The entertainer was originally convicted and sentenced in 2018 on three counts of aggravated indecent assault
Police have arrested a fan involved in a massive pile-up at the Tour de France during the opening stage of cycling’s biggest event, local media reported.
The new policy will go into effect on Thursday.
We got a lot of bombshell revelations on this week's episode of "Loki," but none is bigger than the one at the very end
Marvel-themed short will debut Wednesday, July 7
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RuPaul and many drag queens appear in this television special that re-envisions 'The Brady Bunch' for a new kind of family
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The legendary actor hurt his shoulder while rehearsing …
Here's to find the Doomsday Preppers Guide in Fortnite for the Week 4 Legendary Quest.
On a recent episode of his podcast, Daily Wire's Matt Walsh asked mockingly of the media’s complaints that Pixar family film “Luca” wasn’t a gay love
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Even though fans saw that Mobius was pruned from existence in Loki's fourth episode, the mid-credits scene says not to file a report on his passing quite yet
“This just sat in a basement and no one cared,” Questlove said about the Harlem Cultural Festival footage he watched on loop for months to make his new, acclaimed documentary.
"We suggest that decision-makers weigh the hard evidence produced by these experimental measurements..."
The ads take the style of a movie promotion to highlight the Tiguan's safety features. A voiceover assures viewers that while “the road can be a scary place,” they can “conquer their fears” behind the wheel of a Tiguan.
From red, white and blue decorations to a patriotic picnic basket, here's what you need for a July 4 picnic
Matt Harris of Bain Capital Ventures explores four trends that demonstrate how fintech innovations are streamlining the user experience and transforming the financial landscape.
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Josh Ruben’s horror comedy Scare Me was one of the most enjoyable films of 2020. Witty, offbeat, and destabilizing in the best way possible, the …
The Hangar is presenting nightly entertainment during the run of the annual OC Fair Wednesdays-Sundays July 16-Aug. 15.
Films can continue to qualify for the Oscars without a theatrical release in 2021, the Academy of Motion Picture Arts and Sciences said.
K-pop group TXT released a special performance video for "Magic," a single from its album "The Chaos Chapter: Freeze."
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New Delhi: Chief Justice of India, N.V. Ramana on Wednesday said judges should not be swayed by the "emotional pitch of public opinion on social media
Vivid Mediterranean dishes, cocktails and decor are on view in two just opened restaurants in New York.
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The Arizona "audit" isn't about winning over voters. It's anti-democracy propaganda
The Chicago shoegazers will perform songs from their acclaimed 2020 debut, 'Moveys,' this fall.
'Loki' introduced a mysterious new setting to the MCU, and the creative team found inspiration in a wide variety of movies and TV shows.
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The Pennsylvania Supreme Court has overturned Bill Cosby's sexual assault conviction on Wednesday, after Cosby has served just under three years of his three-to-10-year sentence, according to the AP. The court said it found an agreement with a previous prosecutor that prevents Cosby from being charged in the case. According to the Associated Press, District Attorney Kevin Steele, who had seen to Cosby's arrest, had actually been obligated to uphold his predecessor's promise to not charge Cosby. Steele's predecessor made this promise when Cosby gave incriminating testimony in the civil suit of Andrea Constand, who accused Cosby of drugging and sexually assaulting her several decades ago. However, the AP reports that there is no evidence this promise by the former district attorney was ever put in writing. The court wrote in its decision that overturning Cosby's conviction and barring any further prosecution "is the only remedy that comports with society's reasonable expectations of its elected prosecutors and our criminal justice system." The court also wrote that the trial judge at Cosby's trial, who had first allowed just one of his other accusers to testify, before allowing five other accusers to testify about their alleged experiences with Cosby in the 1980s, had tainted the trial by doing so. However, a lower appeals court in Pennsylvania says it was appropriate for the prosecution to call these witnesses to show a pattern in Cosby's alleged behaviors. Last month, Cosby was denied parole by the Pennsylvania Parole Board for his refusal to complete a sex offender treatment plan. The actor, who has been accused of sexual assault by 60 women, has also said that he would rather serve his full sentence than acknowledge any remorse over the alleged encounter with Constand. Cosby was originally convicted and sentenced in September 2018, found guilty of three counts of aggravated indecent assault. Despite how Cosby has been accused of sexual assault by dozens of women, his other accusers did not go to the police. Cosby was first accused of date rape and sexual abuse by several women decades before the #MeToo movement rose to prominence in 2017. But for the most part, the allegations were ignored until a 2015 cover story by New York Magazine which featured 35 of Cosby's accusers sitting in rows of chairs. The magazine reported that Cosby's dozens of accusers presented "almost as a longitudinal study — both for how an individual woman, on her own, deals with such trauma over the decades and for how the culture at large has grappled with rape over the same time period." The first allegation against Cosby was made decades ago in the 1960s. At the time, his conviction in 2018 was seen as a mark of crucial progress in the ongoing movement for justice for survivors.
What’s Next? Legal Expert Explains Bill Cosby’s Overturned Conviction, Future For Accusers
chicago.cbslocal.comBill Cosby's sex assault conviction overturned by court
chron.comPhylicia Rashad celebrates Bill Cosby's sentence being overturned
edition.cnn.comTrump Impeachment Attorney Bruce Castor Cut Deal That Overturned Bill Cosby's Conviction
newsweek.comBill Cosby’s sexual assault conviction has been overturned
roundnews.comHow did Bill Cosby's conviction overturn happen? Legal experts weigh in
foxnews.comWhat’s Next? Legal Expert Explains Bill Cosby’s Overturned Conviction, Future For Accusers
newyork.cbslocal.comBill Cosby to Be Released from Prison After Sexual Assault Conviction Overturned
usmagazine.comBill Cosby to be released from prison after his conviction is overturned
msnbc.comBill Cosby officially released from Pennsylvania prison after overturned assault conviction
msnbc.comBill Cosby’s Sexual Assault Conviction Has Been Overturned By The Pennsylvania Supreme Court
uproxx.comBill Cosby conviction overturned: Timeline of events leading to actor's release
abc7news.comWhat’s Next? Legal Expert Explains Bill Cosby’s Overturned Conviction, Future For Accusers
miami.cbslocal.comWhy the Pennsylvania Supreme Court overturned Bill Cosby's sex assault conviction
usatoday.comTurley: Cosby ruling an example where prosecutors can undermine their own case, court was ‘clearly correct'
foxnews.comBill Cosby freed from prison, his sex conviction overturned
ocregister.comPhylicia Rashad praises Bill Cosby’s conviction being overturned
pagesix.comAttorney who represented many Bill Cosby accusers says court decision is "devastating"
edition.cnn.comRead Pennsylvania Supreme Court's Full Ruling Releasing Bill Cosby From Prison
newsweek.comCourt overturns Bill Cosby sexual assault conviction, orders release
entertainment.inquirer.netBill Cosby’s sex assault conviction overturned by court
wtop.comBill Cosby officially released from Pennsylvania prison after overturned sexual assault conviction
msnbc.comLegal expert on Bill Cosby's conviction being overturned
cbsnews.comCourt overturns Bill Cosby's sex assault conviction, bars further prosecution
cnbc.comBill Cosby’s Sex Assault Conviction Overturned, Will Be Released From Prison
theepochtimes.comBill Cosby accuser Andrea Constand speaks out after his conviction is tossed: ‘Disappointing’
foxnews.comBill Cosby released from prison after sex assault conviction overturned by Pa. Supreme Court
usatoday.comBill Cosby to Be Released From Prison After Court Overturns Sex Assault Conviction
thewrap.comBill Cosby To Be Released From Prison After Court Overturns Sex Assault Conviction
philadelphia.cbslocal.comBill Cosby will be released from prison after sexual assault conviction is overturned
Police have arrested a fan involved in a massive pile-up at the Tour de France during the opening stage of cycling’s biggest event, local media reported. A fan brandished a large cardboard sign while leaning into the path of oncoming riders. She appeared to be looking in the other direction, apparently at a camera, and not at the approaching riders. The woman, who was not publicly identified, was arrested in the Finistere region of Brittany after police who tracked her down based on “solid” accounts from people questioned this week, France Bleu Finistere said, citing a source close to the investigation. https://www.youtube.com/watch?v=NkzTD2V9XXI/ Investigators had spoken to dozens of people since the incident on Saturday, the local radio station said. Tour organisers announced after the crash on the stage from Brest to Landerneau that they would start legal proceedings against the fan, who disappeared from the scene. She had leaned into the path of veteran rider Tony Martin, who fell off his bike and took dozens of others down. German rider Jasha Sutterlin was forced to abandon the race. The Gendarmerie du Landerneau, east of Brest, put out a call for witnesses shortly after the pile-up. It refused to comment on the reported arrest. Fans gathering on the sides of roads and in villages as riders pass by is part of the tradition and charm of the Tour, but the woman in question leaned into the path of cyclists with her sign that read “Allez Opi-Omi”, a mix of French and German-language terms of endearment for grandparents — “Go Grandpa-Grandma”.
Authorities arrest spectator involved in Tour de France cyclist crash
thehill.comWoman with sign who caused massive Tour de France crash reportedly arrested
espn.comPolice Arrest Woman Who Caused Brutal Crash at Tour de France, Report Says
sputniknews.comWoman who caused Tour de France crash in custody
cbsnews.comWoman Suspected of Causing Tour de France Mess Arrested
newser.comAuthorities arrest woman blamed for Tour de France crash
upi.comTour De France Crash Suspect Reportedly Arrested After Massive Manhunt
dailywire.comWoman who caused Tour de France crash arrested: report
nydailynews.comWoman who allegedly caused Tour de France crash arrested
edition.cnn.comTour de France Crasher Reportedly Arrested
dailycaller.comSpectator Holding Sign Causing Massive Tour De France Crash Arrested After Being On Run
newsweek.comWoman who caused Tour de France pile-up arrested after handing herself in
independent.ieTadej Pogacar routs rivals in Tour de France time trial
wtop.comPolice Arrest Tour de France Fan Who They Say Caused Crash
nytimes.comSports Digest: Fan involved in massive pileup at Tour de France arrested
pressherald.comTour De France Spectator Arrested For Allegedly Causing Massive Crash With Sign
tmz.comTour de France crash suspect arrested and faces fine, jail
nypost.comTour de France crash suspect arrested after manhunt: reports
The NCAA has approved a temporary policy to allow Division I college athletes to for the use of their name, image and likeness, the organization announced Wednesday. The new policy will go into effect on Thursday. This story is breaking and will be updated.
NCAA to let student-athletes earn money from use of name, image
abc7chicago.comNCAA clears athletes for compensation as state laws kick in
myfox8.comNCAA clears athletes for compensation as state laws kick in
eu.detroitnews.comNCAA adopts interim name, image, likeness policy
foxnews.comNCAA adopts temporary policy on name, image and likeness in seismic shift for college sports
usatoday.comIn major shift, NCAA will allow college athletes to earn compensation for use of their name, image or likeness
twincities.comCollege Athletes May Earn Money From Their Fame, N. C. A. Rules
nytimes.comNCAA clears student-athletes to pursue name, image and likeness deals
espn.comNCAA Votes To Let Athletes Earn Money Based On Their Names And Images
npr.orgNCAA's band-aid approach to name, image and likeness leaves athletes and schools with confusing options
(This article contains some MAJOR spoilers for the fourth episode of the Disney+ series “Loki”) After last week’s rather leisurely episode, “Loki” hit us with a ton of plot twists in a row in the fourth episode. The fast and furious cavalcade of revelations over the last 20 minutes overloaded out brains just a little bit, as we struggled to comprehend the ramifications of one huge revelation after another. But let’s jump straight to the end, and the biggest surprises. The climax this week saw Loki (Tom Hiddleston) and Sylvie (Sophia Di Martino) finally take down the Time-Keepers — who are apparently just robots, puppets for whoever is actually running the TVA. Then, Ravonna Renslayer (Gugu Mbatha-Raw) gets what she wants: to prune Loki. Fortunately, our Loki is not dead yet. Or at least he isn’t completely dead. This episode contains a mid-credits stinger, which follows up on where Loki went after he got zapped. Maybe this is another thing the TVA has been lying about this whole time. Maybe they aren’t actually getting rid of any of the variants they catch. In any case, in the mid-credits scene, Loki wakes up in what looks a lot like a post-apocalyptic Earth city. “Am I dead?” Loki asks no one in particular. “Not yet,” a disembodied voice answers. “But you will be unless you come with us.” Loki looks up, and seems pretty shocked by what he’s looking at: an old Loki wearing a pretty outstanding old comic book costume (Richard E. Grant finally shows up!), a Kid Loki, an alligator or crocodile wearing a Loki crown, and a Black Thor who’s wielding a version of Mjolnir that looks like it was made from a large wrench and a piece of a metal beam. It’s a lot to process, but first things first. Black Thor. There has never been a Black Thor in the Marvel comics — that is, a son of Odin named Thor who is Black. But there is a story in which there is a group called the Thor Corps, in which several Black superheroes — Falcon, War Machine and Blade, to name three — functioned as Thor, each with their own Mjolnir hammers and everything. The Thor Corps is from a place called Battleworld, a planet created by Doctor Doom after the multiverse collapsed one time. This planet featured places from a bunch of different realities and jammed them all together like countries on a globe. The Thor Corps are the cops of this place. The actor playing Thor here, Deobia Oparei, is obviously not an MCU hero that we already know filling in as Thor. Whatever his deal is, it’s probably not something from the comics. Probably. We can’t help but wonder if that destroyed city could be on Battleworld. It would fit with all this multiverse stuff. But that seems very unlikely. As with all things MCU, we’re probably not going to be able to figure out what’s going to happen from reading the comics. That said, we definitely know a lot about that Kid Loki from the comics, and the Kid Loki stories give us a sneaking suspicion that we might know who that Old Loki is too: Ikol, whose name is just Loki spelled backwards. In the comics, Ikol is a big part of Kid Loki’s story. As always, this stuff is exceptionally convoluted thanks to decades of muddled comics continuity. So keep that in mind. Kid Loki is the nickname for the reincarnation of Loki that debuted in 2010, created by writer Matt Fraction and artist Pasqual Ferry. The original Loki was killed during the events of the comics’ Ragnarok storyline. Then, by stealing a body meant for Lady Sif, was resurrected as a woman known as Lady Loki. Then, after a bunch of evil machinations, Loki was restored to male form. Once again a man, Loki did some more evil things, changed sides at the last minute to help The Avengers, and then died (again). Thanks to his being super manipulative, Loki managed to get his name deleted from the book of Hel and was reincarnated as a young boy who lacked any memory of the evil things he’d done in his former life. Kid Loki was roundly rejected by everyone who knew his former self, but he nevertheless tried to win them over and also be a better person, with mixed results. Again, this is VERY convoluted but basically Kid Loki joins the Young Avengers, sorta betrays them, dies more than once, and after being brought back through magic, apparently dies for real during the “Asgardians of the Galaxy” limited series of Marvel comics. Don’t worry, by this point the original Loki had managed to return, thanks to the introduction of Ikol. He was created by — again, we’re sorry, this is super confusing — Kid Loki. Created by writer Kieron Gillen and artist Stephanie Hans in 2011, Ikol started out as the remaining bits of original Loki’s soul that existed within Kid Loki. After a weird struggle with that stuff, Kid Loki turned those remaining Original Loki soul bits into a magpie that he named Ikol (Loki, backwards) and condemned it to be his minion. Ikol becomes Kid Loki’s companion and nuisance, and the two have a lot of adventures. Basically, Ikol exists to be the devil on Kid Loki’s shoulder. Eventually, Ikol and Kid Loki sort of merged into a single being that basically restored something close to the original Loki to life. This, by the way, involved Mephisto, because of course it did. There’s a lot more, involving a possible future version of Loki called King Loki, but we’ll just worry about that later. As for Gator Loki, we don’t have anything other than a silly version of Thor from the comics to go on here. Our best guess is he’s a variant meant to be the show’s version of Simon Walterson, a normal human in the Marvel Comics universe who was turned into a frog by a wizard and subsequently known as “Puddlegulp.” Puddlegulp teamed up with Thor — who had been turned into a frog himself — and ended up coming into possession of a sliver from Mjolnir. Puddlegulp forged that sliver into a mini version of Mjolnir called Frogjolnir, which turned him into Throg, the Frog of Thunder. He was, by the way, created by the legendary Walter Simonson in 1986 — though Puddlegulp didn’t become the Frog of Thunder until 2017. That whole thing, obviously, was intended to be funny. Whether Grant is actually playing Ikol or if these are just other random Loki variants that ended up in this mysterious place is something we’ll have to wait to find out about. And we have a lot more questions about that place, like whether all the pruned variants — like Mr. Mobius! — ended up there too. It probably is just some alt-Earth, and not Battleworld, but it’s a fun possibility to consider. We could endlessly discuss all the ramifications of this crazy shot that’s going to spark so much chatter online in the next few days, but for now we’ve got a good starting point.
The ‘Loki’ Credits Scene Has A Blink-And-You-Miss-It Detail
bustle.comThe ‘Loki’ Post-Credits Scene In ‘The Nexus Event,’ Explained [SPOILERS]
uproxx.com‘Loki’ Episode 4 Warning: Don’t Miss The Post-Credits Scene
forbes.comWhat Time Does ‘Loki’ Episode 5 Come Out on Disney+?
decider.com'Loki' Episode 4: Post-Credits Scene Explained
newsweek.com‘Loki’ Easter Eggs: 5 Things You May Have Missed in Episode 4
decider.com‘Loki’ Episode 4 Recap: Everyone Is Lying, Except Loki
forbes.com'Loki' Episode 4 Spoilers: the Time-Keepers Unmasked and an MCU Cameo
newsweek.com'Loki' Episode 4 Brought In 3 More Lokis & My Head Hurts
elitedaily.com'Loki' pulls back the curtain a little more in its wildest episode yet
edition.cnn.com‘Loki’ Episode 4 Mid-Credits Scene Explained — as Best We Can
thewrap.comFour Loki: Episode 4’s Wild Mid-Credits Scene, Explained
Springfield will collide with Asgard when Disney+ launches its “The Simpsons”-“Loki” themed crossover short film, “The Good, The Bart, and The Loki,” on Wednesday, July 7, the streaming service said Wednesday. Per its official description: “In the new short coming exclusively to Disney+, Loki is banished from Asgard once again and must face his toughest opponents yet: the Simpsons and Springfield’s mightiest heroes. The God of Mischief teams up with Bart Simpson in the ultimate crossover event paying tribute to the Marvel Cinematic Universe of Super Heroes and villains.” “Loki” star Tom Hiddleston will, of course, be doing the voice of Loki in the new animated short, and will be joined by multiple beloved characters from “The Simpsons.” Along with the announcement of the short on Wednesday, Disney+ released the key art for “The Good, The Bart, and The Loki,” which you can view the photo above. As you’ll probably notice, the image is inspired by Marvel Studios’ “Avengers: Endgame.” “The Good, The Bart, and The Loki” marks the second in a series of Disney+ shorts from “The Simpsons” team that are based on iconic Disney titles. The first was “The Force Awakens from Its Nap,” a “Star Wars”-themed short starring Maggie Simpson. New episodes of the Hiddleston-led Marvel Cinematic Universe series “Loki” drop Wednesdays on Disney+. More to come…
'The Simpsons' will team up with Loki for a new short
edition.cnn.comLoki and Bart Simpson Team Up in Marvel-'Simpsons' Crossover Short on Disney Plus
variety.com‘Loki’ And ‘The Simpsons’ Are Crossing Over For A New Disney+ Short ‘The Good, The Bart, And The Loki’
uproxx.com'Simpsons' to crossover with Marvel in 'The Good, The Bart, and The Loki'
Camila Cabello sings she is “going to be that one” in the first trailer to the upcoming “Cinderella.” Cabello stars in the musical adaptation of the classic tale in her debut feature role and which had previously been set for release by Sony Pictures. Amazon Studios has also set a release date for the musical film, slating “Cinderella” to open this September. Cabello, along with Idina Menzel, wrote original songs for the movie, and the two star alongside a cast that also includes Nicholas Galitzine, Minnie Driver, Billy Porter and Pierce Brosnan. Kay Cannon directs “Cinderella,” which was originally a theatrical release from Sony but will now be released by Amazon. Cannon also wrote the script that stars Cabello as the ambitious Cinderella and Billy Porter as her “Fab G” who hopes to make her dreams come true. Amazon also released a first look at the film’s official poster. “‘Cinderella’ is a classic we all know and love, but this time with a modern unique twist and starring the sensational Camila Cabello and an all-star cast. Producer James Corden and the filmmaking team have taken this beloved fairytale and revamped it with a fresh, empowering perspective that will resonate with audiences and families around the world. We couldn’t be more excited for our global customers to sing and dance along to director Kay Cannon’s reimagination of this classic story,” Jennifer Salke, head of Amazon Studios, said in a statement. James Corden is also a producer on “Cinderella” along with Leo Pearlman, Jonathan Kadin and Shannon McIntosh. The executive producers are Louise Rosner and Josephine Rose.
Camila Cabello is magical in first look at 'Cinderella'
edition.cnn.comCamila Cabello Is A Modern Princess In Amazon’s ‘Cinderella’ Remake Teaser
uproxx.comThe First Look At Camila Cabello's 'Cinderella' Is A Dream Come True
When A’ziah King, a.k.a. Zola, a.k.a. @_zolarmoon, hit Send on the first of her 148 tweets about a trip to Florida gone wrong, Twitter was a different place. In 2015, users could publish only 140 characters at a time. A debate about the color of a dress could dominate the platform for a week. And a winding thread like King’s—about meeting a stripper named Jessica and accompanying her for a weekend of dancing that turns into a horror show involving a pimp and Jessica’s hapless boyfriend—felt like fresh material for a Hollywood adaptation. King’s lengthy tale, which has been made into the movie Zola, went viral not just because of its ever-escalating twists, but also because of its author’s distinctive voice. Confident and cheeky, blunt but extravagant, King drew readers in with her first line: “Y’all wanna hear a story about why me & this bitch here fell out???????? It’s kind of long but full of suspense.” To the Zola co-writer Jeremy O. Harris, the tweets formed an “ epic poem,” a rhythmic piece of literature that blurred the line between fact and fiction. King herself admitted to exaggerating certain elements to keep her audience interested: “I made people who probably wouldn’t want to hear a sex-trafficking story want to be a part of it… because it was entertaining,” she told Rolling Stone in 2015. Zola, out in theaters today, mirrors King’s embellishment, and in doing so captures the internet’s unique surreality as a storytelling platform. The film imitates the digital experience: The sound of a Twitter notification ( chirp! chirp!) constantly interrupts conversations, and the screen blinks like a camera shutter when Stefani (played by Riley Keough), the film’s version of Jessica, snaps photos of herself and Zola (Taylour Paige). But Zola doesn’t just copy technical details; its flourishes capture the emotional sensation of being perpetually online. Over time, scenes feel more and more staged—kind of like an Instagram Story. Characters read texts aloud in monotone while the camera frames them in doorways and peers at them through glass. As a viewer, I felt hyperaware that I was watching a film occasionally arranged for maximum aesthetic appeal, as if I could reach out and double-tap my screen to “Like” what I was seeing. Since the rise of social media, Hollywood has churned out several projects attempting to dissect our relationship with the internet, mostly through films such as Unfriended, Profile, and Searching. These movies unfold entirely on computer screens, toggling through apps, websites, and videochats, which leaves the viewer to reverse-engineer the narrative. By concentrating solely on characters’ digital personas, they depict the internet as an unregulated frontier rife with false identities and hidden agendas. With Zola, however, the director Janicza Bravo has made a film that contends with the uneasy interplay between characters’ online and offline selves. And it posits that we use the internet to fool ourselves as much as to fool others. Over the course of the weekend, Zola intentionally distracts herself with her phone, making an otherwise terrifying and uncomfortable experience digestible—just like King did with her tweets. Long tracking shots follow Zola’s anxious gaze, but they end with her glib, scoffing voice-overs—lines taken from King’s thread. Late in the film, Zola appears to dissociate: In a motel room, surrounded by armed men while Stefani lies unconscious nearby, she closes her eyes and imagines, of all things, a screensaver. She can dull her discomfort, but she can’t fully escape. Eventually, the film feels like a fever dream, so highly stylized that distinguishing between Zola’s account of reality and what’s actually happening becomes hard. That may sound like an unpleasant watch, especially following our year of Zoom fatigue and doomscrolling. But Zola is refreshing because it understands a common emotional dependence on the internet, even—or especially—in the face of fear and anxiety. Social media, the movie argues, gives all of us the illusion of control. King’s tweets led droves of readers to try to confirm their veracity even before she finished writing her thread, but she still got to reframe her story. In Zola, Stefani interrupts a scene to offer a completely different version of the events. (The real Jessica has similarly disputed King’s account.) And although six years have passed since King’s thread went viral, the internet’s pull has not faded, even as users have grown more skeptical of its benefits. Zola, with its ambiguous ending and peculiar tone, feels timeless in its intoxicating strangeness. Being online means being part of a chaotic abyss of conflicting half-truths, but it also means indulging in the ability to tell a story exactly the way you want to. There is a twisted comfort in turning anything, even trauma, into a digital anecdote.
