It’s also just the second Haitian production ever selected for Cannes, after Raoul Peck’s “The Man on the Shore” in 1993. Coppola’s involvement will doubtless assist the awards campaign and boost the film’s international distribution prospects. “Freda” received a major profile boost in early December with the announcement that Francis Ford Coppola, a longstanding supporter of Haiti’s creative community, would be boarding the film as executive producer. “Freda” is only the second Haitian feature entered for Oscar consideration, following “Ayiti Mon Amour” by Guetty Felinin in 2017.
Fellow debutant Remy is excellent as the mother seeking solace in religion, and Francois nails it as the ambitious sister who mistakenly believes she’s in control of her destiny. Supporting performances by a largely inexperienced cast are uniformly good. Although editing of some documentary footage into the drama is a little abrasive at times, as the courageous and proudly defiant heroine.
The fatherless family manage to make a modest living selling food and drinks at their small shop in a busy Port-au-Prince neighborhood. Geneus adroitly balances the fiery talk on Freda’s campus with an intimate and affecting study of her family life. Freda and her deeply religious mother Jeanette (Fabiola Remy), promiscuous sister Esther (Djanaina Frabcois) and directionless brother Moses (Cantave Kerven) are hardly well-off but are certainly not the poverty-stricken characters we so often see in films set in poor and developing countries.
Running for almost three minutes, this incredibly powerful image serves as both a deeply moving lament for the suffering of women in this troubled nation, and a statement of hope for the future.” /> Very well photographed by experienced documentary DP Karine Aulnette, “Freda” concludes with a shot that will linger long in viewers’ memories.
“Freda” is set in 2018 and features footage of violent protests against President Jovenal Moise, under whose leadership vast sums of public money related to the PetroCaribe oil deal with Venezuela went missing. Moise’s assassination on July 7, 2021, is the latest in a long line of traumatic events in the Caribbean republic since it declared independence from France in 1804 and became the first sovereign nation to unconditionally abolish slavery. Viewers unfamiliar with Haitian history can easily catch up with the basics during discussions in Freda’s anthropology class, where national identity, civil disobedience, political corruption and perceived class distinctions between Creole and French speakers are just some of the hotly debated topics.
Personal and political life in Haiti are brought sharply into focus in “Freda,” a powerful and resolutely unsentimental drama about a determined young university student who must decide whether to stay in her deeply troubled country or seek a future elsewhere. Weaving documentary footage of civil unrest into an intelligent and compassionate screenplay that examines what it means to be a Haitian woman in a society stacked heavily in favor of men, “Freda” marks an outstanding feature debut for actress-singer-filmmaker Gessica Geneus. This vital and vibrant drama is Haiti’s submission in the Oscar international feature category.
Succumbing to everything Freda regards as demeaning to women and limiting their independence, Esther lightens her skin with chemical cream, sleeps with a sleazy foreign church minister and drops nice-guy artist boyfriend D-Fi (Rolapthon Mercure) to aggressively pursue a rich senator. The heart-wrenching dilemma facing Freda sits in stark contrast with Esther’s pragmatism. Standing by in silent approval is Jeanette, whose shocking secret relating to violence, oppression and sexual abuse makes a devastating impact late in proceedings.
Geneus’ richly detailed screenplay has plenty to say about social and political ills but never wallows in misery and makes Haiti’s dynamic cultural and creative environment integral to Freda’s story. When watching Freda immerse herself in Haitian culture and speak her mind about national history and identity, it is easy to form the impression that Haiti could turn its fortunes around if people of Freda’s caliber are given the opportunity to help shape its future. Footage of a stunning street dance during Day of the Dead celebrations, D-Fi’s soulful poetry, Yeshua’s beautiful works of art and Freda’s joyful singing and dancing to Haitian rhythms in a packed nightclub show the vibrant soul of Haiti, underscoring why Freda cannot easily turn her back on the homeland she cares about so passionately.
Freda’s emotional agony is palpable when Yeshua urges her to give up on Haiti and start a new and safer life with him in the Dominican Republic. Among those who have fled Haiti is Freda’s boyfriend, Yeshua (Jean Jean), an artist who relocated to Santo Domingo after being shot in his sleep by a stray bullet from the street. There’s a lovely tenderness between the couple when he returns for an exhibition of his work in Port-au-Prince.

