Category: Culture

Ethnic cultures as newsmakers

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How to make Brie Larson’s ‘Lesson in Chemistry’ lasagna

Get ready to unleash your inner chef with AppleTV+’s “Lessons in Chemistry” and learn how to make the perfect lasagna.

 

Adapted from the Bonnie Garmus novel, Brie Larson plays Elizabeth Zott, a scientist turned cooking show host. And for the 1950s, she is a woman well ahead of her time who stands up to the men and system that oppress her. In the series, Elizabeth perfects the art of making lasagna. It is also the first dish Calvin (Lewis Pullman) tastes and their romance blooms. Behind the scenes, food consultant Courtney McBroom assisted every step of the way to ensure the food looked mouthwatering to audiences.

 

In the opening moments of the first episode, Elizabeth tells the studio audience she is going to make a lasagna. “We put a lot of thought into that scene. Which parts of the lasagna did we want to see being made, which were the prettiest parts we wanted to showcase,” says McBroom.

 

Every possible part of the lasagna-making process from the carrots, onion and garlic were laid out raw. In another step, the vegetables were cooked. Similarly, for the meat, McBroom laid out the stages from raw meat to meat and tomato sauce, to the meat being cooked with the sauce. She adds, “We had every possible option to switch out, that way no one would have to wait between takes.”

 

When Elizabeth brings lasagna to work and Calvin tries it for the first time, McBroom stood behind the camera watching as Sarah Adina Smith directed Larson as she puts the components together, layering the noodles and adding a sauce.

 

The recipe used in the series is McBroom’s personal favorite. “I cook it all the time,” she says.

 

She chose to include ricotta as well as the bechamel sauce – ricotta and mozzarella are typically used in Southern Italian lasagna recipes, whereas Northern Italian recipes will use bechamel and Parmigiano Reggiano. McBroom answers, “That’s a nod to the ‘50s lasagna. The one I cook at home doesn’t typically have ricotta.”

 

McBroom says lasagna was the perfect dish to serve because it was a symbol of Elizabeth. “It has all these layers. It’s a reflection of the way she approaches herself. She’s always trying to build herself into something better and trying to be perfect.

 

And what is the secret to making a good lasagna? The answer lies in the layering. “I like to do a bunch of layers with a little bit of sauce in between. I like to get thin layers, not thick. The ideal version is to make your own pasta and get it as thin as possible,” advises McBroom.

 

 

— Variety

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Art & Life Business Culture Lifestyle

‘Loki’ director talks working with Tom Hiddleston, why Sylvie needs McDonald’s and Marvel’s VFX artists union: ‘I support everything they’re doing’

SPOILER ALERT: This story discusses some general plot developments in Season 2, Episode 2 of “Loki,” currently streaming on Disney+.

 

For 30 years, Dan Deleeuw has worked in visual effects, from “The Mask” to “Armageddon” to “Night at the Museum” — but he always had a dream that one day, he might get to direct.

 

That opportunity finally arrived in 2019, when “Avengers: Endgame” directors Joe and Anthony Russo — who’d worked with Deleeuw on VFX for their three previous Marvel Studios productions — hired him to shoot some additional photography for the behemoth production. That gig led to second unit directing jobs on 2021’s “Eternals” and 2023’s “Ant-Man and the Wasp: Quantumania,” and then, finally, to the main directors chair for the second episode of Season 2 of “Loki.”

 

Deleeuw, who oversaw visual effects on Season 1 of the show, presumed that he was hired because of his proficiency handling the action beats of the episode, in which Loki (Tom Hiddleston) and his TVA compatriot Mobius (Owen Wilson) pursue a rogue TVA trooper (Rafael Casal) to 1970s London, and then later reunite with Loki’s variant Sylvie (Sophia Di Martino) at a McDonald’s in 1980s Oklahoma. But Deleeuw says that executive producer Kevin Wright told him he was hired as a director because, even when working on visual effects, he “always talks about story.”

 

Deleeuw also discussed how both he and Ke Huy Quan — who joined the show for Season 2 — were surprised by how Hiddleston approached rehearsing the show, why the production decided to have Sylvie working at McDonald’s — and his reaction to the recent decision by Marvel’s VFX artists to unionize.

 

Since Sylvie is living in a branched timeline, did you ever discuss having an alternative version of McDonald’s, rather than the actual McDonald’s?

