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New York CNN —Longtime broadcast journalist Robert MacNeil, who covered some of the biggest headlines of the 20th century and co-anchored PBS nightly news for two decades, died on Friday, PBS announced. MacNeil “was an incredibly erudite reporter, anchor and writer who raised the bar for serious journalism in America,” Sharon Percy Rockefeller, president of NewsHour Productions, said Friday in a news release. Arriving at PBS in the early 1970’s, MacNeil began a decades-long partnership with fellow journalist Jim Lehrer, according to PBS The two led PBS coverage of the Senate’s Watergate Hearings in 1973. In 1975, the pair co-founded the MacNeil/Lehrer Report, a show that would later become PBS NewsHour. MacNeil sat at the helm alongside Lehrer before leaving in 1995, according to PBS.
Persons: Robert MacNeil, MacNeil “, ” Sharon Percy Rockefeller, Jim Lehrer, MacNeil, John F, Kennedy, Lehrer, WETA, , Organizations: New, New York CNN, Longtime, PBS, NewsHour, NBC, WETA, Cuban Missile, MacNeil, Television, Writers ’ Conference Locations: New York, America, Montreal, Canada, Nova Scotia, London, Washington, DC, Dallas, WETA, United States
An aerial view of the San Francisco city skyline in California, U.S., October 28, 2021. REUTERS/Carlos Barria/File Photo Acquire Licensing RightsSAN FRANCISCO, Nov 28 (Reuters) - Videogame software provider Unity Software (U.N) will eliminate 265 jobs or 3.8% of its global workforce and end an agreement with a digital video effects company founded by the "Lord of the Rings" director as part of a "reset," the company said on Tuesday. Tuesday's announcement includes termination of the professional services piece of an agreement Unity struck with movie director Peter Jackson's visual effects company Weta FX in 2021 after Unity purchased the technology and engineering division of Weta FX. As a result, 265 employees whose jobs are related to the agreement will be laid off, the company said. Reporting by Anna Tong in San Francisco Editing by Matthew LewisOur Standards: The Thomson Reuters Trust Principles.
Persons: Carlos Barria, John Riccitiello, Jim Whitehurst, Roelof Botha, Peter Jackson's, Whitehurst, Anna Tong, Matthew Lewis Organizations: REUTERS, FRANCISCO, Unity Software, San, Unity, Sequoia Capital, FX, Weta, Reuters, Thomson Locations: San Francisco, California, U.S, Berlin, Singapore, Bellevue , Washington
Taylor Swift is the highest paid female entertainer in the world, earning a cool $92 million in 2022 following the success of her 10th studio album "Midnights," according to a new report from Forbes. To determine the ranking, Forbes considers entertainers' total 2022 pretax earnings, minus fees for representation (managers, lawyers, etc.) While 2022 was a strong year for Swift, her annual earnings were still less than half of what the highest paid entertainers in the world, the progressive rock band Genesis, made last year. Altogether, Genesis earned $230 million in 2022, thanks to a $300 million music rights sale to Concord Music Group in September. There wasn't a single woman on Forbes's list of the top 10 highest paid entertainers in 2022 — the highest paid female entertainer, Reese Witherspoon, ranked 12th for making $115 million in 2021.
Sadly, “The Witcher: Blood Origin,” Netflix’s new spinoff, is a disappointment. Not that the original “Witcher” wholly depended on Cavill as its titular lead. “Blood Origin” is the first live-action spinoff, a prequel deep-dive that chronicles how witchers came to be. Unfortunately, “Blood Origin” doesn’t do much with its excellent pieces. “Blood Origin” just feels like a side quest, something that’s only worthwhile for superfans.
