Kirstie Alley, ‘Cheers’ and ‘Veronica’s Closet’ star, dead at 71 | CNN



CNN
 — 

Actress Kirstie Alley, star of the big and small screens known for her Emmy-winning role on “Cheers” and films like “Look Who’s Talking,” has died after a brief battle with cancer, her children True and Lillie Parker announced on her social media.

She was 71.

“We are sad to inform you that our incredible, fierce and loving mother has passed away after a battle with cancer, only recently discovered,” the statement read.

“She was surrounded by her closest family and fought with great strength, leaving us with a certainty of her never-ending joy of living and whatever adventures lie ahead,” the family’s statement continued. “As iconic as she was on screen, she was an even more amazing mother and grandmother.”

“Our mother’s zest and passion for life, her children, grandchildren and her many animals, not to mention her eternal joy of creating, were unparalleled and leave us inspired to live life to the fullest just as she did,” the statement said.

Kirstie Alley’s sexy spin on ‘DWTS’


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– Source:
HLN

A representative for Alley confirmed to CNN via email on Tuesday that she had been diagnosed with colon cancer prior to her death.

A two-time Primetime Emmy Award winner, Alley was born in Wichita, Kansas in 1951.

After a standout role in 1982’s “Star Trek II: The Wrath of Khan,” she played roles in movies like 1984’s “Blind Date” and 1987’s “Summer School” opposite Mark Harmon.

That same year, Alley would follow Shelley Long to play the lead opposite Ted Danson in the latter part of TV classic sitcom “Cheers,” which premiered in 1982. Alley first appeared in 1987, playing strong and independent bar manager Rebecca Howe, staying on the acclaimed show until it ended in 1993.

After winning the Emmy for outstanding lead actress in a comedy series in 1991 for “Cheers” and another for lead actress in a miniseries or special for 1994’s “David’s Mother,” she again found TV success in the late ’90s with series “Veronica’s Closet,” which scored her another Emmy nod.

Additionally, Alley starred in a number of memorable films, like the “Look Who’s Talking” movies, 1990’s “Madhouse” and 1999’s “Drop Dead Gorgeous” with Ellen Barkin.

In 2005, Alley co-wrote and starred in the Showtime comedy “Fat Actress” before making a foray into reality TV.

She appeared in “Kirstie Alley’s Big Life” in 2010, was a contestant on Season 12 of ABC’s “Dancing with the Stars” the next year and placed second on Season 22 of the British version of “Celebrity Big Brother” in 2018. In 2022, she competed in Season 7 of Fox’s “The Masked Singer.”

Though she had an impressive body of work, the later part of her career was marked by Alley’s penchant for stirring controversy, especially through social media.

In a 2007 interview, Alley said she was proud of her no holds barred ways.

“I’ve always felt like if someone asks me something, they want the real answer,” Alley told Good Housekeeping. “I think there’s also something about being from Kansas. Usually people think I’m from New York. The only similarity between New Yorkers and Midwesterners is that what you see is what you get.”

kirstie alley larry king live 2005 interview vpx

Kirstie Alley looks back on her ‘Cheers’ years (2005)

John Travolta, who costarred with Alley in 1989’s hit “Look Who’s Talking” as well as two sequels, wrote on Instagram on Monday, “Kirstie was one of the most special relationships I’ve ever had. I love you Kirstie. I know we will see each other again.”

Jamie Lee Curtis – who worked with Alley in 2016 on episodes of TV’s “Scream Queens” – shared a statement on Facebook to pay tribute to the late actress, writing, “She was a great comic foil in @tvscreamqueens and a beautiful mama bear in her very real life. She helped me buy onesies for my family that year for Christmas. We agreed to disagree about some things but had a mutual respect and connection. Sad news.”

Josh Gad tweeted, “My heart breaks for Kirstie and her family. Whether it was her brilliance in ‘Cheers; or her magnetic performance in the ‘Look Who’s Talking’ franchise, her smile was always infectious, her laugh was always contagious and her charisma was always iconic. RIP.”

Alley’s “Cheers” co-star Ted Danson told Deadline he had just watched Alley in an episode of the show while on a plane before learning of her death.

“I was on a plane today and did something I rarely do. I watched an old episode of ‘Cheers,’” Danson told the outlet. “It was the episode where Tom Berenger proposes to Kirstie, who keeps saying no, even though she desperately wants to say yes. Kirstie was truly brilliant in it. Her ability to play a woman on the verge of a nervous breakdown was both moving and hysterically funny.”

“She made me laugh 30 years ago when she shot that scene, and she made me laugh today just as hard. As I got off the plane, I heard that Kirstie had died. I am so sad and so grateful for all the times she made me laugh,” Danson added. “I send my love to her children. As they well know, their mother had a heart of gold. I will miss her.”

Another “Cheers” star, Rhea Perlman, told CNN in a statement that she and Alley became friends instantly on the set of “Cheers.”

“Kirstie was a unique and wonderful person and friend. Her joy of being was boundless,” Perlman said. “We became friends almost instantly when she joined the cast of Cheers. She loved kids and my kids loved her too. We had sleepovers at her house, with treasure hunts that she created. She had massive Halloween and Easter parties and invited the entire crew of the show and their families. She wanted everyone to feel included. She loved her children deeply. I’ve never met anyone remotely like her. I feel so thankful to have known her. I’m going to miss her very, very much.”

“Baywatch” actor Parker Stevenson, who was married to Alley from 1983 to 1997 and is the father of her two children, also paid tribute to her on social media. In an Instagram post, confirmed to be Stevenson’s by a representative for the actor, he wrote: “Kirstie, I am so grateful for our years together, and for the two incredibly beautiful children and now grandchildren that we have. You will be missed.”



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December 2022 Television Preview

Temperatures are dropping — there’s no better time to tune in and find your next TV addiction. Premiering December 1 on ALLBLK is “Wicked City,” the story of five witches who turn to forbidden magic to ressurect one of their own. Another genre offering, “Kindred,” sees an aspiring writer being pulled back and forth between the present day and Antebellum Times. “Zola” writer-director Janicza Bravo helmed the pilot of the sci-fi series, which is based on Octavia Butler’s novel of the same name and launches on Hulu December 13. Another series on our radar is “The Most Beautiful Flower” (“La Flor Más Bella”), a coming-of-age comedy about a highschooler that’s set in Mexico. It hits Netflix December 7.

