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The Guardian
‘Her eyes stay shut. She doesn’t respond. But nothing feels real until I tell her’: visiting my mother’s care home after a year
‘Her eyes stay shut. She doesn’t respond. But nothing feels real until I tell her’: visiting my mother’s care home after a year For the past year, the pandemic stopped novelist Katherine Heiny from seeing her mother. Now that she can, where will she start? ‘I have a year’s worth of things to tell her.’ Illustration: Giulia Neri/The Guardian
12 minutes ago
The Guardian
Blind date: ‘How did the call end? I needed to feed the cats’
Blind date: ‘How did the call end? I needed to feed the cats’Claire, 33, global regulatory affairs, meets Chris, 33, senior statistician Claire and Chris: ‘It was nice that he was wearing a shirt.’ Photographs: Alicia Canter/The Guardian Photograph: Alicia Canter/The Guardian
12 minutes ago
The Guardian
Tim Dowling: is the monster in the mirror how people see me?
Tim Dowling: is the monster in the mirror how people see me?‘Why are you looking in that mirror?’ my wife says. ‘Never look in that mirror’ ‘It is, by some margin, the most unflattering mirror.’ Photograph: Irantzu Arbaizagoitia Photography/Getty Images
12 minutes ago
The Wrap
Amazon’s ‘Them': We Have to Talk About That ‘Cat in a Bag’ Scene
(Below are details spoilers for “Covenant I,” the fifth episode of the horror series “Them” on Amazon) Halfway through the first season of Amazon Prime Video’s “Them,” we finally start to get some answers about what’s really going on in this story. That’s because this episode is all flashbacks exploring, essentially, how the Emory family ended up where they are. We start with a pretty lengthy rundown on redlining and other methods of housing discrimination — and see how the deal they made on their house in East Compton is hugely predatory. And we also get the story of why the Emorys moved to California thanks to the horrifying “cat in a bag” scene. It’s not, uh, a fun story. We saw a little bit of these scene at the very beginning of “Them,” but we didn’t see how it played out then. Unfortunately, we do get to see it in this episode. Lucky (Deborah Ayorinde) is at home in North Carolina alone with Chester, the Emorys’ new baby boy — since Chester isn’t seen on “Them” before this moment, the dread is very real — while Henry and the girls are at a movie. Then an older white woman wanders up singing a creepy old song. The woman (Dale Dickey) pets the Emorys’ dog, Sergeant, and is generally just acting like she just randomly wandered over to say hello. Also Read: Is the Amazon Series 'Them' Based on a True Story? But then we hear Chester begin to cry from inside the house. And the woman tells Lucky that she wants to take him home with her. Lucky isn’t into that, of course. But the woman won’t take no for an answer. She comes back with two burly white country boys, and they menace Lucky and Chester while Lucky tries to hide. But they do manage to find the both of them, and things go very, very badly from there. One of the men rapes Lucky, and at the same time the white woman has tossed Chester into a pillowcase and plays a game she calls “Cat in a Bag.” This “game” consists of swinging the bag around wildly and tossing it around the room — with baby Chester inside. This scene feels like it goes on forever, with the woman chanting “cat in a bag” over and over and over and over. But eventually she stops, because Chester has died and has begun to bleed through the bag. Also Read: 'Them': New Amazon Prime Series Is a Lot of Things ... But It's Not 'Us' The event is so traumatic that Lucky can’t bear to live in that house anymore, and she spends more of her time in the storm shelter out back than she does in the house afterward. Until Henry gets a job in Los Angeles and the whole family can put North Carolina behind them. The entire sequence from when the men find Lucky to then end of the scene is just four minutes, but it feels like an hour. This “cat in a bag” deal is not, as far as we know, some common old timey method of torturing animals or people, though considering how much cats dislike being constrained this is no doubt something that at least some people have done. Humanity does, indeed, have a long history of doing terrible things to other people and animals alike. But as with everything on “Them,” this sequence is constructed the way it is because it’s trying to tell you something. The particular message here is one of dehumanization. These white people simply do not view the Emorys as people. It’s not a case of racism by way of “we think white people are better than Black people.” It’s racism by way of “we think white people are human, and Black people are animals.” Chester isn’t a human baby — he’s just a cat. Also Read: So Who Actually Won in 'Godzilla vs Kong'? It’s a key distinction to make in order to get a better grasp of how white folks give themselves permission to be racist. While people tend to be less overt about it these days, this belief certainly persists and underlies so much of modern conservative thinking. White people (“us”) are the baseline for people, and Black people (“them”) are less than that. This is not something that “reputable” people explicitly say out loud anymore, but it doesn’t have to be. For these white folks it’s simply understood on a subconscious level. It’s the subtext that defines so much in our society. Read original story Amazon’s ‘Them': We Have to Talk About That ‘Cat in a Bag’ Scene At TheWrap
41 minutes ago
House Beautiful
How to Make a Terrarium to Keep Succulents Alive
Bonus: They double as low-maintenance centerpieces.
