Kimye Lives?????!!!!

I don’t know why you, the readers of Jezebel dot com, love reading about Kim Kardashian and Kanye West so much (every comments section on every blog about them is like “mmmmm yes could I please have one (1) more of this?” and “love it when Jez covers Kimye, personally”), but here you go! “By popular demand,” she wrote, hoping that the intended irony would come across quite legibly.

Anyway, Kim and Kanye might not be over! At least, that’s what TMZ is saying. A source told the outlet that the two are “working on rebuilding the foundation of their relationship.” So, I guess that means their whole wedding dress stunt at the latest Donda listening party might not have been fully a stunt? I mean, besides the way that literally everything Kim and Kanye do is a stunt.



  • Speaking of the aforementioned Donda listening party, Kim’s publicity team appears to be in full-on damage control mode, telling every tabloid that will listen that she totally wouldn’t have shown if she’d known that repentant homophobe DaBaby and alleged serial abuser Marilyn Manson were also going to be there. [People]
  • Some unnamed insider says that Rihanna and A$AP Rocky are “so madly in love” and that “there’s a lot of buzz in their circle about an engagement being in the works.” Also, it might be soon? But also it might be never?? “They see each other as life partners,” the source continues. “They don’t need a piece of paper to be happy, but Ri’s a real romantic and her friends and family—her mom, especially—would love to see her married.” [Us Weekly]
  • Now, I’m not saying that Rihanna’s mom, Monica Braithwaite, called up Us Weekly while pretending to be some anonymous insider in order to further mom-guilt her unwed daughter into finally getting hitched. I’m merely suggesting its possibility, perhaps. Regardless, shout out to moms! [Mothers Enthusiast Quarterly]
  • JoJo Siwa wants to play Lady Gaga in a biopic someday. I think I speak for everyone when I quote the legendary, Oscar-winning Mo’Nique and say: I would like to see it. [Variety]
  • Harvard is “educationally abusive,” says Teen Mom alum Farrah Abraham. [Page Six]
  • James Corden, Camila Cabello, Billy Porter, and Idina Menzel did a flashmob in the middle of Los Angeles traffic to Jennifer Lopez’s “Get Loud.” What are my rights? [The Independent]
  • Said flashmob set to the song from Annihilation, courtesy of New York Times reporter Kyle Buchanan:

Usain Bolt announces he will release his debut album next week as he returns to the spotlight following the birth of his daughter Olympia

He recently became a dad for the first time in June, when his partner Kasi Bennett gave birth to a daughter named Olympia Lightning.

And Usain Bolt has announced he will release his debut album next week, following a four-year-long retirement consisting of event appearances and brand endorsements.

The Jamaican sprinter, 35, will distribute his highly-anticipated Country Yutes LP through his very own label, 9.58 Records, which has seen him drop singles such as It’s A Party and It A Work already.

Taking to Instagram last week, the eight-time Olympic Gold Medallist shared the artwork for his masterpiece.

It sees the man of many talents hanging out at his home studio with his manager and childhood friend Nugent ‘NJ’ Walker.

Wearing an eye-popping pink-and-black striped tee and matching shorts, Usain’s impressive workroom overlooks an exotic pool, complete with inflatables and overhanging palm trees.

‘”Country Yutes” Debut Album Pre- Save 03.09.21 ⚡️⚡️⚡️,’ the Lightning Bolt penned in his caption.

Usain bid farewell to the 100-metre track after tearing his hamstring at the 2017 World Athletics Championships,

His career change shouldn’t come as a surprise to fans, since he told Zip 103 FM back in February that he was ‘working on some new rhymes’.

‘Knowing the whole pandemic, we’re not trying to rush anything, we’re taking our time to make sure the music comes out at the right time,’ the fastest runner in the world began.

‘We also have an EP that we are working on, so that should be something interesting. We’re just trying to get a foothold, trying to make people understand that we’re not just here joking around.

‘We’re serious about the music, so we’re just going to take our time. Just like in track and field, it’s all about work and dedicating and just taking our time,’ he concluded.

It comes after Usain’s partner Kasi Bennett, 31, gave birth to the athlete’s first child on June 14, a daughter named Olympia Lightning.

The proud dad took to Twitter soon afterwards to wish his beau a happy birthday as they begin a new chapter of their lives together.

Usain uploaded a series of images of Kasi draped in a flowing ballgown as she sat cradling their little girl.

He wrote: ‘I want to wish my gf @kasi__b a happy birthday. I get to spend ur special day with u. I want nothing but happiness for u & will continue to doing my best keeping a smile on ur face.

‘We have started a new chapter together with our daughter Olympia Lightning Bolt [sic].’




‘In the Heights’ is a milestone for Latino audiences, but Lin-Manuel Miranda admits there’s work to be done: ‘I’m listening’

Deeply woven inside the story of Lin-Manuel Miranda’s Tony Award-winning musical In the Heights is a universal theme that is typically absent in works highlighting the realities and joys of Latin Americans: the nuances of the American dream.