Industry vet Chelsea Handler has another comedy special on the way. “Revolution” launches on Netflix December 27 and sees her tackling everything from rescue dogs to gender inequality. Atsuko Okatsuka’s first HBO stand-up special, “The Introducer,” premieres December 10. Okatsuka spills the beans about attending “Magic Mike Live” with her grandmother in the Tig Notaro-directed special.

Returning series include “Gossip Girl,” a look inside an elite Manhattan private school, and “Sort Of,” a portrait of a gender-fluid Pakistani Canadian. The second seasons of both series hit HBO Max December 1.

Here are December’s premiering and returning women- and nonbinary-centric, directed, and written TV projects. All descriptions are from press materials unless otherwise noted. 

TV and Episodic Premieres:

“Hush” (Premieres December 1 on ALLBLK)

A top marriage and sex therapist and bestselling author, Dr. Logan (Joyful Drake) has built a successful practice discreetly catering to the between-the-sheets lives of her rich and famous clientele. After she launches her Penthouse Project, the secrets of three women begin to threaten her career and her life when a dead body is found at the Penthouse, and the police identify her as the primary suspect.

“Wicked City” – Created by Kristin Iris Johnson and Serena M. Lee (Premieres December 1 on ALLBLK)

“Wicked City”

When five witches accidentally kill one of their own during a spell, they use forbidden death magic to resurrect her, only to face new dangers when they bring back more than they bargained for.

“Riches” – Created by Abby Ajayi (Premieres December 2 on Prime Video)

Stephen Richards (Hugh Quarshie) has built a cosmetics empire, but when he suffers a stroke, his family’s secrets and lies rise to the surface and the future of his multi-million-pound company is at stake.

“A New Orleans Noel” – Directed by Angela Tucker; Written by Angela Tucker and Alys Murray (Premieres December 3 on Lifetime)

Grace Hill (Keshia Knight Pulliam) and Anthony Brown (Brad James) could not be more different. Despite having gone to college to study architecture together, their lives took them on completely separate paths. However, when they’re both hired to work together on the home of Loretta Brown (Patti LaBelle), the two find themselves working together at Christmas and butting heads over more than just architecture.

“Unveiled: Surviving La Luz Del Mundo” (Docuseries) – Directed by Jennifer Tiexiera (Premieres December 6 on HBO)

Told from the point of view of the survivors who met to share their stories of abuse at the Christian church La Luz del Mundo (LLDM), the series chronicles the history of one of the most powerful religious groups not only in Mexico where it was founded, but also in the United States, while giving voice to the men and women who were brave enough to stand up and call out the heinous crimes.

“The Most Beautiful Flower” (“La Flor Más Bella”) – Created by Michelle Rodríguez and Fernanda Feru Eguiarte (Premieres December 7 on Netflix)

“The Most Beautiful Flower”

Curvy, curly, confident Mich (Esmeralda Soto) knows she’s fabulous. Now she just has to convince everyone else at her Xochimilco high school to believe it too.

“I Hate Christmas” (“Odio il Natale”) (Premieres December 7 on Netflix)

After lying to her family about having a boyfriend, single nurse Gianna (Pilar Fogliati) begins a desperate search to find a partner by Christmas — which is in 24 days.

“Atsuko Okatsuka: The Intruder” (Comedy Special) – Directed by Tig Notaro; Written by Atsuko Okatsuka (Premieres December 10 on HBO)

In her first HBO stand-up comedy special, comedian and actress Atsuko Okatsuka brings her brand of ingenious, offbeat storytelling to the Elsewhere stage in Brooklyn, New York where she dishes on the futile art of impressing teenagers, attending a “Magic Mike Live” show with her grandmother, and the alarming reactions that she and her husband had to the unwanted presence of an intruder.

“Kindred” (Miniseries) (Premieres December 13 on Hulu)

“Kindred”

Adapted from the celebrated novel by Octavia E. Butler, “Kindred” follows Dana James (Mallori Johnson), a young Black woman and aspiring writer who has uprooted her life and relocated to Los Angeles. But, before she can settle into her new home, she finds herself being violently pulled back and forth in time. She emerges at a 19th-century plantation, a place remarkably and intimately linked with Dana and her family.

“National Treasure: Edge of History” (Premieres December 14 on Disney+)

“National Treasure: Edge Of History”

Jess Valenzuela (Lisette Olivera), a 20-year-old Dreamer, sets off on an exploration to discover the mystery of her family history and, with the help of her friends, seeks to recover historical lost treasure.

“The Witcher: Blood Origin” (Miniseries) – Created by Lauren Schmidt Hissrich and Declan de Barra (Premieres December 25 on Netflix)

“The Witcher: Blood Origin”

More than a thousand years before the events of “The Witcher,” seven outcasts in an Elven world join forces in a quest against an all-powerful empire.

“Chelsea Handler: Revolution” (Comedy Special) (Premieres December 27 on Netflix)

Chelsea Handler lets loose on her life choices, rowdy rescue dogs, dating frustrations, and why society owes women an apology.

Returning Series

“Sort Of”

“Gossip Girl” – Created by  Stephanie Savage, Joshua Safran, and Josh Schwartz (HBO Max, December 1)
“Sort Of” – Created by Bilal Baig and Fab Filippo (HBO Max, December 1)
“Firefly Lane” – Created by Maggie Friedman (Netflix, December 2)
“Little America” – Created by Emily V. Gordon, Kumail Nanjiani, and Lee Eisenberg (Apple TV+, December 9)
“How to Ruin Christmas: The Baby Shower” — Created by Rethabile Ramaphakela and Katleho Ramaphakela (Netflix, December 9)
“Emily in Paris” (Netflix, December 21)

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India Lockdown Movie Review: INDIA LOCKDOWN rests on some fine performances and touching moments, but suffers due to poor writing.

