Entertainment

A decade later, Cyrus was a significant figure at the extravagant SNL50 events. Initially, she performed her extremely popular song “Flowers” at Radio City Music Hall, addressing celebrities by their first names. Later, at Studio 8H, she sang another cover for SNL’s anniversary special alongside Alabama Shakes’ Brittany Howard: a rendition of Prince’s “Nothing Compares 2 U,” which is most well-known for Sinéad O’Connor’s version. The reason Cyrus was at the special wasn’t clearly defined, but many other singers (such as Beyoncé) have appeared on the show just as frequently, if not more so. However, next week, she will present at the Oscars. It’s unclear why this is, precisely; perhaps her original song for The Last Showgirl didn’t receive a nomination, and the presenting gig might be a gesture of recognition. But mostly, it seems like Cyrus will attend because people enjoy her company.

The fantasy series “Seven Havens” is unlike the worlds depicted in “ATLA’s” and its sequel “Legend of Korra.” As stated in the press release, this world has been ravaged by a catastrophic event. The story revolves around a young Earthbender who unexpectedly discovers she is the new Avatar, succeeding Korra. However, unlike the traditional role of an Avatar as a savior, in this perilous era, her title foretells her as humanity’s destroyer rather than its protector. On the run from both human and spirit adversaries, she and her long-lost twin must unravel their enigmatic past and save the Seven Havens before the last remaining human strongholds crumble.

She shares with the camera on The Baldwins, “I’m nurturing my children to become bilingual, as I myself was brought up that way. Currently, our immediate family resides in Spain.” She explains, “I aim to instill in my kids a sense of pride when speaking multiple languages. I believe that growing up with the ability to speak two languages is extraordinarily unique. I adore English, and I have an affinity for Spanish too. When I combine the two, it doesn’t make me inauthentic. Rather, it makes me just like many others!” This sentiment is contrasted with clips of her conversing in Spanish with her kids, who predominantly communicate with each other in English.

While driving, Duke queries Reacher about their conversation at the warehouse. Reacher, whose hand was still smeared with Angel’s blood, pretended not to know. Angel’s impulsive eagerness led to his death and Reacher’s survival: He chose to keep his suspicions to himself, opting to talk to Beck instead of sharing them with Duke.

Excluding Culkin, Strong doesn’t seem like the definite second place winner in his category. It’s unusual for me to think that every nominee deserves the award in an Oscar category, but this year is definitely one of those instances. Guy Pearce might be the standout element in Brady Corbet’s The Brutalist. Edward Norton demonstrates his exceptional talent with his portrayal of Pete Seeger in James Mangold’s A Complete Unknown. (You should watch that movie and then compare it to his Oscar-nominated performance in 1998’s American History X to understand Norton’s vast acting range.) And Yura Borisov’s Igor in Sean Baker’s Anora gives a lesson on how much an exceptional actor can convey with mere glances and quiet responses. (Watch Borisov in Juho Kuosmanen’s 2021 drama Compartment No. 6 to witness what he’s capable of with a larger role.)

As a supporter, I find it reassuring that Jesteadt no longer feels isolated in the indie animation distribution game, given GKIDS’ long-standing reputation as a prestigious cartoon distributor since its co-founding by Eric Beckman and himself in 2008. Over the years, GKIDS has established a formidable theatrical and licensing empire, competing with industry giants such as DreamWorks and Disney. They’ve been instrumental in bringing masterpieces from various countries like Japan, France, Belgium, Ireland, and Spain to American audiences, earning critical acclaim for films such as “My Life As a Zucchini,” “Buñuel in the Labyrinth of the Turtles,” “Wolfwalkers,” and many more.

In October 2024, Jesteadt and Beckman announced their decision to sell GKIDS to the Japanese entertainment titan, Toho (best known for Godzilla). This move signifies a new chapter in GKIDS’ dominance and has animation enthusiasts concerned that the company’s international focus might lean too heavily towards Japanese animation. However, I remain optimistic about this change, eagerly awaiting what the future holds for GKIDS and its continued contribution to the world of indie animation distribution.

As the break of day approaches on the day of Sheila’s hearing before the House Oversight Committee, George gently stirs his wife from sleep to reminisce about a past moment. They recalled their son performing skateboard stunts outside George’s office window in Albany. When their son successfully executed the trick, George intended to praise him for his persistence – but his responsibilities intervened, and he missed the opportunity. This unfulfilled moment of pride served as one of the more poignant instances of sorrow shared between George and Sheila; he urged her not to hesitate during the hearing. Indeed, she didn’t need his encouragement. Sheila effortlessly dispelled Richard Dreyer’s arrogance, dismissing it as if swatting away an annoying fly. Her masterful move, beyond flawlessly answering all of Richard’s questions without a hint of nervousness, was to highlight that every member of the House, who were in front of her, had previously voted in favor of the commission’s increased powers. Although Sheila is George’s wife, they are equally his partners in the political upheaval of the nation. She unmasked their hypocrisy – they aim to oust George so they can take his place – with a clarity that suggested an unblemished conscience.

It’s fortunate that Sheila isn’t inclined to engage with him. Over the phone, Sheila and Alex express their concerns about George’s obvious unsuitability. Despite Valerie revealing that George could be a victim of an illegal neurological weapon based on Geneva Convention violations, Sheila remains firm in her belief that he should face consequences for his actions. If George is mentally unfit, she believes he should step down; if he’s sane, she thinks he should resign due to his adoption and escalation of fascistic methods. Given the complexity of this situation, it would be wise to place Sheila in a leadership role. However, all they manage to persuade George to do is agree to some psychological assessments, which find no significant issues with him.

As the season nears its end and attendance at the nightly gatherings decreases, Sandoval – a man with scant allies, minimal victories, numerous blunders, and most recently, a Freudian slip suggesting “women are better cheaters” which led to a massive backlash from his peers – has managed to outlast almost all of his Bravo co-stars. Regardless of his intentions, the “cheaters” comment (he maintains he meant to say “Traitors”) solidified his position within the castle, on the show, and in society: Sandoval plays the role of Pagliacci, a tragic clown and enduring jester for The Traitors.

The Netflix show “Zero Day” is set in an era that didn’t occur after November 5, 2024. Given its release during a potential Democratic Party-controlled term, it seems like the co-creators Eric Newman, Noah Oppenheim, and Michael Schmidt intended it as a comforting gesture. However, even if the series were creatively innovative or brilliantly acted (which it’s not), the plot revolving around an aged ex-president who may be dealing with severe dementia but conceals it following a cyberattack to preserve his powerful position while defending the U.S. against various adversaries (labeled as “radical leftists,” “tech types,” and internal political enemies) is a striking example of liberal arrogance and outdated.

As we witness our elected officials dismantling the country in real-time, the propaganda presented by “Zero Day” pales in comparison. Viewing it through this lens, the series appears as an endless loop of self-congratulation, which makes it particularly ill-timed escapism.