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  • Do your little kids love horror? They’re not alone | CNN

    Do your little kids love horror? They’re not alone | CNN

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    CNN
     — 

    Some kids cling to security blankets. Others clutch a well-loved stuffed animal or good luck charm to feel safe and confident.

    Kayla Lopez’s kids, meanwhile, just need to pull on their Michael Myers masks to feel invincible.

    “I don’t really know of anybody that likes horror as much as them, honestly,” she said.

    Dominic, 6, and his 8-year-old sister Aubriella are hooked on horror, running around their home in the mask Myers dons in the “Halloween” series to discreetly dispatch his victims. It’s a sight that’s extra hilarious when juxtaposed against their short stature, delightful giggles and footie pajamas.

    Lopez documents their scary shenanigans on TikTok: Sometimes Dominic will hide under beds dressed like Pennywise the Dancing Clown from “It” or reveal a hockey mask à la Jason of “Friday the 13th” beneath his beloved Myers facade. Oftentimes, Aubriella and her little brother will just stare at their mother from underneath their creepy rubber masks. Attempting to scare each other has become a treasured family pastime.

    The Lopez kids aren’t the only youngins interested in the macabre: Briar Rose Beard, a cherubic 3-year-old from Florida, recently enchanted the internet by falling in love with a Halloween prop baby doll named Creepy Chloe and toting the demonic-looking doll everywhere. The Sumner family of Idaho, whose matriarch Kailee posts on TikTok as @sumcowkids, recently went viral when their youngest member, still in the babbling stages of babyhood, was filmed growling at his older sister in a decrepit witch mask.

    Adorable kids and horror paraphernalia seem like an incongruous pairing. But a child’s interest in horror is “almost always a harmless fascination,” said Coltan Scrivner, a research scientist at the Recreational Fear Lab at Denmark’s Aarhus University.

    “It’s normal for children to want to explore the boundaries of their own fears and what society deems as acceptable,” said Scrivner, who studies horror media and fear, among other “scary” subjects. “This is one way for them to learn about those boundaries.”

    Just as some children play dress-up with princess gowns or Jedi robes, Dominic and Aubriella get a kick out of dressing up like horror characters – usually Myers. It’s a daily activity for the siblings, safe within the confines of their home.

    “Scary experiences are only fun if they are couched in the context of play,” Scrivner said. “That is, we have to be scared but also be sure we are safe.”

    Getting into scary stuff at a young age isn’t usually cause for alarm, Scrivner said – young horror fans are braver than most children their age, to be sure, but they’re really just exploring the complexities of their world, which is scary enough in real life.

    “By exploring scary things from a safe place, children can also learn more about how they respond to feelings of fear and anxiety,” he said.

    Child horror buffs aren’t that different from us older folks, either: Frank Farley, former president of the American Psychological Association and professor emeritus at Temple University, said that humans are naturally fascinated with horror, both real and fictional. Hence the true crime boom, the horror genre’s continued success and the popularity of authors like Stephen King.

    Aubriella pushes her younger brother Dominic in a baby bouncer, both wearing Michael Myers masks.

    “It’s pretty amazing that we have Halloween,” he said, referring to the holiday as a “national day of horror.” “It bespeaks, in my view, the deep human interest in the dark side of life. There’s no doubt we’re interested in that.”

    The Lopez kids have what Farley calls “type-T personalities” – the “T” stands for thrill-seeking. While most of us are at least slightly interested in the scary, only “T” types will actively engage with it, whether it’s riding a mammoth roller coaster or marathoning horror films. “White-bread behavior,” as Farley puts it, isn’t interesting to the “T” types, who seek adventure and aren’t afraid to take risks, he said.

    Another reason some kids might prefer the company of vampires and zombies to, say, the animated cast of “Paw Patrol” or the Muppet neighbors on “Sesame Street,” is so they earn a badge of bravery among their peers, said Glenn Sparks, a Purdue University professor who studies the social impact of mass media, including scary movies.

    When a young child overhears friends, parents or other loved ones discuss how terrifying a film was, they might try to brave it themselves to prove their courage.

    “Some children may be more willing to expose themselves to potentially scary things, perhaps because of the gratification they think they will experience from being able to conquer those things,” Sparks said.

    For as long as her kids have loved him, Myers has been an irreplaceable member of the Lopez family, so much so that the kids watch his films regularly – on Wednesday, they had a living room matinee screening of “Halloween Kills.”

    Of course, now that her children’s love of all things “Halloween” is documented online, some parents have accused her of exposing her children to horror too young.

    Dominic and Aubriella don masks from two of their favorite franchises,

    But introducing kids to horror at a young age doesn’t have to traumatize them – it can even make them more resilient people, said Stephen Graham Jones, a bestselling horror author of books including “The Only Good Indians” and “My Heart is a Chainsaw,” as well as a professor of distinction at the University of Colorado, Boulder.

    When Jones’ children expressed an interest in the genre, he started them on the family-friendly “Monster House” and Tim Burton’s twisted fairytale, “Edward Scissorhands,” movies that aren’t necessarily scary but nod to the horror genre. Eventually, they worked their way up to horror comedies and gorier fare. But the point he imparts on his children, he said, isn’t to take away negative messages from slasher flicks in which the villain wins – it’s to emulate the heroes.

    “I don’t want to teach them that cruelty is to be lauded,” Jones told CNN. “What I want them to learn instead is that if you’re vigilant, if you fight, if you stand up for your crew, then you can make it through whatever this ordeal might be.”

    Even the most dedicated cosplaying kids have limits: Coral DeGraves, a 9-year-old horror fan, makes regular appearances at fan conventions in impressive costumes inspired by the fearsome Pinhead of “Hellraiser” or a demented version of Ronald McDonald, among other scary icons. But her mother, Cheyenne, says that Coral still isn’t ready to see some of the gorier films she nods to. Her parents screen films before sharing them with her, and for some of the more intense films, they’ll at most share clips of characters for inspiration rather than the entire, blood-soaked feature.

    Horror doesn’t define DeGraves’ child’s life, either: When Coral isn’t playing an adorably frightening Pennywise or possessed doll, she enjoys learning about backyard critters or meeting with her Girl Scout troop.

    “I never found it difficult to support her interest in horror,” Cheyenne DeGraves told CNN. “In fact, the more she learns and creates on her own, I’m even more happy to support her.”

    It can be isolating for Dominic and Aubriella Lopez to feel like the only horror fans among their young friends, their mother said. (Lopez recalled Dominic’s third birthday, when he shocked his friends by excitedly unwrapping a Chucky doll, his favorite gift.) They’ve learned to filter themselves around their pals so as not to scare the other kids and save it for when they’re home, where their horror habits aren’t questioned.

    But now that it’s October, and the rest of the US seems to embrace the same fanaticism for scary stuff that the Lopez kids celebrate year-round, Dominic and Aubriella are excited to share their fandom without freaking out their fellow children, Lopez said.

    “They know that around Halloween is the time that Michael (Myers) and Chucky and all things horror come out – that means it’s all okay to be ourselves, go all out,” Lopez said.

    For Halloween this year, the Lopez family is still narrowing down a potential list of costumes. Aubriella is thinking of dressing like Anabelle, the haunted (and haunting!) doll introduced in “The Conjuring.” As for Dominic, well, you can guess – he’s already asked his mother for a new Myers mask to add to their growing collection.

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  • Harvey Weinstein goes on trial in LA, where he once reigned

    Harvey Weinstein goes on trial in LA, where he once reigned

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    LOS ANGELES — Five years after women’s stories about him made the #MeToo movement explode, Harvey Weinstein is going on trial in the city where he once was a colossus at the Oscars.

    Already serving a 23-year sentence for rape and sexual assault in New York, the 70-year-old former movie mogul faces different allegations including several that prosecutors say occurred during a pivotal Oscar week in Los Angeles. Jury selection for an eight-week trial begins Monday.

    Weinstein has been indicted on four counts of rape and seven other sexual assault counts involving five women, who will appear in court as Jane Does to tell their stories. He has pleaded not guilty.

    Four more women will be allowed to take the stand to give accounts of Weinstein sexual assaults that did not lead to charges, but which prosecutors hope will show jurors he had a propensity for committing such acts.

    Starting in the 1990s, Weinstein, through the company Miramax that he ran with his brother, was an innovator in running broad and aggressive campaigns promoting Academy Award nominees. He had unmatched success, pushing films like “Shakespeare in Love” and “The Artist” to best picture wins and becoming among the most thanked men ever during Oscar acceptance speeches.

    Miramax and its successor The Weinstein Co. were based in New York, where Weinstein lived and did business, but that didn’t diminish his presence in Hollywood.

    “He was a creature of New York, but he was also a creature of Los Angeles,” said Kim Masters, editor at large for The Hollywood Reporter and a longtime observer of the movie industry. “He had this huge Golden Globes party that was always well beyond capacity when he was in his heyday. He was the King of Hollywood in New York and LA.”

