Foamy, fun or fragrant: gorgeous bath treats to suit all tastes. An arduous month’s testing of bath foams, oils and powders means that whoever’s on your Christmas list, I have them covered
Have You Heard George’s Podcast? You should, for it is remarkable. George the Poet’s podcast is an exercise in unique and kinetic storytelling
That Old Country Music by Kevin Barry – beautifully pitched short storiesThemes of love and loneliness, doom and desire are explored in a richly comic collection from an Irish maestro
‘Women feel they have no option but to give birth alone’: the rise of freebirthingAs Covid infections rose, hospital felt like an increasingly dangerous place to have a baby. But is labouring without midwives or doctors the answer?
What links line, bar, pie, scatter and spider? The Weekend quizFrom Carmen to cricket, test your knowledge with the Weekend quiz
Fit in my 40s: can Instagram influencers motivate me to move?There is something powerful about seeing a squat, or a bicep curl, performed by someone whose musculature is beyond perfect
Pamela Tiffin, star of the 1962 remake of “State Fair” who enjoyed major success in the 1960s in both the U.S. and Italy before retiring from acting in 1974, died Friday of natural causes. She was 78.According to The Hollywood Reporter, Tiffin was hospitalized at the time of her death.Born Pamela Tiffin Wonso in Oklahoma City in 1942 but raised in Chicago, Tiffin began a public career as a teen model in the late 1950s. Her film career began during a trip to Los Angeles in 1961 when, while visiting the Paramount lot, she was spotted by powerhouse producer Hal B. Wallis and given a screen test.Also Read: Whitney Collings, 'Bad Girls Club' Star, Dies at 33Very quickly she saw success as a burgeoning movie star, landing as her second film role one of the leads in Billy Wilder’s 1961 cold war comedy “One, Two, Three.” She followed that up by landing the lead role of Margy Frake in the 1962 remake of “State Fair.” Other credits from this period include “Come Fly with Me” (1963), “The Pleasure Seekers” (1964), and “The Hallelujah Trail” (1965), as well as an appearance on “The Fugitive.”Tiffin moved to Italy in 1967 and over the next several years starred in a series of successful films including “Torture Me But Kill Me with Kisses,” while occasionally returning to the United States to work. She retired from acting entirely in 1974 after marrying her second husband, Edmondo Danon. The couple had two daughters. Danon and their children survive her.la Repubblica first reported the news.Read original story Pamela Tiffin, ‘State Fair’ and ‘One, Two, Three’ Actress, Dies at 78 At TheWrap
Ian Rankin to complete William McIlvanney’s final novel The Dark RemainsDue out next year, the novel will see the Rebus creator fill out notes for another Laidlaw mystery left by the revered Scottish crime writer on his death in 2015
Tim Dowling: I've recorded a Christmas song for charity. What could go wrong?. I’m picking up dog poo on a golf course for a charity video. There must be someone to blame
With spas and beauty counters shut, Elemis ramped up its digital offer, kept its customers close and forged closer ties with partners Amazon and The Hut Group.
