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Toronto Sun
30-05-2025
- Entertainment
- Toronto Sun
Can't stop talking about Netflix's bonkers ‘Sirens'? Join us
Published May 30, 2025 • 9 minute read Meghann Fahy, Julianne Moore and Milly Alcock attend the Netflix Premiere of Sirens at the Paris Theater on May 20, 2025 in New York City. Photo by Roy Rochlin / Getty Images for Netflix Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. Hey, hey: If you've perused Netflix at all in the past week, chances are you've encountered the new dark comedy 'Sirens,' starring Julianne Moore, Meghann Fahy and Milly Alcock as a trio of women locked in a battle of power and status on the fictional New England island of Port Haven. The streaming platform reported that the five-episode series debuted at No. 1 over Memorial Day weekend, which would explain all the buzz and fan theories floating around the internet. The other reason is a plot salad whose ingredients include: photographic blackmail, suspected cult activity, gruesome bird death and people falling off cliffs (both in real life and in their dreams). And more! This advertisement has not loaded yet, but your article continues below. THIS CONTENT IS RESERVED FOR SUBSCRIBERS ONLY Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. SUBSCRIBE TO UNLOCK MORE ARTICLES Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. REGISTER / SIGN IN TO UNLOCK MORE ARTICLES Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account. Share your thoughts and join the conversation in the comments. Enjoy additional articles per month. Get email updates from your favourite authors. THIS ARTICLE IS FREE TO READ REGISTER TO UNLOCK. Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account Share your thoughts and join the conversation in the comments Enjoy additional articles per month Get email updates from your favourite authors Don't have an account? Create Account Moore stars as Michaela Kell, an ambitious lawyer turned socialite who hires 25-year-old Simone DeWitt (Alcock) as a live-in personal assistant on the island estate she shares with Peter (Kevin Bacon), her husband of 13 years. Fahy plays Simone's older sister, Devon, who still lives in their hometown of Buffalo and tends to their father, Bruce (Bill Camp), who has early-onset dementia. Eventually, Devon shows up at the Kells' property looking for Simone. The DeWitt sisters had a rough upbringing, especially after their mom died, so Devon is stunned to discover her sister's new life of luxury. Audiences might be just as surprised by the show as a whole. Because while 'Sirens' has all the trappings of a prestige TV hit, it is also – how best to put this? – completely insane. Creator Molly Smith Metzler (Netflix's 'Maid') based the series on her 2011 play 'Elemeno Pea' and takes advantage of the expanded runtime. She leans into soap opera dramatics, all of which build to a jolting crescendo. This advertisement has not loaded yet, but your article continues below. This is the sort of show you'll want to discuss as soon as its bonkers finale fades to black, so we – Washington Post senior video journalist Allie Caren and Style reporter Sonia Rao – thought we'd get the conversation started. There are plenty of spoilers ahead, obviously, so don't say you haven't been warned. – – – Allie Caren: I'm a sucker for so many things in this show: ultra-wealth; sweeping, pristinely manicured oceanfront real estate; complicated family dynamics; and 'summering' in a coastal town. What's not to like? Sonia Rao: 'Sirens' certainly belongs in the thriving genre of rich people doing silly rich people things, similar to HBO's 'The White Lotus' and 'Big Little Lies.' At times, it can feel like a counterpart to Hulu's 'Nine Perfect Strangers,' especially when Devon starts to believe – deep breath – that Michaela a.k.a. Kiki somehow killed Peter's ex-wife and is now the leader of a spiritual cult that ends each meeting with a strange phrase: 'Hey, hey.' Rich people, cults, luscious aesthetics – it sort of comes off as an SEO dump of what makes for a popular TV show these days. Not to say it doesn't have its merits, but … didn't Nicole Kidman already make this? Your noon-hour look at what's happening in Toronto and beyond. By signing up you consent to receive the above newsletter from Postmedia Network Inc. Please try again This advertisement has not loaded yet, but your article continues below. AC: There are definite similarities between 'Nine Perfect Strangers' and 'Sirens,' down to the significance of something as small as a smoothie. In the former series, Masha (Kidman), the director of a remote healing resort, micro-dosed her guests' smoothies. Kiki, on the other hand, is much too preoccupied to take a single sip of the daily blends her personal chef, Patrice (Lauren Weedman), whips up. She waves it off in one scene like it wouldn't cost 20-something dollars at Erewhon. Hey, Patrice, I'll take it! SR: Julianne Moore was the main reason