#American Music Award winner

[nashmusicguide]

TPAC announces 45th Anniversary Broadway season featuring six Nashville premieres and two-week engagements of HAMILTON and Disney’s BEAUTY AND THE BEAST

A storybook season awaits as the nonprofit Tennessee Performing Arts Center® announces its 2025-26 HCA Healthcare/TriStar Health Broadway at TPAC season, presented in partnership with Nissan and Farm Bureau Health Plans, as part of its 45th Anniversary. The upcoming season features six Nashville premieres, plus the return of a classic fairy tale and the revolutionary re-telling of American…

[silver-horse]

bg3 didn't win best music.... wtf

[joegramoe]

Ms Emmylou Harris

Because of course🏆

[racew1nn3rs]

─ 𝘚𝘌𝘊𝘙𝘌𝘛𝘚, 𝘚𝘌𝘊𝘙𝘌𝘛𝘚 🫀

max verstappen x singer!fem reader // smau

⤷ summary: when max verstappen starts commenting on the posts of the beloved singer y/n l/n, fans are confused and less than enthusiastic at the new friendship. what they could never expect is just how long they've been 'friends'...

based on this request <3

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liked by sabrinacarpenter, maxverstappen1, and 46,908 others

tagged sabrinacarpenter

ynusername my new album is now officially out on all platforms! thank you so so much for all of the love and support, and special thanks to sab for her feature on the song <33 love u bb girl 🫦🫦 now that the album's out, tour next!!! see you all soon!

23,560 comments

user1 THE ALBUM OUT. THIS IS NOT A DRILL PEOPLE THIS IS NOT A DRILL.

user2 i cannot be normal about this i fear

user3 ik her back hurts from CARRYING the music industry on her back 😩

user4 hey so WHO TF IS SO AMERICAN ABOUT?? A LOVE SONG

user5 y/n writing a love song in god's year of 2024... wow

user6 y/n in the top 10 charts, fork found in kitchen

user7 sabrina and y/n are never beating the gf allegations

ynusername damn right we're not 😏

user7 HOLY SHIR HOKY SHIT HOKST SHUT

user8 y/n's in love and it's not with me, hanging myself as we speak

user9 the comment is gonna get reported but so real op

user8 can't a woman hang herself in peace 😣

user10 album's such a banger i had this shit bumpin at my grandmas funeral 🙏🏼 rest in piece nancy 🕊️💪🏻

user11 OH MY GOD???

user12 rest in piece nancy you would've loved make you mine 😔

ynusername oh my god please tell me your joking

user10 sorry queen the grind never stops

ynusername NO SHOT

maxverstappen1 great album! 👍🏼

user13 why does he text like my father 🧍🏻‍♀️

user14 brother eughh

user15 what da hell is a polar bear doin in arlington texas

ynusername thank you max!!!

user16 y/n l/n to redbull in 2025

user17 hellurrrrr who is this man in ur likes y/n

user18 f1 driver!!

user17 Y/N NO ATHELETES PLEAEJEWK 🫵

user18 tour content soon??? i'm sat

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user19 bro looks like he snuck onto earth, get his ass outta here

user20 grammy-award winner, vogue cover model, new york university graduate and Some Fucking Guy

user21 not y'all coming to her defense like the mighty morphin power rangers 💀💀 he's literally a world class athete and she writes pop music

user20 17.172.224.47

user21 IS THAT MY IP ADDRESS??

user20 melinda charleton

user22 IS THAT HIS MOTHER'S NAME!!?1?1!

user20 you want me to do you too???

user22 no we good 😃

user23 ruth bader ginsberg did not die for this

user24 now wtf does this have to do with babe ruth 🤨

user25 WHOOOOO 😧

user24 ... that wasn't right was it

user26 now let's be fr he does NAWT have a chance

user27 have u seen the marble-carved  goddesses these men pull, i fear he does 😔

user28 please no i feel ill

user29 TWO???? OH HELL NAW

user30 two might be pushing it, only one was confirmed

user31 jesus christ

user32 first taylor, now this

user33 yall, all he commented was great album 💀💀 yall are LEAPING to conclusions

user34 what can i say it's an art

user35 i do not see 👁️👄👁️

user36 no like 💀💀 im in your walls

user37 haha max verstappen!! right!!! (theres a sniper at ur location)

user38 omg ur so right 🤩 it is about him (i have a bomb strapped to my chest)

user39 i dont mean to sound stupid, idk who that man is, if i saw him on the streets i wouldnt know a thing 🥱

user40 this is so random too like what 😭

user41 the power of kindness won't work here, i have to throw him off a building

user42 i used to be a max verslsjjwwo lover 🤩 now im just a max verslsjjwwo hater 😔

user43 NURSE 🫵 SHE'S OUT AGAIN

user44 why would u put that into the universe 😧

user45 alright, lets get you to bed grandma

user46 mari stop being delusion and go touch grass 🧍🏻‍♀️

user47 ENOUGHHHH

user48 ain't no way in hell 😭

user49 ik ur feet hurt from all this jumping to conclusions babe

user50 lets leave the parkour to the athletes 😃

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liked by maxverstappen1, landonorris, and 54,789 others

ynusername italy thanks for letting me be inside you (; it was such a lovely show, expect me back asap!!!!

15,267 comments

user51 IT WAS SO GOOD I THNK I BLACKED OUT THE WHOLE TIME THO

user52 oh!

user51 oh so now this isn't a safe space

user53 LANDO AND MAX IN TGE LIKES??? NO NO NO NO

user54 ABORT ABORT ABORT

user55 y'all are doing too much 🙄 she's one of the top artists in the world, i think it's safe to say they might like her music

user56 the second picture 🧎🏻‍♀️do you need a stool cause i can kneel and be really quiet

user57 y/n fans be normal challenge (impossible!!!) (never done before)

user56 WOMP WOMP

maxverstappen1 wonderful show! 🙏🏼 you are so talented

ynusername ty max (: im glad you could come see me

user57 ain't NO WAYYYYYY

user59 THIS IS SIXKENJNG IM GONNA PUKE

sabrinacarpenter my gf looking sexy 🫦🫦🫦

ynusername only for u bbg 🧎🏻‍♀️🧎🏻‍♀️🧎🏻‍♀️

user60 BOOOO 🗣️ GET A ROOM

user61 do y'all need a third!!!!

user62 mamma mia pizza pasta mozzerella moment

user63 i just put u on a watchlist

user62 🧍🏻‍♀️

landonorris RAHHHHHH 🦅🫵🗣️‼️

ynusername RAHHH RAHHH RAHHH RISE POWER POWER 💪🏻‼️

user63 what the fuck

user64 OH GOD WHAT IF SHES DATING HIM????

ynusername brother eughhhh

landonorris WHAT THE FUCK????

user65 SINCE WHEN IS SHE FRIENDS WITH F1 DRIVERS HOW MANY CHAPTWRS DID I MISS

user66 apparently we all went into a universal coma while she was out galavanting cause idk how else this could've happened

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maxverstappen1 posted to his story!

(caption: beautiful show)

22,456 replies

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user67 someone save my girl bro, she don't know any better 😭

user68 it's like a little kid trying to touch the hot stove, LIKE STOP THAT!! DON'T DO THAT

user69 am i the only one who thinks they'd be cute together....

user70 YES!?!?

user71 there is literally no fucking way he bagged her

user72 losing y/n to european f1 driver would be the biggest american tragedy since 2001

user73 i had to read this shit twice, op what r u waffling abt 🫵😧

user74 can't even be nonchalant about this one bro, i'm chalanting hard asf

user75 we do not care

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liked by redbullracing, f1, and 78,567 others

tagged maxverstappen1

ynusername first time in monaco, safe to say i enjoyed myself! so happy to see you shine this time my love<3

25,788 comments

user76 oh. my. fucking. god

user77 THEYRE FUCKING DATING OH MYFODNSJ

user78 THAT SHOULD BE MEEEE HOLDING YOUR HAND THAT SHOULD BE MEEE MAKING YOU LAUGHHH 🎤

user79 i'm in mourning

sabrinacarpenter CHEATER 🫵

ynusername BABY IT'S NOT WHAT IT LOOKS LIKE, IT WAS JUST ONE TIME 😣😣😣 IT WAS A MISTAKE

maxverstappen1 we've been dating for 2 years??

sabrinacarpenter SHUT UP FAST & FURIOUS NO ONE ASKED YOU

user80 i'm sorry 😃 two Y EARS

user81 i feel like i just got dumped. y/n don't do this, the kids need you 😔

maxverstappen1 i got p1 for you, i love you 🫶🏼

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hope you all enjoyed! please let me know your thoughts and feel free to leave a request for me to write something for your fav <3

[doyoulikethissong-poll]

Nelly - Hot in Herre 2002

"Hot in Herre" is a song by American rapper Nelly, released as the lead single from his second album Nellyville (2002). It was written by Nelly, Charles Brown, and the producers the Neptunes. It features additional vocals by former labelmate Dani Stevenson and incorporates Chuck Brown's 1979 single "Bustin' Loose".

On April 15, 2002, "Hot in Herre" received over 760,000 streams on AOL Music's First Listen feature following its debut, setting a record for the website. The song was the inaugural winner of the Grammy Award for Best Male Rap Solo Performance at the 45th Annual Grammy Awards on February 23, 2003. In 2008, it was ranked number 36 on VH1's "100 Greatest Songs of Hip Hop". The song became Nelly's first number one hit on the US Billboard Hot 100 and in Canada. It peaked at number four in the UK and reached the top 10 in several other international markets. The song was number three on the Billboard Year-End Hot 100 Singles Chart for 2002.

Nellyville debuted at the top of the US Billboard 200. It remained at number one for four non-consecutive weeks and was eventually certified six-times platinum by the Recording Industry Association of America (RIAA) for shipments of over six million equivalent-units in sales, which allowed Nellyville to become Nelly's second number-one, multi-platinum, and top-10 album in the US following his debut album Country Grammar in 2000. As of March 16, 2011, Nellyville sold 6,488,000 copies in the US, and it became the 14th best-selling rap album of all time. Internationally, it peaked at number two on the album charts in the UK, Australia, Canada, Germany, and New Zealand.

"Hot in Herre" received a total of 74,2% yes votes!

[makingqueerhistory]

Stonewall Book Awards Nonfiction Winners 2025-1971

Some years had multiple nonfiction winners. How many have you read?

Sex With a Brain Injury: On Concussion and Recovery by Annie Liontas (Scribner, an imprint of Simon & Schuster LLC)

Hijab Butch Blues by Lamya H (The Dial Press)

The Women’s House of Detention: A Queer History of a Forgotten Prison by Hugh Ryan (Bold Type Books)

Faltas: Letters to Everyone in My Hometown Who Isn’t My Rapist by Cecilia Gentili (Little Puss Press)

Dear Senthuran: A Black Spirit Memoir by Akwaeke Emezi (Riverhead Books)

Queer Games Avant-Garde: How LGBTQ Game Makers are Reimagining the Medium of Video Games by Bonnie Ruberg (they/them) (Duke University Press)

How We Fight for Our Lives: A Memoir by Saeed Jones (Simon & Schuster)

Go the Way Your Blood Beats by Michael Amherst (London: Repeater Press)

Queer Threads: Crafting Identity and Community by John Chaich and Todd Oldham (Los Angeles: Ammo Books)

How to Survive a Plague: The inside story of how citizens and science tamed AIDS, by David France (New York: Alfred A. Knopf)

Speak Now: Marriage Equality on Trial, by Kenji Yoshino (New York: Crown Publishers)

Living Out Islam: Voices of Gay, Lesbian, and Transgender Muslims, by Scott Siraj al-Haqq Kugle (New York: New York University Press)

American Honor Killings: Desire and Rage Among Men, by David McConnell (New York : Akashic Books)

Raising My Rainbow: Adventures in Raising a Fabulous, Gender Creative Son, by Lori Duron (New York: Broadway Books, an imprint of Crown Publishing, a division of Random House, Inc.)

