In Mohamed Ben Attia’s surprising supernatural drama, a man fed up with the chains of his humdrum life lashes out, only to discover he possesses a logic-defying power.
Catatonic with a bright red swollen eye, middle-aged Rafik (Majd Mastoura) sits handcuffed inside a police station in the aftermath of a violent outburst at his soul-crushing office job.
Whatever gripe eroded his sanity doesn’t matter as much now, since the incident, including a suicide attempt, unearthed a supernatural ability he possesses. An unpredictable oddity of a film, “Behind the Mountains” sees seasoned Tunisian writer-director Mohamed Ben Attia step away from the straightforward social realist drama of his previous festival standouts “Dear Son” and “Hedi,” while staying steadfast in his interest for emotionally intricate protagonists and the complications of parent-child relationships.
Four years after the breakdown that landed him in prison, Rafik kidnaps his son Yassine (Walid Bouchhioua), an impressionable grade-school kid who barely remembers his father, and drives away from the capital and into the open spaces of the mountainous countryside. In brief exchanges, we learn of Rafik’s history with mental health issues and his inability to live up to the financial standards of his well-off in-laws. Forcing us to witness the consequences of his newly discovered power before we even learn what it is, editor Lenka Fillnerova cuts away right before Rafik displays it, and later brings us back to the scene in the form of brief flashbacks that imply he can fly when he jumps off of a cliff.
Entranced by Rafik’s feat, a nameless young shepherd (Samer Bisharat) chooses to follow him, like a disciple of sorts. It’s in this quiet rural man that the protagonist finds the most tenderness and unconditional trust, even as the journey veers into criminal activity. The trio sets out to make a new home behind a dragon-shaped mountain range, but Ben Attia derails their plan as various twists prevent us from ever guessing with certainty what comes next. That’s especially true when Rafik and his two companions break into the home of Wejdi (Helmi Dridi) and Najwa (Selma Zghidi), a wealthy married couple.
Once the dust has settled and all parties have agreed to remain amicable until morning, the three men from distinct segments of the social strata who otherwise may have never crossed paths — a rural laborer, an urban paper-pusher and a financially successful model father — sit together in the living room in a tense, coerced gathering. Najwa, the matriarch worried about her two young children in the house, begins scheming a way out of this home invasion.
Through lines of dialogue, Ben Attia unveils key details about both the captors and the hostages, practically all of who feel just as trapped in their lives as Rafik did at the outset (a revelation that flips the dynamic between them on its head). Early on, DP Frédéric Noirhomme frames the characters in extreme wide shots that dwarf them against the vastness of the imposing landscapes. But once the narrative moves indoors, the tight rooms augment the sense of imprisonment Raifk so desperately wants to free himself from.
Operating from a nothing-to-lose attitude, a fierce Mastoura pieces together his portrayal of Rafik with layers of determined rage, tender parental instincts toward Yassine, and a strength gained from the realization that perhaps there could be something more beyond what people collectively accept as a fulfilled life. After playing a meek man living under his protective mother’s shadow in “Hedi,” the actor reunites with Ben Attia here. Both characters share a desire to break away from societal conventions. The filmmaker effectively positions Zghidi’s anxious Najwa as a person receptive to Rafik’s logic-defying claim that he can take flight. She too wishes to escape.
Flying serves as a metaphor for existential liberation in “Behind the Mountains.” But thanks to Ben Attia’s shrewd sensibilities, its visual potency feels distinct from superhero blockbusters. Rafik has no interest in utilizing his unexpected potential for any grand, universe-altering purpose, and yet, the mere fact that he can do something no one thought possible allows others to experience personal epiphanies about the rigidness of the status quo and their seemingly unchangeable position in the world.
Ben Attia keeps these musings oblique, and, to the benefit of the film’s mystique, refuses to engage with the mechanics of Rafik’s superpower or with its source. Instead, he commits to what it evokes in him and those around him, particularly in Yassine, for whom the flying is a literal leap of faith and validation that his father is more than the negative stories he’s heard all his young life. Unorthodox, yet fascinating, “Behind the Mountains” is mostly concerned with passing on the inspiring idea that it only takes one person to believe things can be different for change to begin.
“Halo” Season 2 has sets its premiere date at Paramount+.
The second season of the series based on the popular video game franchise will premiere on Feb. 8, 2024, in all countries where Paramount+ is available.