    It was during Oscars week in 2013, when Jennifer Lawrence would win an Academy Award for the Weinstein Co.’s “Silver Linings Playbook” and Quentin Tarantino would win for writing the company’s “Django Unchained,” that four of the 11 alleged crimes took place.

    Like most of the incidents in the indictments, they happened under the guise of business meetings at luxury hotels in Beverly Hills and Los Angeles, which Weinstein used as his California headquarters and where he could be seen during awards season and throughout the year. He was treated as more than a VIP. At a pre-trial hearing, the chauffeur who drove Weinstein around Los Angeles testified that even he was allowed to take as much as $1,000 in cash in Weinstein’s name from the front desk of the hotel where the mogul was staying.

    By the time stories about him in The New York Times and The New Yorker in October of 2017 brought about his downfall, Weinstein’s power to seemingly will films to win awards had diminished, and his company had fallen into financial trouble.

    “His stature changed, he was no longer the king of Oscar, which was really what made him vulnerable,” Masters said.

    The Los Angeles trial is likely to be far less of a spectacle than the New York proceedings, and not merely because it’s a sequel and Weinstein is already serving a long sentence.

    Foot traffic is sparse and there is no grand entrance at the downtown LA courthouse that’s hosting the trial. Weinstein will not be visible to any media horde or protesters outside as he was in Manhattan, as he’ll be ushered into the courtroom straight from jail — once he’s changed form his prison garb into a suit — across a short hallway where no cameras are allowed that could capture him.

    Only a dozen reporters, including two sketch artists, will be allowed into the small courtroom each day, compared to several dozen in New York.

    Weinstein will also be represented by different lawyers in Los Angeles, Alan Jackson and Mark Werksman. They have expressed worries that the movies may play a role in trial.

    The film “She Said,” which fictionalizes the work of two New York Times reporters and their bombshell stories on Weinstein, is set to be released midway through the trial on Nov. 18.

    Weinstein’s lawyers lost a bid to have the proceedings delayed over the film, with the judge rejecting their argument that publicity surrounding it would prejudice a potential jury against him.

    “This case is unique,” Werksman said at a pretrial hearing. “Mr. Weinstein’s notoriety and his place in our culture at the center of the firestorm which is the #MeToo movement is real, and we’re trying to do everything we can to avoid having a trial when there will be a swirl of adverse publicity toward him,” Werksman said at a pretrial hearing.

    Weinstein’s trial is one of several with #MeToo connections that have begun or are about to begin as the fifth anniversary of the movement’s biggest moment passes, including the rape trial of “That ‘70s Show” actor Danny Masterson just down the hall from Weinstein’s and the New York sexual assault civil trial of Kevin Spacey.

    ———

    Follow AP Entertainment Writer Andrew Dalton on Twitter: twitter.com/andyjamesdalton

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  • ‘Bling Empire’ is still shining in its third season | CNN

    ‘Bling Empire’ is still shining in its third season | CNN

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    A version of this story appeared in Pop Life Chronicles, CNN’s weekly entertainment newsletter. To get it in your inbox, sign up for free here.



    CNN
     — 

    I am on a mission to get people to stop thinking about shows that bring them happiness as a “guilty pleasure.”

    This is an ongoing campaign of mine, as many people continue to use that description for the entertainment they enjoy — but the way I see it, we should place a heavy emphasis on the “joy” part of the word.

    Let’s lean in to that, rather than feel bad about it!

    ‘Bling Empire’ Season 3

    Reality TV makes me happy, and none more so than shows about the well-to-do (and über-well-to-do).

    So, color me thrilled that the new season of “Bling Empire” picks up right where last season’s high-stakes drama ended.

    This group of wealthy Asian friends in Los Angeles is pretty entertaining, and I cannot wait to see how the feud between Christine Chiu and Anna Shay shakes out. Trust me when I say that you are going to want to binge the first two seasons to get ready for the latest.

    The third season of “Bling Empire” is streaming now on Netflix.

    “The Problem With Jon Stewart” Season 2

    Jon Stewart is pictured during an episode of

    Has anyone talked to Jon Stewart about returning to “The Daily Show” since the news broke that its current host, Trevor Noah, is leaving?

    I’m just kidding, as Stewart is super busy with his latest Apple TV+ series. The second season of “The Problem With Jon Stewart” will see the advocate and humorist continuing to use common sense comedy when it comes to “tough, topical and culture-moving conversations.”

    The first episode of of “The Problem With Jon Stewart” season 2 is streaming now on Apple TV+.

    Luckiest Girl Alive

    Mila Kunis, as Ani FaNelli, stars in

    Consider this new film true crime adjacent, which is close enough for me.

    That’s because the plot of “Luckiest Girl Alive,” based on the 2015 novel by Jessica Knoll and starring Mila Kunis, is about a New York-based magazine editor who seems to have the perfect life. That is, until “the director of a crime documentary invites her to tell her side of the shocking incident that took place when she was a teenager at the prestigious Brentley School,” according to Netflix.

    Yes, please!

    “Luckiest Girl Alive” is streaming now on Netflix.

    Willow Smith performs at the GRAMMY Museum on September 26 in Los Angeles, California.

    You can whip your hair back and forth in disbelief, but it’s true: Willow is about to drop her sixth album.

    That’s right — if you factor in her collaborative album with Tyler Cole, “The Anxiety,” which gave us the earworm “Meet Me at Our Spot,” the daughter of Will Smith and Jada Pinkett Smith has an expansive discography to her name.

    Her latest, “Coping Mechanism,” has the 21-year-old continuing to perform — and excel — in musical genres not everyone expected her to pursue after her 2010 megahit.

    “Rock has always been inspiring to me,” she told Guitar.com, citing the alt-metal band Deftones and heavy metal group Lamb of God as examples. “I think that when you start doing something at such a young age, your mind is still growing in a lot of different ways. Then you grow up and you understand (that) you need to really apply yourself in a way that you might not have thought of.”

    “Coping Mechanism” is out now.

    Charlie Puth performs during the Global Citizen Festival in New York City's Central Park on September 24.

    As it happens, Charlie Puth almost didn’t name his new album “Charlie.”

    In a recent interview with Ryan Seacrest, Puth explained that he “handled the production of the entire album” himself. “I almost called the album ‘Conversations With Myself’ because that’s how I wrote all these songs,” Puth said.

    Songwriting is Puth’s superpower, so expect the self-titled record to be a deeply personal one.

    “Charlie” is also out now.

    (From left) Lindsay Lohan and Chord Overstreet are pictured in a scene from

    Wasn’t it just last week I was noticing that Thanksgiving season is approaching fast — too fast? Well, now it turns out that Christmas movies are coming, too.

    Some of you are thrilled by these festive films (I’m looking at my wonderful CNN colleague Sandra Gonzalez) and their feel-good mix of holiday cheer and romance.

    This year, there is even more to be excited about because Lindsay Lohan is starring in just such a project, “Falling for Christmas,” which hits Netflix on November 10. And its plot summary sounds like everything you’d hope for: “Lohan plays a newly engaged, spoiled hotel heiress who gets into a skiing accident, suffers from total amnesia and finds herself in the care of a handsome, blue-collar lodge owner.”

    It will be good to have Lohan back in front of the camera, with “Falling for Christmas” marking the first of two films she has agreed to star in for the streaming platform. In other words, her screen presence is a gift that will keep on giving into 2023.

    Stanley Tucci in pictured in a scene from the second season of

    I had the pleasure of interviewing Stanley Tucci recently about the new episodes in the second season of “Stanley Tucci: Searching for Italy,” the first of which is airing on CNN Sunday. As someone who loves food and travel, Tucci said quite a few things that resonated with me.

    One in particular was what he hopes to pass on to his children about food.

    “That they appreciate the effort that people go through to grow good food, to raise good food,” he said. “That they really end up having an appreciation for that. And then cooking good food and sharing good food, all the wonderful things that come from that.”

    We live in a culture that often can make food the enemy, especially when we focus on how unhealthy we can be eating junk on the run. But sitting down with good quality food, shared with people we love, is one of the best pleasures in life.

    And it’s not a guilty one either.

    What did you like about today’s newsletter? What did we miss? Pop in to poplife@cnn.com and say hello!

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  • Lawsuit settled, film may resume after Alec Baldwin shooting

    Lawsuit settled, film may resume after Alec Baldwin shooting

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    LOS ANGELES (AP) — The family of a cinematographer shot and killed by Alec Baldwin on the set of the film “Rust” has agreed to settle a lawsuit against the actor and the movie’s producers, and producers aim to restart the project in January despite unresolved workplace safety sanctions.

