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    Watch Lakeith Stanfield Being Interrogated in ‘Judas and the Black Messiah’

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyAnatomy of a SceneWatch Lakeith Stanfield Being Interrogated in ‘Judas and the Black Messiah’The director Shaka King narrates a sequence featuring the actor opposite Jesse Plemons.The director Shaka King narrates a sequence from his film featuring Lakeith Stanfield and Jesse Plemons.CreditCredit…Glen Wilson/Warner BrosFeb. 12, 2021, 10:54 a.m. ETIn “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.A handful of questions asked during an interrogation in “Judas and the Black Messiah” are key to propelling the plot of this tense historical drama.Set in the late 1960s, the movie follows William O’Neal (Lakeith Stanfield), a young man who becomes an informant, feeding the F.B.I. intelligence about the Chicago Black Panther Party and one of its leaders, Fred Hampton (Daniel Kaluuya.) This early scene comes after O’Neal is caught using a fake F.B.I. badge to steal a car.Narrating the sequence, King says the moment is about “the danger of being apolitical.” O’Neal is asked his feelings about the assassination of the Rev. Dr. Martin Luther King Jr. and admits to being upset. But when asked about the killing of Malcolm X, he has more of an indifferent response. “We really wanted to hit home the old phrase, if you stand for nothing you’ll fall for anything,” King narrates.Read the “Judas and the Black Messiah” review.Read an interview with the director Shaka King.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more.AdvertisementContinue reading the main story More

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    In ‘Crime Scene,’ Joe Berlinger Investigates True-Crime Obsession

