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keiyaA: hooke’s law Album Review
Music

keiyaA: hooke’s law Album Review

by jummy84 November 11, 2025
written by jummy84

Can a dark night of the soul be fun? keiyaA thinks so. The producer and singer’s second album is a freewheeling journey through clubs, bedrooms, and panic that’s as cheeky and propulsive as it is heavy. Where her debut Forever, Ya Girl was affirmational and atmospheric, healing incense for working folks trying to get by, Hooke’s Law is an accelerant. Over staggering tracks overrun with rhythms, melodies, and voices, keiyaA hurtles through the abyss and dares you to keep up. She wants to take up space, to eat her landlord, to be chewed like pastrami on rye by a lover who follows her hips and the latest headlines. These are rider anthems for after the crashout.

The album title references a law of classical physics that describes how certain objects survive the imposition of force. When a coil is stretched, for instance, it can shift back without losing shape. keiyaA sees that elasticity in her battles with depression and loss, and dedicates the album to describing the feeling of being constantly squeezed and prodded by the world. As she put it in an interview, Hooke’s law helped her realize “a downward spiral is a loaded spring.”

Embracing that ethos, she prioritizes tension, narrating struggles with love and mental health in the nervous heat of real time. The unruly arrangements flow freely from drunken R&B to racing breakbeats to mellow IDM. Sound effects and warped samples abound: explosions, shattering glass, the iconic Lex Luger riser, clips of poems by Jayne Cortez and Pat Parker, and a flip of Jadakiss’ “U Make U Wanna.” The flux highlights her playfulness as a songwriter; you can feel her chuckling to herself when she begins a confessional about being frustratingly horny with a clip of Gucci Mane’s slut-shaming “Thirsty.” Through it all, keiyaA shows off a widened repertoire of scats and harmonies, often using Auto-Tune to stretch her cool melodies into tumbling streams of consciousness. It’s as if she’s cranked up the volume of the monologues from her past music.

November 11, 2025 0 comments
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First Trailer for 'The Wizard of the Kremlin' with Paul Dano & Jude Law
Hollywood

First Trailer for ‘The Wizard of the Kremlin’ with Paul Dano & Jude Law

by jummy84 November 11, 2025
written by jummy84

First Trailer for ‘The Wizard of the Kremlin’ with Paul Dano & Jude Law

by Alex Billington
November 10, 2025
Source: YouTube

“What interests me is power.” Gaumont in France has revealed their first trailer for the film The Wizarrd of the Kremlin, an English-language feature film from French director Olivier Assayas. This premiered at the 2025 Venice Film Festival a few months ago, and it also stopped by the Toronto, San Sebastian, Busan, and Zurich Film Festivals as well. A young Russian artist becomes an unlikely advisor to Vladimir Putin as he rises to power in post-Soviet Russia, navigating the new era’s complexities and chaos. The film tells the story of Vadim Baranov, played with calm and cool by Paul Dano, a sharp young man who becomes the top propagandist and advisor to Vladimir Putin when he first takes power in Russia as President in 2000. It’s a remarkable inside look at how power dynamics, corruption and manipulation work within the top echelons of Russia’s government. Also starring Jude Law as Putin, Alicia Vikander as Ksenia, Jeffrey Wright, Tom Sturridge, Will Keen, and many others. I’ve seen this film and it’s particularly fascinating, showing how everything really is about power and control and manipulation. This trailer captures the vibe of the film and Dano’s story as it progresses through decades of time. But still no US release set yet! Take a look below.

Here’s the first official trailerr for Olivier Assayas’ film The Wizard of the Kremlin, from YouTube:

The Wizard of the Kremlin Trailer

The Wizard of the Kremlin Trailer

The Wizard of the Kremlin Trailer

Russia, early 1990s. Amid post-Soviet chaos, a brilliant young man, Vadim Baranov (Paul Dano), charts his path. First an artist, then a reality TV producer, he becomes the spin doctor for a rising KGB agent: Vladimir Putin. At the heart of power, Baranov shapes the new Russia, blurring the boundaries between truth & lies, belief & manipulation. Only the magnetic Ksenia is beyond his control, tempting him away from this dangerous game. Years later, after retreating into silence and shrouded in mystery, Baranov finally opens up, revealing the dark secrets of the regime he helped build. The Wizard of the Kremlin, also known as Le mage du Kremlin in French, is directed by acclaimed French filmmaker Olivier Assayas, of the films Winter’s Child, Paris Awakens, Cold Water, Demonlover, Clean, Boarding Gate, Summer Hours, Something in the Air, Clouds of Sils Maria, Personal Shopper, Non-Fiction, Wasp Network, Suspended Time, and the “Irma Vep” series. The screenplay is written by Olivier Assayas & Emmanuel Carrère; adapted from the book of the same name by Giuliano Da Empoli. Produced by Olivier Delbosc & Sidonie Dumas; Curiosa Films & Gaumont. This initially premiered at the 2025 Venice Film Festival earlier this fall. The film opens first in France starting January 2026 coming soon. No US release date has been set yet – stay tuned.

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November 11, 2025 0 comments
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Did Kim Kardashian Go to Law School or Get a Bachelor’s Degree? – Hollywood Life
Hollywood

Did Kim Kardashian Go to Law School or Get a Bachelor’s Degree? – Hollywood Life

by jummy84 November 10, 2025
written by jummy84

Image Credit: Getty Images

Kim Kardashian’s journey to becoming a lawyer has been one of her most talked-about transformations—and for good reason. It hasn’t been an easy path, but she’s been open about every step of it. On her Instagram Stories on November 8, 2025, Kim revealed that she did not pass the California Bar Exam she took in July, writing, “Well… I’m not a lawyer yet, I just play a very well-dressed one on TV.”

She continued, “Six years into this law journey, and I’m still all in until I pass the bar. No shortcuts, no giving up — just more studying and even more determination. Thank you to everyone who has supported and encouraged me along the way so far. Failing short isn’t failure — it’s fuel. I was so close to passing the exam and that only motivates me even more. Let’s go!!!!!!!!!!!”

The reality star and business mogul—who first rose to fame on Keeping Up With the Kardashians—has spent the past several years studying law through California’s Law Office Study Program, an apprenticeship-based alternative to traditional law school. Balancing her studies with motherhood, entrepreneurship, and fame, Kim remains determined to achieve her legal dreams. As she pushes forward, fans are once again asking: Did Kim ever go to law school? Does she have a college degree? Here’s what to know about her education and where she stands now.

How Many Times Has Kim Kardashian Taken the Bar Exam?

Kim has taken California’s “baby bar” exam (the First-Year Law Student’s Examination) four times, failing the first three attempts before passing in December 2021.

When it comes to the full California Bar Exam, Kim has only taken it once so far, sitting for the test in July 2025.

Did Kim Kardashian Go to Law School?

No. Kim did not attend a traditional law school. Instead, she pursued her legal training through California’s Law Office Study Program (an apprenticeship model) beginning in 2018.

In May 2025 she announced she had “graduated” from her program after six years of study, but this is not a law-school degree.

Does Kim Kardashian Have a Bachelor’s Degree?

No, Kim does not hold a bachelor’s degree. She did not complete a traditional undergraduate program before embarking on her legal apprenticeship.

What Score Do You Need to Pass the Bar Exam?

In California, the passing score for the full Bar Exam is about 1440 out of 2000 (though the exact cut-score varies slightly each exam and year). For the “baby bar” (FYLSX) that Kim took, reports say you need around 560 points to pass.

November 10, 2025 0 comments
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Why Crime Shows Like Law & Order: SVU Are Comfort Viewing
Music

Why Crime Shows Like Law & Order: SVU Are Comfort Viewing

by jummy84 October 15, 2025
written by jummy84

Everyone has their own definition of comfort viewing — the TV shows one might watch after a long hard day, or right before bed. The familiar rhythms of a 30 Rock long since memorized, the latest soapy installment of Grey’s Anatomy, or… a show about rape and murder, like Law and Order: SVU.

