- Love ‘Brick’ on Netflix? Here’s how to find global thrillers like it San Francisco Chronicle
- Netflix’s new psychological thriller movie is a twisted puzzle box with a mostly satisfying solution Tom’s Guide
- ‘Brick’ Review: No Way Out? The New York Times
- ‘Brick’s twisty ending, explained Mashable
- Brick OTT release date: When and where to watch new twisted sci-fi thriller Hindustan Times
Category: 5. Entertainment
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Love ‘Brick’ on Netflix? Here’s how to find global thrillers like it – San Francisco Chronicle
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Stellan Skarsgård on Ingmar Bergman: ‘The only person I know who cried when Hitler died’ | Stellan Skarsgård
Stellan Skarsgård has weighed in on famed director Ingmar Bergman’s Nazi sympathies as a young adult.
The actor was speaking at the Karlovy Vary film festival in the Czech Republic, where he was promoting Joachim Trier’s film Sentimental Value, inspired by the late Swedish director. Skarsgård expressed his personal dislike of Bergman, with whom he worked on a 1986 stage production of August Strindberg’s A Dream Play.
“Bergman was manipulative,” said the 74-year-old Swedish actor, as first reported by Variety. “He was a Nazi during the war and the only person I know who cried when Hitler died. We kept excusing him, but I have a feeling he had a very weird outlook on other people. [He thought] some people were not worthy. You felt it, when he was manipulating others. He wasn’t nice.”
Bergman, who died in 2007 at the age of 89, spoke openly of his past sympathies for nazism while growing up in a rightwing Swedish family.
In 1999, the director explained to Maria-Pia Boëthius, author of a book questioning Sweden’s neutrality during the second world war, his positive feelings for Hitler after attending a Nazi rally during an exchange trip to Germany in 1934, at the age of 16. “Hitler was unbelievably charismatic. He electrified the crowd,” he said.
He added that his family put a photo of the fascist dictator next to his bed after, because “the nazism I had seen seemed fun and youthful.” The book also details how Bergman’s brother and friends vandalized the house of a Jewish neighbor with swastikas – and that he was “too cowardly” to raise objections to the attack.
The director also acknowledged his past Nazi sympathies in his 1987 memoir The Magic Lantern: “For many years, I was on Hitler’s side, delighted by his success and saddened by his defeats.” He told Boëthius that he maintained support for the Nazis until the end of the war, when the exposure of Nazi atrocities in the Holocaust changed his views. “When the doors to the concentration camps were thrown open,” he said, “I was suddenly ripped of my innocence.” Bergman went on to explore anguish over the horrors of war in such films as Winter Light, The Silence and Shame.
This is not the first time Skarsgård has criticized Bergman openly – in a 2012 interview with the Guardian’s Xan Brooks, Skarsgård said of Bergman: “I didn’t want him near my life.”
“My complicated relationship with Bergman has to do with him not being a very nice guy,” he said at Karlovy Vary. “He was a nice director, but you can still denounce a person as an asshole. Caravaggio was probably an asshole as well, but he did great paintings.”
Sentimental Value, which premiered to rave reviews at May’s Cannes film festival, is tipped for awards success later this year.
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Live Aid concert was ‘one of the highlights of my life’
Matt ShepherdBBC News Cornwall
Julia GregoryBBC News South West
Matt Shepherd/BBC
Paul Jennings was in the crowd at Wembley for Live Aid 40 years ago A man who was among the 72,000-strong crowd at the groundbreaking Live Aid concert in 1985, has said it was “one of the highlights of my life”, on the 40th anniversary of the event.
Paul Jennings, from St Austell, managed to secure one of the much sought after tickets to the day-long festival at Wembley Stadium on 13 July 1985, which was organised to raise money for famine relief in Ethiopia.
Paul McCartney, David Bowie, Madonna and Mick Jagger were among the performers at the concert that raised £150m.
“It was absolutely magic. You kept on seeing the stars reported in the press. This star’s coming, that star’s coming. You just didn’t expect to get 20 to 30 groups together,” said Mr Jennings.
PA
Bono, Paul McCartney and Freddie Mercury were among the stars who performed at Live Aid The concert was organised by Boomtown Rats singer Bob Geldof and Ultravox singer Midge Ure.
It was seen by an estimated two billion people in more than 100 countries with simultaneous concerts in London and Philadelphia in the US and followed on from the Band Aid single Do They Know It’s Christmas?
Status Quo started the show with Rocking all over the World and there were also performances from Tina Turner, U2, Elvis Costello, Howard Jones, Roger Daltrey, Spandau Ballet, Sting, and The Style Council.
