Latest news with #Goosebumps
Rhyl Journal
25-05-2025
- Sport
- Rhyl Journal
Relief, euphoria and pride – Nathan Jones revels in Charlton's play-off win
Macaulay Gillesphey scored the only goal of the League One play-off final against Leyton Orient at Wembley that saw Charlton return to the second tier after a five-year absence. Gillesphey curled home a superb free-kick in the 31st minute to seal a 1-0 victory over their London rivals, to the delight of around 40,000 Charlton fans in a crowd of 76,193. Jones, who took charge of Charlton in February 2024, said: 'It's a massive relief, the euphoria and masses of pride. 'We're Charlton and I'm proud of that.' ❤️ Goosebumps. #cafc — Charlton Athletic FC (@CAFCofficial) May 25, 2025 'We've given it to a club that was going backwards and we had to arrest that before we could take it forward. 'It's not just the results that have got us to the Championship, it's the way we've done it. How we built and galvanised the football club and got everyone back to believing that Charlton can be a great club again. Because it is a great club with great people throughout. 'I'm just so proud of the football club, everyone, the fans. We had 44 or 45,000 fans here. The owners were here today, they bought a shell of a club and now they are seeing something totally different. 'You cannot quantify the amount of work that has gone on. Every single sleepless night, phone calls on holiday, the number of times I've slept at the training ground and my family have had to sacrifice not seeing me. 'The players have worked incredibly hard, they've had to sacrifice a lot, they had to put up with me demanding and demanding and that's not easy at times.' 🏆 Congratulations to @CAFCofficial, your 2024/25 #SkyBetLeagueOne Play-Off Final winners! #EFLPlayOffs | #StepUp — Sky Bet League One (@SkyBetLeagueOne) May 25, 2025 Orient boss Richie Wellens, meanwhile, was philosophical as he now plans ahead for next season's League One campaign, admitting they probably are not yet ready for Championship football. 'It was a cagey affair,' he said. 'I thought we had the better of the possession and had control but when you start like we did, and it was cagey from both teams, and then a moment goes against you, it's difficult. 'But we had enough time after that to pull it round and I thought in stages, we played some good football. 'But it was one of those games when nothing really happened but a free-kick went in that probably shouldn't have gone in. Maybe the position of our goalkeeper was not right but everyone makes mistakes. Hear from Richie Wellens, following today's play-off final defeat at Wembley Stadium. Full interview 👇#LOFC #OneOrient — Leyton Orient FC (@leytonorientfc) May 25, 2025 'Are we ready to go up to the Championship? We would have gone up today had we won but are we ready as a club? We probably need more time. 'I don't think we crossed the ball enough in the last 25 minutes, I thought that just before we had the interruption with the VAR problem that we had the momentum and we looked like we were about to score. 'We are a growing club and yes it's disappointing to lose but I'm more gutted that I probably won't be able to work with some of our exciting young loan players again. 'Look at Charlton, they are a big club, big stadium and all the facilities in place and they are ready to go up to the Championship.'
The Irish Sun
21-05-2025
- Entertainment
- The Irish Sun
Lizzie McGuire fans are losing their minds after realising what heartthrob Paulo looks like 22 years after the hit film
YANI Gellman stole millions of hearts across the world when he played Paolo in the Lizzie McGuire Movie. But now, 22 years after the hit film, the 3 Yani was catapulted into the spotlight thanks to his role as the handsome Italian popstar in the Lizzie McGuire Movie Credit: Alamy 3 It's been more than two decades since the actor stole millions of hearts across the world Credit: Alamy 3 The actor, now 39, looks unrecognisable, sporting a stubble and shorter hair Credit: instagram/Yani Gellman Born in the US, Yani was catapulted into the spotlight thanks to his role as the handsome Italian popstar who convinced Both Lizzie and the audience fell in love wit Yani's sweet smile, swept hair and charming Italian accent - which is why when he turned out to be a fake at the end of the movie was particularly shocking and heartbreaking. The Disney hit movie, which premiered in 2003, was a huge staple in millions of childhoods, and despite the twist ending, it's safe to say that Paolo was a But what does he look like now? Well, Yani has most certainly grown up over the last two decades. read more on celebrities Recent Instagram photos show that the actor, now 39, is rocking some Yani made his acting debut back in 1998 in an episode of the show Animorphs. After that, he landed a bunch of small roles in shows like Goosebumps, The Famous Jett Jackson, Blue Murder, and