The Devil Devours His Own – Crisis Magazine

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The sordid life of Jeffrey Epstein serves to highlight the decadence of the deplorable epoch in which we find ourselves, as do the suspicious circumstances surrounding his death. The web of vice and viciousness that he had spun was widespread, serving to entrap not only underage girls but also the rich and famous who preyed upon them. Using the allure of underage sex to lure his wealthy associates into his web, Epstein secretly filmed them in the act of sexually abusing minors, thereby turning his “associates” into his blackmail victims.

Epstein seems to have believed that the powerful people whom he’d entrapped in his “insurance policy” would have a vested interest in keeping him safe from the law, a strategy which worked for a while. In 2008, Epstein was convicted in Florida of sexually abusing a fourteen-year-old girl, receiving a scandalously light sentence, but due to a plea deal he was not charged with sexually abusing thirty-five other girls whom federal officials identified as having been abused by him.

After a further ten years in which Epstein masterminded the trafficking of young girls to satisfy the pornographic and pedophilic appetites of his powerful network of friends, he was finally charged in July of last year with the sex trafficking of minors in Florida and New York. A month later, he was found dead in his jail cell. Although the medical examiner originally recorded the death as being a case of suicide, there are so many anomalies and mysteries surrounding the circumstances of Epstein’s death that many people agree with Epstein’s lawyers that the death could not have been suicide.

One thing that is certain is that Epstein’s death removed the possibility of pursuing criminal charges. There would be no trial, and therefore Epstein’s powerful associates would not be exposed by their victims in a court of law. Seen in this light, or in the shadow of this possible cover-up, it is tempting to see Epstein’s “insurance policy” as his death warrant. He was too dangerous to be allowed to live when the lives of so many others depended on his timely death. It is no wonder that “Epstein didn’t kill himself” has become a hugely popular meme, nor that HBO, Sony TV, and Lifetime are planning to produce dramatic portrayals of Epstein’s life and death.

One aspect of Epstein’s life which is unlikely to be the focus of any TV drama is his obsession with transhumanism. For those who know little about this relatively recent phenomenon, transhumanism is usually defined as the movement in philosophy which advocates the transformation of humanity through the development of technologies which will re-shape humans intellectually and physiologically so that they transcend or supersede what is now considered “human.” At the prideful heart of this movement is a disdain for all that is authentically human and a sordid desire to replace human frailty with superhuman or transhuman strength.

Transhumanism rides roughshod over the dignity of the human person in its quest for the technologically “created” superman. Its spirit was encapsulated by David Bowie in the lyrics of one of his songs: “Homo sapiens have outgrown their use…. Gotta make way for the Homo superior.”

Most of Epstein’s so-called “philanthropy” was directed to the financing and promotion of transhumanism. The Jeffrey Epstein VI Foundation pledged $30 million to Harvard University to establish the Program for Evolutionary Dynamics. It also bankrolled the OpenCog project, which develops software “designed to give rise to human-equivalent artificial general intelligence.” Apart from his support for the cybernetic approach to transhumanism, Epstein was also fascinated with the possibility of creating the “superman” via the path of eugenics. He hoped to help in a practical way with plans to “seed the human race with his DNA” by impregnating up to twenty women at a time at a proposed “baby ranch” at his compound in New Mexico. He also supported the pseudo-science of cryonics, whereby human corpses and severed heads are frozen in the hope that technological advances will eventually make it possible to resurrect the dead. He had planned to have his own head and genitalia preserved in this way.

In addition to his bizarre association with the wilder fringes of technological atheism, Epstein also co-organized a conference with his friend, the militant atheist Al Seckel, known (among other things) as the creator of the so-called “Darwin Fish”—seen on bumper stickers and elsewhere, it depicts Darwin’s “superior” evolutionary fish eating the ichthys symbol, or “Jesus fish” of Christians. Seckel fled California after his life of deception and fraud began to catch up with him. He was found at the foot of a cliff in France, having apparently fallen to his death. Nobody seems to know whether he slipped, jumped, or was pushed.

Apart from his unhealthy interest in atheistic scientism, Jeffrey Epstein was also a major figure amongst the globalist elite. According to his lawyer, Gerald B. Lefcourt, he was “part of the original group that conceived the Clinton Global Initiative,” which forces underdeveloped countries around the world to conform to the values of the culture of death. Even more ominously, Epstein was a member of the Trilateral Commission and the Council on Foreign Relations, two of the key institutions responsible for fostering and engineering the globalist grip on the world’s resources.

As we ponder the sordid and squalid world of Jeffrey Epstein and his “associates,” we can’t help but see his life as a cautionary tale, the moral of which is all too obvious. It shows that pride precedes a fall and that it preys on the weak and the innocent. It shows that those who think they are better than their neighbors become worse than their neighbors. It shows how Nietzsche’s Übermensch morphs into Hitler’s Master Race and thence to the transhuman monster. It shows that those who admire the Superman become subhuman. It also shows that the subhuman is not bestial but demonic. It shows that those who believe that they are beyond good and evil become the evilest monsters of all.

Those of us who have been nurtured on cautionary tales such as Mary Shelley’s Frankenstein or C. S. Lewis’s That Hideous Strength will know that fiction often prefigures reality. We see that the real-life figure of Jeffrey Epstein is a latter-day Viktor Frankenstein, reaping destruction with his contempt for his fellow man and his faith in the power of scientism to deliver immortality to those who serve it. We can also see that the transhumanism which Epstein financed is a mirror image of the demonic scientism of the secretive National Institute of Coordinated Experiments in Lewis’s prophetic novel. We may even be grimly amused by the fact that the “leader” of the demonic scientistic forces in Lewis’s tale is a severed head which has apparently been brought back to life.

