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Night mayor makes it easier for Ottawa bars to stay open until 5 a.m.

Night mayor makes it easier for Ottawa bars to stay open until 5 a.m.

Yahoo23-05-2025
Ottawa nightlife commissioner Matthieu Grondin is making it easier for the city's bars to temporarily extend their liquor sales until 5 a.m.
In the review of Ottawa's special events bylaw, which goes before council on May 28, Grondin recommends lifting the city's requirement for an additional license for venues seeking a temporary extension of hours — when they are already properly licensed.
The move will streamline the process of extending alcohol-service hours beyond Ontario's regular closing time of 2 a.m., reducing paperwork and avoiding duplicate inspections.
Farid Dagher, who runs two electronic-music venues, City at Night at Bank and Slater, and Gridwrks, his new spot on Rideau Street, said it will be a big improvement over the current system.
The existing bylaw, enacted in 2002, requires events where 'the principal activities include listening and dancing to music,' to obtain an All Night Dance Event license when applying to the Alcohol and Gaming Commission of Ontario for an extension.
According to city staff's review of the special-event bylaws, the license was originally designed to counter the popularity of 'underground dance events commonly referred to as 'raves.''
The All Night Dance Event license calls for an extra round of inspections at the applicant's expense, a detail that Dagher said is unnecessary for a licensed venue.
'It's like you're having to get a license over an existing license to do the same thing but at a different hour,' Dagher explained, adding that he's had some amusing encounters with inspectors while applying for the All Night Dance Event license.
'They would come in and be like, 'Well, this is going to be quick because we were here not too long ago.' So we would laugh about it because it's just the process, but we always thought that somebody should challenge that,' he said.
The amendment to the bylaw now recommends a letter of 'municipal significance' be attached to the AGCO application for a temporary extension, instead of the all-night dance event license.
'The letter typically indicates that the City agrees the proposed event is of municipal significance, as it benefits the greater good of the city,' wrote Valérie Bietlot, the city's manager of public policy development, in response to an email inquiry. Final approval from the AGCO is still required for the extension.
What's more, the city is adopting 'a more flexible definition of municipal significance,' added Grondin, that takes into account the social, cultural, or local economic development impacts of the event.
Contrary to widespread perception, there is a market in Ottawa for after-hours activity, and it includes shift workers, hospitality staff and other night owls, as well as electronic-music fans.
Of course, ever since the heyday of raves, it's been traditional for electronic-music shows to run into the wee hours. As a booker, Dagher said the ability to program longer sets not only provides a unique experience for fans but also allows for a 'progression' of acts, building a vibe throughout the night.
Making the paperwork easier helps prevent the rise of illegal after-hours parties, too.
'If you make it too complicated to get the permits, you may give clandestine events a reason to do it without permits,' Dagher said. 'There are spaces that are known to be doing it, and when they start selling alcohol illegally, it's no longer a safe space for the customers.'
Dagher gave kudos to Grondin and his advisory Nightlife Council group for bringing the issue to the attention of city authorities during this year's review of special events bylaws.
'He's really advocating for us,' Dagher said. 'He's talked to a lot of people to try to identify what the pain points are, and he's advocating for these changes.
'It's like he's initiating a culture of change and I feel that as we start getting these changes, the politicians and policy makers will maybe have a better read on what these changes mean in terms of outcomes, and they may become more comfortable and accepting of nightlife. We're pretty happy with that.'
Rick Laplante, the veteran Ottawa promoter/DJ who's a member of the volunteer Nightlife Council, said the amendment is a good example of the type of thing the council is looking to simplify.
'We're trying to make recommendations to remove a lot of this kind of red tape and redundancies that we see in some of the business-licensing bylaws that are in place, especially for dance events,' he said.
'Typically, our culture lives at night and thrives at night. And when we do have the opportunity to extend our hours, it's inclusive to a whole segment of Ottawa's population that works off hours or works at night.
'Ultimately, it's a couple of extra hours of dancing at the end of the night, but I think it goes a long way toward our shared goals of having an expanded and financially successful nightlife.'
Following council approval, the amending by-law will be enacted immediately to exempt establishments and events already operating under an AGCO license from the requirements of the all-night dance event license.
lsaxberg@postmedia.com
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Ethan Slater debuts his 'Wicked' Lego figure, teases 'epic' sequel at Comic-Con
Ethan Slater debuts his 'Wicked' Lego figure, teases 'epic' sequel at Comic-Con

