Entertainment
Amyl and the Sniffers move to L.A. and get a whiff of punk glory on 'Cartoon Darkness'
Amyl and the Sniffers have always appreciated any small bit of good news. Even when the Australian punk rock quartet recorded its charmingly raw debut EP, “Giddy Up,” in a single night and released it online in 2016, the initial 100 streams were reward enough.
“To us, that was massive,” says singer Amy Taylor, aka “Amyl,” with a grin. “We get one play on local community radio and we’re like, ‘We’re massive. We’ve made it.’ You get a support slot in a 200-capacity room, we’re like, ‘We’ve made it.’ It’s really hard to get a perspective bigger than what we can see. … We’re very much appreciative of what’s happening rather than thinking about what might happen so much.”
Amyl and the Sniffers feel the same way about their third album, “Cartoon Darkness,” released Oct. 25, a potent collection of snarly, ecstatic rock tunes and the occasional ballad. Its first single, “U Should Not Be Doing That,” quickly earned millions of Spotify listens and heavy rotation for its music video (1.6 million views on YouTube alone), showing Taylor and a new companion stomping across Los Angeles as she sings lyrics of defiant self-worth.
“I am trying my best to get it on,” she sings, in her distinctively combative, percussive, very Australian voice. “Not everybody makes it out alive / When they are young.”
Fans are drawn to the Sniffers’ sound and attitude, which taps into the rowdy spirit of first-generation punk rock, along with a feisty, euphoric blond singer moving nonstop and usually dressed in a bikini top and shorts. The album comes two months after the band opened for a Foo Fighters concert at BMO Stadium in August, followed days later by two sold-out shows at the Fonda Theatre in Hollywood.
“Right now I think they’re the best rock band on the planet,” says Nick Launay, producer of “Cartoon Darkness,” in a phone interview. Launay has frequently worked with modern rock acts such as the Yeah Yeah Yeahs, Idles and Nick Cave, but his career stretches back to the early U.K. punk and postpunk scenes.
“If they had been around in the ’70s, they would’ve been just as important back then,” he declares of the Sniffers. “They would’ve given everybody a run for their money.”
Launay says his mission in the studio was simply to fully capture the urgency of the band’s live shows. Aside from that, the new album’s 13 songs show a noticeable evolution to their punk rock sound, which remains connected to their early pub-crawling days without getting in the way of growth and the increasing power of their delivery.
“I think we’ve always been confident,” says Taylor. “It’s just that we’ve gotten better. Even when we weren’t very good, we were confident, but now the skills are slowly catching up to the confidence.”
Amyl and the Sniffers perform the second of two sold-out nights at the Fonda Theater in Hollywood, Calif. (Left to right) Guitarist Declan Mehrtens, singer Amy Taylor, and drummer Bryce Wilson.
(Steve Appleford/Steve Appleford)
The Aussie quartet is gathered on a recent afternoon around a Griffith Park picnic table, where a small herd of little kids makes a racket on the grass nearby. Taylor is dressed in a short black leather jacket, matching shorts and knee-high boots with stiletto heels. Pinned to her chest is a 2 Live Crew button.
Her three male bandmates are stylishly scruffy and tattooed rockers: guitarist Declan Mehrtens, drummer Bryce Wilson and bassist Gus Romer. Earlier this year, Taylor and Mehrtens moved to the U.S. and found places in L.A., while the others theoretically remain based in Melbourne. That kind of distance between bandmates might seem like a problem for a thriving rock act, but they’ve rarely been apart this last year, with only short breaks between recording the album, shooting music videos, a U.S. tour, then linking up again in Australia.
“We’ve been together this year pretty much every day, it feels like,” says Wilson.
Taylor adds, “We see each other all the time. It’s such an international project, we don’t live anywhere anyway.” She turns to Romer and Wilson and adds, “They might live in Australia, but it’s just where they store their crap.”
Los Angeles already feels very much like home to the singer and the guitarist. Mehrtens decided to move here after enjoying a Dodgers-Padres postseason game, and Taylor has befriended local rockers including Karen O of the Yeah Yeah Yeahs and Arrow De Wilde of Starcrawler.
They are back on the road for a European tour that started Nov. 3 in Dublin and return for a North American tour in the spring.
Their work with producer Launay began by recording two songs last year at Sunset Sound, including “U Should Not Be Doing That,” released as a single in May. In the lyrics, Taylor pushes back against the naysayers that she says the band has faced at every step.
“At the end of the day, nothing’s really stopped me, and nothing probably will because I like doing it more than I care about what other people think,” Taylor says with casual defiance.
The new album opens with the driving noisy rock riffing of “Jerkin,’” as Taylor pushes back against haters with boasts and joyous profanity: “Last time I checked, I got success / Cuz the losers are online and they are obsessed / Typin’.”