There is one final lesson that the pathetic life of Jeffrey Epstein teaches us. It shows us that the adage “the devil looks after his own” is not true. It’s a lie told by the devil himself. The devil hates his disciples as much as he hates the disciples of Christ. Once he has had his way with them, he disposes of them with callous and casual indifference, much as Jeffrey Epstein disposed of his victims.

Photo credit: Getty Images

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Ricky Gervais Horrifies Hollywood Liberals With ‘Savage’ Takedown at the Golden Globes

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Ricky Gervais Golden Globes

Ricky Gervais opened the 77th annual Golden Globes with what amounted to a trigger warning, before launching into a ruthless takedown of the Hollywood crowd. 

“You’ll be pleased to know this is the last time I’m hosting these awards, so I don’t care anymore,” the British comedian said, noting he had hosted for the four previous years. “I’m joking. I never did.”

In case anyone had missed his point, Gervais added, “Let’s have a laugh at your expense, shall we? Remember, they’re just jokes. We’re all gonna die soon, and there’s no sequel.”

Gervais’ first target was Hollywood awards shows themselves. He recalled the scandal over Kevin Hart’s old anti-gay tweets, which led the actor to fire himself from hosting the 2019 Academy Awards.

“Kevin Hart was fired from the Oscars because of some offensive tweets. Lucky for me, the Hollywood Foreign Press can barely speak English, and they’ve no idea what Twitter is,” he said, implicitly acknowledging his own politically incorrect Twitter activity.

Gervais next took aim at Hollywood entitlement in the form of actress Felicity Huffman, who recently spent two weeks in prison for her involvement in a nationwide college entrance exam cheating ring.

“I came here in a limo tonight, and the license plate was made by Felicity Huffman,” Gervais said. “It’s her daughter I feel sorry for. That must be the most embarrassing thing that’s ever happened to her, and her dad was in ‘Wild Hogs.’”

Ricky Gervais shows Hollywood his Golden Globes

After calling “The Irishman” actor Joe Pesci “Baby Yoda,” Gervais warned all the Hollywood executives in the room that they could be the next casualty of the #MeToo movement.

“In this room are some of the important TV and film executives in the world, people from every background. But they all have one thing in common. They’re all terrified of Ronan Farrow,” he said, referring to the investigative journalist who made a name for himself with exposes about sexual harassment and abuse. “He’s coming for you.”

“Talking of you perverts, it was a big year for pedophile movies,” Gervais continued.” “Surviving R Kelly.” “Leaving Neverland.” “The Two Popes.”

Having highlighted Hollywood’s dirty underbelly, Gervais went after its self-conception as a place that promotes equal opportunity for minorities.

“Many talented people of color were snubbed in all major categories. Unfortunately there’s nothing we can do about that. The Hollywood Foreign Press are all very, very racist,” he said.

“We were gonna do an en memoriam this year, but when I saw the list of people that had died, it wasn’t diverse enough. It just, no. It was mostly white people, and I thought, no, not on my watch. Maybe next year. Let’s see what happens.”

Continuing to literally and figuratively shrug at himself, Gervais quipped that nobody was watching the Golden Globes anyway, saying, “Everyone’s watching Netflix.

He offhandedly suggested that Jefferey Epstein had not killed himself in prison in August while awaiting trial on sex trafficking charges.

When the crowd moaned, Gervais added, “I know he’s your friend, but I don’t care.”

Pushing on, Gervais joked that Americans only turn to Hollywood these days for superhero blockbusters, which he said have transformed actors in nothing more than buffed drug addicts.

“All the best actors have jumped to Netflix and HBO. And the actors who just do Hollywood movies do fantasy adventure nonsense,” he said.
“They wear masks and capes, and really tight costumes. Their job isn’t acting anymore. It’s going to the gym twice a day and taking steroids. Have we got an award for most ripped junkie?”

Gervais then called out a few more celebrities by name.

He hit Leonardo DiCaprio for his affinity for young women.

“‘Once Upon a Time in Hollywood,’ nearly three hours long. Leonardo DiCaprio attended the premiere, and by the end, his date was too old for him,” he said, before comparing the actor to the British prince disgraced by the Epstein revelations. “Even Prince Andrew’s like, “Come on, Leo, mate. You’re nearly 50, son.”

Gervais wrapped up his monologue with an epic rant about the hypocrisy of liberal elites in Hollywood and Silicon Valley alike.

“Apple roared into the TV game with The Morning Show,” Gervais said. “A superb drama about the importance of dignity and doing the right thing, made by a company that runs sweatshops in China.”

Gervais then turned his attention to all the actors, writers and directors in the room.

“Well, you say you’re woke, but the companies you work for…unbelievable. Apple, Amazon, Disney. If ISIS started a streaming service, you would call your agent, wouldn’t you?”

As the audience laughed nervously, Gervais, offered some advice to the nominees.

“So if you do win an award tonight, don’t use it as a platform to make a political speech, right?” he said. “You’re in no position to lecture the public about anything. You know nothing about the real world. Most of you spent less time in school than Greta Thunberg.”

Actor Tom Hanks’ shocked expression subsequently went viral online.

All of Hollywood when Ricky Gervais tells them that no one cares about their political opinions: pic.twitter.com/CQreakKKTg

— Kyle Morris (@RealKyleMorris) January 6, 2020

Despite Gervais’ admonition, though, the evening was filled with liberal politics.