PA
Mr Jennings said Queen’s Freddie Mercury stole the show at Live Aid “What a way to start,” said Mr Jennings, who was working for a London computer company at the time.
He said Queen’s Freddie Mercury stole the show and “just stood out 200% above everybody else”.
“It was hairs on the back of your neck, a real buzz,” Mr Jennings added, referring to when he joined the crowd singing with the Queen star when he led the ay-oh call and response.
“It was just an outstanding performance, the amazing voice he had.”
‘Struggling to survive’
Mr Jennings, who is now a director of the Market House in St Austell, said the concert was “one of the highlights of my life”.
He had visited east Africa and seen “how people were living” and then saw news reports of “how it had descended into a total dustbowl and you had thousands of people struggling to survive”.
“We all felt we’ve got to do something, even if it’s just buying a ticket to a concert. It was ‘we’ve got to do something’,” he said.
Live Aid: Cornish memories forty years on Continue Reading
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The Best Summer Weddings Published in Vogue
Ah, the classic summer wedding. Historically, it’s always been the most popular season to get married, in part due to the warm weather and abundance of greenery. And every year, Vogue publishes a number of idyllic nuptials that take place from June through early September.
Sometimes those are in perennial American vacation spots like Nantucket or The Hamptons; other times, they’re abroad in European hotspots like St. Tropez or Capri. There are those held at family homes, and those held at iconic hotels. Many couples embrace a traditional aesthetic with white lace dresses and hydrangeas, while others prefer to break the mold—like one couple who held a minimalist wedding in Greece, with a dress code inspired by Calvin Klein ads from the ’90s. Yet all of them have the same thing in common: embracing the outdoors, sunshine, and natural scenery.
Below, find 19 of our favorite summer weddings in Vogue. It’s in no way a complete list… in fact, we have a feeling we’ll be adding to it very soon.
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What’s behind Gen Z’s sex recession? : NPR
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BRITTANY LUSE, HOST:
Hello, hello. I’m Brittany Luse, and you’re listening to IT’S BEEN A MINUTE from NPR, a show about what’s going on in culture and why it doesn’t happen by accident.
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LUSE: A warning – this segment discusses sex and sexuality.
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LUSE: OK. So I personally enjoy Sabrina Carpenter. But she got into some backlash recently. What was that about?
CARTER SHERMAN: Well, she put out a new album cover for her forthcoming album, “Man’s Best Friend,” where she not so subtly looked like she was pretending to be a dog, held by her own hair as a kind of leash by a man.
TOBIAS HESS: Yeah. It sparked a real wave of discourse, and it felt incredibly silly to me because it’s almost like the whole internet was debating a poster that said the word sex.
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LUSE: This week, we’re connecting the dots between hot discourse, Sabrina Carpenter and the youths. I know, I know. How are all of these things connected? Well, we’re going to find out with Tobias Hess, contributing writer at Paper Magazine and writer of the Gen Zero Substack, and Carter Sherman, reproductive health and justice reporter at The Guardian and author of “The Second Coming: Sex And The Next Generation’s Fight Over Its Future.” Carter, Tobias, welcome to IT’S BEEN A MINUTE.
SHERMAN: Thank you for having us.
HESS: Great to be here.
LUSE: You know, I mean, Sabrina Carpenter has been getting criticism for a while now for being too sexy – notably for cheekily simulating sex positions while performing her song “Juno” during her concerts on tour, and it seems very, very, very tongue in cheek and not necessarily explicit, just to make that clear for the listener. And it seems to me, though, that this, like, criticism, this backlash, is coming from a particular demographic, Gen Z. There’s a tweet that came up during some of this discourse that sums it up, I think – quote, “I’m 17 and afraid of Sabrina Carpenter when she’s performing.”
SHERMAN: (Laughter).
LUSE: I don’t want to fall into the trap of saying this kind of discourse is representative of how all or even most of Gen Z thinks about sex and sexuality, but Gen Z is having less sex than previous generations at the same age. Some describe this decline as a sex recession. Carter, you talked to over a hundred members of Gen Z, and Tobias, you are Gen Zer yourself. Do you feel like some of this sex-negative discourse actually reflects what’s going on with Gen Z?
SHERMAN: Well, it is undeniably true that Gen Z is having sex later and less than past generations. One in four adult members of Gen Z have not had sex and, in fact, also only a third of Gen Zers in high school have had sex, which is down from about half when I was in high school. I’m a millennial. But in my conversations with young people, I did not find them to be, quote-unquote, “sex negative.” If anything, I feel like they felt really bad about themselves for not having had enough sex.
