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Tag: lost

  • Hurley and the Hot Pocket Outlived Lost’s Wildest Lore

    Hurley and the Hot Pocket Outlived Lost’s Wildest Lore

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    It was always refreshing to get a lighthearted break from the insanity and lore on Lost. That was particularly true by season five, when you also had to keep track of who was where, when, how, and why — not to mention who was who (any character could be possessed, dead, or a hallucination). In episode two of its fifth year, Lost gave us less than 15 seconds of comedy gold in the form of Hurley throwing a microwave-fresh Hot Pocket at Ben Linus and missing wide right.

    Real-time screenshotting and GIF-ing TV scenes on Twitter hadn’t yet become the norm, so the moment wasn’t memed into virality back when it aired in 2009. But the assorted fandom sites dedicated solely to Lost ate it up, with one Television Without Pity commenter summing up the general feeling: “All the crazy things in this show, I focus on the hot pocket, lol.”

    The show’s marketers knew there was something special about this seemingly random scene — the season-five DVD menu background on disc one plays a shot of Hurley putting the Hot Pocket in the microwave. If you idle there long enough, he comes back to get his snack.

    But while that savory, sauce-filled pastry splattering against a kitchen wall holds a special place in the hearts of many fans, the cast and crew had no idea the random gag would have such staying power. When Vulture tracked down several of the people responsible for Hurley’s inept Hot Pocket defense — co-writers Edward Kitsis and Adam Horowitz, director Jack Bender, editor Mark Goldman, sound designer Paula Fairfield, and Hugo “Hurley” Reyes himself, Jorge Garcia — they had, at best, fuzzy-yet-fond memories of its creation and filming.

    “I said, ‘I think they’ve got the wrong writers. We never had Hurley throw a Hot Pocket,’” Kitsis recalls. “And Adam goes, ‘We did, and that was your idea.’”

    First, though, let’s back up for a refresher on what’s happening in this episode, “The Lie,” which was the second half of the season’s two-hour premiere. At this point in the series, the castaways on the island are stuck jumping through time against their will for reasons too complicated to recap here. (We’re deep in mythology,” as Garcia puts it.) Off the island, in 2007, the Oceanic Six — Hurley, Jack, Kate, Sayid, Sun, and Claire’s baby, Aaron, who returned to the mainland at the end of the prior season — are explaining away their miraculous survival with a bullshit story that prevents villain Charles Widmore and his henchmen from learning the island’s real location. That’s just the setup for this episode, which centers on Hurley and his struggles to maintain the titular fib.

    Hurley is hiding out in his mansion when he’s approached by Michael Emerson’s Ben Linus — who, the audience knows, is actually on the Oceanic Six’s side, working with Jack to get them back to the island because the mystical powers that be demand it. Ben sneaks around back into the kitchen, startling our hero into throwing his hotly anticipated snack at the intruder. Like many things Lost, the Hot Pocket had a deeper meaning beyond the bit.

    In an earlier version of Edward Kitsis and Adam Horowitz’s script, the snack symbolized the bond between Hurley and his mother. “We wanted something that would evoke Hurley growing up with his mom, like he would come home after school and she would make him a Hot Pocket,” Kitsis says. “Each character dictated the tone of their own episode, and Hurley episodes were best when they had a great dose of humor plus heavy emotion. Adam and I, at that time, really found it funny, the name ‘Hot Pocket’ — it was an inside joke and it worked perfectly with the emotion.”

    The Hot Pocket’s connection to Hurley’s mom got cut in rewrites but the duo were able to deploy the snack when they needed an amusing way for Hurley to react to Ben’s intrusion. “He’s not a character who’s ever going to hurt someone. Even if he hit Ben it still wouldn’t have hurt him,” says Horowitz. “It was always about finding that line — funny enough without crossing into the too-absurd.”

    Why choose a Hot Pocket over, say, a generic frozen burrito? “They’re just inherently funny,” he says. “They’re sleepover foods when you’re a kid. They’re stoner foods when you’re in college, or now. Hot Pockets are like a Swiss Army Knife of snacks.”

    On Zoom, director Jack Bender rewatches the scene on YouTube to refresh his memory. “There’s the Hot Pocket! I totally remember it!” he exclaims. “What’s great is the juxtaposition of using a Hot Pocket as a weapon — it’s very Lost-ian. As much as we dug deep emotionally, suspensefully, and philosophically, there was also that left-of-center humor. And using a Hot Pocket as a weapon is something Hurley definitely would have done.”

    Bender immediately recalls wanting to open the scene — which follows Jack reviving Sayid from being shot with a dart full of sedatives — with a transition to a POV shot from the microwave’s interior. “Look, it’s not reinventing cinema. Over the years, I and other directors have shot inside the refrigerator. I wanted to be inside on a wider angle, see that stupid Hot Pocket going around, see Hurley’s face come in because I knew that would be a great way to start it.”

    To accomplish this, the props team removed the back of a working microwave and its heating element, allowing the camera to shoot through while the carousel and other electronics functioned normally. “It lights like it would, which makes it even goofier,” Bender says. “We made sure it wasn’t going to be a steaming-hot Hot Pocket.”

    Bender and Garcia remember filming that day had an upbeat, lighthearted atmosphere — and not only because Garcia got to wear his “regular clothes instead of island clothes.” Given a fake pastry made by prop master Rob Kyker, they did take after take, with resets to wipe down sauce from the wall or wherever the Pocket landed when Garcia missed.

    “It was so silly, throwing that rubber Hot Pocket. I had to do it a lot,” says Garcia. “Fake food is always entertaining to look at and play with. I didn’t really have Hot Pocket experience, but it had a decent enough heft. It had a little bounce to it, so sometimes where it would go after it hit the wall was pretty funny. Trying to get the precision on that, when you hit it, you’re really proud of the smear — ‘Oh, that’s the one!’ That was fun.”

