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Most Prosthetics Blend In. Her ‘Fun’ Eyes Stand Out.

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Most Prosthetics Blend In. Her ‘Fun’ Eyes Stand Out.

As a maker of prosthetic eyes, Christina Leitzel was told as an apprentice to treat her craft much as an expert art forger would: create a perfect match of one of nature’s most intricate canvases.

But just as there are many ways to lose an eye — to cancer or to a fall; to a broom that strikes the wrong part of the brow — Leitzel wants to show there are many ways to gain one.

On a damp afternoon in Portland, Ore., a man in his 30s who had recently lost his eye to a BB gun stepped out of her office with a grin. His eyes matched his forest green beanie. But in his left, a shimmering gold vortex swirled within the pupil.

Leitzel, also known as “Christina Oculara” on TikTok and Instagram, creates what she calls “fun eyes.” Her designs include pupils painted in the shape of a sunflower and the diamond slit of a beloved cat. She has fulfilled requests as strange as they are touching: A man who arrived with a box of ashes, wishing for his late wife to “see everything that he did.” A woman adorned in piercings who thought, Why not a pierced iris, too?

That one, Leitzel said, turned out to be her favorite. The resulting TikTok was so popular that eye doctors felt compelled to post warnings against piercing actual eyeballs.

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Social media has helped turn Leitzel’s practice into a mecca for the one-eyed community. Perhaps, she suggests, blending in is often for the comfort of the fully sighted, rather than those who are not. Some prefer to have their difference visible — and start a conversation.

“I just want my patients to be happy,” Leitzel said. “At the end of the day, they have to feel comfortable with themselves.”

It hasn’t always been so straightforward. Her profession, ocularistry, requires at least five years of training in how to properly design, fabricate and maintain prosthetics. Leitzel hears from colleagues who worry that her “fun” eyes confuse medical devices with props or costumes. A few years ago, her professional association chastised her for one of her designs, which it said “lowered the esteem of the profession.” (It involved a cartoon penis.)

In case of any regrets, Leitzel requires new patients to first receive a standard prosthetic, which costs about $5,000 before insurance. Then, if they wish, she’ll create a fun one for $500. She and Rachel Yee, a friend and patient, raise money to cover the expense through a nonprofit called the Fun Eye Fund.

Leitzel was unaware of ocularistry until a classmate at her Philadelphia art school popped out her eye and handed it to her. She was surprised that it was not a glass orb, like in the movies, and that it was immaculately hand-painted. The classmate sent Leitzel around the corner to her ocularist, who took her on as an apprentice.

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There, she learned the art of making eyes: How to cast a mold with an organic putty called alginate. How to create the illusion of dilation by carefully layering light and dark pigment.

Strands of red thread embedded in the resin give the appearance of veins. To arrive at a true-to-life level of irritation in the eye, Leitzel asks questions: Had the patient slept well the night before? Any recreational substances? (“It’s Portland, after all,” she said.)

She also listens to stories of accidents and operations. For some patients, she turns away the mirrors during fittings, knowing the sight of their raw socket is too much to bear.

In 2021, Leitzel met Yee, who had lost her eye to cancer as a toddler, for a fitting. Yee was 31 and had always wanted an eye with a pupil that was gold and glittering. But ocularists turned her down, telling her it wasn’t what they did. Leitzel didn’t.

It was the first time, Yee recalled, that she was happy with a new prosthetic. But she wore it only among friends at first, unsure if she could handle the attention. She kept wearing her realistic prosthetic instead.

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It wasn’t until she later saw hateful comments on TikTok about her eye that she realized there was no point in hiding. “It’s human nature to spot differences in people’s faces,” Yee said. “If they’re going to look, I wanted to give them something to look at.”

Today, she has dozens of fun designs by Leitzel and reserves her realistic eye for rare occasions, like renewing her driver’s license. “It depends on my mood — and my outfit,” Yee said. Jet black for the gym. Pearly white, with Swarovski crystals and gold under the protective acrylic layer, for her wedding.

Not all of Leitzel’s experiments pan out. Attempts to embed insects — a bee, a scorpion — have resulted in crushed blobs, though the latter surprised her when it glowed under a black light.

Leitzel’s latest pursuit was a snow-globe effect, involving glitter that would dance in diluted glycerin. It wasn’t working as she hoped. “Liquid is not a thing,” she said, scrutinizing the translucent plastic between her fingers. “At least, not until I figure it out.”

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David Ellison hits CinemaCon, vowing to make more movies with Paramount-Warner Bros.

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David Ellison hits CinemaCon, vowing to make more movies with Paramount-Warner Bros.

Paramount Skydance Chief Executive David Ellison made his case directly to theater owners Thursday, pledging to release a minimum of 30 films a year from the combined Paramount and Warner Bros. Discovery company during a speech at the CinemaCon trade convention in Las Vegas.

“I wanted to look every single one of you in the eye and give you my word,” Ellison said in a brief on-stage speech, adding that Paramount has already nearly doubled its film lineup for this year with 15 planned releases, up from eight in 2025.

