Zac Efron falls ill while filming reality show Killing Zac Efron

US actor hit by suspected typhoid while filming survival TV series in Papua New Guinea

The American actor Zac Efron has confirmed he recently fell ill while filming a survival reality TV show in Papua New Guinea.

Australian media had reported that Efron, 32, was flown by helicopter for treatment in Australia after contracting a bacterial infection, possibly typhoid, while shooting the Killing Zac Efron series.

In a post on Monday on his official Twitter account, accompanied by a photograph of him in Papua New Guinea, Efron said he was back home for the holidays with my friends and family.

Very thankful to everyone who has reached out, his post said. I did get sick in Papua New Guinea but I bounced back quick and finished an amazing 3 weeks in PNG

Glenn McKay, a doctor with the Medical Rescue Group, told the Daily Telegraph on Sunday he could not discuss confidential patient information, but could confirm that Medical Rescue retrieved a US citizen in his 30s from PNG to Brisbane recently for medical attention.

The newspaper reported that doctors allowed Efron to fly home to Los Angeles on Christmas Eve.

Typhoid fever is transmitted by contaminated food and water, and kills 216,000 to 600,000 people worldwide each year.

Killing Zac Efron is billed as an adventure series in which the star ventures deep into the jungles of a remote, dangerous island to carve his own name in expedition history.

The series was commissioned by the short content platform Quibi, which is scheduled to launch in April.

Efron had previously posted images on social media showing him in a canoe on PNGs Sepik River and travelling to Yanchan Village to see a traditional skin-cutting ceremony.

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Sesame Street takes on opioids crisis as muppet’s mother battles addiction

Creators introduce bright-green Karli: Nothing else out there addresses substance abuse for young kids from their perspective

Sesame Street is taking a new step to help American kids navigate the thornier parts of life in America: the opioids crisis.

Sesame Workshop is exploring the backstory of Karli, a bright green, yellow-haired friend of Elmos whose mother is battling addiction.

Sesame Street creators said they turned to the issue of addiction since data shows 5.7m children under the age of 11 live in households with a parent with substance use disorder. Americas opioid crisis has grown steadily worse in recent years. The Department of Health and Human Services reported 10.3 million people misused opioid prescriptions last year, and an average of 130 people die every day from opioid-related drug overdoses.

Theres nothing else out there that addresses substance abuse for young, young kids from their perspective, said Kama Einhorn, a senior content manager with Sesame Workshop. Its also a chance to model to adults a way to explain what theyre going through to kids and to offer simple strategies to cope.

Jaana, standing left, and Sam Woodbury, from Irvine, California, and their daughters Salia, 10, seated right, and Kya, 6, with Karli and the puppeteer Haley Jenkins in New York. Photograph: Bebeto Matthews/AP

Even a parent at their most vulnerable at the worst of their struggle can take one thing away when they watch it with their kids, then that serves the purpose, Einhorn said.

The initiative is part of Sesame Street in Communities resources, which offer online child activities and assistance to parents.

This summer in Manhattan, puppeteers, producers and show creators crammed into a small studio in the not-for-profit organizations Manhattan headquarters to tape some of the upcoming segments on addiction.

Karli, voiced and manipulated by the puppeteer Haley Jenkins, was joined by a young girl whose parents are in recovery.

Hi, its me, Karli. Im here with my friend Salia. Both of our parents have had the same problem addiction, Karli told the camera.

My mom and dad told me that addiction is a sickness, said 10-year-old Salia Woodbury.

Yeah, a sickness that makes people feel like they have to take drugs or drink alcohol to feel OK. My mom was having a hard time with addiction and I felt like my family was the only one going through it. But now Ive met so many other kids like us. It makes me feel like were not alone, the puppet continued.

Right, were not alone, Salia responded. And its OK to open up to people about our feelings.

In the segment, Karli and Salia each hold up hand-drawn pictures of flowers, with multiple petals representing big feelings like anger, sadness and happiness. They offer ways to feel better, including art and breathing exercises.

The segment leans on carefully considered language. Creators prefer addiction to substance abuse and recovery to sobriety because those terms are clearer to children. Despite the subject, the mood was light in the room, largely thanks to Jenkins calm and empathic manner.

I know it feels awkward because people dont normally have conversations standing shoulder-to-shoulder, she told Salia between takes. This is weird, but trust me, it looks good.

Production members clap for Salia Woodbury, left, on the set with Karli and Jenkins. Photograph: Bebeto Matthews/AP

Karli had already been introduced as a puppet in foster care earlier this year but viewers now will understand why her mother had to go away for a while.