I decided to watch 'Sirens.' She so carefully navigated her performance in Todd Haynes's 'May December' as a Mary Kay Letourneau analogue married to a much younger man, and Kiki seemed similarly stubborn about sugarcoating her rather transactional marriage to Peter. We do learn as the show goes on, though, that Kiki is far more in touch with reality than she lets on. This advertisement has not loaded yet, but your article continues below. AC: Moore pulled me in, too. There are so many personas wrapped into her character: first, an emotionally unpredictable boss you're scared to cross but determined to please; second, a mysterious, witchy conservationist who finds purpose in using her wealth to help nature; and finally, your best friend, stand-in mom, confidante, running buddy and sometimes snuggle partner who comforts and consoles and protects you. Kiki has range. What did you make of Simone and Devon's relationship? SR: That was probably the most intriguing part of the storytelling for me, as one of two sisters with a similar five-year age gap who (thankfully!) grew up in a much happier household than theirs. Simone and Devon's mom died when they were young, numbing their father, Bruce, and forcing Devon to become Simone's primary caretaker. Bruce continues to emotionally abuse and neglect Simone once Devon goes to college, and child protective services eventually places Simone in foster care until Devon decides to abandon her studies and return home to Buffalo. This advertisement has not loaded yet, but your article continues below. It's brutal on both sisters, given that Simone suffers post-traumatic stress disorder and Devon feels like she never got to lead a life of her own. Simone's behavior early in the series makes sense to me – she yearns for a stable maternal figure and latches onto Kiki, who shows her kindness – but Devon is an enigma. I get that she coped by developing a sex addiction, which is only worsened by her attempts to abstain from alcohol, but I just cannot move past her licking a complete stranger's neck when he was trying to give her a platonic hug. And why is he so chill about her doing that? Devon is exceptionally weird and rude to everyone on the island, even people who never mistreated her in the first place. Fahy is innocent in all this. She and Alcock are really believable as sisters with resentments simmering just below the surface. I wish they'd received a stronger set of scripts. This advertisement has not loaded yet, but your article continues below. AC: Simone's PTSD dramatically affects her relationship with Devon, too. In fact, if you rewatch the series, you'll realize it's present before the viewer even learns about its cause: Their mother tried to kill herself and Simone by piping in fumes to their parked car. (Devon found Simone in time to get her help, but their mom died.) The sprints Simone makes on the stretch of beach between the Kell property and the home of her boyfriend, Ethan (Glenn Howerton), makes for good symbolism: Simone is constantly running from her past (and eventually, her present). She runs, more than once, on the sand along the water's edge between these two spots; rushing out of Ethan's home, racing across the sand, flying up four flights of stairs (plus landings! She must be a StairMaster queen!) before dashing across the Kells' expansive back lawn to reach the back door. (In fact, there isn't much of a 'runner's high' in this show at all: running is almost always associated here with negativity and racing – physically or figuratively – from someone, something or oneself.) This advertisement has not loaded yet, but your article continues below. SR: We should probably talk about the water, too. While Devon and Simone use the code word 'sirens' with each other as an SOS, it doubles as an allusion to the seductive female creatures in Greek mythology, whose voices lure sailors to their doom. Sirens are often thought of as mermaids, but they're sometimes depicted with the lower body of a bird – making Kiki's obsession with the animal all the more meaningful. Devon, Simone and Kiki are all alluring women who are, at different points, accused of leading men to their demise. AC: And Kiki has a mermaidlike appeal to her, doesn't she? With her porcelain skin, auburn hair, and flowy gowns and ensembles? Even the colors of her matching running sets fit the fin – er – bill. This advertisement has not loaded yet, but your article continues below. A majority of the other costume and wardrobe decisions are far less subtle. The only place I'd expect to find a larger collection of Lilly Pulitzer is a brick-and-mortar store or the Kentucky Derby. (Hope the brand got a kickback.) Costume designer Caroline Duncan shied away from quiet luxury and instead leaned in fully to the oversaturated, bright, preppy palettes so often associated with coastal towns. SR: Part of it might be my personal distaste for the Lilly Pulitzer aesthetic, but I found this show really hard to