USA Today

time4 days ago

  • USA Today

Ethan Slater debuts his 'Wicked' Lego figure, teases 'epic' sequel at Comic-Con

SAN DIEGO – "Wicked" star Ethan Slater didn't need Lego sets filled with witches, princes, woodsmen and yellow brick roads. When he was a kid, it was all about the unmarked trunk overflowing with bricks of all colors. But as an adult getting to play with his own Lego minifigure, Slater is pretty wowed. The 33-year-old Tony-nominated actor, who played Boq Woodsman in the Oscar-nominated first "Wicked," was on hand at the pop-culture festival Comic-Con, held at the San Diego Convention Center, to debut a bunch of new Lego sets inspired by the upcoming sequel "Wicked: For Good" (in theaters Nov. 21). Join our Watch Party! Sign up to receive USA TODAY's movie and TV recommendations right in your inbox Taking a peek at all the sets for the first time, Slater unsurprisingly spends the most time with the set featuring Boq and his Munchkinland home alongside toy versions of Elphaba (played in the movie by Cynthia Erivo) and Glinda (Ariana Grande). He notes that Boq's gray wardrobe is new for fans in the next movie, and points out the "Beware of the Wicked Witch" sign, part of the Wizard of Oz's propaganda against Elphaba on the side of the Lego building. "Elphaba's one of Boq's only friends, and on the side of his house is the smear campaign against her. Terrible," Slater says. As for the new movie coming soon, Slater teases an "epic conclusion" where "it's everything coming to a head." All the characters, from Elphaba and Glinda to Boq and Prince Fiyero (Jonathan Bailey), "have made these huge decisions at the very end of the first movie. How do they live with or transcend the consequences of those decisions?" Slater says. "So what we're going to see is all of these characters a little bit older. We already know them so well that to see how they grow in the second movie (creates) an even deeper connection to them." He gets a kick out of the "Wicked" wall art set, which features figures of Dorothy and her crew from "The Wizard of Oz," including Toto. "The first role ever was when I was 4 years old, I played Toto to my sister's Dorothy," Slater says. "I'm going to pretend that Toto is also a mini fig of me. It's the cutest I've ever looked." He also has fun playing with a set including Glinda using a magnifying glass. "What is she looking for with this? What is she looking for here? Does it really work? This is so Detective Glinda. That's actually a spinoff coming soon," Slater quips. Back in the day, Slater avoided big themed Lego sets in favor of diving into his "huge bucket" of Legos and "taking the world that was in my head and trying to build a version of it," he says. Yet these new "Wicked" Legos do justice to the work of him and his co-stars. "The special thing about making 'Wicked' was being in this world and it was so intricately designed," Slater says. "The work in all of these Lego sets that make it just as intricate and lets you experience it and be creative with it, it's just a really beautiful thing. It feels really true to what we did."

An Exclusive Sneak Peek at the First Episodes of ‘Outlander: Blood of My Blood'
An Exclusive Sneak Peek at the First Episodes of ‘Outlander: Blood of My Blood'

Elle

time6 days ago

  • Elle

An Exclusive Sneak Peek at the First Episodes of ‘Outlander: Blood of My Blood'