Patricia Arquette, in accepting a supporting actress in a limited series award for her role in Hulu’s “The Act,” pleaded with the audience to consider the threat of another extended conflict in the Middle East.

Michelle Williams, who won best actress in a limited series for the FX’s “Fosse/Verdon,” delivered a feminist pro-abortion acceptance speech.

And Sacha Baron Cohen, who appeared onstage as a presenter, took a shot at Facebook founder Mark Zuckerberg for allegedly allowing Nazis to run rampant on the platform.

Meanwhile, according to People magazine, the crowd for the first time dined on an entirely vegan dinner in the name of fighting climate change.

Cover image:
Ricky Gervais hosts the 77th annual Golden Globe Awards ceremony in Beverley Hills, California, on Jan. 5, 2020. (Twitter)

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Forget Succession, Because Watchmen Has ArrivedAnd It Is GOOD

This is a preview of our pop culture newsletterThe Daily Beasts Obsessed,written by senior entertainment reporter Kevin Fallon. To receive the full newsletter in your inbox each week,sign up for it here.

Youre Going to LoveAnd Be So Confused ByWatchmen

Remember when everyone was like, Whats going to happen to HBO when Game of Thrones ends? And, like, Is TV dead as we know it?

I mean, I guess its understandable to want to stage a funeral for great television while watching that final season of Thrones. (Burn!) But two drama series have aired on the network in the time since Kings Landing fell, each of which I would rank leagues above Thrones on any year-end Best of TV list: Years and Years and the second season of Succession.

The former found a near-miraculous way to be topical about todays rabies-ridden sociopolitical discourse, while the latter took the mantle when it comes to watercooler buzz and, especially, with media and Twitter obsession. In addition to those two, the second season of Big Little Lies was a major ratings and press boon.

But with Watchmen, theres not just a third drama series of excellence entering the mix, but one that I think will, if not quite have the same reach as Thrones, fuel a fanbase of people who just will not stop talking about it.

Watchmen premieres Sunday and shares two unmistakable characteristics with that show: It is visually astonishing, with each frame more ambitious, stunning, and remarkable than the one before. You also have no idea what the hell is going on at any given moment. If you liked that about Game of Thrones, youll LOVE it about Watchmen.

That a series which poses such a fascinating narrative conundrum would count Damon Lindelof as its creator should come as no surprise; as the man behind Lost and The Leftovers, hes proven a penchant for a certain kind of dazzling befuddlement that evolves into brilliance. The series is an adaptation inspired by the revered DC Comics 12-part series from writer Alan Moore and artist Dave Gibbons, but which the HBO creative team involved refers to as more of a remix.

I have not read the comic series, so I have no idea what that means, but I can say that I didnt feel like I needed to have read it to enjoy the episodes of the HBO show that I watched. I also saw the notoriously maligned 2009 Zack Snyder film adaptation, but dont remember anything about it besides its insane sex scene: as Patrick Wilsons legendary bottom thrusts and a fully-nude Malin Ackerman gyrates, Leonard Cohens Hallelujah plays.

Anyway, what I am getting at is that you dont need to be familiar with these things to watch the show.

The show itself presents a sort of sci-fi alt-history, set in a contemporary America where Robert Redford is serving the longest presidential term in history. He has signed into law reparations for black Americans. Vietnam is a state. Things are…different. But as a jolting reminder of how not-different things are, or at least have been through history, the series starts with a violent, brutal dramatization of the very real 1921 Tulsa massacre, in which as many as 300 black citizens were killed.

That real history haunts the shows alt-history, where, in the present day, white supremacists are hunting down police officers. These officers now wear masks to conceal their identities for their own safety, and are working alongside masked vigilantes, like Regina Kings Sister Night, who is a former cop named Angela.

Theres a lot to say and untangle about the ties between white supremacy and institutions like the police force, as well as the very ideas of policing and justice in general, which are coming untethered among escalating racial tensions. What lands and what doesnt land is subjective in Watchmen, and you cant shake the feeling that you need to watch the series unfold entirely before ruling one way or the other.

Of course, the journalists and critics (hi!) telling you to watch this because its really damn good have had the luxury of seeing six full episodes. Id go ahead and comfort you by saying if youre intrigued enough by all of the huh? in episode one, you get many answers in episode twothough, my god, not all, not even close. Quote Kings Angela after a particularly baffling, though thrilling, moment: What the fuck?

Same, girl. And often. But by the time Jean Smart enters in episode three, you know I was on board, full-stop. She gives one of my favorite performances of the year as a former superhero-turned-FBI agent, a perfect complement to my nightly bingeing of her work as Charlene Frasier on Designing Womena TV series I have mentioned in this newsletter far more often than I really should.

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The NXIVM Sex Cult Gets the Lifetime Movie Treatment

The chilling story of cult leader Keith Raniere and his network of sex slaves, hidden behind the front of a self-help program called NXIVM, is the latest sensational crime story to get the Lifetime movie treatment. Escaping the NXIVM Cult: A Mothers Fight to Save Her Daughter, which premiered on Saturday, follows the true story of 80s soap actress Catherine Oxenbergs attempts to loosen her twentysomething daughter India from NXIVMs grasp.

Oxenberg played an important role in exposing Ranieres horrific crimes through her attempts to save her daughter. She interviewed former members of the cult, compiled a report for the FBI, and spoke with the New York Times. Raniere, 58, was convicted of sex trafficking, among other charges, in June and faces 20 years in prison. The 90-minute TV movie offers PG recreations of the most disturbing details of the NXIVM case, including the branding of female members with Ranieres initials.

