Michael Pitt accused of assault with cement block
The Boardwalk Empire actor was arrested in Brooklyn, New York, on several charges stemming from four separate domestic incidents alleged to have taken place in 2020 and 2021. Pitt, 44, is accused of sexually assaulting his former girlfriend as well as strangling her and attacking her with a wooden plank and a cinderblock. All of the incidents were alleged to have happened at their former home in Bushwick, New York. The Murder by Numbers actor was charged with first-degree criminal sex act, third-degree criminal sex act, two counts of second-degree assault, two counts of second-degree attempted assault, and second-degree strangulation.
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Engadget
4 hours ago
- Engadget
There's more to Mouse: PI for Hire than cartoon violence
Mouse: PI for Hire is a lot deeper than I initially assumed. When the game first caught buzz in May 2023 with an early teaser populated by placeholder assets, I didn't understand the hype. The art style was definitely cool — Mouse is a black-and-white first-person shooter inspired by 1930s rubber hose cartoons, featuring bipedal rodents dressed like mobsters — but without any information about the gameplay loop, mechanics or narrative direction, I remained unmoved. After seeing Mouse in action at Summer Game Fest 2025, consider me movin' . Mouse is mechanically nuanced and fully voice-acted, starring Troy Baker as the protagonist, and it has more to offer than shock-value cartoon violence. This is a clue-gathering, photo-snapping, girlfriend-avenging, noir detective simulator that happens to star a bunch of slick-talking mice and rats, and I'm fully into it. To view this content, you'll need to update your privacy settings. Please click here and view the "Content and social-media partners" setting to do so. In a private session at SGF, Fumi Games CEO Mateusz Michalak and lead producer Maciek Krzemien played through the game's third level, Gumshoe in the Opera, and discussed their intentions with the game. Krzemien said the team didn't want to simply lean on the art style at the expense of gameplay, and they focused on building a rich world with layered mechanics. Since that initial teaser came out, they've been fleshing out characters, drawing assets by hand, implementing puzzles and secrets, and tweaking individual weapons so that they feel just right. In Gumshoe in the Opera, the protagonist Jack Pepper is investigating his girlfriend's murder and he's backstage at the theater, looking for a friend who might be involved. Baker makes for a fine 1930s private eye, with a deep voice and a Boardwalk Empire twang. The supporting characters are voiced, too, and they tend to have a higher-pitched, henchman style of gangster speak. Mousey, you could say. Pepper fills up a 16-slot weapon wheel as he finds new guns and tools, including a flashlight, dynamite, Tommy gun, hookshot, pistol, shotgun and a turpentine blaster. The turpentine gun is ridiculous in the best way — since the characters in this world are cartoons, it melts their skin away like it's paint and then dissolves their skeletons. Killing enemies with a traditional gun leaves them lying in pools of black blood, sometimes with missing heads, and the game's environments have destructible elements. The mix of mature violence and classic cartoon art is strangely joyful, and it seems Fumi got the balance just right. Most enemies in Mouse take a few hits before going down, but headshots are a thing and a well-aimed blast can definitely flatten a mobster (mouse-ster?) in one blow. I didn't get a chance to play the game myself, but now that I'm fully seated on the Mouse hype train, I'm curious to feel the gunplay firsthand. I have a sense it's going to be more difficult than Krzemien made it seem. The preview was roughly half shooting action, half investigation and exploring. When he's not in a firefight, Pepper climbs through vents and sneaks around backstage, collecting corked health pots, a coffee cup and weapons along the way. The coffee cup turns Pepper's hand into a finger gun, which he uses to rapidly pew pew pew his way through enemies. He learns how to double-jump and is able to backtrack through the level with this new ability, picking up additional supplies and a hidden trading card — for the card-based minigame, of course. A lockpick mechanic has players snake their way past spikes to complete a small maze inside the lock. In one moment, Pepper takes a photo of someone through a small window and it's stored for later, hinting at a larger clue-organizing mechanic. Krzemien said that after this section, Pepper will return to his office to piece together the evidence. There are a lot of layers to Mouse: PI for Hire . Maybe it's my fault for being surprised by the depth in this game or the care being shown by developers at Fumi, but at least now, I finally get it. Mouse is due to hit Steam, PlayStation 4, PS5, Xbox Series X/S and Switch this year, published by PlaySide.