It’s a grimmer chapter of an ongoing story, and one that is plagued by an inability to articulate why these white men murdering their way across the landscape are heroes worth rooting for. Cultural critics love prestige series. Few celebrated the end of the toxically misogynist “The Big Bang Theory,” or have seemed eager to discuss the resurgence of seemingly endless police procedurals starring white men. But the series has gained viewership year over year, with subsequent spinoffs debuting on new flagship streaming service, Paramount+. Like so many white male grievances, to question the logic is to side with the enemy.
"The Way of Water" follows Jake Sully (Sam Worthington) and Neytiri (Zoe Saldana) who are now the parents of four Na'vi children. Read more: "Avatar: The Way of Water" could be headed for a $175 million opening weekend Critics are adamant that audiences should watch "The Way of Water" on the biggest screen possible, lauding the film for its you-won't-believe-this-is-computer-generated visuals and bombastic sound design. Here's what critics thought of "Avatar: The Way of Water" before its Friday release. Avatar: The Way of Water Courtesy: Disney Co.Ma did note that "The Way of Water" is "jaw-droppingly beautiful," likening it to watching a David Attenborough documentary rather than a CGI feature. Avatar: The Way of Water Courtesy Disney Co.Mick LaSalle, San Francisco Chronicle
The Americanized “Spirited” is available on Apple TV+, while the British-based “Scrooge: A Christmas Carol” debuted on Netflix on Friday. Originally published in 1843, Charles Dickens’ “A Christmas Carol” was that era’s equivalent of a bestseller, with 13 editions published in the first year of print alone. (“The Muppet’s Christmas Carol,” for example, cast perpetual hero Kermit T. Frog as Cratchit rather than Scrooge.) The animation is vibrant, capturing the feel of the old Claymation-style Christmas TV specials. It is a bizarre and somewhat grotesque rewriting of the story’s moral; it's “A Christmas Carol” seen through the lens of bothsiderism.
“Glass Onion: A Knives Out Mystery” is a bit of a clunky title. But the film itself, which only ever calls itself “Glass Onion” on screen, is a delightful trifle of a mystery movie, a laugh-out-loud comedy that deserves to be a mass market theatrical hit. Perhaps “Glass Onion” is better experienced on streaming — at least philosophically. But perhaps “Glass Onion” is better experienced on streaming — at least philosophically. That being said, “Glass Onion” is as wonderfully enjoyable as its predecessor, even though there’s little need to connect the two.
The fifth season of Netflix’s superb, ambitious “The Crown” covers the years from 1988 to early 1997, arguably the nadir of England’s modern monarchy. “The Crown” sets up series creator Peter Morgan to be a 21st- century Shakespeare for the Second Elizabethan era. “The Crown” sets up series creator Peter Morgan to be a 21st-century Shakespeare for the Second Elizabethan era. His retellings of royal life are no more accurate than “Richard II” or “Henry V,” making royal whining all these years later all the sillier. “The Crown” even finds ways to make Charles a sympathetic figure in the divorce, no small feat.
The sequel to Netflix’s hit feature film “Enola Holmes” may not have the cleverest title, but “Enola Holmes 2” is just as quick-witted and charming as the original. A quirky take on Sir Arthur Conan Doyle’s classic mysteries, Enola is more than ready for another adorable, all-ages romp. Springer’s books, and the films, invent a female character that Doyle never conceived of, and put her front and center. “Sherlock Holmes” is one of the most adapted mysteries series in history. Hopefully the success of the “Enola Holmes” franchise encourages them to make more.
DC Films’ latest release into the endless superhero pantheon, “Black Adam,” has a lot riding on Dwayne Johnson’s muscled shoulders. Black Adam, one of the regularly scheduled villains in the comic book, was supposed to be his main antagonist. And while “Black Panther” did a great job of making its bad guy both a certifiable badass and a nuanced character, “Black Adam” fails miserably. “Black Adam” has an interesting inkling of an idea: an oppressed culture that needs to overthrow the invading white men. But the midcredit sequence in “Black Adam” unfortunately suggests studio leaders are committed to making the same mistakes all over again.
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