
Jurassic World Rebirth is a silly, cheesy epic but it might have rebooted a once brilliant franchise facing extinction
(12A) 134mins
★★★★☆
MOST people think that the dinosaurs became extinct around 66million years ago.
But for me, the big bang happened in June 2022, when Jurassic World Dominion was released.
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The sixth instalment of my most beloved franchise was, quite frankly, an insult to all the giant reptiles who once ruled the Earth.
That lumbering and lazy sequel was all out of adrenaline, and it felt like the once-brilliant brand, which first burst on to the cinema screens in 1993 with Steven Spielberg 's breathtaking Jurassic Park, should now be fossilised for ever.
So taking a seat to watch this, the seventh in the movie series, I felt more trepidation than a palaeontologist being helicoptered into a new dinosaur park.
But, sometimes, film finds a way.
And I am delighted to report that Rebirth, which is out on Wednesday, has had a few shocks from the dino-fibrillator to get the heart of the original movies beating again.
It has a shiny new cast, including Oscar-nominated Scarlett Johansson, plenty of made-by-mad-scientists monsters and, notably, a script from David Koepp, who wrote the screenplay for Spielberg's Jurassic Park and 1997's The Lost World: Jurassic Park.
The first scene is a classic — that split-second of human error meaning those wily dinosaurs can take back control.
In this particular scenario, it is a scientist whose greedy desire for a Snickers bar while on the job means that a very deadly dino can escape.
And eat a lot of people en route.
Greed is a consistent theme, as we soon meet covert operative Zora Bennett (Johannson), who along with palaeontologist Dr Henry Loomis (Jonathan Bailey), has been employed to go on a secret mission by Martin Krebs (Rupert Friend), the boss of a pharmaceutical company.
Jurassic World Dominion trailer
It has been five years since the events of Dominion (whatever they were) and Earth has become an inhospitable place for dinosaurs.
They roam around cities without so much as a double take from humans — and are generally eye-rolled and loathed.
But out on a remote, forbidden island in the Atlantic Ocean — once used as a research facility — they are flourishing.
The trio, plus leader Duncan Kincaid (Mahershala Ali) take to the seas with the promise of earning big money if they can get blood samples from three specific breeds of dinosaurs.
Their DNA holds the key to saving countless human lives — and making the pharmaceutical company countless millions.
And, as you might have guessed, they have to get pretty close to the megamonsters to get the sample.
Oh, and it is also stipulated that they have to be alive and well when it is taken. Hurrah.
It is all is nicely set up for an action-packed battle of man versus dino food.
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British director Gareth Edwards brings a breath of fresh air to the stale brand, and has embraced more CGI than ever before, making it more of a monster movie than a dinosaur one.
Especially when we are introduced to Distortus rex, a mutant T.Rex with six limbs due to the scientific experiments on the mammals over the decades.
Some of the action out at sea feels new to the series and the performances by Johannson and our two Brits-doing-American-accents, Bailey and Friend, are very watchable indeed.
Yes, it's silly, sometimes cheesy, and you know who will live and die quicker than watching a re-run of Midsomer Murders.
But Jurassic World Rebirth is a rip-roaring, entertaining stomp back to the heart of the franchise.
It will, once again, have several generations jumping out of their cinema seats.
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Dino facts
There are roughly 700 known species of extinct dinosaurs.
The reptiles had lived on Earth for about 245million years.
English naturalist Sir Richard Owen coined the term Dinosauria, derived from the Greek deinos, meaning 'fearfully great', and sauros, meaning 'lizard'.
Dinosaur fossils have been found on all seven continents.
All non-avian dinosaurs became extinct about 66million years ago.
Modern birds and dinosaurs share a common ancestor.