Escaping the NXIVM Cult shows its cards early, leading with a scene straight out of a (very tame) horror movie. Shots of a shadowy suburban neighborhood, complete with cul-de-sacs and neat rows of townhouses, convey that the extraordinary horrors of NXIVM occurred behind closed doors in an ordinary town.

From the outside, it all looked so normal, says fictionalized Catherine Oxenberg (Andrea Roth) in voiceover. Not like anything youve read about or seen in the movies. There was no creepy compound behind a fence. That would have been a dead giveaway. Instead, the houses were embedded into suburban neighborhoods. A pause, and then: Just like yours and mine.

Through gauzy curtains obscuring the windows of one house, we see a group of women in various stages of undress crowded around a massage table. The glowing, white-hot tip of an iron signals what is to come. A disembodied female voice whispers, Time to meet your sisters. The cult members restrain a writhing, screaming young woman as the iron makes contact with the flesh just above her pelvis.

Later, we see this scene again, in context, but by then the movie has gone so stale that it doesnt pack the same punch. The fact that they use the same scene twice, not to mention showing it almost in full as the centerpiece of the trailer, should tell you everything you need to know about how (un)interesting the rest of the film is.

The poor girl strapped to the massage table in suburban New York hell is India Oxenberg (Jasper Polish), the college dropout daughter of Dynasty actress Catherine. Roth, best known for playing Janet Gavin in FXs Rescue Me, does her best impression of Nicole Kidman in the Big Little Lies therapy scenes as Catherine, a distressed mother and survivor of childhood sexual abuse.

Catherine initially invites India to accompany her to an NXIVM Executive Success Program seminar in Albany, but she soon begins to take issue with some of the misogynistic messages preached by the programs teacherslike the ideas that men are more loyal than women and that men never enjoy true sexual intimacy in the way that women do. She first grows suspicious when the member questionnaire includes queries like, What is the worst thing thats ever happened to you? and What have you done that youre most ashamed of? What on earth do these questions have to do with being successful in business? she murmurs to her daughter.

From the outside, it all looked so normal

India, however, who is struggling to launch her career as a baker and dreams of owning her own caf, is entranced by NXIVMs promise to help her learn all the tricks in the book so you can stop getting in your own way all the time. Enter Smallville actress Allison Mack (Sara Fletcher), whom India immediately and excitedly recognizes. Mack takes a particular interest in India, exploiting the young womans vulnerability.

To the dismay of Catherine, India decides to stay in Albany. She is soon inducted into a cult of sex slaves for NXIVM founder Keith Raniere, branded with his initials, forced to starve herself to adhere to his sexual preferences, and blackmailed with personal information and nude photos referred to as collateral.

We first meet Keith Raniere, an L. Ron Hubbard-type self-styled genius and the villainous mastermind behind it all, about 25 minutes into the movie. Played by Peter Facinelli, Lifetimes Raniere wears thick-framed spectacles, is a sore loser in volleyball matches, and greets female NXIVM members with kisses on the mouth.

In Escaping the NXIVM Cult, the very real torture endured by NXIVM members is often undermined by cheesy, on-the-nose dialogue and over-acting. In one scene, for example, Fletchers Allison Mack disturbingly reveals to India that she limits her daily calorie intake to 800 because it hurts [Keith] when Im heavier.

As Allison pulls a bowl of assorted vegetables from the fridge, India suggests, I could make us a really good honey mustard dressing. Mm, too fattening, girl! Allison replies, biting into a piece of raw broccoli with a noisy crunch. We are never going to get to 106 like that. NXIVMs abusive pattern of starving members is only referenced on one other occasion, when Catherine remarks that she is concerned by Indias weight loss.

Essentiallyand unsurprisinglyLifetimes stab at telling Catherine and India Oxenbergs story does not offer anything new to the narrative surrounding the highly-publicized criminal case. In a few years time, it will probably be adapted into an HBO miniseries with the budget, talent, and unflinching gaze required to do the terrifying story justice.

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Emmys 2019: Fleabag and Game of Thrones win big on Brit-dominated night

Phoebe Waller-Bridges comedy was the surprise victor while the final season of HBOs fantasy drama picked up the most Emmy awards

Awards and prizes

It was a British invasion at the 71st Emmy awards, with Game of Thrones taking home the prize for best drama and Phoebe Waller-Bridges Fleabag sweeping most of the comedy awards in a night that saw numerous nods to stars from across the pond.

The biggest question heading into the night was whether Emmy voters would reward perennial juggernaut Game of Thrones for its divisive final season. The show was nominated for 32 awards the most for any single season of television ever and had already won 10 Creative Arts Emmys last week. Game of Thrones took home the nights final prize for outstanding drama series and a best supporting actor nod for American star Peter Dinklage bringing its total to 12 awards and breaking its own 2015 record for the most awards given to a series but was otherwise shut out of the telecast.

Instead, Fleabag emerged as the nights big winner, upstaging Veep, HBOs other Emmys mainstay in its final season, and last years darling The Marvelous Mrs Maisel. Fleabag, which originated as Waller-Bridges one-woman show at the Edinburgh festival fringe, took home the awards for outstanding writing, best comedy series and best directing. Waller-Bridge also claimed lead actress in a comedy series a surprise win over Julia Louis-Dreyfus, who would have become the most decorated Emmys performer of all time had she won a ninth award for her role as Selina Meyer on Veep.

