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CNET
5 hours ago
- CNET
You Can Watch 'KPop Demon Hunters' in Theaters for Two Days Only. Here's How
Netflix's KPop Demon Hunters is getting a short sing-along run in theaters, which means fans can belt out the film's catchy songs with a real-life crowd. Let's just hope there aren't any demons lurking around. A sing-along version of KPop Demon Hunters -- the streaming service's most-watched original animated movie ever -- will hit movie theater screens later this month in the US and Canada. The Netflix film premiered on June 20 and follows superstars and covert demon hunters Rumi, Mira and Zoey. The trio, also known as the girl-group HUNTR/X, gains a new rival in the secretly supernatural Saja Boys. If the song Golden or Soda Pop went triple platinum in your house the way that Golden coasted to the top of Billboard's Hot 100, you'll want to know how to get a ticket to the one-weekend event. Don't miss any of CNET's unbiased tech content and lab-based reviews. Add us as a preferred Google source on Chrome. How to get movie tickets to KPop Demon Hunters Sing-along screenings will take place on Saturday, Aug. 23, and Sunday, Aug. 24. According to Netflix, tickets went on sale Wednesday, Aug. 13. You can find local theaters showing the film and buy tickets via the website. If you want to prepare in advance, the movie's soundtrack can be streamed on major music streaming platforms like Spotify, Apple Music and Amazon Music.
Boston Globe
8 hours ago
- Boston Globe
Meet the Massachusetts man (and lifelong Red Sox fan) who designs and delivers the team's beloved T-shirts
Consider it a physical manifestation of the camaraderie and vibes that have developed over the summer. Advertisement 'I feel like we lead the league in T-shirts right now,' said hitting coach Peter Fatse, something of a ringleader in this accidental trend. 'It's one of those morale boosters over the course of a season. It's a long year. When you have things like that that rejuvenate the guys, they see something new in their locker, it's fun.' Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up Jarren Duran said: 'Those kinds of T-shirts mean something happened to have us make those T-shirts. So we all know the joke behind it or the story behind it.' Related : And Trevor Story: 'It's kind of our brand of baseball. We're telling a little story through the shirts. Paul does an amazing job of making that come to life. It's something cool that I think a lot of guys love to rep, and we appreciate it.' Advertisement The origin centers around Procopio and Fatse. Procopio, 36, long has known the Fatse family through Western Mass. baseball circles, and he has known Peter specifically for more than a decade, since he helped outfit Fatse's teams at his former local training facility with uniforms and gear. During spring training, Fatse reached out to Procopio, who last year turned his screen printing/embroidery company, Primo Products, into a full-time gig. Fatse sought stuff displaying his '9-on-1' philosophy — nine batters against one pitcher — for his hitters, and Procopio came through. That was the first of at least eight shirts in the Procopio/Red Sox partnership. Pitching coach Andrew Bailey has requested a couple, including a Crochet-inspired iteration that says 'Beast,' which is the ace's catch-all nickname for his teammates (and, in turn, their fitting nickname for him). Justin Willard, director of pitching, had Procopio fashion shirts that read 'Fuego' on the front and feature Pedro Martinez on the back, a trophy of sorts for any pitcher in the organization who reaches 100 miles per hour with his fastball. 'I've just become known,' Procopio said in a telephone interview, 'as Pete's guy.' In early July, when Gonzalez described himself — fairly — as feeling 'tremendously locked in' at the plate, Story loved it. He decided that such a sentiment needed to be commemorated. Working with Procopio to turn it into a shirt, they settled on Miami Vice-style pink and blue lettering (a nod to Gonzalez's hometown) for that quote across the front, plus Gonzalez's No. 23 on the back. Romy Gonzalez said the "Tremendously Locked In" T-shirt was the first time he had been celebrated in a clubhouse like that. Courtesy/Paul Procopio Gonzalez, a role player enjoying by far the best of his five seasons in the majors, said it was the first time he was celebrated in such a way by his club. Advertisement 'There's different ways to build up your teammates. That's a way that I've found,' Story said. 'It's just a way to make him feel good, but also it's part of our team. It's a little bit of a mantra, too. It came about organically and that's the best part about it.' Gonzalez said: 'I thought it was sick.' A few weeks later, Procopio hit Fatse with a question: 'What is going on in the clubhouse right now?' What was buzzy? What would make for a fun shirt? 'Everybody,' Fatse told him, 'is saying, 'Turbulence.' ' The team's plane ride from Boston to Minneapolis on July 27 was fraught. Bad weather forced the team to land in Detroit. Many players got sick. The effects impacted them and others into That infamous flight, harrowing in the moment, has become hilarious in hindsight. 'One of the funniest things is Greg Weissert . . . on the crazy plane ride,' Duran said. 'We were about to land and then we had to re-circle around for like 30 more minutes. He just kept talking about, 'I love the grind. Keep giving it to me. When you think you're done grinding, you're still grinding.' That kind of stuff is funny. People are dying, people are throwing up, people are running to the bathroom. He's over there just absolutely loving every bit of the chaos. 