Although the newly released film adaption, directed by Jon M. Chu, missed box-office expectations this weekend with $11.4 million, what it got right, according to fans, was the notion that Latin Americans are not a monolith. Making a clear separation from the typical tropes — the Latin lover, the buffoon, the illegal, the hot-tempered husband, the criminal, the gangbanger, etc. — In the Heights unveils a slice of life seldom seen in mainstream projects.

“For decades it was very common for Hollywood movies to associate Latinos with negative images such as prostitution, drug dealing, and violence,” New York City Councilmember Ydanis Rodriguez, who represents the district that includes the film’s setting of Washington Heights, tells Yahoo Entertainment. “The In the Heights film shows the world we are so much more.”

However, the film was also the target of criticism over the weekend regarding its lack of Afro-Latino representation. Miranda on Monday penned a passionate post on social media, admitting “in trying to paint a mosaic of this community, we fell short.”

Meanwhile, speaking to The Root’s Felice León, Chu also noted that there’s more work to be done to truly document the vast realities of the culture.

“I needed to be educated about that,” he said (see video below) about not fully understanding the existence of dark-skinned Latino folks like Afro-Panamanians, Black Cubans and Black Dominicans, for example.

“In the end, when we were looking at the cast, we tried to get people who were best for those roles,” Chu continued. “But I hear you on trying to fill those cast members with darker skin. I think that’s a really good conversation to have, something that we should all be talking about.”

Despite the critiques, the musical’s overall aim of representation-beyond-stereotypes has been, as Miranda noted, been ingrained in its DNA since it first premiered on Broadway in 2008. An unapologetically festive and joyful film, In the Heights spotlights a diverse group of Latino characters, living in New York’s Washington Heights, the neighborhood in the shadow of the George Washington Bridge at the tip of Manhattan, with various plights, generations and experiences. The narrator of the film, Usnavi de la Vega (Anthony Ramos), is a bodega owner and acts as a linchpin for understanding life as a whole in the Heights.

Together, the characters’ shared experiences, being either an immigrant or a first-generation American living in America, are both celebrated and keenly observed through their own story arcs.

“When we were doing the musical on Broadway, even off Broadway [in 2007], I’ll never forget the conversations I would have with audience members at the stage door who were seeing themselves represented in this way for the first time,” original cast member Javier Muñoz, who makes a brief appearance in the film, tells Yahoo. “[It is] the way it really is in our families and as Latin people, in our culture with our friends and our neighborhoods. It’s a real slice of life, representation with dignity and with integrity.”

Ramos himself, who toured the show across the United States in 2012 and was part of the original cast of Miranda’s later success, Hamilton, recently spoke about how the show inspired his own search for identity.

“In the Heights was like the show that kept me believing, because I was like, ‘Yo, I don’t know where I fit in, in this musical theater world,” Ramos told CBS This Morning’s Kelefa Sanneh (watch below). In fact, he recalled being told by a teacher to change the way he spoke so casting directors and producers wouldn’t know where he was from — though it was the authenticity of true accents which made In the Heights all the more relatable.

“I’m sitting there watching this show about people singing, and dancing, and speaking about things that I grew up knowing. And they sound like me,” Ramos explained.

Muñoz admits to having had a similar experience when he was performing in the show on Broadway.

“I remember signing with an agency while I was performing In the Heights,” he tells Yahoo. “I was their first man of color, their first Latin man of color that they’ve ever signed. It was a real open conversation. These two agents were like, ‘We may get this wrong, but we want to sign you and we want to do this.’ It was beautiful that they took me in under the guise of not pretending that they knew what they were doing, but that they wanted to really do this with me and learn, like, ‘How do we carve a path for you? How do we really lift you up?’ That was really profound and I don’t think it would have happened at all without a show like In the Heights.”

Muñoz, who lives in Washington Heights himself, adds, “I’d like to think that [In the Heights] speaks not just to Latin communities and countries around the world [but] … to all immigrants everywhere. I’d like to think that what we see on the screen in this story reaches even beyond the Latin community and to anyone who’s trying to come into this country and pursue a beautiful, heartfelt dream. I think the film lends itself to nurturing the conversation at large and the discourse at large for us here.”

Adds Rodriguez, “We must look at the successes of the film and use it as a blueprint to how we can continue diversifying the movie industry to include more people of color. … I hope that Hollywood can continue making changes and giving more people of color an opportunity to be a part of important roles in the industry be it sound engineering, producers, and directories. … I thank Lin Manuel Mirando and Luis A. Miranda for bringing joy and happiness to the big screen as they tell the story of Washington Heights.”
Familiar issues tackled head-on

In the song “Breathe,” the character Nina Rosario sings about being the first person in her family to go to college, a recurring element and a shared experience among many first-generation Latin-American children.

The film script, written by Pulitzer Prize winner Quiara Alegría Hudes, who also wrote the book for the Broadway show, digs deep into another theme that is often overlooked in Latino stories: the plague of imposter syndrome.