    There was one drawback to using a Hot Pocket as Hurley’s weapon of choice: Without a product-placement deal set up, the Lost team wasn’t allowed to mention its brand name. “There was a great line — as it slides down the wall, Ben turns to Hurley and goes, ‘Well, that’s just a waste of a Hot Pocket.’ Michael took this line and hit it like a home run,” Kitsis says. “We had to cut it in editing because it’s like a free commercial.”

    After the splat, Emerson’s unnerving, unflappable gaze switches the atmosphere from comic relief to white-knuckle suspense. But it’s not just the acting — a lot of credit for keeping viewers uneasy goes to the pacing and shot selections by editor Mark Goldman.

    “It’s Hurley’s scene, so by keeping the cutting simple and using the camera angles that move with him, you’re thinking it’s a domestic scene. Ben entering throws it off,” he says. “If we played it as strictly a scare moment and had the music go ‘dun dun dun,’ some of the humor of the Hot Pocket would have gotten stepped on. I’m a firm believer that a show is more engaging when the tone shifts, and Michael is so compelling that cutting to a medium-close shot of him shifts the tone right away. He’s Mr. Cool, the calmest person around, whereas Hurley is throwing Hot Pockets.”

    The microwave-to-countertop segment plays out realistically, calming the viewer with its sense of familiarity. On Lost, the scripts, performances, editing, visuals, and audio were all executed with the idea that the show had to feel real so audiences would put themselves in the castaways’ shoes, or lack thereof.

    “We tried to make the show about real people living through confusion, fear, and, Where the fuck are we? How did we get here? Monsters are chasing us!” says Bender. “What I always pushed for — and the actors’ instincts were the same — was ‘Let’s make this real so that no matter how preposterous it goes, people relate and care.’”

    In this instance, you’re meant to wonder how you’d react if you were in Hurley’s position — and you wouldn’t be doing that if the little details didn’t add up. For Paula Fairfield, the episode’s sound designer, that meant making sure elements like the Pocket cooking were realistic to the ears. After all, if it sounded like the pastry was being grilled over coals, the viewer might get stuck on that incongruity and miss the action.

    “Sizzle, ding, open the door, close the door, and then bam — it’s got to be very naturalistic, kind of understated but very specific,” she says. “I think I recorded the ding but the other stuff I had in my sound library. The sizzle was a tamped-down bacon sizzle. The Hot Pocket hitting the wall has a little bit of a slap, slightly wet, a little crunch, and a little weight to it. It can’t sound too hard. You don’t want to push something too much because it’ll pull the viewer out.”

    Clearly, the moment landed as intended, then and now — it still pops up in tweets and gets thoroughly discussed on Reddit threads. “We never thought that in a show that won an Emmy for very great drama, the Hot Pocket would rise to meet Locke in a wheelchair, no,” Kitsis says, laughing.

    “We knew the weight of ‘not Penny’s boat’ and ‘The Constant,’” adds Garcia. “The show is surrounded with so much intensity, the moments of levity become very appreciated by the audience. It’s like when Hurley makes a golf course. People responded to it and talked about it as the ‘Hurley makes the golf course’ episode. But I’m like, ‘No, that’s the Sayid gets captured and held hostage episode! I’m the B story!’”

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    Dan Reilly

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  • Austin Pets Alive! | Hays County Pet Resource Center Partners with…

    Austin Pets Alive! | Hays County Pet Resource Center Partners with…

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    The Hays County Pet Resource Center is now a part of Neighbors by Ring, a public safety mobile app to share hyperlocal updates with Ring camera users in Hays County. Ring aims to connect residents with public safety agencies through the Neighbors App to create safer, more informed communities.

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  • Austin Pets Alive! | Austin Pets Alive! Responds to AAC Closing…

    Austin Pets Alive! | Austin Pets Alive! Responds to AAC Closing…

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    In the wake of Austin Animal Center (AAC) closing intake during the busiest sheltering week of the year, Austin Pets Alive! (APA!) is calling on the community to adopt or foster a pet before July 4.

    “It’s an immensely hard time for shelter animals and the people caring for them in Austin right now, especially for medium to large dogs,” said APA! president and CEO Dr. Ellen Jefferson. “We wish we could take in even more animals from AAC, but our Town Lake location is also full to the brim, and we’re calling on the community to adopt or foster a shelter pet this week before the July 4th holiday!”

    APA! is working on long-term solutions to fix the space crisis in our city for good, but as those plans are in process, the nonprofit is imploring our community members to come to APA! or AAC today to help prevent an even bigger animal sheltering crisis from unfolding over a weekend known for lost dogs entering the shelter system in record numbers.

    “There are hundreds of lovable dogs (and cats) at both APA! and AAC who can be immediately placed into homes,” Jefferson said. “People might not realize this because we help animals throughout Texas, but the majority of the dogs at our shelter today came from AAC. More pets leaving APA!’s Town Lake location will allow us space to help AAC even more after July 4th.”

    APA! is offering a 50% discount on all adoptions through July 3rd, and all adoption fees at AAC are waived completely.

    Across the nation Austinites have a reputation for their commitment to keeping Austin the safest city in America for shelter pets. Jefferson is asking the community to rally together now like they’ve been known to do time and time again.

    “Austin has rallied together through various crises. Community members are directly responsible for helping to make Austin the largest No Kill community in the nation, have created lines around our building and down the road when our facility was flooding, came in droves to support our Hurricane Harvey Activation, jumped in when the whole world was turned upside down due to the pandemic,” she said. “Let’s keep it going, Austin, and ensure dogs and cats get the love and homes they deserve.