For Colored Boys Who Have Considered Suicide When the Rainbow is Still Not Enough: Coming of Age, Coming Out, and Coming Home, edited by Keith Boykin (New York : Magnus Books)

Hide/Seek: Difference and Desire in American Portraiture, by Jonathan D. Katz and David C. Ward (Washington, D.C. : Smithsonian Books)

A Queer History of the United States (Revisioning American History), by Michael Bronski (Boston, Mass. : Beacon Press)

Inseparable: Desire between Women in Literature by Emma Donoghue, (Knopf)

Unfriendly Fire: How the Gay Ban Undermines the Military and Weakens America by Nathaniel Frank, (St. Martin's Press)

Dishonorable Passions: Sodomy Laws in America, 1861-2003 by William N. Eskridge, Jr., (Viking)

Dog Years: A Memoir by Mark Doty, (HarperCollins)

Fun Home: A Family Tragicomic by Alison Bechdel, (Houghton Mifflin)

The fabulous Sylvester: the legend, the music, the seventies in San Francisco by Joshua Gamson, (H. Holt)

Evolution's Rainbow: Diversity, Gender, and Sexuality in Nature and in People by Joan Roughgarden, (University of California Press)

Lost Prophet: The Life and Times of Bayard Rustin by John D'Emilio, (Free Press)

How Sex Changed: a History of Transsexuality in the United States by Joanne Meyerowitz, ( Harvard University Press)

The Scarlet Professor: Newton Arvin, a Literary Life Shattered by Scandal by Barry Werth, (Nan A. Talese)

Gaylaw: Challenging the Apartheid of the Closet by William N. Eskridge, (Harvard University Press)

My Lesbian Husband: Landscape of a Marriage by Barrie Jean Borich, (Greywolf Press)

Stagestruck: Theater, AIDS, and the Marketing of Gay America by Sarah Schulman, (Duke University Press)

The Shared Heart: Portraits and Stories Celebrating Lesbian, Gay, and Bisexual Young People by Adam Mastoon, (William Morrow and Co./Lothrop, Lee & Shepard Books)

Geography of the Heart: A Memoir by Fenton Johnson, (Scribner)

Virtual Equality: The Mainstreaming of Gay and Lesbian Liberation by Urvashi Vaid, (Anchor Books)

Skin: Talking About Sex, Class & Literature Dorothy Allison, (Firebrand Books)

Uncommon Heroes: A Celebration of Heroes and Role Models for Gay and Lesbian Americans by Phillip Sherman and Samuel Bernstein, (Fletcher Press)

Family Values: Two Moms and Their Son by Phyllis Burke, (Random House)

Making History: The Struggle for Gay and Lesbian Equal Rights, 1945-1990 by Eric Marcus, (HarperCollins)

Odd Girls and Twilight Lovers: A History of Lesbian Life in Twentieth Century America by Lillian Faderman, (Columbia University Press)

Encyclopedia of Homosexuality edited by Wayne Dynes, (Garland)

In Search of Gay America: Women and Men in a Time of Change by Neil Miller, (Atlantic Monthly Press)

A Restricted Country by Joan Nestle, (Firebrand Books)

And the Band Played On: Politics, People, and the AIDS Epidemic by Randy Shilts, (St. Martin's Press)

The Spirit and the Flesh: Sexual Diversity in American Indian Culture by Walter Williams, (Beacon Press)

Sex and Germs: The Politics of AIDS by Cindy Patton, (South End Press)

Another Mother Tongue: Gay Words, Gay Worlds by Judy Grahn, (Beacon Press)

Sexual Politics, Sexual Communities: The Making of a Homosexual Minority in the United States, 1940-1970 by John D'Emilio, (University of Chicago Press)

Surpassing the Love of Men: Romantic Friendship and Love Between Women from the Renaissance to the Present by Lillian Faderman, (Morrow)

Black Lesbians: An Annotated Bibliography by J.R. Roberts, (Naiad Press)

The Celluloid Closet: Homosexuality in the Movies by Vito Russo, (Harper & Row)

The Cancer Journals by Audre Lorde, (Spinsters, Ink)

Christianity, Social Tolerance, and Homosexuality: Gay People in Western Europe from the Beginning of the Christian Era to the Fourteenth Century by John Boswell, (University of Chicago Press)

Now That You Know: What Every Parent Should Know About Homosexuality by Betty Fairchild and Nancy Hayward, (Harcourt, Brace, Jovanovich)

Our Right to Love: A Lesbian Resource Book edited by Ginny Vida, (Prentice-Hall)

Familiar Faces, Hidden Lives: The Story of Homosexual Men in America Today by Howard Brown, (Harcourt, Brace, Jovanovich)

Homosexuality: Lesbians and Gay Men in Society, History, and Literature edited by Jonathan Katz, (Arno Press) [Series of historically significant reprints]

Sex Variant Women in Literature: A Historical and Quantitative Survey by Jeannette Foster, (Vantage Press)

The Gay Mystique: The Myth and Reality of Male Homosexuality by Peter Fisher, (Stein & Day)

Lesbian/Woman by Del Martin and Phyllis Lyon (Glide Publications)

A Place for Us by Isabel Miller, (published in October, 1971 by McGraw Hill as Patience and Sarah )

[funkopersonal]

Here's your daily reminder that...

Jews are only 0.2% of the worlds population but...

Jews make up 14% of the World Total and 38% of the United States of America total winners for the Nobel Prize for Literature (source).

Of the 965 individual recipients of the Nobel Prize and the Nobel Memorial Prize in Economic Sciences between 1901 and 2023, at least 214 have been Jews or people with at least one Jewish parent, representing 22% of all recipients. (source)

Jews make up 14% of the total winners of the Pulitzer Prize for Fiction 18% of the total winners of the Pulitzer Prize for Poetry; 53% of the total winners of the Pulitzer Prize for Non-Fiction (source).

Jews make up 39% of the total winners of the Antoinette Perry (Tony) Award for Best Play; 54% of the total winners of the Tony Award for Best Book of a Musical (with 62% of all Composers and 66% of all Lyricists of Best Musical-winning productions being Jewish) (source).

Jews make up 40% of the total winners of the Academy Award (Oscar) for Best Original Screenplay; and 34% of the total winners of the Academy Award for Best Adapted Screenplay (source).

Although Jews constitute only 3% of the U.S. population...

80% of the nation’s professional comedians are Jewish (source).

90% of American comic book creators are jewish (source)

38% of the recipients of the United States National Medal of Science are Jewish (Source).

Jews are very successful, with educational levels higher than all other U.S. ethnic groups with the exception of Asian Americans, and income levels the highest of all groups. Six out of ten Jewish adults have college degrees, and 41% of Jewish families report a household income of $75,000 or more” (source)

Jews are a minority across the globe. We've been historically opressed and hated. But these key figures from history are all Jewish and loved, yet many don't even know they're jewish (or they don't know these people in the first place!):

Stan Lee (birth name: Stanley Martin Lieber) - An American comic book writer and editor, Former executive vice president and publisher of marvel Comics, creator of iron-man, spider-man, and more.

Albert Einstein - a Theoretical physicist, Received the 1921 Nobel Prize in Physics, developed the theory of relativity and the "worlds most famous equation"  (E = mc^2), and more.

Ruth Bader Ginsburg - Former Associate Justice of the Supreme Court of the United States, co-authored the initial law school casebook on sex discrimination, co-founded the Women’s Rights Project at the ACLU in 1972, and more.

Jack Kirby (birth name: Jacob Kurtzberg) - an American comic book artist, co-creator of Captain America, one of the most influential comic book artists

Harry Houdini (birth name: Erich Weisz) - a Hungarian-American escape artist, illusionist, and stunt performer, noted for his escape acts.

Emma Lazarus - An American author remembered for her sonnet "The New Colossus," Inspired by The Statue of Liberty and inscribed on its pedestal as of 1903.

Julius Rosenthal, Lillian Wald, Rabbi Emil G. Hirsch, Stephen Wise, and Henry Moskowitz - Jewish activists that helped form the NAACP along with W.E.B. Dubois, Ida B. Wells-Barnett, and Mary Church Terrell.

Mark Zuckerberg - Founder and CEO of Meta, a businessman who co-founded the social media service Facebook, and within four years became the world’s youngest self-made billionaire Harvard alumni.

Joseph Pulitzer - a politician and newspaper publisher, his endowment to the Columbia University established the Pulitzer Prizes in 1917, he founded the Columbia School of Journalism which opened in 1912.

Jacob William Davis - a Latvian tailor who is credited with inventing modern jeans and who worked with Levi Strauss to patent and mass-produce them, died.

Irving Berlin - drafted at age 30 to write morale-boosting songs for military revues (including “God Bless America”). Many Berlin songs remained popular for decades, including “Puttin’ on the Ritz,” “Cheek to Cheek,” “Anything You Can Do (I Can Do Better),” “There’s No Business Like Show Business,” and two celebrating Christian holidays: “White Christmas” and “Easter Parade.”

Rabbi Abraham Joshua Heschel - received his doctorate in Berlin. He was arrested by the Nazis in 1938, moved to the U.S. in 1940, and became an influential figure in the 1960s, marching with the Rev. Martin Luther King Jr. in Selma, Alabama, and speaking out against the Vietnam War.

Elie Wiesel - Romanian-American writer and professor, holocaust survivor, nobel laureate, political activist. Authored 57 books including Night, a work based on his experiences as a Jewish prisoner in the Auschwitz and Buchenwald concentration camps

Bob Dylan - an icon of folk, rock and protest music, won the Nobel Prize in literature for his complex and poetic lyrics.

J. Robert Oppenheimer - ran the Manhattan Project, considered the "father of the atomic Bomb," presented with the Enrico Fermi Award by President Lyndon Johnson.

Betty Friedan - co-founded the National Organization of Women and became its first president, wrote The Feminine Mystique (1963) and helped spark the second wave of feminism.

Gloria Steinem - one of the most prominent feminists of all time, launched Ms. Magazine and co-founded the National Women’s Political Caucus with Bella Abzug, Shirley Chisholm, Betty Friedan and Myrlie Evers-Williams, widow of Medgar Evers.

Sergey Brin - an American businessman best known for co-founding Google with Larry Page, president of Alphabet Inc.

Judith Heumann - a founder of the disability rights movement, led a 26-day sit-in at a federal building in San Francisco. The protest spurred implementation of Section 504 of the Rehabilitation Act, a precursor to the Americans with Disabilities Act.

Larry Kramer - co-founded Gay Men’s Health Crisis in response to the AIDS epidemic but was soon ousted over his confrontational activism. He went on to help launch a more strident group, ACT UP, and wrote a critically acclaimed play, The Normal Heart, about the early AIDS years in New York City.

