‘Swag’ movie review: Hasith Goli and a brilliant Sree Vishnu strike again with a deceptive, layered satire

When a man who wears his masculinity on his sleeve laments at how his son is growing up, displaying feminine traits, his wife tries to make him understand the importance of accepting an individual’s natural expression of gender. This segment and the portion that follows gives writer-director Hasith Goli’s Telugu film Swag the much-needed emotional anchor. Until then, the narrative is like a satire, with elements of farce and ‘absurd theatre’ as the several characters played by Sree Vishnu and the dual characters of Ritu Varma slug it out to assert the power of male versus female. 

In his second directorial venture after Raja Raja Chora, Hasith Goli discusses gender equality beyond the binaries, through a non-linear story that goes back and forth from the 1550s to the present, revealing several stories of a bloodline in the process. The experimental narrative, steeped with quirky characters, can at times test patience, but is ultimately rewarding.

The word swag is an abbreviation of the fictional Swaganika vamsam (dynasty) and also alludes to the swagger of men who enjoy the patriarchal norms of society. 

The story begins in 1551 in the fictional Vinjamara vamsam that followed matriarchal norms, ruled by Rukmini Devi (Ritu Varma). In contrast to the current social evil of female foeticide, during this queen’s rule, male foeticide was prevalent. Hasith Goli goes all out in his satirical approach to portray men with veils and women making the important decisions. He narrates a hypothetical story of one man, Bhavabhuti (Sree Vishnu), turning the tables and introducing a patriarchal system.

The 159-minute film presents the repercussions of this change in gender dynamics through multiple characters. Anubhuti (Ritu Varma, in her second role) is a civil engineer who tries to steer through a patriarchal society with her staunch feminist outlook. When she complains about sexual harassment at a construction site, not just the offender, but she too is asked to leave. Her boss argues that he would rather not have female engineers so that work is not hindered. This small episode starkly reflects the times we live in.

Swag (Telugu)

Director: Hasith Goli

Cast: Sree Vishnu, Ritu Varma, Meera Jasmine, Sharanya Pradeep, Daksha Nagarkar

Storyline: The search is on for the descendants of the Swaganika dynasty, who will inherit a large treasure. But, in the battle of genders, there are no easy winners.

The crux of Swag, however, revolves around the happenings at the Vamsa Vriksha Nilayam (a family tree house) and a treasure from the Swaganika dynasty that has to be handed over to the rightful heir. The guardians of the treasury are searching for their heir since the family tree is incomplete after Yayati (Sree Vishnu).

In the meantime, Swag introduces characters who claim to be descendants of the clan – police officer Bhavabhuti and a social media influencer Singareni (both characters played by Sree Vishnu). More surprise characters are revealed as the story progresses. 

The drama is not just between the male heirs and the female heir Anubhuti. The guardians of the treasury (Goparaju Ramana in dual roles) have their own plans. Interlinked with the happenings in the Vinjamara and Swaganika dynasties are the destinies of other characters played by Meera Jasmine, Sharanya Pradeep and Daksha Nagarkar, each actor portraying dual characters. 

Initially, it can get tedious to keep track of the characters and their connection with the dynasty. The polarising gender debate also gets weary, but a clever twist midway forces everyone involved to rethink their stance on gender. The story also depicts the grey shades in several characters. 

Ritu Varma as Anubhuti in ‘Swag’

Ritu Varma as Anubhuti in ‘Swag’

Sree Vishnu, donning a handful of characters, is the lifeline of Swag. He is excellent in a character that comes as a surprise in the pre-intermission segment. To elaborate on what makes this character special and how he handles it would amount to giving away a key spoiler. In the two Bhavabhuti characters (in the erstwhile kingdom and the contemporary cop) and as the social media influencer, he switches between each role’s distinct body language, diction and voice modulation. It is befitting when, towards the end, a character recalls Kamal Haasan’s Michael Madana Kamaraju to pay homage to an actor taking on several parts. Swag is among the toughest films in Sree Vishnu’s career and he is winsome.

Giving him good company is Ritu Varma, as both Rukmini Devi and Anubhuti. Rukmini is a one-note character with little scope to to explore the nuances of the character. Anubhuti is better written and Ritu Varma enacts it with tenacity; when Anubhuti introspects and makes amends, her portrayal is effortlessly convincing without a false note. 

In a narrative that discusses gender equality in multiple layers, a character that shines through is Revathi, played by Meera Jasmine. As a teacher, when she asks her colleagues and students about the futility of studying without acknowledging and accepting differences, it seems like a simple statement at first. Much later, the depth of her statement comes to the fore. This is a thoughtfully written character and Meera, in her limited screen time, gives it an emotional gravitas. A brief part played by Kireeti in the 1550s is also crucial to the narrative.

Hasith gets good help from his technical team. Vedaraman Sankaran’s cinematography gives each timeline a distinct visual palette, Vivek Sagar’s music transitions from classical to retro beats of the 70s and 80s to the more contemporary soundscape, with a mix of genres. Editor Viplav Nyshadam has the task of making the audience grasp all that is happening over multiple timelines and he handles it well. If there is a grouse, it has to be with the art direction. Probably due to budget constraints, some aspects of the erstwhile kingdom seem wanting. The portions filmed in the backdrop of the Amer Fort (Jaipur) have the regal aura while some of the sets that make up the interiors of the palace, do not measure up.

Swag is not a perfect film. There are times when the multiple timelines and characters can feel tiresome. But ultimately, it finds its rhythm and can leave you with a smile.

Swag is currently running in theatres

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CTRL Review: An Uncategorisable Film That Is Equal Parts Entertaining And Sobering


New Delhi:

Conjuring up a life that plays out in a virtual space – in other words, setting up a gauzy existence that floats in a dimension far removed from the real and the tangible – has its wages. Vikramaditya Motwane’s inventive, sparky CTRL examines the nature and extent of the toll that burrowing into a rabbit hole of constructed personas and enhanced engagements can extract.

Nella Awasthi (Ananya Panday, suitably sprightly), a Delhi girl who has been in Mumbai for six years, discovers the hard way that there is infinitely more to life than reels, brands, subscribers and likes. Not that the film is looking to preach to a flock. Who does not already know what is at stake in a digital life?

The Netflix film throws spiky ideas and pointed asides into the air. Some land, some don’t. But each, in its own way, contributes to the chaotic, experiential and unlike-anything-we-have-seen-before composite canvas that CTRL creates.

Written by Avinash Sampath and Motwane on the basis of a story by the former, the screenlife thriller is a raspy, zippy, quirky film that only rarely pauses for breath. It helps that Ananya Panday, coming off Call Me Bae, where, too, she played a young woman compelled to descend to earth from her perch in the clouds, takes to the role like fish to water.

The dizzying rhythm of CTRL, substantial parts of which are delivered in the form of interactions on connected digital devices, approximates the youthful exuberance and momentum of Nella’s charmed life. The girl is on a roll but there are hurdles ahead. The warning signals elude her attention until it is too late.

CTRL, in spirit and substance, reinforces Motwane’s proven penchant for turning an established genre on its head. He did just that in Trapped, Bhavesh Joshi Superhero and AK vs AK with varying degrees of success. Since these films were experiments with form and narrative conventions, their commercial (or critical) fate is immaterial.

That is pretty much true of CTRL. It is a fearless throw of the cinematic dice. It rolls in exciting and surprising directions. The result is an uncategorisable film that is equal parts entertaining and sobering. That is not to say that everyone who watches it will be instantly taken with it. But that can never be the point about a film like CTRL, which does its own thing in its own way, like it or lump it.

It isn’t angling for instant gratification even though the protagonist of the film, who exists and thrives in a penumbra between real emotions and fake impulses in a hyperconnected world where human-to-human links, mediated by tech entities of predator-level dimensions, are at best tenuous, would be nothing but for the swelling support that she garners on social media.

CTRL follows Nella and her boyfriend of five years, Joe Mascarenhas (Vihaan Samat). The two successful influencers have it all: a rock-steady relationship, an official community channel called NJoy that thrives with significant brands and a growing number of subscribers coming on board to push the endeavour higher and higher, and a life of limitless possibilities.

Joe is a techie whose know-how is the backbone of the channel. Nella, the daughter of a bakery owner who has cut off all ties with his daughter since she upped and quit Delhi, is the face that keeps NJoy going.

So smooth is their relationship that it elicits both admiration and envy. Someone get me a Joe, a follower says. Sooner or later, they will f**k it up, comments another. Is the Nella and Joe combo too good to last? The influence of their channel keeps growing and the couple moves from a small pad in Jogeshwari to a swanky, spacious apartment in Bandra – a sure sign of their thriving social media partnership. “Hamara ghar,” exults Nella.

And then it all snaps in an instant. Isn’t that the nature of the beast? Joe cheats on Nella. The act and its ugly aftermath are caught on Nella’s livestream, a set-up she planned as a surprise for Joe on the fifth anniversary of their first date. The sorry turn of events boomerangs more on the girl than on the boy. She is skewered by trolls and blamed for the breakup.

An infuriated Nella resolves to wipe the slate clean and give a fresh start a shot. In the process, and before she realizes it, she cedes control of her life to a virtual entity that has a male face – voiced by Aparshakti Khurrana – but no tactile presence.

