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Elon Musk is fielding complaints about Grok giving liberal responses on diversity, transgender rights, and inequality, despite promising an ‘anti-woke’ chatbot

—  Grok, launched this month on X, has angered conservatives by endorsing diversity.  Musk says he’s trying to fix it.

 

Will Oremus / Washington Post:

 

 

Decrying what he saw as the liberal bias of ChatGPT, Elon Musk earlier this year announced plans to create an artificial intelligence chatbot of his own.

 

In contrast to AI tools built by OpenAI, Microsoft and Google, which are trained to tread lightly around controversial topics, Musk’s would be edgy, unfiltered and anti-“woke,” meaning it wouldn’t hesitate to give politically incorrect responses.

 

That’s turning out to be trickier than he thought.

Two weeks after the Dec. 8 launch of Grok to paid subscribers of X, formerly Twitter, Musk is fielding complaints from the political right that the chatbot gives liberal responses to questions about diversity programs, transgender rights and inequality.

“I’ve been using Grok as well as ChatGPT a lot as research assistants,” posted Jordan Peterson, the socially conservative psychologist and YouTube personality, on Wednesday. The former is “near as woke as the latter,” he said.

The gripe drew a chagrined reply from Musk. “Unfortunately, the Internet (on which it is trained), is overrun with woke nonsense,” he responded. “Grok will get better. This is just the beta.”

Grok is the first commercial product from xAI, the AI company Musk founded in March. Like ChatGPT and other popular chatbots, it is based on a large language model that gleans patterns of word association from vast amounts of written text, much of it scraped from the internet.

Unlike others, Grok is programmed to give vulgar and sarcastic answers when asked, and it promises to “answer spicy questions that are rejected by most other AI systems.” It can also draw information from the latest posts on X to give up-to-date answers to questions about current events.

Artificial intelligence systems of all kinds are prone to biases ingrained in their design or the data they’ve learned from. In the past year, the rise of OpenAI’s ChatGPT and other AI chatbots and image generators has sparked debate over how they represent minority groups or respond to prompts about politics and culture-war issues such as race and gender identity. While many tech ethicists and AI experts warn that these systems can absorb and reinforce harmful stereotypes, efforts by tech firms to counter those tendencies have provoked a backlash from some on the right who see them as overly censorial.

Touting xAI to former Fox News host Tucker Carlson in April, Musk accused OpenAI’s programmers of “training the AI to lie” or to refrain from commenting when asked about sensitive issues. (OpenAI wrote in a February blog post that its goal is not for the AI to lie, but for it to avoid favoring any one political group or taking positions on controversial topics.) Musk said his AI, in contrast, would be “a maximum truth-seeking AI,” even if that meant offending people.

So far, however, the people most offended by Grok’s answers seem to be the people who were counting on it to readily disparage minorities, vaccines and President Biden.

Asked by a verified X user whether trans women are real women, Grok answered simply, “yes,” prompting the anonymous user to grumble that the chatbot “might need some tweaking.” Another widely followed account reposted the screenshot, asking, “Has Grok been captured by woke programmers? I am extremely concerned here.”

A prominent anti-vaccine influencer complained that when he asked Grok why vaccines cause autism, the chatbot responded, “Vaccines do not cause autism,” calling it “a myth that has been debunked by numerous scientific studies.” Other verified X accounts have reported with frustration about responses in which Grok endorses the value of diversity, equity and inclusion programs, which Musk has dismissed as “propaganda.”

The Washington Post’s own tests of the chatbot verified that, as of this week, Grok continues to give the responses illustrated in the screenshots.

David Rozado, an academic researcher from New Zealand who examines AI bias, gained attention for a paper published in March that found ChatGPT’s responses to political questions tended to lean moderately left and socially libertarian. Recently, he subjected Grok to some of the same tests and found that its answers to political orientation tests were broadly similar to those of ChatGPT.

“I think both ChatGPT and Grok have probably been trained on similar Internet-derived corpora, so the similarity of responses should perhaps not be too surprising,” Rozado told The Post via email.

