horror film that was an adaptation of a Stephen King novel of the same name. The film was released in December, a mere eight months after the novel hit the shelves. Christine focuses on an unpopular teenager named Arnie (played by Keith Gordon), who purchases a 1958 Plymouth Fury. As Arnie spends more time with and in the car, he becomes obsessive and his overall demeanor changes drastically.

One night after his car has been vandilized by one of Arnie’s bullies, the Plymouth Fury restores itself to perfection right in front of Arnie’s eyes. Although Christine isone of the least terrifying examples of a possession film, it is worth a watch for both Stephen King fans and a casual viewer.

9 Demons

demons
Titanus

Like many B-horror movies made in the 80s, 1985’s Demons has acquired a cult following. In short, the plot follows a group of college students who attend a screening at a newly renovated cinema. The film they are screening is a horror movie, and the theater has an identical mask prop in the lobby that one of the patrons was scratched by.

Soon after the being scratched, the infected Rosemary (played by Geretta Geretta) transforms into a demon. She then begins to attack the other patrons of the theater, turning them all into demons. By no means is Demons overtly scary, but for fans of films like TheEvil Dead, the 80s cult classic will strike a chord. The mystery behind the possessed and the theater setting, allow for just the right amount of camp and body horror effects.

Related: 11 Campy Horror Movies We Can’t Help But Love

8 Jennifer’s Body

Megan Fox possessed in Jennifer's Body
Fox Atomic

At the time of the film’s release in 2009, Jennifer’s Body was considered a flop. The budget was $16 million and overall the box office only grossed $31.6 million, with Megan Fox as one of the leads. The film was criticized for a variety of reasons, one of which being the out of touch dialogue that comes with any Diablo Cody film. However today, Jennifer’s Body has experienced somewhat of a renaissance. According to Vox, Jennifer’s Body has been newly regarded as a feminist horror film and claims that if it were to come out today it would be a sleeper hit. The story is about a modern day succubus who eats boys at her high school to feed and stay beautiful.

However, there is something much deeper in the film, especially hidden in the relationship between the two female friends Jennifer (played by Fox) and Needy (played by Amanda Seyfried). The two have a bond that teeters the line between platonic and romantic, which is something also missed by critics upon the film’s initial release. Once you peel back the layers of heavy dialogue, Jennifer’s Body offers so much more than blood and guts, easily making it one of the most entertaining possession films that doubles as a comedy.

7 Night of the Creeps

Night of the Creeps
TrisStar Pictures

Night of the Creeps is probably one of the 80s’ best kept gems, and ranks number two on Collider‘s most bizzarre horror films of the decade. When a corpse harboring a dangerous space slug is unleashed by two klutzy friends, havoc wreaks on a college campus. The slugs make their way inside you and burrow into your brain, making you a member of their undead army all while taking control of your nervous system. They possess you until they become you, but unlike Invasion of the Body Snatchers and The Faculty, they zombify you rather than keep your human form.

Night of the Creeps encompasses every aspect of 80s horror that there is to love. The campy dialogue and overall comedy mix imperatively well with all the space slinging gore.

6 The Faculty

The Faculty movie
Dimension Films

The Faculty is your average run-of-the-mill 90s horror movie, and reads similarly to films like Scream and I Know What You Did Last Summer. The big difference between this group of teens as opposed to the other films is they are being picked off one-by-one by an alien force seeking to inhabit a human’s body. As the group tries to find the “queen bee” behind the infection, they find themselves questioning their very beings among one another. The Faculty pays homage to both The Thing and Invasion of the Body Snatchers, and is a valiant attempt in revitalizing a story previously told.

5 The Conjuring

the conjuring
New Line Cinema 

The Conjuring franchise is based on the cases of real-life paranormal investigators Ed and Lorraine Warren. The success of the first film spawned two sequels, and launched what is known as The Conjuring Universe, which are a series of films based on paranormal entities from the series. To date, The Conjuring ranks number one in the highest-grossing horror franchises of all time. Overall, the original trilogy boasts fairly high scores from both critics and audiences alike.

The Conjuring, much like the film’s predecessors, focuses on a family who tied all their money up in a house that ends up being haunted. The entity in the Perron family home seeks to possess the mother figure and then murder her children. The film hits all the marks of possession, exorcism, and even tends to use a majority of practical effects throughout.

4 Insidious

Patrick Wilson in Insidious
FilmDistrict

James Wan’s Insidious shares a familiar tie to his Conjuring Series, with Patrick Wilson in a leading role. However, Insidious and the subsequent films that followed are more tied to the belief in “the further” rather than the Warren’s alleged real cases. Known mostly for it’s jarring use of sound and music, the film is regarded as one of the scariest demonic possession movies in horror.

Like The Conjuring, Insidious has its own universe that branches off into stories that follow paranormal guru Elise Rainier (played by Lin Shaye). These films serve as prequels being that she is killed off in the first film. For fans of the series, there is much anticipation surrounding the fifth installment to the franchise which will catch up with the Lambert family ten yeas after the events of the second film. Insidious: The Red Door is set to hit theaters in July 2023.

Related: The Best ’80s Horror Movies About Demons and Possession, Ranked

3 Invasion of the Body Snatchers

Donald Sutherland screams and points a finger in Invasion of the Body Snatchers 1978
Solofilm

In total, without counting films loosely based on the story, Invasion of the Body Snatchers has been reimagined four times. The 1956 film was adapted from Jack Finney’s science fiction novel titled The Body Snatchers. However, the 1978 remake is one of few films that has been considered better than the original.

This prominent retelling, although slow at first, pays off immensely due to the ending scene alone. Hysteria, paranoia, and fear of the unknown are no strangers to horror films alike. Yet, Invasion of the Body Snatchers is a possession premise unlike any other in its realm and the film’s pod people strike silently making them all the more horrifying.

