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Tag: Robert De Niro

  • Here Are All the 2024 Oscar Winners

    Here Are All the 2024 Oscar Winners

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    Poor Things
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    After enduring the pandemic and a pair of industry-stopping strikes, Hollywood seemed extra jazzed about celebrating itself at this year’s Oscars. While there weren’t a ton of genre movies on the ballot—truly, last year’s Everything Everywhere All at Once sweep still feels rather validating—a few did find their way to the podium.

    Most notably it was Poor Things leading the charge for genre, including a Best Lead Actress win for Emma Stone for her portrayal of Bella Baxter—arguably only rivalled by Oppenheimer, which took home the trio of big wins in Best Lead Actor, Best Director, and Best Picture. Barbie, amid a sea of discourse after nominees were initially announced earlier this year about perceived snubs, home only one win for original song out of its slate of nominations. Here are all the winners (plus their fellow nominees) from the 2024 Academy Awards. And may we just say, if Best Visual Effects winner Godzilla Minus One does get a sequel, we hope it makes it into more categories than its Best Picture-worthy predecessor.

    Best Supporting Actor

    • Sterling K. Brown (American Fiction)
    • Robert De Niro (Killers of the Flower Moon)
    • Winner: Robert Downey Jr. (Oppenheimer)
    • Ryan Gosling (Barbie)
    • Mark Ruffalo (Poor Things)

    Best Supporting Actress

    • Emily Blunt (Oppenheimer)
    • Danielle Brooks (The Color Purple)
    • America Ferrera (Barbie)
    • Jodie Foster (Nyad)
    • Winner: Da’vine Joy Randolph (The Holdovers)

    Best Animated Feature Film

    • Winner: The Boy and the Heron
    • Elemental
    • Nimona
    • Robot Dreams
    • Spider-Man: Across the Spider-Verse

    Best Animated Short Film

    • “Letter to a Pig”
    • “Ninety-Five Senses”
    • “Our Uniform”
    • “Pachyderme”
    • Winner: “War Is Over! Inspired by the Music of John and Yoko”

    Best Costume Design

    • Barbie (Jacqueline Durran)
    • Killers of the Flower Moon (Jacqueline West)
    • Napoleon (David Crossman & Janty Yates)
    • Oppenheimer (Ellen Mirojnick)
    • Winner: Poor Things (Holly Waddington)

    Best Live-Action Short

    • “The After”
    • “Invincible”
    • “Knight of Fortune”
    • “Red, White and Blue”
    • Winner: “The Wonderful Story of Henry Sugar”

    Best Makeup and Hairstyling

    • Golda
    • Maestro
    • Oppenheimer
    • Winner: Poor Things
    • Society of the Snow

    Best Original Score

    • American Fiction (Laura Karpman)
    • Indiana Jones and the Dial of Destiny (John Williams)
    • Killers of the Flower Moon (Robbie Robertson)
    • Winner: Oppenheimer (Ludwig Göransson)
    • Poor Things (Jerskin Fendrix)

    Best Sound

    • The Creator
    • Maestro
    • Mission Impossible: Dead Reckoning
    • Oppenheimer
    • Winner: The Zone of Interest

    Best Adapted Screenplay

    • Winner: American Fiction (Cord Jefferson)
    • Barbie (Noah Baumbach & Greta Gerwig)
    • Oppenheimer (Christopher Nolan)
    • Poor Things (Tony McNamara)
    • The Zone of Interest (Jonathan Glazer)

    Best Original Screenplay

    • Winner: Anatomy of a Fall (Arthur Harari & Justine Triet)
    • The Holdovers (David Hemingson)
    • Maestro (Bradley Cooper & Josh Singer)
    • May December (Samy Burch & Alex Mechanik)
    • Past Lives (Celine Song)

    Best Cinematography

    • El Conde (Edward Lachman)
    • Killers of the Flower Moon (Rodrigo Prieto)
    • Maestro (Matthew Libatique)
    • Winner: Oppenheimer (Hoyte van Hoytema)
    • Poor Things (Robbie Ryan)

    Best Documentary Feature Film

    • Bobi Wine: The People’s President
    • The Eternal Memory
    • Four Daughters
    • To Kill a Tiger
    • Winner: 20 Days in Mariupol

    Best Documentary Short Film

    • The ABCs of Book Banning
    • The Barber of Little Rock
    • Island in Between
    • Winner: The Last Repair Shop
    • Nai Nai & Wài Pó

    Best Film Editing

    • Anatomy of a Fall
    • The Holdovers
    • Killers of the Flower Moon
    • Winner: Oppenheimer
    • Poor Things

    Best International Feature Film

    • Io Capitano
    • Perfect Days
    • Society of the Snow
    • The Teacher’s Lounge
    • Winner: The Zone of Interest

    Best Original Song

    • “The Fire Inside” (Flamin’ Hot)
    • “I’m Just Ken” (Barbie)
    • “It Never Went Away” (American Symphony)
    • “Wahzhazhe (A Song For My People)” (Killers of the Flower Moon)
    • Winner: “What Was I Made For” (Barbie)

    Best Production Design

    • Barbie
    • Killers of the Flower Moon
    • Napoleon
    • Oppenheimer
    • Winner: Poor Things

    Best Visual Effects

    • The Creator
    • Winner: Godzilla Minus One
    • Guardians of the Galaxy Vol. 3
    • Mission: Impossible — Dead Reckoning, Part One
    • Napoleon

    Best Lead Actor

    • Bradley Cooper (Maestro)
    • Colman Domingo (Rustin)
    • Paul Giamatti (The Holdovers)
    • Winner: Cillian Murphy (Oppenheimer)
    • Jeffrey Wright (American Fiction)

    Best Lead Actress

    • Annette Bening (Nyad)
    • Lily Gladstone (Killers of the Flower Moon)
    • Sandra Hüller (Anatomy of a Fall)
    • Carey Mulligan (Maestro)
    • Emma Stone (Poor Things)

    Best Director

    • Justine Triet (Anatomy of a Fall)
    • Martin Scorcese (Killers of the Flower Moon)
    • Winner: Christopher Nolan (Oppenheimer)
    • Yorgos Lanthimos (Poor Things)
    • Johanathan Glazer (Zone of Interest)

    Best Picture

    • American Fiction
    • Anatomy of a Fall
    • Barbie
    • The Holdovers
    • Killers of the Flower Moon
    • Maestro
    • Winner: Oppenheimer
    • Past Lives
    • Poor Things
    • The Zone of Interest

    What did you think of this year’s winners? Any favorite moments from the ceremony? Share in the comments 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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    Cheryl Eddy

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  • Richard Romanus, Actor in ‘Mean Streets,’ Dies at 80

    Richard Romanus, Actor in ‘Mean Streets,’ Dies at 80

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    Richard Romanus, the tough-guy character actor best known for his turn as Michael Longo, the Little Italy loan shark who gets into it with Robert De Niro’s Johnny Civello in Martin Scorsese’s Mean Streets, has died. He was 80.

    Romanus died Dec. 23 in a private hospital in Volos, Greece, his son, Robert Romanus, told The Hollywood Reporter.

    Romanus handled prominent voice roles for Ralph Bakshi in 1977’s Wizards (as the elf warrior Weehawk) and 1982’s Hey Good Lookin’ (as the leader of a 1950s greaser gang), and in between, he played the cab driver Harry Canyon in another animated film, Heavy Metal (1981).

    He also appeared on four episodes of The Sopranos as Richard LaPenna, the on-again, off-again husband of Lorraine Bracco’s Jennifer Melfi, from 1999-2002.

    In Mean Streets (1973), Romanus’ character is famously disrespected by Johnny when he leans on him for his money.

    “You know, Michael, you make me laugh,” Civello says. “You see, I borrow money all over this neighborhood, left and right from everybody, and I never pay them back. So, I can’t borrow no money from nobody no more, right? So who would that leave me to borrow money from but you?

    “I borrow money from you, because you’re the only jerk-off around here who I can borrow money from without payin’ back, right? You know, ’cause that’s what you are, that’s what I think of you, a jerk-off. You’re smiling ’cause you’re a jerk-off. You’re a fucking jerk-off! I’ll tell you something else, I fuck you right where you breathe, because I don’t give two shits about you or nobody else.”

    Michael, of course, will get his revenge on the road to Brooklyn.

    The son of a dentist, Richard Joseph Romanus was born on Feb. 8, 1943, in Barre, Vermont, and raised in West Hartford, Connecticut. He graduated from Xavier University in Cincinnati in 1964 with a degree in philosophy and spent a year in law school before studying acting with Lee Strasberg at Carnegie Hall.

    In 1970, he appeared on episodes of Mission: Impossible and The Mod Squad and in the David Janssen-starring telefilm Night Chase before he was hired on Mean Streets.