LUSE: Oh, yeah.
SHERMAN: They still felt like it was an obligatory coming-of-age rite of passage to have sex, and so they felt quite ashamed about the fact that they had not yet managed to get laid, frankly.
HESS: I haven’t studied this on a macro level. All I know is my own life.
LUSE: Hey. Listen. Lived experience is valid.
HESS: Exactly. But with that, I feel like I sort of got a ticket out of this sex recession of Gen Z because I’m queer. I’m now a gay man in my mid-20s in Brooklyn, which is, to say the least, not the most sex-negative milieu in America.
LUSE: (Laughter) Fair.
HESS: That being said, when I go online and I see the wider discourse, it feels just highly self-conscious and very fearful. And that does hearken back to some of my earlier experiences learning about sex. You know, I was in high school during the #MeToo era, then into college, and the anxiety surrounding sex was at a really, really stifling level.
LUSE: We definitely are going to come back to that. Carter, what did you find? Are teens less horny, or is something else going on?
SHERMAN: I would say that they are, in general, not less horny.
LUSE: (Laughter).
SHERMAN: I think what they are doing, though, is outsourcing a lot of their sexuality to the internet. They’re engaging in, like, watching a lot of porn. They’re engaging in LGBTQ+ communities online. And so I think that they are very interested in sex, but they’re not necessarily able to put it into practice as much. I mean, this is a generation that grew up during COVID, and so they missed a lot of key milestones. I talked to young people who, you know, weren’t able to go to graduation, weren’t able to go to prom, and these are the sort of things that create the space for young people to connect with one another, to be vulnerable with one another. And they just missed out on having that really critical IRL experience to know what it’s like to try and get with somebody else.
LUSE: To that point around, like, COVID kind of changing the teenage experience or the different modes of teenage exploration, one of the things you mention in your book was changes in sex ed. Of course, we know it’s long been fear-based and abstinence-minded in some areas of the country. But you also found that during the pandemic, when teens were getting sex ed at home, some parents were around while sex ed was being taught and they didn’t like what they were hearing. And that kind of precipitated a wave of pushback on comprehensive sex ed in schools. And it’s also important to mention that Gen Z were probably, by and large, not having, you know, a ton of sex during lockdown when they otherwise might have if they weren’t, like, cooped up in the house with their families 24/7.
SHERMAN: During COVID, what ended up happening is, yes, a lot of parents were seeing for the first time the kinds of sex ed that their children were getting. And a vocal minority became angry over things like comprehensive sex ed, which is the kind of sex ed that teaches about more than abstinence. It teaches about the diverse array of sexualities that exist. It teaches about things like condoms and preventing pregnancy and preventing STIs. And since then, there has been an explosion of debate in places like school boards, where people are arguing vehemently against expanding any kind of comprehensive sex ed. And I think what this does, overall, is really demonizes the very idea of sex. You have this simultaneous experience of not going through any of the things that you would see in teen movies while, at the same time, sex seems more political and more weighty. And you can see how that would dissuade people from engaging with it in a comprehensive way, in a way that prioritizes exploration and inclusivity.
LUSE: Tobias, you brought up how the #MeToo movement was something that was looming very large when you were, you know, like, developing your sexuality as a young person. I wonder – like, how did things like the #MeToo movement and the rolling back of reproductive rights contribute to this kind of caution or very real fear around sex?
HESS: I was a freshman in college in 2018, so really right after the height of the #MeToo movement and orientation around consent was really at its peak. And I think the tenor of discourse was so fraught and so scary that there was no sort of signal that sex was something that young people did for pleasure or for fun or to connect. It was, you know, all in terms of, this is what consent looks like. The kind of takeaway in terms of what we all understood about sex and consent is that, you know, consent is ongoing, it’s clearly affirmative and ambiguity is a danger zone. But the truth is, we often don’t know what we want or how we want it, and navigating through ambiguity, at least in my experience, is a part of sexuality. So I think that there was a diminishment in how to deal with your own, sort of, complex feelings about your own desire.
LUSE: You know, it’s interesting. #MeToo, for me at least, was, like, very much connected to some of my own experiences at work. I’d been in the workforce for quite a while by the time #MeToo happened, and so I had racked up enough experiences where that was truly the context where I was thinking about it first and foremost. I really hadn’t imagined how a big cultural change like that might also kind of affect burgeoning sexuality.
SHERMAN: I think your framing about #MeToo being about work is key to this because I think what potentially led to some of the backlash or the fault lines in #MeToo was this question of, is this about work or is this about sex? And I think for plenty of older people – I was already working by the time #MeToo broke out. I thought about it a lot in the context of work, and indeed the lasting legal reforms that we saw out of #MeToo dealt with work.
