I’m losing count of how many times in the past few days I’ve seen someone post something along the lines of this tweet:

“The CDC has actually ADMITTED that they overcounted COVID-19 deaths!”

“Look at the numbers—they’re right there on the CDC website plain as day!”

“See, it’s all overblown! We did this whole shutdown thing and tanked the economy for nothing!”

First of all, no, the CDC did not revise anything. Let’s dive into these numbers because they actually are a bit confusing when you don’t read the whole page (and frankly, some parts are a little confusing even if you do—get it together, CDC).

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There are different methods of counting COVID-19 deaths, and the CDC’s website includes numbers for two very different methods. We have:

1) The official CDC death count, which you can find on the CDC’s home page. This count comes directly from public health departments in each state and territory daily. As of the writing of this article, that count stands at 68,279.

2) The Provisional Death Count, which is where that ~37,000 number comes from. This count comes from the National Vital Statistics System—the system that processes and logs death certificates. The notable thing about the Provisional Death Count is that it’s not up-to-date. The CDC site itself states that the numbers on the Provisional Death chart lag weeks behind other counts:

“It is important to note that it can take several weeks for death records to be submitted to National Center for Health Statistics (NCHS), processed, coded, and tabulated. Therefore, the data shown on this page may be incomplete, and will likely not include all deaths that occurred during a given time period, especially for the more recent time periods. Death counts for earlier weeks are continually revised and may increase or decrease as new and updated death certificate data are received from the states by NCHS. COVID-19 death counts shown here may differ from other published sources, as data currently are lagged by an average of 1–2 weeks.”

Here’s a real-world example of what this looks like:

This is a screenshot of the Provisional Death Count as of April 16, 2020 (which you can access at this CDC link). As you can see, the COVID death count for the week of 4/11/20 was 3,542.

And here is the Provisional Death Count as of the writing of this article, which you can view in real time at this CDC link. As you can see, the week of 4/11/20 has been updated from 3,542 deaths to 12,628—a nearly four-fold increase since the April 16 publication.

When the numbers were published on 4/16/20, there were still 9,086 death certificates that hadn’t been processed yet from the week prior—that’s what they mean by a lag. Three weeks later, the numbers are very different.

So that 37,000 total (well, 39,000 right now) will change as the death certificates get processed. The Provisional Death Count simply isn’t accurate yet. And the lag means it will never be an up-to-date count, so it’s not a reliable source for current death numbers.

The problem is that people have been sharing the not-up-to-date Provisional Death Count link as a way to make it sound like the COVID-19 death numbers are actually smaller. They are not.

It’s worth noting that all COVID-19 death counts include both lab-confirmed and “presumed” COVID-19 deaths. This has also been a source of confusion, not to mention conspiracy. But “presumed” doesn’t mean just a wild guess.

Test results for coronavirus have a high false negative rate—from 5% to 30%—according to Dr. Alan Wells, professor of pathology at University of Pittsburgh. So relying solely on positive lab test results for COVID deaths would miss thousands. At this point, doctors and medical examiners can generally recognize clear COVID symptoms in a critically ill or deceased patient, and if a patient meets the clinical, epidemiological, or vital records criteria for the COVID being the cause of death, that’s considered “presumed.”

Each state has different requirements for coding COVID-19 deaths, and it’s generally a very small percentage that are counted as “presumed.”

Adding to the confusion on this front, Dr. Birx, from the White House Coronavirus Task Force, said that the U.S. was taking a “liberal” approach to counting COVID-19 deaths, and “”The intent is, right now, that . . . if someone dies with COVID-19, we are counting that as a COVID-19 death.”

People unfortunately did not take that statement in the context of underlying conditions, which is what Dr. Birx was talking about. Here’s what she actually said:

“There are other countries that if you had a pre-existing condition and let’s say the virus caused you to go to the ICU and then have a heart or kidney problem — some countries are recording that as a heart issue or a kidney issue and not a COVID-19 death. Right now … if someone dies with COVID-19 we are counting that as a COVID-19 death.”