New York Post
5 hours ago
- New York Post
Brooklyn home that appeared in multiple shows asks $2.99M
In Brooklyn's Ditmas Park, one home has taken center stage, stealing the spotlight again, again — and again. A wraparound-porch-clad Victorian at 500 E. 18th St. isn't just a showstopper — it's a frequent scene-stealer, appearing in more television and film credits than some of the actors who have shot there. Now listed for $2.99 million with Heather McMaster of Corcoran, the cinematic stunner is hitting the market after a decades-long real-life renovation story nearly as dramatic as the scenes it has hosted. 19 In Brooklyn's Ditmas Park, a grand Victorian home that has doubled as a beloved television and film set is now for sale at $2.99 million. Russ Ross for Corcoran 19 The property has been featured in multiple productions. Russ Ross for Corcoran From 'Saturday Night Live' to 'Boardwalk Empire' to 'Blue Bloods,' the six-bedroom dwelling has become a go-to for location scouts seeking old New York charm in the middle of the borough. 'Ditmas Park is actually quite famous for people filming out here because our homes are so large that they can do several locations in one spot,' said homeowner Dana Vance, who, along with husband Frank Gauthier, has owned — and painstakingly restored — the home since 1994. Set on one of the neighborhood's most picturesque blocks, the home boasts an ornate façade with spindle-trimmed gables and stained glass. Its porch alone has earned its share of screen time — Hugh Grant filmed a night scene on it for 'The Rewrite,' opposite J.K. Simmons, though Vance, 72, said, 'I love Hugh Grant, but I didn't get to meet him because they shot it at like 2 o'clock in the morning … I was so mad at myself because I couldn't stay awake.' 19 Known for its cinematic appeal — thanks to its expansive layout, ornate woodwork, stained glass and storybook wraparound porch — the home has become a sought-after location for directors looking to capture old New York charm. Russ Ross for Corcoran 19 Homeowners Dana Vance and Frank Gauthier, both actors, inherited the property in 1994 in a state of complete disrepair after Frank's reclusive cousin, Bill, passed away. Courtesy of Dana Vance Built in 1910, the house stayed in Gauthier's family for three generations, but fell into disrepair when a reclusive relative lived alone there for decades. 'He had no plumbing, no heat, no air conditioning. Fifty windows in the house, 28 were broken. Pigeons were living on the third floor,' Vance said. 'There were 10,000 pounds of newspapers, twigs, aluminum pipes, a piano, garbage cans collecting rainwater. It was a complete disaster.' When that relative, named Bill, passed away, the house was on the verge of demolition — until Vance, seeing potential through the wreckage, convinced Gauthier not to sell. 'I said, 'Oh, I think we're gonna fix this house up. I think it's got great bones,'' she said. 'And he thought I was completely crazy. And to tell you the truth, I was, because I had no idea what work was in front of me.' 19 The couple often remained in the house during filming, retreating to the top floor while scenes played out below. Image Entertainment 19 At the time, the house had no plumbing or heat, broken windows, pigeon infestations and was packed with decades of hoarded debris. Courtesy of Corcoran 19 Vance saw potential where others might have walked away, convincing Gauthier to renovate rather than sell. Courtesy of Corcoran What followed was a years-long gut renovation fueled by maxed-out credit cards, a single affordable contractor and the couple's own elbow grease. 'We took out probably well over 500 garbage bags,' Vance said. 'It was a labor of love and I view that house as if it's a part of me … every piece of wood, every pillar, [the] wainscoting.' Today, the result is a blend of restored craftsmanship and functional luxury. Inside, the home is flooded with natural light thanks to oversize windows — including a statement stained-glass pane on the main stair landing. Original mahogany doors, intricate woodwork and custom-designed oak floors with mahogany inlays run throughout. 19 What followed was a decades-long restoration project — one they took on themselves with limited resources and limitless perseverance. Russ Ross for Corcoran 19 Today, the home is filled with carefully restored original details, including oak floors with mahogany inlay. Russ Ross for Corcoran 19 A formal dining room wrapped in vintage wallpaper. Russ Ross for Corcoran The gracious living room, anchored by one of two woodburning fireplaces, opens into a formal dining room wrapped in vintage wallpaper and crowned by a statement chandelier. The updated eat-in kitchen overlooks one of the largest private backyards in the district. Upstairs, the primary suite boasts a bay window, a fireplace and even a built-in marble sink in its adjacent sitting room — a remnant of the home's turn-of-the-century design. 'It's lovely,' Vance said. 'It's got the little sinks in the bedrooms and beautiful mahogany doors, broom closets and linen closets that you don't see in a regular house.' Still, it's the home's distinctive character and ample space that has made it a favorite for film and TV production crews, who can move through its sprawling three floors and outdoor areas with ease. 19 The kitchen. Russ Ross for Corcoran 19 A breakfast nook. Russ Ross for Corcoran 19 One of the largest backyards in the district. Russ Ross for Corcoran 'There was a location scout that came by one day, maybe about 18 years ago … they take pictures, go to several houses, then bring back a team of like 10 people to scout it again,' Vance said. 'We have one of the largest backyards in Ditmas Park, and that served us. And we have a big wraparound porch, so those little things are interesting to film directors.' The house has since also played host to productions ranging from CBS dramas like 'The Equalizer.' But perhaps the most widely recognized appearance came courtesy of a viral 2014 'SNL' skit, 'Back Home Ballers,' that has garnered more than 14 million views over the years. 