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As with the music it promotes and provides, when it comes to the Bakersfield Jazz Workshop, the beat goes on. In this case, it moves on. When management at Temblor Brewing Co. — where the workshop has been since 2018 — informed workshop organizers that they were changing the brewery's programming and wouldn't be able to continue hosting the event, there were no hard feelings. "It was an amicable, respectful separation," said workshop founder Steve Eisen. "We totally understood." The move left the workshop once again in a situation it has been in many times before: looking for a new home like a gang of funky, swinging ronin. Since its inception in 2006, the workshop has called a variety of venues home including The Mark, Le Forét, Le Corusse Rouge, The Nile and the Hill House. In the case of Le Forét, the workshop has achieved a sense of full circle. While Le Forét is no longer at that location, it now houses the new Petroleum Club at Sundale, which will be the new home to the Bakersfield Jazz Workshop starting Tuesday. The workshop is all ages, free and open to the public. "It's family-friendly, definitely," Eisen said. The workshop has developed into a local institution over the last 14 years, helping players of all ages hone their skills, learn to play in an ensemble, and further their musical education with grants and scholarships. "We really want to keep building upon the success of our annual scholarship program to help with private lessons and continuing music education throughout our area," said Eisen. "(We also want) to keep developing connections with our local music education departments. Because the jazz workshop is basically created to support music performance and education throughout the Bakersfield area; bringing all students, educators and listeners together. So we want to keep that goal. That's our mission statement." Most valuably, it continues to promote jazz as an artform and emboldens its tradition of improvisation, expression and the ever-evolving approaches of its musicians to their craft. Every person that performs on that bandstand is standing on the shoulders of the giants that preceded them. Continuing its if-it-ain't-broke-don't-fix-it model, the workshop will meet every Tuesday from 6:30 to 9:30 p.m. Its motto being, "Hear it. Learn it. Play it… It's all about the music." The first hour will consist of a beginner's jazz combo class led by saxophonist John Calo that's open to aspiring jazz musicians of all ages. The attendees will run through a number of charts with some of them providing solos. The main prerequisite for anyone wanting to participate is a working knowledge of their instrument. Keyboardist Tony Rinaldi, who is a member of the house rhythm section, has been part of the workshop since its inception. "We recommend that when you come to the workshop, know your instrument, have a basic understanding of being able to play all twelve major scales keys by memory, be able to play the chromatic scale two octaves by memory and have an understanding of basic sight-reading skills." The second hour will be a live concert provided by local and out-of-area jazz artists. This Tuesday's artist will be the Jay Smith Trio (disclosure: I will be performing with this group). Acts like Jon Ranger, J2 and the Biz, and Roger Martin will perform in the coming weeks along with BC and CSUB jazz combos scheduled in the fall. For more information, visit the workshop's Facebook page at facebook.com/BakoJazz . (Its website at bakersfieldjazzworkshop.com is currently under construction.) The last hour will be an open jam where musicians sit in with each other and put into practice what the first hour crew has been learning: control, expression, tone, interaction and mood. The workshop will observe safety protocols in regards to the COVID-19 pandemic when applicable in consideration of the health of its participants by following California state guidelines. The workshop's revival isn't the only sign of its reliability and growing acceptance. It's also reflective of a certain enthusiasm of jazz at live music venues in and around town as far as Tehachapi. Certain venues like The Well are embracing jazz shows in a way I haven't seen for years. The southwest bar and grill (7401 White Lane, Suite 7) will host a "Jazz Happy Hour" series on Wednesdays, starting July 14, and the second Saturday of every month starting July 10. One of the most anticipated shows of that run will feature Los Angeles-based trumpeter/vocalist Johnny Britt on Aug.12. But the workshop's challenges with establishing a permanent venue highlights a real-world application of two of the core tenets it teaches in the most profound sense: adapting and improvisation. "It does in a very odd way," Eisen said. "We've always found a way to survive and keep our head above water and have always been able to find a place that's been supportive in all the ways they needed to be." "We've been shut down for almost 15 months and then found that opportunity where we had to climb back on that ship and start sailing away again. We were out in the ocean together during the pandemic, now we finally hit land and we're ready to return. It's a breath of fresh air." Positive Cases Among Kern Residents: 111,049 Deaths: 1,406 Recovered Residents: 40,476 Number of Negative Tests: 407,434 Number of Pending Tests*: 164 Updated: 6/28/2021. Source: Kern County Public Health Services Department *As reported by community healthcare providers. More Coronavirus coverage
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“RuPaul’s Drag Race” features some of the most irreverent and boundary-pushing talent in entertainment. But, at its core, it’s a show that is deeply in love with old-school television. This sense of reverence makes a new special on which various cast members restage an episode of “The Brady Bunch” feel surprisingly fitting, and even poignant. In, “Dragging the Classics: The Brady Bunch,” a crossover event put together for Paramount Plus — now the home of the All-Stars iteration of “Drag Race” in addition to vintage episodes of the series that ran from 1969-1974 — past contestants from the show take on key roles as members of the Brady family. Past winner Bianca Del Rio, for instance, plays an elaborately made-up Carol Brady, while her three daughters are played by drag queens Shea Couleé, Kylie Sonique Love, and Kandy Muse. Meanwhile, five of the former child actors from the original series appear, with Barry Williams (the original Greg Brady) playing patriarch Mike. (To make the math of three “Brady” actors taking on four male roles work, drag queen BenDeLaCreme appears out of drag to play Greg.) There’s something that would seem obviously destabilizing about this project: Though it teetered on the edge of goofiness — and later plunged in with variety shows and spinoff series — “The Brady Bunch” was a simple show about siblings trying to get through prosaic children’s concerns. Replacing some of them with drag performers and others with actors now in their 60s creates entirely new tensions. But what startles here is how utterly seriously all performers take their roles. They aren’t derisive of the script, or trying to position themselves as savvily above it. Inasmuch as the assignment is to perform a “Brady Bunch” script with the same charming earnestness as it got in 1971, everyone here understood it. Which matches “Drag Race’s” series-long fixation on a certain type of American pop-culture vernacular. There are elements within the script the queens act out — about neglected sister Jan buying a wig to wear to a party — that are obviously resonant with changing one’s appearance and persona through the art of drag. And yet “The Brady Bunch” put forward a sort of purposefully naive blandness. If “RuPaul’s Drag Race” were to do a “Brady Bunch”-themed challenge, they might compensate by having the queens act out a new script full of double entendres. (That’s similar to the trick pulled by the 1990s “Brady Bunch” movies in which RuPaul appears, in which the family is placed in conflict with contemporary society.) But in this special, working off the original, Kylie Sonique Love doesn’t play the role as if Jan is in on the joke: She brings to bear, instead, an achy wistfulness. There’s a certain richness to the fact that Jan, who wants so badly to be seen for who she really is, is played here by the first “Drag Race” contestant to come out as trans — adding even more richness and life pulsing underneath the script, even while on the surface, Kylie Sonique Love is made up to look like a young teen and delivers her lines without any knowing topspin. (Interestingly, the only moment in the special when the balance seems wobbly is when RuPaul appears as a wig salesperson, accompanied by “Drag Race” judge Michelle Visage; the pair can’t disappear in the ways their drag acolytes do.) The concept of “realness,” of claiming one’s own part of straight culture by embodying it at least until trying on one’s next costume, is at the heart of this special, and asserts itself fascinatingly. To wit: Why shouldn’t Marcia and Cindy Brady, models of pigtailed American girlhood, be played, respectively, by exceptional Black and Afro-Dominican queens, both entirely committed to the bit? Why shouldn’t Carol Brady — one of our culture’s defining sitcom moms, a sweet-natured dispenser of wisdom — be played by Bianca Del Rio, perhaps the meanest-spirited insult comic that “Drag Race” has produced? (Del Rio plays it utterly nice, disconcertingly.) And why shouldn’t the Brady actors return, late in life, to deliver committed if shaky performances as young children? Of all the cases this slight but surprisingly weighty special makes, the most intriguing may be that adult actors whose lives have been spent in the shadow of child characters are doing a sort of drag, too. All of this takes place against a green-screened backdrop that conjures the Brady home seamlessly. And it adds up to something that exists in that satisfying, strange place of camp: A show executed with utter seriousness, teasing out new ways of seeing something that doesn’t seem that serious at all. This special is not high art, and not meant to be: It’s a new interpretation of a TV episode whose goofy humor is the point, performed by people who take the script entirely on its own terms. But it does something inventive, taking a show that for millions of people exists in memory as the iconic evocation of the American home and creating space within it for a whole new kind of family. “Dragging the Classics: The Brady Bunch” appears on Paramount Plus June 30.
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Angel City FC took another step toward its NWSL debut with the release of team’s official colors and crest. The crest, featuring an angel taking flight symbolizes the club’s impact it intends to make in the city, both on and off the field. The crest was created by Los Angeles-based designer Amedea Tassinari. It was inspired by the city, the colors of the sunsets and the “idea that all Angelenos are bound together from the concrete to the coast.” “The top right of the angel’s wing represents Angel City FC breaking the mold and changing the game. The 12 feathers represent the 11 starters and the fans and entire team working together,” Tassinari said. “The placement of the angel, flying toward the sun represents the club’s future and impact it aims to have in the city.” The team’s colors are Asphalt, Sol Rosa and Armour. Each color, according to head of content Jennifer Pranksy represents what makes Los Angeles special. “Armour is for our preparation, dedication and perseverance, Sol Rosa is what the sun provides and how it motivates and inspires and asphalt represents the concrete that we pound everyday,” she said. When the process to create a crest and colors started, the goal was simple. “We wanted something that would pay homage to the city,” ACFC head of marketing Kayla Green said. “This is our opportunity to stand out in NWSL and in Los Angeles. We looked at the blues and teals, but hands down, this was the right one. “We’re in a crowded sports space (in Los Angeles), we’re a new NWSL team, we’re not trying to fit in, we’re trying to stand apart.” Angel City FC will debut in the 2022 season and will play its home games at Banc of California Stadium. Related Articles Ousted Anaheim city attorney to get pay for 3 months The club released the crest through a “Brand Launch Show” and also unveiled an advertising and marketing campaign across L. A., including wrapped Metro trains and a digital campaign, spreading into Europe. “In this great city known for its endless sunsets and legendary stars, our visual identity had to pay homage to these important Los Angeles symbols, Founder and President Julie Uhrman said. “Yet also signal what Angel City stands for, a more equitable future for all.”
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Harrison Ford’s injury on the set of “Indiana Jones 5” is apparently much worse than initially thought. The legendary actor hurt his shoulder while rehearsing a stunt for the latest film in the saga of the famous archeologist, and people were hoping he’d be back soon to keep filming. (REVIEW: ‘ Westworld ’ Season 3 Ends With The Possible Deaths Of Multiple Characters) Well, it sounds like that definitely won’t happen. An unnamed insider told The Sun, “It is Harrison’s last outing as Indiana and everyone thought it would be plain sailing. After the initial delays everyone was raring to go. But now Harrison is injured and it is worse than first thought.” Just how bad might the situation be with Ford hurt? Production might not start again until September. The same unnamed person added, “The film’s bosses have come together to work out the scheduling and it’s chaos. The earliest they think they can restart the production is September. It was not what anyone was expecting so to have to change everything is a huge blow. Everyone was concerned for Harrison and they are glad he is on the mend.” Obviously, we’re all pulling for Ford and his health is our main concern and priority number one. He’s 78 years old, and we all know older people don’t generally heal very quickly. At the same time, this is really bad news for the release of the movie. While I don’t know the official schedule, it’s hard to imagine filming is done by the end of 2021 if production is halted until September. That means we probably won’t get “Indiana Jones 5” until later in 2022. That’s not what anyone wants to hear! Hopefully, Ford is back in action sooner than later! We’re all pulling for him.
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Epic Games The Fortnite Season 7 Week 4 Legendary quests are out now and you only have a week to complete them before they are replaced with something new. There’s a lot of XP up for grabs with these quests, so you’ll want to make sure you don’t miss out on them while they are active. The interesting thing with these quests are that you’ll have to complete them in a certain order, so you won’t be able to skip around even if you know where to go. Collecting a Doomsday Preppers Guide is the fourth step in the questline, but once you get here, it might be helpful to know where you’ll have to look. We have you covered. Epic Games If you’ve been playing Fortnite for a while now, you’re likely familiar with Hydro 16. This has never been a named location on the map, but it has stuck around for several seasons now. It’s expected at this point that we’ll be visiting this area at least once or twice during the season for some quests, and it looks like we’re getting that out of the way early this time. Hydro 16 is the site of the Doomsday Preppers Guide and it can be found in between Slurpy Swamp and Misty Meadows on the map. The area itself consists of just one large building, so it’s quite hard to miss. However, you’ll be running into more people than usual for this week since it’s the home of a new quest. Make sure you’re prepared for a fight because you’ll likely be getting into one here. Epic Games Now that you’ve landed here, the next step will be collecting the book, which is easier said than done. There will likely be several players in this area, so you’ll want to be quick and efficient if you want to get this quest done with ease. Once you’re in the main area, you’ll want to head into the room that Rick is running into in the above image. On the ground in this room is the book, so all you’ll have to do is collect it and you’re done with the quest. It’s recommended that you go into the area with a gun or two so you can properly defend yourself from the other players in the area. The floor inside is covered with loot, but with so many players in here scrambling for it, heading in with a gun can make your trip that much easier. You could also wait a bit longer into the match before you rotate over to this location. Anybody trying to complete the quest fast will likely land here as soon as the game starts, so you can be patient and run in after all of the carnage is done. Whatever you decide to do, this quest shouldn’t take too much time to complete and with 30,000 XP up for grabs, there’s no reason to miss out on this opportunity. READ NEXT: Fortnite Season 7 Brings Back Familiar Chapter 2 Rivalry
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On a recent episode of his podcast, Daily Wire’s Matt Walsh asked mockingly of the media’s complaints that Pixar family film “ Luca ” wasn’t a gay love story, “Why should anything exist if its not ideologically useful to progressives?” That was the same issue on Quentin Tarantino’s mind during the June 25 episode of “Real Time with Bill Maher.” Maher was among the first to broach the subject of political correctness dominating Hollywood. He asked the famed director of “Reservoir Dogs,” “Pulp Fiction,” “Kill Bill,” and a number of other modern classics about an encounter he had with a reporter at the 2019 Cannes film festival when she complained that actress Margot Robbie’s part in “Once Upon a Time Hollywood” wasn’t big enough. Tarantino replied that he rejected that hypothesis. “I’ve always really appreciated the way you’ve pushed back when everyone’s tried to stifle you, shut you up, shame you, bully you, corral your artistic license — they tried it with the last one, with ‘Once Upon a Time in Hollywood,’ some bullsh** about Margot Robbie doesn’t have enough lines,” said Maher. “You do what I wish other people would do: instead of apologizing like a little pu*** you say, ‘I don’t agree with your assessment.’ What’s so hard about that?” The eight-time Oscar winner responded by lamenting how important pushing political agendas has become in the entertainment business these days. “There has become a thing that’s gone on, especially in this last year, where ideology is more important than art,” Tarantino said. “Way more. Certainly to the awards,” Maher agreed. Tarantino went on, “Ideology trumps art. Ideology trumps individual effort. Ideology trumps good. Ideology trumps entertaining,” Tarantino said as the audience applauded. “There’s two kinds of movies—virtue signalers and super hero movies,” Maher summed matters up. Tarantino agreed and said that he believes Hollywood’s current woke obsession won’t last forever. “Just looking at the ’40s, even though it was wartime, that was also when you had film noir. Even with the Hays Code! You had these dark, dark stories being told.” Unsurprisingly, some left-leaning media outlets weren’t pleased with this conversation. The Daily Beast said of the interview, “Given the extraordinary egos in play, there was a high likelihood of this HBO tête-à-tête being insufferable, and about how the current state of cinema is too politically correct. And — surprise — it was just that.” Inside Hook took issue with Maher’s characterization of the state of cinema. “As befits a discussion between a guy who’s taken to decrying ‘cancel culture’ and a filmmaker who’s rarely shied away from controversy, the conversation also veered into the ways politics and cinema can collide,” its story said, adding, “While Maher has made the same argument about the year’s Oscar nominees already this year, it’s also worth stating that it’s no more correct now than it was then. It is somewhat surprising to see Tarantino — who’s always been fairly attuned to the state of cinema past and present — signing on to this take.” The views expressed in this opinion piece are the author’s own and do not necessarily represent those of The Daily Wire. The Daily Wire is one of America’s fastest-growing conservative media companies and counter-cultural outlets for news, opinion, and entertainment. Get inside access to The Daily Wire by becoming a member.
Quentin Tarantino Understands Why Bruce Lee’s Daughter Was Upset About ‘Hollywood,’ But Everyone Else Can ‘Suck A D*ck’
What was the first film you saw back in theaters since the COVID-19 outbreak changed the way the world watches movies? The boffo turnout for “F9” suggests that, thanks to the vaccine, audiences are finding their way back to megaplexes. But things are still far from normal, and the first half of the year was anything but, with a 2020 Oscar season that extended well into 2021 (with the delayed releases of gems such as “The Father,” “French Exit” and “Judas and the Black Messiah” — none of which appear on this list, since they got so much attention from the Academy, which classified them as 2020 releases). But even beyond those late-arriving Oscar contenders, film fans have been spoiled with at-home access to top-quality films, many of which flew under the radar in a world where word of mouth and conventional advertising don’t reach people the way they used to. Retracing the first six months of the year, Variety chief film critics Peter Debruge and Owen Gleiberman recommend (in alphabetical order) the dozen movies that stood out for them, and where to find them.
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Two years after the theatrical release of the movie, director and writer Quentin Tarantino has turned the story into a novel. "Hollywood 1969... You shoulda been there!" is the tagline of the book, which looks like a pulp novel. "Once Upon a Time in Hollywood," the book, is 400 pages and follows much of the movie's dialogue and screenplay, but it also features some new elements. The movie's ending, featuring Rick Dalton (Leonardo DiCaprio) facing the Manson family, is in the beginning of the book. Tarantino also delves deeper into Manson and his life and expands the story to explore more of the scene in Los Angeles at that time. Harper Collins, which published the book, describes it as "Quentin Tarantino's long-awaited first work of fiction -- at once hilarious, delicious, and brutal -- is the always surprising, sometimes shocking new novel based on his Academy Award-winning film."
Quentin Tarantino: Everyone but Bruce Lee’s daughter can ‘suck a d–k’
Entertainment Steamy HBO movies for your next night in? Yes, please. If you’re a sexy movie fan, you’re in luck: HBO and HBO Max expanded their roster of sultry movies. Spanning several genres, these steamy options are guaranteed to have some unforgettable scenes, so whether you prefer to watch an erotic drama, an LGBTQ+ film, or a raunchy comedy, here are 15 sexy movies available on HBO right this second. What qualifies as “sexy,” you ask? Films with erotic intimate scenes, hot and heavy makeouts, and even raunchy vignettes made the cut. With its range of options, this list of HBO’s sexiest movies is sure to whet your viewing appetite. It includes classics from And God Created Woman, a ’50s Brigitte Bardot French film, to a 2002 titillating thriller with a young Richard Gere. Rounding out the selection are more recent options about single women navigating the New York City dating scene (two of those, actually) and Endings, Beginnings, a racy story about a love triangle with Jamie Dornan, Sebastian Stan, and Shailene Woodley. If you prefer risqué films in the form of comedy, there are also some funny options like the now-classic Wedding Crashers and a movie about half-naked male strippers, um, stripping. Excited yet? Here are the 15 sexiest movies on HBO and HBO Max that you should watch now. Steve Carell plays Andy, the titular middle-aged virgin in the 2005 R-rated Judd Apatow comedy. When his friends David ( Paul Rudd), Jay (Romany Malco), and Cal ( Seth Rogen) find out about Andy’s sexual inexperience, they team up to help him get laid. Of course, shenanigans ensue, made all the more entertaining by the film’s many cameos. The star-studded cast also includes Jane Lynch, Elizabeth Banks, and Leslie Mann, and Carell, who emerged as a breakout comedic lead. In Endings, Beginnings, a 2019 drama directed by Drake Doremus, Dornan and Stan make up two-thirds of a steamy love triangle that’s completed by Woodley. Daphne (Woodley) is fresh off of a breakup and disillusioned by love — that is, until she meets both Jack (Dornan) and Frank (Stan) at a party. The men couldn’t be more different, and yet she finds herself strongly attracted to both. Based on the 1996 namesake novel by Nicholas Sparks, The Notebook isn’t a sexy film per se, but the kissing scene between Rachel McAdams and Ryan Gosling achieved cult status for a reason (it even won Best Kiss at the 2005 MTV Movie Awards). A romantic classic, the 2004 film set in the ’40s follows the heartbreaking story of star-crossed lovers Allie and Noah, whose differences in social class keep them from being together. Fun fact: McAdams and Gosling dated in real life, and he told GQ in 2007 that their actual love story was “a hell of a lot more romantic.” And God Created Woman is the 1956 French movie that turned then-largely unknown Brigitte Bardot into an international sex symbol. Bardot plays Juliette, a sensual 18-year-old orphan who scandalizes her guardians with her propensity for nudity. To avoid going back to the orphanage, she marries Michel (Jean-Louis Trintignant), though it’s his brother (Christian Marquand) she’s in love with. The romantic drama is ultimately a story about Juliette’s affairs and the heartbreak caused by a beautiful woman desired by so many. Directed by Christian Ditter, How to Be Single follows the sexual exploits of four single women in New York: Alice ( Dakota Johnson), who left her long-term relationship when she moved to the city; Robin ( Rebel Wilson), a carefree spirit who enjoys sexual freedom; Meg ( Leslie Mann), a doctor navigating feelings about commitment and motherhood; and Lucy ( Alison Brie), who’s earnest about wanting a relationship but hasn’t found the right person yet. The characters have different romantic journeys, but there’s one overarching message, according to Johnson in a 2016 Telegraph interview: “Women should love themselves and take care of their hearts and their brains and also not feel bad about having a good time or experiencing different people and dating people.” Channing Tatum, Joe Manganiello, Matt Bomer, Matthew McConaughey, and Adam Rodriguez star as Tampa-based gyrating strippers in Magic Mike. Directed by Steven Soderbergh, the 2012 dramedy is loosely inspired by Tatum’s former life as a stripper and has more than a few unforgettable striptease sequences. Tatum and McConaughey both garnered several nominations for their performances, and a sequel, Magic Mike XXL, followed in 2015. Adapted from the 1969 French film The Unfaithful Wife,2002’s Unfaithful stars Richard Gere and Diane Lane as a married couple. When Connie (Lane) meets Paul ( Olivier Martinez), she begins a steamy, sordid affair with him. Her husband, Edward (Gere), gets suspicious and confronts Paul, resulting in an accident. Though the affair-gone-bad thriller directed by Adrian Lyne received mixed reviews, Lane was commended for her sensual performance. The movie that catapulted Vince Vaughn and Jon Favreau to stardom, Swingers follows aspiring actor Mike (Favreau, who also served as the film’s writer), who can’t move on from his recent breakup. Trent (Vaughn), his friend and ladies' man, takes Mike to Vegas to forget about his ex and teaches him how to pick up women. Directed by Doug Liman, the 1996 dramedy also stars Heather Graham as Mike’s love interest. In 2008, four years after the TV series finale, Carrie, Miranda, Charlotte, and Samantha got back together for a movie version of Sex and the City. There's not much sex for Carrie ( Sarah Jessica Parker) in this one — she and Big ( Chris Noth) are broken up — but, unsurprisingly, Samantha ( Kim Cattrall) still finds herself in sexy situations, including fantasizing about her neighbor who takes outdoor showers. Also, Carrie's new apartment is pretty damn sexy in its own way. Owen Wilson (John) and Vince Vaughn (Jeremy) are the titular party crashers in this 2005 romantic comedy. It’s wedding season, and the two run a con: faking their identities to have one-night stands with emotional women at weddings. When they break protocol by pursuing sisters Claire (McAdams) and Gloria ( Isla Fisher) after the reception, the two are found out. Between the comedy of Jane Seymour and a jealous Bradley Cooper, Wedding Crashers is a hilariously chaotic classic. Another Apatow-directed movie,2020’s King of Staten Island is based on the life of Pete Davidson, who stars as Scott, a 24-year-old high school dropout who regularly gets high and hooks up with on-again, off-again girlfriend Kelsey ( Bel Powley). When he’s not too busy bumming at his mom’s place in Staten Island, that is. It’s a touching coming-of-age and coming-into-one’s-own movie, and Davidson was lauded for his performance. In 2004’s provocative drama Closer, based on a play of the same name, Alice ( Natalie Portman) and Dan ( Jude Law) are happily in love until Anna ( Julia Roberts) gets in the middle. Then, with the introduction of Larry ( Clive Owen), the movie becomes a complicated love rectangle with a yearlong affair at the center. Both Owen and Portman received multiple nominations for their acting and won a Golden Globe each. A spoof of Fifty Shades of Grey, the 2016 romantic comedy Fifty Shades of Black follows naive student Hannah Steale ( Kali Hawk), who meets powerful entrepreneur Christian Black ( Marlon Wayans). He then introduces her to the world of kink, and a BDSM-filled romance ensues. Lest you forget, this is a spoof, but the movie is full of slapstick jokes and is raunchy in an absurd way. Angelina Jolie won a Golden Globe for her portrayal of the titular supermodel Gia Carangi in this 1998 biographical drama. Gia becomes a supermodel after being discovered by agent Wilhelmina Cooper ( Faye Dunaway), but her later death plunges Gia into depression and drug abuse. She begins a romance with makeup artist Linda ( Elizabeth Mitchell) until Gia’s dark past resurfaces. The Michael Cristofer-directed film was well-received, and Dunaway also took home a Golden Globe for her role. Loosely based on Susan Swan’s 1993 novel The Wives of Bath, the 2001 Canadian drama Lost and Delirious follows Mary ( Mischa Barton) and her move to an all-girls boarding school. Here, she witnesses a blossoming lesbian relationship between roommates Pauline (Piper Perabo) and Tori ( Jessica Paré) — until Tori’s homophobic sister ( Emily VanCamp) causes a breakup and a revenge-fueled accident. Film critic Roger Ebert gave it 3.5 stars and called it “a hymn to teenage idealism and hormones.” This article was originally published on Aug.17,2018
The Best Movies On HBO, Ranked
Relationship status: “It’s complicated.” Or at least that’s how actress Taylour Paige described the “messy” situation involving her character, Zola, and “this b—h” Stefani, played by Riley Keough, in A24’s hotly anticipated new film “Zola.” Based on an infamous 2015 Twitter thread by former stripper A’Ziah “Zola” Wells, the film follows Detroit waitress Zola and a customer named Stefani who instantly bond over pole dancing. Within 24 hours of meeting, Stefani invites Zola on a road trip where the goal is to make as much money as possible at Florida strip clubs. What seems like a glamorous trip full of harmless “hoeism” quickly transforms into a 48-hour journey involving a nameless pimp, an idiot boyfriend, Tampa gangsters and other wild adventures along the way. “I think all my life experiences prepared me for the role,” Paige told WrapWomen during a recent interview. The former Los Angeles Laker Girl even spent four weeks working at a strip club to make sure she perfected the part. “I didn’t want to look like an actor trying to dance, I didn’t want to look like a dancer trying to strip, I wanted to look like this person in the given circumstances who works at a restaurant and also dances.” The actress also received some tips from Wells herself, who served as an executive producer on the film. “We just talked a lot and I got to know her voice and her spirit,” Paige said. “She’s just so funny and quick and smart. Her use of punctuation, like everything about her… she’s on some other s—.” While Paige put a lot of preparation into the role of Zola, she was also able to take a lot from the experience, including a newfound sense of freedom. “Freedom to be a woman and love my body and my sexuality and not being also self-conscious or such a perfectionist,” Paige said. “Just giving myself grace to figure it out as I go and be as present and honest as I can with the dialogue… it just marked a really, really pivotal change in my life.” See WrapWomen’s full interview with Paige via the video up top. WrapWomen is a power base of influential women of entertainment, media, technology and brands committed to changing the face of their industries. Through media and live events, we provide a platform to accelerate the vision of women who are building towards a more equitable world. Click here to sign up for our weekly newsletter! Follow us on Instagram @WrapWomen and on Twitter @TheWrapWomen.