India Lockdown Review {2.5/5} & Review Rating

INDIA LOCKDOWN is the story of six characters during the Covid crisis. In March 2020, the cases of Covid-19 begin to increase across the world, including in India. On March 24, the Government of India announces a nationwide lockdown for three weeks. Nageshwar Rao (Prakash Belawadi) stays alone in a highrise in Mumbai along with his pet dog, Bruno. He is all set to fly to Hyderabad to be with his pregnant daughter, Swati (Hrishitaa Bhatt). Due to the lockdown, his plans go kaput as all flights are suspended. He gets paranoid when his neighbour tests positive for Covid-19 and is hospitalized. Days before the lockdown imposition, Nageshwar had asked his maid Phoolmati (Saie Tamhankar) to stop coming to his house since the society had barred entry of servants. He gives her two months’ salary in advance, though. But it’s not enough for her and her husband Madhav Prakash (Prateik Babbar), who runs a chaat stall. During the lockdown, their financial situation deteriorates. Madhav learns that some people from his slum, who are also from Bihar, are all set to go back to their hometowns on foot. Madhav decides to join them along with Phoolmati and his two children. Mehrunissa (Shweta Basu Prasad) is a prostitute in a red-light area in Mumbai. Since Covid spreads through contact, her work suffers. On the advice of her pimp Tipu (Saanand Verma), she decides to go for phone sex and charge customers for it. Things, however, soon take a sour turn for her. Lastly, Dev (Satvik Bhatia), a student, has shifted to his uncle’s place after his uncle went to Himachal. He and his girlfriend Palak (Zarin Shihab) plan to lose their virginity on March 25 in the former’s house. Their plans also get cancelled due to the lockdown imposition. Palak’s father, meanwhile, is very strict and doesn’t allow her to leave the house at all. Dev strikes up a friendship with his neighbour, Moon Alves (Aahana Kumra), a pilot, who gets attracted to him. What happens next forms the rest of the film.

Amit Joshi, Aradhana Sah and Madhur Bhandarkar’s story is fine and documents the traumas that several people went through during the Covid crisis. Amit Joshi, Aradhana Sah and Madhur Bhandarkar’s screenplay is pacy and boasts of some good moments. However, the writing has several loose ends. Also, it gives a bit of an incomplete feeling and one wishes they had shown a little bit more about Covid-related problems, especially the ones faced by the medical community. Amit Joshi, Aradhana Sah and Madhur Bhandarkar’s dialogues are okay and should have been well-worded, especially the conversations between Dev and Moon.

Madhur Bhandarkar’s direction is fair. To give credit where it’s due, it reminds viewers of the hardships they faced 2 years back. Everyone is sure to go back in time and revisit their experiences in early 2020. At the same time, he focuses on some not-so-known aspects that might have taken place during the pandemic. For instance, the manner in which the politician roams around in an ambulance so that no one will stop his vehicle is quite amusing. Also, Madhur Bhandarkar subtly plays out the contrast in the lives of people at that time, especially between the haves and have-nots. Madhav and his family have no choice but to have rotten bananas and on the other hand, the affluent Moon is utilizing the free time in lockdown to prepare banana bread. Similarly, Nageshwar Rao is dying to meet his daughter as she’s heavily pregnant and she needs him. And on the other hand, Dev is dying to meet Palak simply because he wants to have sex with her. The 112-minute long film doesn’t bore even for a moment and the nail-biting moments in the climax are worth watching.

On the flipside, the film is too depressing and is not everyone’s cup of tea. The bigger problem, however, is that certain developments are bewildering, due to the absence of a back story. Viewers never come to know who else is there in Swati’s family. Does she have a husband or has she separated? Was she all alone in Hyderabad and is that why her father was desperate to be by her side? Secondly, Moon’s track also raises questions as her family background is never established. Also, with flights grounded indefinitely, she didn’t seem worried about her pay. Mehrunissa’s track is difficult to digest since her profession is such that its members must have got massively affected by the pandemic. But the sex workers seem to be relaxing during the lockdown period. Mehrunissa’s change of heart in the pre-climax is also not convincing. Lastly, viewers will be left confused about whether Phoolmati recognized Nageshwar’s tiffin in the crucial scene in the finale.

India Lockdown | Web Series | Official Trailer | Shweta Basu Prasad, Prateek Babbar, Sai Tamankar | Only On ZEE5

Speaking of performances, Shweta Basu Prasad’s track is weak but her performance is first-rate. She gets into the skin of the character and puts up a confident act. After THE TASHKENT FILES [2019] and SERIOUS MEN [2020], she proves once again why she’s one of the finest performers around. Prakash Belawadi is dependable and apt for the part. The scene where he breaks into a dance is adorable. Prateik Babbar looks every inch a migrant and is impressive. Sai Tamhankar also puts her best foot forward. Saanand Verma is passable. Satvik Bhatia is good but his dialogue delivery seems a bit rehearsed. Zarin Shihab leaves a huge mark. The same goes for Aahana Kumra. Chahat Tewani (Titli), Antim Maheshwari (Kapasi; politician), Vickey Vikas (Gabru; who blackmails Mehrunissa), Bharat Bhatia (Khosla; Nageshwar’s Covid positive patient), Lalit Parashar (Manoj bhai; neighbour), Chitra Mulani (Manoj’s wife), Gopal Singh (Charandas; lecherous migrant) and Manu Malik (Palak’s father) are fair.

Rohit Kulkarni’s music is forgettable. All three songs of the film – ‘Ghor Bhasad’, ‘Loot Loongi’ and ‘Unlock Me’ – fail to entice. Rohit Kulkarni’s background score is passable.

Keiko Nakahara and Palash Das’s cinematography is neat. Shamim Kopkar’s production design is realistic. Harish Shetty’s action is minimal but quite real. Shefalina Gupta’s costumes are also straight out of life. The ones worn by Zarin Shihab and Aahana Kumra are glamorous. Devendra Murdeshwar’s editing is praiseworthy as the jump from one track to another is smooth.

On the whole, INDIA LOCKDOWN rests on some fine performances and touching moments. But the film suffers majorly due to poor writing.

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Inside Christine McVie’s and Stevie Nicks’ decades-long friendship | CNN



CNN
 — 

Throughout the various personal turmoils for which the members of Fleetwood Mac are known, one relationship buoyed the band for decades: the friendship between its two frontwomen, Christine McVie and Stevie Nicks.

McVie joined the band in 1970 during one of its early lineup changes and for years was its only woman. When Nicks was added to the lineup in 1975, the two became fast friends.

Theirs was not a competitive relationship, but a sisterly one – both women were gifted songwriters responsible for crafting many of the band’s best-known tunes. Though the two grew apart in the 1980s amid Nicks’ worsening drug addiction and the band’s growing internal tension, they came back together when McVie returned to Fleetwood Mac in 2014.