Drakeo the Ruler had been scheduled to start his performance on the G-Funk Stage at 8:30, right around the time the backstage violence was reported. The Once Upon a Time in L.A. concert offered a mixture of hip-hop and classic soul stars on three stages over the course of what would have been an 11-hour show, with Ice Cube, Al Green, the Game, the Delfonics, Cypress Hill and the Chi-Lites among the nearly 60 acts on the bill.
https://www.instagram.com/p/CXrLf2AOoWY/
Rapper Drakeo the Ruler died after being stabbed backstage at the Once Upon a Time in L.A. multi-artist concert at the Banc of California Stadium, a rep for the performer has confirmed to Variety.
https://www.instagram.com/p/CXnG-JuLSUD/?utm_source=ig_web_copy_link
The 28-year-old rapper had been acquitted in felony murder and attempted murder charges in the 2016 killing of a 24-year-old man. He was retried but the case ended with a plea deal and Caldwell was released in November of 2020. He recorded a mixtape, "“Thank You For Using GTL,” which included material recorded over the phone from prison while he was awaiting trial.
Drakeo's final performance was at the Rolling Loud Festival, held six days earlier in San Bernardino. His most recent effort, "So Cold I Do Em 2," his fifth full-length release, came out in early December, days after the rapper celebrated his 28th birthday.
Multiple reports cited a backstage brawl occurred at about 8:30 p.m. A victim later confirmed to be Drakeo — real name: Darrell Caldwell — was taken to the hospital in critical condition. Sports Arena. at the stadium, located in Exposition Park at the site of the former L.A.
Headliners like Snoop Dogg, YG, the Isley Brothers and 50 Cent had not yet taken the stage at the time of the incident, and the show was called off after the stabbing, although not immediately, as a DJ continued to play as attendees wondered what the seeming delay between sets was about.
I'm not with anything negative, and as one of the many performers, I was there to spread positive vibes only to my city of LA. Last night I was in my dressing room when I was informed about the incident and chose to immediately leave the festival grounds. "My condolences go out to the family and loved ones of Drakeo the Ruler. I’m praying for peace in hip-hop.” Snoop Dogg, who was a co-promoter of the concert along with Live Nation, posted on social media late Sunday morning, L.A. "I'm saddened by the events that took place last night at the Once Upon a Time in LA festival," he wrote. time. Please take care, love one another and stay safe y’all. My prayers go out to everyone affected by the tragedy.
local time on Saturday, "There has been an incident at the Once Upon A Time in LA festival at the Banc of California. The festival has concluded early." “There was an altercation in the roadway backstage," said a Live Nation spokesperson in a statement. "Out of respect for those involved and in coordination with local authorities, artists and organizers decided not to move forward with remaining sets so the festival was ended an hour early.” It directed requests for further information to local authorities; reps for the LAPD did not immediately respond to Variety's requests for comment, although it tweeted at around 10:30 p.m.
Superstar Drake, who appeared on a Drakeo the Ruler single earlier this year, was among those posting condolences on social media. "Always picked my spirit up with your energy. RIP Drakeo." ""Nah man this shit isn’t right for real wtf are we doing," posted Drake, who make a guest appearance on a Drakeo single earlier this year.
I don't even know how to start processing this. "Through it, we became friends and then like family. "We spent the hardest two years together fighting for his freedom, facing life, before walking out a free man just over a year ago," Hamasaki tweeted. Drakeo's attorney, John Hamasaki, spoke of his client's time in prison before he was released. Thanks for the kind messages."
Drakeo's last Instagram post, on the day of the concert, carried a cryptic message that said simply, "Double crossers get crossed out."
The Once Upon a Time in L.A. PT, more than an hour and a half after the altercation: "The Once Upon a Time in LA Fest is ending early. social media accounts did not offer any information other than to post at 10:11 p.m. All performances are now over. Please head to the closest exit and head eastbound on MLK."
https://twitter.com/HamasakiLaw/status/1472604017800802306″ />

With movie theaters devoting nearly every auditorium to "Spider-Man: No Way Home," this weekend's other offerings had to settle for scraps. In a distant second place, Disney's animated musical fable "Encanto" nabbed $6.5 million from 3,525 venues. After four weeks on the big screen, the movie has generated $81.5 million in North America.
"The weekend is sensational, but until COVID recedes and is considered something like the flu, the business is not out of the woods," Gross says.