In a meadow splayed like a blanket between the peaks of the Scottish Highlands, Jamie Roy and Harriet Slater appear to be alone. The actors' voices are barely audible from within the crumbling cemetery where they've reunited—though the boom mics looming above their heads will solve that problem later. On the horizon, a torrent of machine-generated fog dissolves into the grass, dotted with clover and yellow violets that the surrounding crew members crush underfoot as they huddle beneath a cluster of tents. Together, they help take Scotland back in time: to 1714, the setting of the Starz Outlander prequel series Blood of My Blood , set to premiere on August 8. It's late June 2024 when I step onto this set with a group of other journalists, but the air is crisp enough to warrant a cardigan. Both Roy and Slater are well-outfitted for the climate: In the signature garb of Clans Fraser and MacKenzie, respectively, they look as traditionally Scottish as the hilltops surrounding them. As Roy later tells me, he teared up the first time he put on the costume of Brian Fraser (father of Outlander 's Jamie), one of the series' four lead protagonists. 'It was actually really emotional, seeing those Fraser colors on the tartan, wearing those for the first time,' he says. 'I was like, 'Wow. This is really happening.'' The scene I'm watching is one of several in which Roy and Slater's characters must meet in secret, as the romance between their characters—Brian Fraser and Ellen MacKenzie—is strictly forbidden. (As Slater puts it, they've 'kind of got a Romeo and Juliet vibe' going on.) Eventually, they'll overcome their clans' rivalry to become parents to Jamie, as played by Sam Heughan in the now-iconic flagship series. But, for now, they're still young, in love, and in danger. Sanne Gault Jamie Roy as Brian Fraser and Harriet Slater as Ellen MacKenzie. Hundreds of years later and hundreds of miles away—though, in reality, the two sets are within driving distance of each other—Hermione Corfield sits in a cramped attic flat. As the 20th-century Londoner Julia Moriston, she must navigate a romantic dilemma of her own. She's in love with a soldier on the frontlines of World War I, and she's never once seen his face. But, as Outlander fans will already know, the passionate letters she sends to Henry Beauchamp (Jeremy Irvine) don't go unrequited. Eventually, Julia and Henry, too, will come together, later becoming the parents of Caitriona Balfe's Claire Beauchamp, Outlander 's beloved Sassenach. As these exclusive first-look images from the first two episodes of Outlander: Blood of my Blood reveal, the earliest meetings between the show's lead couples—Brian and Ellen, and Julia and Henry—are pivotal moments. And they're as loaded with magic as the time travel that soon intertwines their stories. While Julia begins the series yearning for her soldier, we're first introduced to Ellen as a grieving daughter. Her father, Red Jacob MacKenzie (Peter Mullan), once promised his eldest child she'd never have to marry. But Jacob's sudden death makes Ellen a political pawn in the hands of her younger brothers, Colum (Séamus McLean Ross) and Dougal (Sam Retford), who each seek the now-vacant MacKenzie lairdship. Ellen has no interest in the marriage matches they lay out for her. Unbeknownst to them, she's already found her soulmate. Brian and Ellen initially collide by accident, but their first planned rendezvous takes place on a bridge revealed in the Blood of My Blood trailer—in a meadow not unlike the one I visited last summer. They begin the scene on opposite ends of the stone structure, uncertain how to proceed, given the scandalous nature of their meeting. (Without a chaperone, Ellen is endangering her reputation as a maiden.) But 'there is this magnetic connection between the two of them,' Roy says, and neither can resist creeping slowly toward each other until, at last, their hands touch. They're meant to be sworn enemies, but the fairies seem to have other plans. Sanne Gault Jamie Roy as Brian Fraser and Harriet Slater as Ellen MacKenzie. A sentiment repeated frequently throughout my visit is that Scotland 'is its own character' in both Outlander and Outlander: Blood of my Blood . But the country's infamous weather doesn't pay much heed to call times. Roy says he and Slater had been looking forward to shooting the bridge scene 'for ages, because it's been with us since day one': They rehearsed it throughout their auditions and chemistry reads. But on the actual day of filming, 'we had four different seasons,' he says. 'It was blowing a gale, then it downpoured, then it started to sleet.' The river running beneath the bridge—all but a murmur in the finalized episode—was loud enough that both Roy and Slater had to use earpieces to understand each other. 'Half the time mine wouldn't work,' he continues. 