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  • Alec Baldwin intends to finish ‘Rust’ production despite facing involuntary manslaughter charges, source says | CNN

    Alec Baldwin intends to finish ‘Rust’ production despite facing involuntary manslaughter charges, source says | CNN

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    CNN
     — 

    Despite facing involuntary manslaughter charges connected to the “Rust” set shooting death of a cinematographer, Alec Baldwin intends to finish the movie’s production, a source close to the actor told CNN.

    Meanwhile, the New Mexico prosecutor who is planning to charge Baldwin is gearing up for a big trial.

    First Judicial District Attorney Mary Carmack-Altwies requested $635,000 in “emergency” money “to prosecute such a high-profile case,” she wrote to state officials last August.

    “I need funding for an attorney, investigator, media contact person, paralegal, expert witnesses, and general trial expenses.”

    She said the trials of Baldwin and another person working on the movie “Rust” would each “take weeks to a month to complete” and require expert testimony.

    And even before any trial could be held, each defendant will have a preliminary hearing to determine if probable cause for trial exists. “These hearings will take weeks to complete and will happen rather quickly once charges are filed,” she said.

    Carmack-Altwies said Thursday she will charge Baldwin and the film’s armorer with involuntary manslaughter, accusing them of failing to perform safety procedures that could have prevented the accident. Baldwin was holding the prop gun that discharged, killing cinematographer Halyna Hutchins on the New Mexico set in October 2021.

    Baldwin did not answer reporters’ requests for comment on the charges while walking into his Manhattan home on Friday.

    Melina Spadone, an attorney for Rust Movie Productions, confirmed to CNN Friday the “Rust” film is “still on track for completion” and will star Baldwin in the lead role.

    The film will include “on-set safety supervisors and union crew members and will bar any use of working weapons or any ammunition,” Spadone said, adding Joel Souza will continue to direct the film.

    Carmack-Altwies requested the extra money in a letter dated August 30. She was granted about half of the amount requested, and is expected to ask the legislature for the remainder.

    If the case goes to trial, there are few precedents for a major star being charged in the shooting death of a colleague during production of a movie. The attention would likely be enormous, particularly since the shooting happened away from Hollywood.

    In the 1980s, director John Landis and four associates were acquitted of involuntary manslaughter in connection with the deaths of actor Vic Morrow and two children during the filming of “Twilight Zone: The Movie.” The trial lasted for 10 months and gained global attention.

    Some jurors said they were not dazzled by figures from the film industry since they lived in Los Angeles. Rather, they told The New York Times that prosecutors “had not proved that anyone could have foreseen the crash of the helicopter.”

    Baldwin has been a major film and TV star for decades, winning Emmys for TV’s “30 Rock” and an Oscar nomination for “The Cooler.” He also starred in “Working Girl,” “Beetlejuice” and “The Hunt for Red October,” and on Broadway. In addition, he is known for publicly advocating for liberal political causes.

    Prosecutors will have to overcome significant challenges, including not knowing how live rounds got on set and experts’ varying opinions about the on-set responsibilities of actors and crew members, said CNN senior legal analyst Elie Honig.

    “Remember, this is a criminal case. You need all 12 jurors to find guilt beyond a reasonable doubt. So I’m not saying that there’s no chance here, but this is a really difficult case for the prosecution,” Honig said.

    The charges will be formally filed by the end of the month, Carmack-Altwies told CNN.

    The prosecutor said she will not request the arrests of Baldwin and Gutierrez Reed. Instead, they will be summoned to appear in court either in-person or virtually, she said.

    Baldwin and Gutierrez Reed will each face two counts of involuntary manslaughter, but each count carries a different level of punishment, Carmack-Altwies said when she announced the charges.

    A jury would decide which count would be more appropriate, and if convicted, they will only be sentenced to one count, the prosecutor said.

    In either defendant’s case, a conviction is punishable by up to 18 months in jail and a $5,000 fine. But one charge carries an additional firearms enhancement – because a gun was involved – and would require a mandatory punishment of five years in jail, the prosecutor said.

    Hutchins was killed when a prop gun Baldwin was holding fired a live round of ammunition, striking Hutchins in the chest and hitting Souza, the director, in the shoulder.

    Baldwin has maintained that he never pulled the trigger and was not aware the gun contained live rounds. Hannah Gutierrez Reed, the set armorer who loaded the prop gun, says she believed the rounds were dummy ammunition, according to her lawyer.

    Prosecutors, however, say both Baldwin and Gutierrez Reed were responsible for checking the safety of the prop.

    “Every person that handles a gun has a duty to make sure that if they’re going to handle that gun, point it at someone and pull the trigger, that it is not going to fire a projectile and kill someone,” Carmack-Altwies told CNN Thursday.

    This image from the Santa Fe County Sheriff's Office shows the scene of the shooting on October 21, 2021.

    Though a medical examiner determined Hutchins’ death was an accident, prosecutors argue the “fast and loose” safety standards on set and lack of caution around firearms props contributed to the fatal shooting.

    “There was such a lack of safety and safety standards on that set,” Carmack-Altwies told CNN, adding that live rounds were mixed with dummy rounds on set.

    “Nobody was checking those or at least they weren’t checking them consistently,” she said. “And then they somehow got loaded into a gun handed off to Alec Baldwin. He didn’t check it. He didn’t do any of the things that he was supposed to do to make sure that he was safe or that anyone around him was safe. And then he pointed the gun at Halyna Hutchins and he pulled the trigger.”

    Baldwin has said he did not pull the trigger before the gun fired.

    During FBI testing of the the gun’s normal functioning, the weapon could not be fired without pulling the trigger while the firearm was cocked, an FBI forensics report said. Eventually, the gun malfunctioned during testing after internal parts fractured, which caused the gun to go off in the cocked position without pulling the trigger, the report said.

    In addition to acting in “Rust,” Baldwin was also producing the film. Prosecutors will be charging him in both capacities, Carmack-Altwies explained, saying that as a producer, Baldwin had a responsibility to ensure the set was safe.

    Ultimately, the prosecutor said, “just because it’s an accident doesn’t mean that it’s not criminal.”

    “Our involuntary manslaughter statute covers unintentional killings,” she said. “Unintentional that means they didn’t mean to do it. They didn’t have the intent to kill. But it happened anyway, and it happened because of more than mere negligence… They didn’t exercise due caution or circumspection and that’s what happened here.”

    In September, Carmack-Altwies requested additional funding from the state, noting that her office could charge up to four people in costly cases that “look to be too big for just my office to handle.” State officials approved more than $300,000 of the $635,000 the prosecutor requested, leaving open the possibility of additional funds at a later time.

    Baldwin’s attorney Luke Nikas said the actor was “blindsided” by the charges, which Nikas called “a terrible miscarriage of justice.”

    “Mr. Baldwin had no reason to believe there was a live bullet in the gun – or anywhere on the movie set. He relied on the professionals with whom he worked, who assured him the gun did not have live rounds,” Nikas said.

    The executive director of the entertainment union SAG-AFTRA called the anticipated charges against Baldwin “wrong and uninformed.”

    “The charges clearly indicate a lack of understanding about the standards and expectations of how a film set operates,” Duncan Crabtree-Ireland told CNN’s Laura Coates. “The fact is, actors are not firearms experts. Actors cannot be expected and are not expected to do final safety checks or anything of that nature.”

    Gutierrez Reed’s attorney Jason Bowles said, “We were expecting the charges but they’re absolutely wrong as to Hannah – we expect that she will be found not guilty by a jury and she did not commit manslaughter.”

    Hutchins’ family said in a statement Thursday that they support the charges and “fervently hope the justice system works to protect the public and hold accountable those who break the law.”

    “It is a comfort to the family that, in New Mexico, no one is above the law,” the statement said.

    This image released by the Santa Fe County Sheriff's Office shows the outside of the set building where Hayla Hutchins was shot.

    In an interview with CNN in August, Baldwin said he believes the responsibility falls on Gutierrez Reed and assistant director Dave Halls, who handed him the gun.

    However, Halls and Gutierrez Reed have repeatedly said they are not at fault and accuse Baldwin of attempting to shuffle off blame for the accident.

    Gutierrez Reed maintains she did not know there were live rounds in the ammunition on set and has sued the film’s gun and ammunition supplier and its founder, who deny wrongdoing. She claims live rounds of ammunition were mixed into the dummy ammunition purchased from the company.

    Halls has signed a plea deal on a charge of negligent use of a deadly weapon, which grants him six months of probation and a suspended sentence, Carmack-Altwies’ office said.

    Hutchins’ family filed a wrongful death lawsuit against Baldwin and others involved in the movie’s production, and reached an undisclosed settlement in the suit in October.