We started saying, OK, she’s gonna settle down on a timeline, what restaurant do we use? At that point, there was a pitch for RoxBurger — you know, the evil corporation in the Marvel Universe, Roxxon. But it didn’t tell a story other than it was like this faux-restaurant. And so McDonald’s came up as a suggestion. And McDonald’s is timeless, in a way — it crosses countries and borders. Everyone started talking about this nostalgic moment they had with McDonald’s. So quickly getting the audience cued into what Sylvie’s feeling — being on the run so long and seeing normal people, and just wanting to have that and leave everything else behind — we’re using McDonald’s to set the audience in a place where they can pick up on that pretty quickly. That’s what kind of sealed the deal on using McDonald’s.

 

What was one of the biggest surprises about the experience of directing this episode?

Something I’ll always try to do on any other show that I direct: It was the openness to collaboration that Kevin Wright had, particularly encouraged by Tom Hiddleston and his experience in the theater. As the scripts were getting closer to being done, we would invite all the directors to come in for their different episodes. All the actors would come in. The writers are there. And we had a week-and-a-half, two weeks where we went through every single script, and just rehearsed them and played with them and made them better. It was just this wonderfully creative moment on the show. Once we got shooting, we had a really good idea of what we wanted to do. Ke [Huy Quan] sat next to me. He saw it all happening, Owen and Tom playing with lines. He leaned over and he’s like, “Is this normal?” I’m like, “It’s normal for them!”

 

You’ve been working with Marvel for over 10 years now, largely in visual effects. Did you always have an ambition to direct as well?

Yeah. In high school, in college, we did small films — public access, back when there was public access. It was something I always wanted to do. Even from the visual effects standpoint — designing the sequences and doing animatics — telling the story was something I gravitated to. When I got to work with the Russos, they definitely were encouraging of that and gave me the opportunity to shoot additional photography on “Endgame” that led to me doing second unit directing. I just always approach something from a story standpoint. So Kevin Wright saw that I had that kind of brain, and invited me back for Season 2 to direct.

 

How did he pitch that to you?

Being at Marvel for 10 years, there’s a little bit of a rumor mill going around. So I knew that they had hired Justin and Aaron, and then heard that Kasra [Farahani], the production designer, had gotten an episode. I was like, “Ah, there’s one left!” And then Kevin called me one day and he’s like, “Yeah, so, how’d you like to direct a ‘Loki.’” “Yes!” It was as simple as that.

 

Last year, several VFX artists who’ve worked on Marvel projects expressed pretty deep frustration with their working conditions, which contributed to the recent decision to vote to unionize. What has your experience been with those issues?

I support everything they’re doing. I’ve been in it for a long time. The number of hours in visual effects have been ingrained in the system for years. From the very beginning, we always had that crunch time. We take a couple months off, and we come back to it again. What you’re seeing now is, the shows are so much bigger, and you’ve got so many shows. A lot of the artists on set, and especially in the visual effects houses, are going from one big show to the next big show to the next big show.

 

There has to be something that makes a better work-life balance, for the artists’ sanity and for their families and just their creativity. Otherwise, you’re getting diminishing returns. It’s your crew. You have to take care of them. That is something I think we have to think about and work out.

How did your experience in visual effects have influenced your approach to directing this episode, especially with regard to the VFX?

I can tell a story with something that isn’t there. In the original draft, there was a car chase. It didn’t make a lot of sense why Loki would be in a car chase. We decided we wanted to go a little bit more towards the dark Loki side and move away from a traditional chase. I was imagining one day, “What could Loki do?” and came up with the shadow gags with the horns and things like that.

 

Was anything you did that a director who hadn’t worked in visual effects might not know to do?

You already know what it costs in terms of time and difficulty, and when you’re trying to get through your day, what you’re going do to [VFX artists] if you try to shoot without getting the blue screen just right Because I know the consequences, I’ll fight harder for getting it right, so the artists don’t have to deal with it. Getting into post-production, you know how much you can use an effect to help with storytelling, in terms of if you need to change the set a little bit, just to make it make sense for where Loki is. There’s an editor we have at Marvel, Jeff Ford, who’s cut a lot of the films. Jeff is a master. He doesn’t change his cut to fit the footage, he changes the footage to match his cut. I think that’s an insightful way of knowing how to use  some visual effects in post, without getting get too carried away with it.

 

This interview has been edited and condensed.

— Variety

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Business Culture Lifestyle Technology

MipJunior opens as global kids TV commissions plunge, and the industry looks ever more to IPs, technology

First, the bad news. A session helping to launch an extended MipJunior on Friday afternoon, underscored just how hard the kids TV business is suffering.

 

Prefacing a panel discussion on the State of the Kids Entertainment Industry, Challenges & Opportunities, Ampere Analysis’ Cyrine Amor suggested global kids TV commissions were down 48% through August 2023. That’s a radically more significant decrease than the 11% decline in commissioning seen across all genres for the same period.