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyIn ‘Crime Scene,’ Joe Berlinger Investigates True-Crime ObsessionIn his latest Netflix docu-series, the director of foundational works like “Paradise Lost” turned his lens to the fans and web sleuths that are changing the stakes of true crime.“I’m described as a true-crime pioneer,” Joe Berlinger said. “I liked the pioneer part. The true crime thing makes me a little nervous.”Credit…Dina Litovsky for The New York TimesFeb. 12, 2021, 9:54 a.m. ETThis article contains mild spoilers for the Netflix series “Crime Scene: The Vanishing at the Cecil Hotel”It’s hard to find much that is redeeming in true-crime documentaries these days. They tend to showcase humanity’s worst, there’s a seemingly endless supply, and they’re generally so repetitive that it’s hard to tell one from another. On Netflix, you can watch the four-part “Night Stalker,” about the Los Angeles serial killer Richard Ramirez, and then click over to the four-episode “Crime Scene: The Vanishing at the Cecil Hotel,” in which Ramirez makes a cameo.But “Crime Scene,” directed by the true-crime veteran Joe Berlinger, has some other guest stars, and they make the enterprise a little different than most. One is the title character, the towering Cecil Hotel in downtown Los Angeles. Located in the city’s drug-and-crime-infested Skid Row area, and known for its history of horrors, the Cecil has stories to tell.So do the supporting players. One by one they bear witness to what they haven’t seen, peering out from their computer screens and offering explanations and verdicts. The police covered up the crime. The death metal singer killed her. Wait, it’s just like that one horror movie. Or maybe it’s a ghost story.They are web sleuths, and together they form a sort of uninformed Greek chorus in “Crime Scene,” which premiered on Wednesday. It covers the well-chronicled 2013 disappearance of Elisa Lam, a 21-year-old Canadian tourist. But the story ends up being more about the nature of truth and mass speculation — and about the ethics of true crime, generally — than about any particular crime.Surveillance footage from the Cecil Hotel the night of Elisa Lam’s disappearance became a source of rampant speculation and conspiracy theory among a community of self-appointed web sleuths.Credit…Netflix“The sleuths are very integral to the structure of the show because what’s interesting for me is perception,” Berlinger said in a telephone interview last week. “I wanted the viewer to really experience it the way the web sleuths did in terms of putting together information and the rabbit holes they went down.”Berlinger, who frequently works with Netflix but also does projects with other networks, has been at this for a while, since well before true crime documentaries flooded the airwaves and streaming platforms.In 1992, he and Bruce Sinofsky debuted “Brother’s Keeper,” the wrenching tale of a barely literate farmer accused of murdering his own brother. In 1996, he and Sinofsky released “Paradise Lost: The Child Murders at Robin Hood Hills,” which interrogated the circumstantial evidence that put three Arkansas teenagers in prison, accused of killing and mutilating three young children. Berlinger and Sinofsky made three “Paradise Lost” films altogether, and the teenagers, widely known as the West Memphis Three, were eventually set free.This would seem to be a far cry from “Cecil Hotel,” whose eight-year-old central mystery can be solved by anyone with an internet connection. But Berlinger sees commonalities. For one, those web sleuths.The web wasn’t what it is now in 1996. But Berlinger remembers those who went online, pre-social media, and provided important information about the West Memphis Three. “People can see that these kinds of investigations by regular people can lead to some positive outcomes,” he said.That’s not really the case in “Cecil.” The sleuths go after a death metal artist and ruin his life with false accusations (a touch of satanic panic with echoes of “Paradise Lost,” in which the prosecution uses the West Memphis Three’s taste in heavy metal to help build its case). They obsess over a piece of elevator surveillance footage, seeing proof of evidence tampering where none existed. They accept seemingly every explanation except the simplest one. In general, they get in the way.Some feel the true-crime genre gets in the way as well — of other kinds of documentary and of storytelling in general.A grand Beaux Arts establishment when it was built in 1924, the 700-room Cecil gradually declined into a hub of crime and homelessness.Credit…Netflix“Media companies have grown dependent on the genre,” said Thom Powers, the documentary programmer for the Toronto International Film Festival, in an email. (Powers is a fan of Berlinger, and has programmed his work in the past). “I worry that it’s becoming escapist entertainment that depletes resources from other stories.”“At its worst, the true-crime genre is law enforcement propaganda,” he continued. “The storytelling is so preoccupied with lurid crime details, it rarely pulls back to study larger dynamics.”Even Berlinger has reservations about the genre. His recent body of work comprises several TV docu-series about sensational crimes, including “Conversations With a Killer: The Ted Bundy Tapes,” “Unspeakable Crime: The Killing of Jessica Chambers” and “Jeffrey Epstein: Filthy Rich.” But call him a true-crime filmmaker and he bristles.“I’m described as a true-crime pioneer,” he acknowledged. “I liked the pioneer part. The true-crime thing makes me a little nervous because I think of myself more as a social justice filmmaker spending a lot of time in the crime space.”He added: “I do think there’s a lot of irresponsible true crime being done where there’s no larger social justice message or there’s not a larger commentary on society. It’s just about wallowing in the misery of somebody else’s tragedy without any larger purpose.”The Cecil has tremendous symbolic value connected to the social history and issues of its surroundings. A grand Beaux Arts establishment when it was built in 1924, the Cecil, which is no longer open, gradually declined along with its neighborhood. The area now called Skid Row developed into a hub of crime and homelessness in the ’30s, and the Cecil, a 700-room behemoth, became known for cheap residential accommodations and tawdry doings. Drugs, prostitution and suicides were common. In 1964, the body of a well-liked retired telephone operator, Goldie Osgood, was found raped, stabbed and beaten in her room. The crime was never solved.“There’s a lot of irresponsible true crime being done where there’s no larger social justice message,” Berlinger said. “It’s just about wallowing in the misery of somebody else’s tragedy.”Credit…Dina Litovsky for The New York TimesRamirez, the serial killer, was a guest; he reportedly would go there after a tiring night of killing, throwing his bloody clothes in a nearby dumpster before returning to his room. So was the prolific Austrian serial killer Jack Unterweger, who, posing as a journalist, continued his spree in Los Angeles by killing three sex workers.It’s not hard to summon a dark aura around the hotel, and many media accounts have done just that.“It’s been shown as a really dark place, with Richard Ramirez having been there and of course Elisa Lam,” said Amy Price, the hotel general manager from 2007 to 2017, in a recent phone interview. She also appears in the series. “But I thought how they presented everything was authentic and very fair.”For all that has happened at the Cecil, without Lam’s disappearance there would be no documentary, and probably very little interest in the hotel today. The web sleuths, none of whom have met her, profess their love and affection for her. They, and the series, pore over the elevator video as if it were the Dead Sea Scrolls. We watch, over and over again, as Lam punches a row of elevator buttons and squishes herself into a corner of the elevator, then exits and makes some odd hand gestures. Surely this must all mean something.Or, maybe not. And here’s where you either stop reading (assuming you haven’t already Googled the case) or continue on to the not-terribly-mystical conclusion. In the end, yes, the Cecil was a crime scene. Many times over. But it appears there was nothing criminal about the Lam case, which was, according to investigators, a sad accident.Asked how he reconciles his more high-minded ideals with the true-crime genre’s imperative to entertain, Berlinger pointed to the fact that “Cecil” tackles subjects that go beyond the corpse at its core, including cyberbullying, homelessness and mental illness. But he also knows true-crime viewers are tuning in for the more lurid details, and sometimes that gives him pause.“I do ask myself, if, God forbid, something happened to me or my family, would I want someone to tell that story?” he said in a follow-up email. “If I’m being totally honest, I would only want that if the telling of that story had a larger purpose than just ‘entertainment.’”Is Berlinger having it both ways? Perhaps. But so is any news article about the series, as the layers of meta-critique pile up. With “Cecil,” he argued, playing to that true-crime imperative is exactly why it works.“In some ways, we’re being very self-reflexive in using the conventions of true crime to seemingly tell a true-crime mystery,” Berlinger said by phone. “Then, we turn it on its head at the end.”He added: “I thought it was appropriate and interesting to choose a crime that actually isn’t a crime, with a perception that something nefarious happened but, in fact, it wasn’t a crime at all.”That’s certainly one way to tweak the true-crime genre. Just remove the crime.AdvertisementContinue reading the main story More

