Jordan Peele Is Developing A Series About Real-Life Nazi Hunters

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Jordan Peele is set to executive produce a TV series called The Hunt, The Hollywood Reporter reports.

The Hunt is based on true events, about the American government helping to hide real Nazis from punishment within our country’s borders back in the 1970s, and the band of people who set out to kill said Nazis in the name of justice.

The show apparently began to be shopped around following the neo-Nazi rally in Charlottesville, VA, and is drawing interest from several networks, though none are confirmed to have bought the series as of yet.

Peele starred alongside Keegan Michael-Key in Key and Peele for five seasons, and also recently appeared on FX’s Fargo. He also wrote and directed the massive horror hit about racism, Get Out, the trailer for which you can watch below.

 

alexa BlackBook: On Pointe: Star Designers Deck Out Prima Ballerinas for the Ultimate Curtain Call

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New York City Ballet’s Fall Fashion Gala, on Sept. 28, will present several world-debut dances, along with original costumes by prominent fashion designers like Off-White’s Virgil Abloh, who is creating a dozen frothy confections for the event.

 

WHAT’S a night at the ballet without the glorious costumes? On Sept. 28, the New York City Ballet will fête both at its annual Fall Fashion Gala, hosting the global premieres of four dance pieces, each outfitted with original creations by a buzzy NYC designer.

Prima fashionista Sarah Jessica Parker, who serves as vice chair of the NYC Ballet’s board, dreamed up the night of dancer-designer collaborations six years ago. This year’s all-star fashion team includes Fernando Garcia and Laura Kim (of Monse and Oscar de la Renta), Virgil Abloh (of Off-White), Jonathan Saunders (of Diane von Furstenberg) and Tsumori Chisato.

They’ve been paired with four rising choreographers, including Gianna Reisen, who — at just 18 years old — is the youngest choreographer ever appointed by the company. Principal dancer Lauren Lovette will return with a new piece this year, after presenting her debut work last season — a rarity for women in the ballet world.

She blames the shortage of female choreographers on the pressures of performing. “Women just have a lot of dancing to do in a day,” Lovette tells Alexa, noting that the competitive stakes are high. “That’s why a lot of women don’t really think about the creative side; they think about the technical side and the artistic side and trying to be better every day.

“It wasn’t until I got promoted to principal,” she continues, “and I achieved that goal to be a prima ballerina that my boss came to me and said, ‘Now will you choreograph?’” Fortunately, the answer was yes.

And when she heard she’d be pas de deux-ing with Monse’s Kim and Garcia on costumes for her gala piece this year? “I almost had a heart attack,” Lovette laughs, noting that she’d saved one of their runway looks on her phone for inspiration. “I couldn’t believe it.”

“Lauren’s approach is very forward-thinking, which is refreshing,” says designer Kim, with Garcia adding: “It’s been very fluid and experimental working with her.”

Parker was similarly thrilled. “We are really excited about what Monse is doing,” she tells Alexa. “The fact that they’re also at the house of [Oscar] de la Renta is not inconsequential to us.”

Meanwhile, Off-White’s Abloh is creating costumes (including ethereal, pastel tulle skirts) for wunderkind choreographer Reisen — all thanks to a fortuitous note.

“I got a random email from [Parker] that was superawesome and heartfelt,” he tells Alexa. “I was blown away — little does she know she’s this muse for me. Then a couple weeks later she emailed back and suggested I design costumes for a ballet that was being created. So I have been working on this for the last three months.”

Parker describes Marc Happel, head of the NYCB’s costume shop, as “the linchpin making it all work,” serving as a translator between the choreographers and the designers. “In my mind, I have a very clear idea of what is needed in a costume to make a dancer comfortable,” he explains. “Certainly we have tricks — I’m always looking for what kind of treatment there is around the waist.”

Garcia brought existing pieces from the Monse line — including a fitted black jacket with a cinched peplum flare and lace-up sleeves — to Lincoln Center for a test run with Lovette.

“I got lucky because I felt like Monse had already met me halfway,” reflects Lovette. “Their clothes are so movement-based. All of their advertising is in motion. Their models are jumping — the clothes have life. What better way than dance to put life within the clothes?”

 

Photo by Taylor Jewell

A New, Dark-Skinned Powerpuff Girl Joins Bubbles, Blossom, and Buttercup

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The Powerpuff Girls have always been one big happy family, but now their sisterhood is making room for one more. Bliss, a brown-skinned, blue-haired sister is joining the iconic trio of Bubbles, Blossom and Buttercup as part of a new five-part movie event.