He also said all films will remain in theaters exclusively for 45 days, starting Thursday. Films will then go to streaming platforms in 90 days. The amount of time that films stay in theaters — known as windowing — has been a controversial topic for theater owners, as some studios reduced that period during the pandemic. Theater operators have said the shortened window has trained audiences to wait to watch films at home and cuts into theater revenues.

“I have dedicated the last 20 years of my life to elevating and preserving film,” said Ellison, clad in a dark jacket and shirt with blue jeans. “And at Paramount, we want to tell even more great stories on the big screen — stories that make people think, laugh, dream, wonder and feel — and we want to share them with as broad an audience as possible.”

Ellison’s CinemaCon appearance comes as more than 1,000 Hollywood actors and creatives have signed a letter opposing Paramount’s proposed acquisition of Warner Bros. Supporters of the letter have said the deal would reduce competition in the industry and “further consolidate an already concentrated media landscape.”

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Some theater operators have also questioned whether the combined company could achieve its goal of releasing 30 films a year, particularly after the cost cuts that are expected after the merger closes.

“People can speculate all they want — but I am standing here today telling you personally that you can count on our complete commitment,” Ellison said. “And we’ll show you we mean it.”

The speech came after a star-studded video directed by “Wicked: For Good” director Jon M. Chu that was shot on the Paramount lot on Melrose Avenue and showcased directors and actors including Issa Rae, Will Smith, Chris Pratt, James Cameron and Timothée Chalamet that are working with the company.

The video closed with “Top Gun” actor Tom Cruise perched atop the Paramount water tower.

“As you saw, the Paramount lot is alive again,” Ellison said after the video. “And we could not be more excited.”

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Video: Why Your Paycheck Feels Smaller

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Video: Why Your Paycheck Feels Smaller

new video loaded: Why Your Paycheck Feels Smaller

Ben Casselman, our chief economics correspondent, explains why wages are not keeping up with inflation and what that means for American workers and the economy.

By Ben Casselman, Nour Idriss, Sutton Raphael and Stephanie Swart

April 18, 2026

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Civil case against Alec Baldwin, ‘Rust’ movie producers advances toward a trial

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Civil case against Alec Baldwin, ‘Rust’ movie producers advances toward a trial

Nearly two years after actor Alec Baldwin was cleared of criminal charges in the “Rust” movie shooting death, a long simmering civil negligence case is inching toward a trial this fall.

On Friday, a Los Angeles Superior Court judge denied a summary judgment motion requested by the film producers Rust Movie Productions LLC, as well as actor-producer Baldwin and his firm El Dorado Pictures to dismiss the case.

During a hearing, Superior Court Judge Maurice Leiter set an Oct. 12 trial date.

The negligence suit was brought more than four years ago by Serge Svetnoy, who served as the chief lighting technician on the problem-plagued western film. Svetnoy was close friends with cinematographer Halyna Hutchins and held her in his arms as she lay dying on the floor of the New Mexico movie set. Baldwin’s firearm had discharged, launching a .45 caliber bullet, which struck and killed her.

The Bonanza Creek Ranch in Santa Fe, N.M. in 2021.

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(Jae C. Hong / Associated Press)

Svetnoy was the first crew member of the ill-fated western to bring a lawsuit against the producers, alleging they were negligent in Hutchins’ October 2021 death. He maintains he has suffered trauma in the years since. In addition to negligence, his lawsuit also accuses the producers of intentional infliction of emotional distress.

Prosecutors dropped criminal charges against Baldwin, who has long maintained he was not responsible for Hutchins’ death.

“We are pleased with the Court’s decision denying the motions for summary judgment filed by Rust Movie Productions and Mr. Baldwin,” lawyers Gary Dordick and John Upton, who represent Svetnoy, said in a statement following the hearing. “He looks forward to finally having his day in court on this long-pending matter.”

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The judge denied the defendants’ request to dismiss the negligence, emotional distress and punitive damages claims. One count directed at Baldwin, alleging assault, was dropped.

Svetnoy has said the bullet whizzed past his head and “narrowly missed him,” according to the gaffer’s suit.

Attorneys representing Baldwin and the producers were not immediately available for comment.

Svetnoy and Hutchins had been friends for more than five years and worked together on nine film productions. Both were immigrants from Ukraine, and they spent holidays together with their families.

On Oct. 21, 2021, he was helping prepare for an afternoon of filming in a wooden church on Bonanza Creek Ranch. Hutchins was conversing with Baldwin to set up a camera angle that Hutchins wanted to depict: a close-up image of the barrel of Baldwin’s revolver.

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The day had been chaotic because Hutchins’ union camera crew had walked off the set to protest the lack of nearby housing and previous alleged safety violations with the firearms on the set.

Instead of postponing filming to resolve the labor dispute, producers pushed forward, crew members alleged.

New Mexico prosecutors prevailed in a criminal case against the armorer, Hannah Gutierrez, in March 2024. She served more than a year in a state women’s prison for her involuntary manslaughter conviction before being released last year.

Baldwin faced a similar charge, but the case against him unraveled spectacularly.

On the second day of his July 2024 trial, his criminal defense attorneys — Luke Nikas and Alex Spiro — presented evidence that prosecutors and sheriff’s deputies withheld evidence that may have helped his defense . The judge was furious, setting Baldwin free.

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Variety first reported on Friday’s court action.

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