Mentors. He also starred in the movies Urban Legends: Final Cut, Jason X, Boss of Bosses, and The Matthew Shepard Story. Most read in Celebrity In 2002, he landed the lead role in the TV series Guinevere Jones. However, his big break came in 2003 when he was cast as Paolo in 00s TV heartthrob, now 69, looks unrecognizable from hot cop character as he's spotted years after hit show canceled In addition to Hilary, now 37, it also starred Adam Lamberg, Robert Carradine, Haille Todd, and Jake Thomas. The movie grossed $55.5 million - £43million - at the box office and made him an international star. After the huge success of The Lizzie McGuire Movie, Yani went on to act in the show Wild Card, the Canadian series Monster Warriors, CBS' The Young and the Reckless, the popular drama series Pretty Little Liars, and CW's 90210. In more recent years, the actor appeared in the horror film 47 Meters Down, the TV movie A Bestselling Kind of Love, and Apple TV's Departing Seniors. Over the years, Yani has spoken positively of The Lizzie McGuire Movie, which made him famous. Back in 2023 on the 20th anniversary, he posted an emotional tribute to his Instagram, writing: ''This week marks the 20th anniversary of the premiere of The Lizzie McGuire Movie. ''This film has meant more to me than words can say ... [Here's] to the best community of fans and supporters anywhere - thank you for an amazing run. This truly is what dreams are made of.'' He also told ''I think a reboot would be fun,''he said. ''I think a reboot with some sort of like shout outs to the generation of actors beforehand would be fun. ''But then I also think that there's potentially even a bit of a story there about like what happens to these characters after this trip.'' The actor added: ''I've always felt that Paolo had a heart bigger than what he kind of showed in those moments. ''The character would love a chance at redemption. So you know I would definitely be open to considering that if it came around. ''But no matter what, I think the movies and the TV show that are still out there kind of really appeal and relate to like even today's audiences, so whether they make another thing or not, this world kind of lives on and people still enjoy it.'' One fan recently commented under ''Hi there handsome,'' another fan shot their shot. ''Sing to me Paolo,'' someone else chuckled.
The Independent
21-05-2025
- Entertainment
- The Independent
Goosebumps author reveals which book in the series is ‘really bad'
Prolific novelist R.L. Stine knows that not every book can hit the mark, including his own. The 81-year-old author, known for writing teen horror titles, has admitted he has some 'really bad' books in his best-selling Goosebumps series. 'They can't all be great,' Stine acknowledged in a new interview with People ahead of the Netflix premiere of Fear Street: Prom Queen , an adaptation of his 1992 book of the same name. 'There's an early one called Go Eat Worms! — it's a terrible book,' he said of the 21st title in his classic, best-selling saga. Published in 1994, Go Eat Worms is about a worm-loving boy named Tom, who enjoys torturing his sister with the slimy animals. That is, until they start appearing in places they shouldn't, like in his homework and meals. It would later be adapted into a season two episode of the original Goosebumps TV series, which aired on the Fox Kids Network from 1995 to 1998. Netflix is releasing a new adaptation of R.L. Stine's book 'Fear Street: The Prom Queen' (Getty Images) Throughout his decades-long career, Stine has published over 300 books. He began writing under the pen name Jovial Bob Stine, releasing his first novel in 1978, titled How to be Funny . After coming out with several more titles, including Complete Book Of Nerds (1980) and Don't Stand in the Soup (1982), he eventually transitioned into writing under his real name in 1986, with his first novel, Blind Date . By 1989, Stine had launched his Fear Street series, which is made up of a total of 51 books. The Prom Queen is the 15th novel in the series, and follows five beautiful Prom Queen candidates at Shadyside High, who are brutally murdered one by one. Netflix's new film, based on the book, stars India Fowler (Lori Granger), Fina Strazza (Tiffany Falconer), Ella Rubin (Melissa McKendrick), Ariana Greenblatt (Christy), and Ilan O'Driscoll (Linda Harper) as the five leads. Directed by Matt Palmer, Fear Street: Prom Queen debuts on Netflix on Friday. The streamer's release is just the latest in a string of screen adaptations of Stine's work. So far, there have been several feature films made based on his work, including 2015's Goosebumps and its 2018 sequel, Goosebumps 2: Haunted Halloween , both of which starred Jack Black as Stine; the Mostly Ghostly movie series; and 2023's horror comedy Zombie Town. In 2021, Disney also released a one-season series, Just Beyond , based on Stine's popular multi-book series.