In case you’re wondering, she was created by Professor X before Blossom, Bubbles and Buttercup were even in the picture; but rather than using Chemical X, she was made with Chemical W, which tied her superpowers to her emotions. That means when she gets pissed, she combusts and damages everything around her. She quickly got tired of causing more harm than good and ran way to Bird Poop Island (yes, that’s really where she went) to exile herself…until now.

The creation of Bliss is a major step forward for a show that already established its feminist street cred when it premiered in 1998. Since then, the show has aired over 78 episodes, a feature film, and a Christmas special. The newest Powerpuff Girl is voiced by South African rapper Toya Delazy.

When speaking to South African Elle about the role, she heaped praise on the show and what it means for young black girls like herself, who grew up watching the original: “It feels amazing; there’s nothing more I can say…to fill girls, especially young black girls, with that energy to say you can do anything. That was the point of Powerpuff Girls. It was to make young girls dream that they can be superheroes.”

Alongside more fleshed-out personalities for the girls, the creators have also fixed the sexist portrayal of the mayor’s assistant, Miss Bellum; and they’ve included a new villain named Manboy, who is child-sized but has super-strength.

All in a day’s work for Blossom, Bubbles, Buttercup and Bliss.

 

alexa BlackBook: Tina Brown Reveals What’s She’s Learned from Decades of Giving Voice to Women Around the Globe

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​alexa BlackBook is the new ​luxe fashion, arts, entertainment ​​platform​, published inside The NY Post print edition and digital on NYPost.com, BBook.com, and all social channels.

 

In the 1980s and 90s, Tina Brown sat atop New York’s publishing world, back when magazines still held sway over the breakfast tables of the chattering classes. Her tenures as editor of both Vanity Fair and the New Yorker were marked by a boisterous interest in celebrity and a razor-sharp instinct for creating buzz. Brown’s 1985 Vanity Fair story, “The Mouse That Roared,” first lifted the veil off the troubles plaguing the marriage of Princess Diana and Prince Charles, a subject she expanded upon in her 2007 book, “ The Diana Chronicles.” Brown’s current focus is global women’s issues, epitomized by her annual Women in the World Summit. The eighth edition took place in New York this past April and featured Hillary Clinton, Scarlett Johansson and author Chimamanda Ngozi Adichie. Here, Brown reflects on giving women around the globe a seat at the table.

What have you learned since debuting your Women in the World Summit in 2010?

I’ve really been impressed by the immense courage and resourcefulness of women. We’ve had incredible women leaders from Liberia like Leymah Gbowee, who led the uprising of women which brought down the dictator Charles Taylor; women fighting terrorism or facing down ISIS; and women who are totally changing the norm in terms of issues like sex trafficking in India. They don’t ask for anything, they don’t expect any help, they just do things without any kind of pomp or ceremony. They also have an enormous amount of peacemaking skills. And when you listen to them you just think, “Well, I wish that more women like them were at the table,” because women will reach across the aisle. They want to be practical, they want to solve situations; they’re not interested in keeping animosity alive.

You’ve written a lot about Princess Diana, who died 20 years ago. It’s interesting that she’s come to be seen as a woman who used her position to bring empathy to issues like AIDS and land mines.

Diana was a real trailblazer in terms of how she managed to take a situation of personal pain and then used her celebrity to sublimate it by bringing a spotlight to people who were suffering even more than she was. I think today she would have been the rallying cry on something like the refugee crisis, and I think we miss her tremendously because she really did show how to leverage fame and celebrity to capture the spotlight for things that are more worthy.

How crucial do you think pay equality is in terms of resetting the way we perceive women in our society?

It’s essential. There are so many women who toil in the shadows and who are really doing the job, while somebody over them — usually a man — is getting the credit, getting the pay raises, speaking the loudest at the meetings. Women tend to not ask as aggressively or as confidently for raises as men do, and it frequently means that they get stuck because they always are telling themselves, “Oh well, I don’t quite have the qualifications to get that.” Whereas half the dudes who go in there have no second thoughts about it. They’re kind of the Scaramuccis of the boardroom.

What gave you the motivation to punch through the glass ceiling?

I just had a wild creative energy, wanting to tell stories and write great headlines and wanting to get that new story. I was just very, very competitive, I think, and I’m not sure where I got that from. Most of my role models were men because they had the lives I wanted.

What’s your view on the state of journalism today?

I think the digital disruption has proved enormously harmful and hurtful to our profession, really, while at the same time liberating it in other ways. There are not many venues for great reporters to be paid. That I find very sad, because there are a lot of talents right now that have gone to waste just when we need them more than ever.

Meanwhile, Facebook has narrowed the news we’re receiving in our feed. How do we ensure that we’re not being manipulated by social-media algorithms?