Nina, the daughter of Kevin, the owner of a taxi cab service, and Camila, a strong-willed mother who was written out of the film version, is a star student with big dreams of making it out of the Heights. When she returns home for the summer after her first year at Stanford University, she’s reluctant to tell her friends and neighbors that she feels overburdened and inadequate compared to the other rich white children from well-to-do families.

“I am the one who made it out, the one who always made the grade, but maybe I should have just stayed home,” Nina, played by Leslie Grace in the film, sings. “When I was a child I stayed wide awake, climbed to the highest place on every fire escape, restless to climb. I got every scholarship, saved every dollar, the first to go to college. How do I tell them why I’m coming back home?”

As Chu tells Yahoo, “Coming into In the Heights, I knew the responsibility or the power that we had in our hands,” he says. “Even though I’m not from Washington Heights, even though I’m not Latino, I grew up in a Chinese restaurant in Northern California, I knew what it felt like to be raised by aunties and uncles. … I was first generation born here. I knew who my Abuela Claudia [the film’s honorary matriarch] was … who we made wontons on the kitchen table with. So it just spoke to me.”

Maria Hinojosa, anchor and executive producer of Latino USA on National Public Radio, explains to Yahoo Life that highlighting these narratives are vital in understanding the well-rounded essence of the Latino experience in America.

“It is a story of how we touch on many things that are very difficult. It’s gentrification or being a first-gen college student in a place like Stanford or an Ivy League, not being able to pay for things, the possibility of going back to the mother country and what that means in terms of destabilizing the community, all of these things that we face that are really hard,” says Hinojosa, whose relationship with the production and Miranda goes back years. “But in the face of that, there’s everyday kind of extraordinary hope because we touch pain in many ways, on a daily basis, and certainly over the last several years.”

In terms of elevating more Latino stories on screen, Hinojosa says it’s a “long game.” Certainly shows like One Day at a Time, Vida, Brooklyn Nine-Nine, Pose and many others have broken glass ceilings for Latino writers and creators. But in terms of authentic representation of Latinidad, Hinojosa argues, it requires exploring more perspectives than what has been told historically.
The power of joy

“In many ways, it’s completely unbelievable what Jon Chu has done with the film,” Hinojosa quips, referencing larger-than-life scenes in the film like a synchronized swimming number at a public pool. “But in many ways, what he’s done is in that complete ‘unbelievableness’ there’s actually the crystallization of what we usually do in Latino and Latina neighborhoods, and more broadly, communities of color that are excluded from the white majority, is that we actually exist in joy.

“There is so much joy that is happening in our communities, but nobody ever sees it,” she continues. “Nobody ever reports about it. Nobody’s writing TV shows about it. They write Law and Order, which I love, but it’s all about drug dealers in Washington Heights.”

While Miranda says he could have been more sensitive about the film’s casting and colorism, the idea of having his community being seen and heard was the impetus behind the creation of the musical.

The American dream, as realized in Heights, is incredibly personal and varies from experience to experience. Take the story of Vanessa, for example, Usnavi’s love interest who works at Daniela’s salon: Vanessa is the neighborhood beauty, but her dream of being a fashion designer and getting an apartment downtown, though it may at first seem universal, takes on unique challenges against the backdrop of being a first-generation American.

Adding to the subplots are Abuela Claudia, who is the loving grandmother figure of the neighborhood even though she’s not related by blood. Played by Olga Merediz (reprising her role from the original Broadway run), the character sings of her past and how she left Cuba in order to survive, working as a maid in New York City and never earning enough money to return home.

For all that the film celebrates, it also shows that the community’s unique culture is dependent not just on the physical space but also the people who exist within it. That’s evident when viewers learn — SPOILER ALERT! — that Claudia is the winner of a lottery ticket worth $96,000, which we don’t find out until she dies.

When Usnavi discovers the ticket, he uses the cash to help his cousin Sonny, a sassy jokester who works with him in the bodega, get American citizenship — another topic that is widely misunderstood by non-Latino audiences.

“I’m living proof of the opportunities my parents gave me by moving [to America],” says Muñoz. “I was able to accomplish things my family wouldn’t even entertain as a dream, because it just felt too out of reach. That’s astounding and amazing and I think lots of people have this experience in this country.”

He continues, “I believe this film is speaking to that possibility. It’s beautiful and it’s powerful. I hope that folks walk away from that particular plot line feeling a little more connected to it, because what are we, whether we are a citizen of this country or not? What are we if we are not people pursuing our dreams? We’re human beings here pursuing a goal, all of us, and it can be that simple. I think in its simplicity, it’s also the most powerful thing, the most powerful journey that we are all on trying to achieve and accomplish and fulfill. Who can’t relate to that?”


Raw and Untamed, The Things’ ‘Vicarious Catharsis’ Wildly Delivers Their Debut Album

The Things’ debut album “Vicarious Catharsis” is on the rise, already receiving international airplay and thrilling acclaim from both critics and audiences that received early copies of the album. The Skipper Room brings out the band’s authentic, vibey 70’s analog rock sound, capturing songs in one take, creating undeniably colorful swagger in singles like “She’s Got My Number”.