44 minutes ago
The Wrap
‘Greyhound,’ ‘Tenet’ Win at Motion Picture Sound Editors’ Golden Reel Awards
“Tenet,” “Eurovision Song Contest,” “The Trial of the Chicago 7” and “Greyhound” have won feature-film awards at the Motion Picture Sound Editors MPSE Golden Reel Awards, which took place on Friday evening in a virtual event. The MPSE divides the art of sound editing into several different categories, with “Tenet” winning for underscore, “Eurovision Song Contest” for music, “The Trial of the Chicago 7” for dialogue/ADR and “Greyhound” for effects/foley. In the past, the last of those categories has most closely corresponded to the Academy Award for Best Sound Editing — but that Oscar category was merged with the Best Sound Mixing category into a single Best Sound category this year. “Greyhound” is nominated in that category, along with “Soul,” “Mank,” “News of the World” and “Sound of Metal.” Also Read: Oscar Nominated 'Sound of Metal' Sonic Designer Breaks Down the Film's Profound Final Scene “Soul” won for sound editing in an animated feature, while “The Eight Hundred” won for a foreign-language feature and “The Reason I Jump” for a documentary feature. In the television categories, “The Queen’s Gambit” won three awards, including one in which it tied with “Star Trek: Picard” in the effects/foley category. “The Mandalorian” won two, with additional awards going to “Servant” and “Vikings.” “The Last of Us Part II” won a pair of awards in the computer-game categories. “Mad Max: Fury Road” director George Miller received the Filmmaker Award, while sound mixer Dennis Drummond was given the Career Achievement Award. Also Read: What Does a Torpedo Sound Like? Watch a 'Greyhound' Scene With 3 Different Audio Tracks The winners: Filmmaker Award: George MillerCareer Achievement Award: Dennis Drummond CATEGORY WINNERS Outstanding Achievement in Sound Editing – Feature Animation“Soul” (Disney) Supervising Sound Editor: Coya Elliott, Ren Klyce Sound Designer: Ren Klyce Sound Effects Editors: Kimberly Patrick, Jonathan Stevens, Steve Orlando Supervising Dialogue Editor: Cheryl Nardi Foley Editors: Thom Brennan, Dee Selby Foley Artists: John Roesch, MPSE; Shelley Roden, MPSE Music Editors: Sally Boldt, Justin Pearson Outstanding Achievement in Sound Editing – Feature Documentary“The Reason I Jump” (Vulcan Productions) Supervising Sound Editor: Nick Ryan Sound Effects Editors: Laurence Love Greed, Alexej Mungersdorff, Jack Wensley Dialogue Editor: Jamie McPhee Foley Editor: Srdjan Kurpjel Outstanding Achievement in Sound Editing – Foreign Language Feature“The Eight Hundred” (CMC Pictures) Supervising Sound Editor and Editor: Kang Fu Sound Effects Editor: Steve Miller Dialogue Editor: Ai Long Tan Foley Artist: Lan Long Music Editor: Fei Yu Outstanding Achievement in Sound Editing – Feature Underscore“Tenet” (Warner Bros.) Supervising Music Editor: Alex Gibson Music Editor: Nicholas Fitzgerald Outstanding Achievement in Sound Editing – Feature Musical“Eurovision Song Contest: The Story of the Fire Saga” (Netflix) Music Editors: Allegra De Souza, Peter Oso Snell, MPSE; Jon Mooney Outstanding Achievement in Sound Editing – Feature Dialogue / ADR“The Trial of the Chicago 7” (Netflix) Supervising Sound and ADR Editor: Renee Tondelli Dialogue Editors: Michael Hertlein, MPSE; Jeena Schoenke, Jon Michaels Outstanding Achievement in Sound Editing – Feature Effects / Foley“Greyhound” (Apple TV+) Supervising Sound Editors: Warren Shaw, Michael Minkler Associate Supervising Sound Editor: Will Digby, MPSE Sound Designers: Ann Scibelli, Jon Title Sound Effects Editors: Jeff Sawyer, Richard Kitting, Odin Benitez, MPSE; Jason King Foley Editor: Luke Gibleon Foley Artist: Marko Costanzo Outstanding Achievement in Sound Editing – Live Action Under 35:00“Servant”: “2:00” (Apple TV+) Supervising Sound Editor: Sean Garnhart Sound Effects Editor: Mark Filip Dialogue Editor: Michael Feuser Music Editor: Lesley Langs Foley Editor: Julien Pirrie Foley Artist: Gareth Rhys Jones Outstanding Achievement in Sound Editing – Episodic Short Form – Music“Vikings”: “The Best Laid Plans” (Amazon) Music Editors: Yuri Gorbachow, MPSE; Lise Beauchesne Outstanding Achievement in Sound Editing – Episodic Short Form – Dialogue/ADR“The Mandalorian” Season 2: “Chapter 13: The Jedi” (Disney+) Supervising Sound Editors: Matthew Wood, David Acord Dialogue Editor: Richard Quinn ADR Editor: James Spencer Outstanding Achievement in Sound Editing – Episodic Short Form – Effects / Foley“The Mandalorian” Season 2: “Chapter 13: The Jedi” (Disney+) Supervising Sound Editor: David Acord, Matthew Wood Sound Effects Editors: Benjamin A. Burtt, J.R. Grubbs