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Chrissy Teigen has blocked over one million Twitter accounts in the days since Jeffrey Epstein’s accomplice Ghislaine Maxwell was arrested. The author has been the subject of conspiracy theories linking her to the convicted sex offender, “never mind the fact I have never even met the man. Or been to the island. Or on the plane,” she wrote.

On Wednesday, Teigen tweeted, “I have block chained over one million people, ONE MILLION people today and I am still flooded with sick psychopaths. So please, spare me the ‘just ignore them, they’re just trolls.’ I’ll do my best to stop entertaining them. They have definitely been living for this and have zeroed in on ONLY me. Thank u to EVERYONE for helping me.” She also recently “deleted 60,000 tweets because I cannot f*cking STAND you idiots anymore and I’m worried for my family. Finding me talking about toddlers and tiaras in 2013 and thinking you’re some sort of fucking operative.”

The social media blitz against Teigen started last week with claims that her name appeared on unsubstantiated flight logs said to belong to Epstein, who killed himself while awaiting trial in a New York federal detention center in 2019. (Via)

Teigen, who is convinced that the theorists “won’t stop until I die” (and “even then they’ll think of another conspiracy”), has considered leaving Twitter altogether if the platform “doesn’t do something about this *actually scary* harassment… I have a family and job and there are too many to target. I’ve tried everything. every lawyer says it will take many years and not change a f*cking thing. because they will ALWAYS be crazy.”

But she found one silver lining: “ok pissing them off is way more fun than being sad.”

(Via USA Today)

The long list for the Polaris Prize, one of Canada’s biggest musical honors, was revealed last month. Among the most notable works included among the 40 potential nominees included albums by Andy Shauf, Caribou, Daniel Caesar, Dvsn, Kaytranada, Jessie Reyez, US Girls, and The Weeknd. Now, that list has been further pared down to just ten albums, and there are snubs.

Of the aforementioned artists, Caribou, Kaytranada, Jessie Reyez, and US Girls earned nominations. However, The Weeknd, Andy Shauf, Daniel Caesar, and Dvsn did not.

Despite his super successful career and his status as one of Canada’s biggest music stars, The Weeknd hasn’t had much success with the Polaris Prize. His debut mixtape, 2011’s House Of Balloons, earned a nomination that year, but none of his other works have.

As for the other artists who have been nominated this year, previous winners include Caribou (who won in 2008 for Andorra) and Kaytranada (2016, 99.9%). Previously earning nominations are Caribou (2010, Swim; 2015, Our Love), US Girls (2016, Half Free; 2018, In A Poem Unlimited), and Reyez (2019, Being A Human In Public).

Find the full list of nominees below.

Backxwash — God Has Nothing To Do With This Leave Him Out Of It
Caribou — Suddenly
Junia-T — Studio Monk
Kaytranada — Bubba
Nêhiyawak — Nipiy
Pantayo — Pantayo
Lido Pimienta — Miss Colombia
Jessie Reyez — Before Love Came To Kill Us
US Girls — Heavy Light
Witch Prophet — Dna Activation

It was around the first week of April that the nightmares started, nightmares that persist to this day. I’ve come to notice there are two kinds of tweets about the pandemic: those from people who were in New York City in April, and those from people who weren’t in New York City in April. And I’ve become very good at being able to tell which category any given tweet might fall into. There’s a special kind of urgency from those of us who were in New York City in April, shouting as loud as we could to take all this seriously because I promise you don’t want to experience what we did. The sirens really were nonstop. Mass graves were dug. Trucks full of bodies were parked on the streets. I remember one week, the worst week, when my only goal was hoping we didn’t get sick that week, because the chances of getting treatment seemed poor. If we were going to get sick, please let it be another week. The impact of that month is only starting to hit me lately. At the time, you just kind of do it. But, I don’t sleep well. I suspect I’ll have nightmares about that month the rest of my life.