The first two episodes of the season will drop on that date with new episodes dropping weekly thereafter. The announcement was made at CCXP in São Paolo, Brazil, with cast members Pablo Schreiber and Joseph Morgan in attendance along with new showrunner David Wiener and executive producer Kiki Wolfkill.
The official description for Season 2 states, “Master Chief John-117 (Schreiber) leads his team of elite Spartans against the alien threat known as the Covenant. In the wake of a shocking event on a desolate planet, John cannot shake the feeling that his war is about to change and risks everything to prove what no one else will believe – that the Covenant are preparing to attack humanity’s greatest stronghold. With the galaxy on the brink, John embarks on a journey to find the key to humankind’s salvation, or its extinction — the Halo.”
Morgan joins the cast as James Ackerson, described as “a formidable intelligence operative who has spent his career climbing the ranks of the UNSC’s secretive Office of Naval Intelligence.” Cristina Rodlo is also joining the show in the role of Talia Perez, “a corporal specializing in linguistics for a UNSC Marine Corps communications unit and a relatively new recruit who has yet to see any real combat.”
Returning cast members include Natascha McElhone, Jen Taylor, Bokeem Woodbine, Shabana Azmi, Natasha Culzac, Olive Gray, Yerin Ha, Bentley Kalu, Kate Kennedy, Charlie Murphy, Danny Sapani, Fiona O’Shaughnessy, and Tylan Bailey.
HALO is produced by Showtime in association with 343 Industries and Amblin Television. The second season is executive produced by Wiener alongside Steven Spielberg, Darryl Frank and Justin Falvey for Amblin Television. Wolfkill serves as executive producer for Xbox/343 Industries, with Otto Bathurst and Toby Leslie for One Big Picture and Gian Paolo Varani. Both Schreiber and McElhone serve as producers this season. The series is distributed internationally by Paramount Global Content Distribution.
Paramount+ also released the first teaser trailer for the new season:
They initially bumped heads because Marsau and LaTisha Scott asked Stormi to participate in their Blaque Business Expo.
— Photo Credit: OWN/YouTube
Melody Shari had just confirmed she would not be on the panel. So Marsau and LaTisha figured that Stormi would be a good replacement. However, the couple forgot to tell Stormi she needed to pay a booth rental fee. Although LaTisha told Marsau to let it go, he asked Stormi for the money the day of the event. Stormi didn’t like this at all. She refused to pay out of principle.
As their tension lingered, Stormi called Marsau a *****. She accused him of acting catty towards women. To no surprise, Marsau and LaTisha saw this as disrespectful. Marsau attempted to get even when Courtney Beasley came around. He called Courtney “Courtney Steele.”
Marsau told LaTisha that he doesn’t want to be around Stormi moving forward. He doesn’t think it’s cool that she said he acts like a *****. Interestingly enough, both couples will meet up on the upcoming episode. During a preview, Stormi attempts to explain why she called Marsau a *****.
She says, “Granted the word ***** is disrespectful, right? However, you feel like in order to retaliate or get your lick back against me and going toward Courtney, technically that ain’t no **** a man would do. That’s some **** a ***** would do.”
Stormi continues, “So that’s why I called you a *****. A man would have been like Courtney get your ************* wife.”
Stormi Steele goes there
Marsau is over it. “Again, even after our conversation about the *****, you still choose to use that term.”
LaTisha interjects, “Why can’t we give up on this word?”
Stormi responds, “I’m just trying to get to the bottom of it. I’m not calling you a *****. Not right now.”
Marsau then says he’s just going to ignore Stormi, “Well I feel like you did. I’m gonna learn to ignore what you say.”
She quips, “No, you ain’t gotta ignore me. That’s disrespectful. That’s why she got a drink thrown in her face.”
In an analysis of Cyber Monday 2023, JOTO PR DisruptorsTM unveils revolutionary AI and AR strategies poised to redefine e-commerce. Discover how these cutting-edge technologies are shaping future consumer trends and driving business success in the digital marketplace.
TAMPA, Fla. — JOTO PR Disruptors, a leader in disruptive PR strategies, analyzes the transformative consumer behavior and record-breaking sales trends of Cyber Monday 2023.
The BNN Network report on Black Friday and Cyber Monday 2023 revealed a significant uptick in online shopping trends. Notably, Black Friday recorded an impressive $9.8 billion in online sales in the U.S., a 7.5% increase from the previous year, with global online sales reaching $70.9 billion, an 8% increase. Cyber Week was expected to generate $37.2 billion in online spending, a 5.4% increase, and Cyber Monday was projected to hit a record $12 billion in sales.