The introduction of her backstory follows other attempts by entertainment companies to explore the issues of addiction, including The Connors on ABC and Euphoria on HBO. Substance and prescription abuse has claimed the lives of prominent entertainment figures recently as well, including the rappers Mac Miller and Lil Peep.

The online-only segments with Karli and Salia are augmented with ones that feature Elmos dad, Louie, explaining that addiction is a sickness, and Karli telling Elmo and Chris about her moms special adult meetings and her own kids ones.

The childrens therapist Jerry Moe, the national director of the Hazelden Betty Ford Childrens Program, helped craft the segments and resources, saying he was grateful to help since there has been a paucity of resources for the preschool age-group.

These boys and girls are the first to get hurt and, unfortunately, the last to get help, he said. For them to see Karli and learn that its not their fault and this stuff is hard to talk about and its OK to have these feelings, thats important. And that theres hope.

Sesame Street has a long history of masterfully tackling sensitive issues. The show broached the subject of death in 1982, after one of its stars, Mr Hooper, passed away. The show has also touched on racism and adoption and introduced a muppet on the autistic spectrum during its 50-year run.

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Image: netflix

Black Mirror‘s fifth season is closer than we’re ready for, and three new trailers for each episode only confirm it. 

As expected, we get curious new technology (including a robot modeled after Miley Cyrus) and witness its influence on human behavior, whether it’s a couple trying to get pregnant or a driver determined to fix society.

For the episode teasers and Netflix’s one-line descriptions, read on.


A cab driver with an agenda becomes the centre of attention on a day that rapidly spirals out of control.

Cast: Andrew Scott, Damson Idris, Topher Grace

“Rachel, Jack and Ashley, too”

A lonely teenager yearns to connect with her favorite pop star – whose charmed existence isn’t quite as rosy it appears…

Cast: Miley Cyrus, Angourie Rice, Madison Davenport

“Striking Vipers”

Two estranged college friends reunite in later life, triggering a series of events that could alter their lives forever.

Cast: Anthony Mackie, Yahya Abdul-Mateen II, Nicole Beharie, Pom Klementieff, Ludi Lin

Black Mirror Season 5 debuts June 5 on Netflix.

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Now Apocalypse: Gregg Araki lands on TV with a queer, sex-positive comedy

The director of Mysterious Skin and Nowhere has crafted a new series filled with millennials dealing with online dating, social media and sex

At the end of the first episode of Gregg Arakis new television show, the raunchy, drug and snark-infested LA jamboree Now Apocalypse, the protagonist Ulysses, played with perpetual weed-induced bemusement by Avan Jogia, turns around to expose the trendy neon text on the back of his denim jacket. I have seen the future, it says, a riff of sorts on the famous jean jacket worn at a 1988 Aids demonstration by the artist David Wojnarowicz, who died from complications related to the disease just weeks before the release of Arakis seminal, brazenly queer Aids-era road movie, The Living End. With that film in which Thelma and Louise are replaced by a pair of handsome, rabble-rousing HIV-positive men and the Teen Apocalypse Trilogy that followed, Araki himself appears to have seen the future, or perhaps even engineered it.

A part of the New Queer Cinema movement that included directors like Todd Haynes, Isaac Julien, and Gus Van Sant, Arakis worlds are populated by the young, hot, sexually fluid and existentially worrisome. They are nihilistic, rudderless men and women who anxiously invoke thoughts of suicide or nuclear catastrophe and are slaves to their whims, be they casual sex, acid trips or violence, especially toward what one character in the new series calls the miserable capitalist patriarchy. Gritty, colorful, and militant, Arakis low-budget work in the 90s operated in but still outside of that decades indie boom; the director deployed his guerrilla film-making tactics and genuine iconoclasm in service of a decidedly queer, zany and sexed-up vision of life on the post-Reagan, post-Aids fringes.

If The Living End and Nowhere, the cinematic mescaline cocktail that closes Arakis Teen Apocalypse Trilogy, emerged from the spirit of political rebellion and postmodernist norm-busting that defined queer culture and the new queer cinema of the 80s and 90s, Now Apocalypse is a similarly audacious but somewhat more mainstream distillation of Arakis favorite themes.