Jodie
Jodie Comer. Photograph: Mike Blake/Reuters

Waller-Bridge, who began her third acceptance speech by saying This is just getting ridiculous, was the crest of what amounted to a British wave at the Emmys, with wins for several stars: Ben Whishaw (A Very English Scandal) won for outstanding supporting actor in a limited series, while Jodie Comer (Killing Eve) apologized to her Liverpudlian parents for not inviting them because she didnt think it was my time in her speech for lead actress in a drama series. Chernobyl, HBO and Sky Televisions brutal, critically acclaimed limited series on the 1986 nuclear disaster, won for best outstanding writing, best directing and limited series. John Oliver won his fourth consecutive Emmy for best variety series for Last Week Tonight, and Jesse Armstrong took home best drama writing for HBOs upstart Succession. Black Mirrors choose-your-own-adventure flick Bandersnatch also won for best television movie.

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Emotional speeches take center stage at 2019 Emmys video highlights

In a hostless awards show packed with more awards than anything else, perhaps the most stirring moment of the night was Michelle Williams speech for outstanding lead actress in a limited series (Fosse/Verdon), in which she heralded gender pay equity. My bosses never presumed to know better than I did about what I needed in order to do my job and honor Gwen Verdon, said Williams, now an outspoken activist for gender pay equity following the revelation to herself and the public that she was paid significantly less than costar Mark Wahlberg in the movie All the Money in the World. The next time a woman, and especially a woman of color because she stands to make 52 cents on the dollar compared to her white male counterpart tells you what she needs in order to do her job, listen to her, Williams said to some tears from the audience.

Believe her, because one day she might stand in front of you and say thank you for allowing [her] to succeed because of her workplace environment and not in spite of it.

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Jharrel Jerome wins lead actor in a drama series. Photograph: Frederic J Brown/AFP/Getty Images

The nights other highlight was an inspiring win for Jharrel Jerome as lead actor in a limited series for When They See Us, Ava DuVernays Netflix series on the wrongly convicted Central Park Five that was otherwise shut out of awards by Chernobyl. This is for the men we know as the exonerated five, Jerome said as the real Central Park Five, now exonerated, raised their fists in solidarity.

Representation and tolerance were also the themes of speeches by Billy Porter (Pose), who took home the prize for lead actor in a drama series The category is love, yall, love! he shouted and Patricia Arquette (The Act), who won outstanding supporting actress in a limited series. Arquette dedicated the award to her sister Alexis, a trans woman who died in 2016, and urged an end to discrimination of trans people. Give them jobs. Lets get rid of this bias that we have everywhere, she said.

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Michelle Williams gives powerful Emmys acceptance speech on pay inequality video

Outside of the British winners, other highlights of the evening included two nods to The Marvelous Mrs Maisel Tony Shalhoub and Alex Borstein for supporting actor and actress in a comedy series, respectively and an underdog win for Ozarks Julia Garner as outstanding supporting actress, besting Daenerys Targaryen herself, Emilia Clarke.

Game of Thrones still got its recognition, however, as a portion of its massive cast and crew took the stage for the nights biggest honor. Given all the fire and ice, dragons and long shoots, it is amazing that all of you are still alive, said co-showrunner DB Weiss. I cant believe we finished it.

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‘Seinfeld’ Is Coming To Your Netflix Queues

“Seinfeld” will be available to stream on Netflix beginning in 2021 thanks to a new five-year distribution deal.

All 180 episodes of the legendary sitcom, which ran from 1989 to 1998, will be available to Netflix users worldwide, the streaming giant announced Monday.

In the U.S., the show currently streams on Hulu, which has held the streaming rights since 2015. Amazon Prime Video distributes the show internationally.

To acquire the streaming rights from Sony Pictures Television, which syndicates “Seinfeld,” Netflix outbid several other competitors, including Hulu, Amazon and the sitcom’s own network, NBC, according to the Los Angeles Times, which first reported the deal.

Created by and starring Jerry Seinfeld as a fictional version of himself, the NBC show went on to influence numerous other comedy series, particularly shows directly drawing from the creators’ own lives and points of view. It has also developed new generations of fans through syndication and streaming.

Netflix recently lost the streaming rights to several other celebrated shows, including “The Office” and “Friends,” which similarly found new generations of viewers on Netflix.

When its deal with Netflix lapses in 2021, “The Office” will stream on NBC Universal’s forthcoming streaming service. Starting next year, “Friends” will stream on HBO Max, a new streaming service from WarnerMedia, which owns Warner Bros. Television, the distribution company behind “Friends.” In the coming years, TV viewers can expect to see more shows move to different streaming platforms as competition for new streaming services heats up.

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Wild oversharing comic Phoebe Robinson: ‘I do dumb things. That’s who I am!’

Algorithmia AI Generated Summary

 

Is the fringe ready for the brash standup who utilized to get paid in nachos as well as chicken wings. We fulfill one fifty percent of 2 Dope Queens as she loads her shoes with sweat

What does Phoebe Robinson wish to see when she shows up at the Edinburgh edge. Just lots of dudes smuggling their bangers and also mash in their kilts.


 

Is the fringe ready for the brash standup who utilized to get paid in nachos as well as chicken wings? We fulfill one fifty percent of 2 Dope Queens as she loads her shoes with sweat

What does Phoebe Robinson wish to see when she shows up at the Edinburgh edge? Just lots of dudes smuggling their bangers and also mash in their kilts. Observational comic, sharp social doubter, signee of a handle ABC workshops, bestselling writer (You Cant Touch My Hair & Various Other Things I Still Have to Describe) as well as one fifty percent of 2 Dope Queens (the podcast duo transformed HBO stars), Robinson has an ideology: that comedy parched, spontaneous, periodically gross, with riffs on Googling David Bowies penis dimension after learning he has passed away can be a force for great.

