Category: Entertainment News

Three-Time Host Erykah Badu on Why the Soul Train Awards Matter and Her Controversial Iggy Azalea Joke

“The preparation is so exciting for me: I’m hosting the show. Now I’m finally getting a chance do that, and in a big way. I’m writing the show. It was like, ‘Okay, here’s the Isley Brothers; here’s Funkadelic.’ Soul Train was all we had. Tags: I come from a theater background, so I’ve trained in all the things that go into putting on a show like the Soul Train Awards, but I don’t get the opportunity to then go ahead and use them. “It was mean, but it was effective. “There’s this urban legend that I change rappers,” she says. She was okay with it … after a while.”

Jokes aside, Badu sees hosting the awards as a chance to display skills she rarely gets to showcase. To now help make the kinds of memories that I had for the people watching today is inspiring.”

Still, the job does allow for a little well intentioned side-eye. (See: Prince’s rousing Artist of the Decade acceptance speech in 2000.) This year, Erykah Badu returns to host for the third ceremony in a row, and ahead of this week’s telecast, she explained that, for her, hosting isn’t just a fun, high-profile gig, it’s an opportunity to embrace her musical heritage. “Growing up, we never missed Soul Train. Erykah Badu at the Soul Train Awards. ‘No, you can’t come.’ Then it was Young Thug: ‘No, you can’t come either.’ Then it was Iggy Azalea: ‘Oh, you can come, because what you’re doing is definitely not rap.’” Badu laughs. It’s unreal. I’m producing on the show. “So I said that since people want me to leave our rappers alone, there would be absolutely no rap on that year’s show — no one with Lil or Young in their name; no one with more than two tattoos per arm. I’m choosing my own writing team. It’s a dream.”

The 2017 Soul Train Awards air November 26 on BET. “Being a part of the show is magical,” says Badu. And I got to talk to Iggy later. That was one of the only times we got to see the artists we loved outside of their album covers. Photo: Paras Griffin/Getty Images for BET

For 30 years, the Soul Train Music Awards have been one of hip-hop and R&B’s premiere events, and a remarkably consistent generator of awesome TV moments. “The best joke I ever told hosting Soul Train,” says Badu, “well, it was at somebody else’s expense.” She thinks back to 2015, her first year as host. So after I said that, I took a call: It was Andre 3000.

Godless Recap: The Journey

Whatever the reason, he leaves him with a “Good luck to you, sir.” Bill’s gonna need it. He’s settling in, seemingly aware that the biggest story of his life is about to unfold in La Belle. Mary Agnes takes out her frustration on her girlfriend and then runs into the reporter on her way out of the general store. Back in 1884, Mary Agnes is growing suspicious of the increasing presence of the Quicksilver Mining Company — which has taken over the sheriff’s station — as the women of the town wait on them hand and foot. Time for another flashback! We learn that she was a nun and that Roy’s older brother left him with the woman. Frank Griffin is a very practical man. It’s the draggiest moment in what is practically the dead-center of this series, although it does produce the striking image of a submerged stagecoach in a rushing river. Is he just playing with the local sheriff? Bill even tells Frank that he wants to kill him, but Frank pulls the card of “knowing his death” again, claiming that it ain’t Bill who does him in. Other Notes:

• The show usually ends with classical compositions but this one has a song: “Shame” by Lukas Frank featuring Phoebe Bridgers. If they keep to themselves, Quicksilver will divert a river to their small town and make it healthier. Meanwhile, the reporter who is working to make Frank Griffin a legend and Roy Goode a dead man makes it to La Belle. They tell the journalist that someone is trying to fool him. Ford has a lot of classics, but one of his most underrated films is 1946’s My Darling Clementine. He cares for the few barely living souls there, and the twins in the gang dig graves, which we will later see are full. This one fills in the background of Alice Fletcher, one of the least developed major character through these first four episodes. He’s looking for McNue, as he believes the sheriff has found Roy Goode, but no one else in La Belle knows that the mysterious man out at the Fletcher ranch is so infamous. Mr. This one finally introduces us to Lucy Cole, the woman who cared for Roy Goode as a child. He takes her to a local group of Native Americans, who care and nurse her, and we see a few shots of the man who is likely Alice’s second husband. Finally, Bill admits the truth: Yes, he’s a lawman, and he’s coming for Frank. In the episode’s final scene, Bill finds himself vulnerable in the middle of a river, surrounded by Frank Griffin and his men. Of course, that means a cut to the Griffin Gang, who come upon a “sick house,” a place where victims of smallpox are quarantined and cared for until they die. Just as she’s suggesting he take his clothes off — for a bath, of course, nothing more — her father comes upon them. Perhaps his trauma will be a plot point in the future. Does he admire Bill’s persistence? Remember, Frank also claims to know how he will die, and apparently it ain’t smallpox. Whatever the reason, he decides to stay and help the people there. Why? With too much of a reliance on flashbacks and subplots, this is the weakest episode of Godless so far, even if it’s still remarkably watchable. Photo: Ursula Coyote/Netflix

Godless

Fathers & Sons
Season 1

Episode 4

Editor’s Rating

4 stars

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The midpoint episode of this seven-episode series is a chapter about powerful change. The first comes when she kisses him near a river, and Whitey has such a shocked look on his face that it’s almost definitely the first kiss of his young life. He tries to sell the story that he’s not really following Griffin, but Frank is too smart for that noise. Actually, two moments. These people are dying, and Frank is going to help them on their way to their final resting place. At times, it feels a bit too transitional — the hunting trip and the smallpox house don’t really do enough to deepen the show’s hero and villain or bring them closer together, but the performances and writing are still strong enough to keep it moving. It’s one of my favorite films of all time. Perhaps he has a smallpox story in his background. Meanwhile, Whitey is flirting with his violin teacher when the day presents him with a life-changing moment. While that’s happening, Roy, Alice’s son, and the boy’s mother are going on a hunting trip. But what happened to Roy’s brother? Whitey and others are digging through the debris, bringing up an elevator filled with bodies. “Fathers & Sons” is packed with a mining accident, a smallpox outbreak, and the devastating flood that killed Alice’s husband. Logan, the head of security for the Quicksilver Mining Company, comes on the Buffalo Soldiers near La Belle to offer them a deal. He’s pissed at the local law for doing nothing, and seems even more driven to get Frank Griffin, especially after he discovers that one of his outlaws took Cook’s badge. Thank God he didn’t come a few minutes later because he’s furious enough that he whips her on the porch, perhaps knowing that Whitey would see it. The catch is that the men can’t team up with the women of La Belle. We see that a group of violent Native Americans found Alice after the flood that killed her husband. Or perhaps he knows that Bill will lead Frank to Roy? Death is lurking everywhere, even in the nearby river. Is that what you want? (Anybody want to bet it’s Roy?) Frank Griffin doesn’t kill him. Back in the present day, Sheriff Bill McNue undeniably looks like a ghost of what he used to be, as he identifies the body of Marshal John Cook from Santa Fe. It’s a well-shot flashback sequence with little dialogue, allowing McNairy and Dockery’s expressive faces to do the acting. Whitey quickly realizes that Roy is a good man, and that he may have even just saved his life. The young man pulls a rifle, but Roy comes along at just the right moment, stopping him from murdering the father of the woman he loves. He knows Bill won’t be the one to kill him, so he’s not afraid of him. Turn you into a bedtime story?”

And my favorite exchange: “I’m just wondering.” “What about?” “What it was took the life out of your face.”

Tags: As they tried to rape her, Alice fought back, stabbing as many as she could until Bill McNue came upon her, half-naked and covered in blood. Quicksilver is already trying to stem off a revolution, buying out the strongest men in the area before the ladies of La Belle can do so. The episode opens on the day of the La Belle mining accident that took seven dozen lives. • The best quotes from this episode: “To women, cards, and whiskey — three war causes in the West,” “The world don’t need another gunfighter,” and “While I admire your ginger, sir, sometimes men want me to kill ’em, so they can die attached to some purpose. It’s kind of hard to believe Whitey isn’t more shattered given what he must have seen that day, but that’s forgivable creative license for now. Want me to kill you? • If you’re wondering where you’ve seen Tantoo Cardinal, the actress who plays Truckee’s grandmother, she has appeared in a ton of movies including Dances With Wolves, Legends of the Fall, and this year’s Wind River. It brings out a surprisingly tender side of Frank Griffin, who seems overwhelmed by the horror of it all. • For this episode’s Western recommendation, I’m going back to John Ford, and probably not for the last time. After a few transitional scenes — Roy wants to take Alice’s son hunting, Mary Agnes sees her girlfriend with another woman — we get another major flashback.

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Uma Thurman Taunts Harvey Weinstein In Thanksgiving Instagram

I feel it’s important to take your time, be fair, be exact, so… We say “almost” everyone because Thurman made a very pointed exception in her well-wishings, saying, “Happy Thanksgiving Everyone! H A P P Y T H A N K S G I V I N G I am grateful today, to be alive, for all those I love, and for all those who have the courage to stand up for others. Photo: Walter McBride/WireImage

In between consuming too much food, possibly watching the Macy’s Thanksgiving Day Parade, and whatever else Uma Thurman gets up to on Turkey Day, the actress took the time to wish almost everyone a happy holiday on Instagram, and also to support those who have come forward with their allegations of sexual abuse. I said I was angry recently, and I have a few reasons, #metoo, in case you couldn’t tell by the look on my face. (Except you Harvey, and all your wicked conspirators.” You can read the post in its entirety below to get the full effect, and you really, really should. Happy Thanksgiving Everyone! (Except you Harvey, and all your wicked conspirators – I’m glad it’s going slowly – you don’t deserve a bullet) -stay tuned Uma Thurman A post shared by Uma Thurman (@ithurman) on Nov 23, 2017 at 12:58pm PST

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Godless Recap: The Song of the Bee

• The structure in “Wisdom of the Horse” is really different in terms of length of scenes and the withholding of Jeff Daniels until the final beat. Mary Agnes and her girlfriend are seated on a couch, and the pretty local teacher wants to take care of her. He and the boy bring the horses back and Roy teaches him one of the most important lessons: Taking shit from bullies is the smart move if it means you live another day. There’s also a protective side to Mary Agnes, as she tries to take care of Whitey’s dumb ass. • The best quotes from this episode: “That boy’s about as musical as a trout,” “You should never have to eat another man’s dirt,” and “There’s more word for whore than there is for doctor or lawyer.” And, of course, this great exchange: “She’s not right in the head.” “And neither will you be you keep hollering at her like that.”

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Godless Is So Good, You’ll Like It Even If You Don’t Like Westerns

Tags: It’s a nice detail distinguishing hero and villain. And then we cut to a woman who waits for no man, Mary Agnes McNue. In an episode of long scenes, this one seems almost too long but Jack O’Connell gets some nice character development. In the exchange, Mary Agnes proves she’s a quicker draw than Whitey. In the tender scene that plays out here, Merritt Wever deepens the range of Mary Agnes as a character, showing that she has a soft, romantic side as well. “Wisdom of the Horse” is structured with lengthier, character-driven scenes that allow for the development of supporting players, especially Mary Agnes McNue and Whitey Wynn. • The opening shot of Bill coming upon the dead bodies in the valley against the endless sky reminded me of John Ford, the king of the Western. It’s concerning that this subplot undermines the feminist angle of the show by making Alice so reliant on Roy, but he’s not quite reached savior territory yet. The boy gets kicked off his steed, but Roy makes him get back on. The story about the Griffin Gang coming for Roy Goode and anyone who protects him is published; Ed Logan gets to La Belle and announces he’s the law now; Alice comes to get an educational primer for Roy from the town teacher; and Whitey is advised that he should be wary of the Buffalo Soldiers. Roy notices that Logan, the smarmy head of Quicksilver security, is kicking his horse to death. They want Goode back. Frank Griffin is getting closer to his target. Finally, Marshal Cook gets to a darkened saloon, suddenly lit by a match held by Frank Griffin. All dead before they hit the ground.” Instead of just shooting Frank Griffin, he injures him, knowing that a wounded leader will force the entire gang to leave. Of course she is. A series of final, shorter scenes unfold. As Bill reconstructs what happened, a Native American stumbles upon him. And there’s a biblical allegory aspect to the show that I think he would have liked. You can say that again. Marshal Cook is dining with Mr. It’s a very good scene between her and Whitey — two people worried about Bill. Bill McNue opens the episode as he rides toward the canyon in which Roy Goode held off Frank Griffin and the 30-odd members of the Griffin Gang. Roy and his ward are trying to find the escaped horses when they spot the men of the Quicksilver Mining Company. It’s interesting that our only romance so far is between women — not exactly typical for the Western genre. There, he sees Whitey Wynn and a carriage of La Belle Power Women coming to speak to Alice. Roy also notices that Alice’s son can’t ride a horse, so he decides he’s going to give him lessons. He eyes Bill and tells him that he has “lost his shadow.” That’s putting it kindly. You find them and you kill them all.”

In an episode full of minor details, my favorite may be the woman in La Belle building a church for a pastor who will likely never come. The episode is also thematically consistent in that it’s about teaching and the bonds that form between teacher and student. It helps that it’s also a well-directed scene by Scott Frank, especially the great shot of Roy riding into the distance. We see how Roy pulled off a miracle, starting with a gunshot to the head of the horse he’s riding. As Bill cases the scene, we flashback to the showdown in what is the best-staged sequence of the series so far. He encourages them to get to La Belle soon, also mentioning that Frank Griffin has lost his tenuous hold on sanity since Roy Goode betrayed him. While Marshal Cook gets closer to his target — running into the reporter from who was bullied by Griffin — Bill comes across the traumatized family from the last episode. He then leaps behind the horse, using it as a shield as he takes down “seven men in the time it takes to spit. It’s great when a show mixes up format this early in its run, keeping things fresh over a relatively long haul. Whitey takes violin lessons from one of the young ladies there, but he’s really just there to flirt. She takes it relatively fine, but the dead man’s mother is furious. Valentine and the men of the Quicksilver Mining Company. Roy even wrangles the toughest colt in the pen — he’s clearly got a gift. Meanwhile, the man who broke the thin ice of Frank Griffin’s sociopathy is on the Fletcher ranch doing some horse whispering. (Now that this subplot has been introduced, the bloody violin in the opening credits add a nice foreboding to Whitey’s future.)

Back at the Fletcher ranch, Roy makes the mistake of putting on the clothes of Alice’s dead husband. Knowledge is a gift, whether it’s reading or horse-riding or violin-playing, and that giving forms a bond. It’s a slower episode than the first two but just as rewarding, even if it does place the Roy Goode–vs.–Frank Griffin arc on the back burner until its explosive final scene. With little warning, Frank blows the Marshal’s head off. Photo: Ursula Coyote/Netflix

Godless

Wisdom of the Horse
Season 1

Episode 3

Editor’s Rating

4 stars

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The third episode of Godless switches things up a bit. So, let’s make this episode’s movie recommendation one of the master’s best: 1939’s wildly influential Stagecoach. Other Notes

• This is Jack O’Connell’s best episode so far. The whole cast is strong, but he really looks like he stepped out of the Westerns of the ’40s and ’50s, an era in which he would have been a household name. She makes a deal: Alice will sell the town her surplus of horses if Roy can stay and break them. She gives Bill firm instructions: “You find them, Sheriff. The woman who was raped and beaten by Griffin and his men tells Bill that he’s only about a day behind the gang, and they’re headed for a nearby town. (He’s starting to strike me as the kind of likable sidekick who does something heroic in the finale just before he gets shot in the head.) After Mary Agnes leaves, Whitey rides to the outskirts of La Belle, where a group of black Buffalo Soldiers reside. Roy, who is unarmed and with a child, submits and survives. There may only be seven episodes of Godless, but they all run around 70 minutes, which means this is close to the length of a narrative you’d see on ad-supported TV like FX or AMC. And he takes the note from his pocket about Lucy Cole, someone close to Roy Goode.

How to Stream the NFL Football Games on Thanksgiving

The Chargers’ relocation from San Diego to Los Angeles this year has resulted in something even worse than indifference: L.A. To help you decide, here’s a breakdown of the day’s lineup. You could also spend a maddening amount of energy clicking around the Xes and popups on illegal Reddit streams, but that may be more effort than one should be expected to expend on Thanksgiving. How to Stream the Games

On your phoneIf you have Verizon, which is the NFL’s exclusive mobile streaming partner, you can use the the NFL Mobile or Verizon go90 app to watch all the games for free (without counting against data usage). That has provided opportunity for Vikings QB and shocking fringe MVP candidate Case Keenum to lead his team to an 8-2 record and a two-game division lead over the Lions. Photo: Al Bello/Getty Images

You know what would make the NFL thankful today? Chargers @ Cowboys (4:30 PM ET; CBS)A showdown between two teams that have failed to live up to expectations this season, though the Cowboys remain one of the NFL’s top draws. Tags: (Regardless of your mobile provider, none of the TV network sites or apps — NBC Sport, Fox Sports Go, etc — will work on your phone due to the Verizon deal.) Otherwise, using Slingbox will enable you to jump your cable TV feed to your phone, as will certain OTT offerings like Playstation Vue or FuboTV. (Plus, the game falls during that peak food-coma-on-the-couch window). viewers used to get to the best games in the league on their local broadcasts, but now those spots are taken by the Chargers (and the Rams, who are actually having a solid season after moving to L.A. If you don’t have Verizon, sit next to a cousin who does and try to broker a swap of your dessert for their phone. Giants @ Redskins (8:30 ET; NBC)Potential alternatives to watch instead of this race to the NFC East basement between New York (2-8) and Washington (4-6) include The Godfather Parts I and II on AMC and Hidden Figures on HBO. Or perhaps it’s time to dive into Godless on Netflix? Game schedule

Of course, all that streaming info presupposes that you even want to watch the games. These will require you to login through your cable or OTT subscriptions. As of press time, roughly 4 million Dish Network subscribers in a dozen markets — including major ones such as New York, Chicago, Dallas–Fort Worth, and L.A. from St. Dallas is missing star running back Ezekiel Elliott, who is serving a six-game suspension following domestic-abuse charges, and a loss in this game would just about be the nail in the coffin for the Cowboys’ season. — could be blocked from seeing this game due to an old-fashioned carriage dispute between CBS and Dish. On a tablet or laptop The Verizon exclusive only applies to phones, so you can use the broadcast networks’ apps or websites for their respective games:

• FOX Sports app or foxsports.com for Vikings-Lions• CBS app or cbs.com for Chargers-Cowboys• NBC Sports app or nbcsports.com for Giants-Redskins

For the CBS and NBC games, fans can also use the NFL’s platforms: the NFL app on tablet and nfl.com on p.c.s. For anyone interested in helping the league stanch the bleeding by tuning in — whether due to tradition, team loyalty, or a need to placate grumpy relatives — to what is a largely underwhelming slate of Thanksgiving games, here’s how to watch on any of your devices, plus an overview of the matchups. Louis, though fans are yet to care). If people simply watched their games. Let’s hope that gets resolved before kickoff, even if just temporarily, since it’s unfathomable that anyone not be able to see the Cowboys on Thanksgiving. If Minnesota can prevail in this Thanksgiving afternoon tilt, they will effectively lock up the NFL North — but the Lions won the first matchup between these two teams earlier in the year, and that was on the road in Minneapolis. Vikings @ Lions (12:30 PM ET; FOX)In recent years this game would typically help determine the runner-up in the NFC North, but Packers quarterback Aaron Rodgers does not at present time have an intact collarbone, so his perennially front-running team has faded into oblivion. During what has been an exceedingly difficult season for the league — what with divisive player protests during the national anthem, a high-profile power struggle between Cowboys owner Jerry Jones and NFL commissioner Roger Goodell, and season-ending injuries to some of the game’s biggest stars — arguably its (and Papa John’s) biggest frustration is that TV ratings continue to trend downward.