These figures demonstrate a robust growth in e-commerce, driven by substantial discounts and a stronger consumer spending capacity, particularly evident in the increased use of smartphones for shopping (1) JOTO PR Disruptors offers insights and disruptive communication tips for companies looking to optimize their e-commerce strategies using the latest AI and AR technologies in 2024.
“Understanding and leveraging these changes, especially through emerging technologies like AI and AR, is crucial for companies to stay ahead in the digital marketplace.”
In anticipation of the evolving market dynamics, JOTO PR Disruptor has outlined three essential strategies that businesses will need to prioritize in 2024. These strategies are designed to effectively respond to the ‘Amazon effect,’ a consumer trend characterized by increasing demands for convenience, efficiency, and tailored shopping experiences. By adopting these approaches, companies can stay ahead in a marketplace heavily influenced by the benchmark set by Amazon, ensuring they remain competitive and in tune with consumer expectations. JOTO PR emphasizes the necessity of these strategies in navigating the shifting landscape of consumer preferences and e-commerce.
Optimized E-Commerce Strategies: Integrating AI-driven tools for automating routine processes, improving operational efficiency, and offering personalized shopping experiences. Utilize AR technology to provide virtual try-ons and immersive product demonstrations, transforming how consumers interact with productsonline.(2)
Leveraged Data Analytics for Personalized Marketing: Employing AI to analyze customer data, including browsing history and purchasing tendencies, for targeted and customized marketing strategies. This approach enhances customer engagement and conversion rates.(2)
Improved Customer Experience and Engagement: Using AI-powered customer service technologies and AR-driven product demonstrations to increase customer interaction and satisfaction.(3)
To enhance the impact of these innovative technologies, companies will also need to employ dynamic and disruptive communication strategies:
Virtual Reality Press Conferences: Host immersive VR press conferences for a hands-on experience of AI and AR e-commerce integrations.
Interactive Social Media Campaigns: Engage customers with AR filters and AI-driven interactive content on social media.
AI and AR-Driven Storytelling: Use storytelling with AI and AR elements to narrate the brand’s technological journey in e-commerce.
Tech Influencer Collaborations: Partner with tech influencers for live demonstrations and insights into AI and AR advancements.
Augmented Reality Product Launches: Introduce new products through AR virtual events, showcasing innovative e-commerce experiences.
“By implementing these AI and AR strategies, companies can leverage the momentum from Cyber Monday, setting the stage for success in the upcoming holiday season and beyond,” concludes Helms.
About JOTO PR Disruptors™:
Founded by PR veteran Karla Jo Helms, JOTO PR Disruptors™ emerged from extensive market research with CEOs of fast-growth companies. The agency, established in 2009, combines crisis management skills with advanced media algorithms to develop Anti-PR® campaigns. Based in Tampa Bay, Florida, JOTO PR is globally recognized for its innovative Anti-PR services. More information is available at http://www.jotopr.com
About Karla Jo Helms:
Karla Jo Helms is the Chief Evangelist and Anti-PR Strategist for JOTO PR Disruptors™.
She learned firsthand how unforgiving business can be when millions of dollars are on the line—and how the control of public opinion often determines whether one company is happily chosen, or another is brutally rejected. Being an alumni of crisis management, Karla Jo has worked with litigation attorneys, private investigators and the media to help restore companies of goodwill back into the good graces of public opinion. Helms speaks globally on public relations, how the PR industry itself has lost its way and how, in the right hands, corporations can harness the power of Anti-PR to drive markets and impact market perception.
An Illinois appellate court has upheld Jussie Smollett’s conviction for staging a hate crime.
According to Variety, the First District Appellate Court rejected his appeal in a 2-1 vote conducted on Friday.
A jury convicted Smollet in December 2021. An Illinois judge sentenced him to 150 days in the Cook County jail for five felony charges of disorderly conduct.
Smollett took his acting from the small screen to the streets of Chicago five years ago in a staged assault. The 41-year-old orchestrated the hoax with two brothers, Olabinjo and Abimbola Osundairo.
Evan Agostini/Invision/AP/REX/Sh
The disgraced actor claimed strangers beat him while spewing racist and homophobic remarks. He reported they poured bleach on him and tied a noose around his neck. Smollett also told police the assailants yelled he was in “MAGA country.”
The hoax went viral in 2019 after investigators discovered the Empire actor paid the men to execute the staged “assault.” The series subsequently dropped the fibbing thespian from the final season.