Yahoo
19-05-2025
- Entertainment
- Yahoo
Columbus-born author R.L. Stine talks 'Goosebumps,' Netflix films, more
Despite his ability to raise your neck hairs and induce nightmares, R.L. Stine is not a scary guy. In fact, the Columbus-born author who made "Goosebumps" a household name in the 1990s never aspired to become a master of horror. "I never planned to write scary books. I was always funny rather than scary," Stine said during a recent chat with The Dispatch. Stine's childhood goal was to be a cartoonist. Unfortunately, reviews of his work by his buddies were less than stellar. "My friends said, 'Bob, your drawings suck,'" he recalled. Instead, the author said he "became the 9-year-old weird kid in my room typing my stories." If Stine's zany sense of humor is a surprise, you probably never encountered the work of Jovial Bob Stine at a Scholastic book fair as a kid. Under that moniker, he created and wrote for Bananas magazine, the wackier, teen-targeted cousin of MAD magazine. Bananas was spawned from the powerhouse Scholastic children's magazine Dynamite, for which Stine also had written. A conversation with Jean Feiwel, then editorial director at Scholastic, steered Stine away from the hilarious to the horrifying. "She was angry at a guy who wrote teen horror and said she was never working with him again. She said to me, 'You could write good horror. Write a teen horror novel called 'Blind Date,'" Stine recalled. The 81-year-old author said he wasn't deterred by his unfamiliarity with the genre. "I never said no to anything, so I said, 'Yeah, sure,'" he said. "I wrote 'Blind Date' and it came out a No. 1 bestseller. I'd never been on the list with my funny stuff before. I've been scary from then on." That was 1987. Two years later, Stine launched "Fear Street," a successful series of teen slasher novels. Then, in 1991, his wife and editor, Jane Waldhorn, challenged him to write for even younger fans of terrifying tales. Though an avid horror comic reader as a kid himself, Stine was reluctant. But thumbing through the TV Guide one day, he came across a word he thought would make a great series title: "goosebumps." "Goosebumps" took off like a shot in 1992, really putting Stine's name on the literary map. At the series' peak of popularity, the writer was churning out a book every month for nearly five years. "I was writing a 'Goosebumps' every month and 'Fear Street,' so I didn't get out much. I have no idea how I had the energy for that," Stine said. "I'd been writing for 20 years and nobody really noticed. To have that incredible success was so exciting." "Goosebumps" has sold more than 450 million copies in 35 languages, making it the second highest-selling children's book series in history, after the "Harry Potter" saga. Aimed at a tween audience roughly 9 to 12 years old, the books have inspired films, TV shows, video games, toys and more. Even the Columbus Crew will be sporting neon-accented secondary uniforms honoring "Goosebumps." Putting the 'BOO' in 'books': 10 horror authors pick the scariest books Stine has been a regular on bestsellers lists, not only for "Goosebumps," but other series including "Rotten School," "Mostly Ghostly," "The Nightmare Room," "Dangerous Girls" and "Fear Street." Netflix released a trio of original movies in July 2021 based on the first three installments of "Fear Street." The high school horrorfest will continue with "Fear Street: Prom Queen," scheduled for release on May 23 of Netflix. Stine said he feels flattered and grateful for the attention to his work, though he was surprised by the movies' R rating. "I love having the movies made. It's a wonderful thing. I have to admit I was shocked because they're R-rated. Even my life isn't R-rated," he said. "I was really shocked because they have heightened scares in the movies. 'Fear Street' is about teens and terror. Why do people like it so much?" One would think a writer as prolific as Stine, who's penned more than 350 books, must have a meticulously detailed writing process and a vast database of stories in his brain. One would be mistaken. "My main talent is thinking of titles. I always think of the title first. When I get a good title, that leads me to the story. I'm backward from most authors," he said. An example is the book Stine just finished writing, "One Night at Camp Bigfoot," the sixth entry in the "Goosebumps: House of Shivers" series, due out in early March 2026. Need your next read?: 15 new releases you can check out right now While he didn't pursue that cartooning gig, Stine was nonetheless impacted by the comics he devoured as a boy. "When I was a kid, there were great horror comics like 'Tales from the Crypt.' I loved them; they were very influential. They were these gruesome, horrible stories, often with funny endings," he said. Other than comics, Stine said he wasn't much of a reader until a librarian introduced him to the writing of Ray Bradbury. "It was so beautiful, so imaginative. His stories all had twist endings. It changed my life and turned me into a reader, thanks to her," he said. Though his pace is less frenetic than these days, Stine is hardly out of the game. He still tours and the books keep coming, along with movies and TV shows. Recent offerings include the March release of "Say My Name! Say My Name!" and a graphic novel, "The Graveyard Club: Fresh Blood," which came out in April. In fact, before "One Night at Camp Bigfoot," another installment of the "House of Shivers" collection called "The Last Sleepover" is set to arrive on Aug. 5. A reboot of "Goosebumps" was released on Disney+ and Hulu in 2023. Instead of the episodic format of the first series in the 1990s, the newer show's storylines change from season to season. The series' second season, "Goosebumps: The Vanishing," premiered in January and stars David Schwimmer. Reflecting on his career trajectory, Stine is appreciative, if still a bit in awe, of the love readers have expressed for him and his books. When asked to describe his life, he summed it up in one succinct word: "Lucky." Entertainment and Things to Do reporter Belinda M. Paschal can be reached at bpaschal@ This article originally appeared on The Columbus Dispatch: R.L. Stine on 'Goosebumps,' Netflix films and growing up in Columbus
Yahoo
15-05-2025
- Entertainment
- Yahoo
Should Children's Literature Have Rules?