Earlier this month, a post on X of a chart showing one of Rozado’s findings drew a response from Musk. While the chart “exaggerates the situation,” Musk said, “we are taking immediate action to shift Grok closer to politically neutral.” (Rozado agreed the chart in question shows Grok to be further left than the results of some other tests he has conducted.)

Other AI researchers argue that the sort of political orientation tests used by Rozado overlook ways in which chatbots, including ChatGPT, often exhibit negative stereotypes about marginalized groups.

A recent Securities and Exchange Commission filing showed that xAI is seeking to raise up to $1 billion in funding from investors, though Musk has said that the company isn’t raising money right now.

Musk and X did not respond to requests for comment as to what actions they’re taking to alter Grok’s politics, or whether that amounts to putting a thumb on the scale in much the same way Musk has accused OpenAI of doing with ChatGPT.

 

 

 

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Mercer Park Commission receives approval for Community Based Deer Management

The Mercer County Park Commission has been approved for a Community Based Deer Management (CBDM) permit from the New Jersey Division of Fish and Wildlife.

The CBDM permit allows for additional opportunities to improve forest understory and the overall ecological condition of natural areas through deer reductions beyond standard state hunting regulations. Reducing deer overpopulation also improves public safety by reducing deer-vehicle collisions.

No CBDM hunting will occur in areas that participate in the County’s traditional deer management hunting program until after the regular season concludes.

The additional measures permitted in the CBDM program will allow a professional culling firm to perform management activities during an extended season through March 31 at Howell Farm, County owned golf courses including Mountain View, Hopewell Valley, Princeton Country Club, Mercer Oaks East and West, and select regions of Mercer Meadows in Hopewell Township.

Management activities approved in the Park Commission’s permit include deer harvest by crossbow and firearm, culling during evening hours, and periodic closures for culling outside of the traditional State hunting season through March 31,2023.

At Mercer Meadows, the Curlis Woods region is included in the permit. Beginning February 19, 20245, this area will allow for crossbow culling Monday through Saturday through March 31 until 9 p.m. The Curlis Woods region will remain open to the public during this period of crossbow hunting. Park users are advised to remain on trails and wear bright colored clothing. All culling activity will take place from an elevated tree stand with a 75-foot safety buffer in place on either side of all County-recognized trails.

The Curlis Woods region will BE CLOSED to the public for shotgun culling on:

  • Wednesdays from February 21 through March 27

At County-owned golf courses including Princeton Country Club, Mountain View and Hopewell Valley Golf Courses, the permit allows for crossbow culling to take place Monday through Saturday, from sunrise until 9 p.m. January 1 though March 31. At Mercer Oaks East and West golf courses, crossbow culling may occur starting February 19 through March 31. The golf courses will be closed to the public during shotgun culling.

Golf courses will BE CLOSED to the public for shotgun culling as follows:

  • Hopewell Valley closed January 1 through January 31
  • Mercer Oaks East February 19 through February 29
  • Mountain View closed February 1 through February 29

At Howell Farm, the permit allows for extended evening culling (sunset through 9 p.m.) January 29 through March 31. Beginning in January, bow culling may take place Monday through Saturday, from sunrise to 9 p.m. until March 31. Howell Farm will be closed to the public during shotgun culling.

Howell Farm will BE CLOSED to the public for shotgun culling on:

  • Mondays January 29 through March 31
  • Tuesday through Friday from 4 p.m. to 9 p.m. January 20 through March 29

The above dates do not include closures as part of the Park Commission’s existing deer management program. Please visit mercercountyparks.org for details on all closures for deer manage

More information can be found by visiting the Mercer County Park Commission’s Deer Management page

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On the 800th anniversary of the Christmas nativity scene a story emerges that takes readers back to that time

FORT WORTH, Texas — It’s rare to find a holiday book like A Bellwether Christmas: It tells a story that can entertain every member of the family regardless of age; it reveals history about a beloved Christmas tradition, and it features charming animal characters.