 

U.S. SVOD services and pay TV channels are cutting back most sharply, she said. In the U.S. market, public broadcaster commissions of kids programs were down 8% through August. Pay TV commissions, in contrast, had dived 53%, SVOD orders by 33%.

 

“There are a lot of factors, including inflation,” she said.

 

Western Europe is also seeing declines, especially in public service broadcaster’s commissioning of kids TV content. That figure is down 19% percent through August.

 

This pressure is making Western platforms adopt trends already seen in the U.S. such as of relying more on IPs to develop properties.

 

While the majority of kids content in Western Europe is found on SVOD, over the last 12 months, kids programs that are the most popular were available across all platforms. Non-exclusivity can pay off for those wanting to stay popular after launch, Amor argued.

 

Moderator Deirdre Brennan, COO at Wildbrain, followed on the presentation grilling panelists Keith Chapman, creator of Kids IP, Keith Chapman Productions; Olivier Lelardoux, CEO of France’s Blue Spirit Studio), and Sarah Dewitt, senior VP & General Manager, PBS Kids).

 

Topics under discussion included changes in the industry over the last decade, instanced by the rise of digital and gaming, audience fragmentation, and the emergence of disruptive technologies such as AI.

 

The biggest topic was technology. “10 years ago, technology in studios was improving what you already do. Now it has a much bigger impact,” said Lelardoux. “It’s the first time in animation that technology not only disrupts animation but comes with a package of gaming.”

 

Technology has opened the playing field for experimentation.

 

“It’s time to try and fail,” he said. “It’s a new world, but we are all lost here. Of course you will fail but it’s O.K.. Little failures can lead to a big win.”

 

Meeting the audience, instead of following them, was another topic.

 

Said Dewitt: “We are always thinking about how technology allows us to find our audience. Coming out of the pandemic, kids and families like doing things together. What can they watch together?”

 

Technology enhances learning, she said “Kids learn more, when they have a conversation with a character that breaks the fourth wall, and asks the kids a question. Responses are written by our script writers,” she said. “Kids who are engaging like that are coming away with greater learning.”

 

All platforms are not equal. “Kids have different expectations for different platforms,” she said. “You can’t put the same product everywhere and expect them to respond. They do different things on different platforms.”

 

Added Chapman: Young entrepreneurs use technology in new ways.”

 

When asked where he finds inspiration, he said: “Having children helps. Watching them grow up in front of you makes you an expert in child behavior. I look for gaps and look to the future and ask what will be relevant to a kid in three to five years? Sometimes, ideas come out of nowhere. Reading. Talking. Observing kids.”

 

For Amor, developing a cross-media content brand is the key to the future.

MipJunior runs Oct. 13-15 in Cannes.

 

 

— Variety

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Culture Entertainment News Lifestyle

‘Our Flag Means Death:’ Creator on how the pirate queens’ fiery arrival heralds a new start for Stede and Blackbeard

For once, Stede Bonnet and Blackbeard aren’t the most dysfunctional pirate couple on the deck of Max’s comedy series, “Our Flag Means Death.”

 

In Season 2’s fourth episode, titled “Fun and Games,” that distinction belongs to legendary pirates Anne Bonny (Minnie Driver) and Mary Read (Rachel House). As the series has done with the shared history between the real-life Stede and Blackbeard, “Our Flag Means Death” interprets the fearsome women pirates as a couple. But they’ve been at the whole dating thing a lot longer than the boys.

 

Anne and Mary are running a jungle-bound antique shop when Stede (Rhys Darby) and Blackbeard (Taika Waititi) stumble upon them during a lover’s spat. The long-awaited reunion of the couple –– after Stede abandoned their plans to run away to China in the Season 1 finale –– is off a bumpy start to say the least. A barely alive Blackbeard (who’s also called Ed) headbutts Stede before the crew votes to kick the leather-clad pirate off the Revenge for his recent rash of bloody crimes.

 

Banished to a nearby island, the wayward Blackbeard runs into his friends Mary and Anne, who have retired their pirating ways for a more domesticated life of antiquing and passive aggressive remarks. When Stede and Blackbeard find themselves invited for dinner, the bored Mary and Anne take the chance to playfully poke and prod at their guests’ relationship issues.

 

But given the chance, Stede apologizes to Ed for not following through on their plan, telling him that he loves everything about him. Things seem promising for the pair — that is, until Anne and Mary’s own grievances toward each other lead their former to burn down their house.

 

Series creator David Jenkins tells Variety the poignant “Who’s Afraid of Virginia Woolf?”-inspired episode will allow Stede and Blackbeard to embrace something audiences haven’t seen yet — a real relationship.

