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    ‘Westworld’ Season 2 Finale Guide: “The Passenger”


    The Hollywood Reporter rounds up the past week’s news, interviews and more about Jonathan Nolan and Lisa Joy’s genre-bending HBO drama.

    The Man in Black (Ed Harris) wants nothing more than to find “something true.” The cruel gunslinger and audience members alike will see their wishes granted on Sunday evening, when Westworld brings its second season to a close.

    What resides in the Valley Beyond? Is it a weapon, as Dolores (Evan Rachel Wood) predicts? Is it a new world, as Akecheta (Zahn McClarnon) has sketched out? What’s next for Maeve (Thandie Newton), now that her core permissions are unlocked, and what’s next for Bernard (Jeffrey Wright), now that he no longer has Robert Ford (Anthony Hopkins) guiding the way forward?

    The answers to those questions and more are on their way. First, take one last look back at the week in Westworld as covered here on THR, including theories and interviews surrounding “Vanishing Point,” and glimpses ahead at the season finale, “The Passenger.”

    “Vanishing Point” Recap: The Man in Black’s tragic past finally came into focus, but it paled in comparison to his tragic present. While so much of the episode focused on his relationship with his daughter (and specifically its ending), other major developments occurred as well, not the least of which was the apparent death of Teddy Flood (James Marsden).

    • Katja Herbers Interview: It was a short and bittersweet ride for the Manhattan and The Leftovers alum, who played Emily starting with season two’s third episode. Emily’s time in the park was cut short thanks to her own father, driven mad in his search for “The Door.” Here, Herbers opens up about how she found out about Emily’s death, and what was involved in shooting the scene.

    Sela Ward Interview: The Emmy-winning actor arrived on the Westworld scene this week as Juliet, the Man in Black’s ill-fated wife. How was she drawn into the HBO drama’s orbit, and how did she tap into Juliet on the final night of her life? Those answers and more, in our interview from this week.

    Jeffrey Wright Interview: Speaking more broadly about the Westworld experience, the man who portrays Bernard Lowe (and occasionally Arnold Weber) opened up about the collaboration process with showrunners Jonathan Nolan and Lisa Joy, the “mathematical” quality required for keeping track of the story, and why the birth of a cherry blossom was the most impressive thing he saw on set all season long.

    • “Vanishing Point” Podcast: Is the Man in Black a human, or a host? The question is on the mind of the show at the moment, and it’s one that we’re batting back and forth this week on “Welcome to Westworld,” the weekly podcast collaboration between THR and Post Show Recaps.

    “The Passenger” Preview: Looking ahead, the official preview for the season two finale reveals a surprising amount of information. Among the bigger reveals: the return of Logan Delos (Ben Barnes), at least in some capacity. 

    “The Passenger” Photos: HBO released images from the season finale this week, which are considerably less revealing than what’s contained within the preview. Still, Dolores on a horse! That’s neat! Check them all out in our photo round-up.

    Season Finale Primer: Where does everybody stand heading into “The Passenger,” as so many different players race to access the Valley Beyond? That’s the question we’re tackling in our last primer before the season finale’s arrival.

    Check back next Saturday for one final roundup of THR‘s week in Westworld, and in the meantime, keep following our daily coverage at THR.com/Westworld.



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    DC TV Watch: ‘Supergirl’ Season 4 burning questions


    Welcome back to The Hollywood Reporter‘s weekly DC TV Watch, a rundown of all things DC Comics on the small screen. Every Saturday, we round up the major twists, epic fights, new mysteries and anything else that goes down on The CW’s Arrow, The Flash, Legends of Tomorrow, Supergirl and Black Lightning, and Fox’s Gotham. Note: The FlashArrow, GothamLegends of Tomorrow and Black Lightning have wrapped for the season.

    Supergirl season three finale

    Turn back time | In an extremely action-packed finale, Supergirl effectively tied up all the loose ends of the season. Kara (Melissa Benoist) was convinced by her team at the DEO to throw out her “no killing” rule when it came to Reign (Odette Annable), but it cost her dearly. As Reign was dying thanks to an assist from a newly-superpowered Sam (also Annable) wielding Reign’s own sword, Reign used her laser vision to instantly kill Sam, Alura (Erica Durance) and Mon-El (Chris Wood). A shell-shocked Kara looked around in her “victory” to see her family and loved ones laying dead on the ground, and she immediately broke down. She blamed herself for doubting her morals and her code because she let others convince her to kill Reign. It was a chill-inducing moment as Kara floundered under the horror of what had just happened, but the Girl of Steel didn’t wallow. She immediately picked up Mon-El’s Legion ring and traveled back in time without a second thought to the consequences. She went back to the moment where Sam was about to help her kill Reign, and instead took Reign and Sam with her to the Dark Valley. Sam was then able to overcome her darker alter ego and forced Reign to drink water from the Fountain of Lilith, effectively trapping her there forever. When Mon-El pulled them out of the Dark Valley with a jolt of electricity, Reign was gone, Sam was somehow completely human and Kara was proud to have upheld her values of no killing.