2 Sinister

The supernatural horror film Sinister (2012)
Lionsgate

Sinister is a film that truly cashes in on its title. Each year a UK based entertainment provider, Broadband Choices, ranks the scariest films according to science. In 2020, the provider determined that Scott Derrickson’s 2012 film Sinister was the stand-out winner. Their metrics are based on a variety of aspects used to make a film, and their data is gathered by monitoring the heart rates of their volunteers.

Yet, most viewers go into Sinister not realizing that it is in fact a possession film. The evil entity Bughuul, more commonly known as the eater of children, possesses a child through Super 8 films all to have that child kill their families. Despite the overtly terrifying nature of the demon, the film scatters in fragments of the Super 8’s that crime writer Ellison (played by Ethan Hawke) endures.

1 The Evil Dead

Ellen Sandweiss in The Evil Dead.
New Line Cinema

When discussing possession films, it is hard to discredit the work of Sam Raimi’s 1981 cult classic The Evil Dead. The film features a slew of brilliant practical effects and an overtly terrifying premise. When Ash (played by Bruce Campbell) and his four friends venture into the woods for a fun night in a remote cabin, their luck quickly changes once they find an old book referred to as the Necronomicon. Once they read the book aloud, the group unknowingly awakens an evil force that picks them off one by one.

The sequels to follow the original were more centered as horror comedies, while the 1981 film is considered one of the most frightening movies from the 80s. Despite the 2013 remake of the same name and the new 2023 installment Evil Dead Rise, The Evil Dead is often a forgotten gem among casual viewers. When comparing films about demonic possession it is almost impossible not to bring The Evil Dead and the deaditesinto the conversation which is why it is our number one pick for possession films you should watch next.

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The Exorcist has long held the

The Legend of Zelda: Tears of the Kingdom has launched to critical acclaim. The latest title in Nintendo’s iconic, exclusive series has been heaped with effusive praise from critics, garnering a 96 on Metacritic, catapulting the newly released action adventure game to frontrunner status in “game of the year” conversations. However, while critics are nearly unanimous in their adoration for Tears of the Kingdom, what do fans think? Let’s find out, as we look at the recently revealed Metacritic user score data for the newest The Legend of Zelda game, and compare it to Breath of the Wild, the previous entry in the series.

What Do Fans Think of The Legend of Zelda: Tears of the Kingdom?

As of this writing, The Legend of Zelda: Tears of the Kingdom has received an 8.6 user score based on 1,026 ratings. Unlike the the critic scores, which evaluate games with a grade up to 100, the audience ratings on Metacritic are recorded on a ten point scale. Ultimately, this signifies that Metacritic’s users are somewhat less positive than critics about Tears of the Kingdom, but the game has received an undeniably positive reception across the board. Furthermore, it is very likely that the audience score will continue to fluctuate (in both directions) in the coming days, as unlike critics, many gamers have only been playing Tears of the Kingdom for a few days, and will continue to share their opinions on the new Nintendo Switch title.

Related: The Legend of Zelda Games Ranked by Critic Scores

Tears of the Kingdom User Score Compared to Breath of the Wild

Despite the discrepancy between critics and the mass audience of Tears of the Kingdom, it is a repeat of the similar variance between the critic and user scores for Breath of the Wild. The 2017 game of the year winner was awarded an incredible 97 critic Metascore, while its user score was an impressive, yet noticeably lower 8.7.

For more news, reviews, guides, and features on The Legend of Zelda: Tears of the Kingdom, or the videogame industry in general, Prima Games has everything you need, just a click away.

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The Legend of Zelda: Tears of the

Canon unveils perhaps its Vlog-iest camera yet, but is it a tool without a niche?

With social media content ballooning to an all-time high, Canon—like many other manufacturers recently—has doubled down on going smaller. With the announcement today of the new Canon PowerShot V10 Vlog Camera, Canon has unveiled perhaps their most ambitious (and tiniest) camera yet 100% aimed at this self-producing social vlog content audience.

But with every smartphone sporting a camera system that produces gorgeous images and video, is this a play that will pay off?

With 4K UHD up to 30p and a 1” CMOS sensor providing some surprisingly decent low light range behind its 19mm wide selfie-taking lens, this isn’t just a kid’s toy (even if it will most likely be used mainly by a younger generation of content creators).

Let’s take a look at this new PowerShot V10 to see how it might be useful for various film and video projects.

Introducing the Canon PowerShot V10 Vlog Camera

As its name implies, this is a camera really designed for one thing: vlogs! Exciting, right?

Canon has teased this coming for some time, and this PowerShot V10 is actually the first product in Canon’s new consumer video production, live streaming, and a vlogging line called the PowerShot V camera series (the V stands for “video communication” of course).

Designed specifically for vloggers and on-the-go content creators, this camera is fully realized for self-shooting and ease of use in any lighting situation. From the looks of it, while as tiny and compact as a camera can come, it’s actually quite intuitively optimized for smartphone-like handling and use. This is great for content creators looking to operate one-handed—presumably so their other hand can make various peace signs next to their face. Therein lies the issue. Is it trying to replace smartphones? 

One of Canon’s tiniest cameras yetCredit: Canon

Specs and Features

Along with the 1” CMOS sensor capable of its 4K UHD up to 30p and Full-HD up to 60p, the PowerShot V10 also boasts some of Canon’s expected Face-Tracking AF software and image stabilization. Add to that two built-in stereo microphones and a third mic just for background noise reduction, and this nifty little guy should handle adverse locations as well as any action cam or smartphone.