“‘Vicarious Catharsis’ is a perfect combination of catchy hooks and energetic performances which effortlessly breaks away from the overly produced and polished modern rock albums saturating the present music scene.” -Art Arellanes, Live Global Music and Concert Producer, MTV/CMT Music Awards

It makes sense that all of the musicians—guitarist/lead vocalist Lukas Neufeld, drummer/vocalist Matty “Moose” Pert, bassist Justice Joslin, guitarist/vocalist Oscar Bugarin, saxophone/clarinet Adam Saxxy, vocalist Eohn Selujèn —all live together in the bohemian artist community at The Skipper Room. They don’t just play rock n’ roll, they live it. You can hear the kaleidoscope of chemistry, reminiscent of past musical eras, in the raw, saturated edges of the band’s tracks.

In a recent headlining act at the Musical Meeting of Magical Minds Festival, Los Angeles, the band delivered a psychedelic, heart pumping performance, which had the audience dancing wildly and pounding fists on the floor to their finale “Answer to the Question.”

“Performing live is a transcendent experience for me. It’s why I play music, and why I named the album ‘Vicarious Catharsis,’ because it’s catharsis for us as musicians and also the audience. What the audience feels, we feel, and what we feel, we feed it through the audience. It’s symbiotic,” reflects frontman Lukas Neufeld, surrounding the audience’s visceral reactions to their live shows. “Humans require a physical avenue to express themselves fiercely, authentically, and unapologetically. It’s a liberating and primal experience.” Lukas is a big part of the sound of the band, as he uses his vocals creatively, matching his instinctive wit with his passion for electronics. Otherworldly, abstract noises wail from his pedal board while he, like a mad scientist, casts musical spells through a theremin. Drummer Matty “Moose” Pert brings a holy grail tone in his fat, thumpy snare sound shot straight out of a 70s record, while dedicated woodwind player Adam Saxxy soars all over the album with flute, alto, tenor, and baritone saxophones. Secret weapon, guitarist Oscar Bugarin is a phenom of a player who brings a pedigree of inventive riffs and atmospheric guitar parts to the table. Observing the transcendent guitar solo dialogue between Lukas and Oscar could only be comparable to witnessing Jimi Hendrix and Stevie Ray Vaughan. The enigmatic vocal tones floating through the tracks are contributed by the unique talents of vocalist Eohn Selujèn.

The album takes a journey through avant-garde psychedelic funk rock, blues rock, hard rock, and even softer ballads like “Babe it’s Fine” and the sleeper hit “Puppet” which contains only Lukas on the piano with a single microphone. “The simplicity of the recording set up was intended to capture the truth in the moment, a moment that only happens once”, says bassist and producer Justice Joslin of his process. “To share the intimacies of fleeting moments with others, to make them feel that they are there, that’s what I hope to give.”

With this release, The Things and The Skipper Room plan on taking their vibrantly unique and nomadic circus on the road with other magical acts, teaming up with Allen Sovory, who’s toured with Lenny Kravitz and Sheryl Crow. With the world opening back up, the collective aims to infuse it with peace, love, and cathartic rock n’ roll.
The prismatic album is now available for streaming and download on Spotify, Apple Music, Amazon Music, and Pandora.

Visit the artists at and on Instagram @TheThingsOfficial

For more information, promo requests, or to arrange an interview, contact VELVET EYE ARTISTS, /

Velvet Eye Artists
30 Palos Verdes Ln
Los Angeles, CA

Contact: Lynn Moore

The Things are an American Rock & Roll band from Los Angeles, California known for their groovy analog sound, one take track recording, and raucous, vibrant live performances. Their intoxicating, genre bending music spans from psychedelic, blues, classic rock, to creamy ballads in an incredibly unique sonic formula.
Recording and living together in a community of artists at The Skipper Room in Los Angeles, the group’s bohemian lifestyle weaves raw, saturated edges into their music, reminiscent of past eras.
Their debut album “Vicarious Catharsis” has recently released in technicolor to all major streaming and download platforms.
The group consists of Lukas Neufeld (vocalist/ guitar), Justice Joslin (bassist/ producer), Matty “Moose” Pert (drums, vocals), and Oscar Bugarin (vocalist/ guitar), Adam Chavira (saxophone/ clarinet), Eohn Selujèn (vocalist).


Boroughs Publishing Group Releases New Dark Fantasy Romance – Darkness Within

Boroughs Publishing Group Releases New Dark Fantasy Romance – Darkness Within

Boroughs Publishing Group is pleased to announce the release of their new dark fantasy romance by author Cyprus Hart, Darkness Within. It is the first book in their Light Divided series.


Aideen Duffy’s job is hunting down the dark creatures who are trying to overthrow human society and bring the world back to how it used to be when vampires, werewolves, and their ilk were in charge.