    “We have reached a settlement, subject to court approval, for our wrongful death case against the producers of Rust including Alec Baldwin,” said a statement Wednesday from Matthew Hutchins, widower of the cinematographer Halyna Hutchins and a plaintiff in the lawsuit along with their 9-year-old son Andros. “As part of that settlement, our case will be dismissed. The filming of Rust, which I will now executive produce, will resume with all the original principal players on board, in January 2023.”

    The agreement is a rare piece of positive news for Baldwin, who has had a turbulent year since the Oct. 21 shooting. The actor, who was also a producer on the film, was pointing a gun at Hutchins when it went off, killing her and wounding the director, Joel Souza. They had been inside a small church during setup for filming a scene.

    He announced the settlement agreement in an Instagram post.

    “Throughout this difficult process, everyone has maintained the specific desire to do what is best for Halyna’s son,” Baldwin said in the post. “We are grateful to everyone who contributed to the resolution of this tragic and painful situation.”

    Baldwin has said the gun went off accidentally and that he did not pull the trigger. But a recent FBI forensic report found the weapon could not not have fired unless the trigger was pulled.

    New Mexico’s Office of the Medical Investigator determined the shooting was an accident following the completion of an autopsy and a review of law enforcement reports.

    “I have no interest in engaging in recriminations or attribution of blame (to the producers or Mr. Baldwin),” Matthew Hutchins said in the statement. “All of us believe Halyna’s death was a terrible accident. I am grateful that the producers and the entertainment community have come together to pay tribute to Halyna’s final work.”

    Rust Movie Productions continues to challenge the basis of a $137,000 fine against the company by New Mexico occupational safety regulators who say production managers on the set failed to follow standard industry protocols for firearms safety. The state Occupational Health and Safety Review Commission has scheduled an eight-day hearing on the disputed sanctions in April 2023.

    Matthew Maez, spokesman for the Environment Department that enforces occupational safety regulations, says immediate gun-safety concerns were addressed when “Rust” ceased filming, and that a return to filming in New Mexico would be accompanied by new safety inspections.

    “They’re going through the process as they have a right to,” Maez said. “They have not paid the fine or accepted the conclusions.”

    In April, New Mexico’s Occupational Health and Safety Bureau imposed the maximum fine against Rust Movie Productions and distributed a scathing narrative of safety failures, including testimony that production managers took limited or no action to address two misfires of blank ammunition on set prior to the fatal shooting.

    Rust Movie Productions told safety regulators that misfires prior to the fatal shooting of Hutchins did not violate safety protocols and that “appropriate corrective actions were taken,” including briefings of cast and crew.

    Other legal troubles persist in relation to the film and the deadly shooting.

    At least four other lawsuits brought by crew members remain, and the state of New Mexico has granted funds to pay for possible criminal prosecutions.

    Baldwin is also a defendant in an unrelated defamation lawsuit brought by the family of a Marine killed in Afghanistan.

    The Hutchins family lawsuit, filed in February, was harshly critical of Baldwin, the films producers, and the other defendants: unit production manager Katherine Walters, assistant director David Halls, armorer Hannah Guttierez Reed, and ammunition supplier Seth Kenney.

    Their “reckless conduct and cost-cutting measures led to the death of Halyna Hutchins,” plaintiffs’ attorney Brian Panish said at a news conference.

    According to the lawsuit, if proper protocols had been followed, “Halyna Hutchins would be alive and well, hugging her husband and 9-year-old son.”

    The lawsuit said industry standards call for using a rubber or similar prop gun during the setup, and there was no call for a real gun. It also said Baldwin and Halls, who handed him the gun, should have checked the revolver for live bullets.

    ___

    Associated Press writer Morgan Lee contributed from Santa Fe, New Mexico.

    Follow AP Entertainment Writer Andrew Dalton on Twitter: https://twitter.com/andyjamesdalton

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  • Silent films to live on in movie theater lobby card project

    Silent films to live on in movie theater lobby card project

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    By KATHY McCORMACK

    October 6, 2022 GMT

    CONCORD, N.H. (AP) — “Missing Millions” is a 1922 silent film with a darkly prescient title — like the vast majority from that era, the movie all but vanished in the ensuing century, survived mostly by lobby cards.

    The cards, scarcely bigger than letter paper, promoted the cinematic romances, comedies and adventures of early Hollywood. More than 10,000 of the images once hung in movie theater foyers are now being digitized for preservation and publication, thanks to an agreement between Chicago-based collector Dwight Cleveland and Dartmouth College that all started when he ran into a film professor at an academic conference in New York.

    “Ninety percent of all silent films have been lost because they were made on nitrate film, which is flammable and explodable,” Cleveland told The Associated Press. “What that means is that these lobby cards are the only tangible example that these films even existed.”

    The cards, traditionally 11 by 14 inches (28 by 35 centimeters) and arranged in sets of eight or more, displayed a film’s title, production company, cast and scenes that could convey a sense of the plot. Movie screen trailers didn’t become a common practice until the rise of the movie “studio system” era in the 1920s, said Mark Williams, associate professor of film and media studies at Dartmouth and the project’s director.

    Often displayed on an easel or framed and meant to be seen up close, the lobby cards promoted current films that were playing, as well as coming attractions.

    Today, the cards, many of them more than 100 years old, play an even bigger role, reflecting the stars, styles and storytelling of a bygone era. The legacy of the Paramount Pictures-released “Missing Millions,” for example, rests in an image of actress Alice Brady and her accomplice, who plot to steal the gold of the financier who sent her father to prison. Brady made the transition to talkies, but that film and a number of others she made during the silent era are lost.

    Cleveland, a real estate developer and historic preservationist, became interested in the cards as a high school student in the 1970s. His art teacher had collected some, including one of Lupe Velez and Gary Cooper from the 1929 Western romance, “Wolf Song.”

    “I just fell in love with the color and the deco graphics, and this romantic embrace, and everything about it, which just was incredibly appealing,” he said, “and it just sort of screamed out ‘Take me home!’”

    The early lobby cards were produced using a process that produced black-and-white, sepia, or brown-toned images, with color added to some by hand or stencil, according to a post by Josie Walters-Johnston, reference librarian in the Moving Image Research Center at the Library of Congress.

    By the 1920s, the images became more photograph-like and featured details such as decorative borders and tinting. They endured for decades, with production of lobby cards ending in the late 1970s or early 1980s, Walters-Johnston wrote. But in 2015, the practice was revived when Quentin Tarantino put out a special set for his Western, “The Hateful Eight.”

    Cleveland has been shipping boxes from his collection to Dartmouth’s Media Ecology Project, where a small group of students is charged with gingerly removing each card from its protective sleeve to scan and digitize. The students, assembled by Williams, are also creating metadata.

    Williams said the project — which began in September and is expected to be finished later this fall — will provide insight into how the films were promoted and what kind of design features went into the marketing of a film from a given studio, among other information that would be difficult to find.

    “We’ll be able to restore access to a really fundamental visual culture related to these different performers and studios, and genres,” he said.

    Williams said that the project is invested in both cultivating new scholarship, and an awareness about how endangered media history is.

    “People, they link up to YouTube, and they think that media history is inexhaustible and eternal. And both of those statements are false,” Williams said.

    When the movies now considered lost or surviving incomplete were produced, the art form’s shelf life was short, Williams said. Only over time did people start to appreciate film as a significant art and a force in popular culture worthy of preservation.

    The lobby cards validate the existence of a range of movies — from major studios still in existence and smaller ones that only endured for a handful of years — and memorialize what Williams described as “a great number of stars — many of whom have been forgotten.”

    “There’s so much media that is in danger of disintegrating, just literally turning to dust,” he added, extolling the importance of the endangered “historical, vulnerable, ephemeral, extraordinary material.”

    Cleveland also had donated 3,500 lobby cards of silent-era Westerns — featuring stars such as William S. Hart, Jack Hoxie, and Buck Jones — to the National Cowboy & Western Heritage Museum in Oklahoma City. He arranged for their loan to Dartmouth for the project.

    When completed, the lobby card collection will become part of Dartmouth’s Early Cinema Compendium, which will feature 15 collections of rare and valuable archival and scholarly resources. The compendium, which will be published online as part of a grant from the National Endowment for the Humanities, will also include more than 7,000 frame samples from early and mostly lost U.S. films, plus access to more than 2,500 archival films across the genres of early cinema.

    The ultimate goal, Williams said, is “so that people who are fans or casual fans or true scholars will have access to this material and catapult new interest in it.”

    Cleveland — certainly no casual fan — once owned an archive that had 45,000 movie posters from 56 countries. He wrote a book, “Cinema on Paper: The Graphic Genius of Movie Posters,” in 2019. In addition to the Dartmouth project, his lobby card collection formed the basis for an exhibit in New York focused on the women who were prolific filmmakers, writers and producers during the silent-film era. He’s planning a book on the subject.

    “I’ve loved finding and preserving and cataloguing these historical documents,” Cleveland said.

