Latest news with #1987
Geek Girl Authority
4 hours ago
- Entertainment
- Geek Girl Authority
STRANGER THINGS: Netflix Announces Premiere Dates for Epic Final Season
Highlights Tudum 2025 unveiled a slew of Netflix-related goodies, including new info regarding Stranger Things Season 5. Stranger Things We now have three premiere dates for the highly anticipated final season. Additionally, Netflix shared a teaser trailer, which you can watch below. Stranger Things Season 5 Get ready for one final battle. Tudum 2025 is here, and with it comes a slew of Netflix-related goodies. Three years after Season 4 debuted on the streamer, we now have the official premiere dates — yes, plural — for Stranger Things Season 5. In addition, we have a new teaser trailer to give us a taste of what we can expect in the highly anticipated final season. RELATED: Everything Coming to Netflix in June 2025 Here's a synopsis per Netflix: 'The fall of 1987. Hawkins is scarred by the opening of the Rifts, and our heroes are united by a single goal: find and kill Vecna. But he has vanished — his whereabouts and plans unknown. Complicating their mission, the government has placed the town under military quarantine and intensified its hunt for Eleven, forcing her back into hiding. As the anniversary of Will's disappearance approaches, so does a heavy, familiar dread. The final battle is looming — and with it, a darkness more powerful and more deadly than anything they've faced before. To end this nightmare, they'll need everyone — the full party — standing together, one last time.' The Cast and Crew The new season stars Winona Ryder (Joyce Byers), David Harbour (Jim Hopper), Millie Bobby Brown (Eleven), Finn Wolfhard (Mike Wheeler), Gaten Matarazzo (Dustin Henderson), Caleb McLaughlin (Lucas Sinclair), Noah Schnapp (Will Byers), Sadie Sink (Max Mayfield), Natalia Dyer (Nancy Wheeler), Charlie Heaton (Jonathan Byers), Joe Keery (Steve Harrington), Maya Hawke (Robin Buckley), Priah Ferguson (Erica Sinclair), Brett Gelman (Murray), Jamie Campbell Bower (Vecna), Cara Buono (Karen Wheeler), Amybeth McNulty (Vickie), Nell Fisher (Holly Wheeler), Jake Connelly (Derek Turnbow), Alex Breaux (Lt. Akers) and Linda Hamilton (Dr. Kay). RELATED: Read our Stranger Things recaps Stranger Things hails from The Duffer Brothers, who executive produce under their Upside Down Pictures banner alongside Shawn Levy of 21 Laps Entertainment. Stranger Things Season 5 Volume 1 premieres on Netflix on November 26, 2025, with four episodes. Volume 2 debuts on Christmas Day with three episodes. Lastly, Volume 3 will take the world by storm on New Year's Eve with the finale episode. Expect each volume to release at 5 pm PST on the platform. Before you go, check out the teaser trailer below. New TV Shows This Week (May 25 – 31) Contact: [email protected] What I do: I'm GGA's Managing Editor, a Senior Contributor, and Press Coordinator. I manage, contribute, and coordinate. Sometimes all at once. Joking aside, I oversee day-to-day operations for GGA, write, edit, and assess interview opportunities/press events. Who I am: Before moving to Los Angeles after studying theater in college, I was born and raised in Amish country, Ohio. No, I am not Amish, even if I sometimes sport a modest bonnet. Bylines in: Tell-Tale TV, Culturess, Sideshow Collectibles, and inkMend on Medium. Critic: Rotten Tomatoes, CherryPicks, and the Hollywood Creative Alliance.
Irish Times
a day ago
- Entertainment
- Irish Times
The Names by Florence Knapp: what's in a name?
The Names Author : Florence Knapp ISBN-13 : 978-1399624022 Publisher : Phoenix Guideline Price : £13.99 Can a name shape one's destiny? Knapp's high-concept debut ponders this question with remarkable psychological nuance. The story begins in 1987 with Cora on her way to register her infant son's name, with her daughter Maia in tow. Cora's real concern is that she will 'formalise who he will become' based on what she names him. Her husband Gordon has instructed her to name the baby after him, to carry on the family's tradition. She fears that this would burden him with the abusive legacy of his namesakes. 'It feels like a chest-beating, tribal thing ... that will tie him to generations of domineering men.' She prefers the name Julian, which means sky father. Maia suggests Bear because it is 'all soft and cuddly and kind ... but also, brave and strong'. READ MORE This seemingly innocuous decision to name a baby is the sliding-doors moment in this novel that charts the destiny of this family in three alternate storylines. The chapters are spaced seven years apart and titled after each of the three names. Gordon is a reputable doctor but an abusive patriarch at home. The overarching theme of the three storylines is the repercussions of living under the fear of domestic abuse. In each storyline, guilt and trauma dominate the interior psychological landscapes of the three main characters – Cora, Maia and the boy. Knapp shrewdly weaves together three distinct permutations of this family's future into a single tapestry with perceptive insight. The narrative remains consistently emotionally engaging, which is no mean feat for a debut novelist. The story resonates on many levels. It depicts an evocative portrayal of children who grow up under the shadow of a narcissistic father, conditioning them to become hypervigilant and pander to authority. In a poignant moment, Cora observes this in how her nine-year-old daughter has learned 'to soothe, to placate' and is 'attuned to the undercurrents in a room'. In another devastating instance, the grown-up boy asks his sister Maia, 'Do you think Dad consumed me?' – a stark illustration of the tyranny of an abusive parent. The Names is an exquisitely layered story about the ripple effects of trauma and choices – and the legacy they leave behind.