    As part of the settlement agreement, Hutchins’ husband, Matthew Hutchins, was set to be an executive producer on “Rust” when it resumed filming.

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  • Alec Baldwin and armorer to be charged with involuntary manslaughter after fatal shooting of Halyna Hutchins on the set of ‘Rust’ | CNN

    Alec Baldwin and armorer to be charged with involuntary manslaughter after fatal shooting of Halyna Hutchins on the set of ‘Rust’ | CNN

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    CNN
     — 

    Alec Baldwin, the actor who fatally shot cinematographer Halyna Hutchins during a rehearsal for the Western movie “Rust” in 2021, and the film’s armorer will be charged with involuntary manslaughter, prosecutors said Thursday.

    Baldwin has maintained he was not aware the gun he fired on set contained a live round.

    Baldwin and armorer Hannah Gutierrez Reed will each be charged with two counts of involuntary manslaughter, prosecutors said.

    The shooting has resulted in a whirlwind of finger-pointing and allegations of negligence from those involved.

    Hutchins was struck and killed by a live round of ammunition fired from a prop gun being held by Baldwin, who maintains he did not pull the gun’s trigger. Director Joel Souza was also injured.

    In the summary of the postmortem investigation into Hutchins’ death – which was formally signed by the New Mexico chief medical investigator – the cause of death is listed as “gunshot wound of chest,” and the manner of death is listed as an “accident.”

    “Review of available law enforcement reports showed no compelling demonstration that the firearm was intentionally loaded with live ammunition on set. Based on all available information, including the absence of obvious intent to cause harm or death, the manner of death is best classified as accident,” the report concluded.

    An FBI forensics report said the weapon could not be fired during FBI testing of its normal functioning without pulling the trigger while the gun was cocked. The report also noted the gun eventually malfunctioned during testing after internal parts fractured, which caused the gun to go off in the cocked position without pulling the trigger.

    In an interview with CNN in August, Baldwin placed responsibility for the tragedy on Gutierrez-Reed, who served as the armorer and props assistant on the film, and assistant director Dave Halls, who handed him the gun.

    Halls signed a plea agreement “for the charge of negligent use of a deadly weapon,” the district attorney’s office announced in its statement Thursday. Prosecutors said the terms of that deal include six months of probation.

    Charges will not be filed against film director Joel Souza, the statement says.

    CNN has reached out to Baldwin and Gutierrez Reed for comment and will reach out to Halls and Souza.

    On Thursday, Halls’ attorney Lisa Tarraco released a statement in defense of her client, who does not face charges in connection with the tragedy.

    “Absent no charges at all, this is the best outcome for Mr. Halls and the case,” Tarraco said. “He can now put this matter behind him and allow the focus of this tragedy to be on the shooting victims and changing the industry so this type of accident will never happen again. “

    In November, Baldwin filed suit against Gutierrez Reed and Halls and other individuals associated with the film, according to a cross-complaint obtained by CNN.

    Through their respective attorneys, both Gutierrez Reed and Halls maintained they were not at fault and accused Baldwin of deflecting blame onto others. Gutierrez Reed also sued the movie’s gun and ammunition supplier and its founder – who deny wrongdoing – and alleged a cache of dummy ammunition was sold with live rounds mixed in.

    In October, Hutchins’ family reached an undisclosed settlement in a wrongful death lawsuit filed against Baldwin and others involved in producing the film.

    Matthew Hutchins, widower of Halyna Hutchins, described her death as a “terrible accident” in a statement at the time of the settlement. Production on “Rust” was to resume this month with Matthew Hutchins joining as an executive producer on the film as part of the agreement.

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  • Hugh Jackman’s frenemy dynamic with Ryan Reynolds will bleed into ‘Deadpool 3’: ‘They ‘hate each other’ | CNN

    Hugh Jackman’s frenemy dynamic with Ryan Reynolds will bleed into ‘Deadpool 3’: ‘They ‘hate each other’ | CNN

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    CNN
     — 

    Hugh Jackman is sharing details on how his best-known character, grisly mutant X-Man Wolverine, will interact with Ryan Reynolds’s wisecracking Deadpool in the upcoming “Deadpool 3.”

    In a recent Empire Film podcast, Jackman said the two characters are a “zero” in terms of compatibility, calling them “opposites” and saying that they “hate each other” – all of which will make for some really good odd-couple type humor in the movie.

    “He’s annoyed by him,” he said on the podcast. “[Wolverine is] frustrated by [Deadpool and] wants to be a million miles away from him or wants to punch him in the head. Unfortunately, he can’t be a million miles away from him in this movie, so I’m probably going to punch him in the head a lot.”

    The dynamic also mirrors Jackman’s interactions with Reynolds offscreen, as the friends share a long-running gag of pretending to dislike each other on social media, often mocking or ridiculing one another for a laugh.

    Jackman has (astonishingly) been portraying Wolverine, also known as Logan, since the year 2000, when the first “X-Men” movie came out.

    He has donned the adamantium claws almost a dozen times since, even helping to introduce Reynolds as Deadpool/Wade Wilson (in an early and unsuccessful iteration) in 2009’s “X-Men Origins: Wolverine.”

    The “Son” actor’s last go-round as Wolverine came in 2017’s well-received “Logan,” which wrapped up the character’s storyline in a neat and according to him, “perfect” way, nabbing an Oscar nomination for best adapted screenplay in the process.

    Jackman made it clear in the podcast that the new film takes place firmly before the events of “Logan,” so that it won’t change that movie’s timeline for the fan-favorite character.

    He had previously said that “Logan” would be his last time playing Wolverine, which of course is no longer the case. In the podcast, he was actually able to pinpoint the exact date this summer when he had a change of heart.

    “It was August 14th, I remember driving, and it came to me like that, I just thought, this is going to be so much fun. I’ll probably have more fun on that movie than anything I’ve ever done,” he said.

    Ryan Reynolds in 'Deadpool 2'

    Even still, Jackman said the process for training to become Wolverine – a character he identifies as being farthest from who he really is as a person – gets harder every time, but that this time around, he has some extra motivation.

    “I just get the added incentive of taking Ryan Reynolds out every day. So I really want to be in good shape for that, so I can enjoy it!”

    “Deadpool 3” is due in theaters in November of 2024.

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  • Harvey Weinstein is convicted of 3 of 7 charges, including rape, in his Los Angeles sexual assault trial | CNN

    Harvey Weinstein is convicted of 3 of 7 charges, including rape, in his Los Angeles sexual assault trial | CNN

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    CNN
     — 

    Disgraced movie mogul Harvey Weinstein was found guilty Monday of rape and sexual assault against one of four women he was accused of assaulting in Los Angeles – a significant conviction in the second trial of a man at the center of allegations that fueled the global #MeToo movement.

    Weinstein, who prosecutors said used his Hollywood influence to lure women into private meetings and assault them, was found guilty of three of seven charges against him.

    After weeks of emotional testimony and 10 days of deliberations, jurors in Los Angeles also acquitted Weinstein of one count of sexual battery by restraint against a massage therapist in a hotel room in 2010. They were a hung jury on one count of sexual battery by restraint, one count of forcible oral copulation and one count of rape related to two other women – including Jennifer Siebel Newsom, a filmmaker and first partner to California Gov. Gavin Newsom.

    The three charges Weinstein was convicted of – rape, sexual penetration by foreign object and forcible oral copulation – were all tied to one of his accusers, a model and actress who testified the movie mogul assaulted her in a Beverly Hills hotel room in February 2013.

    The woman, identified as Jane Doe 1 in court, was the first to testify in the trial.

    “Harvey Weinstein forever destroyed a part of me that night in 2013. I will never get that back. The criminal trial was brutal. Weinstein’s lawyers put me through hell on the witness stand. But I knew I had to see this through the end, and I did… I hope Harvey Weinstein never sees the outside of a prison cell during his lifetime,” Jane Doe 1 said in a statement released through her attorney.

    Weinstein had pleaded not guilty to all seven charges against him.

    “Harvey is obviously disappointed, however hopefully because with this particular accuser there are good ground to appeal based on time and location of alleged events,” Weinstein’s spokesperson Juda Engelmayer said in a statement. “He is grateful the jury took their time to deliberate on the other counts and he is prepared to continue fighting for his innocence.”

    Weinstein faces a possible sentence of 24 years in prison for the Los Angeles conviction, according to the Los Angeles District Attorney’s Office. The once-powerful film producer is already serving a 23-year sentence for a 2020 New York rape conviction.

    Jurors will return to court Tuesday to consider aggravating factors to help determine the outcome of Weinstein’s sentencing hearing, according to the DA’s office.