LUSE: Right.
SHERMAN: They were changing the laws around NDAs. They were introducing better HR trainings at work. But we did not see a commensurate change in the institutions that are tasked with dealing with sexual harassment and assault, particularly in schools and on college campuses. Title IX is the civil rights law that is meant to handle sex discrimination in schools, including harassment and assault. And what that law has become is basically a political football that one expert told me is, quote-unquote, “completely unusable” for survivors at this point. So what #MeToo did for younger people who thought about #MeToo, oftentimes in terms of sex, is it did generate so much anxiety around sex. It made so many of them realize that things that might have seemed like they were off were, in fact, wrong, that they were, in fact, harassment or assault, but it didn’t actually provide them with any resources to address that, to make it better, to seek accountability and justice and healing for themselves.
So for the young women I talked to, I think they understood much earlier than I had that certain experiences they had had they deserve to be made whole from. They deserve to seek accountability, but they didn’t actually have the resources to do that. And that makes the whole world just seem so much more dangerous ’cause it just makes it seem like now you know that something bad happened, but no one else cares.
LUSE: Like, where’s the recourse?
SHERMAN: Exactly. For the overturning of Roe v. Wade, when I talk to young people, straight ones who were worried about getting pregnant or impregnating somebody else, they were petrified. And I think that that feeling that people are now going to face a kind of punishment for sex because they’ll be forced to have kids that they don’t want to do – I think that is really rife within Gen Z. And again, that contributes to this overall miasma of anxiety and fear around sex that really doesn’t lead people to want to have it.
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LUSE: Coming up, how our digital culture and the state of our sex ed is changing how Gen Z learns about sex.
SHERMAN: Learning how to have sex from porn is like learning how to drive by playing Grand Theft Auto.
LUSE: Stick around.
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LUSE: You know, I can imagine how, like, that might make, you know, Gen Z women and girls more reluctant to have sex – both of these big sort of, like, cultural and political, like, touchstones, like #MeToo and, you know, the rollback of Roe v. Wade. But – I don’t know – how are these shifts also affecting Gen Z men and boys as well?
SHERMAN: One young man I spoke to about #MeToo – I really appreciated how straightforward he was about this. He said that he felt that the #MeToo movement, even though he supported it, could at times be very anti-cis male. And I think that this was a feeling that was common among some of the men I spoke to because they felt like this movement demonized them unfairly for something that they thought they hadn’t done. They felt like they were preemptively perceived as guilty.
The other thing that I found really interesting about the reaction to #MeToo among young men is I don’t think it actually changed some of the things that contribute ultimately to sexual harassment and assault. One young man I spoke to was telling me about how in high school, he and his friends would rank the girls in their class on the basis of hotness. They’d do basically, like, football drafts. And that is dehumanizing.
LUSE: Yeah.
SHERMAN: You know, it’s not treating these women as whole people. And I was sort of trying to figure out a way to talk to him about this, to get him to open up about how he felt about doing that and if he felt it was a good thing. And he was saying, you know, you’re talking about #MeToo, and that’s about consent, but it’s not really about a person’s humanity. But they are connected, right? You respect somebody’s consent because you respect their humanity.
LUSE: Yeah.
SHERMAN: And so I don’t think that the fundamental connections about why consent is important or why we treat other people equitably were necessarily landed post-#MeToo.
LUSE: That kind of sentiment – it feels so connected to kind of, like, a lot of the complaints that I feel like I see online or that I hear in discourse around this season of “Love Island USA,” around how, you know, young men relate to, you know, the young women that they want to date. It seems like you can’t kind of divorce dating standards and dating mores from this kind of, like, web of complex feelings around straight men’s sexuality and how they express that and their sexual behavior and what’s OK and what’s not OK. It seems like there have been a lot of young men who feel burned by that in some ways and almost, like, run in the opposite direction perhaps toward more red pill kind of incel stuff.
HESS: I mean, I thank the powers that be every day that I’m gay because I sometimes think if I were a straight 25-year-old man, who would my role models be? Like, what would I be modeling my sort of behavior and affect around? You know, how would I approach women? I struggle to think of a sort of cultural figure who represents a positive, expansive form of masculinity. I mean, there’s been so much discourse about Hasan Piker versus Joe Rogan.
LUSE: Right.
SHERMAN: I think many of the people who are even talking about this, many of the male cultural figures who are even talking about this, are on the right.
HESS: Yeah.