Top Gear
23-05-2025
- Automotive
- Top Gear
Remembering classic games: RoadBlasters (1987)
Remembering classic games: RoadBlasters (1987) Inaccurate title aside, there was very little wrong with this Eighties classic Skip 1 photos in the image carousel and continue reading Turn on Javascript to see all the available pictures. Released by Atari in 1987, RoadBlasters was a sci-fi racer that recognised the arcade video game staple of shooting absolutely everything in sight could be handily applied to driving games as well. In addition to the traditional driving controls, you had a pair of triggers to fire lasers and thumb buttons to launch your special weapons. Rather than a steering wheel, the arcade cabinet, both in its upright and sleek sit-down incarnations, featured a yoke that was instantly evocative of Knight Rider's KITT. And if you played it at the time it was released you probably had the bouffant 1980s Hasselhoff haircut to match. Advertisement - Page continues below The most immediately striking thing about RoadBlasters was the impressive animation of the cherry red player car that sat front and centre in the screen. The sprite had a slightly exaggerated perspective, but the rotation as you turned the vehicle was buttery smooth and totally convincing. You needed that responsiveness as well, because you had to accurately point the nose of the vehicle directly at the tangerine coloured enemy cars and roadside turrets in order to score a successful hit. Miscalculate even slightly and the car would detonate in a lavish explosion. The sci-fi theming lent the game a unique atmosphere, with futuristic bubble cities visible on the horizon and a dropship that swooped down to deposit special weapons onto the roof of your car, even at speeds in excess of 200mph. If that sort of delivery is the next evolution of the fast food drive through, we're here for it. There's little to criticise about RoadBlasters, but we do feel duty bound to point out the fundamental inaccuracy of the title: you're not blasting the road itself, you're blasting things on the road. Still, we'll forgive it, you didn't fight any streets in Street Fighter 2 either. Advertisement - Page continues below Top Gear Newsletter Thank you for subscribing to our newsletter. Look out for your regular round-up of news, reviews and offers in your inbox. Get all the latest news, reviews and exclusives, direct to your inbox. Success Your Email*
Daily Mail
21-05-2025
- General
- Daily Mail
JENNI MURRAY: There will be no grandchildren unless we listen to Kate's plan - it could still save Britain
When I was pregnant with my second son, I was a presenter on Radio 4's Today programme. I was on a freelance contract with no concessions to one's personal life and knew full well maternity leave was out of the question. This was June 1987, in the midst of a hard-fought election campaign. I managed to persuade the Tory MP Norman Tebbit I was unlikely to go into labour during our interview and wouldn't require his assistance in childbirth, although he assured me he had lots of experience. (Strange how the sight of a hugely pregnant belly can make even the hardest men go all soppy.) I presented Today on Monday morning and began to go into labour late that day, giving birth to Charlie at home. I spent the rest of the week getting to know him, before going back on my radio presenting shift the following Saturday.