Its characters are millennials, not Gen-Xers, and as such they came of age in the time of the internet, global capitalism, political conspiracy, legal weed and general overexposure. Free love is less potentially fatal, and the inherent art and subterfuge of text messaging is a given. Instagram has made art and photography obsolete, one says; another describes Tinder as dicks flying at me 24/7. In the spirit of Arakis cheeky absurdism, some of them have downright Dickensian names: the aforementioned Ulysses, plus Barnabas, Severin and Jethro, each of whom traffic in comic hyperbole.

The show, all 10 episodes of which were written and directed by Araki and co-written on spec by the Vogue sex-advice columnist Karley Sciortino, follows a group of friends not unlike those of the directors past work, specifically Nowhere and 2010s Kaboom, of which Now Apocalypse plays like a fleshed-out, episodic counterpart. Both of those films featured protagonists like Ulysses: young, horny, bisexual drifters beset by paranoid navel-gazing. Ulie, like James Duvals character in Nowhere, has apocalyptic visions of some sort of reptilian alien, almost always seen mid-coitus. Smith, of Kaboom, has similar premonitions, but of kidnappers wearing animal masks.

Surrounding Ulysses is a typically Arakian band of millennial misfits. One standout is Kelli Berglunds Carly, an acid-tongued aspiring actor who pays the rent by webcamming with sad old men, and whose collection of dildos and ball-gags is compared to a nuclear weapons stockpile. Ford (Beau Mirchoff), Ulyssess roommate, is a more generously rendered version of the straight beefcake Chris Zylka played in Kaboom; hes a naf, too earnest for this cynical world, who cant ejaculate without saying I love you and breaks down in Circle Jerk, a sexuality support group for straight dudes. His partner Severin, played by Roxane Mesquida (who played a lesbian witch in Kaboom), is an unfeeling astrobiologist whose cryptic work may be surfacing in Ulyssess increasingly bizarro alien dreams.

Avan Jogia and Kelli Berglund. Photograph: Katrina Marcinowski

Alongside them all are the familiar inhabitants of Arakis vibrant southern California wastelands: the sleazy gay film producer; the ridiculous, BDSM-fearing alpha male; the Antifa activist with plans to blow up a Bank of America; and the flaky dating-app prospect (Tyler Posey), with whom Ulysses shares a literally cosmic orgasm in an alleyway.

As immediately recognizable as the ideas in Now Apocalypse will be to any Araki fan and indeed the director has recycled his favorite tropes for three decades, the heedful bisexual protagonist and the swole, simple-minded straight roomie among them television gives them room to breathe. His films, which typically run 80-something minutes, can feel like fever dreams, paroxysms of color, sex and general punkery that require more development.

On television, however, and with the assistance of Starz, a network thats embraced a certain strain of hypersexual melodrama, Arakis irreverent vision feels somewhat mainstream, even a little sanitized. The California of Now Apocalypse is cleaner and less grungy than Nowhere or The Living End, and more like that of its fellow sex-positive, prestige television counterparts Insecure and Looking. Of course, were it not for a trailblazer like Araki, the diverse, quirky, and considerably more permissive TV firmament into which Now Apocalypse is entering might not exist. Perhaps he did see the future.

  • Now Apocalypse starts in the US on Starz on 10 March with a UK date to be announced

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Jenna Fischer from ‘The Office’ revealed what Pam whispered to Michael during their airport goodbye

Image: nbc

It’s been nearly five years since The Office ended, but Jenna Fischer is still answering questions about her role as Pam Beesly.

In an Instagram live video on Tuesday, Fischer answered one of the lingering questions fans still have to this day: What did Pam say to Michael in Season 7’s touching episode, “Goodbye, Michael?”

In Steve Carell’s farewell episode, Michael says goodbye to everyone in the office except Pam, who was busy running an errand. 

Pam was MIA because she thought Michael wasn’t leaving until the next day, but once Jim found out Michael was catching a flight to Colorado to live with his fiancé later that night he brought Pam to the airport to make sure the two got to part ways properly.

Pam and Michael meet up and exchange words, but no one could hear what was said because neither of them were wearing their mics (it was supposed to be a documentary, remember?).

“That was me talking to Steve. I told him all the ways I was going to miss him when he left our show. Those were real tears and a real goodbye,” Fischer told her Instagram followers. “That was a really emotional scene.”

BRB, crying all over again. If you want to re-experience the touching moment with this new knowledge you can watch the entire scene below, but you might want to have some tissues handy.

Fischer was also asked to reveal her favorite episode, a question to which she had a very thorough answer.

“I just watched ‘Branch Wars’ from Season 4 and I was kind of loving it,” she said. “But my ultimate favorite is ‘Dinner Party.'”