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Mr. Robot Recap: Moment of Truth

Robot, but he’s already too far gone on a fiery rant. • What are the odds that Santiago’s ailing mother will be used as leverage in the next few weeks? The two try to worm their way out of Leon’s grasp to no avail — Trenton frees herself from her shackles and tries to drive away with Leon’s Cadillac, but, since she doesn’t know how to drive, she immediately crashes. Trenton and Mobley might be former fsociety members, but they were also the first ones to balk at Darlene’s murder of Susan Jacobs. Mr. See, his revolution has been coopted by the Dark Army, which only wants to manipulate the people to line their pockets. He plants false information about a second attack at their feet and shoots them both in the head. • Music Corner: The Knight Rider theme song plays over the opening credits. Robert Plant’s “In the Mood,” featuring drum work by Phil Collins, scores the scene when Mr. “These sound like delusions of grandeur,” Krista calmly replies. “You’re actually gonna get away with this,” Dom sadly remarks to herself as she pins Whiterose’s name on the FBI’s board. The worst part is that it’s all just a pissing match between Whiterose and Phillip Price. “Face it, no matter how hard you try, that’s always the end result,” Irving says with a shrug. The world has been shaken to its core. Thousands are dead. Gang Starr’s “Moment of Truth” plays as Leon takes Trenton and Mobley to the desert. Robot is at its worst when it tries to incorporate pop references into dialogue. Unfortunately, Mr. Elliot clearly understands the implications of his actions, but Mr. Leon returns them to the Dark Army where Whiterose’s second-in-command takes them to the garage in order to stage their suicides. The last we heard from them was at the very end of season two, when they discussed the possibility of undoing the hack and the damage they caused, only for Leon to arrive at their feet asking the time. Photo: Michael Parmelee/USA Network

Mr. It’s genuinely heartbreaking to watch Trenton and Mobley slowly realize they’re about to be killed and beg for their lives. Elliot, burdened by the guilt of inadvertently contributing to the attack, makes a beeline to Krista’s house to confess his sins. She’s not technically correct, but she’s not exactly wrong, either. They realized long before Elliot, Darlene, Cisco, and the others that they were a part of something too large that will ultimately consume them. It turns out that Leon took Trenton and Mobley hostage and killed Mobley’s roommate. Robot takes over his mind when Elliot can’t articulate the horrors for which he’s responsible. It’s only when Irving takes Mr. Exhibit A: Mobley’s rant featuring rapid-fire nods to Sam Kinison, The Shining, and Christian Bale’s hot-mic tirade. Robot for a joyride to a wealthy rooftop party that he finally sees how his revolution was doomed from the start. Angela was a pawn through and through, used and controlled by Whiterose to ultimately further her own self-interest. Elliot and Darlene’s protests were ultimately too late, and now Angela suffers from the guilt that travels like a virus. Meanwhile, Angela has entered a state of shock. Robot

eps3.6_frederick&tanya.chk
Season 3

Episode 7

Editor’s Rating

4 stars

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Last week, after stopping an attack on E Corp’s New York storage facility, Elliot witnessed on television that the Dark Army has blown up 71 storage facilities across the country. He tells him that if he reveals Santiago’s involvement in the Dark Army that he’ll make sure his son “becomes a statistic.” Tyrell, following Irving’s instructions from last week, will likely be set free after his lawyer finagled immunity for the location of those responsible, but he still lives with the pain knowing that he’s partly responsible for his family’s demise. Robot are oftentimes mere plot-delivery systems, carrying the unfortunate burden of tying narrative threads together and establishing the next part of the macro story, this one is decidedly different. Orphan Code

• I assume that the post-credits scene at the end of season two took place just before the terrorist attack because otherwise the timeline is a little fuzzy. But Leon isn’t there to murder them. But the hack leveled society so much that it became vulnerable to larger, more dangerous fanatical attacks. When it does tie up loose ends, in the form of two beloved returning characters, it’s given the proper emotional weight. Robot emphasizes that these are unique, distressing times, and there’s no guarantee that the good guys will ever win again. “eps3.6_frederick&tanya.chk” covers the fallout from last week’s shocking conclusion. She lifelessly stares at the disaster footage on television, often rewinding scenes of destruction to prove that the victims are no longer dead. Robot confronts Irving in the body shop. All the chaos and destruction and death was because she simply wanted to teach Price a lesson. Robot is still deep in denial. Irving points out that the only reason he was allowed to act at all is because rich people in power gave him permission. • A small thing, but Mr. They’re people who got involved for ostensibly the right reasons and realized a little too late that the whole thing was more rotten than they realized. Sure, fsociety’s Five-Nine hack was designed to return the power to the people, and yes, their cyberterrorism never targeted innocents. But they were still doomed from the start because anyone Mr. It captures brief glimpses of shock and despair, people lashing out or receding inward after experiencing a trauma. The wealthy will always have parties, even while thousands across the nation lie dead, because these things never affect them. Everyone, including those in the Dark Army’s orbit, will struggle to pick up the pieces and figure out what’s going on and how to stop it. Tags: Santiago informs Tyrell about his dead wife and orphaned child. Krista honestly tries to communicate with Mr. But the week’s main tragic story involves Trenton and Mobley, two of the core fsociety members who booked it to the West Coast after feeling the heat from the FBI around the corner. He’s just there to supervise and get them out of their house while the Dark Army stages something more sinister. In almost any other circumstance, it would be cheap for a show to bring back two old characters just to murder them, but Sunita Mani and Azhar Khan’s performances, along with Penn’s script, more than justify their roles in this episode. As soon as we learn that Tyrell pinned the attack on Trenton and Mobley, it was only a matter of time before they were killed. While these episodes of Mr. They’re string pullers, he says, who plan to use Tyrell Wellick like a pawn so that they can pin the attack on Elliot. The FBI arrives too late to save them. She installed him into power precisely so he could further her interests, not stymie them. Robot touches inevitably meets a tragic end. Leon, a mere Dark Army chaperone, takes them to the middle of the desert to bury Mobley’s roommate, but the whole time they’re worried that they’re about to be taken out. Donning her Zhang persona, Whiterose calmly explains to Price at Mar-a-Lago that she was furious that he couldn’t control Angela Moss or her lawsuit against her chemical plant. It looks like she’s right. Others characters are stuck languishing in homes and in jail cells. Nothing ever quite changes. Written by Adam Penn, “eps3.6_frederick&tanya.chk” stews in the depressive atmosphere created by the Dark Army. It’s painful to realize that they’re mere collateral damage for an organization that’s on a roll with no end in sight.

Makeup Artist Says Jeffrey Tambor ‘Forcibly Kissed’ Her On Set in 2001

Jeffrey Tambor. It was a whole bunch of emotions.” Following the interaction, Delbridge said, she worried that she had given Tambor the wrong impression, but that the actor Bill Duke had reassured her that it was not her fault. Tambor responded to Delbridge’s accusations via an email to Refinery29 today, saying: “I have absolutely no recollection of anything like this incident ever happening. “I didn’t even know how to react, because how do you react when you’re not expecting anything like that? However, I am deeply sorry for any discomfort or offense I may have inadvertently caused her.” Delbridge is the third woman to accuse Tambor of sexual misconduct, following claims by his two of his Transparent co-workers, Van Barnes and Trace Lysette. According to a report in Refinery29, Delbridge said that incident took place on set, during the last day of filming. If it did, it wasn’t meant as anything more than an enthusiastic farewell and gratitude for a job well done at the end of a shoot. “I said [to Tambor], ‘It was very nice to work with you’ and he grabbed me out of nowhere and kissed me on the lips. Photo: Vivien Killilea/Getty Images for GLAAD

Tamara Delbridge, a celebrity makeup artist, alleges that Jeffrey Tambor forcibly kissed her when she worked with him on the film Never Again in 2001. So I didn’t know if I was embarrassed or shocked or mortified or stunned. Sources

Refinery29

Tags: And I was just shocked,” she said. “Bill Duke stopped me and he said, ‘That was inappropriate.’ In my mind he just confirmed that I didn’t do anything to provoke it,” she said.

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Former Intern Says Charlie Rose Forced Her to Watch an Explicit Scene from Secretary

“He asked me, ‘How does this make you feel?’” Gordon continued. Gordon said that the entire interaction lasted about 20 minutes, and that Rose did not touch her at any point. Rose. Photo: Taylor Hill/FilmMagic

Just a day after Charlie Rose was fired from CBS News over sexual misconduct allegations, another woman has come forward accusing the former news anchor of sexual harassment. Well, I guess some people are really into this and I’m not.’”

After a while, Gordon changed the subject, asked Rose if he needed her to bring anything back to the office, and then left the apartment. “I proceeded to go into the living room, and he said, I want to show you this scene from this movie and he said have a seat, you know, relax, and he proceeded to turn on the film Secretary, which is a sexually involved film involving S&M, unfortunately,” she told NBC News. “I did not run, but I [was] just like, ‘Oh, okay. According to NBC News, Sarah Gordon, who was an intern for Charlie Rose, said that Rose allegedly forced her to watch a sexually explicit scene from the movie Secretary when she worked for his show in 2002. The incident occurred, Gordon said, when she was delivering mail to Rose at his apartment one day. Sources

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TV Host Charlie Rose Accused of Sexual Harassment By 8 Women

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Call Me By Your Name is a Masterpiece

The Italian director Luca Guadagnino creates a mood of free-floating sexual longing. He and Elio have a revelatory conversation near the end, but it’s the very last shot that stays in mind, all but dissolving the boundary between viewer and actor. The flesh tones stand out against the villa’s pale whites and yellow walls — more tactile but on a continuum with the sculptures and oil paintings by men with similar longings centuries ago. Elio sneaks into Oliver’s room and sticks his nose into a pair of discarded bathing trunks, inhaling sharply. Chalamet gives the performance of the year. I also can’t remember a filmmaker who has captured the essence of midsummer this way, lazy but so vivid that every sound registers. The minutes go by and then we’re into the film’s second hour with everything maddeningly —but thrillingly — undefined. Call Me by Your Name takes place in summer, 1983. The title is said in a moment of passion. Oliver gives the shirtless Elio a quick shoulder massage and then heads off to play volleyball. It’s Oliver’s fervent desire to dissolve his self, to become one with Elio. Sound floats in through windows — of insects and birds but mostly wind. I should point out that Armie Hammer doesn’t look 24 — more like 29, which he was during filming, and that changes the dynamic. The presence of Nature can be felt in every one of cinematographer Sayombhu Mukdeeprom’s frames. Was it innocent or a come-on? There’s friction in the uncertainty, heightened when Oliver dances provocatively with Elio’s kinda-sorta girlfriend. In this atmosphere, how can something not be stirring? But he’s hard to read. Or is something stirring in him, too? Call Me by Your Name is hardly the first film set in Italy to juxtapose youth and beauty and fleeting seasons with ancient buildings and ruins. But I can’t recall such a continuum between the ephemeral and the enduring. Whichever, Oliver’s touch lingers. It’s reflected in the bodies of the characters. He’s broad-shouldered, slim-hipped, absurdly handsome. All the Sexual-Tension GIFs You Need From the Call Me by Your Name Trailer

The 24-year-old visitor, Oliver (Armie Hammer), has an easy, almost arrogant physicality. Oliver is hard for Elio — and us — to read. The love scenes between Elio and Oliver aren’t explicit — they only feel as if they are. Tags: It has the feel of something recollected in tranquility, but the eroticism is startlingly immediate. In early scenes, the skinny, long-waisted Elio seems vaguely uncomfortable in his body, as if uncertain what to do with it apart from the de rigeur canoodling with teenage girls who swim with him in nearby lakes and ponds. By any name, this is a masterpiece. Photo: Sony Pictures Classics

In Call Me by Your Name, the gifted young American actor Timothée Chalamet plays Elio, a 17-year-old who spends summers with his academic parents in their airy, rustic villa in Crema in northern Italy. He puts them on his head. It’s only when he stares from his bedroom window at the arrival of this year’s summer guest — a young scholar who’ll spend six weeks reading, writing, and working with the professor — that Elio seems to come out of his own head. Everything in Call Me by Your Name registers momentously, from the scene that definitively raises the question, “Do I dare to eat a peach?” to the ’80s dance numbers to the yearning Sufjan Stevens song over the stunning credits. Make of that what you will (17 was above the age of legal consent in Italy), but it’s Elio who finally pushes Oliver over the brink — who calls the question. Oliver never wears long pants, only short shorts or swim trunks, and young men are always doffing their shirts and jumping into sparkling water or riding on bicycles along dirt roads. He’s in heaven. The faithful adaptation of André Aciman’s novel is by James Ivory, but the movie has a different feel than Ivory’s own formal, somewhat stiff work. Related Stories

Call Me by Your Name Book Club Part 3: Can You Ever Say Good-bye? Is he toying with the teenager? Michael Stuhlbarg plays Elio’s father, an anthropology professor who gazes intently at his son, seems to know what’s happening — and doesn’t interfere.

Spike Lee’s She’s Gotta Have It Is a Scattered, Playful Remake

There’s an explosion, and I mean literal explosion, of scatalogical humor a few episodes in that might give even the Farrelly brothers pause. What’s fascinating about both versions is how loose and playful they are. Others are squirm-inducing, notably a long discussion of the injustice of Al Pacino beating Denzel Washington for the best actor Oscar in the year of Lee’s Malcolm X. Some of these are clever, like a painted “Da Mayor” sign on a stoop that harkens back to Ossie Davis’ role in Do the Right Thing. But it’s fun to see Lee, who is almost 60, goofing around and trying out new things as if he’d time warped back to the moment he graduated from film school. More so than a lot of Lee films, and this is saying a lot, She’s Gotta Have It is a hangout movie, built mostly around scenes of people talking in apartments, coffee shops, and on the street. This kind of thing would be less irksome if there were, say, 80 percent less of it. There are images, scenes, and devices in this show that I’ve never seen before, including a type of edit that I’m going to dub a “hypertext cut,” where Lee essentially pauses to answer an extra-dramatic question that might have arisen in your mind as you watched (for instance, whenever an original song ends, Lee cuts to a closeup of the album cover!). As Lee’s longtime champion Roger Ebert observed, She’s Gotta Have It was a rare feature about black folks that showed them relating, first and foremost, to one another, without mediating their existence to protect the sensibilities of a hypothetical white audience. The movie’s sexual politics didn’t hold up under scrutiny – more on that in a moment – but this seemed like less of a deal breaker when measured against Lee’s audacity, talent, and relentless determination to make Afrocentric movies set in the real world, on his own unique terms. Lyriq Bent is Jamie Overstreet, the buppie who presents himself as a thoughtful, sensitive, responsible man but has a controlling streak. Here, as in the movie, it’s not immediately apparent what Nola sees in Jamie, a character who seems to represent the monogamous, woman-as-possession scenario that’s anathema to her. The original, an 86-minute sex comedy about a free-spirited painter named Nola Darling (Tracy Camilla Johns) who refuses to let men define her, was Lee’s debut feature and his pop culture breakthrough. The series changes tone and genre so often that it’s hard to keep track of all the different iterations that it passes through as you watch it. Anthony Ramos is Mars Blackmon, a motor-mouthed clown of a bike messenger played by Lee in the original movie; Nola likes Mars because he’s unpretentious and makes her laugh, though she gets annoyed when he waxes rhapsodic about her apartment (this show is real-estate porn) and immediately asks if he can move in. Lee’s debut was criticized even at the time for reveling a bit too obviously in Nola’s sexual availability, in a way that objectified a woman who said she did not want to be objectified; and the rape-as-punishment scene that drove Nola away from one of her lovers, then back into his arms, felt like a repudiation of everything the movie professed to stand for. Over three decades, Lee inspired countless filmmakers, both visually and in terms of professional philosophy, who are now feature directors or showrunners themselves. But things detour pretty quickly after that, in ways that detractors of the movie might appreciate. DeWanda Wise plays Nola, our guide and narrator through modern Fort Greene, a less funky, more gentrified place whose rising property values are the subject of much discussion. In the pilot, written and directed by Lee, the quadrangle of Nola and her lovers plays out more or less as it did in the original film, but with full color and more acrobatic sex scenes replacing Dickerson’s softcore splash panels of bare backs and breasts and climax-faces. The Netflix version won’t have the same cultural impact, and how could it? He’s mostly a body to Nola, though his apartment is gorgeous, with lots of open space and striking, large-sized photographs, and a stereo system blasting Miles Davis. DeWanda Wise as Nola Darling. Or maybe on some level it isn’t. or so that Lee can properly worship a bit of architecture or a man or woman’s body, or let a song that he likes finish playing. That’s impressive enough on its own that it overcomes some very circa-1986 Spike Lee declamatory line readings, many clumsy bits of exposition, and a strain of self-congratulation in the form of shoehorned-in references to other Spike Lee joints. For the most part, Netflix’s She’s Gotta Have It finds Lee operating in an entranced, scattered, digressive mode reminiscent of a mid-period work like Girl 6 or Bamboozled, or one of those long scenes in Jungle Fever where the story, such as it is, grinds to a halt so that the characters can discuss social or political issues. This series can’t help but feel like a latecomer to a genre that Lee’s first movie refined and made popular – one that’s now exemplified less by feature films than by web series and shows that started out as web series, like High Maintenance and Insecure. I have no idea if I’m enticing you to watch the show or actively driving you away from it, but that’s Spike Lee for you: He does his thing, and you can take it or leave it, and it’s the take-it-or-leave-it attitude that inclines me to take it. (Though he’d doubtless be horrified to read this, Lee’s debut might have unthinkingly jump-started gentrification in that neighborhood; a lot of the white homeowners who bought property there in the 90s and aughts were in high school and college when She’s Gotta Have It came out.) Cleo Anthony plays Greer Childs, a preening playboy so cheesy that animated wedges of gruyere should trail him through the frame. Lee and his then- (and still best) cinematographer Ernest Dickerson shot Fort Greene as if it were the hippest, most beautiful place on earth, filled the screen with fresh faces, gorgeous bodies, and striking camera angles (including direct address), and stocked the soundtrack with a mixtape of then-current hip hop, rhythm and blues, and original jazz compositions by his father, composer and pianist Bill Lee. Photo: David Lee/Netflix

The title of Spike Lee’s She’s Gotta Have It now requires a parenthetical: (the movie) or (the Netflix series). Related
Spike Lee on Turning She’s Gotta Have It Into a Netflix Series

Tags: Lee has been contrite about all this, and belatedly makes amends here by entrusting most of the episode teleplays to women writers (including Radha Blank, Eisa Davis, Lee’s sister Joie Lee, and playwright Lynn Nottage) and replacing the rape with an incident of street assault that becomes defiant fuel for Nola’s art. The former came out in 1986, the latter debuts Thursday. But it’s also fascinating, in a back-asswards way, because it shows that Lee is as influenced as ever by Jean-Luc Godard, the French New Wave standard bearer who had a Brechtian and self-referential tendency from the start of his career and started turning subtext into text (sometimes actual text) more often as he got older. At the time, a number of white critics condescendingly described him as a black Woody Allen, presumably because both filmmakers were skinny and wore glasses and made movies in New York; but there were few other defensible points of comparison, and Woody Allen damn sure never mock-begged the audience to buy tickets to his work, as Lee did in a hilarious trailer that found him standing on a corner selling tube socks, “three fi-dollars.” The movie had a patched-together quality characteristic of many notable American indies from that period, but it compensated with a fresh style and an unprecedented Afrocentric view of middle-class black life. Sometimes the conversations are germane to the plot and sometimes they refer to the culture at large, to American history or race relations or economics, or to the relationship between the series and the people watching it on their TV or laptop or phone (Lee’s fondness for theatrically florid, straight-in-the-camera monologues could be jarring on a big screen in the age of film, but it feels natural in the era of selfies).