If a person has a heart condition and they get sick with COVID-19 and die, COVID is counted as a cause of their death, even if they died of a heart attack—the reasonable assumption being that the disease led the patient’s weakened heart to give in. Dr. Birx did not mean that a gunshot victim or a fatal car accident victim would be certified as a COVID-19 death just because they tested positive for the disease. That would be silly, not to mention illegal.

Read more on how COVID-19 deaths are counted from a forensic pathologist here.

You can also see an email from the Louisiana Health Department specifying how doctors are to log coronavirus deaths here:

So, no, COVID-19 death counts have not been revised downward, nor are they artificially inflated. In fact, it’s more likely that they’ve been undercounted than overcounted, since only deaths that had been confirmed by tests were being counted for at least the first month of the outbreak in the U.S.

More importantly, read the fine print on a website before you make any assumptions about what you’re seeing. Health data tracking can be a confusing to dive into under normal circumstances, much less during a novel virus pandemic where we’re all learning as we go.

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It’s much easier to imagine Clark Duke being from Arkansas if you close your eyes. Visually, he evokes something between LA scenester and creative professional, depending on length of hair and presence of mustache. But when he talks, the tranquil composed Southerner comes through, thoughtful, affable, unhurried.

Duke’s directorial debut, Arkansas, is set there, adapted from John Brandon’s book of the same name. Duke has a grandfather he says was a tertiary figure in the Dixie Mafia, about whom he’s reticent to offer specifics, but says Brandon’s story allowed him to scratch that same itch. The film is set in the criminal underworld, focusing on organized crime that isn’t too organized, in the vein of Southern crime shaggy dog stories from authors like Charles Portis, Elmore Leonard, Harry Crews, etc. It even opens with a quote from Portis’ Dog Of The South: “A lot of people leave Arkansas and most of them come back sooner or later. They can’t quite achieve escape velocity.”

Duke himself appeared to have achieved escape velocity early on, getting cast opposite John Ritter and Markie Post in Hearts Afire when he was just five years old. The show ran until 1995 but after it ended the family moved back to Arkansas, where Duke spent his middle and high school years. Lots of us have probably experienced the feeling of being hemmed in by our small towns, but it’s hard to imagine doing it as a former child actor. High school in Arkansas was an experience Duke says he “didn’t enjoy that much” and so he returned to LA and to the entertainment world.

He shot a pilot with Michael Cera while he was still in college at Loyola Marymount, and fresh out of college he landed roles in Sex Drive, Hot Tub Time Machine, Kick-Ass, and a few others — still probably the period he’s most known for. Yet Duke returns to Arkansas once again with his directorial debut, a movie he’s been trying to make for the better part of a decade. Just getting people to read the script was a challenge, but once he landed Liam Hemsworth as his lead the other dominoes started to fall, including John Malkovich and Vince Vaughn in a memorable role as a drug lord named “Frog.”

And now, after all that, and with his movie finally finished, Duke gets the peculiar experience of releasing it direct to streaming and doing a “press tour” from the comfort of his home. It’s the kind of bittersweet glass-half-full ending you might expect in a story like Arkansas, in fact. I spoke to Duke by phone this week.

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So was the plan for this originally to have a theatrical release?

(Sadly) Yes.

How do you feel about it?

We were going to premier at South by Southwest and then have a theatrical release also. So, it’s pretty personally devastating because, I mean… You hate to complain because these are very luxurious problems to have, given what other people are dealing with right now, but it’s tough. This was something I’ve worked on for ten years. And we kind of didn’t get to do any of the fun parts of releasing a movie.

Right. But at least a lot of people can potentially see it still.

I hope so. I mean, that’s kind of the silver lining hope of the whole thing, is that everybody’s sick of watching Tiger King and they will check this out.

So, you open with a Dog of the South quote. Who are some of your other influences?