Designed for self shooting video contentCredit: Canon

Here are the full specs and features:

  • Compact and lightweight design, 211g/ 63 x 90 x 34 mm
  • 4K UHD 30P, Full-HD 60p
  • 19mm wide lens, which is ideal for selfie-taking
  • Smartphone-like handling and style with vertical grip, easy for one-handed operation
  • 1” CMOS sensor lens helps to enable low-noise video quality in dark areas
  • Webcam capability (UVC/UAC), horizontal only
  • Live Streaming via Camera Connect app1
  • Auto upload of content via image.canon2
  • Face-tracking AF designed to automatically detect and autofocus on a person’s face
  • Image stabilization
  • Two high-quality stereo microphones and a third microphone for background noise reduction

Is the Price Worth Paying?

So, who is the Canon PowerShot V10 Vlog Camera for?

At a price point of $429, it’s in a sweet spot between high-end smartphones and tech that will probably end up as e-waste. The feature set is there and should help content creators get a nice image. But a question still remains: is there a niche for this camera to fill?

For creators that want ease of use, nothing can top a smartphone. It’s a camera and delivery platform in one device. For those chasing image quality, you can get so much more from a camera for just a few hundred dollars more. I’m talking about a bigger sensor, resolution, and versatility. I won’t even have to leave the Canon brand (looking at you, EOS M50 MkII).

If this tool is something you’d want in your kit, the Canon PowerShot V10 Vlog Camera is available for pre-order today and currently comes in two variations of black and silver. But from our experience, there are better tools out there for content creators to benefit from.

But we want to hear from you! Let us know if you think the PowerShot V10 has some uses we missed.      

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Canon unveils perhaps its Vlog-iest camera

At the 2023 Cannes Film Festival, which kicks off Tuesday, six titles — not counting midnight screenings or the TV series The Idol — will screen “out of competition,” meaning with a big red carpet premiere and the heavy media coverage that accompanies one, but without eligibility for festival prizes.

They include fest opener Jeanne du Barry, starring Johnny Depp (following in the footsteps of star vehicles ranging from 2011’s The Beaver to 2018’s Gotti); fest closer Elemental, from Pixar (animated pics are almost never invited into competition); franchise flick Indiana Jones and the Dial of Destiny (a 2008 Indiana Jones pic also screened out of competition, as have installments of Kill Bill, Matrix, Oceans, Star Wars and X-Men); and cineastes’ most highly anticipated title, Martin Scorsese’s Killers of the Flower Moon.

Among those, Killers is a unique case, in that fest director Thierry Fremaux revealed in April that it was — and remains — invited to screen in competition. He said that he initially offered the film only of an out of competition slot, since its worldwide digital distributor Apple, like most other streamers, won’t usually wait for a lengthy theatrical window prior to streaming them, as required by the fest for a competition slot. But then Apple indicated that it would do so with Killers (which Paramount will distribute theatrically in France and the U.S.). “So,” Fremaux explained, “I said, ‘Well, in that case, you are welcome in competition.’ And now we’ll see what their response is.”

Scorsese — who has previously had numerous films play at Cannes both in competition (including Taxi Driver, which won the Palme d’Or in 1976, and After Hours, for which he was awarded 1985’s best director prize) and out of it (numerous documentaries) — and Apple have opted not to take up Fremaux on his offer. That begs the question: why would a legendary filmmaker and a flush distributor, armed with what Fremaux describes as “an extremely strong film” that drove him to tears, not want to screen a film in competition at the world’s most prestigious film fest?

Some filmmakers are averse to the idea of competition. Woody Allen, for instance, has brought more than a dozen films to Cannes dating back to 1979’s Manhattan. Three opened the fest, but none have played in competition. Allen explained in 2016, “For any group to judge other people is something one should never do… I don’t believe in it, and I don’t want to participate.” Others have followed suit. Jacques Audiard, whose Dheepan won the Palme in 2015, said in 2018 that he will henceforth refuse competition spots, stating, “I don’t want to be in competition anywhere.” And that was also the takeaway of Stephen Frears after he presided over the competition jury in 2007; despite having previously screened multiple films in competition, he kept his next, 2010’s Tamara Drewe, out of it.

Other times, a filmmaker and/or distributor is concerned about managing expectations for a film. The New York Times noted way back in 1974, “An increasing number of established filmmakers… decline to compete at Cannes, reasoning that the loss of the grand prize to some upstart newcomer can be more damaging than winning can be prestigious.” Columbia University film professor Annette Insdorf, a veteran of many Cannes fests, tells THR, “I don’t recall that it ever helps the ‘masters’ who have films in competition. There is less pressure for filmmakers when their work is reviewed on its own terms.” That factored into the calculation to keep Ang Lee’s Crouching Tiger, Hidden Dragon out of competition at the fest in 1999, according to Sony Classics co-chief Tom Bernard: “The movie just gets written about differently if it’s in competition. We wanted people to discover it without the context of competition.”

On rare occasions, a veteran filmmaker simply feels magnanimous and wants to give lesser-known filmmakers a chance to compete. That was the explanation of Steven Soderbergh, whose sex, lies and videotape won the Palme in 1989, for why he initially declined a competition slot for 2013’s Behind the Candelabra (before Fremaux talked him into reconsidering).

Robert Altman, who won the Palme in 1970 for M*A*S*H, found all of these sorts of explanations to be lacking, telling Roger Ebert in 1977, “If you don’t want to be in competition, that means you’re either too arrogant or too scared. So you might lose? I’ve lost before; there’s nothing wrong with losing.”

That said, nobody in the know regards Scorsese as arrogant or scared — quite the opposite. Instead, THR hears that he and his backers have based their position regarding Killers on the fact that two American films that premiered out of competition last year, Top Gun: Maverick and Elvis, generated tremendous buzz at the fest, made a fortune at the box office and ended up going just as far in the awards season as the film won the Palme, Triangle of Sadness (all three received best picture Oscar nominations), so there is no reason to try to fix what isn’t broken.

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At the 2023 Cannes Film Festival, which

UPDATE: The WGA East has confirmed that it will be out on the picket line for this week’s upfronts on all three days of events, starting Monday.