    With Williams applying computer science, “it just takes it into a whole other realm in the future with metaverse and everything else,” Cleveland said. “I feel like I’ve been sort of stuck in nostalgia, if you will, and now I feel like I’m being propelled into the future with him and that’s a very exciting prospect.”

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  • In a first, Netflix’s ‘Glass Onion’ to play in major chains

    In a first, Netflix’s ‘Glass Onion’ to play in major chains

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    NEW YORK (AP) — For the first time, the major U.S. theater chains will play a Netflix release after exhibitors and the streaming service reached a deal for a nationwide sneak-peak run of Rian Johnson’s “Glass Onion: A Knives Out Mystery.”

    Netflix announced Thursday that AMC, Regal Cinemas and Cinemark will all carry the “Knives Out” sequel for an exclusive one-week run beginning Nov. 23, one month before it begins streaming on Dec. 23.

    Up until now, those chains have largely refused to program Netflix releases. But as theatrical windows have shortened from three months to frequently closer to 45 days, and streaming-only releases have sometimes lacked the buzz generated by moviegoing, Netflix and the chains finally found common ground.

    The deal stops short of a full theatrical release window for “Glass Onion,” which premiered last month at the Toronto International Film Festival and stars Daniel Craig as detective Benoit Blanc. A wide release typically plays in more than 3,000 theaters in North America, but Johnson’s film will play in about 600 domestic theaters in addition to an international rollout.

    “Given the excitement surrounding the premiere at the Toronto International Film Festival, we hope fans will enjoy this special theatrical event in celebration of the film’s global debut on Netflix in December,” said Scott Stuber, head of global film at Netflix.

    For months, negotiations between exhibitors and Netflix had centered around “Glass Onion” because of its box-office pedigree: “Knives Out” was one of the biggest original hits of 2019, grossing more than $311 million worldwide in ticket sales for Lionsgate. After a bidding war, Netflix acquired two sequels for $450 million. Johnson, too, had voiced interest in it playing widely theatrically.

    “This movie, above everything else, is designed to be a good time with a big crowd of folks in a theater,” the director said in an earlier interview with The Associated Press.

    On Thursday, Johnson celebrated, saying in a statement that he was “over the moon that Netflix has worked with AMC, Regal and Cinemark to get Glass Onion in theaters for this one of a kind sneak preview.”

    Adam Aron, chairman and chief executive of AMC, said the first-ever agreement “sufficiently respects the sanctity of our current theatrical window policy.” Aron said he hoped it will lead to more cooperation between Netflix and AMC, the largest theater chain.

    “As we have often said, we believe that both theatrical exhibitors and streamers can continue to co-exist successfully,” said Aron in a statement. “Beyond that, though, it has been our desire that we find a way to crack the code and synergistically work together. By doing so, theaters will make more money by having more titles to show, and thanks to the larger cultural resonance those movies can gain from a theatrical release, they will wind up playing to a wider audience when they also are viewed on streaming platforms.”

    “Glass Onion” revolves around tech billionaire Miles Bron (Edward Norton), who invites a small group of friends to his private island for a murder mystery party. The cast includes Janelle Monáe, Dave Bautista, Madelyn Cline, Kathryn Hahn, Kate Hudson, Jessica Henwick and Leslie Odom Jr.

    ___

    Follow AP Film Writer Jake Coyle on Twitter: http://twitter.com/jakecoyleAP

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  • Silent films to live on in movie theater lobby card project

    Silent films to live on in movie theater lobby card project

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    By KATHY McCORMACK

    October 6, 2022 GMT

    CONCORD, N.H. (AP) — “Missing Millions” is a 1922 silent film with a darkly prescient title — like the vast majority from that era, the movie all but vanished in the ensuing century, survived mostly by lobby cards.

    The cards, scarcely bigger than letter paper, promoted the cinematic romances, comedies and adventures of early Hollywood. More than 10,000 of the images once hung in movie theater foyers are now being digitized for preservation and publication, thanks to an agreement between Chicago-based collector Dwight Cleveland and Dartmouth College that all started when he ran into a film professor at an academic conference in New York.

    “Ninety percent of all silent films have been lost because they were made on nitrate film, which is flammable and explodable,” Cleveland told The Associated Press. “What that means is that these lobby cards are the only tangible example that these films even existed.”

    The cards, traditionally 11 by 14 inches (28 by 35 centimeters) and arranged in sets of eight or more, displayed a film’s title, production company, cast and scenes that could convey a sense of the plot. Movie screen trailers didn’t become a common practice until the rise of the movie “studio system” era in the 1920s, said Mark Williams, associate professor of film and media studies at Dartmouth and the project’s director.

    Often displayed on an easel or framed and meant to be seen up close, the lobby cards promoted current films that were playing, as well as coming attractions.

    Today, the cards, many of them more than 100 years old, play an even bigger role, reflecting the stars, styles and storytelling of a bygone era. The legacy of the Paramount Pictures-released “Missing Millions,” for example, rests in an image of actress Alice Brady and her accomplice, who plot to steal the gold of the financier who sent her father to prison. Brady made the transition to talkies, but that film and a number of others she made during the silent era are lost.

    Cleveland, a real estate developer and historic preservationist, became interested in the cards as a high school student in the 1970s. His art teacher had collected some, including one of Lupe Velez and Gary Cooper from the 1929 Western romance, “Wolf Song.”

    “I just fell in love with the color and the deco graphics, and this romantic embrace, and everything about it, which just was incredibly appealing,” he said, “and it just sort of screamed out ‘Take me home!’”

    The early lobby cards were produced using a process that produced black-and-white, sepia, or brown-toned images, with color added to some by hand or stencil, according to a post by Josie Walters-Johnston, reference librarian in the Moving Image Research Center at the Library of Congress.

    By the 1920s, the images became more photograph-like and featured details such as decorative borders and tinting. They endured for decades, with production of lobby cards ending in the late 1970s or early 1980s, Walters-Johnston wrote. But in 2015, the practice was revived when Quentin Tarantino put out a special set for his Western, “The Hateful Eight.”

    Cleveland has been shipping boxes from his collection to Dartmouth’s Media Ecology Project, where a small group of students is charged with gingerly removing each card from its protective sleeve to scan and digitize. The students, assembled by Williams, are also creating metadata.

    Williams said the project — which began in September and is expected to be finished later this fall — will provide insight into how the films were promoted and what kind of design features went into the marketing of a film from a given studio, among other information that would be difficult to find.

    “We’ll be able to restore access to a really fundamental visual culture related to these different performers and studios, and genres,” he said.

    Williams said that the project is invested in both cultivating new scholarship, and an awareness about how endangered media history is.

    “People, they link up to YouTube, and they think that media history is inexhaustible and eternal. And both of those statements are false,” Williams said.

    When the movies now considered lost or surviving incomplete were produced, the art form’s shelf life was short, Williams said. Only over time did people start to appreciate film as a significant art and a force in popular culture worthy of preservation.

    The lobby cards validate the existence of a range of movies — from major studios still in existence and smaller ones that only endured for a handful of years — and memorialize what Williams described as “a great number of stars — many of whom have been forgotten.”

    “There’s so much media that is in danger of disintegrating, just literally turning to dust,” he added, extolling the importance of the endangered “historical, vulnerable, ephemeral, extraordinary material.”

    Cleveland also had donated 3,500 lobby cards of silent-era Westerns — featuring stars such as William S. Hart, Jack Hoxie, and Buck Jones — to the National Cowboy & Western Heritage Museum in Oklahoma City. He arranged for their loan to Dartmouth for the project.

    When completed, the lobby card collection will become part of Dartmouth’s Early Cinema Compendium, which will feature 15 collections of rare and valuable archival and scholarly resources. The compendium, which will be published online as part of a grant from the National Endowment for the Humanities, will also include more than 7,000 frame samples from early and mostly lost U.S. films, plus access to more than 2,500 archival films across the genres of early cinema.

    The ultimate goal, Williams said, is “so that people who are fans or casual fans or true scholars will have access to this material and catapult new interest in it.”

    Cleveland — certainly no casual fan — once owned an archive that had 45,000 movie posters from 56 countries. He wrote a book, “Cinema on Paper: The Graphic Genius of Movie Posters,” in 2019. In addition to the Dartmouth project, his lobby card collection formed the basis for an exhibit in New York focused on the women who were prolific filmmakers, writers and producers during the silent-film era. He’s planning a book on the subject.

    “I’ve loved finding and preserving and cataloguing these historical documents,” Cleveland said.

    With Williams applying computer science, “it just takes it into a whole other realm in the future with metaverse and everything else,” Cleveland said. “I feel like I’ve been sort of stuck in nostalgia, if you will, and now I feel like I’m being propelled into the future with him and that’s a very exciting prospect.”