25 Movies to See (Or Skip) This Thanksgiving Weekend

Johnson on Netflix.)

One of UsThe latest film from Rachel Grady and Heidi Ewing follows three people as they attempt to leave the Hasidic community in Brooklyn, only to be greeted with varying degrees of harassment, intimidation, and exile. The two reunite here in “a contrived but surprisingly enjoyable return visit with two frequent co-stars and a few other wonderful actors,” writes Edelstein. Photo: Sony Pictures Classics

No matter how much you love your family, the holidays can be hard to navigate, especially if you have that family member with those thoughts on “the tyranny of PC culture” coming to Thanksgiving dinner. Like the best Oscar darlings of the past, this one is for sure going to make you cry. This will certainly screw with your family, and you’ll absolutely get a kick out of it, too. While the film is occasionally frustrating, Yoshida finds Vega’s performance to be not just fantastic, but extraordinary: “The sidelong glances she gets even from the most well-meaning people she crosses paths with is enough to make anyone want to hide out at home in sweatpants forever in sympathy; that Marina keeps making herself an inconvenience for Orlando’s horrible family is enough to make her a worthy heroine.”

If You Want to Kickstart That Political Conversation Everyone Has Been Avoiding

The Death and Life of Marsha P. Her irresolution makes for excellent drama.”

Three Billboards Outside Ebbing, MissouriMartin McDonagh’s mouthful of a movie may veer into gory surrealism, according to Edelstein. The two play widowers who eventually get together, and “the good vibes linger,” our critic adds. Brett Morgen’s documentary about the famed primatologist jumps between footage of her early years in Africa and her life now. “Although the banter is high-flying, it’s a grim slog from the semi-stupor of grief and age (and alcohol) to something that acknowledges even the possibility of transcending the misery of 21st-century America,” writes Edelstein. But what a lovely note that is.” (Stream The Meyerowitz Stories on Netflix.)

Mudbound“Mudbound could have easily turned out as a kind of dusty, respectable period drama that looks important while advancing nothing,” writes Yoshida, “but it exceeds expectations with every new layer.” Dee Rees’s 1940s period piece follows the lives of interconnecting white and black families in the rural South; institutional racism and the effects of war make for a profound, crushing tearjerker. Using archival footage of when the actor went crazily Method portraying the late, great Kaufman in the 1999 biopic Man on the Moon, Carrey offers modern-day commentary on his performance and the toll of being a celebrity. And, as Edelstein writes, it’s a bit old hat, but takes some surprising turns: “This is a formula movie but Gilroy is no hack. Well, Griffin Dunne’s documentary on his aunt Joan Didion, the famed writer and reporter, is an informative and beautifully distracting watch for you. But worth it.”

Roman J. Edelstein praised the film’s provocative material, noting, “Betts has succeeded in capturing a watershed moment in the life of the Catholic Church — a push to adapt that is, in important ways, at odds with its very origins. This directorial debut from Greta Gerwig is about the last year of high school for one teenage girl (Saoirse Ronan) and is “nearly perfect” according to Edelstein. Fortunately, late November is right in the midst of peak film season, giving you plenty of good reason to escape to the theater or your preferred streaming platform. (Stream Joan Didion: The Center Will Not Hold on Netflix.)

Our Souls at NightNothing mends psychological damage like Robert Redford and Jane Fonda. The legal issues seem thought-through. The annual festival is a remarkably unsafe spectacle in which fireworks bombard the sky, an exhibition Yoshida finds captivating, poetic, and frightful: “The people of Tultepec, the visitors, and Jakovleski all seem to understand that pain and injury are the price to pay for this tradition, and the pride of the town.”

If You Want to Genuinely Horrify Everyone Around You

The Killing of a Sacred DeerYes, Yorgos Lanthimos and Colin Farrell’s second film together is that messed up – just wait until the last scene to find out how messed up. (Stream Mudbound on Netflix.)

A Fantastic WomanThis indie is a vehicle for its star Daniela Vega, a trans actress who Buchanan, among others, thinks may make Oscar history with a potential Best Actress nominaion for her knockout performance. As with many Great Man Biopics, Yoshida finds the film lacks some nuance, but writes, “If all this makes Darkest Hour propaganda, then the shoe may fit, though it’s hard to find fault with its protagonist’s aims, at least in this small of a scope.”

Brimstone and GloryDads love turkey almost as much as explosions, making Viktor Jakovleski’s 67-minute documentary about the National Pyrotechnic Festival in Tultepec, Mexico, a perfect watch after Thanksgiving dinner. The film is extremely dark, and Yoshida noted how it expertly points to the ways that gun and war culture influenced Crowley, writing, “What’s ultimately troubling about A Gray State is how familiar all this is, and how, no matter how off the deep end he ultimately goes, David Crowley is merely an extreme example of something already deeply embedded in politics and Hollywood.”

NovitiateIn Margaret Betts’s 1964-set drama, the pursuit of a fledgling nun (Margaret Qualley) to commit her life to loving Christ evokes eroticism and obsession. To make life easier, we’ve compiled the best movies you can watch this Thanksgiving weekend (which are either available to stream or playing somewhere in the country) and handily grouped them together based on situations likely to befall us all. Isn’t life funny and not horrible, like in Killing of a Sacred Deer? CocoIf telling you that tearjerking-powerhouse Pixar made Coco still leaves you uncertain as to why the movie will be good for kids — and for you — then allow our critic Emily Yoshida to persuade you: “Coco is as indebted to Ratatouille as it is to Studio Ghibli’s Spirited Away, but the combination of sensibilities and the colorful, semi-spooky milieu of the afterlife realm where most of the film is set is not at all unwelcome.” The music isn’t bad either. JohnsonDavid France’s documentary investigates the death of the eponymous trans icon and activist, which was controversially ruled a suicide despite little investigation. If You Need An Extremely Dad Movie For Your Dad

Last Flag FlyingLeave it to Richard Linklater (a top-tier Dad filmmaker) to make a war movie (always good Dad fare) into a road-trip flick (even better Dad fare). Lady BirdAnother Oscar contender, another nostalgic drama. Yoshida writes that the songs range from “pleasantly nap-inducing” (helpful, in this sense) to “outright rousing.”

Jane2017 really needs Jane Goodall, one of the last model human beings. “Based around interviews with Didion herself, as well as her contemporaries and devotees,” writes Yoshida, “The Center Will Not Hold is a loving late-career tribute that never feels overstated.” Also, this film has informed the world that Harrison Ford was once Didion’s carpenter! Israel, Esq.Dan Gilroy of Nightcrawler fame has combined the solid Dad elements of a crime drama and a legal film into one package, and gotten the always-excellent Denzel Washington — whom your Dad (and, okay, everyone) loves — to star. If You Have Kids at Your Thanksgiving and Nobody to Watch Them

Thor: RagnarokTaika Waititi’s easygoing, people-pleasing Thor installment is not just fun, but hilarious and utterly strange, bringing some much-needed levity to the Marvel Cinematic Universe that a person of any age can enjoy. Grab the popcorn, the gravy, and the familial ennui. And he comes up with a doozy of a twist, which leads to a sharp, vise-tightening final act.”

My Friend DahmerFor the Dads fascinated by serial killers, Marc Meyers’s biographical film follows the infamous Jeffrey Dahmer (Ross Lynch) in his formative, pre-murder, necrophilia period. “Damned if My Friend Dahmer doesn’t offer a fascinating Portrait of the Artist as a Young Freak,” writes Edelstein, adding, “It would be misleading to call My Friend Dahmer ‘entertaining,’ but I got off on its fuzzy sense of dread, its poker-faced ghoulishness.”

Darkest HourDads around the nation stack their bedside tables with biographical tomes about Winston Churchill, so why not treat the Dad in your life to Joe Wright’s film, in which the unrecognizable, at times inaudible Gary Oldman stars as the celebrated prime minister? Without revealing too much, we’ll tell you that Farrell’s doctor is haunted by the slightly annoying, very scary Martin (Barry Keoghan) in a world where great harm can be inflicted on others without any explanation and everyone speaks in emotionless deadpan. Dustin Hoffman, Ben Stiller, and Adam Sandler give moving performances as Upper East Siders coming together and (sort of) reconciling past grievances. Gazing on wild chimpanzees, her patience is seemingly limitless, as if there were nowhere on Earth she’d rather be than perched for hours in her cargo shorts in the wilderness of Gombe.”

Faces PlacesSince you likely won’t be able to escape your house, let French New Wave legend Agnes Varda — and her partner in crime, street artist JR — take you (and the kids) on a virtual road trip through the rural villages of France. “Gerwig has a gift for skipping along the surface of her teenage alter ego’s life and then going deep — quickly, without fuss — before skipping forward again, evoking the tempo of a life lived whimsically but over an emotional abyss.” Bonus points if you see this (and cry) with your mom. Are you doing alright? Edelstein found the film fascinating, noting that the co-directors “use music as scary as in any horror film,” with “no interest in making an objective documentary.” (Stream One of Us on Netflix.)

A Gray StateErik Nelson’s documentary follows aspiring filmmaker and alt-right conspiracy theorist David Cowley’s descent into paranoia, which resulted in his suicide and the murder of his wife and daughter. He hits the expected beats but with more color and depth than you expect. You should. “The movie is so laden it’s hard to endure. Edelstein found the film to be shattering yet enthralling detective work, adding, “I hope the film inspires a new generation of amateur sleuths” so that “the injustices of history will stand plainly in the living present.” (Watch The Death and Life of Marsha P. Come for McDonagh’s signature mix of dry comedy and gratuitous violence, stay for McDormand’s Oscar-worthy performance. As Yoshida writes, “To see an unfettered nightmare like this from such an idiosyncratic director feels like a cruel treat, and a welcome stylistic stretch.”

If You Just Saw ’The Killing of a Sacred Deer’ and Need to Feel Better

Joan Didion: The Center Will Not HoldSo you made it through Killing of a Sacred Deer? The romance slash coming-of-age story is so powerful that once filming wrapped, star Armie Hammer was genuinely devastated to be leaving the shoot. Yoshida writes, “This unhappy movie family ends on a kind of elliptical, life-goes-on note that so many unhappy movie families have ended on before. Edelstein found the film to be not just amazing but sadly revealing, writing, “You come away from Jim & Andy wondering — not for the first time — about the cost to great artists of what they do, envious of their talent and thinking, ‘I’m glad that’s not me.’” (Stream Jim & Andy on Netflix.)

Tags: “There is a real sweetness to this film, especially in Varda and JR’s intergenerational chemistry, and its unfussy tone serves it well,” writes Yoshida, adding that, despite some shortcomings, “Faces Places mostly gets by on its insistent simplicity.”

Wonder“Wonder has an overflowing humanism,” writes Edelstein about Stephen Chbosky’s drama in which Jacob Tremblay portrays a child who is scrutinized over his facial deformities. Not only does the film end up being a beacon of kindness, Tremblay also continues to prove that he “can convey worlds of emotions through understatement,” according to Edelstein. The Florida ProjectSean Baker’s film about impoverished kids blissfully living in an Orlando motel among the shadows of Disney World will have you shedding tears, not just because of its gut-punch ending, but also because its young stars are insanely adorable. While at times melodramatic, our critic found the film moving, leaving him with a hopeful sentiment: “I want to believe that people can be good, if not instinctively good, then by following the right examples, or even through shame at doing bad.”

If Your Family Loves Crying in Public

Call Me by Your NameLuca Guadagnino’s gorgeous, wrenching Call Me by Your Name won over Sundance in January, and audiences haven’t stopped showering it with praise since, with many (including our own Kyle Buchanan) pegging it to be an Oscar front-runner. Vega is Marina, a trans woman mourning the loss of her boyfriend, Orlando, in the face of his scornful family. “Netflix is putting the film in a few theaters, but it’s online now to watch. But, as he writes, “The movie is instantly gripping, a finely calibrated mixture of foggy melancholy and quirk, the rude comedy pushing at the boundaries of the tragic premise.” That tragic premise: A girl has been raped and killed, yet the police have made little progress, stirring her mother (Frances McDormand) to buy the titular billboard space to publicly question the delay. It’s a nice little movie.” (Stream Our Souls at Night on Netflix.)

Jim & Andy: The Great BeyondWhile this isn’t a feel-good movie like the two above, Chris Smith’s doc will let you get lost in the mind of Jim Carrey as he gets lost in the mind of Andy Kaufman. Vietnam vets Steve Carell, Bryan Cranston, and Laurence Fishburne journey to bury Carell’s son, who perished in the first years of the Iraq War. Our film critic David Edelstein writes, “It’s camp that elevates Thor: Ragnarok into the stratosphere … This one is probably my favorite, being the most unlike the others.” Plus, it doesn’t hurt to expose kids at an early age to the wonders of Jeff Goldblum. “This is a near-perfect film,” writes Yoshida, “and a heightening in every way of everything that was great about Baker’s last movie [Tangerine].”

The Meyerowitz StoriesWhat better way to spend time with your family than to watch Noah Baumbach’s drama about a highly dysfunctional one? Plus, who doesn’t love watching chimpanzees for an hour and a half? Edelstein loved it, noting, “We disagree on many things, but we can all agree on Jane Goodall.

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Categories: Entertainment News

6 Food and Cooking-Themed Podcasts for You to Savor

More astute minds, like Cari Romm writing for The Atlantic, have explored the pornographic tendencies baked into popular food media, and how it mines the relationship between food and sex. “We all know the power of biting into a food, and have it trigger a memory,” he narrates at one point in the piece. The Kitchen Sisters Present Hosts: Davia Nelson and Nikki SilvaPublishes: Every two weeks(-ish)Davia Nelson and Nikki Silva, the legendary duo of radio producers also known as the Kitchen Sisters, are perhaps most recognized for their NPR series Hidden Kitchens, a gorgeous body of non-narrated documentary work that is part anthropology, part historical appraisal, all love letter. Episodes can get pretty wonky, which is just as well if you’re going to go deep on, say, the toxicity of the fungus that’s responsible for a lot of the flavor profiles in Japanese cuisine, or the startling ubiquity of something called MegaPurple in, shall we say, cost-friendly wine. As Thanksgiving nears, here are some outstanding food podcasts to graze on. (Much love to Two-Buck Chucks.)

Milk Street RadioHosts: Christopher Kimball, with Sara MoultonPublishes: Every FridayMilk Street Radio is an extension of the chef and TV personality Christopher Kimball’s broader instructional food-preparation media empire, and the show’s structure directly reflects that: There are segments discussing this or that topic in the food world, a section discoursing on a recipe, a special guest interview, and a prominent call-in feature deployed throughout where Kimball and co-host Sara Moulton dispense advice to inquiring callers. I think that, combined with our natural inclinations towards the delicious and with our feelings to how we eat and cook, it creates what can be a profound relationship between the listener and food.”

Tags: But that doesn’t make cooking-themed audio programs any less enjoyable. “There’s such a thrill you get from the podcast when so much of our media comes at us so fast, and from so many directions, such that we’re never really able to focus on one thing. “Of having a food transport you to … a place, and it seems especially powerful to be transported to a place that doesn’t exist anymore.”

To Pashman, audio is effective because it leans on the audience to do the heavy lifting. “We notice something, we read something, we hear about something, and then that sparks questions that we want to try to answer in the show,” Graber said. “Audio is interactive. (“The wonderful thing about shellfish is that they give you the liquid you need,” etc., etc.) If you’re not hitting up Milk Street Radio for the tips, there’s still something enormously comforting about letting the show run and wash over you; it tickles the back of your hairs the same way that, say, ASMR videos do for some. When we talk about a cheeseburger on The Sporkful, you bring your own experience to the image that you get in your mind. “It’s more about creating a mood and sense of time and place through language, storytelling, sound, music, and archival audio … Not to pit audio against great food writing, film, and video, but for us there is something about the voice … It’s intimate, speaking directly into your ear, memory, and imagination.”

The SporkfulHost: Dan PashmanPublishes: Every MondayDan Pashman is an earnest documentarian and a sprawling showman, with a show mixing celebrity interviews, multipart features grounded in a culinary idea or a place, and perhaps most intriguingly, the pursuit of answers to quasi-academic questions. The show is fun, mischievous, and delightful in its rampant curiosity. (Not yet, anyway.) Carnal sensibilities seem to be less present in podcasts, where the medium’s effectiveness tends to come from the more cerebral and contemplative. (I reckon this is the part where I’m supposed to cite the writing of Honoré de Balzac, the 19th-century French novelist largely understood to be the first writer to bring sexy food writing into literature with an omelette, but I’ve never read him.) Fans of food entertainment have been conditioned to be seduced by cooking. “There aren’t a lot of sizzles and yums punctuating the action,” Nelson and Silva told me about their approach to the work. Each installment explores the many quiet, often overlooked spaces where communities gather around food, and where culture subsequently emerges: from the front lines of the Civil War to post-Stalin Soviet Union, from a legendary club in Austin, Texas, to the Japanese-American diaspora. In his mind, video tends to deny a sense of visceral ownership. Hosted by the award-winning food writer Francis Lam, who took over from longtime host Lynne Rossetto Kasper earlier in February after her 21-year run, The Splendid Table shares Milk Street’s classic radio-magazine structure, but under Lam’s gentle and thoughtful touch, the show is essentially one long, unceasing, ever-iterating meditation on the formation and variation of food culture. The Splendid TableHost: Francis LamPublishes: Every FridayThe Splendid Table is a more soulful affair, and its approach seems to cut so much closer to the core value proposition of food radio. It’s YOUR cheeseburger.”