The culmination of two years’ work, she’s closing in on Costecu, the vampire responsible for the most deadly cell in her city. When the op goes sideways, instead capturing the elusive vampire, she ends up with second prize: his right-hand man, Druain Lindberg.

Boroughs Publishing Group Releases New Dark Fantasy Romance – Darkness Within

Boroughs Publishing Group is pleased to announce the release of their new dark fantasy romance by author Cyprus Hart, Darkness Within. It is the first book in their Light Divided series.


Aideen Duffy’s job is hunting down the dark creatures who are trying to overthrow human society and bring the world back to how it used to be when vampires, werewolves, and their ilk were in charge.

The culmination of two years’ work, she’s closing in on Costecu, the vampire responsible for the most deadly cell in her city. When the op goes sideways, instead capturing the elusive vampire, she ends up with second prize: his right-hand man, Druain Lindberg.

What happens next, she couldn’t have planned for in a thousand years.

Deep undercover, Drew is swimming in the blood of Costecu’s treachery, but he’d do anything and everything to destroy the heinous vampire who’d ruined his life.

With the stink of evil ground into his pores, he’s ordered to kidnap Aideen and bring her to Costecu, but this time following orders is not going to happen. The spirited selkie can’t be cowed, and something in her calls to him.

When Drew risks long-held plans to save Aideen, everyone – good and evil – are after them. Keeping them hidden long enough to escape is not as big a problem as her letting him do what his heart compels him is essential – protecting her with his life.

Darkness Within is available for purchase in print and ebook formats.

Book Information:
Darkness Within
Light Divided, Book 1
By Cyprus Hart
Publisher: Boroughs Publishing Group
Published: May 2021
ISBN: 978-1953810571 (print)
ISBN: 978-1953810564 (ebook)
Pages: 280
Genre: Dystopian, Paranormal Romance, Fantasy Romance, Dark Fantasy Romance

About the Author:
Cyprus Hart’s earliest memory of trying to become a writer involves carrying a clipboard around and asking family members if the name “Rock Stone” was a good name for an action hero. Fast-forward three decades and he’s still convinced he can make it work.

When he’s not writing kissing, and other activities along those lines into every book, he’s tries to keep his border collie entertained and keep him and his chihuahua warm in the frozen tundra of Missouri.

Sorry – he doesn’t like coffee or tea.

Paranormal Romance, Fantasy Romance, Dark Fantasy Romance, Darkness Within, Cyprus Hart, Boroughs Publishing Group, BookBuzz
59 Heritage Way Drive
Rome, GA 30165


George Washington’s New Jersey Encampment Gets Closer Look in Photography Exhibition

George Washington’s Revolutionary War encampment in New Jersey is the subject of a fine art photography exhibition and companion programs. The images were created by Xiomaro, a nationally-exhibited artist, under a commission from the U.S. National Park Service. The exhibition and programming are funded, in part, through the New Jersey State Council on the Arts/Department of State (a partner agency of the National Endowment for the Arts).

The free exhibition – on display from June 6 to July 31, 2021 – will be on view at the nation’s first national historical park, which was established in 1933 in Morristown to preserve the site of Washington’s headquarters and his troop’s winter encampment of 1779-80. The large photographs are mounted against the windows of the Jockey Hollow Visitor Center, Tempe Wick Road, Morristown, for viewing outdoors in a socially-distanced setting. Videos of the artist’s work with the National Parks and his smartphone photography workshop will also be broadcast.

The exhibition features selections from the first contemporary collection of photographs to artistically document the key features of Jockey Hollow, which were created by Xiomaro (pronounced “SEE-oh-MAH-ro”), under a commission from the National Park Service. The images show the dwellings of Henry Wick (owner of Jockey Hollow), George Washington, his officers, and his troops. By placing these images side-by-side, Xiomaro presents a closer look and context that transcends a physical visit to each location in real time. The viewer is left with a greater appreciation for the vast differences in how these iconic figures of the American Revolutionary War endured the harsh winter of 1779-1780.

“Xiomaro’s understanding of history through the lens makes him an outstanding ambassador for our continued efforts to reach all types of learners from more than one perspective,” said Jude M. Pfister, Chief of Cultural Resources. His work and aesthetic philosophy was the subject of “Unseen Beauty,” a short documentary film produced by the National Park Service and its partners.

Funding for Xiomaro’s Virtual Artist-in-Residence has been made possible in part by funds from Morris Arts through the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts. Morris Arts facilitates such partnerships to reach an audience of nearly 325,000 residents with hundreds of artistic and educational activities, events, and programs.

For more information visit the artist’s website for details and a free souvenir print from the exhibition: or contact Morristown National Historical Park at (862) 400-5972.

Xiomáro is an internationally recognized artist, curator, speaker, author, and instructor from New York specializing in photographing U.S. National Park sites to raise awareness of their history, culture and natural beauty.