Watching a dark crime drama as relaxation might seem counterintuitive to a good night’s sleep. Yet it makes sense to a wide range of experts who study the ways pop culture impacts the way we see reality. As Dr. Lisa Kort-Butler tells Consequence, “It’s a grim universe. Some folks want to escape from that in some way. Comedy does that, but some of us want to know there’s something steady in the world. These crime shows, although they are grim, are steady on the side of right.”

As a sociologist who studies media representations of crime and justice, Kort-Butler has observed that a big factor in the comfort we associate with these shows comes from their inherent formula, one that “is comforting because you know the story. It’s the same reason kids watch the same things over and over and over again, because they know what to expect out of it.”

That basic formula is something University of Florida professor Dr. Andrew Selepak describes in terms those aforementioned kids can understand: “We like the fact that within an hour there’s a crime, and by the end they catch the criminal. The bad guys usually get caught and the good guys win. The classic white hat cowboy defeats the black hat cowboy. That, in a way, is comforting — as opposed to real life, where the majority of murders in a city like Chicago don’t even get solved.”

A show like SVU goes beyond that bad-guy-good-guy narrative as well, as the rhythms of the investigation — a crime is committed, the cops investigate, a suspect is identified, “dun dun” — remain overall very similar. Forensic psychiatrist Dr. Susan Hatters-Friedman says, “It’s comforting because we know how it’s going to end up, and you feel mastery over that.” The result is that the viewer ends up “feeling safe in this potentially traumatizing environment by watching those shows. Even though every episode is different, there is this pattern of how they’re presented.”

Dr. Sharon Lauricella is a communication and digital media studies scholar who has specifically studied the impact of watching crime procedurals on viewers, and says that 25 years ago, research in this area was largely focused on the impact of crime procedurals on the audience: “Do they make people more paranoid? Do they make people feel unsafe? And then most of the research found that it didn’t really make people feel unsafe. It didn’t give people paranoia, locking their doors, things like that. So then the focus of media research changed to, well, why do people watch these things anyway?”

In Lauricella’s research, she found that half the participants in her study population said they watched crime procedurals because of curiosity: “How do the police work? What are the steps in figuring out a crime? How does the legal system work? Things like that.”

Accordingly, there is legitimate reason to worry that people accept what they see on TV as reality. Hatters-Friedman mentions “the CSI effect,” named after the 2000-2015 series and its spinoffs, which refers to how real-life juries today “are so used to all the evidence they bring to court [on TV shows] to prove someone’s guilty. It’s all this pseudoscientific stuff — like they come back with a DNA test the next day, whereas in real life, it takes time. That’s not how the real world works.”

Along similar lines, when people watch crime procedurals, it’s not that they don’t understand it isn’t real, but Hatters-Friedman says that “they take away these lessons from it, as if this is how it is and how quickly you can solve it. Anecdotally, working in forensics, people will ask me things that are just impossible things. But they just presume it would easily happen because they saw it on TV.”

October 15, 2025 0 comments
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Tommy Lee, Bill Cosby Assault Accusers Await New Law to Revive Lawsuits
Music

Tommy Lee, Bill Cosby Assault Accusers Await New Law to Revive Lawsuits

by jummy84 October 12, 2025
written by jummy84


I
n 2003, Heather Evans Taylor agreed to take a helicopter sightseeing tour with a pilot friend she’d met through her bank teller job in San Diego. When she arrived at Montgomery Field Airport, she was surprised to see that Tommy Lee, the lanky and colorfully tattooed Mötley Crüe drummer, was already waiting to join them, she says.

What allegedly happened next was described in excruciating detail in a sexual assault lawsuit Taylor filed against Lee in December 2023. She claimed Lee and the pilot, David Martz, started drinking and snorting cocaine immediately after takeoff. She alleged Lee forcibly kissed, groped, digitally penetrated her, and tried to force her to give him oral sex – all while Martz looked on, smiling. (Through his lawyer, Sasha Frid, Lee has previously “vehemently and categorically” denied the allegations. Frid declined to comment for this article.)

“It was a horrific experience. I felt like they made a mockery out of me,” Taylor tells Rolling Stone, revealing her full identity in her first media interview after originally filing her complaint as a Jane Doe. Sitting at her dining room table, her eyes welling with tears, Taylor says she flew back in stunned silence with Martz after they allegedly dropped Lee off at the Van Nuys Airport in Los Angeles. “I never would have thought something like that would happen to me,” she says. “I felt so abandoned and alone.”

Taylor, 52, says the alleged incident left her with post-traumatic stress disorder, panic attacks, and anxiety. She was too afraid to report the alleged incident to police, she says, so she barely talked about it for years and tried to move on. Eventually, she went on medication, started rescuing dogs, and began intensive psychotherapy. She thought her chance to seek legal redress had long since lapsed, until the California legislature passed the Sexual Abuse and Cover-Up Accountability Act in late 2022. The act opened two retroactive filing windows for otherwise expired claims of adult sexual abuse. Claims for incidents prior to 2009, like Taylor’s, had to meet two specific criteria: First, plaintiffs had to establish that a private business was legally responsible for damages arising from the assault. Second, they had to allege that the business covered up a previous claim of sexual assault.

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The new law, known as AB 2777, was part of a wave of legislation across the country recognizing that many survivors of sexual assault take years or even decades to step forward due to lasting trauma, social stigma, or fear of retribution. Unlike New York’s Adult Survivors Act, which functioned as a catch-all that allowed plaintiffs to sue virtually any individual or institution, the California statute was more tailored. Beyond requiring a cover-up for decades-old claims, it also barred cases against public institutions such as schools and law enforcement agencies. The vague wording also made it difficult to go after the alleged perpetrators themselves as individual defendants.

But back in 2023, the law seemed to offer Taylor a real chance to sue Lee and maybe even Martz, though Martz had died in a single-engine Cessna crash in 2015. (According to the Los Angeles Times, which reported on Martz’s death, the pilot had a lengthy disciplinary record that included multiple license suspensions. One revocation in 2009 came after Martz was filmed receiving oral sex from a Swedish porn star while hovering over San Diego. Martz also faced misdemeanor charges for landing a helicopter on a public road in the Hollywood Hills in 2006 to collect Lee for a Nine Inch Nails concert. He received three years of probation.)

Taylor says she initially considered the law “promising,” so she got her records in order, linked with a law firm, and filed her lawsuit in December 2023. She was still in a “vulnerable” place, she says, but she felt incredible relief when she signed the papers, got a stamped copy, and talked about it with her husband.

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“I was terrified yet excited at the moment I filed,” Taylor says. She recalls thinking to herself, “I get to reclaim who I am as a person. I get to take control. I’m in control, nobody else is now.”

Less than four months later, though, a California judge stopped her in her tracks, dismissing her entire complaint on a technicality. The judge said she failed to give enough detail in her complaint to support the allegation of a cover-up. Taylor says she broke down and cried.

“It was very, very frustrating,” she says. “It felt like the judge and the law were punishing the wrong person. I’m not the one who committed the crime. But it felt like I was the one being held accountable.”

Taylor’s shock turned to outrage when Lee’s lawyer publicly praised the judge’s decision, saying it proved Taylor had no case. The attorney called her allegations “false and bogus.” For Taylor, the provisional dismissal proved something else – that AB 2777 had led many hopeful plaintiffs to a “brick wall.” It allowed the judge to reject her lawsuit before even considering the merits of her abuse claim.

A judge gave Taylor 20 days to try again with an amended lawsuit. But 11 days later, in a surprise move, Taylor and her lawyers made the strategic decision to voluntarily withdraw her entire lawsuit. In a statement to Rolling Stone at the time, they said a second round of proposed legislation, if successful, would likely give Taylor a better shot at success. In the meantime, they didn’t want to risk another adverse ruling from the judge that could permanently terminate Taylor’s right to sue Lee.