Nella signs up on an AI platform, CTRL, with the aim of erasing the long, telltale digital trail that her relationship with Joe has left on various platforms. She is assigned an AI assistant. She names it Allen – a palindrome for Nella. Allen offers to help her take control of her “life and happiness”.

Nella instructs Allen to erase Joe from all her photos on the Internet. Allen does her bidding. Joe duly disappears from the tens of thousands of photos and videos posted by Nella over the past five years, beginning with one particularly cheesy frame that has her smitten boyfriend in a rock cutout costume and Nella in a fish headgear. The ardour – and silliness – of youthful love is now gone forever.

Does the erasure of Joe’s existence from her digital past deliver Nella from the blue funk she is in? It does, but only momentarily. Matters spirals totally out of her control and, in the harsh world that Nella is hurled back into, an alarming chain of events sends the girl’s life into a sharp plummet.

As one thing follows another, Allen’s words, “always there for you”, ostensibly meant to be an assurance, assumes the ring of an ominous warning. She realizes that she has ceded control to a force she can no longer rein in. It reaches a point when somebody can look her in the eye and assert, “We own you.”

Sumukhi Suresh’s dialogue, Pratik Shah’s cinematography (tailored to the medium to perfection) and Jahaan Noble’s editing, which goes from frisky to firm to convey the process of the euphoria of a love giving way to the disconcerting consequences of the blurring of the line between the virtual and the real, stand CTRL in good stead.

Can a cautionary tale with tragic twists be fun? CTRL is. It is never less than lively even as it chastens.


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Sarah Paulson Talks Executive Producing Her First Film ‘Hold Your Breath’ & The Mental “Exhaustion” Of Being A Scream Queen: The Deadline Q&A

With another spooky season upon us, it’s Sarah Paulson‘s time to shine in the genre she loves.

After executive producing her first film Hold Your Breath, which landed today on Hulu, the Golden Globe winner opened up about being “in charge” on set and how “exhaustion” helped her tap into her latest role in the psychological thriller.

“I almost felt like I was too busy trying to hold the complete story in my head to allow myself to descend too deeply inside of it,” Paulson tells Deadline. “And I feel like sometimes it’s just an occupational hazard, that reality. I wish I had a real answer of how I shake it because sometimes I don’t think that I do. I think it all just gets into the sort of nooks and crannies of my being and makes a house there, so I’m not always the best at alleviating some of that.”

Written by Karrie Crouse and marking her and husband Will Joines‘ feature directorial debut, Hold Your Breath takes place amid the horrific dust storms of 1930s Oklahoma. Paulson stars as Margaret Bellum, a woman convinced that a sinister presence is threatening her family.

Produced by Alix Madigan and Lucas Joaquin, the film also stars Ebon Moss-Bachrach and Annaleigh Ashford, as well as Amiah Miller and Alona Jane Robbins as Margaret’s daughters.

Filled with ever-relevant themes like the climate crisis and the country’s struggle between mental health and religion, Hold Your Breath offered a perspective that appealed to Paulson. But at its core, she was most compelled by the film’s mother-daughter dynamic.

DEADLINE: Tell me how you became attached to Hold Your Breath

SARAH PAULSON: I got a phone call saying, ‘Hey, do you read this script? And these filmmakers, it would be their first film, but they’ve done some really interesting things in the past.’ And the writer was a writer on Westworld and they’re a husband-and-wife team, and I just read the script and I just thought the script was really special and very unique and had a real point of view. And it was obviously a genre I’ve worked in before, a genre I love working in, and yet there was something about it, given the geographical circumstances of the film, but also the time period that were really interesting to me. So, I just really jumped at the chance to do it.

DEADLINE: You’ve been an executive producer on a few shows at this point. Was this your first movie to EP? What was that experience like for you?

PAULSON: You know, let’s just say that it suits me because I’m a very controlling person. I like to be in charge. I like to have a seat at any table and it’s nice when I sort of normally just find a way to shove myself somewhere between two people at a table, even if I haven’t been invited. But it’s very nice when I’m allowed to be there, because I think it’s a very different thing having been on both sides of it, of having the opportunity to do that and not doing it because it’s somehow, I bet it’s sort of like what it feels like the difference between being engaged and getting married. It’s like you really feel like you’re participating in a way that feels empowering because a lot of times as actors, at the end of the day, you come in, you give your performance, you do your work and the rest is sort of left up to the director and the editors and marketing people. And when you have the title of being an executive producer, I think you end up having more opportunity to be part of a larger conversation about the movie as a whole and about the storytelling as a whole that feels sort of integral to me from an acting standpoint to have that. You’re putting so much of what’s inside of you outside and then you’re kind of leaving it up to everyone else to determine how to make best use of that. So it feels like a very natural step to me. I wish every actor was able to have an opportunity to do that or to participate in that way because I think it really does help you feel like the piece belongs to you more. And it’s obviously a really community effort, any filmmaking undertaking, whether it’s television or film always is, but it’s really nice to feel sort of officially a part of something, even if directors are very generous and want your opinion and all of that. I’ve been lucky in that regard too, and people always seem to be very, very happy to have meaningful conversations about things. But it’s really nice when it’s sort of legitimized in a way.

Sarah Paulson in ‘Hold Your Breath’

Searchlight Pictures

DEADLINE: You touched on this being a genre that you love, but you’ve also specifically done a few of these maternal thriller roles. What is it about them that appeals to you? 

PAULSON: Well, I wonder if it’s partly due to… like maybe I’m exorcising some secret wish of mine. You know, I’m not a mother, in terms of, I did not have any biological children. I have three dogs that might as well be my children and might as well have been born of my being but are actually not because that would be super weird but a girl can dream. But I wonder if there’s just some kind of thing in me, certainly in this genre but in any genre really where … playing anything with extremely high stakes is where I think you can have the most fun from an acting standpoint and also be the most truthful because I think any time you’re filming anything, or anything has been determined worthy of making, you’re usually dealing with the character’s most important day, or the most significant time in their life is usually what’s being depicted. You don’t often film someone in the most ordinary of days often, when it comes to storytelling. So, I sort of feel like there is nothing more significant in life than one’s relationship to one’s mother. And so, even though I do not have children of my own, I do have a mother and there’s just something about it that seems to me to be a compelling space to draw from and draw upon. I don’t know, you’d have to ask my shrink probably. What I’m trying to get at is that it’s a high stakes thing to be a parent, every time a child leaves the house to go to school, every time a child is anywhere outside of your sight. You are sort of rolling the dice as it were, to hope that everything about their day and their life experience will be good and safe. And so to be in a circumstance, I always just feel like it’s extraordinarily fertile ground.

DEADLINE: Tell me about the actresses who played your daughters. 

PAULSON: Well, they were extraordinary. Again, because I was EP-ing, I was able to watch everybody’s audition tapes and it just was so clear to me from the moment that both of them appeared on these little videos I was watching, there could be no one playing the parts but them. And I’ve had this experience a couple of times too where, I wasn’t playing their mothers but with Lizzie Olsen in Martha Marcy May Marlene, with Lupita [Nyong’o] in 12 Years a Slave, like having these experiences of working with people their first time out of the gate, and having that front-row seat for the beginning of someone’s career and the first time they were on a set. And that certainly wasn’t the case with Amiah in terms of never having worked before, but this was a big jump forward for her in terms of responsibility. And it was just a really kind of a special thing to witness. And I just think it’s always really wonderful to work with young people because a lot of times, they don’t have years and years of experience where they have become sort of inured to their own spontaneity or their own ability to listen to their instincts or have all that stuff so drilled out of them, because they spend so much time in a set that they forget what it’s like just to live a sort of regular life. And so, I just really like it because you’re getting people right at the beginning of something.

Sarah Paulson and Amiah Miller in ‘Hold Your Breath’

Searchlight Pictures

DEADLINE: I appreciated a lot of the themes, as far as mental health versus religion, and also the climate crisis as well, it’s a lot of still very relevant issues. Did that speak to you as well? 

PAULSON: Absolutely. I had, of course, read about the Dust Bowl. I had never watched the Ken Burns documentary about the Dust Bowl prior to deciding to do this movie, but when I knew I was going to do it, I did. And you know, so much of the story of the Dust Bowl, if not all of it is sort of self generated, country generated, government generated. We were over-harvesting and then basically depleted the land of its ability to produce anything. And in that part of the world where there’s not a single mountain or tree or in sight, nothing to impede the dust from becoming what it does and what it becomes in this movie, it was just a wall of dirt, no rain and all these things. There’s something about it, that any time you’re inhabiting a world where you are living inside something very real, meaning not just the sci-fi sort of fantastical horrors or the supernatural horrors, but this idea that this is just about a family living in a part of our country where the world outside their front door was uninhabitable. And, you know, I certainly think that is really terrifying, and it actually happened in our country. It actually was really something to see, these people [in the documentary] talk about what it was like and how viscerally they are still able to recall it and how hideous it was — certainly, post-Covid.

DEADLINE: You’ve done so much horror now and you have such a great signature terrified performance. How do you go to that mental headspace and then how do you take yourself out of that when you’re done with the scene? 