In other words, the comic book adventure's performance doesn't reverse fortunes for the beleaguered movie theater business. Still, as many note, it's exciting for any film to reach such rarified heights. Rather, industry insiders believe it punctuates the reality that multiplexes have been — and will continue to be — more reliant than ever on big-budget spectacles, particularly of the superhero variety. Box office experts believe there's one reason why "Spider-Man: No Way Home" is turbo-charging the box office: superheroes sell.
Overseas, the latest Spidey outing has collected $334.2 million from 60 international markets for a global tally of $587.2 million. It ranks as the third-biggest worldwide opening weekend ever behind “Avengers: Endgame” ($1.2 billion) and “Avengers: Infinity War” ($640 million). Those receipts have Sony, which distributed the 27th entry in the Marvel Cinematic Universe, already popping champagne.
The film's remarkable box office revenues coincide with the rapid spread of the Omicron variant of COVID-19, which is already leading to restaurant, concert and live-theater closures in New York City. So far, any fears over developing variants haven't made a dent on "Spider-Man: No Way Home." Unless moviegoing confidence takes a sudden nosedive, box office analysts expect the spectacularly reviewed Holland-led film to play and play… and play in theaters well into the new year. For better or worse, "Spider-Man" landed on the big screen in the nick of time. Yesterday, "Saturday Night Live" scrapped its last show of the year and sent home its audience and musical guest, citing "an abundance of caution." If cases continue to surge, it could make some audience members apprehensive about going to the movies.
“This weekend's historic 'Spider-Man: No Way Home' results, from all over the world and in the face of many challenges, reaffirm the unmatched cultural impact that exclusive theatrical films can have when they are made and marketed with vision and resolve," says Tom Rothman, Sony Pictures Motion Picture Group chairman and CEO.
Steven Spielberg's big-budget take on "West Side Story" suffered a huge 68% drop from its $10 million debut, pushing domestic revenues to $17.9 million. Meanwhile, the latest "Ghostbusters" sequel has made a solid $117 million at the domestic box office.” /> Disney's "West Side Story" adaptation and Sony's "Ghostbusters: Afterlife" will vie for third place; each movie brought in $3.4 million over the weekend.
That's the takeaway this weekend after Sony's comic book adventure "Spider-Man: No Way Home" crushed box office expectations, generating a mammoth $253 million from 4,336 theaters in North America.
"Most big series struggle to maintain their success this late in their run […] 'Spider-Man' is exploding." "This is an incredible opening and a timely reminder of what the big screen still means to mainstream moviegoers," says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research.
Surpassing that milestone would be noteworthy in normal times, but it is "particularly impressive given the constraints of a marketplace still very much impacted by COVID related news and concerns," says Paul Dergarabedian, a senior media analyst with Comscore.
"No Way Home" newly supplants Macguire's 2003 adventure "Spider-Man 3," with $151 million (not adjusted for inflation), as the biggest Spider-Man opening weekend in history. As a superhero crossover event for the ages, "No Way Home" sold more tickets on Friday than 2017's "Homecoming ($117 million debut) and 2019's "Far From Home" ($92 million debut) did in their respective opening weekends. The cast includes Zendaya as MJ, Benedict Cumberbatch as Doctor Strange and Marisa Tomei as Aunt May, as well as Alfred Molina (Doc Ock), Willem Dafoe (Green Goblin), Jamie Fox (Electro), Thomas Haden Church (Sandman) and Rhys Ifans (The Lizard). Jon Watts, who oversaw the two other Holland-led movies, returned to direct. Holland is the third actor to portray Marvel's friendly neighborhood Spider-Man after Tobey Maguire and Andrew Garfield.
Don't underestimate Peter Parker.
It was easily the best domestic opening weekend turnout of any movie in pandemic times. The biggest domestic debut had belonged to another Sony’s comic book sequel, "Venom: Let There Be Carnage," which generated $90 million to start. Prior to this weekend, no other COVID-era film had been able to cross even $100 million in a single weekend.
"Spider-Man: No Way Home" had a particularly huge Friday because die-hard Marvel fans wanted to be among the first to watch the movie and avoid spoilers online. On its first day alone, the film collected $121 million. After only three days in cinemas, it's already the highest-grossing film of this year (and last). The final chapter in the Tom Holland-led trilogy had initially been expected to gross $130 to $150 million over the weekend, but it quickly squashed those estimates.
