Best Nonfiction Film: "Time"
And while "Ma Rainey's Black Bottom" failed to top any of the acting categories, it did find itself close to a win in the best actress, best actor and best supporting actor categories. Boseman, who was the runner-up for best actor due to his performance in the Viola Davis-led film, also came close to winning best supporting actor for "Da 5 Bloods." He came third in the category.
Maria Bakalova, who shot to fame after her performance in "Borat Subsequent Moviefilm," won the honor of best supporting actress following this year's vote, while "Sound of Metal" star Paul Raci was dubbed best supporting actor.
Film Heritage Awards: Women Make Movies, Film Comment, the Brattle Theatre (Cambridge, MA)” />
Best Supporting Actress: Maria Bakalova, "Borat Subsequent Moviefilm"
Best Director: Chloé Zhao
Best Actor: Delroy Lindo, "Da 5 Bloods"
Best Picture: "Nomadland"
Best Actress: Frances McDormand, "Nomadland"
The film won best picture and best cinematography, while Zhao was awarded best director and star Frances McDormand was named best actress. Chloé Zhao's "Nomadland" led this year's National Society of Film Critics awards, winning the top honor in four categories.
Best Foreign-Language Film: "Collective"
Best Screenplay: Eliza Hittman, "Never Rarely Sometimes Always"
The full list of winners and runners-up can be found on the National Society of Film Critics' announcement thread, or read below for those who took home first place.
Category winners are those who received the most cumulative points. The 55th annual voting meeting took place Saturday, with results being shared to the organization's Twitter account as each category was voted upon. A weighted ballot system required voters to select their first, second and third choices for each category, with each position earning the film a different score.
Best Supporting Actor: Paul Raci, "Sound of Metal"
Delroy Lindo earned the title of best actor for his role in Spike Lee's "Da 5 Bloods." Lindo's portrayal of a military veteran received critical praise throughout the year.
Best Cinematography: Joshua James Richards, "Nomadland"

Queen Latifah is an enigmatic hero in the 30-second teaser for CBS' "The Equalizer," which is a reimagining of the 1980s series of the same name starring Edward Woodward.
Watch the teaser below.
While acting as a guardian angel to others, Robyn is also seeking her own redemption. Latifah stars in the series as Robyn McCall, a single mother with a mysterious background who uses her skills to protect and defend those who cannot do so for themselves.
John Davis, John Fox, Debra Martin Chase, Andrew Marlowe and Terri Miller serve as executive producers. Besides her starring role, Latifah is also credited as a co-creator of the series alongside Richard Lindheim, who was one of the creators of the original series.
Set to premiere Feb. 7 after the Super Bowl, the series marks the second reboot of "The Equalizer" franchise, following the 2014 film starring Denzel Washington and its 2018 sequel. The cast also includes Tory Kittles, Lorraine Toussaint, Liza Lapira and Adam Goldberg.
"This new side gig of yours is raising questions to the CIA," Noth's character says. Chris Noth, who portrays an ex-CIA director, also appears in the teaser, giving viewers a hint about Robyn's past career. "I don't work for them anymore," Robyn quips.
The teaser introduces Latifah's character and her daughter, Delilah, played by Laya DeLeon Hayes. "What's up with you, mom? Out of nowhere you quit your job last month, you wanna talk about it?" Delilah asks in the clip, to which Robyn responds: "It's complicated." Cue a montage of Latifah's character wielding guns, dodging explosions and saving people.″ />

Amazon informed Parler, which boasts of taking a hands-off policy to content moderation, of the imminent loss of its internet hosting services on Saturday. That came after Apple and Google banned Parler from their respective app stores, also citing Parler's inaction on policing violent and harmful content. On Friday, Twitter banned Donald Trump permanently while the president's accounts on other internet services have been suspended indefinitely in the wake of Wednesday's violent assault on the U.S. Capitol by a pro-Trump mob.