The pickets will be supported by guest speakers Randi Weingarten, president of the American Federation of Teachers, and Congressmember Maxwell Frost. Presentations are scheduled from NBC, Fox, The View, Disney, Paramount+, Warner Bros. Discovery, and YouTube Broadcast.

EXCLUSIVE: This month’s upfronts in New York City, where the networks pitch their fall lineups to advertisers, would be the target of WGA East picketing if negotiations fail to reach an agreement on a new film and scripted TV contract. The Writers Guild contract talks with the Alliance of Motion Picture and Television Producers are entering their final day today, with the guild’s current contract set to expire tonight at midnight PT.

A list of potential WGA East picket sites obtained by Deadline include the NBCUniversal upfront on May 15 at Radio City Music Hall, Netflix’s upfront on May 17 at the Paris Theater in Manhattan and Warner Bros. Discovery’s upfront on May 17 at The Theater at Madison Square Garden.

Other potential picket sites in Manhattan include 30 Rock/NBCUniversal, Netflix’s headquarters and the offices of HBO/Amazon. In Queens, potential picket sites include Silvercup Studios and Silvercup East, while potential picket sites in Brooklyn include Steiner Studios and Broadway Stages.

Here’s the list of potential picket sites and meet-up places the WGA East has sent to its members to see if they are available to picket in the event of a strike. The guild notes, however, that the sites are subject to change. The WGA West list of picket sites is at the bottom of the post.

Strike or no strike, the WGA East will hold a membership meeting to discuss the latest developments on Wednesday at The Cooper Union for the Advancement of Science and Art in New York City.

The WGA West, meanwhile, will hold a membership meeting on Wednesday at the Shrine Auditorium.

“While the WGA Negotiating Committee continues to bargain with the AMPTP with the goal of reaching a fair deal by tomorrow’s May 1st contract deadline, we need to be ready for a potential strike,” the WGA said Sunday in a note accompanying the Member Picketing Survey about when and where they’ll be able to walk picket lines. “The greatest amount of leverage we collectively bring to a strike action is the withdrawal of our labor. Picketing is a key tactic to demonstrate that we are all in this together, and that until a strike is resolved, it’s not business as usual.”

Here are sites of potential picketing that the WGA West has sent to its members: 

  • Amazon/Culver Studios: 9336 W. Washington Blvd, Culver City
  • CBS Radford: 4024 Radford Ave, Studio City
  • CBS Television City: 7800 Beverly Blvd, Los Angeles
  • Disney: 500 S Buena Vista St, Burbank
  • Fox: 10201 W Pico Blvd, Los Angeles
  • Netflix: 5800 Sunset Blvd, Los Angeles
  • Paramount: 5555 Melrose Ave, Los Angeles
  • Sony: 10202 Washington Blvd, Culver City
  • Universal: 100 Universal City Plaza, Universal City
  • Warner Bros.: 4000 Warner Blvd. Burbank

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UPDATE: The WGA East has confirmed that

The sixth season of the popular reality television series Selling Sunset is premiering as part of the Netflix schedule for May 15-21.

On Friday, May 19, the streamer will drop Selling Sunset Season 6. Created by Adam DiVello, the show follows the real estate agents of the Oppenheim Group operating in the Los Angeles area. Since its debut on March 21, 2019, fans have gotten to know the personal and professional lives of realtors Heather El Moussa, Mary Fitzgerald, Brett and Jason Oppenheim, Christine Quinn, and more. The show quickly grew in popularity and critics seem to appreciate it too. Selling Sunset received an Emmy nomination for Outstanding Unstructured Reality Program in 2021. Season 6 will feature a couple of new cast members in Nicole Young and Bre Tiesi. Selling Sunset has also been renewed for a seventh season which has yet to receive an official release date.

“Set in the world of LA’s high-end real estate, Selling Sunset follows the city’s most successful realtors who all work under the same roof at The Oppenheim Group, the #1 agency in the Hollywood Hills and the Sunset Strip. They work hard and play harder, as they compete with the cutthroat LA market…and each other.”

The project hails from Done and Done Productions and Lionsgate. DiVello is executive producing with Sundee Manusakis, Kristofer Lindquist, Skyler Wakil, and Jason Oppenheim.

Netflix Schedule May 15-21 | New TV & Movie Additions

Tuesday, May 16

  • Anna Nicole Smith: You Don’t Know Me — NETFLIX DOCUMENTARY

Wednesday, May 17

  • Faithfully Yours — NETFLIX FILM
  • Fanfic — NETFLIX FILM
  • La Reina del Sur: Season 3
  • McGregor Forever — NETFLIX DOCUMENTARY
  • Rhythm + Flow France: Season 2 — NETFLIX SERIES
  • Working: What We Do All Day — NETFLIX DOCUMENTARY

Thursday, May 18

  • Kitti Katz — NETFLIX FAMILY
  • XO, Kitty — NETFLIX SERIES
  • Yakitori: Soldiers of Misfortune — NETFLIX SERIES

Friday, May 19

  • Astérix & Obélix: The Middle Kingdom — NETFLIX FILM
  • Kathal – A Jackfruit Mystery — NETFLIX FILM
  • Muted — NETFLIX SERIES
  • Selling Sunset: Season 6 — NETFLIX SERIES
  • Young, Famous & African: Season 2 — NETFLIX SERIES

Check out more streaming release schedules below:


The final episodes of A Small Light are headlining the Disney Plus schedule for May 15-21. On Tuesday, May 16,…


A critically acclaimed drama tops the Prime Video schedule for May 15-21. On Friday, May 19, Prime Video will add…


An intriguing docuseries following the Los Angeles-based professional women’s soccer team is premiering as part of the HBO Max schedule…


The final episode of Mrs. Davis is the most eye-catching title on the Peacock schedule for May 15-21. On Thursday, May…


The Hulu schedule for May 15-21 features an intriguing remake of a 1992 film among other new additions coming to…


The Paramount Plus schedule for May 15-21 features Mad Max director George Miller’s latest movie, among the many other new…

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The sixth season of the popular reality

I Am Ruth, Bad Sisters, Derry Girls and The Traitors were the top winners at the 2023 BAFTA Television Awards on Sunday.