SHERMAN: You know, Andrew Tate does talk about masculinity. Joe Rogan talks about masculinity. Jordan Peterson talks about masculinity. And if you’re a young man, a young straight man who is looking to understand why he feels this way, you are going to gravitate towards people who are talking about why you feel this way.
HESS: Yeah. Recently, Andrew Schulz, the podcaster who’s the…
LUSE: Yes.
HESS: Yeah. He made a comment. He’s, like, you know, whenever they want to denigrate a movement, they call it the bros, so the podcast bros or the Bernie bros. It’s, like, bro and masculinity as kind of a way of diminishing, or it can be used in that way – tech bros. So I can totally understand if you’re a young man who identifies with listening to podcasts and you hear everyone describe you as a podcast bro as if that’s an insult, you’d be like, wait. Why are you backing me into a corner? I like podcasts. I like tech. I like Bernie Sanders. What’s wrong with that? So I think it becomes a problem.
I also think that, you know, I understand the sentiment of, you know, cis straight men feeling, like, the implicit negativity around them, as I just discussed, when talking about sex and dating. But I also at the same time hear from my girlfriends about very casual dates that they have, where the men are acting totally, for lack of a better word, porny in a way that it just feels really, really icky. And, you know, spitting, choking, using, you know, verbal denigration – I’m not saying there’s anything wrong with any of those sexual acts, but they require a certain level of trust. And I’m hearing about first dates, spitting, choking, without clear communication. So I think there’s this dual experience of, you know, why is everyone against us? – and not having the tools to kind of act considerate.
LUSE: You both gave such great answers to that question. I mean, this is something we’ve been turning over a lot on this show. A lot of people are kind of turning this over in culture. But you both gave really thoughtful responses to that question in a way that really highlights there’s lots of young men who want to be acknowledged also for being thinking and feeling whole people. But as you just have acknowledged, Tobias, we don’t really encourage young men or boys to kind of, like, gain the tools of consideration.
But, you know, you brought up porn. Gen Zers are, quote-unquote, “digital natives,” like, you know, all grew up with the internet, and you don’t have to go very far to find porn on there. There’s this, like, totally different level of access and a totally different culture around pornography on the internet than there was, I think, in previous generations. How has our culture’s relationship to porn changed from previous generations, and how does that affect younger people?
SHERMAN: I was very interested in reporting out this book to understand what porn has done, and also specifically what young people think porn has done to them. So the science on porn, I would say, is one of the great modern mysteries. We really don’t know from a scientific perspective how porn affects us.
LUSE: Really?
SHERMAN: And that’s in part because it’s impossible to find a control group. You cannot find young people who have not seen internet porn, so you can’t compare and contrast in that way. But what I found in interviews is that regardless of what is true scientifically, young people very much felt like porn had warped their relationship to sex. And this is what sociologists call the, quote-unquote, “deep story,” which is the story that people feel to be true. And that story can be more moving and impactful than the actual facts. And in particular around choking, young people very much felt like porn had normalized more, quote-unquote, “rough” sex. So if you are under 40, you’re almost twice as likely to have been choked than folks who are above 40. And a significant fraction of people say that they were not asked before they were choked, which – I agree with Tobias – if you’re into that, you go for it. But you definitely want to ask somebody before you choke them, not only because consent is obviously critical to any sexual encounter, but because choking in particular is strangulation. It is a more dangerous sexual act than other things that you can do.
LUSE: Yeah.
SHERMAN: I do think, though, that a lot of this discussion around pornography misses some of the nuances around what kinds of porn are out there. So many young women and many young queer people I talked to didn’t actually enjoy video porn so much, but they loved fan fiction and erotica and romance novels.
LUSE: Right.
SHERMAN: And they learned a lot about themselves through those forms of pornography, and they learned what made them feel good. And this is, I think, the ultimate point of what has gone on with internet porn, whether video or written, is that because we do not have quality sex ed available in many schools, young people have to turn to the internet to understand what sexual pleasure looks like, how they make other people feel good, what makes them feel good. And so we have basically elevated porn to being sex ed, even though I think most people would agree that is not what porn is for. Learning how to have sex from porn is like learning how to drive by playing Grand Theft Auto – lots of crashes.
LUSE: Lots of crashes. Lots of crashes. What does all this say about how sexual culture has changed? And where do you see Gen Z’s sexlessness having cultural reverberations outside of online discourse?
HESS: Well, sexlessness leads to probably resentment, as we’re seeing. You know, we’ve seen the rise of incel culture, which is a stand-in for just general sense of solitude and hopelessness among young men. There’s incels. There’s also femcels.
LUSE: Yes. I’ve heard of femcels – girls and women who are celibate, either voluntarily or involuntarily. Yeah.