Through his lawyer, Lee again claimed victory. “This dismissal is a complete vindication for Tommy Lee,” Frid said in a statement to Rolling Stone in May 2024. Taylor says it was painful to go online in the immediate aftermath. Some online were calling her a “fraud,” she says. As a Jane Doe plaintiff at the time, she felt powerless to speak up. She desperately wanted to show people the handwritten letter she says she received from Martz, inviting her to lunch just weeks before the alleged assault, but she felt cast aside.

Heather Evans Taylor in her San Diego home this month.

Nancy Dillon

“Everybody came for me,” she says. “I felt silenced. I wanted people to know I’m real. I’m not this ghost.”

Through it all, Taylor says she never considered giving up. “I dismissed the case so I could resume it later,” she explains. “I’m still planning on going full force into this so I can get some type of justice.” 

Taylor says she’s hopeful she’ll get that chance with a version of the legislation that her lawyers cited last year. The bill, AB 250, is now sitting on Gov. Gavin Newsom’s desk, awaiting a decision by Monday. If made into law, AB 250 would give Taylor and other plaintiffs like her, including Bill Cosby accuser Victoria Valentino, a fully retroactive filing window for any claim of adult sexual abuse against an individual perpetrator, no matter how old, for a new two-year period ending Dec. 31, 2027. In what legal experts are calling a potentially seismic shift for plaintiffs like Taylor, the law would allow suits against alleged individual perpetrators without the need to prove a cover-up. (Claims against businesses would still require evidence of a cover-up.)

An Uphill Battle

Taylor says she filed her initial lawsuit with the belief that AB 2777 allowed her to sue Lee as an individual and then use the discovery process to find enough facts to meet the law’s other requirements. She, and other plaintiffs like her, faced an uphill battle. In court filings, their lawyers said AB 2777 included language that plaintiffs could revive “any claim,” including against an individual, so long as the overall lawsuit also alleged a business defendant engaged in a previous cover-up. But lawyers representing the accused countered that the law, as written, only mentioned liability on the part of businesses and never explicitly stated that perpetrators could be sued. 

The law’s ambiguity became an immediate battleground as defendants like Lee sought early dismissals on procedural grounds. Before long, judges started interpreting AB 2777 to completely exclude individual defendants. In one sexual assault lawsuit filed against Nigel Lythgoe, a judge rejected all the claims against the American Idol producer as an individual, saying they could never be filed again. The judge otherwise allowed the case to proceed against the TV production company Lythgoe was leading at the time, though the plaintiffs later filed a dismissal. (At a nearby courthouse, however, a different judge made a completely opposite ruling in a similar case, allowing a music industry CEO accused of sexual assault to remain on the hook as an individual defendant, despite his denials.)

While AB 2777 was clearly intended to rein in powerful institutions and employers with cultures of silence that condoned abuse, it seemed to toss out hurdles for plaintiffs suing less conventional defendants. The bar appeared particularly high for lawsuits involving the entertainment industry, where alleged perpetrators might work for an obscure, closely guarded company in which they’re the sole employee.

“Before speaking up, I felt like I was lying to myself … The silence was eating me alive.”

Heather Evans Taylor

In the case of Lee, Taylor argued that she needed more time to conduct discovery to identify a company she suspected Lee had at the time of her alleged assault. She had also sued his touring company, Mayhem, but Lee claimed the corporation was suspended in February 2023. Taylor argued it was merely delinquent.

AB 2777 also raised questions about what exactly qualified as a cover-up. Its text described a cover-up as a “concerted effort to hide evidence” and incentivize silence, and it pointed to the use of nondisclosure agreements or confidentiality agreements as examples. But legal experts say the wording was murky, making judicial interpretation a moving target. The judge who provisionally dismissed Taylor’s claim said during one court hearing that Lee’s lifestyle leading up to the alleged assault, described as “salacious and hedonistic” in Taylor’s original complaint, had the court questioning Taylor’s ability to allege a prior cover-up at all. The judge also found fault with Taylor’s claims that Lee “must” have had a loan-out company in 2003 because it was “industry standard.” 

Taylor and her lawyers could have forged ahead, trying to address the court’s concerns, but it would have been a gamble. And it could have ended with a ruling barring her from ever bringing her claims again.

Victoria Valentino at Bill Cosby’s sexual assault trail in Norristown, Pennsylvania in 2017.

Bastiaan Slabbers/NurPhoto/Getty Images

Valentino, the former Playboy model who claims Cosby drugged and raped her in 1969, ended up in a similar situation. She filed a lawsuit against Cosby using AB 2777 in June 2023, alleging the disgraced comedian convinced her to swallow two pills during a meeting at a restaurant while she was grieving the drowning death of her six-year-old son. Valentino, 82, alleged Cosby drove her to a nearby office and raped her while she was too immobilized to fight back. (Cosby has denied the allegations through his spokesman.)

A judge provisionally dismissed Valentino’s lawsuit in 2024, ruling she hadn’t pleaded “any facts” establishing liability on the part of the three Cosby-linked companies she was also suing. The judge ruled she also failed to show any “concerted effort” to stage a cover-up. Though Valentino claimed Cosby sexually assaulted six different women “before or around the same time,” possibly drugging them in what she claimed amounted to a “cover-up,” the judge pushed back. “The statute requires a cover-up by the entity,” the judge wrote. (​​In 2018, Cosby was convicted of three counts of aggravated assault on Andrea Constand, a woman he had mentored at Temple University. The comedian, 88, was released from prison in 2021 after serving only part of his three-to-10-year sentence after the Pennsylvania Supreme Court overturned his jury conviction, finding that a “non-prosecution agreement” with a former district attorney should have protected Cosby from criminal liability. He has denied allegations of sexual assault from dozens of accusers.)

“Waiting for Justice”

With AB 250, California Assembly Majority Leader Cecilia Aguiar-Curry set out to fix what her office described as the “problem” with AB 2777. In a fact sheet published online, the office said AB 2777 “applied only to claims against entities that covered up a sexual assault, not the individuals who perpetrated sexual assault.” The office said AB 250 also was needed to extend the statute of limitations until December 31, 2027, thereby reviving important related claims such as wrongful termination and sexual harassment. The bill also ditches the burdensome cover-up requirement for claims against individuals.

“We provide more clarity that allegations of sexual assault against a perpetrator do not require proof of a cover-up by an entity,” John Ferrera, the chief of staff to Aguiar-Curry, tells Rolling Stone. “The survivor can sue the perpetrator alone, without having to prove there was a cover-up.”

Aguiar-Curry says the legislation is critical to protect survivors who fell through the cracks of AB 2777. “These survivors are frozen right now, and they’re just waiting for justice. The governor’s action [signing the bill] will help make justice possible for all of them,” she tells Rolling Stone. “It would send a clear message that California will stand up for our survivors.” Without the bill, she says, “many survivors would lose their last chance to seek accountability and closure.”

Taylor and Valentino both say they plan to re-file their lawsuits in the new year if the bill becomes law. For his part, Newsom hasn’t signaled how he’ll proceed. He can sign AB 250, veto it, or do nothing, which would allow it to become law on Jan. 1 without his stated approval. “The Governor has until October 13 to act on legislation currently on his desk,” a Newsom spokesperson says. “Our office does not typically comment on pending legislation.”

“He Suggests I Call the Police”

As she awaits the fate of AB 250, Taylor says she’s eager to tell her story, regardless of whether she’ll be able to file again. She opens a manila folder and fishes out the handwritten letter that she says Martz sent to her before the alleged assault. The postmark reads Dec. 20, 2002. “I would love to go to lunch. Give me a call or email me,” Martz allegedly wrote.

Taylor says she first met Martz in February 2002. He opened a business banking account with her, and they struck up a friendship. He repeatedly invited her to join him for a sightseeing ride in his helicopter, she says, and while she was hesitant at first, she eventually agreed.

In her lawsuit, Taylor said that when she arrived at the airfield that day, Martz informed her there was a last-minute change of plans. They walked toward the hangar, and Lee was already waiting by the chopper, she claimed.