Despite the brothers’ confession and the jury’s guilty verdict, Jussie maintained his innocence. Upon sentencing, he yelled in the courtroom, “I am not suicidal!” with a raised fist. Smollett’s defense team appealed the conviction, and he secured a release after only serving six days.
Jussie Smollet appeals his conviction for staging a hate crime
Source: Nuccio DiNuzzo / Getty
During the appeal, Smollett’s attorneys challenged “virtually every aspect” of the hoax case. Justice David R. Navarro called their objections to jury selection, the sentence and the appointment of a special prosecutor “excessive.” The falsifier’s attorney also stated COVID-19 capacity limits in the courtroom hindered his right to a public trial.
Navarro’s arguments were rejected on the grounds that the trial judge did not abuse his discretion and swiftly corrected any mistakes.
The justices wrote, “For the foregoing reasons, we affirm the judgment of the circuit court of Cook County.”
Justice Freddrenna Lyle contested as she argued that Smollett should not have been re-prosecuted after the Cook County State’s Attorney’s office initially dropped all charges against the former child star.
The decision resulted in a firestorm of vitriol. The judge appointed Dan Webb to reexamine the case and bring forth charges if he saw fit. The court official contended the state’s attorney did not accurately recuse herself. Lyle asserted reversing the decision caused the state to back out on a deal that was made with Jussie’s defense team, thus they should have upheld the initial outcome.
The justice wrote, “Public policy considerations and reverence for our justice system disfavor reneging on such agreements and should never be outweighed by a cacophony of criticism as to the terms of the agreement.”
The Mighty Ducks actor’s reps stated he would appeal to the state Supreme Court.
The officials released a statement: “We wish to highlight that the decision was divided, with Justice Lyle offering a detailed analysis in favor of Smollett. We are preparing to escalate this matter to the Illinois Supreme Court, armed with a substantial body of evidence.”
The special prosecutor on the case, Dan Webb, also released a statement citing the appellate decision as a “resounding victory for justice.”
“We are proud to have prevailed in a case that, we believe, can help restore the public’s confidence in the Cook County justice system,” Webb said.
“We hope this decision will reassure the community that our legal system is fair, just, and impartial.”
Jussie’s character on Empire, Jamal Lyon, clearly had a fitting last name, considering he is going to ride this untruth until the transmission gives out.
BUENOS AIRES — Representatives of Ibero-American film industry collectives gathered to discuss diversity, parity and equality in the audiovisual sector at a pair of panels held by Ventana Sur’s Punto Genero and industry strands in Buenos Aires on Thursday.
Credit: Holly Jones
Moderated by Lyara Oliveira, São Paulo promotion agency Spcine’s director of innovation and audiovisual policies, the Punto Genero discussion focused on regional strategies toward greater diversity in the field.
Panelists included Annamaría Muchnik, president of Argentina’s Asociación La Mujer y el Cine, Cristina Andreu, president of Spain’s CIMA, Mitzuko Villanueva, president of Mexico’s Mujeres en Cine y Televisión and Mónica Hernández, producer and member of the REC Sisters collective, a space for women in Colombia’s audiovisual sector.
Muchnik opened with an emotive recounting of her experience in the sector, remembering a worthwhile yet unrelenting and diligent climb toward broader acceptance for women in cinema.
“When La Mujer y el Cine was born 35 years ago, women in this country were fighting to have access to relevant places in culture, in politics, in society as a whole. We came from very dark, very painful times and we fought against a lot of resistance to expand into the most diverse social areas,” she lamented.
“We, women, knew that we were on a path of growth and progress and a path that was going to be long and difficult, it depended on our effort, no one was going to pave the way for us. We needed ideological clarity, conviction, commitment and solidarity,” she added.
The panel then traveled to Spain, as Goya-nominated director Andreu spoke to the importance of creating solid footing for women in the industry through state aid and further incentives that afford them the same ease of entry to the field that’s often enjoyed by their male counterparts, taking into consideration economic and situational barriers.
She recounted being told by producers that there were no good female directors in Spain and admitted she “was in tears, because I knew there were. What’s more, there are some that are winning awards. Another thing they like to say is that what we have to measure is talent, but talent can’t be measured without equality. When we all have the same rights, then we can measure talent.”
“Despite not having that equality, in recent years [prizes at] almost all the international and national festivals in Spain are being swept by women directors, women are winning many Spanish Academy Goya Awards. Without even reaching our goal, which would be 50-50 in the year 2025, we’re already achieving all of this,” she added.