Tucker Carlson isn’t a fan of diversity, so it’s not surprising that he would complain about the more-diverse-than-usual makeup of Joe Biden’s cabinet picks. On Friday night, Tucker delivered an angry screed complaining about how Biden has picked five people of color for his cabinet, and five women, and compared such attempts at inclusiveness to “the Antebellum South” and “the ancient caste systems of India.”“This is called identity politics. It is the most divisive possible way to run a government. No wise country allows identity politics,” Tucker complained, though he never explained how the government could forcibly stop anyone to stop caring about having diverse groups of people represented in leadership positions.“In identity politics, there is no such thing as the common good.”Also Read: Tucker Carlson Freaks Out Over Biden's 'Woke' Cabinet Picks (Video)Tucker is distorting the topic here. In reality, identity politics — on the left, anyway — is about supporting groups that federal and local governments, businesses and other organizations have traditionally disadvantaged. Those disadvantages certainly never went away. In the present, to cite one example with readily available data, women still make significantly less money on average than men, and Black workers make significantly less money than white workers. Leftist identity politics attempts to address those sorts of blatant inequalities.Tucker, however, does not like that idea.“Not all people who look alike are alike. Stereotypes are bad, remember? In this country appearance is not everything. In America, you are more than your ethnicity. Life here is not determined by your DNA. That was the promise anyway. And for a time, roughly from the end of the civil rights movement to the beginning of Barack Obama’s first term, that seemed to be working fairly well,” Tucker said, indicating he thinks that America had solved racism until it elected its first Black president.Also Read: Tucker Carlson Cites His UFO Obsession as Proof He's 'Open Minded' (Video)But he was just getting warmed up with that rhetoric.“We all agreed to try to drop the stereotypes and try to judge people for what they do, not on how they were born, but no longer. We’ve got new rules now, rules that in fact are very old rules. They stretch back to the Antebellum South and all the way to the ancient caste systems of India. According to these rules, Joe Biden’s rules, your place in society is determined by your birth. Certain groups get benefits, other groups get punishments. It’s as simple and as primitive as that,” Tucker whined.That last bit is particularly egregious, since it was conservatives who maintained the role of slavery in the South before the Civil War, not leftists — and Tucker Carlson is certainly on the conservative end of the political spectrum. Attempts to bring the living standards of marginalized peoples up to that of people who were born into relative privilege is, in fact, the opposite of what Southern states were doing before the war with chattel slavery.Also Read: Tucker Carlson: America Is 'the Nicest Country in the World' Because 'We Don't Eat Dogs' (Video)You can watch the quoted rant from Friday’s episode of “Tucker Carlson Tonight” on Fox News in the video embedded up at the top of this article.Read original story Tucker Carlson Compares Leftist Identity Politics to ‘Antebellum South’ (Video) At TheWrap
“Vanderpump Rules” has parted ways with stars Jax Taylor and Brittany Cartwright.Taylor, one of the show’s original stars and its most controversial cast member, announced in an Instagram post on Friday that he and his new wife would not be returning for a 9th season of the Bravo reality series.“The last 8 years on ‘Vanderpump Rules’ have been some of the most challenging, rewarding and fulfilling years of my life,” he wrote. “Although this is difficult to share, Brittany and I will not be returning for another season of Vanderpump Rules. We are excited to take this time to focus on our growing family and share with you our new endeavors.”Taylor thanked Bravo, his castmates and producers Evolution, telling fans to “stay tuned” for his next steps.Also Read: Stassi Schroeder, Kristen Doute Fired From 'Vanderpump Rules' After Racist Posts ResurfaceEarlier this summer, “Vanderpump Rules” axed two of its main stars, Stassi Schroeder and Kristen Doute, after racist posts resurfaced of them reporting a black castmate to police for a crime she did not commit. At the time, fans also called out Taylor for having made similar statements about the same cast member, Faith Stowers.Originally a spinoff of “Real Housewives of Beverly Hills” centered around star Lisa Vanderpump and the employees of her portfolio of restaurants, “Vanderpump Rules” has since evolved into a hit franchise in its own right, with cast members like Schroeder and Taylor emerging as breakout stars. The most recent season centered around the planning of Taylor and Cartwright’s wedding and was criticized by fans and critics alike as a series in need of a cast shakeup.Since the conclusion of Season 8 back in June, “Vanderpump Rules” has dropped a total of six full-time or recurring cast members: Taylor, Cartwright, Schroeder and Doute, as well as Max Boyens and Brett Caprioni. View this post on Instagram A post shared by Jax (@mrjaxtaylor)Read original story Jax Taylor, Brittany Cartwright Depart ‘Vanderpump Rules’ At TheWrap