HESS: Yes. I’m not an expert in either space, but I know that they’re around and, you know, are kind of the most extreme examples of this larger context that we’re living in and my generation is going through. So with that, I think the gender divide and the political gender divide will get more extreme as this kind of bears on and people and young people feel increased sort of alienation from each other, from their own sort of sexual selves.
SHERMAN: I think we’ve already seen a political harnessing of the narrative that Gen Zers are sexless. We’ve seen talk from the Trump administration about wanting to raise the birth rate, for example. And so it’s impossible to disentangle that pronatalist impulse from this idea that young people are not having enough sex. I think the narrative of the sex recession is being used to basically say – by the right – oh, gender roles have irretrievably broken down. The American family is in chaos. We need to reinstate a more hierarchical sexual order where we prioritize or even compel people into sex that is straight, that is married and that is potentially procreative because it’s being practiced without access to abortion or access to hormonal birth control.
LUSE: I’ve learned so much here. Thank you.
SHERMAN: Thank you.
HESS: Thank you. This has been great.
LUSE: That was Tobias Hess, contributing writer at Paper Magazine and writer of the Gen Zero Substack, and Carter Sherman, reproductive health and justice reporter at The Guardian and author of “The Second Coming: Sex And The Next Generation’s Fight Over Its Future.”
And I’m going to put on my influencer hat for a second and ask you to please subscribe to this show on Spotify, Apple or wherever you’re listening. Click follow so you know the latest in culture while it’s still hot.
This episode of IT’S BEEN A MINUTE was produced by…
LIAM MCBAIN, BYLINE: Liam McBain.
LUSE: This episode was edited by…
NEENA PATHAK, BYLINE: Neena Pathak.
LUSE: Our supervising producer is…
BARTON GIRDWOOD, BYLINE: Barton Girdwood.
LUSE: Our executive producer is…
VERALYN WILLIAMS, BYLINE: Veralyn Williams.
LUSE: Our VP of programming is…
YOLANDA SANGWENI, BYLINE: Yolanda Sangweni.
LUSE: All right. That’s all for this episode of IT’S BEEN A MINUTE from NPR. I’m Brittany Luse. Talk soon.
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Centre Pompidou Cancels Caribbean Art Show, Raising Controversy
The Centre Pompidou’s outpost in Metz, France, canceled a planned survey of Caribbean and Guyanese art in June, leading a range of artists to issue a statement condemning the decision to pull the show.
The exhibition was to be organized by Guadeloupean curator Claire Tancons, who has previously worked on editions of the Sharjah Biennial and Prospect New Orleans.
She had titled the show “Van Lévé” (the Creole version of the French phrase “le vent se lève,” meaning “the wind rises”). It was planned to open in October 2026, and was to include acclaimed artists such as Gaëlle Choisne, the winner of last year’s Prix Marcel Duchamp, and Pol Taburet, currently the subject of a solo exhibition at the Schinkel Pavillon in Berlin.
According to Le Monde, a tense email exchange between Tancons and Centre Pompidou-Metz director Chiara Parisi ended with the show’s cancelation in June. “This cancellation comes in a particularly difficult budgetary context that is forcing us to reorganize the exhibitions and events initially planned in our program in a drastic manner,” Parisi wrote in an email to Tancons that was quoted by Le Monde.
Tancons told Le Monde that Paris’s claims of budgetary limitations were “unbelievable” and said that the exhibition had already received funding from organizations such as the Ford Foundation, which had contributed $500,000.
The show’s cancelation has raised questions in France, where some artists and curators have asked whether forms of bias played a role in the museum’s decision.
Le Monde published a statement from a range of artists and curators this week that appeared to denounce the exhibition’s cancelation. “A female curator from Guadeloupe will always be overambitious, even if her international reputation is well established and she provides nearly half the budget for the exhibition she designed in sponsorship,” the statement reads. “It turns out that we also share her ambition and offer her our unwavering support.”
Its signatories included Zineb Sedira, who represented France at the 2022 Venice Biennale, and Tabita Rézaire, an artist whose work was to appear in “Van Lévé.”
The cancelation comes as the Centre Pompidou shifts much of its programming away from its Paris base, which will soon close for five years while the museum undergoes an extensive renovation.
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James Gunn, Hollywood’s box office superhero – Financial Times
- James Gunn, Hollywood’s box office superhero Financial Times
- James Gunn’s sci-fi movies ranked, worst to best Space
- What to stream: Explore films of ‘Superman’ director James Gunn, from B movies to big hits The Spokesman-Review
- All James Gunn-Directed Movies Ranked by IMDb – From The Guardians Of The Galaxy To Slither Koimoi
- James Gunn iHeart
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Team Oasis celebrate ‘unprecedented streaming success’ as catalogue surges to No.1 following reunion | Labels
Oasis have seen a streaming surge following the launch of their reunion tour in Cardiff, as reported by Music Week.