At Edinburgh, Robinson will explore her show, called Sorry, Harriet Tubman, which covers sex stuff as well as race stuff yet additionally discussing accidents in the bedroom during sex, just like lower-brow points. So I think that itll be type of a conclusion of where Im at in my life today. It suggests, like a lot of her job, that if we can be truthful concerning our greatly mistaken selves as well as our profoundly mistaken culture, possibly we can make our globe a little less screwed up. Or at the very least tell a couple of decent fart jokes along the road.

The title, she states, stems from a running joke she and likewise her other dope queen The Daily Exposes Jessica Williams used to make on the podcast, concerning just how dissatisfied Tubman would certainly be, because, you understand, she basically led servants to freedom on the below ground railway and additionally Im like I simply wan na wreck Michael B Jordan, Robinson states.
I ask her exactly how she has actually pulled down Tubman this week. Its only Tuesday, she items. Nevertheless after that she births in mind exactly how that day or the day previously, she and her person had been exercising at the fitness center in her structure, which while practicing a curtsy lunge, an incredibly sophisticated action, she merely discharge like the loudest, wettest fart. Her companion has his earphones in, however he still heard it. So I thought that was an ensured dissatisfaction for Harriet, she specifies.
Robinson suches as to think of Tubman, her honorable face flecked with a solitary, excellent Demi-Moore-in-Ghost tear, hearing that fart as well, and questioning if discovering to browse by the North Star had truly deserved it.

As authentic as possible Robinson did a standup course and fell in love with it.

The comic, that describes herself as an off-brand Oprah, expanded up in Americas midwest, enjoying the sitcoms Moesha as well as Martin, and the sketch show In Living Color. She was an ironical child, but not one that might always fracture a joke. Funny was never her endgame. Yet in university, she signed up with an improv performers, and also after college, while functioning as an executive aide, a pal convinced her to take a standup course and she dropped in love, executing any place she could, from clubs to biker bars. She was usually paid in nachos. Or chicken wings.

Some comics will create a character, yet Robinsons persona is herself, with all the Instagram filters shut off. Her strategy, she claims, is to be as authentic as feasible and also her brand, she states, is similar to kind of not taking myself also seriously.

She had gotten here for lunch, at a drowsy Brooklyn restaurant, in streamlined sunglasses, worn denims, and also a pink T-shirt checking out Bonjour yall. Her sweetheart whom she calls British Baekoff (he is British, he is her bae, he takes pleasure in cooking) had actually asked her not wear it on the Paris Mtro and also which she had of program used on the Paris Mtro. So the not taking herself also seriously point checks out.

When 2 Dope Queens relocated to HBO, Robinson would typically record discounts without makeup or while pretending that her wig was doing the talking. Fifty percent the time Im doing something truly stupid as well as I can much like conceal it, but Im like, thats who I am, she claims.

She doesn ‘t recognize just how, or if, her oversharing design will certainly convert to the UK, yet her partner has actually alerted her that British target markets can be more suppressed. They might not be hooting and shrieking, yet that doesn ‘t mean they ‘reOriginal message also short.Original message as well short.Original text too brief. not enjoying, she guarantees herself. The possibility does not make her remotely as worried as the moment she and Williams talked to among her heroes, Michelle Obama (various other heroes: Oprah, Bono, her moms and dads, her huge bro). When she stood up after the meeting, her shoes had plenty of sweat. I was really nervous concerning sliding and also falling, she states. Thats how much sweat remained in my footwear!

Funny, which is still really white and also still really male, hasn’t always rated to such females as her, and also she does not love concerns concerning exactly how to enhance things. It needs to be a teamwork and till straight dudes are expected to roll up their sleeves as well as get to function, she states, Im over being inquired about what males need to do. What does she need to do? Talk as honestly and truthfully as she can around hookups as well as periods and sexism and racism as well as the errors of white-lady feminism as well as shapewear knowing that the funny will constantly discover its method there.

 

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‘The Lion King’ sinks its teeth into critic-audience divide

'The Lion King' sinks its teeth into critic-audience divide - CNN

(CNN)As “The Lion King” counts up receipts from a big opening weekend while still licking its wounds from negative reviews, you can almost hear the familiar murmurs — that critics are “out of step” with the audiences they profess to serve.