'Little stories like that is what makes teams really close. Even though we were on a crazy plane ride, we have some stuff to laugh about.' Related : Then it became a rallying cry — and an on-base celebration, players extending their arms like plane wings and pretending to teeter after a hit. Advertisement Procopio got to work. His final design featured 'Turbulence' written across the front, an outline on each side of a player doing the arms-out call to the dugout, and, naturally, the head of Wally the Green Monster. About 48 hours later, he made the two-hour drive to Fenway Park to hand-deliver the fresh product. 'I don't know how he does it, but he gets it within two days to us,' Fatse said. 'Boom.' For Procopio — who normally works with youth, high school or college teams, and a wide range of other companies who need branded apparel — this has been good business, sure. But it also is sort of unreal. He always has been a big baseball guy, playing at the Massachusetts College of Liberal Arts in North Adams and helping coach his alma mater, Taconic High in Pittsfield, to three state titles. He was in high school for the 2004 and 2007 championships. And now the Red Sox are wearing his stuff? Every day? It is so popular among players that on Thursday he sent out another batch of Beast shirts for the hitters and Turbulence shirts for the pitchers. Each group was envious of the other. 'When was the last time you saw Jarren Duran in just a classic Red Sox baseball shirt? He's always wearing different crazy things,' Procopio said. '[In conversation with Fatse] I'm like, dude, Trevor Story makes like $20 million a year. There's no way he's like, 'Man, I love this Turbulence shirt,' right? The experience I've had is holy [expletive], he is right, these guys are wearing it everywhere. It's all they wear.' Advertisement There may well be more to come. Procopio didn't want to spoil too much — or jinx it. 'If the Sox make the playoffs,' he said, 'there are some things in the works.' Tim Healey can be reached at
Yahoo
13 hours ago
- Yahoo
Carrie Bradshaw dressed for herself, not men, and gave us licence to follow suit
Overdocumented as they might be now, the Nineties were a strange and lonely decade to be a fashion-lover. Fashion was a niche interest, like bone or stamp collecting. All information was strictly channelled through the pages of monthly magazines such as Vogue, Elle, The Face or i-D, bar the occasional style page in a newspaper. Interviewed for my first job as fashion editor of a national broadsheet, the editor asked, 'So, do you like clothes?' One wonders whether he asked the sport editor whether he liked football. It's hard to remember a time when people didn't post videos of their weird shoes, designer hauls, salacious handbag unboxings, bargain charity shop finds and #OOTDs on social media. In 2025, having a unique sense of style can make you rich and famous. In 1995, it was more likely to have you bullied or ostracised. Into this barren wasteland in 1998 tripped Carrie, Charlotte, Samantha and Miranda, four New York women who loved sex, shopping, cocktails and men, though never as much as they loved each other. Based on a newspaper column of the same name by Candace Bushnell (published in the New York Observer between 1994 and 1996), Sex and the City (SATC) revolutionised fashion: how it was perceived, how it was documented and how it was consumed. It legitimised fashion – not because naysayers suddenly realised the allure of a Fendi Baguette bag, but because the show's popularity proved that clothes, shoes and accessories had mainstream appeal, and deserved to be given space beyond the pages of a glossy magazine. You might think that the vast exposure inherent to being featured on a TV show would be catnip to fashion designers, whose only recourse to publicity was via print and billboard advertising, magazine editorial or catwalk shows. Not so. Rather than seeing it as an opportunity, many designers were reluctant to place their brand in an environment where they would be unable to control the narrative. 'It was difficult to borrow clothes, as everyone heard the name 'Sex And The City' and thought 'what is this?'' remembers costume designer Molly Rogers. 'I guess it sounded pretty racy. No one loaned to TV shows then, as I remember – that world was strictly for editorial.' She cites Chanel, Dior and Christian Lacroix as early supporters of the show. Rogers worked on SATC from 1998 to 2002, and served as costume designer on the 2008 and 2010 films, as well as all three seasons of And Just Like That, the divisive sequel. She witnessed first hand the genius of Patricia Field, the show's formidable New York stylist and costume designer whose eclectic, exuberant tastes ensured that Carrie would never fall into the dreary trap of wearing 'quiet luxury'. Without Field, there would be no oversized floral corsages, diamanté skull caps or ballgowns as daywear. Nor would there be what many consider to be Carrie's most iconic look, a tiered white tutu teamed with a pale pink vest top and strappy sandals, as immortalised in the show's opening sequence. Field later revealed that she'd sourced the tutu from a thrift store bargain bin and bought it for $5 – a common practice for stylists and costume designers today, but an unusual one in 1998, an era when luxury brands would pull their advertising if a glossy magazine had the temerity to feature their expensive wares next to items that might threaten to devalue them. Field's 'high-low' approach of mixing designer and vintage together was hugely influential, although it wasn't until the beginning of season three that designers wanted in on the action. 