    Saying goodbye | But in the midst of all the action, there were a lot of character exits in this week’s finale. M’yrnn (Carl Lumbly) sacrificed himself to save the planet from becoming terraformed into New Krypton by Reign. Before he died, he shared a heart wrenching goodbye with his son J’onn (David Harewood), bringing their emotional father-son storyline to a close. Mon-El realized he was needed in the future, effectively putting an end to any fantasy he held about staying in the present with Kara and rekindling their relationship. He went back to the 31st century to continue leading the Legion (and Wood is not returning to the series next season), but before he left the Legion made a swap. Brainiac 5 (Jesse Rath) stayed behind because his “distant relative” was saved from the blight, and this evil relative created a new virus that kills all A.I.’s in the future. Brainy stayed at the DEO for his own safety, and offered Winn (Jeremy Jordan) his place in the Legion as the resident genius. After debating whether or not to leave his home and friends for the future, Winn accepted (which explains his reduced role next season as he travels to the future). 

    Changes are coming | The last half of this week’s finale laid some major groundwork for season four. J’onn decided to take his father’s final words of wisdom to heart and left the DEO to live among the people of Earth. After donning a classy hat, he disappeared into the crowds of National City. Before he left, he handed the reins of the DEO over to Alex (Chyler Leigh), who had just tried to quit in order to become a mother (via adoption). Now Alex will step down from being in the field for the “much safer” position of the head of the DEO, and thereby not putting herself in so much danger so she can be a responsible mother at some point in the future. Mon-El and Winn left with Imra (Amy Jackson) for the future. James (Mehcad Brooks) revealed publicly that he is Guardian. Alura left with the black rock to return to Argo City believing that all the rock was leaving Earth with her, but Lena (Katie McGrath) secretly manufactured more of it to test. She began “phase two” without realizing how unpredictable it truly is. Because …

    Seeing double | When Kara previously used the black rock 48 hours earlier to travel to the Dark Valley with Reign and Sam, it sent a mysterious smoke trail across the world to Siberia, where it created a clone of Kara. In the final scene of the episode, the clone came to, naked and confused, and approached a military camp before the credits rolled. If the black rock can make a second Supergirl, there’s no telling what Lena is about to accidentally do with it back in National City.

    Burning questions for Supergirl season four

    Is the black rock really black kryptonite? | No one has actually uttered the words “black kryptonite” on Supergirl, and yet the latter half of this season and presumable a large chunk of next season focuses a lot on this alien black rock that powers Argo City. Seeing as how black kryptonite separates the personalities of a single being into two separate beings, and the black rock either split Kara into two or cloned her, it’s highly likely it is black kryptonite. That means that the Kara relaxing on the couch with Alex at the end of the episode isn’t fully herself, as the darker parts of her personality may have been split from her to create the imposter. That explains why, despite losing so many friends, Kara was so cheerful at the end of the finale. Another clue that this is black kryptonite is the fact that Lena was able to create more of it, as black kryptonite is created by heating green kryptonite to extremely high temperatures.

    How much is Supergirl going Red Son for season four? | When the black kryptonite split Kara into two beings and one arrived confused and naked in Siberia, it was clear that Supergirl was steering in the direction of famous comic book run Red Son for season four. But since that storyline asks, “what if Superman had been raised in the Soviet Union instead of the United States,” there are some major tweaks that will have to be made to tailor it to Supergirl. The series isn’t turning back the clock to see what the world would be like if Kara grew up in Russia, but rather introducing a second Supergirl in Russia. So will this be like The Flash taking on Flashpoint for only one episode and then following the ramifications for the rest of the season? And since the second Supergirl is most likely split from Kara and is the darker aspects of her personality, will this be more like a Bizarro Supergirl than an alternate universe Supergirl? There are many different facets of comic book source material being drawn from for next season, and how the writers take it from here is anyone’s guess.

    What kind of consquences will Supergirl face for changing the timeline? | As Barry (Grant Gustin) has learned from the aformentioned Flashpoint, changing the timeline doesn’t come without a price. Even though Kara went back only a minute in time, she still changed her actions and seriously altered the future, saving the lives of Alura, Mon-El and Sam. Will Supergirl follow through and teach Kara that messing with time travel isn’t as simple as she thinks? Or is the black kryptonite splitting her into two the consequence?

    How much will Winn be seen next season? | Winn traveling to the future came about because Jordan, a series regular since the beginning of the show, is going to be only recurring next season and Supergirl had to figure out a way to explain his diminished appearances. Jordan took to his Instagram to explain his exit as a series regular, but some questions about his future on the show remain. Does this mean he’ll pull a Cat Grant (Calista Flockhart) and only appear in premieres and finales before eventually disappearing from the series altogether? Or will he actually pop in here and there as Winn time travels with different Legion members and reunites with the DEO when they need help? And how long will it take Winn to design new Legion uniforms?