David Sheehan, a veteran Los Angeles entertainment journalist and broadcaster, whose legendary career spanned across four decades, has died. He was 82.According to the Los Angeles Times, Sheehan had been battling cancer for years and passed awat on Tuesday at UCLA Ronald Reagan Medical Center from complications of a stroke he suffered last week.Coined the “Dean of Hollywood Entertainment Reporters,” Sheehan was a founding member of the Broadcast Film Critics Association (now Critics Choice Association).Sheehan started his career and broke ground as the first entertainment interviewer and reviewer on Los Angeles television when he joined CBS in 1970. Sheehan would work there for 14 years, and then spent a decade working at NBC. During his stint at NBC, Sheehan both produced and hosted a series of syndicated network entertainment specials including “Macho Men at the Movies” and “Hollywood’s Leading Ladies.” Sheehan would return to CBS for another 10-year stint from 1994 to 2004.“He interviewed EVERYONE and became such a fixture that he enjoyed decades-long relationships with many of Hollywood’s biggest stars,” the Critics Choice Association says in a statement to TheWrap. “His popular interview compilation specials were syndicated from coast to coast, making him among the most successful and most widely known of our members.”David Sheehan is survived by his children, Brian, Shannon, Kelly, and a grandchild.Read original story David Sheehan, Veteran LA Entertainment Journalist and Broadcaster, Dies at 82 At TheWrap
Magic Castle, the exclusive club for magicians in Los Angeles, is facing accusations of sexual assault, harassment, discrimination and racism leveled against its management, members and performers.As detailed in an extensive report from the Los Angeles Times on Friday, former employees said they reported instances of sexual harassment and assault to Magic Castle managers, who they said did nothing in response and later retaliated against them for speaking up.Randy Sinnott Jr., the president of the organization’s board of directors, told The Times in a statement, “The Academy of Magical Arts and its Board work to provide a safe and welcoming environment and experience. All claims brought to the attention of the Board or management are treated seriously and professionally.”Also Read: MGM Board Chair Kevin Ulrich Accused of Sexual Assault in Since-Dismissed LawsuitAccording to the Times, the academy was sued four times between 2011-2019 by former employees for allegedly violating the Fair Employment and Housing Act. One of those ex-employees is Stephanie Carpentieri, a former waitress at the Castle, who claimed in a 2019 lawsuit that she was sexually assaulted by a busboy while at work, and also faced verbal and physical abuse from a dining room manager. She told the Times that her supervisors never took action, and said she was fired in retaliation. The academy, the busboy and Carpentieri’s boss all denied her allegations. Her case is set to go to trial in August 2021.Carpentieri told the Times, “I do have hope that shining a light on this stuff will make a change, because the Magic Castle … should not be tarnished by this atmosphere of violence and harassment.”In another case, a former bartender, Terry Lee Lamair, said the Castle ignored complaints that a co-worker had sexually harassed her. She told the Times that instead of doing anything to stop the abuse, a supervisor joined in by repeatedly referring to her vagina as the “Grand Canyon.” Lamair sued the Castle in 2013.Also Read: Harvey Weinstein Sued by Miriam Haley for Sexual AssaultCarpentieri said the culture at the Castle is one of “not believing women” — a sentiment echoed by magician Chris Hannibal, who told the Times he’s seen female guests treated like “prey or props” while volunteering to participate in live shows. One guest, Andrea Kemp, recalled to The Times that during a 2018 visit to the Castle, a magician named Charles Chavez “invaded” her personal space against her repeated objections and asked her to rub a card against her breasts. Chavez was later stripped of his membership and banned from the castle.The Times also spoke to former Black employees of the Castle who said racial slurs were regularly used by white staffers. One former cook, Brian Turner, told The Times, “It was a whole lot of N-bombs being dropped all day, every day. It was very uncomfortable.”In a June 5 Facebook post, the Castle’s board of directors addressed concerns about how it handles issued related to race, writing, “We admit our own past shortcomings in this area. We will work steadfastly for a more diverse and inclusive club in our membership, our performers, our staff, and our outreach.”Also Read: 3 Years After MeToo, Two-Thirds of Women Experience Harassment in Hollywood, Anita Hill-Led Survey FindsIt was additional dialogue on Facebook over the summer, the