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  • ‘Matilda’ leads celebrity-filled lineup at London film fest

    ‘Matilda’ leads celebrity-filled lineup at London film fest

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    After a pared down, pandemic-affected edition in 2021, the BFI London Film Festival is back in full swing

    LONDON — After a pared down, pandemic-affected edition in 2021, the BFI London Film Festival is back in full swing this year.

    The annual event kicks off Wednesday evening with the premiere of a new, musical action adaptation of “Matilda” — the first time in a decade that a family-friendly film has opened the festival.

    Based on the story by Roald Dahl and featuring the songs of Tim Minchin, newcomer Alisha Weir takes the lead role with support from stars Emma Thompson, Lashana Lynch and Stephen Graham. All are expected to walk the red carpet at the Royal Festival Hall on opening night.

    Speaking ahead of the gala, festival director Tricia Tuttle called the choice of opening film “joyous,” adding that “it plays really well to everyone.”

    The London Film Festival is in its 66th year, and prides itself for being more “audience facing” than other festivals across the globe.

    “If you’re a public ticket buyer, you can walk the red carpet. You can’t do that at lots of film festivals. And that’s really very much part of our identity,” Tuttle said.

    Celebrities expected to attend this year include actor/producer Jennifer Lawrence with “Causeway,” Timothee Chalamet with Luca Guadagnino’s cannibal romance “Bones and All,” and Cate Blanchett and Christoph Waltz for Guillermo del Toro’s stop motion animation “Pinocchio.”

    The festival closes on Sunday Oct. 16 with the premiere of Rian Johnson’s “Knives Out” sequel “Glass Onion,” starring Daniel Craig, Edward Norton, Janelle Monáe and Leslie Odom Jr.

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  • The perpetually youthful Adam Sandler talks getting older | CNN

    The perpetually youthful Adam Sandler talks getting older | CNN

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    CNN
     — 

    After three decades entertaining audiences, Adam Sandler somehow still seems ageless.

    But, now, age 56, the actor and comedian says he’s begun to reflect on his life and career.

    “I like my age, and it’s fun to play my age,” Sandler says in the latest issue of AARP. “It’s freeing. I don’t have to be true to anything other than what I look like and what I think and what I do in life. I’m nonstop commitment to my projects, though I don’t have the same discipline to keep my body in shape. There hasn’t been one movie where I’ve stayed the same weight throughout a three-month shoot. I used to worry about it. Now I’m okay.”

    Sandler became a household name on “Saturday Night Live” in the ’90s and has gone on to star in countless comedy classics from “The Wedding Singer” to “50 First Dates.” He says that when looking back on his career, especially his time on “SNL” from 1990 to 1995, he’s more self aware and has new appreciation for his colleagues.

    “I’m calmer than I used to be. I used to go nuts,” Sandler tells the publication. “I had a quick temper, quick reactions. I made a lot of dumb mistakes and said a lot of stupid things. Looking back on relationships, I could be an a**. I was selfish. I was competitive with other comedians and stuff. My father would say, ‘That guy’s funny,’ and I would say, ‘Hey, I’m funny, blah, blah,’ and he’d be, like, ‘Why can’t you both be funny?’ Because I was hungry, I didn’t always see clearly then.”

    Adding, “I’m also better at appreciation. I appreciate other people’s talent now rather than competing with it—in every field, in every sport, every part of showbiz. A lot of young comedians, a lot of the new cast on ‘SNL,’ they just make me laugh now.”

    Sandler and his Happy Madison Productions have achieved remarkable success over the years. Now he says he just wants to enjoy the ride.

    “I want people to continue to enjoy what I’m doing,” he says. “I hope they’ve had a good time with my movies, with what we’ve given them and, whether you’ve liked me or not, appreciate that I’ve tried my best … I’m just amazed people have trusted me as long as they have in this business and given me shot after shot. Because it would suck to do something else.”

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  • Velma in new ‘Scooby Doo’ clip delights fans who say her LGBTQ+ identity has been confirmed | CNN

    Velma in new ‘Scooby Doo’ clip delights fans who say her LGBTQ+ identity has been confirmed | CNN

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    CNN
     — 

    It appears Velma wants a same-sex boo in the an upcoming HBO Max Scooby Doo Halloween movie.

    Clips from the animated special “Trick or Treat Scooby-Doo!” have been making the rounds on social media, with folks using them to proclaim that the character is finally being shown as gay.

    “OMG LESBIAN VELMA FINALLY CANON CANON IN THE MOVIES LETS GOOOOOO,”one person tweeted, with a clip showing Velma getting googly-eyed over a female character named Coco Diablo.

    Other clips have also been circulating on social media, including one in which Velma tells fellow sleuth Daphne that she’s “crushing big time” and asking for advice on what to do.

    Fans have long believed Velma was part of the LGBTQ+ community.

    In 2020, director James Gunn said he tried to make the character “explicitly gay” in his script for the live-action “Scooby-Doo” movie.

    “In 2001 Velma was explicitly gay in my initial script” (for 2002’s live-action “Scooby-Doo”), he tweeted at the time. “But the studio just kept watering it down & watering it down, becoming ambiguous (the version shot), then nothing (the released version) & finally having a boyfriend (the sequel).”

    Gunn wrote both the 2001 live-action film and its 2004 sequel, which both starred Linda Cardellini as Velma.

    In the sequel, actor Seth Green played Velma’s boyfriend and there was nothing in the film to imply she was gay.

    Tony Cervone, supervising producer on the “Mystery Incorporated” series, posted on Instagram during 2020 Pride Month about Velma and the character Marcie in a photo that used Pride colors.

    “I obviously don’t represent every version of Velma Dinkley, but I am one of the key people that represents this one. We made our intentions as clear as we could ten years ago,” the caption read. “Most of our fans got it. To those that didn’t, I suggest you look closer.”

    CNN has reached out to Warner Bros., which like HBO Max, is owned by CNN’s parent company, for comment.

    “Trick or Treat Scooby-Doo!” debuts on HBO Max on Oct. 16.

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  • Loretta Lynn, coal miner’s daughter and country queen, dies

    Loretta Lynn, coal miner’s daughter and country queen, dies

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    NASHVILLE, Tenn. — Loretta Lynn, the Kentucky coal miner’s daughter whose frank songs about life and love as a woman in Appalachia pulled her out of poverty and made her a pillar of country music, has died. She was 90.

    In a statement provided to The Associated Press, Lynn’s family said she died Tuesday at her home in Hurricane Mills, Tennessee.

    “Our precious mom, Loretta Lynn, passed away peacefully this morning, October 4th, in her sleep at home in her beloved ranch in Hurricane Mills,” the family said in a statement. They asked for privacy as they grieve and said a memorial will be announced later.

    Lynn already had four children before launching her career in the early 1960s, and her songs reflected her pride in her rural Kentucky background.

    As a songwriter, she crafted a persona of a defiantly tough woman, a contrast to the stereotypical image of most female country singers. The Country Music Hall of Famer wrote fearlessly about sex and love, cheating husbands, divorce and birth control and sometimes got in trouble with radio programmers for material from which even rock performers once shied away.

    Her biggest hits came in the 1960s and ’70s, including “Coal Miner’s Daughter,” “You Ain’t Woman Enough,” “The Pill,” “Don’t Come Home a Drinkin’ (With Lovin’ on Your Mind),” “Rated X” and “You’re Looking at Country.” She was known for appearing in floor-length, wide gowns with elaborate embroidery or rhinestones, many created by her longtime personal assistant and designer Tim Cobb.

    Her honesty and unique place in country music was rewarded. She was the first woman ever named entertainer of the year at the genre’s two major awards shows, first by the Country Music Association in 1972 and then by the Academy of Country Music three years later.

    “It was what I wanted to hear and what I knew other women wanted to hear, too,” Lynn told the AP in 2016. “I didn’t write for the men; I wrote for us women. And the men loved it, too.”

    In 1969, she released her autobiographical “Coal Miner’s Daughter,” which helped her reach her widest audience yet.

    “We were poor but we had love/That’s the one thing Daddy made sure of/He shoveled coal to make a poor man’s dollar,” she sang.

    “Coal Miner’s Daughter,” also the title of her 1976 book, was made into a 1980 movie of the same name. Sissy Spacek’s portrayal of Lynn won her an Academy Award and the film was also nominated for best picture.

    Long after her commercial peak, Lynn won two Grammys in 2005 for her album “Van Lear Rose,” which featured 13 songs she wrote, including “Portland, Oregon” about a drunken one-night stand. “Van Lear Rose” was a collaboration with rocker Jack White, who produced the album and played the guitar parts.

    Reba McEntire was among the stars who reacted to Lynn’s death, posting online about how the singer reminded her of her late mother. “Strong women, who loved their children and were fiercely loyal. Now they’re both in Heaven getting to visit and talk about how they were raised, how different country music is now from what it was when they were young. Sure makes me feel good that Mama went first so she could welcome Loretta into the hollers of heaven!”