    Why does Alex need to give up her job to have a kid? | Ever since Alex decided that having kids was more of a priority than her love for Maggie (Floriana Lima), that has been a big focus of her storyline to the point where she tried to quit the DEO because she thought it wasn’t conducive to her being a mother at some point in the future. Thankfully, J’onn made her the head of the DEO instead, so she isn’t hanging up her fancy new fight suit just yet. But why does Alex need to give up her job as a field agent in order to become a mother? Yes, going into the field is dangerous, but as often as the DEO gets attacked, it’s not like being in the office will be any safer. And why does Supergirl feel the need to keep asking the age-old question, “can women have it all with both work and family?” because that’s a pretty dated and sexist topic. Alex can become a mother without having to compromise who she is as a person. Hopefully she realizes that pretty quickly next season. Watching Alex as a badass DEO agent and a mother would be incredible. 

    How is Sam a human now? | After Sam helped defeat Reign in the Dark Valley, she came back without her Kryptonian powers. And she also seemingly lost her Kryptonian DNA makeup in the process. The plot twist was presented as a good thing, as Sam was able to return to her old life and be a mother to her daughter in a “happy ending.” But how did her entire body change from alien to human? She was born/created on Krypton, and while defeating her other half would change her on some level, she’s still Kryptonian. This is either a plot hole or will come back around next season if Annable returns to keep playing Sam on the series. 

    Who is Brainiac 5’s distant cousin? | One way that Supergirl could bring Winn and the Legion back to the present next season is by introducing the evil relative of Brainy hellbent on destroying all other A.I.’s except himself. This is obviously Brainiac, the iconic supervillain from the comics who is second only to Lex Luthor of all of Superman’s adversaries. Teasing this character means season four will most likely introduce him, especially now that Rath has been promoted to series regular. Expect more Brainy-centric storylines next season. 

    How will James’ life change now that he’s come out as Guardian? | The latter half of this season found James debating whether or not he should unmask himself as Guardian to the public. He was convinced not to by Kara and Lena a few episodes back, but in the finale he found that showing his face and humanity helped give hope to the people he was saving. Now that his secret identity has been exposed, his life is going to drastically change. But how? Will the public accept him, or will he face public hatred like Oliver (Stephen Amell) has on Arrow? Hopefully this doesn’t mean even more reduced time spent at CatCo if James is no longer able to run it. 

    What, exactly, is J’onn planning to do with his free time? | J’onn handing the DEO over to Alex was a beautiful scene highlighting their wonderful father-daughter dynamic, but the details about what J’onn is actually going to do now are a little murky. “Living among the people promoting peace” is the party line, but what will that look like? How much will J’onn interact with the team at the DEO moving forward? Is Harewood’s role being diminished moving forward as well?

    Will Alura return when Lena’s secret black kryptonite trials become exposed? | Kara and Alura shared a quick goodbye before Alura returned back to Argo City with the black kryptonite, and they were acting as if they were saying goodbye for good (despite the fact that both have spaceships and can visit each other … ). But once Lena’s experiments on her secret stash of black kryptonite go wrong (because of course they will), will Alura return to help fix things? Or is Durance exiting the series as well?

    When will Superman return? | In a throwaway moment, the season three finale explained away Superman’s (Tyler Hoechlin) absence by having James overhear a new report that Superman was helping save the planet from Reign’s terraforming down in Madagascar. It was an easy addition to the episode but one that could have happened far sooner in the season. Since Supergirl finally introduced Superman in person last season, fans have been hoping there would be more moments like this, but they’ve been few and far between so far. Will Clark ever return for a face-to-face reunion with his cousin, or was his two-episode arc it? 

    Will Brainy finally see Star Wars? | Hopefully Kara will find the time to show her new coworker at least one Star War before season four picks up. Maybe a movie date night could be what sparks a love affair inspired from the comics. 

    The Flash

    Sticking around | This shouldn’t come as a surprise to any Flash fans, but Jessica Parker Kennedy has been promoted to series regular for the upcoming season five, The Hollywood Reporter has learned. As her “mystery girl” character finally revealed in the season four finale that she is Barry (Grant Gustin) and Iris’ (Candice Patton) speedster daughter from the future and she screwed up the timeline, expect season five to fully dive into Nora West-Allen’s history and her mistake. Barry might have learned his lesson with time travel but it seems that messing up the timeline runs in the family. Kennedy is repped by Luber Roklin Entertainment and Gersh Agency.

    Gotham will return for season five on Fox. Supergirl will return for season four, The Flash will return for season five, Arrow will return for season seven, Legends of Tomorrow will return for season four and Black Lightning will return for season two, all on The CW.





