Latest news with #Trans
Daily Record
07-07-2025
- Sport
- Daily Record
Incoming Hearts star in awe of Jamestown transfer brilliance as he sets his sights on Premiership golden boot
Deals for Pierre Landry Kabore and Sabah Kertoja are agreed with the pair due in Edinburgh for their medicals this week Incoming Hearts signing Pierre Landry Kabore doesn't know how the club found him but sees no reason why he can't become Scotland's top scorer and fire himself to England. A deal is agreed for the Burkina Faso international, who is set to leave Estonian club JK Narva Trans while the Jambos will pay Italian fourth tier outfit a fee of £120,000 for Albanian winger Sabah Kerjota. Both are set to undergo medicals in Edinburgh this week and could feature in Saturday's Premier Sports Cup group stage opener against Dunfermline at Tynecastle, pending successful work permit hearings. Kabore can play out wide or up front and has bagged 12 goals in 15 league games for Trans. It's the type of signing the capital club's use of Jamestown Analytics has now made possible for Derek McInnes and even if the player himself isn't exactly sure how the Tynecastle club landed on him, he has big ambitions and is already looking beyond Gorgie. "I don't know how they found me,' he told the Estonian media in Estonia. 'I have to express a huge thank you to my agent. I'm very happy that I had the opportunity to make a step up from the Estonian Premier League. 'I will continue working there, hoping to go even further. Why not become the top scorer in the Scottish league and then move on from there? To England or France? I will take it step by step. I will miss Narva and Estonia. I started playing for Trans last season, but I feel like this team has become a family for me. I wish the club all the best. It's sad to leave here, but it's a step that has to be taken. My ambition remains the same everywhere — I want to score in every possible game.' Trans boss Roman Kozuhhovski admits there's no way he could deny Kabore his move to Scotland after plucking him from SOL FC d"abodo in the Ivory Coast and he reckons Hearts are getting a vastly improved player from even the one that played last season. 'If Kabore leaves, I can only be happy for him,' said Kožuhhovski. 'I'll tell you why. Yes, we're losing a quality player who has developed tremendously. If you compare Kabore from last season to this year, they're two completely different strikers. I don't want to hold anything back, we've worked a lot with our coaching team on him. Kabore deserves to progress in his career. 'This is also a sign to other players that it is possible to go abroad from this club. This is not only good for Trans, but for the entire Estonian Premier League. "I wished Kabore a happy birthday. I wrote that because of him I became 10 years older, because at times my nervous system couldn't handle it. He laughed about it. Of course, I'm glad that I managed to work with such a player.' You can get all the news you need on our dedicated Rangers and Celtic pages, and sign up to our newsletters to make sure you never miss a beat throughout the season. We're also WhatsApp where we bring all the latest breaking news and transfer gossip directly to you phone. Join our Rangers community here and our Celtic community here.
Daily Record
05-07-2025
- Daily Record
Trans killer moans "human rights breached" over leaked recording of her cracking joke
Life prisoner Sophie Eastwood has raised the matter as a breach of human rights – specifically to hers and the guard's right to privacy – and called for him to be allowed to return to work, and his female colleague disciplined. A Trans killer has moaned that her human rights were breached after a security guard secretly recorded her sharing a joke with his colleague. Life prisoner Sophie Eastwood has raised the matter as a breach to hers and the other guard's right to privacy. The guard recorded talking to her has since been sacked as she calls for him to be allowed to return to work and for the colleague who took the recording to be disciplined. Eastwood, 39, has been in Wishaw General Hospital since August last year because a fissure in her small intestine, caused by swallowing razor blades during a bout of poor mental health, left her unable to eat and drink normally. She has been kept in hospital where Total Parenteral Nutrition (TPN), which gives her the nutrition she needs intravenously, has been administered to keep her alive while senior medics assess whether an operation might be possible. GeoAmey, the company that manages prisoner transfers between jail and court and also hospital visits and stays, has had two guards with Eastwood, who is cuffed and chained to one of the guards, 24 hours a day. Eastwood told the Record: 'As a prisoner, people have power over me and might find a way to punish me for speaking out, but this is so unfair I feel I have to. 'The guy who was suspended is very good at his job and is liked and respected by everyone, and all his colleagues are really gutted for him, but they can't influence what happens to him. 'I've had a wide array of guards watching me over the past ten months or so, and he was one of the best. 