Maxwell, who is being held in jail in Brooklyn, New York, repeatedly denied recruiting girls for her longtime associate and convicted sex offender Jeffrey Epstein.
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To-go cocktails are coming back to New York. In her first State of the State address, Governor Kathy Hochul put the return of takeout alcohol on her list of legislative priorities for the year.
“We’re also going to do something our bars and restaurants have been asking for: to once again allow the sales of to-go drinks, a critical revenue stream during the lean times last year,” the governor said. “So cheers, New York.” On Twitter, the governor posted this dramatic reenactment of the news:
Initially introduced in March of 2020 through an emergency executive order by former governor Andrew Cuomo, the wildly popular program came to an unceremonious end this June, when the order expired. Ever since, restaurant-industry advocates have been calling for a revival of the program, which was, again, extremely popular.
Hochul’s support is welcome news for almost everyone (lobbyists for the state’s liquor stores being a significant exception). “We commend Governor Hochul for her leadership, and we look forward to toasting her administration and the state legislature once the policy is reinstated,” wrote the NYC Hospitality Alliance’s Andrew Rigie in a tweeted statement.
But the governor’s support alone isn’t enough to make permanent to-go cocktails a reality. For that to happen, Gothamist explained last month, both houses of the State Legislature will have to pass a bill allowing it, and while those bills have been introduced, there’s no guarantee when — or if — they’ll pass.
Still, the Hochul endorsement is a reason for cautious optimism, which, at this point, is the only kind there is. Cheers, New York.
Torrei Hart and Kevin Hart divorced each other in 2011, but Torrei has no plans to give up her ex-husband’s last name.
“That’s something that people always ask me, and I’m like: That’s my name — get over it!” Torrei told Toofab.com on Oct. 12 while leaving LAX.
“They’re gonna always have something to say, but I’m gonna be a Hart until I decide not to be. And that’s just what it is,” Torrei, a comedian in her own right, continued.
Torrei defended her decision: “‘Cause it’s mine, first of all.”
“Second of all, ’cause Kevin never asked for it back — he don’t want [me] to give it back, he’s not trippin’,” she said, adding, “And third of all: my kids don’t want me to change my name.”
Torrei Hart and Kevin married in 2003 and finalized their divorce in 2011. They have two children together, a son Hendrix, 14, and a 16-year-old daughter Heaven.
RELATED: Torrei Hart Is Going On Tour To Tell ‘Her Side’ Of Divorce From Kevin Hart
There’s no career advantage to keeping the Hart last name “because you can have a name, but if you’re not doing the work, what good is the name?”
Torrei said she “hustles every single day” to earn opportunities to advance in her career. “I network, I’ve been training, I put in the word — Like ‘Yo, this project looks like it could fit me.’ Like, I hustle,” added the actress and producer.
Besides, Torrei believes that Kevin owes something for continuing to use her as a punchline in his comic routines.
“So I’m still part of your life — plug my stuff!” she said. “America: tell him I said plug my stuff. Y’all go spam his page and tell him: ‘Plug Torrei’s stuff.'”
She said her ex also owes a big present he promised her during his Netflix special “Zero F**ks Given.“
“Yeah Kevin! You know what time it is — plug my projects! I’m coming for you, ’cause you ain’t never given me my Tesla (truck)!” she joked.
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There are certain rules that one must abide by to successfully create a Scream movie. The first rule is that you need a big group of characters, some of which you will suspect to be the killer, and some will end up getting killed. The second rule is that you need the classic characters — Sidney Prescott, Dewey Riley, and Gale Weathers — to fight Ghostface. The final rule is that you’ll have a twist reveal where you discover who the killers are, and chances are, you won’t see it coming.
Matt Bettinelli-Oplin and Tyler Gillett helm the fifth installment in the long-running slasher franchise, Scream. It is time to return to Woodsboro as a new killer dons the Ghostface mask and begins murdering people, all connected to the town’s deadly past. This film has quite the legacy behind it, bringing in faces new and old to tell another stab-filled story that isn’t one of the series’s better installments but ultimately succeeds at entertaining long-time fans of the series.
The latest installment of the series works well because it adheres to the rules mentioned above. Writers James Vanderbilt and Guy Busick understood that they didn’t need to update Kevin Williamson’s formula. All you need for a Scream movie is a compelling whodunnit, some humorous meta-commentary on the horror genre, and a few bloody kills, and this movie has all of that. The writers comment on how the horror genre has shifted from mindless jump-scare fests to “elevated horror” focused on dramatic stories and rich themes, and they do an excellent job of it.