Andreu went on to speak to changes being made to forge that access, from working in tight-knit groups effecting change, to ensuring women who wish to enter the field aren’t restricted.
“At film festivals we now have nurseries, at some festivals we’re also making these day-care centers available to the public so they can attend and leave their children there. We’re very happy because we want to create a network of Ibero-American women,” she concluded.
Speaking to the power of the collective, multi-platform Mexican producer Villanueva addressed the need for networking in all corners of the sector in a country that has long suffered the erasure of women in these fields.
“In Mexico, the issue of machismo and equality has cost us a lot of work. This is a cultural issue that we’ve been fighting for and so far we’ve achieved quite relevant positions,” she stated.
Her group helps to destigmatize women’s roles in every facet of the business and train those that wish to advance in tech and production work, with AI becoming more advanced and tools of the trade updating rapidly. Ongoing education and tips for women just entering the field are an additional priority.
“Technological progress is constant and what we have observed is that now, with artificial intelligence, we have an issue. There are many women in the Mexican industry who are over 50 and many of them find it difficult to adapt. Training in these areas seems fundamental to us and we’re working on that,” she explained.
Villanueva has contributed to a registry that lists the female professionals in the country so that productions can take advantage of a women-led workforce, offering incentives for producers who decide to support them.
She pointed to the pride in having a strong technical team in place to provide assistance to larger projects and stated that “today in Mexico we can pull off huge productions, and 100% of the crew will be made up of women, gaffers, staff, electricians.” She further credited local programs like Las Amazonas Electricas, an electric and grip team that give training workshops to women who are interested in that side of the industry.
The conversation then opened up to Hernández, who works to impart a sense of safety for women in the audiovisual realm and pin down definitions for the harassment that plagues many professionals.
“Our work revolves around three fundamental axes, one axis is prevention. From there, through training, we promote safe and equitable spaces with parity within the audiovisual guild. These training sessions are carried out on the sets with people who are already professionals and in film schools and public institutions,” she relayed.
“The second is a detection pillar, which is where we try to identify possible situations of harassment or, let’s say, different levels of equity and parity, and we sit at discussion tables and talk about it. The third is attention, and this pillar offers psychosocial or legal help to people who come to the collective and have been victims of harassment, abuse or discrimination in any workplace,” she added.
The panel wound down as participants noted the diversity among women and held firm that it’s essential to retain the ability to tell stories from these varied perspectives.
With Argentina facing the possibility of the closure of its INCAA film-TV Agency, Muchnik closed the discussion with a fierce reminder that without state aid, the country’s best and brightest will set out to produce their projects elsewhere, leaving a large gap in the cultural landscape.
“A film is the image of a country. It’s not only a work of art. When you see a film, you see how the people of that country live, how they feel, how they succeed, how they fail. Maybe Europe can have the enormous support that the platforms and the institutions have. We haven’t reached that point. We’re fighting for it, but we believe that there has to be some kind of support from the state, because that’s what has allowed us to make films that win international festivals.”
She concluded with a sobering call to action, “Simone de Beauvoir once said ‘Never forget that it only takes one political, economic or religious crisis for women’s rights to be put in jeopardy. Those rights are never to be taken for granted; you must remain vigilant throughout your life.’”
“If we’re not able to fight against all kinds of violence against us, if we can’t put together common projects that allow us to grow, that give us a hand in the difficult moments we’re going through, we won’t be able to count on the support of those who are in charge of pulling the strings of power. We won’t be able to open doors that are still closed or, even if they were open, could close again. I say to you, friends, comrades, from my country and from all the countries that have joined us, believe me, in times of uncertainty and despair, it’s essential that there are collective projects from which to plan together for hope.”
Presentation of the Second Report on Gender Equality In The Ibero-American Audiovisual Industry
Panelists Lola Díaz-González García, director for the promotion of Mexican cinema, Micaela Domínguez Prost, a journalist at LatAm Cinema.com and Juliana Funaro, international director at + Mujeres Lideranças do Audiovisual Brasileiro, joined moderator Ignacio Catoggio, general coordinator of the Conference of Ibero-American Audiovisual and Cinematographic Authorities (CAACI), to preview the sophomore report on the state of gender and sexual diversity in the Ibero-American audiovisual sector.
An ambitious set of curated data points, Catoggio admitted the information was previously, “scattered, in many cases it didn’t exist.”