At a concert in London, shortly before McVie officially rejoined the band, Nicks dedicated the song “Landslide” to her “mentor. Big sister. Best friend.” And at the show’s end, McVie was there, accompanying her bandmates for “Don’t Stop.”

“I never want her to ever go out of my life again, and that has nothing to do with music and everything to do with her and I as friends,” Nicks told the Minneapolis Star-Tribune in 2015.

On Wednesday, McVie, the band’s “songbird,” died after a brief illness at age 79. Below, revisit McVie’s and Nicks’ years-long relationship as bandmates, best friends and “sisters.”

The story of Nicks joining Fleetwood Mac is legend now: Band founder and drummer Mick Fleetwood wanted to recruit guitarist Lindsey Buckingham, who stipulated that he would only join if his girlfriend and musician Nicks could join, too. McVie cast the deciding vote, and the rest is history.

“It was critical that I got on with her because I’d never played with another girl,” McVie told the Guardian in 2013. “But I liked her instantly. She was funny and nice but also there was no competition. We were completely different on the stage to each other and we wrote differently too.”

Throughout the band’s many personal complications – McVie married and divorced Fleetwood Mac bassist John McVie and had an affair with the band’s lighting director, while Nicks had rollercoaster romances with Buckingham and Fleetwood – they were each other’s center.

“To be in a band with another girl who was this amazing musician – (McVie) kind of instantly became my best friend,” Nicks told the New Yorker earlier this year. “Christine was a whole other ballgame. She liked hanging out with the guys. She was just more comfortable with men than I had ever been.”

The two protected each other, Nicks said, in a male-dominated industry: “We made a pact, in the very beginning, that we would never be treated with disrespect by all the male musicians in the community.

“I would say to her, ‘Together, we are a serious force of nature, and it will give us the strength to maneuver the waters that are ahead of us,’” Nicks told the New Yorker.

“Rumours” was the band’s greatest success to date when it was released in 1977. But the band’s relationships with each other were deteriorating, save for the one between McVie and Nicks. While the pair were enduring breakups with their significant others, Nicks and McVie spent their time offstage together.

The Guardian asked McVie if she was trying to offset the band’s tumult with her songs on “Rumours,” including the lighthearted “You Make Lovin’ Fun” and optimistic “Don’t Stop.” She said she likely had been.

As multiple members’ drug use intensified, the band’s dynamic grew tense. McVie distanced herself from the group in 1984 amid her bandmates’ addictions, telling the Guardian she was “just sick of it.” Nicks, meanwhile, was becoming dependent on cocaine.

After Fleetwood Mac was inducted into the Rock & Roll Hall of Fame in 1998, Christine McVie (third from left) quit the band.

McVie told Rolling Stone that year that she’d grown apart from Nicks: “She seems to have developed her own fantasy world, somehow, which I’m not part of. We don’t socialize much.”

In 1986, Nicks checked into the Betty Ford Center to treat her addiction, though she later became addicted to Klonopin, which she said claimed years of her life. She quit the prescription drug in the 1990s.

After recording some solo works, McVie returned to Fleetwood Mac for their 1987 album “Tango in the Night,” and two of her songs on that record – “Little Lies” and “Everywhere” – became major hits. But Nicks departed the band soon after, and the band’s best-known lineup wouldn’t officially reunite until 1997 for “The Dance” tour and subsequent live album.

The reunion was short-lived: After the band was inducted into the Rock & Roll Hall of Fame in 1998, McVie officially quit Fleetwood Mac, citing a fear of flying and exhaustion of life on the road.

In the 2010s, after more than a decade of retirement, McVie toyed with returning to performing. She officially rejoined Fleetwood Mac after calling Fleetwood himself and gauging what her return would mean for the group.

“Fortunately Stevie was dying for me to come back, as were the rest of the band,” she told the Arts Desk.

In 2015, a year after she’d rejoined Fleetwood Mac, McVie hit the road with her bandmates. Touring with the group was tiring but fun, the first time they’d performed together in years.

“I’m only here for Stevie,” she told the New Yorker that year.

Christine McVie (left) and Stevie Nicks perform together at Radio City Music Hall in 2018.

Nicks concurred: “When we went on the road, I realized what an amazing friend she’d been of mine that I had lost and didn’t realize the whole consequences of it till now,” she told the Minneapolis Star-Tribune in 2015.

During that tour, McVie wore a silver chain that Nicks had given her – a “metaphor,” McVie told the New Yorker, “that the chain of the band will never be broken. Not by me, anyways. Not again by me.”

McVie told the Arts Desk in 2016 that she and Nicks were “better friends now than (they) were 16 years ago.”

Touring with Buckingham and Fleetwood could quickly get tumultuous for Nicks, McVie said, due to their shared history. “But with me in there, it gave Stevie the chance to get her breath back and not have this constant thing going on with Lindsey: her sister was back,” she said.

Their mutual praise continued: In 2019, McVie said Nicks was “just unbelievable” onstage: “The more I see her perform on stage the better I think she is. She holds the fort.”

When their 2018-2019 tour ended, though – without Buckingham, who was fired – the band “kind of broke up,” McVie told Rolling Stone earlier this year. She added that she didn’t speak with Nicks as often as she did when they toured together.

As for a reunion, McVie told Rolling Stone that while it wasn’t off the table, she wasn’t feeling “physically up for it.”

“I’m getting a bit long in the teeth here,” she said. “I’m quite happy being at home. I don’t know if I ever want to tour again. It’s bloody hard work.”

News of McVie’s death rattled Nicks, who wrote that she had only found out McVie was sick days earlier. She called McVie her “best friend in the whole world since the first day of 1975.”

On her social media accounts, Nicks shared a handwritten note containing lyrics from the Haim song “Hallelujah,” some of which discusses grief and the loss of a best friend.

“See you on the other side, my love,” Nicks wrote. “Don’t forget me – Always, Stevie.”



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Tamil theatre’s new voice: Chennai audiences cheer for fresh ideas and new faces

Centrestage, under the spotlight, sits a corpse. 

It is not shrouded in white cloth, though. Instead, there are rings and gold chains, a suave pair of sunglasses and an occasionally toothy grin. Unusual? Yes. Funny? The Saturday afternoon audience certainly thought so, given that they roared with laughter for the entire 10 minutes of Sethum Jaichidichu Meesai, staged at the recently concluded Short + Sweet South India 2022. 