Foley Editor: Richard Gould Foley Artists: Ronni Brown, Jana Vance Outstanding Achievement in Sound Editing – Episodic Long Form – Music“The Queen’s Gambit”: “Adjournment” (Netflix) Music Editor: Tom Kramer Outstanding Achievement in Sound Editing – Episodic Long Form – Dialogue / ADR“The Queen’s Gambit”: “End Game” (Netflix) Supervising Sound Editors: Gregg Swiatlowski, Eric Hirsch Sound Designer: Wylie Stateman Dialogue Editors: Mary Ellen Porto, MPSE; Eric Hoehn Outstanding Achievement in Sound Editing – Episodic Long Form – Effects / Foley** TIE **“The Queen’s Gambit”: “End Game” (Netflix) Supervising Sound Editors: Gregg Swiatlowski, Eric Hirsch Sound Designer: Wylie Stateman, MPSE Sound Effects Editors: Patrick Cicero, James David Redding III, Leo Marcil, Eric Hoehn Foley Artist / Editor: Rachel Chancey “Star Trek: Picard”: “Et in Arcadia Ego, Part 2” (CBS All Access) Supervising Sound Editor: Matthew E. Taylor Sound Designers: Tim Farrell, Harry Cohen, MPSE Sound Effects Editor: Michael Schapiro Foley Editors: Clay Weber, Darrin Mann Foley Artists: Alyson Dee Moore, Chris Moriana Outstanding Achievement in Sound Editing – Single Presentation“A Christmas Carol” (FX) Supervising Sound Editor: Lee Walpole, MPSE Sound Effects Editors: Saoirse Christopherson, Tom Stewart, Andy Kennedy Dialogue Editor: Iain Wilkinson Foley Artists: Catherine Thomas, Anna Wright Music Editor: Cecile Tournesac Outstanding Achievement in Sound Editing – Non-Theatrical Animation Long Form“Mortal Kombat Legends”: “Scorpion’s Revenge” (Warner Bros. Animation) Supervising Sound Editors: Rob McIntyre, MPSE; D.J. Lynch Supervising ADR Editor: Mark A. Keatts, MPSE Sound Effects Editors: Lawrence Reyes, Roger Pallan, Ezra Walker Dialogue Editors: Mike Garcia, MPSE; Kelly Foley Downs, David M. Cowan, Patrick Foley Sound Designers: Marc Schmidt, Evan Dockter ADR Editors: Mark Mercado, Jon Abelardo Foley Editors: Roberto Allegria, Derek Swanson Outstanding Achievement in Sound Editing – Non-Theatrical Documentary“Laurel Canyon: A Place in Time”: “Episode 1” (EPIX/Amblin) Supervising Sound Editor: Jonathan Greber Sound Effects Editor: Lucas Miller Outstanding Achievement in Sound Editing – Non-Theatrical Feature“The Ultimate Playlist of Noise” (Hulu) Supervising Sound Editor: Odin Benitez, MPSE Supervising ADR Editor: Ryan Briley Sound Designer: Russell Topal, MPSE Foley Editor: Rustam Gimadlyev Foley Artists: Bogdan Zavarzin, Natalia Syeryakova Music Editor: Katerina Tolkishevskaya Outstanding Achievement in Sound Editing – Computer Cinematic“The Last of Us Part II” (Sony Interactive Entertainment) Supervising Sound Editor: Shannon Potter Sound Effects Editors: Patrick Ginn, Kyle Bailey, Michael Finley, Chad Bedell, Eric Paulsen, Keith Bilderbeck, Jim Diaz Foley Artists: Dawn Fintor, Alicia Stevenson Audio Director: Robert Krekel Sound Designers: Justin Mullens, Beau Jimenez, Neil Uchitel, Jesse Garcia, MPSE; Michael Marchisotto Supervising Music Editors: Rob Goodson, Scott Shoemaker Music Editors: Anthony Caruso, Tyler Crowder, Sonia Coronado, Adam Kallibjian, Adam Kallibjian, James Zolyak, Ted Kocher, Scott Bergstrom, Tao-Ping Chen Outstanding Achievement in Sound Editing – Computer Interactive Game Play“The Last of Us Part II” (Sony Interactive Entertainment) Audio Director: Robert Krekel Supervising Sound Editor: Shannon Potter Supervising Dialogue Editor: Maged Khalil Ragab Supervising Music Editors: Rob Goodson, Scott Shoemaker Sound Designers: Neil Uchitel, Beau Jimenez, Justin Mullens, Jesse Garcia, MPSE; Michael Marchisotto, Derek Brown, Jordan Denton Dialogue Editors: Grayson Stone, Julius Kukla, Thomas Barrett, Jaime Marcelo, Erik Schmall, Duncan Brown, Cesar Marenco Foley Editor: Eolyne Arnold, MPSE Sound Effects Editors: Patrick Ginn, Michael Finley, Kyle Bailey Music Editors: Anthony Caruso, Tyler Crowder, Tao-Ping Chen, Sonia Coronado, Adam Kallibjian, Samuel Marshall, James Zolyak, Ted Kocher, Scott Bergstrom Foley Artists: Dawn Fintor, Alicia Stevenson Outstanding Achievement in Sound Editing – Animation Short Form“Baba Yaga” (Baobab Studios) Supervising Sound Editor: Scot Stafford Sound Designers: Andrew Vernon, Jamey Scott, MPSE Sound Effects Editor: Brendan Wolf Music Editor: Rex Darnell Outstanding Achievement in Sound Editing – Student Film (Verna Fields Award)“The Unknown” (The National Film and Television School) Supervising Sound Editor: Yin Lee Sound Designer: Yin Lee Read original story ‘Greyhound,’ ‘Tenet’ Win at Motion Picture Sound Editors’ Golden Reel Awards At TheWrap
53 minutes ago
The Wrap
Sharon Osbourne Tells Bill Maher ‘I Will Not Take’ Being Called a Racist (Video)