In "Zola," two exotic dancers' road trip descends into chaos
There's still hope he'll get on a jet-ski. Loki ’s third episode had a lot of action, a brand new planet, a bullet train to the apocalypse, and singing. But it was short one fan-favorite item: Owen Wilson’s Agent Mobius M. Mobius. Unfortunately, the lack of screentime for the TVA meant fans were deprived of Loki’s partner in space detecting and an excellent foil for the ex-god of mischief. But Mobius’ return in Episode 4 turned out to be far more short-lived than fans had hoped. But is Mobius dead on Loki? It seemed like it until the episode’s final moments and the post-credits scene. Warning: Spoilers for Loki Season 1, Episode 4 follow. Sylvie’s revelation that the TVA agents were Variants removed from the timeline was a significant development. When the two fugitives were recaptured by the TVA and Mobius back with Loki in the questioning room, fans knew it was only a matter of time before the truth came out. In true Loki fashion, it managed to be as dramatic as possible, sandwiched between ridiculous lies and a possible confession that Loki had a crush on his female counterpart. (Self-love, it’s what every narcissist wants most.) But it was the way Mobius froze the first time he heard Loki tell him the TVA was lying to him that betrayed the Agent’s feelings. For all that he tried to dismiss the claim as more chaos and lies, Loki’s words hit a truth he already subconsciously knew. Between Renslayer’s lies about Hunter C-20 and B-15’s slow-roll breakdown at having her memories accessed, the countdown to the rebellion by TVA employees was on. But Mobius’ rebellion was super short-lived. Even before he could say “jet ski,” one of Renslayer’s loyalists had pruned him from the timeline. Loki was dragged away in shock, having seen the demise of one of the few he could trust in this place. But then, to the shock of everyone else, Renslayer pruned Loki from the timeline as well, leaving Sylvie all alone. Listen, if Loki doesn’t have Loki starring in it, what are we even doing here? Whatever it is, pruning, for all that it makes a person dematerialize before everyone’s eyes, doesn’t kill. That was confirmed by the series’ first post-credit scene, which comes at the episode’s 44:38 mark. Loki awakens to find himself somewhere else, with a whole lot of other Lokis. Wherever it is, this seems to be the place pruned people from the sacred timeline go — a reality far, far away from the TVA. All fans can hope is that it’s not long before Loki and his Loki friends find Mobius and bring him home. Loki continues with new episodes every Wednesday on Disney+.
‘Loki': So Where Is Mr. Mobius Now?
The year 1969 was “pivotal,” says the Rev. Al Sharpton in “ Summer of Soul,” a documentary about the Harlem Cultural Festival, a music extravaganza that took place over six weeks at the dawn of the Black Power Movement. “Where the Negro died and Black was born,” he said. Now in theaters and premiering on Hulu on Friday, “Summer of Soul (… Or, When the Revolution Could Not Be Televised)” is the directorial debut of Ahmir “Questlove” Thompson, the drummer and co-leader of the Roots, a hip-hop group and the in-house band for “The Tonight Show.” The acclaimed film was compiled from 40 hours of live footage from the festival, as well as news accounts and recent interviews with concertgoers and performers, including Stevie Wonder, Gladys Knight, Mavis Staples and Ray Barretto. They were all deeply impacted by a festival that took place in Mount Morris (now Marcus Garvey) Park from June 29 to Aug.24,1969. Conceived in 1967 by the promoter Tony Lawrence as a series of Sunday-afternoon concerts, the festival in total drew more than 300,000 people. It attracted the support of John V. Lindsay, New York’s Republican mayor (whose guest appearance onstage makes it into the film), as well as many of the famous Black performers and activists of the era, such as Mahalia Jackson, Nina Simone, the Rev. Jesse Jackson, and Sly and the Family Stone. Even though most of the festival was captured on film, only parts of it were aired on local television, and these concerts were soon upstaged by another festival that summer, two hours north of Harlem in Bethel, N. Y. — a festival best known as Woodstock. The latter inspired a slew of films, notably Michael Wadleigh’s iconic 1970 documentary, “Woodstock,” and Barak Goodman’s 2019 retrospective, “Woodstock: Three Days That Defined a Generation.” Yet footage from the Harlem festival sat unprocessed in the basement of the concert producer and videographer Hal Tulchin, who tried to garner network interest in an event that he colloquially called “Black Woodstock.” Before Tulchin died in 2017, the producer Robert Fyvolent reached out to him, and they began reviving interest in a documentary to be released on the festival’s 50th anniversary in 2019. When Fyvolent and his fellow producer David Dinerstein approached Thompson to direct it, he responded with skepticism. How, he thought, could such a momentous event be lost to history? By the time he saw the limited footage that Tulchin had digitized over the years, his incredulity turned into grief — realizing the cultural void that it could have filled if he and other members of the hip-hop generation knew it existed. Thompson overcame his inexperience with the medium, and simply approached it as a storyteller, a formidable skill of his that comes as no surprise to fans of the Roots as well as to readers of his five books, including his 2013 memoir, “Mo’ Meta Blues.” (By then, Joseph Patel had signed on as a producer as well.) In January, the film won the Grand Jury and Audience prizes in the nonfiction category at Sundance. But even more important, “Summer of Soul” feels right on time. Not only does the film remind us of the diverse cultures and people that thrive in Harlem, but it also humanizes Black people’s mourning in the face of violence and death. (Martin Luther King Jr. was assassinated a year before the festival.) And rather than present a myth of unrealized interracial harmony, the movie celebrates differences, be it in musical genres (the festival featured Latin jazz, gospel, psychedelic rock and more) or among the generations in the crowd. From his messy “Tonight Show” dressing room (he playfully called it “the ‘Sanford and Son’ junkyard”), Thompson spoke by video about how he immersed himself in the footage and how he hopes these performances will inspire Black artists today to be more radical and responsive to our times. These are edited excerpts from the conversation. When did you first learn about the Harlem Cultural Festival? This is a two-parter. Part one is that I unknowingly, back in 1997, saw maybe two or three minutes of a Sly and the Family Stone performance from the festival. It was not a bird’s eye-view camera, and I couldn’t see the makeup of the audience. I saw the big giant word “Festival” behind them, and I was under the impression that this was from the ’60s and thought, “Maybe they’re in Switzerland or somewhere in Europe.” I thought that they were showing me something vintage because that was the theme of the restaurant I was at — the Little Soul Cafe in Tokyo. Twenty years later, I received a note asking me to meet with my two future producers, Robert Fyvolent and David Dinerstein, about a Harlem cultural festival that was like a “Black Woodstock.” Instantly, the music snob in me said, “I’ve never heard of that.” So I looked it up online. It’s not on the internet, so I was highly skeptical. But, when they finally showed me the footage, I instantly recognized the backdrop for Sly and thought, “Oh God, this really did happen.” For nearly 50 years, this just sat in a basement and no one cared. My stomach dropped. How did you approach turning six weeks of concert footage into a two-hour documentary? I transferred 40 hours of footage on my hard drive, and I kept it on a 24-hour loop in my house. I have a device so I could watch it any time, in my living room, in my bedroom, in my bathroom. I also put it on my phone when I traveled. For five months, that’s all I watched and just kept notes on anything that caught my eye. I was looking for, “What’s my first 10 minutes, what’s my last 10 minutes?” Once I saw Stevie Wonder do that drum solo, I knew that was my first 10 minutes. That’s a gobsmacker. Even though I know he played drums, that’s something you don’t see all the time. Why was it so important to include the experiences of people who actually attended? This wasn’t as easy as people think. The festival was 50-plus years ago, you’re really looking for people who are now in their late-50s all the way through their early-70s, and Harlem is a different kind of place. You have to hit the pavement because so much of the social fabric of the neighborhood is community-oriented. One of our producers, Ashley Bembry-Kaintuck, even went to a swing dancing class to meet one person [the former Black Panther Cyril “Bullwhip” Innis Jr.] we identified. Musa Jackson winds up being our anchor. He was one of the first people to respond, but he disclosed to us that he was just 5 years old when he went to the festival. He told us, “Look, this is my first memory in life. So I’m just going to tell you everything I remember.” Given that the festival mostly predated Woodstock, why do you think it was so easily forgotten? History saw it fit that every last person that was on that stage now winds up defining a generation. Why isn’t this held in the same light? Why was it that easy to dispose of us? Instead, the cultural zeitgeist that actually ended up being our guide as Black people was “Soul Train.” And so, I’m always going to wonder, “How could this and ‘Soul Train’ have pushed potential creatives further?” Also lost was the context that made this festival possible in the first place. How did you go about reconstructing that? At the end of the day, the sole purpose of this festival was to protect property. There was a riot in ’68 in Harlem when King died. And there was fear in the city that it would happen again in 1969, so there was a sense that the festival would keep Black people calm all summer. And once it served its purpose, that was it. But your film doesn’t present it that way. For Black artists, this looks like it was the music event of the year. Context is everything. There’s a lot of people that think that Harlem is just the Apollo Theater, Sylvia’s and the occasional incense and oil guy, but it’s so much more than that. This event was really a labor of love for [promoter] Tony Lawrence. There just weren’t festivals that catered to Black people. We also found out that Jimi Hendrix tried to get on the Harlem Cultural Festival, but was a little too radical for them. So he shadowed the festival. For its first three weeks, he did blues performances with [guitarist] Albert King in the after-shows at night. You conclude with Nina Simone’s performance. Why end with her? “Mississippi Goddam” might be in the lineup, “Four Women” of course. But she’s not doing [her early pop hits like] “My Baby Just Cares for Me.” I dub Nina’s performance as some Michael Jordan Game 6-type thing. She had the most potent message, the most potent presence. I’m not saying that we all have to do message songs, but I’m actually begging for Black artists to balance the output that we have now. How did making this film change you? Do you want to direct again? More than anything, it helped me really come to grips with what my role and my purpose in life is, as an educator. And it really helped me in the confidence department. Now I’m ready to take on the world.
‘Summer of Soul’ gives forgotten music fest recognition it deserves - The San Francisco Examiner ‘Summer of Soul’ gives forgotten music fest recognition it deserves - The San Francisco Examiner
Today the Journal JAMA Pediatrics published a study which looked at the impact of masks on children. The study was led by a researcher in Poland who was joined by six other doctors from Germany and Austria. The researchers concluded there was a significant build up of carbon dioxide in children using masks, to levels that are well beyond what is considered healthy for indoor air by the German government. Looking at this Wikipedia article, it appears that acceptable concentrations of CO2 for indoor air vary quite a bit around the world: So here’s what the study of children wearing masks actually found [emphasis added]: In the discussion section, the researchers conclude that complaints reported in a previous survey of thousands of German parents (kids experiencing headaches, difficultly concentrating, drowsiness, etc.) could be explained by the elevated CO2 levels. The study concludes: “We suggest that decision-makers weigh the hard evidence produced by these experimental measurements accordingly, which suggest that children should not be forced to wear face masks.” The caveats here are that this study was very small, only a few dozen kids. Assume there will be some pushback from other doctors but as of now it’s brand new so there haven’t been any responses to it yet.
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BBC Injects Magic into Tokyo to Hype Olympics
CBS Essentials is created independently from the CBS News staff. We may receive commissions from some links to products on this page. Promotions are subject to availability and retailer terms. Fourth of July weekend is quickly approaching. Whether you're planning on celebrating the annual holiday, watching fireworks in park or, adding in a picnic with family and friends is never a bad idea. If you haven't started planning your July 4 picnic party, don't stress: Nearly everything you need is available on Amazon and can be on your doorstep in days. From red, white and blue decorations and blankets to condiments and cups, CBS Essentials has rounded up ten things that will help make your Fourth of July picnic fabulous and festive. All you need to pick up in person is the food -- and maybe the rest of your family on the way to the fireworks. This machine washable picnic blanket is made out of three layers of fabric -- a poly upper, sponge middle and waterproof bottom -- making it an ideal cover for everything from damp grass to sand. It conveniently rolls up, and comes complete with a handle for easy carrying. The red and white gingham print is pure Americana, making it a festive foundation for your July 4 celebration. Nothing says summer picnic like a red and white gingham wood chip picnic basket. It's waterproof, and sturdy enough to house everything from bread and produce to a bottle of wine. It also makes for a great prop for all those July 4 photos! Stojo coffee cups are genius. Fill up your cup before heading to your picnic. Once you are done drinking your beverage, the cup conveniently collapses to fit in your bag, basket or even pocket. Every cup is made out of dishwasher-safe, food-grade silicone and recyclable materials -- with no BPA's, phthalates, leads or glues. Yeti coolers are built for the long haul, which is why the brand claims they are "the last cooler you will ever need." Reviewers love them -- they're rated 4.8 stars on Amazon -- praising their carrying capacity (20 cans with ice), how easy they are to roll around and how they keep food cold for days. Comes with a dry goods basket. Whether your July 4 picnic brings you to the beach or the mountains, music is always a must-have to set the mood. JBL's Flip 4 is a super light and portable speaker that packs a huge sound punch for any outdoor gathering. It's got enough battery power -- 12 hours' worth -- to last the whole day. Plus, the blue color fits the holiday! Forget bug spray in a can. Murphy's Naturals recently packaged their DEET-free, natural mosquito repellent in wipe form, making it incredibly convenient for picnics and other outdoor adventures. Foodle's wheat straw dinnerware set has everything you need for your July 4 picnic: Four cups, plates, bowls and utensils. This dishwasher-, microwave- and freezer-safe set is lightweight (less than 2.5 pounds for the entire set) too, making it convenient to take anywhere. You can't celebrate July 4 without hot dogs and hamburgers -- or without ketchup, mustard and relish. The essential condiments are all included in this four-pack from Heinz. Best of all: It's currently on sale on Amazon. No matter what is on the food or drink menu, staying hydrated during your July 4 picnic is essential if you want to make it to the fireworks. This insulated water jug from Under Armour will keep a half a gallon of water cold for up to 12 hours. These bottles sell for $40 and up on Amazon, but here's a money-saving tip: They're currently on sale for just $15 each at Under Armour's website. Looking for a simple, all-in-one solution for your July 4 party? This disposable patriotic party pack includes a tablecloth, service for 24, a banner, flags for waving and balloons -- red, white and blue ones, of course.
10 Amazon buys for the perfect Fourth of July picnic
Forward-thinking companies like Orum are building and leveraging fintech like never before—driven by broad advances in enterprise technology and greater access to financial services and data once reserved for legacy banks. As an investor, I’ve been able to help drive this progress, and I’ve seen firsthand the benefits that fintech solutions can offer when mobilized effectively. In this article, I explore four trends that demonstrate how fintech innovations are streamlining the user experience and transforming the financial landscape. 1. Embeddable Infrastructure Fintech was once a business model unto itself. Now, companies across industries are embedding pre-built fintech solutions into their software, delivered via modern APIs. Embeddable fintech is a fast-growing market, expected to reach nearly $230 billion in revenue by 2025 in the U. S. alone—up from $22.5 billion in 2020. It’s easy to see why. In our on-demand economy, consumers, small businesses, and even enterprises expect instant, seamless financial experiences. In turn, software companies are increasingly relying on fintech infrastructure to provide embeddable solutions that allow them to deliver services like payments and lending directly through their digital platforms—without building the infrastructure themselves. Finix, for instance, offers embeddable payment-processing tools that enable businesses to accept, manage, and monetize payments in-house, rather than refer users to a third-party provider like PayPal and lose out on the related revenue. Wisetack offers embeddable consumer financing solutions that process loan applications instantly at the point of sale. Merchants get paid right away, while customers can choose from a variety of payment plans. Embeddable fintechs like these make it simpler and more affordable for consumers to access products and services while opening businesses up to a whole new customer base. 2. Vertical Software With Embedded Fintech Breakthroughs in embeddable infrastructure have empowered vertical companies to apply fintech innovations to their specific industries. One example is Passport, a SaaS provider that partners with transportation authorities to manage public parking. Passport uses Finix to create a digital wallet for each user, who can then pay for and monitor parking sessions without leaving the Passport app. Not only does this reduce friction and improve user experience—boosting customer satisfaction, loyalty, and lifetime value—it allows Passport to own the financial services that drive its business and to solve industry-specific issues in-house. When users extend their parking, for instance, Finix allows Passport to group charges into a single transaction, instead of generating multiple checkouts, card authorizations, and fees. As businesses mobilize fintech capabilities across new verticals, every company will have the potential to be an innovator in the financial sphere—making the market for fintech richer than ever. 3. Applied Machine Learning Public-sector initiatives like open banking and private players like Plaid have enabled user-permissioned access to financial data like payroll and cash flow. Now, companies are analyzing this wealth of information through the latest machine-learning techniques to gain deeper insight into consumer behaviors and business metrics. Predictive capabilities are a game-changer for any business, but they’re especially valuable in the high-stakes finance industry. Some studies estimate that machine learning in fintech was worth close to $8 billion in 2020 and expected to top $26 billion by 2026. Take OnDeck, a digital platform for small business loans. OnDeck uses machine learning to holistically assess applicants’ creditworthiness—taking into account nontraditional factors like cashflow, public records, transactional reports, and social data—and predict their ability to repay a loan. Without such tools, lenders rely on manual data collection and predicate underwriting on business owners’ personal credit scores—making lending decisions inefficient and inequitable. Studies have consistently shown how BIPOC-owned businesses are disproportionately denied loans due to underscored credit reports. Machine learning thus has the potential to democratize access to capital while curbing risk for financial institutions. 4. Intelligent Infrastructure Some pioneering companies are combining the above trends to address deep, structural issues. Visa made big news recently by buying Tink, a UK company focused on open banking via a data and payments rail. Also in the UK, GoCardless has been a leader for years in allowing companies and software platforms to leverage bank transfer rails to collect payments. In the US, moov is using open source libraries to allow developers to accept, store, and disburse money: think Banking as a Service without all the middlemen. Earlier this year, Bain Capital led the Series A round for Orum, a startup that’s reimagining how most money—to the tune of almost $62 trillion a year—moves in the U. S. Today, you can get groceries delivered to your door in minutes, but it can still take three to five days to transfer your own money between accounts. This is largely due to payment rails’ outdated infrastructure, which lacks the ability to verify account balances in real time and authorize speedy transactions. Orum is leveraging embeddable fintech and machine learning to tackle this problem at its core. The company’s first product, Foresight, is an embeddable API solution that uses proprietary intelligence to assess the return risk of a transaction before it occurs, allowing financial partners to make smarter, faster transfer decisions. A second product, Momentum, does for liquidity what Amazon does for same-day package delivery. It doesn’t matter how your money gets from A to B; it just matters how fast. Momentum enables 24/7/365 money movement, optimizing for speed, cost, and risk across payments rails like ACH, RTP, and eventually crypto and FedNow. Bringing multi-rail payments up to speed with our instant economy through Orum’s automated and data-fueled decisioning engine revolutionizes how consumers and businesses send, receive, and access money. What’s Next? Given this trajectory, it’s clear that fintech will continue to become deeply embedded in almost every aspect of the digital tools we use every day, making it simpler and faster to access financial services when and where we need them. This will only be possible with the continued development of embeddable infrastructure, adoption of machine learning, and efforts of companies like Orum that combine these forces to build a broad foundation that drives innovation and unlocks financial access for a new generation of users.
Patient Experience? Not Just A Consumer’s Concern
Earlier this year I spoke to the founder of Oma Cinema, a company looking to reinvent the traditional layout of cinema with a series of mini-wall pods that combine the feeling of watching from home with the communal collective experience of watching in a movie theatre. While the Oma concept wasn’t designed primarily with post-pandemic cinema viewing in mind its pod idea seemed like a very effective answer to the problem. Now another cinematic idea has arrived that takes the pod concept a step further and is aimed squarely at providing entertainment in a COVID-present world. It’s call 'Cinema Cell' and according to founder Nikolay Andreyev, the pandemic is presenting an existential threat to the cinema experience. He says streaming services will impact the traditional cinema business model to such an extent that they will be “cinema killers”, that will cause cinemas to “disappear without a trace, like a push-button telephone or Kodak film.” It’s dramatic talk, especially when followed by the claim that Cinema Cell has “found a way how to save the industry.” The solution? Small, isolated, cinematic pods containing a few seats, a giant screen, and a snack machine. Rather than a projection system, images would be delivered via an 8K capable 110in display along with a surround-sound system. Andreyev hints that the seats could provide a 4DX-like experience, where the seats move around in conjunction with the action on screen, along with other effects such as air and lights. You’d essentially be renting out an over-specced “home cinema”, to which you would travel with family or to meet friends. Access to the cells would be via a smartphone and would offer “anti-COVID bacterial lamps” and a “photocatalytic air purification system,” along with a fire extinguisher and security cameras. It’s a dream destination for the ultra-paranoid cinemagoer, whether the threat is a pandemic or a zombie apocalypse. There’s no mention of a built-in toilet though, so you’d have to leave the protection of the cell if you felt the call of nature. The pods could be located in a mall/shopping center and could be either singular or connected in a whole series. I imagine there could be a particular movie on show at a dedicated time, or each cell could show anything it wanted (the 2011 thriller Contagion, for example). Naturally, it’s not just aimed at movies, but also concerts, sports viewing, gaming, karaoke or even just group watching of your favourite soap opera – though that would be a tragic waste of a giant screen. The concept has a futuristic, Blade Runner feel to it and if the pandemic remains an issue, or crops up again in the future Cinema Cell would make sense. However, the question has to be asked if this is really cinema and if this the future we want. On the technical side, the absence of projection is a cinematic no-no for purists and has to as far away from the magic of a 70mm presentation as you can get. It also inherently lacks the collective thrill that a packed cinema can bring – the open pods of Oma Cinema conceptually provide a better balance between the private and the collective experience. I’d posit that the name needs work too; it hints at a cinematic prison rather than the escape that going to the movies should provide. For the paranoid though, or the potentially at-risk viewer, Cinema Cell is a potential way forward. Andreyev told me that in his native Kazakhstan there was an excellent response to the idea from local chains, but admitted that the industry is not big enough there to support the capital-intensive nature of the project and he was looking to other countries for initial take-up. If the world can’t return to the normality that we want, it might prove to be a concept that has legs.