It’s a notion that contains a few crumbs of truth, but also a host of misconceptions.
At the risk of painting with too broad a brush, critics — simply by virtue of seeing so many productions in a particular field — are almost by definition a little out of step. Because they see everything (or as much as is humanly possible), they’re generally predisposed to look for that which is different, novel or otherwise distinctive.
That’s a difficult bar to achieve when remaking anything, especially an animated movie that’s essentially just being redone using a different animation technique. From that perspective, “The Lion King” is as much a consumer product as it is a movie.
    Why another “Lion King” some have asked, 25 years later? Because audiences often seek familiar experiences, especially when it means sharing a story with their kids. Whether it’s “Star Wars” or Batman, people who enjoyed those franchises in their youth not only tend to still like them, but relish the opportunity to share them with their kids.
    So is its success — with an estimated $185-million debut weekend in North America, a box-office feast fit for a you know what — a rebuke to critics, or at least, those who panned it, yielding tepid averages on review-aggregation sites? Not really.
    For starters, it’s always dicey inferring a connection between making a lot of money and quality. McDonald’s sells millions of burgers, but that doesn’t necessarily make them good for you, or worthy of a four-star rating.
    Second, it’s faulty to assume that critics who panned the movie were either rooting against it or felt their negative opinions would dissuade people inclined to see it.
    entertainment
    Indeed, the reality of modern criticism means writing about films and TV shows that are essentially review-proof, as well as showering praise (occasionally) on smaller projects with scant hope of garnering big crowds.
    There is, perhaps, an “old man yells at cloud” quality to lamenting the studios’ reliance on remakes, reboots and revivals, as some early reviews did. Disney made “The Lion King” for the same reason it did “Beauty and the Beast” and will do “The Little Mermaid” — not to ruin or raid your childhood, but because it thinks it can make a buck off of it. That’s hardly new, and as studios try to cut through the content clutter, even less likely to change.
    Viewed that way, it’s possible to accept and even enjoy the simplicity of something like this latest “Lion King” without seeing anything remotely exciting about it, and nothing wrong with trying to temper the expectations of those hoping to be wowed. In fact, critics unmoved by the experience would be remiss, and dishonest, if they didn’t.
    The best summation of this whole argument, frankly, came from Craig Mazin, the writer and producer of HBO’s “Chernobyl.” On Twitter, he responded to presidential candidate Andrew Yang, who veered out of his lane to opine that he found Disney’s live-action remakes of “The Lion King” “and other movies I grew up with a bit depressing. It’s like we can’t come up with new stories.”
    “Aladdin is about a thousand years old. Lion King is Hamlet,” Mazin wrote. “They weren’t so new when you saw them either. Let the kids enjoy.”
      The strong box-office results for “Aladdin” (whose reviews were also fairly tepid) and now “The Lion King” will only ensure that more remakes are pushed into the pipeline.
      Whether seeing such fare sounds appetizing is, of course, up to the individual consumer. For critics, by contrast, it’s usually just one of the mandatory groups in what can be an unhealthy movie-going diet.

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      Euphoria review so explicit it makes Skins look positively Victorian

      Zendaya is astonishing as the self-destructive Rue in a teen sexndrugs drama that hides hidden depths behind the Instagram angst

      culture

      Few new series have achieved such notoriety with quite the same speed as Euphoria (Sky Atlantic), the teen-populated US drama that is so explicit in its weary portrait of drug use and sex that it makes Skins look positively Victorian. This pilot episode serves as both a taste and a warning: if you can accept that it depicts its world with the flippancy of an Instagram scroll, then its rewards are vast, particularly in terms of its emotional depth. But early on it brims with pills, drink, apps, erect penises, loving sex, cruel sex and nude pics, ever present and lurking, but horrifyingly casual, as if they are an inexorable part of these particular fictional, middle-class, suburban teenagers existences.

      Euphoria is far better than its surface look-at-me neediness, though. It opens with a heavy teen-angst monologue that points out one of the most horrifying aspects of the whole affair, at least for this particular viewer that its protagonists were mostly born after 9/11. Rue is our lead, an omniscient narrator who weaves with us in and out of her peers lives. She has mental health issues that have been variously diagnosed and medicated, but which she prefers to address with her own risky prescription of illegal substances. I know it may all seem sad, but guess what? I didnt build this system. Nor did I fuck it up, she intones, with all the wisdom of a wordy 16-year-old trying on her own maturity for size. The former Disney star Zendaya is reinvented as the self-destructive, self-loathing Rue, in what is a truly astonishing, mesmerising performance, upending every expectation of what she could do.

      Rue has been in rehab for the summer, following an accidental overdose, and after a period of being clean, her first mission at home is to get as high as she possibly can once more. She does so with the precision of a professional. Euphoria has a tendency to go off on dream-like tangents, which is both self-conscious and charming. One of Rues drug dealers is a child with a tattooed face and a vocabulary made almost entirely of chemical formulas; he is yet to be explained, but his presence adds to the overall woozy feel. Every character here is hyper-articulate, quippy and analytical, using glibness as a defence against the many wounding experiences with which they are not yet able to cope. Once he tried to finger me on the dancefloor without my permission, but, its America, says Rue, drily, of the furious jock Nate, a sinister presence for whom the words daddy issues do not even come close.

      The controversy that accompanied Euphorias debut on HBO centred on the assumption that it was aimed at teenage viewers, and perhaps even younger. If that were the case, it makes substance-fuelled house parties look as appealing as following that paper boat down the drain just because a clown told you to, so Im not sure there is much to worry about. But Im also not even sure that it works as well for a young audience as it does for those of us who can look back with relief that this painful, dramatic part of life is over.

      Euphoria will certainly not appeal to all tastes, but it is far less brash than it has been made out to be. There are deep sophistications hidden within its more straightforwardly angsty digressions. When Rue meets her new best friend, Jules (Hunter Schafer), who has just moved to the suburbs, it becomes a semi-romantic adventure and the series ability to conjure up the intoxicating vitality of relationships like that is remarkable. When Jules meets an older man for sex, the abuse of power is complicated and the show is all the more powerful for resisting the urge to be didactic about it. Rue is a scammer and a hedonist, but she still feels guilty about what she is putting her family through. The heroically droll Kat promises hidden depths. For all of its bleak vision, sympathy is not in short supply, and it is hard not to begin to root for these kids to fight their way through to the other side.

      Regardless of whether your teenage years were spent drinking cider in a field, playing video games online with friends, studying hard to master a musical instrument or, as here, dissecting brutal sexual experiences in a culture of constant surveillance, there is a fundamental truth shared by almost everyone: adolescence is horribly cruel, and sweetly naive, in ever-shifting combinations of the two. If theres one thing Euphoria understands perfectly, its that.