 

“They have never had to be an acknowledged couple where they aren’t the focus and the energy suck of everything,” he says. “It is kind of being like the parents of a family in a way. It’s about the kids, and not always about your emotional drama all the time. For them to settle into something resembling a midlife for however brief is the struggle of the second half of the season.”

 

Speaking of the kids, the disparate crew of the Revenge was reunited as well, but soon went to war over their own unspoken issues. To break down the episode, Jenkins spoke with Variety about casting Driver and House for the iconic roles, whether Buttons’ surreal transformation into a bird will be his swan song, and why you can’t just put a pirate family back together without some hurt feelings.

 

Why was now the perfect time for Stede and Blackbeard to confront their issues?

The way I like to look at a season is in threes. The end of the first act is when they find each other, and this is the beginning of the second act. They’ve found each other, but they are pissed. Stede thought it was going to be [Kate Bush’s] “This Woman’s Work,” but, in reality, it is this headbutt –– literally. Again, he has to deal with another partner that he has fucked over, and one that is mad to see him. But this time, he has to make it work. This time, he is invested in making it work. In working on this episode, I think it was interesting to see Stede confront the reality of what Blackbeard says, “Did you just expect me to melt into your arms?” To see him have to work for it, and see Ed not let him back in because he’s been burned and done dirty — I like to see that tension.

 

Audiences, especially queer audiences, so warmly embraced the love story between Stede and Blackbeard in Season 1, and Season 2 has proven it is the soul of the show. Was that always the plan, or did the reaction help influence the longevity of their relationship?

It was always part of the pitch. For some reason, the real Blackbeard took Stede Bonnet under his wing and we don’t know why. He was the best pirate, and Stede was the worst pirate, and then for whatever reason they traveled together — and we don’t know why. But like, they were together and, to me, that is the reason to make the show. The pirate genre is fun, but I wasn’t dying to make a pirate show. Taika wasn’t dying to make a pirate show. But the thing that was interesting to me was that Stede finds love, and he finds it with Blackbeard. What can they teach each other, and why do these two very different men fall in love? For the second season, it was just fun to go headlong into it, and not ramp up to it.

 

 

Courtesy of Nicola Dove/Max

 

 

Is part of that fun getting to do an episode like this where you bring in Anne Bonny (Minnie Driver) and Mary Read (Rachel House), who give you a chance to call out the things Stede and Ed aren’t saying to each other?

This episode is based on a very, very thumbnail sketch of “Who’s Afraid of Virginia Woolf?.” Anne and Mary are Martha and George, and they are Elizabeth Taylor and Richard Burton. They are the experienced couple that has the neophyte young couple stumble onto them, and they are going to torture them. As Rachel House’s character says at the end, “You’re like 14-year-old boys. You’re children. You’re just at the beginning of this.” And I think the great thing about “Who’s Afraid of Virginia Woolf” is that it’s terrifying. You look at this marriage, and it’s fucked up. But what’s also beautiful about that story is that they are in love. You get to the end of it and it’s disturbing, and they are so mean — but at the end of that, they are in love. As the younger couple, they are asking what their relationship is going to be. For Stede and Blackbeard to look at a more mature and experienced couple and ask themselves “Are we going to give this a shot?” is a good way to orient them.

 

Read more here:

https://variety.com/2023/tv/news/our-flag-means-death-creator-david-jenkins-stede-blackbeard-back-together-1235755845/

 

 

— Variety

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Art & Life Culture Environment International & World Lifestyle

Director Rafael Primot on ‘Black Rain’ and the evolution of Brazilian story telling with The Creators Bridge

In a pivotal move underscoring the international appeal of Brazilian narratives, Rafael Primot’s “Black Rain” is set for an exclusive global launch through The Creators Bridge.

 

The series, which delves into contemporary themes such as unconventional families, fraternal love and diversity, does so with a mature and nuanced lens.  In the storyline, brothers Zeca (Marcos Pitombo) and Vitor (Rafael Primot) are entrusted with the care of their younger brother Lucas (João Simões), a 16-year-old with Down Syndrome, following the mysterious disappearance of their parents, Nancy (Julia Lemmertz) and Geraldo (Zé Carlos Machado).

 

Their journey is enriched by the support of characters like Julie (Vanessa Giácomo), Vitor’s wife; Micha (Leona Jhovs), a trans woman, and Aunt Yara (Denise Del Vecchio). Throughout the series, the intricate tale of Nancy and Geraldo unfolds through evocative flashbacks, offering viewers a deeper understanding of the family’s history.