There’s also the crazed racket of “Motorbike Song” and the alluring ballad “Big Dreams,” written on acoustic guitar and matched in tone by a wistful music video directed by longtime collaborator John Angus Stewart. The clip has each of the band members on the back of motorcycles cruising across a wide-open desert landscape.
Guitarist Declan Mehrtens of Amyl and the Sniffers poses for a portrait a the Old Zoo in Griffith Park, in Los Angeles.
(Steve Appleford)
Out front, Taylor sings from the back of a chopper, her vocals understated and almost resigned as she laments for those who feel stuck in place: “It isn’t easy when the town’s full of broken hearts / Can you be holding on any tighter? / Just take a breath and get out of this place / I know you can just get yourself together.”
There are hip-hop influences too, says Taylor. “Beastie Boys was big on this album,” she explains, “just ’cause they’re awesome and their phrasing is cool and we listen to a lot of them.”
Along the way, their producer has learned how to interpret what he calls “Amy Language.”
As one example, while Launay was mixing tracks for 2021’s “Comfort to Me,” Taylor was unhappy with the sound of “Hertz,” calling the song mix “too Lambo” — short for the luxury sports car Lamborghini. So she sent Launay a picture of a Subaru doing doughnuts on the asphalt as a better example to follow. “Like that,” she wrote him, “only driven by a hot Aussie chick … but she’s a politician.”
“Even though that sounds like crazy instructions, I knew exactly what she meant,” says Launay, who lived in Australia for a decade. “I mixed it rawer, wilder, sexier and put a couple of clever bits in there, sent it to her, and she goes, ‘Yep, that’s it. Next!’”
Taylor grew up there in Mullumbimby, a small hamlet in northern New South Wales, and a town she describes as “dirty hippie, no shoes, like antivax, organic food.” Rapper Iggy Azalea is also from there, and left for the U.S. at age 16. Azalea’s mother had a cleaning business that Taylor’s mom worked for briefly.
The band began in a house shared by Taylor, Mehrtens, Wilson and former member Calum Newton in beachside St. Kilda, a suburb of Melbourne. Taylor worked at a supermarket and had purchased a used drumkit for about $50 that she kept in her bedroom.
Singer Amy Taylor of Amyl and the Sniffers poses for a portrait a the Old Zoo in Griffith Park, in Los Angeles.
(Steve Appleford)
“We went to live music all the time — five, six nights a week,” says Taylor of their nightlife habits. “There’d be lots of house parties and bands would play in the backyard. I would freestyle rap a lot at the parties. It was my party trick. If it was a house show, I’d be like, can I get on the mic? Some bands were playing and I’d just like yelp words.”
That impulse evolved into forming a band. “We kind of wanted to sound like a B-52’s when we started,” says Taylor. “But we just couldn’t play good enough. So we sounded like this. But we liked the aggression of the music.”
As a new group, they were part of an Aussie garage-band scene with contemporaries like the Cosmic Psychos, Drunk Mums and Dumb Punts. At those first club performances, it was largely an older crowd turning out, no doubt connecting the Sniffers’ racket to their memories of early punk rock. “When we first started it’d probably be like 80% men over 50 — like looking out at a bloody dozen eggs,” she says of the gathering of gray and bald heads.
Their crowds have evolved a lot since then. During their two-night run at the Fonda, the dance floor was filled with young fans whom Taylor happily describes as “young frothers, just frothing about life, like rabid frothing,” she says with a laugh. “They’re excited and they’re young and they’re drinking for the first time and they’ve got mullets and they’re like, ‘Yeah!’ Our crowd’s usually very excitable people in the same way that I’m excitable.”
One more thing has changed: For most of the band’s career, Mehrtens spelled his last name as “Martens,” partly for simplicity’s sake but also because he wore Doc Martens boots. He adopted “Dec Martens” as a kind of punk rock alias, like the Germs’ Darby Crash or Pat Smear. He’s reverted to the correct spelling as a sign that the band has lasted well beyond its initial existence as a lark among friends.
“When I did that, I didn’t know that we were going to be getting three, four … albums in,” he says of his earlier nickname. “Now there’s visas involved, and I want people to know that it’s me who’s on the album.”
Being in the band also has changed Taylor’s perspective on many things. Now that she’s an accomplished lyricist, she pays more attention to the written word.
“I hated books. Now I love reading books and read all the time,” the singer says, then adds with a laugh, “Before, my God, I only had like 20 words in my vocabulary. Now I’ve got at least a hundred, so that helps. I love the riddles of phrasing and trying to get phrasing in a different kind of puzzle-y way.”
Romer jumps in, adding with a grin, “Sometimes she has a new big word and I’m very impressed.”
The Substance, 2024.
Written and Directed by Coralie Fargeat.