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    Henry Golding Dominates Valentine's Day Streaming With Two of His Rom-Coms

    WENN/Brian To

    The actor’s movies ‘Last Christmas’ and ‘Crazy Rich Asians’ have landed first and third in a new poll of the most streamed films over the February 14 period in 2019 and 2020.

    Feb 12, 2021
    AceShowbiz – Henry Golding has become the king of Valentine’s Day romantic comedies among American film fans, according to a new Fandango/Vudu study.
    The actor’s films “Last Christmas” and “Crazy Rich Asians” both feature in the top three of a new poll to find the most streamed films over the Valentine’s Day period in 2019 and 2020. And “Last Christmas” picked up so many views on top U.S. pay-per-view site Vudu last year, following its release the previous November 2019, it charged into the top three at three.
    “Crazy Rich Asians” is the most popular film on the site over successive Februarys, while Sandra Bullock/Ryan Reynolds movie “The Proposal” comes in second. Reese Witherspoon’s “Sweet Home Alabama” and “The Princess Bride” come in fourth and fifth.
    Julia Roberts’ 1990 film “Pretty Woman” land sixth in the list, whereas Adam Sandler-starring “The Wedding Singer” secure the eight spot. Rounding up the top ten are Jason Segel’s “Forgetting Sarah Marshall” as well as Glenn Ficarra and John Requa-directed “Crazy, Stupid, Love.”.

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    Golding has been a presenter on BBC’s “The Travel Show” before he made his big break in acting through “Crazy Rich Asians”. In the wake of the success, he landed a part opposite Blake Lively and Anna Kendrick in Paul Feig’s “A Simple Favor”. He teamed up once again with Feig for “Last Christmas” that paired him with Emilia Clarke.

    A Malaysian-British actor/model, Golding turned 34 on February 5. Celebrating the milestone amid the COVID-19 pandemic, the husband of Liv Lo shared his positive outlook for the year ahead. “Another year around the sun… This next one is shaping up to be one of the best,” he posted on Instagram. “thank you for all your love and support for my birthday!”