Sharon Osbourne was the first guest on “Real Time With Bill Maher” Friday night, marking her first interview since she was dropped by “The Talk” last month for freaking out when co-host Sheryl Underwood challenged her defense of Piers Morgan’s attacks on Meghan Markle. In the interview with Maher, Osbourne blamed “disgruntled ladies” for losing her job, and said anyone who has accused her of uttering slurs is making it up. Maher began the discussion with a rundown of what happened on “The Talk” that dramatically downplayed what actually happened. “So on your ironically titled show ‘The Talk,’ you were talking. And if there’s one lesson from this, it’s that’s not allowed anymore. So I just want to say my view is nothing happened,” Maher said. Also Read: Bill Maher's Got Some Shocking New Fun Facts About Matt Gaetz (Video) He continued, “Meghan Markle and Prince Harry gave their interview with Oprah. Then your friend Piers Morgan — he’s a commentator in Britain — he said he didn’t believe things that Meghan Markle said. And then on your show, you said, ‘Well, he’s a good friend of mine and I don’t necessarily agree with his opinion but he is entitled to his opinion.’ So he was called the racist and lost his job, and you were called a racist and lost your job. Do I have it right?” “You got it right,” Osbourne said. “That’s exactly how it went.” In reality, that’s not really how it went. Osbourne’s outburst (watch here) included gems such as her saying she felt “like I’m about to be put in the electric chair because I have a friend who many people think is a racist, so that makes me a racist.” Or when she yelled at her co-hosts, “How can I be racist about anybody?” “I’ve been called so many things in my life,” Osbourne told Maher. “I am so used to being called names, but a racist is one I will not take.” “Yeah,” Maher replied. “It’s an insult if you’re not one.” Also Read: Bill Maher Doesn't Buy Everything Meghan Markle Said in Oprah Interview (Video) There have been multiple times when Osbourne has been accused of uttering racial and homophobic slurs. Former “The Talk” co-host Leah Remini said Osbourne has referred to Julie Chen as “slanty eyes” and “wonton,” and that she had angrily called Sarah Gilbert, who is a lesbian, a “pussy licker” and a “fish eater.” Remini also claimed Osbourne subjected her to slurs against Italians. Another woman, an Iranian-American talent agent named Renee Tab, was reportedly subjected to slurs from Osbourne in 2003 when she won a raffle for a diamond necklace at a New Year’s Eve party for the Osbournes. Tab said Osbourne called her a “Persian carpet c—” the next day after inventing a story about Tab stealing the necklace — and then again a month later when they ran into each other at a restaurant. During the latter incident, Tab said, Osbourne also spit on her. Maher very lightly probed Osbourne about these incidents. “This is a part of culture that I’m not loving, where everyone is a snitch now. The current hosts have said they never heard you say anything racist. But some of the past ladies, they said you talk s—,” Maher said, referring to Remini’s claims mentioned above. “First of all, we’re talking about four ladies. I know men are dogs, and men are dogs.” Also Read: 'The Talk': Sheryl Underwood Feared Being Called 'Angry Black Woman' in Sharon Osbourne Blow-Up (Video) “And we’re bitches. That’s the way it goes,” Osbourne said. “That’s the way it goes with girls — ‘Jesus, did you see what she was just wearing?’ And then you go ‘Hi!’ or ‘You look great!’ We’re bitches, and that’s the way it is. And this has brought it all out.” “It’s disgruntled ladies,” she added. Then Maher brought up the incident with Tab. Osbourne told her version of that story, saying Tab shouldn’t have even been at the party — despite being the guest of someone who was invited by Osbourne’s son — and doubling down on her accusation that Tab stole the necklace. (It’s worth nothing that despite continuing to push that story after all this time, Osbourne did not pursue litigation after investigators decided it wasn’t a criminal matter.) Notably, however, Osbourne did not deny using a racial slur against Tab. “I don’t know what I said to her, but it wasn’t very nice. And I told her to bring that f—ing necklace back now, you b—- face whatever, because I had it,” Osbourne said. Read original story Sharon Osbourne Tells Bill Maher ‘I Will Not Take’ Being Called a Racist (Video) At TheWrap
58 minutes ago
House Beautiful
Drew and Jonathan Scott Transformed This Family's Garage Into a Therapy Room
Jeff and Amber Moffitt have six kids, two of which have special needs and require round-the-clock care.