Despite positive reviews, the movie's target demographic of adult audiences have been reluctant to return to the movies. Case in point: Guillermo del Toro's star-studded crime thriller "Nightmare Alley," which launched in fifth place to a muted $3 million from 2,145 theaters. By contrast, young men — the key market for comic book and science-fiction tentpoles — have been fueling attendance for pandemic-era hits like "A Quiet Place Part II," "F9: The Fast Saga," "Shang-Chi and the Legend of the Ten Rings" and "No Time to Die." It's a rough start for a movie that reportedly carries a $60 million price tag, the most money that Searchlight Pictures, the studio behind "Nightmare Alley," has ever spent on a film.
"No Way Home" isn't quite reaching those (basically unattainable) levels, but the movie has been a formidable force, zooming past opening weekend tickets sales for box office behemoths like 2015's "Star Wars: The Force Awakens" ($247 million) and 2017's "Star Wars: The Last Jedi" ($220 million). The film is experiencing the kind of demand that hasn't been witnessed in theaters since Disney's every-hero-but-the-kitchen-sink mashup "Avengers: Endgame," which collected a historic $357 million in its 2018 debut. Holland's newest web-slinging "Spider-Man" adventure, which teases a tantalizing team-up of superheroes and villains from Peter Parker's past, isn't just smashing COVID-era box office records. It stands behind only "Avengers: Endgame" and 2017's "Avengers: Infinity War" ($257 million debut) as the third-best opening weekend in history. Counting "No Way Home," only eight films have ever crossed $200 million in ticket sales in a single weekend.

11; Coldplay dropped off that same  show, which featured sets by Justin Bieber and Ed Sheeran. Lil Nas X revealed this weekend in a series of deleted tweets that he has tested positive for Covid-19. 10, dropped out of the U.K.’s Capital FM's Jingle Bell Ball UK after members of his crew tested positive on Dec. Lil Nas X, who appeared at Madison Square Garden for the Z100 Jingle Ball on Dec.
However, Doja Cat, Megan Thee Stallion and the Jonas Brothers pulled out of the tour last week due to infections in the performers' crews or, in Doja's case, testing positive herself.
With the Omicron variant on the rise, several shows have pulled the plug on performances. "Hamilton" remains canceled until further notice. "Moulin Rouge! This weekend in New York, "The Christmas Spectacular Starring the Radio City Rockettes" cancelled all of its remaining shows in 2021. The Musical on Broadway" canceled Friday's show due to positive test results in the company.
The final show of iHeartRadio’s annual Jingle Ball tour, scheduled for Sunday night in Miami, has been canceled due to Covid-19 outbreaks, Y100 Miami announced.
Ticket holders for tonight's Y100 show will receive refunds at the point of purchase in 48 hours, promoters announced.” />
The show, scheduled for the FLA Live Arena, was originally scheduled to feature Doja Cat, Megan Thee Stallion, Black Eyed Peas, AJR, Saweetie, Tate McRae, Monsta X, Bazzi, Anitta and Dixie D'Amelio.


"Due to the increased transmission of the new Covid-19 variant and to further minimize any potential risks, as a precautionary measure and for the safety of our staff, talent and guests, we have made the decision to cancel tonight's IHeartRadio Y100 Jingle Ball," iHeart said in a statement.

Lenny Abrahamson, who directed and executive produced "Normal People" has reprised both roles on "Conversations With Friends." Leanne Welham also directs.
The BBC has released a first look image of Alison Oliver as Frances in the broadcaster's upcoming adaptation of Sally Rooney novel "Conversations With Friends."
The two couples are soon enmeshed, with Melissa and Bobbi flirting openly while Nick and Frances embark on an illicit romance unbeknown to the other two and which soon causes a rupture in Frances' longstanding friendship with Bobbi.
Oliver is joined in the adaptation by Sasha Lane ("American Honey"), Joe Alwyn ("Mary Queen of Scots") and Jemima Kirke ("Sex Education").
“Over the last few months it has been a privilege to work alongside Element Pictures and our extraordinary team of writers to get the scripts to a point where we all feel so excited to start shooting. I’ve been an admirer of her work for a long time and I have no doubt she will bring great skill and subtlety to the episodes she directs.”” /> “I feel so excited to be collaborating with four such superb actors to bring Sally’s brilliant novel to the screen,” Abrahamson said earlier this year. I’ll be joined by a world class crew (many of whom worked on ‘Normal People’) and supporting cast and I’m particularly happy to have Leanne Welham come on board.