    In addition to fostering or adopting now, here are some additional ways community members can help:

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  • Austin Pets Alive! | Fireworks can be scary for pets! Keep them safe…

    Austin Pets Alive! | Fireworks can be scary for pets! Keep them safe…

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    More dogs go missing on July 4th than on any other day of the year.

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  • Unbelievable facts

    Unbelievable facts

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    A man lost in the woods cut down power lines to force workers to come and rescue him.

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  • Neuromancer Is Finally Getting Its Long-Awaited Adaptation

    Neuromancer Is Finally Getting Its Long-Awaited Adaptation

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    These days, if you’re an epic sci-fi story looking to be told, there’s only one destination: Apple TV+. From popular novels like Foundation and Silo to originals like For All Mankind and Severance, the streamer is a haven for weird, bold sci-fi. Which is why it feels like the perfect, natural home for William Gibson’s Neuromancer.

    The landmark 1984 cyberpunk novel has been on Hollywood’s wishlist for decades, with multiple filmmakers attempting to bring it to the big screen. Now, it’s coming to a smaller screen, but in a longer format. Graham Roland (Dark Winds) and J.D. Dillard (Devotion) have teamed up to adapt the novel for Apple TV+, which has given them a 10-episode series order.

    “We’re incredibly excited to be bringing this iconic property to Apple TV+,” Roland and Dillard said in a statement. “Since we became friends nearly 10 years ago, we’ve looked for something to team up on, so this collaboration marks a dream come true. Neuromancer has inspired so much of the science fiction that’s come after it and we’re looking forward to bringing television audiences into Gibson’s definitive ‘cyberpunk’ world.”

    That world follows a futuristic hacker on a secret mission against an advanced artificial intelligence. Which, admittedly, sounds kind of familiar, but that’s because, as Roland and Dillard said, the novel was so influential. Plus, Gibson followed it up with two sequels—Count Zero in 1986 and Mona Lisa Overdrive in 1988— so this could go on for longer than just a season.

    It’s a pair that feels perfectly up for the challenge, too. In addition to creating Dark Winds, Roland was a writer on Lost and a writer-producer on Fringe. Dillard has written and directed several features, including the criminally underrated genre films Sleight and Sweetheart. They’ll both produce the series with Roland showrunning and Dillard directing at least the pilot.

    So, is this the one? Do you think Neuromancer is finally going to get the adaptation it deserves? Let us know below.


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Germain Lussier

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  • This Scandinavian Treat Proves There’s More to Fat Tuesday Than Paczki

    This Scandinavian Treat Proves There’s More to Fat Tuesday Than Paczki

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    It’s telling that in Chicago, Fat Tuesday — the day before Lenten Season begins, this year on Tuesday, February 13 — is generally referred to as Paczki Day. Weighing in at around 400 calories each, the Polish pastries inevitably whip up excitement among fans who form long lines, sometimes in the wee hours of the morning, to snag paczki by the dozen in a wide array of classic and contemporary flavors.

    Amid all the paczki pandemonium, however, lie Fat Tuesday specialties from a variety of ethnic groups that now call Chicago home. In Andersonville, the city’s historic Swedish American enclave, a lauded local pastry chef is shining a spotlight on the Scandinavian tradition of the semla, a rich yet delicate sweet roll also known as fettisdagsbulle, literally “Fat Tuesday bun.”

    Pastry chef Bobby Schaffer brings fine dining style to Swedish semlor.

    As in the case of many Fat Tuesday treats, modern semlor (the plural of semla) evolved significantly from their original form. Historically, semlor simply referred to bread rolls floating in warm milk, a combination also dubbed hetvagg. In an ominous anecdote, 18th-century Swedish King Adolf Fredrick is said to have died after wrapping up a hearty, boozy meal with 14 servings of the dish. Today, typical semlor are small, baked yeast buns enriched with butter and egg, flavored with cardamom, stuffed with almond paste and whipped cream, and finally, dusted with powdered sugar. Sweden’s neighboring countries feature regional variations, such as Finnish laskiaispulla and Danish and Norwegian fastelavnsboller.

    Bobby Schaffer (Grace, Blue Hill at Stone Barns), has made a name for himself in the city with his contemporary takes on Swedish pastry traditions at Lost Larson, his stylish bakeries and cafes with modern minimalist Swedish vibes in Andersonville and Wicker Park. The seasonal item has a crowd of eager adherents who start peppering Schaffer with questions about availability “as soon as January hits,” he says. This year’s lineup blends old and new, juxtaposing a traditional version with playful semlor, including one stuffed with raspberry jam and topped with raspberry whipped cream and a spin on bananas foster. They’re available to walk-in customers through Monday, February 12 in both Andersonville and Wicker Park, and online pre-orders are open for pickup on Fat Tuesday in Andersonville.

    A person cracks an egg into a plastic deli container beside other containers of flour and sugar.

    Lost Larson’s team starts the process by making cardamom brioche dough.

    A person adds butter to a standing mixer of dough.

    Like paczki, semlor are an opulent treat for those about to start the Lenten season.

    A person scatters flour over a tray of dough.

    The dough is then left to ferment overnight.

    A person cuts dough on a marble counter.

    Each semla will receive its own little brioche “hat.”

    The concept of fun and funky semlor is a full-on phenomenon in Sweden, says Karin Moen Abercrombie, executive director of Andersonville’s Swedish American Museum. In Stockholm, famed 90-year-old coffeehouse Vete-Katten typically sells around 14,000 semlor ahead of Lent each year. “Today, there’s almost a competition between bakeries of who makes the best semlor,” she says.