 

The Creators Bridge, a boutique creative content agency, is the driving force behind this international venture. Founded by industry veteran Felipe Herz Boclin, the agency stands out for its innovative approach to curating and promoting Brazilian creative assets on the global stage. “Brazil, given its audience/viewers market size on subscription and media power, has a unique opportunity to attract international capital for production and also export valuable assets,” Bowline remarked.

 

At its core, The Creators Bridge operates as a creative-commercial nexus, adeptly navigating the vast audiovisual landscape. It specialises in identifying and marketing valuable Brazilian assets across the production spectrum, from original scripts by award-winning screenwriters to international co-productions. This holistic approach, combined with the expertise of former Globo executives, positions them as a bridge between creative studios and business, fostering collaborations that resonate both domestically and internationally.

 

Brazil’s audiovisual landscape is undergoing a transformative phase, evolving beyond its traditional stronghold in telenovelas.

 

“What we are witnessing is a new wave of talent with fresh storytelling references. Streaming platforms are driving a new pace of production, narrative styles, and genres. If the Brazilian audiovisual industry has to develop itself ten years in two, this is the right moment,” Boclin observed. He further emphasised the global influence shaping Brazilian content, noting the impact of diverse international productions from the Nordics to Chile. This global integration is pushing Brazilian creatives beyond the traditional melodrama school, heralding a “New Brazilian Drama wave all over the world.”

Despite past governmental setbacks and challenges faced by independent producers, the industry is blossoming. Agencies like The Creators Bridge stand as not just participants but catalysts in this evolution, championing narratives like “Black Rai” and underscoring Brazil’s burgeoning role in the global entertainment tapestry.

 

Variety interviewed Primot as his series launches into the global market.

 

Over the last few years, Brazilian telenovelas have showcased more naturalistic performances. How does Black Rain”[“Chuva Negra”] embrace this trend, and what opportunities does it offer actors in their portrayals?

“Chuva Negra” was crafted with a clear intention to mirror the complexities of real life. We wanted viewers to recognise themselves in the characters, to see their own perfections and imperfections reflected on screen.

 

The series delves into themes that might be considered delicate by some, but at their core, they’re fundamentally human, emerging from the tragedies and triumphs that life throws at us. Our narrative approach, the writing, and the performances all converge to treat these themes with empathy and generosity. We aimed to humanise every character, to showcase the naturalness of their experiences. The story unfolds, revealing that even the most traditional families have their secrets, their dark sides.

 

As the narrative progresses, we see that everyone, regardless of their background, has flaws. On a broader scale, the acting style in Brazil has been undergoing a transformation. Influences from modern cinema, international series, and even the raw authenticity of reality shows have reshaped expectations. Today’s audiences demand genuine portrayals; they want to immerse themselves in a story without being constantly reminded that they’re watching fiction.

Rafael Primot

The visual language of “Chuva Negra” is notably cinematic, more paused and observant. Can you discuss this choice and its influence on the narrative?

“Chuva Negra” is a series that, while addressing global themes and pressing social issues, primarily zeroes in on love, affection, and the intricacies of family dynamics. With the intent of discussing differences and promoting inclusion, I opted for a classic narrative style. This was juxtaposed with the more fantastical element of the dark, muddy rain, symbolizing impending transformations.

 

The cinematography was chosen to mirror the varying emotional climates of the characters. When they come together, there’s warmth, but each character also grapples with their own internal storms. The visual style was a deliberate choice to enhance the storytelling, making it resonate with audiences on a deeper level.

 

Working with João Simões, an actor with Down syndrome, must have presented unique challenges. How did you adapt your approach to ensure his outstanding performance?

João Simões is an extremely dedicated actor who loves what he does. I met him in the theater, in a small amateur group in which he participated alongside other actors with special characteristics. To ensure he could deliver the best performance and for his well-being, we had a few months of preparation and rehearsal just with him, alongside Rodrigo Frampton, my assistant who helped João both memorise his lines and understand them, which was, in my view, the main point of the preparation.

 

— Variety (EXCLUSIVE)

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A look at the efforts of companies and governments to build their own satellite networks that can deliver internet connectivity anywhere on Earth

—  Elon Musk’s Starlink may soon face new competition from satellite companies offering internet service, available from anywhere on Earth where you can see the sky 

 

Christopher Mims / Wall Street Journal:

 

 

A new generation of satellites is redefining what’s possible in space.

They are radically different from what has been the standard for almost the entire history of humans hurling things into orbit. They tantalize potential customers—including governments, businesses and consumers—with the promise of fast, always-on internet access, anywhere on Earth, anytime.