“Within a matter of minutes of being airborne, Martz pulled out alcohol he had stored in the helicopter and began to mix drinks,” the lawsuit alleged. Taylor said Martz and Lee drank, smoked marijuana, and snorted cocaine during the flight. Martz purportedly asked Taylor through the headphone system why she wasn’t drinking and said she should “just relax.”

Taylor claimed Martz urged her to join them in the cockpit to get the best view. Feeling “immense pressure” to meet Martz’s demands while captive in the tiny aircraft, she acquiesced, the filing said. Almost immediately, Lee began groping and kissing her, she claimed. When she attempted to pull away, he allegedly “became more forceful.”

“At one point, Lee penetrated plaintiff with his fingers while fondling her breasts. Lee then pulled down his pants and attempted to force plaintiff’s head toward his genitals. By this point, plaintiff was in tears, but she had nowhere to go — she was trapped with little mobility to leave the cockpit,” the lawsuit said.

“Our trauma needs to be honored and valued for what it was.”

Victoria Valentino

As she recounts that day to Rolling Stone, Taylor says she feels foolish for ever believing Martz was her friend. “He wasn’t who I thought he was,” she says. “I trusted him, and he took advantage of the situation.” 

She then pulls out a tiny diary with a rainbow-colored unicorn on its tattered cover. She flips through several loose pages filled with cursive writing. She penned them in the days after the alleged assault, she says.

“So embarrassed. Feel awful, feel violated. Never did I expect to be used and taken advantage of,” she wrote on a page dated Feb. 23, 2003. “Tommy Lee hurt me. I never told anyone. I should have went to the police,” she scrawled on another page dated March 7, 2003. “Asking myself how Tommy Lee could sexually assault me and I didn’t tell. I’m scared,” she purportedly wrote on March 18, 2003.

The diary is so old, she says, the binding fell apart. She’s not sure it would be admissible at a possible trial, but she’s adamant it’s a true record of her life at the time, filled with daily observations, many having nothing to do with Lee. One page dated April 8, 2003, reads, “Told my friend Ed what happened to me. He suggests I call the police.”

The friend, Ed Banda, confirms to Rolling Stone that he remembers Taylor telling him in 2003 that she’d been assaulted by a celebrity. “We had a friendship, but she was very hesitant,” he says. “She didn’t know what to do. She was figuring stuff out. She was just worried about being ostracized.” 

Banda, 62, says they later reconnected when they worked together at a grocery store in 2014. She told him she was still considering the possibility of “pursuing it,” he says. He told her she should, he recalls. “It does affect you,” he says, recalling that her voice would quiver. Ultimately, she wasn’t ready, he says. “She wanted to keep tight-lipped about it.”

Taylor says her trauma from the alleged assault turned her into a virtual recluse. She started taking anti-anxiety medication, which helped. Then she started rescuing animals around 2010, and found it therapeutic. When one of her therapists moved out of state, she started seeing Dr. Neenah Amaral in September 2022. “I can corroborate that [the alleged incident with Lee] was part of the reason she came in. It was for the PTSD and the anxiety based around that story,” Amaral tells Rolling Stone. “That was the primary topic. In my professional opinion, I believe her.”

“I Probably Blamed Myself”

Like Taylor, Valentino is hopeful AB 250 will become law. Last January, she lost her home and a lifetime’s worth of memorabilia in the wildfire that swept through her neighborhood in Altadena. She says having a chance to sue Cosby again would give her a “purpose” amid so much loss.

Speaking by phone earlier this month, Valentino recalls the night Cosby allegedly assaulted her. She was still reeling from the drowning death of her son in 1969, she says, and the purported assault plunged her into an even deeper depression. She had no idea Cosby had other accusers at the time, and going to the police never crossed her mind.

“I probably blamed myself. I didn’t feel good enough, powerful enough, and this was the sixties. I had been out marching against Vietnam and for civil rights. Back in the day, we smoked pot, it was a felony,” she recalls. “It never occurred to me that the police were  safe to go [to]. It never occurred to me that I would ever find justice with them, or protection. So I just sucked it up.”

But after Constand first sued Cosby in 2005 and comedian Hannibal Buress reignited interest in the Cosby allegations with a viral joke in 2014, she stepped forward with her allegations and became an outspoken critic of Cosby. She attended the Santa Monica civil trial where a jury found Cosby liable for the sexual assault of a 16-year-old girl, Judy Huth, at the Playboy Mansion in 1975. Speaking with Rolling Stone after that verdict in June 2022, Valentino said the statute of limitations for her alleged assault was “so far gone,” there was “no hope” she could ever bring a lawsuit, but she was “thrilled to death” for Huth’s victory. Three months later, on Sept. 19, 2022, Gov. Newsom approved AB 2777, setting the stage for her own lawsuit.

She says “an opportunity to seek tangible justice” would be deeply meaningful. “I’m not looking forward to being lacerated by his attorney,” she says, “but I want him to face the consequences of his actions. Women are not expendable.” She argues there’s no statute of limitations on murder, “yet this is a murder of a woman’s spirit, a murder of a woman’s career.”

Valentino says Newsom signing AB 250 would send a clear message of support. “We need some kind of recourse. Our trauma needs to be honored and valued for what it was. Our lives need to be respected,” she says. “My assault changed the entire trajectory of my life.” (Cosby’s spokesman, Andrew Wyatt, declined to comment for this piece.)

“I Let It Consume Me”

Legal experts interviewed by Rolling Stone agree that AB 250, if made law, would address many of the roadblocks plaintiffs faced with AB 2777. The new legislation still keeps public entities off-limits, but it closes the loophole surrounding perpetrator defendants.

“It’s huge,” says Karen Barth Menzies, a partner at the Justice Law Collaborative law firm who’s helped plaintiffs use California revival statutes to sue celebrity defendants including Backstreet Boys singer Nick Carter and Mexican superstar Gloria Trevi. She said AB 2777 “confused” a lot of plaintiffs and lawyers alike, leaving many unwilling to take on the high cost and risk of litigation, especially against wealthy opponents. 

“When they passed AB 2777, it was retroactive without limitation and we expected the floodgates to open, in a way, because, unfortunately, sexual abuse is so prevalent, especially in the music and entertainment industries,” she says. “While the legislative history and intent seem clear, the language of AB 2777 wasn’t, which has caused confusion and contentious fights in court.” AB 250 “is much clearer,” she says. She expects the longer, two-year window will also help victims seek justice, especially coming after AB 2777, which itself increased awareness of revival laws.

Jessica Ramey Stender, deputy legal director at Equal Rights Advocates, says beyond the bill’s clear stance on perpetrator defendants, she’s also impressed with its more liberal, two-year filing window, saying it would offer potential plaintiffs a much broader chance to go after private businesses purportedly engaging in cover-ups.

“Sexual assault is one of the most traumatic experiences a person can endure, so sexual assault survivors often take a lot of time to even be able to come forward and speak out about what happened to them, let alone take action to hold the perpetrator or any other entity accountable,” she says. The new window proposed by AB 250 could be life-changing for survivors, she says, even as it helps “expose patterns of abuse to help prevent future harm by creating accountability within institutions,” she says.

Taylor says she decided to reveal her identity as AB 250 sits on Newsom’s desk in the hope it might encourage others to step forward as well. She says her silence over the last two decades left her feeling physically and mentally drained. “I feel like I missed out on 20 years of my life because I let it consume me,” she says.

“This is not a money grab stunt. I’m speaking out on my behalf because nobody else will. This is not to gain attention. I don’t want that,” she says. “There’s a person here. And I want everybody to know that it’s okay to come out and speak. It’s okay to talk about it.”

As she sits in her tidy San Diego-area home next to a framed cover of San Diego magazine that named her pet-sitting business a top local pick, Taylor admits she still prefers animals to most humans. But she feels herself getting stronger. She expects to be attacked again online now that she’s going public. She is ready, she says. “Dedicating my life to animals really helped me heal,” she says.

“Before speaking up, I felt like I was lying to myself. Not facing it led to more panic attacks and more anxiety,” she says. “The silence was eating me alive.”