“CAACI has become the think tank, the apparatus of thought on the audiovisual sector. At the same time, we’re the controllers, the ones who monitor the application of the American Union of Co-Production agreement. We regulate the way in which the region co-produces and, in turn, that’s what shapes the Ibermedia program and the application of the Ibermedia program fund,” he explained.
Meant to urge reflection and nudge action in regards to bolstering greater diversity in the sector, the data collection proved similar to a consultancy effort for the team, often working alongside governments to glean this valuable insight.
Credit: Holly Jones
Since documentation began in 2021, the countries reporting grew from 13 to 17. What may seem a modest advance is met with optimism, Catoggio pointing out that, “ if we take into account that we’re talking about 23 countries and 17 of the 23 are now included, that’s almost 80% included.”
The report has been bolstered by broader participation and organized succinctly, resulting in a more professional and systemic analysis of gender and diversity trends in the Ibero-American audiovisual sector. This year’s report is divided into four basic categories and their respective sub-indices that include institutional framework, budget support, information management and stakeholder participation.
An incremental increase of women in the sector was seen across production, direction and screenwriting fields, while parity regarding funding is still something to strive for. The two years between data sets shows that more funding and implementation for gender-specific regulations and spaces in the Ibero-American cinematic fabric have been set in place. Proving that holding the industry to account pays off in the growth of programs and initiatives year-on-year.
“In 2018 you have 178 productions made by men and 120 made by women. All the growth that there was between 2018 and 2022 is basically in productions made by women. In screenwriting it’s more or less the same. In 2018 we have 223 productions scripted by men and 80 by women. In 2022 we have 207 made by men and 130 made by women,” Catoggio noted.
Funaro added that, “In Brazil we’ve achieved 17% of women writing scripts, 19% of women in directing and 40% in production. So, still very little participation from women in script writing and direction.”
When it came to financial risk and reward, an interesting and potentially problematic trend was uncovered.
“What’s reflected is that the more money there is, the more the participation rates of women go down. In terms of production and direction, there are more women directing and producing documentaries than fiction, more women producing short films than feature films,” Catoggio went on.
The panel wrapped as participants questioned what leads women to leave the audiovisual industry, offering solutions to curb the exodus by pointing to the incorporation of best practices, quota systems for productions and programs to remove barriers and fill the decreasing but still-present void in women-led audiovisual projects.
The finalized report will be unveiled in February at the Berlin Film Festival.
“The Thundermans Return,” the Nickelodeon film continuation of the popular TV series, has dropped its first teaser trailer on Saturday.
“The Thundermans Return” premieres on Paramount+ and all Nickelodeon channels in March 2024. “A super new movie brings the return of one super superhero family,” the narrator says.
“The Thundermans” aired on Nickelodeon from 2013 to 2018. The series followed superhero twins Phoebe Thunderman (Kira Kosarin) and Max Thunderman (Jack Griffo) in their daily school lives as they kept their superhero identities a secret, all the while wrestling with their different personalities. Created and executive produced by Jed Spingarn, “The Thundermans” ranked as the top series across all TV in the Kids 2-11 and Kids 6-11 categories.
In “The Thundermans Return,” Kosarin and Griffo reprise their roles as Phoebe and Max, respectively. The official description states audiences will get to see “the return of show favorites, new villains and familiar locations.”
The film description continues: “After three years of fighting crime in their new city of Metroburg, The Thundermans are suddenly stripped of their assignment and sent back to Hiddenville. While Hank and Barb look forward to their return ‘home’, Chloe develops new friend groups, Billy and Nora enjoy a normal school life, and Max and Phoebe are determined to regain their superhero status.”
Along with Kosarin, Griffo, Dan Cross and David Hoge as executive producers, Spingarn serves as writer and executive producer. Trevor Kirschner directs.
Many of us recognize that tapping sound as belonging to a woodpecker. But do you know why they are tapping? One reason may be that they are looking for their next meal.
A woodpecker’s diet consists of a variety of wood-boring insects, such as larvae, carpenter ants, termites, and carpenter bees. These insects are readily found in dead or diseased trees and the tapping means the woodpeckers are drilling a hole to get to the insects.
However, the Yellow-bellied Sapsucker, a migratory woodpecker, will tap holes into trees to lick up some tasty sap along with the insects that are also attracted to the sap.
A second reason you may hear tapping is when woodpeckers are creating cavities to nest in. They will choose dying trees, as those are easier to dig out a cavity.
