GoneTrending

Dapper Day is an unofficial themed day at Disneyland where people come to enjoy the magic in style. The day is celebrated by park guests twice a year, once in the spring and once in the fall, by dressing up in vintage clothing reminiscent of when the park opened in 1955.

On November 6, one guest at the park’s cosplay outfit was so convincing that cast members at the park did a double-take. Bill Burns and his wife Jane dressed up as Walt and Lillian Disney and Bill looked so much like Uncle Walt that he caused a stir among park employees.

Bill later told Good Morning America that park employees were saying, “Walt is in the park” when he arrived. For many, it must have been like seeing a ghost, because Bill has an uncanny resemblance to Disney with his mustache and period-perfect suit.

A magical moment was caught on camera when Bill, as Walt, was seen interacting with a cast member dressed as Mickey Mouse. “Mickey stops and literally is staring,” Bill told Good Morning America. “And then Mickey snapped out of it and you saw the hug. And that hug was a long hug as hugs go for the characters. It was extremely genuine. The cast member was stunned.”

u201cQuand Mickey croise Walt apru00e8s de longues annu00e9esu2026 Et non, je nu2019ai absolument pas la larme u00e0 lu2019u0153il, cu2019est faux ud83eudd79u201d

— Valentin Markowski (@Valentin Markowski)
1667822796

Bill’s appearance at the park is about a lot more than wowing people with his resemblance to Disney. He wants to inspire people in the same way the park’s creator has.

He got into cosplay with his wife back in 2014 but things changed after he was diagnosed with Waldenstrom macroglobulinemia, a rare form of cancer. While undergoing chemotherapy he realized he could help uplift others through his hobby.

“While I was sitting in the chair for many hours I thought ‘if I make it through this, I’m going to do everything I can with this hobby to try to influence people and inspire them’.” He went on to say, “Life does go on and you can spread that life and that joy to many other people who are suffering through this.”

See on Instagram

See on Instagram

Chadwick Boseman, who died of colon cancer in 2020, had a big influence on Bill’s decision to inspire others. He told Good Morning America that “during the movies he was going through treatment and he kept going. He was going to inspire people and show them that even though your time is limited … you can spread inspiration. That made a huge impact on me. Because that’s what I want to do. I’m hoping I can just do a fraction of what he did.”

Seeing Walt Disney return to Disneyland for a day does conjure up feelings of magic and inspiration. The idea that the man who created Mickey Mouse and Disneyland would return to his creation, 56 years after his death, is pretty touching. Would he like how the park has changed? Would he know what “Star Wars” is about? Would he scoff at the prices?

Bill also gave us a great reminder of the power that Walt Disney has had over our imaginations and culture. He’s also a wonderful embodiment of his spirit. It’s easy to forget that among all of the other iconic Disney entertainment, it all started with one man’s vision—and that vision still inspires so much wonder and magic.

Emily In Paris became a runaway hit for Netflix as the pandemic began. In retrospect, this shouldn’t be too surprising because creator Darren Star (to paraphrase a certain Carrie Bradshaw tagline) knows good (soap-operatic) TV. At least, he knows what will hit with the masses, and that includes not only Sex and the City but his earlier hits like Melrose Place. He’s still got the golden primetime-style touch, but time of day doesn’t really matter when it comes to streaming. Also, France is arguably in “primetime” while we’re all doing the midday thing in the U.S., but regardless, it’s hard to argue that this show found an enormous audience.

Despite the backlash over Emily’s cultural awkwardness (she doesn’t even speak French), Netflix swiftly greenlit the show for three more seasons. We’re sitting on the brink of Season 3, so let’s prepare for what’s to come next.

In other words, it’s prediction time with some speculation (based upon released stills), especially about this dual source of relationship drama:

– Who will Emily end up dating this season? For two seasons, Emily (Lily Collins) and hot chef Gabriel (Lucas Bravo) have been doing the will-they-or-won’t-they routine. They slept together towards the end of Season 1, and then Emily got with Alfie (Lucien Laviscount) while Gabriel also danced around Camille (Camille Rabat), who ended up discovering the incriminating, unwashed skillet with marks that identified back to Gabriel. Skillet drama! Just when it seemed that the stars lined up for Emily and Gabriel, though, the Season 2 finale put Camille back in the running, for better or worse (for Camille).