Lane stars as Frances's former girlfriend turned best friend Bobbi, an outspoken and self-assured foil to Frances' observant and cerebral character.
Through their poetry, the duo are introduced to an older writer, Melissa (played by Kirke), and her actor husband Nick (Alwyn).
Newcomer Oliver (above as Frances) plays a 21-year-old college student who confronts her vulnerabilities as she navigates a series of relationships.
Bobbi and Frances break up three years prior to the events of "Conversations With Friends" but continue to be close, performing spoken word poetry together in Dublin (where Rooney's other hit novel turned BBC series, "Normal People," also takes place.)
in 2022. on BBC One in the U.K. The 12-episode series is set to premiere on Hulu in the U.S.

"Spider-Man: No Way Home" is turbocharging the global box office, generating a mighty $587.2 million over the weekend despite rising concerns about the Omicron variant of COVID-19.
In comparable territories, the film's opening weekend is slinging past "Spider-Man: Far From Home" by 72%, "Spider-Man: Homecoming" by 113%, "Venom: Let There Be Carnage" by 183%, "No Time to Die" by 113% and "F9: The Fast Saga" by 210%, according to Sony. Internationally, "Spider-Man: No Way Home" captured a monster $334.2 million from 60 overseas markets.
Latin American countries webbed up $79.5 million in total, with Mexico's five-day tally hitting $32.4 million, the country's highest of all time. Argentina also recorded its best box office debut with $6.8 million, as did Ecuador with $3.7 million.
In a crossover event of epic proportions, Willem Dafoe’s Green Goblin, Jamie Foxx’s Electro and Alfred Molina’s Doctor Otto Octavius drop by to wreak havoc and torment Spider-Man.” /> Desperate to restore a drop of normalcy, Peter asks for help from Doctor Strange (Benedict Cumberbatch) and accidentally unleashes a multiverse — featuring plenty of villains from past Peter Parker timelines. Directed by Jon Watts, the third chapter in Holland’s trilogy takes place after Peter Parker’s identity is revealed to the world, upending the lives of his girlfriend MJ (Zendaya), his best friend Ned (Jacob Batalon) and his aunt May (Marisa Tomei).
Critics have embraced “Spider-Man: No Way Home,” with The Daily Beast’s Nick Schager calling it “the MCU’s best Spidey movie by a mile” and Variety’s Peter Debruge describing the film as a “satisfying meta-adventure.” Audiences have been equally receptive; the movie secured an "A+" CinemaScore and a 99% Rotten Tomatoes average.
Domestically, "Spider-Man: No Way Home" netted $253 million over the weekend, the third-best debut ever.
In eastern Europe, Russia led with $17.4 million, followed by Ukraine ($2.4 million) and Turkey ($1.4 million). The film opened in France with $17.8 million, Italy with $13 million, Germany with $11.4 million and Spain with $10.4 million. In the U.K., ticket sales reached $41.4 million during its extended five-day opening to notch the fourth-biggest debut ever in that market. "Spider-Man: No Way Home" delivered a particularly strong turnout in western Europe, led by the United Kingdom.
7) and the Philippines (Jan. 23), Japan (Jan. In the coming weeks, Spidey will touch down in Thailand (Dec. 8).
Other notable markets include Saudi Arabia ($5.2 million), Israel ($2.7 million) and New Zealand ($2.3 million).
With this weekend's global tally, it ranks as the third-biggest worldwide debut in history behind "Avengers: Endgame" (a historic $1.2 billion) and "Avengers: Infinity War" ($640 million). Notably, the top two films opened in China, which is currently the world's biggest moviegoing market, while "No Way Home" has yet to secure a release date there. The film, starring Tom Holland as Marvel's friendly neighborhood Spider-Man, isn't only crushing pandemic box office benchmarks — it's notching all-time records.
In Asia, "Spider-Man: No Way Home" notched the largest tally in South Korea ($23.7 million), followed by India ($18.2 million) and Hong Kong ($6.3 million).