    His iconic scene with De Niro came on the next-to-last day of shooting, Scorsese recalled in Andy Dougan’s 2011 book, Untouchable: Robert De Niro.

    “Something had happened between Bobby and Richard because the animosity between them in that scene is real, and I played on it,” the director said. “They had gotten on each other’s nerves to the point where I think they really wanted to kill each other. I kept shooting take after take of Bobby yelling all these insults while the crew was getting very upset.”

    Romanus said De Niro actually got angry when he saw him laugh during the tirade. “By laughing I was saving face. He thought I should be fuming, but he had no control over my reactions,” he said. “Sometimes the reaction you get from your acting partner is not the one you want. Then you simply have to react off that. But in this scene I laughed organically. I thought Bobby was very funny when he was doing that stuff. And he looked ridiculous.”

    Romanus spent the rest of the decade showing up on such shows as Rhoda, Kojak, Starsky & Hutch, The Rockford Files and Hawaii Five-O and in the film Russian Roulette (1975).

    In 1981-82, he landed a regular role as Det. Lt. Charlie Gunzer on the ultra-violent ABC crime show Strike Force, starring Robert Stack and produced by Aaron Spelling, but the series was canceled after 20 episodes.

    From left: Michael Goodwin, Robert Stack, Dorian Harewood, Trisha Noble and Richard Romanus from the 1981-82 series Strike Force.

    Robert Phillips / Everett Collection

    He played another cop on another short-lived ABC series, Foul Play, in 1981.

    Romanus’ résumé included the films Sitting Ducks (1980), Protocol (1984), The Couch Trip (1988), Oscar (1991), Point of No Return (1993), Cops and Robbersons (1994), Nailed (2001) and The Young Black Stallion (2003) and TV work on Hill Street Blues, The A-Team, MacGyver, Cagney & Lacey and NYPD Blue.

    In addition to his son, survivors include his second wife, Oscar-nominated costume designer Anthea Sylbert (Rosemary’s Baby, Chinatown, Julia), whom he married in August 1985, and younger brother Robert Romanus, who played Mike Damone in Fast Times at Ridgemont High.

    Twenty-three years ago, Romanus and Sylbert moved to the Greek town of Skiathos, and he wrote about the experience in Act III: A Small Island in the Aegean, published in 2011. Plus, he authored two novels set in the country, 2011’s Chrysalis and 2014’s Matoula’s Echo.

    The couple, who were declared honorary citizens of Skiathos in 2021, also wrote and produced two Lifetime telefilms, 1998’s Giving Up the Ghost and 1999’s If You Believe (the latter got them a WGA nomination).

    Romanus’ first wife was actress-singer Tina Bohlmann. They were married from 1967 until their 1975 divorce.

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    Mike Barnes

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  • Robert De Niro, Upset Trump Comments Were Cut From His Gotham Awards Speech, Lashes Out at the Former President

    Robert De Niro, Upset Trump Comments Were Cut From His Gotham Awards Speech, Lashes Out at the Former President

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    Killers of the Flower Moon star Robert De Niro was confused when he took the stage at the Gotham Awards in New York City Monday night.

    The Oscar-winning actor was on hand to introduce the Historical Icon and Creator Tribute award for Martin Scorsese’s Apple film, which also stars Leonardo DiCaprio and Lily Gladstone.

    When De Niro began reading his prepared remarks for the introduction of the award, he noticed his comments were edited. A video aired of the iconic director and Osage chief Geoffrey Standing Bear discussing the film, and then De Niro insisted he read the original speech he was going to give, which featured several specific, political comments, including ones about Donald Trump.

    “History isn’t history anymore. Truth isn’t truth, and even facts are being replaced by alternative facts and driven by conspiracy theories and ugliness,” De Niro said onstage. “In Florida, young students are taught that slaves developed skills that could be applied for their personal benefit. The entertainment industry isn’t immune to this festering disease. The Duke, John Wayne, famously said of Native Americans, ‘I don’t feel we did wrong in taking this great country away from them. There were great numbers of people who needed new land, and the Indians were selfishly trying to keep it for themselves.’”

    He continued, “Lying has become just another tool in the charlatan’s arsenal. The former president lied to us more than 30,000 times during his four years in office, and he’s keeping up the pace with his current campaign of retribution. With all of his lies, he can’t hide his soul. He attacks the weak, destroys the gifts of nature and shows his disrespect for example using Pocahontas as a slur,” referencing Trump’s popular nickname for Senator Elizabeth Warren.

    The actor then informed the audience that this is where his speech resumed and seemingly blamed Killers studio Apple for cutting part of his speech.

    “I’m gonna say these things, but to Apple and thank them and all that, Gothams, blah, blah, blah, Apple,” De Niro said. “But I don’t feel like thanking them at all after what they did. How dare they do that, actually?”

    The Hollywood Reporter has reached out to reps for the Gotham Awards and Apple for comment.

    This isn’t the first time De Niro has spoken out against Trump, comparing his time as president to “an abusive relationship.

    “You don’t know what’s going to happen. You don’t feel safe,” he said on Michael Moore’s podcast Rumble in 2019 about Trump’s time in office. “The president is such an idiot and doesn’t do anything that we can rely on or feel safe about, even good intentions — he has no good intentions. That’s your role as president, to make people feel good and positive. Even though it’s easier said than done, that’s your responsibility as president. He doesn’t have any of that, as we all know.”

    De Niro also famously shouted “Fuck Trump” as he took the stage at the 2018 Tony Awards.

    Past Lives won best feature at the 2023 Gotham Awards, while Anatomy of a Fall and Beef each won two awards.

    See the full list of winners.

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    Christy Pina

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  • Robert De Niro’s Production Company Found Liable for Gender Discrimination

    Robert De Niro’s Production Company Found Liable for Gender Discrimination

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    For the past few years, Robert De Niro and Graham Chase Robinson have been locked in a legal dispute after the actor claimed in a 2019 lawsuit that his former assistant had misused company funds for her own purposes. Robinson quickly responded with a lawsuit alleging that her boss had harassed and discriminated against her on the basis of gender.

    The matter came to a head in a Manhattan federal court over the past two weeks, with each party testifying about the other’s work habits and temperament. The civil trial addressed both lawsuits. On Thursday, according to The New York Times, a jury found neither De Niro nor Robinson personally liable for the other’s claims, but ruled that Canal Productions, the actor’s company, was liable for gender discrimination and retaliation. Robinson was awarded $1.26 million. “Not only did Ms. Robinson win her case against Canal,” David Sanford, a lawyer for Robinson, said in a statement, “but the jury completely vindicated Ms. Robinson by finding De Niro’s claims against her to be without merit.”

    During the trial, Robinson testified that De Niro had given her “stereotypically female” work around his house. She also said that a dispute between her and De Niro’s girlfriend, Tiffany Chen, ultimately led to her resignation from Canal Productions. One of De Niro’s lawyers, Richard C. Schoenstein, said outside the courtroom that “Mr. De Niro has been exonerated” in light of the jury not finding him personally at fault.

    “I’ve been so humiliated and embarrassed, and I feel so judged,” Robinson testified. “I feel just so damaged, in a way.”

    De Niro made headlines during the trial for his irritated testimony. “You got me!” he exploded at one point, after acknowledging that he had asked Robinson to scratch his back on two occasions when he couldn’t reach an itch. “It was never done with any disrespect.”

    Robinson understood the interactions differently, describing the interactions during her testimony as “creepy” and “disgusting.”

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    Dan Adler

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  • Robert De Niro’s company ordered to pay $1.6M in gender discrimination lawsuit – National | Globalnews.ca

    Robert De Niro’s company ordered to pay $1.6M in gender discrimination lawsuit – National | Globalnews.ca

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    A New York jury has ruled in favour of Robert De Niro in a multi-million-dollar lawsuit accusing the actor of workplace gender discrimination and retaliation, instead finding the actor’s production company liable of the accusations.

    Canal Productions was ordered to pay De Niro’s former assistant US$1.2 million (CA$1.65 million) in damages Thursday. The money must be doled out in two separate payments of US$632,142.

    Jurors in Manhattan federal court came to a decision following about five hours of deliberations.

    Graham Chase Robinson sued the 80-year-old Oscar winner and his company in July 2021 claiming US$12 million (more than C$16.5 million). Robinson, who was Canal’s vice-president of production and finance at the time she quit her job, filed the lawsuit, claiming De Niro caused her severe emotional distress and reputational harm.

    Her lawsuit came after De Niro and Canal earlier sued Robinson in 2019 over allegations she stole five million Delta SkyMiles from company cards and watched “astounding hours of TV shows” while at her job. Both lawsuits were being considered by the New York jury.

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    Graham Chase Robinson departs federal court on October 30, 2023, in New York City.


    David Dee Delgado/Getty Images

    Robinson was employed by De Niro from 2008 to 2019. When she quit her vice-president role, she reportedly earned a salary of US$300,000 (about C$416,500).