look at. Beyond the color palette, many of Kiki's scenes were blindingly bright – which, paired with a slight blur effect, is clearly referencing the mythological Sirens' hypnotic quality. But the Vaseline lens aesthetic is deployed inconsistently and kept making me feel like I needed to wipe some gunk off my glasses. Not to mention the fact that Devon is shot in some of the harshest lighting I've seen on TV since the last season of 'The Bear.' Again, I understand the symbolism, but the back-and-forth ended up distracting me more than anything. This advertisement has not loaded yet, but your article continues below. I'd love to hear your perspective, though. What did you think? AC: I was captivated by the over-lit, mesmerizing, dreamy effect of the close-ups especially. They force the viewer to be a bit uncomfortable – and I think that was the point. I also deeply appreciate a well-spent drone budget. Bravo to the bird's-eye look at Simone running on the beach (again and again and again) and to the closing shot of Simone reigning over her new domain in a silky, icy blue dress at the miniseries' end. The incredibly deliberate cinematography captures the beauty and excitement of late summer so well. It makes me want to book a trip to Bar Harbor, like, yesterday. SR: I'm absolutely with you there. The show takes place over Labor Day weekend, but it feels like such a blessing that it's coming out at the very start of the season for us. This advertisement has not loaded yet, but your article continues below. I'm not suggesting I'd want a long weekend resembling theirs, though. My jaw dropped at the finale, in which Simone – after breaking up with Ethan – decides to shack up with Peter, who sends Kiki packing the very same day. The seeds were planted for this crazy development: Kiki compares her marriage to a business transaction in an earlier conversation with Simone, who gets fired after Kiki discovers she kissed Peter earlier that weekend. Simone is a survivor who will clearly do whatever it takes to get out ahead, but I still don't find it believable that she would go after the husband of a woman she absolutely adored. She is supposed to have an undergraduate degree from Yale – can't she get a different well-paying job? This advertisement has not loaded yet, but your article continues below. Also, what's the deal with Peter's kids from his first marriage? There is an entire subplot where Kiki thinks Peter is cheating on her when, instead, he's spending time in secret with his estranged children, who apparently dislike Kiki. He announces they're coming to the estate mere moments before dumping Kiki and getting together with Simone – whom the kids would dislike even more, surely? I wish we got to see his two adult children meet his latest girlfriend. AC: The whole seeing-my-kids-and-new-grandson-in-secret thing was a forced subplot for me. You could have removed the cheating allegations, the chocolates 'from Tokyo' and the lying and instead filled it with the interactions you suggest. I would have even been happy to see the kids interact with Kiki before her demise. This advertisement has not loaded yet, but your article continues below. I honestly had no idea Kiki would end up the victim ('victim') in the end. I thought she'd begin the villain and remain so – maybe that's what they wanted me to think; maybe I just fell for it. SR: Yeah, I think that's the intention. Sirens are a mythical manifestation of men fearing women with power, and by the end of the show it's clear that Peter's nice-guy shtick is all a ruse. He can't stand the idea of Kiki holding anything over him and gets rid of her as soon as he senses her influence growing. I'm a little confused what the show wants us to think of Simone. She seems to be the ultimate villain in the finale, manipulating her way to the top, but Kiki ends up telling Devon on the boat leaving the island that neither she nor Simone are monsters. Is Simone truly a victim of circumstance? Surely there were other, more moral ways out of her situation. One of my friends told me from the very start of us watching this show that she was on Team Kiki. Maybe I should listen to that friend more. Crime World Olympics Sunshine Girls Toronto Raptors
Newsweek
19-05-2025
- Entertainment
- Newsweek
MrBeast's Team Responds to Mexico Drama: 'Unfortunate'