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October 12, 2025 0 comments
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bitchy | A federal judge dismissed Drake’s lawsuit against UMG, a rap battle isn’t ‘against the law’
Celebrity News

bitchy | A federal judge dismissed Drake’s lawsuit against UMG, a rap battle isn’t ‘against the law’

by jummy84 October 10, 2025
written by jummy84

Last year, Drake and Kendrick Lamar’s years-long simmering beef came to a boil. First it was Kendrick’s verse on Future & Metro’s “Like That.” Then Drake spent weeks trying to goad Kendrick into a rap battle. Kendrick finally responded, dropping four songs in less than a week. The last two songs, “Meet the Grahams” and “Not Like Us” came out within 24 hours, and they were perfectly executed disses. “Not Like Us” became the song of the year (literally, it won the Grammy for SOTY) and Kendrick even performed “Not Like Us” and “Euphoria” during the Super Bowl Halftime. Drake has not been the same since. Instead of just licking his wounds, taking the L like a man and going away for a year, Drake decided to make a horse’s ass out of himself in like twenty different ways. Notably, Drake sued UMG – his label, and the label which has a licensing deal with Kendrick’s pgLang. In his lawsuit, Drake claimed that UMG *wanted* Kendrick to beat him in the rap battle, and UMG helped Kendrick in some way which Drake could never prove. Well, long story short, a judge just threw out Drake’s lawsuit. Hahahaha LOSER.

A federal judge on Thursday (Oct. 9) dismissed Drake’s defamation lawsuit against Universal Music Group over Kendrick Lamar’s “Not Like Us,” ruling that a “war of words” during a “heated rap battle” did not violate the law.

Drake’s case, filed earlier this year, claimed that UMG defamed him by releasing Lamar’s scathing diss track, which tarred his arch-rival as a “certified pedophile.” He believed that millions of people took that lyric literally, severely harming his reputation. But just ten months later, Judge Jeannette Vargas granted UMG’s motion to dismiss the case at the outset – ruling that Kendrick’s insulting lyrics were the kind of “hyperbole” that cannot be defamatory because listeners would not think they were statements of fact.

“The artists’ seven-track rap battle was a ‘war of words’ that was the subject of substantial media scrutiny and online discourse,” the judge wrote. “Although the accusation that plaintiff is a pedophile is certainly a serious one, the broader context of a heated rap battle, with incendiary language and offensive accusations hurled by both participants, would not incline the reasonable listener to believe that ‘Not Like Us’ imparts verifiable facts about plaintiff.”

The ruling marks an abrupt end to a legal battle that stunned the music industry. Few expected a rapper to respond to a diss track with a lawsuit – a move that drew ridicule in the hip hop world and condemnation from legal scholars. Fewer still expected him to file it against UMG, his longtime record label and the biggest music company in the world.

Drake’s attorneys can appeal the ruling to a federal appeals court. His attorneys did not immediately return a request for comment. A spokesman for UMG also did not immediately return a request for comment.

[From Billboard]

While I didn’t follow the minute details of this lawsuit, I saw enough to say that UMG actually took the right position at the start of the beef. UMG’s management basically chose to sit on the sidelines and let the rap battle play out. They didn’t choose sides – they just didn’t “help” Drake, which is why he sued them. He’s spent the past decade getting high from his own supply, and he thought his label would tip the scale in his favor. All of the things he accused UMG of – without evidence, mind you – was projection, I believe. Drake thought UMG was doing all of that against him, because he was used to UMG propping him up.

Here’s the “Not Like Us” video again. It has over 403 million views. The YT video of just the song (with Megan’s Law markers over Drake’s house) has over 258 million views.

Photos courtesy of Backgrid, Avalon Red, Drake’s IG. Screencaps courtesy of the “NLU” video and the NFL/Super Bowl.

Apple Music Super Bowl LIX Halftime Show, Caesars Superdome, New Orleans, LA, USA – 09 Feb 2025 DJ Mustard performing with Kendrick Lamar during the Super Bowl LIX Halftime Show. New Orleans Caesars Superdome, LA USA, UK NEWSPAPERS OUT Copyright: xSeanxRyanx,Image: 962058324, License: Rights-managed, Restrictions: imago is entitled to issue a simple usage license at the time of provision. Personality and trademark rights as well as copyright laws regarding art-works shown must be observed. Commercial use at your own risk., Model Release: no, Credit line: IMAGO/Sean Ryan/Avalon/Avalon
Apple Music Super Bowl LIX Halftime Show, Caesars Superdome, New Orleans, LA, USA – 09 Feb 2025 Kendrick Lamar during the Super Bowl LIX Halftime Show New Orleans Caesars Superdome, LA USA, UK NEWSPAPERS OUT Copyright: xSeanxRyanx,Image: 962059169, License: Rights-managed, Restrictions: imago is entitled to issue a simple usage license at the time of provision. Personality and trademark rights as well as copyright laws regarding art-works shown must be observed. Commercial use at your own risk., Model Release: no, Credit line: IMAGO/Sean Ryan/Avalon/Avalon
Apple Music Super Bowl LIX Halftime Show, Caesars Superdome, New Orleans, LA, USA – 09 Feb 2025 Kendrick Lamar during the Super Bowl LIX Halftime Show New Orleans Caesars Superdome, LA USA, UK NEWSPAPERS OUT Copyright: xSeanxRyanx,Image: 962060515, License: Rights-managed, Restrictions: imago is entitled to issue a simple usage license at the time of provision. Personality and trademark rights as well as copyright laws regarding art-works shown must be observed. Commercial use at your own risk., Model Release: no, Credit line: IMAGO/Sean Ryan/Avalon/Avalon


New York, NY – Rapper Drake exudes sophistication as he steps out for an evening dinner at his favorite NYC hotspot, Mamo, in SoHo

Pictured: Drake

BACKGRID USA 13 NOVEMBER 2023

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New York, NY – Drake enjoys a day off from his “It’s All A Blur/Big As The What? tour with dinner at Mamo Italian restaurant in New York

Pictured: Drake

BACKGRID USA 1 APRIL 2024

BYLINE MUST READ: BlayzenPhotos / BACKGRID

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October 10, 2025 0 comments
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How 'Law & Order' Writes Off Mehcad Brooks' Det. Shaw
TV & Streaming

How ‘Law & Order’ Writes Off Mehcad Brooks’ Det. Shaw

by jummy84 September 26, 2025
written by jummy84

After Deadline exclusively revealed Mehcad Brooks‘ exit from Law & Order in July, the NBC revival has explained what happened to his Det. Jalen Shaw.

In Thursday’s Season 25 premiere, Lt. Jessica Brady (Maura Tierney) tells Det. Vincent Riley (Reid Scott) of his former’s partner fate in a quick exchange that leaves Brooks’ character open for a potential return, following the actors departure after three seasons.

“I just spoke to Shaw. Something opened up over at the 8-8, and he’s going to take it,” says Lt. Brady of Shaw’s new position at the 88th Precinct of the NYPD.

“I knew he wanted to get back to Brooklyn. So good for him,” says Riley in response. “I’m going to miss that guy, though.”

Shaw’s first appearance in the franchise came in a 2022 episode of Law & Order: Organized Crime, part of a crossover event with parent series Law & Order: Special Victims Unit. He joined the flagship series with Season 22 in 2022,, filling the void left by the departure of Anthony Anderson‘s Det. Kevin Bernard, after the show was revived earlier that year from its original 1990-2010 run.

As Deadline previously reported, Brooks’ exit from the series was mutual as he explores other opportunities. Although the majority of the cast has returned for Season 25, they will be in fewer episodes as part of a cost-saving measure.

David Ajala has since joined the cast as a new series regular, to serve as a new counterpart for Det. Riley.