 

Laurel Guillen’s work of fiction was inspired by a life-changing trip to Italy and years of caring for some remarkable farm animals.

 

“Many years ago,” Guillen said, “I visited central Italy and came away with a burning desire to write a novel set in the time of Francis of Assisi and the early Franciscans. I did extensive research, but nothing ever came of it. In the meantime, I raised a son who adopted farm animals, including a horse, two sheep and two donkeys. One Christmas season a few years ago, the plot for this novel suddenly downloaded into my brain in a few minutes.”

 

She added that she suddenly realized “I was being given the chance to write a novel that combined my knowledge of 13th-century history as well as farm animals. I knew it was supposed to be a children’s novel, but one that adults would love also.”

 

A Bellwether Christmas depicts medieval rural life from its songs to work, food to customs, and each chapter begins with a beautifully drawn illustration that evokes the style of medieval woodcut art. Guillen also includes “afterwords” to help readers understand St. Francis’s life and his importance to the Church, and to introduce readers to the real-life farm animals her characters are based upon.

 

Bart is a curious, impetuous lamb who lives in a tiny village in medieval Italy. He is always getting into trouble and feels like he doesn’t belong. In chance encounters with a hare, a lark and then a terrifying wolf, he learns about the poor man from Assisi who loves all creatures and talks to them about love, honor and belonging. Bart is convinced that this man, and the new kind of celebration he is planning for Christmas Eve, holds the key to understanding his own destiny. But when Christmas Day dawns, he faces his biggest challenge yet: a dangerous mission to bring the gift of love to a friend. Will he be brave enough and finally find the place where he belongs?

 

The winner of multiple awards, including a First Place Christian Indie Award and Finalist in the 2022 Readers’ Choice Book Awards, A Bellwether Christmas is full of historical details to entertain kids and adults alike and offers a perfect opportunity for parents to talk to their kids about the meaning of Christmas.

 

Laurel Guillen is a Cornell University graduate and former radio, newspaper, and television journalist who has always loved medieval tales. She helped her husband, Michael Guillen, PhD, produce the award-winning family movie Little Red Wagon and now writes the blog God and Gardening on Facebook.

 

 

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Audiences to experience Amanda Gorman, Jan Vogler at Carnegie Hall – An evening of poetry and Bach

NEW YORK — History-making Presidential inaugural poet and bestselling author Amanda Gorman and internationally acclaimed cellist Jan Vogler share the stage for the first time at Stern Auditorium/ Perelman Stage at Carnegie Hall on Saturday, Feb. 17, 2024 at 8 p.m.

 

It will be an evening of spoken word and music featuring the award-winning poetry of Ms. Gorman and the Cello Suites of J.S. Bach, for offering a message of hope and humanity. 

 

Vogler says, “I grew up reading poetry, and have played the music of Bach for nearly my entire life, reveling for many years in the universal appeal of his captivating Cello Suites. To collaborate with Amanda and to see how her wonderful poems change my interpretation of Bach’s music is a great joy. I can’t wait to share the results of this extraordinary inspiration.”

 

Gorman states, “Like many people, Bach’s music captures my heart and my imagination. To be in dialogue with it, and with Jan and his cello – a Stradivarius that was made around the time that Bach wrote this music – is to touch something timeless.”

 

Tanja Dorn, President and CEO of presenter Dorn Music  comments, “I am elated that Dorn Music will be bringing together these two incredible artists around the eternal music of Bach and Ms. Gorman’s contemporary poetry in this very special evening. We are so honored to be presenting Ms. Gorman at Carnegie Hall and to be helping to bring this collaboration to life.”

 

Gorman is the youngest inaugural poet in U.S. history. She is a committed advocate for the environment, racial equality, and gender justice. Amanda’s activism and poetry have been featured on the Today Show, PBS Kids, and CBS This Morning, and in The New York Times, Vogue, and Essence. After graduating cum laude from Harvard University, she now lives in her hometown of Los Angeles.