    Schaffer had his first taste of semlor in January 2018 during a trip to Stockholm with his sister ahead of Lost Larson’s debut in Andersonville. His memories of the encounter, which unfolded in a “very old-school” bakery in Sweden’s capital, are vivid: “The texture of the cream [was] so soft, and hitting that layer of almond paste gives it a chewy, unctuous texture,” he says. “It’s very satisfying to dig into one of those.”

    A person places a brioche triangle on top of a semla.

    The “hats” are back.

    A person dusts a tray of semlor with powdered sugar through a sieve.

    Schaffer scales back the sweetness of the whipped cream to balance with powdered sugar.

    Back in Chicago, he had a serious task on his hands with the debut of his stylish bakery and cafe with modern minimalist Swedish vibes. The Swedish Bakery, a neighborhood icon for more than eight decades, had closed the year prior in 2017, and residents made plain their high expectations of Schaffer’s endeavor. Given his recent semlor meet cute, Schaffer was eager to introduce his version and included them on his opening menu, which happened to arrive in June.

    “I was a little overly exuberant to start making them,” he says, laughing. “I was quickly scolded by [Abercrombie] that it was not semla season… I didn’t want to start by offending Swedish people.”

    Abercrombie, a Swedish immigrant who has spent nearly 40 years in Chicago, doesn’t remember her first semla but does recall eating them with warm milk (a la King Fredrick, though in smaller quantities) as a girl. For her, the Swedish Bakery’s closure struck close to home. “They were the ones, for many of us, who connected us back to our home country and childhood memories.”

    A person cuts out a tringle from round brioche buns.

    Each bun undergoes a little surgery.

    A person scoops almond paste into a round brioche bun.

    Almond paste is a popular flavor in Swedish pastries and baked goods.

    A person fills a pastry bag with whipped cream.

    A person pipes a swirl of whipped cream on top of a round brioche bun.

    Despite its more contemporary approach, Lost Larson’s dedication to Swedish baking and pastry — as well as Schaffer’s openness to feedback from the community — have played vital roles in maintaining Swedish American culture in the city. The museum will also feature semlor in its pop-up cafe on Fat Tuesday, but for Abercrombie and Schaffer, it’s not about competition. “We all have to work together because if we don’t support each other, none of us will survive,” she says.

    Semla Day at Lost Larson Andersonville, Tuesday, February 13, 5318 N. Clark Street, pre-orders available online.



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    Naomi Waxman

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  • Sad – lost a good one

    Sad – lost a good one

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    My dog was put to sleep last night. She was my first dog and I had her for almost 10 years. She was the moodiest bitch on the planet but was always super sweet to me. I’ll miss hearing her close the laundry room door to hide from my kids and catch a break.
    This is a toast to a real one.
    Fry up some bacon just for your puppies once in a while. They deserve it.

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  • How Mayim Bialik Lost Her Role as the Main Host of ‘Jeopardy!’

    How Mayim Bialik Lost Her Role as the Main Host of ‘Jeopardy!’

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    It was the middle of August 2021, and a swift union seemed to make sense. A week and a half earlier, Mike Richards, the executive producer of Jeopardy!, had been named the successor to longtime host Alex Trebek. Then, amid a storm of bad press and having filmed just five episodes as host, Richards abruptly stepped down. Production screeched to a halt with the season premiere mere weeks away. Already, a full day of taping had been canceled at the last minute, with more tapings the following week likely to meet the same fate. Sony needed episodes in the can and, just as important, something to quiet the worst press cycle in Jeopardy!’s history.

    The answer appeared obvious: Mayim Bialik. The actor, after all, had just been announced as Richards’s backup—the host of occasional prime-time specials on ABC and yet-to-be-announced spinoffs, while Richards would take the more prominent role as the host of the daily syndicated edition. So when Bialik, waiting in the hospital while her boyfriend was having hip replacement surgery, told her agent to reach out to Sony, the studio was only too eager to put a deal together to get Bialik to host the daily show as soon as possible.

    “From the hospital waiting room, I said to my agent, ‘Please ask how we can help,’” Bialik recalled to Glamour later. “That’s literally what I said. I don’t want to seem opportunistic, but I’m part of this family now.”

    Almost two and a half years later, her role in that family has changed. On December 15, Bialik wrote in a statement that she had been informed by Sony that she would “no longer be hosting the syndicated version of Jeopardy!Jeopardy! confirmed to The Ringer that Bialik is under contract until the end of the season with a one-year option remaining. With several months of taping remaining this season, Bialik was informed that her option would not be picked up.

    The development has ushered in a series of reports looking into Sony’s concerns about Bialik and her performance as a host. According to a source close to production, Bialik was ultimately outshined in the role by Ken Jennings, the storied Jeopardy! contestant who was initially brought in to cohost only as a stopgap measure, filling in while Bialik was busy filming the Fox sitcom Call Me Kat, and who will now host the entirety of the syndicated show. But the reason for the change likely goes beyond that. So where did it all go wrong? And what does it mean for Jeopardy! moving forward?


    When Bialik was named a host of Jeopardy!, the selection fit a certain obvious logic. The actor was widely known for her roles on the sitcoms Blossom and The Big Bang Theory, and she had drawn praise for a two-week stint guest hosting the quiz show after Trebek’s 2020 death. She also holds a PhD in neuroscience, brainy laurels that fit well with Jeopardy!’s brand. After Richards stepped down, first as host and then as executive producer, on the heels of reporting by The Ringer and other outlets that sparked concerns about his past and the integrity of the host search, she seemed like a natural choice to fill the void and bring stability.

    Yet in some ways, Bialik made for an uneasy cultural fit. In his nearly 40 years on the job, Trebek crafted an image as more than just staid and reliable; publicly, he was also stringently apolitical. He spoke of voting for both Democrats and Republicans and generally avoided sharing his opinion on anything spicier than his preferred tipple (chardonnay). In recent years, Jeopardy! leadership has doubled down on that reputation, presenting the show as a safe harbor of impartiality in turbulent modern times where facts alone are what matter.