Coastal design has always been in style, but as the pandemic comes to a close, it is becoming more popular again. This is because homeowners are seeking an open and airy vibe that feels more vacation-like, even if they’re landlocked. “Coastal design has been around for centuries, largely because it was the manner in which people decorated their waterfront or seaside homes. This design aesthetic began very much as a product of the environment you’re in when in a beach or lake house,” Amy Leferink of Interior Impressions tells me. “Over time this look has evolved to be less literal, and more an overall interpretation subject to the designer or homeowner and how they choose to bring the outside in, regardless of the home being situated in a coastal location. It is meant to evoke a feeling of being near the water— bringing the relaxation, ease, and casual vibe of waterside living to everyday life.” So how can you give your home a more sophisticated coastal feel? I spoke with some of the top designers and experts to learn their best tips and ideas. According to Samantha Gallacher, founder of IG Workshop, some simple overall changes can make your home feel more coastal. “As we are based in Miami we have seen coastal trends come and go,” she tells me. Overall, it is best to simply keep it light. “Currently and most consistently, we are seeing trends in color palettes, being light, earthy tones with accents of color, but also keeping color palettes minimal and playing with textures for added depth and feel to coastal living.” Balance is key when it comes to coastal decor. Meg Young, Founder of Cailini Coastal recommends choosing neutrals for your larger pieces and then accessorizing accordingly. “Incorporate details like stripe or natural fiber rugs, blue and white-hued pillows, grasscloth covered decorative boxes, sea glass beads, bamboo photo frames, etc,” she tells me. Then add subtle touches with smaller-scale pieces like a nautical knot doorstop, a framed natural sea fan, or a chic coastal coffee table book. “The key to pulling off a chic and not heavy look is making sure to mix pieces and work off of a neutral color palette. This also allows you to change up accessories seamlessly between seasons,” explains Young. Leigh Spicher, national director of design studios for Ashton Woods Homes suggests rethinking how you use textiles in your home. “One of the easiest ways to achieve this is by layering in an area rug that speaks to more of your vacation self than your traditional home self. Another way is to include window shades that are high in texture like sisal or seagrass over typical wood blinds.” Adding a wood beam, shiplap or another accent to a ceiling can be truly transformative without feeling like a tribute to Grandpa’s old boat. “One of my favorite projects was a waterfront home on Balboa Island in Newport Beach which features a modern coastal chic style,” interior designer Anne Michaelsen explains. “The wood tones in the home pay tribute to the classic seaside architecture of clapboard, but the home also features more modern elements as well, like stainless retracting doors and contrasting dark ship grey vertical wood paneling. Coral, shells, and fish motifs are present but not overwhelming and kitschy. The color scheme echoes the sand, sea, and sky that surround the home.” Annapolis-based architect Cathy Purple Cherry is known for her coastal and palatial homes on Maryland's Eastern seaboard. She suggests adding a cupola to give a home a more authentic coastal fee. “The language of the cupola, which was once a beacon to watermen and a necessary source of ventilation, has continued to be an expressive architectural element in coastal homes. Today, coastal cupolas function as a vehicle to flood natural light into the interior spaces below.” “As more people are utilizing their oceanside second homes more regularly, they’re also recognizing the visual value of surrounding themselves with authentic art the way they would in their primary residences,” Boston-based interior designer Liz Caan tells me. “Original works not only add richness and originality to a space, but when purchased from local artisans— they give it provenance. An acrylic painting of the surrounding landscape handmade by a longtime resident makes a coastal home feel a million times more authentic.” Interior designer Caitlin Scanlon shares that wallpaper can be a great way to enhance a coastal space, although she hasn't always been a fan of the look. “At first, I thought wallpaper had no place in a coastal abode—after all, nature, views, and the sea should be the star of the show, and everything else a neutral frame. However, I now see that there are some super cool wallpapers that enhance, not detract from natural beauty.” Her personal picks? Scanlon likes Fornasetti Acquario’s graphic depictions of marine life, especially for a powder room. For lager spaces, she suggests going with Kelly Wearstler’s Currents wallpaper. According to Roxy Te Owens, founder and creative director of Society Social, it’s important to go back to basics in a sense and be inspired by nature. “Coastal design is all about creating a cool and effortless vibe. Think watery colors inspired by the sky, the sand, and the sea.” Owens likes using warm woven furniture made of rattan and wicker to instantly make a space feel more relaxed. “Decorative accents like seagrass baskets, colored glass, layers of organic prints and patterns, sisal rugs, washed linen throws, and ripply seashells encourage a casual feel.” Just avoid going overboard with the seashells… Pottery Barn is a great resource for anyone trying to create a coastal look. Many of their newest pieces were inspired by the colors of the Pacific Ocean including a palette of beautiful grays, washed-out blues, whites, and sandy colors. The brands’s designers also suggest using blue as a neutral. Blue is also an ideal color for a tablescape. Pottery Barn’s melamine Azure Dinnerware collection is ideal for this. Don’t forget to accessorize the table with a Handcrafted Sea Glass Beaded Garland to tie the look together. Farmhouse has been one of the biggest design trends in recent years. It shares some elements with coastal design. So, if you’re ready to retire that “Live. Laugh. Love,” sign, it’s pretty easy to convert to coastal. “A lot of features from the now slightly outdated farmhouse trend can be transformed into coastal chic by making some small updates and changes. Embrace any light or weathered wood finishes and feature details like baskets or rope pieces,” Blima Ehrentreu, the CEO and Founder of The Designers Group tells me. Wayfair even recently launched a line of furniture called Sand & Stable, which features a variety of larger pieces and accessories that can easily integrate into both styles of decor or help you transition from one to another. Every piece is designed to work together, making coordinating as easy as possible. Many in the industry are even saying that farmhouse is the new beach house including Barbara Karpf, president and CEO of DecoratorsBest who tells me, “The Coastal Look is the new farmhouse trend. Natural, organic elements of coastal living like seagrass, soft blues, smooth rocks, and aged wood can easily apply it to any decor and bring a sensory experience to the home. At the end of a day working at home, people want to unwind in a luxury-feeling space. Bringing in a vacation vibe to your home gives it a new dimension from basic living to a get-away look and feel.”
Fort Bragg, N. C. — Last year, Fort Bragg's Fourth of July celebration was canceled because of the coronavirus pandemic. The year before that, thunderstorms stopped the fireworks show. But this year, command has given the green light. The action will happen at the Main Post Parade Field on Sunday. Entertainment takes center stage at the Fort Bragg Fourth of July celebration. It also means back to work for traveling concert crews idled by the pandemic. "It's been tough for the last year and a half for everybody. This is our first real, big show that we've done with a national artist," said Gary Dillow, with Draughon Brother Audio. The headliner for this year's celebration is rock group Foreigner. "I've been to a concert back in 2018. I've heard them. They're pretty good," said Fort Bragg Specialist Joshua Schmitz. The U. S. Army Golden Knights will be jumping out the sky, and food vendors will make attendees feel like they're at the State Fair. Then, at 9 p.m., get ready for the biggest fireworks display in the area. "We're really excited to see those smiling faces. Of course, we had to cancel last year due to COVID and could only do our fireworks, so senior leadership is really about getting the community together. We feel like we really need this right now," said special events coordinator Theresa Smith.
I love sporting as many rainbows as possible in June, but colorful styles aren't just for pride month. Rainbows hues are a good choice any time of year, and the result doesn’t have to be costume-y. The consensus among designers as well as fashion enthusiasts this summer is that joyful dressing is very in. After a year of staying home and missing friends and family, wearing all the colors of the rainbow feels just right. So here are some options to keep the multicolor joy going throughout the summer and beyond, whether it’s via jewelry, clothing, shoes or other accessories. Olivia Rubin Noa White Pastel Bow Dress, $785 Even brides can get in on the act with this bow-festooned dress. The silk a-line maxi dress features pastel color-block bows running down the back and I can’t think of a more joyful way to get dressed up this summer, whether you’re exchanging vows or attending a fancy party. Jia set of two gold sapphire bracelets, $413 (down from $590) This two-bracelet set features 40-carats of pastel and rainbow sapphires, all hand-picked for their pastel rainbow hues. Each bracelet is tipped with a gold clasp. Their delicate size makes them perfect for every day, and will spark joy all summer long. Soludos Rainbow Wave sneaker, $139 I bought these a few years ago when the Soludos collab with Hawaii-based embroidery artist Marie Sophie Lockhart first launched, and they are still my favorites. They’re super-comfy and also come in marine blue and soft pink! Unsurprisingly, they are Soludos’ #1 best sellers. Farm Rio Rainbow Chita Flower Midi Dress, $335 It’s a flower garden, it’s a rainbow, it’s a rainbow flower garden! This may be the most joyful dress I’ve seen this summer and who would not want this beauty in their closet? Farm Rio also has plenty of other color explosions to choose from on its website. Olivia Rubin rainbow stripe bucket hat, $43 (down from $86) Bucket hats are currently all the rage, and I just discovered the glorious, joyful designs of Olivia Rubin, so I had to include another item from her collection. The hat was almost sold out at the time of publication, so if you missed out, check out this one too. Jonathan Adler Dripping Rainbow beach towel, $98 (get 25% off with code FOURTH) Turn heads at the beach with this beach towel, which is not only colorful but super creative. It will come in handy whether you’re heading to the beach this summer or when it’s time for vacation when colder weather comes around. Madeworn Rolling Stones Rainbow Tour tee, $161 My preference all summer is to throw on a tee and cutoffs and call it a day, so I like the tee to at least be interesting. Problem solved with this one, which, with it’s already shredded and worn edges, most will likely mistake for the real vintage deal. Beach Riot Eva top and Emmy bottom, $98 each If there’s a cuter rainbow bikini in the world I’d like to see it. With it’s not-too-on-the-nose rainbow colors and somewhat-modest-but-still-sexy style (enough hyphens for ya?), this suit has it all.
TV & Movies Some are definitely more open to the idea than others... Nine years after Gossip Girl aired its finale episode, we’re finally headed back to the Upper East Side. HBO Max’s reboot of the series premieres on July 8, carrying on the original show’s tradition of high society scandal and ostentatious behavior. It’s not a true reboot, instead centering around a new cast of characters who exist in the same world. "I think of it like the Marvel universe. It's not a continuation or a sequel. It truly just is looking at a different angle," Joshua Safran, who developed the reboot and served as an executive producer on the original series, told Entertainment Tonight in 2019. That means there will be plenty of references to the original characters — but they won’t necessarily be in the show. “I would love for everyone to come back if they wanted to. The universe still exists. The characters talk about Serena, Blair, Chuck, Dan,” Safran told ET. However, while Gossip Girl’s original co-creator Josh Schwartz — who’s an EP on the reboot — told The Wrap that they reached out to everyone in the original cast about being involved, the actors themselves have been telling a different story. Here’s everything they’ve said about the possibility of returning. The only original cast member confirmed to return for the reboot is Kristen Bell, which is ironic given that she never actually appeared onscreen (save for a cameo in the series finale). Bell spent six seasons as the voice of Gossip Girl herself, opening and closing episodes with glossy monologues about the most salacious details of Blair, Serena, and their cohorts’ lives. For the creators of the show, it was a priority that she be included in the reboot. “Kristen Bell has always been and will always be the voice of ‘Gossip Girl,” the producers said in a 2019 statement, per The Wrap. One of the original breakout stars of the 2000s series, Blake Lively, confirmed in January 2020 that she’s not involved in the reboot. “I don’t know. I’m not a producer. I’m not involved. You gotta call them,” she told E!. However, she seemed more open to the idea of a reboot in 2017, so perhaps she’ll change her tune for a potential second season. “It sort of all depends,” she told Variety at the time. “Would I do seven years of the show? No, because it’s hard work and I’ve got my babies, and I don’t want to be away from them that much. But I’ve just learned in life you never say never.” Known for her character’s outrageous and iconic fashion, Leighton Meester’s Blair Waldorf also won’t appear in the reboot — at least in Season 1. When asked about the possibility of reprising her role in 2019, Meester told E!, “No one’s ever talked to me about it except for in interviews, and I always say the same. I never say never. So, I don’t know. No one’s sent me that information.” However, if Meester does ever return to the show, she knows exactly what Blair would be doing . “When we last left Blair Waldorf, she had a kid with [Chuck Bass], and she was running her own fashion company,” she told Elle in February 2017. “Blair Waldorf is probably about to debut her new fashion line. She’s probably doing New York Fashion Week! She’s got a runway somewhere.” Penn Badgley, who famously hated being on the original show, surprisingly hasn’t ruled out a return to the Upper East Side. “I have not had conversations with any of the creators yet,” he told Entertainment Tonight when asked about the reboot in 2019. “I think it’s pretty clear that, like, I’ve never been a proponent of Dan Humphrey’s. I've never been necessarily the greatest friend or fan of Dan Humphrey, which now I reconcile in this way that I’m like, you know, I would love to contribute in a meaningful way to it. And I guess it would just depend on a lot of things… It would depend on how and why he’s there.” Of all the original main cast members, Ed Westwick sounds the least enthusiastic about being in the new series. “ Chuck Bass is played out,” he said flatly in a 2017 interview with the Radio Times. “That’s not gonna happen.” Chace Crawford, on the other hand, seems the most enthusiastic about the idea. “ I would absolutely cameo. I’d have to!” he told Digital Spy in 2019. “I don’t know what it would look like with us being in our 30s now, but I always say, because it was such a big part of my life, I’m open to anything.” Taylor Momsen quit acting entirely during her stint on Gossip Girl, leaving in Season 4 to pursue music with her band The Pretty Reckless. She did make a cameo in the series finale, but it’s less likely that she’d be game for the reboot. “I’m not looking to go back to it,” she told Riverfront Times in 2014. “ Gossip Girl was a great experience, and it helped in one way and hurt in another, but it feels like forever ago.”
Matild Palace, a Luxury Collection Hotel, Budapest, and the brand’s debut in Hungary, has this week opened its doors to the public. The UNESCO World Heritage Site has recently undergone a meticulous five-year transformation to become a 130-guestroom luxury hotel in the heart of Budapest. The hotel aims to honor its Hungarian heritage through thoughtful décor that reflects the property’s remarkable location while also paying homage to its former glory as a palace. “We are thrilled to celebrate this milestone moment in the growth of The Luxury Collection brand with the opening of Matild Palace, a hotel that will define the destination of Budapest,” said Philipp Weghmann,Vice President and Global Brand Leader of The Luxury Collection, in a press release. “The property allows our guests to realize the fantasy of living within a royal palace, elevated with modern amenities and impeccable service, and we look forward to welcoming them as they discover this timeless and inspiring city.” Tucked in between the Váci Utca, Szabad Sajto Ut and the Danube, Matild Palace is just one of two buildings commissioned by Her Imperial and Royal Highness Maria Klotild of Saxe-Coburg and Gotha which should appeal to luxury enthusiasts, historians, and royal watchers alike. The award-winning MKV Design worked to transform Matild Palace to offer a balance of both historic charm and contemporary comforts, including a thoughtful color palette of teal, gold, and copper that were chosen to reflect the hues of iconic Budapest buildings and their signature roofscapes. Historical photographs and delicate Hungarian handcrafted furniture can also be found throughout the hotel lobby and into the guest rooms and suites. The property is also peppered with modern entertainment and gastronomic experiences. From Wolfgang Puck overseeing all dining operations at Matild Palace to the secret liquor library and Hungarian-influenced spa, it’s going to be hard to justify leaving the hotel at all.
Bryson DeChambeau defends his title at this week's US PGA Rocket Mortgage Classic, a victory that inspired his 2020 US Open triumph, while looking forward to a "weird" Tokyo Olympics. Sixth-ranked DeChambeau took his first win after bulking up his body and adopting a distance above all strategy, winning by three strokes last July at Detroit Golf Club before taking his first major crown last September at Winged Foot. "It gave me the confidence to win the US Open knowing that I can play a game that's not normal or is a little unique and different," DeChambeau said Wednesday. "Look at the US Open. It was a prime example. Everybody thought I was crazy by saying I'm just going to bomb and gouge it, but it worked out that week." DeChambeau will defend his Detroit crown starting Thursday after defending his US Open crown two weeks ago at Torrey Pines, settling for a share of 26th with a final-round 77 after leading on the front nine on Sunday. "Didn't work out at Torrey, but that's OK. Life goes on," DeChambeau said. "It's always fun to be able to defend your title. I came close at the US Open. I'm just looking forward to doing it hopefully this time." DeChambeau qualified for the US Olympic golf squad for the Tokyo Games. He probably won't have the chance to see any other athletes at the Games, but knows who he would like to meet -- US swimmer Ryan Murphy, the reigning 100m and 200m Olympic men's backstroke champion, and the top table tennis players. "Ryan Murphy is a swimmer. We've been talking online so he wants to meet up. That would be fun," DeChambeau said. "I would love to meet some of the professional ping pong players. I'm a huge ping pong advocate, I love it. "But unfortunately things are going to be a little more difficult. So hopefully I can (meet them), some way somehow." DeChambeau said it wasn't a difficult decision to compete in Tokyo even with the Covid-19 safety protocols and restrictions likely dooming his chance to watch other events and athletes. "Any time you get to represent your country, you can't miss that opportunity, at least for me," DeChambeau said. "I want to experience it once in a lifetime even if it is going to be weird. "Just always weird events, weird things just happen to me and situations that I can't explain. I won NCAA Championship and US Amateur the same year, never expected that, how that changed my life. Playing in a world amateur team event, not expecting to make the team but people dropping out. "There's just weird things happened in my life that I've had to experience and this Olympics is going to be different but for me, I'm OK with it. I love the opportunity to represent my country." DeChambeau is also ready for tight restrictions at the British Open. "It's just a part of the life that we live in right now," DeChambeau said. "We're renting a house for sure. We'll just be staying in the house probably. Hopefully there's a ping pong table." Source: News24
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Josh Ruben’s horror comedy Scare Me was one of the most enjoyable films of 2020. Witty, offbeat, and destabilizing in the best way possible, the movie succeeded in seamlessly blending both smart and silly humor with the specter of inevitable menace. Crafting an engaging horror comedy is a puzzling alchemy of divergent parts. You need to create genuine life or death stakes while maintaining an irreverent tone that doesn’t undercut the severity of the situation. I wasn’t sure if Scare Me, which Ruben wrote, directed, and starred in, was an aberration or a harbinger of things to come from the multi-hyphenate. But after watching Werewolves Within, which premieres Friday, July 2 on VOD, it’s obvious that Josh Ruben is the new king of horror comedy. Written by Mishna Wolff and based on the video game of the same name, Werewolves Within is destined to be a cult classic. Directed by Ruben, this horror whodunnit centers on the snowed-in residents of the small town of Beaverfield, a quirky hamlet that finds itself in turmoil as a proposed pipeline creates divisions within the community. After forest ranger Finn ( Veep standout Sam Richardson) and postal worker Cecily ( Other Space scene-stealer Milana Vayntrub) arrive in town, the community is forced to band together upon discovering that a killer, or perhaps a mysterious creature, has begun terrorizing local residents. Richardson and Vayntrub are inspired choices to lead Werewolves Within. The actors are charm personified as Finn’s inherent affability and disarming earnestness ricochet nicely off of Cecily’s dry, matter-of-fact candor. The exceptional supporting cast includes Michaela Watkins, Michael Chernus, George Basil, Sarah Burns, Cheyenne Jackson, Harvey Guillén, Catherine Curtin, Wayne Duvall, Glenn Fleshler, and Rebecca Henderson. In the production notes for the movie, Ruben talked about wanting to make a film that feels like The Goonies, Hot Fuzz, or Tremors. Werewolves Within contains elements of all those flicks and is bolstered by a gripping, comedically agile script. The writing is conversationally hilarious without diminishing the danger and, well, if this film doesn’t propel both Richardson and Vayntrub to superstardom then Hollywood is both dumb and broken. Werewolves Within does a tremendous job of creating a very distinct anticipatory vibe in which anything is possible. Is there a murderer on the loose? Do werewolves really exist? How far will our neighbors go to fulfill their own self-interests? The result is an immensely enjoyable, truly captivating whodunnit filled with twists, turns, and ’90s jams. The film is so much fun that at about the 30-minute mark, I found myself wishing Werewolves Within was a TV series titled Welcome to Beaverfield, an unconventional sitcom about a forest ranger and a postal worker who move to an eccentric town in the midst of a pipeline dispute. The two gamely attempt to keep the peace while adjusting to small town life. Oh, and the town may or may not be home to a bloodthirsty werewolf. Keep the exact cast, stick this bad boy on FX, and you got yourself a 2022 Emmy nomination, baby! Werewolves Within is a film you should go out of your way to see. If you’re a fan of horror movies, you’ll love it! If you hate horror movies, actually, you’ll still really enjoy it. It’s that entertaining. Werewolves Within premieres Friday, July 2 on VOD. Where to stream Werewolves Within
The annual OC Fair will return this summer and promises a packed lineup of concerts inside The Hangar. The concert venue, located in the heart of the OC Fair & Event Center in Costa Mesa, will showcase live music nightly during the run of the OC Fair Wednesdays-Sundays July 16-Aug.15. Some of the acts will be performing two shows per evening and all of the shows will offer a livestreaming option. “As we got intel from people calling, there were some that just weren’t sure about returning this year,” OC Fair entertainment director Dan Gaines said during a phone interview. “I think that’s slowly getting better, but the opportunity presented itself and it’s an affordable option for us and for the viewer. We thought why not try it out this year and make it an opportunity for those that just aren’t comfortable being out yet, and it makes money for the bands, too.” Livestreaming tickets are $20-$25 per concert and can be purchased at ocfair.com. Tickets to all in-person shows are on sale now at Ticketmaster.com and include same-day admission to the OC Fair. In compliance with the CDC guidelines, masks are required for unvaccinated guests inside OC Fair buildings, including The Hangar. Here’s a list of what’s coming to The Hangar this summer. Friday, July 16 Dead Man’s Party: A Tribute to Oingo Boingo and Danny Elfman.4:30 and 8:30 p.m. $20-$25. Saturday, July 17 ABBA L. A.: A Los Angeles-based tribute to the music of ABBA.4:30 p.m. and 8:30 p.m. $17.50-$25. Sunday, July 18 Damage Inc. and Noise Pollution: Tributes to heavy metal band Metallica and rock band AC/DC.4:30 and 8:30 p.m. $17.50-$25. Wednesday, July 21 Private Eyes: A tribute to the music of Hall & Oates.8:30 p.m. $17.50-$22.50. Thursday, July 22 The Long Run: The Eagles Experiences.8:30 p.m. $20-$25. Friday, July 23 Elton – The Early Years: A celebration of the 50th anniversaries of John’s 1970 albums “Elton John” and “Tumbleweed Connection.” 8:30 p.m. $17.50-$22.50. Saturday, July 24 Which One’s Pink?: A Tribute to the music of rock band Pink Floyd.4:30 p.m. and 8:30 p.m. $17.50-$25. Sunday, July 25 Twisted Gypsy: A tribute to Fleetwood Mac with a twist.4:30 p.m. and 8:30 p.m. $17.50-$25. Wednesday, July 28 24K Magic: A tribute to pop and R&B star Bruno Mars.8:30 p.m.. $20-$25. Thursday, July 29 Don’t Stop Believin’: A tribute to rock band Journey.8:30 p.m. $20-$25. Friday, July 30 Arena and Substance: Tributes to new wave bands Duran and New Order.4:30 p.m. and 8:30 p.m. $17.50-$25. Saturday, July 31 No Duh and Red Not Chili Peppers: Tributes to Orange County’s own ska-rock band No Doubt and Los Angeles’ funk rock band Red Hot Chili Peppers.4:30 p.m. and 8:30 p.m. $17.50-$25. Sunday, Aug.1 Flashback Heart Attack: Experience the music of the ’80s.8:30 p.m. $17.50-$22.50. Wednesday, Aug.4 Queen Nation: A tribute to rock band Queen.8:30 p.m. $20-$25. Thursday, Aug.5 George Michael Reborn: A tribute to the music of Wham! and the late George Michael.8:30 p.m. $17.50-$22.50 Friday, Aug.6 Devotional and Technique: Tributes to the music of Depeche Mode and New Order.7:30 p.m. $17.50-$22.50. Saturday, Aug.7 In The End: A tribute to the music of Agoura Hills rock band Linkin Park.8:30 p.m. $17.50-$22.50. Sunday, Aug.8 Mariachi Sol de Mexico de Jóse Hernàndez: An evening of mariachi by an internationally acclaimed band.2:30 p.m. and 6:30 p.m. $20-$30. Wednesday, Aug.11 The Heart of Rock & Roll: A tribute to rock band Huey Lewis and The News.8:30 p.m. $20-$25. Thursday, Aug.12 Green Today with Blink 180True: Tributes to punk rock bands Green Day and Blink-182.8 p.m. $17.50-$22.50. Friday, Aug.13 I Am King – The Michael Jackson Experience: An evening with Michael Firestone playing hits from The King of Pop.8:30 p.m. $22.50-$27.50. Saturday, Aug.14 Led Zepplica: A tribute to the music of rock band Led Zeppelin.4:30 p.m. and 8:30 p.m. $17.50-$25. Sunday, Aug.15 Atomic Punks with Mötley Inc.: Tributes to the music of early Van Halen and Los Angeles rock band Mötley Crüe.8 p.m. $20-$25.