 

In 2017, Gorman was appointed the first-ever National Youth Poet Laureate by Urban Word – a program that supports Youth Poets Laureate in more than 60 cities, regions and states nationally. Gorman’s groundbreaking performance of her poem, “The Hill We Climb,” at the 2021 Presidential Inauguration received international critical acclaim, inspiring millions of viewers with her message of hope, resilience, and healing.

 

Amanda appeared on the cover of TIME magazine in February 2021 and was the first poet to grace the cover of Vogue in their May 2021 issue. She was Porter Magazine‘s July 2021 cover star and received The Artist Impact Award at the 2021 Backstage at the Geffen Awards. In 2021 Amanda was one of 5 Variety Power of Women honorees and cover star, as well as one of three cover stars for Glamour‘s Women of the Year. The following year she was Allure’s beauty issue cover star, and one of four cover stars for Harper’s Bazaar’s 2022 Icons issue. The special edition of her inaugural poem, “The Hill We Climb,” her debut picture book, Change Sings, and her poetry collection, Call Us What We Carry, were published in 2021, all debuting at #1 on New York Times, USA Today and Wall Street Journal bestsellers lists. Her latest children’s book, Something, Someday, was published in September 2023 with illustrations by Caldecott Honor and Coretta Scott King Honor winner Christian Robinson, also debuting at #1 on the New York Times bestseller list. Please visit theamandagorman.com.

 

Vogler’s distinguished career has brought him together with renowned conductors and internationally acclaimed orchestras around the world. Highlights of his career as a soloist include concerts with the New York Philharmonic (both in New York and Dresden at the occasion of the reopening of the rebuilt Dresdner Frauenkirche under the direction of Lorin Maazel in 2005), performances with the Chicago, Boston, Pittsburgh and Montréal Symphony Orchestras and many others. He collaborates with conductors such as Andris Nelsons, Fabio Luisi, Sir Antonio Pappano, Valery Gergiev, Omer Meir Wellber, Manfred Honeck and Kent Nagano.

 

His interpretations of Johann Sebastian Bach’s famous cello Suites have been praised by audiences and critics. His recording of the six solo suites was awarded the Echo Klassik award in 2013. His great ability allowed him to explore the sound boundaries of the cello and to establish an intensive dialogue with contemporary composers and artists. This includes regular world premieres, including works by Tigran Mansurian, John Harbison, Udo Zimmermann, Wolfgang Rihm, Jörg Widmann, Nico Muhly, Sven Helbig, Zhou-Long and Sean Shepherd. In addition to his classical career Jan has collaborated with artists like actor Bill Murray (New Worlds) and rock legend Eric Clapton.

 

Jan has been an exclusive Sony Classical artist since 2003. His latest recording combines the world premiere recording of the Cello Concerto by Enric Casals with the Cello Concerto by Lalo, his partners being the Moritzburg Festival Orchestra and conductor Josep Caballe Domenech. In addition, his recording “Pop Songs” with the BBC Philharmonic conducted by Omer Meir Wellber was released in May 2022. In 2006, Jan received the European Award for Culture and in 2011 the Erich-Kästner Award for tolerance, humanity and international understanding. In June 2018 he received the European Award for Culture TAURUS as Director of the Dresden Music Festival and in 2021 Jan Vogler was awarded the Order of Merit of the Federal Republic of Germany. Jan Vogler has been Director of the renowned Dresden Music Festival since October 2008 as well as Artistic Director of the Moritzburg Festival since 2001. Please visit janvogler.com.

 

Tickets are on sale through the Carnegie Hall website, www.carnegiehall.org by calling CarnegieCharge at 212-247-7800, and at the Carnegie Hall box office at 57th Street and Seventh Avenue. Regular ticket prices start at $35. Student and Senior rush tickets are available for $35 at the Carnegie Hall box office. Students must show ID.

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‘The Hunger Games: The Ballad of Songbirds and Snakes’ to arrive on digital platforms

Enter the arena again when “The Hunger Games: The Ballad of Songbirds and Snakes” arrives on premium video on demand and premium electronic sell-through on Dec. 19 from Lionsgate.