    Born Loretta Webb, the second of eight children, she claimed her birthplace was Butcher Holler, near the coal mining company town of Van Lear in the mountains of east Kentucky. There really wasn’t a Butcher Holler, however. She later told a reporter that she made up the name for the purposes of the song based on the names of the families that lived there.

    Her daddy played the banjo, her mama played the guitar and she grew up on the songs of the Carter Family. Her younger sister, Crystal Gayle, is also a Grammy-winning country singer, scoring crossover hits with songs like “Don’t It Make My Brown Eyes Blue” and “Half the Way.” Lynn’s daughter Patsy Lynn Russell also was a songwriter and producer of some of her albums.

    “I was singing when I was born, I think,” she told the AP in 2016. “Daddy used to come out on the porch where I would be singing and rocking the babies to sleep. He’d say, ‘Loretta, shut that big mouth. People all over this holler can hear you.’ And I said, ‘Daddy, what difference does it make? They are all my cousins.’”

    She wrote in her autobiography that she was 13 when she got married to Oliver “Mooney” Lynn, but the AP later discovered state records that showed she was 15. Tommy Lee Jones played Mooney Lynn in the biopic.

    Her husband, whom she called “Doo” or “Doolittle,” urged her to sing professionally and helped promote her early career. With his help, she earned a recording contract with Decca Records, later MCA, and performed on the Grand Ole Opry stage. Lynn wrote her first hit single, “I’m a Honky Tonk Girl,” released in 1960.

    She also teamed up with singer Conway Twitty to form one of the most popular duos in country music with hits such as “Louisiana Woman, Mississippi Man” and “After the Fire is Gone,” which earned them a Grammy Award. Their duets, and her single records, were always mainstream country and not crossover or pop-tinged.

    And when she first started singing at the Grand Ole Opry, country star Patsy Cline took Lynn under her wing and mentored her during her early career.

    The Academy of Country Music chose her as the artist of the decade for the 1970s, and she was elected to the Country Music Hall of Fame in 1988. She won four Grammy Awards, was inducted into the Songwriters Hall of Fame in 2008, was honored at the Kennedy Center Honors in 2003 and was awarded the Presidential Medal of Freedom in 2013.

    In “Fist City,” Lynn threatens a hair-pulling fistfight if another woman won’t stay away from her man: “I’m here to tell you, gal, to lay off of my man/If you don’t want to go to Fist City.” That strong-willed but traditional country woman reappears in other Lynn songs. In “The Pill,” a song about sex and birth control, Lynn sings about how she’s sick of being trapped at home to take care of babies: “The feelin’ good comes easy now/Since I’ve got the pill,” she sang.

    She moved to Hurricane Mills, Tennessee, outside of Nashville, in the 1990s, where she set up a ranch complete with a replica of her childhood home and a museum that is a popular roadside tourist stop. The dresses she was known for wearing are there, too.

    Lynn knew that her songs were trailblazing, especially for country music, but she was just writing the truth that so many rural women like her experienced.

    “I could see that other women was goin’ through the same thing, ‘cause I worked the clubs. I wasn’t the only one that was livin’ that life and I’m not the only one that’s gonna be livin’ today what I’m writin’,” she told The AP in 1995.

    Even into her later years, Lynn never seemed to stop writing, scoring a multi-album deal in 2014 with Legacy Records, a division of Sony Music Entertainment. In 2017, she suffered a stroke that forced her to stop touring, but she released her 50th solo studio album, “Still Woman Enough” in 2021.

    She and her husband were married nearly 50 years before he died in 1996. They had six children: Betty, Jack, Ernest and Clara, and then twins Patsy and Peggy. She had 17 grandchildren and four step-grandchildren.

    ——

    Online: https://lorettalynn.com/

    ——

    Follow Kristin M. Hall at https://twitter.com/kmhall

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  • Steve Burns Returns In ‘Blue’s Clues’ Movie And Here’s The Trailer To Prove It

    Steve Burns Returns In ‘Blue’s Clues’ Movie And Here’s The Trailer To Prove It

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    Original “Blue’s Clues” host Steve Burns broke the hearts of a generation with his departure in 2002 ― but all is forgiven now. Steve’s back! (Watch the video below.)

    A trailer released Monday shows Burns playing a pivotal role in a movie of the beloved children’s TV franchise, titled “Blue’s Big City Adventure.”

    In the clip, the character Mr. Salt arrives outside a New York City building as he attempts to track down “Blues Clues & You” host Josh Dela Cruz (Josh), saying he knows a “guy” who can help. Opening the door is Burns, decked out detective-style with a green-striped tie to match the shirt he used to wear on the Nickelodeon show.

    “You? Is that you?” he asks in the personal style he used over six years with his sidekick pooch, Blue.

    Burns joins forces with his successor, Donovan Patton (Joe), as Josh hits Manhattan for a Broadway audition with Blue.

    When the three hosts share a cab together, they (along with a cabbie played by Alex Winter) recite a “Blue’s Clues” catchphrase: “You can do anything that you want to do.”

    “That’s what we always say!” they yell in unison.

    Burns has given various reasons for leaving — including that he was balding — so his character went off to college. But it doesn’t matter now. He’s back for at least this one project, and all is right with the world.

    “Blue’s Big City Adventure” begins streaming on Paramount+ on Nov. 18.

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  • New this week: Lena Dunham, Mila Kunis and Charlie Puth

    New this week: Lena Dunham, Mila Kunis and Charlie Puth

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    Here’s a collection curated by The Associated Press’ entertainment journalists of what’s arriving on TV, streaming services and music platforms this week.

    MOVIES

    — Lena Dunham adapts Karen Cushman’s young-adult novel in “Catherine Called Birdy,” a spirited medieval coming-of-age tale about a 14-year-old girl named Birdy (Bella Ramsey) in medieval England. Her father (Andrew Scott) wants to marry her off for some much-needed money, but Birdy’s plans repeatedly foil him. In her review, AP Film Writer Lindsey Bahr called the film “part ‘Bridget Jones’s Diary,’ part Mel Brooks and all joy.” Though still playing in select theaters, “Catherine Called Birdy” begins streaming Friday on Prime Video.

    — From some of the same producing team behind the hit Michael Jordan documentary series “The Last Dance” comes another look back on a basketball high point. “The Redeem Team,” debuting Friday on Netflix, follows the 2008 U.S. men’s basketball team as it seeks a gold medal at the 2008 Beijing Olympics after the team’s disappointing bronze finish in 2004. LeBron James and Dwayne Wade, both team members, are producers of the documentary, which digs into coach Mike Krzyzewski’s leadership and Kobe Bryant’s considerable impact on the team.

    — Mila Kunis stars in the Netflix thriller “Luckiest Girl Alive,” based on Jessica Knoll’s 2015 best-selling debut novel. The film, streaming Friday, takes some of the mystery stylings of “Gone Girl” and “The Girl on the Train.” Kunis stars as a New York woman with a seemingly perfect life that unravels when a true-crime documentary starts looking into her dark high-school past.

    — AP Film Writer Jake Coyle

    MUSIC

    — For his third album, pop singer-songwriter Charlie Puth is going with a very simple title — “Charlie,” due out Friday. It’s his first full-length project since his 2018 Grammy-nominated LP “Voicenotes.” You’ve likely already heard at least one of the 12 tracks — the earworm “Left and Right” featuring Jung Kook of BTS. Some other singles are the brooding ballad “That’s Hilarious” and the slinky “Light Switch.” Still not sure? listen to the lovesick up-tempo “Smells Like Me.”

    — Guitarist Billy Duffy and singer Ian Astbury rejoin for a new album from The Cult, with their signature mix of heavy metal, goth and rock. The eight-track “Under the Midnight Sun” has triggered two singles, “Give Me Mercy” and “A Cut Inside,” with Astbury singing: “No heathens in heaven/ No sweet surrender/ Outsiders forever/ Ghosts of our lives.” Astbury says he pulled in influences from Brian Jones, Brion Gysin, William Burroughs, Buddhism, the Beats and the Age of Aquarius.

    — What do you get when two of the three rappers from Migos release an LP? We’ll find out Friday when Quavo and Takeoff give the world “Only Built for Infinity Links” without third member Offset. The lead single “Hotel Lobby” has a video inspired by ”Fear and Loathing in Las Vegas” and another club-ready single is “Us vs. Them,” with Gucci Mane. Then there’s the Birdman-featuring “Big Stunna” and the memorable lyrics: “I was sick before carona/ice cold like pneumonia.” The title of their joint record is a reference to Raekwon’s 1995 solo work “Only Built 4 Cuban Linx.”

    — Wasn’t super-producer Danger Mouse just celebrating an album release last month? Well, here’s another. Brian Burton (aka Danger Mouse) reconnects with The Shins’ James Mercer as Broken Bells for the album “Into the Blue.” Three singles with wildly different styles have preceded the album drop, including the spacy “We’re Not In Orbit Yet…” and the gorgeous “Love On the Run,” that has a sunny, ‘70s vibe leading to a Pink Floyd-ish guitar solo. Last month, Danger Mouse teamed up with The Roots’ Black Thought for the album “Cheat Codes.”