September 26, 2025 0 comments
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First Fench Trailer for 'Dog 51' Sci-Fi Movie About AI Law Enforcement
Hollywood

First Fench Trailer for ‘Dog 51’ Sci-Fi Movie About AI Law Enforcement

by jummy84 September 25, 2025
written by jummy84

First Fench Trailer for ‘Dog 51’ Sci-Fi Movie About AI Law Enforcement

by Alex Billington
September 24, 2025
Source: YouTube

“In a city divided, they fight for the truth.” Take down the AI! Studiocanal has unveiled an official trailer for the film titled Dog 51, a sci-fi thriller by French filmmaker Cédric Jimenez. It just premiered at the 2025 Venice Film Festival and also played at TIFF, with a release in France starting in October. In the near future, Paris is divided into three zones that separate social classes, and no one can escape ALMA, a predictive AI that has revolutionised law enforcement. When ALMA’s creator is assassinated, Salia, a top agent, and Zem, a jaded cop, are forced to work together to solve a murder that may expose the dark secrets of the system they serve. The movie is the third in Jimenez’s trilogy about cops – with BAC Nord and Novembre. Starring Gilles Lellouche, Adèle Exarchopoulos, Louis Garrel, Romain Duris, Valeria Bruni Tedeschi, Artus, Lala &ce, Stéphane Bak, and Thomas Bangalter (!!). This reminds me of I, Robot and Minority Report in many ways – very similar premise, very similar ideas about Artificial Intelligence. I can appreciate the world building in this, looks big and flashy and thrilling. Keep an eye out for it in US theaters eventually.

Here’s the first official trailer (+ poster) for Cédric Jimenez’s film Dog 51, direct from YouTube:

“Chien 51 is my third film exploring the theme of law enforcement. It completes a trilogy on the subject, bringing together the “dog” from BAC Nord and the elite officer from Novembre. If the police are the institution that enables the polis — the city — to function by tracking down criminals, what happens when it adopts a tool so powerful that it pushes the system to its breaking point, even bypassing its essential counterpart: justice? Can we entrust the safety of a city’s inhabitants to an ultraintelligent tool devoid of conscience and humanity?” –Director Cédric Jimenez

Dog 51 Film Trailer

Dog 51 Film Trailer

Set in a dystopian future in Paris, where people have been segregated into neighborhoods in three zones separated by social class, and police are directed by an artificial intelligence system called ALMA. When the creator of the system is murdered, investigators Salia (Adèle Exarchopoulos) & Zem (Gilles Lellouche) work to solve the case, and in doing so discover alarming information about the authority that governs them. Dog 51, also known as Chien 51 in French, is directed by French filmmaker Cédric Jimenez, director of the films Paris Under Watch, The Connection, The Man with the Iron Heart, and The Stronghold (aka BAC Nord), and November previously. The screenplay is by Olivier Demangel and Cédric Jimenez; based on the novel written by Laurent Gaudé. Produced by Hugo Sélignac. This initially premiered at the 2025 Venice Film Festival recently. Jimenez’s Dog 51 film opens first in French cinemas starting October 15th, 2025 (including in IMAX) this fall. No US release date is set yet – stay tuned for updates. Anyone interested in it?

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Find more posts in: Foreign Films, Sci-Fi, To Watch, Trailer

September 25, 2025 0 comments
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(L to R) Jason Bateman as Vince, Jude Law as Jake in episode 108 of Black Rabbit.
TV & Streaming

Jude Law, Jason Bateman on Brothers’ Ending

by jummy84 September 22, 2025
written by jummy84

[This story contains MAJOR spoilers from the Black Rabbit finale.]

On paper, Jude Law and Jason Bateman share a surprising number of things in common. They’re both proud fathers to young adult children. They both have startlingly blue eyes. And despite growing up on opposite sides of the Atlantic in the ’70s and ’80s, they both started acting young and found success quickly in America: Bateman made a name for himself as a teen actor (and the DGA’s youngest-ever director) on The Hogan Family, while Law broke out as a heartthrob at the turn of the millennium in The Talented Mr. Ripley.

But while they presumably ran in the same Hollywood circles for years, Law and Bateman had never sat down to have an in-person conversation until they were just days away from playing badly behaved brothers in Netflix’s Black Rabbit, which they also executive produced.

Created by King Richard screenwriter Zach Baylin and his wife Kate Susman, the eight-part series stars Law as Jake Friedkin, the savvy owner of Black Rabbit, a fictional Brooklyn-based restaurant with an exclusive VIP lounge. Jake’s plans of parlaying the success of the clubby restaurant into running fancier establishments are upended by the unexpected reappearance of his chaotic older brother — and former business partner — Vince (Bateman), who had fled the state years earlier to avoid paying a hefty debt to  menacing mobster Joe Mancuso (Troy Kotsur).

While he initially returns to New York in need of urgent help from his seemingly well-to-do younger brother, Vince quickly learns that Jake has been hemorrhaging cash. “As we all know, it’s fucking hard to make money nowadays, and to maintain a lifestyle and that presentation of who you want to be,” Law tells The Hollywood Reporter in a joint interview with Bateman (who also directed the first two episodes). “I like the idea that, in the end, these two guys from Coney Island are still just ‘chancers’ — and one is maybe more honest than the other.”

Vince’s return quickly unravels Jake’s carefully curated life, thrusting both of them back into the dark underbelly of the Big Apple. Over eight episodes, the brothers find themselves at the mercy of Mancuso — a former family friend — and his vicious henchmen, and they are forced to confront the emotional scars of growing up with an alcoholic father, who had gambled away his own restaurant.

Despite vowing to do better, Vince reaches a point of no return in episode six. After Mancuso’s mercurial son, Junior (Forrest Weber), threatens to kill him and his loved ones, Vince reluctantly agrees to help Junior carry out an armed, masked robbery at Black Rabbit, where Jake is hosting a party with millions of dollars‘ worth of expensive jewelry.

That fateful robbery, first teased in a flash-forward during the premiere, is doomed from the start. Wes (Ṣọpẹ́ Dìrísù), Jake’s long-time artist friend and one of Black Rabbit’s biggest investors, gets shot and later succumbs to his injuries in the hospital. And in a last-ditch attempt to stop Junior from shooting Jake, who recognized Vince even through his ski mask, Vince shoots Junior in the head and then flees the scene.

Knowing that his life will never be the same, Vince secretly gets his affairs in order. He makes sure his estranged daughter is taken care of. He comes clean to Jake about killing their father decades ago with a bowling ball to stop him from abusing their mother. (Jake reveals he knew all along, and loved Vince anyway.) In a bittersweet final twist, after confessing to the police over the phone about his involvement in the robbery, Vince jumps off the roof of Black Rabbit, leaving a shell-shocked Jake to grapple with feeling untethered to — and unburdened by — his brother for the very first time.

Just hours ahead of the show’s world premiere at TIFF, Law and Bateman opened up about the agony and ecstasy of their first collaboration, which the former describes as a twisty tale about “what we forgive in those who we are related to.”

***

You both boarded Black Rabbit as stars and executive producers less than two years ago, but Jude was attached first after working with Zach Baylin on Justin Kurzel’s The Order. Jude, is it true that you called Jason up and asked him to play your onscreen brother-in-crime?

JUDE LAW (Laughs.) Not quite that directly. We knew he’d been approached and had seen the potential that we all saw. The initial conversations were, “Please come on and direct this,” because we knew that it had all these facets that he had proven to be so adept at juggling with Ozark in particular. I think we had a pilot-ish and an overview of where it was going, but we needed to be in the hands of someone who knew how to take this on.

As a producer at that early stage, you just want to encourage it to manifest, to grow. I’m not one of these [actor-producers] who’s like, “By the way, I’m playing that part,” because I think especially when you go to a director, you don’t want to go, “Picture this — and me.” I knew I wanted to be one of the brothers, but in truth, I just wanted to see the piece realized. So the first conversation was, “Do you want to direct it?” I take responsibility fully for being the one who went, “Hang on a minute. If he’s going to direct, then he’s got to be one of the brothers. It’s gotta be us.” And it worked!

JASON BATEMAN Then we had to decide who’s going to play who.

Jude Law and Jason Bateman in Black Rabbit.

