Latest news with #20thCentury
Yahoo
3 days ago
- Entertainment
- Yahoo
‘Doctor Odyssey' Crewmembers Sue Disney for Alleged Sexual Harassment on Set, ‘Blacklisting' Them After Filing Complaint
Three former crewmembers on the ABC medical series 'Doctor Odyssey' are suing 20th Century and its parent company Disney for allegedly enabling an 'unchecked campaign of sexual harassment for months' on the set of the series. In the suit, filed Friday in Los Angeles Superior Court, plaintiffs Caroline Mack, Alicia Haverland and Ava Steinbrenner claim that Tyler Patton, the assistant prop master on 'Doctor Odyssey,' would subject the three to 'sexual jokes, innuendos, comments, sexual gestures and images' as well as 'unwanted touching,' such as 'openly grabbing a visiting female employee's buttocks.' More from Variety With Disney's New 'Lilo & Stitch' in Theaters, Here's How to Get the Original Animated Film on DVD/4K Ultra HD 'The Devil Wears Prada' Sequel Set for May 2026; Ridley Scott's 'The Dog Stars' Dated for March Justin Connolly, After Exiting Disney, Joins YouTube as Global Head of Media and Sports; Disney Sues Over Exec's Hiring In one account contained in the suit, Patton allegedly sent prop department employees a story appearing to reference news that President Biden had dropped out of the 2024 election. But the link redirected to a picture of a naked male with an erect penis. Other comments allegedly made by Patton include calling one of the plaintiffs a 'chick' and saying 'come over here and open your mouth, here's the worm.' The lead prop master on 'Doctor Odyssey' was Tammie Patton, Tyler's wife. The suit claims that Tammie and Disney hired Tyler with 'knowledge that prior allegations of sexual harassment had been lodged' against him. Patton was previously named in a 2010 lawsuit against Universal Network Television, which claimed advanced sexual harassment and retaliation allegations on the set of 'House.' In that complaint, ex-employee Carl Jones alleged that Patton groped his genitals and made sexual propositions to female co-workers. The 'Doctor Odyssey' suit also claims that Patton's harassment would occur 'daily and frequently in the presence of management.' During one confrontation, Patton allegedly exclaimed, 'If I wasn't fucking the boss, I'd be fired.' Patton was terminated after plaintiffs reported his behavior to human resources, according to the complaint. Shortly after, Tammie Patton allegedly 'began to engage in retaliatory behavior,' including threatening their employment. The entire props department was later laid off, though Disney 'then almost immediately hired a whole new set of employees,' the suit states. The suit argues that 'Defendants wiped the Prop Department's slate clean to avoid having to deal with any remaining 27 employee-relations issues tied to Tyler Patton's and Tammie Patton's misconduct.' The plaintiffs also claim that they have been 'blacklisted' by Disney 'in retaliation for bringing forward their good-faith complaints.' Disney did not immediately respond to a request for comment. 'Doctor Odyssey' has not yet been renewed for a second season. It is now the only scripted series at ABC with an undetermined future. Best of Variety What's Coming to Netflix in June 2025 New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts?
ABC News
6 days ago
- General
- ABC News
The ethics of commemorating the dead of the Third Reich
From an Australian perspective the commemoration of war has long been wrapped up with our national identity. Both 20th C world wars have loomed large for many Australians, and we continue to commemorate our war dead - note the Federal Government has just dropped over half a billion taxpayer dollars on a refurb of the Australian War Memorial in Canberra. Everyone deserves a proper and decent burial. Even those who have lived a life of crime or scandal can surely expect some dignity in death. But what if the deceased is a war criminal -- specifically a Nazi? In Germany, an organisation established after World War 1 to help locate and re-bury the remains of some of the millions who died, has found itself in an ethical dilemma. A fascinating story called Unburying the Remains of the Third Reich by Nicholas Casey , a journalist and staff writer at The New York Times based in Madrid.