    The District Attorney’s office will meet to determine whether to retry the counts on which the jury could not agree, officials said.

    Elizabeth Fegan, an attorney representing Siebel Newsom, who was identified in court as Jane Doe 4, said they were disappointed the jury could not reach a unanimous verdict on the charges related to her client.

    “Harvey Weinstein will never be able to rape another woman. He will spend the rest of his life behind bars where he belongs. Harvey Weinstein is a serial predator and what he did was rape,” Siebel Newsom said in a statement. “Throughout the trial, Weinstein’s lawyers used sexism, misogyny, and bullying tactics to intimidate, demean, and ridicule us survivors. This trial was a stark reminder that we as a society have work to do. To all survivors out there – I see you, I hear you, and I stand with you.”

    Gov. Newsom also released a statement, saying, “I am so incredibly proud of my wife and all the brave women who came forward to share their truth and uplift countless survivors who cannot. Their strength, courage and conviction is a powerful example and inspiration to all of us. We must keep fighting to ensure that survivors are supported and that their voices are heard.”

    The Los Angeles jury reached its verdict after deliberating for a total of 41 hours – longer than the New York jury in Weinstein’s first criminal trial, in which he was convicted of criminal sex act and third-degree rape after 26 hours of deliberations. His attorneys have appealed that conviction, which put more attention on the outcome of the trial in Los Angeles.

    Jane Doe 2, who was identified as Lauren Young, told her attorney Gloria Allred by phone she was happy Weinstein was convicted on some counts despite there being a mistrial on her count, Allred said in a news conference after the verdict.

    “I am relieved that Harvey Weinstein has been convicted because he deserves to be punished for the crimes that he committed, and he can no longer use his power to intimidate and sexually assault more women,” Young said in a statement read by Allred.

    The weekslong trial saw emotional testimony from Weinstein’s accusers – a model, a dancer, a massage therapist and Siebel Newsom – all of whom were asked to recount the details of their allegations against him, provide details of meetings with the producer from years ago, and explain their reactions to the alleged assaults.

    Weinstein initially faced 11 charges, but four counts connected to an unnamed woman were dropped without explanation. She did not testify in the trial.

    In closing arguments, Los Angeles County Deputy District Attorney Marlene Martinez called Weinstein a “titan” who used his power in Hollywood to prey on and silence women.

    “Rapists rape. You can look at the pattern,” fellow prosecutor Paul Thompson told jurors.

    Meanwhile, Weinstein’s attorneys maintained the allegations were either fabricated or occurred consensually as part of a “transactional relationship” with the movie producer, repeatedly saying there is no evidence of assault.

    Defense attorney Alan Jackson called the accusers “fame and fortune seekers.”

    The trial in Los Angeles also included testimony from other witnesses, including experts, law enforcement, friends of accusers and former aides to Weinstein.

    Additionally, four women testified they were subjected to similar behavior by Weinstein in other jurisdictions.

    Each morning at trial, Weinstein was brought from a correctional facility and wheeled into the Los Angeles courtroom wearing a suit and tie and holding a composition notebook.

    His accusers all began their oftentimes emotional testimonies by identifying him in the courtroom as he looked on.

    “He’s wearing a suit, and a blue tie and he’s staring at me,” Siebel Newsom said last month, before what was one of the most emotional moments of the trial. She testified Weinstein raped her in a hotel room in 2005.

    During the trial, defense attorney Jackson asked jurors if they could “accept what (the Jane Does) say as gospel,” arguing what they said was a lack of forensic evidence supporting their claim.

    “Five words that sum up the entirety of the prosecution’s case: ‘Take my word for it,’” Jackson said. “‘Take my word for it that he showed up at my hotel room unannounced. Take my word for it that I showed up at his hotel room. Take my word for it that I didn’t consent. Take my word for it, that I said no.’ “

    Siebel Newsom described an hourslong “cat-and-mouse period,” which preceded her alleged assault. She, like other accusers, described feeling “frozen” that day.

    Attorneys for Weinstein do not deny the incident occurred, but said he believed it was consensual.

    Jackson called the incident “consensual, transactional sex,” adding: “Regret is not the same thing as rape. And it’s important we make that distinction in this courtroom.”

    In her closing arguments, Martinez highlighted the women who testified chose to do so despite knowing they would face tough conditions in court.

    “The truth is that, as you sit here, we know the despicable behavior the defendant engaged in. He thought he was so powerful that people would … excuse his behavior,” Martinez said. “That’s just Harvey being Harvey. That’s just Hollywood. And for so long that’s what everyone did. Everyone just turned their heads.”

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  • ‘Avatar: The Way of Water’ gives James Cameron his first $100 million domestic debut | CNN Business

    ‘Avatar: The Way of Water’ gives James Cameron his first $100 million domestic debut | CNN Business

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    New York
    CNN
     — 

    The highly anticipated “Avatar: The Way of Water” took in $134 million at the US box office, giving director James Cameron his first $100 million opening weekend — despite falling short of analyst predictions.

    Although notching the second highest world-wide opening this year didn’t quite match expectations, the film’s ultimate success will depend on its long term appeal, a notable attribute of many of Cameron’s movies. “Avatar: The Way of Water” has so far earned $435 million at the global box office.

    Though Cameron hasn’t revealed exactly how much it cost to make the “Avatar” sequel, one answer isn’t in doubt: a lot. Or in Cameron’s own words to GQ Magazine, “very f***ing expensive.” The star director estimated to industry executives that in order to break even the movie has “to be the third or fourth highest-grossing film in history.”

    That means it needs to make more than $2 billion. Earning nearly $3 billion, “Avatar” is the highest-grossing film of all time. And only one film during the pandemic era, “Spider-Man: No Way Home,” has even come close to that mark, raking in nearly $1.9 billion.

    But for Cameron it’s all about the marathon, not the sprint.

    “The future of the Pandora isn’t going to be determined this weekend,” Comscore senior media analyst Paul Dergarabedian said. “It’s going to be determined over the next many weeks as the film plays, and we’ll have, I think, strong week after week numbers.”

    The film might also be at the top of the list for viewers over the busy holiday period, which also won’t include any major blockbuster competition, Dergarabedian noted. However, the movie’s running time, 190 minutes, reduces the number of daily showings for theaters.

    The film could be a turning point for the movie theater industry too, which had been decimated by the onset of the Covid-19 pandemic. The film’s success will also depend on whether audiences will pay for the immersive 3D experience, which has decreased in popularity over time, along with dwindling ticket sales.

    In 2009, “Avatar” earned $77 million in its opening weekend and collected 80% of its gross from 3D showings. That film revolutionized 3D viewing — and for its sequel, premium formats such as IMAX and 3D accounted for 62% of the domestic box office haul.

    “The Way of Water” notched the second highest all-time IMAX global opening weekend and the biggest IMAX December global opening ever.

    “I think people are on the fence about 3D,” Dergarabedian said. “But with ‘Avatar: The Way of Water’ the 3D part of it is as woven in to its appeal as the movie itself.”

    Disney has placed a huge bet on the “Avatar” series. “The Way of Water” is one of four planned sequels, with a third installment set for release on December 20, 2024. The stars from the first film, Sam Worthington and Zoe Saldana, returned as Jake and Neytiri. In the sequel, they live on Pandora with their family.

    – CNN’s Oliver Darcy contributed to this report.

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  • You may be seeing a more ‘woke’ Santa this Christmas | CNN

    You may be seeing a more ‘woke’ Santa this Christmas | CNN

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    CNN
     — 

    On a frigid December night outside a suburban Chicago church, a group of parents and wide-eyed children line up to see Santa Claus.

    He awaits them with the classic St. Nick look: pink, cherubic cheeks, twinkling eyes, a gray beard and a plump belly – squeezed into a red suit with white fur trim – that shakes “like a bowl full of jelly” when he laughs.

    But when a thin teenager with ripped jeans, tousled hair and a gray hoodie sits down next to him, it soon becomes clear that this is no ordinary Santa.

    “Nice to meet you. I’m Trans Santa,” he says. He looks at the teenager and asks: “Pronouns?”

    “They, them,” the teen answers, looking up with surprise.

    What follows is not a kid asking for toys or dolls, but a young person asking for help. They tell Santa their Christmas wish is to come out fully to their parents and dress in a way that conforms to their gender identity.

    Later, Santa sighs as if he was the one who was handed a gift.

    “That definitely was an emotional moment for me,” Levi Truax, the man in the Santa suit, told CNN. Truax lives in Chicago, works at Starbucks and himself transitioned in his late 30s. “That would have made a difference for me when I was a kid. Just having the knowledge to put a name to what I felt as a kid would have been really empowering.”