Well, I mean it was a book adaptation — the book is also called Arkansas by John Brandon, and I would say John Brandon’s book was the thing that I was trying to kind of stay very close to, tonally. But other literary influences — Portis, a fellow Arkansas guy. Elmore Leonard, I’m a big fan of just because of the dialogue, like everybody else on Earth. Movie-wise, director-wise, kind of my formative years as a viewer that made me want to be a director were your kind of mid-’90s Miramax guys, like Tarantino, Coen brothers, Paul Thomas Anderson, Steven Soderbergh. And then from there I kind of got into the guys that were their influences. Brian DePalma, Scorsese, Coppola, Peter Bogdanovich, Robert Altman. Robert Altman may be my favorite director. And I definitely stylistically probably lift a lot from.

When did you first decide that you wanted to adapt to this?

I read the book, like I said, when it came out about 10 years ago and I immediately bought the rights to it. I knew I had to do something with it because… I’m from Arkansas, the book is set in my hometown, and my grandfather was a tertiary Dixie Mafia character, so I’d always wanted to write something about him in that world, but I could never figure out what the angle was. So when I read the book, I was just, “Oh, this it. This thematically is covering what I want to do.” And I love the dialogue so much and it’s a really cool, eloquent structure too.

Can you tell me about your grandfather? What was his story?

(Laughs) I don’t really want to get into that too much, to be honest. But the character of Frog that Vince Vaughn played, not that it’s any kind of literal adaptation of my grandfather or anything, but thematically, it kind of scratched that itch I had. Plus, I thought that the two younger guys played by Liam Hemsworth and myself, I thought there was a real interesting opportunity to show sort of what I’ve noticed in the last 10 years or so since the book came out. Just the kind of malaise that these young men their age have. Just guys that have kind of lost all interest in modern society, civilization.

I mean there’s that kind of fatalism and, I don’t know, quasi-mysticism that seems to go along with a lot of Southern crime novels. Where do you think that comes from?

I mean, I think the South is more spiritual and religious in general, so I’m sure that’s part of it. The South also has a lot of kind of gallows humor. Almost like the British to a certain extent as far as the fatalism goes. I don’t really think it’s nihilism or cynicism though, it’s more just like an acceptance of reality. And that was definitely a tone that I wanted to get across and something that I really hadn’t seen. I mean you don’t see stuff set in Arkansas and you don’t see Arkansas shown on film very much. But I really didn’t feel like I had especially seen the tone and the stuff that I thought was funny and interesting about the people there on screen very much, other than Billy Bob with Sling Blade. It’s hard to think of a lot of other examples.

So you were already acting by the time you were pretty young. How much of your formative years did you spend in Arkansas? Were you traveling back and forth a lot?

So it’s a bizarre thing. My mom had a childhood friend in LA that was working as an actress that we came and visited when I was five. Her manager saw me and was like, “Oh, we’ve got to send him out on an audition.” He sent me to a commercial audition and I booked it. I did all these commercials. I ended up on a sitcom called Hearts Afire with Billy Bob, actually, and John Ritter. And that ran for three years. But then after that was over, and I’m, I think 10 or 11 years old, we just moved back to Arkansas. So other than that weird sojourn between the age of five and 10 in LA, I spent the rest of my childhood in Arkansas. I went to middle school and high school all in Arkansas and then moved back to LA for college.

And then you ended up back in movies pretty fresh out of college again. Do you think that having a certain amount of notoriety early on, is there anything you think you missed out or that you’d change?

Not really, because I mean, truthfully, I kind of felt like I got a good dose of both worlds. Going to LA young, I knew it was possible, and it made me fall in love with film and TV. But then just living in Arkansas, like I said, for all of middle school and high school, it was just a normal high school experience that frankly I didn’t really enjoy that much. I knew I wanted to go to film school and go back to LA. So no, I don’t feel like I missed anything as a brief child actor, no.

This character that you play in this, he’s kind of like… A lot of your characters seem like they have an aspect of not really fitting with their surroundings, being kind of an anomaly. Does that come from a personal place or is that just something that you think is funny?