Netflix

Jude, you’ve spoken about how you vividly remember being in the same New York restaurant scene in the late ’90s and early aughts that Zach and Kate used as inspiration to create the world of Black Rabbit, so it was probably more of a natural fit for you to play Jake. Jason, why did you want to play Vince?

BATEMAN It was through conversations with Jude, Zach and Kate, and fortunately, they were just as excited about the notion of me playing the brother that you don’t usually see me play.

LAW Zach had seen you in [the 2009 film] State of Play. He loved you in that.

BATEMAN Right, that squirrelly dude. And I enjoy playing that part. I just don’t usually lean into that part, because I like being the audience. I like being the protagonist, the person that everything is funneled through to manage tone and all that kind of stuff. That’s the director side of me coming through.

LAW What he can’t say — and what we all know — is that he has innately, as an actor, this humor. There’s a wryness. There’s an intelligent, humorous kind of smirk to what he’s doing or the shit he’s involved in. And what he brings to Vince, which is so great, is you get why Jake forgives him. You get why the world forgives him and still wants him at the party, because you go, “OK, he burnt the place down. But he’s such good company.”

BATEMAN It was fun while we were in trouble!

LAW It was fun! And you can’t fake that. If anyone else would’ve played Vince, you’d have gone, “This guy is a fucking train wreck.”

BATEMAN “Why is he still doing that?”

LAW “Why is anyone putting up with it?”

BATEMAN “It’s unbelievable!”

LAW That elevates what is at the heart of the piece, which is what we forgive in those who we are related to. Jason said recently — and I just thought it was so spot-on — if we’d been buddies, you’d have been annoyed at our relationship: “One of you’s just got to go away and leave this [relationship].” Brothers are a very different thing. There’s this incredibly complicated backstory that bonds them, and you see them as children literally in our show, so that was key.

When you think back to your earliest conversations with Zach and Kate about Black Rabbit, how did those discussions inform the way you thought about playing your respective characters? How did you come to understand or justify the underlying reasons for their bad behavior?

LAW You get over-complicated if you try and justify the characters you’re playing. I’d say the same about me: I’m not trying to justify my behavior. I behave because of certain things that have affected me through my life, that have led me to this moment. That’s what you’ve got to understand, as an actor, and just go, “Who is this person? Why are they doing this? What are their patterns?”

I was keen that you had to want to stick with Jake as well. I wanted him to be trying to make himself better. You know that he’d misbehaved in the past. He’d probably slept around too much, he’d probably done too many drugs, but he was really trying to get his shit together. It seemed really exciting to me that here’s a guy who’s probably just turned 50 like me, and he’d probably think, “Okay, my past is behind me. I’ve got a good future. This [business] is going to be successful.” What he doesn’t count on is the whirlwind that arrives that reminds him of all that shit and brings it all back in.

So there were little things that were a little more present in early drafts — affairs, bad behavior, drug use — and I was just like, “Nah, I think that makes him a bit sleazy. It’s fine that that’s hinted at, but that’s not who he is now.” Another detail that I thought was key was bringing up his affair [with Estelle, Wes’ girlfriend, played by Cleopatra Coleman] into real time, so it wasn’t something that had already started [before the show]. You’re seeing him trip into it, and as you get to know him better, you understand that old habits die hard.

BATEMAN I’m a big fan of letting writers write, and as an actor, your job is to fit what is in existence before you start acting. That’s just the math of it all. So when I’m in a privileged position of being able to have a seat at the table in the creation of a character and the progression of how that character is written, I’m really just looking and watching out for things that run counter or are at odds with what I’m excited about playing.

So, in this case, it’s really important for Vince to be deeply flawed. Anytime something would be brought up that makes him too capable in a certain area, then that might make my plan for how to play him invalid. Zach and Kate never really put anything in front of me that made it impossible for me to do the version of Vince that I knew would be the best yin to Jake’s yang.

Bateman as Vince, Law as Jake in the finale.

Courtesy of Netflix

Vince and Jake are both addicts — the former is addicted to drugs and gambling, while the latter is addicted to his own brother. Jake has a habit of always giving Vince second chances, but seemingly reaches his breaking point in episode five. After they were both forced to strip while being held at gunpoint by Mancuso’s son Junior and associate Babbitt (Chris Coy), the brothers have a blowout fight on the side of a highway in their underwear, and Vince ultimately punches Jake in the face. How did you approach shooting that confrontation?

LAW We worked very hard at that. We loved the extremity that they were both pushed to by Junior and Babbitt, so we knew that [the fight] had to be extreme. We knew that there’s a wonderful kind of humorous desperation, in that these guys are literally left with nothing. I mean, it is funny, but it’s also sad. It’s like the difference between seeing someone falling over a banana skin from far away and close up. If you’re far away, it’s funny; if you’re close up, it’s fucking painful.

But the physical interaction, first of all, there was a practical approach, and we were meant to have a full-on, rolling around fight [on the concrete]. I’m glad we debated it, because I think that one piece of physical violence is so much more upsetting and shocking. That is a good demonstration of how we all worked — we would question things. Sometimes, there’s a suggestion of it on the page, and [we’re] like, “Yeah, but is that too much? How can we take that and distill it?”

BATEMAN Oftentimes, writers will write something that really makes things clear for the reader, but once you marry that with performance, you might need to say less. In this case, I started thinking about the practicalities of that [scene] — being in our underwear with no shoes on — and that it would be really difficult to believably scrap and fight the way they were talking about, because think about what that would do to your feet, your knees and your elbows. We can’t do that over and over again. So we started thinking about, “What is the goal there with that [fight]?” And what they were looking for was to marry the absurdity of this brother, scrappy fight and the very real, honest drama of what they were saying. So what is that proper cocktail mix?

LAW It’s funny that they’re in their underwear, but it would’ve been funnier if they were rolling around. Actually, at that point, it ain’t funny — it’s really sad. Also, they just faced death. That’s not funny. I mean, they were this close to taking a bullet. So, to see them fighting around and scrapping like you would do naturally, there may be the odd person that would go, “Oh, that’s funny.” It wasn’t meant to be. So, like I said, the idea of just a single punch to the face of your own brother is an awful thing to both instigate and to receive.

BATEMAN And to have it all be set against the absurdity of them just being in their boxers. They’re having one of the more important conversations they have in the show with no winking, complete seriousness. [They’re talking about how] they’re never going to see each other again — and cut to, they’re in their underwear walking away. (Laughter.) So that was a really exciting thing to try to find the right tone for while we were shooting it.

The moment that really took my breath away, as a viewer, is at the end of episode six when Jake realizes that Vince is the one holding him at gunpoint during the robbery at Black Rabbit. Vince was wearing a ski mask, but Jake would recognize those eyes anywhere. Jason, how did you understand Vince’s decision to rob his brother’s — and his own former — restaurant? Jude, can you give voice to Jake’s inner dialogue once he comes to that heart-wrenching realization?

BATEMAN Vince is obviously very prone to petulance, so a lot of the reason behind that decision at that moment sits with him being petulant. He’s also desperate. He’s sitting in the car with Junior. He thinks he’s on his way to get killed by Junior, but Junior says, “No, I want you for a job,” so he’s not really in a position to say no. And he’s pretty pissed off, still, from the scene we were just talking about where Jake is saying, “I never want to see you again.”

So there’s a feeling of vindictiveness and petulance that’s in there, but there’s also a practicality to it, too. He’s leaving, and he’s going to need some startup money to get his life going, and [he thinks] maybe this is a good thing. And ultimately, we see that he wasn’t really that sure about screwing over his brother, by virtue of what he ends up doing there at the end [by shooting Junior].

LAW I love the complexity of every decision made in this. I think bad writing sometimes highlights itself when you watch drama where every decision is full of conviction. I don’t know about anyone else in life, but I’m constantly contradicting myself, and that’s what makes life so complicated. And you’re trying to keep up with someone else, whether it’s a sibling or partner, going, “Wait, why did you just do that? But you said —”

I don’t know that I can answer what he feels when he realizes it’s his brother who is behind the balaclava and the one holding the gun that’s in his face. I can surmise it. There’s the obvious pit in your stomach sickness. I think he knows at that moment that it’s over — but not to the extent that it gets to.