    This scene comes from “Santa Camp,” a moving new documentary film about this push for diversity. The film airs on HBO Max, which like CNN is owned by Warner Bros. Discovery.

    Santa Claus has traditionally been portrayed as a jolly, white guy, but Truax represents a push for diversity in the Santa industry that has accelerated in recent years. In some parts of the US, the traditional definition of Santa as a straight White guy who heads out to work while Mrs. Claus stays at home baking cookies just won’t fly anymore.

    Just as there’s been a campaign to include more characters of color and LGBTQ characters in comic books and fantasy television series, there’s also been a drive to broaden traditional representations of Santa. These efforts include a Tex-Mex Santa named Pancho Claus, Asian Santas, a “Sensory Santa” for kids with special needs, and a recent ad depicting Santa Claus in a gay relationship.

    And, of course, there are Black Santas, who are in such high demand that one such Santa said he earns up to $60,000 each holiday season.

    These nontraditional Saint Nicks represent a new type of Santa who, as one T-shirt proclaims, “knows when you aren’t sleeping and knows when you aren’t woke.”

    “Santa Camp” follows a group of professional and apprentice Santas and Mrs. Clauses as they attend a summer camp organized by the New England Santa Society. The group said they invited Trans Santa, a Black Santa, and a Santa with special needs in part because of market demand — some parents these days are looking for Santas their kids will relate to.

    “How can one of the most beloved traditions in the world find its place in a changing America, and can it adapt?” said Nick Sweeney, the film’s director. “I think what we see in the film is that the answer is yes.”

    What others see, though, is something more disturbing. They see diverse Santas as something that could harm and confuse kids while ruining a cherished holiday tradition. The Mall of America in Minnesota faced a backlash on social media after it featured a Black Santa at a holiday event in 2016.

    Some started using the term “woke Santa” after a mall Santa in Illinois two years ago refused a boy’s request for a toy gun for Christmas.

    Their defense of a White Santa is part of a larger backlash against what some call “wokeism.” Merriam-Webster dictionary defines “woke” as being “aware and actively attentive” to systemic racial injustice and prejudice. Some critics, though, have redefined the term to mean a silly, overindulgent bow to political correctness.

    Some of those critics staged a counter demonstration against Trans Santa’s appearance at the Chicago church, chanting, “Save Santa!” and yelling, “You sit on a throne of lies.” Others left messages on the church’s voicemail, saying transgender people have mental issues and threaten the safety of children.

    A Santa Claus attending a Toys For Tots program on December 15, 2021 in New York City.

    Resistance to a more diverse Santa has been simmering for years alongside some conservatives’ complaints about the so-called secular “War on Christmas.” In 2013 former Fox News anchor Megyn Kelly declared that Santa, and Jesus, were white. One conservative blogger dismissed calls for a Black Santa, saying Santa should remain White because the origins of his legend reside in Northern Europe.

    “The real reason why black left-wingers object to a white Santa is that they are determined to condition black children to distrust white people and they cannot live with the image of our kids – especially the black ones – receiving gifts from a white man,” wrote Graham J. Noble.

    Another critic, responding to the mall Santa who declined to give a kid a toy gun, said the push for a diverse Santa is becoming absurd. Larry Keane, an advocate for the firearms industry, wrote in an essay that “all I want for Christmas is the real Santa, not a woke Santa.”

    Keane, who did not respond to an interview request, wrote:

    “Political correctness is has gone too far. It’s traveled from the Washington D.C. swamps to the frigid Arctic air of the North Pole. It’s infected Kris Kringle and next thing you know, Santa will be demanding the kids leave out nonfat soy milk and vegan snack bites in lieu of milk-and-cookies.”

    Some may find it curious that a jolly character like Santa inspires such sarcasm and anger. But the stories we tell children have long been a source of bitter debate. Some critics recently complained that the main character in a remake of “The Little Mermaid” shouldn’t be Black. The casting of a Black girl in an “Annie” remake drew similar controversy.

    Robin DiAngelo, author of the bestseller “White Fragility,” said in a recent interview that the debates over the color of fictional characters represents a larger issue: White supremacy insists that white people should be “the center” and “ultimate representation” of what it means to be human.

    “The irony,” DiAngelo told Yahoo News, is that “on the one hand, white people insist that ‘we don’t see color’ — and then we lose our minds when Santa is not the color that he’s ‘supposed’ to be.”

    Allan Siu, dressed as Santa Claus, emerges from his dressing room on December 8, 2022, at the Mall of America in Bloomington, Minnesota. Siu is the first Asian Santa the mall has ever had.

    She added, “Given that most white people live segregated lives, I think it’s really important — not just for Black children to see themselves reflected in valuable symbols, but it’s really important for white children to see it too.”

    One character in “Santa Camp” discovered firsthand how fraught the journey can be for a nontraditional Santa.

    Chris Kennedy made headlines several years back when he received a racist and threatening note for erecting a Black Santa on his lawn in Little Rock, Arkansas. The incident inspired him to don a Santa suit over his imposing frame and attend Santa Camp.

    The documentary shows Kennedy at a Christmas festival in Arkansas as a Black Santa, where his appearance sparks some strong reactions. In the film, the festival’s organizer says some White families refused to take their kids to see Kennedy because they believe Santa should be white.

    Yet the film also shows both Black and White families who say they brought their kids specifically to see a Black Santa. Black kids, in particular, jump for joy when they see him. So do some of their parents.

    “When I was little, Santa was white,” one Black mother tells a smiling Kennedy after he greets her with, “Bro, ho, ho.”

    “He was whatever someone else decided Santa to be,” she adds.

    In the film, Kennedy shakes his head after meeting the kids and their parents.

    “There were families that traveled over 300 miles to be here,” he says. “That was very rewarding. But it … also gave me a sense of sadness, that there are not Black Santas closer.”

    Some White parents who refused to see Kennedy might have changed their minds if they knew Santa’s history. The first Santa – or at least the man he was modeled after – was probably brown. The Santa legend can be traced back to a monk named St. Nicholas, who lived in modern-day Turkey and was known for his generosity and as a protector of children.

    An undated Coca-Cola advertising poster shows a young boy surprising Santa Claus.

    Santa has evolved in other ways. The name Santa Claus comes from a shortened version of Saint Nicholas in Dutch, “Sinterklaas.” Dutch immigrants later brought that tradition to America. The 19th-century authors Clement Moore and Washington Irving popularized Saint Nicholas stories.

    But it’s the Coca-Cola company which is widely credited with spreading the modern image of the twinkly-eyed, White Santa. In the 1930s, Coca-Cola hired an illustrator to create portraits of a cuddly Santa Claus in a red and white suit to boost sales during its slow winter season.

    The push for a more diverse Christmas, though, isn’t restricted to Santa. There’s also a campaign to “sleigh the patriarchy” by transforming Mrs. Claus into a feminist icon.

    Mrs. Claus plays a prominent role in “Santa Camp.” Trans Santa is accompanied by his wife, Heidi Truax, who goes by the name Dr. Claus (she has a doctorate) and has co-written a book for kids called “You Can Be a Claus Too: Lessons from Santa Camp.”

    The film also illuminates a growing wish by women to show their daughters more assertive representations of the traditional Mrs. Claus. More Mrs. Clauses are demanding equal pay and billing when they appear with Santa at events, the documentary shows.

    Levi Truax, known as Trans Santa, and his wife Heidi Truax, known as Dr. Claus, in a scene from

    One scene in “Santa Camp” shows a mother steering her daughters to Mrs. Claus and asking her to teach them that it’s okay to be assertive.

    “Young girls need to speak up and say what’s on their mind,” Dianne Grenier, who goes by Mrs. Merry Claus, tells the wide-eyed girls. “That’s why I spoke up to Santa and said, ‘You know I’ve been quiet all these years and being a good little wife, but now it’s my turn. See how you like sitting at home.’”

    The scene ends with a little boy looking on in silence, his brow bunched in confusion.

    The campaign for a more diverse Santa is also a push to remove sexism from the holidays, others say.

    Maureen Shaw, founder of sherights.com, an online magazine devoted to women’s rights, wrote an essay stating that sexism at Christmas “is as American as Santa, sugar cookies and caroling.”

    Women, for example, are expected to bear the brunt of holiday preparations, she said. Retailers “perpetuate gender binaries” by filling girls’ sections with frilly dresses and princess castles and boys’ sections with pants and electronic toys.