Now the final chart result following the first week of the tour is confirmed: three albums in the Top 4 including a return to No.1 for greatest hits collection Time Flies – 1994-2009. They did something similar following the tour announcement last year with three albums in the Top 5, though on that occasion it was Definitely Maybe that returned to the summit following its reissue.
As the Live ’25 tour continues with a five-date run at Manchester’s Heaton Park, Oasis’ catalogue is making a streaming impact on both the albums and singles chart.
“The unprecedented streaming success of the Oasis catalogue on the back of their triumphant Cardiff return is another sign of what this band means to music fans of all generations across the UK and beyond,” a Big Brother Recordings spokesperson told Music Week.
The Time Flies compilation returned to No.1 for the first time since it debuted at the summit 15 years ago with a 184.7% increase in week-on-week consumption to 21,015 units (406 CDs, 285 vinyl albums, 262 digital downloads and 20,062 sales-equivalent streams).
Total consumption for the collection, first released in June 2010, now stands at 2,192,540 (Official Charts Company). Its return to the summit marks Oasis’ 23rd week at No.1 on the albums chart.
Achieving its highest chart placing in more than 29 years, 1995’s (What’s The Story) Morning Glory moved 14-2, with consumption up 197.5% (15,733 units). Just behind Sabrina Carpenter at No.4, 1994 debut album, Definitely Maybe increased consumption by 178% as it climbed from No.26. (11,421 sales).
Further down the chart, Oasis’ 1998 b-sides compilation The Masterplan (No.59, 2,411 sales) re-entered at No.59 after being absent for 44 weeks with consumption up 166.2%.
It is another sign of what this band means to music fans of all generations across the UK and beyond
Oasis spokesperson
The opening track from The Masterplan also provides Oasis with their 27th hit single. Acquiesce, a live favourite featuring the vocals of both Gallagher brothers, leads the way for the band on this week’s chart as a new entry at No.17 (20,021 units).
Following its appearance early on in the band’s setlist, the 1995 b-side (from Some Might Say) sees consumption increase by 877.8% week-on-week. Live footage from the opening show of the tour in Cardiff featuring Acquiesce was released to broadcasters and online outlets, which has clearly boosted its performance.
Classic singles are not far behind it with 1996 No.1 Don’t Look Back In Anger and 1994’s Live Forever returning to the chart at No.18 (19,295 sales) and No.19 (19,239 sales) respectively.
Seven further tracks from Oasis would have made the Top 75 but for chart rules limiting primary artists to three tracks on the chart.
Since the Midweek results, Oasis’ performance has been boosted in the final chart result by the removal of ACR (accelerated chart ratio), which requires catalogue tracks to register double the amount of streams for each chart unit (200 streams on a premium service rather than the usual 100).
In the case of Acquiesce, as a previously non-charting single with a massive surge in streams, that reset to SCR (standard chart ratio) could have been automatic.
For the other Oasis tracks, some of which had already made a chart impact following the tour announcement last year, it is more likely a manual reset, which is allowed by the Official Charts Company where a track is being scheduled for promotion.
Oasis are building up to another big anniversary release with the deluxe reissue of (What’s The Story) Morning Glory? on October 3.
Click here to read part 1 of our feature on the industry’s favourite Oasis songs.
And our interview with Oasis co-manager Alec McKinlay is here.
PHOTO: Big Brother Recordings
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Collect Unova Pokémon in Scarlet & Violet—Black Bolt and White Flare
The Pokémon TCG: Scarlet & Violet—Black Bolt and Scarlet & Violet—White Flare split expansion celebrates all things Unova and features every Pokémon first discovered in the Unova region. If you’re looking to open a booster pack and find your favorite Pokémon, though, you’ll need to choose wisely. Scarlet & Violet—Black Bolt and Scarlet & Violet—White Flare have unique card pools with different Pokémon, and we have just the thing to help.
Download both of these handy Pokédex-style infographics featuring a total of 156 Pokémon first discovered in the Unova region. Each expansion features 78 different Pokémon—all of them appearing as beautiful illustrations—and they’re just waiting to be collected. Looking for a fun collecting challenge? Create a Pokédex-style binder to match the infographics themselves!
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Michael C. Hall on Batista Confrontation
[This story contains major spoilers for the series premiere of Dexter: Resurrection.]