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    Late-Night Lately: Hosts Tackle Family Separation, Melania’s Controversial Jacket, Pete Davidson and Ariana Grande Engaged


    Courtesy of John Oliver/YouTube

    John Oliver addressed Trump’s controversial immigration policy, during Last Week Tonight, where the late-night host was quick to go on a rant against U.S. Attorney General Jeff Sessions. 

    “This was the result of a deliberate policy choice by Jeff Sessions, a man so small he can wear, and this is true, a raspberry as a hat,” Oliver jabbed. The host then shared a clip of Sessions quoting the Bible and stating that it is the duty of citizens to obey the law. Oliver reminded his viewers that the Bible is not a government document. “From a policy perspective, he might as well be citing Green Eggs and Ham saying, ‘We must keep children in a box, we must keep them with a fox,’ which would be a terrible policy.”

    He said that Romans 13 “is possibly the worst Bible passage to bring up” since it was commonly used during Civil War times to defend slavery. “I know that you’re probably thinking, ‘Wait, wait, wait, he wouldn’t align himself with slave owners, even accidently,'” he said. “Well I’m sorry, but he did.” Oliver also criticized Sarah Huckabee Sanders for defending Sessions’ use of the Bible. “Lots of things are said in the Bible, but that doesn’t mean you should do them. At one point the Bible demands that the head of government get 100 foreskins, but I don’t think that Sanders is looking for Congress to gather together and start slicing dicks. ”

    He concluded, “What I’m saying here is you probably shouldn’t use the Bible to justify separating children from parents, but if you do, maybe make sure that you’re not already breaking so many of its rules that God has to write an extra commandment that says, ‘I was fucking serious.'”



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    Jimmy Fallon ‘Tonight Show’ Book Club Launches


    To kick off what he calls the “summer of reading,” the late-night host announced a contest for viewers to select their summer read.

    On Friday Jimmy Fallon announced that he is launching The Tonight Show‘s first ever-book club, dubbed the “Tonight Show Summer Reads.”

    “Summer’s here and I don’t really have books to read. I don’t have a good summer book to read, ” Fallon said, following his opening monologue. “But I want to be there. I want to be walking around with that book that everyone’s got, like ‘Oh you?’ Yeah, me,” the late-night host joked. 

    Being that he hasn’t seen a “book club since Oprah,” Fallon revealed five books in the running to be the club’s first pick. The late-night host requested that audience members vote on which book they would like to jread with him during his July vacation. (Vote here.)

    The five eligible books include: Providence by Caroline Kepnes (“It’s a Stranger Things type of jam”), Children of Blood and Bone by Tomi Adeyemi, The Immortalists by Chloe Benjamin, The Good Son by You-Jeong Jeong and IQ by Joe Ide, which Fallon described as a “good investment type of book” for it’s confirmed to have sequels. 



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    'Wyeth': Film Review | Provincetown 2018




    In ‘Wyeth,’ director Glenn Holsten takes an expansive view of the life, work and legacy of American painter Andrew Wyeth in this documentary for PBS’ ‘American Masters’ series.

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    Tim Goodman: The Clock is Ticking on Apple Buying a Content Company


    Anyone tracking the goings-on with Apple as it pertains to the TV industry — and with $285 billion in cash sitting around, that should be everybody in the TV industry — must surely have noticed both the very recent burst of activity and the very curious, ongoing lack of activity from the tech giant.

    Regarding the former, Apple this month inked its second international project, Calls, based on a French format (and even bought the rights to stream the French version, which is extremely important, as you’ll see); jumped into the children’s programming arena by signing a deal with Sesame Workshop (it doesn’t get Sesame Street, but that deal with HBO expires in 2020 and Apple would be poised to snatch it); and then bought its 12thscripted series and 13thoverall in Little America, from The Big Sick duo Kumail Nanjiani and Emily V. Gordon.

    So, to recap backward — the aggressive, straight-to-series scripted push continues, Apple is now eagerly in the competitive kids arena and it absolutely has plans to be global, along the lines of Netflix and Amazon. That leads to the lack of activity element from above: When the hell is Apple going to buy a content company with a back catalog that would actually make it worthwhile for consumers to buy its fledgling original content?

    Don’t get hung up on how Apple will stream — you may have noticed it’s a tech company — or even what that service will be called or how it will be integrated with iTunes (interesting stuff, sure, but not on the level of how imperative it is to snatch up another company with content).

    And, if you’re keeping score at home, it’s very imperative. Apple can’t really think that its legion of brand-loyal customers will also pay somewhere in the vicinity of $9.99 a month for a dozen or so series that might not be all that great, might be a mixed bag creatively or, if you want to be insanely optimistic, even if all 13 are brilliant. Apple can’t think people will do that, can it? 

    Remember that Disney will have its Death Star streaming service up and running by fall of 2019 and people will absolutely be subscribing to that. Netflix isn’t going away. Amazon is under new leadership and aggressively seeking to up its game to compete more strongly with Netflix, especially globally. And FX content on Hulu as part of the Disney deal dovetails nicely with Hulu’s own expansion of originals — so that’s a streaming service that could also see an uptick in subscribers for a service that is already established and arguably must-have.