Steven Spielberg - released his critically acclaimed epic film Schindler’s List, based on the true story of a German industrialist who saved Jews during the Holocaust. The movie won seven Oscars and led Spielberg to launch the Shoah Foundation at the University of Southern California, which filmed interviews with 52,000 survivors of the Holocaust and genocides in Nanjing and Rwanda.

Calvin Klein - made designer jeans and the infamous ad starring Brooke Shields revolutionized the fashion industry, sold his company to Phillips-Van Heusen (now PVH) for $430 million. Klein was the first designer to win three consecutive Coty Awards for womenswear.

Daveed Diggs - an American actor, rapper, and singer-songwriter. he originated the dual roles of Marquis de Lafayette and Thomas Jefferson in the musical Hamilton, for which he won a 2016 Tony Award for Best Actor in a Featured Role in a Musical. Along with the main cast of Hamilton, he was awarded a Grammy Award for Best Musical Theater Album in the same year.

And so much more. (a pretty decent list is available here)

Not only that, but the following are all Jewish inventions...

The Teddy Bear - made by Morris and Rose Michtom in honor of Theodore "Teddy" Roosevelt.

The Ballpoint Pen - *the first commercially sucessfull ballpoint pen was made by Lazlo Biro, a Hungarian-Jew, and his brother.

Mobile Phones - made by Martin Cooper, nicknamed the "father of the cellphone", and was born in Chicago to Ukrainian Jewish immigrants.

The Barbie - made by Ruth Marianna Handler, born to Polish-Jewish immigrants.

Power Rangers - made by Haim Saban, a Jewish-Egyptian

Video Games - made by Ralph Baer, a German-Jew

Peeps - made by Sam Born, a Russian-Jewish immigrants who came to the United States in 1909.

Cards Against Humanity - created by a group of Jewish boys from the same high school

Many Superheroes including Superman, Ironman, spider-man, batman, and more!

and more! (an illustrated list available here.)

Conclusion: If you're Jewish, be proud. You come from a long line of successful people. No matter what happened to them, Jews persevered, and they strived for sucess. Be proud of your culture, your history, these are your people. You're Jewish.

(feel free to reblog and add more, or just comment and i'll add it!)

Last Updated: June 25, 1:35 AM EST

[mrs-stans]

Sebastian Stan on His Cristian Mungiu Film, the ‘Brutalist’ Role He Almost Played, Actors on Actors, and Battling for ‘The Apprentice’

The surprise Golden Globe winner tells IndieWire why the industry remains "apprehensive" about his Donald Trump role and about new indie projects with Mungiu and Justin Kurzel.

BY RYAN LATTANZIO

If you don’t watch Marvel movies, then you don’t know Bucky Barnes, which means you only know Sebastian Stan as the also-indie actor behind films like 2024’s “A Different Man” and “The Apprentice.” Both movies have put him in the awards race, and possibly the Oscar running, especially after his grimly funny, pathos-spiked turn as a self-loathing, out-of-options actor with neurofibromatosis in Aaron Schimberg’s “A Different Man” won him a surprise Golden Globe for Best Actor in a Musical or Comedy. That night, he was also nominated for Best Actor in a Drama for “The Apprentice,” where he plays a ’70s New York-era Donald Trump.

Had scheduling gone a different path, he would’ve starred in Brady Corbet’s also-Oscar-contending “The Brutalist,” but Stan had plenty on his plate last year and into this one, setting him up for his biggest awards season run yet. His transformative Trump performance in director Ali Abbasi’s “The Apprentice” has been celebrated since the film‘s 2024 Cannes premiere. Top distributors shunned the film until rookie releaser Briarcliff Entertainment got on board in August 2024, billionaire investor Dan Snyder tried to wrangle creative control and block the release, and, eventually, Stan’s peers declined the chance to speak with the American-Romanian actor in Variety’s popular Actors on Actors series, a major platform for awards contenders. Stan has been candid about not finding a sparring partner for the publication’s viral program. Why not? People don’t want to go near a movie about the incumbent president, including American audiences ($4 million domestic).

Speaking with IndieWire over the phone, Stan said that once he went public with why he wasn’t participating in Actors on Actors, “A lot of friends called me and said, ‘Hey let’s go do this together.’ That was obviously very thoughtful and very kind, but for us, Ali, Jeremy [Strong, who plays lawyer Roy Cohn], that was nothing really new.” (Last November, Variety’s editor-in-chief Ramin Setoodeh told IndieWire, “We invited [Stan] to participate in ‘Actors on Actors,’ the biggest franchise of awards season, but other actors didn’t want to pair with him because they didn’t want to talk about Donald Trump.”)

Stan continued, “We had been facing that kind of a thing since Cannes, whether it had even been photo shoots promoting the film, or certain people that were like, ‘We don’t want to go near this.’ Every interview since Cannes, we’ve been asked, ‘How’s the reception been? Why do you think studios are apprenehsive?’ This is sadly the reality. We have a lot of people who love this film or say they do, but when it comes down to jumping in the fire a little bit … hesitancy is understandable, to some extent.”

While understanding the emotional component around not wanting to see a movie about a leader and convicted felon who is on TV every second of the news day, Stan said, “However, around hesitancy, there’s also a slippery slope toward indifference, and that complements fear. That’s the only distinction we have to keep trying to make. You can rightfully own, ‘Hey, this isn’t for me,’ or ‘I don’t want to go there.’ But in terms of ‘I’m too worried, I’m too scared, I don’t want to get in hot water,’ then it’s like, what’s the next thing that becomes OK to not want to deal with it because it’s uncomfortable? We didn’t understand what was so uncomfortable about the movie.”

“The Apprentice” received mixed reviews at Cannes, though I remember in my festival screening being surrounded by European journalists laughing their heads off because they see Trump as a comic figure. Many Americans do not, and with “The Apprentice,” we don’t yet have the benefit of hindsight because we’re still living in the Trump era.

“Usually what happens is you look at movies like ‘Nixon’ or the movie ‘Downfall,’ which is about Hitler, [the movies] happen years later. We’ve had time to process our emotions about it, and we’ve had some distance so we can go back and look at what went wrong or what we [believed] at the time,” Stan said. “You don’t have that luxury [with ‘The Apprentice’]. We don’t have the luxury of not dealing with this person.”

Going back to his moment winning the Globe for “A Different Man,” it’s been a mixed blessing for double nominee Stan.

“There was this unbelievable kind of moment at the Globes that I never really thought was ever going to happen, and you have a brief moment of that, and suddenly, anything can flip,” he said of L.A. going into panic mode right after the Globes amid the ongoing wildfires in Southern California. “In terms of Mother Nature… at the end of the day, it really is just people. We’re all in the same boat there. There’s nothing to differentiate or anything. We are all pretty much in the same boat.”

After he’s finished with awards season duties, Stan expects to head to Europe in March to film the new film from Palme d’Or-winning auteur Cristian Mungiu, which brings the “4 Months, 3 Weeks and 2 Days” filmmaker’s usual moral ambiguity into a real-life case of abuse in Romania. He’ll be reuniting with “A Different Man” star Renate Reinsve for the film, which will shoot in Romanian, English, and Norwegian.

“With all of these smaller indies, I always feel even while I’m on the plane going there, I’m always worried, ‘Is the financing going to come through? It’s on its way,” Stan said. “He’s been up there with me for a few years with filmmakers from Romania where I’ve been calling him trying to find a way to work with him, where I can speak Romanian as well. We finally found this story, which is about a Romanian family who’s moved to Norway and then ends up in this very complicated trial. There’s a system [that] investigates cases if there’s ever been physical abuse in the household between the parents or the kids. They go investigating the family for an incident, and it leads to this trial. It happened before the pandemic, and it became national news. There were a lot of religious communities that came to their side, and it’s really interesting and quite complicated.”

Stan has also been instrumental in shepherding the next film from Australian “The Order” director Justin Kurzel, “Burning Rainbow,” about a true Waco-style FBI standoff that brought down a pro-marijuana campground in Michigan a week before 9/11. He’s attached to star in the story of Tom Crosslin and Rolland Rohm, a gay couple defending their land amid police investigations linked to a Rainbow Farm festival-associated killing and their marijuana plants.

“They were raising a child as well,” Stan said. “They were real activists in some ways, and they were very controversial as well because they were running this Rainbow Farm, which was like the start of this Woodstock-style festival that was bringing all these people together, advocating for legalizing marijuana. It was also such a loving place. They were attracting a lot of attention from local authorities, and a lot of controversies were going on down there. It all happened before 9/11, so there are many people who don’t know this story. But I’ve known about it for six years or something. I’ve been tracking it through different evolutions, and it finally landed with Justin. I was tracking him now for two years to basically give me a chance, and finally, I think we’ve got to go and find all the other people.”

As for “The Brutalist,” Stan was announced to star in Brady Corbet’s Golden Globe Best Picture winner in 2019, but scheduling changes on “The Apprentice” interfered. (“The Brutalist” shot in early 2023; “The Apprentice” didn’t film until that fall after a few false starts.) Stan would’ve played Joe Alwyn’s role, Harry Lee Van Buren, the pompous son of Guy Pearce’s moneyed industrialist who exploits Adrien Brody’s Jewish-Hungarian architect.

“I’m glad that the timing [didn’t work out] … The difficulty of that movie is astounding. What they were able to achieve. Some of us would be attached. I was sort of the last one, but then [Corbet] started to go. Because ‘Apprentice’ kept getting pushed, those two started to overlap at one point. I wasn’t available for it, but having seen the movie, Joe is amazing in it, and I would have been too old by that point anyway. I feel like it worked out for the best. It makes total sense with Guy being his father,” Stan said.

As for how Stan’s indie roles fit into the Marvel orbit, especially as he’ll be seen in “Thunderbolts” this spring again as Bucky Barnes, he said, “If I hadn’t had so many opportunities with Marvel with that character alone and creatively what I got to do, I don’t know if I would have been as driven to go in this other direction as well and try to find things that I’m not always at the top of mind for. I believe, like Brady Corbet, films are a directors’ medium. It is about the filmmaker. We have to trust the filmmakers. The best films to me, in my experiences, were with really strong directors with these strong points of view. It’s been amazing to watch Brady. I was attached to that film for a long time, going back to 2019, so I’ve known of that movie and have known Brady since we were kids auditioning. I would see him at casting calls, him and his mom. Even watching him up there on Sunday felt like I’d been weirdly attached to that story as well.”

[crooked-wasteland]

The rapresentation of abusers in helluva boss is something that particularly frustrates me, Stella in particular, it seems to be done just to victimaze certain characters not to show the complex dynamics of those relationships. It seems to me the writers aren't mature enough to handle these topics properly.

Abuse and Vivienne Medrano

Christmas 1962, a man renowned the western world over for his revolutionary approach to animation sat in a withering melancholy as he watched what could only be called a cinematic masterpiece based on a novel classic. Walt Disney, now in the twilight years of his life, saw the walls closing in and his legacy coming to a close. This man, who pioneered the animated feature film, saw his greatest accomplishment as his greatest obstacle. The man responsible for the tales brought to life of Cinderella, Snow White, Pinocchio, and Dumbo felt trapped in his achievement. “I wish,” Walt lamented, “I could make a picture like that.”

To Kill a Mockingbird was a piece that challenged its audience. The discussion of a white man defending a black man in southern America, years before the civil rights movement. The movement that, at the time the movie hit cinemas, was in its infancy. Released during the height of the historically revisionist counter movement taking place to combat the rising push of African Americans towards their human rights. The last film Walt Disney ever saw the production of before his death in 1966 was The Jungle Book, a movie that was the epitome of “Safe” and a message that upheld the status quo of segregation.

