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.
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.
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
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
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.
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.'”
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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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.
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.
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.
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.
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).