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    Jason Biggs Dreading the Day His Kids Finally Get to See His Racy Movie 'American Pie'

    Universal Pictures

    The ‘Orange Is the New Black’ actor is really not looking forward to the day when his young children are finally old enough to watch his raunchy comedy movie.

    Feb 12, 2021
    AceShowbiz – Jason Biggs is dreading the day his young kids finally get to see dad making love to a pie in the raunchy film that helped make him famous.
    The “American Pie” actor became a household name when the comedy became a huge hit in 1999, but his kids Sid, six, and three-year-old Lazlo, are too young to see daddy’s most famous credit – and he’s glad he has a few years to prepare for that family film night.
    “Me watching American Pie with my kids is probably going to take on its own little weird thing,” the star told “Live with Kelly and Ryan”.

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    “Sid has heard of American Pie because he’s been with me when people have come up to me and he’s heard about it. He’s asked if he can see it and we’ve told him, ‘No, it’s rated R and you know, I have sex with a pie’… No, I didn’t tell him that… He knows it’s rated R for bad words. That’s his take. He said, ‘R for bad words, not violence’, which is very cute.”
    “The pie might say it’s little violent,” Biggs added with a laugh. “The pie might have a different (view).”
    Jason Biggs shared screen with the likes of Chris Klein, Natasha Lyonne, Thomas Ian Nicholas, Tara Reid, Mena Suvari, and Eugene Levy in the Paul Weitz-directed movie. He returned for the three sequels “American Pie 2” (2001), “American Wedding” (2003), and “American Reunion” (2012).
    The franchise also spawned a series of direct-to-DVD spin-offs which starred a whole new cast.

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    Amy Schumer Teasing 'Trainwreck' Sequel, J.K. Simmons Circling 'Being the Ricardos'

    WENN

    The ‘Snatched’ actress is keen to reunite with LeBron James for ‘Trainwreck 2’ while the ‘Whiplash’ star is close to joining Nicole Kidman and Javier Bardem in Aaron Sorkin’s new movie.

    Feb 12, 2021
    AceShowbiz – Amy Schumer and Lebron James are toying with fans’ dreams of a “Trainwreck” sequel.
    The comic teamed up with the basketball superstar for the 2015 film, which marked LeBron’s movie debut, and now both are starting to talk about a follow-up.
    Reposting a fan’s note on Instagram, which read, “We need another film with both of you together. Trainwreck is too darn funny,” Amy asked James, “Is this time next year good for you?”
    He replied, “I think we can make that happen! Trainwreck 2???” along with a shrugging emoji.
    Thrilled Schumer then gave fans of the film a big boost, writing, “Legoooooooo (sic).”

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    In the film, Amy played an unlucky in love magazine writer, who falls for Bill Hader’s sports doctor. His best friend is played by LeBron.
    In another news, Oscar winner J.K. Simmons and “Billions” star Nina Arianda are close to signing on to portray William Frawley and Vivian Vance in Aaron Sorkin’s new film, “Being the Ricardos”.
    Actors Frawley and Vance played neighbours Fred and Ethel Mertz in “I Love Lucy”.
    Nicole Kidman and Javier Bardem will tackle the roles of Lucille Ball and Desi Arnaz in the film.
    The movie will follow the couple and their associates over the course of a week, as Lucy and Desi face a crisis that could end their careers and another that could end their marriage, according to Deadline.
    Lucie Arnaz and Desi Arnaz Jr., Lucille and Desi’s kids, are among the film’s producers.