an hour ago
The Wrap
‘Soul,’ ‘Wolfwalkers’ Dominate Annie Awards for Animation
Pixar’s “Soul” and Cartoon Saloon’s “Wolfwalkers” were the dominant films at the 48th annual Annie Awards Friday, with “Soul” winning seven awards and “Wolfwalkers” winning five. “Soul” won in the Best Feature category and took additional awards for its writing, music, FX, character animation, storyboards and editorial. “Wolfwalkers” won for Best Indie Feature as well as for directing, character design, production design and voice acting. No other feature film won an Annie, which is given out by the International Animated Film Society, ASIFA-Hollywood. Since the Academy Awards started a Best Animated Feature category in 2001, the Annies winner in the Best Feature category has gone on to win the Oscar 13 times in 19 years, including four times in the last five years. (The one exception was last year, when “Toy Story 4” won the Oscar but “Klaus” surprisingly won the Annie.) Pete Docter’s “Soul” was already considered a prohibitive frontrunner in the Oscar race, with Tomm Moore and Ross Stewart’s “Wolfwalkers” thought to be the only film with a remote chance to stage an upset. In television categories, Netflix’s “Hilda” won three awards and Cartoon Network’s “Genndy Tartovsky’s Primal” won two, with other awards going to “The Adventures of Paddington,” “Jurassic World: Camp Cretaceous” and “The Mandalorian.” “The Snail and the Whale,” which was shortlisted but not nominated in the Oscars’ Best Animated Short category, won the Annie for Best Special Production, while “Souvenir Souvenir” won the award for Best Short Subject. Juried awards handed out at the ceremony included the June Foray Award to Daisuke “Dice” Tsutsumi, the Ub Iwerks Award to Epic Games’ Unreal Engine, the Special Achievement Award to the documentary “Howard” and Winsor McCay Awards to Willie Ito, Sue Nichols and Bruce Smith. The ceremony took place virtually. The winners: Best Feature: “Soul” (Pixar Animation Studios)Best Indie Feature: “Wolfwalkers” (Cartoon Saloon/Melusine Productions for Apple/GKIDS)Best Special Production: “The Snail and the Whale” (Magic Light Pictures)Best Short Subject: “Souvenir Souvenir” (Blast Production)Best Sponsored: “There’s a Monster in my Kitchen” (Cartoon Saloon, Mother)Best TV/Media – Preschool: “The Adventures of Paddington,” episode: “Paddington Digs a Tunnel to Peru” (Blue-Zoo Animation Studio and Nickelodeon Animation Studio)Best TV/Media – Children: “Hilda.” episode: “Chapter 9: The Deerfox” (Hilda Productions Limited, a Silvergate Media Company, Netflix Inc. and Mercury Filmworks)Best TV/Media – General Audience: “Genndy Tartakovsky’s Primal,” episode: “Coven Of The Damned” (Cartoon Network Studios)Best Student Film: “La Bestia” (School: Gobelins, l ‘école de l ‘image; Student directors: Marlijn Van Nuenen, Ram Tamez, Alfredo Gerard Kuttikatt) Best FX for TV/Media: “Jurassic World: Camp Cretaceous,” episode: “Welcome to Jurassic World,” Emad Khalili, Ivan Wang, Chris Wombold, Kyle Goertz, Kathy D. Tran (Production Company: DreamWorks Animation; FX Production Company: Dreamworks Animation and CGCG Inc.)Best FX for Feature: “Soul,” Tolga Göktekin, Carl Kaphan, Hiroaki Narita, Enrique Vila, Kylie Wijsmuller (Production Company: Pixar Animation Studios; FX Production Company: Pixar Animation Studios) Best Character Animation – TV/Media: “Hilda,” David Laliberté (Hilda Productions Limited, a Silvergate Media Company, Netflix Inc. and Mercury Filmworks)Best Character Animation – Feature: “Soul,” Michal Makarewicz (Pixar Animation Studios)Best Character Animation – Live Action: “The Mandalorian,” Nathan Fitzgerald, Leo Ito, Chris Rogers, Eung Ho Lo, Emily Luk (Production Company: Lucasfilm; FX Production Company: Image Engine)Best Character Animation – Video Game: “Marvel’s Spider-Man Miles Morales,” Brian Wyser, Michael Yosh, Danny Garnett, David Hancock (Insomniac Games) Best Character Design – TV/Media: “Amphibia,” episode: “The Shut-In!,” Joe Sparrow (Disney TV Animation)Best Character Design – Feature: “Wolfwalkers,” Federico Pirovano (Cartoon Saloon/Melusine Productions for Apple/GKIDS) Best Direction – TV/Media: “Genndy Tartakovsky’s Primal,” episode: “Plague Of Madness,” Genndy Tartakovsky (Cartoon Network Studios)Best Direction – Feature: “Wolfwalkers,” Tomm Moore, Ross Stewart (Cartoon Saloon/Melusine Productions for Apple/GKIDS) Best Music – TV/Media: “Star Wars: The Clone Wars,” episode: “Victory and Death,” Kevin Kiner (Lucasfilm Animation)Best Music – Feature: “Soul,” Trent Reznor, Atticus Ross, Jon Batiste (Pixar Animation Studios) Best Production Design – TV/Media: “Shooom’s Odyssey,” Julien Bisaro (Picolo Pictures)Best Production Design – Feature: “Wolfwalkers,” María Pareja, Ross Stewart, Tomm Moore (Cartoon Saloon/Melusine Productions for Apple/GKIDS) Best Storyboarding – TV/Media: “Looney Tunes Cartoons,” episode: “Big League Beast / Firehouse Frenzy,” Andrew Dickman (Warner Bros. Animation)Best Storyboarding – Feature: “Soul,” Trevor Jiminez (Pixar Animation Studios) Best Voice Acting – TV/Media: “Tales of Arcadia: Wizards,” episode: “Our Final Act,” David Bradley (Merlin) (DreamWorks Animation)Best Voice Acting – Feature: “Wolfwalkers,” Eva Whittaker (Mebh Og MacTie) (Cartoon Saloon/Melusine Productions for Apple/GKIDS) Best Writing – TV/Media: “Big Mouth,” episode: “The New Me,” Andrew Goldberg, Patti Harrison (Netflix)Best Writing – Feature: “Soul,” Pete Docter, Mike Jones, Kemp Powers (Pixar Animation Studios) Best Editorial – TV/Media: “Hilda,” episode: “Chapter 9: The Deerfox,” John McKinnon (Hilda Productions Limited, a Silvergate Media Company, Netflix Inc. and Mercury Filmworks)Best Editorial – Feature: “Soul,” Kevin Nolting, Gregory Amundson, Robert Grahamjones, Amera Rizk (Pixar Animation Studios) Read original story ‘Soul,’ ‘Wolfwalkers’ Dominate Annie Awards for Animation At TheWrap
an hour ago
The Wrap
Geraldo Rivera Begs Fox News Colleagues to ‘Understand the Anguish’ for Families of Color (Video)