Probably both. I mean I’m sure it’s subconscious on some level because that was kind of my overall feeling when I did live in Arkansas. High school was like, “Oh I don’t fit in here.” And as far as the character I play in this movie, Swin, everything down to his look and wardrobe was designed with just broadcasting outward like, “I don’t belong here.” And it’s in kind of a “fuck you” way. Because you know as a criminal you don’t want to stand out. Even multiple characters say in the film, “Don’t draw attention to yourself.” And he’s kind of dressed like a big perfume billboard all the time. So yeah, that’s definitely intentional in this film. If I’m doing that in other stuff, I wasn’t aware of it and I’m sure it’s just a subconscious thing I can’t help.

Tell me about casting Liam Hemsworth. He’s kind of like stereotypical movie-star handsome. And then in the first scene where your characters meet, you kind of call him out on it, “Oh you’re the strong silent type.” Tell me what you saw in Hemsworth, and why he made the right choice for this character.

I had seen Liam in this Western with him and Woody Harrelson. I can’t remember the name of the movie [The Duel, 2016] to be honest, but Liam kind of carried that whole movie without saying a whole lot. And I was really blown away by it, to be honest. And I was like, “Oh, people only know this guy from these big action movies, but he’s a real good actor.” And you know, it’s always kind of fun to play against type with people a little bit and kind of use the good baggage that actors carry around with them. The same thing goes for Vince Vaughn in the movie. Part of the fun of that character is that Vince is playing him but Liam was the first person to come on board and Liam’s the only reason there’s a movie, to be totally honest. I did not know him at all. He just read the script and really liked it and wanted to do it, thank God. Once we had Liam it was possible to actually get financing and cast the rest of the film and have a movie.

Right. I mean, you said it was a 10-year process. What were some of the hurdles along the way to getting this made?

It’s basically one big hurdle trying to make an indie film in general. I think everybody’s got a similar story. But when I initially bought the book, figuring out how to adapt this non-linear, kind of sprawling, set over 30 years, all these different characters, just kind of wrestling that thing into a screenplay was the first hurdle. Because there’s a lot of stuff in the book, so it was just a lot of logistics to figure it out. How are we going to make this make sense for the audience? And on and on. Then beyond that, I mean even once you have a script, you’re in this horrifying chicken and egg process with, nobody wants to finance the movie unless there are actors attached, and no actors want to attach to a movie unless that already has financing.

So you get on this terrible just months, years-long rollercoaster of… I mean you’re basically just sending carrier pigeons out. You’re sending a script to a stranger hoping that they’ll read it. And getting anybody to read a script for whatever reason always ends up being this weeks or months-long process. It’s really bizarre most of the time. But then pretty much to a person, anytime we could ever actually get people to read the script, they were all super into it and onboard.

Right.

I think Liam was literally the first actor that I just straight up offered a role to. But to be honest, I never in a million years thought he would even read it. And then he read it and wanted to meet, and I still kind of even then was, “This is a waste of time, fuck this meeting. He’s not going to do this movie.” And Liam always tells this story — this is what he said he was going to tell on talk shows but now nobody’s doing talk shows — he said I was so surprised when he said yes that he worried he had made a mistake. He said, “You just looked so shocked that it scared me.” But I mean, God, talk about fatalistic. You’ll get fatalistic trying to make one of these movies.

So now that it’s finally made, what is the press tour in the age of quarantines look like?

It’s just me and you on the phone right now. The other option is a lot of Zooms. Doing a lot of podcasts. I don’t know, I mean truthfully, I feel like now that they realize that everyone will do all this shit over Zoom, I’m sure there’ll never be another real press junket ever again.

Yeah.

It’s not nearly as fun. It’s like I said, it feels like we kind of skipped all the fun parts of making a movie. All I can hope is that, like you said, people find the movie. But, I mean, everybody’s in the same boat, kind of trapped at home listening to podcasts, looking at the websites, and watching stuff. So I’ve got to think we’ve got a pretty good chance of getting seen.

Yeah, I mean the junket thing seems almost like it’s like a bribe. It’s a bribe for the actors and a bribe for the journalists to get to go and do something and then in the process hopefully you get some publicity out of it.

Yeah, totally. I remember the one for Hot Tub Time Machine they had in Lake Tahoe at a casino, and I was like, “Oh okay, we’re just openly bribing everybody. Hell, we’re not even pretending.”