Energy Entertainment News

Oilfield Analytics Market is Anticipated to Record the Rapid Growth and Prominent Players Analysis

The Global Oilfield Analytics Market study includes an assessment of the various factors that are driving the market. Analysts at Fairfield Market Research have included a thorough analysis of the market to present a comprehensive research report. The research report highlights drivers, restraints, opportunities, and threats present in the global Oilfield Analytics market. With a focus on every aspect, the report suggests the right time to invest in its readers. The report begins with an executive summary, which gives a brief description of the market holds for every enthusiast during the forecast period.

Get Sample of this Report (Including Full TOC, List of Tables & Figures):

Complete with global market figures and detailed estimation of every segment, the global Oilfield Analytics market research report aims to take a clear stand on the market’s trajectory. For the same purpose, the researchers have thoroughly segmented the market, thus unveiling the most profitable opportunities.

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Fairfield Market Research aims to provide complete product mapping and evaluation of all the possible market scenarios to turn threats into opportunities. Researchers also include a chapter on company profiles, which shares information about the financial status of the companies, their product launches, investment plans, research and development, and product pipelines. The report ends with analysts opinion, which is our unique selling point to help the reader make a well-informed decision about investments.

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‘The Conjuring: The Devil Made Me Do It’ Review: Another Weak Chapter for the Scary Series

The sprawling “Conjuring” cinematic universe has never shied away from creatively questionable spin-offs — this is, after all, the franchise that built a film around a possessed doll, and another about demonic nun who had appeared in another sequel before getting her own franchise. Those gambles haven’t always paid off, but the central series has remained a high point in modern horror. With the third film in the “Conjuring” series, however, the crown jewel is loose in its setting, thanks to a series of choices that only serve to drive the franchise away from what made it all so chilling to begin with.

“The Conjuring: The Devil Made Me Do It” starts strong, kicking off with the sort of haunted-house possession story that made both “The Conjuring” and “The Conjuring 2” so nerve-shredding. It’s the summer of 1981, and the Glatzel family is weeks into a horror that only paranormal investigators Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) can address. Mop-topped David Glatzel (Julian Hilliard) has been possessed by something, an evil entity that delights in torturing the sweet kiddo and tearing apart the Glatzels’ new Connecticut home in equal measure.

Like its predecessors, “The Devil Made Me Do It” approaches demonic possession as, if not irrefutably “real,” at least something the Warrens believe in wholeheartedly, and thus something they are able to battle back through their years of hard-won experience and education. Clearly, something horrible is happening to David, and as director Michael Chaves — taking over from original series director James Wan after making his debut with maligned spin-off “The Curse of La Llorona” — plunges the audience, the Warrens, and the Glatzels into the terror. There’s no time to worry about the facts: David contorts, David twists, David screams out in horror, all as his family and the Warrens do their literal damnedest to free him.

The first two “Conjuring” films tread similar ground: intimate, boxed-in haunted house stories about families driven to madness, and that “The Devil Made Me Do It” opens to indicate that more of the same is on the way. Unfortunately, this entry has far more on its mind, and screenwriter David Leslie Johnson-McGoldrick (“The Conjuring 2,” “Orphan”) soon turns to the real story at the film’s heart: the horrible stuff that happened after David’s possession.

As with the previous two features, “The Devil Made Me Do It” is based on a true story that entangled the real-life Warrens: This one was the horrific murder of Alan Bono some months after David was presumably freed from his demonic captor. In the midst of the film’s opening sequence, Chaves and Johnson-McGoldrick indicate that this particular possession is one of the worst the Warrens have ever seen. The impact on the duo is profound, as Ed suffers physically and medium Lorraine is suddenly struck by terrible visions. Eventually, it seems, they do free David, but only after Arne (Ruairi O’Connor), the boyfriend of his older sister Debbie (Sarah Catherine Hook), all but begs the entity to leave the kid and take him instead.

Be careful what you wish for. Just as the Glatzels begin piecing their lives back together (and an ill Ed gets, literally, back on his feet), Arne starts suffering from his own visions, turning sallow and sweaty, unable to keep his desires (or the entity’s desires?) at bay for too long. Soon enough, he’s offed Debbie’s demented boss, and the Warrens must return to help argue his case on the basis that he was possessed when the murder was committed. If this sounds complicated, it is, making for a messy and stilted first act that switches between time, place, and perspective with little finesse, muddling story and burying great scares along the way.

Farmiga and Wilson, who add incredible human emotion and dimension to their roles, are as good as ever, nearly making up for the lack of human drama elsewhere. Without another family to pin the chills and thrills on — like the Perrons in the first film, or the Hodgsons in the second — the Warrens must do the emotional heavy lifting. That’s fine: Ed and Lorraine are enthralling characters, and if “The Devil Made Me Do It” threatens to orient itself around their love story first and an awkwardly crafted villain second, there are worse choices to be made. Unfortunately, “The Devil Made Me Do It” starts making those choices, too.

Without the ballast of a central location and a single source of evil, Ed and Lorraine are forced on the road to pursue all manner of red herrings, obvious baddies, and at least one twisted subplot that doesn’t attempt to be rooted in anything remotely realistic. The journey takes the duo, plus an ailing Arne, through creepy locales, ranging from a dimly lit prison infirmary to the grimmest funeral home in America. It’s all so obviously scary that it renders them boring.