'So I would see Harriet start to say something, her mouth would move, and then it would stop, and I'd be like, 'Oh, okay! My turn!' So that was quite funny.' 'Luckily we both knew each other's lines,' Slater adds. By the time they'd survived multiple rain delays and filmed several angles, the actors were both so cold that Roy wasn't sure he could speak. 'I couldn't feel my face at the end of each take,' he says. 'I wasn't even sure if words were coming out.' During their lunch break, he had to massage his mouth for 'half an hour, because I couldn't actually chew my food.' Of course, the weather cooperated just in time to give the scene the air of enchantment it needed to convince audiences Jamie and Ellen are indeed headed for a life-changing love affair. The wind whips up as Brian steps forward; the gloom parts to wash them both in sunlight. '[Jamie] has this line where he introduces himself for the first time, and he says, 'I'm Brian Fraser,' and [at one point] the sun just came out from behind the cloud behind him,' Slater tells me, laughing. 'It was almost like he was the Messiah.' Sanne Gault Jeremy Irvine as Henry Beauchamp and Hermione Corfield as Julia Moriston. Julia and Henry's first meeting is no less fateful, though it was perhaps easier to film. Shot on a set of steps in Glasgow's Park District, the scene depicts the couple passing each other by chance in 1917 London. But the 'magnetic draw between them,' Corfield says, is as potent as the one between Brian and Ellen. When Henry speaks aloud a line from their letters, Julia turns around, recognizing her soon-to-be husband in the flesh. 'We were both wondering how that was going to play,' Corfield admits. 'Because, on the page, it's quite interesting just seeing two people not saying anything, walking past each other on a step, and then one person says something and they both go, 'It's you.' It worked because of the romance between them.' Adds Irvine, '[Henry] tries his luck and says something, and it is her. We were joking, myself and Hermione, saying, 'How many other women has he been saying that to that day?'' But Outlander has always existed in a world where anything can happen. When Irvine asked showrunner Matthew B. Roberts about the logic of the scene, Roberts told him, 'Look, this is a romance that's got to have some magic about it.' Irvine continues, 'I didn't really understand that until I saw the episode cut together. I went, 'Yeah, this is something slightly out of this world.' If you believe in fate, and destiny, and soulmates, then this is how it happens.' That magic only intensifies when Julia and Henry's saga intersects with Brian and Henry's. On holiday in Scotland in the 20th century, Julia and Henry inadvertently tumble through time after encountering Outlander 's infamous stones of Craigh na Dun. They separately land in Scotland circa 1714, and they soon meet both the MacKenzies and the Frasers as they fight their way back to each other. Sanne Gault Jeremy Irvine as Henry Beauchamp and Hermione Corfield as Julia Moriston. Corfield was thrilled when she learned that, like Outlander , Blood of My Blood would feature a time-travel plot. 'It's a challenge to play someone that's time-traveled,' she says, 'I don't know any other job where you can possibly say that you are both in the [20th century] and also 1700 Scotland. So it was a challenge, but when I first started reading all the scenes taking place [in the 18th century], I was really excited.' It helps that the lead quartet have become close friends. 'We became actual mates before we had to become colleagues,' Irvine says. 'We spent a few months up here getting ready for the role and doing what production called 'boot camp,' learning all the things that we need to learn for the roles. In that time, we all became very close.' They often spend their evenings and weekends off set together, either singing karaoke in Glasgow or picnicking along one of the country's many lochs. 'We started this project in the depths of winter in Scotland,' Irvine continues. 'When you're doing that, you've got to go and have fun sometimes.' Sanne Gault Hermione Corfield as Julia Moriston. Sanne Gault Jeremy Irvine as Henry Beauchamp. This summer, Roy, Slater, Corfield, and Irvine are all back in the meadows of Scotland, already filming the next chapter. 'I feel very privileged to be shooting a season 2 before season 1's even come out,' Slater says. 'I'm very aware of how rare that is.' Roy shares in that sentiment. 'When we finished the last season, there was no guarantee,' he says. 'It's a spinoff. We don't know [if it will work]. So to get that call that says, 'Hey, we're going to do this again, and you get to revisit these characters and this story?' It is really just a privilege. I hope we get to do it for as long as possible.' Breaking Down the Outlander Family Tree