 

The film will be available to buy for $24.99 and to rent for $19.99 on participating digital platforms, including Amazon Prime Video, Apple TV, Google Play and Vudu.

 

Based on the Suzanne Collins novel of the same name, the prequel centers on Panem’s President Snow — 64 years before Katniss Everdeen’s games. Tom Blyth‘s Coriolanus Snow is an Academy student tasked with mentoring District 12 tribute Lucy Gray Baird, played by Rachel Zegler, in the 10th annual Hunger Games.

 

Their pairing sets off a series of events that force Snow to battle his instincts for good and evil. Peter Dinklage, Hunter Schafer, Josh Andrés Rivera, Jason Schwartzman and Viola Davis round out the cast. The film is still currently playing in theaters and has earned over $300 million worldwide.

 

Francis Lawrence directed the film from a screenplay by Michael Lesslie and Michael Arndt.

 

In his review of the film, Variety’s film critic Peter Debruge wrote, “Much like ‘Harry Potter,’ the book series whose Hollywood success made this franchise possible, the big-screen adaptations took a few false steps before hitting their stride with a single director — in this case, Francis Lawrence — who now returns to helm a prequel (far better than the ‘Fantastic Beasts’ movies) that impressively expands the canon while honoring its key themes.”

 

The other “Hunger Games” movies are available to stream on Peacock and Fubo TV.

 

 

 

Variety

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AACCNJ announces new chairman and vice chair for 2024, at AACCNJ annual meeting

ISELIN, N.J. — R. Stanley Prater, Chairman, African American Chamber of Commerce of New Jersey (AACCNJ) announced that Gary Mann, CEO, Jasfel Analytics, and Tammeisha Smith, CEO, Dunbar Center will serve as Chairman of the Board and Vice Chair of the Board of Directors, respectively, effective Jan. 1, 2024.

 

“It has been an honor and privilege to serve as the Chamber’s Chairman over the last four years, and I am confident that newly elected Chairman; Gary Mann and Vice Chair; Tammeisha Smith are well positioned and the right choices to lead the Chamber into the future,” said, R. Stanley Prater.

 

“I am truly honored and humbled to step into the role of Chairman of the Board. Stan has been an exemplary steward and leader, and I extend my sincere gratitude to him”, said Gary Mann, CEO, Jasfel Analytics. “As I assume this responsibility, I am mindful of the extraordinary work of John Harmon, Founder and CEO. Standing on the shoulders of both Stan and John, I am committed to building on their incredible legacy.

 

Together, with the continued guidance of John, we will further advance and expand revenue generating opportunities and strategic relationships for African American businesses in New Jersey and beyond.”

 

“As we look ahead, I am inspired by the collective strength and diversity of talent within our membership. I firmly believe that our success is interlinked with the success of every member, said Tammeisha Smith, CEO, Dunbar Center. “Therefore, I encourage active participation, constructive feedback, and a shared commitment to our common goals. Together, we will chart a course that not only sustains our present momentum but also paves the way for a brighter, more prosperous future.”

 

“It certainly doesn’t seem like it has been four years, but it has been an absolute honour and pleasure to serve as the Vice Chairman of the Board of the African American Chamber of Commerce”, said Robert Warrington, Esq.  “It has been immensely satisfying to be a part of an organization that takes pride in highlighting daily how Black excellence in the business community continues to benefit New Jersey’s economy. I am confident that Gary Mann and Tammeshia Smith will continue to uphold that standard in the years to come as the organization continues to advocate for inclusion of its constituents in New Jersey’s economy.”

 

“We are grateful to former Chairman Stan Prater for his leadership to excellence, growth and sustainability over his tenure, he definitely made an impact on our organization”, said John E. Harmon, Sr., IOM, Founder, President, & CEO, AACCNJ.

 

“And to our incoming Chairman, Gary Mann and the other officers that will join him, there remains a tremendous amount of work to be done and each of you possess the commitment and unique skills necessary to get the job done with excellence.