I find it absolutely terrifying. I think one of the most distressing things right now, in terms of media consumption, is that everyone is living in their own little North Korea. It’s interesting to me that in this era when people go on and on about the need for diversity, nobody wants to hear diversity of opinion in media, on both sides, whether it’s the tyranny of liberals or the tyranny of the right. I personally have always felt that real journalism has to be an unsafe space and that’s the kind of journalism that I like to do. I like to ruffle. One of the mottos we used to have at [my first magazine] Tatler, in 1981, was, “The magazine that bites the hand that reads it.” And I firmly believe in that. I don’t want just to be given content that reassures me.
Photography: Brigitte Lacombe

AMC Is Developing a Black Lives Matter TV Show

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AMC is developing a drama series about the creation of the Black Lives Matter movement, based off of the bestselling book by Pulitzer winner Wesley Lowery, They Can’t Kill Us All: Ferguson, Baltimore, and a New Era in America’s Racial Justice.

The show will use the nonfiction novel as a jumping off point, but, Deadline reports, the characters and narratives in the series will be fictional.

They Can’t Kill Us All examines police brutality in segregated neighborhoods has led to the high-profile murders of Michael Brown, Tamir Rice and Freddie Gray, and the subsequent fight for justice that birthed Black Lives Matter. The TV adaptation will be written by LaToya Morgan (Into the Badlands, Turn: Washington’s Spies).

The show is being produced by Makeready, who’ve got an impressive roster of upcoming projects, including work from producers like Leonardo DiCaprio and Chloe Grace Moretz.

Elisabeth Moss Struggles to Define Art in ‘The Square’ Trailer

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In writer/director Ruben Östlund’s latest satire, art serves as a catalyst for society’s chaotic sense of egalitarianism. 

In The Square, Claes Bang plays Christian, the respected curator of a contemporary art museum in Sweden. As his next installation, “The Square,” is displayed to remind spectators of altruism and their roles as responsible human beings, the museum’s PR campaign sends him into an existential crisis. Meanwhile, his stolen phone leads him into some foolish situations. Elisabeth Moss also stars as Anne, a romantic interest of Christian’s.

The poignant drama won the Palme d’Or at the 2017 Cannes Film Festival.

The Square premieres October 27.

 

Netflix Releases Preview for Civil Rights Drama ‘Mudbound’

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Netflix might have finally struck cinematic gold. The streaming giant just released the trailer for Mudbound, a film they bought for $12.5 million at Sundance earlier this year – and it looks ready to rack up the awards.

Set in the Mississippi Delta after World War II, director Dee Rees’ civil rights drama follows two impoverished families – one black and one white – who are thrown into the racist dramas of the Jim Crow era. Not only does the preview give us harrowing images of Ku Klux Klan members and segregated buses, but it also shows off an all-star cast. Indeed, the screen is electrified by the notable performances of Jason Clarke,  Carey Mulligan, Mary J. Blige and Garrett Hedlund.

Mudbound is set for release on Netflix this November 17. There is no theatrical release yet planned – but that could yet change. Stay tuned.

 

Gary Numan on His Provocative New Album ‘Savage’ and the Threat of a Trump-Enabled Environmental Apocalypse

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As could be expected from any great sci-fi visionary, legendary synth icon Gary Numan frighteningly accurately predicted our by-now-hopeless addiction to the perpetual state of “plugged-in” decades before it became our actual reality. Indeed, on the anxiously paranoid track “Metal,” he laments, “If I could make the change / I’d love to pull the wires from the walls.” And with his startlingly prescient hit single “Are ‘Friends’ Electric,” he decisively foretells of our current social media obsession and its attendant ability to spiral us into a collective state of depression: “You know I hate to ask / But are ‘friends’ electric?/ Only mine’s broke down / And now I’ve no one to love.”

His newest album, the awesomely powerful and thought-provoking Savage (Songs From a Broken World), is based on his own unfinished novel about survival after an environmental apocalypse – brought on partly by Donald Trump’s reckless climate policies – has decimated the landscape. It’s full of haunted, deeply affecting electro-metallic mini-symphonies, like “Ghost Nation,” with its ominous prophecy, “When the sky came down / When the sun went dark / When the righteous came and they cleansed our sins.” Particularly foreboding is “Pray for the Pain You Serve,” with Numan chillingly pleading, “I will be here when the storm ends / On my knees I will pray to something / Will you save me?”

Perhaps the album’s centerpiece, though, is the strikingly complex “My Name is Ruin,” which uses Middle Eastern sonic influences as a metaphor for an equally desperate East and West forced to come together in the wake of worldwide catastrophe – a theme running all throughout the record.

Numan will launch a 26-date US tour on November 15. And in the lead up to the new album’s official release on September 15, we caught up with him to talk Al Gore, not believing in God, and the possible Earthly wasteland that awaits us.