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    ‘To All the Boys: Always and Forever’ Review: Love Sweet Love

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main story‘To All the Boys: Always and Forever’ Review: Love Sweet LoveThis final installment of the Netflix rom-com trilogy is earnest, bright-eyed and without a hint of cynicism.Noah Centineo and Lana Condor in “To All the Boys: Always and Forever.”Credit…Katie Yu/NetflixFeb. 11, 2021To All the Boys: Always and ForeverDirected by Michael FimognariComedy, Drama, Romance1h 49mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Levain’s double-chocolate cookies, Magnolia’s chocolate cupcakes: Among friends and family, I’m known as a notorious sugar fiend, a connoisseur of New York’s most seductive cavity-causers. And yet even my mighty sweet tooth has met its match in the form of a cinematic sweetmeat: “To All the Boys: Always and Forever.”The final installment of the Netflix rom-com (adapted from the book by Jenny Han) about a high school romantic’s secret love letters and her faux-fling-turned-real-thing with a popular jock finds our star couple in their senior year. It’s a seminal time in the life of these teens, Lara Jean Covey (Lana Condor) and Peter Kavinsky (Noah Centineo); there’s a journey to Korea, promposals, college acceptances, a cross-country trip to a beautifully mask-less New York City (where Levain and Magnolia make cameos) and a wedding. Lara Jean and Peter are still going strong and have a plan for college: They’ll both go to Stanford, natch. But when Lara Jean is rejected from Stanford and starts considering the other shapes her future could take, happily ever after gets a bit more complicated.[embedded content]“This is a little dramatic, even for you,” says Kitty (Anna Cathcart), Lara Jean’s little sister and professional heckler, observing the conflict. But that’s also this trilogy’s modus operandi: Its drama consists of adolescent trifles that never have real stakes, especially in the eyes of those who have left high school far behind. It doesn’t matter if you can see the tiny heartbreaks and grand gestures of love from a thousand miles away. “Always and Forever,” directed by Michael Fimognari with candy-cute sets, distressingly stylish costumes and vivacious cinematography, doesn’t have a hint of cynicism. Like Lara Jean herself, this bright-eyed pubescent lovefest is an earnest romantic, admiring every rote route to “I love you.” (The references to “Say Anything” and “Pride and Prejudice” are almost too much.)Condor and Centineo are as endearing as ever, like a teenage dream come to life, and both carry their characters’ rocky moments with ease. The main conflict, which is approached with a slow simmer (“Always and Forever” takes its time parading its lovers), sets up our heroine at a crossroads that, if this were another film, might have led to something more profound and surprising. Independence and personal growth vs. prioritizing a relationship at the cost of one’s self: This is the choice when a couple graduates past the little love notes and locker gifts of early infatuation.“To All the Boys” ultimately gets to have its cake (or, rather, cookies, in Lara Jean’s case) and eat it too, and even at its most saccharine I can’t fault it for committing fully to what it is. I’m no fan of Valentine’s Day unless it’s a heart-shaped confection, but for those who are, “To All the Boys” is a light but satisfying dessert.To All the Boys: Always and ForeverNot rated. Running time: 1 hour 49 minutes. Watch on Netflix.AdvertisementContinue reading the main story More

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    The Golden Globes Celebrated Sia’s ‘Music.’ Autistic Activists Wish They Hadn’t.