Parler may be unavailable "for up to a week as we rebuild from scratch," he wrote, adding, "We prepared for events like this by never relying on amazons proprietary infrastructure and building bare metal products." Matze also alleged that the actions taken against Parler are a "coordinated attack by the tech giants to kill competition in the marketplace."
Parler CEO John Matze — who briefly worked at Amazon's AWS division in 2017 as a software engineer, according to his LinkedIn profile — confirmed that Amazon told his company they are shutting off its hosting services.
Unless Parler is quickly able to find a new hosting provider, the app and site will go offline later Sunday. News of AWS's move to drop Parler was first reported by BuzzFeed News. In explaining the decision, Amazon said it found nearly 100 examples of violent threats posted on the far-right social app.
Parler, the far-right social network favored by many Trump supporters, is set to go dark Sunday after Amazon's AWS division said it is pulling the plug on the service's hosting account.
Right now people are suppose[d] to come together, calls to cancel people and remove free speech will radicalize people more." In an earlier post, Matze wrote, "Do my former co-workers at AWS realize calls to violence are against our TOS [terms of service]… What are you trying to accomplish?
"Sunday (tomorrow) at midnight Amazon will be shutting off all of our servers in an attempt to completely remove free speech off the internet," Matze wrote in a Saturday evening post on Parler.
The AWS notice to Parler's chief policy officer, Amy Peikoff, included screengrabs of posts on the app that “clearly encourage and incite violence” included references to executions by firing squad as well as comments encouraging "patriots" to bring weapons to Washington, D.C., for president-elect Joe Biden's inauguration on Jan. 20.
Because Parler cannot comply with our terms of service and poses a very real risk to public safety, we plan to suspend Parler’s account effective Sunday, January 10th, at 11:59 PM PST.” “However, we cannot provide services to a customer that is unable to effectively identify and remove content that encourages or incites violence against others. “AWS provides technology and services to customers across the political spectrum, and we continue to respect Parler’s right to determine for itself what content it will allow on its site,” the Amazon notice to Parler said in part.
Parler had informed AWS that it was enforcing its guidelines with a team of volunteers. This is further demonstrated by the fact that you still have not taken down much of the content that we’ve sent you."” /> In its letter, Amazon said, "It’s our view that this nascent plan to use volunteers to promptly identify and remove dangerous content will not work in light of the rapidly growing number of violent posts.

In music we use the term "counterpoint," where two melodies play off one another. We tried to create a similar effect in the film, letting the soundtrack and dialogue recount a different story than the visuals. The film has an almost musical structure. The visuals could be in the 1960s while the voice-over anchored in the 2000s. And that would not have been possible had we anchored the narrative to any one timeline. Literature has episodic novels, Russian nesting doll constructions where one story leads into another, and that’s something I wanted to evoke. We see that some of the most deplorable characters from the 1960s segments will pay for their sins for the rest of their lives.
The Party Film Sales in partnership with Wild Bunch International are handling global sales, while local distributor Ad Vitam will release the title onto French screens in early 2021. Synecdoche and Artemis Productions are producing.
Do you see this as a kind of follow-up to your previous film, “This Is Our Land,” which explored the lure of the modern far right?
We’ve seen [several examples over the past few years]. So for all those reasons, I’d say this film arrived at the right time. Indeed, this film is almost a companion piece to “This Is Our Land.” They’re two currents in the history of France, because we know that the birth of the National Front was directly tied to the Algerian colonialist movement. So on a personal level, it made sense to continue examining this topic. There needs to be a kind of truth and reconciliation commission, like there was in South Africa. Whereas on a social level, we’ve seen a real move to revisit this period that French society had such trouble digesting. We need that in France, to reflect what really happened in Algeria.