PAULSON: You know, I wish I could say I was one of those people who knew how to compartmentalize. I’m not very good at it. So, I’m not a person who can kind of do a particularly harrowing scene or deal with something particularly upsetting and then just sort of go about figuring out what I’m gonna eat for dinner. I’m not very good at that. I need to get better at that because the consequence of course means I end up carrying some of it around longer than I would like to. But I think sometimes, exhaustion can be your friend, and we were shooting the movie far from my home and I just wasn’t doing anything but the movie. So, I think I was able to kind of live as inside of it as I could in a way that was helpful for me in terms of carrying the story around. There’s so much that happens in the movie and because it’s like, ‘Are we in Margaret’s mind sort of what she’s experiencing in her mind or are we in reality and keeping track of those things?’ [That] was something that I had to have like a board where I had a big calendar of events in terms of what was really happening, what hadn’t happened yet, what was happening in Margaret’s sort of waking dream state when she was sleepwalking, all of these events that I had to really keep track of. So I almost felt like I was too busy trying to hold the complete story in my head to to allow myself to descend too deeply inside of it. And I feel like sometimes it’s just an occupational hazard, that reality. I wish I had a real answer of how I shake it because sometimes I don’t think that I do, I think it all just gets into the sort of nooks and crannies of my being and makes a house there. So, I’m not always the best at alleviating some of that. I mean, I could say, ‘Yeah, I take a bath,’ but that would sort of be a lie. I think some part of it is … it is a muscle, it’s like an acting muscle that I have. And for better or for worse, my mother called me Sarah Bernhardt for a reason. I always had a flair for the dramatic and of course, to me at the time, when my mother was calling me that, I was having the biggest experience about something like I needed a certain pair of socks from the Gap … But I always had big reactions to things and big feelings. So, on some level I was born with, you could call it a gift or a curse, which is big feelings all the time. So I have access to them in a way, that maybe your average person doesn’t. And I don’t know if that’s a good thing or a bad thing, but it certainly helps me in my work, that’s for sure. 

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New on Disney+ Hotstar in October: ‘Vaazhai,’ ‘Bigg Boss Tamil’ Season 8, ‘Hold Your Breath,’ and more

Here is the full list of new titles coming to the platform:

INDIAN TITLES

Bigg Boss (Season 8) (October 6) (Tamil)

Bigg Boss Tamil Season 8 is set to launch on October 6, with Vijay Sethupathi making his debut as the host, replacing Kamal Haasan. This season promises fresh dynamics, with Sethupathi bringing his unique style to the iconic reality show. Fans are excited to see how he will handle the drama and conflicts in the Bigg Boss house. The show will air daily on Vijay TV, and viewers can catch the 24×7 live stream on Disney+ Hotstar, ensuring they don’t miss any action.

Vaazhai (October 11) (Tamil)

Vaazhai, directed by Mari Selvaraj, is set in rural Tirunelveli during the late 1990s. The film revolves around a young boy, Sivanaindham, who works in banana plantations while also balancing his school life. Sivanaindham dreads the backbreaking task of carrying banana stalks, a job he does to support his family. His bond with his friend Sekhar, and his interactions with his community, highlight the struggles of growing up in a harsh environment. The story takes a pivotal turn when Sivanaindham decides to skip work one day, leading to a series of events that have a life-changing impact on him and his village. The film captures the protagonist’s journey of navigating the challenges posed by his socio-economic conditions, while also offering a deep reflection on ambition, self-identity, and social justice.

Reeta Sanyal (October 14) (Hindi)

A lawyer, a detective, and a chameleon taking on cases that will make sure you’re at the edge of your seats! Disney+ Hotstar is bringing you a thrilling new show, Reeta Sanyal, starring the fierce and fabulous Adah Sharma. Join Reeta as she dives into a whirlwind of cases navigating through complex waters of justice. With her sharp mind and chameleon-like skills, will she be able to steer through the tumultuous game of justice? Produced by Rajeshwar Nair and Krishnan Iyer under the banner of Keylight Productions and directed by Abhirup Ghosh, the series is based on the character created by the acclaimed writer Amit Khan.

DISNEY TITLES

Wizards Beyond Waverly Place (Season 1) (October 30) (English)

Billie, a powerful young wizard at the centre of a mysterious prophecy, is sent to live in the mortal world with the only wizard teacher who can help her control her powers — Justin Russo.

MARVEL TITLES

Marvel’s Hit-Monkey (Season 2) (October 18) (English)

In New York City, Monkey finds a path to escape his life of killing, while Bryce attempts to repair the damage to those he wronged in life. But what will it cost them to undo the past?

OTHER TITLES

Hold Your Breath (October 3) (English)

Oklahoma, 1930s. The Bellum family house rests in a valley of dirt as clouds of dust blot out the sun. Margaret (Sarah Paulson) and her two daughters, Rose (Amiah Miller) and Ollie (Alona Jane Robbins), tend to their sparse farm while Margaret’s husband has left in pursuit of work. As they struggle to survive the punishing Dust Bowl environment, a mysterious stranger (Ebon Moss-Bachrach) arrives, threatening all they know and love. But is the threat a closer one?

La Maquina (Season 1) (October 9) (English)

After a devastating loss, Esteban “La Máquina” Osuna (Gael García Bernal) is at a low point in his boxing career. Lucky for him, his manager and best friend Andy Lujan (Diego Luna) is determined to get him back on top. But when a nefarious organisation rears its head, the stakes of this rematch become life or death. While struggling to mount a comeback, Esteban must also juggle his own personal demons and protect his family, including his ex-wife Irasema (Eiza González), a journalist who finds herself on a collision course with the dark side of the boxing world.

Abbott Elementary (Season 4) (October 10) (English)

A workplace comedy following a group of dedicated, passionate teachers — and a slightly tone-deaf principal —as they navigate the Philadelphia public school system. Despite the odds stacked against them, they are determined to help their students succeed in life, and though these incredible public servants may be outnumbered and underfunded, they love what they do — even if they don’t love the school district’s less-than-stellar attitude toward educating children.

Mr. Crocket (October 11) (English)

A single mother thinks she’s found the key to calming her child down – a VHS copy of a strange children’s program named Mr. Crocket’s World. However, a darker, bloodier secret waits to invade their home from inside the tape.

Return to Las Sabinas (Season 1) (October 11) (Spanish)

Gracia and Paloma return to Las Sabinas to look after their father, Emilio. Gracia reunites with her childhood sweetheart, Miguel, who is now engaged to Esther. Miguel’s brother, Tano, who was also in love with Gracia, decides to make his move when he sees her again. Paloma takes over the family’s land and clashes with landowner Paca Utrera, who has a nefarious plan for the village. Emilio must win back his daughters’ affection, but a terrible secret he shares with Paca stands in the way. Miguel and Tano’s mother, Silvia, are eager for Gracia to leave Manterana. Young Óscar is found dead under strange circumstances. Manuela must investigate the murder with the help of Óscar’s brother, Álex, who is a priest.

Jeong-Nyeon: The Star is Born (Season 1) (October 12) (Korean)

Jeongnyeon is a girl from Mokpo with a gifted voice who wants nothing but to get rich for her poor family. While singing at the market to attract customers, she meets Okgyeong, the greatest gukgeuk star of her time. Through Okgyeong, Jeongnyeon discovers gukgeuk, Korean female classical opera, for the first time and is mesmerized by the art. Despite her mother’s opposition, Jeongnyeon joins Maeran Gukgeukdan in Seoul. Now her only focus is to become the best gukgeuk actor after Okgyeong! Jeongnyeon has always been confident in her singing but is threatened by Youngseo, an elite gukgeuk trainee. As she quickly rises to be on par with Youngseo, Jeongnyeon faces unexpected challenges. This is a coming-of-age story of competition, solidarity, and the journey to becoming the best gukgeuk actor.

Nemesis (Season 1) (October 16) (Dutch)

Nemesis is a conspiracy thriller about financial crime and tax evasion at the highest levels in the Netherlands: a shadow world of postbox companies and dead-end paper trails. Sylvia van Maele, public prosecutor in The Hague, and Lars van Deurnen, a detective with the Fiscal Information and Investigation Service, follow a trail of money and murder in their search for the perpetrators. They are thwarted by a ruthless elite desperate to retain their wealth and power at any cost. When the boundaries between Sylvia’s personal and professional lives start to crumble, she quickly realises that the rules and practices that prevent her from doing her job are there for a reason. She must learn to trust her intuition in order to survive, even if it means going up against the people she trusts most.

Rivals (Season 1) (October 18) (English)

Set against the backdrop of power-grabbing social elites, Rivals dives headfirst into the ruthless world of independent television in 1986. Based on the celebrated novel by Jilly Cooper, Rivals follows ex-Olympian and incorrigible rake, Rupert Campbell-Black, in his long-standing feud with the controller of Corinium Television, Tony Baddingham. Loyalties are tested as the two enter a bidding war for TV rights with host Declan O’Hara who is caught in the crossfire. Takeover plans are disrupted by a blossoming romance between the womanizing Rupert and Declan’s daughter, Taggie O’Hara, creating a love triangle with Tony’s right-hand woman, the brilliant American producer Cameron Cook. In the backstabbing world of TV where it is every man and woman for themselves, can true love really blossom?

Carved (October 21) (English)

On Halloween 1993, 2 years after a deadly nuclear spill, the staff of a historic pioneer village attraction must work together to survive the attack of a monstrous killer pumpkin set on revenge.