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyThe Golden Globes Celebrated Sia’s ‘Music.’ Autistic Activists Wish They Hadn’t.Three decades after “Rain Man,” detractors say this new film about an autistic character is regressive and potentially harmful.Maddie Ziegler, left, and Kate Hudson in “Music.” Ziegler plays the title character, which the director, Sia, has said is based on an autistic boy she knew.Credit…Merrick Morton/Vertical EntertainmentFeb. 11, 2021Updated 5:45 p.m. ETWhen Charlie Hancock first heard about a new musical movie centered on a girl on the spectrum, she was thrilled. “I thought, ‘Great. I love musicals,’” said Hancock, a first-year student at Oxford University who is autistic and wrote an essay on the film. “‘This could be an opportunity for more representation and perhaps a type that we haven’t seen before.’”Her excitement quickly turned to distress.As details emerged in the last few months about that film, “Music,” which is directed and co-written by the pop star Sia, disability rights advocates grew increasingly concerned about potential bias in the plot as well as the decision to cast a performer who wasn’t autistic. Those worries escalated into a backlash in November, when the trailer’s release set off a fight between the musician-turned-filmmaker and her online critics, and again in January, when leaked scenes seemingly endorsed a controversial physical restraint technique. Then, to the surprise of industry insiders and the autism world alike, the film garnered two Golden Globe nominations last week. Though Sia has since offered an olive branch to detractors, the anger remains.“Nominating ‘Emily in Paris’ is one thing. It’s a harmless bit of mediocre fluff,” Ashley Wool, an autistic actress in upstate New York, said, referring to the Netflix series that also received surprise Globe nominations. “‘Music’ is something that’s doing active harm to people. This gives it a veneer of legitimacy that it doesn’t deserve.”The film will be available on demand Feb. 12 in the United States but has already opened in Sia’s native Australia to dismal reviews and a weak box office. It follows a girl named Music and her newly sober half sister, Zu (Kate Hudson), who becomes Music’s guardian. Music, played by Maddie Ziegler, can’t speak, and viewers are simply told that she is a “magical little girl” who sees the world differently. Song-and-dance interludes illustrate what’s going on inside Music’s head. Sia, who has said Music was based on an autistic boy she knew, has described the film as “‘Rain Man’ the musical, but with girls.”Dustin Hoffman and Tom Cruise in “Rain Man.” Disability rights advocates say Hoffman’s character played into stereotypes about autism. Credit…United ArtistsYet that 1988 film represents exactly the kind of stereotypical portrayal that disability rights advocates say they don’t want to see in 2021: a neurotypical star (Dustin Hoffman) playing an autistic savant stereotype. Research shows that disabled characters are overwhelmingly played by nondisabled actors on film and TV. A recent rare exception was Pixar’s 2020 animated short film “Loop” that won praise for featuring a nonspeaking autistic actress of color in the lead voice role.Like Music, the “Loop” actress and character had difficulty forming words but still frequently vocalized. More common is the casting of a nonautistic performer like Ziegler. The actress, a recurring Sia collaborator, ultimately replaced “a beautiful young girl nonverbal on the spectrum” who found the experience “unpleasant and stressful,” Sia said in a tweet.Because there are so few autistic characters onscreen, choices about depictions matter greatly, critics contend. “Some people might say any representation is better than nothing. I’ve heard that argument as a Black person. I’ve heard it as queer person. I’ve heard it as a woman. I’ve heard it as an autistic,” said Morenike Giwa Onaiwu, a visiting scholar in humanities at Rice University. “I’m tired of the scraps and the crumbs. I’d rather not see us on the screen than see us in a way that fuels stigma.”Publicists for “Music” did not reply to requests to speak to Sia or to clarify details surrounding the film for this article. Publicists for Hudson and Ziegler, who was 14 when the film was shot in 2017, did not respond to requests for comment.Many detractors say problems with the film are, as Hancock put it, “baked into its very DNA” because Music isn’t really at the center of “Music.” Instead, they say, it’s Zu who is given a complex narrative of growth and depth; Music merely serves as a catalyst to help Zu on her journey to become a better person. It’s “the idea that we’re not characters or people in our own right,” Hancock added, “but we exist in order to inspire the nondisabled people in our lives and, by extension, the audience.”After the first trailer dropped in November and activists on Twitter criticized the film’s approach, Sia reacted angrily, arguing that she had spent three years on research and that her intentions were “awesome.” When one autistic performer said she felt that “zero effort” had been made to cast an autistic lead, Sia replied, “Maybe you’re just a bad actor.”Musical interludes in Sia’s film, with Hudson, left, and Ziegler, serve to illustrate what’s going on in Music’s  mind.Credit…Merrick Morton/Vertical EntertainmentFor autistic artists, the fact that Sia said a neurotypical actress was recast as the lead sends the troubling message that autistic people are bad hires.“First, it’s undermining autistic people’s capabilities and making us out to be infants,” Chloé Hayden, an autistic actress in Australia, said. “Second, if your film is about inclusion, but you’re not making the actual film set inclusive, it completely belittles the entire point.”Critics have also taken issue with two scenes showing Music having a meltdown and being subjected to prone restraint, a practice in which people, often disabled, are put in a facedown position while force is used to subdue them. Versions of the method have been linked to serious injuries and death. But when a saintly neighbor, played by Leslie Odom Jr., restrains Music, it’s portrayed as an act of kindness: He lies on top of her and says he’s “crushing her” with his love. Later, in a public park, he instructs Zu on how to use the restraint on Music.“It really shows that a project about autism will be hollow and not serve our needs — and can even be harmful to us — if we’re not helping tell the story,” Zoe Gross, director of advocacy at the Autistic Self Advocacy Network, said. “This is something that could kill people.”In an emailed statement, Odom said, “When we make something or when we sign up to help someone we respect make something, our hope is always that the work is the beginning of a conversation. The filmmakers make the art, but we don’t get to dictate or decide the contents or parameters of the ensuing conversation. The other half of the conversation regarding this work is just beginning. I am listening.”Following the news earlier this month that “Music” had been nominated for two Golden Globes (best musical or comedy, and best actress for Hudson), three advocacy organizations — Gross’s network, CommunicationFIRST and the Alliance Against Seclusion and Restraint — joined to issue an open letter expressing “grave concerns” about the restraint scenes and calling for the film to be pulled from release.The letter noted that “a committee of nonspeaking and autistic people” had been invited to screen the film and provide feedback in late January, and the filmmakers “failed to respond and address” their recommendations, including cutting the prone restraint scenes entirely.Hours after the nominations, Sia tweeted an apology and said that her “research was clearly not thorough enough” and that she had “listened to the wrong people.” The star, who soon after deactivated her Twitter account, also announced that a warning would be added to the film stating that it “in no way condones or recommends the use of restraint on autistic people,” and that those scenes would be removed from “all future printings.” Those scenes remained in a screener provided to a New York Times critic reviewing the film.A change.org petition calling for the film to be “canceled” has nearly 19,000 signatures. But Onaiwu of Rice University said she was not looking to destroy anyone’s career, even if she condemned the film.“It’s not about demonizing Sia. You’re not canceled. We need allies and powerful voices,” Onaiwu said. “Use your platform to try to help dismantle ableism and promote neurodiversity and make opportunities for autistic people. You can use your experience to do that.”AdvertisementContinue reading the main story More