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Daily Mail
an hour ago
- Daily Mail
Jennifer Aniston DIVIDES fans as she's set to star in adaptation of Jennette McCurdy's I'm Glad My Mom Died
Jennifer Aniston will play Jennette McCurdy 's mother in a new series based on Jennette's book I'm Glad My Mom Died. The Friends star will also serve as the executive producer and Jenette and Ari Katcher will be the showrunners, according to The Hollywood Reporter. The series is set to air on Apple TV+, is inspired by Jenette's hit book about the former child actress' relationship with her abusive mother. Jenette published the memoir in 2022, nine years after her mother's death. Jenette and Ari will adapt the book about her traumatic childhood into the series. The show is categorized as a dramedy, with Jennifer playing the 'narcissistic mom who relishes in her identity' as the mother of a teen actress on a kids show, per the outlet. McCurdy detailed her traumatic childhood in her best-selling memoir I'm Glad My Mom Died, which was released in August 2022. The tell-all explores the star's disturbing relationship with her domineering stage mother Debbie, who passed away in 2013 from cancer. In 2023, McCurdy celebrated the book's — which dominated the New York Times Best Seller list for 52 weeks — one year anniversary by thanking those who've given her the opportunity to tell her story and deal with grief in her own way. 'thank you all so much for making this book a NYT bestseller for one entire year. i honestly can't believe it,' she wrote. 'i'm grateful every day for the crazy ride this last year has been and for the incredible opportunities that have come from it. it's thanks to you all' The actress rose to fame on the Nickelodeon shows iCarly and Sam And Cat, only to eventually quit acting as an adult in 2017. Though McCurdy's childhood trauma is mostly laid bare in the pages of I'm Glad My Mom Died, she did divulge more disturbing details about her mother during an episode of The Louis Theroux Podcast in August 2023. During the sit-down, the former child star recounted the way her mother 'showered me till I was 17, 18,' revealing she 'would be in the shower with me, shampooing and conditioning my hair, washing my body.' Jennette recalled: 'She would give me breast and vaginal exams in the shower and said that she was checking for lumps - she was just checking for cancer.' Debbie meanwhile 'would be clothed,' Jennette said, 'but it was uncomfortable for me. I knew it felt violating for me, and I knew I didn't want it.' Jennette's bid to put a stop to the practice failed, as 'the one time I had attempted to even say: "Hey, do you think I could shower myself?" she flew into hysterics. and it just became clear to me: "Oh, I can't ever try to shower myself again."' Ultimately Jennette, who was raised Mormon, was only able to shower in private after her mother was diagnosed with a recurrence of cancer. Having begun a singing career in 2009, Jennette had to go on tour as a musician, while Debbie was confined to one city to undergo chemotherapy. 'She physically could not be with me, and that was I think the only reason why I was able to finally start showering myself,' Jennette said. Looking back and attempting to analyze her mother's behavior, Jennette theorized that the showers may have been the result of such factors as 'no boundaries,' 'ownership,' 'the fear of me growing up' and 'body monitoring.' Jennette was only 11 years old, already a child actress, when Debbie started her off on a stringent regimen of 'calorie restriction.' The process began after Jennette began developing breasts, which she regarded as a 'horrifying' development because it was a harbinger of adulthood. The actress rose to fame on the Nickelodeon shows iCarly and Sam And Cat, only to eventually quit acting as an adult in 2017; seen in 2022 'And it had always been really clear to me that my mom did not want me to grow up, not just for acting, but it also felt like her worth was tied up in me being young,' said Jennette. 'With me being young, she had something to do. She felt good.' In order to 'stop the boobs from coming in,' Jennette revealed, she and Debbie 'partnered up to count our calories.' Debbie, her daughter divulged, 'weighed me daily and she measured my thighs with a measuring tape. She taught me what diuretics were and we read calorie books together and constantly were just in this kind of as partners in crime.' Jennette confessed that their complicity 'felt amazing. I'm aware now of how warped it was but at the time it really felt like, you know in The Parent Trap when the girls are like doing hand jives and dancing together.' She told herself: '"Oh my goodness, Mom and me are in this thing together."' And she also told me it was a secret. We shouldn't tell anyone.' Young Jennette 'thought that was great because we've got kind of the secret code language. Nobody else knows what we're doing. We can kind of wink and nod to each other and know that we're in this together and nobody else is a part of this. So it felt amazing at the time, but it did lead to a really arduous relationship with food.' Her tortured relationship with her body led to Jennette plunging into a bout of bulimia at the age of 21 after Debbie died of cancer. 'The anorexia had switched to binge eating disorder, which it then switched to bulimia and just kind of ping-ponged from all the different eating disorders.' She had 'attempted' bulimia 'a few times before' her mother died, but at that point she 'hadn't really been able to purge effectively.' In 2023, McCurdy celebrated the book's — which dominated the New York Times Best Seller list for 52 weeks — one year anniversary by thanking those who've given her the opportunity to tell her story and deal with grief in her own way Once she lost Debbie, however, she found that she was 'able' to make herself vomit, which she considered the 'best of both worlds' between anorexia and binge eating. 'I can actually eat stuff and I can just get rid of it afterward,' Jennette marveled at the time. 'Why didn't I think of this sooner?' Her entirely daily schedule began to be arranged around binging and purging, which she now describes as an 'addiction. It was really what my world revolved around. Everything else was too overwhelming, you know, was too overwhelming to face.'