It wasn’t until 1972 that the media of animation became raucously adult with those political and challenging concepts Disney felt were unattainable. Fritz the Cat was an X-rated animated film composed of vignettes that were unapologetically perverse, violent, and aggressively political. Critical of politicians and the police with a sympathetic if exploitative lens towards the LGBT and racial minority communities Brooklyn-based director Ralph Bakshi grew up around. Bakshi proved that animation was not strictly a child-friendly media and that adult animation could be financially and critically successful.

(For more on Ralph Bakshi's career and animation history)

If one has ever had the opportunity to listen to a Brad Bird (director of Ratatouille and The Incredibles) interview, it is clear to see that the success of Bakshi was generally quite limited. That animation is considered a genre and not a medium of art has resulted in animated films being knee-capped in the box office. There is far more potential to animation, highlighted by Howard Ashton in his collaboration with Disney studios during the Renaissance. Responsible for resurrecting the feature-length animated movie through The Little Mermaid and credited for the monumental success of Best Picture Award winner Beauty and the Beast, Ashton once said that the potential animation was ideal for musical theatre. The limitless possibilities given the medium gave the possibility of introducing Broadway to the common folk who didn’t live in New York and otherwise couldn’t afford the theater. He was quoted saying that live action musical films were “an exercise in stupidity,” highlighting the freedom that comes with a blank page.

However, the success of animation, and media in general, comes down to the message the media wishes to send. The reason the Disney Renaissance films have enjoyed their position as cornerstones of pop culture and creativity was because it did introduce the artform of musical theater into homes and made them readily accessible to everyone with an even heightened sense of fantasy that revitalized Walt’s ethos of making films for the child in everyone.

With Bakshi, it was the loud and violently political message of a revolution taking place. This continues in adult animation with the Simpsons, a series critical of hyper-capitalist America and the fallout of Reagan’s economic disaster that the effects of which are still being felt today and a satire of toxic masculinity and abusive family dynamics.

So, ultimately, the value of a piece of media is a cross between its social artistic influence and the message the creators are intending to make. While Medrano’s influence on the field of indie animation is often mischaracterized as a “pioneer”, the fact is that indie animation and pilots have existed and been funded before Spindlehorse existed. It is simply that Medrano has had the spotlight handed to her for the myth surrounding the production and subsequent success of his indie projects. Artistically, her influence can be summarized as a double-edged sword. For some, she is the motivation for inspiring artists to connect with the community to one day, hopefully, create their own work. On the other hand, she is the cautionary tale of why investing in an indie project is a financial risk for an audience member and a risk to the community as a whole that poses a real danger of making the indie sphere financially cannibalistic, as her public persona is off-putting to “normies” and her show is simply not good.

Much like Disney, the man in 1962, and Disney the company circa 2023, the revolution of animating "because you can" loses its luster very quickly. Without something profound to say, an entire company, regardless of its social influence, can fade into irrelevance despite still being "successful". The story of Disney is a cautionary tale for Indie animation as a whole and Spindlehorse in specific.

And that is the other axis on this chart. Her narrative lacks a message worth telling, and that’s very much due to her not having anything worthwhile to say.

“I really liked when things and shows and stories allow the characters to be flawed, and allow them to grow and to change. And I think that’s something that’s, you know, the world is not black and white. And I like things that explore the gray and that and the complexity, of life and mistakes and of things like that.” - Vivienne Medrano

It is not for want of mockery that I carefully transcribe Medrano’s words in her interview. To read the words aloud tells the story just as clearly as I have set out to do here. This is someone who is highly inspired by better media, who has ideas and a belief that she has something to say. But that is where the belief ends. There is no conclusion to that thought any more than there is one in the unfocused and run-on sentences she rambles along throughout the interview. She talks of “Things” without clarity, because she herself is a fundamentally incurious individual who has never once spent the time critically analyzing herself, let alone the work of others to better grasp what about it resonated with her. She merely consumes art insatiably and without any substance. Like a diet of fruit, it has a superficial veneer of positive value. Fruit would be considered healthy as it is “natural”. However, it is the nutritional equivalent of candy, lacking vital components that are necessary to sustain basic life, it is pure sugar. Her work, similarly, lacks any value of depth that would qualify as meaning.

Which comes back to what the message is in her work.

When it comes to others in the field of indie animation, Medrano does not have many friends. In response to the Lackadaisy situation, creator Tracy explained why she returned Medrano’s donation. For one, the donation was not Medrano’s money, but money she crowd sourced from her employees. While the $5k for the producer spot of the fundraiser would have not been a dent in her personal wallet, Medrano is so uninterested in supporting fellow creators while presenting an impression of camaraderie that she instead took money from the people she is in charge of the paychecks for to get her name in the credits of another creator’s work. In regards to why Medrano was declined her support, it was due to numerous individuals who had such an awful experience working for Medrano that they did not want her involvement associated with the project to any extent. When the money was returned, she made the situation extremely public and encouraged harassment by liking tweets attacking Tracy and the Iron Circus team.

A well-known member of Medrano’s crew, Hunter B, was leaked speaking crassly of other animation projects that were still in the process of production, met with support from other members in the discord. One of these creators being Ashley Nicoles from Far-Fetched. A former friend and creative partner on the Hazbin Pilot whose podcast streams featuring Edward Bosco and Michael Kovach single-handedly maintained interest in the show until the winter of 2021, free of charge. Ashley once spoke of how Medrano would speak disparagingly of an employee to her, saying that this individual was “Too unstable to work with”. Which, regardless of whether or not that is Medrano’s honest opinion, counts as defamation by an employer. It is the exact reason why most previous employers will not give a negative, detailed review of a former employee, maintaining instead to verify facts of the employment. If Erin Frost was more experienced and less involved in social media exposed culture, they could have easily sued Medrano and Spindlehorse for damaging their reputation in their field of employment.

Which circles back to Medrano’s self-assigned message of her show:

“Abusers rely on your silence. They rely on knowing you can’t retaliate without consequence. That they can tell any lies and vague around without getting called out. But we see you, and you don’t have the power you think you do anymore. A message I put into my work. “Fuck you!” - Vivienne Medrano

Medrano, who has vague and sub tweeted individuals like Lackadaisy Tracy, The Diregentlemen, Michael Kovach, and Ashley Nicoles. Medrano who has instigated and incited harassment campaigns knowing that no one can call her out without severe and relentless backlash from her cultish fanbase that she personally encourages through positive reinforcement of liking the tweets of fans. Medrano who relies on the silence of other creators in the field due to the fear of her ire collapsing their projects before they even have a chance to begin.

Vivienne Medrano with an extensive abusive history that continues to this day, has something to say about abuse.

What Medrano has to say about abuse comes from someone who has the position of superiority in all of her relationships, but feels like she’s the outcast and bullied loser. Her self insert that is repeatedly expressed in every character at one point or another is how easily they abuse those around them just because they can, but that the narrative justifies their “acting out” because they are sad. According to the National Coalition Against Domestic Violence, “An abuser externalizes the causes of their behavior. They blame their violence on circumstances.”

Indeed, the lists of abusive characteristics and traits, according to the National Coalition Against Domestic Violence, overwhelmingly encompasses the characteristics shown by characters like Loona, Blitz and Stolas that Medrano repeatedly has attempted to rationalize, justify and minimize. Which, “An abuser often denies the existence or minimizes the seriousness of the violence [including emotional and mental abuse] and its effect on the victim and other family members.”

It is not surprising, then, that the conversation of abuse in Helluva Boss is often infuriating. The narrative underplays the harm done by characters we are supposed to see as “good”. Not allowing for them to grow or change, but ignoring and minimizing the behavior, justifying it through circumstances and perpetuating the false belief that victims are not, themselves, abusers.

One of the first blog post rants I ever made about mental health and abuse was the affirmation that not all victims of abuse are survivors. I wholly stand by that. Victims of abuse perpetuate abuse. A victim and an abuser are one in the same, whereas a survivor is someone who has actually done the difficult work of being self-critical. And the one thing we all are very aware of is how much Vivienne Medrano rejects criticism.

[whileiamdying]

All the Films in Competition at Cannes, Ranked from Best to Worst

The twenty-two films that premièred in the 2024 festival’s main program offered much to savor and revile.

By Justin Chang May 26, 2024

The seventy-seventh annual Cannes Film Festival came to a startling and joyous conclusion on Saturday night, when the competition jury, chaired by Greta Gerwig, awarded the Palme d’Or, the festival’s highest honor, to “Anora,” a funny, harrowing, and finally quite moving portrait of a sex worker’s madcap New York misadventures. It was startling because the movie, though one of the best-received in the competition, had not been widely tipped for the top prize, which seldom goes to a U.S. film; with “Anora,” Sean Baker becomes the first American director to win the Palme since Terrence Malick did, for “The Tree of Life” (2011), thirteen years ago. And it was joyous not only because the award was bestowed on a worthy and remarkable film but because Baker used the occasion to deliver the best, most eloquent and impassioned acceptance speech I’ve ever heard a Palme winner give.

Reading from prepared remarks, Baker singled out two other filmmakers in the competition, Francis Ford Coppola and David Cronenberg, as among his personal heroes. He dedicated the award to sex workers everywhere, a fitting tribute from a filmmaker who has put their lives front and center, with drama, humor, and empathy, in movies like “Starlet” (2012), “Tangerine” (2015), and “Red Rocket” (2021). He tossed some exquisite shade in the direction of the “tech companies” behind the so-called streaming revolution—including, presumably, Netflix, which came away as one of the night’s big winners; its major acquisition of the festival, Jacques Audiard’s musical “Emilia Pérez,” won two prizes. And, in a moment that drew rapturous applause, Baker delivered a plea on behalf of theatrical films, declaring, “The future of cinema is where it started: in a movie theatre.”

I was fortunate to see all twenty-two films in the Cannes competition on the big screen, projected under superior conditions in houses packed with fellow movie lovers. It’s my hope that, when these movies are released in the U.S., as the great majority of them likely will be, you will seize the chance to see them on the big screen as well—even “Emilia Pérez,” which Netflix may not keep in theatres for long, but whose bold dramatic and stylistic risks have the best chance of winning you over if they have your undivided, wide-awake attention.

I have ranked the movies in order of preference, from best to worst. Here they are:

1. “Caught by the Tides”

Jia Zhangke, a Cannes competition veteran, has long been the cinema’s preëminent chronicler of modern China (“Mountains May Depart,” “Ash Is Purest White”), mapping its social, cultural, and geographical complexities with great formal acumen, and also with the longtime collaboration of his wife, the superb actress Zhao Tao. Jia’s latest work, drawing on an archive of footage shot in the course of roughly two decades, unfurls a story in fragments, about a woman (Zhao) and a man (Li Zhubin) who fall in love, bitterly separate, and have a melancholy reunion years later. It’s an achievement by turns fleeting and monumental: a series of interlocking time capsules, a wrenching feat of self-reflection, and a stealth musical, in which Zhao dances and dances, standing in for millions who have learned to sway and bend to history’s tumultuous beat.