    — AP Entertainment Writer Mark Kennedy

    TELEVISION

    — Lesley Manville, Joanne Froggatt and David Morrissey lead an ensemble cast in “ Sherwood,” a drama series inspired by a 1984 miners’ strike in Nottingham, England, that pitted the town against police and divided friends and relatives. Decades later, officers return in force to solve a pair of killings, with their presence rekindling past bitterness. James Graham (“Brexit — The Uncivil War”), who grew up in the real-life town of Nottinghamshire and witnessed the turmoil, wrote the series debuting Tuesday on the BritBox streaming service.

    — “Hello, Jack! The Kindness Show” returns Friday for its second season and none too soon. Jack McBrayer (“30 Rock”) is the beaming center of the show that aims to help preschoolers appreciate the value of small acts of kindness. Shouldn’t the adults in this fractious world be watching, too? The Apple TV+ series, co-created by McBrayer and Angela C. Santomero (“Blue’s Clues,” “Daniel Tiger’s Neighborhood”), will welcome guest stars including Tony Hale, Stephanie Beatriz, Kristen Schaal and Kumail Nanjiani.

    — The iHeartRadio Music Festival, held in Las Vegas at the end of September, is getting a four-hour, two-night special on the CW network. Among the dozens of artists at the festival: Sam Smith and Kim Petras, who performed their new song “Unholy”; a set by Pat Benatar and Neil Giraldo that included “Love Is a Battlefield” and “Heartbreaker,” and Megan Thee Stallion closing out the festival with songs from her new album, “Traumazine,” and past hits. The special airs on Friday and Saturday.

    — AP Television Writer Lynn Elber

    ———

    This story has been updated to correct the spelling of Dwayne Wade’s name.

    ———

    Catch up on AP’s entertainment coverage here: https://apnews.com/apf-entertainment.

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  • Cinema opens in Kashmir city after 14 years but few turn up

    Cinema opens in Kashmir city after 14 years but few turn up

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    SRINAGAR, India — A multi-screen cinema hall opened on Saturday in the main city of Indian-controlled Kashmir for the first time in 14 years in the government’s push to showcase normalcy in the disputed region that was brought under India’s direct rule three years ago.

    Decades of a deadly conflict, bombings and brutal Indian counterinsurgency campaign have turned people away from cinemas, and only about a dozen viewers lined up for the first morning show, the Bollywood action movie “Vikram Vedha.” The 520-seat hall with three screens opened under elaborate security in Srinagar’s high security zone that also houses India’s military regional headquarters.

    “There are different viewpoints about (cinema) but I think it’s a good thing,” said moviegoer Faheem, who gave only one name. “It’s a sign of progress.”

    Others at the show declined to comment.

    The afternoon and evening shows had less than 10% occupancy on Saturday, according to India’s premier movie booking website in.bookmyshow.com.

    The multiplex was officially inaugurated on Sept. 20 by Manoj Sinha, New Delhi’s top administrator in Kashmir. The cinema is part of Indian multiplex chain Inox in partnership with a Kashmiri businessman.

    After Kashmiri militants rose up against Indian rule in 1989, launching a bloody insurgency that was met with a brutal response by Indian troops, the once-thriving city of Srinagar wilted. The city’s eight privately owned movie theaters closed on the orders of rebels, saying they were vehicles of India’s cultural invasion and anti-Islamic.

    In the early 1990s, government forces converted most of the city’s theaters into makeshift security camps, detention or interrogation centers. Soon, places where audiences thronged to Bollywood blockbusters became feared buildings, where witnesses say torture was commonplace.

    However, three cinema halls, backed by government financial assistance, reopened in 1999 amid an official push to project the idea that life had returned to normal in Kashmir. Soon after, a bombing outside one hall in the heart of Srinagar killed a civilian and wounded many others and shut it again. Weary Kashmiris largely stayed away, and the other hall locked its doors within a year. One theater, the Neelam, stuck it out until 2008.

    Officials said the government is planning to establish cinemas in every district of the region, where tens of thousands have been killed in the armed conflict since 1989. Last month, Sinha also inaugurated two multipurpose halls in the southern districts of Shopian and Pulwama, considered as hotbeds of armed rebellion.

    “The government is committed to change perceptions about Jammu and Kashmir, and we know people want entertainment and they want to watch movies,” Sinha told reporters at the inauguration.

    In 2019, India revoked the region’s semi-autonomy and brought it under direct control, throwing Kashmir under a severe security and communication lockdown.

    The region has remained on edge ever since as authorities also put in place a slew of new laws, which critics and many residents fear could change the region’s demographics.

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  • Movie, TV Productions Continue COVID Safety Protocols

    Movie, TV Productions Continue COVID Safety Protocols

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    Oct. 1, 2022 — Movie, TV, and theatrical productions will continue to follow COVID-19 safety protocols as unions and studios negotiate a new return-to-work agreement, according to the Directors Guild of America.

    The current agreement, which was previously scheduled to expire on Friday, will be extended until the groups reach a new compromise. First adopted in September 2020, the agreement was originally set to expire in April 2021 but has been extended several times. 

    The safety protocols have allowed industry productions to move forward during the pandemic, taking into account the potential risk of infection among actors and crew members based on the production location and employee vaccination status. During the past two years, revised agreements have included rules for mandatory vaccination, physical distancing, COVID compliance officers, travel and transportation restrictions, and testing and mask requirements while filming or on stage.

    Several weeks ago, talks over a new version began between several unions — including the Directors Guild of America (DGA), Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA), International Alliance of Theatrical Stage Employees (IATSE), Hollywood Basic Crafts, and International Brotherhood of Teamsters — and the negotiating entity for studios, the Alliance of Motion Picture and Television Producers (AMPTP).

    Many producers and directors have said they plan on instructing productions to comply with protocols in the current agreement, regardless of whether the requirements are loosened, according to The Hollywood Reporter

    In recent weeks, SAG-AFTRA has had internal debates about the safety protocols, the news outlet reported. An outspoken group in the organization has opposed certain aspects of the vaccine requirements for actors and crew members. Despite a board meeting in mid-September, however, the union decided not to modify any policies regarding vaccine mandates.

    When the industry-wide agreement underwent a renegotiation in July, unions and studios made two small changes to protocols around transportation and meals in locations where COVID case numbers are high, the news outlet reported.

    Now that the current infection rates are low around Hollywood, Los Angeles County health officials have ended a rule requiring masks on public transportation. However, a potential fall or winter surge in infections could change the precautions again, the news outlet reported.

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  • See what’s streaming in October | CNN

    See what’s streaming in October | CNN

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    Helen Sloan/Netflix

    October was made for Halloween, and Netflix is getting in the spirit with “The School for Good and Evil,” starring Kerry Washington as Professor Dovey and Charlize Theron as Lady Lesso. The story centers around a pair of best friends, Sophie and Agatha, who find themselves on opposing sides of a modern fairy tale.

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  • ‘Svengoolie’ horror host Rich Koz gets a Halloween tribute

    ‘Svengoolie’ horror host Rich Koz gets a Halloween tribute

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    LOS ANGELES — Rich Koz is keeping the grandly eccentric tradition of the horror movie host alive on MeTV’s “Svengoolie” and can count Mark Hamill, Joe Mantegna and, just maybe, Lady Gaga among his fans.

    But it’s a compliment he received from Rick Baker, a seven-time Oscar winner for special make-up effects, that most gratifies him. Koz has played the wisecracking, endearingly cheesy, old-school-horror-loving Svengoolie for nearly three decades.

    “’I own all these movies, but the reason I watch your show is I want to see you,’” Koz recalled Baker telling him when they met a few years ago at Comic-Con in New York.

    Koz, whose low-key sincerity contrasts with his star turn as the outlandishly costumed Svengoolie, was anointed by the character’s originator, Jerry G. Bishop, as his successor. Koz gives the horror and sci-fi movies he showcases on Saturday nights more credit than his comic accompaniment, which tends to favor corny puns and props.

    “I think it definitely is the films,” he said. “I know when we started doing this stuff, I don’t think, for example, the Universal classics had run in a lot of television markets for more than 20 years.”

    He counts all the studio’s original monster films as personal favorites, including “Frankenstein” with Boris Karloff and “Dracula” starring Bela Lugosi, both released in 1931, and “The Wolf Man” with Lon Chaney Jr. from 1941.

    “Jumping to the 1950s, ‘The Creature from the Black Lagoon,’ which I think was one of the most original of the monsters,” he said. “And I have to admit, ‘Abbott and Costello Meet Frankenstein’ is another favorite of mine,” Koz said of the 1948 film starring the famed comedy duo of Bud Abbott and Lou Costello.