The Guardian
an hour ago
- The Guardian
‘Completely radical': how Ms magazine changed the game for women
The first of July marks the anniversary of Ms magazine's official inaugural issue, which hit newsstands in 1972 and featured Wonder Woman on its cover, towering high above a city. Truthfully, Ms debuted months earlier, on 20 December 1971, as a forty-page insert in New York magazine, where founding editor Gloria Steinem was a staff writer. Suspecting this might be their only shot, its founders packed the issue with stories like The Black Family and Feminism, De-Sexing the English Language, and We Have Had Abortions, a list of 53 well-known American women's signatures, including Anaïs Nin, Susan Sontag, and Steinem herself. The 300,000 available copies sold out in eight days. The first US magazine founded and operated entirely by women was, naysayers be damned, a success. The groundbreaking magazine's history, and its impact on the discourse around second-wave feminism and women's liberation, is detailed in HBO documentary Dear Ms: A Revolution in Print, which premiered at this year's Tribeca film festival. Packed with archival footage and interviews with original staff, contributors, and other cultural icons, Dear Ms unfolds across three episodes, each directed by a different film-maker. Salima Koroma, Alice Gu, and Cecilia Aldarondo deftly approach key topics explored by the magazine – domestic violence, workplace harassment, race, sexuality – with care, highlighting the challenges and criticisms that made Ms. a polarizing but galvanizing voice of the women's movement. Before Ms launched, the terms 'domestic violence' and 'sexual harassment' hadn't yet entered the lexicon. Women's legal rights were few, and female journalists were often limited to covering fashion and domesticity. But feminist organizations like Redstockings, the National Organization for Women, and New York Radical Women were forming; Steinem, by then an established writer, was reporting on the women's liberation movement, of which she was a fundamental part. In Part I of the documentary, Koroma's A Magazine for all Women, Steinem recalls attending a women's liberation meeting for New York magazine. Archival footage discloses what was shared there, and other meetings like it: 'I had to be subservient to some men,' says one woman, '… and I had to forget, very much, what I might have wanted to be if I had any other choice.' The response to Ms was unsurprising, its perspective so collectively needed. 'A lot of these articles could still be relevant,' Steinem muses in Part I. But, says the publication's first editor, Suzanne Braun Levine, 'I don't think we all were prepared for the response. Letters, letters, letters – floods of letters.' Koroma unveils excerpts of those first letters to the editor, vulnerable and intimate: 'How bolstering to find that I am not alone with my dissatisfaction that society had dictated roles for me to graduate from and into.' By the time Ms was in operation, the staff was publishing cover stories on Shirley Chisholm, unpaid domestic labor, and workplace sexual harassment. 'Who is it you're trying to reach?' a journalist asks Steinem in an interview back then. She replies: 'Everybody.' 'They tried to be a magazine for all women,' explained Koroma in a recent interview, 'and what happens then? You make mistakes, because of the importance of intersectionality.' In an archival audio clip, the writer and activist (and close friend of Steinem's) Dorothy Pitman Hughes says: 'White women have to understand … that sisterhood is almost impossible between us until you've understood how you also contribute to my oppression as a Black woman.' Marcia Ann Gillespie, the former editor in chief of Essence and later Ms's editor in chief, confides to Koroma: 'Some of the white women had a one-size-fits-all understanding of what feminism is, that our experiences are all the same. Well, no, they're not.' Alice Walker, who became an associate editor, shared her own writing and championed others', like Michele Wallace's, in the publication's pages before quitting in 1986, writing about the 'swift alienation' she felt due to a lack of diversity. Wallace recounts her experience as a Ms cover girl, her braids removed, her face caked in make-up. She adds: 'I want to critique [Ms], but they were very supportive of me. I don't know what would've become of me if there hadn't been a Ms magazine.' She left, too. 'I was not comfortable with white women speaking for me.' Levine admits, 'We made a mistake,' featuring Black writers but having few Black cover stars and no Black founding staff. 'The work still needs to be done; we're always going to have to rethink things,' Koroma says. It's a running thread in Dear Ms, one that creates a rich and ultimately loving picture of the magazine. 'Ms. is a complex and rich protagonist,' Aldarondo reflected. 