FX’s What We Do in the Shadows (Season 6) (October 22) (English)

FX’s What We Do in the Shadows documents the nightly exploits of vampire roommates Nandor (Kayvan Novak), Laszlo (Matt Berry), Nadja (Natasia Demetriou) and Colin Robinson (Mark Proksch) as they navigate the modern world of Staten Island with the help of their former familiar and current human friend, Guillermo (Harvey Guillén) as well as their vampire bureaucrat acquaintance, The Guide (Kristen Schaal). After a very brief stint as a full-blown vampire, Guillermo is re-evaluating his life. Who is he if not a familiar who will do anything to please his Master in hopes of one day being turned into a vampire? Meanwhile, the vampires are reevaluating, too. When their former roommate reappears after a 50-year nap, they realize how little they’ve done in half a century — not one goal accomplished, not one dream pursued, not one part of the New World conquered (except for their street and part of Ashley Street). In the sixth and final season of the Emmy®-nominated comedy, Nandor, Nadja, Laszlo, Colin and Guillermo will enter the workforce, visit New Hampshire, go to a human dinner party, fête The Baron and conjure a demon — all while trying to find their place and their purpose in this crazy, mixed-up world.

Macross 7 (October 23) (Japanese) 

A.D. 2045. The Seventh New Macross Class Ship, Macross 7, is on a colonization mission in deep space carrying one million people in its fleet. The rock band Fire Bomber and its vocalists, Basara and Mylene, the seventh daughter of Captain Max and Mayor Milia, are performing aboard the main residential spacecraft, City 7, when unknown enemies attack the fleet. As the U.N. Military’s elite forces struggle in battle, Basara, the band’s lead singer and guitarist, joins the fray with his red Valkyrie. However, instead of opening fire, he attacks with his passionate singing, baffling both enemies and allies alike. The military soon learns the mysterious enemy are after Spiritia, the life energy of human beings. They also realize the key to winning this fight lies in the power of Basara’s singing.

Road Diary: Bruce Springsteen and the E Street Band (October 25) (English)

Bruce Springsteen and The E Street Band offer the most in-depth look ever at the creation of their legendary live performances, including footage of band rehearsals, backstage moments, rare archival clips and personal reflections from Springsteen himself.

Reasonable Doubt (Season 2) (October 30) (English)

After trying to heal from her wounds from last season’s arduous trial and deadly affair, Jax Stewart is attempting to get her life back on track. That is until one of her closest friends reveals that she has killed her husband. Her friend is claiming self-defense, but an uncompromising prosecutor thinks otherwise. Needing all the help she can get, Jax brings in an ambitious defense attorney to lead the case, but things get tense very quickly. Can Jax defend her friend, save her marriage and protect her energy while being catapulted into the biggest case of her career? Or will she lose it all?

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‘Agatha All Along’ Episode 4 Recap: Rio Vidal Joins the Coven As THE Green Witch

SPOILER ALERT! This post contains details from the fourth episode of Marvel’s Agatha All Along.

Read on for a full recap of Agatha All Along Episode 4, titled “If I Can’t Reach You/Let My Song Teach You.”

Mrs. Hart (Debra Jo Rupp) has died from the poisoned wine that every member of the coven had to drink to pass the first trial in Episode 3, which was solved by Sasheer Zamata’s potions witch Jennifer Kale.

Teen digs her a grave on the side of the Witches Road as a quiet Alice confirms that her mother Lorna Wu died on the road — which vaguely sounds like The Witches’ Road, but she really died “on the road,” as in on tour, in a hotel fire. Alice recalls that her mother told her the road would save her.

As Teen lays some baby’s breath on Mrs. Hart’s grave, Lilia questions how much antidote Mrs. Hart got because she had two glasses of wine.

Agatha tries to move on down the road after a half-hearted “R.I.P. Mrs Hart,” but the rest of the coven refuses to leave. Agatha calls Sharon “a bad draft pick” and tries to taunt the others with “more power for the rest of us.” Jenn and Agatha debate certain lyrics to the Ballad of the Witches Road: “Coven two” versus “coven true.” Alice asks Agatha how many other witches left the road with her last time she was on it, and Agatha holds up one finger, signaling why she things it’s “coven two.” Alice is consulted about the meaning of the line as her mother wrote the most popular version of the ballad.

RELATED: ‘Agatha All Along’ Episode 1 Recap: Agatha Harkness Gets A Rude Awakening

Alice, Jenn and Lilia don’t want to go forward without a green witch to complete the coven and replace Mrs. Hart. Agatha debates summoning a substitute for the road. Teen provides a spell book for the process. Each coven member establishes criteria — Lilia’s asking that she be strong and good at her craft, Agatha that she be not annoying and not super political. Jenn that she be pleasant-looking, and Alice that she bring Advil.

Who should sprout from a spot other than the leaf-shaped body outline in the soil but Aubrey Plaza’s Rio Vidal. Teen worries that they turned Mrs. Hart into a zombie, but it was just Agatha’s old romantic antagonist dressed in green. She says she’s less A green witch and more THE Green Witch, before she starts skipping down the path.

Teen asks if Agatha wants to talk about the fact that her dangerous but charismatic lady is back. “Are we in trouble Agatha? More so than we were ten minutes ago?” he asks. Lilia’s observation that Agatha hates Rio goes in the pro column, meaning it’s a plus for the rest of the coven that Rio has arrived.

RELATED: ‘Agatha All Along’ Episode 2 Recap: Down The Witches Road

The next trial manifests as a woodsy house nestled on the path. Alice wants nothing to do with the house, but the road will take them there no matter what. The waxing moon on the front door signifies the fire phase, and Alice dreads going inside. They enter the building transformed into people dressed up like a 70s rock band.

“We’re an album cover waiting to happen,” Teen says, and he’s not far off, as the six of them look like a witchy Daisy Jones and the Six or Fleetwood Mac. Teen then searches for a hint as to what awaits them in the next trial, like the card that was on the mantle of the beach house in Episode 3.

Lilia examines red panels in the jouse of women being tortured, which brings tears to her eyes. Jenn sees a bunch of masks hanging on one of the house’s stone walls. Alice finds a photo of her mom. Lilia asks Alice if Lorna was trying to open the road with her concerts. Alice confirmed that, yes, this was her intent, saying that Lorna’s fans were her coven.

(L-R) Agatha Harkness (Kathryn Hahn) and Rio Vidal (Aubrey Plaza) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo by Chuck Zlotnick. © 2024 MARVEL.

Lilia has another out of place moment in which she says something that doesn’t fit the situation: “Which is it? Am I wispy or am I kooky? Alice, Alice don’t!”

Rio asks Agatha how the quest is going, and she says that “magic, as it always does, took the path of least resistance,” to place her as the replacement Earth witch with the rest of the coven. Then she asks Agatha why she brought “that boy,” or Teen. Agatha says she needed hands. Then she tries to say “What if it’s one last big adventure?” to Rio, who says “like old times?”

Agatha then presses the button that turns on the mic that connects the recording booth room where she and Rio have had their conversation to the main living room of the house as Rio claims Agatha’s going to kill all the witches once they get to the end of the road.

RELATED: ‘Agatha All Along’ Episode 3 Recap: The Coven Encounters Its First Trial On The Witches Road

Speakers start to screech out a cacophony of sounds as Teen attempts to play a record that he thought was a clue because “Play Me” is printed on the vinyl’s protective sleeve. Agatha smashes the record and the player to pieces to get the horrible noise to stop.

“We’ve been cursed,” Lilia says.

“I think this music trial’s started,” Rio says, as a metronome sitting on top of the piano starts clicking.

Alice starts to feel lighter, asking if the rest of them do. Lilia’s body starts smoking as if she’s on fire. Alice draws a circle around Lilia uttering some sort of incantation as Patti LuPone’s witch writhes on the floor in her glittery jump suit and orange coat.

“What if we reason with the witch that cast the spell?” Teen asks.

But the only way out, for the coven, is through. Jenn gets a circle drawn around her, and Teen points out that there are what look to be burn marks on her shoulders. Lilia has similar or wounds in the exact same place.

“The Ballad of the Witches Road” by Lorna Wu is on the record. Agatha asks if Alice brought in the curse with her. She has faint scars on her shoulders too.

Rio Vidal (Aubrey Plaza) in Marvel Television’s AGATHA ALL ALONG

“I didn’t think it was real!” Alice says. “I convinced myself they were birthmarks,” she tells everyone. “Even though [my mom] had the same ones.”

Teen then gets thrown through the glass pane separating the sound booth from the main chamber of the house after the witches freak out about the generational curse that is threatening them.

Agatha reaches the same conclusion as Alice, that they have to play Lorna’s version of The Ballad of the Witches’ Road to quell the curse. Lorna’s intention was to save her daughter by opening the road.

Lorna’s ballad is a protection spell that has shielded Alice from burning to a crisp throughout her whole life because at any given moment, someone somewhere out in the world is singing the song Lorna left behind.

RELATED: ‘Agatha All Along’ Brews Up Solid Premiere Audience As First Episode Nets 9.3M Views In 7 Days, Disney Says

Teen offers to play guitar, and Agatha makes Jenn play base. Lilia’s on zills, or the triangle and later maracas, and Alice takes the piano. Her cue starts the song off. Rio is on the drums. Agatha starts to smoke singe, but as keep playing the song, she is safe, and they all join in singing.