Times reports, that ultimately pushed the academy’s board of directors to launch an investigation into “alleged inappropriate workplace conduct.” On Oct. 14, the board shared a statement saying that its findings “were serious and broad-spanning, covering management, culture, human resources, operational systems and processes and the need for systemic change.” Sinnott said that the organization is working with a management consulting firm to implement new changes “over the coming months,” though it’s unclear what exactly those changes will entail.Meanwhile, the Magic Castle has been temporarily shuttered because of the COVID-19 pandemic. According to the Times, since its closure in March, the Castle has laid off about 95% of its staff, or 189 people, and has reported losses topping $300,000. No reopening date has been set.Read original story Magic Castle Embroiled in Accusations of Sexual Assault and Discrimination At TheWrap
It’s 1927, and we are inside a Chicago recording studio. A blues singer and her band banter about the music business and its inherent lack of equality.It’s 1964, and we are in Miami, where Malcolm X, Sam Cooke, Jim Brown and Cassius Clay (as he was known for one more day) discuss their roles in society.It’s semi-present day and we’re in a small town in Indiana, where a high school prom is upended by a non-straight pair. Stage performers show up to save the day.Three films are arriving this month — “Ma Rainey’s Black Bottom,” starring Viola Davis and the late Chadwick Boseman, “One Night in Miami,” directed by Regina King, and “The Prom,” directed by Ryan Murphy, starring Nicole Kidman, Meryl Streep and James Corden — that are all are adaptations of plays. This used to happen all the time but not so much anymore.Also Read: How Ryan Murphy Got Meryl Streep to 'The Prom' - and Then Got Her to RapUntil now. With movie theatres virtually empty, potential blockbusters busting, and uh, that COVID thing keeping us inside, viewers are seeking less noise and more intimate material. The kind that often emanates from the stage. “Hollywood got enamored of superheroes, but I think people like great stories, that are not just action, but human,” says actor/director/writer Ruben Santiago-Hudson, who adapted “Ma Rainey.” “They are craving ones that fit this time and space, when we are at our most volatile and most vulnerable.”Viola Davis in “Ma Rainey’s Black Bottom” (Photo credit: David Lee/Netflix)Santiago-Hudson had the daunting task of adapting the words of August Wilson. Fortunately, he had a close two-decade friendship with the late great playwright. “I wanted to honor him as a friend and mentor,” he says. “The story is absolutely intact, but it unfolds cinematically. We can come in close on faces and go outside when need be.”“The limitations that you face when you’re on the stage, simply don’t exist when you’re doing a film,” echoes Chad Beguelin, who wrote the book and lyrics for “The Prom,” which was nominated for seven Tony Awards in 2019. “A song on Broadway might take place in one or maybe two locations, tops. In a movie, that song can flow to as many varied settings as the author and director can dream up.”Also Read: 'Ma Rainey's Black Bottom' Film Review: Chadwick Boseman and Viola Davis Lead an Explosive Cast in Stagey AdaptationAbout seven years ago, writer Kemp Powers read that Sam Cooke, Malcolm X, Cassius Clay and Jim Brown once spent a long night together, after a Clay-Liston fight. He first thought about writing a book, then decided to do it as a play, which premiered in Los Angeles. And now the movie. “It was a challenge in having to rethink it all: when they walk in that room, when they walk out 88 minutes later,” Powers says of “One Night In Miami.” “Whenever you adapt a play, it means killing your babies, some of the things that worked best in a live theater.” Regina King, making her directing debut on the project, has said, “It was all there on Brother Kemp’s page.”Then there is the resonance factor. “Ma Rainey’s” and “Miami,” while period pieces, are catching the Black Lives Matter tempest. “It always feels like the right moment, which is a bit depressing,” says Powers. “It’s taken people dying in the streets to make people pay attention,” adds Santiago-Hudson, “but better now than never.” “The Prom,” albeit lighter in tone, deals with homophobia, also still alive and well out there.For decades, prominent stage plays — particularly musicals — were regularly adapted for family movie outings. But when the issue-laden mid-’60s arrived, movies like “Paint Your Wagon” and “On A Clear Day You Can See Forever” felt laughingly irrelevant. And with occasional exceptions, (“Chicago,” “Mama Mia”) it’s pretty much remained that way. Even non-musicals stalled. It’s difficult to imagine “Driving Miss Daisy,” “The Odd Couple,” “Amadeus,” “Frost/Nixon,” or “Who’s Afraid of Virginia Woolf” finding financing, let alone a place at the multiplex today.Interestingly, the pre-pandemic trend was going the other way, as in screen to stage: “Waitress,” “Groundhog Day,” “Mean Girls,” “Pretty Woman,” “Tootsie,” “Moulin Rouge,” “The Color Purple,” “Honeymoon in Vegas” and “Network” all hit Broadway, with mixed results. Aaron Sorkin’s “To Kill A Mockingbird” has proved the biggest winner. At least since Mel Brooks realized Hitler was funnier when he sang.Lin-Manuel Miranda and Leslie Odom Jr. in “Hamilton” (Photo credit: Disney+)In the meantime, the networks keep stepping up. Lin Manuel Miranda’s “Hamilton,” of course, has become a monster hit for Disney+. Spike Lee directed a filmed version of David Byrne’s Broadway show, “American Utopia,” for HBO Max. PBS is airing Broadway musicals and Netflix will soon offer the new one about Princess Diana — who is having a moment of her own — that was scheduled for a spring Broadway opening. Ryan Murphy produced a filmed version of Broadway’s last revival of “Boys In the Band,” airing on Netflix.Also Read: 'The Prom' Film Review: Ryan Murphy Revisits a Midwest High School for a Musical Lesson in ToleranceAll are hoping for that ultimate silver lining. “I think one of the exciting things about so many stage productions being translated to film is that it will hopefully inspire people to return to live theater once the pandemic is over,” says Beguelin.This may also prove fortuitous for all those writers of unpublished plays that may be ready for their closeups. Arguably the most famous was called “Everybody Comes To Rick’s.” The 1941 play was never produced, but Warner Brothers bought, and transformed it, into a little picture called “Casablanca.”Read original story Three Stage Adaptations Bring Intimate Stories to Screen — And Hopes for a Return to Live Theater (Guest Blog) At TheWrap
Universal Filmed Entertainment Group (UFEG) SVP of Global Communications Jenny Tartikoff will depart the studio at the end of the year to pursue other leadership opportunities in the media and entertainment space.Tartikoff was appointed to the role in 2016 and was responsible for executive communications, managing filmmaker relationships, crisis communications, events and executive communications, and guiding day-to-day studio strategy. She played an integral role in the integration of Dreamworks Animation following the 2016 acquisitions and in harnessing the studios’ reputation in the DEI (diversity, equity and inclusion) space with the launch of GTDI and other culture-driven initiatives. She first reported to Teri Everett and then Cindy Gardner, EVP of Global Communications for UFEG.Previously, Tartikoff worked at the New York-based strategic communications company Rubenstein, where her clients included Paramount Pictures, HBO, the New York Post and Sony Corporation of America. Before joining Rubenstein in 2010, she spent more than six years working for NBC News Communications, serving as a spokesperson for “Meet the Press,” “Dateline,” “Tom Brokaw Reports,” Peacock Productions and Prime Time news specials.Also Read: Universal Hires Jenny Tartikoff, Angela Emery as Communications ExecutivesTartikoff began her career as a press manager at CBS News, overseeing communications for “The Early Show” with Bryant Gumbel. Tartikoff received her Bachelor’s Degree from the University of Michigan in Psychology.Other high-level executives have left their positions in Hollywood during the pandemic: Blair Rich, Warner Bros.’ powerful head of worldwide marketing, announced her departure earlier this month after 23 years at the studio; IFC Films Co-President Lisa Schwartz announced last week she was exiting at year’s end after a similarly lengthy tenure; Libby Geist and Connor Schell, two of ESPN’s most senior documentary programming executives, are leaving, with Schell planning to launch his own production company; AMC Networks President Sarah Barnett exited in July, after an 11-year run; and on Monday, Walt Disney Television CFO and President of Business Operations Ravi Ajuha left to “seek a new adventure.”Read original story Universal SVP Global Communications Jenny Tartikoff to Depart Studio (Exclusive) At TheWrap
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Black List writer Cat Vasko will write a female-centric version of “Plastic Man” for Warner Bros. and DC Films, according to an individual with knowledge of the project.Amanda Idoko wrote the previous draft of the script which was meant to be a comedic action-adventure script. Although still in the earliest stages of development, Vasko will take the project in a new direction with a female lead.“Plastic Man” was created by cartoonist Jack Cole for Quality Comics in 1941 and was later acquired by DC Comics. The character’s true identity is Patrick “Eel” O’Brian and the character was one of the first superheroes to incorporate humor into mainstream action storytelling.Also Read: Warner Bros and DC to Develop 'Plastic Man' Movie“Plastic Man” has been published in several solo series and has interacted with other DC superheroes such as Batman. He was even a member of the Justice League at one point.Former New Line co-founder Bob Shaye will executive produce. DC President Walter Hamada and Chantal Nong are overseeing for the studio.Vasko has adapted “Queen of The Air,” about trapeze artist Lillian Leitzel which has Margot Robbie attached to star. Vasko also has an untitled fairy tale project set up at Disney+ which has Olivia Cooke and LaKeith Stanfield attached to star.Vasko is repped by Grandview and Hansen Jacobson.The Hollywood Reporter first reported the news.Read original story Cat Vasko to Write Female-Centric ‘Plastic Man’ Movie for Warner Bros At TheWrap