    Netflix, Amazon, Hulu, HBO (whether via cable subscription or HBO Now) are the absolute essentials for TV watchers. You can add in whatever else you might want — Acorn, BritBox, CBS All Access, FilmStruck, Sundance Now, the new streaming options from AMC and FX, etc. So many options in what is unarguably the future of TV. 

    So, 10 bucks a month for a dozen shows? Not exactly a hot ticket. Of course, the X-factor here is that Apple is Apple and it does things its own way, with an historic success rate that’s hard to ignore. Maybe it sees whatever passes for standard operating procedure in the TV industry as something it doesn’t have to play along with, and will launch its streaming service in 2019 as a bare-bones operation that it will grow slowly over time and everybody can like it or be damned.

    There are still so many questions surrounding tech logic vs. TV logic when it comes to Apple. But at the moment, it’s hard to imagine that the delay in acquiring some other content provider is related to a different operating system rather than a matter of A) Apple secrecy and B) Nobody has sold anything yet, even if it seems that everything is for sale. Apple has been rumored to have been circling Viacom for at least two years but nothing ever happened (and may not ever, but more on that in a minute).

    What’s interesting about Apple buying the format to the French series Calls is less that deal than the much smaller headline that it’s also buying the original French version. Because that’s immediate catalog material. Which implies an Apple consumer can sign on to whatever streaming service Apple has and browse…for other series. Do you think that Apple is just going to leave it at 13 originals and the French language version of Calls?

    No. Apple is going to build out. Apple is going to acquire. 

    But if you just looked at your watch and thought, “But when — we’re halfway through 2018?” then you are not alone. The clock is ticking. Apple has released almost no information about its plans, which is very Apple. The assumption among Apple acolytes is that it will get done, don’t worry about it. But if you’re watching these mega-mergers happen right in this very instant of court-approved monolith-making capitalism run amok, then you are a little more dubious about where Apple will end up when the musical chairs anthem runs out on their Beats. Will they own Sony? Will they own MGM? Will the CBS-Viacom battle have become defined enough that Viacom is on the market and able to be snatched up by Apple? Is there something else out there that makes sense to Apple — Lionsgate? Are there a series of tiny acquisitions — Crunchyroll? — about to be strung together?

    Or will 2019 arrive with no deal made? Maybe the question is at what month in what year does the real worry begin about Apple’s larger vision for its TV brand? If the middle of 2018 seems too early (it’s not), is January 2019 about right? March 2019 — a big springtime surprise? Because as Disney’s streaming launch looms in the fall of next year, with an endless supply of content that consumers will want to stream, Apple must know that fighting it out in the trenches for original programming and overall deals, as it’s doing right now, is only one part of the equation. It needs a robust back catalog to add value.

    Whereas a few months ago there was still some real worry that Apple was, in fact, going to rely on its reputation to lure customers to its streaming service — it’s Apple and I buy everything Apple — that level of tech cockiness has thankfully given way in this month of June to a more reasonable assumption that, based on Apple’s foray into kids and international, it has signaled an understanding that more is better.

    It’s certainly better — and sounder — business.

    Now all that’s left is the big acquisition announcement. Right?



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    Jonathan Friedland Exits Netflix | Hollywood Reporter


    The streaming giant is letting go of its top spokesperson after six years in the role.

    Netflix is letting go of its top communications spokesman.

    Jonathan Friedland, who’s served as the streaming giant’s chief communications officer for the past six years, is out at the company amid “insensitive” remarks he made to his team. The former Disney executive first joined Netflix in February 2011 as the vice president of global corporate communications, and was promoted to the top comms role the following year. A replacement for Friedland has yet to be named.

    “I’m leaving Netflix after seven years,” said Friedland in a statement to The Hollwood Reporter. “Leaders have to be beyond reproach in the example we set and unfortunately I fell short of that standard when I was insensitive in speaking to my team about words that offend in comedy. I feel awful about the distress this lapse caused to people at a company I love and where I want everyone to feel included and appreciated. I feel honored to have built a brilliant and diverse global team and to have been part of this collective adventure in building the world’s leading entertainment service.

    In his post, Friedland oversaw media and content publicity for the streamer’s original series, films and specials in 190 countries around the world. In addition to previously serving as the senior vice president of corporate communications at The Walt Disney Company, Friedland was also formerly a foreign correspondent and editor for the Wall Street Journal and Far Eastern Economic Review.

    The shake-up comes as Netflix, led by CEO Reed Hastings, ended the first quarter with 125 million subscribers worldwide, with expectations to add 6.2 million in the second quarter. Just last week, the company’s shares closed 3 percet higher to a new record of $404.98, even as the broader markets fell. The platform has been increasingly pushing into international territories and expanding its roster of originals to include more unscripted content of late.