    Bialik’s ascent at the show, then, represented a departure from those norms. Long an avid user of social media, Bialik has written and spoken extensively about her life and beliefs. After her hiring, a slew of controversies resurfaced, among them her promotion of a dubious brain health supplement called Neuriva, her 2017 New York Times op-ed about the #MeToo movement that many interpreted as victim blaming and for which Bialik later apologized, and her advocacy for a range of controversial parenting techniques, including delaying or withholding some vaccinations for children. Bialik has said that she is not anti-vaccine while also stating in 2020 that “we give way too many vaccines.”

    Bialik has not shied away from weighing in on contentious subjects, telling Bill Maher recently about her distaste for cancel culture. At times, she has invoked Jeopardy! along the way. In October, she filmed an Instagram Reel with the Israeli actor Noa Tishby in which Bialik, who has written at length about her Jewish faith and Israel, riffed on her game-show duties while discussing the crisis in Gaza. “The free world is in jeopardy, but this time it’s not a game,” she said, before reading Tishby a series of Jeopardy!-style prompts. In a video published the day before Bialik announced her departure from the syndicated show, Bialik and Tishby again deployed a game-show format to make statements about the Israel-Hamas war. “You might be an antisemite if you think that the solution to what is going on in the Middle East is that the Jews should just go back to where they came from,” Bialik said. “The Jews are the indigenous people of the land of Israel,” Tishby added as Bialik nodded beside her, “so there’s nowhere to go back to.” A Sony official said that while the studio was aware of the videos, they had no impact on the decision not to retain Bialik on the syndicated show.

    Then there’s the matter of her absence from the entirety of the current season of Jeopardy!, which began airing in September. In May, Bialik announced that she would cease hosting Jeopardy! in solidarity with the Writers Guild of America, which was on strike. “There’s a lot of complexity to this, but my general statement is always that I come from a union family,” she said later. “While it’s not for me to personally judge anyone else’s decision, for me, I am a union supporter—pretty much all unions and what they fight for.”

    Sources close to the show say this stand was not exactly what it seemed. Jeopardy! and other game shows are guided by a distinct set of union provisions known as the Network Television Code, meaning that while Jeopardy!’s writers are members of the WGA and thus were part of the strike—many were prominent figures on picket lines in Los Angeles and New York—the rest of the staff and crew were not. SAG-AFTRA—which began its own strike in July and of which Bialik and Jennings are both members—explicitly advises non-striking members to continue to work per the terms of their contracts; to do otherwise can weaken the union’s negotiating power because it indicates that members might not follow the letter of the contract.

    There was also a semi-recent precedent at Jeopardy!: During the 2007-08 writers strike, Trebek hosted throughout the work stoppage. Both then and during this year’s strike, the quiz show used only clues written before the writers decamped. (The Network Television Code is governed by its own contract, which runs through June 2024.)

    Bialik’s move, however, left many decrying Jennings as a scab and criticizing Jeopardy! for taping at all. The actor Wil Wheaton, a friend of Bialik’s who she said was the first to predict she would get the Jeopardy! job, slammed Jennings in a widely discussed Facebook post in which he wrote, “Your privilege may protect you right now, but we will *never* forget.”

    On December 18, Puck’s Matthew Belloni reported that Bialik’s decision to step back from hosting during the writers strike left Jeopardy! executive producer Michael Davies and Sony executive vice president of game shows Suzanne Prete “furious.” The WGA strike concluded in September, with SAG-AFTRA following in November, and Bialik still did not return to the show.


    Issues persisted around Bialik’s performance in the studio, too. Part of that may have stemmed from her personal disconnect from Jeopardy!, about which she was up-front. She has written in the past about not watching any television and said that she learned of the opportunity to guest host only when her son saw buzz about the host search online. She seemed mystified by the level of scrutiny that the show, and, by extension, the host, received: “Like, who knew that people were so passionate about who hosts Jeopardy!?” she said shortly after taking on the series.

    Her apparent unfamiliarity with the show’s rhythms and lore rankled some longtime fans. Complaints at times verged on petty: Viewers griped that she referred to the show’s first round as “single Jeopardy!,” a phrase Trebek himself used occasionally, and piled on about her propensity to laugh during exchanges with contestants—a charge that smacked of misogyny to some. Other viewers, however, pointed to more fundamental issues. Throughout her time as host, Bialik was criticized for noticeable pauses after contestants delivered responses, with Bialik sometimes going silent for a conspicuous beat before issuing a verdict. Less charitable observers took this as an indication of a lack of familiarity with the show’s material such that she needed to wait for offstage judges to decide if an unexpected answer was correct. Tellingly, it was Jennings and not Bialik who was tapped to host last year’s Tournament of Champions and this spring’s Masters contest—high-stakes competitions with more difficult material where mistakes by the host could have much more serious, and costly, consequences for players.

    Bialik said that she suspected she would be reduced to tears if she were a contestant. “People ask if I know all that stuff, and I’m like, ‘No. No,’” she said. “Answering things like that under pressure with a timer is not gonna happen for me. It’s hard!”

    The self-effacement presented a stark divergence from both Trebek, who perfected the art of always seeming to know more than the contestants, and Jennings, who won a record 74 games as a contestant in 2004.