Thousands of this new kind of satellite are already operational, most of them powering the Starlink satellite network from Elon Musk’s SpaceX, which counts more than two million customers in 60 countries around the world, including Ukraine, where it has been critical to that country’s war with Russia, and Iran, where the network is helping citizens get around that country’s internet blockade.

Starlink may soon have plenty of competition, as countries and companies race to build their own internet-delivering constellations of satellites using this technology.

Efforts to build such networks, often in a public-private partnership, are currently under way in China, Europe, Taiwan, Canada and Germany. And last week

launched the first two satellites of what the company has said will ultimately be thousands in a network that will go head-to-head with Musk’s offering.

 

Most of these new satellites will be just a few hundred miles above Earth’s surface, where they can communicate with the ground much more quickly than the older generation of satellites in higher orbit. Because they’re constantly passing over the horizon, receivers and transmitters on the ground—like Starlink’s pizza-size antennas—must constantly hop their connection to the next satellite to come into view, which adds to the technical challenge.

Engineers are meeting that challenge. Better rockets have enabled cheaper and more frequent launches. New software makes the satellites reprogrammable and upgradable from the ground. And new kinds of antennas and digital innards for satellites are allowing space-based networks to deliver fast internet connectivity to pretty much anyplace on Earth a person can get an unobstructed view of the sky.

Read more here:

A look at the efforts of companies and governments to build their own satellite networks that can deliver internet connectivity anywhere on Earth

 

 

— Techmeme

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Taylor Swift mania reigns as ‘Eras Tour’ opens at New York City’s busiest movie theater: ‘I’m so excited I’m sweating’

Jennifer Gamez and Kellie Marsalli were strangers until a chance encounter at AMC Lincoln Square 13 on Friday night.

 

As one ascended and the other descended the escalator at one of New York City’s busiest movie theaters, they swapped friendship bracelets to commemorate being among the first to watch the “Taylor Swift: The Eras Tour” concert film.

 

“I was admiring her bracelet selection and her cat shirt,” Gamez, 33, says. Marsalli, 53, wearing a “Lover”-inspired pink suit over a feline-printed top, adds, “That’s the whole thing with Taylor Swift. She brings all ages, all backgrounds, all different personalities together.”

 

There’s no missing the Swifties in the room, likely decked out in pastels, glitter and concert tees. Inside the lobby, the energy was palpable as new friends took pictures of each other and old pals posed for selfies with posters. Thanks to Swift’s global appeal, her concert film — which documents the pop star’s three-hour, record-breaking stadium tour — has become the movie event of the fall. With $100 million in worldwide advance ticket sales, “Eras Tour” is expected to land one of the biggest opening weekends of the year. It’s arriving in theaters as not just a blockbuster but a full-fledged cultural event.

 

“This is something we haven’t had in quite a long time,” says Jeffry Ramirez, an AMC Theatres staffer who was scanning tickets on Friday evening. “We had Barbenheimer,” he adds, referring to this summer’s popular double feature of “Barbie” and “Oppenheimer.” But this is a different type of excitement. Everyone has been dancing in the theaters and singing songs in line.”

 

Even the employees are joining in the fun. “One guest gave me a friendship bracelet, which is cool as a male who doesn’t know too much about Swift,” says Ramirez, who fielded at least a dozen questions in the span of eight minutes about the availability of branded popcorn buckets. “We have a full house all night long.”

 

Several moviegoers chose AMC’s Upper West Side location because it features one of the biggest Imax screens in the country. As fate would have it, the name of the theater comes as numerically loaded as anything in Swift’s world. “I hate to say, but Lincoln Square 13,” Marsalli says, emphasizing the pop star’s lucky number. Another funny coincidence: the Imax auditorium is (you guessed it) theater 13.

 

Fans are treating the theatrical experience like another (less expensive) stop on her sold-out tour. And instead of strictly enforcing no-talking or-texting rules, exhibitors — at Swift’s suggestion — are encouraging the audience to sing and dance and even take videos of all the fun inside the theater.

 

“I’m so excited that I’m sweating,” says Kodi Haney, 27. “I love her so much, it’s kind of scary.” He’s already seen the concert twice, but he and his friend, Alexis Neuville, 27, are eager to relive the experience with a better view. “My seats were really far up, so I didn’t get to see as much of her facial expressions,” Neuville says.

 

And she looks forward to remembering the show this time. “You kind of black out [from excitement] when you’re at the tour,” she says. “So it’s cool to see it again in a seat with popcorn.”

 

Likitha Yerraguntla, 21, felt strongly about watching the film on its first day of release despite attending multiple nights of “Eras Tour” at New Jersey’s MetLife Stadium. “I didn’t want to see spoilers,” she says. “She’s putting it out on Friday the 13th for a reason. So I’m going to go Friday the 13th.”