 

 

So, this is it – the Gary Numan post-apocalyptic record. Do you feel it palpably, that we’re facing an imminent environmental catastrophe?

I do think it’s possible, though I don’t know exactly how likely it would be. Now that Trump has pulled out of the Paris Agreement it’s very serious. It is basically the most powerful nation in the world abandoning the most important climate accord of our lifetime; and some of the elements of the Paris Agreement are extremely fragile. But my hope is that people will pull together and stand for what is right…because it is a real thing, for certain.

It’s shameful that there are politicians still playing the “climate denial” card.

I am shocked that he has even filled the EPA with climate change deniers.

You’re an American now. So how does it make you feel, to have an administration leading the charge against science and common sense?

Well, we were in London recently for a screening of An Inconvenient Sequel, and Al Gore was there. I was so glad we brought our daughters, because I wanted them to see that one of the most important voices, one of the people fighting the hardest for change, was an American. So it’s not all just what they see about Donald Trump.

Does being a father influence the content of your songs?

Yes, definitely. And we don’t shield them from anything, apart from real brutality. Even what was going on in Charlottesville. The reason we emigrated to America, actually, was for our daughters. It just seemed to me that, while it’s hardly perfect, they would have more opportunity here.

How do you address the very real environmental fear on the record?

The album is based on a book that I’m writing, about the world after an environmental apocalypse. The book isn’t yet finished, but I just picked up the ideas and turned them into the lyrical themes on the record. We used a lot of Middle Eastern influence in the music, in the album artwork – even the lettering is Arabic influenced. It’s a way of conveying how, when it all comes down to it, East and West will have to come together to survive. That is what will have to happen.

 

 

There’s a track titled “What God Intended.” What is your relationship with religion? Where is God in your life?

Nowhere, actually. I don’t believe in God and never really have. When I was thirteen years old, I wrote a letter to my school outlining the reasons I no longer wanted to get religious instruction – and I guess my argument was solid enough, that they actually allowed me to change my curriculum for the next few years.

Does technology still fascinate you?

Yes, absolutely. But as much as so many people just expect me to be so much the technology person, I actually know less than you might think. I can do a lot with Pro-Tools, I know just what I need to do to get my songs done. But I’m surrounded by people who know a lot more than me.

When you’re younger, you’re more excited about it, naturally.

Oh, yeah – I used to go to sleep surrounded by the equipment manuals I was reading, it was so exciting. But now there are all these other things in my life…and who has time, really?

You’re launching an extensive tour in the fall; and your live performances are still incredibly exhilarating. Do you still feel that fire when you’re on stage?

I still do absolutely, I get swept right up into the songs. It’s an incredible feeling, you can feel the floor shaking around you on stage. I love every minute of the lifestyle – the bus, the shows. If I didn’t miss my daughters so much, I would probably spend all my life on the road.

 

Melbourne, Vienna Top The Economist’s 2017 List of ‘Most Livable Cities’

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Melbourne

The exalted Economist Intelligence Unit has just released its 2017 report on the World’s Most Livable Cities – with Melbourne, Vienna and Vancouver, hardly surprisingly, taking the top three spots.

Rounding out the list were Toronto, Calgary, Adelaide, Perth, Auckland, Helsinki and Hamburg – proving, as rather a lot of other evidence had lead us to suspect, that Australia and Canada should be given permission to basically just run the entire world. The survey takes in factors such as stability, healthcare, culture & entertainment, education and infrastructure.

Tellingly, with the US national healthcare system a profit-driven disgrace, and with a crumbling-infrastructure problem from coast-to-coast, not one American city could crack the ranks. Not shocking in the least, as America’s cities have been essentially handed over to cold-blooded real-estate developers, while services to the citizenry continue to decline.

 

Vancouver

 

Does this mean the denizens of New York, Los Angeles, Chicago, even Houston, Minneapolis, Portland, Denver, etc., should think about an escape plan to the Great White North or Down Under? Actually, yes, it pretty much does – as that is where the future of progressive urban living would seem to lie. And hey – you don’t even have to learn a new language! (Though admittedly we sometimes still have no idea what our Aussie friends are going on about.)

A common thread running through the top ten? Well, if you hadn’t noticed, Australia, New Zealand, Canada, Austria, Finland – none seem to be bothered about all that pesky “superpower” posturing. And all those missiles and warships they don’t build go to funding roads, trains, parks, education…and people not getting ripped off on healthcare.

Since you’re probably wondering, the cities you don’t want to live in? Kiev, Karachi, Algiers, Lagos, and, obviously, Damascus. Points lost, surely, for six years of bloody civil war.

(For a reconnaissance vacation before making the decision to move: Visit Melbourne, Vienna Info, Tourism Vancouver.)

 

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