    De Niro testified that despite her executive title, Robinson still functioned primarily as a personal assistant to him. Alternatively, Robinson claimed De Niro overworked and underpaid her and made her perform gendered tasks such as laundry, despite being in a high-level position.


    Actor Robert De Niro arrives at federal court on Oct. 30, 2023, in New York City.


    David Dee Delgado/Getty Images

    Throughout the eight days in court, De Niro and Robinson pointed fingers at one another in an attempt to place blame for their deteriorated professional relationship.

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    A visibly “grumpy” De Niro took the stand early on and provided heated testimony. He dismissed Robinson’s claims as “nonsense” and occasionally raised his voice in the courtroom, even shouting “Shame on you, Chase Robinson.” De Niro later apologized for the outburst, but admitted he had at times “berated” Robinson while she was his employee.


    Robert De Niro in a courtroom sketch on Oct. 31, 2023. De Niro testified against an ex-employee who has accused the actor of gender discrimination and causing reputational damage.


    Elizabeth Williams via AP

    During her own testimony, Robinson pointed to De Niro’s “shame on you” comment as proof he regularly yelled at her in the workplace.

    Robinson made a slew of allegations against De Niro throughout her testimony. She claimed he would call her frequently outside of work hours, often swore and called her names and repeatedly asked that she scratch his back — an allegation that has garnered ample media attention since the trial’s beginning.

    While De Niro said he may have called Robinson names like “petulant,” “snippy” and a “f—ing spoiled brat,” he denied most other allegations. Despite Robinson’s testimony that her job was 24/7, De Niro maintained that he only contacted her during “civilized hours.” He did not deny asking Robinson to reach an itch on one or two occasions but said the request “never was with disrespect or lewdness.”

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    De Niro’s girlfriend Tiffany Chen also testified and accused Robinson of having “imaginary intimacy” with the actor. Chen called Robinson “a very single white female,” a reference to the 1992 Jennifer Jason Leigh-led stalker flick of the same name.


    FILE – Robert De Niro and Tiffany Chen at the opening night of the Tribeca Film Festival in New York City on June 7, 2023.


    ANGELA WEISS/AFP via Getty Images

    Robinson denied having any romantic feelings for De Niro and accused Chen of pushing her from the job at Canal because she was jealous of her working relationship with De Niro.

    In court, Robinson’s lawyers pressed about the allegations of sexism and asked why Robinson was paid less than De Niro’s other employee, Dan Harvey. De Niro said Harvey has been his personal trainer for 40 years and should not be expected to make the same salary as Robinson.

    &copy 2023 Global News, a division of Corus Entertainment Inc.

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    Sarah Do Couto

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  • Robert De Niro’s company found liable in gender discrimination lawsuit filed by former assistant

    Robert De Niro’s company found liable in gender discrimination lawsuit filed by former assistant

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    Robert De Niro’s company found liable in gender discrimination case


    Robert De Niro’s company found liable in gender discrimination case

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    NEW YORK — A jury on Thursday ordered Robert De Niro’s company to pay more than $1.2 million to his former personal assistant after finding his production company engaged in gender discrimination and retaliation.

    While the jury found De Niro was not personally liable for the abuse, they ordered his production company, Canal Productions, to make two payments of $632,142 to his longtime personal assistant, Graham Chase Robinson.

    De Niro, who spent three days at the two week-trial, including two on the witness stand, has been ensnared in dueling lawsuits with Robinson since she quit in April 2019. He was not in the courtroom when the verdict was read aloud on Thursday afternoon.

    Robinson, 41, testified that De Niro, 80, and his girlfriend, Tiffany Chen, teamed up against her to turn a job she once loved into a nightmare.

    De Niro and Chen each testified that Robinson became the problem when her aspirations to move beyond Canal Productions, the De Niro company that employed her, led her to make escalating demands to remain on the job.

    Actor Robert De Niro Appears In Court Over Gender Discrimination Lawsuit Filed By Former Assistant
    NEW YORK, NY – OCTOBER 30: Actor Robert De Niro arrives at federal court on October 30, 2023 in New York City. De Niro sued his former assistant Graham Chase Robinson for stealing millions of frequent-flyer miles and binge-watching “Friends” and Netflix on the job. Robinson then counter-sued for $12 million, alleging verbal harassment and discrimination.

    DAVID DEE DELGADO / Getty Images


    In two days on the witness stand, the actor told jurors that he boosted Robinson’s salary from less than $100,000 annually to $300,000 and elevated her title to vice president of production and finance at her request, even though her responsibilities remained largely the same.

    When she quit, De Niro said, Robinson stole about $85,000 in airline miles from him, betrayed his trust and violated his unwritten rules to use common sense and always do the right thing.

    At times, De Niro acknowledged from the witness stand many of the claims Robinson made to support her $12 million gender discrimination and retaliation lawsuit, including that he may have told her that his personal trainer was paid more than her in part because he had a family to support.

    He agreed he had asked her to scratch his back on at least two occasions, dismissing a question about it with: “Ok, twice? You got me!”

    He admitted that he had berated her, though he disputed ever aiming a profanity her way, saying: “I was never abusive, ever.”

    He also denied ever yelling at her, saying every little thing she was trying to catch him with was nonsense and that, at most, he had raised his voice in her presence but never with disrespect. Then, he looked at her sitting between her lawyers in the well of the courtroom and shouted: “Shame on you, Chase Robinson!”

    De Niro said Robinson was wrong to take 5 million airline miles from his company’s accounts, but he acknowledged that he had told her she could take 2 million miles and that there were no strict rules.

    Robinson testified that she quit her job during an “emotional and mental breakdown” that left her overwhelmed and feeling like she’d “hit rock bottom.”

    She said she has suffered from anxiety and depression since quitting and hasn’t worked in four years despite applying for 638 jobs.

    “I don’t have a social life,” she said. “I’m so humiliated and embarrassed and feel so judged. I feel so damaged in a way. … I lost my life. Lost my career. Lost my financial independence. I lost everything.”

    De Niro’s lawyers sued Robinson for breach of loyalty and fiduciary duty even before her lawsuit was filed against him in 2019. They sought $6 million in damages, including a return of the 5 million airline miles.

    In a closing argument Wednesday, De Niro attorney Richard Schoenstein said the miles that were taken were worth about $85,000. He said jurors could order Robinson to return some of her salary, but, he added: “We’re not looking for you to punish her.”

    In his closing, Robinson attorney Brent Hannafan called the two weeks of court proceedings a civil rights trial and urged jurors to return a verdict “not just for Ms. Robinson, but for all civil rights litigants.”

    De Niro has won two Oscars over the past five decades in films such as “Raging Bull” and “The Deer Hunter.” He’s in the Martin Scorsese film “Killers of the Flower Moon” that’s in theaters now.

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  • “He Yelled at Me Two Days Ago”: Robert De Niro’s Former Assistant Takes the Stand

    “He Yelled at Me Two Days Ago”: Robert De Niro’s Former Assistant Takes the Stand

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    At the beginning of Robert De Niro’s civil trial this week, the actor’s testimony attracted attention for its volume and bluster. He’s in court over two lawsuits, one claiming that he was an irascible boss who discriminated against his former employee Graham Chase Robinson based on her gender, and the other, filed by his company Canal Productions, alleging that Robinson diverted company time and resources to her own ends. In his defense, De Niro shouted on Monday, “This is all nonsense!”

    It was this sort of remark, Robinson testified on Thursday, that came to characterize her time working for De Niro. When asked by her lawyer how often he lashed out at her, the AP reported, Robinson replied, “He yelled at me two days ago.” 

    Continuing her testimony on Friday, Robinson elaborated on her experiences with De Niro. After becoming his assistant in 2008, she went on to work as Canal’s vice president of finance and production. She testified that these jobs entailed being on call 24/7 and 365 days a year, according to Variety. By the time she left her role in late 2018, she said that he had twice called her a “bitch.”

    It was “very difficult to have him call me that,” Robinson said, and “it was very demeaning [and] incredibly hurtful to hear that from your boss.”

    Earlier this week, De Niro exclaimed “You got me!” after admitting that he asked Robinson to scratch his back on two occasions when he couldn’t reach an itch. On the stand, Robinson took offense to the tenor of these “creepy” and “disgusting” requests. “I like the way you do it,” she remembered him saying.

    The trial is expected to last another week.

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    Dan Adler

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  • Robert De Niro’s Girlfriend on the Former Assistant Suing Him: “Very Single White Female”

    Robert De Niro’s Girlfriend on the Former Assistant Suing Him: “Very Single White Female”

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    Robert De Niro’s ongoing civil trial has been filled with a series of colorful one-liners. “You got me!” he exploded, after admitting that he had twice asked his former employee Graham Chase Robinson to scratch his back when he had an itch he couldn’t reach. In his testimony this week, he described Robinson’s accusations of harassment and gender discrimination as “all nonsense,” but acknowledged that he may have asked her to have a late-night martini delivered to him from Nobu.