A handful of smart scares pop up, including a flashback involving little David and a very, very evil waterbed, as well as a final-act freakout that sees Farmiga play against herself. However, the spine-tingling slow burn sequences that made the first two films so scary are gone, replaced by procedure and garbled mythology. Bring back the creepy doll, at least she’s got clear-cut motivation! (She’s fine, she’s got her own franchise anyway.)

Three films into this series (and eight into the overall “Conjuring” franchise), it’s not shocking that creative wells are starting to run a little dry, though that doesn’t lessen the sting of this particular disappointment. The “Conjuring” franchise started with well-tread stories — hell, the Warrens’ cases have inspired scads of other films and series — told with enough craft and care to make them critical and commercial darlings. The scariest thing about “The Devil Made Me Do It” is the possibility that it will set the stage for more of this, and less of what made the franchise so compelling in the first place.

Grade: C-

Warner Bros. will release “The Conjuring: The Devil Made Me Do It” in theaters and on HBO Max on Friday, June 4.

As new movies open in theaters during the COVID-19 pandemic, The G DiLine Network will continue to review them whenever possible. We encourage readers to follow the safety precautions provided by CDC and health authorities. Additionally, our coverage will provide alternative viewing options whenever they are available.


Cardi B Name Drops Her DaughterKulture, 2, On New DJ Khaled Collab &Fans Freak

Cardi B has gone from making those “money moves” to getting that “Big Paper,” and she celebrated this success on DJ Khaled’s new album. In “Big Paper,” released on Friday as part of Khaled Khaled, Cardi reunites with the producer for another track, and this one is a message to all her haters: “I get big paper, so I deal with big haters.” A universal truth! Cardi even name dropped her and Offset‘s two-year-old daughter, Kulture, for one of her disses.

“I son b–ches, move Kulture out thе car seat,” Cardi raps in one verse, which had fans talking. “Cardi had to be pissed,” one fan tweeted after quoting the diss, while another fan quoted the same line and wrote, “Cardi went crazy on Big Paper!”

It’s hard to imagine that Khaled Khaled was almost released without this Cardi feature. DJ Khaled announced the tracklisting on Tuesday (Apr. 27), and the album was already overflowing with A-level features: Post Malone, Megan Thee Stallion, Justin Bieber, DaBaby, Lil Baby, A Boogie Wit A Hoodie, Rick Ross, Sean “Puff Daddy” Combs, and a track that featured both Nas and JAY-Z. That alone is an insane level of features, but on Thursday (Apr. 29), Khaled said that Cardi got her vocals in on time, and “Big Paper” would be part of the new project.

This song marks the third time Cardi and Khaled have teamed up. They previously worked together on “Dinero,” Jennifer Lopez’s 2018 track, as well as Khaled’s “Wish Wish” in 2019 (which featured 21 Savage, who joined Justin Bieber on “Let It Go” on Khaled Khaled.) “Big Paper” is Cardi’s second major song of 2021, the first being the chart-topping “Up.”

Released in February, “Up” is presumably a song from Cardi’s highly anticipated follow-up to Invasion of Privacy, her debut solo album. It’s been almost three years since Invasion was unleashed, and Cardi told Apple Music’s Zane Lowe that she intended to drop a follow-up in 2020, but she wasn’t feeling it. “I really wanted to put out an album last year, but it was like, ‘I feel like I don’t have the right songs.’ I have recorded so many songs. I think I’ve got like 50 songs recorded, and I’m just still not satisfied,” she told the DJ after “UP” was released. “If I’m not satisfied, I’m just not satisfied, but I really want to put out an album this year. I feel like I have no choice now. Now, I feel like I exceeded my limit of holding. I just need to stop with the fear.”

“I’ve got like… Three potential intros, and it’s just like, are ‘They good enough? Are they explaining everything that I want to explain?’ It’s just a lot. I just feel like I’m just not satisfied anymore because it’s like the expectations be so high,” she added. Perhaps the reception to “Paper Money” might help quell some fears, especially if it finds success as a single. “Wish Wish” cracked the Top 20 on the Billboard Hot 100 (and reached No. 8 and No. 6, respectively, on the US R&B/Hip-Hop and U.S. Rap charts.) The song went on to be certified Platinum. Fans will have to see if “Big Paper” makes similar moves if and when it’s put out.


Amazon’s Without Remorse review: Another mediocre Tom Clancy adaptation

It must be tough being married to an action movie badass. Just when your boo comes home from the war ready to settle down and start a family, you get caught in the crossfire and send him spiraling into revenge mode. Seriously, if you’re Michael B. Jordan’s pregnant wife in Amazon’s new Tom Clancy movie Without Remorse, you probably shouldn’t even bother picking a color for the nursery.