With his follow-up, “Home Front,” the Franco-Belgian auteur explores the roots of those prejudices. With 2017’s “This Is Our Land,” director Lucas Belvaux examined the ways in which far right movements attract, recruit and reformat new converts, curdling contemporary anxieties for acrid political goals. 13-15). The film, which was part of Cannes' selection last year, is screening this week at UniFrance's Rendez-Vous with French Cinema in Paris (Jan.
The second lockdown hit several weeks before the film’s release, so we didn't pass the deadline. I’m still impatient of course! In the end, we were lucky in our misfortunes. But I’ve lived through worse.” /> I want the film to get out, for it to be finally seen. Which was not the case for several films that only saw two days of release before everything shut back down. We just pushed the release a few months without losing much. Posters had yet to go up, and we could still postpone plenty of press and promotional aspects.
The film is divided into two timelines, following the characters in Algeria in the early 1960s and in France 40 years later. Only that also makes it something of a period piece, as the "present tense" is still set nearly two decades ago. Was it easier to make this film with that additional distance?
How did you approach this particular adaptation? Though you’ve already written and directed several literary adaptations, “Home Front” has a novelistic structure – more so than in any of your previous work.
While the more cerebral Rabut (Jean-Pierre Darroussin in modern times, Edouard Sulpice in flashback) has tried to forge ahead, his cousin Bernard (Gerard Depardieu now, Yoann Zimmer then) remains a livewire, looking for any provocation to snap back into violence. Local draw Catherine Frot rounds out the cast. Adapted by Belvaux from Laurent Mauvignier 2009 novel “The Wound,” the film follows two working-class cousins as they fulfil their colonial military duties in 1960s Algeria and as they nurse their scars and traumas in Burgundy of 2003.
By definition a book doesn’t have voice-overs – it’s all monologues or soliloquies. In this case, the source text was very literary, marked by very precise language. With a film, you can build on the texts, multiplying the voices and playing them off another. We had to take the structure he created and find cinematic equivalents. Even books by [bestselling mystery writer, and creator of the Detective Maigret series] Georges Simenon, which feel self-evidently cinematic on the page, can be difficult to actually adapt. We often say this or that book was made to be a film, but in practice that’s not often the case! [Rather than inhibiting our work] that allowed for interesting cinematic translations.
The film was selected by Cannes, which couldn’t go on as planned, and then had to reschedule its release when France went back into lockdown in October. What is it like releasing a film in such uncertain times?
Indeed, the children of those men also suffered from their fathers’ PTSD, so today it’s more often the grandchildren – who are more distanced from the firsthand and secondhand trauma – that are really approaching the subject with a fresh look. We could have made a version of this story in 2003, but it would have been more complicated. For one thing, the book itself hadn’t been written at that point. Laurent Mauvignier built on the histories of his father and uncle, who both fought in Algeria. Neither of them would speak about it for years; it was like that for many families – either the veterans would never speak about it, leaving their children and grandchildren to piece their stories together, or they would only reveal their stories very late in life.

When he spoke to Variety in December, Baron Cohen was eerily prescient in outlining the risks he thought some of these claims of voting fraud posed even after Trump lost the presidency to Joe Biden.
"People have their own opinions about that system of shared facts. So people don't want to wait for the truth and they don't want to share the truth." Social media is predisposed to spread lies and conspiracy theories, while the truth is quite boring and dull. "Authoritarian regimes rely on shared lies, democracies rely on a system of shared facts," Baron Cohen said.
"If [social media companies] don't act fast to stop anti-vaxxers from spreading their conspiracy theories on social media, the amount of people who die will be hundreds of thousands, if not millions more," he said.
The connection between that type of outrage and the violence it can provoke was vividly on display during the insurrection at the Capitol. Baron Cohen also predicted that social media platforms could have a deleterious impact on the ability of public health officials to encourage Americans to take the coronavirus vaccine.