'He is friendly while making it clear he is in charge and he has been with GeoAmey for many years. 'He was on duty on the night of May 21 into May 22 with a female colleague who I also thought I knew. 'Throughout her shift, she was nipping out for five, ten minutes, and I assumed it was toilet breaks or breaks to have a cigarette or a vape. 'But it turned out that she was leaving her mobile phone behind and, obviously without our knowledge or consent, was leaving it to record our conversations. 'We learned she had handed the recordings over to GeoAmey managers at the Bellshill headquarters. 'There was nothing that I recall that should have been a disciplinary matter. 'At one point, I think because we thought she was going out for a vape, we joked about a previous incident where I had my room and bathroom searched for vapes – I didn't have any - and it was reported in the Record. 'It seems a guy with many years' service, who is really good at his job, has been suspended for having a joke with a prisoner.' It has long been established that covert recordings, even of active criminals planning an operation, are not legal and cannot be used as evidence in court without consent, or a warrant from a sheriff has allowed it in the public interest. Eastwood said: 'Nothing we discussed would have been of any interest to the public, and we didn't know we were being recorded so how is this possible?' She added that she knew the names of both security guards involved but was not sharing them out of respect for their privacy. Earlier this year Eastwood had her TPN withdrawn following a crisis in her mental health. The unexpected death of her father led to her attempting to self-harm with scissors and a razor blade. She had the life-saving treatment restored after the Record highlighted her fears that she had been left to die. She now awaits a decision on whether an operation that would allow her to eat normally might be attempted. If successful, this would see her returned to prison. Eastwood is serving life for the murder of cellmate Paul Algie, 22, in 2004, in Dumfries Young Offenders Institution when she was just 18 and still living as Daniel Eastwood. Eastwood was close to being released from prison for driving offences when she committed the murder, which she says she regrets every day and will regret until her own death. Ordered to serve a minimum 15 years at the High Court in Glasgow, she has now served more than 20. If an operation were successful, she would almost certainly be returned to Glenochil Prison, where she became seriously unwell after being moved back to the male estate having spent many years among female prisoners. This followed the farce at the start of last year around the rapist Adam Graham, who declared while facing two rape charges that he was transitioning to female and wanted to be known as Isla Bryson and serve his sentence in a female jail. The political fallout from that case led the SPS to review its management of all trans prisoners, and some were moved back into prisons that aligned with their gender at birth. Eastwood had previously been bullied and assaulted by male prisoners after starting to transition in 2017 and was terrified to be back among them. A GeoAmey spokesperson said: 'All allegations regarding staff conduct are subject to internal investigation. 'It would not be appropriate to comment further at this time.'
Toronto Star
29-06-2025
- Politics
- Toronto Star
In photos: Thousands take to the streets at annual Trans March to kick off Toronto's Pride weekend
Thousands of people take to the streets to stand up for Trans rights during the annual Trans March. Nick Lachance/ Toronto Star
Yahoo
11-06-2025
- Entertainment
- Yahoo
Two Lost Exploitation Films from Trash-Cult Favorite Andy Milligan Will ‘Re-Premiere' at Tribeca
'It's so funny to me that Andy Milligan has become this great cult figure,' Laura Shaine Cunningham told IndieWire. To Cunningham — an author and playwright who describes her stint in Z-grade movies as 'a totally aberrant episode in my life' — Milligan was a sadist with a reddish beard who did his best to ruin her good time while shooting a movie on a derelict farm outside Woodstock, New York, in 1965. 'He was prolific, but not talented,' she added, a common sentiment even among Milligan's most passionate defenders. And Andy Milligan does have a cult, a small but devoted subgroup fascinated by the contrast between the cracked auteurism of his films and the callous commercialism of their production. 'These are true independent movies, and if you really are inclusive and you really want to spotlight independent filmmaking voices, then Andy Milligan needs to be there,' said Jonathan Penner, programmer at Tribeca Festival, where two Milligan films will screen on Friday, June 13. More from IndieWire Zoe Saldaña Says Her 'Emilia Pérez' Oscar Is 'Trans': The Statue 'Goes by They/Them' The Beautiful, Brutal Action of 'Predator: Killer of Killers' Milligan's films 'will move you,' Penner added. '[They] may not move you in the most pleasant way, which is OK. Not all art is nice. Andy Milligan was not a nice guy, and he didn't make nice movies. But they are near and dear to my heart, because horror movies in general are about fear and suffering and mortality, and Andy made movies about the darkest shit in humanity.' A once-promising independent filmmaker and gay Off-Off-Broadway pioneer, Milligan sold his soul to 42nd Street in the mid-'60s. He did so by joining up with producer William Mishkin, who would provide Milligan with small sums of money to churn out one-take wonders — horror movies and sexploitation pictures, mostly — that ran continuously in grindhouses until the prints wore out. Then, they were thrown away. 