A breeze rushes past Agatha as she sings “Risk this heart of mine.”

Parts of the house start to catch on fire as they get to the second verse. A sharp spike of some sort starts to poke through Teen. Alice gets a nice solo moment singing.

The curse takes form as a terrifying red and black winged creature, and Alice vows to kill it once she sees it. It flies to cling to her shoulders, but she belts out a note that vanquishes the creature, which dissolves in flakes of ash.

Teen faints right after the piano lid opens to reveal the exit, similar to the oven in Episode 3. It turns out a glass shard was protruding from his stomach. Agatha tears up as she is desperate to revive Teen. Lilia suggest they leave him, and Rio just mysteriously watches from afar. Jennifer heals the gash with water and moonlight.

“Jennifer, look what you did,” Lilia says, ominously and proudly.

Jennifer confesses she’s an eleventh-generation root worker and midwife as Agatha watches over Teen’s unconscious body. Jenn tells the story of how she got bound. She was invited to the brand-new obstetrics association of Greater Boston. It was a trap, and a man bound her without magic.

“When mom died, I stopped believing everything she ever taught me,” Alice says. “I was so angry. Part of me hoped that the road wasn’t real so that I could stay angry.”

“Now you know that it was all for you,” Lilia says. “And that makes you sad. Sad is better than angry.”

RELATED: Aubrey Plaza Jokes Patti LuPone “Almost Killed” Her When She Was Sick While They Were Roommates

Lilia goes on a rant about misconceptions and rumor mongering when it comes to witches — about how they talk to ghosts and are covered in extra nipples. Rio says she’s covered in nipples, offering everyone to see.

Teen stirs awake, asking Agatha if she put the sigil on him. She says no, but then she amends that statement to the fact that she wouldn’t know because sigils work on those that cast them too. Teen asks if it can be lifted. Agatha says it can be broken, and before he asks her how, she says that a sigil gets broken when there is no longer a need for it.

RELATED: Who Is Joe Locke’s Mysterious ‘Teen’ In ‘Agatha All Along’? All The Clues So Far

“You don’t have to know a person’s name to know who they are,” she tells him.

Teen then asks her what really happened to her son. All she says is “Heal fast. We’re not staying here long.”

The coven asks Agatha to show them her battle scars. She showcases her elbow, which took a knitting needle from the Daughters of Liberty.

Rio then says that she has a scar.

“A long time ago, I loved someone.” She went on to say that she regretted doing something, but that she had to do it because “It was my job, and it hurt them. She is my scar.”

Agatha goes off for fresh air, and Rio follows her. Lilia takes Rio’s arm and warns her “Don’t think for one second I’ve forgotten what you said in the sound booth.”

Agatha and Rio share a long embrace.

“Agatha,” Rio says, right before Agatha tries to kiss her. “That boy isn’t yours.”

Agatha smirks and walks away.

Two trials down and five to go, if things are to go to plan for Agatha and her ragtag coven, as well as Teen.

RELATED: ‘Agatha All Along’ Primer: What To Remember Before Watching

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Douglas Emhoff: 5 Things About Kamala Harris’ Husband

Lawyer Douglas Emhoff has made history as the first second gentleman of the United States. He was there for his wife Kamala Harris, 59, as the former California senator was sworn in as Vice President of the United States at the U.S. Capitol on Jan. 20, 2021, as Joe Biden, 77, became our 46th president. Kamala herself made history as America’s first female, Black and South-Asian vice president, as she and Joe prevailed in the Nov. 3, 2020 presidential election over incumbent POTUS Donald Trump. and VP Mike Pence.

Shortly after Joe and Kamala’s victory was announced, Douglas took to Twitter to share a sweet photo of himself giving his lady love a big hug after she found out the wonderful news. “So proud of you,” he wrote in the caption along with two red heart and two American flag emojis.

He was also by Kamala’s side later that night when she and Joe gave their first speeches as President-elect and Vice President-elect in Delaware. He confidently held her hand and waved to the in-person crowd after the amazing night and Joe even called the happy couple “family” during his epic time addressing the nation. “Kamala, Doug, like it or not, you’re family. You’ve become an honorary Biden, there’s no way out,” he said with a smile.

 

His support is unwavering, as the 59-year-old husband continues to stand by his political wife while she runs for president as the Democratic candidate. This follows President Biden’s endorsement after he withdrew from the November 2024 elections. She is campaigning alongside her running mate, Tim Walz.

Ever since Joe revealed Kamala was his VP pick in Aug., Douglas vowed to be “ready to work” as the Nov. 3 Election Day drew closer and closer, and that’s exactly what he did. So, who’s the lucky man that gets to be Kamala’s husband? Here’s the answer to that question below:

Kamala’s Husband Has Worked in Law for More Than 25 Years

Douglas shares a love for law with Kamala. He attended University of Southern California’s Gould School of Law, and is now a partner at DLA Piper (a global law firm). “He represents large domestic and international corporations and some of today’s highest profile individuals and influencers in complex business, real estate and intellectual property litigation disputes,” Douglas’s bio reads on the law firm’s website.

AP Images

Douglas Also Specializes in Entertainment Law

One of his clients included TBWA, the ad agency which developed the Taco Bell Chihuahua. This led Wrench, a company based in Michigan, to sue Taco Bell over breach of contract because it claimed to have created the “Psycho Chihuahua,” according to Douglas’s profile in The Hollywood Reporter. Douglas kept TBWA from taking on the financial burden of this lawsuit bill.

Douglas Met Kamala Through A Blind Date

Before Kamala entered his life, Douglas was married to a woman named Kerstin whom he welcomed two children with (a son named Cole, who graduated from Colorado College in 2017, and their daughter Ella, who is studying at Parsons School of Design, according to a 2018 Vogue article).

After Douglas divorced from Kerstin, he was a single dad who was eventually set up on a blind date with Kamala by PR consultant Chrisette Hudlin in 2013, according to his aforementioned profile in THR. It was a great idea, because Douglas and Kamala were married by 2014. Kamala now even has a close relationship with Douglas’s children, as well as her husband’s ex-wife!

“They [Douglas’s kids] are my endless source of love and pure joy. I am so thankful to Doug, to Kerstin, and most of all, to Ella and Cole,” the senator wrote in an Elle essay for Mother’s Day 2019. Douglas and his two children even posed for a sweet photo to share on Kamala’s 54th birthday in Oct. 2018, which you can see above.

Douglas is Kamala’s Number One Cheerleader  

He is often seen by the senator’s side at events, repping her “Kamala” T-shirt and his Twitter page is basically a fan account for Kamala, where he often retweets her posts and television appearances. He also shares sneak peeks into their married life, such as this fireworks date. His presence in her and Joe’s presidential campaign didn’t go unnoticed and he proved he would go above and beyond to support his wife and her opportunity to become vice president.

From spending his 56th birthday asking for votes in Virginia parking lots to greeting potential voters in his Biden-Harris gear in such a low-key way that most people didn’t realize who he was, he has been there for Kamala when she was running for president and then vice president, and his dedication has never wavered. Rep. Ted Deutch (D-Fla.), who has campaigned with Emhoff, even called him an election-year “sensation”, the Washington Post reported.

Now in 2024, as Kamala runs for the chance to become the first female president of the United States, Douglas has been working to draw attention to the campaign for her and Tim. He accompanies her to rallies and promotes the campaign on social media. On July 23, 2024, he shared on X, “My wife, Vice President Kamala Harris, is running for president. She needs your support. We need you to register, we need you to vote, and we need you to help elect her the next President of the United States.”

The lawyer Considers Himself An “Advocate for Justice and Equality.”

Douglas has lived up to his Twitter bio by being a champion for multiple causes, like the Black Lives Matter movement and LGBTQ rights. He even attended San Francisco Pride in 2019, where he jumped up on the backseat of a car with Kamala and busted out his best dance moves for the crowd (which you can enjoy above).



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Joker: Folie a Deux Review: The Follow-Up Rides On An Inert, Stretched-Out Plotline


New Delhi:

Joker: Folie a Deux is what you end up with when a Hollywood studio tries to squeeze out a sequel from a strong and self-contained film endowed with all the qualities of a standalone work – a letdown that is never able to find a way out of the troughs it traverses. The follow-up lacks the essence and potential of 2019’s Joker, which was a Venice Golden Lion winner and a major worldwide box-office success despite mixed reviews. The extension of the Joker origin is driven purely by the hope of raking in more money.

It rides on an inert, stretched-out plotline that, barring Arthur Fleck’s abrupt discovery of love in the unlikeliest of quarters and Lady Gaga’s alluring vocals, which occasionally elevate the film out of the morass of dreariness that it sinks into, has little to offer by way of novelty and genuine magnetism.

Joker: Folie a Deux is technically flawless, visually arresting (returning cinematographer Lawrence Sher is at the top of his game) and musically rich (thanks to composer Hildur Guanodottir, who won the Oscar, BAFTA Award and Golden Globe for best original score for Joker). Yet, director Todd Phillips’ repeat act feels rather ill-advised.

Joker: Folie a Deux is more like a hopeful shot in the dark than a properly thought-out exercise aimed at conducting a further probe into the unstable mind of Arthur and the consequences of his criminal acts.