"We still have 80% of those who voted for Trump believing the election was stolen and that's a very dangerous figure. I'm a comedian and an actor. I'm not a historian or a sociologist, but having spoken to some of the eminent historians who specialize in how democracies turn into authoritarian regimes, there's a consensus that when you have a large body of the population who believe they've been wronged, that segment of the population can be used to do horrific things." "The danger of Trump and Trump-ism will remain," Baron Cohen said.
"These are trillion dollar companies," he said. "They're run by some of the richest people in the world. There is huge unemployment now due to coronavirus."
We are going to employ hundreds of thousands of people, potentially millions of people worldwide, and share these profits and use these people to help curb the excesses of our companies."” /> Baron Cohen went on to argue that these companies should say, "We are going to share some of that wealth.
The "Borat" star has a novel idea. He argues that Facebook, Twitter and other platforms should deploy an army of digital fact checkers and monitors to curb the spread of conspiracy theories.
Will you be the mouthpiece for the cause?' All of them refused." This is really dangerous. They know who they are, but I approached a number of celebrities over the years, trying to say: 'Listen, this is the issue right now. "I've spent my entire career trying to shy away from publicity," he told Variety during the cover interview, adding, "While I was aware of the dangers of social media from 2015 onwards, I was trying to find a celebrity who would actually take up the cause.
During an extensive interview for a recent Variety cover story on his star turns in "Borat Subsequent Moviefilm" and "The Trial of the Chicago 7," Baron Cohen made it clear that he was worried that social media platforms posed an existential threat to democracy.
Zuckerberg and other Silicon Valley figures have been reluctant to crack down on conspiracy theorists because they argue it violates free speech. Baron Cohen doesn't buy that argument.
For Sacha Baron Cohen, it was the culmination of an extensive campaign, one that has seen the comedian use his celebrity to mount an unusually consequential effort to press big tech to crack down on QAnon and other fringe and far-right groups. Shortly after Twitter enacted its ban, Baron Cohen, one of the most outspoken critics of social media's role in spreading conspiracy theories and hate speech, was ebullient.
Baron Cohen first went public with many of those concerns in 2019 at the Anti-Defamation League’s Never Is Now summit, where he delivered a blistering take-down of Facebook, Twitter, YouTube and other social media companies hands-off approach to policing their content. It's one of the reasons that Facebook banned QAnon and Twitter started offering disclaimers on content that made baseless claims about election rigging. It was not a position, that of digital Cassandra, that Baron Cohen eagerly embraced. That organization successfully mounted advertiser boycotts and convinced celebrities to stop posting on Instagram in protest. He then helped form Stop Hate for Profit, a coalition of advocacy groups and civil rights organizations that included the NAACP, Free Press, and the ADL.
He followed that tweet with another message, "This is the most important moment in the history of social media. The world’s largest platforms have banned the world's biggest purveyor of lies, conspiracies and hate. "We did it," he tweeted. To every Facebook and Twitter employee, user and advocate who fought for this–the entire world thanks you!"
Capitol. The move kicked off praise from liberal sectors and condemnation from conservatives who believe it's an example of Silicon Valley overreach. The ban followed Mark Zuckerberg's decision to bar Trump indefinitely from Facebook, limiting the president's ability to communicate directly to tens of millions of his most diehard supporters. On Friday, Twitter banned Donald Trump from his favorite platform, citing the 45th president's potential to whip up more violence after the week's deadly riot at the U.S.
"The tend to keep on spouting the phrase 'freedom of speech' without any real understanding of the purpose of freedom of speech and the definition of freedom of speech or that the United States has an exceptional view of freedom of speech that came about because of its exceptional history," Baron Cohen said. "There are limits to freedom of speech in Europe that came about because of the effect of Nazism. There is a form of ideological imperialism whereby the views of a handful of billionaires in Silicon Valley is imposed on the entire world."