As the pandemic rages through other parts of the United States, it’s hard not to feel despair. At least, I thought, others will look at what happened to us and take the necessary precautions to make sure that it doesn’t happen elsewhere. Though, even then, when I’d talk to friends not in New York, there was always an underlying sense that this was “a New York thing” and certainly couldn’t happen to them. It is really frustrating trying to warn people of something that is so real, so dangerous, yet they refuse to listen. Anyway, yes, when someone tweets about the pandemic, I can tell right away if they were in New York City in April. You can still read the fear.

It was pretty early on that I realized my life as I knew it was over for the considerable future. This seems to be something a lot of people are still struggling with and actively trying to resist, which is leading to a whole host of problems. And I’m not talking about the frontline workers who are bravely showing up every day to keep things going, I’m talking about the idiots putting those frontline workers in jeopardy because they don’t like wearing a mask, or think they can still have a robust social life during a pandemic. So, yes, it was early on I conceded this would be the lost year. (I am still holding out hope it’s only a year.)

But then, I thought, what if it wasn’t a “lost” year?

There’s no way around the fact we’ve all been dealt a bad hand right now, even though there still seem to be plenty of people out there who still think they can win with a pair of twos. So, I made a pact with myself that, after all this is over, I wanted to be able to look back on it and think, well, at least I did that. When this all first started there was the whole King Lear meme, but I wanted to be realistic. (And I knew whatever my version of King Lear drivel I came up with in my current headspace, would turn out more like “The Big Heist,” the book Chevy Chase writes in Funny Farm.)

So, we’ve all been there. Those awkward moments when someone references a movie we haven’t seen, but we totally should have seen, and we just kind of play along, “Oh, yeah, what a line!,” even though we haven’t seen that particular movie. What if I compiled a list of pretty much every time this has ever happened and watch them all? What if I filled every movie blind spot I have? What if I watch every movie that I’ve either watched to see and never got around to it, or just plain feel guilty I’ve never seen? What if, after all this is over, I have another decade’s worth of pop culture knowledge I didn’t have before, all crammed into one year?

So, now, about three and a half months into this, I’ve watched 173 movies. Some of these are new streaming movies I’ve watched for work. Some are movies I’ve seen before. (Weekend nights are usually reserved for stuff I’ve seen before, but just want good escapism.) But before this started, two of my biggest blind spots were Robert Altman movies and Humphrey Bogart movies – I would consider neither of these to be “blind spots” anymore. I’ve become a bit obsessed with all this. On the nights I don’t watch something, I feel kind of guilty. Like, I’ve been “given” all this extra time and I need to do something with it. Which is also why I get so frustrated with the people we see without masks, trying to live their lives like before. Not just for the obvious health risks to others, but also, this is your chance to go do something productive. But, instead, they’d rather stand around and whine about how they don’t like masks.

But something weird has happened. With no movies in theaters, old and new movies have morphed together into one conglomerate. There are no longer new movies and old movies. All of a sudden, since there are no new movies in theaters, every movie was now released in 2020. Everything is fair game. A few years ago, a friend of mine was working on a story about how if movies stopped getting made, the average human being would still have enough classic movies they haven’t seen to last a lifetime. When he told me that, I found that fascinating, because it’s true. But it was also unrealistic, because movies weren’t going to stop and the impulse is to watch the latest, greatest thing and not something from the past we haven’t seen.

But movies did stop. And it’s a fascinating effect. (Even if you look at the box office numbers right now, The Empire Strikes Back, Gremlins, Black Panther, and Jurassic Park are all in the top 10.) And I don’t think I’m alone here because when I peruse through people’s Letterboxd accounts, I see a lot of similar journeys. All of a sudden, movies stopping has created this weird time vortex where the date a movie released no longer matters. It’s all “now.” When I someday look back on 2020, and I bet I will quite a bit, I’ll remember April. I’ll always remember the fear. But I’ll also remember it as when both Palm Springs and Key Largo came out in the same year. It’s the year both Da 5 Bloods and California Split came out.

There are no longer new movies and old movies, there are only movies that help us get by and, at least, give us something to hold onto for now.

You can contact Mike Ryan directly on Twitter.

Nick Cannon is at the center of controversy at the moment after making anti-Semitic comments on his Cannon’s Class podcast. Following the June 30 episode, Cannon was dropped this week by ViacomCBS, which owns MTV, VH1, Nickelodeon, and TeenNick, all of whom Cannon has worked with over the years.