You may see wood shavings at the bottom of the tree, or if you witness them excavating, you may notice wood shavings getting tossed out and floating down to the ground. Each species will create a cavity that is deep enough for their eggs and a bird to sit in. Our smallest woodpecker, the Downy, creates an entrance hole that is only 1 ½ inches in diameter, while the largest woodpecker, the Pileated, creates an oblong cavity that is 3 ½ inches wide and 4 ¾ inches tall and takes almost 6 weeks to build.
Woodpeckers also use drumming on trees to communicate to other woodpeckers. They are alerting others that this is their territory, and also trying to attract a mate. But what does it mean when a woodpecker drums on your metal chimney? Well, this drumming sound is much louder than on a tree, like using cymbals in an orchestra, and therefore sends across a much stronger louder message.
Unfortunately, if you hear a woodpecker drumming on your siding, or see evidence of holes, it’s time to call an exterminator, because this probably means that your siding has some of those yummy insects’ woodpeckers enjoy.
Next time you go out into a forested area, listen for a tap, tap, tap, and then look carefully for woodpeckers pecking into decaying trees. Better yet, join us for a Woodpecker Walk on Friday, February 23 where we will be looking for evidence of woodpeckers and the seven different species found in Mercer County parks. Use this link to register.
Will Smith has shared new details about “I Am Legend 2,” which he stars in and produces alongside Michael B. Jordan.
The upcoming sequel is based on the alternate ending used in the 2007 post-apocalyptic sci-fi movie’s DVD release, rather than its theatrical version, in which his character dies, Smith said Saturday night during a public interview in Jeddah, Saudi Arabia.
Smith, who is one of a number of Hollywood A-list star guests at the third edition of the Red Sea Film Festival, also discussed “Bad Boys 4,” where he and co-star Martin Lawrence will reprise their roles in the earlier sequels of the original 1995 hit detective movie.
“I am having a call tomorrow with Michael B. Jordan about [‘I Am Legend 2’],” Smith told a small audience at one of the festival’s In Conversation events.
“You have to be a real ‘I Am Legend’ buff to know this, but in the first, theatrical version, my character dies, but on the DVD there was an alternate version of the ending where my character lived. We are going with the mythology of the DVD version. I can’t tell you anything more, but Michael B. Jordan is in.”
Smith got in an early self-deprecating reference to the 2022 Oscar’s ceremony scandal where he slapped on-stage presenter Chris Rock after the comedian and actor made a poorly-judged quip about Smith wife Jada Pinkett Smith’s shaved head (the result of a hair-loss condition she was suffering) — saying since his childhood he had “always been good at math and science… and I loved problems and puzzles, so I started making my own problems,” before moving onto an entertaining analysis of his career.
His first love was rap, he told an audience dominated by long-time fans. Later, he realized the power of acting to understand, shape and influence the human condition.
“Movies are about people trying to figure out how to be here without being miserable – how to be okay with life, how to not just survive but how to thrive into this potential existential tragedy that we have all been dropped into,” he said, adding: “How do we find love and joy in all that.”
Asked to name his key mentors, he said that a pivotal moment was working with Tommy Lee Jones and Gene Hackman.
“That was the first realization that I could use everything I need around a single project. Those two actors made me realize that I was totally outmatched, and they inspired me to elevate my craft as an actor,” Smith said.
An actor with a prodigious record of hits, he said that he did not care whether he appeared in a blockbuster or a more modest project — as long as it was good and he learned from it: “The thing for me is that I have wanted to make good movies that were blockbuster, or blockbusters that were good. To me, the concept of a blockbuster is your heart — the block that gets busted is your heart, where your heart opens to the experience of the movie. That is what I have always concentrated on; even with something like ‘I Am Legend’ – you can give a real performance at the center of a special effects movie.”
Looking ahead, Smith said he wanted to become a mentor to a new generation of filmmakers and teach his craft.
“The thing I am really excited about now is the transfer of knowledge. I really want to teach filmmaking.
“What is exciting about Saudi Arabia is that it is a brand-new film community. There is a style of global storytelling that has travelled the world. I understand about taking local stories and making them global. I have a deep faith in the power of sharing our stories together to help heal wounds. The next stage of my life will be about working in global collaboration about sharing our stories in a way that creates bridges. I don’t feel that politics will create the necessary change.”