The Emmys have merged the Outstanding Variety Talk Series and Outstanding Variety Sketch Series into a single category, Outstanding Variety Series, the Television Academy announced on Friday.The two categories were separated in 2015, with “Saturday Night Live” winning four of the next six Outstanding Variety Sketch Series Emmys while “Last Week Tonight With John Oliver” had five straight Outstanding Variety Talk Series wins. Those two Emmy favorites will now compete against each other in the merged category.That change was part of a number of 2021 rule changes announced by the TV Academy, which has also merged short-form categories, put anthology series into the Limited Series category and added a category that will recognize individual stuntmen and women.Another change recognizes that the pandemic has resulted in the Oscars changing their rules to allow movies to qualify even if they premiere on a streaming platform. In an attempt to draw a line between theatrical and television movies, it classifies any film placed on the Oscars’ members-only viewing platform as a theatrical movie, disqualifying it from Emmy consideration.Also Read: Daytime, Sports and News Emmys to Remain Virtual for 2021From the Television Academy press release:Variety Talk and Variety Sketch Series merged into one category: Outstanding Variety SeriesVariety Talk and Variety Sketch Series were previously awarded in one category until they were split in 2015. The categories have been recombined into one category for Outstanding Variety Series.Categories for individual achievements in Variety Series will continue to include both Variety Talk and Variety Sketch Series.Short Form Comedy/Drama Series and Short Form Variety Series merged into one category: Outstanding Short Form Comedy, Drama or Variety SeriesThe two short form program categories, both of which include scripted programming, have been combined into one category for Outstanding Short Form Comedy, Drama or Variety Series.Anthology Series eligibility moved to Limited Series, creating new Outstanding Limited or Anthology Series categoryAnthology series will now enter the Emmy competition with Limited Series, resulting in a new category–Outstanding Limited or Anthology Series. This will align storytelling formats throughout the competition. Individual achievements will compete in the relevant categories as defined by the program category.Previously, an anthology series could enter the competition in either the Comedy or Drama Series categories; or entrants could break up the series into individually entered, stand-alone movies.New category: Outstanding Stunt Performance by an Individual or Team in a Drama, Comedy, Limited Series or MovieThis new award will recognize stunt performers themselves; previously, there have only been stunt coordination categories. The award will acknowledge actual stunt artists whose performances across the global television medium are integral to storytelling each season. Team entries will be capped at four entrants.Additional items and clarifications include:To clarify the distinction between theatrical motion pictures and television movies during the ongoing pandemic, any non-documentary film placed on the AMPAS viewing platform for Oscar consideration will be deemed a theatrical motion picture and thus ineligible for the Emmy competition.Additionally, the previously announced rule will apply: Effective in 2021, any programs that have been nominated for an Oscar are no longer eligible to enter the Primetime Emmy Awards competition.In regard to Children’s Programming, as previously confirmed on Nov. 2, the Television Academy and the National Academy of Television Arts & Sciences have agreed to migrate all potential Children’s Programming entries previously submitted in the Primetime Emmys to the Daytime Emmys. In addition, Children’s Animated Programs, which target an audience aged 6-12, will also migrate to the Daytime Emmy competition.As the majority of Children’s Programming categories have historically been awarded in the Daytime Emmys, the decision eliminates confusion and streamlines the submissions process.Daytime Programming, Children’s Programming and Animation peer groups will continue to vote on excellence in children’s programming for the National Academy of Television Arts & Sciences’ Daytime Emmys.Additional changes or clarifications were approved that maintain the integrity of the Emmy Awards in many Creative Arts categories, by further defining eligibility and qualifications, refining the submissions processes and requiring added pre-entry vetting. In some cases, existing categories have been combined or streamlined. The complete list of awards changes for the 73rd Emmy Awards can be found at Emmys.com/rules/changes.Read original story Emmys Merge Variety Categories As Part of 2021 Rule Changes At TheWrap