    Friendland also tweeted about his exit on Friday:



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    ‘Bachelor’ Spinoff ‘The Proposal’ Episode Pulled After Woman Accuses Contestant of Facilitating Her Sexual Assault


    A Milwaukee, Wisconsin woman named Erica Denae Meshke accused show contestant Michael J. Friday of setting her up to be sexually assaulted in early November.

    ABC is pulling the second episode of its new dating reality competition series The Proposal, The Hollywood Reporter can confirm. The network’s decision not to air the episode comes after show contestant Michael J. Friday was accused of facilitating a woman’s sexual assault last year.

    In a public Facebook post published on Thursday, a Milwaukee, Wisconsin woman named Erica Denae Meshke claimed that Friday “was directly responsible for my date rape” in early November. Later, Meshke shared a screenshot of Friday’s Instagram account in the comments section of her post, revealing the identity of the man she was referring to.

    In a joint-statement to THR, ABC and Warner Horizon explained their decision not to air the episode featuring Friday, who was eliminated from the show during its first round.

    “An allegation has been made against a contestant on next week’s episode of The Proposal. While the accusation was not related to the contestant’s appearance on the program, we take it very seriously,” the statement read. “ABC and the producers of The Proposal are pulling the episode while this matter is under review.”

    In her Facebook post, Meshke detailed the night of her alleged sexual assault and revealed why she decided to come forward with her story.  

    “After keeping this buried for nearly eight months, and seeing this man continue to succeed and not be held accountable for his actions, I’ve had enough,” she wrote. “I’ve lost sleep, relationships, self esteem [sic], trust and countless other things because of that night. And I’m done keeping it quiet.”

    Meshke went on to say that she and Friday met via Tinder and said they eventually made plans to meet in person. After she requested to meet in a “public place,” Friday allegedly suggested the “lobby/entertainment room” located at an apartment complex. It was there that Meshke claimed she was met by Friday and his two older “friends,” men who she believes were in their 50s.

    “They poured me a drink, and then I was left alone with the two older men,” Meshke continued. “The original guy never came back, despite me calling and texting. I was told by his friends that he would be back soon. So while I waited, I accepted another drink, which I know now was spiked.”

    Meshke then alleged that one of the men took her into an apartment in the building where she said, without going into detail, that what she “endured for the next 5 hours [was] unspeakable.”

    After the alleged incident took place, Meshke said that she was “threatened” by the unnamed man who she was told “was very ‘powerful’ and would ‘find me’ if I told anyone what he did.”

    Regardless of the threat, Meshke said she confronted Friday when they later crossed paths again at a bar. “I ran into this person once since at a bar and confronted him, after he attempted to buy me a drink,” Meshke wrote. “Once I reminded him of who I was, he acknowledged his part in that evening, and tried to argue with me and justify what he did, but was promptly asked to leave the bar by employees/my friends.”

    She added, “This man is the pretty face that is used as a lure to get girls into unsafe situations.”

    The Proposal comes from the masterminds behind ABC’s long-running Bachelor franchise, including creator Mike Fleiss. The show, hosted by Bachelor alum Jesse Palmer, features eligible daters competing in four pageant-style rounds to win the heart of a mystery suitor or suitress in hopes that they say yes to their proposal.

    ABC’s cancellation of the show’s second-ever episode comes after it was revealed that Bachelorette contestant Lincoln Adim — who is currently vying for Becca Kufrin’s heart on the series — was convicted of indecent assault and battery for groping a woman on a cruise ship in 2016. Though Adim’s guilty verdict came on May 21, just days before season 14 of The Bachelorette premiered, the show’s producer Warner Bros. TV denied knowledge of the conviction.

    Adim’s conviction is the second controversy to hit this cycle of The Bachelorette. Garrett Yrigoyen, a frontrunner who received Kufrin’s first impression rose, came under fire last month for offensive social media behavior, igniting criticism over the show’s vetting process during casting. 

    Former Bachelor contestant Ashley Spivey shared screenshots showing that Yrigoyen liked Instagram posts mocking undocumented immigrants; the trans community; liberal feminists; and posts that spread misinformation about Parkland, Florida, shooting survivor David Hogg.

    Yrigoyen later apologized in a statement. “I am not perfect, and I will never be anywhere close,” he said, “but now I will always be more informed and aware of what I am liking and supporting, not just on Instagram, but in life.”

    The Proposal airs on ABC Mondays at 10 p.m.



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    Issa Rae Talks Beyonce and Portrayals of Black Women in the Media | Cannes Lions


    “The positive portrayals over the last ten years are overcompensating for the negative portrayals,” the ‘Insecure’ star said of how black women are represented in the media.

    Cannes Lions saved one of the best for last, with a final main stage panel discussion about femininity between Issa Rae, Allure magazine editor Michelle Lee, CoverGirl senior vp Ukonwa Ojo and Droga5 director Katy Alonzo.