2. “All We Imagine as Light”

As the first Indian feature invited to compete at Cannes in nearly three decades, Payal Kapadia’s narrative début (after her 2021 documentary, “A Night of Knowing Nothing”) would be notable enough; that the movie is so delicately felt and sensuously textured is cause for outright celebration. Winner of the festival’s Grand Prix, or second place, it tells the story of two roommates, Prabha (Kani Kusruti) and Anu (Divya Prabha), who work as nurses at a Mumbai hospital. It teases out their personal circumstances—Prabha’s estrangement from her unseen husband, Anu’s frowned-upon romance with a young Muslim man (Hridhu Haroon)—with a quiet truthfulness that, like the glittering lights of the city, lingers expansively in the memory. (A forthcoming Sideshow/Janus Films release.)

3. “Grand Tour”

The Portuguese director Miguel Gomes (“Tabu,” “Arabian Nights”) delivered some of the most virtuosic filmmaking in the competition—as the jury recognized by giving him the Best Director prize—with this characteristically yet extraordinarily playful colonial-era travelogue. Shifting between color and black-and-white, set in 1917 but full of fourth-wall-breaking anachronisms, the movie tells a story of sorts about a roving British diplomat (Gonçalo Waddington) and a fiancée (Crista Alfaiate) he’s in no hurry to marry. But its true fascination lies in the humid atmosphere and wanderlust-inspiring splendor of its East and Southeast Asian locations, ranging from Singapore and Bangkok to Shanghai and Rangoon. It’s a movie to get lost in.

4. “The Seed of the Sacred Fig”

It’s impossible to absorb this blistering domestic drama without thinking of its dissident director, Mohammad Rasoulof, who recently fled Iran after being sentenced to prison and a flogging. (His appearance at his film’s première made for one of the most emotional moments in recent Cannes memory.) Shot entirely in secret, the story follows a Tehran-based husband (Missagh Zareh) and wife (Soheila Golestani) who are increasingly at war with their progressive-minded young-adult daughters (Mahsa Rostami, Setareh Maleki) during nationwide political protests led by women. The result is a thriller of propulsive skill and blunt emotional force, marrying the muscularity of an action film to the psychological intensity of a chamber drama. (A forthcoming Neon release.)

5. “Anora”

The director Sean Baker is near the height of his storytelling powers with this dazzling (and now Palme d’Or-winning) portrait of a Manhattan strip-club dancer (a revelatory Mikey Madison) who impulsively marries the ultra-spoiled son (Mark Eydelshteyn) of a Russian oligarch. Much comic chaos ensues, some of it pushed past the brink of plausibility, but Baker’s multifaceted love for his characters proves infectious and sustaining, as does his belief that acts of unexpected kindness can redeem even the darkest nights of the soul. (A forthcoming Neon release.)

6. “The Shrouds”

Early on in this elegantly sombre yet mordantly funny new movie, which stars Vincent Cassel, Diane Kruger, and Guy Pearce, the director David Cronenberg, a master of cerebral horror, unveils his latest invention: a technologically advanced burial shroud that allows people to watch a loved one’s body decomposing in the grave. So begins a drolly fluid inspection of classic Cronenberg themes—the deterioration of the flesh, the instability of the image, the paranoia-inducing incursions of technology into every aspect of life—but imbued with a nakedly personal dimension that the director has noted in interviews; the story was inspired by his wife’s death, in 2017, from cancer.

7. “Megalopolis”

In this legendarily long-gestating passion project, which I’ve written about at length, Francis Ford Coppola posits that our fragile, battered civilization is headed the way of the Roman Empire. The grimness of that prospect is unsurprising from a director accustomed to peering deep into the heart of American darkness (the “Godfather” movies, “The Conversation,” “Apocalypse Now”). For all that, the filmmaking here glows with a particularly hard-won optimism, even a welcome sense of play—borne out by an ensemble of actors, including Adam Driver, Giancarlo Esposito, and especially Aubrey Plaza, who fully embrace Coppola’s rhetorical and conceptual flights of fancy.

8. “The Substance”

Sympathetic or sadistic? Feminist or misogynist? Coralie Fargeat’s body-horror bonanza, which won the festival’s award for Best Screenplay, has been one of the competition’s more polarizing hits, which is unsurprising; divisiveness should be expected from a story about an aging actress and TV fitness guru who, desperate to regain her youthful bod of yesteryear, effectively splits herself in two. Whether the outlandish premise (think “The Picture of Dorian Gray” by way of “Death Becomes Her”) and its blood-gushing fallout withstand intellectual scrutiny, there’s no doubting the ferocity of the two leads, Demi Moore and Margaret Qualley, or Fargeat’s sheer filmmaking verve as she pushes her ideas to their sanguinary conclusions.

9. “Motel Destino”

Just a year after the Brazilian director Karim Aïnouz appeared in competition with a surprisingly stiff-corseted English period drama, “Firebrand,” it was bracing to watch him rebound with the competition’s most sexually uninhibited and flagrantly horny title; corsets don’t apply here, and even underwear proves blissfully optional. Set at a seedy roadside motel where the clientele never stops moaning, it’s a feverishly shambling erotic thriller starring three very game actors (Iago Xavier, Nataly Rocha, and Fábio Assunção) in a romantic triangle that plays like James M. Cain with sex toys—“The Postman Always Cock Rings Twice,” as it were.

10. “Emilia Pérez”

A trans-empowerment musical set against the backdrop of Mexico’s drug cartels might sound like a dubious proposition on paper, and, for the many detractors of this genre-melding big swing from the French director Jacques Audiard (“A Prophet,” “The Sisters Brothers”), what actually made it onto the screen was no better. But I was disarmed from the start by Audiard’s quasi-Almodóvarian vibes, his touchingly imperfect embrace of song-and-dance stylization, and, most of all, his three leads: the remarkable discovery Karla Sofía Gascón, a scene-stealing Selena Gomez, and a never-better Zoe Saldaña. All three (along with Adriana Paz) were recognized with the festival’s Best Actress prize, awarded collectively to the movie’s ensemble of actresses; Audiard also won the Jury Prize. (A forthcoming Netflix release.)

11. “Oh, Canada”

After a tense trilogy of dramas about male redemption through violence (“First Reformed,” “The Card Counter,” “Master Gardener”), the writer and director Paul Schrader has taken a gentler turn with an adaptation of “Foregone,” a 2021 novel by the late Russell Banks. (It’s his second Banks adaptation, after the 1997 drama “Affliction.”) In exploring the fragmented consciousness of an aging documentary filmmaker (played at different ages by Richard Gere and Jacob Elordi), Schrader bravely forsakes the narrative fastidiousness of his recent work and takes on grand themes of memory, mortality, and artistic self-reckoning, to formally ragged but sincerely moving effect.

12. “The Girl with the Needle”

This stark and terrifying black-and-white drama from the Swedish-born, Polish-based director Magnus von Horn (“Sweat”) was perhaps the competition’s bleakest entry. Set in Copenhagen immediately after the First World War, it pins us so mercilessly to the hard-bitten perspective of Karoline (an excellent Vic Carmen Sonne), a factory seamstress who becomes pregnant out of wedlock, that we scarcely notice her story shifting in a different, more sinister direction. It’s a bitterly hard-to-stomach brew of a movie, at once hideous and beautifully made, with a chilling supporting turn by Trine Dyrholm as a friend whose interventions turn out to be anything but benign.

13. “Three Kilometres to the End of the World”

The setting of this well-observed but emotionally opaque drama, from the Romanian actor turned director Emanuel Pârvu, is a small rural village where a closeted teen-age boy, Adi (Ciprian Chiujdea), is brutally beaten after being caught in an intimate moment with a male traveller. Pârvu teases out the legal, psychological, and moral fallout with the pitch-perfect performances and laserlike formal focus that have become hallmarks of new Romanian cinema. But, though the movie is persuasive enough as an indictment of small-town religious fundamentalism and homophobia, it proves curiously incurious about Adi’s perspective, to the detriment of its own human pulse.

14. “Kinds of Kindness”

After his Oscar-winning period romps “The Favourite” (2018) and “Poor Things” (2023), the Greek director Yorgos Lanthimos scales back—but goes long—with a sprawling, increasingly tedious compendium of comic cruelty. My favorite of the film’s three disconnected stories, all featuring the same actors, is the one where Jesse Plemons (the ensemble M.V.P., as the jury recognized with its Best Actor award) plays Willem Dafoe’s Manchurian candidate; my least favorite is the one where Emma Stone joins a sweat-worshipping sex cult. The one where Stone slices off her finger and cooks it for Plemons falls—much like the movie in Lanthimos’s over-all œuvre—somewhere in the middle. (A Searchlight Pictures release, opening June 21st in theatres.)

15. “Bird”

My admiration for the English filmmaker Andrea Arnold (“American Honey”) is such that I’m eager to revisit her latest rough-and-tumble coming-of-age story and find that I undervalued it. Arnold is certainly skilled at integrating recognizable actors, which in this case includes Barry Keoghan and Franz Rogowski, into her grottily realist frames, and she has an appealing lead performer in Nykiya Adams, as a twelve-year-old girl who overcomes persistent abuse and neglect. But the story may lose you—as it lost me—with a magical-realist turn that magnifies, rather than minimizes, the tortured-animal symbolism that has often dogged Arnold’s work.

16. “Beating Hearts”

An exchange of insults at a high-school bus stop provides a saucy meet-cute for a good girl (Mallory Wanecque) and a ne’er-do-well boy (Malik Frikah); so begins a raucous and endearing love story for the ages, in which the director Gilles Lellouche, with outsized glee and little discipline, merrily appropriates the conventions of classic Hollywood musicals and gangster flicks. The result is much too long at nearly three hours—the story spans several years, with Adèle Exarchopoulos and François Civil playing older versions of the two leads—but I can’t say I didn’t warm to its rambunctious cornball charm.

17. “Limonov: The Ballad”

Why make a film about Eduard Limonov, the globe-trotting Russian dissident poet and punk provocateur reviled for his pro-fascist sympathies? The filmmaker Kirill Serebrennikov never musters a satisfying answer in this muddled English-language bio-pic, despite an energetically uninhibited central performance by Ben Whishaw and a cheeky panoply of filmmaking techniques—jittery camerawork, lengthy tracking shots—meant to catch us up in the épater-la-bourgeoisie exuberance of Limonov’s revolt. Considering his earlier work, I prefer the rebel-youth vibes of “Leto” (2018) and the dazzling cinematic assaults of “Petrov’s Flu” (2021), both of which also screened in competition here.

18. “Parthenope”

Nearly every new picture from the Italian auteur Paolo Sorrentino could be reasonably called “The Great Beauty,” the title of his gorgeous 2013 cinematic tour of Rome. (It left that year’s Cannes empty-handed, but won the Oscar for Best Foreign Language Film.) His latest work remains most intriguing for its ambivalent but still sensually overpowering vision of the director’s home town, Naples, from which springs a modern-day goddess, named after Parthenope, a Siren from Greek mythology. She’s played by Celeste Dalla Porta, a great beauty indeed and an empathetic screen presence, though only fitfully does her character seem worthy of this movie’s epic enshrinement.

19. “Wild Diamond”

Another disquisition on beauty and its discontents, this time from the débuting French writer and director Agathe Riedinger. She hurls us the life and busy social-media feed of a nineteen-year-old, Liane (a terrific Malou Khebizi), who has nipped, tucked, and tailored every part of herself to realize her dream of being selected for a hot new reality-TV series. Part influencer-culture cautionary tale, part bad-girl Cinderella story, the movie glancingly suggests the soul-rotting effects of beauty worship, but it falls victim to the trap that Liane is trying to avoid: in a sea of worthy candidates, it doesn’t especially stand out.