Geraldo Rivera literally begged his Fox News colleagues to “understand the anguish in the families of color” who watch the nightly news and, upon seeing the policy brutality, worry that when their child goes out at night, “that child may never come back.” The topic on Friday night’s “The Five” was the police fatal shooting of 13-year-old Adam Toledo and the disturbing body cam video of police chasing Toledo down an alley and shooting him as he turned around. After Jesse Waters read stats on police who have been killed on duty and Sean Duffy questioned, “Why wasn’t Adam — why wasn’t he in school? Why was he out at 2:00 in the morning? Why did he have a gun? Why was he part of a gang? Where were his parents?,” Rivera spoke up. “I think Sean makes excellent points and I love cops and I think cops have a very tough job and they risk everything, every time they go to work,” Rivera began. “But I beg you to understand the anguish in the families of color who are watching the news on a nightly basis looking at their child and worrying when that child goes out that that child may never come back, and fearing the cops.” Also Read: Sean Hannity Blasted for Calling Adam Toledo, Child Killed by Chicago Police, a '13-Year-Old Man' He pointed out the contrast to other neighborhoods where people look at cops and are relieved when the police show up. “That’s not the case in many areas in this country,” Rivera said. “And all the protests that you saw last summer — we have emphasized the riots and the looting and condemned them appropriately — but that represents a real reflection of the anguish and rage about police violence that’s out there. When you see this video…and you see the 13-year-old kid with special needs and no father at home, to answer Sean’s point, bleeding from his mouth as his life goes out –.” Rivera took a breath and continued: “If we, the most respected news organization in the nation, perhaps, don’t recognize the anguish of the people watching the 13-year-old’s life going out of his body, then we don’t deserve the ratings. We don’t deserve it. We have to be sensitive to the way they see life.” Read original story Geraldo Rivera Begs Fox News Colleagues to ‘Understand the Anguish’ for Families of Color (Video) At TheWrap
3 hours ago
House Beautiful
Here's Where to Save Big on Home Goods This Memorial Day
Prepare yourself for some insane discounts!!
4 hours ago
The Wrap
Roger Stone Sued by Justice Department Over $2 Million in Unpaid Taxes
Roger Stone was sued by the Department of Justice on Friday over accusations that he and his wife owe nearly $2 million in taxes. The civil lawsuit, filed in U.S. District Court in the Southern District of Florida, said that Roger and Lydia Stone owed over $1.5 million in taxes between 2007 and 2011 and another $407,000 in 2018. The suit said that the Stones evaded taxes by using a corporate entity they control, called Drake Ventures, to pay a “substantial” amount of their personal expenses, like groceries, dentist bills, spas, salons, clothing and restaurant bills. “Although they used funds held in Drake Ventures accounts to pay some of their taxes, the Stones’ use of Drake Ventures to hold their funds allowed them to shield their personal income from enforced collection and fund a lavish lifestyle despite owing nearly $2 million in unpaid taxes, interest and penalties,” the lawsuit said. “By depositing and transferring these funds into the Drake Ventures’ accounts instead of their personal accounts, the Stones evaded and frustrated the IRS’s collection efforts.” Also Read: You Can't Unsee Roger Stone Dancing to a Trump Rap at CPAC (Video) In a statement sent to CNN, Stone described the lawsuit as “preposterous.” “They are well aware that my two year struggle against the Epically corrupt Mueller investigation has left my wife and I on the verge of bankruptcy,” the statement said. “I have continued to eke out a living through my company Drake Ventures. To describe my current lifestyle as ‘lavish’ will be proved to be ridiculous in court. The political motivation of the DOJ Will be abundantly clear at trial.” Read original story Roger Stone Sued by Justice Department Over $2 Million in Unpaid Taxes At TheWrap
5 hours ago
The Wrap
Felix Silla, Cousin Itt From ‘The Addams Family,’ Dies at 84
Felix Silla, the actor best known for playing Cousin Itt on “The Addams Family,” has died at the age of 84. The news was announced on Friday by actor Gil Gerard, who co-starred with Silla on NBC’s “Buck Rogers in the 25th Century” in 1979. “Felix died just a few hours ago and the only good I can draw from his passing is that he didn’t suffer any longer,” Gerard wrote. “I will miss him terribly, especially the great time we had at our panels. Just him telling me to go ‘ f ‘ myself.” Silla recurred on ABC’s “The Addams Family” as the hirsute Cousin Itt for much of the show’s original run from 1964 to 1966. In a 2014 Los Angeles Times profile, Silla reflected on the character, who was created specifically for the show. Also Read: Helen McCrory, 'Peaky Blinders' and 'Harry Potter' Actress, Dies at 52 “A producer dreamed it up in some nightmare,” he said, adding that the original costume was made of real human hair. “It was hot and heavy. Like wearing a brick.” According to his website, Silla was born in a small village outside of Rome and was trained as a circus performer. He moved to the United States in 1955 and toured with the Ringling Bros. and Barnum & Bailey Circus as a bareback rider, trapeze artist and tumbler. He later relocated to Hollywood and began work as a stuntman. Silla’s other credits include “A Ticklish Affair,” the original “Star Trek” pilot, 1968’s “Planet of the Apes” and “Indiana Jones and the Temple of Doom.” Read original story Felix Silla, Cousin Itt From ‘The Addams Family,’ Dies at 84 At TheWrap
5 hours ago
The Wrap
‘The Falcon and the Winter Soldier': What’s in the Case?