What are some of the most fun ones that you’ve been on?

That’s the only really fun press junket I could ever think of. The rest of them are always just at the Four Seasons here in LA. Pretty standard.

[The publicist interrupts to say we’re out of time.]

Okay. No problem. Thanks a lot. I enjoyed the movie a lot.

Oh, thanks man. I appreciate it. I haven’t got to watch it with an audience at all, so I’m kind of just curious to hear what people think about it.

That must be a bummer not getting to see the audience’s reaction.

(Dejected) Yeah, it is. It’s a huge bummer.

‘Arkansas’ hit Apple, Amazon, On Demand, Blu-ray and DVD on May 5, 2020. Vince Mancini is on Twitter. You can access his archive of reviews here.

As the quarantine continues, late-night talk shows have had to get creative with musical guests. Many artists have either opted to make a virtual solo appearance, like Demi Lovato’s Tonight Show performance, or conference in together on video, like Haim recently did on The Late Show. Vampire Weekend’s Ezra Koenig went with the former in the most recent edition of The Tonight Show. From his home studio, the singer performed a stripped-down version of songs from the band’s latest record.

Sitting in front of his piano, Koenig stitched together snippets of three songs from Father Of The Bride. Opening with a gentle melody from “Flower Moon,” Koenig smoothly transitioned to “Stranger” with a fast-paced riff, and then concluded with a short rendition of “Big Blue.”

The last we heard from Vampire Weekend came before the quarantine. Back in February, the band released a group of three B-sides from Father Of The Bride, including one with Jude Law reciting a centuries-old poem. The bonus tracks were included in their original release in Japan, but the group only recently made the songs available on streaming services.

Watch Koenig perform a mix of tracks from Vampire Weekend’s most recent record above.

Father Of The Bride is out now via Columbia. Get it here.

Last week, Chris Pratt became the surprise MVP of the Parks And Recreation reunion special, he’s officially planning to return to TV. This will be his first small-screen role since he wrapped his seven-season run on the NBC show, following four years on The WB’s Everwood series. Although last week’s dueling Andy Dwyer alter-egos reminded everyone that Pratt’s still very funny, he’s preparing to head back into action mode again for Amazon. Given his success in the MCU and the Jurassic World movies, audiences should be pleased to see this development.

Hollywood Reporter reveals that Amazon won a highly-contested bidding battle for The Terminal List, which is (ideally) geared toward multiple seasons and will be based on Jack Carr’s bestselling 2018 novel of the same name. Antoine Fuqua (Training Day, The Magnificent Seven with Pratt) will direct and executive produce along with Pratt, who will portray a Navy SEAL. Everything won’t be as it seems when one of his character’s missions gets ambushed, and this is very much an action thriller filled with shadowy forces and conspiracies. Here’s a synopsis-like description of the project:

The Terminal List follows James Reece (Pratt) after his entire platoon of Navy SEALs is ambushed during a high-stakes covert mission. Reece returns home to his family with conflicting memories of the event and questions about his culpability. However, as new evidence comes to light, Reece discovers dark forces working against him, endangering not only his life but the lives of those he loves.

Notably, the show will aim for authenticity with a writing staff “where half” of those penning the scripts are veterans or hail from a military family. And considering that Amazon’s Jack Ryan (based upon works by Tom Clancy) has fared well with John Krasinski playing a former Marine who must confront a shadowy conspiracy, there’s certainly an audience for The Terminal List. Pratt’s star power will only bring more appeal, even if he might not be able to let loose with any humor here. Still, even a very serious Pratt means pleasant news on the TV front.

(Via Hollywood Reporter)

On Tuesday, Donald Trump paid a visit to a Honeywell factory in Phoenix, Arizona, where N95 face masks were being produced for the federal government. While being shown around the facility, the president and those with him wore safety glasses, but opted not to wear face masks.