    Criticism of Bialik, often via comparison to Jennings, reached such a fever pitch that the moderators of the fan-run Jeopardy! subreddit stepped in to ban most anti-Bialik rhetoric. “Nitpicking even the smallest little mannerisms, as has frequently and ongoingly been the case with Mayim—it drags the community down and is not welcome,” a moderator wrote. Plenty of complaints still got through, however: After Call Me Kat, which was reportedly the primary obstacle to the actor’s ability to host more episodes of Jeopardy!, was canceled this May, one user wrote, “I’ve never been so upset about a show that I’ve never watched being canceled.” The comment attracted nearly 700 upvotes, making it one of the subreddit’s top three comments of 2023, according to the forum’s official year in review.

    Other incidents widened the chasm between Bialik and Jeopardy!’s vocal online community of superfans. Last year, she said on multiple occasions that fans had criticized her for reusing an outfit on the show. Not only was there no clear evidence that she had taken a social media walloping over the jacket in question—recent posts featuring the jacket on both her and Jeopardy!’s Instagram accounts did not appear to have any comments criticizing the repetition—but some fans wondered if she was lashing out at Lilly Nelson, a viewer who has attracted a loyal following and seemingly the blessing of Jeopardy!, which ran a feature on her online, for her rigorous cataloging of contestant and host garb alike.

    Still, Bialik had plenty of fans, and ratings—sky-high, with Jeopardy! generally leading all shows in syndication—fluctuated little between the two hosts’ time at the lectern. This month, filmmaker Jim Jarmusch declared Bialik his favorite Jeopardy! host ever. (“w apologies to Alex T,” he wrote.) The staff was also fond of her, with reports of her surprise delivery of cupcakes for the crew early in her hosting tenure leaked immediately to the Daily Mail.


    Jennings’s surpassing of Bialik to become the full-time host of the syndicated edition represents a stunning reversal of fates for the pair. At the outset of Jennings’s time hosting Jeopardy!, detractors criticized him for a lack of showbiz polish. Bialik’s decades of experience on camera, meanwhile, gave her an advantage in even small matters: her comfort with a teleprompter, for example, which Jennings spurned as an homage to the prompter-resistant Trebek, a decision that left him vulnerable to needing to re-tape segments.

    Bialik spent her first months on the syndicated show on a media tour in which she made clear that she wanted the full-time job for good: “I’d give up my first child to host Jeopardy! forever,” she professed in Newsweek. Jennings struck a different note in his interviews at the time. “You’re not going to see me in the papers talking about how important it is that I ended up hosting,” he told USA Today. To CNN, he said he was “not particularly ambitious” enough to want the permanent gig.

    That dynamic seemed to be reflected internally early on, when it was clear that Bialik’s reworked deal with Sony afforded her a superior position within the show. Throughout the 2021-22 season, Bialik was introduced in her episodes as “the host of Jeopardy!,” while Jennings was welcomed with the phrase “now hosting Jeopardy!”—seeming to emphasize that he was lower in the host pecking order. Davies, who came aboard as executive producer in the wake of Richards’s exit, eventually confirmed that the difference was because of Bialik’s contract, which stipulated that she was, in Davies’s phrasing, “the host of Jeopardy!,” while Jennings was merely a guest host. By the next season, however, both Bialik and Jennings had signed new deals with Sony that left them both billed simply as “host.”

    With Bialik sidelined for the bulk of this year, Jennings had a third season of hosting reps to himself. Jennings has been widely praised for improving his onstage performance, and he has developed a persona that has traces of Trebek’s signature sarcasm as well as a bubbly eagerness to share additional factoids that you might expect from a trivia champion. That growth was noted within Sony, too: Many Jeopardy! staff members came to believe that Jennings had become the technically superior host, according to a source close to production, who says that Jennings’s improvement was the key factor that spelled the end for Bialik.

    TMZ reported on December 20 that the extended period with a single host further helped convince Sony executives that the dual-host model was inferior. Critically, Jennings also filled in on Celebrity Jeopardy! in prime time—an assignment that would otherwise have gone to Bialik—and thrived, producing ratings on par with or exceeding those obtained by Bialik last year.

    Jennings has had his own rocky moments, most notably when a series of his tweets including ableist comments reemerged in late 2020; he apologized for the “unartful and insensitive” messages. But he has by and large avoided controversy during his time as host. He is helped by the perception that he is Trebek’s natural heir, by dint of both his own history as a contestant and his ties to Trebek, who prepped Jennings over the phone to fill in for him shortly before his death; Trebek’s wife left a pair of his cuff links for the newbie host when Jennings arrived to tape his first episodes.


    Bialik may yet return: A statement by Jeopardy! released on December 15 left open the possibility for Bialik to still host prime-time episodes in the future. Davies has spoken at length about his plans to expand the Jeopardy! franchise and said last year that the growth would necessitate “multiple hosts to represent the entire audience, to represent the entire country, in order to take this franchise forward.” (Davies has suggested that it was his decision “to bring Ken in and have Ken be a second host along with Mayim”; it is perhaps not coincidental that the TMZ report also contained the tidbit that Bialik “didn’t always agree with production decisions … including the hiring of executive producer Michael Davies.”)

    TMZ further reported that while Sony executives would like to maintain a relationship with Bialik, “Mayim made it clear it was all or nothing. As a result, we’re told Sony brass declined.” Even the public announcements of Bialik’s exit point to a rift: Jeopardy! did not publish its own statement until an hour after Bialik posted hers, and it wrote that “Mayim Bialik has announced that she will no longer be hosting the syndicated version of Jeopardy!,” suggesting that the actor may have acted unilaterally in making a final decision.

    No matter how the rest of this unfolds, there is a certain irony to the way that the hire brought in to steady the ship made her own dramatic splash at Jeopardy! In the three years since Trebek’s death, the quiz show has at times felt doomed to cycle through recurring controversies. But this time, Jeopardy! finally looks to be in a position to get what it’s been palpably chasing all this time: just the right level of nerdy steadiness. As Jennings put it this week in reference to Trebek’s tenure, “I look forward to 37 more years of doing it, when I’ll be a very, very old man.”

