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Watch the preview clip for Daisy Jones and the six-season finale



Well what can I say? It had to happen. Last eight episodes Daisy Jones and Six recorded the love affair of soloists Daisy and Billy in such a breathtaking manner that one would think that it actually happened. What started as a simple desire-they-not-they turned into oh-god-they-did. Now even these two don’t know if it was worth it.

Following the events of last week’s episode “Looks like we made it”, Daisy and Billy have two questions they need to answer: Should love come with this many consequences? And are you really having fun when your well-being is at stake? In this exclusive clip from the finale, streamed above, they discuss all of this and then some.

This long overdue conversation comes after a turning point in the series. On last week’s episode, Daisy nearly died of a drug overdose after a long night of partying with her husband Nicky. Sensing trouble, Billy burst into their room, found Daisy unconscious, and called for help. And Niki? Well, he ran away. After that, Daisy finally realized that she could not drown her grief with drugs and alcohol. Meanwhile, Billy discovered that he would never be safe in Daisy’s company.

This Friday, we’ll see the duo struggle with the fate of their relationship and how it will affect the band. I won’t share spoilers, but expect the unexpected. It won’t be the first time Daisy Jones and Six deviated from the novel from which it was adapted.

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Junior Staff Writer

Bria McNeil, a Manhattan-based journalist, is patiently waiting for the rebirth of the B5. When she’s not writing about all the fun, she can be seen watching TV or trying to make something with her hands (probably at the same time). Her work has been published in NYLON, Refinery29, InStyle and in her personal newsletter StirCrazy.

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SNL post-production editors may go on strike in April



Post-production editors.
Photo: Film Editors Guild

Update, Thursday, March 23, 10:10 pm..: Comedy clips in the US are no longer at stake. TO Diversity, Saturday night lifeThe post-production editors unanimously ratified their first union contract on Wednesday night. The deal, which includes immediate pay increases and health care benefits, means there will be no strike on April 1st. Guild said. “They fought not only to improve their working lives; they have also set a standard that will benefit all those who follow in their footsteps at this television comedy establishment.” The news comes after a tentative deal with NBC Universal was reportedly reached last week. The first contract has already entered into force and will be valid until the summer of 2026. We’re sure the production team will celebrate this win with a joyful montage of the Comedy Halloween episode next weekend.

The following is the original story, published March 9, 2023.

If you like these prerecorded Saturday night life thumbnails – for example, “HBO Mario Kart Trailer”, “Actress,” or “(Do it on mine) twin bedsIt’s time to cheer for the union. Post-production editors SNL, who edit all of these pre-recordings, will go on strike on April 1 if their contract negotiations with NBCUniversal are not completed, according to the Film Editors Guild. Questions on the table for the group (which, in accordance with Diversityconsists of 12 to 20 members) includes health benefits and pay equity.

News of a possible strike by post-production editors comes after several events since October 2022, when the group unionized. After unsuccessful contract negotiations, the union sanctioned a strike for the first time on January 23 of this year if negotiations stalled. V Hollywood reporters. February 3rd, SNL crew members ran a leaflet campaignhanding out flyers to fans camped out on Tickets. In addition, some SNL actors, including head writer Colin Yost, wore “Contract Now” shirts during the farewell at the end of the February 4 episode. in support of the union.

According to the union, the problems include wages that are “well below industry standards” coupled with pay increases that are out of proportion to the increase in the cost of living. NBCUniversal is reportedly trying to get past the “management rights” clause, which gives it the right to change workplace rules without union approval and to subcontract work, which is not the case with NBCUniversal’s other collective bargaining agreements on the show.

“Strikes are not funny, and it is also not funny that the NBCU is pushing us to take this step to ensure fair pay and benefits for our members,” said Alan Heim, president of the Film Editors Guild. Diversity. According to sources close to the talks, Diversity reports that NBC is “committed to closing talks by the end of the month and continues to work quickly to reach an agreement.” We hope it works so we have a reason to celebrate SNL episode coming Fool’s Day Comedy Halloween.

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Tom Sandoval fiercely defended Raquel in the last episode "Vanderpump Rules"



All this time, the scandal was happening right before our eyes.

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Review: Rehabilitation of Richard III in The Lost King



Richard III did not need a horse for his kingdom. He just wanted Philippa Langley.

Langley, a single mother and amateur historian based in Edinburgh, Scotland, has become increasingly obsessed with the late English monarch, who has long been portrayed as one of history’s greatest villains. The supposedly hunchbacked king, who is said to have murdered his nephews, was suspected by Langley and others of a centuries-old smear campaign.

The longstanding consensus for Richard III was formed by the Tudors, who assassinated Richard and took the throne. It is, of course, a narrative forever cemented by Shakespeare’s great play. For Richard and his supporters, it was not just a winter of discontent, but about 500 years. “All fairy tales condemn me as a villain,” says the king in Richard III.

Except The Lost King.

A new film by Stephen Frears, which hits theaters on Friday, dramatizes the true story of Langley’s relentless quest to unearth Richard’s true history, as well as his real, long-lost remains – a journey that, remarkably, leads to a parking lot in Leicester.

It’s the sort of comic, eminently British underdog story that Frears excels at. And with Sally Hawkins playing Langley as a woman undeterred by pompous academics and condescending naysayers, The Lost King turns into a charmingly funny tale of bygone and recently re-evaluated.

The Lost King — which could have been a good double feature with Al Pacino’s Looking for Richard — brings together most of the creative team that worked on Frears’ 2013 Oscar-nominated film Philomena. It is written by Steve Coogan and Jeff Pope and is based on Langley’s memoir. Coogan also plays Langley’s estranged husband, who has a mostly supportive relationship with her, sharing custody of their sons.

Although it is a much more modest mystery than North by Northwest—played mostly at kitchen tables, in bookstores, and at meetings in Richard III Society pubs—Frears lends his modest film a few wide-screen flair, including in the style of Saul Bass. opening credits and score by Alexandre Desplat in the style of Bernard Herrmann. Here, too, an innocent man. He’s just half a millennium old.

But mostly Frears intelligently captures every quicksilver gesture of the brilliant Hawkins. When we meet Langley Hawkins, she has reached the decline of middle age. Worried about chronic fatigue syndrome, Langley is missed at work. Her marriage fell apart. She passes away. But after attending a performance of Richard III, she is fascinated by the monarch and recognizes him as someone else who has been unfairly written off for a supposed disability. double: resurrect a marginalized monarch and assert his place in the world.

En route, Langley is visited by Richard III himself in the guise of the actor (Harry Lloyd) who played him in the production that inspired it in the first place. These are muted scenes, if we talk about phenomena. I can’t help thinking that this was Coogan’s chance to play a military general and say the line “Gentlemen to bed” from The Ride. But be that as it may, Coogan is rather reserved in The Lost King and gets one of the film’s best monologues, lamenting both the demonization and the sanctification of historical figures or anyone else. “We are all in the middle,” he says.

The Lost King is very happy to be in the middle with a protagonist who does something extraordinary despite being repeatedly told how ordinary she is. Frears, who found humanity in royalty and nobility in nonentities, brings each scene to life with a little bit of comic relief from everyday life. Richard can be tested, but there are bad guys here too. In the final third of the film, officials from the University of Leicester descend to pay attention to Langley, a characterization the university has called unfair and inaccurate. The wheel turns: if one villain leaves the stage, another must enter.

The Lost King, an IFC Films release, received a PG-13 rating from the Motion Picture Association for profanity and brief suggestive references. Duration: 109 minutes. Three stars out of four.

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