Films can continue to qualify for the Oscars even if they don’t receive a theatrical release in 2021, the Academy of Motion Picture Arts and Sciences announced Wednesday. The move runs counter to a decision announced on Tuesday by the Directors Guild of America, which has gone back to its pre-pandemic requirement that films be released theatrically to qualify for DGA Awards. In its announcement, the Academy noted that for the 95 th Academy Awards, which will be handed out in 2023 and will cover the films of 2022, it intends to revert to stricter qualifying requirements. The Academy’s decision to retain relaxed eligibility requirements for this year’s films was made because “theatrical exhibition (is) still impacted by the pandemic this year.” Under those rules, films can qualify for the Oscars even if they are released straight to streaming or VOD, as long as they had a theatrical release planned. Films can also qualify if they pay to be showcased in the Academy Screening Room, a secure viewing portal available to Oscar voters. Films that qualify via theatrical release can still do so in any one of six metropolitan areas: Los Angeles County, New York City, the San Francisco Bay Area, Chicago, Miami and Atlanta. The rule changes for the 94 th Academy Awards also include three significant changes that had previously been announced: In other changes, the Best International Feature Film category will retain the new rules it passed in January, with an expanded shortlist of 15 films and the elimination of the executive committee that in the past had chosen three films to go on the shortlist. In keeping with the process used in this past Oscars, all members will be able to vote in the preliminary and nomination round of voting, provided they see enough of the eligible films. Shortlists in the three short-film categories will also be expanded from 10 to 15 films. And Best Sound will be added to the list of categories that will go to a shortlist before the final nomination vote, with a preliminary round of voting determining 10 films that will advance. Those 10 films will then participate in a presentation similar to the “bakeoffs” used in the visual effects and makeup and hairstyling categories. Both of the music categories were also changed: Music will be eligible in the Best Original Score category as long as it comprises at least 35% of the total music in a film, a significant reduction from the 60% requirement formerly in place. And in the Best Original Song category, no more than five songs from any one film can be submitted. (More than five submissions from one film is a rare occurrence, though some Bollywood films have been known to do it.) Here are the submission deadlines for the 94 th Oscars: Documentary Short Subject – Friday, October 15,2021 Animated Short Film – Friday, October 15,2021 Live Action Short Film – Friday, October 15,2021 Animated Feature Film – Monday, November 1,2021 Documentary Feature – Monday, November 1,2021 International Feature Film – Monday, November 1,2021 Original Score – Monday, November 1,2021 Original Song – Monday, November 1,2021 General Entry categories – Monday, November 15,2021 Complete rules are available at oscars.org/rules .
June 30 (UPI) -- South Korean boy band TXT is back with a new music video. The K-pop group, aka Tomorrow X Together, released a special performance video for the song "Magic" on Wednesday. The video shows the members of TXT perform a dance routine on a helipad on a sunny day. The members wear coordinating white shirts and blue jeans. "Magic" is a single from TXT's second studio album, The Chaos Chapter: Freeze. TXT released the album and a music video for the title track, "0X1=Lovesong (I Know I Love You)," featuring Seori in May. The Chaos Chapter: Freeze also features the songs "Anti-Romantic," "Magic," "Ice Cream," "What If I Had Been That Puma," "No Rules," "Dear Sputnik" and "Frost." TXT released a "0X1=Lovesong" remix featuring pH-1 and Woodie Gochild last week. TXT consists of Yeonjun, Soobin, Beomgyu, Taehyun and Hueningkai. The group made its debut in 2019.
LA electro indie-pop duo Magdalena Bay gained a cult following with their synth-laden 2020 EP A Little Rhythm And A Wicked Feeling. Composed of musicians Mica Tenenbaum and Matthew Lewin, the duo now unveil details about their debut LP with the charged track “Chaeri.” Magdalena Bay’s Luke Orlando-directed video alongside “Chaeri” coaxes listeners into the otherworldly universe the duo have built around their upcoming album, Mercurial World. The song itself reflects the visual’s enticing nature and is reminiscent of Grimes’ Art Angels era of music. “Chaeri” stitches together Tenenbaum’s saccharine vocals with dynamic synths and a hurried beat to craft a memorable tune about the complexities of friendship and mental health. About the LP, Lewin says they were inspired by the isolated world they’ve lived in this past year. “We spend all of our time together, and in some ways Mercurial World is about that particular sense of madness in containment. We live together and make art together; this immerses you in our creative, insular universe.” Watch Magdalena Bay’s “Chaeri” video above and find their Mercurial World album cover, tracklist, and tour dates below. 1. “The End” 2. “Mercurial World” 3. “Dawning Of The Season” 4. “Secrets (Your Fire)” 5. “You Lose!” 6. “Something For 2” 7. “Chaeri” 8. “Halfway” 9. “Hysterical Us” 10. “Prophecy” 11. “Follow The Leader” 12. “Domino” 13. “Dreamcatching” 14. “The Beginning” 10/08 — Los Angeles, CA @ El Cid 10/12 — Boston, MA @ The Sinclair * 10/13 — Brooklyn, NY @ Elsewhere (Zone One) 10/14 — Philadelphia, PA @ First Unitarian Church * 10/15 — Brooklyn, NY @ Music Hall of Williamsburg * 10/16 — Washington DC @ Songbyrd * 10/17 — Charlottesville, VA @ The Southern * 10/19 — Carrboro, NC @ Cat’s Cradle – Back Room * 10/20 — Atlanta, GA @ The Masquerade – Purgatory * 10/24 — New Orleans, LA @ Gasa # 10/27 — Dallas, TX @ Deep Ellum Art Company # 10/28 — Houston, TX @ The Satellite # 10/29 — Austin, TX @ Levitation 10/30 — El Paso, TX @ The Lowbrow Palace # 11/01 — Tucson, AZ @ Club Congress # 11/02 — San Diego, CA @ Soda Bar # 11/10 — Berkeley, CA @ Cornerstone # * with George Clanton and Vitesse X # with George Clanton and Negative Gemini (DJ Set) Mercurial World is out 10/8 via Luminelle Recordings. Pre-order it here.
New Delhi: Chief Justice of India, N. V. Ramana on Wednesday said judges should not be swayed by the “emotional pitch of public opinion on social media platforms”, and the judiciary cannot directly or indirectly be controlled by the legislature or the executive. He also insisted media trials cannot be a guiding factor in deciding cases. Delivering the 17th Justice P. D. Desai memorial lecture on ‘Rule of Law’, Chief Justice Ramana said: “The judiciary cannot be controlled, directly or indirectly, by the legislature or the executive, or else the Rule of Law would become illusory. At the same time, judges should not be swayed by the emotional pitch of public opinion either, which is getting amplified through social media platforms.” He emphasised that judges have to be mindful of the fact that the noise thus amplified is not necessarily reflective of what is right and what the majority believes in. The new media tools that have enormous amplifying ability are incapable of distinguishing between right and wrong, good and bad, and the real and fake, he added. “Media trials cannot be a guiding factor in deciding cases extremely vital to function independently and withstand all external aids and pressures. While there is a lot of discussion about the pressure from the executive, it is also imperative to start a discourse as to how social media trends can affect the institutions,” the Chief Justice said. He also clarified that the judge, and the judiciary need not completely disassociate from what is going on. “Judges cannot stay in ivory castles and decide questions which pertain to social issues… The ultimate responsibility of a judge is, after all, to uphold the Constitution and the laws. Reason, reasonableness and protection of human dignity are the values that will serve us well,” he added. He stressed that for the judiciary to apply checks on governmental power and action, it has to have complete freedom. “And the importance of the judiciary should not blind us to the fact that the responsibility of safeguarding constitutionalism lies not just on the courts,” he noted. He said the judiciary is the primary organ which is tasked with ensuring that the laws which are enacted are in line with the Constitution. “The Supreme Court has held this function to be a part of the basic structure of the Constitution, which means that the Parliament cannot curtail the same,” he added. Get the news updates on WhatsApp & Telegram by subscribing to our channels. For all the latest India updates, download our app Android and iOS.
Sky Terrace at The Langham New York, Fifth Avenue isn’t immediately on view when you approach the hotel. You have to check in at Ai Fiori, the Michelin starred restaurant on the second floor, and are given a key to access the elevator to go up to the 11 th floor. The key also opens the door to suite 1101 which looks like a normal suite living room until you walk past the furniture and through the curtains and an open glass door get a glimpse of the terrace. It’s intimate-composed of just a few tables and couches bathed in raspberry colored light from a neon sign as the evening settles in-and tucked away from the chaos of the midtown streets beneath it. As an offshoot of Ai Fiori, it’s also the setting for a sampling of lively Mediterranean dishes and cocktails. There is also a selection of rosés and for guests who come in on Wednesdays just after the terrace opens, from 4:30-5:30, the first glass of rosé is on the house. The curated menu is designed to go along with those cocktails as appetizers but there are also heartier options for those who want to continue on for a full dinner. Bass tartare with lime, mint, Calabrian chili and white Verjus is silky and slightly tangy; burrata with chickpea gremolata, crispy jamon serrano and aged balsamic is a luscious combination of sweetness and saltiness, creaminess and crunch. Other options are chicken fennel meatballs with eggplant, tomato and parmigiano and a charcuterie board of Spanish cured meats and cheeses. One larger plate worth trying is the Trofi Nero, the Ligurian pasta enhanced with squid ink, crustacean ragu, scallops and spiced mollica (bread crumbs); another is the fried softshell crab sandwich with chorizo aioli and arugula pesto. One not worth it is the artichoke and spinach lasagna which is substantial but bland. Not at all bland is the semifreddo pop for dessert which features the frozen cream in an intense strawberry flavor wrapped in a hard Japanese citrus yuzu shell. 13 blocks north, Antonio Salvatore, the Michelin starred chef of Monaco restaurants Rampoldi and its chef’s table subset La Table d’Antonio Salvatore, debuted in New York by opening Casa Limone in early June steps away from Rockefeller Center. The focus here is southern Italy, specifically his home region Basilicata and surrounding regions Puglia, Calabria, Campania and the island of Sicily, but it’s far from the familiar version of a red sauce restaurant: the complexity in the cooking matches the vibrancy of the flavors. That energy comes through immediately in starters such as yellowfin tuna carpaccio with sundried tomatoes, olives and capers and Neapolitan pizzas from a classic with Fior di latte mozzarella, tomato and basil to the more unusual Bolognetta with mortadella, burrata and pistachios that emerge from the wood burning oven. Among the flavorful pastas: chariot wheel pasta is laced with capers, anchovies, basil and the Trapanese Timbale: ricotta and pasta rings baked with eggplant, salami, mozzarella, peas and tomato sauce. Main courses include roasted octopus with a thick, savory sauce composed of cherry tomatoes, Taggiasca olives, bell peppers and olive oil, roasted chicken with lemon and caper sauce and dry aged filet mignon with arugula, tomatoes, vegetables and beef jus. The vivid nature of the dishes is matched by the surroundings, designed to invoke the feelings and colors of southern Italian towns starting with the lemon yellow, vintage Vespa at the door. The restaurant is split on two levels with a white marble bar with 17 royal blue velvet bar seats just inside the entrance with a dining area featuring orange velvet chairs and forest green banquettes just behind it. The second floor is designed as a pergola with climbing vines and hanging flowers surrounded by stone walls and window shutters and filled with mustard yellow and orange velvet chairs and royal blue and forest green banquettes. Bottles of limoncello and ceramic plates line the walls and the hand painted tables from Campania are dressed with Murano water glasses (an interloper from northern Italy) and hand painted ceramic plates from Caltagirone, the town known for its ceramics in Sicily. Taken all together, the flavors, colors, aromas are transporting—not quite in Italy but awfully close.
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Moneybagg Yo gets trapped in a delusion in his ominous “Wockesha” video. The song, which is an ode to his love-hate relationship with lean, portrays the purple drink as a woman with whom Moneybagg maintains an unhealthy infatuation, so the video makes that metaphor visual. “Wockesha” appears as a beautiful woman with purple hair accompanying Moneybagg on his daily activities, but as in Bill Watterson’s Calvin & Hobbes comic strip, where Moneybagg sees a gorgeous companion, other people just see a man with a toxic attachment to an inanimate object (portrayed here as a pair of giant floating styrofoam cups). Containing an interpolation of The Notorious BIG’s “One More Chance” remix and a cameo appearance from Lil Wayne, who details his own tumultuous relationship with the drug that has nearly killed him multiple times over the years, “Wockesha” is a heart-wrenching look at the allure of an activity that has entrapped many of hip-hop’s finest, a la Beanie Sigel’s “Purple Rain” or Future’s “Codeine Crazy.” The Wayne intro is excerpted from the New Orleans rapper’s 2009 interview with Tim Westwood, although Wayne’s appearance in the video is new, with Wayne reprising the speech from his own studio. The subject matter of “Wockesha” prompted Yo’s fellow Memphian NLE Choppa to reach out to him, encouraging him to replace lean with Choppa’s own brand of plant-based products. So far, it doesn’t appear that Moneybagg is all that interested. He recently performed the song at the BET Awards. Watch the “Wockesha” video above. A Gangsta’s Pain is out now on CMG and Interscope. Get it here.
YouTube is making bold moves as the entertainment industry resumes live music and events. This week the company announced a first naming rights agreement with Hollywood Park sports and entertainment venue that will name the 300-acre,6,000-seat destination YouTube Theater. The extensive, multi-year partnership is the first of its kind for YouTube, according to a company announcement. As the performance venue opens in mid-summer for concerts, awards shows, YouTube creator events and more, the company will bring artists and fans together in a new fashion that inspires the next generation of creators. “YouTube Theater will drive the uniqueness of YouTube by combining physical, ‘in real life’ events that bring creators and fans together, while simultaneously sharing that same event experience with our two billion global monthly users through livestreams and VOD content,” said Angela Courtin, vice president of brand marketing at YouTube, in a statement. “YouTube creators and artists are the heart of YouTube, and YouTube Theater adds to the portfolio of opportunities to drive their creativity, build their businesses, grow their communities and so much more.” Los Angeles Rams owner and chairman E. Stanley Kroenke is growing Hollywood Park mixed-use development, which houses YouTube Theater, in Inglewood, California. The venue will feature state-of-the-art technology, premium finishes and a variety of live entertainment events. In addition, Hollywood Park has teamed up with Live Nation for an exclusive, multi-year booking agreement. Confirmed names through 2022 include Caifanes, Los Angeles Azules, Pitbull, Black Pumas, Devo, Trippie Redd, Alejandro Sanz, Christian Nodal and Louis Tomlinson. "When he set out to build YouTube Theater, Stan Kroenke envisioned an intimate, world-class venue that exemplified three core aspects: technology, creativity, and entertainment. We cannot imagine a better partner to help us bring this vision to life than YouTube," said Jason Gannon, managing director of SoFi Stadium and Hollywood Park, in a statement. Due in part to the low barrier to entry, YouTube was an instrumental driver of the creator economy, or 50 million people who consider themselves to be “creators.” Now the company’s creator economy, or users building brands on the platform, is growing more profitable than ever. YouTube Senior Director of Creator Partnerships, Jamie Byrne, says that YouTube’s Partner Program in many ways sparked the modern-day creator economy. The program, which launched 13 years ago, began sharing ad revenues with artists for the first time. Early this year the platform reported that it has paid more than $30 billion to creators, artists and media companies over the past three years. According to Byrne, most creators today still consider YouTube to be their home base. From cultivating fans among the platform’s two billion regular monthly users, to leveraging new monetization opportunities like digital goods and paid YouTube shopping, creators have become what he calls “next generation multi-media brands.” In addition, the company’s partner support operation leads millions of creators in receiving direct resources from individual partner managers. “We’re really excited about the creator landscape… we’re 15,16 years in, and it just seems to continue to be accelerating,” Byrne says. “When we talk to creators, they really inspire to be YouTube creators to get access to reach, robust monetization and incredible support that we offer to them.” Bryne says that, in 2006, YouTube was known as a user generated content platform. Since then, he says that the media, advertising and entertainment industries have come to recognize the power and influence that creators have in shaping culture, influencing purchase decisions like through brand integrations, driving engagement and sharing information. Creator Dante Williams, known as Dtay Known, joined YouTube in 2014 and has since built a following of 1.77M subscribers. He favors the platform for its flexibility in terms of video length. Once the artist began posting consistently each month, he says that his audience grew exponentially. “I’ve seen things get more competitive, and it’s important to be consistent and listen to your audience to use their feedback to refine your brand,” Williams says. Brian Mandler, co-founder of The Network Effect short-form media company, manages short form creators on YouTube. He says that all creators seeking to make it a career must first build a personal community, not just subscribers, through back-and-forth, consistent dialogue. YouTube Shorts has attracted many creators to the platform, he explains, and once they built traction and audience, successful artists find themselves adapting to long-form content as well. “There is this new generation of creators that are now starting to see success on YouTube … there is an insatiable appetite to build audiences. This new creator ecosystem, there is a long-term safety with YouTube that not only keeps them coming back, but also excites them in building an audience,” Mandler says. As creators embrace YouTube Theater’s innovative features, along with YouTube’s new tools like YouTube Shorts, they will be inspired to develop new content strategy that supports a dedicated fan base. Ultimately, this will empower them to expand into new passion areas and arms of business.
Did Republicans in Arizona screw the pooch by ordering a fake "audit" of the 2020 presidential votes in Maricopa County? According to an article published Tuesday at Politico, some Republican operatives in the Grand Canyon state are beginning to fear that the whole gambit by conspiracy theorists who believe Donald Trump is the "real" winner of the state was a big mistake. Turns out that the voters, correctly understanding it's all a farce meant to undermine the validity of their choice of Joe Biden as president, are hostile to the entire enterprise. Pollster Fernand Amandi warned Republicans that while the audit is "bloody red meat for the MAGA Republican base," it's also "giving Democrats the opportunity to make the case to Arizona voters to stick with them." Sean Noble, a GOP organizer in the state agreed, telling Politico, "It's a failure. It's a joke." Noble's concerns are shared by many Republican leaders in the state, as Zachary Petrizzo reported for Salon last week. The polling data in Arizona doesn't look great for the backers of the "audit," which was ordered by the Republican-controlled state legislature, in response to Trump's lies about a "stolen" election. Amandi's poll of the state showed Arizona voters oppose the audit,49-46, showing a remarkably strong understanding that it's a Q-Anon-style circus, despite it being packaged as "merely" an exercise in T-crossing and I-dotting. Moreover, "intensity of opposition to the audit exceeded the intensity of support," and "independent voters upon whom the state pivots in close elections opposed the audit by 18 percentage points." But while all of these statistics are true, what this kind of analysis fails to understand is that the folks behind the fake "audit" don't care if it's popular with voters. This whole exercise is not about winning anyone over. It's not about persuading skeptics that Trump's Big Lie is true. And it's certainly not about persuading swing voters to choose Republicans in 2022 or 2024. After all, this whole "winning over voters" thing is a relic of the world that the Arizona "audit" team and the majority of Republicans are ready to leave behind. Want more Amanda Marcotte on politics? Subscribe to her newsletter Standing Room Only. This fake "audit" is about something else entirely. It is about pushing for a post-voting society, where the very idea that leaders are chosen through fair elections is cast aside in favor of a more authoritarian system. It's about advocating for a system where voter choice doesn't really matter, because they're getting GOP leaders whether they like it or not. On Wednesday, Politico published another article about how Trump supporters are "spreading the 'audit' playbook across the country" and want a similar fake, theatrical review of "the results in states including Michigan, Georgia, Pennsylvania and Wisconsin." This is understandably upsetting to state election officials across the nation "who say the efforts will further inflame conspiracy theories and erode faith in the American democratic system." Of course, inflaming conspiracy theories and eroding faith in democracy is the entire point: It's a feature, not a bug. As I wrote in early May, the three-ring circus around the Arizona "audit" is not an accident, but a very deliberate choice on the part of the organizers. There has never been any desire to make the exercise seem professional or trustworthy at all, but the opposite. What the organizers understand, and many critics don't, is that the first step to replacing democracy with an authoritarian government is turning democracy into a joke. It's about taking conservatives who are bitter about losing the 2020 election and radicalizing them to believe that the solution is to destroy the very concept of free and fair elections. On Monday, Morning Consult released a troubling poll that shows that 26% of Americans meet the definition of "right wing authoritarian," which is defined by psychology researcher Bob Altemeyer as "as the desire to submit to some authority, aggression that is directed against whomever the authority says should be targeted and a desire to have everybody follow the norms and social conventions that the authority says should be followed." For comparison, the percentage of Americans who are right-wing authoritarians in the U. S. is double that of Canada and Australia. It's a mindset that has come to define the modern GOP. Republicans are a shrinking minority in the U. S., and as their ability to hold onto power by winning over voters disappears, their base is increasingly drawn to the idea that elections are not a legitimate way of allocating power. But while they are intrigued by the idea of an authoritarian America, many of them likely don't know exactly what such a thing would look like. As Zack Beauchamp of Vox recently wrote in a must-read piece, the model that GOP leaders are circling around is what is called "competitive authoritarianism," where the illusion of democracy is propped up, but the reality is one-party minority rule. This is accomplished by "rigging elections enough to maintain power indefinitely while still permitting enough democracy that citizens don't rise up in outrage." Beauchamp offers some international examples, like Hungary. ( As Paul Campos at Lawyers, Guns and Money points out, this also effectively describes Mexico for the decades they were a "camouflaged dictatorship" under the rule of the PRI.) But American conservatives aren't known for their interest in looking at international models. So that's where the fake "audit" in Arizona — and the desire to hold similar events in other states — comes in. Want more Amanda Marcotte on politics? Subscribe to her newsletter Standing Room Only. If you want to know what it would look like to create the appearance of an election and vote-counting process, while still having a pre-determined outcome, then the Arizona "audit" is perfect. It pretends to be a democratic event meant to ensure a valid outcome. But no one, not the organizers or their critics, actually believes that it's a fair count or that any other outcome is possible beyond a declaration that Trump was the "real" winner. After all, the guy running the whole thing is a conspiracy theorist who participates in other propaganda efforts meant to undermine democracy. Indeed, the farcical nature of the whole thing is the point. In authoritarian governments, it's important to demoralize the opposition by making them believe that the whole system is a joke and that, well, resistance is useless. The Arizona audit is a trial balloon to show how this would work. Voters hate it, but they aren't particularly motivated to fight back, because there's no real sense of how one could do that. The outcome is predetermined, so the most you can do is shrug and move on. The implicit message to Republicans is that their actual vote-counting system could be replaced by a similar farce, and that it would get a similarly helpless response from voters who hate it but feel powerless to stop it. Arizona is already making moves to strip authority from election officials and give it to GOP clowns that run the legislature, so the possibility of replacing legitimate vote-counting with a sham that looks like the fake "audit" is not as fantastical as it may seem. For decades, the American political press has relied heavily on polling data as the main metric to analyze the effectiveness of various political actions taken by the parties. After all, "is X or Y action popular with voters" is a good question to ask when voters are the decision-makers. But it's increasingly clear that Republican leaders aren't bound by that metric, because they believe that they can render voter preferences irrelevant. Sure, voters in Arizona hate the fake "audit." But Republicans are working towards a country where voters' opinions don't really matter much at all.
After breaking through with their 2020 debut, Moveys, indie shoegazers Slow Pulp released their new 7″, Deleted Scenes, and announced a fall North American tour. The news arrives with a video for the new song, “ Iowa,” starring lots of jellyfish. The song is a reimagined version of their acclaimed single, “Idaho.” This version doubles down on the exquisite “Stumbleine” guitars but submerges Emily Massey’s clarion vocals into a lower pitch. Massey, along with bassist Alexander Leeds, drummer Theodore Mathews, and guitarist Henry Stoehr, formed Slow Pulp the old-fashioned way: as childhood friends. The last member to join was singer/guitarist Massey, who was previously training to become a professional ballerina before becoming an indie-rock singer/guitarist. Slow Pulp will be performing songs from their debut for the first time on tour this fall, with support from acts like Girl K, Mamalarky, and Strange Ranger. Tickets are for sale on the band’s website. See the full list of dates below. 11/04 — Madison, WI @ Majestic Theater * 11/05 — Milwaukee, WI @ Colectivo * 11/06 — Minneapolis, MN @ 7th Street Entry * 11/09 — Denver, CO @ Globe Hall # 11/10 — Salt Lake City, UT @ Kilby Court # 11/12 — Seattle, WA @ Barboza # 11/13 — Vancouver, BC @ The Biltmore # 11/14 — Portland, OR @ Mississippi Studios # 11/16 — San Francisco, CA @ Bottom of the Hill # 11/18 — Los Angeles, CA @ The Echo # 11/19 — San Diego, CA @ Soda Bar # 11/20 — Phoenix, AZ @ Valley Bar # 11/22 — Austin, TX @ The Parish # 11/23 — Dallas, TX @ Ruins # 11/30 — Indianapolis, IN @ The Hi-Fi ^ 12/01 — Columbus, OH @ Big Room Bar ^ 12/03 — Nashville, TN @ The High Watt ^ 12/04 — Atlanta, GA @ The Earl ^ 12/05 — Carrboro, NC @ Cat’s Cradle ^ 12/07 — Washington, DC @ Songbyrd ^ 12/08 — Philadelphia, PA @ Johnny Brenda’s ^ 12/10 — Brooklyn, NY @ Elsewhere – Zone One ^ 12/11 — Boston, MA @ Brighton Music Hall ^ 12/12 — Burlington, VT @ Higher Ground Sideroom ^ 12/14 — Toronto, ON @ The Garrison ^ 12/15 — Cleveland, OH @ Mahall’s ^ 12/16 — Detroit, MI @ El Club ^ 12/17 — Chicago, IL @ Lincoln Hall* * with Girl K # with Mamalarky ^ with Strange Ranger The Deleted Scenes 7-inch is out now digitally, and will be available physically on 11/12 via Winspear. Pre-order the vinyl here.