I’ll put it like this: The reason [the restaurant’s] called Black Rabbit in my mind is … it was a kind of escape for these boys. First of all, it was a band. “We’re going to get out of here. We’re going to make money. We’re going to get laid. We’re going to get high. We’re going to be cool.” And then the band became a bar, the band became a brand. Holding onto that, monetizing it, making it sexy, and making yourself relevant — all of that was this entity that, yeah, [Vince] had realized, but that [Jake] would make real. I think, suddenly, [Jake realizes] that’s all fucking over. I think it’s like, “There’s no way, with these guns going off, that we’re ever coming back from that. Vince, you took the big needle and you stuck it in the balloon, and the balloon has finally popped.”

BATEMAN It’s a massive disappointment. But then 30 seconds later, he saves your life.

LAW That’s right! (Laughs.)

BATEMAN So you don’t really have time to sit in the devastating disappointment of this ultimate, fucking thing.

LAW I remember Justin [Kurzel, who directed episodes seven and eight] said, “So how are you going to play the aftermath?” I said, “I know. I’m just going to be in … (stands up unexpectedly and mimics a deer in headlights) total shock.”

BATEMAN Which was awesome. But then you let it boil over, and you’re screaming [at me] on the phone. You have those moments there with your head against the brick, just kneeling on the ground. It’s just gorgeous — and all of that without me. I wasn’t there. I was back in L.A., probably. He was working all this stuff out with Justin, and it’s so well-calibrated. And then the scene with your ex-wife.

LAW Yeah, that was crazy. [I was] hyperventilating! (Laughs.) And she’s going, “… I think you’re having a panic attack.”

BATEMAN Yeah. But the way in which all of that editorially was constructed too — I was just so happy with it all.

Law as Jake in the finale.

Courtesy of Netflix

There’s an explosive, unpredictable quality to nearly all of Jake and Vince’s one-on-one scenes. As siblings, they are the only people who can really call each other out on their shortcomings, but they also revert back to a kind of childish dynamic whenever they’re together, where they’re constantly yelling at each other.

LAW The script had a lot of that [brotherly dynamic] already there. There were all these great head-to-head scenarios where they were suddenly having to either confront each other, and a lot of the dialogue was there. Because, really, that childish interaction is based in love, right? You love this person very much, even if you’re the kind of brothers who don’t necessarily say it. But they really love each other. When you love someone, you are allowed to reveal petty feelings and use language that you’ve been using for 50 years towards each other. We tapped into that very quickly. It’s that funny, weird thing when you’re playing a scene with someone, and as soon as someone goes there [and takes a real risk], you go, “Oh, I can go there, too.”

BATEMAN What’s nice about how the two brothers help each other is that they’re really encouraging the other one to do the right thing — and they both do. Obviously, [Jake] convinces [Vince] to do the right thing. He probably wasn’t encouraging him to kill himself, but [Jake’s] like, “Get out of your own way. Help your life and help those around you by stop being such a fuck-up.” Vince basically makes the ultimate sacrifice to clear the decks and allow Jake to live this life that neither one of them were really great at doing individually, but maybe once one of them’s gone, now he can go forward.

Vince was also trying to get Jake to be a little bit more authentic: “Stop being full of shit. Spend less money on the artifice and be a little bit truer to yourself, to your kid and your ex. Get rid of the big fancy place in Soho, and stop dressing like a douche bag and driving this weird car.” So everything goes back to basics. At the end, obviously, things on paper have never been worse for Jake. But really, probably, the future’s never looked better for him, because he’s pushing off of a really genuine, authentic, solid base, and he’s now going to live a more genuine life. So if you really search for what this show could maybe be about, it’s really these two brothers helping each other live the best version of this duo.

There’s a dreamlike coda, set to Ella Fitzgerald’s “Manhattan,” that reveals what happened to all of the surviving characters. Jake is seemingly at peace working as a bartender at someone else’s New York restaurant. Jude, how did you want to play Jake’s reaction to Vince’s death, and where do you think we leave him without Vince?

LAW Jason was very clear and helpful in overseeing the rhythm and the arc of this story so that you’re maintaining an audience, but also, for those involved in acting, [you’re considering] when you’re giving and what you’re giving. My sense was that you couldn’t see resolution in the immediate aftermath [of Vince’s suicide]. I think in that situation, you are so shocked, and I’m really glad that you don’t see Jake doing the look [over the ledge to see Vince’s dead body] or going downstairs or calling the police. I mean, why do you want to see all that? That’s shoe leather. You want that sense of, “It’s over,” and we talked a lot about this sense of the city suddenly coming into his life, and maybe for the first time hearing things, weirdly, with clarity. So that’s what I was trying to get to.

If you notice, he doesn’t really break down until he sees Mancuso. Because when the guy says, “Where’s your brother?” and for him to actually say — it makes me want to cry — “My brother’s dead.” All those little beats were considered, because we knew we then had to have a little grace note at the end, which is, “This is what he’s learned, and this is how life moves on.”

***

Black Rabbit is now streaming all episodes on Netflix.

September 22, 2025 0 comments
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Sonny Curtis, Crickets Member Who Wrote 'I Fought the Law,' Dead at 88
Music

Sonny Curtis, Crickets Member Who Wrote ‘I Fought the Law,’ Dead at 88

by jummy84 September 20, 2025
written by jummy84

Sonny Curtis, a one-time member of Buddy Holly’s backing band the Crickets who later penned and performed the hit theme song to The Mary Tyler Moore Show, has died at the age of 88.

Curtis’ daughter Sarah confirmed her father’s death Saturday on social media. “I’m heartbroken to tell you that my dad Sonny passed away yesterday after a sudden illness. I’m so grateful that I was with him at the end, along with my mom. It was peaceful and he didn’t suffer,” Sarah Curtis wrote.

“He was 88 and he lived a more exceptional life than anyone I’d ever met. He made a mark on this world, and he made a mark on the hearts of all who knew him. It’s a sad day, but what a life. May we look at his life with joy rather than sadness. He would have wanted that.”

The Meadow, Texas-born Curtis first played alongside Holly in the mid-1950s before that singer formed the Crickets in 1957; Curtis joined the Crickets — now its own entity in addition to backing Holly — in 1958, just months before Holly’s death in February 1959. Curtis remained with the Crickets as lead guitarist in the years after Holly’s death, and soon assumed the role of lead singer as well in the band.

It was with the Crickets that Curtis penned perhaps his most enduring rock song: “I Fought the Law,” which the Crickets first released in 1960. The song was later popularized by the Bobby Fuller Four — who transformed the track into a Top 10 hit — and eventually immortalized by the Clash, who recorded their punk rock take in 1979. “I Fought the Law” was later named to Rolling Stone’s 500 Greatest Songs of All Time list.

Curtis would also pen hit singles for the Everly Brothers (“Walk Right Back”), Leo Sayer (“More Than I Can Say”), Keith Whitley (“I’m No Stranger to the Rain”), and Glen Campbell (“The Straight Life”), but he reserved his biggest song for himself when he recorded “Love Is All Around” in 1970. The track would eventually serve as the theme song for The Mary Tyler Moore Show for seven seasons.

“Who can turn the world on with her smile? / Who can take a nothing day, and suddenly make it all seem worthwhile?” Curtis sang on the track. “Well it’s you girl, and you should know it / With each glance and every little movement you show it.”

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During the span of the sitcom, Curtis recorded and released several versions of the track, while artists like Joan Jett and Husker Du also performed renditions of the hit theme songs.

In 2012, Curtis was inducted into the Rock and Roll Hall of Fame alongside other members of the Crickets. A Nashville resident for the latter half of his life, Curtis was also inducted into the city’s Songwriters Hall of Fame in 1991 and Musicians Hall of Fame and Museum in 2007.

September 20, 2025 0 comments
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