20. “The Apprentice”

Donald Trump’s attorneys have threatened legal action to block the release of this drama about his early rise to fame and wealth under the mentorship of the attorney Roy Cohn (Jeremy Strong). It speaks to the useless proficiency of Ali Abbasi’s movie that the prospect of such censorship provokes more indifference than outrage. Shot to evoke cruddy nineteen-eighties VHS playback, the movie is well acted by Strong, Maria Bakalova as Ivana Trump, and an increasingly makeup-buried Sebastian Stan as Trump himself, depicted from the start as a sack of shit that gets progressively shittier. It’s not dismissible, but it’s hardly the stuff of revelation, either.

21. “Marcello Mio”

In this trifling meta-comedy from the French filmmaker Christophe Honoré (previously in the 2018 Cannes competition with the lovely “Sorry Angel”), the actress Chiara Mastroianni embarks on a strainedly whimsical personal odyssey to examine the legacy of her late father, the legendary Italian actor Marcello Mastroianni, and her own conflicted place therein. To that end, she spends much of this overstretched movie in “8½” and “La Dolce Vita” black-suited drag as she navigates a roundelay of industry in-jokes; among the French cinema luminaries making appearances are Fabrice Luchini, Nicole Garcia, and, most welcome, Chiara’s mother, Catherine Deneuve.

22. “The Most Precious of Cargoes”

The French director Michel Hazanavicius continues his uneven post-“The Artist” run with this animated Second World War fable, adapted from a 2019 novel by Jean-Claude Grumberg (and narrated by the late Jean-Louis Trintignant). It has an affecting opening stretch, in which a baby girl, thrown by her desperate father from an Auschwitz-bound train, is rescued and raised in secret by a woodcutter’s kindhearted wife. But when the child’s provenance is discovered, stoking local antisemitism, the movie becomes a bathetic wallow in Holocaust imagery, drowned in an Alexandre Desplat score whose every surge turned my heart increasingly to stone. ♦

[creations-by-chaosfay]

Janome America Best of Show #714 SERENITY Molly Hamilton-McNally Coto de Caza, California

AQS Best Hand Workmanship Award #409 FULLNESS Yoshiyuki Ishizaki Hyogo, Japan

BERNINA of America Best Stationary Machine Workmanship Award #113 FLORAL SYMPHONY NO. 2, Mariya Waters Victoria, Australia

Handi Quilter Best Movable Machine Workmanship Award #221 AND... (DOT, DOT DOT) Gail Stepanek & Jan Hutchison New Lenox, Illinois

AccuQuilt Best Wall Quilt Award #1423 THE LAST CALL Kestrel Michaud Melbourne, Florida

Coats & Clark Best Wall Hand Workmanship Award #1008 BLUE TONE II Aki Sakai Tokyo, Japan

Brother International Corporation Best Wall Stationary Machine Workmanship Award #1122 WETLAND ROMANCE Kathy McNeil Arlington, Washington

Janome America: Longarm Best Wall Movable Machine Workmanship Award #1318 CIRCUIT BOARD Jen Sorenson Rye, New Hampshire

Superior Threads Best Miniature Quilt Award #1611 TIMELESS Kazuyo Minami Tokushima, Japan

The Nancy Ann Sobel Award of Merit in Hand Quilting #425 WALTZ OF FLOWERS Ritsuko Uchida, Tokyo, Japan

APQS Judges' Recognition Award – Susan Cleveland #312 CONFETTI Diana S. Fox Parker, Colorado

APQS Judges' Recognition Award – Katie Pasquini Masopust #424 TULIPS Chinami Terai Chiba, Japan

APQS Judges' Recognition Award – Ricky Tims #428 KIMONO LOVERS Akiko Yoshimizu Hyogo, Japan

Rowenta Viewers’ Choice Award – Large Quilt #304 LOVE & MUSIC: THE LAST THINGS TO GO Sue Benvenutti Gulf Breeze, FL

Rowenta Viewers’ Choice Award – Small Wall Quilt #1403 TRUST Judy Ward Avant Young Harris, GA

[d-criss-news]

Renegades | Darren Criss & Helen J Shen Tackle Finding Love as a Robot

Welcome to Renegades, Gold House’s newsletter series spotlighting Asian Pacific leaders and creatives who are carving their own paths and defying stereotypes along the way. This week features Emmy and Golden Globe Award winner Darren Criss & Helen J Shen, co-stars of Broadway’s Maybe Happy Ending. Maybe Happy Ending is the offbeat and captivating story of two outcast robots near the end of their warranty who discover that even robots can be swept off their feet.

Helmed by visionary director and Tony Award winner Michael Arden, with lyrics by the internationally acclaimed duo Will Aronson and Hue Park, Maybe Happy Ending is a fresh, original musical about the small things that make any life worth living. Darren and Helen talk to us about their journeys through the world of theatre, what originally drew them to the role, and the nuances of playing robots in front of a live audience. Get tickets to Maybe Happy Ending on Broadway now!

What did you want to be when you were growing up and how does that compare to where you are now? Helen: I wanted to be a singer growing up, and now I get to sing for my job. I kind of feel like I won the lottery. Darren: I’m very fortunate that I have always known what I wanted to do. Because of that, I feel like I haven’t spent a day of my life that wasn’t working towards that. Most of my young life was very targeted to be working as a performing artist in some kind of professional space. So it wasn’t something that I fell into, it was a sight I set. And I would like to think that my younger self would be pleased! It’s exactly what we worked towards.

Your new Broadway show Maybe Happy Ending is an incredibly unique musical about two “helper” robots who fall in love in the not-so-distant future. How did you first come across the project and what pieces of this one-act musical attracted you most to the role? Helen: I was sent a request from my agents to do a self-tape of the Maybe Happy Ending material. Then after I sent it, I got a request to come in to do a chemistry read with Darren Criss. The day after the chemistry read, I found out I got the job. I was most drawn to the music initially. The lyrics were so specific and evocative, and the music beautifully supported the imagery. I was enamored and hungry to sink my teeth into the material. Darren: I’ll say the number one thing about this show, before really knowing anything about it, was Michael Arden. Michael Arden is a visionary force: I’ve been friends with him far longer than I’ve had professional relations with him because of our own personal lives. Getting the opportunity to work with him was something that I always kind of hoped would present itself as an opportunity. Jeffrey Richards is also a lead producer on this, who I did American Buffalo with and who I’m very fond of. Having those two men believe in a new project like this says something about the material itself, because both gentlemen could do anything they want. The fact that they were doing something like this, a producorial risk because it’s brand new, it’s a harder thing to put together. That actually makes my ears perk up because I go, “Wow, if these two guys want to do it then there must be something special going on.”

What was the most challenging part of playing the role of a robot that conveys human emotions in front of a live audience? Were there any new performance tips or tricks you and your co-star picked up or ideated along the way? Helen: Knowing how Claire (a model 5) functions, as opposed to her counterpart Oliver (a model 3), as well as how she interacts with her human owners, was a great starting point to understand the nuance of "robot acting", or lack thereof. What actually has become fun and challenging is maintaining some of the same line readings tonally, while still keeping the lines fresh and not going monotonous or predictable to a new audience's ear. Darren: One of the great ironies about the performance choice of this piece is that you can’t be a human being; there are a lot of really big emotions happening, but it's the one thing we can't really do. You can't emote to the level that a human being would, because that would be directly against the characterization of what we're experiencing. The only people in the room that are allowed to feel that catharsis is the audience, because the people on stage can't. So you have to reprogram your brain accordingly, everything is telegraphed on the surface, facial expressions, physicality, a lot of the things that are happening to these people, you can read on the outside, just like an animated movie.

Darren, over the course of your decorated career, you’ve performed across both the silver screen and the theater stage, having starred in television phenomena such as Glee and American Horror Story, as well as acclaimed stage productions such as How to Succeed in Business Without Really Trying and Hedwig and the Angry Inch. As a performer, have you started to form a preference for one medium over the other? Are there other performance mediums you’re eager to try next? Darren: I think it always comes down to the story and the character. Working as an actor is such a ludicrous life choice already, that getting to work at all is always the preference. To have any job at all is such a blessing. The next job is certainly never guaranteed. So just working at all to tell stories, which is something I'm so passionate. I've been lucky enough to be able to hang out in a few of the different avenues that are available for that passion. But I think just by nature of it, being my first love and experience, theater is the sort of de facto, quote, unquote, preference. But it isn't that black and white!

Helen, with a long background in the arts, having studied the piano very seriously from quite a young age, you eventually pivoted to theatre by the time you got to college and went on to act Off-Broadway last spring in the ensemble cast of Michael R. Jackson musical Teeth. What was the primary driver of that career switch for you? Helen: The main pull I felt towards theater was collaboration. I loved playing piano and loved the feeling of painting a picture, telling a story with the music, but I craved doing those things with other people. Every time I got to closing night of a musical that would only play for one weekend as a kid, I felt some kind of magic. I've been chasing that high ever since. I was really inspired by Lea Salonga, specifically in the 10th anniversary concert of Les Mis that played on PBS Great Performances every so often. Her ease and grace as Eponine became a beacon of possibility for me.

When speaking about his Broadway show Yellow Face, actor and activist Daniel Dae Kim recently said “It’s not often that we see an Asian American play on Broadway told in such a deftly skillful way.” Maybe Happy Ending was not only co-written by South Korean playwright, Hue Park, but it also debuted in South Korea under the direction of Kim Dong-yeon. As an Asian American performer, do you feel the theater world in the U.S. is making progress in terms of showcasing diverse characters, stories, and themes? Helen: I feel that we are absolutely making huge strides in the theater world to showcase diverse characters and stories. I also feel that there is still a breadth of diversity to still discover. I'm excited about the fact that Maybe Happy Ending spotlights nuanced, flawed, painfully human characters that also happen to be Asian and have Asian features. That kind of visual and physical representation is everything to me. It is not lost on me that I stand on the shoulders of countless trailblazing, talented, unbelievable Asian artists. I hope I can provide beacons of possibility for others hoping to pursue art as well. If Maybe Happy Ending can add to an ever-expanding canon of Asian American theater, we have already won a million times over. Darren: Just the fact that this is a question being asked is, I think, indicative of a more common place, more understood awareness of the importance of representation in general, across the board, for all peoples and backgrounds and stories. It's something that I think we've taken a wonderful, newly invigorated consideration of in the past 10 years, and it has directly affected the stories we tell and the people who tell them, and it's exciting. We have folks from all over the Asian diaspora, involved in the show, and it's a really cool thing to be part of that. But it's not what makes the show specifically singular and interesting: it's a wonderful ingredient, and there's such marvelous representation, but what makes the story so exquisite and enduring is its universal human themes, just like anything else. I'm excited that there is even an example of a show that was created in South Korea that can come to Broadway, which is the highest commercial form of theater that can exist in the United States. That's exciting. I've never really heard of that before. And maybe this is the beginning of a future of many shows being kind of fed through a new pipeline of Korean arts and culture.