(Here there be spoilers for “Truth,” the fifth episode of “The Falcon and the Winter Soldier” on Disney+) Things are finally coming to a head in “The Falcon and the Winter Soldier,” with the Flag Smashers making their move against the Global Repatriations Council and a rogue Captain America ready to take them down along with anybody else who might breathe aggressively in his direction. And it sure seems like Sam (Anthony Mackie) is just about ready to take on the mantle of Captain America. But he doesn’t just seem ready — you could argue he’s been ready for a while. But now he actually seems willing, as well, for the very first time. There’s one big problem, though: The Falcon suit was destroyed near the beginning of the episode during Sam and Bucky’s fight with the superpowered John Walker (Wyatt Russell). But help just might be on the way with that. Or, more correctly, help may already be here. Also Read: 'Falcon and the Winter Soldier': What That Big Cameo Could Mean Midway through the episode, Bucky (Sebastian Stan) meets with the Wakandans to hand over Zemo (Daniel Bruhl), but at the end of the scene he asks for a favor. Whatever that favor is came in a cool looking box that he takes to Sam — and which Sam doesn’t open until the very end of the episode. Unfortunately, they don’t actually show us what’s in the box before the scene cuts away. We’re definitely gonna find out for sure what it is very soon since there’s only one more episode of “The Falcon and the Winter Soldier” left to go — but in the meantime we think we have a pretty good idea of what to expect. The most obvious answer is that it’s a new Captain America suit, but not like the ones Walker and Steve Rogers before him wore. This one is almost certainly a combo Captain America and Falcon suit, like the one Sam wore in the comics when he became Captain America in that medium. Also Read: 'The Falcon and the Winter Soldier': Could Sharon Carter Be the Power Broker? In the comics, the suit is pretty much just a modification of Falcon’s existing outfit, but it’s almost certainly going to be more than that since it comes from Wakanda on “The Falcon and the Winter Soldier.” We should expect it to be made of vibranium, for one thing — a much needed improvement since Sam is still just a regular human — and probably some amount of strength augmentation. Whatever the particulars of the upgrades, we should expect to see it in action early on in next week’s finale. That’s assuming, of course, that it’s actually this suit in the box. It’s possible, though, that it’s not actually completed yet. It does seem a little bit unusual that the Wakandans would have a winged suit just lying around to hand over on demand, since we haven’t seen anything like that from them thus far in the MCU. Recall also that Sam told his helper buddy Joaquin Torres to try to fix up his other suit — it could be that they’ll still need to strap the wings and engines on this Wakandan suit, which might just be another Black Panther suit. On the other hand, Joaquin Torres is a successor to the role of the Falcon in the comics. It’s just as possible that he’ll end up using those parts on a suit of his own if Sam doesn’t need them anymore. Also Read: 'The Falcon and the Winter Soldier': What Are the Flag Smashers Actually Trying to Do? Only one more episode of “The Falcon and the Winter Soldier” left to go. The finale drops next Friday. Read original story ‘The Falcon and the Winter Soldier': What’s in the Case? At TheWrap
6 hours ago
The Wrap
How to Stream Prince Philip’s Funeral Live
Prince Philip, Duke of Edinburgh, will be formally laid to rest on Saturday, April 17th at Prince George’s Chapel in London. For those who want to watch the ceremonial royal funeral live, both ABC and CBS are providing special coverage along with specific livesteam links. The longest serving royal, Prince Philip died on April 9th at the age of 99. It’s been reported that despite leaving the Royal family, Prince Harry will attend his grandfather’s funeral — though Meghan Markle, who is pregnant with the couple’s second child, has been advised by her doctor not to attend. The ABC News livestream of the funeral will begin at 9:30 a.m. ET led by World News Tonight anchor David Muir, Deborah Roberts, Foreign Correspondents James Longman and Maggie Rulli, and contributors Robert Jobson, Victoria Murphy, and Omid Scobie. Coverage will also be available through ABCNews.com and GoodMorningAmerica.com, as well as ABC NewsOne, the affiliate news service of ABC News. Also Read: Prince Harry to Attend Grandfather Philip's Funeral Without Meghan ABC News Radio will also live offer coverage, anchored by Michelle Franzen with additional reporting by Tom Rivers in London. Additionally, CBS will broadcast the live funeral coverage on Saturday, April 17th, beginning 9:30 a.m. ET. Anchored by Gayle King, who covered Prince Harry and Meghan Markle’s wedding, King will be joined by author Tina Brown (“The Diana Chronicles), royal commentator Wesley Kerr, and CBS correspondents Charlie D’Agata and Holly Williams. CBSN, the network’s 24/7 streaming news service, will stream all special coverage along with additional reports and interviews throughout the day. While CBSN is a part of the Paramount+ streaming service, it’s always free. Also Read: 7 Actors Who've Played Prince Philip on Screen, From James Cromwell to Matt Smith For both livestreams and coverage specials, you won’t need to pay anything to be able to watch as long as you have the livestream links. In fact, you don’t even need those links above — ABC News will have its livestreamed coverage available on YouTube. You can find the ABC News Live channel right here. Read original story How to Stream Prince Philip’s Funeral Live At TheWrap
6 hours ago
House Beautiful
We Want to Steal So Many Design Ideas From This Colorful Beach Resort
Can we move in, please?