'If you only talk about the good things and not the shadow, that's a very one-dimensional portrait. One of the things that makes Ms so interesting and admirable is that they wrestled with things in the pages of the magazine.' For Part III, No Comment (named for Ms's column that called out misogynistic advertising), Aldarondo chronicles its contentious coverage of pornography, which the staff primarily differentiated from erotica as inherently misogynistic, many of them aligning with the Women Against Pornography movement. In an episode that opens with unfurling flowers and the words of the delightful porn star, educator, and artist Annie Sprinkle, Aldarondo depicts the violence of the era's advertising and pornography, and the women who were making – or enjoying – pornography and sex work, proudly and on their own terms. In a response to the 1978 cover story Erotica and Pornography: Do You Know the Difference? Sprinkle and her colleagues, the writers and adult film actors Veronica Vera and Gloria Leonard, led a protest outside the Ms office. The staff hadn't 'invited anyone from our community to come to the table', says Sprinkle, despite adult film stars' expertise about an exploitative industry they were choosing to reclaim. 'To see these women as fallen women,' says Aldarondo, 'completely misses the mark.' Behind the scenes, the staff themselves were at odds. Former staff writer Lindsy Van Gelder states: 'I knew perfectly good feminists who liked porn. Deal with it.' Contending with the marginalization faced by sex workers, Ms ran Mary Kay Blakely's cover story, Is One Woman's Sexuality Another Woman's Pornography? in 1985. The entire issue was a response to activists Andrea Dworkin and Catharine MacKinnon's Model Antipornography Law, which framed pornography as a civil rights violation and which Carole S. Vance, the co-founder of the Feminist Anti-Censorship Task Force, describes in Dear Ms as 'a toolkit for the rightwing' that ultimately endangered sex workers. Dworkin, says Vance, refused a dialogue; instead, the magazine printed numerous materials, the words of opposing voices, and the law itself to 'reflect, not shape' readers' views, says founding editor Letty Cottin Pogrebin. The hate mail was swift – including Dworkin's, once a staff colleague: 'I don't want anything more to do with Ms – ever.' Gu reveals something far more frightening than hate mail, a horror that didn't make its way into the film: death threats and bomb threats, which the staff received in response to their most controversial stories. 'There was actionable change that happened because of what these women did,' says Gu. 'The danger they put themselves in is not to be discounted. I get emotional every time I talk about it ... I have benefited largely from the work of these women, and I'm very grateful.' That actionable change refers to the legislative reforms prompted by Ms's coverage of domestic violence and workplace harassment. In A Portable Friend, Gu examines the 1975 Men's Issue, the 1976 Battered Wives Issue, and the 1977 issue on workplace sexual assault. 'Back then, there was no terminology if a woman was being hit by her partner at the time,' says Gu. She spotlights heartbreaking archival footage of women sharing their experiences with abuse: 'If it'd been a stranger, I would have run away.' Van Gelder herself reflects on the former partner who hit her. 'Did you tell anyone?' Gu asks. 'Not really.' In an archival clip, Barbara Mikulski, former Maryland senator and congresswoman, says: 'The first legislation I introduced as a congresswoman was to help battered women. I got that idea listening to the problems of battered women and reading about it in Ms' Adds Levine: 'We brought it into the daylight. Then there was the opening for battered women's shelters, for legislation, for a community that reassured and supported women.' The same idea applied to workplace sexual harassment: 'If something doesn't have a name, you can't build a response,' Levine exclaims. 'The minute it had a name, things took off and changed.' Gu shared that while 'there's a little bit of questioning as to whether it was Ms who coined the term [domestic violence], they were certainly the first to bring the term into the public sphere and allow for a discussion'. The Working Women United Institute eventually collaborated with Ms on a speak-out on sexual harassment. Despite obstacles, the scholar Dr Lisa Coleman, featured in Part I, describes the publication as one 'that was learning'. 'It's easy to be critical at first,' says Koroma, 'but after talking to the founders, you realize that these women come from a time when you couldn't have a bank account. It's so humbling to talk to the women who were there and who are a large part of the reason why I have what I have now.' Gu noted that the lens of the present day can be a foggy one through which to understand Ms — which, in truth, was 'completely radical,' she says. 'You weren't going to read about abortion in Good Housekeeping. You have to plant yourself in the shoes of these women at that time.' Our elders endured different but no less tumultuous battles than the ones we face now, many of which feel like accelerated, intensified iterations of earlier struggles. 'Talk to your moms, to your aunts and grandmas,' Koroma added. Aldarondo agreed: 'One of the great pleasures of this project, for all of us, was this intergenerational encounter and getting to hear from our elders. It's very easy for younger people to simply dismiss what elders are saying. That's a mistake. I felt like I already understood the issues, and then I learned so much from these women.' Dear Ms.: A Revolution in Print premieres on HBO on 2 July and will be available on Max