The 10-minute play traces an exasperated son’s relationship with his self-centered father through a non-linear monologue in Tamil, hours after the father’s passing. It went on to win Best Production, Best Script and Best Actor (Male) awards at the festival. Similarly, Jayachandran of Tamil group Kael Theatre won Best Director, for the hard-hitting, impeccably timed, Iruvar, an examination of the P Jayaraj-Bennix custodial death case.   

A still from Sethum Jaichidichu Meesai at the recently concluded Short + Sweet Theatre Festival 2022
| Photo Credit:
Mohan Das Vadakara

Case in point: contemporary Tamil theatre in Chennai is having its moment in the sun.  

It is undergoing a makeover in the hands of young theatre groups and individuals, all of whom are experimenting with form, themes, dialect and dramaturgy, while keeping the sentiment of the language at its core. By moving away from traditional and folk formats to embrace contemporary themes, it is also reaching out to a younger, urban audience. 

Vijay Babu and his 69-year-old father Hari Babu, a former National-level boxing champion, who play the son and father in Sethum Jeichidichu… respectively, have been gathering fans ever since their first run. Vijay, who also wrote the script with first-time director Thiravia Sankar, has not performed much outside of the Short + Sweet festival over the years. He calls himself a “run-of-the-mill guy” who found himself through theatre in 2015. His father, Hari, on the other hand has no stage experience whatsoever.

They are among the burgeoning crop of promising directors, writers and actors who are rewriting how the audience perceives the medium. “With avenues like Short + Sweet, there are greater opportunities for people like us to perform. There is space to evolve. I am still in the learning stage,” says Vijay.   

A still from Iruvar

A still from Iruvar
| Photo Credit:
Mohan Das Vadakara

Role models stand tall

“The first time we saw naveena natakam was by Na Muthuswamy sir. He brought in the novel idea that Tamil theatre can be done in a contemporary way,” says B Charles, light designer and member of Chennai Art Theatre who is also one of the founders of the black box, Medai – The Stage, in Alwarpet. It was matched by veterans like Prasanna Ramasamy and A Mangai who looked at radical, and important themes within the milieu of regional theatre. He adds, “Muruga Bhoopathy and groups like Perch and Koothu Pattarai took it to an international level.” The current crop, or atleast most of the directors and writers who experiment, come from similar schools that boast years of experience on stage. 

Vetri of Theatre Akku which formed in 2017 comes from Koumarane Valavane’s Puducherry-based Indianostrum Theatre. “When I came to Chennai from a strict schedule at Indianostrum, I felt empty. I started observing other groups’ rehearsals: both established and amateur,” he says. Their first play, Adavu, derives from a therukoothu artist’s life, an inspiration that struck Vetri while observing the work of Purisai Therukoothu helmed by Kannappa Thambiran in Purisai. It went on to play 26 shows.

For the ages

Traditional tamil theatre has deep roots in the city. The late 19th and early 20th Century was the period of great growth — from folk arts groups becoming organised troupes; to the rise of sabha plays that predominantly ran religious and epic plays based on The Mahabharatha and The Ramayana, and of doyens like Sankaradas Swamigal, Pammal Sambandha Mudaliar and more recently S Murugabhoopathy, Na Muthuswamy.

As a contemporary group, Akku does not follow the traditional tenets of devising a performance. What starts as a discussion among actors, are improvised, to form a loose structure. Komaligal ( a four-play anthology in Tamil that looks at sexual oppression and abuse of women by drawing inferences for real incidents) , which has been touring since 2020, is testament to this process. 

“Thanks to the digital age, a certain sense of expectation is now applied to theatre as well. We have to match these expectations. Only then can we get a regular audience,” says Vetri.

Being contemporary is not only restricted to the content. The way in which it is executed matters. Collaborations with other existing groups would also lead to the creation of new formats, says Vetri. “Art is meant to be democratic. If theatre can reach the people, nothing like it. This would even mean putting up private shows for a group of 50 or 75 people in a community hall,” says Vetri. Komaligal has travelled to schools, public spaces, orphanages, detention centres and other unconventional stages, to reach audiences who don’t have access to theatre.     

Accessible spaces

While curating, for every six plays at Medai, Charles makes sure that at least two to three plays are in Tamil. “The short plays usually come from local writers, and definitely there is a greater connection with the audience as well,” says Charles. This year, the sheer number of new Tamil plays hosted in the space was more. “We hosted around 12 Tamil plays in Medai, all of which were helmed by young writers and directors,” he adds.  

The fact that mainstream stages in the city are not accessible is partly responsible for the birth of Idam, a new performance/workshop space by Theatre Akku, admits Vetri. From a commercial point of view, renting a mainstream stage, like say, Egmore Museum Theatre is unthinkable for an up and coming group, says Vetri. “Even when we sell tickets, we try to keep it economical and accessible. So, we might not meet the profit margin all the time.”

Idam, which is yet to formally launch, is a small, theatrical space. With a bookshelf, murals and seats that fold into the walls, the space is meant for any form of workshops, performances and even rehearsals.    

A still from the play Dhik Dhik

A still from the play Dhik Dhik
| Photo Credit:
R. Pradeep

New audiences are looking for renewed visual experiences, a deviation from the sabha culture that relied heavily on the written word. In the digital age, the production quality of a play invariably comes under scrutiny: from acting, sets, lights to costumes, everything is under the scanner. “Even if you don’t have an exceptional set, something new should be on offer,” says Vetri, adding that it’s important to attract new audiences. 

“Apart from the already existing theatre community in the city, audiences are now looking for good Tamil contemporary plays. In 100 people, at least 80 people come for the content and the language,” says Charles. The idea is to break into the niche, and grow the community, rather than looking at it as a sub community.  “Even within Tamil theatre, there seems to be a gap between traditional or folk forms and contemporary. If these two worlds can combine and bring out a new style, it will be very interesting to see,” says Vijay.

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AMC Networks To Cut 20% Of U.S. Workforce As Cord Cutting, Streaming Costs, Economic Jitters Roil Media

A media sector squeezed by streaming losses, anemic stocks, layoffs and executive turmoil unveiled its latest casualties today – 20% of AMC Networks’ U.S. staff, or about 200 people, along with the departure of CEO Christina Spade.