As early as Episode 1, Loki defined itself as a show comfortable in many genres and aesthetics — from retrofuturist sci-fi to shadowy noir and beyond. Here are 11 films and TV shows the Loki creators used as inspiration for the God of Mischief’s Disney+ debut.
Super 8, J. Abrams’ most personal film to date, celebrated its 10-year anniversary earlier this month. To celebrate the milestone, I caught up with nearly everyone involved with the production (including Abrams himself) for a special retrospective on the coming-of-age film that tips its hat to the iconic Spielberg/Amblin movies of yore. Now that we’re a decade on from the project’s release, I asked Abrams if he had any interest in revisiting the world of Super 8 in any capacity — whether it be in the form of a direct sequel or something only tangentially connected (à la the producer’s anthological Cloverfield universe). “I don't think so — that movie feels like a beginning, middle, and end to me,” Abrams said. And you really can’t blame him for feeling that way. Super 8 works best as a standalone tale of love, loss, aliens, and most importantly, filmmaking. With that said, I couldn’t help but ask some of the cast members where they’d like to see their characters as adults if “Super 9” (it definitely wouldn’t be called that) was to become a reality. After all, there is most definitely is a precedent for a group of friends reuniting as adults after going through a shared supernatural experience as kids. Stephen King established the ground rules with the Losers Club in It — a novel that’s helped fuel the recent boom of ‘80s nostalgia (projects like Stranger Things owe as much to King as they do to Spielberg and even Super 8, which was ahead of the retro curve by a good six years). “Before he [Abrams] finished his sentence, I would say, ‘Whatever you wanna do, I’m in.’ I would absolutely do that,” Joel Courtney, who played Super 8 ’s doe-eyed protagonist, Joe Lamb, tells me. “For Joe… I would just want to see him continuing to grow. Mostly just having a relationship with his father and for his sake, I hope Alice [Elle Fanning’s character] is in there somewhere. Some sort of relationship. Or maybe they broke up and she got with Charles. Who knows?” “I think I’d be amazing to get the gang back together,” adds Riley Griffiths, who played Joe’s best friend, Charles Kaznyk. “I would hope to see Charles still doing his thing! Maybe making a professional version of The Case and bringing Martin back as the lead once again. I think that would be hilarious. The whole incident no doubt left a profound impression on his life and I would assume his filmmaking would reflect that. It would be fun too see if his bossiness has carried over/became problematic in his adult life and to watch him work through that.” Gabriel Basso, who portrayed the nebbishy Martin, says he’d “like to see him be more comfortable with his own weakness and character.” “Just because he was sort of quiet and freaked out a lot and got punked a lot,” the actor continues. “I think it’d be cool if he came back and he was just the same guy, but his weaknesses [wouldn’t be] as glaring. He’d have that gnarly scar from when the tank blew up the house and he’d know there were aliens. So his understanding of putting his life in context of what it is wouldn’t bother him that much. I just think it’d be cool to see someone who’s like, ‘Yeah, f*** you, I know aliens exist.’ He sort of has a trump card on anyone giving him crap about his glasses or whatever.” And what of the group’s resident pyromaniac, Cary — played by Ryan Lee? “I’m in. I would never tell J. ‘No,’” Lee says. “I would love to see Cary with all of his fingers still intact. I would love to maybe see that he got a haircut. And yeah, maybe Cary settled down and went the more traditional route. Not so sustainable with all the fireworks.” That covers the characters, but what about the music? Even sequels need a score, and Michael Giacchino would more than happy to revisit his touching Super 8 soundtrack. “It feels to me like the music would have to be quite different. If they’re gonna be at the age they’re at right now,” he explains. “So,10 years later, they’d be in their 20s. It would be fun if maybe a couple of them were in film school together — a couple of them ended up at liberal arts colleges or science colleges or wherever. It would be fun to see them have to get together to do something. But I feel like the music would have to be very different for that, other than specific callbacks that we would do that referenced certain things. Like maybe the relationship between some of the characters or something like that. I don’t know, it’s hard to say. But if [J. J.] called me up and said, ‘Hey, we’re gonna do it. Do you wanna do it?’ I’d be like, ‘Yeah, let’s do it. Why not?’” Of course, this is all just a fun little exercise in “What If?” Abrams is content — and rightly so — to let the citizens of Lillian, Ohio exist in their own self-contained bubble for now. But if he ever does decide to derail another Air Force train or unleash another man-eating extra-terrestrial, he can rest assured that his OG cast and crew will be there, fresh film in the Super 8 camera and ready for another Amblin adventure. Super 8 is now available on 4K Ultra-HD
Tencent Games subsidiary Lightspeed and Quantum Studios Group, developer of the hit PUBG Mobile, announced the formation of Uncapped Games Studios. This new team is based in Los Angeles and is working on an RTS game for PC. Two former Blizzard employees, David Kim and Jason Hughes, are leading the studio. Kim worked on StarCraft II at Blizzard, so he has experience with the RTS genre. He was the lead systems designer for Diablo IV until his departure from Blizzard in April. Hughes was working as Diablo IV’s lead game producer before announcing his departure from the company in May. We’ve seen multiple studios come up around former Blizzard staff in recent years. Another, Frost Giant Studios, is also working on an RTS game.
As a Disney Channel star, a No.1 artist, and awards show performer, Olivia Rodrigo is not a typical teenager. However, the singer wanted a way for her and her friends a way to live out the ultimate teenage experience by sharing her concert film Sour Prom. Directed by Kimberly Stuckwisch and Toby L, the Sour Prom film kicks off with Rodrigo being picked up from her house and ushered into a stretched limo. She begins to deliver a few lines from her song “Deja Vu” before arriving at the event, checking in with a few friends, and heading to the dance floor. The singer performs the rest of her amid twinkling lights and slow-dancing teens before closing out the film with a raucous rendition of “Good For U” on the school’s football field with the help of the marching band. Rodrigo drummed up excitement about the film ahead of its release by showing up to some fans’ homes and asking them to prom. The promotion paid off as Sour Prom was streamed over 3.6 million times on YouTube in just 12 hours, becoming the platform’s No.1 trending video. However, not all the attention around Rodrigo’s Sour Prom was positive. Courtney Love slammed the singer for paying homage to Hole’s Live Through This cover art in Rodrigo’s promotional photos for the film. “Stealing an original idea and not asking permission is rude,” Love wrote. “There’s no way to be elegant about it. I’m not angry. It happens all the time to me. And really I’m very gracious or say nothing. But this was bad form.” Watch Rodrigo’s Sour Prom above. Sour is out now via Geffen. Get it here.
CBS All Access Executive Producer Heather Kadin, Aaron Baiers, Sonequa Martin-Green and Showrunner/Executive Producer Alex Kurtzman on the Red Carpet during the Season 2 STAR TREK: DISCOVERY premiere party Former “ Star Trek: Discovery ” actor Andrew Moodie does not have great things to say about his time on the show. In a recent interview with Orville Nation, Moodie claimed that “Discovery’s” production team was “terrorizing” the cast and crew of the show. He called working on the show one of the “worst experiences” of his career. Though Moodie was careful not to mention names or specifics, he described the toxic working environment he experienced on the set in great detail. Moodie worked on “Discovery” during the early days of production. He appeared in one, second-season episode of the show. Moodie claimed that drama within the production team and turnover in the writer’s room made the set a very uncomfortable place to work. “I could tell… the crew and the cast were traumatized by a production team and a writer’s room that was in constant flux. And power dynamics where you could just tell that they felt threatened… Eventually, the producers of ‘Star Trek’ threatened me, and I was just like ‘I don’t care.’” Moodie said that things only got worse when one of the showrunners left and another took over. Though he was careful not to give names, it’s very likely that he was referring to the transfer of power to current showrunner, Alex Kurtzman. “The showrunner was fired. And then there was a new showrunner… and they wanted me to redo my entire performance because the new showrunner didn’t like my acting… You can just tell that something happened. So, the new people at the head of ‘Star Trek,’ whoever’s running it now, the crew, they’re just terrified of whoever’s running it now. Whoever’s running ‘Star Trek’ now is running it with an iron fist.” Moodie went on to claim that the current production team is “terrorizing those people.” Heavy has reached out to the studio and Moodie for comment. Getty Images Though he said he had an awful time with the production team for “Discovery,” Moodie emphasized that he loved working with the cast and crew. “The thing I will say about working on ‘Star Trek’ is I got to work with Jonathan Frakes and he is a gentleman. He is brilliant. He is a great director. Beautiful human being. So supportive. The cast on that set, great people, wonderful people… I want to make this clear, the director was great, the cast were great, the crew on that show are good people.” Moodie insisted that the problems on set had nothing to do with the people actually making the show. He claimed that all the problems came from the people at the top. Dia Dipasupil/Getty Images Gretchen Berg and Aaron Harberts at the “Star Trek: Discovery” panel at New York ComicCon The behind-the-scenes drama that took place in the first and second seasons of the show has been well-documented. An in-depth report by The Hollywood Reporter detailed the struggles the writers, cast, and crew endured during the early days of the show. According to their report, the original showrunner, Bryan Fuller, left before the first season even aired. He repeatedly clashed with the studio over nearly every aspect of the show. In 2016, he was asked to step down. Two of the producers Fuller frequently collaborated with, Gretchen Berg and Aaron Harberts, took over as the showrunners for the second season. However, by 2018, they’d also been asked to leave the show. Insiders told The Hollywood Reporter that Berg and Harberts treated the writing staff awfully, often yelling at them and belittling them. The sources also claimed that multiple writers were so upset by the treatment that they were planning to lodge official complaints with human resources. When Berg and Harberts were ousted, Kurtzman took over as “Discovery’s” showrunner. Given the timing of Moodie’s episode, he likely worked with Berg and Harberts during their time as showrunners. If that’s the case, it suggests he was referring to them getting fired and Kurtzman taking over. When the hosts of the show suggested that Moodie was talking about Kurtzman’s leadership, Moodie again insisted that he was not naming names. Follow the Heavy on Star Trek Facebook page for the latest breaking news, rumors and content!
Bebe Rexha flaunted her curvy body in sexy blue lingerie while dancing around in a TikTok video to Nicki Minaj's 2018 hit song, "Good Form." The 31-year-old singer also used the video to convey a message of body positivity to her fanbase, writing, "How much do you think I weigh? No one's business." "Cause I'm a bad b--- no matter what my weight. But let's normalize 165 lbs," she added. Rexha captioned the TikTok, "Feeling like a bad b--- today." The musician recently launched her own lingerie collection in the hopes of making women "feel beautiful at any size." "I'm all about body positivity, inclusivity, and I was really excited to partner with a brand that really believes in that and has been pushing that for a while," Rexha told People magazine. "As a woman who wasn't the cookie-cutter pop-star, I hope to inspire women to love their bodies and feel beautiful at any size." Her capsule collection includes bras, panties, bustiers, corsets, and bodysuits with sizes ranging from sizes 30A to 46DDD and XS to 4X and prices starting at $49.99. Rexha admitted that sometimes she struggled with body confidence and was nervous to model her own designers. "I just wanted to feel good and be comfortable as well as looking hot," she explained. "It all comes from within and it's all about what makes you feel good. That's what shines. You could be wearing the hottest outfits and if you don't feel good in it, what's the point?" In a previous interview with Fox News, Rexha discussed the apparent double standard of women embracing their sexuality compared to men, declaring she's proud to be sexy. "If I want to be sexy, I’m going to be sexy," the singer said. "If a man were to take off his shirt and show off his abs and rub oil all over his body, I doubt anyone would say that he’s exploiting his sexuality — and that pisses me off. So, I’m definitely going to do what I want and do what I feel."
Anyone in the creative life knows there’s not really anything new under the sun. There are only seven stories; all art is derivative; fashions are cyclical.
Fede Álvarez directed two of the best wide-release horror movies in the 2010s, Evil Dead and Don’t Breathe. The Evil Dead series will continue on without his involvement (HBO Max’s Evil Dead Rise ignores the 2013 reboot and “builds off the original trilogy” with Bruce Campbell and Sam Raimi), but he’s back for Don’t Breathe 2. Álvarez co-wrote the script with director Rodo Sayagues, while Stephen Lang will reprise his role as Norman Nordstrom/the Blind Man. Please don’t bring back the turkey baster, though. In Don’t Breathe, a group of no-good delinquents, including Evil Dead ‘s Jane Levy, break into a blind man’s house for a quick robbery. But what they don’t consider is that he’s a murderer who’s keeping a young woman hostage in his basement. It’s sick, it’s nasty, it’s… great. Don’t Breathe 2 is set years after the events of the first movie, with Norman “living in an isolated cabin with a young girl orphaned from a devastating house fire. When a group of criminals kidnap the girl, the Blind Man must leave his safe haven to rescue her.” It’s the difference between The Terminator and Terminator 2: Judgment Day — in the original, he’s the bad guy; in the sequel, he’s the conflicted hero (Lang worked with Terminator director James Cameron on Avatar, so just go with it). Don’t Breathe 2 opens on August 13.
All products and services featured are independently selected by Forbes Vetted contributors and editors. When you make a purchase through links on this page, we may earn a commission. Learn more July 4 promotions and summer savings events mean there are a ton of great deals on everything from robot vacuums to face cleansers available this week. To simplify your shopping experience, we’ve sifted through the hundreds of available markdowns from fashion, tech, beauty, home and other retailers to narrow down the best deals to shop now through July 4. Whether you’ve been meaning to pick up a new pair of sunglasses or invest in a patio dining set for the backyard, you’re almost guaranteed to find what you’re looking for at a discount this week. Below, find nine of the best deals online at the moment. And if you want to shop and save some more, head over to our list of the best online sales happening now. During Wayfair’s 4th of July sale, you can save up to 50% on over 200 different outdoor furniture items—including this seven-piece set from Breakwater Bay. Made from solid acacia wood, it’s naturally weather-resistant, so you’ll get at least a few summers of use out of it. The price of Beats Solo Pro headphones has never dropped this low—even during Prime Day and Black Friday. Right now, you can pick up a pair of the high-end, noise cancelling headphones for 50% off at Walmart. Just keep in mind that this markdown only applies to the black, ivory and gray colorways. The other colors are also discounted, just not quite as steeply. This face wash from Fresh is so popular, it’s amassed over 5,000 five-star reviews on Sephora’s site. The gentle formula cleans away dirt, oil and makeup—without leaving your skin feeling dry or stiff. Right now the Soy Face Cleanser, along with all of Fresh’s other products, are 25% off at Sephora. Sure, $15 sunglasses will get the job done, but there’s something about sporting a pair of Ray-Bans that just makes you feel more put together. And thanks to this 30% discount from Nordstrom, you can pick up a pair for just a little over $100. This classic style will go with everything, so you’ll definitely feel like you’re getting your money’s worth. If you didn’t get a chance to pick up a robot vacuum during Prime Day, here’s your chance to still nab one while it’s on sale. Bed Bath & Beyond is currently offering $150 off this Shark model, which has smart navigation technology to prevent it from bumping into things around your home. This is one of the best deals on Caraway cookware we’ve seen in a while. The brand’s nonstick designs are so popular that they rarely get discounted, but this set of pots and pans is currently available for $100 off its original price. Act quickly, though, the set is already sold out in navy and the other shades are sure to follow suit. As the name implies,1Password allows you to store all of your team’s logins in one place. The software also encourages you to create stronger passwords, protecting against data breaches down the line. Now through July 2, you can select a plan for up to 10 team members that costs just $20 per month, which will save you up to 50% on what you’d normally pay. Made from 100% Peruvian cotton and expertly washed for a lived-in feel, this polo is luxuriously soft...and primed to become your new favorite shirt. The pretty dusk blue shade is super to earn you some compliments, too. If you’ve been on the hunt for a laptop that’s lightweight, fast and powerful enough to handle everything from streaming movies to downloading massive files for work, look no further. The Microsoft Surface Laptop 3 gets killer reviews from students and professionals alike, and it’s currently marked down to $80o instead of its usual $1,000 price tag.
“America’s Got Talent” is no stranger to quick-change performers, but until Léa Kyle showed up, “AGT” had never seen a quick-change magician. That’s what judge Heidi Klum decided Kyle was, when she gave the 25-year-old contestant her Golden Buzzer on Tuesday’s episode of the NBC competition. Kyle, who is a French native, performed an amazing quick-change routine to “Swish Swish” and “Part of Me” by Katy Perry, moving in and out of outfits so quickly that it was invisible to the naked eye. Klum was so taken with Kyle’s ability to swap her clothes faster than a model backstage at an haute-couture show that she decided Kyle deserved to move right on to the “AGT” Season 16 live shows. Of course, Kyle almost died of excitement when she got the Golden Buzzer from the “Queen of Fashion,” as she called her. “I’ve got to tell you, we’ve seen quick-change artists on this show, I’ve never seen one better than you,” judge Howie Mandel said. Sofia Vergara added: “I am so in shock. You were having a great time while you were doing it. It was beautiful.” “I think normally when we see this kind of act, there’s always two people normally in the act and the music is terrible,” Simon Cowell chimed in. “This was very, very cool and you have amazing showmanship. It was world-class.” Then it was Klum’s turn: “I loved it, too. I mean, you were doing real magic. It was absolutely incredible and flawless. I mean, you know how much I love fashion and I feel like we’ve never really had anyone that is as good as you. So I feel like you should go straight to the live shows, what do you think?” Yes, yes, Kyle agreed. Then golden confetti rained down on her as the former “Project Runway” and current “Making the Cut” host gave her a hug. Watch Kyle’s act via the video above.
Good Subscriber Account active since Disability was in focus during this year's festival and awards circuits. "CODA," a dramedy about a hearing teenager from a deaf family, was the darling of the Sundance Film Festival. Oscar nominees included films that portrayed disability communities, like "Sound of Metal," the documentary "Crip Camp," and the short film "Feeling Through." These films, which featured actors with disabilities and avoided some harmful and overrepresented stereotypes, signaled progress to some who have fought for decades for inclusion in TV and film. "Progress is more and more films being recognized for their positive and authentic portrayals of deaf people or people with disabilities," said Marlee Matlin, an Oscar-winning actress who starred in "Coda," and identifies as deaf. "That's not to say that we've achieved everything we've aimed for, but the voices of inclusion are being heard." People with disabilities are still among the most underrepresented groups in Hollywood. In 2019, just 2.3% of all speaking characters in the 100 top-grossing US films were depicted with a disability, USC's Annenberg Inclusion Initiative found. By comparison,12.6% of the US population lives with a disability, according to the 2018 American Community Survey, which excluded people on active military duty and living in certain institutions from the statistic. In Hollywood, artists with disabilities face added challenges getting representation, booking gigs, and rising to positions of power, according to 12 people Insider spoke with, including writers, directors, agents, casting directors, and advocates for inclusion in employment. Even Matlin, a seasoned actress, said she gets turned down for parts because she is deaf. She said she recently lost a recurring role on a TV series because the character wasn't originally written as deaf and the showrunner didn't think she could do it without an interpreter character. Gail Williamson, a talent agent at KMR who represents actors with disabilities, said she's had to cancel inaccessible auditions for clients, including an audition held on the second floor of a building that wasn't wheelchair accessible. Yet films like "Crip Camp" and "Coda," as well as shows like "The Politician" that cast actors with disabilities, show productions can be more inclusive, those interviewed told Insider. The stakes are high. In 2019, the unemployment rate among people living with a disability was 7.3%, twice as high as those without a disability, according to the Bureau of Labor Statistics. In 2020, amid the pandemic, the unemployment rate for people with disabilities climbed to 12.6%. TV and film can help dispel some myths driving those statistics, like the misconception that people with disabilities aren't capable of work. "These are ambitious, hardworking people that are just left out of the mix," said David Radcliff, whose writing credits include "Crip Camp," "Waffles and Mochi," and "The Rookie," and who has cerebral palsy. "The more we see disabled people on-screen, working jobs, raising families, living productive lives like we've seen on 'Crip Camp'... that is beneficial to everybody." Some recent momentum in disability inclusion has been around "authentic casting," or casting actors with disabilities to play characters with disabilities. A 2018 study by the Ruderman Family Foundation of 284 streaming and TV shows found 22% of characters with disabilities were portrayed authentically. Nondisabled actors playing characters with disabilities have historically been shoo-ins for awards. But disability advocates say the experiences of actors with disabilities can create richer performances in those roles. There are also fewer parts written for characters with disabilities, so opening those parts up to performers with disabilities who might be well suited for them has a real impact. "It's literally about economic stability and making a leap from being a freelance artist to, 'I can support myself and my children that don't exist and my family,'" said Ryan Haddad, who played the devious Andrew Cashman in Ryan Murphy's "The Politician," and who has cerebral palsy. There's even more work to be done in opening all roles to talent with disabilities, not just those written for characters with disabilities. Haddad was drawn to his role in "The Politician" partly because the story arc of the character, who had cerebral palsy, wasn't driven by disability. The casting director Alexa Fogel said she and Murphy were looking first and foremost for someone with the right sense of humor to play Cashman, who was meant to be clever, sneaky, and funny, and the studio backed them. It shows progress comes from a combination of agents pitching artists with disabilities for auditions, casting directors broadening their databases, writers and creators thinking more inclusively, and productions and studios hiring people with disabilities at every level, from crew members to studio executives. There is also a fear in profit-motivated Hollywood that actors or creators with disabilities are more difficult or expensive to work with, which often isn't the case. "Producers and networks are still scared, and they're missing out on this incredible talent that they could be profiting off," said Marilee Talkington, an actress who has appeared in shows including "See" and identifies as blind. While there are unique considerations when working with actors with disabilities, that's true of any production, filmmakers said. Doug Roland, the writer-director of "Feeling Through," said he worked with the Helen Keller National Center to cast Robert Tarango, the deaf-blind actor who starred in the film, and make the production accessible while shooting at night. Otherwise the process wasn't drastically different from other films he's made. "The largest lesson I learned is to stop looking at actors and crew with disabilities as this whole other kind of obstacle to be dealt with," said Roland, who based the story on his own experience with a deaf-blind man. "Look at it as part of the process.… There is so much more gained at every level of the experience."
CHICAGO (CBS) — Live music is roaring back into Chicago after a year in which every musician lost something–whether money from gigs or a connection with their live audience. But one band that will play at Lollapalooza lost something even bigger to COVID–a family member. Morning Insider Tim McNicholas reports how their music honors that father. Lost Kings is a DJ duo of Robert Abisi and Nick Shanholtz. They make electronic dance music–a genre that thrives on the kind of packed crowds you see at Lollapalooza. The pandemic pulled the plug on their festival gigs. ‘All of them getting canceled really was just a devastating blow,” Shanhotlz said. So they produced a song about COVID struggles with the help of singer Jordan Shaw. It’s called “I Miss The Future,” and it’s helping them rev up their live gigs again, including a July 31 show at Lolla. Abisi said he believes it will be their biggest live show yet. “After everything we’ve went through, I think its gonna be really special to be there,” Shanhotlz said. Each act at Lolla will share that sense of relief. The concert trade publication Pollstar estimates the global concert industry lost $30 billion in 2020. But Lost Kings lost much more than money. Their new video for “I Miss The Future” is dedicated to Abisi’s dad. He was Lost Kings biggest fan, and he died of COVID last February. “I think for sure that he’ll be watching this and be with us on stage 100 percent,” said Abisi. The group says they’re appreciative of the rules in place for the festival. Fans will need to be vaccinated or show proof of a negative COVID test. “There just nothing like the energy of being on a stage in front of a crowd of people,” Shanhotlz said. And now Lost Kings can tap into that energy once again.