    On Thursday, De Niro’s girlfriend Tiffany Chen joined the fray. While on the stand, according to the Independent, she discussed a text she sent to a then employee of Canal Productions, De Niro’s company where Robinson worked as vice president of finance and production after rising from her role as his assistant beginning in 2008.

    “The whole situation has become very Single White Female,” Chen wrote. She was discussing how Robinson had gone into the couple’s home and allegedly unplugged all of her electronics.

    In the courtroom, Chen elaborated on what she meant by this reference to the 1992 erotic thriller: a woman who is “obsessive, crazy, and dangerous.”

    Robinson, Chen testified, dreamt of dating De Niro herself. “I believed she lived her whole life as a fantasy,” Chen said.

    The trial, which began on Monday and is expected to last two weeks, addresses two lawsuits that Robinson and De Niro filed against each other. In 2019, De Niro accused Robinson of using company resources for personal purposes, including the use of over $125,000 in frequent flyer miles and a Netflix account that the suit alleged she repeatedly accessed during work hours. In short order, Robinson responded with a suit of her own, claiming that De Niro subjected her to repeated sexist remarks and “gratuitous physical contact.”

    In Chen’s view, the dispute was romantic in origin. She testified that Robinson had an “imaginary intimacy” with De Niro and that Chen urged him to get rid of her. Robinson, she said amid a stream of angry remarks, was “obsessive, psychotic and dangerous.”

    In other texts displayed in court, Chen described Robinson to De Niro as a “straight up Nasty B****” and wrote “her possessive manner over the house makes me very uncomfortable.”

    When asked if she had written these messages, Chen was just as direct. “Yeah,” she testified. “I wrote it.”

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    Dan Adler

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  • Robert De Niro trial: Actor says he ‘berated’ ex-employee, called her names – National | Globalnews.ca

    Robert De Niro trial: Actor says he ‘berated’ ex-employee, called her names – National | Globalnews.ca

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    The second day of Robert De Niro‘s court testimony was just as fiery as the first, with the actor vehemently denying he was ever an abusive boss to the ex-employee suing him as part of an ongoing discrimination lawsuit.

    De Niro, 80, took the stand again in New York on Tuesday. The Oscar-winning actor on several occasions grew visibly upset and raised his voice while testifying against his former assistant Graham Chase Robinson, according to numerous reports.

    “Every little thing she’s trying to get me on is nonsense! Shame on you, Chase Robinson,” De Niro shouted.

    He subsequently apologized for the outburst.


    Actor Robert De Niro arrives at federal court on Oct. 30, 2023, in New York City.


    David Dee Delgado/Getty Images

    Robinson was employed by De Niro from 2008 to 2019.

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    She sued De Niro and his company, Canal Productions, in July 2021. She is seeking US$12 million (over C$16.5 million) in damages for severe emotional distress and reputational harm. Robinson — who reportedly earned a salary of US$300,000 (about C$416,500) before quitting her role as Canal’s vice-president of production and finance — has also claimed De Niro’s girlfriend, Tiffany Chen, pushed her out of the employment opportunity.

    De Niro and Canal Productions have denied Robinson’s allegations and also filed a lawsuit against her when she quit her job in 2019, before she had filed her own. De Niro and Canal claimed Robinson was a poor employee who stole five million Delta SkyMiles from company cards and watched “astounding hours of TV shows” while at her job. Evidence from De Niro’s lawsuit will be considered by the jury in the current trial.

    Name-calling and back-scratching allegations

    While on the stand Tuesday, De Niro continued to defend against a long list of allegations from Robinson, whose lawyers provided several examples of alleged workplace mistreatment at the hands of De Niro.

    When De Niro was asked by Robinson’s lawyer Andrew Macurdy if he had ever called her names while Robinson was employed, De Niro confessed he had.

    “Yeah, fine, I berated her,” De Niro said, citing an instance where Robinson allegedly did not wake him up in time for a meeting.

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    “I wasn’t abusive. I was annoyed.”

    De Niro said that at the time he may have called Robinson “petulant,” “snippy” and a “f—ing spoiled brat.” Still, De Niro said he has never yelled at Robinson, but rather “raised his voice” because yelling is “one thing I don’t do.”


    Graham Chase Robinson departs federal court on Oct. 30, 2023, in New York City.


    David Dee Delgado/Getty Images

    As his testimony continued, Robinson’s lawyers told the jury that De Niro preferred when she would scratch his back rather than using a scratching device. De Niro denied this claim but said he may have once or twice asked Robinson to scratch his back, though it “never was with disrespect or lewdness.”

    While still on the stand, De Niro was also asked if he had ever urinated while on the phone with Robinson. De Niro sardonically replied, “Give me a break with this nonsense. You got us all here for this?”

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    Gender discrimination claims

    Robinson alleged in her lawsuit that she was a victim of gender discrimination and made to perform “stereotypically female job duties” like laundry, despite holding an executive title at Canal.

    On Monday, De Niro testified that Robinson, who was his assistant before being handed the VP title, was “pushy” about receiving the executive position. He said her assistant responsibilities had not changed, just the job title.

    The following day, Robinson’s lawyers again pressed about the allegations of sexism and asked why Robinson was paid less than De Niro’s other employee, Dan Harvey. De Niro said Harvey has been his personal trainer for 40 years.

    “What does Dan Harvey have to do with her?” De Niro asked. “God knows why she felt like she should make the same.”

    When asked specifically if gender was the reason for the pay disparity between Robinson and Harvey, De Niro replied, “Give me a break with that nonsense.”

    The trial is expected to last for two weeks, until Nov. 10.

    &copy 2023 Global News, a division of Corus Entertainment Inc.

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    Sarah Do Couto

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  • Robert De Niro yells at former assistant Graham Chase Robinson in courtroom as testimony gets heated

    Robert De Niro yells at former assistant Graham Chase Robinson in courtroom as testimony gets heated

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    Actor Robert De Niro shouted “Shame on you!” as he testified Tuesday in a New York courtroom, directing the comments toward his former executive assistant and vice president who seeks millions of dollars after accusing her onetime boss of being abusive.

    Graham Chase Robinson watched with her lawyers while De Niro’s anger built as attorney Andrew Macurdy pelted him with some tabloid-style accusations his client made about De Niro’s behavior toward Robinson as she served his needs, large and small, from 2008 until several months into 2019.

    Robinson, 41, seeks $12 million in damages for emotional distress and reputational harm that she claims has left her jobless and unable to recover from the trauma of working for De Niro. She was making $300,000 annually when she quit, frustrated by her interactions with De Niro’s girlfriend and the effect she believed the girlfriend was having on the actor.

    The jury is also considering evidence pertaining to a lawsuit De Niro filed against Robinson in which he claimed that she stole things from him, including 5 million points that could be used for airline flights. De Niro is seeking the return of three years of Robinson’s salary.

    Macurdy asked De Niro whether it was true that he sometimes urinated as he spoke with Robinson on the telephone.

    “That’s nonsense,” De Niro answered. “You got us all here for this?”

    Robert De Niro Lawsuit
    In this courtroom sketch, Robert De Niro testifies in Manhattan federal court, Tuesday, Oct. 31, 2023, in New York. 

    Elizabeth Williams / AP


    Macurdy told De Niro he called Robinson “b– to her face.”

    “I was never abusive, ever,” the actor snapped back, though he conceded that he might have used the word in conversations with her.

    And the claim that he told Robinson he preferred that she scratch his back rather than using a back scratching device drew another angry rebuke from De Niro, who said it might have happened once or twice, but “never was with disrespect or lewdness.”

    Finally, he angrily looked toward Robinson and shouted: “Shame on you, Chase Robinson!”

    Quickly, he blurted an apology in a quieter voice, as he glanced toward Judge Lewis J. Liman.

    “I wasn’t abusive. I was upset.”  

    The actor admitted that there were no written rules for those who worked for him because, he said, he relied on the “rules of common sense.” He said he promoted Robinson with the title of vice president of his company, Canal Productions, at her request but he added that her duties didn’t change.

    At times, De Niro would flatly deny something, only to later admit that there might be truth to it in a manner different than how it was suggested.

    Asked if he once yelled at Robinson when she was in Europe and had failed to call and remind him of an important meeting in California, De Niro answered that he hadn’t, only to quickly add: “I raised my voice.”

    “I got angry that one time,” he said. “I berated her. I wasn’t abusive. I was upset.”

    “You called her a brat,” Macurdy said.

    “I could have,” De Niro answered.

    Sometimes, De Niro sounded like he wanted to leave the witness stand.

    “I don’t have time for this,” he said at one point.

    He rejected Macurdy’s suggestion that he sued Robinson before she sued him because he wanted publicity.

    “It draws attention to me. It’s the last thing I wanted to do,” De Niro said.