Skeletons, Tears and Lobsters: Schiaparelli Exhibition to Open in 2026
Skeletons, Tears and Lobsters: Schiaparelli Exhibition to Open in 2026

Yahoo

time10-07-2025

  • Yahoo

Skeletons, Tears and Lobsters: Schiaparelli Exhibition to Open in 2026

Updated at 3:56 p.m. ET on July 9 The Victoria & Albert Museum's next fashion exhibition will take a surreal turn.'Schiaparelli: Fashion Becomes Art' will be staged at the Sainsbury Gallery from March 21 to Nov. 1, exhibition will chart the success of its founder, Elsa Schiaparelli, from the 1920s to the present day under the current ownership of Diego Della Valle and the creative direction of Daniel will be more than 200 objects in the show that span across Paris, London and New York, as well as World Wars I and II, including garments, accessories, jewelry, paintings, photographs, sculpture, furniture, perfumes and archive Bellini, chief executive officer of Schiaparelli, was joined by Daniel Slater, director of exhibitions at the V&A, and the museum's senior curator Sonnet Stanfill, at a press conference on Wednesday at the house's historic salon on Place Vendôme in Paris.'The V&A is one of the unique museums, which has always tried to blend tradition and innovation, and this is so linked to what Schiaparelli used to do herself,' Bellini years in the making, the show will not just build on the success of previous exhibitions, including a major retrospective at the Musée des Arts Décoratifs in Paris in 2022, but explore new areas including Schiaparelli's relationship with the U.K. and her clients, such as Wallis Simpson and Elsie de Wolfe, known as Lady Mendl. More from WWD EXCLUSIVE: Dinh Van to Mark 60th Anniversary With Christie's Retrospective in Paris Cos Heads to India, Plots Return to New York Fashion Week In 'Semele,' Heartbreak Is Dressed Up in Lace and Diamonds 'We're adding on to the existing scholarship, but telling the story in a very new way, in a very unique way,' Stanfill said. 'We like to describe ourselves as the world's leading museum of art, design and performance, and in fact, all of those elements, plus a chapter on photography, will be within the exhibition.'Slater noted that the show will also include works by some of the greatest artists of the 20th century, on loan from major institutions. Schiaparelli walked in artistic circles with the likes of Pablo Picasso, Jean Cocteau and Man Ray.'What was so exciting for us is that with a project on Schiaparelli, you almost reverse what is the normal narrative of fashion in art museums, where you have designers being inspired by art. What we have with Elsa, which continues in the house today, is one of the greatest designers who is actually inspiring some of the greatest art of the 20th century,' Slater said.'This is not to redo something that's formulaic. This is to entirely change the way in which fashion can be experienced in a fine art museum,' he added. 'We're trying to constantly build the next generation of creatives. And this is just yet another opportunity for us to do that.'Special pieces on display include the Skeleton dress from 1938, which covers the entire body in a black silk crêpe. In a 1939 interview, Schiaparelli said that she believes 'in a strict neatness about both day and evening clothes, their simple lines accentuated by an original touch. A neck line can make or spoil a dress; amusing pockets can add distinction to the simplest jacket.'Another standout piece that will feature is the Tears dress from 1938 made in collaboration with the Surrealist artist Salvador Dalí. Printed with a trompe-l'oeil motif, it creates the illusion of strips of flesh, prefiguring the punk movement by several decades. Born into an aristocratic family and raised in the luxurious confines of Palazzo Corsini in Rome, Schiaparelli was separated from her husband by the time she arrived in Paris from the U.S. in noted that the designer, who was self-financed at the time, opened a London salon in Mayfair in 1933, barely six years after founding her house. 'It's also important to see her, not only as an artist, but as a woman entrepreneur, and this is very inspiring also for today's women,' she said. Stanfill added that Schiaparelli was a founding member of the Fashion Group of Great Britain, the precursor of today's British Fashion Council.'Her clothes had a hard chic about them, which were in contrast to the quiet luxury of a lot of her contemporaries. So as a disruptor and as a breaker of fashion rules, she encouraged her clients to embrace a different way of dressing,' she said.'She was the most inventive in terms of use of materials of any of her contemporaries, in the sense that she urged her textile producers to bring her their newest and their best — so that could take the guise of woven glass, cellophane, new crinkled textures. She really loved unusual fabrics, and that will come across in the garments that we can display,' Stanfill also designed costumes for the silver screen and stage. She costumed Mae West in the 1937 film 'Every Day's a Holiday' and borrowed the actor's curvy silhouette for one of her perfume bottle designs. In 1952, she dressed Zsa Zsa Gabor in a pink gown in the film 'Moulin Rouge.' The designer is a recurring character in fashion history books. She famously feuded with Gabrielle 'Coco' Chanel, but had to shut her business in 1954 after accruing large was relaunched by Della Valle in 2012 and the house has spread the word about the history of its founder, starting with a book titled 'Schiaparelli and the Artists,' published in 2017 to mark the 90th anniversary of the brand. The exhibition will also include a selection of designs by Roseberry. 'The couture collection that we presented on Monday is really the beautiful translation of how we can dive into the archives, but also transport them into the future and see how Schiaparelli's contribution to fashion, art and culture can continue to survive through the lens of a new creative vision with passion and actually no boundaries,' Bellini said.'The more respectful we are, and the more inventive we are, the more vibration we create outside. It's extremely rewarding, and it allows us to take new steps,' she said. Best of WWD Fashion Meets Cinema: Jaws 50th Anniversary and Calvin Klein Spring 2019 RTW Show Retro Glamour: Giorgio Di Sant'Angelo's Summer 1973 Chic Straw Hat Statement The Story Behind Jackie Kennedy's Cartier Watch: A Royal Gift With 'Traces and Clues of Her Life' Revealed

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