6 hours ago
The Wrap
CNN’s Brooke Baldwin Urges Women to ‘Speak Up and Keep Pushing’ in Final Sign-Off (Video)
CNN’s Brooke Baldwin urged women to “speak up and keep pushing” for diversity and equality in her final sign-off from her show on Friday. “We do need diverse voices telling our stories from in front of the camera and to the executive suites,” Baldwin said. “We are making progress. So, whatever industry you’re in, my parting words: Get a little uncomfortable. Speak up and keep pushing.” Baldwin first announced in February that she was leaving the network in April. Earlier this month, she revealed there was a gender pay disparity at the network but that “it’s getting better.” “The most influential anchors on our network — the highest-paid — are men. My bosses, my executives, are men. The person who oversees CNN Dayside is a man and my executive producer for 10 years is a man, so I’ve been surrounded by a lot of men,” Baldwin said on Ms. Magazine’s “On the Issues” podcast. Also Read: Brooke Baldwin Criticizes CNN for Gender Pay Disparity on Her Way Out During her sign-off on Friday, Baldwin said that she was not originally envisioned to anchor her afternoon show. “More than a decade ago, there was an anchor who suddenly departed CNN, leaving this gaping hole in the afternoons, and the then-bosses quickly turned to me and were like, ‘Brooke, we’re going to need you to keep the seat warm just for a week until we actually find the person who will take over this show,'” Baldwin said. “Well, guess what? I have kept this seat warm for nearly 11 years.” “This job, using my voice for over a decade, has been nothing short of a profound privilege,” she continued. “I am a journalist and a storyteller for life. And lastly, I’m leaving this place even better than I found it.” Watch Baldwin’s full sign-off here. Read original story CNN’s Brooke Baldwin Urges Women to ‘Speak Up and Keep Pushing’ in Final Sign-Off (Video) At TheWrap
6 hours ago
The Guardian
Poet laureate Simon Armitage publishes elegy for Prince Philip
Poet laureate Simon Armitage publishes elegy for Prince Philip. The Patriarchs – An Elegy deliberately avoids the sycophancy Philip hated, the poet says, and is instead ‘in service of all people like him’
6 hours ago
Cosmopolitan Videos
'PARANOIA' Singer Kang Daniel Reacts to Wild Fashion Trends | Drip or Drop? | Cosmopolitan
Korean singer songwriter Kang Daniel talks with Cosmo about his favorite fashion trends! Watch more Drip or Drop! https://www.youtube.com/watch?v=9P-io6o5JgE&list=PLrx4fxhgMUOYO3KJArDPPOdW74yC0JuwX 💧 What are your favorite looks from his MVs? Love Cosmo? Then come join our ~ elite ~ members-only crew. Sign up for Cosmo Unlocked: cosmopolitan.com/joinnow 🔓
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The Wrap
Emerald Fennell on Being Part Of an Oscar’s First: ‘It Just Takes a While To Turn Around a Big Ship’
This story about “Promising Young Woman” and Emerald Fennell first appeared in the Down to the Wire issue of TheWrap’s awards magazine. On March 15, Emerald Fennell was part of a historic moment. The “Promising Young Woman” writer and director, along with “Nomadland” filmmaker Chloé Zhao, was nominated in the Best Director category for the 93rd Academy Awards, marking the first time two women were nominated in that group. But that’s not all — her nomination means she’s the sixth or seventh woman to ever be nominated as Best Director, and her Best Original Screenplay nod comes in a category that’s only had 15 solo female nominees and three solo female winners in the award’s history. “I feel like I’ve benefited from years and years and years of other people’s work, of other women working tirelessly for years and decades so that someone like me can get my film financed,” Fennell said. “It’s amazing, but I also wish it had happened sooner for all of those people. It seems like a shame that it’s taken this long, but it’s incredible — it’s still difficult for me to talk about it in any sort of articulate way because it just seems so bonkers! “Promising Young Woman,” which stars Carey Mulligan, Bo Burnham and Laverne Cox, was also nominated for Best Picture, Best Actress for Mulligan and Best Editing. If anything, Fennell said, the landmark nominations show how much more progress has to be made with representation. “I think we were probably all surprised, naively, that these things are so unusual because in my life, I’ve always worked with so many incredibly talented women — they’re showrunning, they’re writing, they’re directing. And I suppose you forget that actually, we still have a long way to go. I think it just takes a while to turn around a big ship, but it does feel like things are changing.” Also Read: Critics at a Crossroads: How a 'Promising Young Woman' Review Got Caught in the Culture Wars In the film, Mulligan plays Cassie, a woman whose bright future as a medical student gets derailed by the same evil that has afflicted so many women in higher education: sexual abuse. Scarred by her best friend’s tragic experience, she now gets her vengeance by pretending to be drunk at clubs and baiting unscrupulous men into “helping” her … although her full plans are not what they initially seem. “I just am such a fan of hers,” Fennell said of Mulligan. “What I love so much about her and the choices that she’s consistently made in her career is that she just disappears. You forget the breadth of her career, because she’s only interested in work. Lots of people think of her as a period drama actress because they’ve seen ‘Suffragette,’ but when I think of her, I think ‘Drive’ or ‘Shame’ or ‘Doctor Who,’ even — she’s so versatile.” “Cassie needed to be (played by) someone who was just going to play the truth — not play to the audience, not play to the camera, not be conscious of being badass or iconic or things that people would expect from this kind of character. It needed this person to be real and often not nice and traumatized and sometimes wrong and sometimes right. Carey’s an incredibly kind and perceptive person, but when it comes to working, she’s only interested in what feels real. She’s not worried if she’s going to look hot or any of that stuff.” Read more from the Down to the Wire issue here. Read original story Emerald Fennell on Being Part Of an Oscar’s First: ‘It Just Takes a While To Turn Around a Big Ship’ At TheWrap
6 hours ago

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