    De Niro, 80, has won two Oscars in a six-decade movie career that has featured memorable roles in films including “The Deer Hunter” and “Raging Bull.” Currently, he is in Martin Scorsese’s “Killers of the Flower Moon.”

    CBS New York previously reported that a profanity-laced voicemail allegedly from De Niro emerged in 2019 along with the accusations of discrimination and harassment.

    “You’re living in Spain and you’re [expletive] upset with me. You tell me how nice you have it and your life over there and you [expletive] don’t answer my calls. How dare you. You’re about to be fired. You’re [expletive] history,” the voicemail says.

    The 19-page lawsuit also states that De Niro made jokes about his Viagra prescription and asked her to do supposedly stereotypical female duties, such as cleaning his apartment and mending his clothes, CBS New York reported.

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  • “Letting” Foxes in the Henhouse: Killers of the Flower Moon

    “Letting” Foxes in the Henhouse: Killers of the Flower Moon

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    It’s only fitting that the word “Osage,” what the French decided to call the Native American tribe that’s actually named Wazhazhe, loosely translates to “calm water.” For, after enduring what was done to their tribe by the white men they “let” into the fold, the persistent stoicism of the Osage people is something that very few others would be able to uphold. Not in the wake of so much pain and suffering. Perhaps, though, part of the “calmness” that remained upon realizing the white men they “allowed” into their insular, oil-drenched world were nefarious as all get-out stemmed from a feeling of constantly waiting for the other shoe to drop. As one Osage elder phrases it, “When this money started coming, we should have known it came with something else.” Knowing, somewhere just beneath the surface, that to trust a white man was to make deal with the devil (#whitedevil). After all, it was no secret that 1) white men’s involvement with anything meant exploitation and 2) white men never took (/take) kindly to the wealth of other races, always trying to characterize it as “unfair” or “rigged” or just plain “false.”

    This, too, is why Martin Scorsese deftly opts to incorporate newsreels of the Tulsa massacre that were being played in Oklahoma theaters in 1921. A scene of Killers of the Flower Moon’s, er, chief villain, “King” William Hale (Robert De Niro) shows him watching the footage with rapt interest rather than horror. For it seemed to not only give him permission to keep murdering the Osage as part of his elaborate plan to gain access to various tribe members’ oil rights, but also provided further “creative inspiration” for how he could commit those murders. Of course, like most “kingpins,” he wasn’t wont to do the dirty work himself. Instead, he left that to his various lackeys, including his own nephew, Ernest Burkhart (Leonardo DiCaprio). It was he who married Mollie Kyle (Lily Gladstone), one of the many wealthy Osage of Fairfax, where the reservation boundaries are coterminous with the town. While, in the movie, co-writers Scorsese and Eric Roth would have viewers believe that Burkhart really did marry Mollie out of love (at first), simple logic and reason tells us he knew damn well the core of that “love” was rooted in Mollie’s familial wealth. For the Osage were the rare tribe in the U.S. able to hold onto their mineral rights (through various conditions established in their treaties) once oil was discovered on their reservation territory. 

    Naturally, having unbridled control and access to their wealth would have been too good to be true. For, thanks to the Burke Act of 1906, Native Americans with any amount of sizable income (via a land allotment) were appointed white conservators to “help” them manage their finances. Of course, as we saw with Britney Spears, there isn’t much altruism in conservatorships when large sums of money are involved and the conservatee can be so easily exploited. Not only that, but consistently demeaned every time they had to meet with their conservator and say aloud, about themselves, “Incompetent” before proceeding to tell that conservator what amount of money they wanted and how they would be using it. Scenes of Mollie having to endure this utterly debasing practice is complete with her obsequiously agreeing to “keep a better eye out” for how her mother is spending, as though Lizzie (Tantoo Cardinal) doesn’t have every goddamn right to spend her oil money how she pleases. 

    For those wondering why so many Osage women would “let” the (rather dumb) white foxes into their utopian henhouse, so to speak, one must consider that, as an indigenous person, even having money didn’t assert one’s power in the “white world” (that is to say, a world where white hegemony had asserted itself for centuries). The “best” way to do that, some women figured, was to marry white and let the power of having Caucasian male authority at one’s side work its “charms.” Charmless though it might have been. Mollie even jokes with Ernest that she’s well-aware he’s a coyote, after her money. And, appropriately, the movie opens with the Osage elders lamenting the next generation’s seemingly blithe “conversion” to whiteness. Having lost all sense of their heritage with this mixing of their blood with a race so prone to subjugation and erasing all other cultures to fit in with the mold of their own. Among the most memorable scenes to emphasize this “conversion” of the new generation—the one that has benefited from their headrights inheritances—occurs after seeing the elders lament the loss of their culture. Viewers are then presented with the sight of the younger generation gleefully and greedily dancing in shirtless slow motion as oil gushes from the ground, covering them in more symbolic wealth. This shift in ideals from those of pure, nature-oriented and -respecting ones to cold, hollow capitalistic ones demarcates the notion that Native Americans were finally being “modernized,” brought into the twentieth century, as it were. As though that was the “right” and “generous” thing for white men to “facilitate” (read: foist). 

    At the same time, white men never really wanted Native Americans (or any people of color) to get “too modern.” In other words, they still wanted them to remain powerless and dependent, subject to the unjust systems set up to benefit whites and punish or subdue anybody else. Not just that, but to debase or belittle any success they did manage to carve out for themselves. Hence, the constant running commentary among white men in Killers of the Flower Moon about how “these Indians” didn’t “work” for the money they have. That it was just luck and happenstance that bestowed them with such bounty. As though to say that the white men’s “work” of plundering the riches of others is far “nobler.” 

    And oh, how Osage wealth is plundered, as we see repeatedly throughout Killers of the Flower Moon. In fact, perhaps what’s most standout about the way the murders are committed is how they’re presented by Scorsese, interspersed throughout as “non sequitur” scenes designed to reveal just how callously and casually they’re done. With no feeling, no second thoughts whatsoever.  

    The film’s title plays into a metaphor for white oppression, with the book (written by David Grann) the movie is based on describing the phenomenon in nature it refers to as: “In April, millions of tiny flowers spread over the blackjack hills and vast prairies in the Osage territory of Oklahoma… In May, when coyotes howl beneath an unnervingly large moon, taller plants, such as spiderworts and black-eyed Susans, begin to creep over the tinier blooms… The necks of the smaller flowers break and their petals flutter away, and before long they are buried underground. This is why the Osage… refer to May as the time of the flower-killing moon.” Obviously, the white man is represented by the larger blooms overtaking and suppressing the tiny ones, until they’re stamped out completely. 

    This is conveyed even in how the story of Mollie and the Osages who were killed ends up being overshadowed by white use of those stories for “entertainment” (as paraded in the final scene when the “tale” is being presented as a true crime radio show…how relevant to the present). Roth, a tour de force in screenplay adaptations (see also: Forrest Gump, The Curious Case of Benjamin Button and Dune), assists in revealing the ouroboros of exploitation that goes on vis-à-vis the handling of the stories of the marginalized, with the audience watching Killers of the Flower Moon in the theater contributing to that endless cycle. 

    Scorsese, no stranger to showing his attraction for stories of indigenous exploitation, also harkens us back to his 1986 film, The Mission, with this latest behemoth. The Mission was described by James Shofield Saeger, a scholar of Spanish missions in the New World, as a “white European distortion of Native American reality.” There’s no doubt that, despite Scorsese’s assurance of consulting with the Osage tribe’s current chief, Standing Bear, throughout the making of the film, many will still take issue with a white man retelling this painful part of Osage history. Indeed, as is the case with the barrage of movies that come out about Black slavery, some Native Americans weren’t happy with the idea that, yet again, their only representation in cinema is that of their historical pain with Killers of the Flower Moon.

    For example, Reservation Dogs’ Devery Jacobs had plenty of criticism to lob at the film, stating, “Being Native, watching this movie was fucking hellfire… I can’t believe it needs to be said, but Indig ppl exist beyond our grief, trauma & atrocities. Our pride for being Native, our languages, cultures, joy & love are way more interesting & humanizing than showing the horrors white men inflicted on us… All the incredible Indigenous actors were the only redeeming factors of this film. Give Lily [Gladstone] her goddamn Oscar. But while all of the performances were strong, if you look proportionally, each of the Osage characters felt painfully underwritten, while the white men were given way more courtesy and depth.” 

    But what does one expect when you “let” a fox in the henhouse? A.k.a. submit to the constantly brushed-aside reality that, for BIPOC stories to be told at all, they must still somehow land in the hands of white people. Ergo, that ouroboros of exploitation constantly feeding on itself.