Kate Winslet won the BAFTA for leading actress for her role in I Am Ruth, which also won for best single drama. Bad Sisters took home the award for best drama series, as well as Anne-Marie Duff received the award for best supporting actress for her portrayal of Grace Williams in the series.

Siobhán McSweeney won the honor for best female performance in a comedy programme for Derry Girls. The show also received the award for best scripted comedy.

In addition, Ben Whishaw won the BAFTA for leading actor for his portrayal of Adam Kay in the autobiographical drama This is Going to Hurt, and Adeel Akhtar won the supporting actor award for his role in the crime drama Sherwood.

The entertainment performance award went to Claudia Winkleman for The Traitors, which also won best reality and constructed factual show.

Other BAFTA Award winners included Dahmer – Monster: The Jeffrey Dahmer Story for best international series, and The Masked Singer for best entertainment programme.

The winner of every category is decided on by a jury, unlike the BAFTA film awards, which is something many suggest leads to greater diversity.

The 2023 BAFTA TV Awards, hosted by Rob Beckett and Romesh Ranganathan, were held Sunday at Royal Festival’s Hall in London. The BAFTA TV Craft Awards were previously announced in April.

A complete list of winners follows.

DRAMA SERIES 
Bad Sisters (WINNER)
The Responder 
Sherwood
Somewhere Boy 

MINI-SERIES 
A Spy Among Friends
Mood (WINNER)
The Thief, His Wife And The Canoe 
This Is Going To Hurt 

SINGLE DRAMA 
I Am Ruth (WINNER)
The House 
Life And Death In The Warehouse 

SCRIPTED COMEDY 
Am I Being Unreasonable? 
Big Boys 
Derry Girls (WINNER)
Ghosts 

LEADING ACTOR 
Ben Whishaw This Is Going To Hurt (WINNER)

Chaske Spencer The English 
Cillian Murphy Peaky Blinders 
Gary Oldman Slow Horses 
Martin Freeman The Responder
Taron Egerton Black Bird 

LEADING ACTRESS 
Billie Piper I Hate Suzie Too
Imelda Staunton The Crown 
Kate Winslet I Am Ruth (WINNER)
Maxine Peake Anne 
Sarah Lancashire Julia 
Vicky Mcclure Without Sin 

SUPPORTING ACTOR 
Adeel Akhtar Sherwood (WINNER)

Jack Lowden Slow Horses 
Josh Finan The Responder
Salim Daw The Crown 
Samuel Bottomley Somewhere Boy 
Will Sharpe The White Lotus 

SUPPORTING ACTRESS 
Adelayo Adedayo The Responder 
Anne-Marie Duff Bad Sisters (WINNER)
Fiona Shaw Andor 
Jasmine Jobson Top Boy 
Lesley Manville Sherwood 
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THIS is the terrifying moment a fireball and mushroom cloud erupts over a Ukrainian city after Russia targeted ammunition silos.

Russia is said to have sent 21 drones to attack the western city of Khmelnytskyi and although 17 were shot down, four were able to reach their target.

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The initial blast sent flames soaring into the sky over KhmelnytskyiCredit: East2West
A Russian drone strike is said to have targeted ammunition silos

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A Russian drone strike is said to have targeted ammunition silosCredit: East2West
Thick, black smoke is seen billowing into the air

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Thick, black smoke is seen billowing into the airCredit: East2West

Russian President Vladimir Putin is thought to be targeting missile storage centres in Ukraine as the invading forces are bracing for a counter-offensive from Kyiv.

It comes as The Sun Online revealed Ukrainian football hooligans have stopped brawling on the terraces and started fighting in the trenches.

The ultras, the main cohort of which follow Arsenal Kyiv – which is unrelated to their London namesake, formed their own battle unit and are fighting on the frontline against Putin’s forces.

The group have formed their own volunteer army of proud yobs, being known as the Kayfariki Group – which translates to “good vibes”.

Home city of Ukraine's Eurovision act hit by Russian missiles during show
Ukraine President Zelensky greeted by Pope Francis after flying to Vatican

They have seen action across Ukraine, being involved in battles such as in Kherson, Kharkiv and even in the bloody trenches of Bakhmut.

In a blow to Moscow, Russia was forced to admit yesterday that two of its senior commanders had been killed amid fighting in Bakhmut, in eastern Ukraine.

The Defence Ministry said Commander Vyacheslav Makarov of the 4th Motorised Rifle Brigade and Deputy Commander Yevgeny Brovko from a separate unit were killed while trying to repel a Ukrainian attack.

According to the ministry, Makarov had been leading troops from the front line while Brovko “died heroically, suffering multiple shrapnel wounds”.

Officials said “nearly 30” people were injured in the Khmelnytskyi blast but only two needed hospital treatment.

The blast reportedly damaged educational and medical institutions, administrative buildings, industrial facilities, high-rise buildings and private residences.

A Russian pro-war source said: “We are seeking to destroy the weapons and ammunition stockpiled by Ukraine from Nato countries.

“This is a big strike but we need more because we know Ukraine now has superior military firepower to us in many areas.”

Ukrainian air force spokesman Yuriy Ihnat said: “Unfortunately, not all drones were destroyed that night – 17 out of 21 UAVs (unmanned aerial vehicles). There were four hits in Khmelnytskyi region.”

Ukraine President Volodymyr Zelensky yesterday said his country was preparing a counter-offensive which would aim to liberate areas occupied by Russia, rather than to attack Russian territory.