The performing arts can be a challenging world for aspiring artists to break into. What advice might you offer to those looking to get their start? Helen: Keep pursuing your most authentic self. That journey is lifelong, and actually harder than one might think. It's easy to look sideways and compare, or look at someone's career and just try to emulate it. The feeling of "making it" is so nebulous and complicated, but the times that I have felt my sense of purpose align with my actions are when I feel like I'm pursuing my most authentic truth. The world doesn't need another fill-in-the-blank-artist, the world needs YOU. Darren: My one thing that I could say that hopefully could apply to everybody is to just open your mind to as much art as possible along the way. Especially if you're a student, you get a student ID, presumably, that's your key card to getting discounts for as much art that you'll ever get in your life. You know, watching film, seeing plays, reading plays, going to concerts, going to the symphony, hearing about some weird of. You know, type of art you've never heard of before.

What are you most excited for audience-goers to see in the show? Helen: I'm most excited for audience-goers to experience a completely new story maybe for the first time in a very long time. It's rare that Broadway embraces a new story that is not based on a book, movie, or is a revival of some sort. As the theater community, we have to champion new, original ideas, and be cheerleaders for new perspectives. I just feel proud to have a part in bringing Will Aronson and Hue Park's poignant and powerful story to new audiences. Darren: Well, if you don’t know anything about Broadway, you're in luck, because you don't need to know anything about Broadway or theater to hopefully enjoy this show. I can safely say categorically that this is unlike anything I've ever seen, and I think a lot of people coming to see it will feel the same way, and that's really exciting, because they have nothing to compare it to. They're not encumbered by previous experiences, unless they know the show very well from Korea. So that would be the one caveat to that. Other than that, this is a very new thing, and that's exciting on Broadway.

Lightning Round

Morning Routine Darren: One routine: just caffeinating, man. Helen: Coffee, gratitude journal, maybe some pilates to get the body moving, and a high protein breakfast. I love an egg or two. Soft scrambled, please. Hidden Talent Darren: I can, like, name songs very quickly, Helen: I love to crochet. Comfort Movie Darren: A comfort movie is like those rainy days when you're not leaving the house and you have free time, and you just turn on the TV, and this happened to an entire generation of people, which is why it's such a huge hit. But you just turn the TV on and it's like the beginning of Shawshank Redemption, and you're just like, “Hell, yeah, that's my day. I'm gonna watch Andy Dufresne go through this little journey.” Helen: The Chronicles of Narnia 2: Prince Caspian Favorite Song from a Musical Helen: “Arlington Hill” from Passing Strange Darren: There's too many songs. There's not one singular thing that makes my robot wiring glitch out.

[theholmwoodfoundation]

THE HOLMWOOD FOUNDATION PILOT EPISODE CAST/CREW - PART ONE

REBECCA ROOT - MADDIE TOWNSEND/MINA HARKER

Rebecca trained at Mountview Academy of Theatre Arts. Theatre credits include A Midsummer Night’s Dream at Shakespeare’s Globe, The Curious Incident of the Dog in the Night-Time for the National Theatre (UK and Ireland tour); Rathmines Road for Fishamble at the Abbey Theatre, Dublin; Trans Scripts at the Edinburgh Festival Fringe and American Repertory Theater in Cambridge, Massachusetts; The Bear / The Proposal at the Young Vic; and Hamlet at the Gielgud Theatre and Athens International Festival. TV, Film and Video Game credits include Monsieur Spade, This Is Christmas, Irvine Welsh’s Crime, Hogwarts Legacy, Horizon Forbidden West, Heartstopper, Annika, The Rising, Sex Education, The Gallery, The Queen’s Gambit, Finding Alice, Creation Stories, Last Christmas, The Sisters Brothers, Colette, The Danish Girl, Flack, The Romanoffs, Moominvalley, Hank Zipzer, Boy Meets Girl, Doctors, Casualty, The Detectives, and Keeping Up Appearances.  Radio credits include Clare In The Community, Life Lines, The Hotel, and 1977 for BBC Radio 4. Guest appearances include Woman’s Hour, Front Row, Loose Ends, Saturday Live, and A Good Read.  She plays Tania Bell in the award-winning Doctor Who: Stranded audio dramas. Rebecca has also recorded numerous documentary narrations, audiobooks, and voice-overs. Rebecca is also a voice and speech coach, holding the MA in Voice Studies from Royal Central School of Speech and Drama.

SEAN CARLSEN - JEREMY LARKIN/ JONATHAN HARKER

Born in South Wales, Seán trained at the Royal Welsh College of Music & Drama. He has worked extensively in audio drama, television, theatre and film.  Seán is perhaps best known to Doctor Who fans as Narvin in the Doctor Who audio series Gallifrey and has appeared on TV in Doctor Who - The Christmas Invasion and Torchwood. Recent TV credits include Mudtown (BBCiplayer/S4C), Dal y Mellt (Netflix), His Dark Materials (BBC1), All Creatures Great and Small (Channel 5), A Mother's Love (Channel 4) and Series 5 of Stella (Sky1).  Films include supporting leads in Boudica - Rise of the Warrior Queen, cult horror The Cleansing,  the lead in Forgotten Journeys and John Sheedy’s forthcoming film ‘Never Never Never’

SAM CLEMENS - ARTHUR JONES

Samuel Clemens trained at the Drama Centre London and is an award-winning director with over twenty years’ experience. Samuel has recently written and directed his debut feature film ‘The Waterhouse’ with Take The Shot Films & Featuristic Films and represented by Raven Banner Entertainment, which is due for release this coming year.  In addition, he has directed fourteen short films, winning awards all over the world including shorts ‘Surgery (multi-award winning), A Bad Day To Propose (Straight 8 winner 2021), Say No & Dress Rehearsal’. Samuel also directs critically acclaimed number one UK stage tours and fringe shows (Rose Theatre Kingston, Swansea Grand, Eastbourne, Yvonne Arnaud, Waterloo East Theatre) and commercials include clients JD Sports, Shell and Space NK. Samuel is also a regular producer and director for Big Finish Productions & Anderson Entertainment. He has cast, directed, produced and post supervised numerous productions of ‘Doctor Who – (BBC), The Avengers (Studio Canal), Thunderbirds, Stingray (Anderson Entertainment), Callan, Missy, Gallifrey’& Shilling & Sixpence Investigate’ and many more. Samuel has directed world class talent such as, Sir Roger Moore, Ben Miles, Tom Baker, Sylvester McCoy, Alex Kingston, Frank Skinner, Rita Ora, Rosie Huntingdon-Whiteley, Rufus Hound, David Warner, Celia Imrie, Samuel West, Youssef Kerkour, Sophie Aldred, Ian McNiece, Colin Baker, Olivia Poulet, Stephen Wight, Jade Anouka, Mimi Ndwendi, Michelle Gomez, Peter Davidson, Paul O’Grady and many more. Samuel is one of the founding members and directors at Take The Shot Films Ltd and is Head of Artistic Creation and Direction. Lastly, Samuel is a regular tutor at The London Film Academy, The Giles Foreman Centre for Acting & The Rose Youth Theatre and is a member of The Directors Guild UK. As for upcoming projects, Sam is currently in pre-production on his next feature film “On The Edge of Darkness”, which is based on his dad’s stage play “Strictly Murder”.

ATTILA PUSKAS - DRACULA

Attila Puskás is a native Hungarian Voice Actor born in Transylvania – Romania, so Romanian is in his bag of tricks too, but most of his work is done in English, in a Transatlantic Eastern European Accent, but is quite capable of Hungarian, Romanian and International Eastern European accents, plus Standard American. His voice range is Adult to Middle Aged (30-40+) due to his deep voice. Vocal styles can range from authoritive, brooding to calming and reassuring and much more. He’s most experienced in character work, like Animations and Games, but his skills encompass Commercials to Narration as well. He’s received training through classes and workshops, pushing him to the next level to achieve higher standards. Now on a journey to perfect these skills and put them to good use!

PART TWO: HERE

PART THREE: HERE

[justforbooks]

Quincy Jones, dies aged 91

Widely and wildly talented musician and industry mogul worked with Michael Jackson, Frank Sinatra, Will Smith and others

Quincy Jones, a titan of American entertainment who worked with stars from Frank Sinatra to Michael Jackson and Will Smith, has died aged 91.

Jones’ publicist, Arnold Robinson, said he died on Sunday night at his home in the Bel Air section of Los Angeles, surrounded by his family.

“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the family said in a statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”

Jones was arguably the most versatile pop cultural figure of the 20th century, perhaps best known for producing the albums Off the Wall, Thriller and Bad for Michael Jackson in the 1980s, which made the singer the biggest pop star of all time. Jones also produced music for Sinatra, Aretha Franklin, Donna Summer and many others.

He was also a successful composer of dozens of film scores, and had numerous chart hits under his own name. Jones was a bandleader in big band jazz, an arranger for jazz stars including Count Basie, and a multi-instrumentalist, most proficiently on trumpet and piano. His TV and film production company, founded in 1990, had major success with the sitcom The Fresh Prince of Bel-Air and other shows, and he continued to innovate well into his 80s, launching Qwest TV in 2017, an on-demand music TV service. Jones is third only to Beyoncé and Jay-Z for having the most Grammy award nominations of all time – 80 to their 88 each – and is the awards’ third most-garlanded winner, with 28.

Among the tributes to Jones was one from actor Michael Caine, who was born on the same day as Jones: 14 March 1933. “My celestial twin Quincy was a titan in the musical world,” Caine wrote. “He was a wonderful and unique human being, lucky to have known him.”

Playwright and actor Jeremy O Harris paid tribute to Jones’s “limitless” contributions to US culture, writing: “What couldn’t he do? Quincy Jones, literally born when the limits on how big a black boy could dream were unfathomably high, taught us that the limit does not exist.”

Jones was born in Chicago. His half-white father had been born to a Welsh slave owner and one of his female slaves, while his mother’s family were also descended from slave owners. His introduction to music came through the walls of his childhood home from a piano played by a neighbour, which he started learning aged seven, and via his mother’s singing.

His parents divorced and he moved with his father to Washington state, where Jones learned drums and a host of brass instruments in his high-school band. At 14, he started playing in a band with a 16-year-old Ray Charles in Seattle clubs, once, in 1948, backing Billie Holiday. He studied music at Seattle University, transferring east to continue in Boston, and then moved to New York after being rehired by the jazz bandleader Lionel Hampton, with whom he had toured as a high-schooler (a band for which Malcolm X was a heroin dealer when they played in Detroit).

In New York, one early gig was playing trumpet in Elvis Presley’s band for his first TV appearances, and he met the stars of the flourishing bebop movement including Charlie Parker and Miles Davis. (Years later, in 1991, Jones conducted Davis’s last performance, two months before he died.)

Jones toured Europe with Hampton, and spent much time there in the 1950s, including a period furthering his studies in Paris, where he met luminaries including Pablo Picasso, James Baldwin and Josephine Baker. At the age of 23, he also toured South America and the Middle East as Dizzy Gillespie’s musical director and arranger. He convened a crack team for his own big band, touring Europe as a way to test Free and Easy, a jazz musical, but the disastrous run left Jones, by his own admission, close to suicide and with $100,000 of debt.

He secured a job at Mercury Records and slowly paid off the debt with plenty of work as a producer and arranger for artists including Ella Fitzgerald, Dinah Washington, Peggy Lee, Sarah Vaughan and Sammy Davis Jr. He also began scoring films, his credits eventually including The Italian Job, In the Heat of the Night, The Getaway and The Color Purple. (He produced the last of these, which was nominated for 11 Oscars, three for Jones himself.) In 1968, he became the first African American to be nominated for best original song at the Oscars, for The Eyes of Love from the film Banning (alongside songwriter Bob Russell); he had seven nominations in total. For TV, he scored programmes such as The Bill Cosby Show, Ironside and Roots.