How great is it to know that the entire cast is just as obsessed with that episode as fans are?

Fisher went on to give the “Health Care” episode in Season 1 a shoutout, along with the episodes after Pam gave birth. The actress revealed she loves when Pam nurses the wrong baby in “The Delivery,” sharing that her IRL husband was in the episode.

Long live the Dunder Mifflin fam.

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The Mister Rogers documentary trailer is so hopeful and sweet we could cry

Five little words cemented Fred Rogers in the hearts of America and the history of television. The upcoming documentary Won’t You Be My Neighbor? takes a closer look at Rogers, who died in 2003, and the indelible legacy of his show Mister Rogers’ Neighborhood.

Mister Rogers’ Neighborhood debuted in 1963, and as the trailer for Won’t You Be My Neighbor? notes, it went against every model for a successful TV show. Rogers provided children with compassionate messages about divorce, death, race, and more. Clips from the stirring trailer show Rogers talking earnestly about love with a sincerity that sometimes seems light years from 2018.

Won’t You Be My Neighbor? releases in select theaters June 8.

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The Keepers: ‘I’ve dealt with survivors and they’re sickened by the church’s response’

Ryan Whites Netflix documentary set out to investigate the murder of a nun in Baltimore and unearthed 25 years of child abuse and collusion

On the day The Keepers was released on Netflix, the archdiocese of Baltimore tweeted that although it did not deny allegations of child abuse against Father Joseph Maskell, a priest who worked in the city for decades, the premise and conclusion of Ryan Whites documentary series were wrong. The account @archbalt included, bizarrely, a clipart picture of a checklist, and a hashtag, #TheKeepersUntold. It has continued to use this hashtag, along with another, #TheKeepersTruth, since the series came out.

Its easy to see why this astonishingly powerful seven-parter has led to what White, over the phone from his home in Los Angeles, calls a church in defensive attack mode. The Keepers initially begins as a Making a Murderer or The Jinx-style true-crime whodunnit, promising an investigation into the unsolved 1969 murder of Sister Cathy Cesnik, a Baltimore nun and teacher. But it quickly reveals itself to be much bigger, and more far-reaching, than that, exposing decades of child abuse within institutions across Baltimore, from the church to the police force, and distressingly, the extent to which they colluded in silencing the victims and covering up such horrific crimes. As youve seen now, on paper especially, its a pretty unbelievable story. Its captivating, for sure, White says.

Watch the trailer for The Keepers.

Whites previous work includes Serena and The Case Against 8. He came to the story through a personal connection: both his aunt and mother went to Archbishop Keough high school, where Maskell and Cesnik taught and where much of the abuse documented in the film was alleged to have taken place. Whites aunt was a student of Cesniks and he says that there had always been local interest in the Sister Cathy story. In particular, he and his family had been intrigued by the identity of Jane Doe, an anonymous former Keogh student whose allegations of abuse against Maskell resulted in a 1994 court case, in which she sued Maskell and the archdiocese of Baltimore for covering up the abuse. Doe claimed that Cesnik had discovered what was going on in the school, and that Maskell had taken her to Cesniks dead body as a warning against speaking out. The case was dismissed.

People like my aunt and my mom had always wondered, White explains. In 2014, Tom Nugent, an investigative journalist who appears in the series, published a blog in which Jane Doe revealed her identity. She was Jean Wehner, a classmate of Whites aunt. Thats when they found out their friend was Jane Doe. His mother said Wehner had a story to tell and, curiosity piqued, White flew from Los Angeles to Baltimore and spent five hours at her house. On the way back, my producer and I both agreed right away that if she wanted to do something, we wanted to be her partners in it. I felt like she was a person who was incredibly honest and raw, and once Im drawn to a person like that, thats when I know its the starting point of a documentary.

Not-so-silent witness … Jean Wehner, AKA Jane Doe. Photograph: Netflix

During the course of the series, we hear that Wehner only began to remember the abuse that had taken place many years later, and this notion of repressed memory memories that have been blocked out by trauma, only to later re-emerge was given as the reason for the 1994 lawsuit being dismissed. White acknowledges that it was initially a foreign concept to him. I wondered if you could really witness and experience something that gruesome, and not know you had lived it. Im not a psychologist, so I cant get into the science, but I will say that now Ive made The Keepers, I cannot tell you how many people in my life have come forward with the same stories.

Wehner, he says, is a prime example of that. She was the first person ever to come forward publicly with an allegation against Father Maskell and shes been corroborated by dozens, if not hundreds. People can prove that it happened to them, and they are telling us that there were certain parts of their lives where they werent aware of it.