Apted’s first big commercial hit was “Coal Miner’s Daughter,” the lively Loretta Lynn biopic that earned Sissy Spacek an Oscar. He also made movies about mystery novelist Agatha Christie (“Agatha”) and primatologist Dian Fossey (“Gorillas in the Mist”), and followed up the jokey, juvenile James Bond outing “The World Is Not Enough” (a serviceable yet retrograde entry which I have previously described as “nothing if not a reversion to the franchise’s most adolescent tendencies”) with guilty-pleasure female-empowerment potboiler “Enough,” starring Jennifer Lopez as a woman who learns to defend herself in order to stand up to her abusive husband.
None had come out as gay, although Apted’s questions didn’t pry into that realm — indeed, there’s only so much you can cover, especially when navigating a certain respect for privacy (these participants began as children, after all, and their consent became more clear in later years). Of the “kids” in the “Up” movies, only one died before the director, although another had a bad case of throat cancer at the time of the last installment. The final film, “63 Up,” released last year, was seriously concerned with Brexit, which Apted (rightly) assumed might provoke different opinions among the range of classes represented.
That made him 15 years senior to his subjects, with whom he maintained contact, establishing an almost familial connection that spanned more than half a century. Michael Apted was 22 when he joined the crew of “Seven Up!,” a British made-for-television documentary that profiled 14 children from different class backgrounds.
Today, in a world shaped by reality TV, this may seem obvious. What struck me as most fascinating about the series when I first watched one of Apted’s septennial installments (I believe it was “42 Up,” released in 1998) was surely among the least anticipated aspects: The project made these children famous, and that public attention became a factor in their own development. After all, many fame-seekers vie to be contestants on various shows with the express intention of leveraging the exposure for their own career goals. But in the case of the “Up” series, celebrity became a kind of burden. Several of the subjects declined to participate in subsequent installments, whereas others endured the intrusion for a calculated benefit (Peter Davies had a band to promote, and Brisby used the spotlight to boost various charity organizations).
And though his for-hire gigs helming the Bond movie and Narnia sequel “The Voyage of the Dawn Treader” were by far the most profitable of his career, the “Up” series remains his most enduring legacy. Apted, who alternated between film and television throughout his career, was well loved within the directorial community, serving as president of the Directors Guild of America from 2003 to 2009.
In the Czech Republic, director Helena Třeštíková has spent more than 40 years following 10 married couples via her “Marriage Stories” series (just one of several decades-spanning documentary projects where audiences benefit from a kind of fly-on-the-wall intimacy, versus Apted’s more format interview approach). Unlike Apted, who once said he hoped to continue the “Up” series until he was 99 — which would take him as far as “84 Up” — Třeštíková has arranged for her daughter to carry on her work when she dies. It is not, in fact, the only longitudinal documentary series, though it has inspired many other filmmakers — including Steve James (“Hoop Dreams”) and Richard Linklater with his own time-spanning “Boyhood” film — to invest years in their subjects.
In terms of such a study, the results were baked into the premise, which is to say that Apted essentially found what he was looking for. As conceived, the “Up” series had a decidedly sociological bent, focusing on the British class system and to what degree it determined the course of those kids’ lives. One of these, Jackie Bassett, declined to participate for several installments because she felt that Apted’s questions toward the women were unfairly focused on romantic/domestic matters, whereas the boys were asked about their professional ambitions. For example, John Brisby, arguably the most “successful” of the lot in his career as a barrister, was presented as a privileged, privately educated middle-class lad (whom one newspaper described as “the archetypal Tory squire”), though the films downplayed challenges he faced at home. Only one of the children was Black, and disproportionately few (just four) were girls, reflecting other biases inherent in the initial selection.
But there are common elements between all these projects, whether film or TV, fiction or non: From recovered-sight thriller “Blink” to wild-child drama “Nell,” Apted approached his Hollywood assignments as he did the real-life individuals with whom he’d become friends over the years, with curiosity and respect, including just enough of himself, while letting the characters tell their own stories.” /> Of course, the project also made Apted famous, and no matter what else the director did in his career — and his credits are far too varied to wedge into a reductive pigeonhole — he was always the man responsible for the “Up” series.