His work with Sinatra began in 1958 when he was hired to conduct and arrange for Sinatra and his band by Grace Kelly, princess consort of Monaco, for a charity event. Jones and Sinatra continued working on projects until Sinatra’s final album, LA Is My Lady, in 1984. Jones’s solo musical career took off in the late 1950s, recording albums under his own name as bandleader for jazz ensembles that included luminaries such as Charles Mingus, Art Pepper and Freddie Hubbard.

Jones once said of his time in Seattle: “When people write about the music, jazz is in this box, R&B is in this box, pop is in this box, but we did everything,” and his catholic tastes served him well as modern pop mutated out of the swing era. He produced four million-selling hits for the New York singer Lesley Gore in the mid-60s, including the US No 1 It’s My Party, and later embraced funk and disco, producing hit singles including George Benson’s Give Me the Night and Patti Austin and James Ingram’s Baby Come to Me, along with records by the band Rufus and Chaka Khan, and the Brothers Johnson. Jones also released his own funk material, scoring US Top 10 albums with Body Heat (1974) and The Dude (1981).

His biggest success in this style was his work with Michael Jackson: Thriller remains the biggest selling album of all time, while Jones’s versatility between Off the Wall and Bad allowed Jackson to metamorphose from lithe disco to ultra-synthetic funk-rock. He and Jackson (along with Lionel Richie and producer Michael Omartian) also helmed We Are the World, a successful charity single that raised funds for famine relief in Ethiopia in 1985. “I’ve lost my little brother today, and part of my soul has gone with him,” Jones said when Jackson died in 2009. In 2017, Jones’s legal team successfully argued that he was owed $9.4m in unpaid Jackson royalties, though he lost on appeal in 2020 and had to return $6.8m.

After the success of The Color Purple in 1985, he formed the film and TV production company Quincy Jones Entertainment in 1990. His biggest screen hit was the sitcom The Fresh Prince of Bel-Air, which ran for 148 episodes and launched the career of Will Smith; other shows included the LL Cool J sitcom In the House and the long-running sketch comedy show MadTV.

He also created the media company Qwest Broadcasting and in 1993, the Black music magazine Vibe in partnership with Time Inc. Throughout his career he supported numerous charities and causes, including the , National Association for the Advancement of Colored People, the Jazz Foundation of America and others, and mentored young musicians including the British multiple Grammy winner Jacob Collier.

Jones’ illustrious career was twice nearly cut short: he narrowly avoided being killed by Charles Manson’s cult in 1969, having planned to go to Sharon Tate’s house on the night of the murders there, but Jones forgot the appointment. He also survived a brain aneurysm in 1974 that prevented him from playing the trumpet again in case the exertion caused further harm.

Jones was married three times, first to his high-school girlfriend Jeri Caldwell, for nine years until 1966, fathering his daughter Jolie. In 1967, he married Ulla Andersson and had a son and daughter, divorcing in 1974 to marry actor Peggy Lipton, best known for roles in The Mod Squad and Twin Peaks. They had two daughters, including the actor Rashida Jones, before divorcing in 1989. He had two further children: Rachel, with a dancer, Carol Reynolds, and Kenya, his daughter with actor Nastassja Kinski.

He never remarried, but continued to date a string of younger women, raising eyebrows with his year-long partnership with 19-year-old Egyptian designer Heba Elawadi when he was 73. He has also claimed to have dated Ivanka Trump and Juliette Gréco. He is survived by his seven children.

Other artists paying tribute included LL Cool J, who wrote: “You were a father and example at a time when I truly needed a father and example. Mentor. Role model. King. You gave me opportunities and shared wisdom. Music would not be music without you.” Femi Koleoso, bandleader with Mercury prize-winning jazz group Ezra Collective, called Jones a “masterful musician and beautiful soul”.

Daily inspiration. Discover more photos at Just for Books…?

[dweemeister]

Instant reactions to the 96th Academy Awards

A rough night for me. But there have been rougher ones before. I imagine most of my comments put me in a very lonely minority, as has been apparent the last few months.

But here goes:

For all intents and purposes, yours truly was on the Killers of the Flower Moon train. An extraordinary crime epic from Scorsese, with astounding craftsmanship and fantastic performance from Lily Gladstone. More than what I previously believed possible, a major studio production went out of its way to make sure that its Indigenous American representation on-screen was as genuine as it could possibly be (still imperfect, as the film acknowledges, but what an effort). And yet, KOTFM goes 0/10. I've never had a favored Best Picture nominee be shut out in such a way before. And I'm not surprised at all by it. It was clear that non-American and non-Canadian audiences didn't get the context to the film (a criticism I understand, given the screenplay) and, in other quarters, folks thought it was too long (I admittedly have a higher tolerance for longer movies) and others have said something akin to the fact that they are getting tired over "racial guilt" movies from America. I'm not in the mood to respond to the last one. I think it deserved better tonight. I particularly think Lily Gladstone deserved better tonight.

Stat upheld: two non-white actresses have never won on the same night in Oscar history. History, in and of itself, was always against Gladstone.

Oppenheimer winning? Fine, I guess. It was my #4 choice of the ten Best Picture nominees. I guess Christopher Nolan was overdue, but I have always been a Nolan skeptic. The film certainly is his most humanistic, and I appreciate that. As for the narrative organization and editing trickery? It mostly serves to take me out of the movie. And I don't think Nolan truly understands what thematic film music can accomplish for his movies. I think RDJ should have had much more competition all season long, but he did not. Most people are gonna say this is the return of the Academy's favorite subgenre... the Great Man Biopic. But in composition and structure, Oppenheimer (and even Maestro) resembles very little of the past Great Man Biopics. It'll be interesting to see how history treats this movie.

I disliked Poor Things. I didn't care for its sense of humor, didn't agree with many folks' opinions that it was a magnum opus of female empowerment. I thought it was incredibly male gaze-y and troublingly sanitized its scenes of sex work. Jerskin Fendrix's score was unlistenable outside the context of the film and distracting within it. But it has four Academy Awards and people love this movie, so my opinion can go to heck?

Well done Da'Vine Joy Randolph for her win as Supporting Actress for The Holdovers. I truly hope this opens up a lot more new opportunities for her going for! Wonderful speech.

And speaking of wonderful speeches, both documentary winners got me very emotional. The Last Repair Shop is on YouTube for American and Canadian viewers, and it's simply wonderful. Perhaps the happiest I was all night long! And then came Mstyslav Chernov's speech after winning for 20 Days in Mariupol. Chernov had, arguably, the speech of the night. And I agree with him. I, too, wish he never had to make his film and that he never won this Oscar. But he did his job to document what happened in Mariupol. And for that he (and the Ukrainians suffering and dying in their war versus Russia) deserves our plaudits and support.

Once more, Hayao Miyazaki cannot be bothered to show up to an awards ceremony. It's hilarious! I would have voted Robot Dreams, but The Boy and the Heron is not a winner to sniff at. Spider-Verse will have one more shot.... whenever the third movie comes out?

Good lord, they selected the worst possible winner in Animated Short with War Is Over!. There's an unwritten rule that the Academy, among the fifteen nominated shorts, must select one which will piss me the hell off. And for the second straight year in Animated Short, they have done exactly that, choosing something akin to a soft drink commercial.

Billie Eilish and Finneas are now the youngest and second-youngest ever to win two Oscars, after Luise Rainer (Best Actress for 1936's The Great Ziegfeld and 1937's The Good Earth). That feels very, very weird. In both cases of this record.

The "I'm Just Ken" performance? Gentlemen Prefer Blondes (Like Ken)??? Busby Berkeley choreography? What do the kids say? Inject that straight into my veins? It was wonderful.

And speaking of nods to cinema history, I'm so glad they led off the stunt performers tribute with Charlie Chaplin, Buster Keaton, and Harold Lloyd. :,)

And congratulations to Godzilla Minus One and its Best Visual Effects win! After seventy years, Godzilla is now an Oscar-winning franchise, and its win percentage is 100%! Simply wonderful!

I think the moral of the story is that the Academy of Motion Picture Arts and Sciences (AMPAS) has been gradually internationalizing over the last decade. And the results of that were very clear tonight. Does that mean I'm too provincial in my tastes? I don't know. But wins such as Emma Stone's, Anatomy of a Fall, The Boy and the Heron, and Godzilla are demonstrative of that.

I'm glad this season is over. I certainly hope that Killers of the Flower Moon will be looked upon more kindly by history and time, without the bells and whistles of awards campaigning and a fuller understanding of why it was made the way it was.

This month has been fun! But now it's time to see movies again without the lens of awards for a long, long while.

[doyoulikethissong-poll]

Mark Ronson featuring Bruno Mars - Uptown Funk 2014

"Uptown Funk" is a song by British record producer Mark Ronson featuring American singer Bruno Mars. It was released on 10 November 2014, as the lead single from Ronson's fourth studio album, Uptown Special (2015). "Uptown Funk" was written by Ronson, Mars, Jeff Bhasker, and Philip Lawrence; it was produced by the aforementioned first three. The song began during a freestyle studio session while they worked on a jam Mars and his band had been playing on tour. Copyright controversies arose after the song's release resulting in multiple lawsuits and amendments to its songwriting credits. The song is a funk-pop, soul, boogie, disco-pop, and Minneapolis sound track. It has a spirit akin to the 1980s-era funk music. Its lyrics address fashion, self-love and "traditional masculine bravado", performed in a sing-rapping style filled with metaphors, arrogance, charisma, and fun. Upon its release, the single received generally positive reviews from critics, who praised the instrumental, style and influences of the track. Others criticized it for not being innovative as it tried to emulate 1980s funk music.

"Uptown Funk" topped the charts of 19 countries and reached the top 10 of 15 others, making it the most successful single of Ronson and Mars to date. In the US, "Uptown Funk" topped the Billboard Hot 100 for 14 consecutive weeks and spent seven weeks on the top of the UK Singles Chart. It was certified 11 times platinum by the Recording Industry Association of America (RIAA) and six times platinum by the British Phonographic Industry (BPI). The song spent 11 weeks in the number one position in France, 6 weeks as number one in Australia, and 9 consecutive weeks as number one in New Zealand. It also broke its own streaming record three times in the UK, while breaking the streaming record in the US and Worldwide at that time. As of January 2023, the official music video for "Uptown Funk" was the ninth most viewed Youtube video of all-time, having received over 5.2 billion views.

In 2015, the song won British Single of the Year at the Brit Awards, Best Pop at MelOn Music Awards and was one of the Top 10 Gold International Gold Songs at RTHK International Pop Poll Awards. The track also won BMI Pop Song of the Year at the BMI Awards, Song of the Year at Telehit Awards and Song of the Year at Soul Train Music Awards. In 2016, "Uptown Funk" received Grammy awards for Record of the Year and Best Pop Duo/Group Performance at the 58th Grammy Awards. It also won International Work of the Year at the APRA Music Awards, Best Collaboration at the iHeartRadio Music Awards, while it was nominated for Song of the Year. "Uptown Funk " was inducted to the 2017 edition of the Guinness World Records for achieving the most weeks at number one on Billboard's Digital Song Sales chart. In 2017, the track was one of the winners of Most Performed Songs at the ASCAP Pop Music Awards. "Uptown Funk" is the fifth biggest song of all-time to have charted on the Billboard Hot 100.

"Uptown Funk" received a total of 84,5% yes votes!