Perhaps coincidentally (or perhaps not), Guns N’ Roses’ cover of Wings’ “Live And Let Die,” the theme song of the James Bond movie of the same name, played loudly over speakers in the factory. The song was being played so loudly, in fact, that the president and those with whom he was speaking are hard to hear in videos from the factory tour.

CNBC noted that a sign at the factory said it was mandatory for everybody to wear a mask inside. They also report, however, that a White House official said Honeywell did not require Trump to wear a mask. Before the visit, Trump told reporters, “I haven’t decided because I don’t know is it a — if it’s a mask environment, I would certainly do that. I’ll know when I get there. But I would wear it. If it’s a mask environment, I would have no problem.”

Following the tour, Trump said, “Moments ago, we saw the brand-new production lines where you’re making high quality n95 respirators. They are made to perfection. There’s no bad masks, like various countries have been sending, bad masks from other places. Nothing like that at Honeywell. Respirators are there to protect our heroic doctors and nurses as they fight the unseen enemy. More than 150 Honeywell employees are working around the clock, three shifts a day, six days a week.”

Neither Guns N’ Roses nor Paul McCartney have offered a public response to the song’s appearance, but one would have to imagine they would enjoy hearing the news.

As the buzz for the Verzuz hits battle series on Instagram Live increases, fans and stars alike have proposed matchups ranging from Ja Rule vs. 50 Cent to French Montana vs. Kendrick Lamar, with some fans clamoring for even more long-brewing rivalries and interesting matchups to play out on the livestream. However, it appears unlikely that the latest artist to issue a challenge to a rival rapper will get much of a chance after fans scoffed at the suggestion she made on her own Instagram Live.

Florida rappers Khia and Trina have never really gotten along. Whether it’s due to personal issues or the Highlander-like attitude of the 2000s that only one woman could reign at any given time, the pair have traded shots throughout the last two decades, but never really figured out how to resolve whatever caused their beef in the first place. Khia came up with what she thought might be a perfect solution: Take it to Instagram and let the fans decide.

However, once fans on Twitter got hold of the above video, her suggestions became a standing invite for a free-for-all roast session focusing on the fact that, aside from one track that really blew up around the turn of the millennium (“My Neck, My Back (Lick It)”), she really doesn’t have enough hits to make a hit battle worth the investment for her opponent.

While Khia certainly had her supporters — mainly hailing from The Sunshine State like the two rappers — Mannie Fresh already proved that relying on regional hits during one of these things is no way to keep fans entertained during a livestream. As T-Pain put during his trade-off with Lil Jon, “It’s a party, Jonathan” — there may not be any “winners,” per se, but if fans don’t know the songs, they won’t stick around with so many other streaming options available. In Khia’s case especially, her own biggest hit has since been co-opted by Gen Z favorite Saweetie, who turned Khia’s raunchy hit into a more family-friendly party anthem with “Icy Grl.”

Check out more responses from fans on Twitter here.

Her response is extremely awkward.

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Killing Eve has found increasingly inventive, often brutal ways to dispatch beloved characters, but this week’s episode makes stabbing MI6 agents in the club, and spearing bodies like you’d poke holes in the plastic film over a TV dinner before popping it into the microwave, look like mere child’s play.

“Still Got It” gives us another two-for-one murder special, and while watching Villanelle play a game with her prey before suffocating a poor widow with a hose from her own greenhouse was a delightful romp — or as delightful and premeditated murder can be — award for most memorable attack goes to her mentor, Dasha (Dame Harriet Walter).

Let’s revisit one of the bloodiest kills of the season so far.

The Pitchfork Surprise

Here’s Niko (Owen McDonnell), Eve’s estranged husband, at the beginning of the episode. He’s in Poland, delivering bread to village women, filling up his social calendar, and taking generic nature selfies. He’s the Eastern European version of a basic white b*tch, and honestly, good for him. He’s escaped the insanity of his wife’s job and relationship with a psychotic assassin, and he seems to have gotten a handle on his PTSD over Gemma’s death last season. Niko is experiencing what we in the biz call “growth.”

Which means that Niko is not long for this world.

No spoilers dammit!