    Rae, who’s CoverGirl campaign is a direct answer to Naomi Campbell’s plea earlier this week for more beauty campaigns featuring women of color, said that the media is showing an unrealistic portayal of black people to make up for years of negativity.

    “For black women, I tend to find it harmful that we have all the burden on our shoulders, to uphold this specific image. You see them as the strong, flawless, fierce type of woman. And even on a great day, I am never those things,” she said, asking the audience if they have listened to Beyonce and Jay-Z’s recently released joint album.

    “Even hearing that Jay-Z verse being thankful to Beyonce and all the black women in his life for putting up with his bullshit,” she continued. “And that’s kind of [the idea of] what black women are currently, [that] they’re going to be there when you need them. And that’s absolutely not the case, for sure with anyone I know.”

    She said portrayals of black men in the media have also gone too far in that they are always portrayed as “overly cool and suave.” The Insecure star explained, “The positive portrayals over the last ten years are overcompensating for the negative portrayals.”

    The conversation then pivoted to the concept of toxic masculinity, with the panelists agreeing that the idea, while often true, also discounts how hard it can be to be male in a world that has made stength part of what it means to be a man. And while male traits are revered as aspirational for women as well — confidence and competence are often cited as traditionally masculine — men are discouraged from displaying any feminine traits, such as emotional intelligence.

    “This is the audience that determines what culture values, and if we have a culture that values masculinity over femininity, this audience also has to own that,” CoverGirl’s Ojo said. “If we want to change that and say that we see a world where everyone is equal, then this is the audience that is going to tell that story. So, I ask of you to elevate femininity and expand the definition of femininity and you have the opportunity to create the world and the future we all want to be a part of.”



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    'Hanagatami': Film Review | Shanghai 2018




    Japanese master Nobuhiko Obayashi (‘House’) completes his anti-war trilogy with ‘Hanagatami.’

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    Tyler Perry Talks About His Viacom Deal, Keeping Up Production Pace


    At Cannes Lions, the mogul also talked Trump in coversation with MediaLink’s Michael Kassan.

    When you get two of the biggest personalities of Cannes Lions in the room to talk about the future of media, perhaps it was inevitable that talked turned to an even bigger personality.

    Tyler Perry — one of the few big stars on stage this week — and MediaLink mogul Michael Kassan couldn’t help but talk about Trump and his impact on the ad and entertainment businesses. “Donald Trump is the greatest marketer in the world, full stop. I hate the message that he is marketing but he did exactly what we are talking about in the industry; he went over the top, he went directly to the consumer, and he gave them a skinny bundle,” said Kassan. “We were talking about cable — what he did was find the channels those people care about and he delivered it to them directly: security, jobs, bam bam bam.”

    “Make sure he’s quoted on that,” joked Perry. Still the director agreed: “But you’re absolutely right. In all the chaos and all the madness, I started to take a step back from it and realize the brilliance in what is going on. As destructive and as terrible as it may be, as horrible as it may be, the actual design of it is brilliant.”

    But back to the business at hand, which is Perry’s deal with Viacom that starts in 2019. He’ll be starting with BET and the first show planned out of the gate will be a long-form drama.

    Though younger viewers are fleeing linear, Perry’s more traditional fans are still watching TV. “Everybody’s choosing their own corners. Eventually there will be a long-term problem with linear, but we’re not there yet especially with my audience,” he said, citing internal research. “We still have some time to make a huge impact.”

    He has been turning out 90 episodes of television on a break-neck six to eight week shooting schedule under his current deal with OWN, and intends to keep that pace when he moves to Viacom. “It’s a wonderful pace for us, because we know how to do it,” he said. He’ll also keep that pace churning out films, having just shot a new undisclosed one (not Paramount’s upcoming Nobody’s Fool starring Tiffany Haddish) on an extremely accelerated schedule.

    Under the OWN deal, he found himself “sitting around going, ‘OK, I’ve got to figure out something else to do.” Viacom has more outlets he can create content for, and he is also planning short form and an OTT channel to connect directly with consumers that are all-in on Brand Perry.

    He was way ahead of the curve on creating his own personal brand, setting himself up as someone viewers want to invite over. Perry said Kevin Hart is following in his footsteps “working extremely hard at building that same kind of cultural connection.”

    Perry has also been immensely successful at creating his own IP, and said he’s reached out to young black Hollywood. “Here’s what I’ve found, you have to find people who are interested in it,” he said. “And I get it. Not everybody wants to build a table. Some people just want a seat at the table and to eat whatever meal is served. I’m not that kind of person, others may want that.”



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    ‘Westworld’ Season 2 Finale Predictions: “The Passenger”


    Season two wraps Sunday night with “The Passenger,” written by showrunners Jonathan Nolan and Lisa Joy.

    [This story contains spoilers for season two, episode nine of HBO’s Westworld, “Vanishing Point,” as well as scenes from the preview for the season finale, “The Passenger.”]