    Giving viewers details and history about actors and films is important to Koz, who draws on the extensive book collection he began long before coming to TV.

    The comic trappings are a “Svengoolie” draw, Koz acknowledges, and he clearly gets a kick out of writing and performing them. That includes ditties that he sings with piano backup from his longtime friend and professional musician Doug Scharf (“Svengoolie” stage name, cue the groans: Doug Graves). Also in the cast is Kerwyn, a chicken puppet voiced by Koz, who is distinct from the rubber chickens that pelt the host when he delivers an especially bad joke.

    Koz, a native of the Chicago suburb of Morton Grove who never left town, ended up working with radio and TV personality Bishop after sending him comedy material. Bishop’s hippie version of “Svengoolie” aired locally for a few years in the early 1970s, with Koz succeeding him as “Son of Svengoolie” from 1979 to 1986. When he consulted Bishop about reviving it in 1995, his mentor told him, “’You’re all grown up, just be Svengoolie.’”

    “He was so kind to more or less turn the keys to the franchise over to me, and more important, that he had the faith in me and felt I could do it. I owe everything to him,” Koz said of Bishop, who died in 2013.

    Koz gets a deserved MeTV tribute throughout October dubbed “Svengoolie’s Halloween BOOnanza.” The host, as usual, will be dressed appropriately: comically ghoulish makeup — Koz does his own — flowing dark wig, top hat and peaked-lapel jacket in formal black.

    The salute includes “Svengoolie Uncrypted,” which Koz describes as a “documentary-slash-entertainment program” that details his career and follows him to horror conventions. MeTV promises a “crypt-shaking special reveal” in the hourlong special airing at 9 p.m. EDT Saturday on the broadcast network.

    It’s proceeded at 7 p.m. EDT by a showing of “Trilogy of Terror,” the 1975 TV movie starring Karen Black that became a cult classic for the final segment in which Black’s character is terrorized by a fetish doll come to life. Also, the second season of “Sventoonie,” the animated companion series to “Svengoolie,” will debut with a one-hour episode (10 p.m. EDT).

    Sundays throughout October will feature Halloween-themed blocks of scary episodes from shows that fit MeTV’s vintage series portfolio, including “The Brady Bunch,” “My Three Sons” and “Kolchak: The Night Stalker,” with Koz planning to pop up throughout.

    Koz credits Neal Sabin, vice chairman of MeTV-owner Weigel Broadcasting, for his efforts to secure films in an increasingly competitive TV marketplace. Sabin spent some three years working to get “Trilogy of Terror,” Koz said.

    Sabin said both Koz and the show are worth the effort. “Svengoolie,” which had been airing on local TV in Chicago, where it’s produced, gained national distribution on MeTV in 2011 and performs well for the network.

    “Rich is the real deal. He does something that most television people don’t do. He writes all his own material, he hosts the show, which is produced with three to four people,” Sabin said. The company has trusted him with creative freedom and in return “he has delivered a kitschy, classy MeTV program for us.”

    Hamill, of “Star Wars” fame, has expressed his affection for the show both to Koz and on social media over the years, posing in a “Svengoolie” T-shirt and, in a 2013 tweet, complimenting the set’s “awesome new coffin.”

    Joe Mantegna (“Criminal Minds”) gave Koz an appreciative YouTube shoutout last January, and a photo on Lady Gaga’s Twitter feed in 2020 showed her in a black sweatshirt with a partially visible Svengoolie “Official Chicken Thrower” logo. There was no immediate reply to an email requesting comment from the actor-pop star’s representative.

    Koz, 70, said he has no plans to say farewell to the show or to the character.

    “I always told myself that I would keep doing it as long as I was healthy enough and as long as I was enjoying it,” he said. “Right now, I’m still having a great time with it.”

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  • Video: ‘Bros’ | Anatomy of a Scene

    Video: ‘Bros’ | Anatomy of a Scene

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    Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.

    Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.

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    Mekado Murphy

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  • A ‘Community’ movie is finally on its way | CNN

    A ‘Community’ movie is finally on its way | CNN

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    CNN
     — 

    Class is back in session once again.

    “Community,” the six-season hit NBC comedy series about a group of students at a community college, will return with a long-awaited movie, NBC’s streaming service Peacock announced Friday – fulfilling the show’s own “six seasons and a movie” prophecy.

    “‘Six seasons and a movie’ started out as a cheeky line from Community’s early seasons and quickly ignited a passionate fan movement for this iconic, hilarious and cool (cool, cool) NBC comedy,” said Susan Rovner, the chairman of entertainment content at NBCUniversal Television and Streaming. “We’re incredibly grateful that 15 years later, we are able to deliver fans this promised movie.”

    The movie will stream on Peacock, which will also acquire the full series non-excusively. Though a release date has not yet been announced, original stars Joel McHale, Danny Pudi, Alison Brie, Gillian Jacobs, Jim Rash and Ken Jeong will all return for the film, according to the official announcement. It is not yet clear whether Yvette Nicole Brown and Donald Glover will make appearances, though the two were tagged on Twitter by McHale as the news was announced. (McHale did not tag former cast member Chevy Chase whose exit from the series followed reported clashes with series creator Dan Harmon.)

    “Community” premiered in 2009 on NBC and quickly became a fan favorite. The show ran for 110 episodes, with its sixth season moving to Yahoo! Screen, where its finale aired in 2015.

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  • ‘Gangsta’s Paradise’ rapper Coolio dies at age 59

    ‘Gangsta’s Paradise’ rapper Coolio dies at age 59

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    LOS ANGELES — Coolio, the rapper who was among hip-hop’s biggest names of the 1990s with hits including “Gangsta’s Paradise” and “Fantastic Voyage,” died Wednesday at age 59, his manager said.

    Coolio died at the Los Angeles home of a friend, longtime manager Jarez Posey told The Associated Press. The cause was not immediately clear.

    Coolio won a Grammy for best solo rap performance for “Gangsta’s Paradise,” the 1995 hit from the soundtrack of the Michelle Pfeiffer film “Dangerous Minds” that sampled Stevie Wonder’s 1976 song “Pastime Paradise” and was played constantly on MTV.

    The Grammy, and the height of his popularity, came in 1996, amid a fierce feud between the hip-hop communities of the two coasts, which would take the lives of Tupac Shakur and The Notorious B.I.G. soon after.

    Coolio managed to stay mostly above the conflict.

    “I’d like to claim this Grammy on behalf of the whole hip-hop nation, West Coast, East Coast, and worldwide, united we stand, divided we fall,” he said from the stage as he accepted the award.

    Born Artis Leon Ivey Jr., in Monessen, Pennsylvania south of Pittsburgh, Coolio moved to Compton, California. He spent some time as a teen in Northern California, where his mother sent him because she felt the city was too dangerous.

    He said in interviews that he started rapping at 15 and knew by 18 it was what he wanted to do with his life, but would go to community college and work as a volunteer firefighter and in airport security before devoting himself full-time to the hip-hop scene.

    His career took off with the 1994 release of his debut album on Tommy Boy Records, “It Takes a Thief.” It’s opening track, “Fantastic Voyage,” would reach No. 3 on the Billboard Hot 100.

    A year later, “Gangsta’s Paradise” would become a No. 1 single, with its dark opening lyrics:

    “As I walk through the valley of the shadow of death, I take a look at my life and realize there’s not much left, ‘cause I’ve been blastin’ and laughin’ so long, that even my mama thinks that my mind is gone.”

    Social media lit up with reactions to the unexpected death.

    “This is sad news,” Ice Cube said on Twitter. “I witness first hand this man’s grind to the top of the industry. Rest In Peace, @Coolio.”

    “Weird Al” Yankovic tweeted “RIP Coolio” along with a picture of the two men hugging.

    Coolio had said in an interview at the time it was released that he wasn’t cool with Yankovic’s 1996 “Gangsta’s Paradise” parody, “Amish Paradise.” But the two later made peace.

    The rapper would never again have a song nearly as big as “Gangsta’s Paradise,” but had subsequent hits with 1996’s “1, 2, 3, 4 (Sumpin’ New)” (1996), and 1997’s “C U When U Get There.”

    His career album sales totaled 4.8 million, with 978 million on-demand streams of his songs, according to Luminate. He would be nominated for six Grammys overall.

    And with his distinctive persona he would become a cultural staple, acting occasionally, starring in a reality show about parenting called “Coolio’s Rules,” providing a voice for an episode of the animated show “Gravity Falls” and providing the theme music for the Nickelodeon sitcom “Kenan & Kel.”

    He had occasional legal troubles, including a 1998 conviction in Stuttgart, Germany, where an boutique shop owner said he punched her when she tried to stop him from taking merchandise without paying. He was sentenced to six months probation and fined $30,000.

    He was married to Josefa Salinas from 1996 to 2000. They had four children together.

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