'They were considered orphans that nobody cared about,' Jimmy McDonough, author of the Milligan biography 'The Ghastly One,' said. 'Mishkin in particular cared very little about his legacy,' McDonough added. 'He saw it as all very contemporary stuff that you worked to death at the time. Maybe a few more years passed [when] you could get it into a drive-in and fool people into thinking it was in color.' Then Mishkin's son, Lou, took over the business in the mid-'80s. So the story goes, after an interview with Fangoria, where Milligan complained about him, Lou destroyed the remaining films out of spite. 'Melted down for the silver content,' as Severin Films researcher Todd Wieneke put it. As a result, many of the films Milligan made for the Mishkins are now considered lost. But Wieneke kept looking, and after years of searching, he discovered two previously unseen Milligan films, 'The Degenerates' (1967) and 'Kiss Me! Kiss Me! Kiss Me!' (1968). Both were found in Europe, where it's common for unclaimed materials to be sent to national archives when a film company goes into receivership, a practice Wieneke credited to the 'deeply entrenched film cultures' in these countries. 'Kiss Me! Kiss Me! Kiss Me!' was originally shipped to the Netherlands as part of a package of Mishkin films. This particular title, a hysterical New York apartment melodrama in the style of Doris Wishman, was a poor fit for the all-night theaters in Amsterdam's red-light district. And so it 'sat on the shelf, unscreened, not a single blemish on it,' as Wieneke said, for decades. It was eventually sent to the Eye Filmmuseum and kept, unlabeled, in its archive until it was finally catalogued in 2023. McDonough said that 'Kiss Me! Kiss Me! Kiss Me!' is 'the most mainstream of [Milligan's] exploitation pictures, certainly, and perhaps all of his strange pictures.' McDonough credits this to the fact that Milligan didn't write the film — Josef Bush, best known for the cheeky 1968 gay guide 'The Homosexual Handbook', crafted the script from Mishkin's outline. 'Mishkin really felt like this was his 'Star Wars,'' McDonough laughed. The film was a hit on 42nd Street, possessing a certain tawdry entertainment value. It's also a valuable time capsule: 'Kiss Me! Kiss Me! Kiss Me!' contains some of the only known footage of the Caffe Cino, the bohemian West Village coffee shop that nurtured Sam Shepard, Al Pacino, and Andy Milligan. 'The Degenerates,' meanwhile, resurfaced at the Royal Belgian Film Archive. This print's origins are murkier — Wieneke believed it 'fell into private hands' between its initial theatrical run and its rediscovery at the archive. It comes subtitled in French and Flemish, and like 'Kiss Me! Kiss Me! Kiss Me!,' it was restored by Severin Films after being scanned at the archives. The restorations are clean, but not too clean: Citing 'defects that are native to the print,' Wieneke said, 'sometimes you can fix things, but it's not aesthetically correct to fix them.' 'The Degenerates' is technically science fiction, although it plays more like a feverish blend of 'The Beguiled' and 'Faster, Pussycat! Kill, Kill!' 'It's very much in character with Milligan,' McDonough said. 'There's ranting, there's raving, there's poisonous family dysfunction, and total destruction at the end.' Cunningham sounded amused recounting her scenes in the movie, about a band of six women 'surviving in the post-apocalypse' on a dirt farm in Woodstock. 'I do remember running through the rain with a pitchfork … the whole thing was absolutely ludicrous,' she said. 'Everyone said [Milligan's] films were ungettable. As if they didn't really exist,' Penner said. This is especially true of his sexploitation pictures: The eternal popularity of the genre has ensured that Milligan's horror movies — with colorful titles like 'The Rats Are Coming! The Werewolves Are Here!' — have remained in circulation since the VHS era. But sexploitation is 'a pocket that's never going to be duplicated,' according to Wieneke. 'It's very much a product of its time and the carnivalesque characters who worked behind the scenes.' Penner will attempt to capture the atmosphere of old, gritty 42nd Street at 'That's TribecXploitation! The Andy Milligan Time Machine,' part of the festival's Escape from Tribeca sidebar. 'There's a secret history of the movies in New York, a really profound history on 42nd Street,' Penner said. 