Spilled MilkHosts: Molly Wizenberg and Matthew Amster-BurtonPublishes: Every ThursdayNot all food podcasts are so experientially driven, of course, or deal with emotional and earnest questions of culture so directly. (Sample inquiry: “Is a takeout burger a lesser burger?”) The Sporkful’s style is passionate, obsessive, and surgical, and Pashman is at his most philosophically effective when the show uses food as a springboard to a much bigger caper. There are shows that utilize the subject matter more as a starting point for debate, discussion, and comedy. There’s this thing I used to do (and still do occasionally, depending on who’s around) that I’ve come to view as the fundamental experience of contemporary popular food culture: While eating lunch, I’d watch old episodes of Chopped, or something from Anthony Bourdain’s extensive documentary oeuvre, or read the “Tables for Two” section in The New Yorker. Lunches just ended up tasting better that way, as if the episode or restaurant review is some sort of flavor-enhancing miracle berry that can turn even cold leftovers into something more sumptuous. “We strive to be accurate and cover a wide range of food,” Amster-Burton said, “but our primary goal is to make people laugh.”

GastropodHosts: Cynthia Graber and Nicola TwilleyPublishes: Every other TuesdayThen there are shows that approach food as a rich subject for historical and scientific analysis, which offers up more intellectual pleasures. “One of the things I really appreciate about the show is how it can make the world a little bigger for you — how it’s full of ideas and possibilities and ways of eating and cooking that may be different than what you know,” Lam said. These days, you can find their work primarily through Radiotopia’s The Kitchen Sisters Present podcast. “You see a juicy cheeseburger and you’re instantly hungry, but it’s someone else’s cheeseburger,” he explains to me. In a recent multi-episode arc, which also ran as a segment on the New Yorker Radio Hour, Pashman embarks on a hunt to re-create a dish made by a famous sandwich shop in Aleppo, Syria, that, given the current conditions of the country, may no longer be there. In this, the show shares the vivid aesthetic sensibilities of the Kitchen Sisters and the Sporkful, but The Splendid Table expresses of all that through cultural appraisal. It’s curious, then, that we don’t seem to hear much gastronomic sensualizing in food-related radio and podcasts. “I want the behind-the-scenes of food — the fact that the Mafia got its start in the citrus business, the way orange juice is de-oiled and stored for years in tank farms — rather than a look at how to use citrus in cooking or a profile of a grower,” Twilley explains. Those parallels can be most contemporarily detected in the regal slow-mo of Chef’s Table or the high-velocity editing of Top Chef. Spilled Milk, a conversational podcast by the Oregon-based writers Molly Wizenberg and Matthew Amster-Burton, bills itself more as a “comedy podcast about food” rather than a food podcast. Gastropod, by Cynthia Graber and Nicola Twilley, is one such production, where the team is particularly fixated on the tiny details and processes that go into the things we put in our bodies.

Russell Simmons Responds to Sexual-Assault Allegation: ‘I Can Sleep at Night Because I Know Who I Am’

It’s not cool to be a playboy and a new consciousness understands this. Now, as I hear these voices, I do as well. I am human. I can sleep at night because I know who I am. It may sound odd to some that I am encouraged about this time in our history, but I am. I am sorry for the embarrassment she recounted to me.I have made choices that have offended some of the women in my life. In his THR statement, Simmons discusses humanity and transition, before saying that he has signed statements from witnesses corroborating that his encounter with Khalighi was consensual. To all the #MeToo campaigns and women around the world, I support your healing and will continue to be an honest and imperfect advocate for the voiceless (including animals) and humanity as a whole. I see their stories giving a voice to the voiceless, which has been the central theme of my life’s journey.I also know from recent painful personal experience that some recollections can be cast in a light away from the actual facts.In my case, three witnesses [Anthony McNair and two anonymous witnesses] have signed statements that our experiences that weekend with Keri Claussen Khalighi 26 years ago were consensual. I remain an activist for women’s rights and all things unjust. In a Wednesday interview on Megyn Kelly Today, Khalighi said Simmons has privately apologized for the encounter, despite denying it publicly. Sources

THR

Tags: I am a work in progress. I am still evolving.As the dialogue progresses, let’s not lose sight of what’s truly happening, a shift in power and all that entails. I never committed any acts of aggression or violence in my life,” he writes. Despite calling for a “shift in power,” Simmons encouraged Terry Crews to ask that the man that allegedly groped Crews — WME agent Adam Venit — be reinstated after Crews came forward with his sexual-assault allegation. My intent always came from a joyful, playful place. It must lead to a space where women and also men can heal, even if it means attacking me. I do not doubt that the vast majority of the allegations these brave survivors are sharing are true and dignified. For any women from my past who I may have offended, I sincerely apologize. I never committed any acts of aggression or violence in my life. This is my life’s work and journey, and God knows my heart. The fact that I come from the world of music or a specific place or generation justifies nothing.That has been an ongoing deep transition in my life. She insisted I was not violent. “As a yogi I believe intent is very important. Former fashion model Keri Claussen Khalighi told the Los Angeles Times that Simmons and friend Brett Ratner invited her back to an apartment to watch a music video, where Simmons began “making aggressive sexual advances” and “yanking off her clothes.” Khalighi said Ratner, who is facing several other allegations of sexual misconduct, did nothing as Simmons coerced the then-17-year-old into giving him oral sex. The daily news detailing the growing number of experiences of women being victimized are being brought to the light. My intent always came from a joyful, playful place. I would never knowingly cause fear or harm to anyone. See his full statement below:

Humanity is going through a powerful and wrenching shift of consciousness that I believe will ultimately lead to a mass awakening in all humankind.Like all lasting change, this transition is filled with painful disruption and confrontation against an entrenched system. And I know who I was. Photo: Michael Loccisano/Getty Images

After a former model accused Russell Simmons of sexual assault, the Def Jam co-founder has penned a statement for The Hollywood Reporter denying the allegations. She did tell me her boyfriend and many others found out about our long weekend together and she said she was ashamed by that discovery. And I know who I was. My longtime loathing of any form of violence and abuse has been woven into all of my personal interactions, as most who know me will attest.In our meeting many years later, and subsequent conversations, Keri never accused me of what she has said publicly. As a yogi I believe intent is very important. I want that shift. I can sleep at night because I know who I am. Though never abusive in any way, my remarks were often cavalier and thoughtless, and for this I am humbled.

Jude Law Will Reportedly Join Captain Marvel

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It looks like Jude Law is getting on a roll with blockbuster assignments. There’s no indication as to whether or not Law’s character will have super-abilities, which is mostly too bad because it means his wardrobe won’t be nearly as covetable as everything he wore in The Young Pope. Tags: The role has not yet been disclosed, but he would join Larson, who will be playing Carol Danvers, a.k.a. Photo: Frederick M. Not long after we got our first looks at him as Albus Dumbledore in the Fantastic Beasts sequel, Variety is now reporting that he’s close to a deal to star opposite Brie Larson in Captain Marvel. Captain Marvel, and Ben Mendelsohn, who is almost definitely playing the yet-to-be-named bad guy.

Gossip Girl’s Jessica Szohr Wonders If Ed Westwick’s Accusers Are ‘Stretching the Truth’

Tags: Photo: Jeffrey Mayer/WireImage

Since Gossip Girl wrapped in 2012, co-stars Jessica Szohr and Ed Westwick have remained fairly good friends — a fact that has Szohr questioning whether Westwick is capable of sexually assaulting women in the aftermath of recent allegations against the actor. And I hope that it’s untrue, but I also feel bad for anyone that’s been in that situation, for the women that have to deal with that, for the situations that are true.” As of now, Westwick has been accused by two women of sexual assault and by another of rape. In a new interview with Cosmopolitan, Szohr said she has spoken with Westwick since the claims became public, and she detailed her thoughts on this “difficult” and “touchy” subject. Jessica Szohr. “[I] have known Ed for years and know how lovely he is, and don’t think he would ever put someone in a position like that. “But I know him well and I’ve known him for years, and I found it shocking. It’s difficult, because you don’t want someone you know to go through that or do that to someone, or knowing them well, knowing that you don’t think they would, and you don’t want, for the girls that are coming forward, it’s like, are they stretching the truth?” she said.

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Happy Death Day Breaks $100 Million As Horror Continues Its Box-Office Dominance

While Get Out’s $254 million may look quaint next to something like the $863 million pulled in by Guardians of the Galaxy Vol. The Last Jedi is the year’s final gargantuan blockbuster, but with brain-melting production costs, hitting the billion-dollar benchmark won’t make it as profitable as Blumhouse’s big three in 2017. Variety dubbed it “officially worst in over a decade,” and the Los Angeles Times went one bigger, saying it was “the worst-attended summer movie season in 25 years.” This left studios looking toward the fall season for a bailout. So when you’re wondering which movies put more money back into the coffers for future investment, horror is trampling the competition. Then there’s It, which turned a $35 million production investment into a superhero-level box-office performance of $688 million worldwide. One of the year’s biggest industry stories has been the dismal state of the box office this summer. This has been a theme all year in theaters, with horror films screaming past their ultrabudget competition in the earnings department. Blumhouse alone accounts for three of the year’s biggest box-office returners with Get Out, Split, and now Happy Death Day. Since Guardians 2 cost $200 million in production alone, the increase over the budget comes out to a respectable 331 percent. As Justice League underwhelmed this past weekend with just $93 million in its domestic opening, the low-budget horror film Happy Death Day continued to overperform by crossing the $100 million mark at the global box office. Tags: Even Wonder Woman, which is the super-feel-good movie of 2017, “only” made a 450 percent gain, whereas It made a 1,865 percent return; Happy Death Day hit 1,983 percent, and Split reached a dizzying 2,988 percent. Yes, it took the latest offering from Blumhouse and Universal six weeks to achieve what the DC powerhouse did in a single weekend, but if you look at the percentages, Justice League stands no chance of catching up to Death Day when it comes to profits. 2, the former exceeds the latter in terms of percentage increase over budget. Photo: Patti Perret/Universal Studios. Horror fans are a reliable theater audience and have turned out consistently in each phase of the year to make scary movies the best bets for studios in 2017. Get Out, on the other hand, cost $4.5 million to make, and it earned that number back by 5,544 percent. Each of those movies was made for less than $10 million (and in the case of Get Out and Death Day, less than $5 million) and ended up passing into the nine-digit category of theater grosses.

The Man Who Invented Christmas Is a Sweet Story About the Making of a Classic

It turns out to be a false omen, at least for the Dickens household; the film’s main obstacle, that of writing and selling A Christmas Carol, turns out fine. Photo: Bleecker Street

Throughout The Man Who Invented Christmas, an altogether warm, sharp, and unobjectionable family holiday film, a raven flits in and out of the frame. I’m probably too much of an old humbug to be the intended audience, but it’s easy to imagine younger viewers being enchanted by Bharat Nalluri’s storybook-British, behind-the-scenes tale, which if nothing else makes the act of creating fiction look like the most exciting occupation a person could aspire to. (Spoiler alert?) But the raven endures to the end, perched above Hatchards bookshop in London on Christmas Eve, as dozens line up in the snow to purchase the season’s biggest blockbuster. One hates to think what fate would have befallen our beloved winter holiday season if Dickens hadn’t moved all those units. Related Stories

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I have no idea why this raven is there, though it does evoke the raven in the savings-and-loan scene of It’s a Wonderful Life, Frank Capra’s 20th-century American answer to Dickens’s 19th-century classic. It is introduced as an inexplicable present to Charles Dickens (Dan Stevens) by his father, John (Jonathan Pryce), but it escapes its cage and dashes a chandelier to the ground, and Charles’s housekeeper declares it a sign of bad luck. Tags: The Man Who Invented Christmas is at least savvy enough to depict its hero’s salvation at a place of retail, the comforting ding of an old-timey till ushering us off to the credits. Dickens’s “conversations” with Scrooge lead him to the rest of the story and all its various ghosts, and the question of whether or not such a miserable man could ever change. As Dickens, Stevens is a restless soul with childlike intuition trapped in an adult’s body, desperate to write a hit to make up for his Martin Chuzzlewit–era career slump. A Christmas Carol would probably get branded as communist propaganda if it were published in 2017, as Capra’s film did in 1946. The Man Who Invented Christmas, like The Christmas Carol and all stories indebted to it, continues to shore up the idea of Christmas as a secular holiday devoted to the idea of generosity, charity, and a life devoted to lightening the burdens of others. The “inventing of Christmas” is more of an afterthought; only when he imagines Scrooge’s redemption can he write a hit book, forgive his parents for their past neglect, rehire the help he fired in a creative fury, and buy one of those newfangled Tannenbaums they were nuts for in Germany. (Unfortunately for Tiny Tim, the original story apparently did not have a happy ending, much to the objection of his test audiences.) As he deals with money problems and family problems and all the various leeches knocking at his door, Dickens begins to realize that there’s more of him in his main character than he imagined. Inspiration comes to him from a series of dispiriting meetings with the various old men to whom he owes debts, and as soon as he dreams up the name “Scrooge,” the old miser appears to him quite literally, in the form of the impeccably cast Christopher Plummer. This is no easy task, considering how many “author movies” never quite sell the spark of inspiration.

Call Me by Your Name Book Club Part 3: Can You Ever Say Good-bye?

What a perfectly imperfect memory you have, Elio. Instead, they both went into a coma — or a “parallel life” on better days — and Elio says he went on to have other Great Loves. Hunter: Wow, you really want to just jump right into then, Alex. Because 15 years later, Elio drops by the university where Oliver works and they get a drink. The fact that they meet again in New England — the total opposite of an Italian romance — is a harbinger of this finale where they don’t end up together. What must it have been like to have known paradise only to leave it? Even though he seems single after the time jump, he’s grown into himself. Their love story was so rooted in their youth, in summer, in Italy. Alex: They do, and I think you’re right that this book, Elio and Oliver, Billowy, Rome, their relationship, everything, could only exist within the prism of memory. (Well, I sort of am.) And if this book has taught us anything, it’s to seize the moment and not waste our lives as half-finished versions of ourselves. I wonder then, how you interpret the end of the book, where they meet again 20 years later. Elio, his parents, Marzia, too — summer is paradise, Italy is paradise, the pool is heaven. To me, there is a slight note of ambiguity, a feeling that even after all of these years, anything is possible. That’s so teenage. “I remember good things only,” Elio tells Oliver, when Oliver asks if he’s been forgiven for choosing his traditional lifestyle. It’s like a sadder, more realistic version of Before Sunset when Ethan Hawke and Julie Delpy meet each other again a decade after their whirlwind night together. Maybe it’s because he lives in the American context, but I can imagine the pressure he must have felt to get married to a woman and have children, and to compartmentalize Elio. Does the ending make you sad? Of course it does, because Oliver is Oliver:

…It would finally dawn on us both that he was more me than I had ever been myself, because when he became me and I became him in bed so many years ago, he was and would forever remain, long after every forked road in life had done its work, my brother, my friend, my father, my son, my husband, my lover, myself. It had to end: We’ve reached the fourth and final part of Call Me by Your Name, “Ghost Spots.” Oliver has left Italy for America, and Elio has gone back home. Aciman has said that once he had figured out the outline of the story, he wrote his first draft in about four months. Elio still wants to know if seeing Oliver would stir something within him again. Perlman is in his great monologue, but what I love (and really relate to) is that Elio’s initial reaction to his father’s acknowledgement of their relationship is that he’s dumbstruck to have been found out. No, you’re crying. But I think everyone Aciman introduces us to in the book is feeling nostalgia for it. Which is exactly what Oliver’s father advises him against in a beautiful moment toward the end of the book. We’ve already established that Elio is an unreliable narrator — someone who likes to tell himself stories to dull the pain. He chose to speak, and Oliver did not, and now he’s living Elio’s Sliding Door life, that mock-up. Oliver is the one Elio wants to say good-bye to before his death, and the one he wants to call him by his name. We thank you for going on this journey with us, and we hope that you’ll look back and think of us someday. Elio doesn’t visit to rekindle his love with Oliver so much as he’s come to remember it, to make sure that everything that they had was a real as it felt that night. Am I being dramatic? That passage encapsulates so much of the bond between them that we’ve talked about before. Their romance, as they knew it, is over, but Elio spends the next few days, then years, and finally decades, revisiting that summer romance. — and sometimes I find it hopeful. But still, he thinks about Oliver, Oliver, Oliver. It could be so perfect, so sun-dappled and delicious, because memory is able to fill in holes and smooth over inconsistencies. Hunter: I go back and forth about the ending. Their relationship is like amber crystallizing a moment in time so that it can exist whole and safe from the outside world. We can talk more about what an absolute gem Dr. And if I should hear that you died, my life as I now it, the me who is speaking with you now, will cease to exist.”

You bring up paradise, Alex, and how Oliver must miss it. Oliver is the one who haunts his home in Italy and the alleyway in Rome. In the years that follow their romance, Elio says that he met many people “who either eclipsed [Oliver] or reduced him to an early signpost.” But I don’t believe him. Tags: Is it better to speak or to die? “My brother, my friend, my father, my son, my husband, my lover, myself” — that’s the whole novel distilled into one line. And not only that, but he starts to consider that maybe his father has a whole inner life he knows nothing about. And it always was, even when Elio tried to bluff his way through those intervening years, (rudely!) saying Oliver was just a regular fork in the road. Paradise never lasts, but you can dip back into it, or at least visit its ghost spots. Instead of getting back together like they do, Elio and Oliver simply wonder if the other still remembers, if he left as big an imprint on his life as the other did on his. (Elio takes this advice, mostly.) Feeling anything — even that loss and that homesickness for Oliver and their love — is a gift. But it does make me sad because I do think they had a Great Love — one that Elio still thought about a full two decades later. I think we all have Sliding Doors moments in our lives when we wonder, What would have happened if …? It makes me think of Elio’s bravery in the first chapter: He did the hardest thing in the world! He thought he was being very adult and private about this very intense desire, but his parents saw right through him! It must be like exile. But isn’t that what we do when we’re grasping at an impossibility — try to discount and smother it, instead of feeling that loss? Something about that makes sense to me, because it’s fast like a drug hitting your veins. That’s what makes me sad. After all, as Elio’s father says in that splendid and sagacious speech: “But remember, our hearts and our bodies are given to us only once. Oliver tells Elio that had his parents known about them, he would have been institutionalized. His time in Italy then must have felt like an impossible fantasy. And this is where I think about Oliver. It is, in some sense, unreal, because it’s untested by the exigencies of daily life. Maybe, but let’s live life dramatically. I thought it was funny how Elio had forgotten that he got so wasted that last night in Rome and tried to bring a girl back home with them. And just as Call Me by Your Name has come to a close, so too, has this iteration of of our book club. I so wish that they could have lived in a world where they could have lived a life together, but maybe that is the price of perfection: that you can’t have more than a moment in the sun. The swiftness of the prose, the first-person narration, and the extremity of the emotions all feel like what it’s like when you’re swept away by your first love. It’s impossible to know how Elio’s life would have gone without Oliver, but we know that by being with Oliver, knowing Oliver, and loving Oliver, his life was irrevocably changed. Alex: We are young Hunter! Most of us can’t help but live as though we’ve got two lives to live, one is the mock-up, the other the finished version, and then there are all those versions in between.” If anything, reading this book makes me want to be more daring than I am. I cry when I read it because Aciman’s prose is so beautiful, but don’t they get some version of what they want, the warmth of those memories? He’s cutting right through the abstraction: “You are the only person I’d like to say goodbye to when I die, because only then will this thing I call my life make any sense. There’s such a sense of displacement in this chapter. Alex: This final section is so devastating to read. Sometimes I think it’s devastating — the audacity of Oliver to get married and start this whole other family! In many ways, the threat of homophobia exists more palpably in the shadows for Oliver to me.