However, it appears his job as host of The Masked Singer is safe. Fox shared a statement about Cannon, saying they plan to “move forward” with him:

“When we were made aware of Nick Cannon’s interview with Richard Griffin on YouTube, we immediately began a dialogue with Nick. He is clear and remorseful that his words were wrong and lacked both understanding and context, and inadvertently promoted hate. This was important for us to observe. Nick has sincerely apologized, and quickly taken steps to educate himself and make amends. On that basis and given a belief that this moment calls for dialogue, we will move forward with Nick and help him advance this important conversation, broadly. Fox condemns all forms of hate directed toward any community and we will combat bigotry of any kind.”

After sharing a lengthy statement about the situation on Tuesday, Cannon penned an apology to his “Jewish sisters and brothers” last night.

Back in 2017, Dakota Johnson spoke with Vogue magazine to promote Fifty Shades Darker, and she made a few remarks that people are now noticing afresh. When I say “people,” I mean the Internet, and more specifically, Twitter users. The passage in question revolves around the actress’ remarks in reference to her breakup with Drowners singer/model Matthew Hitt. Yes, Dakota mentions the word “bisexuality,” though it’s not clear if she’s being hyperbolic because prior to mentioning that choice noun, she asks, “Can we make things really juicy?”

Here’s what the Bad Times At The El Royale and Suspiria actress said in full while stating that she was single following the breakup:

“Sh*t happens. I think I’m a little bit heartbroken all the time, even when I’m in a happy relationship. I don’t do casual very well, and my feelings, even the good ones, get so intense that they hurt … Can we make things really juicy? Can we say that I’m taking this time to explore my bisexuality? Or that I have given myself to the Lord following the release of my sexually explicit trifecta of films?”

Does it sound like Dakota’s actually suggesting that she’s bisexual or simply making a point that there’s always too much speculation about actors’ love lives? The “given myself to the Lord” following the 50 Shades movies makes it seem like she’s possibly joking around. The same could be said about “taking this time to explore my bisexuality.” However, people want to believe that she’s being serious about that sentence (rather than the religious part), and here’s a sampling of the many celebratory tweets to that effect. For the record, Dakota has not commented on the resurfaced quotes, but people do love her kitchen.

(Via Vogue)

If Billy Zane dies in the first five minutes of a horror movie, you can be reasonably certain that he comes back. We call that Chekhov’s Billy Zane. So when Zane, playing a Nazi officer who boxes (obviously), gets his brains unceremoniously splattered all over a dusty French road in the first act of Butterfly Effect filmmaker Eric Bress’s new film, Ghosts of War, we know instantly that this won’t be the last of him. And thank God for that. Billy Zane is exactly what a film about a haunted Nazi mansion needs. And yet, Bress boldly makes us wait a full hour and 10 minutes for more Billy Zane, which is a long time indeed to delay gratification in a 94-minute movie. Should we call that tantric Billy Zane?

Ghosts of War, hitting VOD July 17th, stars a handful of young actors vaguely recognizable enough to play second fiddle to Billy Zane, spouting dialogue that feels cribbed from How To Write Soldier Jargon For Dummies. There’s Skylar Astin from Pitch Perfect, Brenton Thwaites, the kid from The Giver, Thad from Blue Mountain State (Alan Ritchson) and a couple other guys. They practically wear their characters’ shticks on their foreheads — The Jock, The Brain, The New Yorker, The Crazy Hillbilly, The Audience Stand-In.

These battle-hardened SOBs have come to relieve a squad of their compatriots, guarding a big ol’ mansion that we’re told had been “liberated from the Nazi high command.” The mansion is fully stocked with sausages and cheese and wine and fine furniture, yet the guys who were guarding it practically leave skid marks getting the hell out of there. Why did they seem to hate such a plum assignment? Gee, I wonder.

What follows is the usual assortment of mirror scares, bathtub visions, and cryptic words left mysteriously carved into wood, spiced up with just-read-the-Wikipedia-page WWII dialogue like “Before the Nazis come, should we, like, 23 skidoo?” and “Situation normal all fucked up.” “It’s a SNAFU alright.”