White spent three years making The Keepers, and it took over his life. He assumed naively, he says now that once the series was out there, that would be an end to it. I guess I kind of fooled myself into thinking the day it was released was the day Id be able to look up and see the world again, he laughs, wryly. Instead, it got more personal when it came out, and it got even more nauseating. I was unprepared for the type of personal reaction that people would have to it. His email inbox regularly fills with people asking him to investigate their own stories of abuse, or asking him to put them in touch with Wehner. Eventually, the production team sought professional help from NGOs and non-profit organisations specialising in working with survivors. I know that I cant be that for all of these strangers out there in the world, he says, so its about getting them the resources they need as soon as possible.

The accused … Baltimore priest Joseph Maskell. Photograph: Netflix

The Keepers is harrowing, documenting awful violence and abuse. I recently heard someone describe it as brilliant, and follow that immediately with dont watch it. White was well aware of its potential impact. We knew we had found something very sad, but also very powerful, that could lead to a lot of change, he says. The sheer scope of the story The Keepers ends up telling a cover-up of child abuse on a mass scale within the Catholic church; a new Spotlight, of sorts became frightening to him.

Ill say it, I was afraid, says White. I was afraid many times during filming. I was probably afraid through the entire filming. You always had the sense that we were rooting around in something people didnt want us rooting around in. It was definitely the most uncomfortable Ive been in my film-making career.

White says, though, that its important to realise the experience was not all doom and gloom. Jean is probably one of the most fun people Ive ever met in my life, he says. She and I can drink wine all day long. Indeed, one of the series most memorable scenes is also one of its few instances of humour. When Wehner is told that the church had known about earlier abuse allegations against Father Maskell, she half-laughs, and finally yells: Those fuckers!

Question time … the Keepers director Ryan White with survivor Jean Wehner. Photograph: Noam Galai/Getty

Its an incredible moment of catharsis. It was one of the few moments where anger overcame Jean, and she was willing to show it, says White. She and I keep laughing so hard, because that clip has gone viral. I was like: Jean, who would have thought you dropping the F-bomb would be all over the internet? Because shes a grandma, you know? Thats not Jean. Thats whats been done to her. Thats what all of this horrible trauma has caused.

Although the initial premise of The Keepers appears to be Who killed Sister Cathy?, its really Wehners story, and it ends when it does, with no solid conclusions, says White, because Wehner felt as if she had said all she could say at this time. We dont have that neat, The Jinx-style ending [in which the suspected murderer is caught on-mic apparently confessing to his crimes] where somebody confesses they killed Sister Cathy, but it felt like Jeans journey was wrapping up, so we said: Lets release this to the world, and see how the world reacts, even though there arent neat endings to the true-crime part.

The world has certainly reacted. One consequence of true-crime dramas such as Serial and Making a Murderer is that they tend to turn their army of viewers and listeners into amateur sleuths. Is it ethical to place real crimes in the hands of an audience? White has not had time to really fall into the Reddit rabbit hole yet, he says, and understands that its a tricky area. The way I really justify it is that The Keepers is a story about women being silenced, right? he says. All of the women Ive worked with, all of the survivors that I became so close with, over the last three years, are proud of the product. They feel its finally giving them a voice. Those are the people who matter the most. If there are other people being held to a flame in some way because of their failures, thats what accountability is.

He sounds truly astonished that it has taken this long. Maskell died a free man under the care of the archdiocese [in 2001]. If people have to finally answer the tough questions, or the institutions in power have the public questioning them at this point, then Im learning to be comfortable with the fact that thats what should have happened long ago.

The response of the archdiocese of Baltimore has been surprising, to say the least. People in churches and schools in Baltimore started sending us literature that the archdiocese was sending out, on how to tell people what we got wrong. The documentary wasnt even out. I just found it incredibly disappointing. The @archbalt account retweeted a message that called the series fiction, a spokesperson subsequently admitting that this was bad judgment. Theyre trying to re-message. Theyve lost. Its too late now, says White. All I know is that Ive dealt with between 35 and 40 survivors and theyve all been sickened at the archdioceses responses. Ive spent way too much time on phone calls with people I worked with in tears, because this institution continues to torture them, and I dont understand why.