Everything We Definitely Know About The Room’s Tommy Wiseau

Cooper are one and the same; Wiseau has categorically denied this. This excellent film is a lot of things — a valentine to the harebrained fringes of showbiz, a buddy comedy about two kindred souls taking a bite out of Los Angeles, the first persuasive argument that Dave Franco might have a future in this “acting” racket — but foremost among them, it’s an inquisition into the enigma that is Tommy Wiseau. As a comedy, it’s merely a bad movie, but as one fanatically pursued, astonishingly misguided dream, it’s part of history. I have an entire family there. Incredibly, his appearance — the Christlike mane of black hair, the Terminator shades, the preponderance of belts — doesn’t even crack the top five sketchiest things about him. If you work, you have to save money, right? After seeing Sestero earn a SAG membership, Wiseau was so seized by jealousy that he self-financed enough commercials he could also star in to nab him a card as well. His every move has been run through a filter of projected appearances. Any further doubts were assuaged with his irredeemably bad Hulu comedy The Neighbors, which was just as indecipherable as The Room but lacked its floundering charms. Once he became aware of the huge gulf between his intentions and results, however, he tried to bridge them. Tags: The entirety of The Disaster Artist not only flies in the face of Wiseau’s attempt to save face, but paints Wiseau as precisely the man who’d try something so transparent. In a 2008 chat with Entertainment Weekly, Wiseau offers a cursory explanation. This comes across loud and clear in The Room, with all its overwrought emotions and impassioned betrayals, but Wiseau’s lacking the artistic skill to actually hit that emotional register. One conspiracy theory suggests that Wiseau and elusive plane hijacker D.B. An unsourced Reddit post speculates that Wiseau was struck in a car crash with a high-powered producer, and their out-of-court settlement took the form of producing The Room. Cribbed from a combination of interviews, the original The Disaster Artist book, and the 2016 documentary Room Full of Spoons, the following briefing sifts through the many fictions about this singular oddball in search of the man behind the masterpiece. As a primer for Franco and Franco’s mesmerizing pas de deux (due for limited release December 1 before expanding one week later), we’ve assembled this dossier on Wiseau. That the series is all but unwatchable cannily illustrates that something like The Room could not have happened on purpose, and only by accident. (That one’s from my encounter in 2013.)

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Public interest in the eccentric personality behind the film popularly touted as the worst of all time has flared in anticipation of James Franco’s new big-screen adaptation of The Disaster Artist, in which the director also portrays Wiseau. I didn’t get money from the sky. This character study hits its emotional climax when Sestero demands to hear one grain of truth from the man who claims to be his friend, begging for an honest answer as to who Wiseau is. What other weird shit has he done?Wiseau’s a jumbled collection of quirks and contradictions. He’s jealously guarded information about his age, home country, and the source of the considerable personal fortune he used to finance his deranged passion project. That’s likely all bupkes, but with Wiseau, truth is often stranger than fiction, so you try not to rule anything out. Did he intend The Room as a comedy or a drama?Tommy Wiseau’s named the major melodramatists as his greatest influences, citing a particular fondness for the sweltering domestic tragedies of Tennessee Williams. Here he is in that 2010 interview, responding to an inquiry about his relatives’ presence in Chalmette:

“…my uncle lives there. Interviews with the man tend to come out incoherent and disjointed, as if Wiseau’s answering questions other than the ones being asked. He’s offered conflicting reports about his background on the record, and The Room star Greg Sestero (who authored the memoir The Disaster Artist, an account of the hysterical goings-on behind the scenes) remembers Wiseau as constantly spinning deluded stories from his own past in conversation. Wiseau has propped himself up financially over the past decade or so by tirelessly touring around the globe with screenings of The Room, and every public appearance yields some bizarre new secondhand detail. And then there’s the hearsay, of which there is quite a bit. Where is he from?While Wiseau’s heritage has been difficult to pin down, his glaringly Eastern European accent makes it easy to determine where he isn’t from. In Room Full of Spoons, documentarian Rick Harper states that through independent research, he’s discovered that Wiseau was born in the Polish city of Poznań. Wiseau asserted in 2010 that he was born in France, but moved to Louisiana at an early age with family still living in the city of Chalmette, and then claimed in 2012 to have grown up in New Orleans. This jibes both with Wiseau’s general vibe as well as the passage from The Disaster Artist wherein Sestero obtains a copy of Wiseau’s immigration papers through his brother’s well-connected girlfriend, and learns that he had emigrated from what was then known as the Eastern Bloc. As The Room has assumed the mantle of the cult film ne plus ultra, Wiseau has leaned into the skid and taken to proclaiming that he intended the film as hilariously inept from the start. Photo: TPW Films

In the filmmaker’s spotty origin story, facts are in perilously short supply. In The Disaster Artist, Sestero relates Wiseau’s flimsy story about buying and flipping retail space during his stint living in San Francisco, but Sestero assures the reader that this could not possibly be true. Its slavish fan base prizes the authenticity. I’ve heard word-of-mouth reports from fellow midnight-showing attendees that Tommy Wiseau pretends to be a bird without cause or warning, that he has a fake laugh and a real laugh. Bottomless pit.” That Wiseau commands a practically limitless personal fortune is evident, but his shady manner hints at a colorful source. In Franco’s film adaptation, a Seth Rogen–played assistant director goes to cash his check and he’s shocked when it doesn’t bounce. At home, he subsists on Red Bull and instant noodles, but would order ostentatiously while out to eat. I was preparing, let’s put it this way.” But his emphasis in those last couple sentences, about having earned all his money through work so just shut it and don’t worry, give inquiring minds pause. Where did the money come from?Due to staggeringly inefficient production techniques (why Wiseau had to shoot on film and digital videotape simultaneously, only god knows), he dumped 6 million of his own dollars into the production, promotion, and release of The Room. Even when on camera, Wiseau has been known to respond to basic greetings with “Ha ha, good one!” Tommy Wiseau doesn’t know the words to “Happy Birthday.” Tommy Wiseau smells like onions, but in a good way, like when you’re cooking and drop onions into a hot pan. Wiseau jokes a lot about being a vampire, to the point that one starts to wonder about the extent to which it’s all a joke. Setting aside the fact that Wiseau’s voice would directly contradict this narrative, his doesn’t mount the most persuasive argument. Tommy Wiseau. That’s also a misconception with the media, because they think… I used to live in France, so the accent is their, like, Cajun or whatever you would call it, but I have a… I was just recently in Austin, Texas, and it’s very connected to New Orleans, believe it or not.”

Glancing past the suspicious similarity in speech patterns between Wiseau and the current commander-in-chief, he doesn’t come off as all that assured about his own story. The inscrutable, muscular weirdo remains committed to his shroud of secrecy. The bank teller confides in him, “Between you and me, that account? In his own imagination, he’s a big-time Hollywood movie star, and he wouldn’t be the only one actively maintaining the outward appearance of youth. How old is he?From that same cache of intel, Sestero claims to have learned that Wiseau was not, in fact, “however old you are, Greg.” Sestero learns from his brother’s girlfriend that Wiseau was born in the 1950s, which Rick Harper then refined in a recent sit-down with The Hollywood Reporter as 1955. The Disaster Artist describes Wiseau as having an intensive self-care routine, from regularly dyeing his hair to a comprehensive daily workout to keep up his hulking physique. Sestero recalls an evening in which Wiseau aggressively refused to hand his keys to a valet for fear that the boy might fart on his seat while parking. He told them of a vague clothing-shipping enterprise: “We import from Korea the leather jackets that we design here in America. It makes a twisted half-sense that Tommy would be so bizarrely defensive about his year of birth. In The Disaster Artist, he claims to have studied psychology at Oakland’s Laney College during a spell in San Francisco mostly spent peddling yo-yos and flawed discount jeans, and yet he cannot distinguish a psychiatrist from a psychologist.

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The 21 Most Barbra Streisand Moments in Her Netflix Concert Film

They are charming. 6. She introduces her take on Diana Ross’s “No More Tears (Enough Is Enough)” with “I sang this song when I was trying to be hip in the ’70s.”Afterward, she talks about how much she loves her backup singers, who dance around her. Barbra on singing with Hugh Jackman: “I got to sing with Wolverine. She briefly duets with a younger version of herself, who is humming and playing guitar in a scene cut from A Star Is Born.Barbra says she now thinks the scene should not have been cut from A Star Is Born. After the closing credits, there is a tribute to Sammie, who died in May.And, I’m crying. 13. 8. 11. 3. I thought I had long nails, you know?”She also includes other clips from her Movie Partners album, including a scene where Melissa McCarthy asks her if she really has a private Starbucks. She talks about Funny Girl! There are several talking-head moments in which people talk about how great Barbra is. It does look very nice. She orders crab! Computer-generated snow fills the screen when Barbra sings “Jingle Bells.”Barbra makes a joke about how Santa doesn’t ride a sleigh anymore, he takes an Uber. It ends with Barbra happily enjoying her crabs.As well as a Key-lime pie, which looks fantastic. She calls into a stone-crab restaurant during intermission to make sure they are preparing her order for after the show.She orders often from the stone-crab place in question. Barbra brings out her dog Sammie at the end of the show.She says Sammie knows exactly when the show is supposed to break. 9. Barbra stops by an ice-cream truck before her performance.She’d like to sample one of the mocha flavors. 4. While doing her own makeup, Barbra talks about how proud she is of doing her own makeup.She looks great. Tags: She sways! 12. 1. 2. 18. She performs next to a teapot, teacup, and a vase with roses.They make for some lovely mise en scène, though their presence goes unexplained. 15. It opens with Barbra playing cards on a private plane on her way to Miami.One assumes she is winning. In honor of one of America’s most image-obsessed diva’s debut on streaming, we present a round-up of the movie’s Barbra-iest Barbra moments. Seemingly built for the express purpose of pleasing parents whose kids teach them how to use Netflix over Thanksgiving, the special is Barbra at her most idiosyncratic. 21. Barbra brings out Jamie Foxx to compliment her, and then do an impression of her.Jamie Foxx’s Barbra impression is really good. 20. The camerawork pays much attention to the way Barbra’s dress billows. Her performance of “Papa Can You Hear Me?” includes piped-in sounds of a thunderstorm.It’s eerie. (She neither confirms nor denies.)

14. 17. 5. 19. Barbra decides not to walk offstage and come back for her encore, as she knows everyone wants the encore already.She later goes offstage and returns with Sammie, and then goes offstage again to return for another encore. She sings! Barbra pauses during “Don’t Rain on My Parade” to watch a little bit of Funny Girl.Barbra also sings a song from Funny Lady, and explains most of the plot of both. 7. Barbra says “It’s been a very interesting time in the news recently” and then raises her hands “but I’m not going there because we’d be here all night!”She then covers Carole King’s “Being at War With Each Other,” and at one point, the screen behind her displays the word “war” crossed out. If you’re at all familiar with Barbra Streisand, you know exactly what to expect from her Netflix concert film, Barbra: The Music …The Mem’ries …The Magic!, which debuts November 22. 10. She talks about global warming as a segue into “Pure Imagination.”Behind her, we see gorgeous photos of wildlife.

Godless Series Premiere Recap: The One-Armed Man

It certainly helps that Roy is also a crack shot: When a townswoman brings her baby to Alice and her mother-in-law to whip up a treatment for roseola, he shoots a coiled rattlesnake moments before it attacks the child. With wonderful performances from top to bottom and cinematic production values, this is the kind of series that should make for addictive binge viewing over the Thanksgiving holiday. You see, La Belle lost almost all of its men in a mining accident, and Mary isn’t just going to sit around and wait for another man to save her. The premiere is all about setting up the legends of Roy Goode and Frank Griffin. Even if his villainous days are behind him, Roy will surely attract Frank Griffin and his crew soon enough. The outlaw turns himself in, telling the truth about Griffin and what happened between them: He was trying to draw his malevolent leader away from the town of Creede by stealing money the gang was robbing from a train. He claims he held off 32 men in a canyon, but lost the cash in the river. Ultimately, we can tell in the premiere that Alice Fletcher is independent but could use some help, and Roy Goode may have stumbled onto her property at just the right time in her life. Photo: Ursula Coyote/Netflix

Godless

An Incident at Creede
Season 1

Episode 1

Editor’s Rating

5 stars

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Scott Frank and Steven Soderbergh worked together on the masterful Out of Sight, and they’ve finally reunited to create Netflix’s Godless, a show that filters the clichés of the Western through a modern take on female empowerment. After betraying his villainous father figure, the infamous Frank Griffin (Jeff Daniels), Goode goes on the run and winds up at a ranch on the edge of a town called La Belle. She suggests that Bill go to Alice to see if she’ll sell them some horses. By the time Bill gets to Alice’s farm and discovers that Roy is staying there, he knows precisely how dangerous he is. These are the kinds of people who would kill a child, and they are hunting down the man who not only ruined their robbery but betrayed the gang: Roy Goode. Arriving in the middle of the night, Roy doesn’t declare himself or his intentions quickly enough and gets shot by Alice Fletcher (Michelle Dockery of Downton Abbey fame). You got one!” Again, there’s a legendary aspect to this flashback that makes the hyperbole forgivable, but one hopes it doesn’t bleed into the present-day material. Played with wonderful world-weariness by Scoot McNairy (Halt and Catch Fire), Bill McNue is a man going blind. • You probably saw Jack O’Connell in Unbroken, but if you like him here, you should seek out his great performances in Starred Up and 71. A few of my favorite quotes from this episode: “I seen my death — this ain’t it”; “My twilight’s come home, and I didn’t even hear it knocking”; “You shot him — least you can do is feed him something”; and “I have heard of you, Marshal, and of your mustache.”

Tags: With its lyrical takes and infamous characters, the pilot brings to mind Andrew Dominik’s excellent The Assassination of Jesse James by the Coward Robert Ford. It doesn’t even seem to matter much to Frank that he just lost an arm due to a bullet wound during his last run-in with Roy. Nobody seems to like Bill, including his sister Mary Agnes (Merritt Wever of Nurse Jackie), who has become something of a masculine figure since becoming a widow, taking control of her own life. (This happens while they literally mend a fence. He lost his wife a few years ago, and seems to be disengaging from the world more with each passing day. She nurses him back to health with the help of her son Truckee (Samuel Marty) and mother-in-law (Tantoo Cardinal), before learning the truth about Goode’s criminal background and how badly the most notorious gang in the state wants him dead. Given that threat, Alice just wants Roy gone as soon he’s healed. Other Notes

• If you’re thinking about the gender politics of the show, consider how each of the major characters is introduced: Roy and Frank both have bullets in them; Bill has filth on his eyes; Alice shoots someone to protect her family; and Mary Agnes is defiant and independent. Still, it’s a bit heavy-handed, especially when a swooning Daniels begins shouting, “You folks want a lynching!? He’s the one-armed man of this Western epic, and he’s determined to get revenge. Later in the episode, Bill meets Marshal John Cook (Sam Waterston), who comes to town to drop some exposition about Roy Goode and Frank Griffin. As Alice and Roy warm to each other, we get some background for her character. We also learn that Roy is something of a horse whisperer, which it appears Alice could really use. He tells his wife’s tombstone that he can’t forgive his daughter, which likely means that she died in childbirth. We know this before the opening credits even roll, when we see the body of a child hanging in the middle of a slaughtered town, later learning that it was the work of Griffin and his men, who killed everyone in Creede. After trying to convince Alice to help a town that she feels betrayed her — it seems that the ladies may have shot her second husband in the back — Bill meets Roy face-to-face. Truckee’s grandma may not like this newcomer, but the boy needs a father figure and Alice isn’t much of a wrangler herself. The men are weak and injured, while the women are strong. Griffin is a lunatic. It didn’t work. They were looking at their property when a “six-foot-tall wall of water” washed her future away from her in front of her eyes. They’re coming for Roy Goode, and they’ll kill anyone who stands in their way. Bill is wallowing in grief as the lights dim out on him, but perhaps the arrival of Roy Goode will give him another chance at finding a purpose. Frank Griffin

Which brings us to the villain of Godless, played with bushy gray beard by Jeff Daniels. While Godless boasts quite a deep ensemble, this premiere episode centers on the introduction of four characters on three separate story arcs, so let’s break them down separately as we dive into the series. • Godless was clearly inspired by Western literature and film, so I’m going to pick a particular movie that pairs well with each episode, in case you want to continue the genre journey. • Frank’s ear for dialogue is so good. And Frank knows from suffering. It’s action- and music-heavy, amplifying the sense that these men are already more legend than truth. She wandered alone for eight days until she was found, although she saves the details about exactly who found her (and how that man became her second husband) for a future episode. That’s just how people got to know each other in 1884, I guess.) Alice came to La Belle when she was only 17, promised to marry the son of her father’s business partner. We learn as much during an extended flashback that stands out from the rest of the episode in style. In the episode’s final scene, we see Griffin and his men riding through a river, water splashing, silhouettes against the sky. Roy Goode & Alice Fletcher

The male protagonist of the show, played with just the right blend of heroism and mystery by Jack O’Connell (Unbroken), Roy Goode is a former outlaw turned hero. Sheriff Bill McNue

We meet the good sheriff of La Belle with mud on his eyes while he’s sitting in a tent, searching for spiritual help. She goes through Roy’s stuff, finding a letter addressed to him in New Mexico from another Goode in California. As he’s doing that, we learn more about her day-to-day life on the ranch, including the fact that she’s teaching Truckee how to read. To that end, Frank rides his horse right into a church, trotting all the way up to the pulpit while he sings “Nearer My God to Thee.” He’s the closest thing to God in this country, and he delivers a warning to the congregation: Anyone who protects Roy Goode will suffer like our Lord Jesus.