Concluding the hour-long conversation — during which he treated the audience to impersonations of Muhammad Ali, Richard Williams (the father of tennis players Serena and Venus Williams, whom he portrayed in the 2021 film “King Richard)” — Smith added his “adversities of the last couple of years” had honed his view on what he wants to do in the next phase of his life: “I have to be clear about who I am and what I am attempting to do in the world, I cannot depend on others applauding me for me to stay focused on my mission.”
‘Rock and a Hard Place’ set records for the newcomer on the country airplay chart and soared into the top 10 of the Billboard Hot 100 as well. It’s on Variety’s Hitmakers list of the top 25 songs of 2023
Country music hasn’t had a huge presence in the mainstream top 10 since Florida Georgia Line provided a couple of big crossover blips in 2014 and 2017 with “Cruise” and “Meant to Be.”
But that changed in triplicate in 2023 with three Nashville exports— the well-established Morgan Wallen and Luke Combs, plus a blazing-hot newcomer, Zimmerman. His first three singles all hit No. 1 on country airplay charts, but it was “Rock and a Hard Place” that landed the 23-year-old Illinois native in the upper ranks of the Billboard Hot 100… and, now, on Variety‘s Hitmakers list of the top 25 songs of the year.
Zimmerman’s secret sauce? He’s between rock and a country place — which is to say that he grew up as a rocker, and his gravelly tone reflects the rock power ballads of his youth. Producer Austin Shawn notes, “He’s from Southern Illinois, and what they listen to over there is Eddie Vedder, AC/DC and Lynyrd Skynyrd and Southern rock.” When they’re trying out different vocal approaches, “I’ll be like, ‘Sing it like Scott Stapp from Creed,’ and he can do that.”
Even though he brings the party in concert, his singles have tended toward the broken-hearted and balladic. Signed to both Warner Nashville and Elektra, he became an overnight country star with the tearjerker “Fall in Love,” and they stayed in that mode with “Rock and a Hard Place” — his second single — instead of pivoting to an up-tempo, which might have been more the conventional wisdom. Says WMG Nashville marketing chief Jamie Younger, “He had this vision for a trilogy for the first three songs.” The singer’s entire debut album reflects on a bad breakup, and so “Hard Place,” she says, was “just the continuation of a narrative that he had started with ‘Fall in Love’; you wanted to just keep that story going.” (“Religiously,” the title track of his debut album, was third up and completed the trilogy of airplay No. 1s two months ago.)
His climb into the top 10 of the Hot 100 with “Rock and a Hard Place” set a record for the longest ascent into those select ranks for a solo artist in that chart’s history: 41 weeks. Yet on the country airplay chart, he set a shortest record, for the least time elapsed between a freshman artist’s first two No. 1 singles. “Rock and a Hard Place” really didn’t want to vacate the top spot, either. With this track, Zimmerman also became the first male artist in country radio history to have one of his first two singles spend six weeks at No. 1. (Among all artists, only Carrie Underwood’s debut single, “Jesus, Take the Wheel,” had ever accomplished that previously.)
But its airplay monstrosity followed its streaming monstrosity. A huge part of that was the song, of course, but an equally substantial part was the personality that drew in legions of new fans by the day, who didn’t struggle with too much difficulty in reconciling the heartbroken guy they heard in the songs — which all reflect an IRL bad breakup of his — with the vivacious guy on social media.
And he’s one of a breed of young artists who also use their socials to sort of research their own songs, Says Younger, “He’s responsible for picking out where we start with TikTok teasers and things of that nature. He really knows his audience well and he is super in tune with following what they react to, and he started talking about (‘Rock and a Hard Place’) and as soon as he did, fans really clung to it. Bailey always says that he wants to have songs that tell a story and that connect with people. Obviously he always wants hits, but like more than hits, he wants a connection. So when he started seeing fans really connecting with the song, that’s when we all knew that that was the next one that we needed to run towards.”
The first time Zimmerman visited Shawn’s home studio, where they record everything from demos to final mixes, “he pulled into the driveway in this big, black lifted truck, and I was like, ‘What the hell is this, man?’” What it was: a head start on building the singer’s massive social following. Zimmerman already had a huge TikTok following in the lifted-truck community, so when it suddenly turned out he could sing, too, he brought years of prior experience in making fans feel like they’re getting a one-to-one connection online. “With his engagement on social media with lifted trucks,” says Younger, “he had this innate understanding of what you need to do to grow an audience; it just hadn’t involved music up to a certain point.” For Zimmerman, social media will always be an easy place.