As far as the direction, Oplin and Gillett did not hold back. You could tell they wanted to make a film Craven would be proud of, and at times, you can see them toying with the slasher tropes. For example, there is a sequence where you find yourself eagerly anticipating a jump scare that takes a long time to happen, and the fun and games of the genre are updated for the 2020s.
Unfortunately, the film falters every time the writers incorporate character drama into the story. While character conflicts can work marvelously to help an audience care more about the narrative, this movie does it quite poorly. In the opening sequence, a teenage girl named Tara Carpenter (Jenna Ortega) gets attacked by Ghostface. Later, her older sister, Sam (Melissa Barrera), visits her at the hospital and shares a sad story about their family and why it fell apart. However, the film doesn’t allow the audience to spend any time with the sisters before the expository backstory, so the emotional story feels weightless as a result.
This trend continues with the film’s treatment of our legacy characters. The humor is taken away from Sid, Gale, and Dewey, who have surprisingly minor roles in this film. They are thrown into the backseat of a movie where new characters are behind the wheel and Scream can feel like it’s struggling to incorporate them into the plot. Dewey and Gale have divorced, and they share an emotional moment that happens way too early and doesn’t feel organic in the slightest. Many of the film’s moving scenes feel noticeably scripted, with the occasionally melodramatic dialogue and performances.
Unfortunately, Vanderbilt and Busick rely heavily on verbal exposition to draw the audience’s emotional attachment to the characters. For example, there is a scene where Sid explains that she can’t rest until Ghostface is gone because she has a husband and children to take care of. Despite spending 26 years with the character of Sidney Prescott, we never get a glimpse of what her family looks like and how her life looks beyond Ghostface. The movie has more character drama than you would expect, but not enough to end in a satisfying way.
Luckily for audiences everywhere, the movie still has enough to offer by containing all the ingredients that make a Scream movie work. As per usual, the humor is razor-sharp, poking fun at Hollywood remakes and toxic fandom culture, using real-world parallels in hilarious fashion. The whodunnit is excellent and compelling, and it will leave you guessing till the very end. While not the best of the series, it is a moderately enjoyable Scream movie with moments of sound direction and moments where you will miss Williamson’s writing and Craven’s directing. However, you can’t quite go wrong with Neve Campbell, Courteney Cox, and David Arquette in their iconic roles.
Ultimately, there are gnarly kills and excellent ideas laden all over this meta throwback slasher that doesn’t quite execute them perfectly.
As ComingSoon’s review policy explains, a score of 6 equates to “Decent.” It fails to reach its full potential and is a run-of-the-mill experience
Disclosure: The critic went to a screening for ComingSoon’s Scream review.
The influential jazz vibraphonist Khan Jamal died in Philadelphia on Monday (January 10), WBGO reports. He was 75. Khan played with Sunny Murray in the ’70s, in Ronald Shannon Jackson’s Decoding Society in the early ’80s, did time with the Sun Ra Arkestra and later formed Cosmic Forces with some of its former members. An avant garde experimentalist, he helped bridge the gap between free jazz and fusion.
Jamal was born Warren Robert Cheeseboro on July 23, 1946, in Jacksonville, Florida, but grew up in Philadelphia, where he started playing the vibraphone as a teenager in the ’60s. He studied at the Granoff School of Music and the Combs College of Music, and took private lessons with Bill Lewis, with whom he would later make an album of vibraphone-marimba duets.
He founded Sounds of Liberation in Philadelphia in 1970 with guitarist Monnette Sudler, alto saxophonist Byard Lancaster, Billy Mills on bass, Omar Hill and Rashid Salim on percussion, and Dwight James on drums. They released just one album, New Horizons, on their own Dogtown label in 1972. It was reissued on Porter Records in 2010, which led to renewed interest and the resurfacing of a 1973 recording made at Columbia University, released in 2019 on Dogtown/Brewerytown as Unreleased. His first solo album—as the Khan Jamal Creative Art Ensemble—was 1973’s Drum Dance to the Motherland. It was recorded live in a small coffee shop in Philadelphia. In 2021, Jazz Room reissued his 1984 “spiritual jazz” album Infinity.
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Instrumental Funky · Morris Fantasy · Morris Caroselli
Funky Illusion
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Released on: 2021-01-21
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