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    Claire McNear

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  • ‘Aquaman and the Lost Kingdom’ Instant Reactions and the End of the DCEU

    ‘Aquaman and the Lost Kingdom’ Instant Reactions and the End of the DCEU

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    This pod was born to be wild. The Midnight Boys are here to dive into the murky waters of ‘Aquaman and the Lost Kingdom’ (04:50). They also discuss this being the final DCEU film and how this will affect the state of fandom in film (51:18). Later they also touch on the news that Marvel has parted ways with Jonathan Majors (81:36).

    Hosts: Charles Holmes, Van Lathan, Jomi Adeniran, and Steve Ahlman
    Senior Producer: Steve Ahlman
    Additional Production Support: Arjuna Ramgopal
    Social: Jomi Adeniran

    Subscribe: Spotify / Apple Podcasts

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    Charles Holmes

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  • The Lost Boys paired vampire camp with real teenage fears

    The Lost Boys paired vampire camp with real teenage fears

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    The Lost Boys’ poster made the prospect of becoming an undead creature of the night pretty attractive: “Sleep all day. Party all night. Never grow old. Never die. It’s fun to be a vampire.” But the movie’s story is full of teenage terrors: an older sibling in the grips of addiction, divorced parents, starting over in a strange new place, and contending with adults who won’t listen to your real, valid teenage problems.

    Released in 1987, The Lost Boys isn’t particularly terrifying as a horror film. With its gaudily dressed vampires and long-flowing mullets — plus its iconic, extremely sweaty saxophone man — it reads more camp than straight horror three decades later. And despite its R rating, it’s fairly tame. Its single sex scene is pretty chaste and the film’s gore is limited to gushes of blood from dying vampires.

    The Lost Boys succeeds as an enduring piece of vampire fiction because of its stars, with Kiefer Sutherland standing out as vampire gang leader David, and the strong bones of its story. In that story, recently divorced single mom Lucy (Dianne Wiest) moves to the fictional Southern California town of Santa Carla, “the murder capital of the world,” the film tells us, with her teenage sons, Michael (Jason Patric) and Sam (Corey Haim). The displaced family moves in with Lucy’s dad, an eccentric taxidermist known only as Grandpa.

    Image: Warner Bros./Everett Collection

    As they settle into the town, which appears to consist primarily of a densely trafficked beach boardwalk, Lucy gets a job (and a potential boyfriend) at a video rental store, while Michael and Sam seek new friends — Michael’s comes in the form of a group of young vampires, while Sam bonds with comic book store geeks Edgar (Corey Feldman) and Alan Frog (Jamison Newlander). When Michael falls for Star (Jami Gertz), a seductive vampire in the making and apparent partner of David, peer pressure compels him to become a vampire himself.

    Opposite Michael’s path, Sam throws in with the Frog brothers, who warn the new kid in town that Santa Carla’s whole murder-capital-of-the-world problem stems from a nest of vampires. The Lost Boys doesn’t shy away from established vampire fiction with the Frog brothers; they use horror comic books as a field manual to identify and kill vampires. (Refreshingly, unlike far too many modern zombie genre stories, which refuse to use the word “zombie” at all, vampire fiction isn’t afraid of calling its monsters what they are.)

    While Michael’s story of becoming bewitched by both Star and David is at the center of the film’s story, The Lost Boys is also Sam’s story of watching his brother slip into a metaphorical addiction during the “just say no” era of the Reagan administration’s war on drugs. It’s also a story set during an era of skyrocketing divorce rates; The Lost Boys plays masterfully on the fear of watching your parents split and the inevitable replacement father figure coming into the picture.

    Brooke McCarter, Kiefer Sutherland, Billy Wirth, Alex Winter in The Lost Boys

    Photo: Warner Bros./Everett Collection

    Sutherland and Patric hold The Lost Boys together as rivals ostensibly competing for Star. As David, Sutherland channels Billy Idol as a spiky trickster, making Michael hallucinate that he’s eating worms and maggots — when, in reality, he’s eating Chinese takeout — before David presents him with a taste of real vampire’s blood. As Michael, Patric plays it both cool and disaffected, but also earnest in his love for Star and terrified of his new vampire powers. There are strong set-pieces involving the two male leads, including a moment where David and his vampire gang convince Michael to hang out underneath a moving train, compelling Michael to let go and embrace his ability to fly. It’s the movie’s strongest allusion to its inspiration, J.M. Barrie’s Peter Pan.

    Despite strong performances and great character twists, The Lost Boys rushes toward its ending in clumsy and unsatisfying ways. Dianne Wiest’s Lucy has too little to do outside of reacting to the men in the film, and Grandpa seems to have much more going on than the film reveals. Its 98-minute run time needed a little more time to breathe.

    But The Lost Boys, much like ’80s kid-heroism movies E.T. the Extra-Terrestrial and The Goonies, is about its young people. As an oft-campy time capsule of ’80s-era hopes and fears, it will never get old.

    The Lost Boys is currently streaming on Max.

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    Michael McWhertor

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  • Lost an og

    Lost an og

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    Tap to unmute.

    I just learned that the original voice for Crash Bandicoot passed away earlier this year back in March. Dude didn’t just voice crash either he pretty much voice most of the original cast from N. Brio, N. Gin, Cortex(just crash 1) and tiny. RIP

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  • R.I.P tootsie.

    R.I.P tootsie.

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    Just lost my oldest cat tootsie today bros. Some people say they’re just animals ,but they come into your life and bring you love and happiness that they become apart of your family. She was a great cat and i just wanted to show you guys a picture of her. She will be missed. Thanks.