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    Genna Rivieccio

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  • Killers Of The Flower Moon Movie Review

    Killers Of The Flower Moon Movie Review

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    critic’s rating: 



    4.0/5

    The Osage Indian murders were a series of murders of Osage Native Americans in Osage County, Oklahoma, during the 1910s–30s. American journalist David Grann investigated the case for his 2017 book, Killers of the Flower Moon: The Osage Murders and the Birth of the FBI. The book is the basis for the present film. In 1897, oil was discovered on the Osage Indian Reservation in Oklahoma.. As part of the process of preparing Oklahoma for statehood, the federal government allotted 657 acres to each Osage on the tribal rolls in 1907. The film depicts the greed of white Amercans in all its varying hues. The white citizens are resentful of the wealth being distributed to the natives. They resort to the tactic of getting married to Native American women and then killing them, thus gaining the title to the land deed. Some resort to outright murder, while others let poison do the dirty work. The 1921 brutal murder of Anna Brown brought into fray the newly formed Federal Bureau of Investigation. The resultant enquiry led to the arrest of the mastermind William King Hale and his nephew, Ernest Burkhart in 1926. Burkhart later turned state’s witness and gave evidence against his uncle. Ernest had married Mollie Kylie, wealthy native women at the behest of his uncle. After the marriage, her relatives started dying under mysterious circumstances. First to go was Minnie Smith, who died of probable poisoning, another sister, Rita Smith and her husband were killed by explosion, while Mollie herself was being poisoned through her insulin injections. The title is a metaphor for smaller flowers dying when taller plants take over. This usually happens during May, that’s when Anna Brown was killed. 

    In the film, Robert De Niro plays William King Hale, while Leonardo DiCaprio plays his nephew, Ernest Burkhart. Lily Gladstone, who has Native American blood, plays Mollie Burkhart. Ernest is presented as being a simple minded ex-soldier who has returned from World War 1 and is in need of occupation. His brother Byron (Scott Shepherd), was already working with their uncle. The three, over the years, conspired to kill as many Native Americans as possible, through professional hunters and hitmen, making sure that their direct involvement was kept to the minimum. When the investigation took place, Hale was able to bump off several key witnesses and participants. However, it was the testimony of his nephew which finally condemned him.

    The film depicts the tragedy in all its visceral glory, sparing the viewer nothing of the horror. It’s a three-and-a-half hour film, which flows at its own pace. At one level, the whites are shown to be god-fearing, church going men and women, who are more than happy to rub shoulders with their rich, Native American neighbours. But as time goes by, we see their true faces. It’s a war of a community against the other, a mini-genocide, with the entire white populace guilty of being perpetuators. Hale might be the face of this evil but this cankerous roots lie at the heart of everyone white person in the community. There is a chilling scene in the film where a gathering of prominent white men and women put pressure on Ernest not to testify against his uncle. Every person in the room is a killer to some degree but don’t see their actions as crime, believing that white people have a God-given right to rule the other races. Another horrifying set of scenes involve the slow poisoning of Mollie. She has diabetes and her own husband is mixing poison in the insulin and injecting it to her. It’s betrayal and deception played out at so many levels. 

    Martin Scorsese, who famously ranted against the so-called degradation of cinema, had a point to prove about what proper cinema should be and has answered his critics through this film. Given the length of the film, he does grow self-indulgent at times, though you never feel bored, given the human drama being unfolded. Why he deviated from the whodunit, investigative viewpoint of the book beats us. The linear progression jars your interest at times. Also, given the fact that the film shows crime against the Native Amercians, shouldn’t the film be told from their point of view, rather than that of the white villains? Molly should have been the centre of it all, than Ernest, though you can’t expect your top-billed star to take a back seat. The actual investigation reportedly took place over a period of two years but here, it is hurried along and looks forced. 

    The movie is supposedly shot using film cameras, giving them an old world quality, reminiscent of John Huston’s films. The daylight photography is a treat to watch and even the night scenes, shot mostly in true light, have a picturesque quality to them. For example, the scenes depicting Molly’s illness, where she lies sweat-drenched in a room lit by oil lamps lend a poignant touch to the proceedings. The background score too is phenomenal, so is the sound design. 

    Scorcese has chosen his actors with care. Robert De Niro is spot on as Hale. He’s the perfect godfather figure to the community, playing everyone’s friend but secretly coveting their wealth. This Jekyll and Hyde personality has been perfectly brought to life by the consummate actor. Lily Gladstone is cast as the perfect Native American beauty. She doesn’t have robust expressions but her eyes say it all. The tragedy reflected in them as she catches on to her husband’s lie is almost haunting. Apart from perhaps De Niro, Leonardo DiCaprio is said to be Scorcese’s favourite actor. This is the sixth collaboration between them, and the actor does full justice to his director’s confidence in him. He is shown to be a simple individual at first, then slowly gets addicted to a life of crime, indulging in robbery and gambling and doesn’t bat an eye even when it comes to arranging murders. The actor brings out the remorse and guilt of his character admirably in the scene where he breaks down in jail after hearing of his younger daughter’s death. It’s a scene which punches you in the gut, and you feel the impact long after you have left the theatre. On the other hand, one also feels DiCaprio is paying homage to such actors as Marlon Brando and Paul Muni in the latter half, especially in portions where he’s jailed and asked to testify. He isn’t just himself in those scenes but represents a wealth of actors specialising in tragedy, who have graced American cinema.

    Watch the film for its true-to-life depiction of one of the harshest chapters of American history. And also for the wealth of acting talent displayed by all. 

    Trailer : Killers of the Flower Moon

    Neil Soans, October 26, 2023, 2:47 PM IST


    critic’s rating: 



    4.5/5


    Story: When Ernest Burkhart (Leonardo DiCaprio) moves to an oil-rich Osage Nation in the 1920s, looking to make a living after the war, little does he know what awaits him.

    Review: Trust the man who riled up a whole generation of fans with his commentary on what cinema isn’t, to show us how impactful it can be by flipping the script on whitewashed history. Based on the book of the same name, Martin Scorsese adapts this screenplay with Eric Roth to bring an essential yet little-known true and tragic story of Native American history to the big screen. The runtime of three and a half hours does sound daunting, but not a minute is wasted throughout the film, as the screenplay is honed down to each beat. Scorsese gradually builds on various pieces of this intricate tale, and if a filmmaker is to be judged by how they end their movies, then that’s where he truly delivers.
    Underlying the complexities of human emotion, especially greed and deception, that the director deploys to keep us engaged, the most surprisingly effective one is ‘love’, or rather how it can blind those afflicted by it. Leonardo DiCaprio’s Ernest Burkhart is critical to that narrative; he meets and falls head over heels with Lily Gladstone’s Mollie. Ernest makes no bones about his intent, and despite being no pushover, Mollie can’t resist his charms. But the extent of Ernest’s aims is determined by his uncle William Hale, otherwise known as King, played by Robert De Niro. These three form the key players, and each respective actor deserves all the accolades inevitably coming their way. Scorsese arguably brings out the best in De Niro, so seeing the veteran actor back in form is excellent. Then again, so does the director with DiCaprio, and to say this probably could be the latter’s most layered work wouldn’t be an understatement. However, the most impressive is Lily Gladstone, who is a devastating force amidst DiCaprio and De Niro in a career-making performance.

    Be prepared for ‘Killers of the Flower Moon’ to have a strong presence during awards season because all the vital ingredients are in place, not just for Oscar bait. Scorsese maintains a critical balance between storytelling and technical elements, such as the unmissable and uneasy score by Robbie Robertson. Whether the lengthy runtime is justified is debatable, but what isn’t is Scorsese’s vision and memorable execution of a complex, heart-breaking tale of lies and deception.

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    Devesh Sharma

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  • Box Office: Taylor Swift’s ‘Eras Tour’ Nabs $10.4M Friday, ‘Killers of the Flower Moon’ Rides to $9.4M

    Box Office: Taylor Swift’s ‘Eras Tour’ Nabs $10.4M Friday, ‘Killers of the Flower Moon’ Rides to $9.4M

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    Taylor Swift and AMC Theatres’ Eras Tour earned $10.4 million on its second Friday, enough to beat the $9.4 million grossed by Martin Scorsese‘s Western true-crime drama Killers of the Flower Moon on its opening day at the domestic box office.

    While Taylor Swift: Eras Tour is virtually assured of winning the weekend with a gross of $30 million to $33 million after crossing the $100 million mark domestically, that doesn’t mean Killers of the Flower Moon can’t carry a tune. (AMC is being more conservative in projecting a $26 million to $27 million weekend for Eras in case there is, once again, little walk-up business.)

    Flower Moon — starring Leonardo DiCaprio, Lily Gladstone and Robert De Niro — is expected to score $23 million for the weekend, the third-best nationwide opening of Scorsese’s career behind 2010’s Shutter Island ($41 million) and 2006’s The Departed ($26.9 million), not adjusted for inflation. It also ties with The Departed and Goodfellas in receiving the best CinemaScores of his career, an A-.