 

I look forward to working with each of you to design strategies that will derive value for our members and those that invest in the mission of AACCNJ while concurrently contributing to the competitiveness of New Jersey.”

 

The official Changing of the Guard ceremony/reception will take place on January 18th from 6 p.m. – 8 p.m. at the APA Hotel in Iselin, NJ. Members only, may register at www.aaccnj.com.

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All the opportunity in the world awaits: Why Hollywood needs to embrace the vitality of international creators

The first time I went to Ghana, I was 19 years old and volunteering to build a health clinic in a rural village. It was the early ‘90s, I was a teenaged lunatic, and everything bad that could have happened to me did: I got malaria; I was beaten up by soldiers on the border with the Ivory Coast — but I also encountered wonderful people and stunning and moving and unforgettable experiences and friendships. All told, I had the time of my life, and vowed to spend as much time as I could on the African continent, and I have ever since.

 

A few weeks ago, I was back in Ghana (now as a middle-aged man, no backpack, no youthful bravado) for a very different reason: to join other producers at a historic pan-African summit devoted to the elevation of the film and television industries across the continent. And the talent, entrepreneurial intelligence, and sheer creativity on display came as a welcome injection of hope at a time when those of us based in Hollywood could use it.

 

As we all take our holiday break and look toward 2024, many of us working in the entertainment hub of Los Angeles are — to say the least — shaken. Limping out of the pandemic and labor strikes and cost-cutting and mergers, Hollywood is struggling for the gumption to do anything cool; or, really, to do just about anything. Buyers seem to be only warily open for new business, and strictly according to company “mandates” conveyed by apologetic executives who are understandably fearful for their jobs. What’s been lost in this town-wide shakedown is the electric sense of possibility, of excitement about daring projects, and a desire for creative innovation that, for many of us, is the reason we have these jobs in the first place.

Invention Studios chief Nicholas Weinstock with Invention’s Nicole Magabo and Vanessa Kihuguru Olanrewalu Ayorinde

 

The irony is that the industry has never been in more urgent need of creative innovation than now. Unexpected storytelling from sources as far-ranging as possible are in fact crucial to our ability to get through the current crunch to a healthier future. It’s worth pointing out that many of the most prosperous recent jolts to the film and television business have come from surprising creators outside America’s borders – from “Parasite” to “Casa de Papel” to “Squid Game” to “Lupin” to the British-conceived “Succession” to the India-born “RRR” and beyond. It’s also worth noting that the number of game-changing hit movies and series that have been generated by nervous corporate mandates, in the history of the entertainment industry, is zero.

 

All of which suggests that the world beyond seized-up Hollywood might provide a beacon as we all try to get through a dark time.

 

In November, I had the honor to serve as head juror of the Africa International Film Festival (AFRIFF) in Lagos, Nigeria, where more than 700 feature films were submitted from across the continent and from traditional tribal storytellers and internationally renowned filmmakers alike. The award for best picture went to “Fumilayo Ransome-Kuti,” about the life of a heroic women’s rights activist and educator: a film (period piece, narratively unorthodox, feminist agenda, unfamous actors) that would be in no corporate mandate on earth.

 

From Nigeria I traveled to Accra, where the National Film Authority hosted the first-ever continental summit devoted to the empowerment of African cinema. Hundreds of emerging writers and directors attended the conference’s panels and speeches — including a passionate address by Ghana’s President, Nana Akufo-Addo — advocating and offering support for globally groundbreaking movies and shows.

 

And you don’t have to go as far as Africa to find surging creative ambition. A couple months ago, at the Mercato Internazionale Audiovisivo (MIA) in Rome and at MIPCOM in Cannes, creators and producers from around the world convened to build and promote their most audacious projects. While there I strategized with a Ukrainian producer on her comedy set in a bunker in Kiev during the Russian bombings; with Mumbai-based entrepreneurs who are gathering the makers of India’s most popular YouTube videos into a creative comedy collective; and with other pioneers of film and television offering tales and perspectives that worldwide audiences have never seen.