Joker was powered by a transcendental Joaquin Phoenix performance. He is just as good in the sequel. Getting into the skin of a man constantly teetering on the edge of insanity and going a little easy on the guttural cackle, he lends great dynamism to an Arthur Fleck who is broken in body and spirit, and battling a self that has been split into two conflicting personalities.

Lady Gaga has far less to work with, but with her singing and screen presence she more than makes up for what the character lacks in terms of authentic dramatic force. That apart, the chemistry between her and Phoenix, though never more than functional, has an intriguing, captivating quality.

Joker: Folie a Deux opens with an animated film about Joker and his shadow before a wipe transition delivers the audience in the grey, forbidding interiors of Arkham State Hospital where Arthur Fleck is lodged ahead of the legal action that will deliver the comeuppance that law enforcers believe he deserves.

Written by Scott Silver and Todd Phillips, Joker: Folie a Deux is studded with lively cover versions of an array of famous songs, which pop up at regular intervals and serve as a means of communication between Arthur, who is now a patient in a high-security wing of Arkham prison-hospital.

He awaits trial for the murder of five people, including his idol, late-night talk show host Murray Franklin, who he shot in the head on live television in the previous film. Large parts of the thin story rest squarely on what transpired in the precursor.

Joker: Folie a Deux moves between Arkham, with its inmates and guards, and the courthouse where Arthur stands trial, represented by lawyer Maryanne Stewart (Catherine Keener), somebody he is frequently at loggerheads with.

The newly-elected district attorney Harvey Dent (Harry Lawtey) is determined to send Arthur to the electric chair. He poses questions about what Arthur did two years ago in a decaying, recession-hit Gotham City, where the wealthy and powerful called the shots with little accountability towards the people their greed affected.

The guards at Arkham, led by Jackie Sullivan (Brendon Gleeson), give Arthur a hard time. But the harried man takes the harassment on the chin. Due to heavy, regular medication, he seems to have achieved a degree of normality.

His good behaviour earns Arthur some leeway and he is allowed to join music therapy sessions in another wing that accommodates patients of a less problematic nature.It is there that he spots Lee Quinzel (Lady Gaga), who is obsessed with the Joker and instantly gravitates towards him.

Arthur bonds with Lee over music and their shared mental problems. Love blossoms between two souls looking for solace. Hope and fulfilment beckon even as Arthur’s trial, centred on the defence’s argument that the murders were committed by the Joker, not Arthur Fleck, is about to get underway.

Having found love and a glimmer of acceptance, Arthur goes off his meds, which triggers a gradual return to the fore of the Joker that resides within him. It peeps out often him for the judge to reprimand him. At one point, Arthur is warned that this is not a comedy club and “you are not on the stage”.

That is where Arthur dangles – between the real world that does not care a whit for the likes of him and a fantasy universe that he weaves in the company of Lee. Reality rankles. Arthur and Lee seek escape into an imaginary domain filled with musical routines that gave Lady Gaga, who otherwise plays second fiddle to Phoenix, the space to display her wares to the fullest.

These set pieces, no matter how tagged-on they might appear, give Joker: Folie a Deux rare moments of beauty and strength. The state of Arthur’s fragile psyche is underscored by the performances that his mind rustles up, be they in a club, at a variety show or in the courtroom, which becomes a stage for an angry musical outburst.

These are interesting touches, indicating Arthur’s despairing flights from the wounds and pains of the past into a retreat that holds the promise of harmony and liberation.

But that said, not only is the narrative exasperatingly thin, but character development is nearly non-existent. The musical numbers draw our attention away from the absence of true inspiration in the story and the overall treatment. As long as I have love I can make it, goes one of the songs. As for the film, for all the love and music that it peddles, it does not quite make it.

Such a large number of musical numbers is unusual for a film as dark as Joker: Folie a Deux. But the songs and dances notwithstanding, Phillips clearly does not want the audience to view the film as a musical. That takes quite a bit of the shine away from an exercise that would have done well to play up the style-substance contradictions.

The light within both Arthur and Lee – the latter talks and sings of building “a mountain from a small hill”, and “a heaven from a small hell”, once the two are free – dispels the darkness that envelopes them, but can it be as abiding as they want it to be?

The confusion is never dispelled. Portions of Joker: Folie a Deux are insanely incoherent. If that is meant to convey the convolutions inherent in the workings of two damaged minds, it does not quite work.


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The 10 Best Shows To Stream in October 2024

Fall is officially here, and October marks the beginning of spooky season, with several shows arriving in late September as well as this month that will support the chill in the air and autumnal atmosphere through Halloween.

Shows that premiered in September like Agatha All Along, The Penguin and Grotesquerie will release new episodes every week up until or even through Halloween. Only Murders in the Building Season 4 premiered in August, but it will also unfold right up until the end of the month with the tenth episode arriving on Hulu on Oct. 29.

Not to worry, though, for those in the mood for cozy stories versus creepy ones this month. Season 3 of Netflix’s Heartstopper returns Oct. 3, and though the third installment of the series based on Alice Oseman’s graphic novels addresses more serious topics, it remains joyful and comforting. Shrinking Season 2 also returns this month on Apple TV+ from some of the minds behind Ted Lasso, and Brett Goldstein will star in a guest role for the comedy’s second installment.

RELATED: The Best 10 Movies To Stream This Month

The follow-up second part to Netflix’s docuseries about Simone Biles will also arrive at the end of the month after she competed and racked up even more Olympic medals this summer.

‘Heartstopper’ Season 3 – Netflix – Oct. 3

Heartstopper Season 3 returns to the world of Charlie Spring, Nick Nelson, Tao Xu (William Gao), Elle Argent (Yasmin Finney), Isaac Henderson (Tobie Donovan) and so many more with new additions like Haley Atwell in the role of Nick’s Aunt Diane and Bridgerton star Jonathan Bailey in a cameo appearance as Jack Maddox. The next installment in the series that celebrates queer love in all forms starts streaming on Netflix on October 3.

Cate Blanchett and Sacha Baren Cohen in ‘Disclaimer

Disclaimer – Apple TV+ – Oct. 11

Alfonso Cuarón’s psychological thriller series starring Cate Blanchett, Kevin Kline, Louis Partridge and Sacha Baron Cohen will premiere on Apple TV+ Oct. 11 with two episodes. The seven-episode series is based on the book of the same name by Renée Knight. The story follows Blanchett’s journalist Catherine Ravenscroft, who made a living revealing the mistakes and wrongdoings of others until she becomes the target of her former practice.

Harrison Ford holds an oar as he and Jason Segel sit on a canoe in a still from 'Shrinking'

Harrison Ford and Jason Segel in Season 2 of the Apple TV+ series ‘Shrinking’.

Apple

‘Shrinking’ Season 2 – Apple TV+ – Oct. 16

A good dose of therapy never hurt anyone, as Apple TV+’s comedy Shrinking will remind viewers starting October 13 when Season 2 premieres on the platform on October 16 with two episodes. Brett Goldstein, who co-wrote the series with Bill Lawrence, will be in front of the camera as well for Season 2 in a top-secret role.

Travis Kelce in ‘Are You Smarter Than A Celebrity?’

Are You Smarter Than a Celebrity? – Prime Video – Oct. 16

After he debuted in the drama space via Ryan Murphy’s Grotesquerie, Travis Kelce will bring his famous persona to Are You Smarter Than a Celebrity? starting October 16. The gameshow hosted by the Kansas City Chiefs tight end will debut three episodes on Prime Video followed by one new episode per week.

Simone Biles: Rising

Netflix

Simone Biles Rising Part 2 – Netflix – Oct. 24

The first two episodes of Netflix’s Simone Risingdocuseries arrived July 17 right before the 2024 Paris Olympics began, and the second half will follow her career-defining performance at the games. The second half of the sports show, which has been joined by projects like SprintSeason 2 featuring Olympians Noah Lyles and Gabby Thomas and Starting 5, comes out October 25 on Netflix.

ABBOTT ELEMENTARY – CHRIS PERFETTI, TYLER JAMES WILLIAMS, LISA ANN WALTER, JANELLE JAMES

Gilles Mingasson/Disney

Abbott Elementary Season 4 Premieres Oct 10 on Hulu

Another comfort comedy returning this month is Quinta Brunson’sAbbott Elementary, which launches Season 4 on Hulu on Oct. 10. Brunson, Lisa Ann Walter, Sheryl Lee Ralph, Tyler James Williams, Janelle James and many more will go back to school for the fourth installment.

Joe Locke in 'Agatha All Along'

Joe Locke in ‘Agatha All Along’

Disney+

Agatha All Along – Disney+ – Last 2 Episodes Oct. 30

Spooky season officially kicks off with the launch of Agatha All Along starring Kathryn Hahn reprising her role of Agatha Harkness from WandaVision. The first day of fall is Sept. 22, but why not tune in to the witchy Marvel project to build up spirit? Joe Locke (Heartstopper), Aubrey Plaza (Parks and Recreation), Patti LuPone, Sasheer Zamata and more will walk the Witch’s Road in the next major Marvel television project.

Colin Farrell stars in The Penguin series

Colin Farrell stars in ‘The Penguin’

Macall Polay/Max

The Penguin – Max – 4 Episodes Arriving in October

Colin Farrell will reprise his The Batman (2022) role as Oswald Cobblepot, a.k.a. the Penguin, in the new HBO series following the shadowy character. The series will debut on Max Sept. 19.