    “To assume that my daughter wants a doll or that my son wouldn’t be interested in a princess toy because of their sexes is problematic,” Shaw tells CNN. “It reinforces gender stereotypes, which implicitly sets limits on what they can or should take an interest in. It may seem silly to skeptics, but consistently gifting girls kitchen sets, dolls and princess toys lays the foundation for what’s expected of them as they grow up.”

    Those who say the more diverse representations of Santa betray the values of the holiday season may be forgetting about another iconic Christmas character: Rudolph the Red-Nosed Reindeer.

    Rudolph, if you recall, was mocked by his peers because his bulbous red nose made him different. But Santa Claus saw the value in Rudolph’s luminous nose and asked him to lead his sleigh that night, transforming him into a Christmas hero.

    The story of Rudolph was written in 1939 by a Jewish Chicago copywriter named Robert May, and was adapted into a stop-motion TV special that first aired in 1964. It has become one of the longest-running Christmas TV events in history. Paul Soles, who provided one of the voices in the television special, once explained why Rudolph’s story is so enduring.

    “Everybody’s been to some degree separated out, found wanting, not quite fully fitting in,” said Soles, who also grew up Jewish.

    Not fitting in is something that the Trans Santa outside the Chicago church can relate to. Truax said he grew up isolated and confused in suburban Detroit because he felt like he was in the wrong body. When he finally came out as transgender, he said his father was supportive.

    Others in his situation aren’t as lucky. Just over half of all transgender and nonbinary young people in the US contemplated taking their lives in 2020, according to The Trevor Project’s third annual National Survey on LGBTQ Youth Mental Health.

    Santa Claus waits for visitors  at the King of Prussia Mall in  Pennsylvania on November 22, 2019. One expert on race says White people can become upset

    The teenager who greets Trans Santa in the film hints at some of that struggle. They tell Santa they want to get a binder, a compression undergarment to flatten breasts for teens who identify as gender-nonconforming or transgender.

    Truax smiles and nods knowingly. As he talks, a string of Christmas lights on four evergreen trees behind them illuminate the December sky.

    “I know when I got my first binder, it changed me,” Truax tells his visitor. “It empowered me to have the body of the person I wanted to be.”

    The teenager looks up to Santa, their face brightening in a smile.

    “It’s very empowering being in your presence,” they say.

    They then stand up and pump their left fist in triumph, a new bounce in their step.

    For some, such a scene has nothing to do with the holiday. But for this kid, meeting a Santa who understands their journey might be one of best Christmas gifts ever.

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  • Prince Harry says William ‘screamed’ at him over royal split with Meghan, in final episodes of Netflix documentary | CNN

    Prince Harry says William ‘screamed’ at him over royal split with Meghan, in final episodes of Netflix documentary | CNN

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    CNN
     — 

    Prince Harry said it was “terrifying” to have his brother, Prince William, scream at him during his bitter split from the royal family, in the final installments of the Duke and Duchess of Sussex’s controversial Netflix documentary that were released Thursday.

    The fourth, fifth and sixth episodes of “Harry & Meghan” cover the pair’s challenges since their 2018 wedding, Meghan’s deteriorating mental health and her 2020 miscarriage, and ultimately their decision to quit as working members of the family.

    Harry said he initially asked for a “half in, half out” arrangement, where Harry and Meghan would have their own jobs but still work in support of the Queen, during a crunch family meeting. “But it became very clear very quickly that that goal was not up for discussion or debate,” Harry said.

    “It was terrifying to have my brother scream and shout at me, and my father say things that just simply weren’t true, and my grandmother quietly sit there and take it all in,” he said, recalling the conversations with Prince William, then-Prince Charles, and Queen Elizabeth II.

    “But you have to understand that from the family’s perspectives, especially from hers, there are ways of doing things. And her ultimate mission and goal, responsibility, is the institution … she’s going to go on the advice that she’s given,” Harry said.

    The pair describe throughout the new episodes how, in their view, their position within the royal family became untenable after constant hounding from Britain’s media and repeated disregard for the couple’s wellbeing inside palace walls.

    Buckingham Palace reiterated it will not comment on the documentary on Thursday. Royal engagements are meanwhile continuing, with King Charles and Camilla, the Queen Consort, set to visit a community kitchen in London and attend a carol service with the Prince and Princess of Wales and other members of the family.

    Harry hinted that there was jealousy from other royals towards Meghan given the amount of media attention she was initially receiving. “The issue is when someone who is marrying in, who should be a supporting act, is then stealing the limelight or is doing the job better than the person who is born to do this,” he said.

    “That upsets people. It upsets the balance. Because you have been led to believe that the only way that your charities can succeed and your mission can grow is if you are on the front pages of those newspapers.”

    The series also touches on Meghan’s deteriorating mental health and her miscarriage in July 2020. “I was pregnant. I really wasn’t sleeping. The first morning that we woke up in our new home is when I miscarried,” Meghan said.

    She described experiencing suicidal ideation, telling the filmmakers she believed “all of this will stop if I’m not here. And that was the scariest thing about it, it was such clear thinking.”

    “The lies, that’s one thing. You kind of get used to that when you live within this family,” Harry added. “But what they were doing to her, and the effect it was having on her… enough. Enough of the pain, enough of the suffering.”

    “I just did everything I could to make them proud, and to really be a part of the family,” Meghan said in the fifth episode, speaking of her relationship with the other royals. “And then the bubble burst.”

    “I realized that I wasn’t just being thrown to the wolves, I was being fed to the wolves,” she said.

    The highly anticipated Netflix documentary marks the Sussexes’ latest attempt to reclaim the narrative surrounding their departure from royal life.

    It features details on the increasingly tense relationships between Harry and his brother, WIlliam, and his father, King Charles III. And it emphasizes the suggestion that the royals wanted to sideline and isolate the couple, often through the planting of negative media reporting, rather than have them dwarf more senior royals in popularity.

    “My dad said to me: ‘Darling boy, you can’t take on the media. The media will always be the media,” Harry said, describing the palace’s relationship with news outlets as a “dirty game.”

    The culmination of the breakdown between the royal institution and Harry and Meghan, who were once touted by parts of the media as the modernizing force the monarchy needed, was their historic and controversial decision in early 2020 to quit as working royals and leave the UK.

    Harry said he spoke to Queen Elizabeth II and arranged to meet her, with Meghan, before that split was finalized.

    “She knew that we were finding things hard. I’d spoken to her many times about it,” Harry said. But as the meeting approached, Meghan said they received a message from an aide telling them they were not allowed to see the monarch.

    “I’ve actually been told that I’m busy all week,” the Queen then told Harry, according to his recollection. “I was like, wow,” Harry said. “This is when a family and a family business are in direct conflict … really what they’re doing is blocking a grandson from seeing his grandmother,” added Meghan.

    The couple were critical of the Queen’s aides but again were again complimentary of the late monarch herself, who died aged 96 in September, shortly after filming concluded for the series.

    Their documentary, and Harry’s upcoming memoir, focus more attention on the difficult relationship between the prince and his father, King Charles.

    Thursday’s release follows last week’s batch of episodes, in which Prince Harry criticized “unconscious bias” inside the family.

    It remains to be seen whether the venture will enhance the reputation of the couple as they look to sculpt their post-royalty personas.

    Six in 10 Brits believe it was a bad idea for the duke and duchess to release the Netflix documentary, according to a Savanta poll of 2,250 British adults carried out online between December 9 and 11, between the release of the first and second parts of the series.

    The same poll found that Harry and Meghan both have negative approval ratings among the British public – -3 and -19 respectively, when subtracting those with a negative opinion from those with a positive one – unlike the high popularity of Prince William (+60) and Charles III (+36).

    If you or someone you know is struggling with suicidal thoughts or mental health matters, please call the National Suicide Prevention Lifeline at 800-273-8255 to connect with a trained counselor or visit the NSPL site. The International Association for Suicide Prevention and Befrienders Worldwide also provide contact information for crisis centers around the world.

    Sign up for CNN’s Royal News, a weekly dispatch bringing you the inside track on the royal family, what they are up to in public and what’s happening behind palace walls.

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  • Coca-Cola is getting into Christmas movies | CNN Business

    Coca-Cola is getting into Christmas movies | CNN Business

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    New York
    CNN Business
     — 

    Coca-Cola is hoping that this holiday season, families will crack open some Cokes, settle into a comfy spot and watch its first Christmas Anthology film series.

    The beverage company partnered with production firm Imagine Entertainment to create three short films, which are available to watch on Amazon Prime across the globe starting Wednesday.

    The venture is a continuation of Coca-Cola’s Real Magic platform, which takes an experimental approach to marketing the company’s core product.

    In the past year, Real Magic has focused on unusual, limited-time flavors such as Starlight, Byte and Dreamworld, which have been launched alongside digital experiences including a holographic concert and a debut in Fortnite. The Christmas Anthology is part of a new platform called Real Magic Presents.