Michael Morrison is Senior Vice President and General Manager of cloud, infrastructure & security at Unisys. Numerous reports exclaim that Covid-19 has accelerated digital transformation, and there’s every indication that this trend will continue for the foreseeable future. Transforming to the cloud forms the foundation of this digital transformation and the benefits of doing so are abundantly clear. Cloud transformation helps enable greater agility, lowers capital expenses, enhances collaboration and can increase security. But for each organization advancing their cloud strategies, there is one stalled in the starting blocks. Organizations will highlight digital transformation efforts in annual reports, share aggregate growth numbers and get some soundbites from a couple of analysts. Then the story goes dormant. People go back to doing the same things. IT gets squeezed again and there's no change in productivity. Digital transformation doesn’t come up again until it’s time to reopen the book to prepare for the annual storytelling. If the last two years haven’t convinced you to embrace and pursue digital transformation wholeheartedly, I’m not sure what will. But if you are going to take the lead and move your business forward with digital transformation, here’s my advice on how to get the best results. Understand That Digital Transformation Requires Collaboration In thinking about digital transformation, people tend to view the challenge as an IT one. But digital transformation goes well beyond technical considerations. It requires collaboration between key roles in the organization, such as the business unit/division, finance and HR. Where you see a rapid transformation, you see an organization that’s aligned. Where you see slow transformation, you see a lot of prognostication about challenges and a lack of alignment. Cast Your CFO In A Leading Digital Transformation Role My advice is to involve your finance department in digital transformation early. Making sure that your CFO is involved will help ensure that your company embraces a multi-year view of return on investment and total cost of ownership. That’s key to digital transformation success. If people don't believe in the economics of digital transformation, you won’t get buy-in. Period. Assess The Impacts Of Digital Transformation On HR Efforts Digital transformation has a major impact on the people within an organization, the type of work to be done and the necessary skill set to do that work. In a digitally transformed organization where speed to market and agility are a priority, there’s less need for “check the checker” types of jobs and a greater need for action. You need the right people in the correct positions. There may be right-sizing opportunities. Your HR department will want to look at the existing talent within your organization and rethink talent acquisition to align it with your digital transformation strategy. Employ Agile Teams To Stay In Motion When you get the right people involved upfront, you hit fewer speed bumps down the road. For example, domestic car manufacturers, years ago, began using platform teams — made up of people from different disciplines — to launch new vehicles. That’s when these companies started to make real progress on the quality front as well as being able to launch new vehicles in a much shorter time, meeting the preferences of the market. Now engineering, design and other groups don’t deliver separate reports about what they are doing. There is one report from the platform team. You can apply this approach to your digital transformation efforts. You can employ an overall structure to create agile teams, but it’s a different kind of structure. It’s more malleable. Your team members shift based on what needs to be accomplished. Your employees won’t work for the same person for 17 straight years in a digitally transformed organization. Instead, their bosses will probably change a lot. It’s a whole new dynamic, but the reality is in this technology-driven world people and teams still make the difference. Modeling this dynamic in your transformation effort allows you to move past the starting line and keep moving forward — fast. Seek Out Proven Guides Who Look Beyond Just Scale In seeking digital transformation guidance and solutions, one size does not fit all. While many organizations favor potential partners that emphasize scale, what you gain in volume you may pay for in lack of fit. When suppliers and advisors lead with scale, it typically means they want to shoehorn you into a one-size-fits-all digital transformation box. Scale can be valuable, but you need to think bigger in vetting partners. If you consider the pace at which companies are making the transition, it’s really about flexibility and being able to do the right things at a small scale first and then growing from there. That makes a difference. References count more than scale. Ask potential partners for references from companies they have worked with that have already gone through digital transformation. Ask about the pace at which these companies took their journey and the steps along the way. The references need not be from the same sector because digital transformation doesn’t really follow a set pattern. Accept That Incremental Change Is Better Than Delayed Perfection Digital transformation isn’t easy. But with the right organizational structure, approaches, people and partners, it is possible to enable incremental change to drive business results. You may still be waiting for what you anticipate will be the right time for digital transformation. There’s no time like the present. Incremental change is much better than delayed perfection. Forbes Business Development Council is an invitation-only community for sales and biz dev executives. Do I qualify?
On the morning of June 17, China launched its long-awaited Shenzhou-12 spacecraft, carrying three Chinese astronauts – or taikonauts – towards the Tianhe core module. The module itself was launched at the end of April, forming part of the permanent Tiangong space station, which is planned to remain in orbit for the next ten years. China’s construction of its own space station stems from the nation’s exclusion from the International Space Station, a result of the United States concerns over technology transfers that could enhance China’s military capabilities. Undeterred by this, China has forged ahead with its own space programmes and alliances. Since, the country has demonstrated that the Chinese “brand” of space technology is reputable and can hold its own in the international arena. An impressive track record of remarkable space endeavours is not the only thing that distinguishes China’s space brand from other national players. The government and related organisations have made concerted efforts to establish a unique “Chinese space culture” alongside the country’s advances in space technology. While the target audience for many of these cultural creations remains domestic, China’s space ambitions are directed at global audiences in a variety of ways. Perhaps the most obvious example of this is the naming of these programmes after China’s traditional roots. The name Tiangong translates as “ Heavenly Palace ”. This was the residence of the deity who holds supreme authority over the universe in Chinese mythology, the Celestial Ruler. The name is particularly fitting for a Chinese space station, which acts as a home in the heavens for the country’s taikonauts. The meaning of Shenzhou, the missions that take taikonauts to space, is “Divine Vessel”, which is also a homophone for an ancient name for China, “Divine Land”. China’s lunar exploration missions, meanwhile, are named after the legendary Moon goddess Chang’e. The tale goes that Chang’e flew from Earth to the Moon after stealing the elixir of immortality from her husband, Hou Yi. According to Chinese mythology, Chang’e continues to live on the Moon with her rabbit companion, who spends its time pounding the elixir of immortality in a mortar for the goddess. The rabbit is known as Yutu, or “Jade Rabbit”. China’s two lunar rovers, the second of which became the first to land on the far side of the Moon in 2019, are named after it. A key component of this lunar landing mission was Queqiao, a communication relay satellite. This was named after the myth of the “Magpie Bridge”, which joins the “Cowherd” and the “Weaver Girl” across the stretch of the Milky Way in a romantic folktale. The satellite acted as a vital bridge of communication between the Chang’e mission components and China’s mission control centre. The linking of China’s traditional past to its forward-looking space activities serves to strengthen the identity of these space programmes as distinctly Chinese. In connecting these achievements to the country’s cultural heritage, they are presented not as mere copies of their space power predecessors, but as having developed from national talents and progresses. They also serve as a reminder that while the programmes aim for the furthest reaches of space, China’s future will never be disconnected from its national and cultural roots. Furthermore, these legendary names are a signal to the international community that space is not the exclusive domain of historical western figures such as Apollo or Artemis, but that it also belongs to the lineage of the Chinese people. Over the last few years, multiple corporations based in China have released space-themed commercial products and promotional campaigns in conjunction with China’s official space organisations, from upmarket fashion brands to KFC. But perhaps the most notable promotion of China’s space ambitions is in films. In 2019, the blockbuster sci-fi film The Wandering Earth was released. The film was well-received and was publicised by the state’s international media platforms as a must-see. Director Frant Gwo has spoken about the importance of the message behind the film, claiming that China’s way of thinking about space is vastly different from US ideologies. According to Gwo, while the US dreams of eventually leaving the Earth to move to other planets, the Chinese space dream is to improve life on Earth through the use of space resources. The film promotes the idea that we must not try to flee our planet, but instead, we must strive to protect it. While most space-themed commercial products remain aimed at a domestic market, Chinese sci-fi is becoming increasingly popular abroad. Books such as The Three Body Problem by Liu Cixin, who wrote the short story which The Wandering Earth was adapted from, Folding Beijing by Hao Jingfang, which is also being adapted for the screen and The Redemption of Time by Baoshu have all succeeded as translations. Recognised by politicians as a potentially powerful tool for promoting state-approved narratives, government bodies have encouraged China’s sci-fi filmmakers to incorporate narratives that fit with the regime’s wider ideological and technological ambitions. The fantasy aspect of sci-fi may explain why the genre is being internationally promoted first over other commercial products that feature imagery of actual Chinese space missions. Unlike China’s increasing capabilities in space that are viewed as a threat by the US, the country’s fictional space developments pose no real-life risk. Able to incorporate the backdrop of a technologically powerful China into entertaining and compelling narratives, such stories allow foreign audiences to engage with the idea of China as a space power without the kind of political discourse that surrounds its real space activities. Eventually, a foreign audience may begin to grow more comfortable with the notion of China as a technological world leader. And this, in turn, may cultivate an interest in the activities of the Chinese national space programme. Molly Silk is a PhD Candidate, Chinese Space Policy at the University of Manchester. This article first appeared on The Conversation.
There is no better way to cool off from the summer sun than with a refreshing dip, as four Dachshunds recently showcased on TikTok. In footage shared to the social media site by Daneandadoxie on June 25, the sweet animals, also known as sausage dogs, can be seen paddling about in an inflatable pool. The pets are lowered into the water by humans from opposite sides of the pool, and proceed to play about together. The camera then cuts to one of the dogs, whose name is Otis, being walked on a lead through the water, which means it must be very shallow to account for Dachshunds' famously shorter legs. The adorable clip is made all the more amusing by the fact it is set to a mashup of 50 Cent's 2003 track "In Da Club" and the Bee Gees' "Stayin' Alive" from 1977. Text overlaying the video reads "Hot dog summer" which is clearly a play on the Megan Thee Stallion song "Hot Girl Summer" as well as the nickname for the dog breed. Daneandadoxie captioned the clip, writing: "#Hotdogsummer #dachshund #dachshundsoftiktok #dogsoftiktok #petsoftiktok #dogs #doglovers #weinerdogs #dogmom #summer #poolparty #fyp." The footage has since gone viral, having been viewed by over 3.3 million people, and received over 452,800 likes. Many took to the comments section to share their thoughts on the adorable video. One TikTok user, MoreThanAMystery, wrote: "Those paws prancing!" Another person, Desarae North, added: "I just love these little doggies." Victoria typed: "Get it... hot dog summer? Because they are wiener dogs? Lol but this made me very happy so thank you." Rosie gushed: "Oh my gosh the cute bouncing this is how happy I am in a pool too! So stinking cute." Typee Hadenfeldt commented: "I think that is so cool I wish my little dog had one like that." A1A Adventures joked: "Every hotdog need to cool off every now and then." Fullerton1963 remarked: "I have never seen Dachshunds swim! I am laughing at how cute! Love it! Their own pool!" And in other news of dogs enjoying themselves, a video recently gained a lot of traction on TikTok showing a Bernese Mountain Dog puppy engaging in his favorite hobby. The little pet, who is named Weller, can be seen having a brilliant time by repeatedly jumping into a bush. The joyous clip was shared to the app by user The Berner Bunch on June 17 with the caption: "Weller is OBSESSED with this bush #bernesemountaindog #wee." So far the video has been seen more than 1 million times, and garnered 129,200 likes.
A new article published in Personality and Individual Differences sets the record straight on what creativity is — and what it is not. “Myths about creativity keep contributing to its mysterious aura despite our increasing scientific understanding of this complex phenomenon,” say the authors of the research, led by Mathias Benedek of the University of Graz in Austria. “This study examined the prevalence of known creativity myths across six countries from diverse cultural backgrounds and explored why some people believe in them more than others. Results revealed persistent, widespread biases in the public conception of creativity, such as attributing creative achievements to spontaneity and chance rather than persistence and expertise.” To arrive at this conclusion, the researchers looked through the existing scientific literature to identify 15 creativity falsehoods, which they divided into four categories, shown below. Creative Definition Myths Creative Process Myths Creative Person Myths Creative Stimulation Myths The scientists recruited 1417 people from six countries to indicate whether they believed the 15 falsehoods were true or false. They found that creativity myths were judged to be true by approximately half of people. “The highest approval was observed for ‘Brainstorming in groups generates more ideas than if people were thinking alone’ (80% agreement),” state the researchers. “People further substantially endorsed that ‘One is most creative when with total freedom in one's action’ (70%), ‘Children are more creative than adults’ (68%), and ‘Most people would not be able to distinguish abstract art from abstract children's drawings’ (63%).” Alternatively, people were most likely to disagree with the notion that ‘People have a certain amount of creativity and cannot do much to change it’ (20% agreement) and that ‘Creativity tends to be a solitary activity’ (25%). The researchers also found some interesting country-by-country differences. For instance, respondents in the United States were most likely to endorse the myth that ‘Creative ideas are naturally a good thing’ and that ‘Creativity cannot be measured.’ Chinese respondents, on the other hand, were most likely to endorse the notion that ‘Creativity is essentially the same thing as art.’ The authors hope their work dispels some of the popular misconceptions about creativity. “A ‘naivety’ conceptualization of creativity is problematic for two reasons,” say the authors. “First, relating creativity to childlike behavior and chance implies low appreciation for the hard work behind creative achievements. Second, it externalizes relevant factors in the development of creativity. Emphasizing the role of inspiration rather than active engagement may undermine creativity by suggesting we need to wait until creativity hits us with a ‘Eureka’-experience.”
Beauty No need for stiletto tips. It’s a common misconception that you need to have super-long nails in order to get cool designs on your manicure (you know, since you have a bigger canvas to work with). This is false: You’ve got plenty of options even if your tips are short and sweet. If you’ve been looking for nail art for short nails, you’re in the right place. According to Molly Romah, a nail artist at Chillhouse, short nails have no shortage of mani designs to play around with. The crux of nailing a look is picking art that pops on a smaller canvas: This means designs that are reliant on negative space, line art, and clear bases, says Romah. “These creative manicure designs look amazing on all lengths, especially shorter nails,” she tells Bustle. Although short nail lengths may find it easier to stick with these simple kinds of art, a busy and maximalist mani filled with flames and butterflies is still possible. Whether you’re doing your own nails or seeing a professional, it simply requires adjusting the proportions — no biggie. If you need inspo for your next manicure, the below looks include designs that elongate your fingers, one that accentuates your tips, and others that are purely joyous, regardless of nail length. Keep scrolling for nine ways to rock nail art on short nails. Interior decor in the 1970s was about gradient shades of red, yellow, and orange. This wavy striped manicure — a stick-on set from brand Manime — looks like it was plucked off the wallpaper of a retro home. Bonus points for being super easy to DIY. Pick your favorite summer fruits and use them as the focal point of your manicure. This look shows that even when the canvas of your nails is itty bitty, you can still create intricate works of art. Channel the energy of summer with short nails and a simple but bright design. This design from Chillhouse looks like sunscreen sprawled on the back of lounging sunbathers. Experimenting with maximalism can be daunting, but paring it down to two colors makes the trend way more accessible. To accommodate your small canvas, take inspiration from this manicure and focus on negative space art with a pop. The French manicure 2.0 has become one of the most prevalent looks of the moment. The good news? It’s perfect for shorter nails since it only requires a thin sliver of paint on the edges. This minty fresh look is taken up a notch with delicate black dots. When you can’t decide between all your favorite nail art looks, remember that you have 10 fingers — so why not do them all? When your nails are short, just adjust the scope respectively. With minimal real estate, play around with accents. This manicure dresses up bare nails with black accents in the form of lines, dots, and shapes. Memphis design was an interior decor, furniture, and design movement in the ‘80s. The aesthetic was about bright colors, pattern combinations, and unusual shapes, and this manicure manages to channel all of that in one short and sweet set of nails. Daisy nails are sprouting up all over the place — just look at Hailey Bieber. This set proves the fun design works on short nails. Pro tip: Paint one flower as each nail’s centerpiece.
“Tawag ng Tanghalan” season four grand finalist Makki Lucino has revealed that she regards her cover version of the ballad “She Used to Be Mine,” originally sung by Sara Bareilles for the musical “Waitress,” as a song that speaks about the journey of her sister. “‘Yung ‘She Used to Be Mine,’ past po siya ng ate ko. Single mother ang ate ko, eh. ‘Yung nasa lyrics, each word ay talagang napagdaanan niya iyon. Saksing buhay ako na nakita ko ‘yung pinagdaanan niya,” Lucino said during the online conference for the launch of her single last Thursday, June 24. (The song “She Used To Be Mine,” it’s about my sister’s past. She’s a single mother. What’s in the lyrics, each word is what she went through. I am a living witness to what she went through.) “Sabi ko, siya ito, eh. Nakanta ko siya na parang I just want to represent my ate, especially ‘yung mga single mothers,” she said. (I said, this is her. I was able to sing it [because] I want to represent my sister, especially single mothers.) Lucino sang the song in the “Tawag ng Tanghalan” segment of “It’s Showtime” before she was able to enter the Top 6. The feedback was good as it touched so many viewers, which was why her management and Star Music decided to make it her first single. Dubbed as the Queer of Soul, Lucino explained how apt the title is for her, saying it was thought of by her management and Star Music. “The word queer, ako po iyon (that’s me). I’m a queer and… soul is my style of singing,” she said. For Lucino, titles do matter and he is happy to have one. “Siyempre po, isa rin ako sa singer na nangangarap like mga idols ko, Songbird, Regine Velasquez, Queen of Soul, Jaya. Parang kapag nabigyan din ako ng ganoon ay parang dream come true,” she said. (Of course, I am one of many singers who dream, like my idols, Songbird Regine Velasquez, Queen of Soul Jaya. It’s like being given a title is a dream come true.) Meanwhile, after her journey in “Tawag ng Tanghalan,” Lucino has also ventured into livestreaming on Kumu via “Queer of Soul” on the SeenZone channel (@seenzonechannel). She has guestings as well on FYE Channel and MYX. JB RELATED STORIES: At Noynoy Aquino’s wake, Regine Velasquez and Ogie Alcasid sing ‘Hindi Ka Nag-Iisa’ LISTEN: Ely Buendia’s new song appeals for smart voting, asks ‘Di pa ba nagsasawa?’
Ever wondered why a celebrity's name just rolls off the tongue? Well believe it or not a number of A-listers weren't born with dazzling monikers. It takes a lot to achieve stardom—people are willing to change their image, personality, and it turns out, even their name. Traditionally, celebrities have forsaken their birth names for all sorts of reasons. They may have decided the name their parents gave them will be difficult to pronounce or remember, or lacks a certain pizazz. Milena Markovna Kunis moved to Los Angeles from Ukraine when she was a child. The actor started shortening her name in the early stages of her acting career in America. Dame Helen Mirren was actually born Ilyena Lydia Vasilievna Mironov to a Russian father and an English mother. The British actor's father changed the family name to Miren in the 1950s. The singer, actor, fashion designer and businesswoman was born Robyn Rihanna Fenty. In Arabic, her middle name refers to a scented flowering plant "sweet basil", and she still goes by Robyn with her family and close friends. William Bradley Pitt dropped the first part of his name to go simply by Brad. Another small change, Christopher Kutcher changed his name to Ashton, his middle name, when he became an actor. Miley was originally named Destiny Hope Cyrus because her parents, Billy Ray Cyrus and Leticia Jean, believed she would achieve great things. After rising to fame at an early age, she decided to use her childhood nickname "Miley" as her stage name. The Canadian and Bulgarian actor was born Nikolina Konstantinova Dobreva but she shortened both her first and last names when she began her acting career. The comedian and actor shortened her full name, Vera Mindy Chokalingam, early on in her career after it was mispronounced numerous times in stand-up gigs. O'shea Jackson first got his nickname aged 13 from his brother, Clyde. In the middle of an argument, the famous rapper and actor was told: "I'm gonna take you down there, I'm slammin' you in the freezer and when they pull you out you're gonna be an ice cube." Elizabeth Banks changed her name from Elizabeth Mitchell upon joining the Screen Actor's Guild, as the name was already taken. Foxx, while starting out as a comedian, changed his name from Eric Marlon Bishop in the hopes of sounding more gender-neutral after he realized female comedians usually got called up first to perform at stand-up gigs. His surname was reportedly selected as a tribute to the comedian and actor Redd Foxx. Born Krishna Bhanji, the actor has said in interviews that he changed his name when he started achieving fame in the late 70s for fears that an Asian name would hinder his acting career. In the hopes of distancing himself from his famous uncle, Francis Ford Coppola, Nicolas abandoned his original surname to go by Cage. Named José Antonio Banderas at birth, the Spanish actor now goes by his middle name. Before she became a household name the Hollywood actor's title was quite a mouthful. She went from Margaret Mary Emily Anne Hyra to the easier-to-remember Meg Ryan, going on to become one of the most-loved romantic comedy leads of the 80s and 90s.
Antitrust is again becoming a hot issue in the U. S., with a new bill advancing through Congress taking aim at top technology companies. There are the usual concerns about monopoly power, and also reason to worry about big-company dominance of key industries. Becoming over-reliant on just one or two national champions in each industry creates a lack of diversification, which puts the U. S. in danger of falling behind in key areas if those companies stumble. Government-forced breakups are one solution, but a wiser, longer-term approach is to encourage the formation of new superstars. The U. S. has seen its national champions fall behind before. In the 1970s, General Motors Co. and Ford Motor Co. lost significant ground to Japanese competitors when they had difficulty managing the shift to reliable, fuel-efficient cars. International Business Machines Corp., which was utterly dominant in the technology industry as recently as the mid-1980s, is now a largely irrelevant also-ran. In some high-tech industries, U. S. giants persisted or even prospered. Boeing Co. retained its dominant position as part of a global duopoly in wide-body aircraft, while Intel Corp. was the king of the microprocessor. But in recent years, these, too, have begun to look shaky. After a period of uncertainty, it’s now clear that Intel has fallen behind Taiwan Semiconductor Manufacturing Co. in terms of the actual fabrication of computer chips: Meanwhile, the company has never been able to do well in the mobile chip market. And in laptops, it's recently lost substantial ground to its old rival, Advanced Micro Devices Inc. There are many reasons for this, such as strategic decisions, management turmoil and technical difficulties. But the upshot is clear: The U. S. can no longer rely on Intel to dominate the strategically important semiconductor industry. As for Boeing, its woes began with the grounding of the 737 Max in the wake of two deadly crashes. A defect in the flight control system was identified and corrected, but now the plane is facing a new set of manufacturing defects. With other factory problems weighing on the company, Boeing was hurt much more by the Covid pandemic than its main rival Airbus SE. Sales are rebounding now that the pandemic is drawing to a close, but if the company has allowed the quality of its manufacturing to degrade, its future is cloudy. Meanwhile, competition from China in the wide-body aircraft space is about to arrive. What should we conclude from this pattern? The wrong answer would be that U. S. companies are inherently weak. Other countries’ superstars, from the UK’s Rolls-Royce Holdings Plc to Japan’s Sony Group Corp. and many others, also tend to decline over time. Part of this might be simple statistics — if you stay around for long enough, eventually someone comes along and beats you. But it might also be due to what business guru Clayton M. Christensen called the “ innovator’s dilemma ” — the tendency of large, established companies to focus exclusively on their existing high-value customers and ignore new technologies that serve new markets. Intel’s failure in mobile chips certainly fits this pattern. There’s one important difference between the U. S. and other countries when it comes to its flagship companies: the U. S. keeps minting new ones. Apple Inc., Amazon.com Inc., Microsoft Corp., Alphabet Inc.'s Google and other U. S. technology champions are all relative newcomers. The average age of companies in the S&P 500 stock index has gone from more than 60 years in the mid-20th century to less than 20 years today. Meanwhile, the most valuable car company in the world is now Tesla Inc., which was founded in 2003. This gives the U. S. an advantage over Europe and Japan, which create relatively few new giants — and it should eventually be an advantage over China, when that country’s companies age. There’s an important lesson here. As the U. S. turns back toward industrial policy, there will be a natural urge to throw money at large stalwarts such as Boeing and Intel. As an example, a large component of the recently passed U. S. Innovation and Competition Act includes more than $50 billion to support semiconductor fabrication; it’s possible that Intel will end up pocketing a significant portion of that. Preferentially supporting nameplate companies is, unfortunately, a staple of U. S. industrial policy — the Export-Import Bank, which lends money to U. S. businesses that sell goods abroad, traditionally lends most of its money to major companies. That’s a wrongheaded approach. Yes, sometimes rivals like China subsidize their own national champions and the U. S. has to follow suit in order to stay competitive. But a great many times, U. S. giants fail all on their own — by firing a top CEO, making the wrong bets or by letting quality control slip. Placing the country’s resources behind the largest players risks propping up companies that don’t deserve to be propped up. It’s not clear how much antitrust action helps either. Smacking down the platform business models of Google or Amazon might increase competition domestically, but the effect on U. S. competitiveness vis-à-vis countries like China is unclear. And given the historical pattern of companies like IBM losing their dominance naturally, antitrust enforcement might simply be speeding up a natural process. Thus, the U. S. has to focus more on creating new national champions to exist alongside the old ones. Industrial policy funding should be directed to young upstarts, in order to help them scale up quickly. Andy Grove, himself a former Intel CEO, recommended this approach. This funding should be available for a limited time — if a promising new enterprise fails to become the next Tesla, it's fine to let it settle for a smaller market position, or get scooped up by another up-and-comer. But the key here is novelty. America has always been the country of novelty. To shift toward backing old dominant companies will be to retreat into a defensive crouch. Instead, move on to the next big thing. To contact the author of this story: Noah Smith at email@example.com To contact the editor responsible for this story: Susan Warren at firstname.lastname@example.org Beth Williams
Techno queen Charlotte de Witte’s stripped, aggressive and functional music dominates dance floors around the world, but her creative footprint doesn’t stop there. The Ghent-born producer delves into the world of sports with her apparel collaboration with Belgian activewear brand 4254. The artist says the pandemic allowed her to become more focused on fitness and health since she had more time due to the pause on touring, sparking her collaboration with 4254 that features long leggings and a cross back top. Although the collection, being released in July, is technically activewear, de Witte says it’s also designed to be worn at a club or a music festival. However, her expansion into the world of fitness doesn’t stop there. With her KNTXT label, the famed producer is releasing exclusive mixes on Apple Music, with one of the items aiming to connect mixes to different workouts based on their BPM. The first Residency Mix will be online in early July. “The idea was to link certain types of workouts to certain types of music. For example,” de Witte says, “if you have something more ambient, very chilled out electronic music, that could, for instance, be a stretch workout. Or if there’s this high energy, bumping set, it can be used as a running workout.” She adds that techno is her favorite genre to workout to: “If you listen to techno, it’s fast, it pushes you as well as distracts you from your suffering while you’re running.” The tastemaker’s passion for sports stems from her childhood as she grew up doing gymnastics, skiing and horseback riding—starting a foundation for her current love of adrenaline and high-risk sports. The motorcycle-riding artist adds that she was invited by Formula1 to watch one of their races in Belgium. This experience ignited de Witte’s interest in racing so much that she collaborated with Tomboy to design a race and ‘70s rave aesthetic collection. Outside of her sports-focused work, de Witte is the label boss of KNTXT and boasts her own podcasts, mixes and live streams, as well as having formerly hosted her own radio show on Studio Brussel and a residency on BBC Radio 1. Indeed, de Witte’s illustrious career led her to winning the title of No.1 Alternative DJ in DJ Mag's Top 100 in 2020, Powered by Beatport. The Belgian artist credits this success to performing shows around the world prior to the pandemic, having her own imprint and hosting live streams in unique locations during lockdown. She is the first woman to win this award since 1992. “I don’t want to pull the feminist card too much, but this is like a big pat on the back for all of us females out there,” de Witte says. “I think it’s always good and sort of a warm invisible hug around us when you see other women that are exceeding at what they’re doing and they’re doing well.” The numerous releases on KNTXT in 2020, she adds, proves to have kept the imprint “alive” since numerous events were canceled due to COVID. The latest EP release from the label is Alignment’s four-track Power record that dropped on June 25. Beyond releases, de Witte is using KNTXT as a way to give back to young producers, as she opened her imprint to receiving demos for one week earlier this year. The techno artist says she sifted through around 1,900 demo submissions to find up-and-coming talent she wants to work with. “I started DJing 11 years ago, and if I wouldn’t have had certain opportunities with certain people, I would not be where I am,” de Witte says. “I believe in the future. I believe in the young, new talent out there, and they should be heard and they deserve to get a platform.”