The news follows Bob Chapek’s equally sudden departure last Sunday from Disney after a quarter of hefty streaming losses and months of PR missteps. No reason was given for Spade’s departure, but it kicked off another round of speculation about the potential for the cuts being a preamble to an M&A transaction. AMC Networks declined to comment when contacted by Deadline.

Jobs are being axed from Warner Bros. Discovery to Paramount Global, Disney and the CW alongside a virtual bloodbath in tech. Today’s staff memo from AMC Networks Chairman James Dolan, whose family is the company’s controlling shareholder, was particularly grim, noting that “the mechanisms for the monetization of content are in disarray.”

He said that means “a large-scale layoffs” and substantial “cuts to every operating area” at the company, which is now searching for a new CEO. The board is “confident” the cuts “will enable AMC Networks to come through this period even stronger and to be well positioned to drive future growth over the long term.” He said the company had come to a realization about the streaming business, expressing it with words capable of sending a chill up the collective media spine: “It was our belief that cord cutting losses would be offset by gains in streaming. This has not been the case.”

Wall Street radiated uneasiness about the situation and the lack of clarity about Spade’s exit. Shares fell more than 5%. Her departure was “a complete surprise and leaves the company in need of new leadership, with no apparent successor in the wings,” said analyst Doug Creutz of Cowen & Company.

AMC like others in the space is faced with an ad downturn on top of rising streaming costs and declining linear revenue. “It’s been sort of the same for a while, which is kind of shuffling along on the top line, with linear still under pressure. They have been spending a fair among of money on content and if they can’t grow revenue, it will pressure margins. It’s not unique to them,” Creutz said.

That’s even as AMC/AMC+ has been on a streak with the last three new series, Dark Winds, Moonhaven and Interview with a Vampire, all received well and earning Season 2 renewals. The network, whose programming team is led by Dan McDermott, President Entertainment & AMC Studios, also has high hopes for the upcoming Mayfair Witches, which debuts in January, as well as the multiple Walking Dead spinoff series that are in the works. The layoffs unveiled today and starting this week are said to be across the board and it’s not clear what divisions will be hit the hardest.

“Ten years ago, we saw that cord-cutting was going to be a thing, and we thought streaming growth would offset it. And streaming has grown. It just required a lot more investment than anyone expected,” said a media fund manager. “There’s been a pretty bad cyclical downturn, and everybody’s had to rethink what they are doing. The same discussions are happening at every media company.”

Another company in the Dolan orbit, Madison Square Garden Entertainment, is also in the midst of cost reductions. “We are looking holistically across all of our businesses to ensure all areas continue to be positioned for success in the future,” its CFO said on a recent call.

The question for AMC is how much can be cut before hitting bone, especially at a company much smaller than a WBD or Disney and that already had a major downsizing in 2020. Longtime CEO Josh Sapan left after that, and former Showtime boss Matt Blank came in as interim chief executive. Spade, a former colleague of his at Viacom, CBS and Showtime was hired as chief financial officer in January of 2021, subsequently added the chief operating officer title and then took over as CEO last Sept. 9 — less than three months ago — with a contract running through 2025. “As I begin my new role as CEO of AMC Networks, I am proud to lead the company at one of the most exciting moments in our history,” she said on an third-quarter earnings call Nov. 5.

The quarterly results were discouraging, joining a pile of other media and tech quarterly numbers hit by a broad pullback in advertising. AMC’s ad revenue fell 10% year-over-year to $180 million for the three months.  

Addressing shortcomings in the corner office is challenging business. Disney brought Bob Iger back. The Disney board had also reportedly approached former Disney executive Kevin Mayer to replace Chapek and will be looking to identify a worthy Iger successor given that the restored CEO’s contract runs out in two years. It’s a lot harder for AMC to attract a heavy hitter given the Dolans’ ultimate control. “Ultimately, a CEO may not feel like they are calling the shots,” said Creutz. Ad cycles are finite. But no CEO can wave a magically wand if cord cutting keeps revenue shrinking and streaming can’t make it up.

A battered stock market make it hard to exit — will-they-won’t-they sell being a perpetual question surrounding Dolan family assets. In an already unsettled landscape, with Lionsgate in the process of finding a new configuration for Starz and its studio and the integration of Discovery and WarnerMedia continuing in fits and starts, the immediate question concerns a logical buyer, especially in a high-interest-rate environment.

“I’m not saying it would not be attractive to somebody. But are you going to get a decent price for it? With the state of the market and balance sheets and just the reality of streaming right now. I don’t know who will offer them a good price. This is not the time. The market is in the tank right now. Everyone is worried about a recession,” said one Wall Streeter.

“Ask the smartest people, the ones who sold businesses over the past five years, what they think — Jeff Bewkes, Rupert Murdoch, the Scripps family. Maybe they got lucky, but they sold when the selling was good. Bewkes and Murdoch had high regard for their own ability and recognized that it didn’t matter if you have a terrible hand.”

Bewkes sold Time Warner to AT&T in 2018 for about $85 billion. Murdoch handed most film and TV assets held by 21st Century Fox to Disney in 2019 for $71 billion. Scripps Networks Interactive sold itself to Discovery in 2017 for $14.6 billion. All of those deals, however, were completed in comparatively rosier times.



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NYWIFT Has Presented 24 Scholarships and Awards for Women in Film and TV Throughout 2022


New York Women in Film & Television (NYWIFT) has presented 10 scholarships and 14 festival awards to new and established filmmakers at seven New York-area festivals throughout the past year, a press release has announced. Cash awards and one-year association memberships gifted by the NYWIFT aim to nurture the next generation of women in media.

According to NYWIFT CEO Cynthia Lopez, the organization has expanded its festival partnership as part of its mission to “recognize top-tier talent, emerging voices, and the women content creators making waves in narrative and documentary filmmaking.” Lopez added, “It is so impressive that these recipients not only completed their films during the pandemic – they excelled in reinventing how films are made during this time.”

Festival awards for Excellence in Directing were given to Ellie Foumbi (“Our Father, the Devil”) at the Hamptons International Film Festival, Ju Martins (“Nā Kama Kai – Children of The Ocean”) at the Montauk Film Festival, and Jasmin Mara López (“Silent Beauty”) at UrbanWorld Film Festival, among others.