    For Coca-Cola

    (KO)
    , it’s important to do more than just sell soda — the soda giant has to connect with younger consumers and build new traditions, especially as interest in sugary, carbonated soft drinks stagnates.

    “We’re always exploring new ways to reach our audience,” said Selman Careaga, category president of Coca-Cola trademark, calling Christmas “a great canvas for creativity.” The anthology, he said, is “a new way to engage” with the holiday.

    Coca-Cola has a history of associating itself with Christmas, so much so that the company has an FAQ page for “Did Coca-Cola create Santa Claus?” (The answer: Sort of. In 1931, the company commissioned a painting of Santa that aligns with how he is portrayed in the US today, according to the page.)

    In more recent years, the company’s polar bears and brightly-lit trucks have been strongly linked with the holiday.

    This year, Coke is trying something a little more high-concept.

    After launching the Real Magic platform in 2021, Coca-Cola published a video on YouTube called “Real Magic at Christmas,” about a boy who bonds with his new neighbors by working together to build a chimney out of cardboard boxes.

    This year, the short films are longer — running between 10 and 12 minutes — and more ambitious.

    A vampire meets his girlfriend's family.

    There’s “Alma,” which shows a single mom who has cooled on Christmas being reminded of the joy of the holiday by a sentient computer; “Les Petits Mondes De Noël,” a moody love story about two exes who reunite in Paris; and “Christmas Bites,” about a vampire who wins over his girlfriend’s family when he steps in for Santa on Christmas Eve.

    A viewer wouldn’t necessarily know that these are Coca-Cola movies, except for the fact that each film features at least one character sipping a Coke.

    But for the company, the shorts are about more than just product placement. “It allows us to work on content that fits into our Real Magic platform,” said Careaga.

    The films are not your typical cheesy Christmas movie, and not only because they’re shorts. There are no overt love stories, fat snowflakes swirling around fake sets or ugly sweaters (at least, not too many).

    The Hallmark model may be popular in the United States, but it doesn’t necessarily have global appeal, said Marc Gilbar, EVP of brands and documentaries at Imagine Entertainment.

    Characters reconnect in

    “I mentioned Hallmark films” to members of the global team working on the project, Gilbar said. “That shorthand doesn’t mean much to someone in Spain or someone in Argentina. It’s more centered on our traditions.”

    The Coca-Cola anthology is designed to appeal to a global audience. “Alma,” set in Mexico, is in Spanish, and “Les Petits Mondes De Noël,” is in French. Only “Christmas Bites” is in English.

    And although these are certainly Christmas movies, they’re not overtly religious.

    “Christmas means different things to different people,” Gilbar said. “The religious aspect never really came up. It was more about other traditions.”

    As Coke dips its toes in film-making, rival Pepsi took another approach, partnering with “Falling for Christmas” star Lindsay Lohan to promote Pilk, or Pepsi plus milk, as a holiday tradition.

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  • Bong Joon Ho’s ‘Mickey 17’ gets trailer and release date | CNN

    Bong Joon Ho’s ‘Mickey 17’ gets trailer and release date | CNN

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    A first look at “Parasite” director Bong Joon Ho’s new movie is here.

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  • John Travolta and Kirstie Alley: A love story | CNN

    John Travolta and Kirstie Alley: A love story | CNN

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    CNN
     — 

    Kirstie Alley and John Travolta were never romantically involved, but that wasn’t how she initially wanted it.

    Alley, who died Monday at the age of 71 after a brief illness, often talked of her feelings for Travolta, whom she called the “greatest love” of her life.

    The pair starred together “Look Who’s Talking” film franchise (the first movie hit theaters in 1989). During an appearance in 2018 on “Celebrity Big Brother U.K.”, Alley talked about how easy it is to fall in love with leading men.

    She named two co-stars she said she developed feelings for, but never fully consummated the attraction: Patrick Swayze and Travolta.

    “I almost ran off and married John. I did love him, I still love him,” Alley said. “If I hadn’t been married I would’ve gone and married him and I would’ve been in an airplane because he has his [own plane.]”

    The same year she appeared on the reality show, the “Cheers” star also talked about Travolta during a conversation on “The Dan Wootton Interview” podcast. She said not sleeping with the movie star was “the hardest decision I’ve ever made because I was madly in love with him.”

    “We were fun and funny together,” she said. “It wasn’t a sexual relationship because I’m not going to cheat on my husband.”

    Alley was married to actor Parker Stevenson at the time. The couple divorced in 1997.

    In 2013, Alley told Howard Stern Travolta also had feelings for her, but didn’t act on them because of her marriage.

    “It took me years to not look at John as a romantic interest,” she said.

    Travolta married actress Kelly Preston in 1991. Alley told Wooten that Preston put her foot down about her flirting with her husband.

    “Kelly came up to me and they were married then, and she said, ‘Why are you flirting with my husband?’” Alley said. “And that was sort of when I had to make a decision and that was pretty much the end of that.”

    Travolta paid tribute to Alley on social media Monday.

    “Kirstie was one of the most special relationships I’ve ever had,” he wrote in the caption on a post on his verified Instagram account. “I love you Kirstie. I know we will see each other again.”

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  • Kirstie Alley, ‘Cheers’ and ‘Veronica’s Closet’ star, dead at 71 | CNN

    Kirstie Alley, ‘Cheers’ and ‘Veronica’s Closet’ star, dead at 71 | CNN

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    CNN
     — 

    Actress Kirstie Alley, star of the big and small screens known for her Emmy-winning role on “Cheers” and films like “Look Who’s Talking,” has died after a brief battle with cancer, her children True and Lillie Parker announced on her social media.

    She was 71.

    “We are sad to inform you that our incredible, fierce and loving mother has passed away after a battle with cancer, only recently discovered,” the statement read.

    “She was surrounded by her closest family and fought with great strength, leaving us with a certainty of her never-ending joy of living and whatever adventures lie ahead,” the family’s statement continued. “As iconic as she was on screen, she was an even more amazing mother and grandmother.”

    “Our mother’s zest and passion for life, her children, grandchildren and her many animals, not to mention her eternal joy of creating, were unparalleled and leave us inspired to live life to the fullest just as she did,” the statement said.

    Kirstie Alley’s sexy spin on ‘DWTS’


    02:14

    – Source:
    HLN

    Donovan Daughtry, a representative for Alley, also confirmed to CNN via email that the actress has died.

    A two-time Primetime Emmy Award winner, Alley was born in Wichita, Kansas in 1951.

    After a standout role in 1982’s “Star Trek II: The Wrath of Khan,” she played roles in movies like 1984’s “Blind Date” and 1987’s “Summer School” opposite Mark Harmon.

    That same year, Alley would follow Shelley Long to play the lead opposite Ted Danson in the latter part of TV classic sitcom “Cheers,” which premiered in 1982. Alley first appeared in 1987, playing strong and independent bar manager Rebecca Howe, staying on the acclaimed show until it ended in 1993.

    After winning the Emmy for outstanding lead actress in a comedy series in 1991 for “Cheers” and another for lead actress in a miniseries or special for 1994’s “David’s Mother,” she again found TV success in the late ’90s with series “Veronica’s Closet,” which scored her another Emmy nod.

    Additionally, Alley starred in a number of memorable films, like the “Look Who’s Talking” movies, 1990’s “Madhouse” and 1999’s “Drop Dead Gorgeous” with Ellen Barkin.

    In 2005, Alley co-wrote and starred in the Showtime comedy “Fat Actress” before making a foray into reality TV.

    She appeared in “Kirstie Alley’s Big Life” in 2010, was a contestant on Season 12 of ABC’s “Dancing with the Stars” the next year and placed second on Season 22 of the British version of “Celebrity Big Brother” in 2018. In 2022, she competed in Season 7 of Fox’s “The Masked Singer.”

    Though she had an impressive body of work, the later part of her career was marked by Alley’s penchant for stirring controversy, especially through social media.

    In a 2007 interview, Alley said she was proud of her no holds barred ways.

    “I’ve always felt like if someone asks me something, they want the real answer,” Alley told Good Housekeeping. “I think there’s also something about being from Kansas. Usually people think I’m from New York. The only similarity between New Yorkers and Midwesterners is that what you see is what you get.”

    John Travolta, who costarred with Alley in 1989’s hit “Look Who’s Talking” as well as two sequels, wrote on Instagram on Monday, “Kirstie was one of the most special relationships I’ve ever had. I love you Kirstie. I know we will see each other again.”