The Guardian
22-05-2025
- Health
- The Guardian
I've studied the history of death. I know how we can better face up to our grief – and our own mortality
Many years ago, as part of a school homework project, I asked my grandparents what the most significant social change had been during their lifetime. Two of them answered 'child mortality'. I was surprised. Weren't there other, more significant experiences in long lives that had stretched from the first and second world wars to the 1980s? But now that I am older and have experienced bereavement, I understand their replies. Both grandparents had sisters who died of diphtheria. And my grandfather's younger brother died of sepsis, meaning his parents had buried two of their four children before the age of three. Their childhoods had been profoundly shaped by loss. Child mortality was, at that time, horrifyingly common, and from their earliest years many people spent a great deal of their lives coping with the emotional fallout of grief, which shaped their lives into older age. I have spent the past 10 years researching the history of death, while also training as a bereavement counsellor. In my book, No Ordinary Deaths – A People's History of Mortality, I argue that we have much to learn from the past, particularly in the compassion shown to those facing the end of life, and those struggling with the emotional chasm of grief and loss. The differences between today and the past of even a few generations ago are enormous. Today, most people die in hospitals or care homes, but until well into the 20th century most died at home. Relatives or close friends usually washed and prepared the body for burial. The time between death and burial were understood as a dangerous and unstable moment for the spirit, and some communities developed elaborate wake rituals that could involve smoking, drinking, singing, games and 'trickster' antics (such as lowering a shrouded body down the chimney, as recorded once in 19th-century Wales, presumably to distract any passing demons from stealing away with the soul). Wakes could last anything from hours to days and even weeks; an issue that horrified 19th-century public health campaigners. Indeed, such practices were regularly cited as one of the main reasons why burial reform was required, demanding that funerals should happen swiftly after death, and graveyards be moved away from city centres and into the suburbs. Nowadays, dying and death are, at least in wealthy, western societies, mostly institutionally managed and medically determined. Unless we work in healthcare or emergency services, seeing a dead body is a relatively unusual experience. And we can usually pinpoint the moment of death. Without easy access to a doctor, a stethoscope (not invented until 1816) or the technology we have today to assess when heartbeat and brain function have stopped, the end of life used to be open to all kinds of interpretation. A mirror, a feather to the lips, the last rasp of agonies, a magpie landing on the roof, a black dog barking – all kinds of signs and symbols could signify the end. But until the body began to putrefy, which could take several days, the time between alive-but-near-the-end and dead was not always precise. Watching for signs of death and caring for the dying was a skilled role often undertaken by older women, who offered comfort and gathered family, friends and priest to the bedside when they assessed the moment of death was approaching. The moment of death was particularly important as it marked the beginning of activities to protect the spiritual integrity of the soul, which may include lighting candles (light around the dead was very important), cleaning and dressing the body, closing or placing coins on the eyes, and bringing aromatic herbs or personal items such as rosary beads, a favourite toy (for a child), a treasured cup or plate to be tucked in with the body. It is probable that placing such grave goods is a pre-Christian practice and may hold several meanings. Perhaps these were considered objects that would be useful in the afterlife; for some communities using things that belonged to the dead is considered to bring bad luck, so best to bury them with their original owner just in case. We might think of grief and consolatory literature such as Julia Samuel's bestselling Grief Works or Megan Devine's It's OK That You're Not OK as a modern phenomenon, but for centuries printing presses have churned out guides to dying and grieving well, offering a blend of richly illustrated earthly and spiritual administrative and emotional advice for preparing for the end and coping with loss. While we may find some of the excesses of, for instance, Victorian mourning ritual – replete with wearing heavy, dark clothing for months or even years, veiled mirrors and mourning tea sets – over the top today, the acknowledgment of grief ran deep in social structures of the past. Bereavement is for many of us the most profound experience we will have. The expectation that people should 'move on from' or 'get over' loss is to misread its potential to disorder our sense of self. In the past it was not uncommon to find 'grief' as a cause of death on mortuary rolls or death certificates. Lives spent in closer relationship to death acknowledged the ways in which it can overwhelm us. Perhaps paradoxically, our medicalised approach to end of life now has resulted in a resurgence of interest in some of the old ways of managing mortality. Death doulas seem to carry the torch of the 'death watchers' of the past, acknowledging that endings can be supported, caring, even joyful. The modern 'death positive' movement encourages, if they feel able, family and friends to be involved in washing and caring for their dead, and there is evidence that being