    Apple Original Films is giving the $200 million to $250 million film a traditional theatrical run via Paramount. Its performance so far is impressive for an adult drama that runs three hours and 26 minutes.

    And while Flower Moon is skewing older, 46 percent of Friday ticket buyers were under the age of 35, including 27 percent between the ages of 25 and 34. Among older adults, 38 percent of the audience was 45 and older. Since this latter demo is notorious for not rushing out on opening weekend, Apple and Paramount are counting on Flower Moon to enjoy a strong run in the ensuing weeks as awards season unfolds, thanks to strong reviews and audience exit polls.

    The movie skewed notably male on Friday (61 percent), but the gender breakdown could even out as the weekend unfolds.

    Flower Moon is based on David Grann’s book about the murders of Osage Nation tribe members in the 1920s after oil was found on their Oklahoma land.

    DiCaprio — one of the world’s biggest movie stars — and the rest of the cast haven’t been able to do any publicity since the SAG-AFTRA strike commenced July 14. Apple was able to bank some interviews previous to the strike and generated headlines around the world when it took Killers of the Flower Moon to the Cannes Film Festival in late May but didn’t reap the benefits of a final publicity blitz by the actors. (Scorsese, who has a strong fan base, instead did the heavy lifting solo.)

    This weekend marks a turning point for Apple’s film ambitions. Killers of the Flower Moon, costing $200 million, is arguably the biggest event film to date from a tech giant to be given a conventional theatrical release versus going relatively quickly to streaming. Earlier this year, Apple Original Films revealed it intends to spend $1 billion a year to produce movies intended for theatrical, both to boost its streaming service and strengthen its profile in theaters.

    Apple’s next major theatrical test after Killers of the Flowers Moon is director Ridley Scott’s historic epic Napoleon, starring Joaquin Pheonix in the titular role. Apple and Sony open the film Nov. 22 on the eve of Thanksgiving.

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  • ‘Killers of the Flower Moon’ Is the Hat Movie of the Year

    ‘Killers of the Flower Moon’ Is the Hat Movie of the Year

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    Killers of the Flower Moon is an indisputable Martin Scorsese masterpiece. As the legendary director grapples with his own mortality, he’s put out one of the finest films of his career, one that characteristically muses on similarly heavy themes: greed, corruption, betrayal, colonialism, violence. Based on the 2017 David Grann book of the same name, Killers of the Flower Moon tells the little-known story of the Osage murders in 1920s Oklahoma and the formation of the FBI. See, the Osage Nation had the foresight to maintain mineral rights on their land so, when oil was discovered, it made them fabulously wealthy. It also made them the target of a vast murder plot by their white neighbors.

    I had eagerly been anticipating this movie since it was announced, an anticipation that only grew stronger when presented with the one single still that was available and then, each subsequent trailer. Something else I instantly clocked in the trailer? A cavalcade of hats, each bigger and more beautiful than the last. This was not false advertising, but merely a small sampling of the reality: I can confirm that all three hours and 26 minutes of Killers of the Flower Moon are absolutely teeming with hats.

    This film was costume designer Jacqueline West’s first time working with Scorcese (who, it must be noted, is no stranger to wild hats). “Few directors are as conversant about clothes,” she told me. “He really has incredible taste in clothing, and a wonderful Italian eye. It’s in his blood.”

    She floated two Westerns to the director when explaining what her influences would be: 1926’s The Winning of Barbara Worth and 1948’s Blood On The Moon.

    Of course, hats were a practical necessity in 1920s Oklahoma, to protect from the sun—these guys didn’t have any Supergoop SPF—and rain when working outdoors. But, more than that, West said, “the hats were meant to be there to tell a story.”

    More than 300 hats were created for the movie. The principal actors’ hats—Leonardo DiCaprio as Ernest Burkhart and Robert DeNiro as his uncle, William Hale, for instance—were made by Jack Scholl at Weather Hats in Belle Fourche, South Dakota. (West had a connection to them through her husband, who is a Bullock, as featured in HBO’s Deadwood.)

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    Gabriella Paiella

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  • Leonardo DiCaprio’s ‘Endless’ Improv Annoyed Robert De Niro, Martin Scorsese Says

    Leonardo DiCaprio’s ‘Endless’ Improv Annoyed Robert De Niro, Martin Scorsese Says

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    Even Oscar winner Leonardo DiCaprio needs to be told to tone it down sometimes.

    The 48-year-old actor was hilariously outed this week by none other than Martin Scorsese for his purportedly excessive improvisation while filming “Killers of the Flower Moon.” This ultimately left DiCaprio’s costar — Robert De Niro himself — visibly vexed.

    Scorsese’s anticipated crime drama regards the real-life Osage Nation murders in 1920s Oklahoma after oceans of oil were found on the land. While it’s the first Scorsese film to star both longtime collaborators of the acclaimed director, their acting approaches sometimes didn’t mesh.

    Scorsese told The Wall Street Journal on Wednesday that DiCaprio’s method was rather tedious.

    “Oh, endless, endless, endless!” Scorsese told the outlet about DiCaprio’s incessant urge to discuss things and improvise in his scenes with De Niro. “Then Bob didn’t want to talk. Every now and then, Bob and I would look at each other and roll our eyes a little bit.”

    He continued: “And we’d tell him, ‘You don’t need that dialogue.’”

    Scorsese made some of the most iconic films in history with De Niro, including “Taxi Driver” (1976), “Raging Bull” (1980) and “Goodfellas” (1990). They reunited on “The Irishman” (2019), after DiCaprio had formed his own prolific working relationship with Scorsese.

    DiCaprio, Scorsese and De Niro brought “Killers” to the Cannes Film Festival earlier this year.

    Samir Hussein/WireImage/Getty Images

    “Killers of the Flower Moon” marks DiCaprio’s sixth feature with Scorsese, who cast him at 27 years old in “Gangs of New York” (2002). The pair later made “The Aviator” (2004), “The Departed” (2006), “Shutter Island” (2010) and “The Wolf Of Wall Street” (2013) together.

    “Killers” marks De Niro’s 10th feature film collaboration with Scorsese.

    It was ironically De Niro himself who first told the director about DiCaprio, as he was so impressed by the actor’s performance in “This Boy’s Life” (1993) that he called Scorsese to gush about him. DiCaprio also inspired Scorsese to reassess his approach to “Killers.”

    “After two years of working on the script, Leo came to me and asked, ‘Where is the heart of this story?’” Scorsese told The Irish Times. “I had had meetings and dinners with the Osage, and I thought, ‘Well, there’s the story.’”

    Scorsese and screenwriter Eric Roth had already adapted David Grann’s 2017 book into a script, but ultimately rewrote it to shift the focus from a procedural about white FBI agents to a more truthful drama about the plight of the indigenous Osage.

    “Killers of the Flower Moon” hits theaters Oct. 20.

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  • Tiffany Chen, Robert De Niro’s partner, reveals postpartum Bell’s palsy diagnosis: “I lost all facial function”

    Tiffany Chen, Robert De Niro’s partner, reveals postpartum Bell’s palsy diagnosis: “I lost all facial function”

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    Tiffany Chen, the partner of renowned actor Robert De Niro, has revealed her personal health struggle following the birth of their daughter, Gia Virginia Chen De Niro, in April. 

    In an exclusive interview with “CBS Mornings,” Chen opened up about her struggle with Bell’s palsy, a temporary condition that affects the facial muscles, often causing one side of the face to droop or become paralyzed. In Chen’s case, it affected both sides of her face. It is believed to be triggered by inflammation and swelling of the facial nerve. While the exact cause is unknown, it is thought to be associated with viral infections. 

    Bell’s palsy affects about 40,000 people in the U.S. each year, according to the National Institute of Neurological Disorders and Stroke. While anyone of any gender or age can experience Bell’s palsy, it appears to be highest in those between the ages of 15 and 45 years old. Risk factors include: pregnancy, preeclampsia, obesity, hypertension, diabetes and upper respiratory ailments. 

    Chen described the initial symptoms she experienced upon returning home after giving birth. She noticed an unusual sensation in her tongue, which gradually became tingling and numb. 

    “Then I realized, like my face just felt weird. I didn’t know what the feeling was that I was having. It felt weird,” she said.  

    As the days passed, Chen’s symptoms worsened, leading to a collapse and deterioration in her face. She described the sensation as her face “melting on itself.” About a week after giving birth, the situation became unbearable, to the point she was unable to consume food. 

    “I was trying to eat. I went to put just a fork of food in my mouth, and everything came out. I couldn’t eat. And then I was starting to slur,” Chen recalled. 

    Recognizing the gravity of her condition, Chen contacted her doctor, who advised her to go directly to the hospital.  

    “I lost all facial function the minute I got into the hospital,” she revealed. 

    More of Gayle King’s interview with Tiffany Chen where she will discuss the impact of tabloid headlines on her facial expressions and how Robert De Niro has provided support throughout her health journey will air on “CBS Mornings” Friday, July 14.  