Along with its scholarships, NYWIFT invests in young talent through the Sabrina Wright-Gilliar Award, given to a high school senior striving for a career in production. This year’s recipient is aspiring assistant director Jasmine Gonzalez. The award honors the memory of Wright-Gilliar, who the organization describes as a “legendary” prop master whose credits include “The Good Wife”. 

“It is vital to support and nurture women creatives as they leave academia to begin the next phase of their professional journeys,” Lopez emphasized. “We are thrilled to welcome them to the NYWIFT community and are excited to see what each of these wildly talented students will accomplish.”

In addition to funding, scholarship recipients were also enrolled in NYWIFT’s Next Wave membership program for early career professionals with less than four years of film or TV experience, per the organization’s site.

NYWIFT is a non-profit that empowers women working in film and TV industries to advance diversity in media. 



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Hunter, New Father Accidentally Shot Dead By His Own Dog In Freak Accident During Hunting Trip In Turkey


A hunter and new father was killed after his own dog accidentally shot him in a freak accident during a hunting trip in Turkey over Thanksgiving weekend, according to reports.

Ozgur Gevrekoglu, 32, was pursuing game with his pals on the Kizlan Plateau in Samsun Province last weekend, Newsflash reports. He had just become a father for the first time 10 days before the tragic shooting.

The trip had gone without incident until the hunter began packing up his belongings to leave.

Turkish Hunter Killed During Hunting Trip After Dog’s Paw Inadvertently Touched Trigger Of Loaded Shotgun

In a completely freak accident, Gevrekoglu was placing his dog into the trunk of the car when the pet’s paw inadvertently touched the trigger of a loaded shotgun, with the weapon being discharged in close range.

Gevrekoglu was transported to Alaçam State Hospital, however he was pronounced dead on arrival, according to the outlet.

His body was then taken to the state capital of Samsun for an autopsy. An investigation is ongoing as Turkish authorities look into the details surrounding the man’s death.

There were several pet dogs brought along the hunting trip, with Gevrekoglu posting photos of himself with several hounds before his tragic death.

A recent picture showed the smiling outdoorsman petting a dog while holding up a string of dead birds.

It remains unclear which pup was actually the one who accidentally managed to fire the gun.

Several News Outlets Claim Hunter Was Murdered, Question Dog Excuse As Possible Coverup

Meanwhile, several Turkish news outlets have claimed that Gevrekoglu was actually murdered, and reported that the dog excuse was a coverup for the actual crime, according to Newsflash.

But as of Monday, authorities have yet to uncover any evidence of foul play.

According to The Washington Post, at least 10 people were reportedly shot by dogs between 2004 and 2015 in the U.S. alone, with several other cases having been reported since then.

A New Mexico man was shot in the back under similar circumstances back in 2018, when his dog accidentally managed to discharge a firearm during a jackrabbit hunting trip, Las Cruces Sun-News reported at the time.

Sonny Gilligan was shot in the back while sitting in the front seat of his parked pickup truck during a hunting trip for jackrabbits with his three dogs — Charlie, Scooter and Cowboy.

New Mexico Hunter Survived Similar Freak Accidental Shooting Caused By Dog In 2018, Per Reports

“Charlie got his foot in the trigger of the gun and I leaned forward and he slipped off the seat and caught the trigger — and it shot,” Gilligan told the newspaper. “It was a freak accident but it’s true, that’s what happened.”

Charlie, a 120-pound Rottweiler mix, was reported to be the dog that accidentally shot his owner, with the bullet tearing through the driver’s seat before entering Gilligan’s back.

“I was very fortunate I could get to my phone,” Gilligan told the newspaper. “The [Doña Ana County Sheriff’s Office] first responders saved my life. If they waited 10 more minutes, I would’ve died. I lost so much blood. I know I actually passed to the other just before getting to the hospital but they were able to revive me through CPR and bring me back.”

Gilligan was fortunate enough to survive the freak accidental shooting, breaking several ribs and his collarbone. He added he was lucky to survive the shooting, and ultimately forgave the pup, calling him “a good boy.”






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Tallinn 2022: Our festival highlights

Returning for its 26th edition and with 2021’s Covid restrictions largely a thing of the past, Tallinn’s Black Nights Film Festival (PÖFF) this year crowned Hilmar Oddsson’s Icelandic dark comedy Driving Mum as the 2022 Grand Prix winner, with the Best Director award going to Ahmad Bahrami for thriller The Wastetown.

Returning for its 26th edition and with Covid regulations largely a thing of the past, Tallinn’s Black Nights Film Festival (PÖFF) this year crowned Hilmar Oddsson’s Icelandic dark comedy Driving Mum as the 2022 Grand Prix winner, with the Best Director award going to Ahmad Bahrami for the Iranian revenge thriller The Wastetown.

Fears over the continuing pandemic were mostly replaced by concern/support for President Zelensky and the people of Ukraine in their continuing conflict with the amassed Russia forces of Vladimir Putin – events still so tumultuous and ever-evolving that NATO had reportedly increased its presence in Tallinn as the festival opened (the Estonian capital is about 125 miles from the Russian border). The blue and yellow of the Ukrainian flag was visible across the snow-sprinkled city, while the almost-near absence of Russian delegates continues to provoke debate.

But what of the films themselves? Stark contrast, as ever, could also be found in the festival’s eclectic blend of festival big-hitters – from the likes of Steven Spielberg, Park Chan-wook, Laura Poitras and Mia Hansen-Løve – with its competition strand of feature debuts and world premieres. Titles well-received by the smattering of trade press attending the festival included Hilmar Oddsson’s Grand Prix winner Driving Mum, identical twin drama A Cup of Coffee and New Shoes On, Matías Bize’s The Punishment and Filip Heraković’s Pelican, amongst others. Heraković’s debut film offered an intriguing counterpoint to the glitz and glamour of football’s winter World Cup in Qatar, following injured professional goalkeeper Josip (nicknamed “Condor”) wandering the corridors and function rooms of a Croatian sanatorium.

Reminiscent at points to Wim Wenders’ The Goalie’s Anxiety at the Penalty Kick, while perhaps more similar in tone to 2017’s Diamantino, Pelican (First Feature Competition, Special Jury Prize) proved a welcome addition to the gradually expanding footballer-in-existential-crisis-drama sub-genre. Committed performances from Edi Celic as Josip and Lucija Barisic helped to elevate Heraković’s film above some of the other titles in competition. Sergio Machado’s Brazilian bonkathon River of Desire had all the he-said/she-said familial hullabaloo of a telly novella and with it a certain sweaty charm, yet struggled to move break free from its gossipy, soapy chains. The film follows a ménage à quatre between three brothers and one of the sibling’s frisky new wife (Sophie Charlotte), with Adrian Teijido’s work behind the camera rewarded with the Best Cinematography prize.