'These movies truly will take you back to a different time and place and filmgoing experience, which is very beautiful to me.' Both 'Kiss Me! Kiss Me! Kiss Me!' and 'The Degenerates' will 'world re-premiere' in the program, along with a selection of trailers and commercials meant to capture the look and feel of late-'60s New York. (The festival will also premiere a new documentary, 'The Degenerate: The Life and Films of Andy Milligan,' co-directed by Severin Films' Josh Johnson.) McDonough and Cunningham will make the pilgrimage, as well as Milligan players Natalie Rogers and Hope Stansbury. All will gather for a celebration of Milligan and the grindhouse film culture that made him — minus the street hustlers and discarded needles. 'The idea that we're showing his pictures at the Tribeca Film Festival … his ghost will be there cackling, madly, just laughing his ass off,'' Penner said. 'These movies sank below the bottom of the barrel, and we've fished them out.' For McDonough, who was close with Milligan in the years leading up to Milligan's death from AIDS complications in 1991, the homecoming is personal. 'I feel his presence on a regular basis,' he said. 'When I wrote ['The Ghastly One'], nobody wanted to hear about Andy Milligan … now Andy belongs to the world in a larger fashion. I'm just thrilled that he's finally being acknowledged as the idiosyncratic, unmatched talent that he was.' Asked if he thinks the ghost of Andy Milligan will be present at the screening, McDonough laughed: 'Wear your Kevlar vests is all I have to say. You never know how Andy might strike back — with a kiss, or something sharper.' 'That's TribecXploitation! The Andy Milligan Time Machine' will screen at the Village East by Angelika at 8 p.m. on Friday, June 13 as part of the Tribeca Festival. Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie Nicolas Winding Refn's Favorite Films: 37 Movies the Director Wants You to See
Yahoo
11-06-2025
- Entertainment
- Yahoo
‘Inside' Review: Guy Pearce Delivers Another Incredible Supporting Performance in Australian Prison Drama That Cuts Through All the Bull
The lower-security prisoners in Charles Williams' difficult but deeply penetrating 'Inside' sometimes pass the time by playing the trivia games that are printed on the packaging of their sweets. 'WHO AM I?' the text asks, before offering a series of clues about, say, a Brooklyn-born musician who got his first break when Bette Midler hired him as a pianist. Most of the characters in this decidedly grounded Australian prison drama are too young — and too many worlds removed — to know who Barry Manilow is, let alone guess his identity based on a handful of factoids. But that doesn't stop these men from trying, even if they spend every day of their sentences trying to separate their souls from the bullet points of their own biographies. Are they more than what they've done? The people they've hurt? The situations they were born into? We know they are. Not because they're human, and we have the natural grace to extend these murderers the courtesy of that recognition, but rather because this film wouldn't have any reason to exist if the answer to any of those questions was 'no.' The abundant power of Williams' debut feature — which stems from his experience growing up in an economically dispossessed Victoria town whose jail was like a second home for several of the men in his family — is rooted in the fact that 'Inside' never pretends otherwise. More from IndieWire Zoe Saldaña Says Her 'Emilia Pérez' Oscar Is 'Trans': The Statue 'Goes by They/Them' Two Lost Exploitation Films from Trash-Cult Favorite Andy Milligan Will 'Re-Premiere' at Tribeca This is not a story that labors to earn its prisoners their humanity. On the contrary, it's a story about how their clear and inextinguishable humanity is liable to become a prison unto itself. In the borrowed words of long-time inmate Warren Murfett (a bushy and brilliant Guy Pearce): 'The worst of men have a little bit of good in them, and that'll be their undoing.' Warren is quoting another inmate at the same time as he's mocking the way that some of his fellow convicts try to protect themselves with aphorisms, but some pearls of wisdom are worth carrying around in your pocket like a shiv at the ready. For a man with blood on his hands like Warren, it's that last mote of humanity that might prove to be his doom — the stubborn part of himself that still yearns for redemption, hopes for healing, and strives to make something more of himself before there's nothing left. It's the part of himself that 17-year-old Mel Blight (puppy-eyed newcomer Vincent Miller, wrenchingly credible in his first movie role) is already trying to stamp out by the time Williams' film begins to take shape around him. In his opening voiceover, which floats above the sort of glassy synth music that's meant to numb our judgment, Mel informs us that he was conceived during a conjugal visit when his father was in prison, and that his dad once told him that he was destined to wind up back behind bars. 'And he was right.' A broken home gave way to juvenile detention, and the violence that followed him there saw Mel transferred to general population — not unheard of in a country where kids as young as 10 can be locked away indefinitely. Now that he's inching toward parole, Mel's doing everything in his power to fuck it up. 