 

For some moviegoers, opening night is the first of many planned trips to see “Eras Tour” on the big screen. Jared Bass, 25, bought tickets to three showtimes (on Thursday, Friday and Saturday) this weekend alone. He admits that although nothing compares to experiencing the actual concert, he was pleasantly surprised at the ambiance in the theater. “It was full of joy and happiness,” says Bass, who brought 83 homemade friendship bracelets to trade with other Swifties.

 

“Is it nice to watch the movie? Yeah,” he says. “But the atmosphere is what brings me back.”

 

 

— Variety

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Celebrating Osprey Point’s grand opening: Little Ferry’s newest senior housing community

LITTLE FERRY – Local, state, and federal officials recently united in celebration at the grand opening of Osprey Point, a groundbreaking senior housing development featuring 85 affordable senior rental apartments with essential supportive housing services

Osprey Point serves as a prime example of the profound impact that creating affordable housing in close proximity to essential services and amenities can have on enhancing the quality of life for both seniors and individuals with special needs. Notably, 68 of these apartments are specifically designated for residents aged 55 or older, strategically positioned near a community center offering vital services to help seniors maintain an active and independent lifestyle. An additional 22 units are dedicated to residents with special needs, 14 of which are apartments tailored for individuals living with Intellectual and Developmental Disabilities, while the remaining 8 are supported apartments designed to cater to those in need of mental health services.

While Osprey Point’s three-story building extends a warm welcome to residents and guests and contains meticulously designed apartments, what truly sets it apart is its unwavering commitment to providing high-quality affordable housing opportunities with independent and supported living options to seniors and vulnerable populations at affordable rates.

“Osprey Point represents inclusivity and affordability, ensuring that Little Ferry seniors have an affordable and secure place to call home, as well as a state-of-the-art community space that brings all Little Ferry residents together,” stated NJHMFA Executive Director Melanie Walter. “Affordable housing for seniors helps long-time residents and workers remain in their hometowns, which is critical to preserving a community’s roots while helping it grow and thrive. NJHMFA is committed to providing support to older New Jersey residents with limited or fixed incomes, enabling them to age comfortably in place while preserving their independence and dignity.”

Situated in a peaceful residential neighborhood, Osprey Point offers its residents easy access to the surrounding parks, trails, gardens, and outdoor seating, while simultaneously being a short drive from numerous shops, grocery stores, restaurants, and entertainment venues to meet residents’ needs. For residents who enjoy birdwatching, Mehrhof Pond is conveniently located next door, while those seeking faster-paced entertainment options will find the Meadowlands Racing and Entertainment Complex and the MetLife Sports Complex just a five-minute drive away.

“For decades it’s been a dream. We wanted to give our senior population on a fixed income an affordable, safe, housing option. We were thrilled to realize that dream and officially open the complex this week,” said Little Ferry Mayor Mauro Raguseo. “This building is more than just a beautiful structure of bricks and mortar.  For so many it represents hope and financial stability for the future.  It means our seniors have an opportunity to stay in the community they love.  It is a shining example of what can be accomplished if we have a vision and work together in a public-private partnership to get things done.”

For residents with special needs, Vantage Health System will provide social services and intensive on-site support to promote personal independence, life skills, and integration into the community.

Partnerships with Regan Development, the Borough of Little Ferry, the Bergen County Office of Community Development, the New Jersey Housing Mortgage Finance Agency, and Berkadia have been indispensable in bringing this vital development to fruition.

“Regan Development is proud to have partnered with the Borough of Little Ferry, the State of New Jersey and its HMFA, DDD and DMHAS, DEP and NJSEA divisions as well as Bergen County, TD Bank and Berkadia to successfully provide 85 high-quality energy, efficient, senior and supportive housing units for Little Ferry residents,” said Larry Regan, President of Regan Development Corporation. “All public and private sector partners came together to overcome the challenges of Covid cost increases and spikes in interest rates to successfully bring the project to occupancy.”

“Bright, safe, affordable housing is essential for our senior communities who deserve to live in comfort,” said Congressman Bill Pascrell (D-NJ-09). “We are in dire need of more quality, affordable senior housing in northern New Jersey. The construction of these apartments supported by federal tax credits will create valuable housing options for seniors and those with special needs in Little Ferry. Every time we open buildings like Osprey Point, we can help improve the lives of more of our neighbors – that’s a good thing.”

“Osprey Point embodies our shared commitment to inclusivity and affordability, providing a secure and affordable home for Bergen County seniors, with direct access to essential amenities,” said Bergen County Executive Jim Tedesco. “This development is a testament to the power of partnerships and the impact we can achieve when we work together to address the housing needs of our senior and vulnerable populations, ensuring they can maintain their independence and dignity while enjoying their golden years in the community they love.”