Russian forces launched an attack on warehouses in Ternopil on Saturday, the home city of Ukraine’s Eurovision act just minutes before the duo took to the stage.

As Tvorchi was getting set to perform their song inspired by soldiers who defended their war-torn country, the group revealed their hometown of Ternopil had been bombed.

BBC reported two people were injured when the missiles hit, and warehouses had been smashed to pieces.

Russia struck warehouses in Ternopil, just minutes before Ukraine's Eurovision act took to the stage

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Russia struck warehouses in Ternopil, just minutes before Ukraine’s Eurovision act took to the stageCredit: Reuters
Ukraine leader Volodymyr Zelensky, left, meets with German President Frank-Walter Steinmeier

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Ukraine leader Volodymyr Zelensky, left, meets with German President Frank-Walter SteinmeierCredit: Reuters
Russian dictator Vladimir Putin is thought to be be targeting missile storage centres in Ukraine

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Russian dictator Vladimir Putin is thought to be be targeting missile storage centres in UkraineCredit: Reuters

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THIS is the terrifying moment a fireball




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Image Credit: @TheHapaBlonde / BACKGRID

Cardi B, 30, and her daughter Kulture looked stylish when they were spotted out and about over the weekend. The rapper and the four-year-old went to a restaurant for an early Mother’s Day dinner in New York, NY and were photographed holding hands outside. It appeared to be just them on the outing, making the holiday even more special.

Cardi B, Kulture
Cardi and Kulture on their dinner outing. (@TheHapaBlonde / BACKGRID)

Cardi wore a fitted long black sleeveless dress with cut outs on the sides and slits. She paired it with black platform shoes as her long blonde hair was down, and her makeup was on point. Kulture wore a black leather jacket over a black dress and black boots. The cutie had her hair braided and up and added sunglasses to her overall look.

Cardi B, Kulture
Another photo of the mother and daughter. (@TheHapaBlonde / BACKGRID)

One day after the outing, Cardi took to Instagram to share a photo from the night as well as several other photos of both of her kids, including son Wave, 1, in honor of Mother’s Day. “My favorite holiday,I birth my best friends??…..HAPPY MOTHERS DAY BEAUTIFULS??,” she wrote in the caption.

Cardi and Kulture’s recent outing isn’t the only time they’ve matched in black ensembles. The proud parent donned a black dress along with her family, including her only daughter, in Christmas 2022 photos she shared on Instagram. She also adorably held Wave as he rocked tan overalls over a white long-sleeved top.

When Cardi’s not going on outings with her kids, her husband Offset is. The doting dad recently took Kulture and his other daughter Kalea, 8, to the premiere of The Little Mermaid in Los Angeles, CA. On that same day, Cardi made headlines for being seen on a solo outing with red hair just like the movie’s main character, Ariel, has. She had it curled and pinned up with some curls hanging down, and wore a white T-shirt with a red lips image on it and red and purple velvet pants.

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View gallery Image Credit: @TheHapaBlonde / BACKGRID Cardi B,

The shooter who killed eight people outside an outlet mall in Allen, Tex., on May 6 was captured on a dash-cam video as he stood in the middle of a parking lot, methodically murdering people.

The next day, when a driver plowed his SUV into a cluster of men waiting for a bus in Brownsville, Tex., a video showed him speeding into and rolling over so many human beings that the person behind the camera had to pan across nearly a block-long field of mangled bodies, pools of blood and moaning, crying victims to capture the carnage. The driver killed eight people.

These gruesome videos almost instantly appeared on social media and were viewed millions of times before, in many cases, being taken down. Yet they still appear in countless back alleys of the internet.

The footage made clear that the deaths were horrific and the suffering unspeakable. The emotional power of the images would shake almost any viewer. Their rapid dissemination also rekindled an unsettling debate — one that has lingered since the advent of photography: Why does anyone need to see such images?

Images of violence can inform, titillate, or rally people for or against a political view. Ever since 19th-century photographer Mathew Brady made his pioneering photos of fallen soldiers stacked like firewood on Civil War battlefields, news organizations and now social media platforms have grappled with questions of taste, decency, purpose and power that suffuse decisions about whether to fully portray the price of deadly violence.

Newspaper editors and television news executives have long sought to filter out pictures of explicit violence or bloody injuries that could generate complaints that such graphic imagery is offensive or dehumanizing. But such policies have historically come with exceptions, some of which have galvanized popular sentiments. The widely published photo of the mangled body of the lynched 14-year-old Emmett Till in 1955 played a key role in building the civil rights movement. And although many news organizations decided in 2004 not to publish explicit photos of torture by U.S. service members at the Abu Ghraib prison in Iraq, the images that did circulate widely contributed to a shift in public opinion against the war in Iraq, according to several studies.

More recently, the gruesome video of a police officer killing George Floyd on a Minneapolis street in 2020 was repeatedly published across all manner of media, sparking a mass movement to confront police violence against Black Americans.

Following the killings in Allen and Brownsville, traditional news organizations, including The Washington Post, mostly steered clear of publishing the most grisly images.

“Those were not close calls,” said J. David Ake, director of photography for the Associated Press, which did not use the Texas videos. “We are not casual at all about these decisions, and we do need to strike a balance between telling the truth and being sensitive to the fact that these are people who’ve been through something horrific. But I am going to err on the side of humanity and children.”

But even as news organizations largely showed restraint, the Allen video spread widely on Twitter, YouTube, Reddit and other platforms, shared in part by individuals who expressed anguish at the violence and called for a change in gun policies.

“I thought long and hard about whether to share the horrific video showing the pile of bodies from the mass shooting‚” tweeted Jon Cooper, a Democratic activist and former Suffolk County, N.Y., legislator. He wrote that he decided to post the video, which was then viewed more than a million times, because “maybe — just maybe — people NEED to see this video, so they’ll pressure their elected officials until they TAKE ACTION.”