The mansion is obviously haunted, a point which is never in doubt, despite how obnoxiously long the soldiers take to acknowledge it. The big questions left outstanding are: what do the ghosts want? And, for whose sins do these ghosts demand atonement, our heroes’ or the Nazis’? Throughout Ghosts of War, just when you think you have a handle on what’s really going on, Skylar Astin will burst through the ceiling with his pilfered journal (he’s the only one of the crew who can read German) to breathlessly reveal, “Actually, it says here that poltergeists are allergic to water!” or whatever. Then we travel down that mini rabbit hole for a while.

Even as most of Ghosts of War‘s scenes fall flat for lack of coherent action or believable dialogue, it’s mildly entertaining to watch Bress (credited as writer and director) repeatedly write himself out of narrative jams by just blowing a hole in the sky. Poor Skyler Astin always has a lot to explain. Bress seems determined that if Ghosts of War doesn’t work, it won’t be for lack of invention.

Just when the novelty has all but worn off, Ghosts of War finally, belated lays its cards on the table with a third act twists so preposterous that you can’t help but enjoy it. It helps that Billy Zane is back, getting huge laughs with every shout of exposition and furrowed brow (which he does while listening to other characters shout exposition). Zane single-handedly almost makes this hare-brained sizzle reel of historic bummers fun. Is there a better B-movie cameo actor guy than Billy Zane?

In summation and without spoiling anything, the smartest thing Eric Bress did in Ghosts of War was to cast Billy Zane, and the dumbest thing he did was keeping Billy Zane off screen for 90% of the movie.

‘Ghosts of War’ opens OnDemand and digital July 17th. Vince Mancini is on Twitter. You can access his archive of reviews here.

This week, Brian Baumgartner — who played Kevin Malone in the NBC sitcom, The Office — launched his new podcast on Spotify, An Oral History of The Office Podcast. Based on the first three episodes, it is a well-produced, fairly thorough and entertaining overview of The Office and a good compliment to Office Ladies, a rewatch podcast hosted by best friends and The Office cast members, Jenna Fischer and Angela Kinsey.

According to an IAMA on Reddit, part of the reason Baumgartner created this new podcast was in response to Andy Greene’s The Office: The Untold Story of the Greatest Sitcom of the 2000s, a comprehensive account of the series’ nine seasons. “Every quote [Greene] attributed to me was something I said at some point, but not to him. And potentially taken out of context. An Oral History of The Office was created in part in response to the book you refer to. We wanted to tell our own story,” Baumgartner said.

However, the first three episodes hew closely to the contents of Greene’s book. For obsessive fans of the former NBC sitcom, while entertaining, An Oral History of ‘The Office’ doesn’t add very much new to the story in the first three episodes, except one fascinating Easter egg that I do not remember reading in Green’s book. It comes from Randall Einhorn, a frequent director on the sitcom, but also the director of photography. Einhorn — a veteran of reality television — is basically the guy who established how the camera would work in The Office’s faux-documentary format. The camera was the 10th cast member, so to speak, and Einhorn delivered the camera’s performance.

Interestingly, however, he spoke of an “Easter egg” that I never picked up on over the course of the series. It’s probably easier to explain by way of illustration. Here’s four random characters from The Office in their talking head interviews.

All of these shots have something in common. During the talking head interviews where characters would sit in a conference room and talk to the camera, “everybody was shot pointing into the office,” Einhorn said, “where where Leslie [David Baker] was sitting, so in front of Stanley.” As we can see in the image above, Stanley is over everyone’s shoulder. That is true of all the characters, except Jim.

“I thought Jim was the one person,” Einhorn continued, “who was going to leave that place. And he had something bigger he wanted to do, and so with Jim, his position was looking out the window into the parking lot and the sun. Eventually, Jim and Pam got together, and Jim and Pam were both in front of the windows, because both were going to leave this place and go to someplace better.” Sure enough, the evidence proves as much. Here’s Jim by himself (with the parking lot behind him), Pam by herself (again, with Stanley), and two photos of Jim and Pam together, both of which look out into the parking lot and the sun.