This season, Lucien Laviscount returns, as the below still indicates (did he decide not to leave Paris?), so get ready for more puppy dog eyes from Gabriel. And if it keeps going that way, so be it. Dude, you had your chance.

– Meanwhile, back on the job…

This is where things grow even more complicated. Gabriel either enjoys sitting at a boardroom table, or he might need marketing for his restaurant, as this still suggests. Very interesting!

As well, there’s the overriding question of whether Sylvie will actually leave Savoir, which is sure how it felt like things were going last time the show dropped a season. And if Sylvie leaves, does that mean that Luc (Bruno Gouery) and Julien (Samuel Arnold) will head out with her? Perhaps. Expect to see Madeline Wheeler (Kate Walsh) back in action after losing her year in Paris due to pregnancy. A lot has happened since that first season! We do know that Emily’s having a ball, so expect her to wanna stick this one out. After all, Emily in Chicago probably wouldn’t be much of a hit for Netflix.

Emily In Paris returns on December 21.

It took 13 years but the first — of four, or maybe two — Avatar sequel is actually coming out in a few weeks. It looks like a good chunk of it is underwater, with actors actually holding their breath for Guinness-breaking amounts of time. It’s also really, really long — longer, even, than the 2009 original, which was pretty long, too. One exec thought it was too long, and he made the mistake of telling director James Cameron.

In a new interview with GQ (in a bit teased out by Variety), Cameron recalled the time he “said something I’ve never said to anybody else in the business.” What did he say? Well, said exec returned from a pre-release screening of the film with a “stricken cancer-diagnosis expression.” His beef was that 162 minutes was too long, arguing that it needed fewer minutes. But Cameron wasn’t budging.

”I think this movie is going to make all the f*cking money,” he recalls telling the unnamed exec. “And when it does, it’s going to be too late for you to love the film. The time for you to love the movie is today. So I’m not asking you to say something that you don’t feel, but just know that I will always know that no matter how complimentary you are about the movie in the future when it makes all the money.”

Cameron stressed that he really did say “all the money.” He then doubled down on his warning. “I said, ‘You can’t come back to me and compliment the film or chum along and say, ‘Look what we did together. You won’t be able to do that,’” he recalls. “At that point, that particular studio executive flipped out and went bug shit on me. And I told him to get the f*ck out of my office. And that’s where it was left.”

Maybe Avatar didn’t make all the money, but it remains, nearly 15 years later, the highest-grossing movie ever (not adjusted for inflation). That’s nothing to sneeze at. And now Cameron’s going Titanic-long with the belated sequel.

(Via GQ and Variety)

The New York Jets are off to a 6-4 start to the season thanks in large part to a very good defense. Given that is head coach Robert Saleh’s area of expertise, it shouldn’t come as a huge shock that the defense came around quicker than the offense, but considering the Jets invested the second overall pick into quarterback Zach Wilson two years ago, the hope was for some signs of positive development from him this season.

To this point, Wilson has continued to be shaky under center. He’s completing just 55.6 percent of his passes for 1,279 yards, four touchdowns, and five interceptions through seven games, and his numbers are nearly identical to his rookie season. The Jets have been winning, but it’s often felt like wins in spite of their starter, rather than because of him, and after the worst performance of the season in a 10-3 loss to the Patriots on Sunday, there’s been plenty of chatter about Wilson’s future.

Wilson hasn’t exactly been helping his case off the field, as he bristled at the idea that the offense let down the defense in a game where they put up 103 total yards after Sunday’s loss, and there were reports some inside the locker room weren’t pleased with him not taking much responsibility for the Jets’ offense’s poor play.

On Monday, Robert Saleh was more than 90 minutes late for his press conference, with the Jets citing “meetings” as the reason for the delay, and when he did arrive he said the staff was going to watch tape and he would not commit to starting Wilson on Sunday against the Bears.

Chicago represents a winnable game for the Jets and one they almost certainly have to have if they’re going to keep playoff hopes alive, and after one of the worst offensive performances from any team all year, it’s understandable why Saleh would be evaluating everything, including his quarterback situation. That said, it’s not great for Wilson that there’s already questions about whether he should keep his starting role — particularly since the other options are Joe Flacco and Mike White — and if the Jets were to make a move, it’d be hard to imagine how that relationship could be repaired going forward. Still, the results speak for themselves and while Wilson is far from solely to blame for New York’s offensive struggles, his erratic play at the most important position invites lots of scrutiny in an unforgiving business.