In recent years, a number of far more rigorous (that is to say, scientific) studies have been exposed as fraudulent or flawed, among them Philip Zimbardo’s Stanford Prison Experiment and Stanley Millgram’s Shock Experiment, whereas Apted acknowledged the limitations in his own approach when Bassett returned for “56 Up” and “63 Up,” and has even credited it as a motivating factor in his choice of which studio films to direct. I mention this not as a strike against Apted so much as one of the many takeaways this incredible project has given us, having endured long enough to serve as a record of changing social norms.
Apted did not direct the original 1964 documentary, as is commonly thought, nor was that initial installment such an important landmark in the field of nonfiction filmmaking. The breakthrough came in Apted’s decision to continue the project with an hour-long follow-up TV movie seven years later, “7 Plus Seven” — and again every seven years after that — revisiting as many of the children as would agree to participate as they grew up, found their ways in life, fell in love, married, divorced and so on.

Netflix has international rights to "News of the World." The Tom Hanks-led Western drama, directed by Paul Greengrass, premiered on Christmas Day and has collected $7 million to date. Another Universal title "News of the World" managed third place with $1.2 million.
That brings its total to $4 million. "Fatale," a psychological thriller with Hilary Swank and Michael Ealy, rounded out the top five with $670,000 in its fourth weekend of release. 4 spot. Sony's thriller "Monster Hunter" took in $1.1 million, enough to land the No. After a month in theaters, the video game adaptation with Milla Jovovich has generated $7.8 million.
and Canada to $32.6 million. Overseas, the film grabbed $4.7 million for an international tally of $98.8 million. The superhero sequel nabbed $3 million between Friday and Sunday, bringing its total in the U.S. "Wonder Woman 1984" led domestic box office charts for the third straight weekend without much in the way of competition.
With coronavirus cases on the rise, only about 35% of North American theaters are welcoming customers.” /> Overall, this weekend extends a challenging period for the film business.
Focus Features' revenge thriller "Promising Young Woman" secured $560,000 over the weekend, finding itself in sixth place and putting its total at $2.7 million. Like "The Croods" sequel and "News of the World," the film falls under its parent company Universal's early VOD agreement. Directed by Emerald Fennell and starring Carey Mulligan, "Promising Young Woman" lands on home entertainment for a premium price starting on Jan. 15.
In return, AMC and Cinemark get a cut of the profits and any open cinemas have fresh content to show on the big screen. Under the pact, the studio can put new titles on digital rental services after 17 days of their theatrical debuts. The film is currently available on premium video-on-demand platforms as part of a deal forged between Universal and major exhibitors such as AMC and Cinemark. Without any new nationwide releases, a variety of holdovers rounded out domestic box office charts. In second place, Universal and DreamWorks' "The Croods: A New Age" pulled in $1.8 million in its seventh week of release for a domestic tally of $36.8 million. Its global haul hovers at $127 million. Internationally, "The Croods" sequel crossed $90 million after adding $5.1 million from 17 overseas countries.
The comic book adaptation was released simultaneously on HBO Max in an effort to buoy streaming service subscribers. It's expected to return to the streaming platform a few months later. With $131 million in global box office receipts, the "Wonder Woman" sequel has outperformed most fellow pandemic-era releases. Yet that doesn't make up for the film's mighty $200 million production budget, which is to say the latest outing for Gal Gadot's DC hero will almost certainly lose money for the studio. has already greenlit a third installment with Gadot and director Patty Jenkins on board. Nonetheless, Warner Bros. It's unclear how many HBO Max users watched the movie, though the company touted record viewership. In two weeks, "Wonder Woman 1984" will be taken off HBO Max and it will only be available to watch in theaters until it reaches its traditional home entertainment window.