Starring Demi Moore, Margaret Qualley, Dennis Quaid, Gore Abrams, Hugo Diego Garcia, Olivier Raynal, Tiffany Hofstetter, Tom Morton, Jiselle Burkhalter, Axel Baille, Oscar Lesage, Matthew Géczy, Philip Schurer, Daniel Knight, Namory Bakayoko, and Bill Bentley.
SYNOPSIS:
A fading celebrity decides to use a black-market drug, a cell-replicating substance that temporarily creates a younger, better version of herself.
A good while after things have disastrously spiraled out of control between forgotten Hollywood star Elisabeth Sparkle (Demi Moore) and her younger, prettier, popular clone Sue (Margaret Qualley), in which they each take turns living seven days at a time (such are the rules of the titular black-market drug), the former has reached her mental breaking point for a variety of reasons, but chooses to continue the experiment while uttering to that younger self the hauntingly depressing and sad-but-true words (depending on how cynical you are about society) “you’re the only part of me that people love.”
Steering clear of the spoilers that have brought viewers to this point in writer/director Coralie Fargeat’s bonkers body horror The Substance, that line also feels like the moment where this already imaginatively demented cautionary tale grabs hold of all themes played with and stirs them into a sustained explosion of stunningly grotesque imagery and astonishing prosthetics, following the story to its natural conclusion while keeping one simultaneously asking themselves what the hell they are looking at, and what the hell they could be looking at next.
That’s not to say anyone behind or in front of the camera was playing around before that point, but this film gradually builds to a series of events so feverishly insane it transcends the movie into something masterfully unhinged of the highest order. It is nutty, bloody, and howlingly funny with, well, substance, going where few filmmakers and actors would ever dare go.
However, Demi Moore and Margaret Qualley go there with fearlessly. As mentioned, the former is Elisabeth Sparkle, a once-beloved actress with her star on the Hollywood Walk of Fame, a star people were once enthusiastically visiting. After some seamless transitions of seasons and time, it is now cracked, with those who cross it either unaware of who she is or jogging their memories about what she has been in. No, the metaphor is not subtle, and that’s also not the only one. That’s also the point, as anyone can get away with a lack of subtlety so long as the messages are driven home with relentless force and courageous creativity.
Currently, she hosts an exercise show for middle-aged women, wishing she could go back to the days of her youthful beauty and star power. No one will be necessarily surprised to hear that Hollywood doesn’t exactly have the best track record with women over the past several decades, swallowing up women and disposing of them when they have outlived their usefulness to the industry, aka beauty. Dennis Quaid’s talent manager, Harvey, also couldn’t make it any more clear that he wants to revamp the show with sexualized dancing and is looking for someone young and pretty. Speaking of Harvey, he isn’t only depicted as externally gross but disgusting all around as the queasy cinematography lingers on his cruel face and harsh outbursts at tilted angles or sometimes focuses on the inside of his mouth, shredding apart shrimp with his teeth just like the women he uses and discards over time.
Through a bizarre set of circumstances, Elisabeth comes into a potential solution, being made aware of a secretive black-market drug called The Substance, first seen tested on an egg with a duplicate emerging from the side. Imagine that replicated with actual human beings, and you now have a small fragment of how graphic and gory the film’s setup is alone. Out comes Sue (Margaret Qualley), alongside a handful of rules that mainly involve injecting serums into the other unconscious body to maintain stability. Refusals to stick by these rules and the aforementioned 7-day request result in gnarly body horror, everything involving blood to decay to mutation.
In contrast to Elisabeth, mentally hard on her middle-aged body, Sue is confident, repeatedly seen idolizing herself, whether it be fondling her breasts, admiring her buttocks, and almost always wearing crop tops and underwear around the high-rise suite. Unsurprisingly, much of this positivity transitions into self-absorbed vanity, which the likes of Harvey propagate. Elisabeth gets what she wishes for; a way to experience the rise of fame again vicariously, but at the cost of creating a monster she’s unsure if she wants to destroy. Nevertheless, there are consequences on both ends, as the rules state that what happens to one body by neglecting the rules can’t be undone. In other words, it’s beauty as a drug to overdose on.
Also noteworthy is that men suddenly have a drastic change in attitude toward Sue (assuming that someone new has moved into the building), practically foaming at the mouth to get some action with her. Meanwhile, even with her dwindling fame, most people treat Elisabeth like an object in the way of their day. Again, this is also a darkly comedic film and Coralie Fargeat knows exactly the right time to give these men the scare of their lives. Then again, the whole movie could be attributed as one sick and twisted joke about women trying to meet up to the unreasonable beauty standards expected by men in power.