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    Tina Turner Documentary Scheduled for April Release

    WENN

    Coming from Oscar-winning directors, the upcoming movie that chronicles the life and career of the Queen of Rock and Roll has been set to debut in April this year.

    Feb 12, 2021
    AceShowbiz – A new documentary about Tina Turner will be released in the UK in April.
    The project, simply titled “Tina”, has been described as “the ultimate celebration of a global superstar” and has been directed by Oscar-winning filmmakers Dan Lindsay and T.J Martin. A synopsis for “Tina” – which tells the story of the chart-topping music star – reads, “From her early career as the queen of R&B to her record-breaking sell-out arena tours of the 80s, Tina Turner draws back the curtain to invite us into her private world in a way she has never done before.”
    “Revealing her inner-most struggles, and sharing some of her most personal moments, Tina is the defining and inspirational record of one of the greatest survivors in modern music.”
    Producers at Lightbox, the same company behind the 2012 Rodriguez documentary, “Searching for Sugar Man”, have been granted exclusive access to the retired rock icon for a new project, which will delve into “The Best” hitmaker’s life and career.

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    The film is part of a new block of content booked to air on U.K. network Sky.
    The release date was revealed as Tina Turner was announced as a nominee for the upcoming Rock and Roll Hall of Fame induction.
    Other candidates for Class of 2021 include Mary J. Blige, Jay-Z, LL Cool J, Foo Fighters, Dionne Warwick, the late Nigerian musicial icon Fela Kuti, Carole King, Kate Bush, Devo, Chaka Khan, Todd Rundgren, the New York Dolls, and Rage Against the Machine.
    Music fans can cast their votes for their favourite stars beginning Wednesday through 30 April on the Rock Halls website.

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    Robin Thicke Lost Confidence in His Own Music as He ‘Chased’ Fame During Early Career

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