This is an edition of Time-Travel Thursdays, a journey through The Atlantic's archives to contextualize the present. Sign up here. Shortly after the end of the Civil War, the writer Samuel Osgood considered one question above all others: 'What shall we do with our children?' More specifically, how should we 'train and teach them in body and mind, by schools and books, by play and work, for that marvellous American life that is now opening to us its new and eventful chapter in the history of man?' He had plenty of reason to wonder. Children's literature was a burgeoning genre, and public libraries, which hadn't existed in America until the 1850s, wouldn't include children's sections until four decades later. Fast-forward through time—and The Atlantic's archives—and the question of what children should be reading has become a constant refrain. In 1900, the children's author Everett T. Tomlinson observed that a 'demand of the young reader is for action rather than for contemplation … Analysis and introspection are words outside his vocabulary.' In 1902, the librarian Hiller C. Wellman was convinced that a novel could irrevocably change a child's morals: 'If in a book—as sometimes happens—trickiness and deceit are exhibited as excusable or 'smart,' his ideal of honor is exposed to serious injury.' Should kids be offered only fairy tales and fables? Can they handle Shakespeare? Would teenagers be more inclined to pick up the classics if their covers teased sex? How much horror can they take? And what's the difference between education and entertainment anyway? In 1888, the librarian C. M. Hewins argued that the last thing adults should do is oversimplify stories for children; they'll 'know nothing in later years of great originals' if they start out reading watered-down tales. Wellman, a decade-plus afterward, insisted that children's books should impart on kids 'the standards of right and wrong.' More than a century later, the Goosebumps author R. L. Stine would refute the notion that there should be any rules at all for kids' literature. 'Adults are allowed to read anything they want. Adults don't have to have characters learn and grow. Adults can read all kinds of trash and no one criticizes them. Why do kids have to have that?' he told my colleague Adrienne LaFrance in 2018. 'I thought it would be great to write a bunch of kids' books where no one learns and no one grows.' The result, for Stine, has been a massively successful series of novels that has spawned a hit show and multiple film adaptations. Popularity doesn't indicate approval from children and adults alike, of course—even some of the most acclaimed titles have been subject to scrutiny, with the number of banned books ballooning year over year. When a Virginia school board added The Handmaid's Tale to a list of titles to be removed, Margaret Atwood echoed Stine's sentiments about the strict limitations set on kids. 'Should parents have a say in what their kids are taught in public schools? Certainly: a democratic vote on the matter,' she wrote in 2023. 'Should young people—high-school juniors and seniors, for starters—also have a say? Why not?' In the meantime, kids are reading less. A 2020 study revealed that the number of children reading for fun had hit its lowest point since 1984, and reading skills are on the decline across America. Many factors could be behind this slump, including demographic shifts in schools, education-policy changes, and the rise of smartphones and screen time. But one of the most compelling explanations, according to the children's author Katherine Marsh, 'is rooted in how our education system teaches kids to relate to books.' She detailed one educator's suggestion for third-grade English teachers following Common Core requirements: to first walk students through the difference between nonliteral and literal language, and then have them read a passage from Amelia Bedelia, the classic series in which the protagonist takes everything literally. Afterward, the students would answer written questions. 'The focus on reading analytically seems to be squashing that organic enjoyment,' Marsh explained. 'Critical reading is an important skill … But this hyperfocus on analysis comes at a steep price: The love of books and storytelling is being lost.' Perhaps, in order for children to fall back in love with reading, adults have to get out of the way—a conclusion Osgood reached himself, all the way back in 1865. He argued that understanding children requires taking them seriously, and that a developing mind isn't necessarily a weak one. The best children's books must present stories and images that 'the young reader's mind can easily appreciate and enjoy,' he wrote. But at the same time, why not also introduce children to the best writers 'and their earth and heaven of earthly sense and starry wisdom'? Now there's a question to ponder. Article originally published at The Atlantic