“This weekend’s historic 'Spider-Man: No Way Home' results, from all over the world and in the face of many challenges, reaffirm the unmatched cultural impact that exclusive theatrical films can have when they are made and marketed with vision and resolve," says Tom Rothman, Sony's Motion Picture Group chairman and CEO. "All of us at Sony Pictures, are deeply grateful to the fabulous talent, both in front of and behind the camera, that produced such a landmark film. Thanks to their brilliant work, this Christmas everyone can enjoy the big screen gift of 2021’s mightiest Super Hero — your friendly neighborhood Spider-Man."

The movie, sold by Memento Film International, follows a faithful enforcer of the National Security Service (NKVD) who flees during political persecutions perpetrated by the Soviet regime in 1938. The grand jury prize was awarded to "Kapitan Volkonogov Escaped," a Russian historical thriller directed by Natasha Merkulova and Aleksey Chupov.
Jonas Carpignano's "A Chiara" won best actor for Swamy Rotolo, as well as the press award. Set in Calabria, “A Chiara” focuses on a 16-year-old girl who realizes that her beloved father may be part of the local criminal organization. The movie, repped by MK2 Films, world premiered in the directors fortnight section of Cannes, where it won the Europa Cinemas Cannes Label award.
The best actress nod was awarded to Laure Calamy ("Call My Agent!") for her performance in Eric Gravel's "A plein temps," another film which world premiered at Venice in the horizons section. The movie, sold by Be for Films, is a drama about a single mother who goes to great lengths to raise her two children in the countryside while keeping her job in a Parisian luxury hotel. "A plein temps" also won the Cineuropa prize.
Repped by LevelK, "Hive" previously won the audience and directing awards at Sundance. The film follows a woman who sets up a small business to provide for her kids after her husband goes missing. Blerta Basholli's "Hive," a drama set against the backdrop of the war in Kossovo, won both the audience prize and the high school award.
Les Arcs also welcomed Swedish actor Noomi Rapace who introduced her film "Lamb" on opening night, as well as Bérénice Béjo, Alex Lutz, Déborah Luklumena, Reda Kateb, Lyna Khoudri and Calamy.” />
Best original music and cinematography were awarded to Alex Baranowski for "True Things" and Renato Berta for "Il Buco," respectively.
The festival, which wrapped on Dec. 18, took place as an in-person event with "The Artist" director Michel Hazanavicius presiding over the jury which also included actors Laetitia Dosch and Sidse Babett Knudsen, author Tania de Montaigne and actor-director Éric Judor. The selection was curated by Frederic Boyer, the artistic director of both Les Arcs and Tribeca.
The festival and its Industry Village gathered more than 500 professionals from across Europe and screened over 120 films, mostly French premieres. Special tributes were given to French director Laurent Cantet ("Arthur Rambo"), actor Matthias Schoenearts ("Bullhead") and Antoneta Alamat Kusijanovic, the Croatian director of "Murina" who won this year's Golden Camera award and picked up the Sisley/les Arcs Woman of Cinema Prize at Les Arcs.
Peter Kerekes's "107 Mothers," a Slovak drama about women living and working in a Ukrainian prison, won the Crystal Arrow Award at the 13th edition of Les Arcs European Film Festival.
Represented in international markets by Films Boutique, "107 Mothers" world premiered at Venice in the horizons section and revolves around the relationship between Leysa (Maryna Klimova), a new inmate who gives birth in prison, and Iryna (Iryna Kiryazeva), the prison’s ward.

All tickets purchased via AXS will be automatically refunded – there is no action required if you purchased your tickets via AXS online or by phone." The message makes no reference to the Omicron surge, but the reasoning seems clear. A statement from the venue reads, "LCD Soundsystem’s shows at Brooklyn Steel on December 19, 20 and 21 have been cancelled.
On Friday, the band had posted a long statement saying it would complete the residency in the face of the surge, although by Sunday local circumstances have made that unfeasible.


 ” />
But let’s be very, very clear — we are not saying by playing that we think it’s not a place you can catch covid or anything else, really… "But we said we would play, and people are coming, so we are playing.
Around 90 minutes after Brooklyn Steel canceled the shows, the band responded on social media. "We certainly had enough cancellations to make the vote count, but we also, now with all the new info, want to stop for our own sakes." "You all have spoken, The last three shows are cancelled," the post reads in part.
But we play in a room of thousands every night, so we know there are risks. "When we planned them, we thought we’d be in better shape, covid wise, by now, but it didn’t pan out so. “We’ve all known that there are risks playing these shows," the message reads in part. We know that we and our team (and the team at Brooklyn Steel), in many ways, face the most risk of getting sick, just by virtue of being at everyone of our 20 shows. We’ve been in a bubble together for months, our families, our crew.