Once upon a time, in a land far, far away, the idea of sending a person to the moon was unfathomable. The moon is over 238,000 miles from Earth! How would anyone ever reach it safely, and more importantly, return to solid ground when the mission was complete?

But people are amazing, industrious creatures, and President John F. Kennedy was determined to make that giant leap. He referred to it as a ‘Moonshot;’ a play on words—a variation of “long shot,” describing a monumental effort and a lofty goal—uniting millions of people around an organized mission to put man on the moon. Moonshot catalyzed the development of technology as we know it.

Today, our challenge is more urgent. Humanity faces dire environmental problems requiring bold, groundbreaking solutions like, yesterday. In 2020, His Royal Highness Prince William, inspired by John F. Kennedy’s leadership in inspiring new innovation, launched The Earthshot Prize. He aims to find and grow the solutions that will repair our planet this decade; to regenerate the place we all call home. (Thanks, Prince William!)

The Earthshot Prize is the world’s most prestigious environmental award, involving a 10-month selection process, a panel of global experts, and a £1 million award for each winner to expand and launch their ideas.

“The Earth is at a tipping point and we face a stark choice: either we continue as we are and irreparably damage our planet, or we remember our unique power as human beings and our continual ability to lead, innovate and problem-solve. People can achieve great things. The next ten years present us with one of our greatest tests—a decade of action to repair the Earth,” said Prince William.

Fleather, a finalist in Build A Waste-free World

The prize is centered around 5 ‘Earthshots’ which are both simple and ambitious.

Protect and Restore Nature: By 2030, we choose to ensure that, for the first time in human history, the natural world is growing—not shrinking.

Clean Our Air: By 2030, we choose to ensure that everyone in the world breathes clean, healthy air—at World Health Organization standard or better.

Revive Our Oceans: By 2030, we choose to repair and preserve our oceans for future generations.

Build a Waste-free World: By 2030, we choose to build a world where nothing goes to waste, where the leftovers of one process become the raw materials of the next—just like they do in nature.

Fix Our Climate: By 2030, we choose to fix the world’s climate by cutting out carbon. We wish to build a carbon-neutral economy that lets every culture, community, and country thrive.

Out of the more than 1,000 nominations submitted, 3 finalists have been selected from each of the five categories, and the winners of the award (a total of 5, one from each category) is set to be announced at a ceremony in Boston, MA. The solutions and innovations represented by the 15 Finalists for 2022 will help to put the world firmly on a trajectory towards a stable climate.

The Great Bubble Barrier

One finalist in the Revive Our Oceans category is an invention titled “The Great Bubble Barrier,” created by a team of ocean enthusiasts based in The Netherlands. Francis Zoet, Anne Marieke Eveleens, and Philip Ehrhorn have developed an ingenious way to stop harmful plastic from reaching our oceans. Prevention is vital; every year, more than 8 million tons of plastic ends up in the world’s oceans, traveling in from rivers and canals. Once it enters the ocean, it is nearly impossible to capture and remove.

The Great Bubble Barrier has developed an effective solution designed to intercept plastic waste before it reaches the sea: the Bubble Barrier. The technology is simple: air is pumped through a perforated tube placed diagonally on the riverbed to create a “curtain” of bubbles, which directs plastic up to the surface and into a waste collection system, all without obstructing wildlife or boats. The concept has been used in the past by the oil industry to contain spills, and has now been developed to help local authorities remove debris from our rivers.

To date, the Bubble Barrier has been proven to catch on average 86% of plastic waste. Several Bubble Barriers have been installed in The Netherlands, including in the Westerdok, one of Amsterdam’s famous canals. Each month, Bubble Barrier Amsterdam stops an average of 8,000 pieces of plastic waste from leaving the canal and entering the North Sea. Two new Bubble Barriers will soon be implemented in Germany and Portugal. The team now hopes to scale the technology to reach polluted rivers worldwide.

Another compelling finalist is in the Fix Our Climate category, an Oman-based company known as 44.01. The founder and Carbon General, Talal Hasan, discovered a way to eliminate carbon by turning it into rock, removing it from the atmosphere safely, efficiently, and permanently.

Talal Hasan, founder of 44.01.