 

The energy of international creators these days is a vital fuel for our industry that — unlike most natural resources — is only growing. And for those of us hoping to make great things in 2024 and beyond, it’s a model of creative courage that we desperately need. Amid all the corporate downsizings in Hollywood, it’s crucial that we resist the obedient urge to downsize our imaginations. Our industry is in urgent need of reinvention. We have the historic opportunity to rise to that challenge with all the partners, innovators and joy in the world.

 

(Pictured at top: Attendees at the Africa International Film Festival in Lagos in November)

Nicholas Weinstock is president of Invention Studios, an independent creative company based in Los Angeles. After attending college at Harvard University and the University of Nairobi, he went to graduate school for literature at the University of Botswana and the University of Cape Town, and is author of a nonfiction book and two novels. Most recently, he developed and executive produced the Apple TV+ series “Severance” and “High Desert” and produced the film “Thelma,” set to premiere at the 2024 Sundance Film Festival. He is also the founder of Craft Services, an online support network and project incubator for more than 600 emerging screenwriters worldwide.

 

 

 

Variety

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Magnolia Pictures buys naval thriller ‘Arctic Convoy,’ set for 2024 release date

Magnolia Pictures has acquired U.S. rights to “Arctic Convoy,” a Norwegian naval thriller that is set in the middle of World War II.

 

The film is from the producers of “The Wave” trilogy, so it’s a homecoming of sorts given that Magnolia released all three installments of that series.

 

“Arctic Convoy” is directed by Henrik M. Dahlsbakken and written by Christian Sibenherz, Harald Rosenløw Eeg and Lars Gudmestad. Magnolia is planning a 2024 release for the picture.

 

The film unfolds in 1942, as the leader of a convoy carrying vital military supplies to a Norwegian outpost decides to proceed through treacherous, enemy-infested waters despite the recall of their military escort. Fighting for their lives against German air and naval forces, the 35 civilian merchant ships brave brutal Arctic seas to bring much-needed support to soldiers on the front lines.

 

The film is produced by Martin Sundland, Catrin Gundersen and Thea Benedikte Karlsen for FanteFilm. The deal was negotiated by Magnolia co-CEO Dori Begley and SVP of Acquisitions John Von Thaden. TrustNordisk’ Managing Director Susan Wendt represented the filmmakers in the discussions with the indie label.

 

Magnolia’s recent releases include Sundance documentary “Invisible Beauty,” a look at fashion pioneer Bethann Hardison; “Joan Baez: I Am a Noise,” a documentary about the folk singer and activist; and “Kokomo City,” D. Smith’s Sundance award-winning documentary about Black trans sex workers. Other films released during Magnolia’s 20-year history include the Oscar-nominated documentary “Collective,” back-to-back Cannes Palme d’Or winners and Oscar nominees “Shoplifters” and “The Square” and the Oscar-nominated “RBG,” a look at the late Supreme Court Justice Ruth Bader Ginsburg.

 

 

Variety (EXCLUSIVE) 

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Some of this year’s cinematic films hit big while others list as most overlooked movies of 2023

This past year saw cinematic highs for studio blockbusters like “Barbie” and “Oppenheimer” while indie darlings such as “American Fiction” and “Past Lives” found a warm reception from critics and audiences.

 

But not all films can make a mark at the box office or find a passionate fanbase (or obsessed critic) to champion their releases.

 

The content onslaught often makes it hard to find the hidden gems, which is what end of the year lists are for — so Variety asked writers and editors to suggest their lesser-seen favorite films of the year.

 

And while you’re desperately searching for new content, check out Nida Manzoor’s jaw-dropping, action flick “Polite Society” or the tear-inducing animated feature “Robot Dreams.”

 

Do not sleep on the middle-of-nowhere Australian crime documentary “Last Stop Larrimah,” centered around the mysterious disappearance of the local favorite, thus making everyone a suspect.