A surprising bright spot for the Amazonian warrior has been Canada, where only 5% of theaters are open and HBO Max is not available. Even more unprecedented, the studio actually divulged tangible digital sales, something that no Hollywood studio has be willing to share. Warners released the film concurrently in any available cinemas and on premium video-on-demand, a rare strategy that wouldn't have been tolerated by film exhibitors in pre-pandemic times. Canada's pVOD model resulted in additional $7.2 million in revenues from online platforms like iTunes and Amazon.
The existential family film amassed $8.9 million from 11 foreign countries, boosting its overseas total to $47.3 million. Outside of North America, Disney and Pixar's "Soul" — which skipped U.S. It's now the fourth-highest grossing Pixar movie ever in China and looks to overtake "Finding Dory" ($38.4 million) for third place following "Coco" and "Incredibles 2." theaters to debut on Disney Plus — continues to pick up steam at the international box office. Chinese movie theaters have accounted for a bulk of that haul, with $36 million in ticket sales coming from the Middle Kingdom alone.

Watch the full video below.
The broken glass was in the windows of the United States Capitol. It was a night of rampage against the Jews carried out in 1938 by the Nazi equivalent of the Proud Boys," Schwarzenegger said. "Wednesday was the Day of Broken Glass right here in the United States. I'm very aware of Kristallnacht, or the Night of Broken Glass. They shattered the ideas we took for granted." "I grew up in Austria. But the mob did not just shatter the windows of the Capitol.
"President-elect Biden, we stand with you today, tomorrow and forever in defense of our democracy from those who would threaten it," Schwarzenegger said.
Schwarzenegger said that his experience growing up in Europe has shown him "firsthand how things can spin out of control." He then denounced Trump, saying that he "sought a coup by misleading people with lies."
He ended the video by wishing President-elect Joe Biden well and encouraging all Americans to stand behind him as he makes the transition to president.
"I didn't hold him totally responsible because our neighbor was doing the same thing to his family, and so was the next neighbor over." But my father would come home drunk once or twice a week and he would scream and hit us and scare my mother," Schwarzenegger said. "Now, I've never shared this so publicly because it is a painful memory.″ />
Arnold Schwarzenegger has denounced Wednesday's attack on the Capitol, calling Donald Trump the "worst president ever."
In a seven-minute video posted to Schwarzenegger's Twitter account, the actor and former governor of California compared Wednesday's events to 1938's Kristallnacht, or the Night of Broken Glass, which marked the rise of Nazi Germany.
"President Trump is a failed leader. "My father and our neighbors were misled also with lies, and I know where such lies lead," Schwarzenegger continued. The good thing is he will soon be as irrelevant as an old tweet." He will go down in history as the worst president ever.
Schwarzenegger then shared a personal story from his childhood in Austria. Born in 1947, Schwarzenegger remembers the aftermath of World War II and the affect it had on his family.

Testament guitarist Alex Skolnick tells Variety that Marsha was a nurturing mother figure for many of the label’s artists, especially ones whose families may have disapproved of their career choices.
Jonny, bless him, was the stereotypical hot-headed, East Coast label executive — patience and calm may not have been his strong suits — and she balanced him out." Jonny and Marsha were really a team; she was there for every decision. “She was this steady hand, a calming force, during these intense moments — and there were intense moments! “She kept things balanced,” Skolnick says.
Metallica’s debut album, “Kill ‘Em All,” was released in July of 1983, effectively launching the thrash metal movement.
Megaforce Records co-founder Marsha Zazula — who launched the iconic label, which released the first albums from Metallica, Anthrax and many others, with her husband Jon in 1982 — died Saturday in her Florida home, a rep for the label confirms to Variety. The cause of death was cancer; she was 68.
“We all know that musicians have a little bit of mental impairment," she laughed. "I used it a lot with Jon, too."