“That’s an Easter egg for the kids,” Baumgartner added. It’s pretty cool one, at that.

Source: An Oral History of The Office Podcast

As a star of The Avengers, Chris Evans knows a superhero when he sees one. Bridger is a superhero.

Earlier this month, the six-year-old made national headlines after saving his sister from a dog attack (when later asked why he shielded his sibling, he replied, “If someone had to die, I thought it should be me”). CNN reports that “instead of running off, the dog leaped and latched onto Bridger’s cheek,” leading to a multi-hour surgery and Bridger requiring more than 90 stitches. When Evans, who played Captain America in the Marvel Cinematic Universe, heard about what happened, he recorded a video for the young boy, telling him, “Pal, you’re a hero. What you did was so brave and so selfless. Your sister is so lucky to have you as a big brother, your parents must be so proud of you.”

Evans promised to send Bridger an “authentic Captain America shield,” adding, “Keep being the man you are, we need people like you. Hang in there, I know recovery might be tough, but based on what I’ve seen, I don’t think there’s much that can slow you down.” Mark Ruffalo and Brie Larson also reached out to Bridger’s family, with the Hulk praising the boy for being “more of [a] man than many, many I have seen or known.”

Nick Cannon shared a lengthy statement after he was dropped by ViacomCBS this week, and it touched on a number of points. One of them was apologizing to his “Jewish Brothers and Sisters for putting them in such a painful position.” Cannon has now expanded on that apology in a series of tweets, in which he further expresses remorse and vows to continue learning about Judaism and the Jewish people.

Cannon wrote last night:

“First and foremost I extend my deepest and most sincere apologies to my Jewish sisters and brothers for the hurtful and divisive words that came out of my mouth during my interview with Richard Griffin. They reinforced the worst stereotypes of a proud and magnificent people and I feel ashamed of the uninformed and naïve place that these words came from. The video of this interview has since been removed.

While the Jewish experience encompasses more than 5,000 years and there is so much I have yet to learn, I have had at least a minor history lesson over the past few days and to say that it is eye-opening would be a vast understatement.

I want to express my gratitude to the Rabbis, community leaders and institutions who reached out to me to help enlighten me, instead of chastising me. I want to assure my Jewish friends, new and old, that this is only the beginning of my education—I am committed to deeper connections, more profound learning and strengthening the bond between our two cultures today and every day going forward.”

About an hour later, he continued, “I just had the blessed opportunity to converse with Rabbi Abraham Cooper director of global social action @SimonWiesenthal. My first words to my brother was, I apologize for the hurt I caused the Jewish Community…. On my podcast I used words & referenced literature I assumed to be factual to uplift my community instead turned out to be hateful propaganda and stereotypical rhetoric that pained another community For this I am deeply sorry but now together we can write a new chapter of healing.”

Find Cannon’s tweets below.

I May Destroy You (created, written, and starring Michaela Coel as Arabella) landed at #2 on our Top 10 Shows Of 2020 So Far list. The series revolves around the subject of sexual consent but manages to find dark humor in places, and much of that tightrope maneuvering is down to Coel’s gift for layered writing and the performances of her co-stars. That includes Weruche Opia, who portrays Arabella’s best friend, Terry, whose own experience with sexual consent isn’t what it seems at first.

Unlike other characters in this series who experience clear-cut sexual assault, Terry’s situation is, well, complicated. While in Italy, she has what initially appears to be a consensual threesome with two men who appear to not know each other. After meeting them (separately) in a nightclub, she takes both of them home, and it’s pretty clear by the end of the encounter that she’s feeling less liberated than she expected to feel. It begins to dawn on her that she’s been manipulated and coerced into consenting to the threesome, and Terry’s got some processing to do in the aftermath. This is only one of many examples in this series where Coel weaves a textured backdrop while continuing to seek justice for Arabella after she’s drugged and raped in the first episode.

Terry and Arabella also have their own issues to work out with each other (Terry left Arabella alone on the night of her rape and feels terribly guilty), but they’ve always got each other’s backs. Weruche was kind enough to speak with us about I May Destroy You as the stellar season continues to impress the HBO audience.