The UK film industry was well-represented this year, with new films from Carol Morley (Typist Artist Pirate King), Ben Parker (Burial), Neil Maskell (Klokkenluider) and more flying the flag for filmmaking and production. A timely portrait of farcical political skullduggery, Maskell’s directorial feature debut – receiving its international premiere at Black Nights – served up a heady mix of dry British humour and Black Mirror-style satire as a skittish government whistleblower Ewan (Amit Shah) and his Belgian wife Silke (Sura Dohnke) await the arrival of a newspaper journalist, all under the watchful eye of two odd-couple bodyguards (played by Tom Burke and a wonderful Roger Evans). As the end of the world rears its head the wine flows, charades commences and beans are gradually spilled.

The horrors of a different type of warfare – all too familiar to those living on the borders of Ukraine and Russia – was the central focus of Adrian Goiginger’s Second World War drama The Fox, a handsomely staged but somewhat twee film about an Austrian soldier and a wounded fox club he takes under his wing as he pushes past the French front. There were echos of Terrence Malick’s Austrian-set A Hidden Life at points, but the central conceit of fox club-as-symbol-of-innocence draws away the emotional heft of some of the film’s bleaker moments. It was, however, always a pleasure to see Karl Markovics (The Counterfeiters, Breathing) effectively steal the film with an early monologue. One wonders if it should perhaps be mandatory for Markovics to either act or direct in all off the Austrian film industry’s output.

For a full list of PÖFF award winners, please see below:

Official Selection Competition

Grand Prix for Best Film – Driving Mum (Ice) dir. Hilmar Oddsson
Best Director – Ahmad Bahrami, The Wastetown
Best Cinematography – Adrian Teijido, River of Desire
Best Script – Shahar Rozen, Dudu Busi, DUCKS – An Urban Legend
Best Actor – Gurban Ismailov, Cold As Marble
Best Actress – Antonia Zegers, The Punishment
Best Original Score – Tonu Korvits, Driving Mum
Best Production Design – Michael Schindlmeier, Servus Papa, See You in Hell

First Feature Competition

Best First Feature Film – The Land Within (Switz-Kos) dir. Fisnik Maxville
Special Jury Prize – Pelican (Cro) dir. Filip Herakovic; Amar Colony (India) dir. Siddharth Chauhan

Baltic Competition

Best Baltic Feature Film – Poet (Lith) dirs. Giedrius Tamosevicius, Vytautas V. Landsbergis
Best Baltic Poducer for Co-production – Inna Sahakyan, Aurora’s Sunrise

Rebels With A Cause Competition

Rebels With A Cause Award – Rebelión (Col-Arg) dir. Jose Luis Rugeles
Special Mention – Three Thousand Numbered Pieces (Hun) dir. Adam Csaszi

Critics Picks Competition

Critics’ Picks Award – About Us But Not About Us (Phi) dir. Jun Robles Lana
Special Mention – The Bone Breakers (It) dir. Vincenzo Pirrotta

Fipresci Prize – Upon Entry (Sp) dirs. Alejandro Rojas, Juan Sebastian Vasquez

Audience Award – Amusia (It) dir. Marescotti Ruspoli

More information on the 2022 Black Nights Film Festival (PÖFF) can be found at poff.ee.

Daniel Green

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Matt Roloff: Okay, Here’s Why I Haven’t Proposed to Caryn Chander… Yet


The countdown is on for Matt Roloff.

And he knows it, too.

The Little People, Big World star has been dating Caryn Chandler for years now and has openly talked of late about proposing.

It seems like a sure thing that these two will one day walk down the aisle… it’s just become increasingly difficult to predict exactly when that day will arrive.

Caryn Chandler and Matt Roloff have their bags packed. They’re ready for a vacation.

On the latest episode of his family’s reality show, Matt actually addressed the delay in his engagement, blaming a living situation that finds him “in limbo” as the the reason for why he has not yet put a ring on it.

“It just doesn’t make sense for us, for me to propose to her, for us to get married, until we have a place that we can land in,” he explained on air.

“And neither of our houses work for each other. So it’s just very, very disappointing.”

Matt is busy building his dream home on his property in Oregon and is residing in a mobile home until construction is complete.

Matt Roloff and Caryn Chandler are all smiles while hanging out here in Arizona.

Chandler, for her part, has not publicly commented on her boyfriend’s postponement of the big question — but she appears to be making some pretty major life decisions of her own these days.

According to recent reports, Caryn is planning to move to Arizona full-time.

She’s even planning to do so regardless of whether or not TLC picks up Little People, Big World for another season, having allegedly grown sick and tired of all the Roloff in-fighting.

As loyal viewers know well, there’s been extreme tension between Matt and his kids ever since the former put a portion of his farm property up for sale in May 2022.

Matt Roloff and Caryn Chandler are out and about and having a blast in this photo.

“Matt really wants another season, but Caryn is completely done,” an insider told The Sun a few weeks ago of where Chandler stands when it comes to running it back on the small screen next year.

“She thinks there are too many disagreements with what they want to say and do on air, and too much family drama.

“She feels as though she’s the one always caught in the middle trying to mediate…

“Caryn is ready to just have Matt hand the farm over and they can go to Arizona and retire. That would be her dream scenario, but whether Matt agrees is yet to be decided.”

Caryn Chandler and Matt Roloff in Winter
Caryn Chandler and Matt Roloff pose here for a photo that was snapped in February of 2021.

Little People, Big World viewers, meanwhile, have seen Matt and Caryn discuss marriage in the past, and just last season, Caryn accidentally referred to Matt as her husband.

“I’m married to the guy that owns a pumpkin patch,” she said on camera before realizing that she had misspoken. “I’m not married. Did I just say married?”

“You’re almost married to a guy with the pumpkin patch, is the way I could put it,” Matt responded.

That was back then, of course.

Now? All this time later?

Caryn still isn’t married to the guy who owns a pumpkin patch, as folks start to wonder: Will she ever be?!?



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