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  • Killers of the Flower Moon Trailer: Robert De Niro, Leonardo DiCaprio movie promises love, crime and more

    Killers of the Flower Moon Trailer: Robert De Niro, Leonardo DiCaprio movie promises love, crime and more

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    Killers of the Flower Moon, starring Leonardo DiCaprio, Robert De Niro, and Lily Gladstone is one the most highly anticipated films of 2023. Paramount and Apple released the second trailer of the film on July 5. The much-awaited drama premiered at this year’s Cannes Film Festival. It received a 9-minute standing ovation at the festival. Now, the new trailer of the film shows the stunning acting of DiCaprio, Niro, Lily, and others. Check out the below to know the details of the new trailer. 

    Killers of the Flower Moon new trailer 

    The new trailer opens with a conversation between Ernest Burkhart (Leonardo DiCaprio) and Mollie Burkhart (Lily Gladstone). Ernest can be heard saying to Mollie, “You know you got nice color skin. What color would you say that is?” Mollie who is a member of Osage tribe, replies, “My color.” Then the scene takes to William (Robert De Niro) who says, “The Osage. They have the worst land possible.” But admits that they “outsmarted everybody.”

    Robert De Niro instigates DiCaprio’s character about the Osage people of Oklahoma. He becomes wealthy through the discovery of oil on their land. Niro then goes on to say to Ernest that the land had oil in it and money flows freely there. He can be heard saying, “The wealth should come to us.”

    Ernest and Mollie eventually fall in love and become a couple. They can be seen kissing while the trailer shows William saying, “It’s just gonna be another tragedy.” 

    Significantly, Mollie says, “I oughta kill these white men who killed my family.” In one of the scenes, Ernest can be seen consoling Mollie as he says, “I’m right here.” Tom White can be seen telling Ernest that he is sent down from Washington D.C. to see about those murderers.

    Watch the new trailer:

    The trailer shows us fast-cutting scenes of murder, arson, and gunfights. It gives a glimpse into the horrifying reality of the violence inflicted upon the native people of Oklahoma. This leads to Lily Gladstone’s character getting revengeful and declaring, “I must exact vengeance on these white men who took my family from me.”

    Synopsis of new trailer 

    The official synopsis of the second trailer depicts that oil brought a fortune to the Osage Nation at the turn of the 20th century. Notably, they became some of the richest people in the world overnight. Needless to say that the wealth of these Native Americans attracted white interlopers, who manipulated, extorted, and stole as much Osage money as they could before resorting to murder. The synopsis ends with, “Based on a true story… ‘Killers of the Flower Moon’ is an epic western crime saga, where real love crosses paths with unspeakable betrayal.”

    For the unversed, Killers of the Flower Moon is a true story based on David Grann’s non-fiction novel of the same name. It tells the story of the murders of Osage people in Oklahoma throughout the 1920s. Scorsese’s film and Grann’s book follow the romance of Enerest Burkhart (DiCaprio) and Mollie Kyle (Gladstone) and the immense wealth of one Native American nation.

    The Apple Original Killers of the Flower Moon has set its wide theatrical release for October 20.

    ALSO READ: Killers of the Flower Moon: Release Date, Cast and More; All you need to know about Leonardo DiCaprio and Robert De Niro starrer

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  • Robert De Niro’s grandson dies at 19

    Robert De Niro’s grandson dies at 19

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    Robert De Niro’s grandson dies at 19 – CBS News


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    Leandro De Niro Rodriguez, the grandson of actor Robert De Niro, has died at age 19 after being found unresponsive on Sunday. The cause of death is being investigated.

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  • Leandro De Niro Rodriguez, Robert De Niro’s grandson, dies

    Leandro De Niro Rodriguez, Robert De Niro’s grandson, dies

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    Actor Leandro De Niro Rodriguez, Robert De Niro‘s teenage grandson, has died, his family announced Monday.

    Rodriguez’s mother Drena De Niro mourned her son in an Instagram post Monday, calling him “my beautiful sweet angel” who she loved “beyond words or description.”

    “You have been my joy my heart and all that was ever pure and real in my life,” she said. “I wish I was with you right now. I wish I was with you . I don’t know how to live without you but I’ll try to go on and spread the love and light that you so made me feel in getting to be your mama . You were so deeply loved and appreciated and I wish that love alone could have saved you.”

    Rodriguez’s father, artist Carlos Mare, posted a black image on his Instagram pages, and he reacted to his son’s death in a response to Drena De Niro’s post.

    “Words aren’t enough to express the joy he gave us or the loss we now endure with our families and friends,” Mare said. “He is Godschild now. On this full moon his spirit luminates what could not be seen in the dark. You can’t spell LOVE without LEO.”

    Robert De Niro said he was “deeply distressed” by the death of “my beloved grandson Leo,” in a statement provided to CBS News.

    “We’re greatly appreciative of the condolences from everyone. We ask that we please be given privacy to grieve our loss of Leo,” De Niro said.

    Asked about Rodriguez’s death, a New York City Police Department spokesperson told CBS News police went to a building in lower Manhattan on Sunday afternoon in response to a 911 call. An 18-year-old man was found unconscious and unresponsive, and he was pronounced dead by emergency medical services, according to the statement provided to CBS News. Some news outlets have reported Rodriguez recently turned 19.

    The city’s Office of Chief Medical Examiner would determine the cause of death, the police spokesperson said.

    Rodriguez and his mother appeared in the 2018 movies “A Star Is Born” and “Cabaret Maxime.” He was also credited with an appearance in 2005’s “The Collection.”

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  • The Tribeca Festival Was the Eric Adams and Robert De Niro Show—Whatever the Air Quality

    The Tribeca Festival Was the Eric Adams and Robert De Niro Show—Whatever the Air Quality

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    “There were those who decided to flee,” he said, his tone shifting. “But we had someone that was clear. We had a raging bull.”

    Cue “Brother De Niro,” as the mayor called him. The star, who will be fêted with a three-day “De Niro Con” in September to coincide with his 80th birthday, glanced around the room at Matt Damon, who was standing by the bar, and his Killers of the Flower Moon castmate Brendan Fraser, standing in the center of the room.

    “John Lindsay, Abe Beame, Ed Koch, David Dinkins, Rudy Giuliani—I don’t know what happened thereMike Bloomberg, Bill de Blasio,” De Niro said, deadpan. “This is just a partial list of New York mayors who did not give me keys.”

    Stephanie HsuBy Daniel Arnold / Chanel. 

    Soon after the remarks, I bumped into the mayor in the restroom, where I asked him how the day was going. He responded by saying, “There isn’t anybody more legendary than Bob,” and was whisked out by his detail. He did not grab a mask from the box on his way out the door.

    The air got better, and over the weekend dozens of films screened at a number of theaters throughout downtown, video games were played, and David Duchovny performed at Baby’s All Right with his band, which was probably awesome. On Monday, there was an annual Tribeca Festival event that’s technically ancillary programming, and very much invitation-only, and quite possibly the starriest Gotham dinner of the season. It’s the Chanel Artists Dinner that the French fashion brand throws at Balthazar, Keith McNally’s paean to bistro dining that out-glams the Paris spots that inspired it. Balthazar, with its hall-of-fame-eatery status enhanced by a serious post-pandemic glow-up, is the perfect place for a big buyout by a luxury juggernaut and a film festival owned by James Murdoch’s Lupa Systems that’s stuffed full of film legends and the fresh-faced rising stars of Tinseltown. Balthazar is exactly the restaurant a budding Hollywood star would probably want to come to anyway.

    “The first time I ever had a meal by myself, I showed up with a book at Balthazar and sat at the bar,” the actor Zoey Deutch told me, glancing around the space, still in awe.

    “They brought me a glass of Champagne on the house,” Deutch said, and I told her that’s a classic McNally move for any solo diners.

    Phoebe TonkinBy Daniel Arnold / Chanel. 

    On Monday, the Champagne was free, and nobody was dining solo. The three red booths in the back—tables 60, 61, and 62—housed De Niro and Formula 1 superstar Lewis Hamilton and the French artist JR, a frequent De Niro collaborator. Rosenthal sat with Katie Holmes, with Oscar Isaac sitting with Fraser, and Tracee Ellis Ross at the end of the table. Mayor Adams probably would have really liked this party.

    Chanel had dressed nearly 30 attendees just for the evening, and dispersed them in their shimmering fits to different tables throughout the block-size eatery: Suki Waterhouse and Camila Morrone at one table, Lizzy Caplan and Rachel Brosnahan at another, Chase Sui Wonders and Ayo Edebiri at another. (The director Ari Aster was wandering around Balthazar as well, but it’s unclear whether Edebiri finally got through to him, ensuring that he was aware of her very strong thoughts on Beau Is Afraid.)

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    Nate Freeman

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