The Independent
an hour ago
- The Independent
Major reports about how climate change affects the US are removed from websites
Legally mandated U.S. national climate assessments seem to have disappeared from the federal websites built to display them, making it harder for state and local governments and the public to learn what to expect in their backyards from a warming world. Scientists said the peer-reviewed authoritative reports save money and lives. Websites for the national assessments and the U.S. Global Change Research Program were down Monday and Tuesday with no links, notes or referrals elsewhere. The White House, which was responsible for the assessments, said the information will be housed within NASA to comply with the law, but gave no further details. Searches for the assessments on NASA websites did not turn them up. NASA did not respond to requests for information. The National Oceanic and Atmospheric Administration, which coordinated the information in the assessments, did not respond to repeated inquiries. "It's critical for decision makers across the country to know what the science in the National Climate Assessment is. That is the most reliable and well-reviewed source of information about climate that exists for the United States," said University of Arizona climate scientist Kathy Jacobs, who coordinated the 2014 version of the report. 'It's a sad day for the United States if it is true that the National Climate Assessment is no longer available," Jacobs said. "This is evidence of serious tampering with the facts and with people's access to information, and it actually may increase the risk of people being harmed by climate-related impacts.' Harvard climate scientist John Holdren, who was President Obama's science advisor and whose office directed the assessments, said after the 2014 edition he visited governors, mayors and other local officials who told him how useful the 841-page report was. It helped them decide whether to raise roads, build seawalls and even move hospital generators from basements to roofs, he said. 'This is a government resource paid for by the taxpayer to provide the information that really is the primary source of information for any city, state or federal agency who's trying to prepare for the impacts of a changing climate,' said Texas Tech climate scientist Katharine Hayhoe, who has been a volunteer author for several editions of the report. Copies of past reports are still squirreled away in NOAA's library. NASA's open science data repository includes dead links to the assessment site. The most recent report, issued in 2023, included an interactive atlas that zoomed down to the county level. It found that climate change is affecting people's security, health and livelihoods in every corner of the country in different ways, with minority and Native American communities often disproportionately at risk. The 1990 Global Change Research Act requires a national climate assessment every four years and directs the president to establish an interagency United States Global Change Research Program. In the spring, the Trump administration told the volunteer authors of the next climate assessment that their services weren't needed and ended the contract with the private firm that helps coordinate the website and report. Additionally, NOAA's main website was recently forwarded to a different NOAA website. Social media and blogs at NOAA and NASA about climate impacts for the general public were cut or eliminated. 'It's part of a horrifying big picture,' Holdren said. 'It's just an appalling whole demolition of science infrastructure.' The national assessments are more useful than international climate reports put out by the United Nations every seven or so years because they are more localized and more detailed, Hayhoe and Jacobs said. The national reports are not only peer reviewed by other scientists, but examined for accuracy by the National Academy of Sciences, federal agencies, the staff and the public. Hiding the reports would be censoring science, Jacobs said. And it's dangerous for the country, Hayhoe said, comparing it to steering a car on a curving road by only looking through the rearview mirror: "And now, more than ever, we need to be looking ahead to do everything it takes to make it around that curve safely. It's like our windshield's being painted over.' ___ Associated Press writer Will Weissert contributed to this report. ___ The Associated Press' climate and environmental coverage receives financial support from multiple private foundations. AP is solely responsible for all content. Find AP's standards for working with philanthropies, a list of supporters and funded coverage areas at