Dancing With the Stars Season Finale Recap: And the Winner Is …

Um, great! It’s not like I didn’t see it coming. One thing I will NOT miss once this season ends is Len Goodman’s pronunciation of the word “Argentine.” He says “Argen-TINE,” not “Argen-TEEN,” which is more irritating than that second “go” in the George Michael song, even if it’s accurate. Lindsey nails it, even without a violin. Cha-cha/tango fusion sounds like a $15 cocktail you’d get at a Miami Applebee’s. After several more musical numbers, it’s finally the FINAL ROUND! Here comes Jordan, doing a samba. This being a two-hour finale show, there’s a lot of time to kill, so here comes country star Kelsea Ballerini to sing her new single, “Legends.” Why? Okay, I said I wasn’t going to comment on any of the dances by the former contestants, but Barbara Corcoran is currently doing what could only possibly be construed as a dance to “Rudolph the Red-Nosed Reindeer.” Perhaps it’s because she’s surrounded by hunky shirtless male dancers, but she seems completely lost. He seems a little stiff, and the judges give him two nines and a ten for a total of 28. Thanks for reading! And I do mean little. First Barbara was voted off, then Debbie, then Derek, then Sasha, then Nick, then Nikki, then Vanessa, then Terrell, then Victoria, and last night, Drew. There is no explanation offered, so I’m going to take this opportunity to flip through the channels to see if America’s Funniest Home Videos is on anywhere. Photo: Adam Rose/ABC

Dancing With the Stars

The Finale
Season 25

Episode 12

Editor’s Rating

5 stars

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Nothing lasts forever. Who knows! Probably. Okay, Nick’s finally done. And the winner is … JORDAN! There’s Frankie Muniz, that adorable little Malcolm in the Middle guy. Relationships end, mountains crumble, people die. Boy Band! Oh, Tom, how I’ll miss you — at least until I turn on the TV tomorrow and catch a rerun of America’s Funniest Home Videos on some cable channel. Watching this mini-train-wreck is far more entertaining than sitting through a Kelsea Ballerini song. She gets three tens for a total of 30. And here comes my pal Jordan doing a salsa/paso fusion — flawlessly, of course! I’m not going to comment on these parts of tonight’s show. I mean, with all that singing and dancing ability, and all that youthful exuberance and good looks, why wouldn’t you also need a mirror-ball trophy? Makes me wish I had paid more attention during those clarinet lessons my parents made me take when I was a kid. Great job, Kelsea! No, really, I’m happy for Jordan. She is just so soothing, I’m not even obsessing about Len’s odd pronunciations anymore. (I’d like to see him try and pick out a good-fitting bra, though.)

I’m giving this episode five out of five stars, mostly because I hope the producers see my high rating and put me on next season. Throughout the season, I’ve made fun of how cranky Len often is, and how he mispronounces words like Argentine. Let’s get to the results!” under their breath. So, for the final time in 2017, I’ve got my butt parked on my couch, waiting to see Tom Bergeron’s grinning face. Okay, I guess I have to get over my jealousy of Jordan’s incredible dancing, singing, and acting talent. He looks like you could fit him into a piece of carry-on luggage, which would be handy if you were traveling to Europe with him. Now Frankie can go back to waiting for Bryan Cranston to agree to do a Malcolm in the Middle reunion TV movie. And last but certainly not least is Jordan Fisher, an incredibly good-looking, sweet, and talented performer against whom I am harboring a secret grudge because he is so good-looking, sweet, and talented. Bruno is one of those people you see on TV who is always fun and entertaining, but you know that if you had him in your home for more than ten minutes you’d start chasing him with a fireplace poker. And now, we are down to the final three. But I get back to the show just in time to see Kelsea wrap it up. So blame yourself, people! Good for Jordan! Blah blah blah, he dances magnificently, blah blah blah, the judges love him, blah blah blah, three tens for a score of 30. Ah, there he is! Lindsey Stirling is the first to perform tonight, doing a jive to “Wake Me Up Before You Go-Go.” I’ve always had a problem with this song because of that second “go.” If a guy I was thinking about spending the night with ever said “Wake me up before you go-go,” I’d say, “I’m getting the hell out of here-here,” and sprint out the door. Okay, I guess it isn’t exactly a secret now. Very annoying.) And then there’s Bruno. Did I say that one already? As impressed as I’ve been by Lindsey’s dancing, I’m even more impressed that she’s managed to make a good living playing the violin. But nothing is harder to accept than a season of Dancing With the Stars coming to a close. If you wanted to know what I thought of these dances, you should have been reading my recaps from the beginning. It’s result time! But enough of those has-beens, it’s time to crown a new DWTS champion! That being said, I love Lindsey’s performance, and so do the judges, who give her three tens for a total of 30. Third place goes to … Frankie Muniz! Tags: It’s between Jordan and Lindsey. Frankie Muniz is up next, doing an Argentine tango in a pirate costume, which is probably good practice for him in case Johnny Depp doesn’t want to do those stupid Caribbean movies anymore and they need a replacement. Nope. Now a singer named Becky G is performing her new single “Christmas C’mon,” accompanied by our own Lindsey Stirling on violin. The opening number features all 13 contestants, and it’s great to see them again, even the ones I don’t quite remember. Well, I’m really good at stand-up, so I’m counting it twice. I want to take a minute to give some props to the judges. Who will win? Of course, balancing out these two lunatics is Carrie Ann. Sure, I don’t really remember a lot of these people now, but at the time, each elimination was a painful experience for me. The three finalists are going to reprise their favorite dances from the season. They’re showing a lot of clips from performances throughout the season, and the former contestants are re-creating their dances from early in the competition. Lindsey is doing a cha-cha/tango fusion dance with her partner, Mark. (Have I mentioned I’m very good at stand-up comedy?)

I’m ready for the big announcement! No big surprise. Then, we have Lindsey Stirling, a violinist whom I had never heard of before this show — and probably will never hear of again. Well, I’m gonna have to wait another three damn minutes, because they’ve trotted out Nick Lachey to sing a song while the three finalists glare at him as they murmur, “Finish it up, Mr. I just have to think of things that I’m better at doing than he is, like … stand-up comedy … and bra-shopping … and stand-up comedy. (And samba, which he pronounces “SAM-ba,” as in the name Sam. Here comes Frankie with a foxtrot/tango fusion. Annoying Len and the other two judges give Frankie three tens for a total of 30. He gets three tens for a total of 30.

Gayle King Tells Stephen Colbert ‘It’s Painful’ To Talk About Charlie Rose

Charlie and I, we’ve worked together, been friends, but when you think about the anguish of those women, despite the friendship, you still have to report the news.”

Tags: “I was very proud of CBS news and what you, and Norah [O’Donnell] and everyone at CBS This Morning did, covering the allegations against Charlie Rose as news, objectively and fully,” Colbert said. However, with the recent onslaught of sexual-harassment allegations against Charlie Rose, King’s CBS This Morning co-anchor, Oprah’s bestie had to put holiday shopping on hold to address the serious issue — one that she has been covering on-air as a television journalist. On Tuesday’s episode of The Late Show, we, the American people, were supposed to bask in the glory of “Oprah’s Favorite Things” as detailed by Gayle King. She added, “To be honest with you, it still isn’t easy, it’s still very painful, it’s still very hurtful. Colbert commended King’s work on the subject. “Yeah, but that’s what you have to do,” King responded.

Rashida Jones Left Toy Story 4 Due to Pixar’s Treatment of Women and People of Color

The story about Jones leaving due to unwanted advances was aggregated by several other publications, though THR did write in the article that Jones and McCormack had not responded to requests for comment. According to reports from Vanity Fair and Variety, Lasseter allegedly had a long history of making women employees feel uncomfortable with close hugs and mouth kisses. That is untrue. “The breakneck speed at which journalists have been naming the next perpetrator renders some reporting irresponsible,” they said. Lasseter’s behavior was allegedly largely excused because of his massive creative output — many heralded him as the most important person in animation since Walt Disney. We parted ways because of creative and, more importantly, philosophical differences.” They added, “There is so much talent at Pixar, and we remain enormous fans of their films. Photo: Pascal Le Segretain/Getty Images

After the chief creative officer of Pixar and Walt Disney Animation Studios, John Lasseter, announced earlier today that he was leaving for a “sabbatical” due to unspecified “missteps,” reports began circulating about Lasseter’s alleged behavior. Sources

NYTimes

Tags: Jones and McCormack issued a joint statement to the Times. However, it is also a culture where women and people of color do not have an equal creative voice.”

As the Times points out, only one out of Pixar’s 19 feature films has a credited female director. In response to the story, Jones told the New York Times that she and McCormack discontinued working on the movie’s screenplay due to the studio’s treatment of women and people of color in general. “We did not leave Pixar because of unwanted advances. One article from The Hollywood Reporter detailed a pattern of misconduct and cited rumored “unwanted advances” from Lasseter as the reason Rashida Jones and her writing partner Will McCormack left Toy Story 4 — an account Jones denies.

Backstreet Boy Nick Carter Accused of Rape

“I feel I have an obligation now to come forward with the hope and intention to inspire and encourage other victims to tell their story. He was heavy, too heavy to get out from under him. We are stronger in numbers. I told him I didn’t want to go any further,” Schuman writes. I know it’s scary. You can read Schuman’s full post here. “He was visually and clearly growing very angry and impatient with me. At the time, Schuman says she considered pressing charges, but was concerned about the professional repercussions. I’m scared.”

Nick Carter has yet to respond to these allegations. Schuman says Carter invited her and a friend to his Santa Monica apartment; according to Schuman, the group hung out and had drinks, when she and Carter went into the bathroom and started kissing. Nick Carter. Schuman, who was a virgin at the time, said she made it very clear that she didn’t want to have sex, but claims that Carter ignored her wishes. Photo: David Becker/Getty Images for iHeartMedia

Melissa Schuman, a member of the 2000-era girl group Dream, has claimed in a detailed post on her blog that former Backstreet Boy Nick Carter raped her in 2002. If you are reading this and you have been assaulted, know you don’t have to be silent and you are not alone. Then I felt it, he put something inside of me. But she says that Carter continued to pressure her, and demanded oral sex. Related
Powerful Men Who Have Been Accused of Sexual Harassment Since Harvey Weinstein

Tags: “He then pick[ed] me up, put me on the bathroom counter and started to unbutton my pants. I couldn’t leave. I asked him what it was and he whispered in my ear once more, ‘it’s all me baby.’ It was done,” she writes. Schuman says she decided to come forward now, after seeing a report on Radar.com accusing Carter of a similar offense. It was evident to me, that i couldn’t leave. “He was relentless, refusing to take my no’s for an answer. He was stronger and much bigger than me, and there was no way I would be able to open that door or have anyone help me,” Schuman writes.

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Every Julia Roberts Performance, Ranked

But the grief Roberts brings to her part is almost unspeakably raw — which is critical for understanding some of the directions the film eventually takes. But presence can be a double-edged sword, too. Ocean’s Eleven Steven Soderbergh’s revamp of the infamous Rat Pack crime caper is far more assured than the original, which was purely a goofy lark; here, there’s actually some care given to things like character motivation and the dynamics of the central Vegas heist. In this one, she gives as good as she gets — she’s able to pierce Ocean’s armor of cool better than anyone else — and she’s a joy to watch. They don’t really do much else, nor do they seem to have any chemistry. “Both actors seem to be channeling Cary Grant,” Roger Ebert wrote at the time. — but Roberts touchingly conveys the film’s many moods. She pretty much completely disappears into the background. 12. 26. 7. My Best Friend’s WeddingBelieve it or not, this rom-com was seen as a comeback of sorts for Roberts, after her brief, mostly failed dalliance with more serious material in the mid-’90s. It’s a presence that encompasses her smile and her laugh (of course), but also her quick-witted delivery, and her warmth — the sense that there’s a real, caring human being up there on the screen. Plus, it’s genuinely hilarious: Its depictions of the inanity of junket interviews and the absurdity of the Hollywood machine clearly come from a place of deep knowledge. (“Can the moviegoing public fall for the same old crap again?” mused the Village Voice’s Dennis Lim.) But this movie perfected the clichés, while offering a unified field theory of the modern romantic comedy in the process. a melodrama! (The other two girls are played by Annabeth Gish and Lili Taylor.) Her vitality contrasts interestingly with his reserve — which could make for nice chemistry, but instead results in us largely ignoring him and focusing our attentions on her. In this digital-video-shot, largely improvised, no-budget ensemble lark, the director demanded (among other things) that his star-studded cast have fun. 3. Presumably, Roberts made this one (and Valentine’s Day) as a favor to the late Marshall, who after all directed her in Pretty Woman, the film that made her a star. The Player Near the end of Robert Altman’s savage showbiz satire, Roberts appears briefly as herself, playing a part in a movie-within-a-movie about a woman on death row. As Kitty Kiernan, the woman loved by both Liam Neeson’s Collins and Aidan Quinn’s Harry Boland, Roberts seems adrift: Everybody overacts, while she underacts — as if she understands the value of restraint but hasn’t yet figured out how best to do it. But Julia Roberts, playing the Evil Queen, also has a lot to do with that: She looks fantastic in costume genius Eiko Ishioka’s out-of-this-world designs, and she clearly relishes the over-the-top nature of her character. Valentine’s Day … Like, serious dirt. This is a pure movie star vehicle. 37. Dying Young This shameless Joel Schumacher (him again) tearjerker might have started out as a story about a man with leukemia, but it sort of becomes Pretty Woman all over again — as young, recently separated and vibrantly attired Julia Roberts finds herself answering an ad to help take care of a very ill, very rich Campbell Scott. Look beyond some of its more zany contrivances (after discovering her husband’s affair, Roberts lays bare the whole town’s hypocrisy and infidelity at a women’s league meeting) and you see a movie about the difficulty of rebuilding trust, and the ways in which domesticity can thwart women’s dreams. Julia Roberts doesn’t really take a backseat to anybody — not in 2001, at any rate. (Maybe that’s why she was nominated for an Oscar. Pakula’s film version of John Grisham’s hit legal thriller. Notting Hill also represents the meeting of the two stars that most came to define these subgenres: Hugh Grant and our Julia. And if there’s one thing that Roberts and Owen clearly enjoy even more than the movie’s fast-paced repartee, it’s the devastatingly well-timed silences. The all-consuming totality of the Julia Roberts phenomenon was well-earned. reporter who takes an interest in her story, and finds himself slowly becoming enamored with her. The actress manages to pull this off with subtlety and grace in a movie that could have easily gone straight for the emotional jugular. Through her restraint, Roberts provokes in us some semblance of empathy for her character – in a movie where everyone else is basically monstrous. Mona Lisa SmileMuch dismissed at the time as an inferior, female version of Dead Poets Society, Mike Newell’s period drama about an inspirational, free-spirited art teacher (Roberts) trying to convince a group of Wellesley students that there’s more to life than marriage has aged a lot better than you’d expect. Larry Crowne In this Tom Hanks–directed comedy-drama about a middle-aged man (Tom Hanks) whose life is upended when he’s laid off from his beloved job at a Walmart-style megastore and enrolls in community college, Roberts plays a perpetually unhappy (and vaguely alcoholic) teacher. They never quite stop being themselves, through no real fault of their own. Hook is a strange movie – bloated, to be sure, but also filled with lots of emotional dynamite that’s clearly coming from a very personal place for the director. This is the pinnacle of two particular types of rom-coms that dominated the 1990s: tales of cynical (usually male) protagonists who urgently need to find something or someone to care about, but don’t realize it, and tales of attractive but unlucky-in-love (usually female) protagonists finding The One in the unlikeliest places. Runaway BrideThis calculating, frightful rom-com reunited the principals of Pretty Woman — Roberts, Richard Gere, and director Garry Marshall — and scored a huge box-office success, but it leaves a sour aftertaste. Roberts is terrifically scheming and relentless and sexy, and gets to flex her slapstick chops as well — but she also makes us believe the character’s desperation, which in turn serves her well when the film gets more earnest in its later scenes. Roberts and Tim Robbins play American journalists in Paris who lose their luggage and bicker over a hotel room and then wind up in bed together. Ocean’s Twelve Steven Soderbergh’s breezy, nonsensical follow-up to his 2001 heist hit might be the best of the Ocean’s trilogy, thanks in part to the fact that it takes itself even less seriously than the other two films. Anyway, it’s a great filmography — better than many would have anticipated. This is a part that calls for a real movie star: Someone who can totally command the screen while also having fun with the Queen’s desperate attempts to preserve her beauty. Wonder It almost goes without saying that Roberts brings plenty of sensitivity to her role as the devoted mother of a 10-year-old with craniofacial disorder; there’d be no point for her to do this family film otherwise. There’s backstabbing and betrayal galore, but thanks to Gilroy’s deft touch and the winning cast, it’s all ruthlessly entertaining. Gore Verbinski’s strange action comedy romance follows their seemingly opposing trajectories: Pitt has a mythical, twisty-turny journey south of the border, while she hooks up with sensitive hit man James Gandolfini and goes from vengeful ex to chatty, introspective soul. What is interesting are the film’s many references to Pretty Woman – interesting, but also sad. She plays a Los Angeles DA investigator whose teenage daughter is raped and killed, and whose desire for revenge fuels much of the story. And she gets the film’s true emotional highpoint, with a speech at the end about all the things she fears about her future as a stepmom. But perhaps her foray into drama wasn’t for nought, for she brings a surprising amount of dedication to this high-concept tale of a driven food writer who sets out to ruin her best male friend Dermot Mulroney’s wedding to Cameron Diaz. This was seen as a bit of star-vehicle shlock at the time — reviews were blah, but box-office was golden, cementing Roberts’s infallibility as a draw — but rewatching it now, I’m struck by how effectively and poignantly Roberts conveys her character’s trauma and inability to move on. 24. It’s a relatively absorbing suspense drama — and the actress deserves credit for keeping us interested, since the plot itself is quite convoluted. In the moments when she connects with the film’s pathos, Roberts’s cheerful fairy is quite affecting. But that’s no knock on Roberts: She is the opposite of saccharine. Despite the fact that she seems to be searching for herself, this characters is a listener, and so Roberts cedes the spotlight to her co-stars — especially James Franco, Richard Jenkins, and Javier Bardem. True, it’s self-aware enough to allow its cast to turn their performances up to 11, but it still doesn’t work; it wants to be elegant trash, but in truth it’s just trashy trash. Grand Champion This dreadful, family-friendly underdog story about a young widow, her kids, and their prize steer was shot by Roberts’s husband Danny Moder and co-stars her niece Emma Roberts, which may explain why Julia shows up very briefly as a pregnant ticket-taker at a livestock show and exchanges something like four brief lines of dialogue with the leads. 16. 9. But the movie is … well, it’s kind of icky. 41. But it was really about Zeta-Jones’s much-trod-upon, confidence-lacking wallflower sister Julia Roberts coming into her own. Her character is dedicated to her son — to a fault. The dialogue is predictable, but the duo make it convincing. Of course, as with many Woody Allen scenarios, what once seemed light as a feather now feels a little creepy. Plus, she brings a real undercurrent of tenderness to her character’s stridency and persistence. 18. That speaks to her irresistibly effervescent performance — that laugh — and the chemistry between her and Gere. But then again, so was Streep.)