What makes this all the more disappointing for White is that he was raised in the church and his own experience was positive. I wasnt a practising Catholic, I had wandered away from the church in my 20s but still had fondness for it. And now? I wont be a part of that church again. My faith has been shattered. Does he think the cover-up goes all the way to the top? The only responses weve seen to our documentary are from the archdiocese of Baltimore. What is the Vatican response? I dont know how high it goes, I wont even speculate on that, but I would like to hear from the Catholic church that reigns over the archdiocese of Baltimore, why they havent made a response to it. Incidentally, shortly after I spoke with White, the popes chief financial adviser, Cardinal George Pell, announced that he would take a leave of absence following multiple accusations of historical sex crimes.

The victim … Sister Cathy Cesnik with her father, Joseph. Photograph: Netflix

As for the murder of Sister Cathy Cesnik, White says he has his own theory about who did it, and believes Maskell was certainly involved. Since the documentary came out, Maskells body has been exhumed to allow DNA testing on evidence found at the murder scene. There was no match. White says nobody really believed they would find evidence of Maskells presence at the murder scene, but it does show that the police are taking it seriously, and spending time and money on trying to crack the case. So, are we any closer to knowing who killed Sister Cathy?

What The Keepers has done is blown the lid off of Baltimore, really shaken the branches of information, and I think people are seeing things, remembering things that they didnt even know played a role in this, says White. So, I think we are closer. Whether that means we ever solve it and someone goes to jail, I cant guarantee that. But the amount of information and progress weve seen just in the weeks since it came out, says to me that this cold case can still be solved.

The Keepers is available now on Netflix

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Janeane Garofalo is a tiny thing, but the air around her crackles

I think about all Garofalos combined experience on screen and stage, and smile at how lucky I am to have seen her in the flesh

One of my favourite romantic comedies was released all the way back in 1996, and while it rarely makes it on to the best-of lists, trust me, The Truth About Cats & Dogs isup there with the greatest. Its avery loose play on Cyrano De Bergerac, except in this version aman falls in love with the face andbody of one woman and the voice of another. That other woman is Janeane Garofalo.

As ateen and even now Iconnected instinctively and intensely with hercharacter: acharming, funny, insecure feministradio host. Ihave followed Garofalos career ever since, but herlower profile in recent years means I havent dedicated much brain space to her.

Last week, I went to see her in theBroadway revival of Scott McPhersons family drama-comedy Marvins Room. My findings are asfollows: Janeane Garofalo on stage is just as potent as she is on screen. Her character, Lee, is one oflifes strivers: a bit broken and brittle, a little tart, but possessed ofan iron will to have survived thusfar.

I dont go to the theatre as often asI would like 15 months of living in New York has seen only four visits but every time I am stunned by the intimacy of it. Garofalos a tiny thing, still, but the air around her crackles.

Afterwards, I spent hours looking up YouTube clips. Shes done so much! (Please watch The Truth About Cats & Dogs and Romy And Micheles High School Reunion immediately.) I thought about all Garofalos combined experience on screen and stage, and smiled at how lucky I am to have seen her in the flesh. It was a smug smile, yes.

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Why I love… Donald Glover

His face is cute and elastic, making it a perfect vessel for comedy

How many times have you scoffed at the wunderkind with the six-figure book deal? Or the singer with a record-breaking number of nominations for their debut effort? Its not just me, right? Somaybe thats why the subject ofthis weeks column remained in my yeah, whatever file for so long. I mean, who gets tobe good at writing and acting and making music and at such ayoung age?

Step forward, Donald Glover. No two ways about it: Glover, 33, had an excellent 2016. Ifirst heard of him in 2008, when he was awriter on the Tina Fey workplace comedy 30 Rock. He was only 23 when he washired and went on towin three Writers Guildawards for hiswork on the show. Naturally, Ifeltnothing butimpotent jealousy.

Then it turned out hecould act, too, playingthehilarious TroyBarnes, a former high-school jock embracing his innernerd inCommunity.

His face is cute and elastic, making it a perfect vessel for comedy (and a handy choice for reaction gifs). Glover also radiates sincerity even at the height ofsilliness. Theres something particularly soulful about his mien in Atlanta, the critically acclaimed (and Golden Globe-winning) comedy drama he created and stars in (one of my favourite TV shows of 2016).

His nerd credentials are also solid: hell beplaying Lando Calrissian in the new Star Wars movie, and has arole in2017s newSpider-Man film. ButitsGlovers music, released under the pen name ChildishGambino, Ive connected to most: I loved his PM Dawn and Tamia covers, but Ihavent stopped playing Awaken, My Love!, a beautifully funky and moving album, since itcame out last December.

Im over my envy. Now Im just inlove.

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