Others who posted the video used it to make false claims about the shooter, such as the notion that he was a Black supremacist who shouted anti-White slogans before killing his victims.

From government-monitored decisions about showing deaths during World War II to friction over explicit pictures of devastated civilians during the Vietnam War and on to the debate over depictions of mass killing victims in recent years, editors, news consumers, tech companies and relatives of murdered people have made compelling but opposing arguments about how much gore to show.

The dilemma has only grown more complicated in this time of information overload, when more Americans are saying they avoid the news because, as a Reuters Institute study found last year, they feel overwhelmed and the news darkens their mood. And the infinite capacity of the internet has upped the ante for grisly images, making it harder for any single image to provoke the widespread outrage that some believe can translate into positive change.

Recent cutbacks in content moderation teams at companies such as Twitter have also accelerated the spread of disturbing videos, experts said.

“The fact that very graphic images from the shooting in Texas showed up on Twitter is more likely to be content moderation failure than an explicit policy,” said Vivian Schiller, executive director of Aspen Digital and former president of NPR and head of news at Twitter.

Twitter’s media office responded to an emailed request for comment with only a poop emoji, the company’s now-standard response to press inquiries.

Efforts to study whether viewing gruesome images alters popular opinion, changes public policy or affects the behavior of potential killers have generally been unsuccessful, social scientists say.

“There’s never been any solid evidence that publishing more grisly photos of mass shootings would produce a political response,” said Michael Griffin, a professor of media and cultural studies at Macalester College who studies media practices regarding war and conflict. “It’s good for people to be thinking about these questions, but advocates for or against publication are basing their views on their own moral instincts and what they would like to see happen.”

The widely available videos of the two incidents in Texas resurfaced long-standing conflicts over the publication of images of death stemming from wars, terrorist attacks or shootings.

One side argues that widespread dissemination of gruesome images of dead and wounded victims is sensationalistic, emotionally abusive, insensitive to the families of victims and ultimately serves little purpose other than to inure people to horrific violence.

The other side contends that media organizations and online platforms ought not to proclaim themselves arbiters of what the public can see, and should instead deliver the unvarnished truth, either to shock people into political action or simply to allow the public to make its own assessment of how policy decisions play out.

Schiller said news organizations are sometimes right to publish graphic images of mass killings. “Those images are a critical record of both a specific crime but also the horrific and unrelenting crisis of gun violence in the U.S. today,” she said. “Graphic images can drive home the reality of what automatic weapons do to a human body — the literal human carnage.”

It’s not clear, however, that horrific images spur people to protest or action. “Some gruesome images cause public outrage and maybe even government action, but some result in a numbing effect or compassion fatigue,” said Folker Hanusch, a University of Vienna journalism professor who has written extensively about how media outlets report on death. “I’m skeptical that showing such imagery can really result in lasting social change, but it’s still important that journalists show well-chosen moments that convey what really happened.”

Others argue that even though any gory footage taken down by the big tech companies will nonetheless find its way onto many other sites, traditional news organizations and social media companies should still set a standard to signify what is unacceptable fare for a mass audience.

The late writer Tom Wolfe derisively dubbed the gatekeepers of the mainstream media “Victorian gentlemen,” worried about protecting their audience from disturbing images. Throughout the last half-century, media critics have urged editors to give their readers and viewers a more powerful and visceral sense of what gun violence, war and terrorism do to their victims.

Early in the Iraq War, New York columnist Pete Hamill asked why U.S. media were not depicting dead soldiers. “What we get to see is a war filled with wrecked vehicles: taxis, cars, Humvees, tanks, gasoline trucks,” he wrote. “We see almost no wrecked human beings. … In short, we are seeing a war without blood.”

After pictures of abuses at Abu Ghraib appeared, it was “as though, rather suddenly, the gloves have come off, and the war seems less sanitized,” wrote Michael Getler, then the ombudsman at The Post.

Still, news consumers have often made clear that they appreciate restraint. In a 2004 survey, two-thirds of Americans told Pew Research Center that news organizations were right to withhold images of the charred bodies of four U.S. contractors killed in Fallujah, Iraq.

Images of mass shooting victims have been published even less frequently than grisly pictures of war dead, journalism historians have found. “Mass shootings happen to ‘us,’ while war is happening ‘over there,’ to ‘them,’” Griffin said. “So there’s much more resistance to publication of grisly images of mass shootings, much more sensitivity to the feelings” of families of victims.

But despite decades of debate, no consensus has developed about when to use graphic images. “There’s no real pattern, not for war images, not for natural disasters, not for mass shootings,” Hanusch said. “Journalists are very wary of their audience castigating them for publishing images they don’t want to see.”

Ake, the AP photo director, said that over the years, “we probably have loosened our standards when it comes to war images. But at the same time, with school shootings, we might have tightened them a little” to be sensitive to the concerns of parents.

For decades, many argued that decisions to show explicit images of dead and mangled bodies during the Vietnam War helped shift public opinion against the war.

But when social scientists dug into news coverage from that era, they found that pictures of wounded and dead soldiers and civilians appeared only rarely. And in a similar historical survey of coverage of the 1991 Persian Gulf War, images of the dead and wounded made up fewer than 5 percent of news photos, as noted by professors at Arizona State and Rutgers universities.

Some iconic images from the Vietnam War — the running, nude Vietnamese girl who was caught in a napalm attack, for example — gained their full historic import only after the war.

In the digital age, publication decisions by editors and social media managers can sometimes feel less relevant because once images are published somewhere, they spread virtually uncontrollably throughout the world.

“People are just getting a fire hose of feeds on their phones, and it’s decontextualized,” Griffin said. “They don’t even know where the images come from.”