    Jamie Lee Curtis – who worked with Alley in 2016 on episodes of TV’s “Scream Queens” – shared a statement on Facebook to pay tribute to the late actress, writing, “She was a great comic foil in @tvscreamqueens and a beautiful mama bear in her very real life. She helped me buy onesies for my family that year for Christmas. We agreed to disagree about some things but had a mutual respect and connection. Sad news.”

    Josh Gad tweeted, “My heart breaks for Kirstie and her family. Whether it was her brilliance in ‘Cheers; or her magnetic performance in the ‘Look Who’s Talking’ franchise, her smile was always infectious, her laugh was always contagious and her charisma was always iconic. RIP.”

    “Baywatch” actor Parker Stevenson, who was married to Alley from 1983 to 1997 and is the father of her two children, also paid tribute to her on social media. In an Instagram post, confirmed to be Stevenson’s by a representative for the actor, he wrote: “Kirstie, I am so grateful for our years together, and for the two incredibly beautiful children and now grandchildren that we have. You will be missed.”

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  • ‘Love Actually’ director feels ‘a bit stupid’ about movie’s lack of diversity | CNN

    ‘Love Actually’ director feels ‘a bit stupid’ about movie’s lack of diversity | CNN

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    CNN
     — 

    Every year, as the days grow colder and Christmas draws nearer, “Love Actually” quickly becomes a festive favorite on people’s television screens.

    But nearly 20 years on from the release of the 2003 romantic comedy, the movie has faced scrutiny over its story lines and lack of diversity.

    “There were things you’d change but thank god society is changing. So my film is bound, in some moments, to feel, you know, out of date,” the movie’s writer and director Richard Curtis said earlier this week.

    He was speaking to Diane Sawyer as part of a documentary on ABC News titled: “The Laughter & Secrets of Love Actually: 20 Years Later.”

    “Love Actually” features interweaving story lines, following several romantic relationships. However, most of the leading cast is White and all the relationships depicted are heterosexual.

    Asked about any moments that might make him “wince,” Curtis said: “The lack of diversity makes me feel uncomfortable and a bit stupid.” He added: “I think there are three plots that have bosses and people who work for them.”

    The movie features an impressive number of big names from the entertainment industry, with Alan Rickman, Emma Thompson, Hugh Grant, Chiwetel Ejiofor, Keira Knightley, Bill Nighy, Colin Firth, Liam Neeson, Martin Freeman, Laura Linney, Martine McCutcheon, Rowan Atkinson and Thomas Brodie-Sangster all appearing at some point.

    Nearly 20 years on, “Love Actually” remains popular, becoming a staple of the holiday season.

    “It’s amazing the way it’s entered the language,” Nighy said in the ABC News documentary.

    “I’ve had people coming up to me saying ‘it got me through my chemotherapy,’ or ‘it got me through my divorce,’ or ‘I watch it whenever I’m alone.’ And people do, and people have ‘Love Actually’ parties.”

    When asked if she understood why “Love Actually” had remained popular, Thompson replied: “I so do.”

    “Because I think that we forget, time and time again we forget, that love is all that matters.”

    Curtis has written several other popular romantic comedies, including “Four Weddings and a Funeral,” “Notting Hill” and “Bridget Jones’s Diary.”

    “Four Weddings and a Funeral” was released in 1994 and notably portrayed a same-sex relationship between Matthew, played by John Hannah, and Gareth, played by Simon Callow.

    Writing in the Guardian 14 years later, Callow said: “It almost defies belief, but in the months after the release of the film, I received a number of letters from apparently intelligent, articulate members of the public saying that they had never realised, until seeing the film, that gay people had emotions like normal people.”

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  • Joe Pesci says playing Harry in the ‘Home Alone’ films came with some ‘serious’ pain | CNN

    Joe Pesci says playing Harry in the ‘Home Alone’ films came with some ‘serious’ pain | CNN

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    CNN
     — 

    They say artists have to be willing to do anything for their art, and for Joe Pesci, that includes setting his head on fire.

    In a new interview with People, the Oscar winner reflected on the making “Home Alone 2: Lost in New York” on the occasion of the sequel’s 30th anniversary and remembered how the comedy required some physically “demanding” stunts on his part.

    “It was a nice change of pace to do that particular type of slapstick comedy,” Pesci said of making the first two “Home Alone” films in the email interview, published on Tuesday.

    In the uber-successful franchise, Pesci played one half a bungling thief duo (alongside Daniel Stern) who is continually one-upped by a clever kid played by Macaulay Culkin. He acknowledged that the movies “were a more physical type of comedy, therefore, a little more demanding.”

    One example – when Pesci’s character Harry walks unsuspectingly into a booby trap laid by Culkin’s Kevin, leading to a fiery finish.

    “In addition to the expected bumps, bruises, and general pains that you would associate with that particular type of physical humor, I did sustain serious burns to the top of my head during the scene where Harry’s hat is set on fire,” the “Goodfellas” star recalled.

    In fact, Harry’s head is set ablaze not once but twice in the movies, once in 1990’s “Home Alone” and again in the 1992 film, when Harry and Marv (Stern) chase Kevin through a house amid renovations. (Pesci did not clarify during which film he sustained his injury.)

    Pesci added that he “was fortunate enough to have professional stuntmen do the real heavy stunts.”

    “Home Alone 2,” which hit theaters on November 20, 1992, welcomed back Pesci, Culkin and Stern along with Catherine O’Hara and John Heard as Kevin’s parents. The movie also starred Oscar-winning actress Brenda Fricker as the Pigeon Lady.

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  • End of an era: Netflix DVD subscribers mourn the service’s imminent demise | CNN Business

    End of an era: Netflix DVD subscribers mourn the service’s imminent demise | CNN Business

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    CNN
     — 

    When Colin McEvoy, a father of two from Bethlehem, Pennsylvania and a self-described film fanatic, wants to watch a Bollywood film or an obscure independent movie, he often turns to Netflix – but not its popular streaming service.

    McEvoy, 39, said he’s been using Netflix’s DVD-by-mail service since 2001, just three years after it launched.

    “I remember I was in high school when I first signed up for it, and the concept was so novel, I had to really convince my dad that it was a legit service and not some sort of Internet scam,” said McEvoy, who uses an old Xbox 360 to play his Netflix DVDs. “Now I have friends who’ve seen my red Netflix envelopes arrive in the mail, and either didn’t remember what they were or couldn’t believe that I still got the DVDs in the mail.”

    Now, McEvoy is one of the DVD-by-mail holdouts mourning the service’s imminent demise. On Tuesday, Netflix announced it will send out its final red envelope on September 29, 2023. marking an end to 25 years of mailing DVDs to members. The company will continue to accept returns of customers’ remaining DVDs until October 27.

    “I’ll be sad to see the service go,” McEvoy said.

    Introduced in 1998 when Netflix first launched, the service promised an easier rental experience than having to drive to the nearest Blockbuster or Hollywood Video. The red envelopes, which have long been synonymous with Netflix itself, littered homes and dorm rooms across the country. But in 2007, Netflix began streaming content online, and gradually shifted the focus away from its original DVD business.

    Today, the idea of receiving a DVD in the mail may sound almost as outdated as receiving a dial up CD, but some longtime customers told CNN they continued to find value in the DVD option, including for its selection, pricing and added perks.

    Brandon Cordy, a 41-year-old graphic designer from Atlanta, said he stuck with DVDs because many digital rentals don’t come with special features or audio commentaries.

    There are other factors, too. Michael Inouye, an analyst at ABI Research, said some consumers may still not have access to reliable or fast enough broadband connections, or simply prefer physical media to digital, much in the way that some audio enthusiasts still purchase and collect CDs and records. Other households may also own cars that still have DVD players inside.

    For Netflix, however, the offering has made less sense in recent years. “Our goal has always been to provide the best service for our members, but as the DVD business continues to shrink, that’s going to become increasingly difficult,” co-CEO Ted Sarandos wrote in a blog post this week.

    Shutting down its DVD business could help Netflix better focus resources as it expands into new markets such as gaming as well as live and interactive content. Its DVD business has also declined significantly in recent years. In 2021, Netflix’s non-streaming revenue – mostly attributable to DVDs – amounted to 0.6% of its revenue, or just over $182 million.

    The cost to operate its DVD business may also be a factor, especially as Netflix rethinks expenses broadly amid heightened streaming competition and broader economic uncertainty. “Moving plastic discs around costs far more money than streaming digital bits,” said Eric Schmitt, senior director analyst at Gartner Research. “Removing and replacing damaged and lost inventory are also cost considerations.”

    Even before Netflix announced the news this week, some longtime subscribers said they could see the writing on the wall.