 

If you’re looking for a thriller, check out the screenshot flick “Missing” that takes place entirely from a teenager’s laptop and phone, as she tries to uncover the secret behind her mother’s sudden and unexplainable disappearance (from the creators of “Searching).”

 

And if you’re looking for something a little lighter, we suggest Peter Dinklage, Anne Hathaway and Marisa Tomei’s strange little comedy “She Came to Me,” about a composer who finds inspiration for his next musical masterpiece while cheating on his wife with a tugboat captain.

 

Instead of re-watching “West Wing” or mainlining “The Sopranos” yet again, check out these movies you may have missed.

 

Read more:

https://variety.com/lists/overlooked-movies-of-2023/afire/

 

 

 

Variety

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Nicki Minaj returns to the top of Billboard 200 with ‘Pink Friday 2’

The numbers are in: Nicki Minaj’s “Pink Friday 2” is the No. 1 album in the United States, touting the biggest debut sales week for a rap album by a woman in the last four years.

 

The record joins the original “Pink Friday,” Minaj’s 2010 debut album, as her third overall record to hit the peak of the list alongside 2012’s “Roman Reloaded.” With this, Minaj now claims the most chart-topping albums to date for a female rapper.

 

“Pink Friday 2” opened with the equivalent of 228,000 albums sold in the week ending Dec. 14, according to data provided by Luminate. Notably, “Pink Friday 2” was also a top seller on vinyl, logging 25,000 copies sold — the highest figures for a rap album by a woman since Lumnate began calculating vinyl sales in 1991.

 

The 22-song record welcomed guest verses from Drake to Lil Wayne, J. Cole, 50 Cent and more, while also sampling Billie Eilish, Blondie, Rick James and numerous others. It was also preceded by the announcement of a 2024 arena tour that is set to launch in March.

 

Shortly after its release, Minaj took to X (formerly Twitter) to claim the Billboard charts were going to disqualify 100,000 of its sales because she had encouraged a contest that urged fans to buy four copies each. A majority of these tweets, in which she alleged that she was being “punished” for “making great music [and] having great fans,” have since been deleted.

 

Despite the protests, Minaj still managed to lead with flying colors while Taylor Swift’s “1989 (Taylor’s Version)” followed at No. 2 with 109,000 units and Drake’s “For All the Dogs” at No. 3 with 68,000 units.

 

Aside from Minaj’s new release, rising star Tate McRae landed her first top 10-charting album on the Billboard 200 with a strong 66,000 units at No. 4 for her latest “Think Later.” The set had a strong streaming presence, logging nearly 76 million streams. Ahead of her record’s release, McRae also reaped her first top 10-charting hit on the Billboard Hot 100 with “Greedy.” The song sits at No. 9 on this week’s list.

 

A large chunk of this week’s Top 10 records are Swift’s: “Midnights” is No. 7, “Lover” is No. 9 and “Folklore” rounds it out at No. 10. Aside from that, SZA’s “SOS” is No. 8, Michael Bublé’s “Christmas” is at No. 5 and Morgan Wallen’s “One Thing at a Time” is No. 6.

 

As for the singles chart, Mariah Carey reclaims the throne with “All I Want For Christmas Is You” at No. 1 with 42 million streams. The 1994 single has led the Hot 100 for consecutive weeks annually since 2019, largely thanks to it becoming a mainstay on holiday playlists across most DSPs.

 

Outside of McRae at No. 9 and Jack Harlow’s “Lovin On Me” at No. 6, the rest of the Top 10 on the Hot 100 is complete with yuletide cheer: Brenda Lee’s “Rockin’ Around the Christmas Tree” is at No. 2; Bobby Helms’ “Jingle Bell Rock” holds at No. 3; Wham!’s “Last Christmas” keeps at No. 4; Burl Ives’ “A Holly Jolly Christmas” is No. 5; Andy Williams’ “It’s the Most Wonderful Time of the Year” is No. 7; The Ronettes’ “Sleigh Ride” is at No. 8 and lastly, Dean Martin’s “Let It Snow, Let It Snow, Let It Snow!” is No. 10.

 

 

 

Variety