you'll be first in line for tickets the next time we play in nyc. "You need to make your own decision as to whether you feel safe coming to see us. if you don't, you can go to axs.com to get your money back. we won't hold your money, or reschedule… you just get first crack next time there's a gig here."
However, the postponement or cancelation of multiple Broadway shows, Radio City Music Hall's Rockettes performances and Charli XCX's musical performance on "Saturday Night Live" have made the situation in New York more urgent. Clearly vaccinations are our ticket out of this. Of course everyone reads all the data and it is extremely helpful to see that if you have been vaccinated fully, it is keeping people safer and people are avoiding serious disease or worse." In a statement, the National Independent Venue Association (which is not affiliated with Brooklyn Steel), said: "This underscores our concerted effort to spread the word to get everybody vaccinated.
While several other area concerts have been postponed in the wake of the surge, few New York venues have categorically postponed or canceled upcoming dates on their calendars, and at the time of this article's publication, tickets for many dates scheduled for the coming week and beyond remain on sale. Concerts are traditionally slow in the days surrounding Christmas, although many dates are on the docket for New York's venues, particularly New Year's Eve.
As the Covid-19 Omicron variant continues to spread, particularly in New York, Brooklyn Steel has canceled the remaining three dates of LCD Soundsystem’s "You Are Here" 20-night residency at the venue: tonight (Sunday) through Tuesday.

Disney and Google said they reached a deal to restore ESPN, ABC and other channels to YouTube TV, two days after a contract dispute knocked them off the streamer.
That resulted in the removal of Disney’s dozen-plus cable networks and ABC-owned local stations from YouTube TV. When their previous deal for Disney-owned networks expired at midnight ET on Dec. Customers also lost access to DVR recordings of Disney programming with the blackout.” /> 17, Disney and Google were still at odds over carriage fees.
Terms of the deal were not disclosed. Google said the price for YouTube TV would remain $64.99/month with the Disney renewal but that it would still grant the $15 credit to users that it promised when the networks went dark Friday night after the companies had failed to reach a new deal.
“We will also be turning on the local ABC stations over the course of the day.” “We have already started to restore access to Disney networks like ESPN and FX, including their live and on-demand content, as well as any recordings that were previously in your Library,” YouTube said Sunday.
We appreciate Google’s collaboration to reach fair terms that are consistent with the market, and we’re thrilled that our robust lineup of live sports and news plus kids, family and general entertainment programming is in the process of being restored to YouTube TV subscribers across the country.” In a statement, Disney Media and Entertainment Distribution said, “We are pleased to announce that after a brief disruption, we have reached a new distribution agreement with Google’s YouTube TV for continued carriage of our portfolio of networks.

The new movie is based on a memoir by the former New York Times reporter Dana Canedy, and in terms that are romantically glowing but not cloyingly starry-eyed, it tells the story of Canedy — ambitious, vivacious, emotionally solitary — and First Sergeant Charles Monroe King, the upright military man she met, fell in love with, and came out of her brainy shell to be with. It’s the fourth feature directed by Denzel Washington, and unlike his last one, the epic and lacerating "Fences" (2016), this one takes us back to the life-affirming feel-good middlebrow sincerity of his first two films as a director, "Antwone Fisher" (2002) and "The Great Debaters" (2007).
Dana and Charles have a long-distance relationship, and when he first visits her, we grin at how quickly the taking-it-slowly thing falls away, and at how anguished he feels in the suave suit she wants to buy him. She has opened a door — for herself, and for others — that she feels she can’t let shut. Jordan makes Charles a rock-solid presence, but the film takes its zigs and zags from how Chanté Adams plays Dana as affectionate yet demanding, to the point that it chafes at Charles. (He’s so used to his scruffy sneakers and baggy Army duds that he thinks he looks like an accountant.) She lives in New York, where she’s one of the few Black reporters on the Times and therefore feels incredible pressure attached to everything she does.