Dexter Morgan died once before, born again as a lumberjack and eventually an upstate New York man about town. What’s one more resurrection between friends?
After getting fatally shot in the heart in the 2022 finale of Dexter: New Blood, Michael C. Hall‘s outlandishly lucky serial killer-killing serial killer once again stalks the land, thanks to the latest entry in the franchise, Dexter: Resurrection.
The series premiere (the first two episodes began streaming on Friday) reveals how Dexter survived a point-blank gunshot wound to the chest, leveled his way by son Harrison (Jack Alcott), thanks to the violence occurring in the midst of radically cold temperatures. Just a few degrees warmer and Dexter would be as dead as all the villains he’s killed in the past. Instead Resurrection finds him alive, if not exactly well, as he suffers through an existential end-of-life crisis littered with ghosts from his past only to come out the other side of it as a man on the run in New York City. (John Lithgow’s Trinity Killer, Jimmy Smits’ Miguel Prado, Erik King’s Sgt. Doakes make cameos; James Remar’s father Harry is also there, along with the graves of departed sister Debra, wife Rita and former colleague Maria LaGuerta.)
Before hitting the road toward the Big Apple, however, Dexter faces down his even bigger past in the form of an old friend shaping up to be a new foe: Angel Batista, the fedora-hatted Miami cop played across the decades by David Zayas. After having returned to the franchise in New Blood, Angel reemerges here with newfound awareness about Dexter, all-but completely clued in on his old colleague’s status as the infamous Bay Harbor Butcher. Angel and Dexter’s wariness of one another comes to a head in the premiere during a scene in the hospital, when Angel lays his cards out on the table, without making a full on declaration of war.
“That scene is one of my favorite scenes I’ve ever gotten to play in the show,” Hall tells The Hollywood Reporter about the long-awaited showdown between Dexter and Angel. “It’s a scene you could only enjoy if you’ve been doing something for as long as we’ve been doing it. We have real memories between us [as actors].
Hall found the scene to be a complicated one for Dexter, who is being confronted by the former Miami Metro Homicide chief he has long respected. “It’s really bittersweet for him to reconnect with someone who was once his friend and colleague, when it was a much simpler relationship,” says Hall. “It’s incredibly rich to face Batista with the knowledge of what Batista now has every reason to suspect, or even knows. It makes for some delicious dynamics. Ultimately, Dexter’s a self-preservationist, but he does have a genuine fondness for Angel, and Angel for him, in spite of everything.”
Michael C. Hall as Dexter Morgan with David Zayas as Angel Batista in the premiere.
Zach Dilgard/Paramount+
For Zayas, the view of the scene is a bit different: “This is a different Angel, with all the information he has now, particularly Dexter just being alive. It’s a new case he has to deal with outside of his environment, in a new place, in New York, where he has no authority as a police officer. He’s having to deal with the cold coming from Miami. There’s so many little issues for him to navigate, while he’s trying to get some justice for all of what he’s missed over those many years.”
Rather than face that justice, Dexter evades it, hitting the road for New York for one reason and one reason only: Harrison. Dexter finds out his son is still alive and not all that far away, living in Manhattan working at a hotel. What’s more, he’s killing at that hotel, and Dexter hears about it, leading him to charge into action to atone for his biggest sin of all: letting his son down.
“Dexter’s invested in the fact of his humanity in a way that feels more substantial and committed than ever before,” says Hall, adding, “But there’s also a new set of characters Dexter interacts with that feels fantastical in a good way.”
Those new characters are a who’s-who of serial killers, played by Uma Thurman, Peter Dinklage, Neil Patrick Harris, Krysten Ritter, Eric Stonestreet and David Dastmalchian.
“The spectrum between those two things feels even broader and more vibrant. We’re proud of it,” says Hall of the show’s confrontation between Dexter’s humanity and serial killer identity. “The show belongs to us while we’re making it. We’re finished making it, and now it belongs to the fans. I’m excited to give it to them.”
But is he excited to bring justice to Dexter’s doorstep? When the dust settles on Resurrection, it’s hard to imagine how both Dexter and Angel can walk away intact — or even alive, in Batista’s case. If it came down to ensuring Angel’s survival, is Hall open to the idea of finally putting Dexter behind bars?
“It’s certainly within the realm of possibility,” he muses. “If he were to be apprehended, he would probably find himself in a prison population that was pretty ripe for his code. It’s a compelling idea.”
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Dexter: Resurrection’s first two episodes are now streaming on Paramount+ for Paramount+ with Showtime subscribers, before an on-air debut Sunday at 8:00 p.m. Remaining episodes drop weekly.
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