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      African Futurist Nnedi Okorafor Tells an Immigrant Story in LaGuardia

      Political reality finally inserted itself into the blissfully insulated world of San Diego Comic-Con. The Trump baby balloon bounced across the street from the convention center in San Diegos Gaslamp district. The Magicians actor Jade Tailor wore a Close the Camps shirt during her season 5 panel. Sen. Cory Booker cruised through and AOC comics were for sale.

      Yet, searching the sprawling convention floor, youd be hard-pressed to find imagery more politically relevantor subversivethan the nine-foot-high poster for LaGuardia, a new graphic novel from African futurism writer Nnedi Okorafor. A pregnant Nigerian-American woman in a bright blue dress, fist raised and locks flowing like a banner, leads a bridge-closing protest shoulder-to-tentacle with extraterrestrial beings. Their picket signs demand rights for aliens, both human and of off-world origin.

      After a single-issue run, Dark Horse Comics released the final, collected volume during last weeks San Diego Comic-Con. LaGuardia depicts an alternative present, where first contact with aliens is made in Lagos in 2010. The protagonist Future Nwafor Chukwuebuka is modeled both in appearance and biography after the author herself. After living for several years in Nigeria, Future returns to the United States to illegally transport a plant-based alien escaping civil war through New Yorks LaGuardia airport. Once in the city, she reconnects with her grandmother, an immigration attorney for people of all planetary origins. Before too long, the government announces a travel ban.

      You have a world where aliens have come, and theyre not trying to kill us and eat us and take our resources. Theyve become Earthlings, Okarofor says. Some human beings react wonderfully to it, or some human beings just are cool with it, and then others cant deal with it. And then we have the United States becoming more conservative because of it.

      Its not unusual for science fiction to anticipate reality, but its remarkable how every page of LaGuardia seems only 30 seconds ahead of the horrors playing out in the headlines, from DNA testing and social media vetting at the nations entry points to the chant of send her back at the presidents recent North Carolina rally. LaGuardia explores the concept of human-only discrimination at hospitals; meanwhile, Democratic presidential candidates discussed healthcare for undocumented immigrants in their first televised debate.

      Its disturbing, but at the same time, it feels great, because I feel like Ive tapped into the pulse of something, Okorafor says.

      Yet this is a story that she has been working on for years.

      Issues of immigration, issues of identity, all these things, theyre not new, and theyve been there for a long time, she says.

      Okorafor talks and writes from experience. The graphic novel introduces Future through an extended scene at LaGuardia, where she queues up for screening along with aliens of all shapes and sizes, as well as a little white girl who yanks on her locks. At the checkpoint, she is pulled aside for a second screening by a security guard who asks invasive questions about whether the baby in her belly is human. The confrontation is ripped straight from an incident in 2009, when a TSA officer at LaGuardia took Okorafor to a private room to squeeze each of her four-and-a-half-foot locks for hidden contraband. Preoccupied with her hair, the officer missed the bottle of pepper spray that Okorafor had forgotten to remove from her bag. In LaGuardia, that misdirection allows the character to carry the alien through, undetected.

      As an author, Okorafor travels a lot, and its become clear to her that airport and border crossings are more about control than safety.

      Its the space between, a place of contention, a place of displacement, a place of fear, a place of identity, she says. Its where you become very aware of all the things that you are and what they mean, in the context of where you are. And depending on who you are, that place can feel very hot or it can feel very chill.

      San Diego Comic-Con can also be such a space, where creators contemplate who they are and where they are in their careers. In earlier chapters of her life, Okorafor was a semi-pro tennis player and later earned a PhD from the University of Illinois, Chicago, before becoming an award-collecting novelist. Okorafor has been attending Comic-Con on-and-off since 2010, wheb she was a speaker on The Black Panel, a forum for raising the profile of Black entertainment. This year was her first returning as a comic-book author.

      In addition to writing LaGuardia for Dark Horses imprint Berger Books, Okorafor was tapped by Marvel to write Black Panther: Long Live the King and a spin-off about the Wakandan princess Shuri. In coming Comic-Cons, she may be back with even more prominent projects: shes adapting Octavia Butlers Wild Seed for Amazon and HBO is developing her novel Who Fears Death, with Game of Thrones author George R.R. Martin as a producer.

      I am in chaos, organized chaos, wonderful, glorious, organized chaos, Okorafor says.

      One could draw a straight line from Okorafor and LaGuardia to comics pioneer Will Eisner (after whom Comic-Cons awards are named) and his 1978 medium-defining graphic novel, A Contract with God. Okorafor pulled the book off a university library shelf at random, without knowing it was a graphic novel, and was immediately transfixed by the blending of prose and images.

      But also it was telling this immigrant story, especially about Jews, Okorafor says of A Contract with God, and coming from a family of immigrants, my parents being immigrants, I could relate so well to that. And so this was a book that I read over and over and over again for years.

      Thats how Karen Berger, the editor who oversees Dark Horses Berger Book imprint, remembers Okorafor pitching the project: A Contract with God, but with aliens in an African American community. In Bergers mind, Eisner raised the bar by writing stories for adults based on his own experiences as the child of immigrants.

      The best works are when people have a personal connection, and theres something about a writers past, or the writers personality, the writers passions in the character they write about, Berger says. As a piece of immigrant fiction, LaGuardia really fills that space.

      LaGuardia is also about resistance, in all its forms, whether it be protesting, legal work, or holding the line within the system.

      There are many ways of fighting the battle and battles happen on multiple fronts, all at the same time, Okorafor says. This year, San Diego Comic-Con became one of them.

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