Grotesquerie

Grotesquerie

Prashant Gupta/FX

Grotesquerie – FX on Hulu

Ryan Murphy’s new horror drama series Grotesquerie lands on Hulu after the Wednesday Sept. 25 premiere on FX. Niecy Nash-Betts will play Detective Lois Tryon, and Kansas City Chiefs football star Travis Kelce is set to appear in an undisclosed role. Courtney B. Vance, Lesley Manville, Micaela Diamond, Nicholas Alexander Chavez and Raven Goodwin will also star.

RELATED: Selena Gomez & David Henrie Talk ‘Wizards Of Waverly Place’ Return; Steve Martin & Martin Short Address Possible Appearances

Only Murders in the Building Season 4

Steve Martin, Selena Gomez and Martin Short

Hulu

Only Murders in the Building – Finale Lands Oct. 29 on Hulu

Only Murders in the Building, which has already been renewed for a Season 5, will wrap up just in time for Halloween with the finale of Season 4. Mabel Mora (Selena Gomez), Charles-Hayden Savage (Steve Martin) and Oliver Putnam (Martin Short) find themselves bicoastal in the most recent installment of the cozy comedy, which takes their podcast to the bright lights of Hollywood for a film adaptation.

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2024 Presidential Election Debate Schedule: Dates, Times, Who’ll Be There & Who Won’t

UPDATED: The next debate ahead of the 2024 presidential election will take place between Senator J.D. Vance and Governor Tim Walz. It isn’t looking like Democratic candidate Vice President Kamala Harris and Republican candidate former president Donald Trump will debate each other again after their first matchup.

Harris did a one-on-one interview with MSNBC’s Stephanie Rule last week.

Democratic White House nominee-in-waiting Kamala Harris debated former President Donald Trump on September 10 at the National Constitution Center in Philadelphia, with ABC News’ David Muir and Linsey Davis as moderators.

There was not an audience for the event, which began with Harris attempting to set a diplomatic tone by approaching Trump for the typical pre-debate handshake that has fallen away in recent years. Trump received the last word in the debate after he won the coin toss that dictated order of closing remarks. Microphones were sometimes muted unless the candidates were given time to respond to each other.

On August 8, Trump said from Mar-a-Lago: “We’d like to do three debates. I think it’s very important to have debates, and we’ve agreed with Fox on a date of September 4. We’ve agreed with NBC, fairly full agreement subject to them on September 10, and we’ve agreed with ABC on September 25, so we have those three dates and those networks.”

Then on August 15, Harris’ campaign declared that the “debate about debates [was] over,” while signaling that there will be another presidential showdown in October. No date has been set, though.

“Donald Trump’s campaign accepted our proposal for three debates — two presidential and a vice presidential debate,” Harris campaign communications director Michael Tyler said. “Assuming Donald Trump actually shows up on September 10 to debate Vice President Harris, then Governor Walz will see JD Vance on October 1 and the American people will have another opportunity to see the vice president and Donald Trump on the debate stage in October.”

RELATED: Hollywood Reacts To Harris-Trump Debate: “She Crushed Him,” Hulk Himself Mark Ruffalo Says

The schedule of general election debates as it stands now is outlined below.

Also on August 15, the two vice presidential candidates — Ohio GOP Sen. JD Vance and Democratic Minnesota Gov. Tim Walz — agreed to hold a debate October 1 hosted by CBS News. Vance also said that he would do another VP debate, this one hosted by CNN on September 18, but the Harris campaign rejected the idea of a second VP faceoff.

On July 21, President Joe Biden declared that he would not run for re-election, and he endorsed his Vice President Harris to take his spot atop the Democratic ticket in the 2024 election.

Related: Early Numbers Show ABC News’ Harris-Trump Debate Easily Exceeding Audience For June’s Trump-Biden Event

Two debates between President Joe Biden and Donald Trump had been solidified before Biden dropped out of the race. The first took place June 27 on CNN, and the second was set to be hosted by ABC on Tuesday, September 10. The latter instead featured Harris vs. Trump.

Upon Biden’s step back from re-election, Trump called for Fox News to host the September 10 debate instead of ABC News, which he called “very biased.” On July 24, Fox News proposed a debate for September 17 in Pennsylvania. “We are open to a discussion on the exact date, format and location — with or without an audience,” two of its execs wrote in the letters to both campaigns, citing the network’s Bret Baier and Martha MacCallum as potential moderators.

But the Biden campaign’s debate criteria had stipulated that the host network should have sponsored debates in the 2016 and 2020 presidential cycles, which would mean Fox News and MSNBC are out of the running.

RELATED: POTUS Debate TV Review: Biden Shows His Age While Trump Tosses Out One Whopper After Another With No Fact-Checking From CNN Moderators

CNN boss Mark Thompson announced the June 27 debate — the earliest debate ever in a presidential campaign — at the Warner Bros Discovery Upfront in May. The faceoff took place in Atlanta without a studio audience, airing live on the cable news network in addition to CNN International, CNN en Español, CNN Max and CNN.com.

Jon Stewart hosted an episode of The Daily Show on Comedy Central after the debate between Biden and Trump and another episode following the debate between Harris and Trump, in which he praised Harris’ effort.

Biden and former President Donald Trump cruised to victory in their respective primary campaigns, each clinching March 12. Biden was all but unchallenged, and Trump dominated a field that whittled to zero after former U.N. ambassador Nikki Haley ended her campaign following Super Tuesday.

Where D.C. and Hollywood Converge – CLICK HERE

Trump opted out of all the GOP debates but despite his sundry legal woes remained out of reach in all polling and in all primaries (the exception: Haley won Vermont on Super Tuesday), picking off a field that at at its peak included Haley, Florida Gov. Ron DeSantis, former Vice President Mike Pence, former New Jersey Gov. Chris Christie, former pharmaceutical executive Vivek Ramaswamy, South Carolina Sen. Tim Scott, former Arkansas Gov. Asa Hutchinson and North Dakota Gov. Doug Burgum.

Only Haley and DeSantis made it to what ended up being the last GOP primary debate, which was held January 10 ahead of the Iowa caucuses.

Biden, meanwhile, briefly was challenged when Robert F. Kennedy Jr and Minnesota Rep. Dean Phillips threw their hats in the ring, as did Marianne Williamson, Cenk Uygur and Jason Palmer. Kennedy shifted out in October to run as an independent; Phillips ended his campaign in early March.

RELATED: Presidential Election Schedule 2024: Kamala Harris And Donald Trump’s Road To Election Day

Below is the official schedule of dates, times, locations set aside for the general election debates. The nonpartisan Commission on Presidential Debates sets the schedule, which includes three presidential debates and one vice presidential debate, all starting at 9 ET and to last 90 commercial-free minutes.

See the remaining debate schedule below, and check back for updates.

Tuesday, September 10, 2024

Monday, September 16, 2024
Canceled

Tuesday, October 1, 2024
Canceled

Wednesday, October 9, 2024
Canceled

Vice Presidential

Tuesday, October 1, 2024

City (Venue): New York
Networks: CBS
Time: 9 p.m. ET
Moderators: Norah O’Donnell and Margaret Brennan

RELATED: How To Watch The Vice-Presidential Debate: Is It Streaming?


Republican Primary Debates

Sunday, January 21

City (Venue): Henniker, NH (New England College)
Network: CNN
Note: This debate was canceled because neither Nikki Haley or Donald Trump would commit to appear.

Thursday, January 18

City (Venue): Manchester, NH (Saint Anselm College)
Network: ABC, WMUR-TV
Note: This debate was canceled because neither Nikki Haley or Donald Trump would commit to appear.

Wednesday, January 10

City (Venue): Des Moines, IA (Drake University)
Network: CNN
Time: 9 p.m. ET
Moderators: Jake Tapper, Dana Bash
Participants: Former UN ambassador Nikki Haley, Florida Gov. Ron DeSantis

Wednesday, December 6

City (Venue): Tuscaloosa, AL (University of Alabama)
Networks: NewsNation, The CW (Eastern and Central time zones), Rumble, SiriusXM
Time: 8 p.m. ET
Moderators: Megyn Kelly, Elizabeth Vargas, Eliana Johnson
Participants: Former Gov. Chris Christie, Vivek Ramaswamy, former UN Ambassador Nikki Haley, Florida Gov. Ron DeSantis

Wednesday, November 8

City (Venue): Miami (Adrienne Arsht Center for the Performing Arts of Miami-Dade County)
Networks: NBC News, Rumble, Universo, Peacock
Time: 8 p.m. ET
Moderators: NBC Nightly News anchor Lester Holt, Meet the Press moderator Kristen Welker, Salem Radio Network’s Hugh Hewitt
Participants: Former New Jersey Gov. Chris Christie, Florida Gov. Ron DeSantis, former UN ambassador Nikki Haley, Vivek Ramaswamy, Sen. Tim Scott (R-DC)

Wednesday, September 27

City (Venue): Simi Valley, CA (Ronald Reagan Presidential Library & Museum)
Networks: Fox Business, Univision (simulcast on Fox News/Fox Nation)
Time: 9 p.m. ET
Moderators: Fox News Media’s Stuart Varney and Dana Perino, Univision’s Ilia Calderón 
Participants: North Dakota Gov. Doug Burgum, former New Jersey Gov. Chris Christie, Florida Gov. Ron DeSantis, former UN Ambassador Nikki Haley, former Vice President Mike Pence, Vivek Ramaswamy and Sen. Tim Scott (R-SC). 