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. A spokesperson for MrBeast told Newsweek that it is "unfortunate" a video in which he explores ancient Mexican pyramids has become a "political issue." The video was criticized by Mexico's National Institute of Anthropology and History (INAH), which said that they had given MrBeast permission to film at the sites, but not to monetize the content or use it to advertise his products. Newsweek has reached out to the INAH outside regular working hours via email for comment. Why It Matters MrBeast, aka Jimmy Donaldson, is the world's most popular YouTuber, with 396 million subscribers on the platform as of reporting. On May 10, MrBeast uploaded a video titled "I Explored 2,000 Year Old Ancient Temples," where he explored ancient Mayan cities including Calakmul and Chichén Itzá in southeastern Mexico. MrBeast at the Love, Death + Robots—NY Special Screening at Paris Theater on May 13, 2025 in New York City. MrBeast at the Love, Death + Robots—NY Special Screening at Paris Theater on May 13, 2025 in New York Netflix After its release, Mexican President Claudia Sheinbaum requested clarifications on the conditions under which the permissions for the video were granted. Following this, the INAH shared an official complaint. What To Know The spokesperson for MrBeast said that it is "unfortunate that this has turned into a political issue." "This video, similar to the one of the pyramids in Egypt, was meant to highlight these treasured Mayan sites in Mexico." "No advertisement material was shot on any archaeological sites overseen by INAH so it is unfortunate that this has turned into a political issue. Hopefully it can lead to a productive dialogue and encourages people to visit these unique historical treasures." MrBeast wrote on X that he and his team "have great respect for the Mexican and Mayan culture and people." The complaint from the INAH said that though the institution was pleased by the interests of YouTubers and young people, they "strongly condemn" those who "take advantage of the good disposition of the institutions to violate the terms of the authorizations granted." They said that they were launching an "administrative lawsuit, against Full Circle Media, a firm they say worked with MrBeast. They said the permit issued to Full Circle Media, which they said is representative of MrBeast, "did not authorize the publication of false information or the use of the image of archaeological sites for private profit commercials." MrBeast also addressed the video in a post on X, where he said that his team had "filmed with full permits, followed guidelines, had representatives from government agencies following us, Mexican archaeologists to make sure we were accurate, AND representatives from the sites to ensure we were following the rules." The post which has been viewed 2.5 million times as of reporting, continued, "We are not and have never been sued by them lol. That is false and it saddens me to see people spreading lies." He added, "They were aware of us mentioning Feastables in the video but for respect of the sites, it was filmed off site from any national monuments. The dinner scene where I made the Feastables joke was not near any mayan temples." The 27-year-old also said that "behind the scenes we funded wells and water projects in the state, I've also been working with INAH on a fund to support local Mexican archaeology and new discoveries." What People Are Saying MrBeast, in a post on X: "I've seen a lot of stories about our recent video in Mexico and wanted to clear some false things being said. Me and my team have great respect for the Mexican and Mayan culture and people. We did this video to get people all over the world excited to learn more about their culture, much like we did with our Pyramids video." Layda Sansores, the Governor of Campeche on X: "We are deeply grateful to @MrBeast for visiting Calakmul and sharing the grandeur of our Mayan culture with the world … MrBeast's team acted at all times with utmost responsibility and respect toward our ancestral heritage." The National Institute of Archaeology and History in a social media statement: "The INAH condemns those with commercial interests and private profit purposes, who dare to deviate the value of archaeological sites, which are the legacy of our origin cultures and pride of our nation. The heritage of the nation, which is public by its nature, cannot be exploited by commercial enterprises. What's Next MrBeast wrote in his post to X, "I hope to go back someday and continue to share how awesome the culture is with the world."
Yahoo
15-04-2025
- Entertainment
- Yahoo
American Cinematheque's ‘Bleak Week' Expands to Seven Cities Including London, Sets Special Guest Robert Eggers – Film News in Brief
American Cinematheque's annual 'Bleak Week: Cinema of Despair' festival will expand beyond Los Angeles to seven cities across the United States and internationally to London in June. In addition to continuing operations at the Aero, Egyptian and Los Feliz 3 Theatres across Los Angeles, 'Bleak Week' will come to the Portland's Hollywood Theatre, Chicago's Music Box Theatre, Dallas' Texas Theatre, Minneapolis' Trylon Cinema, New York's Paris Theater, Boston's Coolidge Corner Theatre and the Prince Charles Cinema in London. Special guests including Robert Eggers and Todd Solondz will visit the Prince Charles Cinema and Paris Theater, respectively. More from Variety Al Pacino Celebrates 50th Anniversary of 'Dog Day Afternoon' With American Cinematheque Crowd, and Picks Surprise Favorite Roles From His Career How 'Nosferatu' Made Count Orlok's Arthritic Fingers, Prosthetic Penis and 'Red as Hell' Blood Pools 'Nosferatu' Director Robert Eggers Signs on for 'Labyrinth' Sequel Founded in 2022, the festival celebrates films that 'fearlessly plunge the depths of human despair.' The festival will begin in Los Angeles and Chicago June 1-7, then move to Portland and Minneapolis June 6-12. 