more involved in these processes can help us in accepting death and loss and beginning to process our grief. For me, there is a more radical message as well. If we can learn to engage – without fear – with the idea of our own mortality, embracing the fact that we will die can be a liberating act. We may use it to reassess our relationship to accumulating stuff, or thinking about the kinds of personal legacy, if any, we wish to leave. And perhaps we can also learn to draw on the past, taking the best and most humane elements of how death was anticipated, the dying supported and, perhaps most crucially, grief and mourning were acknowledged. Doing this may help us to reach back into a deeper relationship with mortality, a kind of modern take on media vita in morte sumus – in the midst of life we are in death. Molly Conisbee is a social historian, visiting research fellow at the Centre for Death and Society at the University of Bath, and author of No Ordinary Deaths
See - Sada Elbalad
21-05-2025
- Entertainment
- See - Sada Elbalad
Elle Fanning Joins "The Hunger Games: Sunrise on the Reaping" as Effie Trinket
Yara Sameh Elle Fanning has been cast as Effie Trinket in 'The Hunger Games: Sunrise on the Reaping,' an adaptation of the bestselling book by Suzanne Collins. Fanning joins previously announced cast members Joseph Zada as Haymitch Abernathy, Whitney Peak as Lenore Dove Baird, Mckenna Grace as Maysilee Donner, Jesse Plemons as Plutarch Heavensbee, Maya Hawke as Wiress, Kelvin Harrison Jr. as Beetee, Lili Taylor as Mags, Ben Wang as Wyatt and Ralph Fiennes as President Snow. Molly McCann will also appear as Louella, while Iona Bell will portray her Capitol-assigned lookalike Lou Lou. Effie, who was portrayed by Elizabeth Banks in the original four 'Hunger Games' films, enters 'Sunrise' as stylist to District 12 Tribute Haymitch Abernathy in the leadup to the 50th Hunger Games. Fanning most recently starred in the Oscar-nominated film 'A Complete Unknown.' She will next be seen in Joachim Trier's 'Sentimental Value,' which premieres in Cannes this week. Other upcoming projects include the Apple TV+ series 'Margo's Got Money Troubles' for David E. Kelley and Apple TV+, and 20th Century's 'Predator: Badlands,' in theaters this fall. 'From the moment Suzanne released the book, one question echoed from fans around the world: Who will play Effie? Elizabeth Banks made her iconic — so who could honor that legacy while bringing us back to Effie's early, most formative days? For us, there was only one answer,' Lionsgate Motion Picture Group co-president Erin Westerman said. 'Elle Fanning's career has been transcendent. She has a rare presence — warm, sparkling and layered with extraordinary depth. She was the undeniable fan favorite from the start, and we're honored she answered the call. The odds, it turns out, were in our favor.' The film adaptation of 'The Hunger Games: Sunrise on the Reaping' will be released on November 20, 2026. Lawrence, who has helmed every installment of the franchise since 2012's 'Catching Fire,' will direct from a screenplay adaptation by Billy Ray. Color Force's Nina Jacobson and Brad Simpson will produce. Cameron MacConomy will executive produce. The five films in the franchise so far have taken in over $3.3 billion at the box office. Published on March 18, 'Sunrise on the Reaping' revisits the world of Panem 24 years before the events of 'The Hunger Games,' starting on the morning of the reaping of the 50th Hunger Games, also known as the Second Quarter Quell. 'Sunrise on the Reaping' sold 1.5 million copies in its first week on sale in the U.S., U.K., Ireland, Canada, Australia and New Zealand. The 1.2 million copies sold in the U.S. are twice the first week sales of 'The Ballad of Songbirds and Snakes' and three times the first week sales of 'Mockingjay.' Meredith Wieck and Scott O'Brien are overseeing the project for Lionsgate. Robert Melnik negotiated the deal for the studio. read more New Tourism Route To Launch in Old Cairo Ahmed El Sakka-Led Play 'Sayidati Al Jamila' to Be Staged in KSA on Dec. 6 Mandy Moore Joins Season 2 of "Dr. Death" Anthology Series Don't Miss These Movies at 44th Cairo Int'l Film Festival Today Amr Diab to Headline KSA's MDLBEAST Soundstorm 2022 Festival Arts & Culture Mai Omar Stuns in Latest Instagram Photos Arts & Culture "The Flash" to End with Season 9 Arts & Culture Ministry of Culture Organizes four day Children's Film Festival Arts & Culture Canadian PM wishes Muslims Eid-al-Adha News Egypt confirms denial of airspace access to US B-52 bombers News Ayat Khaddoura's Final Video Captures Bombardment of Beit Lahia News Australia Fines Telegram $600,000 Over Terrorism, Child Abuse Content Arts & Culture Nicole Kidman and Keith Urban's $4.7M LA Home Burglarized Sports Former Al Zamalek Player Ibrahim Shika Passes away after Long Battle with Cancer Sports Neymar Announced for Brazil's Preliminary List for 2026 FIFA World Cup Qualifiers News Prime Minister Moustafa Madbouly Inaugurates Two Indian Companies Arts & Culture New Archaeological Discovery from 26th Dynasty Uncovered in Karnak Temple Business Fear & Greed Index Plummets to Lowest Level Ever Recorded amid Global Trade War Arts & Culture Zahi Hawass: Claims of Columns Beneath the Pyramid of Khafre Are Lies
The Guardian
14-05-2025
- Entertainment
- The Guardian
Where to start with: Virginia Woolf