“The answers to the problems our planet faces can often be found in the natural world,” said Hasan. “At 44.01, we found a natural process that removes carbon and we’ve accelerated it. We believe this process is replicable globally and can play a key role in helping our planet to heal. Thank you to The Earthshot Prize, for recognising our work.”

In addition to their eligibility for the £1 million prize, all finalists will receive tailored support and resources from the Earthshot Prize Global Alliance members, which is an unprecedented network of private sector businesses from around the world who are committed to healing our planet. The list is lengthy and varied, spanning from Greenpeace to Walmart.

“I am so excited to celebrate these 15 Finalists and see the 5 Winners of The Earthshot Prize announced in Boston – the hometown of President John F. Kennedy, who shared The Earthshot Prize’s belief that seemingly impossible goals are within reach if we only harness the limitless power of innovation, human ingenuity, and urgent optimism,” said Prince William.

The Earthshot Prize awards ceremony will take place on Friday, December 2 at the MGM Music Hall in Boston. It will air around the world on BBC in the UK, PBS in the United States and Multichoice across Africa. The show will also be available globally on YouTube. It will premiere on Sunday, December 4.

For more information about The Earthshot Prize 2022 Finalists, please visit www.earthshotprize.org.

Even though Jonathan Majors has been quietly transforming himself into an other-worldly Marvel villain named Kang, he also gets to play regular human beings sometimes.

Majors stars in Devotion, another high-profile aviation-based movie that will fly into theaters this week. The actor portrays the very real U.S. Navy Officer Jesse L. Brown, a pilot in the Vietnam war. But in order to accurately portray Brown, Majors said he had to be mindful of his Kang transformation.

In a new interview with The Hollywood Reporter, Majors detailed just how stacked his schedule was while he was training for his big Marvel moment. “I was moving into Kang [in Ant-Man and the Wasp: Quantumania]. We had just finished The Harder They Fall. We shot Loki. So we were moving towards Kang at that moment, and so I did begin to train for that,” Majors said.

Devotion was shot last spring, just before Ant-Man went into production, meaning Majors was getting into one character while still playing another. “That’s the interesting thing about this whole physical transformation. As I was shooting Kang, I was training for Damian. And as I was shooting Creed, I was training for a film called Magazine Dreams, which is about an actual bodybuilder. And so I was always in flux and shifting.”

Majors added that it was difficult for him to keep looking like the part while he was still engaging in those 4 AM Marvel training days. “Jesse was a pilot, so he needed to be pretty svelte, but strong, to be able to sit in the cockpit comfortably. I was taller than a lot of the guys, so I had to adjust that, and being wider as well was an issue. So I brought it in, and then towards the middle of it, I started bringing it out to prepare for the next guy.”

The “next guy” will be Dame in the upcoming Creed installment, which is set to hit theaters in March, just two weeks after Ant-Man debuts and likely breaks some more Marvel records. Then, Majors will gear up to lead the next phase of the MCU with Avengers: Kang Dynasty in 2025. After that, hopefully, he will be allowed to sleep in until at least 6 am.

Devotion also stars Glen Powell and Joe Jonas (really) and hits theaters this Wednesday.

(Via The Hollywood Reporter)

Alex Jones currently owes hundreds of millions of dollars to the families of the victims of the 2012 Sandy Hook school shooting but he may have found a devious way to avoid paying his bill.

According to an investigation conducted by the Washington Post, Jones has been “moving money” to friends and family, likely in an effort to avoid paying the steep penalties he’s been found liable for in court. Jones has lost multiple defamation cases at this point after the parents of Sandy Hook victims brought legal action against him for spreading baseless conspiracy theories claiming the tragedy was simply a hoax. Jones has profited off these lies for years but now that the courts are making him pay for capitalizing on the massacre of elementary-aged children, the InfoWars host is claiming he doesn’t have the funds.

Jones has already declared bankruptcy, and he’s been peddling snake oil supplements to his followers to help pay for his legal defense but the Washington Post has examined Jones’ financial records and found some … discrepancies. Namely, the paper discovered Jones paid his personal trainer $100,000 a week to help him ship his merchandise. He also apparently paid a company owned by his sister $240,000 for “services.” Apparently, these unexplained and previously unreported expenses helped push InfoWars into bankruptcy, which has made it even more difficult for Sandy Hook families to get what they’re owed.