This show’s audience can’t get enough. Over on Twitter, I noticed that you noticed Seth Rogen raving about it. How does it feel to witness this reception?

It’s definitely amazing. It’s quite impressive, a bit surreal, to think that those people have seen my face.

And seen you doing all sorts of things: dancing, sexual things, and so on.

Seeing me do the madness of it all! It’s exciting and daunting but brilliant to know that I’m part of a piece of work that’s being recognized as something really different and poignant and timely and everything right now.

Well, I would like to have a friend like Terry.

Everyone says that!

She’d be great to have in your corner. How did you conjure up your aura for her?

It was all in the script, but I do relate to Terry and Arabella’s friendship. It’s somewhat reflective of my best friend and I. When they say, “Your birth is my birth, your death is my death,” and I read that, I was like, “Oh my god.” That’s actually reflective of my relationship, so it was brilliant to see that reflected on the script, and to have it come to life was even more exciting.

If you could put Terry into another TV show, where would you like her to go?

Insecure! Oh my god, if there was like a crossover.

So, just a massive block party, basically?

A block party in South London, that would be incredible.

Later on this season, Terry has some input into Arabella’s ultimate “plan” that turns out… quite well, but we won’t spoil.

I definitely enjoyed the fact that there was some sort of redemption for Terry to make up, to an extent, for her part of what happened to Arabella. And I think it gave some sort of closure for her feelings for it, the guilt, being there for her friend. And it’s great that she had the opportunity to make up, if you can say that, for her part in Arabella’s trauma.

Lots of layers exist in this show’s portrayal of trauma. Terry’s threesome was not what she initially believed it to be.

I think it was great to see and to portray and to open discussion about that because there are so many grey areas when it comes to consent and sexual assault. What counts as sexual assault? How you determine consent? But it was enlightening and also challenging as an actor to be able to portray that grey area, to show the thought process of Terry feeling, at first, empowered and then questioning her experience in the same breath. And I think it’s relatable, where there are a lot of these grey areas that people have been in and haven’t been able to quite put their finger on where they stand. It’s quite poignant and shown in the show that these are things that happen. Grey areas are real, and people are in those areas.

I keep going back to that early audition scene where casting directors ask Terry about a freeing experience, and she mentioned the threesome.. halfheartedly?

I mean, I think she felt that it was… well, I’ve never actually that about it that much, but saying it now…

She maybe felt like she should count that as a freeing experience?

Yeah! Exactly. And something that would be seen as free. So it’s interesting to see how that was what she came to for her most freeing experience.

Back over on your Twitter page, you recently wrote that you’re “[s]lowly releasing myself from survivor’s guilt.” Is that relevant to the show or current events?

It was just in terms of the current climate with the Black Lives Matter movement and the response to the unjust killing of George Floyd. It felt very heavy and it still does that Black people and people with the same skin color as me are being treated differently because of the color of their skin, and it was, in terms of the fact that I have this incredible show, to celebrate. But at the same time, I’m mourning and feeling the angst that my brothers and sisters all over the world are feeling. So I was trying to release myself from survivors guilt in the sense that I can celebrate what I’m going through without feeling like I’m neglecting my brothers and sisters. So it’s a learning experience to find some balance in life and navigating where we with humanity right now.

Do you ever feel the pressure to speak out due to having a platform?

The pressure is there, but I control what I say, and everyone’s entitled to their opinion. But I also understand that, especially since my platform is more out there, so I believe that I will say what I want to say and what I’m comfortable with saying.

What would you say to people who are pushing back on the Black Lives Matter movement?

I believe that it’s a lack of education and choosing to be ignorant, to say that and be of that train of thought. And I can hope that people will educate themselves.

We can only hope. We’re almost out of time, and I know you can’t say much about a second season, but what do you want Terry to do next?

I have no idea!

It’s hard to tell what Michaela would have up her sleeve.

Nobody knows, and I don’t know if Michaela knows. I am proud and happy with what we have right now, and time will tell!

‘I May Destroy You’ airs on HBO at 10:00pm EST on Mondays.