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Billy Bob Thornton unpacks 'Landman' finale, details his hopes for Season 2

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Billy Bob Thornton unpacks 'Landman' finale, details his hopes for Season 2

Warning: This story contains spoilers from the season finale of “Landman.”

Billy Bob Thornton had a hunch that his latest series, “Landman,” would strike a chord with viewers. Like the blockbuster hit “Yellowstone,” the Western-flavored drama about a fixer for a Texas oil company fits comfortably in the Taylor Sheridan universe, anchored by the writer-producer’s distinctive flair for crusty, no-nonsense heroes and stories juiced by plenty of country music, sex and violence.

But even Thornton, who plays chain-smoking crisis manager Tommy Norris in the series, is overwhelmed by the impressive ratings of “Landman,” which aired its Season 1 finale on Sunday. After premiering in November, the series attracted 14.9 million households in its first four weeks, becoming the most popular original project on the Paramount+ streaming service.

“I’ve been in some iconic movies over the years where the response has been pretty big,” Thornton told The Times during a recent video call. “But I’ve never seen anything like this. I have people coming up to me every day, everywhere I go, reciting lines. We’re blown away by it, in other words.”

Although a decision on whether “Landman” will return has not been announced, Thornton said he was pleased with how the freshman season wrapped up.

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The whirlwind finale features an onslaught of major developments. Monty Miller, the president of the M-Tex oil company played by Jon Hamm, dies of complications from a heart attack, but not before handing over the reins of the corporation to Norris. Miller’s widow, Cami (Golden Globe winner Demi Moore), who has been mostly on the sidelines, becomes more involved with the company. A gang of cartel thugs captures and tortures Norris. The episode also introduced Andy Garcia as Galino, a powerful and cunning cartel boss.

During the interview, Thornton, who continues to perform with his rock band, the Boxmasters, addressed the season and the finale, working with Sheridan and his thoughts about a possible second season.

Are you surprised at the reception of “Landman”?

We knew we were making something really special. We thought people would like it. But the response has been so much beyond what we thought. Traditionally, Taylor’s stuff is more of a middle-of-the-country kind of thing. But with this, it’s the middle of the country, the coasts and other countries, too. We’re humbled by that. When people come up and want to talk about it, it means a lot. There’s something very genuine about it. You can tell they’re not just handing a bill of goods because they’re in front of you.

What do you feel viewers are connecting to?

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Taylor wrote a guy who has so much pressure on him. He’s got the world on his shoulders every day. Peace is not something that exists in his life. And Tommy is driven to succeed. He doesn’t to want to be seen as a failure for his boss, who ultimately passes. He is handed the torch. I don’t think he wants to be in that position but he knows he has to be, and he’s probably the right guy to do it.

Also, people have never had a peek behind the curtain of the oil business. Not since “Giant” have you ever seen a lot about the oil business. That movie really struck me, and I think people wanted to see the daily life of how this stuff works. I told someone the other day that “Landman” is “Giant” with cursing.

And they seem to enjoy your performance.

I’ve always believed in being natural and organic in a part, no matter what it is. Taylor wrote great dialogue. Every once in a while, I’ll throw one of mine in. My roles in “Goliath” and “Landman” I would call the right pair of shoes. They fit in the same world. I try to put myself in every character I play. If you’re playing yourself, it’s going to be a stronger performance. I feel very fortunate that Taylor thought of me.

There’s a lot to unpack in the finale.

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I think Taylor wrapped up the season very nicely, while giving the show the possibility of carrying on. The greatest thing about the finale, in terms of my part in it, is that Tommy is facing the rest of his life. He is facing very serious reflection and having to examine his philosophical beliefs, who he is and how he fits into this world. He also introduced Andy Garcia’s character. It’s the calm before the storm, and there’s already been the storm.

What would you like to see if the show continued?

I would certainly hope that the family dynamic continues and deepens. I would also hope that we explore the weird position that Tommy is in with Andy’s character. Is he going home at night feeling guilty and wondering, “Am I in cahoots with criminals? I guess I am.” How is this going to work out? Tommy isn’t dealing with henchmen anymore. He knew how to deal with them. But now he’s got a smart guy on the opposite side of the law who is his equal. We’re in a chess match, and I hope that’s explored.

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

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He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

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