But it was Marsha who decided to focus on selling rare import copies of albums from burgeoning “New Wave of British Heavy Metal” acts such as Iron Maiden, Def Leppard and other rising European bands, and stocked the store with like-minded publications such as Kerrang and Sounds. The couple began promoting shows — including an early show with the early metal band Anvil — in the area. The Zazulas’ metal dynasty began in the early 1980s as a small independent record store called Rock and Roll Heaven, located at the Route 18 flea market in East Brunswick, New Jersey. The couple originally intended to focus on artists such as John Lennon and Jimi Hendrix.
A graduate of Lehman College, Marsha told Variety last year how her degree in child psychology helped her to keep the business, its artists and her notoriously unruly husband on a relatively even keel.

Anthrax drummer Charlie Benante remembers her as being involved with everything from album artwork decisions to helping manage crises when the artists were on the road. “She was always kind of mellow.” “I never really saw Marsha freak out,” he says.
Metallica paid tribute to Marsha on Instagram Sunday posting a recent photo of founding members James Hetfield and Lars Ulrich with the Zazulas and early Megaforce publicist Maria Ferraro, captioned, "Rest In Peace, Marsha. Thank you for everything."
"Marsha was one of a kind, and taught the world to be fiercely independent. Megaforce and our artists will never forget her. In our hearts she will always be a guiding force." "The world of music owes a debt of gratitude to Marsha Zazula, who along with her husband Jon gave birth to some of the most musically significant artists," the label said in a statement.
I still quote her to this day.” It was always inspiring to work with Marsha and she really mentored me in the music industry. Missi Callazzo, who started as an intern in 1989 and ended up taking over the label, said “Marsha and Jon gave me my start in the business while I was still in college.
“Marsha was the grand dame of metal, who had style, class and an open heart, and who rallied for all of us misfits, starting with Metallica,” she said. The label also launched the careers of many executives who are still working in the industry, including early publicist Maria Ferraro.
"We will love you to eternity," her family wrote. "Rest in peace with our love." She is survived by Jon, her husband of 41 years; three daughters; and four grandchildren.
"She was great at assisting others through her patience," Jon wrote. People spoke differently to Marsha than they did to me, and that is what kept things going. Marsha was like a mother confessor … She doused fires between me and bands, me and partners, me and the world. "Her ability to communicate [prevented] many problems at that time. I felt like I was a bull in a china shop knocking everything around, and Marsha was right there making sure nothing got broke or knocked off the shelf."
Additional reporting by Jem Aswad.” />
The label varied its roster during the 1990s and continues to this day. While the label lost Metallica to Elektra Records in 1984, shortly after releasing the group’s second album, “Ride the Lightning,” Megaforce remained a powerful force in heavy metal throughout the 1980s and early 1990s, releasing albums by the above artists and many others via distribution deals with Atlantic, Island, Caroline and other labels.
That’s why it succeeded and why it was special, and why I loved being part of it.” 
”She gave the entire structure the feeling of a family. Bobby "Blitz" Ellsworth, lead vocalist of Overkill, remembers Zazula as the "heart" of Megaforce.
Jon Zazula chronicled much of the label's history in his book, "Heavy Tales: The Metal, The Music, The Madness," talking of how he met a "sweet girl named Marsha" and how their personalities created to a successful marriage and a long-running business partnership.
Realizing the group was, as Jon put it, “lightning in a bottle,” the couple brought the quartet to their home in New Jersey and created Megaforce Records to launch the group. The Zazulas' reputation grew and before long, a demo from a San Francisco-based band called Metallica found its way to them.
Born in Brooklyn, Marsha was a guiding and stabilizing presence at a company — which also included Crazed Management — whose artists were often as unruly as their music. Along with Metallica (whose first two albums the label released), Anthrax, Testament, former Kiss guitarist Ace Frehley, Ministry, King’s X, Overkill and Raven were among the company’s biggest acts. "Jonny and Marsha," nearly always side-by-side, were a friendly and familiar presence at metal concerts and events during the era.