Originally meant for a big-screen release, Without Remorse streams on Amazon Prime Video starting Friday April 30. Jordan is eye-wateringly jacked as Navy SEAL badass John Kelly, aka best-selling novelist Tom Clancy’s secondary hero John Clark. Kelly/Clark isn’t as famous as Clancy’s biggest creation, Jack Ryan — played by John Krasinski in a recent TV series on Amazon Prime Video — but what he lacks in name recognition he makes up for in lethal finishing moves. Creeping through war zones, efficiently headshotting baddies and rendezvousing at the exfil, he’s John Wick in camo gear.

Without Remorse is directed with a steady eye by Stefano Sollima, who previously helmed gritty TV dramas Gomorrah and Suburra. The script comes courtesy of Taylor Sheridan, who wrote the Oscar-nominated Hell or High Water and TV show Yellowstone. Sheridan also wrote the Sicario movies, the second of which was directed by Sollima, and there’s a strong Sicario vibe here: frowny geopolitical intrigue punctuated by bursts of action shot in an austere, slightly detached way.

That’s a classy pedigree behind the camera, but don’t be fooled. For all its lingering camerawork and spine-tingling music, this is still a film featuring characters named Hatchet, Dallas and Thunder. All the slow-burning cinematography in the world can’t disguise that Without Remorse is assembled almost entirely from creaky spy/action movie cliches.

Cocky special ops dudes trade barbs with twitchy CIA agents in war zones. Guest stars coldly eye each other across desks while quietly manipulating the lives of the men and women who work for them. The hero wakes up just in time to go ballistic on a kill team sneaking into his house. And most clanging of all, the hero is motivated by the murder of his pregnant wife.

Obviously this is an adaptation of a nearly 30-year-old best seller, so a few hoary old cliches are to be expected. But the book isn’t even about Kelly avenging his wife’s death — she dies in a car accident in the novel, which then follows him seeking revenge for the death of a different woman. The filmmakers actually added in this hoary old cliche. Look, if you can update the story from Vietnam to Syria and drop the Baltimore drug dealer plotline, you can probably swerve such an overused and unpleasant plot point while you’re at it.

So Kelly comes home from war to be with his pregnant wife, who wants him to retire from the military, but he isn’t sure, and blah blah even the filmmakers don’t care about this bit. Kelly’s squad is summarily dispatched, his wife gets caught in the crossfire, yada yada let’s go do some revenge. The film ignites — literally — when Kelly’s rage is channeled against a Russian bigwig, and it’s in these flashes of inventive sadism that Without Remorse hints at being its own thing. A flashlight rolling across a floor provides one of the film’s tensest moments, and there’s a bit where Kelly peels off his shirt and prepares for a fight that’s just as riveting as the punch-up that follows.

But in the second half things get a bit muddier, with a long slog of dark firefights. Sheridan’s co-writer, Will Staples, started out writing video games like Call of Duty: Modern Warfare 3, and the film’s later action scenes often stick with Jordan as he’s attacked from afar. Gamers will recognize these visuals, and you may find they immerse you in the hero’s peril, like it’s you crouching behind that wall for some flimsy cover. But it does mean a lot rides on how long you’re prepared to watch a guy crouch behind a wall.

It doesn’t help that much of the action takes place in the dark, or that the bad guys are an endless supply of anonymously masked and body-armored nobodies. At least when Kelly is pursuing revenge he’s a real person dealing with other real people, although everybody delivers their lines like they’ll have to pay back their entire salary if they look for even a second like they’re enjoying themselves. Maybe the constant frowning and clenched-jaw mumbling is a comment on the numbing effect of killing and manipulating your fellow man, but I doubt it.

In the lead role, Michael B. Jordan has little to work with other than “badass + dead wife,” but he’s a magnetic physical presence nonetheless. He made his name in the Creed films, a modern update of the Rocky films from the 1970s and ’80s starring Sylvester Stallone, so it’s perhaps fitting he’s now slotted into a retooling of Stallone’s ultraviolent traumatized-veteran Rambo films.

One of the more human moments is a scene where Kelly delivers an embittered speech about why he fought for his country, but the film never questions his war-fighting role — so you might miss the irony that this guy is enraged about war intruding into his home when his whole job is intruding into other countries. For a film about the consequences of geopolitical violence, Without Remorse is remarkably offhand about dropping trained killers into sovereign countries, though to be fair it does give you plenty of time to ponder such things — just wait for the hero to crouch behind a wall, and let your mind wander.

Still, this is a Tom Clancy adaptation, so it’s hardly likely to meditate on foreign policy with any great depth. It’s also paving the way for another shoot-’em-up sequel based on the Rainbow Six games, thanks to one of the most tacked on post-credit sequences you’ll ever sit through. This clangingly out-of-nowhere sequel setup is delivered through such gritted teeth it seems even the actors don’t want to talk about another film.

Without Remorse suffers from the same problem as the Jack Ryan series also streaming on Amazon. Tom Clancy may’ve invented this kind of international thriller, but his work has been so influential that it now appears hackneyed and cliched. Like the Jack Ryan series, Without Remorse is slick stuff and will probably engage fans of the genre, but it arrives without much freshness or originality.