The flood of images, especially on highly visual platforms such as Instagram and TikTok, diminishes the impact of pictures that show what harm people have done to one another, Griffin said, pointing to the example of the photo of 3-year-old Aylan Kurdi, the Syrian refugee found washed ashore on a Turkish beach, a powerful and disturbing image from 2017 that many people then compared with iconic pictures from the Vietnam War.

“At the time, people said this is going to be like the napalm girl from Vietnam and really change people’s minds,” Griffin said. “But that didn’t happen. Most people now don’t remember where that was or what it meant.”

Social media companies face pressure to set standards and enforce them either before grisly images are posted or immediately after they surface. With every new viral video from a mass killing, critics blast the social media platforms for being inconsistent or insufficiently rigorous in taking down sensational or grisly images; the companies say they enforce their rules with algorithms that filter out many abuses, with their content moderator staffs and with reports from users.

Soon after the Allen shooting, a Twitter moderator told a user who complained about publication of the gruesome video that the images did not violate the site’s policy on violent content, the BBC reported. But a day later, images of dead bodies at the mall — bloody, crumpled, slumped against a wall — were taken down.

Although the biggest social media platforms eventually removed the video, images of the shooter firing his weapon and photos of the shooter sprawled on his back, apparently already dead, are still widely available, for example on Reddit, which has placed a red “18 NSFW” warning on links to the video, indicating that the images are intended for adults and are “not safe for work.”

A moderator of Reddit’s “r/masskillers” forum told his audience that the platform’s managers had changed their policy, requiring images of dead victims to be removed.

“Previously, only livestreams of shootings and manifestos from the perpetrators were prohibited,” the moderator wrote. Now, “[g]raphic content of victims of mass killings is generally going to be something admins are going to take down, so we’ll have to comply with that.”

The group, which has 147,000 members, focuses on mass killings, but its rules prohibit users from sharing or asking for live streams of shootings or manifestos from shooters.

After the attack in Allen, YouTube “quickly removed violative content … in accordance with our Community Guidelines,” said Jack Malon, a spokesman for the company. In addition, he said, to make sure users find verified information, “our systems are prominently surfacing videos from authoritative sources in search and recommendations.”

At Meta, videos and photos depicting dead bodies outside the mall were removed and “banked,” creating a digital fingerprint that automatically removes the images when someone tries to upload them.

But people often find ways to post such videos even after companies have banned them, and Griffin argued that “you can’t get away anymore with ‘Oh, we took it down quickly,’ because it’s going to spread. There is no easy solution.”

Tech platforms such as Google, Meta and TikTok generally prohibit particularly violent or graphic content. But those companies often make exceptions for newsworthy images, and it can take some time before the platforms decide how to handle a particular set of images.

The companies consider how traditional media organizations are using the footage, how the accounts posting the images are characterizing the events and how other tech platforms are responding, said Katie Harbath, a technology consultant and former public policy director at Meta.

“They’re trying to parse out if somebody is praising the act … or criticizing it,” she said. “They usually [want to] keep up the content denouncing it, but they don’t want to allow praise. … That starts to get really tricky, especially if you are trying to use automated tools.”

In 2019, Meta, YouTube, Twitter and other platforms were widely criticized for their role in publicizing the mass killing at two mosques in Christchurch, New Zealand. The shooter, Brenton Tarrant, had live-streamed the attack on Facebook with a camera affixed to his helmet. Facebook took the video down shortly afterward, but not until it had been viewed thousands of times.

By then, the footage had gone viral, as internet users evaded the platforms’ artificial-intelligence content-moderation systems by making small changes to the images and reposting them.

But just as traditional media outlets find themselves attacked both by those who want grisly images published and those who don’t, so too have tech companies been pummeled both for leaving up and taking down gruesome footage.

In 2021, Twitch, a live-streaming service popular among video game players, faced angry criticism when it suspended an account that rebroadcast video of Floyd’s death at the hands of Minneapolis police officer Derek Chauvin. The company takes a zero-tolerance approach to violent content.

“Society’s thought process on what content should be allowed or not allowed is definitely still evolving,” Harbath said.

Jeremy Barr contributed to this report.

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Megyn Kelly has challenged Charlize Theron to “come and f–k me up” in response to their opposing viewpoints on drag queens after Theron said she would contend with anyone who tries to mess with drag performers.

“I will f–k anybody up who‘s like trying to f–k with anything with [drag queens],” Theron said during last weekend’s “Drag Isn’t Dangerous” telethon.

“Why doesn’t Charlize Theron come and f–k me up, because I’m 100% against her on this,” Kelly, who was portrayed by Theron in “Bombshell,” said on her podcast “The Megyn Kelly Show.”

The former Fox News anchor appeared to respond to Theron’s comments that seeing a drag queen “lip-sync for her life … only makes you happier, it only makes you love more, it makes you a better person.”

“Yes, there’s fun drag queen shows. I’ve been to them. When I lived in Chicago, we went to one that was super fun,” Kelly continued. “It was all adults. But there are drag queen shows out there right now that are deeply disturbing, and they’re happening in front of young children.”

Kelly further attempted to shame Theron for her support of drag performers, saying “know what you’re supporting, understand what we’re actually seeing out there which can include absolutely the grooming of young children.”

“Even she should be against that, trans kid or not,” Kelly quipped, referring to Theron’s 10-year-old child, who is a trans girl.

The podcast host noted that despite not knowing Theron personally, she feels “some weird connection with this person because she played me in a movie.”

Sunday’s telethon event, which was streamed online, expressed solidarity for drag queens, trans people and the LGBTQ+ community amidst over 470 bills currently in this legislative session that target queer communities and trans kids across the country.

“There’s so many things that are really hurting and killing our kids … and it ain’t no drag queen,” Theron said during the telethon. 

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Megyn Kelly has challenged Charlize Theron to