'Bleak Week' heads to New York, Boston and Dallas June 8-14, before concluding in London June 15-21. As part of Bleak Week, Turner Classic Movies will present its own selection of 'bleak cinema' on June 2, including 'Make Way For Tomorrow,' 'Man of the West,' 'Cries and Whispers,' 'Breaking the Waves,' and 'The Seventh Victim.' Host Dave Karger will introduce the first three films of the evening. The Cannes Film Festival's American Pavilion has launched California Day, an 'immersive day of celebration and programming' dedicated to highlighting California's contributions to the global film industry. California Day will take place May 15 and feature keynote addresses, panels, and networking opportunities. The celebration is aimed at 'spotlight the state's role as a filmmaking hub and leader in entertainment innovation, celebrating its thriving creative scene and fostering international collaborations.' IndieWire will partner with The American Pavilion to program a keynote address discussing 'The Future of Filmmaking in California: Innovation, Creativity, and Global Impact,' with further speaker details to be announced. 'Our mission has always been to celebrate creativity and provide educational opportunities for the next generation of filmmakers by giving a platform to industry leaders and change-makers,' said American Pavilion founder and president Julie Sisk. 'This year, we feel it is important to honor California's unrivaled legacy in global entertainment. After several challenging years for the industry, dedicating a day to California is essential to spotlight its enduring impact and cultural significance in filmmaking.' The Association of Motion Picture Sound (AMPS) chair George Foulgham and vice chair Kate Davis announced the winners of the 2025 AMPS Television, Drama, Factual Film & Product Awards during a special presentation on April 13 at Greenwich University. The Television Drama and Factual Film category winners have also been nominated for the 2025 BAFTA Television Craft Awards. Voted on by working wound professionals, the AMPS awards honor technical and creative excellence across multiple disciplines. AMPS also awards Certificates of Merit to every creative team member who contributes to the winning soundtracks, a practice intended to recognize the 'collaborative nature of sound.' The winners of the 2025 AMPS Awards are: Excellence in Sound for a Television Drama 'Slow Horses' Excellence in Sound for a Factual Film 'Secret World of Sound With David Attenborough' Excellence in Sound for a Production Hardware or Software Product Sound Devices for A20-Supernexus Wireless Receiver Excellence in Sound for a Post-Production Hardware or Software Product Accentize for dxRevive Pro Best of Variety New Movies Out Now in Theaters: What to See This Week What's Coming to Disney+ in April 2025 The Best Celebrity Memoirs to Read This Year: From Chelsea Handler to Anthony Hopkins
Yahoo
31-03-2025
- Entertainment
- Yahoo
Timeline of key moments in New Mexico filmmaking
1898: Before the turn of the century, inventor Thomas Edison and a crew of filmmakers travel to Isleta Pueblo to make Indian Day School, believed to be the first documented film footage shot on location in New Mexico. The 30-second movie — over in a flash — represents an early and consequential moment in the state's cinematic history, offering a glimpse into the lives of people from another era. (copy) Saturday afternoon in front of Paris Theater, Santa Fe, 1945. Aug. 15, 1914: The grand opening of the Paris Theater, Santa Fe's first true cinema, is held on a Saturday in late summer. It features a screening of The Wrath of the Gods, a 56-minute movie directed by Reginald Barker with a Japanese cast portraying characters doomed by a cursed island volcano. The enormous success of the Paris Theater, at the time located at 123 W. San Francisco St., allowed for dramatic expansions in the Santa Fe amusement-house business. More movie houses would dot the downtown area in the years to come. Mix Tony (copy) Hollywood Western film duo Tom Mix and his horse, Tony, perform a stunt in 1923. Mix was known for his dangerous performances in films; according to newspaper reports, he once crashed through four floors on horseback. 1915: Tom Mix, the original cowboy film star of the silent screen, makes at least 20 short movies in and around Las Vegas, N.M., in fall 1915. Mix, a bold stuntman famous for flashing his smile and six-shooter, would go on to establish an American archetype that has endured for more than a century. 