23. Funny how this was considered “serious” while something like Steel Magnolias was not. Roberts plays Clooney’s producer, stuck in the production booth making life or death decisions and trying to save her beleaguered host. with horse-racing! Money Monster In Jodie Foster’s satire-cum-thriller, George Clooney plays a Jim Cramer-ish TV finance guru whose bullish promotion of one stock has led desperate prole Jack O’Connell to lose his life savings, leading to a hostage standoff in the TV studio. She’s there to be a familiar face and to lend the movie some credibility — you can see pretty much half her performance in the film’s trailer — but her brief, winning appearance serves more to remind you of how lacking the movie is. So how odd that she comes off better than some of her esteemed co-stars (Jude Law, Natalie Portman, and Clive Owen – the latter two were nominated for Oscars), largely by underplaying her part. Memories are unearthed, resentments are shared, emotions are felt — and very little of it rings true. 44. Michael Collins It pains me tremendously to say that a Neil Jordan film contains one of Julia Roberts’s worst performances, but one must never flee from the truth. Mother’s DayThud. 6. Roberts is quite good as an energetic young woman determined not to let her control-freak mom (Sally Field) or a debilitating medical condition get the best of her. But Roberts eases into her support role — she’s one-dimensional on purpose, her very presence given a postmodern kick by the fact that she is, after all, Julia Roberts. Yes, the movie is predictable and “safe” in all the usual ways, but frankly, it deserved better. The plot actually focuses on the efforts of fellow investigator Chiwetel Ejiofor’s pursuit of the culprit, and of his affection for assistant DA Nicole Kidman. 17. Their offscreen tension makes it onscreen, which actually works sometimes — specifically, in those moments when Roberts’s dogged cub reporter is weirded out by (the fantastically miscast) Nolte’s weathered and womanizing newspaper veteran. Sleeping With the Enemy Fleeing from her abusive, control-freak husband Patrick Bergin, Roberts fakes her death in a boating accident and heads to the heartland, where she tries to rebuild her life and keep a low profile, hoping he doesn’t discover her ruse and track her down. But this mess, about a garage band that starts to see a hint of success and is immediately torn apart by the usual rock-movie clichés, never really gets going. 38. Resolved: Julia Roberts should play villains more often. Her willingness to undercut her image is refreshing — especially because this was right around the time that she was looking to branch out into more serious roles. The movie’s tone is all over the place, but Roberts and Clooney’s chemistry helps ground it; their easygoing banter eventually leads to tenser and tenser exchanges. 31. Here are all of Julia Roberts’s performances, ranked. Did they, though? Seriously, how strange is it that, after so many years of being a huge star and starring in countless megahits and winning all sorts of awards, this is still the film with which Roberts is identified by so many? Playing a decidedly unglamorous, in-no-way-bubbly, and twice-divorced single mom who takes a job as a legal secretary and winds up uncovering Pacific Gas & Electric’s poisoning of Hinkley, California’s drinking water, she was so thoroughly un-Julia that it somehow made us keep thinking of, well, Julia. Eat Pray Love In the wake of a messy divorce, a writer wanders the world in search of meaning and passion in this loose adaptation of Elizabeth Gilbert’s popular memoir. Confessions of a Dangerous MindRoberts is appropriately mysterious and alluring — but still in a very Julia Roberts way — playing a shady agent in this demented biopic about The Gong Show host Chuck Barris and his purported side gig as a CIA assassin. 28. It seems like a nothing role, but it’s actually crucial to the film’s vision of the industry as a place where the noblest of purposes is flattened and rendered superficial by the demands of ego and profit: The film the characters are watching is meant to be compromised because it now has Julia Roberts in it. Gandolfini gets the best moments in the film, and Roberts’s interactions are marked by her openness. Many movies might seek to judge a character like Roberts’s. Hook Sporting a rare pixie-cut (what else?), Roberts brought an almost pathological joviality to tiny, glowing Tinkerbell in Steven Spielberg’s star-studded, much-reviled sequel to Peter Pan. (Here we go again.)

22. Something to Talk About At the time, this film was marketed as a kind of modern-day comedy of remarriage, in which on-the-outs small-town husband-and-wife Dennis Quaid and Roberts got back together. She smiles, she broods, she dances. Seeing her again in a meaty role was a delight, even if the movie is sometimes a little too light for its own good. Roberts plays an unhappy American in Venice who is wooed by depressed, divorced, and done-with-love Allen in a variety of vaguely dishonest ways. He’s a crackpot New York cabbie who spends much of his time spinning elaborate and unlikely theories about everything under the sun; she’s the Justice Department lawyer who he’s smitten with, and who keeps rejecting his attempts to relay his ideas to her. an anti-romance! Roberts is a woman who keeps leaving men at the altar, Gere is the contemptuous, know-it-all journalist who “figures her out,” as it were — right as they fall for each other. Photo-Illustration: Vulture

Julia Roberts co-stars in Wonder, which opens this week. Even when she failed — as in that brief period in the mid-1990s when she attempted more ostensibly serious fare — somehow we all felt embroiled in the fate of career. The Pelican Brief As a brilliant law-school student who accidentally discovers a huge government conspiracy, Roberts has to play a character who slowly comes to understand her dangerous predicament in Alan J. Is this the beginning of the Julia Roberts Plays Herself subgenre? Roberts doesn’t get to do much, but when she’s onscreen, she mostly just plays a one-note portrait of a caring mother. In retrospect, it’s not hard to see that it started life as a grittier, darker film, and was only later turned into a breezy rom-com. Interesting casting, to be sure: Though in no way anything like Gilbert, Roberts was one of the few stars big enough to get a project like this off the ground. Flatliners Sorry, revisionists — this is not a good movie. Notting HillHe’s a mopey West London bookstore owner who doesn’t really have much that excites him in life. One wonders what exactly their story is even doing in this film, aside from helping secure financing. From her star-making turn in Pretty Woman in 1990 through the early 2000s (when she took a step back from her whirlwind career to start a family), she was a dominant cultural force. 2. And one of the reasons the film doesn’t succeed is Meryl Streep’s grotesque performance as the filterless, domineering matriarch. Erin BrockovichBelieve it or not, there were some of us who thought Julia Roberts was trying a little too hard with this, the (based-on-real-life) movie that won her an Oscar. But what makes this performance special are the added notes of fear and impatience and distractedness that she layers on top of that. 10. It has one-liners and meet-cutes and ironic coincidences and a jaunty pace. Charlie Wilson’s War In Mike Nichols’s based-on-fact political satire, Roberts plays the real-life right-wing Texas socialite who used her sharp wit and feminine wiles to engineer womanizing congressman Charlie Wilson’s (Tom Hanks) efforts to illegally arm the Afghan mujaheddin in the 1980s. 20. Secret in Their Eyes This drama — a remake of an Oscar-winning Argentine film — flopped mightily upon release, but Roberts was quite compelling in it. At least she was given some things to do in Mary Reilly. Fireflies in the Garden Hey, isn’t it cool how these ranked countdowns of great performers’ careers always start out with a deluge of amazingly bad movies? Worth noting: Notting Hill is also one of the high points of the Julia Roberts Plays Herself subgenre, toying with the sheer magnitude of her stardom by straight-up making it a plot point. (Seriously, this is like Pacino and De Niro finally facing off in Heat.) The constellation of so many elements at the time looked to some critics like evidence that the film was just a tired slog through the usual clichés. Duplicity Tony Gilroy’s breezily articulate con-artist romance features two electrifying performances from Julia Roberts and Clive Owen, as former flames and ex-intelligence operatives (she for the CIA, he for MI6) who wind up working in corporate espionage in the private sector and plunge several double-crosses deep. Everyone Says I Love You Woody Allen once made an honest-to-god musical, and it was actually pretty good — with the awkwardly performed (on purpose) songs lending a pleasantly Brechtian quality to the largely plotless multicharacter romance. Also, she attempts yet another Irish accent, and fails yet again. For many who came of age in the 1990s, Julia Roberts was more than a movie star; she was an existential fact. 14. “Watch her face as she enters her first class and sees nine — not the state-mandated minimum of ten — students,” wrote David Edelstein at the time. 15. It’s a screwball concept given a soft-focus treatment, with an even-more-predictable-than-usual plot and very little character shading. It’s an incredibly compassionate film, and she is its beating heart. But Wonder isn’t really a Julia Roberts Movie, and that’s still a weird concept to grasp for some us. It’s annoyingly stylized hokum from Joel Schumacher, about a group of med students who let themselves “flatline” and then are brought back to life, all in an effort to understand the nature of death. August: Osage County Hot take: Though acclaimed, this movie is basically terrible — a shrill but also lifeless variant of Tracy Letts’s extraordinary play about a dysfunctional family reunited under tragic circumstances. 40. Of course, the film is most notable for — spoiler — Roberts’s death at the end, and her palpable absence in the final scenes speaks to the brightness of her presence in the movie’s earlier parts. Steel Magnolias Roberts garnered her first Oscar nomination for this tender, episodic comedy-drama about several generations of women in a small Louisiana town, bonding around a local beauty parlor run by Dolly Parton. The legendary writer-director’s ambitious epic about the life and career of the Irish revolutionary and political leader is overbaked to an almost comical degree: Everybody shouts and gestures and runs around like they’re worried the audience might get bored if they slow down. Roberts is admirably restrained throughout, giving a sense of slow-boiling frustration at the administration and the society around her, but her performance is also filled with love and concern for the young women around her — even for the marvelously caustic Kirsten Dunst, playing a conservative student perpetually at odds with our heroine. But it’s actually a far darker film than that. Related Stories

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25. Gone, too, is the volcanic chemistry the two stars had in Pretty Woman. SatisfactionLook, a movie about an all-girl band (well, an all-girl-and-one-guy band) starring Justine Bateman, Liam Neeson, Trini Alvarado, and Julia Roberts should have been way, way better than this. a drama! Her class is “The Art of Informal Remarks” — something that speaks to the modesty of the characters and their milieu — and she and he are sort of meant to be together, even though she’s married to a rather gross Bryan Cranston. Either that, or he had some dirt on her …

43. 1. This awkward family drama, somehow both simplistic and convoluted, was recut for U.S. But Roberts is certainly radiant, even if she’s not called on to do all that much. 34. Gibson makes for an effective motormouthed crazy person — this was before the world realized that he basically was one — and Roberts is elegant and sensitive and beautiful in all the usual Hollywoodized ways. Roberts plays her daughter — always at odds with mom but also coming to realize that she’s turning into her in certain ways. The plot is a little all over the place — it’s a comedy! The actress is clearly relishing the opportunity to deliver Aaron Sorkin’s barbed dialogue (though perhaps not as much as Philip Seymour Hoffman, who steals the show as an explosive CIA functionary). I Love Trouble Roberts and Nick Nolte famously did not get along on the set of this Nancy Meyers–scripted romantic comedy about rival Chicago reporters who are forced together while uncovering a sinister bovine hormone conspiracy (no, really). Of course, that’s partly the appeal of this movie: The men wind up disappearing into the background, and we’re left with three girls and their moving and close-knit friendship with one another. Ryan Reynolds plays a writer who comes home for his mom’s (Roberts) belated graduation, only to wind up having to deal with the tragedy of her death in a car accident. As written by Charlie Kaufman and directed by George Clooney, the film is a tight little, wink-wink puzzle box of metaphor and shifting realities, which can constrain the performers sometimes; they don’t really look like they’re enjoying themselves, but maybe that’s the point. As the band’s patrician, party-animal bassist, however, Roberts is quite lively, though her subplot takes a backseat to the film’s other story lines. “It’s the relief of a sourpuss who truly would rather not deal with other human beings, especially in the morning with a hangover.”

19. Ready to WearAfter his umpteenth comeback, director Robert Altman almost immediately ruined his career again with this tepid, unwieldy multicharacter satire of the fashion world. And Roberts embodies the film’s nutty playfulness in the unforgettable scene where she goes into a museum posing as Julia Roberts, and is promptly recognized by Bruce Willis (playing himself). Needless to say, they wind up in the middle of a full-fledged, murderous conspiracy, which is sort of a dream come true for him. (If anything, this is our problem as viewers.) Watching the movie now, however, her performance gains depth, and one can see how Roberts has immersed herself in the part, even as she brings certain elements to make it her own. John Slattery!) is also quite something. Mirror MirrorThe main attraction in this riff on the Snow White legend is director Tarsem Singh’s splendid knack for surreal, eye-popping imagery; every frame of this fantasy adventure is stunning. (This comes through particularly in the sequences when she responds to the largely harmless, but weirdly triggering, advances of a potential new suitor.) The movie is a predictable genre piece — with a doozy of an ending — but Roberts is so haunted throughout that she gives it complexity and nuance. And Julia Roberts has (has – she still does) more presence than most big actors combined. But that’s part of the problem with movie stars, isn’t it? Meanwhile, the romance stuff is largely idiotic: She and Pitt are presumably kept apart for most of the movie so they can be emotionally reunited, but their chemistry is negligible; they should have stayed separated. Pretty Woman Well, here it is: the rom-com neutron bomb — about the world’s sweetest prostitute and her whirlwind romance with a Wall Street takeover specialist played by Richard Gere — that turned Julia Roberts into a household name. The romance is pointless, the film overlong and unfocused — but it’s actually quite entertaining to watch Julia Roberts play someone who is constantly pissed at the world. 5. Made at the very beginning of her career (it wouldn’t be released for several years), this is a far cry from the actress we’d get to know in later films. Related
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Tags: 8. As is his wont, Schumacher leans into the emotional manipulation — heaven forbid the man should ever restrain himself — which actually undercuts the emotions on display. Outfitted with a gruesome pageboy wig, Roberts plays a famous Home Shopping Network guru seemingly admired by everyone in this remorselessly dumb ensemble comedy about a cross-section of Atlanta moms — a shallow, offensive follow-up to director Garry Marshall’s only marginally less shallow and offensive Valentine’s Day and New Year’s Eve films. 33. Both actresses are terrific — bringing depth to the film’s high-concept logline — and Sarandon does arguably have the showier part, as the older woman who doesn’t think this young, fabulous creature is worthy of taking care of her children. Shot after she got married and started a family, this film represented Roberts’s return of sorts to high-profile acting; she had spent several years doing cameo parts and vocal performances. Full Frontal Perhaps because she achieved such massive fame at a relatively young age, and so perfectly embodied the platonic ideal of a Movie Star, Julia Roberts has made a rather shocking number of films in which she appears as a meta-textual variation on herself. As the more earnest of the group of med students who kill themselves for science and sport, Roberts actually makes it out okay from the cinematic wreckage — she has a no-nonsense sweetness that serves her well. America’s Sweethearts This largely dreadful comedy had Billy Crystal as a PR flack trying to manage the fallout from megastars Catherine Zeta-Jones and John Cusack’s high-profile breakup, while trying to promote their disastrous upcoming movie. We’re constantly reminded that she’s being thoroughly wasted. She’s a huge American movie star, in town to promote a movie. Roberts gets one of the more interesting but less developed characters here, as a soldier on leave seated next to Bradley Cooper on an airplane. 32. 29. She’s charming, to be sure, but it’s hard to buy the movie’s conceit that she’s always been the overlooked sister. Hence, the awesome number of films in which she’s asked to riff on variations of her own persona — a subgenre (or is it a sub-subgenre?) we could call Julia Roberts Plays Herself. But she can only do so much, and the unwieldy and overlong film eventually loses any inspiration or energy it might have once had as it lumbers to its belabored conclusion. At the very least, this was one of the first signs that the actress would be a good sport about all this. She doesn’t have to do all that much acting, of course — but her appearance in this film offers a fine new twist in her ongoing deconstruction of her own celebrity. But let’s face it: The person who maybe should have gotten that Oscar nomination (and probably the win) was Field, whose profound, inconsolable grief at the end is one of the most shattering things you’ll ever see, like, anywhere. You can see it in some of its rougher spots, which expose the saccharine script and plotting. But Roberts does bring sensitivity and range to her part, as she goes from repulsion to attraction to heartbreak to endurance. release, though apparently the earlier version wasn’t any better. 4. 13. Julia Roberts eventually proved to be one of the finest performers of her generation, but she never could quite escape being Julia Roberts. Movie stars might have talent and range, but that’s not what makes them stars; what makes them stars is, ironically, a limitation: The one (or sometimes two) things everyone knows them for, the qualities that define their presence. 35. But soon it became clear that Marshall had a whole franchise in mind, with more of these holiday-romance cluster bombs on the way. It’s a very thoughtful and true depiction of how one’s life can be consumed by being a parent, and of the difficulties of letting go. Closer Mike Nichols’s precise, chilly adaptation of Patrick Marber’s savagely barbed play about two men and two women who engage in an elaborate series of meet-cutes and infidelities doesn’t look, at first, like Julia Roberts material: What would her buoyant energy do with Marber’s combination of brutal efficiency and philosophical reflection? Stephen Frears’s Gothic drama is, to be fair, rather watchable — atmospheric and melancholic, with John Malkovich clearly getting a kick out of chewing any and all available scenery. Roberts pokes sly fun at her image, playing an actress playing in a movie about journalists who fall in love while pursuing a conspiracy (which itself is a riff on her role in The Pelican Brief), but the movie’s drab look and frantic energies make it feel like a bit of a chore. Mary ReillyMade at the height of her fame, this attempt at more dramatic material – the Jekyll-and-Hyde tale told from the perspective of the good doctor’s Irish maid, who begins to discover his secret — almost killed Roberts’s career. The cast of then-stars and future-stars (Dominic West! But the highlight here is Roberts’s chemistry with Denzel Washington, playing a cynical D.C. The movie doesn’t really land emotionally — it feels more like a mediocre TV series — but the actress’s generous performance leads to moments of occasional sincerity. Or something. The Mexican Brad Pitt is a klutzy errand boy for the mob sent to Mexico to retrieve a priceless pistol with a magical backstory; Julia Roberts is his long-suffering girlfriend who angrily dumps him upon hearing the news. 39. a romance! 36. 11. She just has a terrible accent, and the movie does her very few favors by making her character so passive. 42. In fact, the whole movie should have just been about Roberts and Gandolfini. So you can sort of see the problem here. 30. That’s why Roberts, who spent so much of her career trying to reconcile her comic persona with her desire to do dramatic work, is so perfect for it. Somehow, though, Roberts manages to be her usual likable self in the film, which probably helps account for its success. But it’s still bubbly and delightful, and one of its true pleasures is the wonderfully bitter and fast-paced repartee between ex-con and super-thief Danny Ocean (George Clooney) and his ex-wife Tess (Roberts), who now appears to be going with his chief nemesis (Andy Garcia). 27. Conspiracy Theory There’s decent chemistry between Roberts and Mel Gibson in this schlocky but slick paranoid thriller. Blood Red Roberts gets virtually no dialogue and precious little screen time in this hilariously over-the-top epic about Sicilian immigrants in America — starring her brother, Eric, who was a much bigger star at the time. The critical and financial disappointment of this film in 2003 seemed, at the time, like a dagger in the heart of Roberts’s career: She had been paid a then-astronomical $25 million for it. 21. Also of note: Unlike in many other stories of romance and deception, the woman is clearly having as much fun as the man. And Roberts isn’t bad, actually: Her character’s queasiness and fear comes through vividly. If Pretty Woman had to be the vessel that would introduce her to the wider world, so be it. Stepmom Susan Sarandon got much of the acclaim for this sentimental drama about a divorced mother whose rivalry with ex-husband Ed Harris’s younger new girlfriend begins to change when she discovers she’s dying of cancer. He’s given up on life, but with her around, he starts to fall in love — and then, so does she. At the time, Garry Marshall’s star-studded roundelay of couples and non-couples making their way through Valentine’s Day was compared to Love, Actually, which had a similarly intercutting, multicharacter structure. Maybe this is a Julia Roberts Plays Herself movie in embryonic form; she clearly identified with elements of this character. But look closer and you realize Roberts has to do so much more: She’s a confident and high-powered professional photographer who finds herself at an utter loss when trying just to be a mom to these kids, and the actress balances these extremes beautifully. Mystic Pizza In this enchanting romantic comedy about three waitresses at a pizza shop in Mystic looking for love, Roberts plays the sassy, fun-loving one who falls for a wealthy blue blood, played by Adam Storke. She doesn’t see the other problems growing around her. Erin Brockovich is a dramatic story — a very sad one, at times — but it has comic moves. Which might have been annoying, were it not for the fact that her devotion to Peter (now all grown-up and played by Robin Williams) felt so total. And as she is in so many other not-very-good films, Roberts is a breath of fresh air — without an attachment to the stage, she’s able to bring a dose of naturalism to her part, which helps get us on her side. But the movie requires her to be very much not the center of attention and to focus on the people around her. Several of these films are directed by Steven Soderbergh.