    “The inventory of available titles, while still vast, had been contracting some over the years with some movies that were once available no longer being so,” Cordy said. “Turnaround times to get a new movie or movies also started to take longer, so I knew it was only a matter of time. But I didn’t want it to end if I could help it.”

    Other DVD subscribers are hoping there may still be a happy ending.

    On Wednesday, Bill Rouhana, the CEO of Chicken Soup for the Soul Entertainment – which owns DVD rental service Redbox – told The Hollywood Reporter he hopes to purchase Netflix’s DVD business. “I’d like to buy it… I wish Netflix would sell me that business instead of shutting it down,” he said. Redbox remains popular despite the shift in streaming, but took a hit during the pandemic because of the lack of new movies and TV shows to fill the boxes.

    A Netflix spokesperson told CNN it has no plans to sell the DVD business and declined to share how it plans to dispose of the discs. But Nick Maggio, a 43-year-old elementary school teacher from Valley Stream, New York, said he hopes the company will sell their individual titles library. “I know there are several titles I’d like to get my hands on,” he said.

    For now, at least, some DVD subscribers plan to focus on watching as many DVDs as they can before the service goes away.

    McEvoy, who also subscribes to Disney+, Hulu, the Criterion channel and Mubi, said he’s determined to finish seeing every film listed in the book “1001 Movies You Must See Before You Die” with the help of Netflix.

    “I absolutely would not have been able to find all of those movies if not for the Netflix DVD service,” he said. “I only have four movies left to go.”

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  • TV and film writers are fighting to save their jobs from AI. They won’t be the last | CNN Business

    TV and film writers are fighting to save their jobs from AI. They won’t be the last | CNN Business

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     — 

    By any standard, John August is a successful screenwriter. He’s written such films as “Big Fish,” “Charlie’s Angels” and “Go.” But even he is concerned about the impact AI could have on his work.

    A powerful new crop of AI tools, trained on vast troves of data online, can now generate essays, song lyrics and other written work in response to user prompts. While there are clearly limits for how well AI tools can produce compelling creative stories, these tools are only getting more advanced, putting writers like August on guard.

    “Screenwriters are concerned about our scripts being the feeder material that is going into these systems to generate other scripts, treatments, and write story ideas,” August, a Writers Guild of America (WGA) committee member, told CNN. “The work that we do can’t be replaced by these systems.”

    August is one of the more than 11,000 members of the WGA who went on strike Tuesday morning, bringing an immediate halt to the production of some television shows and possibly delaying the start of new seasons of others later this year.

    WGA is demanding a host of changes from the Alliance of Motion Picture and Television Producers (AMPTP), from an increase in pay to receiving clear guidelines around working with streaming services. But as part of their demands, the WGA is also fighting to protect their livelihoods from AI.

    In a proposal published on WGA’s website this week, the labor union said AI should be regulated so it “can’t write or rewrite literary material, can’t be used as source material” and that writers’ work “can’t be used to train AI.”

    August said the AI demand “was one of the last things” added to the WGA list, but that it’s “clearly an issue writers are concerned about” and need to address now rather than when their contact is up again in three years. By then, he said, “it may be too late.”

    WGA said the proposal was rejected by AMPTP, which countered by offering annual meetings to discuss advancements in the technology. August said AMPTP’s response shows they want to keep their options open.

    In a document sent to CNN responding to some of WGA’s asks, AMPTP said it values the work of creatives and “the best stories are original, insightful and often come from people’s own experiences.”

    “AI raises hard, important creative and legal questions for everyone,” it wrote. “Writers want to be able to use this technology as part of their creative process, without changing how credits are determined, which is complicated given AI material can’t be copyrighted. So it’s something that requires a lot more discussion, which we’ve committed to doing.”

    It added that the current WGA agreement defines a “writer” as a “person,” and said “AI-generated material would not be eligible for writing credit.”

    The writers’ attempt at bargaining over AI is perhaps the most high-profile labor battle yet to address concerns about the cutting-edge technology that has captivated the world’s attention in the six months since the public release of ChatGPT.

    Goldman Sachs economists estimate that as many as 300 million full-job jobs globally could be automated in some way by the newest wave of AI. White-collar workers, including those in administrative and legal roles, are expected to be the most affected. And the impact may hit sooner than some think: IBM’s CEO recently suggested AI could eliminate the need for thousands of jobs at his company alone in the next five years.

    David Gunkel, a professor at the department of communications at Northern Illinois University who tracks AI in media and entertainment, said screenwriters want clear guidelines around AI because “they can see the writing on the wall.”

    “AI is already displacing human labor in many other areas of content creation—copywriting, journalism, SEO writing, and so on,” he said. “The WGA is simply trying to get out-in-front of and to protect their members against … ‘technological unemployment.’”

    While film and TV writers in Hollywood may currently be leading the charge, professionals in other industries will almost certainly be paying attention.

    “There’s certainly other industries that need to be paying close attention to this space,” said Rowan Curran, an analyst at Forrester Research who focuses on AI. He noted that digital artists, musicians, engineers, real estate professionals and customer service workers will all feel the impact of generative AI.

    “Watch this #WGA strike carefully,” Justine Bateman, a writer, director and former actress, wrote in a tweet shortly after the strike kicked off. “Understand that our fight is the same fight that is coming to your professional sector next: it’s the devaluing of human effort, skill, and talent in favor of automation and profits.”

    AI has had a place in Hollywood for years. In the 2018 “Marvel Avengers Infinity Wars” film, the face of Thanos – a character played by actor Josh Brolin – was created in part with the technology.

    Crowd and battle scenes in films including the “Lord of the Rings” and “Meg” have utilized AI, and the most recent Indiana Jones used it to make Harrison Ford’s character appear younger. It’s also been used for color correction, finding footage more quickly during post production and making improvements such as removing scratches and dust from footage.

    But AI in screenwriting is in its infancy. In March, a “South Park” episode called “Deep Learning,” was co-written by ChatGPT and the tool was highly focused on in the plot (the characters use ChatGPT to talk to girls and write school papers).

    August said writers are largely willing to play ball with tools, as long as they’re used as launching pads or for research and writers are still credited and utilized throughout the production process.

    “Screenwriters are not luddites, and we’ve been quick to use new technologies to help us tell our stories,” August said. “We went from typewriters to word processors happily and it increased productivity. …. But we don’t need a magical typewriter that types scripts all by itself.”

    Because large language models are trained on text that humans have written before, and find patterns in words and sentences to create responses to prompts, concerns around intellectual property exist, too. “It is entirely possible for a [chatbot] to generate a script in the style of a particular kind of filmmaker or scriptwriter without prior consent of the original artist or the Hollywood studio that holds the IP for that material,” Gunkel said.

    For example, one could prompt ChatGPT to generate a zombie apocalypse drama in the style of David Mamet. “Who should get credited for that?” August said. “What happens if we allow a producer or studio executive to come up with a treatment or pitch or something that looks like a screenplay that no writer has touched?”

    For now, the legal landscape remains very much unsettled on the matter, with regulations lagging behind the rapid pace of AI development. In early April, the Biden administration said it is seeking public comments on how to hold artificial intelligence systems like ChatGPT accountable.

    “We can’t protect studios from their own bad choices,” August said. “We can only protect writers from abuses.”

    The strike, and the demands around AI specifically, come at a time when both the writers and the studios are feeling financial pain.

    Many of the businesses represented by AMPTP have seen drops in their stock price, prompting deep cost cutting, including layoffs. The need to manage costs, combined with addressing the fallout from the strike, might only make the companies feel more pressure to turn to AI for scriptwriting.

    “In the short term, this could be an effective way to circumvent the WGA strike, mainly because [large language models], which are considered property and not personnel, can be employed for this task without violating the picket line,” Gunkel said. Such an “experiment” could also show production studios whether it’s possible “to get by with less humans involved,” he said.

    But Joshua Glick, a visiting professor of film and electronic arts at Bard University, believes such a move would be ill-advised.

    “It would be a pretty aggressive and antagonistic move for studios to move forward with AI-generated scripts in terms of getting writers to come to the negotiating table because AI is such a crucial sticking point in the negotiations,” said Glick, who also co-created Deepfake: Unstable Evidence on Screen, an exhibition at the Museum of the Moving Image in New York.

    “At the same time, I think the result of those scripts would be pretty mediocre at best,” he said.

    However the studios react, the issue is unlikely to go away in Hollywood. Film and TV actors’ contracts are up in June, and many are worried about how their faces, bodies and voices will be impacted by AI, August said.

    “As writers, we don’t want tools to replace us but actors have the same concerns with AI, as do directors, editors and everyone else who does creative work in this industry,” he added.

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