Cut to Villanelle. She’s baking cakes, still hung up on her sexually-charged encounter with Eve on London’s public transit system. Dasha tries to curb her obsessive tendencies when it comes to the former MI6 agent by teasing a meeting with the Twelve. Looks like someone might be getting a promotion.

Or not. It seems a secret international organization of highly trained assassins and ex-government agents isn’t too forgiving when one of their own goes off-book, which is exactly what Villanelle did with that whole “Smell me, Eve” bit. Even the scent of a Roman gladiator can’t protect her, or Dasha, from their ire. A representative for the Twelve comes to warn Dasha that her dream of returning to Mother Russia won’t happen if she can’t temper her protege’s more dangerous impulses, suggesting that Dasha drive a wedge between the two women in an imaginative way.

She also comments on Dasha’s hat hair and insults Eve’s proclivity for turtlenecks so really, f*ck this woman.

Still, while Villanelle’s doing a job as a favor to Konstantin in exchange for information on her family, Dasha is jetting off to Poland to put her master plan into action. She stalks Niko, pretending to be an elderly village woman who enjoys pub culture in order to steal his phone and text Eve his whereabouts. For a moment, it looks like Dasha might be planning to kill Eve, despite the Twelve ordering her not to.

But no, she’s got something even crueler in mind. As Eve prepares to reunite with Niko, Dasha spears his neck like a stalk of cooked broccoli with a pitchfork. Her timing? Impeccable.

She also leaves a note, a calling card meant more for Villanelle than Eve herself.

The line harks back to a conversation the two female assassins had earlier this season about their respective legacies.

We’re left with a broken Eve, still in shock over witnessing her husband’s grisly murder, but we’re also left with plenty of questions. It seems strange that Dasha would leave a clue for Villanelle, linking her to Niko’s murder. Perhaps she intended for Eve to believe Villanelle is the one who sent her husband to his grave, but it’s unlikely that plan would work once Eve recovers from her emotional breakdown over Niko’s death. Eve knows Villanelle, her style of killing, her handwriting. She also knows Villanelle has had plenty of chances to off her husband and she chose not to because Villanelle has assumed Eve would never forgive her for that.

So, if this kill doesn’t drive a wedge between the two, but instead, pits Dasha against Villanelle … what was the point? Perhaps Dasha, knowing how fickle the Twelve have been when it comes to her retirement, plans to unite Eve and Villanelle together against the group so that she’ll finally be free of them? Or maybe her ego just got the best of her and she’s inadvertently signed her own death warrant. Who knows?

BBC America’s ‘Killing Eve’ airs on Sundays at 9:00 PM EST with simulcasting on AMC.

It doesn’t matter if production is shut down and the scheduled release date of November 13 will have to be pushed back, Red Notice is still “the only movie that matters.” The action-thriller stars Dwayne “The Rock” Johnson as “the world’s greatest tracker,” who is after “the world’s greatest art thief,” played by Gal Gadot. Ryan Reynolds is in the movie, too, as “the world’s greatest con-man.” Everyone in the movie is the world’s greatest something, therefore, Red Notice will be the world’s greatest movie. That’s just science.

Reynolds dropped by The Tonight Show on Tuesday to discuss the Netflix movie, which he joked would have been finished by now, “if we didn’t spend 90 percent of the time d*cking around laughing. I’ve known Dwayne for like 15 years, so we spend most of our time together trying to make each other laugh, which is a really irresponsible thing to do with [Netflix’s] money.” What’s the key to making Johnson break during a scene?

“I think one of the reasons I’ve been friends with him for a long time is that he really laughs at himself,” the Deadpool star explained to host Jimmy Fallon. “So if you just parrot back his thing that he’s doing in the movie, like if his line is, ‘I’m special agent John Harvey of the FBI,’ and if you parrot it back just 27 percent faster with a swear word, like, ‘I’m special agent John Harvey of the FBI, motherf*cker,’ he just… he’s gone. He leaves the room and he never comes back.” It helps if you do a terrible, gravely-voiced impression of the Rock while dropping the “motherf*cker.”

Watch the rest of Reynolds’ interview with Fallon above.