    It was the shot heard ’round the world — at least, one that reverberated throughout Westworld and its surrounding parks: Robert Ford (Anthony Hopkins), assassinated at the hands of a Wyatt-infused Dolores (Evan Rachel Wood), signaling the end of an era and the dawn of a new species.

    Ten full episodes later, Westworld stands ready to change the game once again. Only one episode remains in the HBO drama’s second season: the upcoming extra-sized finale, “The Passenger,” written by series creators and showrunners Jonathan Nolan and Lisa Joy, from returning director Frederick E.O. Toye. As the series prepares to ride off toward its final hour of 2018 (and with a return date for season three still unannounced), theory-minded fans are about to embark on the long journey into night known as the offseason — a night that’s dark and full of terrors indeed, to borrow a phrase from a different HBO show. 

    Before taking too much time to mourn the end of the season, there’s still the matter of a 90-minute finale to consider. What’s ahead in “The Passenger,” the final installment of the genre-bending drama’s second year? That remains unrevealed, though the last known whereabouts for several main cast members provide some insight…

    • We begin with Dolores (Evan Rachel Wood), the leader of the host revolution, currently all on her own. Her horde of loyal soldiers were all killed in the raid on the Mesa, in battle against Ghost Nation, until only Dolores and Teddy (James Marsden) remained. As of “Vanishing Point,” Teddy is gone as well, seemingly forever — though there’s still the matter of his body lingering in the Mesa, recovered by Delos operatives at the furthest point in the timeline. There may still be life to Teddy yet, even if it’s not exactly the same as it was.

    • As for Dolores, she won’t be alone for long. In the preview for the season finale, Dolores is seen once again riding alongside the Man in Black (Ed Harris), desperate in his search for “The Door.” In the most recent episode, the gunslinger occasionally known as William (but don’t call him Billy) killed his own daughter Emily (Katja Herbers), thinking she was a host. Moments later, he briefly considered suicide, but instead dropped to his knees and started digging a knife into his own forearm, apparently convinced he might be a host. Is he right, or has he simply been driven mad, much like viewers of the series who spend too much time theorizing about the show? (Guilty as charged!) The final episode of the season will likely answer the question of the Man in Black’s mortality once and for all.

    • The season finale preview also shows Bernard (Jeffrey Wright) reaching “The Forge,” also known as “The Valley Beyond,” and linking up with Dolores. (The two of them are seen walking alongside some version of Ben Barnes’ Logan, too, which is another confounding matter entirely.) As Bernard tries to piece together what’s happening in the present, there’s also the matter of Bernard’s future, as the host is still embroiled in the thick of the mysteries happening at the furthest point in the timeline. Why has he seemed amnesiac in his interactions with Charlotte (Tessa Thompson) and Karl Strand (Gustaf Skarsgård), the three of them on their way to the Forge? An answer to the season’s most mystifying arc feels like the surest guarantee heading into the finale.

    • Through the back half of the season, Bernard has been haunted by a ghost of sorts: Robert Ford (Anthony Hopkins), digitally reborn thanks to his mastery over Delos’ digital immortality project. Ford spent the past several episodes kicking around inside of Bernard’s brain, only to be deleted near the end of “Vanishing Point.” One assumes Ford isn’t really gone; for one thing, Bernard and Ford have a scene together in the finale, as seen in the preview, and for another, Ford recently made contact with another key host…

    • … Maeve (Thandie Newton), whose mastery over the mesh network was recently discovered by Charlotte Hale, which is very bad news for all of the hosts on the wrong side of the Delos board. Right now, the situation looks grim for the former madame of the Mariposa Saloon, with an asterisk: Ford’s ghost recently visited the gravely injured Maeve, declaring his fatherly love and giving her apparent access to her full core permissions. Based on the preview, it looks like Maeve is back on her feet, as powerful as we’ve seen her yet, likely in control of a swarm of mechanical bulls charging into the Delos operatives. The scene from the preview includes all the friendly faces from Maeve’s party we’ve come to know and love, including Hector (Rodrigo Santoro) and Sizemore (Simon Quarterman), hell bent on reuniting with the Witch of Shogun World. Thankfully, doesn’t seem like Maeve herself is going to need much help in that regard.

    That’s the main cast, but there are other players still in the mix heading into the finale: Elsie (Shannon Woodward), the show’s by far most capable human, last seen stranded in the woods without a clear next step; Stubbs (Luke Hemsworth), accompanying Strand, Charlotte and Bernard on the journey to the Valley Beyond; and Akecheta (Zahn McClarnon), freshly identified as one of the show’s most compelling characters, still intent on leading Ghost Nation to “The Door,” and equally determined to stop Dolores “The Deathbringer” Abernathy from destroying it.

    What are your theories heading into the season finale? Sound off in the comments below and keep checking THR.com/Westworld for more coverage.



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