As her much-loved novel Mrs Dalloway turns 100, now is a great time to celebrate Virginia Woolf. The 20th-century modernist author and pioneer of stream-of-consciousness narration is one of the most celebrated British novelists of all time. For those looking to become more familiar with her work, author and critic Francesca Wade has put together a guide to her greatest hits. Woolf's fiction often explores the relationship between self and society, turning on the disjunct between her characters' private desires and other people's expectations of them, and one of the best examples of this is Mrs Dalloway. From its opening line – 'Mrs Dalloway said she would buy the flowers herself' – Woolf plunges readers into the inner thoughts of her heroine, Clarissa, a society hostess running errands around London in preparation for a party she's holding that June night. Among the people whose paths intersect with hers that June day is a shellshocked war veteran, Septimus Smith. Woolf wrote in her diary that she wanted, in Mrs Dalloway, to 'dig out beautiful caves' behind her characters. The invisible depths and connections she creates between them give the novel a sense of holding all life within it. Woolf's first two novels, The Voyage Out and Night and Day, are bold in their subject matter but relatively conventional in form. In December 1910, she saw Roger Fry's post-impressionist exhibition at London's Grafton Galleries, which introduced works by artists including Matisse and Cézanne to British audiences, and was filled with ideas of how to represent the essence of a character without aiming for a straightforward, descriptive likeness. The result was Jacob's Room, the novel in which Woolf claimed she found her own voice. It's a scathing response to the destruction of war – a subject which haunts much of Woolf's writing – and a deeply moving meditation on the impossibility of truly knowing others. Woolf was a brilliant polemicist. Her two book-length feminist essays – A Room of One's Own and Three Guineas – are fascinating counterparts to her fiction. They probe the injustices that preoccupied her throughout her life, displaying how 'the public and the private worlds are inseparably connected … the tyrannies and servilities of the one are the tyrannies and servilities of the other'. Each examines the way people are shaped by external forces – class, gender, access to education – and makes a powerful case for the importance of intellectual freedom. A Room of One's Own focuses on literature, and conjures some of Woolf's most inspired apparitions: the 'Angel in the House', the spectre of Victorian feminine propriety Woolf had to assassinate before she 'plucked the heart out of my writing', and Shakespeare's eager sister, whose talents were never given a chance to flourish. Three Guineas, written amid the rise of fascism in Europe, examines the links between patriarchy and militarism: 'As a woman,' Woolf writes, 'I have no country. As a woman I want no country. As a woman my country is the whole world.' Woolf's seventh novel The Waves has a reputation of being difficult: it unfolds, in a rhythmic chorus of five voices, without any of the conventional crutches of narrative or character development. She told a friend she had composed the novel 'in a kind of trance'. But it's one of Woolf's boldest experiments, the culmination of her explorations of the nature of perception and the realities of inner lives, and contains some of her most beautiful, lyrical language. 'I am not concerned with the single life, but with lives together,' wrote Woolf in an early draft. In her essay Modern Fiction, Woolf argued that the task of the novelist is to evoke the same chaos that governs life: to 'record the atoms as they fall upon the mind'. With The Waves, Woolf created a form which would convey her characters' experience, thoughts and impressions as if in real time, tracing 'the infinite loneliness of human beings' while also gesturing at the possibility of community. Sign up to Bookmarks Discover new books and learn more about your favourite authors with our expert reviews, interviews and news stories. Literary delights delivered direct to you after newsletter promotion Any collection of Woolf's short essays will be full of gems. I love The London Scene, full of sparkling observations about the city which always energised her – its docks, its shops, its statues, its street life. Of her many essays on writing, Mr Bennett and Mrs Brown is a wonderful work of literary criticism and imagination, sweeping away the cobwebs from 19th-century realism and making the case for a new, and modern, approach to character. My favourite of all is Street Haunting, in which an excursion to buy a new pencil becomes an excuse to wander the city, gazing up into windows and imagining all the lives going on behind them. It's the perfect analogy for Woolf's own fictional method – the people-watching impulse she acquired when she first moved to Bloomsbury in 1904, and which never left her. 'Observe perpetually,' reads one of Woolf's last diary entries, quoting Henry James. Woolf was always fascinated by people, and her diaries are full of piercing insights into herself and others. Woolf loved reading diaries, and her own lurk somewhere between private and public writing. Woolf's diary was where she recorded Bloomsbury's debates, parties and conversations, unleashed critiques of her friends, charted memories, practised description, analysed her own flaws, and battled with the struggle of writing. She wrote in her diary to 'soothe the whirlpools' in her mind: entries are by turns introspective and expansive, personal and political. There are six volumes, covering (with some gaps and elisions) the years 1897 to 1941: they are worth reading slowly in full, and savouring. To the Lighthouse is perhaps Woolf's most personal novel – written in memory of her mother, who died when Woolf was 13, and childhood summers spent in St Ives, Cornwall. Through the eyes of the Ramsay family and others in their orbit – including the artist Lily Briscoe, one of Woolf's most memorable characters – Woolf explores the passage of time, the nature of creation and the pain of loss.