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  • Austin Pets Alive! | Fireworks Can be Scary for Our Pets

    Austin Pets Alive! | Fireworks Can be Scary for Our Pets

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    Jun 27, 2023

    In the US, 4th of July has the second highest number of reported lost pets.  Keep your furry family safe this year by:

    1. Keeping all pets inside.
    2. Reducing stress by running music or white noise.
    3. Keeping their collars on with updated ID tags.
    4. Updating their info on their microchip at found.org.

    If you come across a lost pet, there are simple steps you can take BEFORE going to a shelter. We know you’re trying to do the right thing when you bring them to a shelter. But this year more than others, shelters across the country are extremely full. You could make a huge difference by helping this pet find its home without taking attention away from other shelter pets.  Instead try these few steps:

    1. POST THEM: Snap photos and on Austin Lost and Found Pets on FB, Nextdoor and the Neighbor app.
    2. WALK THEM: Walk the pet around the area you found them to see if you run into someone looking for a lost pet.
    3. CHECK THE CHIP: Go to a vet or pet supply store to see if they can check the microchip.
    4. REPORT THEM MISSING: File a found pet report on the Austin 3-1-1 app!

    Many lost pets are not far from home. With your help, families can enjoy July 4th with their furry friends by their side!

    Don’t have pets but still want to help? Visit our donate page to make a gift that helps keep all of our shelter pets safe this 4th of July.

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  • Yami Gautam reveals secret to her success; performs Durga and Shiv puja with Aditya Dhar to express gratitude

    Yami Gautam reveals secret to her success; performs Durga and Shiv puja with Aditya Dhar to express gratitude

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    Image credit: Instagram

    Yami Gautam and Aditya Dhar perform Lord Shiva puja

    Yami Gautam has comfortably made a space for herself in the industry. Since Vicky Donor, she has only delivered some commendable performances in films like Uri: The Surgical Strike, Kaabil, A Thursday and more. The year 2023 has already proved successful for her as her films like Lost and Chor Nikal Ke Bhaga have received positive reviews from all corners. To express gratitude, she dedicated all her success to almighty.

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  • Austin Pets Alive! | Fireworks Can be Scary for Our Pets

    Austin Pets Alive! | Fireworks Can be Scary for Our Pets

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    Dec 28, 2022

    In the US, New Year’s Eve has the second highest number of reported lost pets.  Keep your furry family safe this year by:

    1. Keeping all pets inside.
    2. Reducing stress by running music or white noise.
    3. Keeping their collars on with updated ID tags.
    4. Updating their info on their microchip at found.org.

    If you come across a lost pet, there are simple steps you can take BEFORE going to a shelter. We know you’re trying to do the right thing when you bring them to a shelter. But this year more than others, shelters across the country are extremely full. You could make a huge difference by helping this pet find its home without taking attention away from other shelter pets.  Instead try these few steps:

    1. POST THEM: Snap photos and on Austin Lost and Found Pets on FB, Nextdoor and the Neighbor app.
    2. WALK THEM: Walk the pet around the area you found them to see if you run into someone looking for a lost pet.
    3. CHECK THE CHIP: Go to a vet or pet supply store to see if they can check the microchip.
    4. REPORT THEM MISSING: File a found pet report on the Austin 3-1-1 app!

    Many lost pets are not far from home. With your help, families can enter the New Year with their furry friends by their side!

    Don’t have pets but still want to help? Visit our donate page to make a gift that helps keep all of our shelter pets safe this New Year’s Eve.

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  • An Animated Debate: Which Feature Will Bring Home the Oscar?

    An Animated Debate: Which Feature Will Bring Home the Oscar?

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    This was such a good year for animation. Last year it truly boiled down to “Encanto vs. Mitchells”, but the field is wide open, so let’s run it down with the help of Vareity!

    With Disney/Pixar, we have Turning Red, a critical darling. Not commercial, because Disney didn’t give it a wide release….and Lightyear and Strange World, both of which did receive wide releases, flopped, and are non-entities in this race. Turning Red, which marks the first from Pixar to be solely directed by a woman, has received critical acclaim for Shi’s depictions of female friendships and the mother-daughter relationship.

    OP Note: TR is still probably my favorite film of the year.

    Netflix has quite a lot, including The Sea Beast, their most successful animated film to date. There’s also My Father’s Dragon, the latest from Cartoon Saloon, which hit the platform with a mild splash. Of course, there’s Guillermo del Toro’s Pinocchio, which is almost guaranteed to place in the nominations.

    The article does not, however, mention Henry Selick’s Wendell and Wild.

    OP Note: Sea Beast was fine enough, and GDT’s Pinocchio was really cool. Nice to see a multitude of stop motion available, sad W&W isn’t getting more attention.

    GKIDS missed a nomination last year with Belle (tip: the soundtrack is amazing), but with Inu-Oh already being nominated for a Golden Globe, maybe they can take it all the way (and give us a US release, y/y?).

    Did you, like most people, forget Dreamworks Animation had not one, but two films this year? The Bad Guys had a fairly slow rollout worldwide with it’s soft, almost Spider-verse-esque style for a bunch of criminals. It sadly seems to have sunk out of the public conciousness. Meanwhile, the sixth entry into the Shrek franchise, Puss In Boots: The Last Wish, may be 11 years too late, but it was worth the wait, with very positive reviews, and a bombastic artstyle and story that stops just short of saying memento mori.

    OP Note: Ok, maybe Puss in Boots is my favorite this year?

    Welcome to the animation side, A24, and welcome Marcel The Shell With Shoes On. I didn’t like it. But I’m glad another stop motion/live action hybrid is making the rounds, and is winning a lot of smaller circuits!

    src –> ft Apple and their John Lasseter film.

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    sandstorm

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