19 The dwelling starred in 'The Rewrite.' Image Entertainment 19 A scene from 'Back Home Ballers' on 'SNL.' NBC 19 The home's cinematic legacy has been built organically, one shoot at a time — thanks in part to its grand proportions and authentic historic charm. NBC 'I met all the girls from 'Saturday Night Live' and Cameron Diaz,' Vance said. 'They turned our living room into a discotheque … their green room was our bedroom. I took pictures with all of them. It was really great.' Though the couple often stays in the home during shoots, they make way for the crew when necessary. 'Sometimes the crew is so large that I just go to the third floor … and then we hear them go, 'cut,' and then we can go downstairs and grab a snack and go back upstairs again,' Vance said. Watching their home on screen remains a rush. 'A lot of the location scouts or the ADs will call and tell me when it's going to be aired. And I'm so thrilled to see either the front of my house … or the living room, and family will call and say, 'Is your house on 'The Equalizer?'' But after 30 years of loving care and on-screen cameos, the couple has decided it's time for a new act. 'We're old. We're seniors now, and it's time to move on,' Vance said. 'It's 3,400 square feet, just the interior — not counting the attic and the basement … When you're young, it's very easy. It's still easy for us now, but I can see myself huffing and puffing every once in a while.' The couple — both actors, now retired — plans to relocate out of state. 'Frank and I will always be New Yorkers. We love New York with all our heart. But we've done New York,' she said. 'We're looking for a new adventure.' 19 A sun-filled primary suite with a fireplace and a bay window. Russ Ross for Corcoran 19 A third-floor living space. Russ Ross for Corcoran 19 One of 2.5 bathrooms. Russ Ross for Corcoran As they prepare to say goodbye, Vance admits it's an emotional parting. 'I've been talking to the house this whole time, letting the house know how much I loved it … I hug the staircase or hug something and just say, 'Thank you. Thank you. Thank you so much.'' One visiting contractor may have said it best. 'He told me, 'You will find that once you start working on a house like this, it will not let you work on it. It will resist you until it knows that you have its best interests at heart.' And it's true,' Vance said. That same character — the kind that can't be fabricated on a soundstage — has kept filmmakers coming back, and may now captivate a new buyer. As Vance put it, 'If they appreciate it half as much as we do, then I'll be satisfied.'
Buzz Feed
a day ago
- Buzz Feed
Brad Pitt Reveals "F1" Film Was His Dream Experience
Motorsport fans are about to get a high-octane dose of cinema with F1 — the upcoming highly-anticipated film that's already being hailed as one of the most ambitious racing movies ever made. Directed by Top Gun: Maverick's Joseph Kosinski, F1 stars Brad Pitt as Sonny Hayes, a retired Formula 1 driver who returns to the sport to race for a fictional team called APXGP (pronounced 'apex'). He's joined by British actor Damson Idris, who plays rookie teammate Joshua Pearce. And while the team and characters may be fictional, almost everything else about the film is very, very real. While kicking off the press tour in Mexico City, Pitt called the project 'a dream come true', revealing that he'd been trying to make a racing film for decades. 'For me, it was just a no-brainer,' he said. 'When Joe had this audacious plan to invent us in the racing season, to put us actually in the cars, it was just a dream come true.' Kosinski's vision was clear from the beginning: to make the most immersive and realistic racing film ever made. That meant no faking it — Pitt and Idris had to actually learn how to drive. 'We started this training and we ended up getting to drive for basically two years in the making of this,' Pitt explained. 'By the end of it, Damps and I — I say we were quite tasty… as drivers.' That realism extended beyond just learning how to drive. Pitt and the production team — with major help from seven-time world champion and executive producer Lewis Hamilton — gained access to the inner workings of F1, even sitting in on drivers' meetings to ensure authenticity. Pitt said it was important to earn the respect of the sport and its athletes. 'We had to go in and just try to earn their trust, let them know how much we respect the sport, how much we want to get it right, and how much we want to include them,' he shared. The cars themselves posed another challenge. Pitt described the Formula 1 steering wheel as 'extreme', filled with too many buttons to count. 'The idea of being in the car and dealing with these forces, G-forces, the physics of it all, is just something you cannot fake,' he said. 'It is incredible what these guys can do.' He added that the precision and speed required from F1 drivers was 'staggering', especially considering how tightly packed the grid is during races. 'The idea that these guys can go around a four-mile track and all be within one second of each other — it's awesome,' Pitt said. 'It's a religion for me. The downforce, the way these cars stick — there's nothing I can compare it to.' A huge part of the film's authenticity comes from Hamilton's input — both creatively and technically. 'We would have meetings with him — some 12-hour meetings — as we developed the story and the script,' Pitt said. 'A lot of him is in the film, certainly in the way the story ends. Even in post, he would tell us things like, 'You're in the wrong gear at Turn 6', or, 'Make sure you add the reverb when you go down the straight'. His knowledge is unfathomable.' F1 hits Australian cinemas on June 26, 2025 and judging by the scale, the access, and the passion behind it, it's set to become a defining moment in motorsport cinema.