“As the potential for damages mounted, Jones began moving millions of dollars out of his company, Free Speech Systems, and into companies controlled by himself, friends or relatives,” the paper reads. “The transfers potentially put those funds out of reach of the Sandy Hook plaintiffs.”

Avi Moshenberg, an attorney representing the Sandy Hook families, agrees with the paper’s assessment in the report, saying “In the middle of this lawsuit, they started documenting debts that had no evidence of existing beforehand.”

Jones hasn’t been successful at gaming the legal system so far so let’s hope his losing streak continues because this is some real scumbag behavior.

(Via RawStory)

As Elon Musk’s erratic, err…managerial decisions continue at Twitter, people are beginning to follow through on leaving the platform. One prominent voice to speak up about leaving Twitter today was Nine Inch Nails’ Trent Reznor. “I’m about to depart,” Reznor told The Hollywood Reporter, citing his own mental health as the reason for leaving the “toxic” platform, adding that, “We don’t need the arrogance of the billionaire class to feel like they can just come in and solve everything.”

It looks like Musk caught wind of Reznor’s intentions of leaving Twitter and had something to say about it. And even though Reznor cited that he was already displeased with the platform long before Musk came into the picture, Musk felt it was necessary to protect the potential damage to his ego resulting from Reznor’s position. Replying to a prominent account that cited how “the world still hasn’t ended,” since Donald Trump was reinstated to Twitter, Musk said, “And it turns out that Trent “nine inch nails” Reznor is actually a crybaby.”

Hmm..ok. What one has to do with the other is a bit confusing, but Musk doesn’t want to let anyone leave without a swift kick in the bum on the way out apparently. He later added that, “I like his music tbh, but maybe Etsy is more his style.”

These comments from Musk exmeplify the type of internet bullying that made Twitter the “toxic” place that Reznor described to begin with. Not like Reznor would be phased by anything Elon “silver spoon” Musk says, but here is your new “leader” Tweeps.

This past weekend, Lil Baby took to the stage at the 2022 American Music Awards, delivering a warm and atmospheric experience for fans on Sunday (November 19) at the Microsoft Theater in Los Angeles.

Engulfed in smoke and surrounded by soft, blue lights, the Atlanta rapper gave an engaging performance of two songs off his recent album, It’s Only Me, including “In A Minute” and “California Breeze.”

Baby began with a vibey performance of “In A Minute,” with the band strumming along in the background as he rapped, “Runnin’ up a silly check, stayin’ off the internet / Share the stage with Billie Eilish, turnt at any given time.” He later transitioned into “Califronia Breeze,” walking across the stage, sitting at the edge, and rapping directly to the crowd.

For this year’s award show, Baby was nominated for Favorite Male Hip-Hop Artist but unfortunately lost the coveted award to Kendrick Lamar. Last year, he was nominated in the Favorite Rap/Hip-Hop Artist category but lost to Drake.

This past October, Lil Baby released his third studio album, It’s Only Me, which debuted at No. 1 on Billboard, featuring guest appearances from Future, Young Thug, Nardo Wick, Fridayy, Rylo Rodriguez, Jeremih, EST Gee, and Pooh Shiesty.

Check out Lil Baby’s 2022 American Music Award performance here.

A.J. Girard is using his background in art history to shine a bright light on Black art culture — from the streets to the galleries — through his showcases in Los Angeles and worldwide. Shannon Mustipher is an award-winning mixologist and author, whose work behind the bar has helped re-center the Black experience in cocktail history and the present-day bar scene. Girard and Mustipher sat down together in the latest episode of Grand Encounters to combine their backgrounds in curating Black culture, history, and art, both in the gallery and behind the bar, to make a unique Grand Marnier cocktail.

Sitting in front of the bar, Girard walks Mustipher through his work and how he uses his platform to create spaces for BIPOC artists to shine outside of the standard (and very gate-keepy) art world. Mustipher soaks it all in while slowly building a Grand Marnier cocktail that speaks to Girard’s vibe and his deeply important work in the art community.

Behind the bar, Mustipher serves Girard a neat pour of Grand Marnier Cuvee Louis-Alexandre to get things started and prime his palate with the perfect blend of fine VSOP cognac and orange liqueur. Then Mustipher picks up a jigger and gets to work building the cocktail.

Watch the episode above to learn about Mustipher’s cocktail choice, how it tastes, and how to make the drink while also learning about the impactful work that A.J. Girard is doing in the art space.