Wednesday, August 23

City (Venue): Milwaukee, WI (Fiserv Arena)
Networks: Fox News, Rumble
Time: 9 p.m. ET
Moderators: Bret Baier, Martha MacCallum
Participants: Florida Gov. Ron DeSantis, former Vice President Mike Pence, former New Jersey Gov. Chris Christie, former UN ambassador Nikki Haley, former pharmaceutical executive Vivek Ramaswamy, South Carolina Sen. Tim Scott, former Arkansas Gov. Asa Hutchinson, North Dakota Gov. Doug Burgum

Democratic Primary Debates

None scheduled.

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Kris Kristofferson, singer-songwriter and actor, dies at 88

Kris Kristofferson, a Rhodes scholar with a deft writing style and rough charisma who became a country music superstar and an A-list Hollywood actor, has died.

Kristofferson died at his home on Maui, Hawaii, on Saturday, family spokeswoman Ebie McFarland said in an email. He was 88.

McFarland said Kristofferson died peacefully, surrounded by his family. No cause was given.

Starting in the late 1960s, the Brownsville, Texas native wrote such country and rock ‘n’ roll standards as “Sunday Mornin’ Comin’ Down,” “Help Me Make it Through the Night,” “For the Good Times” and “Me and Bobby McGee.” Kristofferson was a singer himself, but many of his songs were best known as performed by others, whether Ray Price crooning “For the Good Times” or Janis Joplin belting out “Me and Bobby McGee.”

He starred opposite Ellen Burstyn in director Martin Scorsese’s 1974 film Alice Doesn’t Live Here Anymore, opposite Barbra Streisand in the 1976 A Star Is Born, and alongside Wesley Snipes in Marvel’s Blade in 1998.

FILE – Producer Jon Peters, from left, Barbra Streisand and Kris Kristofferson appear at a preview of the film, “A Star is Born,” in Dec. 23, 1976, in New York.
| Photo Credit:
SUZANNE VLAMIS

Kristofferson, who could recite William Blake from memory, wove intricate folk music lyrics about loneliness and tender romance into popular country music. With his long hair and bell-bottomed slacks and counterculture songs influenced by Bob Dylan, he represented a new breed of country songwriters along with such peers as Willie Nelson, John Prine and Tom T. Hall.

“There’s no better songwriter alive than Kris Kristofferson,” Nelson said at a 2009 BMI award ceremony for Kristofferson. “Everything he writes is a standard and we’re all just going to have to live with that.”

Kristofferson retired from performing and recording in 2021, making only occasional guest appearances on stage, including a performance with Cash’s daughter Rosanne at Nelson’s 90th birthday celebration at the Hollywood Bowl in Los Angeles in 2023. The two sang “Loving Her Was Easier (Than Anything I’ll Ever Do Again),” a song that was a hit for Kristofferson and a longtime live staple for Nelson, another great interpreter of his work.

Nelson and Kristofferson would join forces with Johnny Cash and Waylon Jennings to create the country supergroup “The Highwaymen” starting in the mid-1980s.

FILE - Country stars Johnny Cash, left and Kris Kristofferson sing during the Country Music Awards in Nashville, Tenn., Oct. 1983.

FILE – Country stars Johnny Cash, left and Kris Kristofferson sing during the Country Music Awards in Nashville, Tenn., Oct. 1983.

Kristofferson was a Golden Gloves boxer, rugby star and football player in college; received a master’s degree in English from Merton College at the University of Oxford in England; and flew helicopters as a captain in the U.S. Army but turned down an appointment to teach at the U.S. Military Academy at West Point, New York, to pursue songwriting in Nashville. Hoping to break into the industry, he worked as a part-time janitor at Columbia Records’ Music Row studio in 1966 when Dylan recorded tracks for the seminal “Blonde on Blonde” double album.

At times, the legend of Kristofferson was larger than real life. Cash liked to tell a mostly exaggerated story of how Kristofferson landed a helicopter on Cash’s lawn to give him a tape of “Sunday Mornin’ Comin’ Down” with a beer in one hand. Over the years in interviews, Kristofferson said with all respect to Cash, while he did land a helicopter at Cash’s house, the Man in Black wasn’t even home at the time, the demo tape was a song that no one ever actually cut and he certainly couldn’t fly a helicopter holding a beer.

In a 2006 interview with The Associated Press, he said he might not have had a career without Cash.

“Shaking his hand when I was still in the Army backstage at the Grand Ole Opry was the moment I’d decided I’d come back,” Kristofferson said. “It was electric. He kind of took me under his wing before he cut any of my songs. He cut my first record which was record of the year. He put me on stage the first time.”

One of his most recorded songs, “Me and Bobby McGee,” was written based on a recommendation from Monument Records founder Fred Foster. Foster had a song title in his head called “Me and Bobby McKee,” named after a female secretary in his building. Kristofferson said in an interview in the magazine, “Performing Songwriter,” that he was inspired to write the lyrics about a man and woman on the road together after watching the Frederico Fellini film, La Strada.

Joplin, who had a close relationship with Kristofferson, changed the lyrics to make Bobby McGee a man and cut her version just days before she died in 1970 from a drug overdose. The recording became a posthumous No. 1 hit for Joplin.

Hits that Kristofferson recorded include “Watch Closely Now,” “Desperados Waiting for a Train,” “A Song I’d Like to Sing” and “Jesus Was a Capricorn.”

In 1973, he married fellow songwriter Rita Coolidge and together they had a successful duet career that earned them two Grammy awards. They divorced in 1980.

FILE - Kris Kristofferson performs on stage in August 1973.

FILE – Kris Kristofferson performs on stage in August 1973.

The formation of the Highwaymen, with Nelson, Cash and Jennings, was another pivotal point in his career as a performer.

“I think I was different from the other guys in that I came in it as a fan of all of them,” Kristofferson told the AP in 2005. “I had a respect for them when I was still in the Army. When I went to Nashville they were like major heroes of mine because they were people who took the music seriously. To be not only recorded by them but to be friends with them and to work side by side was just a little unreal. It was like seeing your face on Mount Rushmore.”

The group put out just three albums between 1985 and 1995. Jennings died in 2002 and Cash died a year later. Kristofferson said in 2005 that there was some talk about reforming the group with other artists, such as George Jones or Hank Williams Jr., but Kristofferson said it wouldn’t have been the same.

“When I look back now — I know I hear Willie say it was the best time of his life,” Kristofferson said in 2005. “For me, I wish I was more aware how short of a time it would be. It was several years, but it was still like the blink of an eye. I wish I would have cherished each moment.”

Among the four, only Nelson is now alive.

Kristofferson’s sharp-tongued political lyrics sometimes hurt his popularity, especially in the late 1980s. His 1989 album, “Third World Warrior” was focused on Central America and what United States policy had wrought there, but critics and fans weren’t excited about the overtly political songs.

He said during a 1995 interview with the AP he remembered a woman complaining about one of the songs that began with killing babies in the name of freedom.

“And I said, ‘Well, what made you mad — the fact that I was saying it or the fact that we’re doing it? To me, they were getting mad at me ’cause I was telling them what was going on.”

FILE - Kris Kristofferson poses for a portrait in Nashville, Tenn., Aug. 15, 1995.

FILE – Kris Kristofferson poses for a portrait in Nashville, Tenn., Aug. 15, 1995.
| Photo Credit:
Mark Humphrey

As the son of an Air Force General, he enlisted in the Army in the 1960s because it was expected of him.

“I was in ROTC in college, and it was just taken for granted in my family that I’d do my service,” he said in a 2006 AP interview. “From my background and the generation I came up in, honor and serving your country were just taken for granted. So, later, when you come to question some of the things being done in your name, it was particularly painful.”

Hollywood may have saved his music career. He still got exposure through his film and television appearances even when he couldn’t afford to tour with a full band.

Kristofferson’s first role was in Dennis Hopper’s The Last Movie, in 1971.

He had a fondness for Westerns and would use his gravelly voice to play attractive, stoic leading men. He was Burstyn’s ruggedly handsome love interest in Alice Doesn’t Live Here Anymore and a tragic rock star in a rocky relationship with Streisand in A Star Is Born, a role echoed by Bradley Cooper in the 2018 remake.

He was the young title outlaw in director Sam Peckinpah’s 1973 Pat Garrett and Billy the Kid, a truck driver for the same director in 1978’s Convoy, and a corrupt sheriff in director John Sayles’ 1996, Lone Star. He also starred in one of Hollywood’s biggest financial flops, Heaven’s Gate, a 1980 Western that ran tens of millions of dollars over budget.

And in a rare appearance in a superhero movie, he played the mentor of Snipes’ vampire hunter in Blade.

He described in a 2006 AP interview how he got his first acting gigs when he performed in Los Angeles.

“It just happened that my first professional gig was at the Troubadour in L.A. opening for Linda Rondstadt,” Kristofferson said. “Robert Hilburn (Los Angeles Times music critic) wrote a fantastic review and the concert was held over for a week,” Kristofferson said. “There were a bunch of movie people coming in there, and I started getting film offers with no experience. Of course, I had no experience performing either.”

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