1940s and '50s: As the popularity of the Western genre soars, Gallup emerges as a filmmaking destination in the Southwest. The golden era of Western stars was good to the Western New Mexico town with its spectacular red canyons. Prior to automobile culture, trains were transit for filmmakers and actors — and New Mexico was no more than a night's ride from Los Angeles. All of that, plus the weather and other factors, made Gallup a center for Westerns in this period. John Wayne, Katherine Hepburn and Gregory Peck put in appearances. Starring Henry Fonda, The Grapes of Wrath (1940), partially shot in Gallup, was a highly successful film. 1969: Who could forget Easy Rider? The parade scene is filmed in Las Vegas, N.M., the jail scene in Taos. 3404623_pan Dennis Hopper, left, and Peter Fonda in Easy Rider. 1988: The Milagro Beanfield War receives mixed reviews, and it was unlikely a movie about a dispute over irrigation rights would top the box office. Plus, Young Guns comes out the same year. But the film, shot in Truchas, puts a great focus on the people of Northern New Mexico, its plot set into motion when Joe Mondragon illegally diverts water to irrigate his bean field, winning support from his neighbors who resent water policy that favors the wealthy. Directed by Robert Redford and based on the novel by John Nichols, it has considerable regional relevance and is beloved by many. PASA Beanfield Director Robert Redford on location in Truchas for The Milagro Beanfield War. 1988: Young Guns is a sensation in New Mexico, where its "Brat Pack" cast helped reaffirm the belief that major blockbuster films could be made in the state. Shot in Cerrillos, Ojo Caliente and Santa Fe, the film follows a pack of young gunmen on the New Mexico frontier, led by William Bonney, aka Billy the Kid, who sets out to avenge the grisly death of a rancher who had hired the young men. It's one of several influential movies about the legendary gunslinger made in the state. Others include Billy the Kid (1911) and Billy the Kid (1930). The poster for the film Young Guns. 1990s: In the early 1990s, during the administration of former Gov. Bruce King, the New Mexico Film Commission evolves into its present-day incarnation — the New Mexico Film Office. King, former Gov. Gary Johnson and former Gov. Bill Richardson are credited with helping to establish political support for the filmmaking industry in the Land of Enchantment. 2003: New Mexico becomes a pioneer with its film incentive program, the goal being to lure productions from Hollywood by offering a tax credit to film and television producers beginning in 2003. Other states and municipalities later follow suit. 4926899_BB_FinalEps.jpg A scene from Breaking Bad. The celebrated AMC antihero drama remains perhaps New Mexico's most prominent contribution to popular media. 2008-2013: AMC's hit series Breaking Bad is set in Albuquerque and sharpens the concept of film tourism in the state; the show is so popular, guided tours take visitors to filming locations around Albuquerque. With a large budget per episode, the drama about a high school chemistry teacher who turns to a life of crime later racks up 16 Emmy awards. The spinoff Better Call Saul (2015-22) follows. 2018: Netflix spends $30 million to purchase what was formerly Albuquerque Studios, which sat on 28 acres and included eight soundstages. In the years since, the company has created a massive complex consisting of a dozen soundstages, three mills, a production office, two stage-support buildings and two dedicated back-lot areas. Lauded by members of the industry and state officials, the move marks a major streaming company investing heavily in the state. 2021: In October, cinematographer Halyna Hutchins is fatally struck by a bullet fired from a gun actor Alec Baldwin is holding during a walk-through of a scene during the filming of Rust at a ranch in Santa Fe County. Baldwin is later charged with involuntary manslaughter in connection with Hutchins' death. But in 2024, state District Judge Mary Marlowe Sommer dismisses the charge against Baldwin during his trial after finding the state had failed to share all the evidence in the case with the defense. 071024 jw baldwin trial (copy) The court watches video of the scene being worked on when cinematographer Halyna Hutchins was shot and killed on the set of the movie Rust during opening arguments on the first day of actor Alec Baldwin's trial. Baldwin says he did not pull the trigger when the weapon went off, killing Hutchins. 2024: Dark Winds, a desert-noir drama about Navajo police in the 1970s and is based on the Leaphorn and Chee books by late New Mexico author Tony Hillerman and daughter Anne Hillerman, enjoys considerable popularity and at one point jumps to being one of the top 10 shows on Netflix. The series has been praised for bringing Native voices and actors to mainstream cable television. The landscapes of Northern New Mexico — the U.S. 84 corridor near Abiquiú, for example, and other locations in the Santa Fe area — feature prominently in the show.