It leaps ahead to when Dana is a single mother, with a son, Jordan, played by the intensely compelling Jalon Christian, who holds the camera with his delicate intelligence. This is the kind of unvarnished prosaic heart-tugger that used to be thought of as an Oscar movie, and no longer is — though the hope, I suspect, is that it’s now a so-old-it’s-new-again kind of Oscar movie. No doubt. The cataclysm of 9/11 changes everything for Dana and Charles, but the film doesn’t just culminate in what happens to him in combat. Washington, working from a script by Virgil Williams ("Mudbound"), stages "A Journal for Jordan" in big broad direct strokes. Is this a corny device? Does it work? That you likely won’t resist it is a testament to Washington’s plainspoken conventional embrace as a filmmaker.” /> The film’s title refers to the journal of thoughts and messages that Charles, on active duty, began to write to Jordan, after he’d come home and met his infant son.
But this will continue to happen. What she’s fighting isn’t some sleazy side of Charles; it’s his very commitment, which she regards as noble but, in this case, misplaced. And she's right. Early on, when they’re in separate cities and Dana is expecting to hear from Charles, he never calls, and he offers what sounds like a reasonable excuse: One of his soldiers had a baby, there were complications, he felt he needed to be there. But the cultural differences between them don’t just cutely melt away. But that devotion to his soldiers sticks in Dana’s craw. She lets us know why it tears Dana apart. She’s furious ­— and Adams doesn’t play this as a rote scripted tantrum. What makes "A Journal for Jordan" more just than a holiday-movie schmaltz soufflé is that these two are in love, but in some ways they're incompatible; that's part of the film's honesty.
Or, rather, it’s a movie that looks at tragedy — at sacrifice — through a lens that’s both sentimental and stirring. Jordan, who is a movie star to his bones (and a whale of an actor himself), the doom quickly recedes. Yet "A Journal for Jordan," which opens on Christmas Day, is not a tragedy. "A Journal for Jordan" dives into the drama of two people falling in love: the hope and the beauty, the bumps in the road that nearly derail the relationship, the emotional anchor that holds it together, and the thing we’re left with on the other side — the feeling of a life having been lived. And since Dana is played by Chanté Adams, the brilliant actor from "Roxanne Roxanne" and "The Photograph," and King is played by Michael B.
He’s divorced, with a 9-year-old daughter who lives with her mother in Texas. It’s not only his bearing that’s military, or his physique (I’d be derelict if I didn’t report that at the preview showing I attended, when Charles entered a bedroom wearing a sleeveless T-shirt, the audience screamed). His smile is as chiseled as his muscles; he invests Charles with a deliberation that suggests everything he’s not saying. Jordan, in movies like "Black Panther" and "Creed," has been an explosive presence, but here he reins himself in and is still magnetic. Some of the most revealing things about Charles are the ones he’s sly about, like his old-school music tastes (driving in the car with Dana, he plays "Sadie" by the Spinners) or the fact that he doesn’t come with a perfect romantic track record. Jordan, in this role, has the self-possessed calm of someone who’s past proving himself.
By that I don’t mean a Republican impulse. I have no idea where Denzel Washington stands politically, but he described himself in a recent interview as "a God-fearing man," and "A Journal for Jordan" is a fascinating Hollywood movie to confront at this moment because it feels animated, in some ways, by a conservative impulse. I mean that Washington, in making a buttoned-down, aw-shucks-ma’am military lifer his romantic hero, portrays the kind of character we wouldn’t be surprised to see at the center of a Clint Eastwood movie, but one who’s less common in many of the products of liberal Hollywood.
Since the two characters meet in the late '90s, we can make a pretty good guess as to what war that will happen in. It is shadowed, however, by a sense of doom, since in the opening minutes of the film we learn that King was killed in action. It’s a happy story, if not without a tangle or two.
In a year-end movie landscape marked, on the one hand, by a stream of prestige adult dramas that struggle more than ever to find actual adults to see them, and on the other hand by the kind of oversize fantasy event films ("Spider-Man: No Way Home," the upcoming "The Matrix Resurrections") whose job it now is to keep the industry alive, "A Journal for Jordan" feels like an odd movie out more than it might have, say, 20 years ago. Back in the 1980s, it would have been right down the middle of the plate. Today, it seems like a film out of time. But that's not necessarily a bad thing.
So she’s definitely not straying far from the tree — and given that her father was an adulterer who she now looks at askance, that may be a fraught choice. Dana first encounters him at her parents’ home. But chemistry is chemistry, and these two actors have it. Her dad (Robert Wisdom) is a retired Army sergeant, and Charles was one of his men.