NJHMFA financing, including $2.8 million from the Special Needs Housing Trust Fund and $1.7 million from the Affordable Housing Production Fund Set Aside, played a pivotal role in making this project viable. Unforeseen disruptions during the pandemic required NJHMFA to grant hardship credits and provide additional assistance to ensure construction was able to commence in September 2021.

 

About Us: The New Jersey Housing and Mortgage Finance Agency (NJHMFA) advances the quality of life for residents of and communities throughout New Jersey by investing in, financing, and facilitating access to affordable rental housing and homeownership opportunities for low and moderate-income families, older adults, and individuals with specialized housing needs. To learn more about NJHMFA, visit:

https://NJHousing.gov/

 

About Us: The New Jersey Housing and Mortgage Finance Agency (NJHMFA) advances the quality of life for residents of and communities throughout New Jersey by investing in, financing, and facilitating access to affordable rental housing and homeownership opportunities for low and moderate-income families, older adults, and individuals with specialized housing needs. To learn more about NJHMFA, visit: https://NJHousing.gov/

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‘Priscilla’ red carpet canceled and Hollywood screening venue changed

The red carpet for Sofia Coppola’s “Priscilla” premiere in L.A. on Oct. 9, has been canceled amid current world events, distributor A24 confirmed.

 

Furthermore, the venue for the screening has been changed because of a dispute between IATSE and the Hollywood Legion Theater, which is a part of the veterans’ organization American Legion.

 

A representative for the film released a statement about the red carpet saying, “Out of respect for the events going on in the world, we will be forgoing a red carpet for the ‘Priscilla’ Los Angeles Premiere.”

 

With escalating violence in Israel and Palestine, the “Priscilla” carpet is not the first to be canceled. The Academy Museum also decided to forgo the red carpet at the annual fundraising gala, which was scheduled for Saturday, before choosing to postpone the event altogether “out of respect for the devastating conflict and loss of life happening overseas.”

Regarding the location change for the “Priscilla” premiere, the projectionists’ union IATSE Local 11 started picketing the property Sept. 14. IATSE business representative Ronald R. Valentine told the Hollywood Reporter, which first reported the dispute, “American Legion Post 43 has committed multiple unfair labor practices, most significantly reneging on an agreement reached in April 2023 for a new collective bargaining agreement and misrepresenting the terms of that agreement to its membership.” Valentine continued, “As a result, IATSE Local 33 had no choice but to call a strike.”

 

With the changing of venues, Valentine said that Local 33 thanks distributor A24 and the team behind “Priscilla” “for their solidarity.”

 

Amid the ongoing SAG-AFTRA strike, “Priscilla” has been granted an interim agreement allowing its stars to walk the carpet, including Cailee Spaeny and Jacob Elordi who play Priscilla and Elvis Presley. Coppola was also slated to appear on the carpet.

 

“Priscilla” first premiered at the Venice Film Festival in September to critical acclaim. The new venue for the screening has yet to be announced.

 

 

— Variety

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‘The Fall of the House of Usher:’ Where to buy Edgar Allen Poe’s original short story adapted for Netflix

“The Fall of the House of Usher” is Netflix’s buzziest new release this month, so it makes sense that the Edgar Allan Poe short story it’s based off of is also having a moment.

 

The book, which was published in 1839, is trending on Google following the inspired series’ debut on Thursday night. Donning the same title, the horror series follows sibling duo Roderick (Bruce Greenwood) and Madeline Usher (Mary McDonnell), who are at the front of their Fortunato Pharmaceuticals empire. Together, the Ushers have established an empire of wealth, privilege and power — but at a cost.

 

The family’s dark, shady past seemingly comes to light as heirs from the dynasty begin dying at the hands of a mysterious woman from their youth. The first trailer gave audiences a glimpse at the gruesome killings to come, at the hands of a haunting woman who shares grievances with the family from events in their younger years.

 

Poe’s short story was first published in 1839 in “Burton’s Gentleman’s Magazine,” then included in the collection “Tales of the Grotesque and Arabesque” in 1840. It is considered a work of Gothic fiction, with themes of madness, family, isolation, and metaphysical identities, which are also likely to be themes in the new series.

 

In her review, Variety TV critic Aramide Tinubu writes that that Netflix show is “a stunning use of Poe’s work as the Cliffs Notes to his own majestic, intricate brand of storytelling” and “showcases what the 1% is willing to sacrifice to remain in high places.”

 

 

— Variety