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Runaways Series-Premiere Recap: Teenage Dream

She passes out immediately after removing her bracelet, and when two of Chase’s lacrosse teammates try to take advantage of her, Chase realizes that maybe he shouldn’t have abandoned his old friends for aspiring rapists. Robert (James Yaegashi) has much more empathy for his daughter’s situation, and it’s clear that Amy’s death has driven a wedge between him and Tina. Connecting Karolina to a church also adds a new layer to her closeted sexual orientation, which is hinted at when she’s transfixed by two women making out at a party. Morgen is a filmmaker committed to verisimilitude, and he’s an inspired choice to direct a superhero project with a grounded perspective. This separation is important: The original Runaways comic relied on teen characters who were far away from the superheroes of the Marvel universe. The Wilders genuinely care about their son, and the small detail of Geoffrey (Ryan Sands) recognizing a video game that Alex hasn’t played in a while shows that he tries to be engaged in his life. “Reunion” is the first fictional work directed by Brett Morgen, a documentarian who has worked on films like the Academy Award–nominated On the Ropes, Cobain: Montage of Heck, and this year’s Jane. Created in 2003 by writer Brian K. While existing within a superhero universe, the Runaways comic was always more of a teen drama with heavy genre elements, prioritizing character development while eschewing superhero conventions. The episode begins with a runaway, Destiny (Nicole Wolf), but she isn’t one of the main characters. The concept of Runaways is dark, but there’s plenty of humor in this episode to endear viewers. Vaughan is credited as an executive consultant to the series, and while it’s not clear how much say he had on the final product, the pilot’s faithfulness to the spirit of his comic suggests that he had a hands-on role. Alex is a loner, and his parents are concerned that his isolation will be irreversible if he doesn’t let others into his life. Destiny plays a key role later in the episode, but her time on this series is limited, and the help she receives from two members of the Church of Gibborim will ultimately doom her. In the comics, Karolina is the daughter of two actors, but the TV show reimagines her mother Leslie (Annie Wersching) as the head of the Scientology-esque Church of Gibborim, a clever shift that makes a lot of sense with the L.A. The funniest moment is when Molly’s mom, Stacey (Brigid Brannagh), tells her that if breathing exercises and chamomile tea don’t sooth her menstruation cramps, she should go the bathroom and give herself an orgasm for natural pain relief. In an act of rebellion, Karolina takes off the bracelet she received when she was initiated into the church at birth, and her flesh becomes a sparkling pastel rainbow. They bring Runaways to the screen as Marvel Television’s first series for Hulu, where it stands separate from the studio’s other shows on Netflix and ABC. Enter Josh Schwartz and Stephanie Savage, a pair of TV veterans with experience making both a California-based teen soap (The O.C.) and an adaptation of YA source material (Gossip Girl). There’s much more tension in Nico’s domestic situation: Her mother Tina (Brittany Ishibashi) is icy and angry, and she lashes out at Nico when she goes into Amy’s impeccably preserved bedroom to get a pair of tights. The heroes wouldn’t wear costumes, and the distinct wardrobes created by Alphona were extensions of constantly evolving personalities. One of the most impressive things about this episode is the sense of place, and Morgen provides a strong impression of each different setting, whether it’s a bus driving into L.A., an opulent mansion in Brentwood, or a goth girl’s bedroom. Brian K. With its shaky handheld camerawork and sickly green palette, the cold open is a tense, gritty introduction to the world of Runaways, providing a seedy image of Los Angeles that is wiped away when the story jumps to the wealthy neighborhoods where the central teenagers live. Chase (Gregg Sulkin) is a jock who makes fun of the people he used to make fun of jocks with, Gert (Ariela Barer) is a punky feminist crushing on him, Karolina (Virginia Gardner) is a perfect blonde church girl, and Molly (Allegra Acosta) is the freshman eager to find her tribe. It’s clear early on that Runaways is making significant changes to the source material, most prominently by giving Nico Minoru (Lyrica Okano) an older sister who has been dead for two years. (The H.R. She’s drugged and placed in a weird glowing container, and although the teens don’t know what the hell is going on, they know that it’s not good. Molly is also Gert’s adopted sister on the show, and Barer and Acosta create an affectionate sibling dynamic that leaves plenty of room for playful ribbing, whether it’s Gert criticizing Molly for auditioning for the dance squad or Molly commenting on Gert’s desperation when she tries to talk to Chase. While the comic didn’t spend any time with the teens at school, they all attend the same elite private academy in the show, and that social hierarchy has a direct impact on how they interact with each other. Standing on the balcony of some sort of underground temple, the kids watch their parents engage in a strange ritual, wearing creepy robes as they bring Destiny into their circle. Amy Minoru’s death splintered Nico’s group of childhood friends, and Runaways begins as Alex Wilder (Rhenzy Feliz) tries to get the gang back together on the anniversary of Amy’s death. Photo: Paul Sarkis/Hulu

Marvel's Runaways

Reunion
Season 1

Episode 1

Editor’s Rating

4 stars

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Marvel’s Runaways has had a rocky journey from comics to television. It’s sunny and colorful, but also a bit sinister, teasing the darkness at the root of these teenagers’ privileged lives. The Avengers weren’t going to fly out to Los Angeles for a group of kids who thought their parents are evil, and so the Runaways had to depend on each other to survive. Vaughan and artist Adrian Alphona, the original comic prompted Marvel to consider a Runaways movie, which reached early casting stages before being shelved in the early aughts. It also has some cheeky teases of future plot points, like an inflatable dinosaur pool toy, the significance of which longtime fans will immediately understand. The superhero elements will clearly be used to explore aspects of the adolescent experience from angles that wouldn’t be possible in a more realistic story, and this episode’s commitment to character indicates that Runaways has made it into the right creative hands after years trapped in development hell. Giger-esque breathing tube is a great touch.)

The first half of “Reunion” plays like the usual teen soap about rich young people, introducing each of the main cast members and establishing their relationships with their parents before following them at school. She actually has superstrength, and the manifestation of her power marks the point when Runaways goes from typical teen soap to something more fantastic. The dialogue is briskly paced with plenty of quips, and there are some fun visual gags sprinkled throughout: a poster declaring “Sitting Is the New Cancer!” behind a group of students hunched over their standing desks, a close-up of Chase’s butt as Gert walks behind him at school. The entire main cast has a similarly natural chemistry: These separate characters were once a tightly knit group, and moments like Karolina and Nico’s weepy interaction in the school bathroom are imbued with a longing to reconnect with a friend who has drifted away. Tags: environments — from lavish homes to grimy streets and rolling hills — backed by synth-heavy chillwave music. All of the changes made to the source material work in this series’ favor, providing new opportunities to delve deeper into the character relationships. Schwartz and Savage understand that appeal: There’s very little about the Runaways pilot that indicates this show exists in a superhero world. One of the most striking locations is a white room heavily inspired by 2001: A Space Odyssey, and the production design serves as exposition, indicating the alien nature of the characters in the scene. setting. But a trip to the Wilder study to pilfer liquor brings these teens back together in a way they never could have expected: A stack of coasters is actually the key to a secret door, and adolescent curiosity compels them to venture into the mysterious passageway, which is considerably older than the house built above it. The title sequence sets the tone for the rest of the episode, providing glimpses of different L.A. Chase, Karolina, and the rest of the gang eventually make their way to Alex’s house for pizza with a side of sadness as they talk about how Amy’s death pushed them apart. But Molly isn’t dealing with period cramps.

Melissa Gilbert Reveals ‘Humiliating and Horrid’ Audition Incident With Oliver Stone

“I’m actually sitting here telling you this story afraid to say his name because I’m worried about backlash,” the actress told Andy Cohen while appearing on Cohen’s Radio Andy. Stone informed her that she would have to actually stage the scene and Gilbert left in tears. As the Wrap reports, Gilbert initially danced around the specifics of the story before revealing Stone was the director in question. It was Oliver Stone and it was The Doors movie.”

As Gilbert explained, Oliver Stone invited her to audition for the role of Pamela Courson, Morrison’s longtime girlfriend, and presented her with a scene he allegedly wrote just for her. After recounting the event, Gilbert revealed, “Oh, fuck it. Now, Little House on the Prairie actress Melissa Gilbert opens up about another perturbing audition for the rock biopic about Doors front man Jim Morrison. “He got me back and it hurt.” The role would eventually go to Meg Ryan. Brown/Getty Images

Last month, actress Caitlin O’Heaney reportedly broke an NDA to discuss an audition for 1991’s The Doors, during which Val Kilmer allegedly punched her while director Oliver Stone looked on. The actress now says the scenario was orchestrated by Stone as revenge after she “embarrassed him” in a club. Sources

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Actress: ‘Val Kilmer Punched Me During My Audition for The Doors’

Tags: Photo: Frederick M. The “special scene” was a “really dirty, horrible” sex scene that involved Gilbert getting down on her hands and knees. “He wrote this special scene that he wanted me to do for him physically in the casting room, and it was humiliating and horrid,” Gilbert claims.

The Real Housewives of Orange County Reunion Recap: The Cries Have It

Nope. She’s just sad because she didn’t know about it. That seems like when you and your boyfriend get a dog and you “share custody” after you break up, but then you’re sick of switching off weeks and seeing each other, so one of you just takes the dog full-time and the other one commits a string of high-profile bank robberies out of sadness that you lost the dog. These drag queens welcomed Lydia into their space, so she should have been welcoming in return, not a judgmental sourpuss who made them feel like they’re sinners or something because she was uncomfortable. Kelly’s split with Michael seems less traumatic because, well, she had attempted it before and just finally succeeded. Apparently this is where weaves go to die: the giant hair speed bump at the end of Andy’s second couch. That happens to everyone, right? Not one single scrap that we could even boil down into a decent bone broth. Then he went and bought their daughter, Sophie, a brand-new BMW, which is not at all an emotionally manipulative gift. Tags: He left a vacation they took to Hawaii early and then when they got home, he told Shannon they were ending it. Photo: Nicole Weingart/Bravo

The Real Housewives of Orange County

Reunion Part 1
Season 12

Episode 20

Editor’s Rating

3 stars

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Here it is, ladies and homosexuals, the giant raging grumble let forth from the center of the Earth. But no, instead we have a whole ’nother week of dealing with these turkeys. She is not just a bundle of nerves, she is the original nerve tree from which all human nerves have grown. This is a very confusing cosplay. being hauled out of an Icelandic hotel covered in a robe, this season gave us absolutely nothing. It is a nothing folding in on itself, like a tinfoil swan they put your leftovers in at fancy restaurants. Especially concerning are crisscrossing straps at the bust that just seem to be calling attention to all of the worst parts of both the garment and Vicki’s figure. (Also, I love that Lydia is afraid of psychics because she actually believes in them and their powers, which makes the fact that she didn’t want to be around one even more hilarious than I thought possible.)

Finally, the oddest exchange of the night is thanks to Tamra, who went to her daughter’s graduation but has fallen out with her again. She does have a deft defense, which is that she’s on a reality show and this is something that really affects her emotionally. No, it is not the great earthquake that will finally rend Orange County from this great nation of ours and send it to the Great Pacific Garbage Patch where it belongs. On the left couch, we start with Vicki. As far as new faces go, this is a really good one. Also, Michael doesn’t seem so much like a person who you would be in a relationship with, but more like something you would one day flee from and celebrate. The most shocking thing to hear is that David is the one who ended their relationship. To make matters worse, nothing ever happens at the reunions and since nothing happened at all this season, there is double nothing to happen at this reunion. It has long sleeves and a short skirt and might be a little informal considering what everyone else is wearing, but it’s fine. The big bombs are Kelly’s and Shannon’s divorces, both of which we knew about before tuning in because of both the blogs and the finale last week. My heart broke a little bit. No way. (This is really the only part of reunion recapping I enjoy, so bear with me.) Tamra Judge, a real utility player in the Real Housewives Fantasy Football League, shows up dressed like a Real Housewife at a Reunion Special, which is as life should be. My heart also breaks that Shannon and David are still going to Sunday dinners with the girls. It seems the crux of her problem is that her daughter doesn’t want to be part of the show or Tamra’s social media presence or anything like that. Kelly Dodd is wearing the serving wench costume that she bought at the Renaissance Faire. It’s both stunning and trashy and I can’t stop looking away and also really craving a piece of Extra sugar-free gum. Other than Victoria Denise Gunvalson Jr. She seems to be taking a little bit of the culpability for that now, so let’s hope that Tamra continues to learn and grow and go with God or something like that. Naturally, Shannon is really broken up about it and the best moment is when she is walking backstage with Tamra and says, “Wow, now it’s real,” now that she’s announced it to the world. It is like a mirror of nothing reflecting another mirror of nothing and that is like an infinite amount of nothings, which is, once again, nothing. Next to her is Shannon wearing a slimming black number. I can’t believe Tamra is 50, because she looks absolutely amazing. Lydia would also like us to know that she isn’t homophobic and that’s not why she felt uncomfortable at drag bingo. Meghan King Edmonds looks like Daenerys Targaryen if she were working at Ghost nightclub on top of the Palms casino sometime circa The Real World: Las Vegas. I just want to go eat an entire apple pie and pretend like it’s already Thanksgiving. Shannon, on the other hand, is still trying to process her breakup. I’m with Meghan on this one: Just use the Bible’s teachings and apply them to drag bingo. Just like Lydia, her date also lost his balls, but it was to a tragic Mario Kart accident, so she’s actually winning slightly in the game of life. I no longer practice, but I remember learning the Golden Rule in Catholic school and I think it says to treat people the way you want to be treated. Instead it was just a speed bump that seemed to be constructed entirely of hair and covered with a shiny purple oil slick, probably from all the cars bottoming out while traveling over it. I don’t know. If Beauty and the Beast were set in Cher’s house and, at the end of the movie, the ottoman in her living room were turned back into a person, that person would be Vicki in this dress. At the end of the couch there wasn’t exactly a person, because it didn’t utter even a single syllable the whole time. It is my regular complaint that I hate writing about the reunion specials. It’s totally fine. He is the escape room of people. However, at some point she has to choose between her profession and her daughter — and if she wants to keep her daughter, she’s going to need to totally keep her off the show. Shannon also lost 25 pounds eating quinoa bowls and puking up her feelings, and it is sitting well on her frame. It is like a black hole of nothing. Praise the lord god Andy Cohen, this one is only two parts, but if you ask me, that is two parts more than this season really deserves. It’s time to focus a little bit on Lydia, who says that she knows a vasectomy isn’t cutting off a man’s balls, but “it was a joke.” Yeah, so is asking someone to pull your finger, but it’s also so lame it doesn’t even register as a joke, especially when you say it a dozen times throughout the course of the season. Shannon feels everything more intensely than any other human on the face of the planet. With that complete, what should we really talk about? She went to her doctor and said, “I want the Jane Fonda,” which is the gold standard of new faces, and she got it. Not a single way in the world. Next to her, Lydia is wearing the same dress and hairstyle the prom queen at Sherman Oaks High wore this year. It doesn’t look horrible, but it doesn’t look great either. It’s really bad. It’s because the Bible didn’t tell her how to feel about it, because if there isn’t a chapter and verse to describe how she should process a situation, she apparently doesn’t know what to do. Vicki gets really sad when she hears about Shannon’s divorce, but it seems like she isn’t really sad for Shannon. She’s wearing a flattering sleeveless jumpsuit that is exactly the same shade as the wine stains on Kelly Dodd’s couch. I think that is a very valid request on her daughter’s behalf, but one that Tamra can’t seem to honor. Since we can all agree on something — which is that this reunion can offer us absolutely nothing — let us proceed in the usual manner by going around the room and critiquing each woman’s outfit. It is complimented by a high neck, a pair of big and glitzy earrings, and Tamra’s new face. The only thing Vicki hates more than being left out of the gossip is mussels and you won’t fully understand this until you’ve been to a seafood restaurant with Vicki, but just trust me.

Seth Meyers Breaks Down the Dad Feud Between President Trump and LaVar Ball

Unfortunately, one of those dads is the president of the United States, Donald Trump, who is currently embroiled in a quarrel with LaVar Ball, father of LiAngelo Ball, one of three UCLA basketball players threatened with shoplifting charges in China. Tags: It’s a dad match for the ages, specifically the age of 2017. Unlike many of Trump’s Twitter targets, however, father LaVar Ball is a real character. Twitter discourse continues to plummet toward rock bottom, and soon enough we’ll find out what’s been waiting down there for us this entire time: two dads, arguing in the void. Trump took to Twitter to express his dismay at how ungrateful he felt the players seemed to be after he intervened on their behalf.