The late Princess Diana's wardrobe has been immortalized in books, exhibitions, Netflix series, tribute photo shoots in Vogue and even a musical. From her fairytale wedding gown to the so-called "revenge dress" she wore after Prince Charles admitted to infidelity, the world witnessed her style transformation into the "People's Princess." There is still plenty of nostalgia surrounding the Princess of Wales' style -- indeed, when Carlson's label re-released her iconic black sheep sweater last year, he sold "three months worth of sweaters in an hour and a half" after it went viral online, he said. But how might Diana have dressed were she alive in 2021? And how might she have employed her penchant for tactful, symbolic and communicative fashion in this divisive age? With Thursday marking what would have been Diana's 60th birthday, we look back at the influences that informed her style -- and how they might have shaped her look today. The Princess of Wales was adept at using her wardrobe diplomatically. Whether choosing designers from countries she was visiting, or wearing colors and symbols associated with hosts' national identities, she used clothing as nods of support and respect. During a visit to the Gulf region in 1986, she wore a dress embellished with gold falcons, one of Saudi Arabia's patriotic symbols, During her royal tour of Japan the same year, she wore a red and white polka-dot dress that appeared to reference the national flag. Diana also nodded to the royal institution she had married into -- like when milliner Stephen Jones sewed the Prince of Wales' feathers into the traditional tam-o'shanter hat she wore to Scotland's annual Braemar Gathering. Beyond paying homage to host countries, Princess Diana also used fashion to spotlight the charities and institutions she admired by wearing their gear to polo matches or public events. She was "light years ahead of us, even then," said Carlson, pointing to the current trend of using merchandise to support the organizations people identify with. "If anything, she taught us all to appreciate merch: from universities you've never attended, sports teams from other people's hometowns, and even airlines you've never flown," he said, referencing the times Diana paired a Northwestern University or Virgin Atlantic sweater with cycle shorts. It's impossible to say which causes Diana would have attached herself to today. But given her lifelong advocacy of HIV/AIDS awareness, the various capsule collections released for World AIDS day, by brands from Maison Margiela to Victoria Beckham's eponymous label, may well have caught her attention. "She became, by the end, a really strong figure," Moran said in a video interview. "I think people were afraid of her -- and of what she would do next." In her early years, Diana gravitated towards British designers -- and she often transformed the fortunes of those whose pieces she was photographed wearing. "She wanted to wear British because she felt it was something positive she could do for the fashion industry," her stylist Harvey wrote in her 1997 Vogue tribute. Take the aforementioned sheep sweater, which went viral long before the internet age, its lone black sheep seeming to signal Diana's outsider status in the royal family. Carlson, who collaborated with the garment's original creator, Warm & Wonderful, on last year's re-release, said the publicity was "life changing" for designers Joanna Osborne and Sally Muir. The pair was able to open a storefront, he said, with their designs also stocked in department stores from New York to Japan. "Members of the royal family know that the clothes they wear are likely to make the headlines -- and immediately sell out," said Morgane Le Caer, content lead at the fashion search platform Lyst, in an email interview. It's a trend continued by Meghan Markle and Kate Middleton, said Le Caer, adding that the next generation of royal spouses have "become powerful influencers in their own right." Both Moran and Carlson speculated that, were Princess Diana were alive today, she might have revisited her statement knitwear days (a period epitomized by her Gyles & George sweater reading, "I'm a luxury no one can afford"). Moran said, "Maybe she'd pay tribute to her younger affinity towards tongue-in-cheek knits." Diana was loyal to the UK-based designers she worked with throughout her life. Although some her apparent favorites, like Catherine Walker, have since passed away, others like Bruce Oldfield remain active today, and the late princess may have continued to seek out their designs. "She was a true chameleon, and liked to mix things up, from both high and low designers," Moran said. "I know that would still be the case if she were alive today." But, Carlson added, she would have cast a wide net. "I can't see her in the thrall of any one designer or another," he said. The latter years of Princess Diana's life were defined by joyful, fashionable experimentation as she stepped out from the palace's shadow. For Moran, who started the Lady Di Revenge Looks account in the wake of her own breakup, Princess Diana was an "everywoman figure" whose post-breakup transformation served as an inspiration. A newly empowered Princess Diana traded in court shoes for "super high Jimmy Choos and Chanel shoes," according to Moran, which would have seen her towering over her former husband who was around the same height. Designer Roland Klein once told British Vogue that, in one of his last appointments with Diana, she had asked for a "really short" dress. "I demurred," he recalled, "but she said, 'Whatever I do I'll be criticized, so let's just go for it.'" By this point, Diana had found silhouettes and designers that worked for her, Moran said. "I think she really figured out her look by the time she hit age 35 (or) 36 -- so I can't see her dressing that differently," she explained, suggesting that Diana's wardrobe staples ("blazers, the crisp Giorgio Armani jeans, the Versace and Dior handbags") would likely still work for her today. "I could also just as easily see her (turning to) the sinuous, minimal silhouettes by The Row," Moran added. For Princess Diana, the single outfit that seemed to mark her liberation was her black Christina Stambolian "revenge dress," the asymmetric, figure-hugging mini dress she wore to a London event the day Prince Charles' publicly admitted to having an affair. "She completely spun her narrative that night," Moran said. "From there, I think that was the line drawn where she was in control, and she was showing that to everybody. You can truly make people afraid of you -- or intimidated by you, or respect you, or whatever it is -- through clothing." The sale was symbolic in many ways. By making closet space for what would have been her next chapter, Diana seemed to leave palace life and marriage behind. And she may have further distanced herself from the royal family through fashion -- something that was already happening before her death, former stylist Harvey has noted, writing that the princess deliberately avoided labels worn by her ex-husband's family. "I don't think she would dress like the other royals," Carlson said. "And I think that, rather than following fashion or anyone's expectations, she would have dressed in a way that reflected her own life, her own experiences, her own feelings and her own comfort, too."
Oxford Languages defines populism as “a political approach that strives to appeal to ordinary people who feel their concerns are disregarded by established elite groups,” while Cambridge Dictionary goes with a blunter version: “Political ideas and activities that are intended to get the support of the ordinary people by giving them what they want.” Britannica Encyclopedia adds the subtle touch of noting that populism doesn’t always “champion […] the common person,” sometimes it simply “claims” to. In a world marked by deep polarization, it’s interesting to see that populism crosses the ideological divide, like certain economic and political policies. The more one thinks about it, populism is probably the quintessential condition of the modern politician, particularly as societies become more just and balanced, to the point where certain groups cannot simply enforce the most basic elements of their animal will to enslave, incarcerate or directly eliminate those who, in whatever fashion, are different. Populism was a marking feature of both Athenian and Roman society over 4,000 years ago. It is difficult to imagine how this global Covid-19 pandemic wouldn’t become a breeding ground for political opportunism throughout the world, with governments and oppositions cynically going at it. Of course, in a nation that aspires to “be someone in the world” – despite more than half a century of descent into mediocrity that could become something worse – our relative lack of vaccines has become the battleground for populists to speak to their people. In this “bio-coalition-ism” that Argentine democracy has become, both the ruling Frente de Todos and opposing Juntos por el Cambio enter the electoral arena by using populist messages in order to “win over” the disillusioned closer to the center. The latest fearmonger was Patricia Bullrich, president of the PRO party founded by Mauricio Macri. She claimed the Alberto Fernández administration had failed to secure a deal with Pfizer for tens of millions of vaccines after asking for some sort of “return” (i.e. a bribe or kickback) leading the president to order the attorney he shares with VP Cristina Fernández de Kirchner to initiate legal action for perjury. Bullrich, who generated internal debate in the opposition too, said she had evidence for oft-mentioned yet unproven allegations of corruption, which Pfizer even dismissed. Yet, she finally noted that former health minister Ginés González García was looking to secure a friendly Argentine businessman would serve as the “local partner” in the operation. This is exactly the situation under which the agreement with AstraZeneca was signed, with Hugo Sigman of mAbxience taking on that role, along with a Mexican bottling firm. The deal was partially brokered by billionaire Carlos Slim, one of the world’s richest men, and was aimed at supplying Latin America with vaccines. Even if Bullrich’s claims were partially true (which they may well be), she’s shown throughout the pandemic that her intention is to build a solid base of votes among the hardline supporters of the Macri administration and the historical anti-Peronists. Bullrich has criticized practically every single measure taken by the Fernández-Fernández administration in its battle against Covid-19, from lockdowns to economic policy. Her particular brand of populism is fanned on by Macri, who also relied on antagonism with Mrs. Fernández de Kirchner to win the 2015 and 2017 elections, in part advised by Jaime Durán Barba. Her electoral intentions are clear, as she’s made explicit. It’s the same strategy that Cristina put in place during her years in power, particularly her second term. True to the populist doctrine, her government was “for the poor,” battling local monopolies supported by the hegemonic powers of the northern hemisphere, particularly the United States. Interestingly, Fernández de Kirchner then picked Alberto as her candidate to beat Macri in 2019, appealing to the moderate voter, to great success. Yet she returns to the “claim” of being “on the people’s side” by pushing populist electoral policies from behind the scenes. These include a cap on utility rate hikes, a disastrously put together tax relief package, a beef export ban, and serious sticks being shoved in the wheel of ongoing negotiations with the International Monetary Fund and the Paris Club. All of these messages are aimed at the hordes of impoverished citizens of the Conurbano or cordons of suburban districts that encircle the City of Buenos Aires, her electoral bastion. All of these will have nefarious consequences in the near future, but they may help her avoid a defeat in upcoming midterm elections. And she probably knows that. The president has been characterized as an alliance-weaver. Throughout his presidency, he’s been criticized for seeming to always tell everyone what they want to hear, without seeming to worry about flip-flopping later. A few weeks ago, he told interviewers he will always choose “the people” over “beef exporters,” while claiming Pfizer’s demands were “violent” towards the Argentine people. Despite receiving Peronist support from sectors opposed to Kirchnerism, due to his supposed position as a moderate, he has progressively adopted his vice-president’s agenda of antagonism with the Judiciary and the opposition, and at some point may succumb to her sector’s ideological position in foreign relations. Not having, or expressing, strong convictions, while allowing oneself to be used for a political power project, along with always saying what the other one wants to hear, falls firmly within the realm of populism. Interestingly, a moderate in the opposition has also fallen prey to populist messages on the back of the pandemic. Buenos Aires City Mayor Horacio Rodríguez Larreta has made the opening of schools his banner in a protracted campaign with the national government that included several attacks on the federal capital’s constitutional autonomy. Rodríguez Larreta didn’t have it easy, forced to negotiate with Buenos Aires Province Governor Axel Kicillof and his aggressive crew, yet he chose the path of confrontation in the early stages of the second wave, helping to fuel disillusionment as people were once again locked down. A skilled politician, Rodríguez Larreta used the courts to his favor to win a political victory that was not much more than that, as schools were eventually closed down again in the City of Buenos Aires as cases spiralled out of control. The showdown will begin again shortly, with kids, parents and teachers caught in the tug-of-war. Once again, playing for the crowd. Unfortunately, it seems our style of society and democracy breeds populism and polarization, with politicians quickly picking up on the electoral victories of their adversaries. In the United States, a usually moderate Joe Biden has now asked his intelligence agencies to investigate the possible leak of Covid-19 from a laboratory in Wuhan, while he’s kept China as his country’s main opponent in the geopolitical stage, taking a page out of Donald Trump’s book. He’s following in the footsteps of Vladimir Putin and Xi Jinping by engaging in vaccine diplomacy, giving countries “what they want” in exchange for some level of allegiance. Populism is cynical. Promises are made in exchange for a specific outcome, and not because they are fair or just. Taken to the extreme, this deepens polarization. And we know that all too well. This piece was originally published in the Buenos Aires Times, Argentina's only English-language newspaper.
The wealthy D. C. suburb of Loudoun County, Virginia, has been making national news for what I’ll politely call “A School Board Full of Petty Tyrants.” Their recent proposals range from a proposed a speech code banning employees from criticizing its “racial equity” initiative to suspending a gym teacher after speaking at a school board meeting in opposition to a proposed gender identity policy. Last week, the school district’s mania for silencing dissent took a turn for the ridiculous. Facing a room full of irate Loudoun residents with more than 250 people signed up for their minute at the mic, the board went into an early recess after a speaker elicited boos from the crowd. For years, the board has insisted on total silence from all attendees at its meetings: no cheers, no boos, no applause. Instead, board members recommend attendees express their support by using “jazz hands.” Returning from recess, board chair Brenda Sheridan sternly warned the crowd that another outburst would result in a vote to end public comment. A few dozen more citizens spoke, the clear majority opposed to the board’s relentless leftist agenda. In most cases, attendees remained obediently silent. But when a former state senator’s speech brought the crowd to its feet, cheering, the school board made good its threat. They immediately voted to shut down public comment. Watch: Much digital ink has already been spilled excoriating the Loudoun school board for its clear contempt for constitutional speech rights. I’m here for something a bit more trivial (although not unrelated). I’m here to argue in favor of applause — non-disruptive, reasonable clapping, with the occasional vocalized “woot!” — at public meetings. No free-born American should ever be compelled, under any circumstances, to use “jazz hands,” because they’re not just a silly gesture. Here’s what these anti-applause policies are really about. Like Dolores Umbridge sweetly issuing an iron-fisted educational decree, the purveyors of “jazz hands” use decorum as a guise for the naked assertion of control. Never mind that applause has always been a polite, socially acceptable way of expressing approval in American culture. The elites are in charge now. You must leave your childish, provincial manners at the door. One Loudoun parent expressed this well at last week’s meeting. “You treat your bosses—all of us—like children,” Daniel Brubaker told the school board . “When you give us a ‘time-out’ for clapping, we hear you saying, ‘Look at me. I am the captain now.’” One wonders where this control over commonly accepted behavior ends. Are school board members allowed to demand that the public dress only in a certain color at school board meetings? Can they forbid smiling and end the meeting if anyone cracks a grin? Can they require attendees to copy the sentence “I must not tell lies” using a magical pen that cuts into their flesh? Besides asserting control, forbidding applause is a highly effective tool to isolate any citizen speaker at a public meeting. In nearly every circumstance, those who speak are facing a line-up of public officials, with their fellow citizens seated behind them. The entire crowd could be fluttering their fingers like an audition for “A Chorus Line,” but the speaker has no way of knowing his peers are with him. The rousing, momentum-building effect of applause is entirely absent. His remarks are met with blank stares and silence. He is made to feel alone. The elimination of audible support weakens the ordinary citizen versus those in power. It prevents cohesion among the people, which is always the bane of tyrants, small and great. It’s hard to believe the elimination of this stirring, unifying effect is purely accidental. There’s nothing inherently foolish about a hand gesture, and there are cultural contexts in which it makes sense. In sign language, the gesture does convey applause. (Hmm, does that make “jazz hands” an appropriation of deaf culture by the hearing world?) The undeniable fact, though, is that most Americans find the gesture awkward in typical contexts. It has never been used as a natural expression of approval in our mainstream culture. It feels foreign, forced, and often embarrassing. After attending a Loudoun school board meeting to advocate for homeschool freedom in 2018, a friend joked, “I’m still recovering from the sight of 100 conservative homeschoolers being forced to do ‘jazz hands.’” Again, one wonders if this discomfort is being imposed by design. Some argue that “silent applause” is more sensitive to those with sensory issues, who may find noise disturbing. But as a society, we accommodate the few in myriad ways without disrupting the normal cultural life of the many. Moreover, it’s far too convenient for elites to invoke hypothetical “compassion” to create a rule that serves the political purpose of squelching dissent. If the school board in Loudoun County — and others like it — were truly interested in quiet, peaceful civil discourse, they might try listening to the parents of their students. They might try ceasing their endless culture-war drumbeat that treats other people’s children like subjects of a social experiment and weaponizes them against their families. As long as they insist upon prioritizing indoctrination over education, they should have to listen to a few scathing critiques, followed by uproarious applause.
One-of-a-kind illusionist and sleight-of-hand artist Shin Lim is set to reopen his show “Limitless” at the Mirage this week, returning to live performances on the Las Vegas Strip for the first time in 15 months. But the two-time champion from “America’s Got Talent” is not looking to pick up where he left off; Lim has restructured his performance and added some grand illusions that he’s never performed before anywhere. “For pretty much all of the [last year] I’ve been super deep into experimenting with new concepts and new effects, doing a lot of trial and error and developing new sleights, all for the show,” he says on this week’s Sun on the Strip podcast. “But also just to have a new repertoire because you don’t want to always do the same stuff and I personally get bored if I keep doing the same thing.” When he last hit the stage at the Mirage, he was sharing the theater with ventriloquist Terry Fator’s show, as well as the popular Aces of Comedy series and the musical residency of Boyz II Men. With Fator moving to New York-New York, the venue where Siegfried & Roy once performed has been updated and renovated for Lim’s show. “Before, I had to work around Fator’s theater [setup] and I wasn’t able to touch or move anything so it was difficult for me to do what I wanted to do freely,” he says. "Now the theater is pretty much mine and it’s been completely refurbished. I’m going to be able to do some amazing things there.” Known for ultra-precise movements that defy explanation, Lim’s act is about to get bigger than ever. But he’s not just adding gigantic illusions, he has woven them into a personal storyline and hidden these fresh feats in layers of magic. “There are three or four moments that are pretty big illusions, and I’ve never done big illusions before,” Lim says. “Sometimes it takes a long time to set up for the big, massive illusion, so I wanted to sneak it into the middle, within the closeup tricks, so it throws people off. I’m most excited for that because I’ve never done anything like that for audiences before, and I’m very excited to see those reactions. I hope it works.” Find this week’s Vegas entertainment news, interviews and more every Wednesday with the Sun on the Strip .
San Francisco: With an aim to celebrate the competitive spirit of athletes and fans, Apple has launched the International Collection bands for Apple Watch. The collection features a 22 limited-edition Sport Loop bands with colourful designs that represent those nations across the globe, the company said in a statement on Tuesday. Each band also features a matching downloadable Stripes watch face showcasing colour combinations that customers around the world can use to personalise their Apple Watch and boldly show their country support. The lightweight bands are available representing the following countries — Australia, Belgium, Brazil, Canada, China, Denmark, France, Germany, Great Britain, Greece, Italy, Jamaica, Japan, Mexico, the Netherlands, New Zealand, Russia, South Africa,South Korea, Spain, Sweden and the US. The bands are available in 40mm and 44mm sizes for $49 in the US. The band packaging includes App Clip functionality to easily download the matching country’s Stripes Apple Watch face. Additionally, customers can download any of the 22 watch faces from apple.com and also use Face Sharing to share with other Apple Watch users. According to a paywalled preview of a DigiTimes report accessed by MacRumors recently, next-gen Apple Watch models will adopt double-sided System in Package (SiP) packaging from Taiwanese supplier ASE Technology. On its website, ASE Technology confirms that its double-sided technology allows for module miniaturisation, paving the way for a smaller “S7” chip. Apple Watch Series 7 models are expected to be released in September, in line with the past several generations of the device. The next Apple Watch could also feature a new flat-edged design and a new green colour option, tipster Jon Prosser said earlier. Get the news updates on WhatsApp & Telegram by subscribing to our channels. For all the latest Technology updates, download our app Android and iOS.
A television series inspired by the Facebook group Subtle Asian Traits is now in the works under the new studio Jumpcut, which launched earlier this month. The TV series will have a “college-set narrative” to be penned by Ivan Tsang and Justin R. Ching, as per The Hollywood Reporter ‘s exclusive report on June 24. The said real-life online group, made up of members of Asian communities from all over the world, is a place where Asians share memes, opinions and stories of their experiences as Asians from several cultures. “Our mission is to connect Asian individuals globally to create a community that celebrates the similarities and differences within the subtle traits of Asian culture and sub-cultures,” the group describes itself on the social media platform. The group was created by nine Chinese-Australian students in 2018, who were high-schoolers back then. Now, the Facebook group has over 1.9 million members. Producer John Zhang was able to secure the right to create a project inspired by the group from its founders, according to the report. No further details have been revealed about the show so far, but the Subtle Asian Traits team on June 25 noted that the show will have Asian stories shared on the group shown on screen. “Growing up, many of us did not have the community to share some of the nuances of being Asian. Starting the group, we never thought that Subtle Asian Traits would impact so many people and result in such a shared sentiment of belonging,” the Subtle Asian Traits team said. “Over the past couple months, we’ve been in contact with passionate filmmakers, producers and writers in our community who wanted to bring the sentiment of subtle [Asian] traits to the screens. “We’re humbled in being part of their vision to focus on the diverse subtle [Asian] traits throughout the diasporic Asian community, and as part of this new wave of Asian representation in media dispelling stereotypes previously used to characterize us,” they added. The Subtle Asian Traits team noted that they are continuing discussions with the writers and producers of the show, which is still in early development. Ian Biong / ra
On this date in history: In 1859, Frenchman Jean Francois Gravelet, known professionally as the Great Blondin, became the first daredevil to walk across Niagara Falls on a tightrope. In 1870, Ada Kepley became the first woman to graduate from an accredited law school in the United States -- Union College of Law in Chicago. In 1905, the theory of relativity was introduced by Albert Einstein in "On the Electrodynamics of Moving Bodies." In 1908, a spectacular explosion occurred over central Siberia, probably caused by a meteorite. The fireball could be seen hundreds of miles away. In 1934, German leader Adolf Hitler ordered a bloody purge of his own political party -- the so-called Night of the Long Knives. Hundreds of Nazis he feared might become political enemies were assassinated. In 1950, U. S. troops were moved from Japan to help defend South Korea against invading North Koreans. In 1971, three Soviet Cosmonauts, members of the crew of the world's first space station, were killed when their spacecraft depressurized during re-entry. In 1982, the extended deadline for ratification of the Equal Rights Amendment expired, three states short of the 38 needed for passage. In 1988, the Roman Catholic Church excommunicated French Archbishop Marcel Lefebvre after he consecrated four bishops in defiance of Pope John Paul II. In 2009, Yemenia Airways Flight IY626, which had taken off from Sanaa, Yemen, crashed into the Indian Ocean while trying to land at Moroni, the capital of Comoros, killing 152 of 153 people aboard. The lone survivor was 14-year-old Bahia Bakari, who became known as "the miracle girl." In 2013, the Yarnell Hill wildfire in Arizona killed 19 firefighters on what Gov. Jan Brewer called "as dark a day as I can remember." On July 9 in Prescott, thousands of people, including firefighters from across the country, attended a memorial service for the victims, all members of specialized firefighting unit called the Granite Mountain Hotshots. In 2014, the U. S. Supreme Court ruled that family-owned corporations can't be required to pay for insurance coverage for contraception under the Affordable Care Act. In 2015, the American Ballet Theater promoted Misty Copeland to be principal dancer -- the highest rank within a professional dance company. She was the first African-American woman to hold the post for the company. In 2017, the German parliament passed legislation legalizing same-sex marriage after Chancellor Angela Merkel, who voted against the measure, encouraged her party to vote their conscience. In 2019, Donald Trump made history by becoming the first sitting U. S. president to step foot on North Korean soil during a meeting with leader Kim Jong Un.