Irish Times
19-05-2025
- Entertainment
- Irish Times
Ellmann's Joyce: Zachary Leader provides fascinating but flawed insight into biographer of literary genius
Ellmann's Joyce: The Biography of a Masterpiece and Its Maker Author : Zachary Leader ISBN-13 : 978-0674248397 Publisher : Harvard University Press Guideline Price : £29.95 This is metabiography: the biography of a biographer. As such, it is a very niche category – James Boswell comes to mind as a biographer who has had his own life written, but there was much more to Boswell than 'just' his Life of Johnson. Richard Ellmann, similarly, had other achievements to his name than his deservedly famous biography of James Joyce , but there is no doubt that he would not be receiving the somewhat less than full biographical treatment here accorded him without the Joyce work. This truth is recognised in Zachary Leader's title and also in the structure of the book, which is divided into two roughly equal parts. The first part deals with Ellmann's life and work prior to embarking on the Joyce biography, the second with the writing and influence of the biography itself. The years subsequent to that work – which was first published in 1959, with a revised edition in 1982 – are dealt with in a brief 'Coda' which brings us to Ellmann's death in 1987. READ MORE Ellmann's substantial body of writing after the Joyce biography receives minimal attention. There is brief mention of some of it, but nothing like an adequate treatment. We are belatedly informed, on page 347, that this later work 'is beyond the remit of this book'. Instead, the 'Coda' is mainly devoted to an account of a long-running affair the esteemed biographer had in Britain with the Victorian era scholar Barbara Hardy. This occurred while Ellmann's wife, Mary, required care following an aneurysm in 1969. His children, who were not aware of this liaison, are forgiving in the circumstances. The affair is treated as an afterthought, and for most readers that is all it will be. The chief interest and focus of the life of Richard Ellmann lie elsewhere. The first part of this biography, then, can be seen as a prelude to the major biographical achievement. It goes from Ellmann's birth in 1918 in a suburb of Detroit, Michigan, to his service in US Naval Intelligence during the second World War. Then comes his teaching and scholarship in the US, mostly in Northwestern University, followed by his first two books, Yeats: the Man and the Masks, and The Identity of Yeats. These are, in fact, his main accomplishments other than the Joyce book, and owed much to his early encounters with Mrs George Yeats when he came to Ireland in late 1945. Ellmann, as with the Joyce work, got in early: Mrs Yeats supplied him with much information and much unpublished material, leading to the writing of two seminal Yeats studies. Leader, a distinguished biographer, with lives of Kingsley Amis and Saul Bellow to his credit, provides the fullest account yet available of the writing of the great James Joyce biography. This topic has been studied already, notably by Amanda Sigler and John McCourt, but there is more detail here than previously provided. [ Audition by Katie Kitamura: This hotly anticipated novel is psychologically chilling Opens in new window ] [ Norway's War: Masterly account of a lesser-known part of the second World War Opens in new window ] There is also some interesting theorising on the overall qualities of Ellmann's work. Two main issues arise – one on Ellmann's methods and purpose in writing it, and the other as to how it stands up and works in today's world – a long, long time after it first appeared, and even after the revision. As for the method, Ellmann personally, by all accounts and from my own slight observation, came across as a gentle soul, a 'bland and courtly humanist', as Joyce described his former mentor, Father Conmee. But he could be pretty ruthless when it came to fending off potential competitors, and also at times manipulative in securing his goals as a biographer. That the methods used in putting this massive work together were not always edifying comes as no surprise. A great deal was at stake and Ellmann seems to have been quite conscious that this was his potential bid for his own immortality – a bid that has indeed succeeded. As for its current status, at one level it remains as high as ever, since nothing else has come remotely close to replacing it: the most recent effort, by Gordon Bowker, offers next to nothing extra and lacks Ellmann's depth and insights, not to mention style. At another level, though, Joyce remains one of the most intensely studied writers today (unlike some other Modernists, his stock has never really fallen) and it is not surprising that various flaws, errors and omissions have been found in Ellmann's work. The chronology is sometimes confused and the depiction of Joyce is over-reliant on the attitude of his brother Stanislaus, one of Ellmann's principal informants. There is too close a match-up between the fiction and the actual life, and there are misinterpretations – one that has recently come to light is in Ellmann's account of the reconciliation between son and father in 1909. Leader acknowledges much of this, but still stoutly defends the worth of the biography. And ultimately, I think, he is right. The book has two big advantages: it was written almost as close as could be hoped to the events it depicted, meaning many of the major participants were still alive (despite occasional distortions this might entail) and, perhaps above all, it is compulsively readable. There is a strong indication that Nora's side in the famous sexual correspondence with Joyce was destroyed It is a triumph of sheer style, a paradigm of the biographer's art, a literary creation like Boswell's – and to that large extent it never can grow obsolete. Leader's own work does not quite scale those heights, nor does it claim to, but it is, really, more than just a biography. It is an exploration of the making of the very craft it exemplifies, a fascinating study of the creation of two legends: that of the writer with whom Ellmann's work deals and that of the biography itself. It has much to reveal about the interactions among both family and followers of Joyce, both among themselves and with their would-be biographer. It has its own share of errors – Dublin's Joyce was not Hugh Kenner's first book, the Paris gallery where many Joyce manuscripts were displayed and subsequently sold to the US was called La Hune and not La Haine, a pandybat was not a wooden bat but made of hard, reinforced leather (painful personal experience at the receiving end – the mistake is all the more surprising because Stanislaus Joyce is quoted earlier describing it accurately). But it is still a fascinating contribution to the whole enormous complex that now surrounds the name, James Joyce. One other issue raised by this work needs to be addressed. There is a strong indication that Nora's side in the famous sexual correspondence with Joyce was destroyed by Ellmann and Maria Jolas in the 1950s. If so – and it's not certain – we have been consciously deprived of hearing Nora's voice. What she had to say might well have been deeply uncomfortable for many people at many levels, but that is the whole point: a third party has pre-decided that question for us, leaving us with many unanswerable questions. Terence Killeen is Research Scholar at the James Joyce Centre, Dublin, and the author of Ulysses Unbound: A Reader's Companion to 'Ulysses'