'They want me to make a story out of it and pretend I've changed,' he says when asked to write a letter of contrition to the boy he beat to death in juvie. 'But I haven't changed. No one does, especially inside.' By 'inside' he means prison, but Williams' delicate script obviously intends for us to recognize that he means inside himself as well. If this film is able to afford such an explicit double entendre, that's because of how truthfully it grapples with the nuances of rehabilitation — with the crooked path these men are meant to walk from sin to salvation, and with the practical realities of returning to a world that may no longer have a place for them in it. Like so many of the people he meets in prison, Mel doesn't think he's worthy of being released. 'There's something broken inside of us,' he writes in one of his letters, and it's easier for him to own that spiritual dysfunction than to risk the heartache of failing to overcome it. That's a big part of the initial reason why Warren takes Mel under his wing: The kid is the perfect candidate to kill the most hated man in prison, whose bounty would be enough to pay off Warren's dire gambling debt. The target's name is Mark Shepard (a slack-jawed Cosmo Jarvis, who continues to be one of the most gifted chameleons in modern cinema), he became a national sensation when he was convicted for the rape and murder of a young girl when he was only 13 years old himself, and — after earning a transfer out of maximum security — he happens to be Mel's new cellmate. What separates Mark from the other two characters in this movie's core triangle is that he's evangelically convinced of his own absolution, to the point that he delivers Pentecostal sermons to the world's most hostile congregation. He even ropes Mel into playing the prayer room keyboard as he preaches. It's a little detail, but also one emblematic of the irreconcilable tension that 'Inside' would rather articulate than resolve; Williams often lingers on the image of Mel sitting focused at the piano, forcing us to guess whether the kid is starting to entertain the possibility of self-deliverance, or whether he's plotting how to stab the man at the pulpit. Of course, Mel's dilemma isn't so black-and-white, especially because offing a 'monster' of Mark's caliber might be the shortest possible route to getting right with God. 'Inside' eventually builds to a clear moment of choice for the sake of its own climax, but the vast majority of this movie is spent complicating its characters' logic rather than framing their choices as some moral binary. Not only do Williams and Jarvis conspire to rescue a mottled innocence from the recesses of Mark's tortured mind (a process that hinges on a truly shocking reveal), but Pearce's layered and wrenchingly humane performance eventually reveals Warren to be the heart of the film. That isn't because Warren evolves from the diabolical manipulator that he seems to be at the start of this story, but rather because we bear witness to how the character reframes himself as his greatest mark. He might tell Mel that breaking their cycles of violence is as foolish as thinking a different song might come on when you replay a tape, but some of his actions suggest otherwise, and the surrogate father role Warren assumes while coaching Mel towards another murder starts to affect the older man after he suffers a disastrous visit with his actual son during a brief furlough ('Babyteeth' breakout Toby Wallace is outstanding in the crucial one-scene role). The Joker-like shot of Warren sticking his head out of a car window on the way back to jail, his beard blasting against his face in the wind, is an unforgettably poignant snapshot of a man who's free from everything but himself. 'Inside' is a small and constrained prison drama, even by the inflexible standards of its genre, and yet Williams' debut is so replete with such moments of raw compassion that it almost invisibly accumulates a deep well of emotion — one that allows the film to feel much bigger than it looks by the time it arrives at its absolute knockout of a final scene. There are a few small cheats along the way, but 'Inside' is averse to didacticism and neoliberal heart-softening when it counts, and the power it achieves in the end is inextricable from the honesty with which it's earned. 'Who Am I?' is a mystery that none of these characters may ever be able to solve for themselves, at least not with the certainty of a trivia game on the back of a candy wrapper, but to watch them look for the answers in each other is enough to convince us that the question is always worth asking. 'Inside' screened at the 2025 Tribeca Festival. Quiver Distribution will release it in theaters on Friday, June 20. Want to stay up to date on IndieWire's film and critical thoughts? to our newly launched newsletter, In Review by David Ehrlich, in which our Chief Film Critic and Head Reviews Editor rounds up the best new reviews and streaming picks along with some exclusive musings — all only available to subscribers. Best of IndieWire The 25 Best Alfred Hitchcock Movies, Ranked Every IndieWire TV Review from 2020, Ranked by Grade from Best to Worst