'The show exploded then,' Field said in an interview, adding that costume design 'isn't about selling clothes, it's about telling a story. That's something I learned along the way.' Now 84, Field is still telling stories through clothes, most recently as the costume designer for Emily in Paris (Netflix), the fifth season of which is due to air later this year. Before Sex and the City, the idea of 'fashion' as a main character in any TV show was virtually unheard of. While clothes had an important role in shows such as Dynasty, Friends or Beverly Hills 90210, they existed as costume, and were rarely, if ever, discussed by the characters themselves. They certainly weren't an integral part of the plot: characters didn't utter pithy lines like 'I like my money right where I can see it – hanging in my closet.' SATC made fashion a fundamental part of each character's identity – literally, in the case of Sarah Jessica Parker's 'Carrie' necklace. Here were four women with very different aspirations: Carrie a hopeless romantic, Miranda a driven career woman, Charlotte keen to settle down and Samantha happy to play the field. Their wardrobes were a visual shorthand for their aspirations. From the beginning, the clothes were given as much consideration as the acting and the script. 'At the very start [of filming], Pat [Field] had an extensive conversation with [producer and writer] Darren Starr, where he gave her so much background information on each of the actresses that it really aided in building their costume DNA,' remembers Rogers. 'Charlotte was 'Upper East Side', Miranda was 'corporate', Carrie was 'eclectic and downtown' and Samantha spoke for gay men. Pat always said three things: that SATC was a moving fashion magazine, that we aren't making a documentary therefore I don't care where she gets these clothes, and finally, that we should never repeat an outfit – they don't repeat scripts.' This idea of SATC as 'a moving fashion magazine' is spot-on. Like many viewers, I might not always have loved the wilder reaches of Carrie's style, but I loved what she stood for. Thanks to a writing and production team powered largely by women and gay men – co-creator and writer Michael Patrick King, producer and writer Darren Star, with Parker co-producing from 1999 onwards – viewers were served a heroine who wasn't traditionally beautiful (straight men almost universally seem to think SJP is unattractive, and probably wouldn't have cast her in a lead role), who unabashedly loved clothes, smoked cigarettes, enjoyed sex and had an enviable career as a writer. Who said women couldn't have it all? Well, heterosexual men, for a start. 'I despised Candace Bushnell's vile cultural monster as a book and as a TV series,' one male critic opined in 2008. 'They represented a vacuous, trivialising, anti-feminist act of self-sabotage on the part of women. What amazed me was that women, even quite smart women, seized on this frivolous, vain confection as an emblem of sisterhood and empowerment.' It shouldn't need saying that women can be clever and stylish, or debate geopolitics with the same expertise that they discuss Phoebe Philo's latest drop. Yet there still exist people who seek to diminish anyone whose interests they deem less serious or worthy than their own. Rather than being a 'vain confection', it was a joy to see Carrie – and in a different way, Samantha – dress for themselves, seemingly unconcerned with any other gaze than the one that greeted them in the mirror. 'Carrie made me bolder,' says Alison Cragg, a 50-something fan who works in HR. 'I remember having a boyfriend in the early 2000s who had a habit of laughing at some of the wilder clothes I wore. I've still got most of the clothes, but I don't have the boyfriend.' In the absence of a fulfilling relationship, a good pair of shoes is a decent consolation prize. Most fans would agree that friendship, not fashion, was the beating heart of SATC. Flawed as the sequel was, when Michael Patrick King announced earlier this month that its third and current season would be its last (the final episode airs on Aug 14), longstanding fans of Carrie, Charlotte, Miranda and Samantha took to social media to share their sadness. 'Carrie Bradshaw is the most important character that has ever graced television, and arguably, she is up there with the likes of Odysseus, Hamlet and even Jesus,' said one user, perhaps only half-joking. While their fashion prowess will live on through re-runs and Instagram fan accounts such as @everyoutfitonsexandthecity, their honest representation of female friendship will die with them. I'll miss their finery, but more than that, I'll miss their flaws. As someone who grew up with them, I'd have happily watched these women navigate life, love and Loewe into old age. 'I'd have loved the actresses to make it to 'Golden Girl' status and create their own commune,' Rogers admits. 'But I always thought Carrie should have a certain ending, and when I read the last script of season three, I knew the final cosmopolitan had been drunk. I have not processed what it means – though superficially, it means no more stoops, no more closet scenes and no more shoe shots. It was the most incredible experience of my life. 'I saw the world and learnt from Pat and Sarah Jessica how to achieve visual success. The key to that is to be detail-oriented to a fault, make everyone around you nuts because you demand perfection – and never, ever, settle or compromise on an outfit.' Carrie couldn't have said it better. Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more. Solve the daily Crossword