The slow unravelling snowballs into something extreme: an audiovisual annihilation of the senses that appropriately distorts sound and hypnotic camera movements. For an hour, Coralie Fargeat wears her influences on her sleeves and keeps one-upping herself in outrageous body horror and a twisted sense of humor. The phenomenal performances from Demi Moore and Margaret Qualley also ground The Substance in inevitable tragedy and internalized pain, proving that this is more than shock and thrills. It is diabolically exceptional, in a highwire freakout class of its own, and unforgettable, searing every nasty image into the mind. It is rare to be this mortified and laugh this much in awe while simultaneously feeling something human.
Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
https://www.youtube.com/watch?v=embed/playlist
Entertainment
For the guest rappers on 'GNX,' recording with Kendrick Lamar means 'You’ve got to be a student.'
A few months ago, the Compton rapper Siete7x was up in the Bay Area shooting a music video. Around 4 a.m., he got a call from mutual friend of Kendrick Lamar’s who told Siete to drop whatever he was doing and get to Conway Studios in Los Angeles. Now.
“He was like ‘Kendrick wants you to pull up.’ At first I didn’t believe him,” Siete said. “But me and my manager, we got in the car and drove six hours right back to L.A.”
That night drive turned into a session that got Siete lines on “dodger blue,” a soulful hometown-pride anthem and a local favorite on Lamar’s surprise-release “GNX.”
That album was a rich text of West Coast hip-hop history and invention, imbued with the venom of his recent feud with Drake. In just a week, it’s spun off singles like “squabble up” and “tv off” that have redefined the year in rap, just in time for Lamar’s Super Bowl appearance next year.
But “GNX” is full of cameos from emerging SoCal acts, who Lamar sees as crucial voices right now. The cast of guests — hailing from Compton to Baldwin Park and beyond — proves his ear is still close to the ground. For those local artists that got sudden shine from it, “GNX” feels like a piece of history — and a chance to show what they’re capable of.
“I feel like this album will be a classic for a new generation,” Siete said. “Kendrick gave me a shot. Now I’m even more motivated to show the world what I can really do.”
Rapper Siete7x, who guested on Kendrick Lamar’s album “GNX.”
(EMPIRE)
In the hours after “GNX” dropped last week, fans combed through the lyrics for new twists in the Drake war, and parsed its samples of Tupac Shakur, Luther Vandross and SWV.
While SZA and saxophonist Kamasi Washington are the only cameos on “GNX” that pop music fans are likely to recognize, the album is a comprehensive roster of SoCal scene-beloved veterans like Wallie the Sensei, AzChike and Hitta J3, and fast-rising local acts like Dody6 and YoungThreat.
When Lamar insists on “dodger blue” that you can’t “say you hate L.A. when you don’t travel past the 10,” these are the artists you’re missing if you don’t venture down.
“GNX” kicks off with evocative mariachi vocals from singer Deyra Barerra, whom Lamar discovered when she performed at Dodger Stadium. But he also nodded towards the city’s Latino rap scene, with guest bars from Maywood’s Peysoh on the album’s title track.
When Peysoh got the call, he said “I was chilling at my house, half asleep, when [Lamar] threw us on a FaceTime and was like ‘I need you later today.’ Even after the surprise release of the album, Peysoh said he was still a little dazed from the experience. Earlier this year, he’d finished a three-year stint in jail. To go from that to recording on a Kendrick album was head-spinning. “I’d been counted out and blackballed, and now it’s happening just like I told y’all,” Peysoh said.
Rapper Peysoh and Kendrick Lamar recording for Lamar’s album “GNX.”
(EMPIRE)
Peysoh, known for the noirish viral hit “6 Block,” has a distinct Chicano tang to his voice, unmistakable in any mix. When Peysoh got to the studio, Kendrick played the tricky, technically challenging beat that became “gnx.” Peysoh got the first verse, and the two swapped lines in the chorus. “Lеt ‘em claim it, we the ones who really pop, bro,” he raps. “Opps know, let ‘em piss him off and it’s a flop show.”
“It’s so dope that he embraced the culture and did right by us,” Peysoh said. “There’s a lot of controversy with Mexican rap, but he knows what he wants and he had a blueprint. He’s a legend and I’m so grateful for the chance he gave to me to prove my keep.”
For the younger acts he called into the studio, “GNX” was a rare glimpse behind the curtain to see how Lamar works. Few rappers get to write alongside a Pulitzer Prize-winning lyricist.
“I didn’t know what I signed on for,” Siete said. “It was a real different process for how to record, definitely leveled up from what I’m used to. I had to record certain bars five times to have different options in how I’m coming in with my energy, different cadences that were out of my element to make it hit better.”
“Kendrick came with crazy ideas,” Siete added. “You’ve just got to be a student sometimes.”
Even for the artists with very brief cameos, simply getting your name in the credits of a Lamar album is a life-altering vouch.
Lefty Gunplay, a relentless MC from the atypical rap neighborhood of Baldwin Park, has perhaps the shortest cameo on the record — repeating a four-word outro on the smash hit “tv off” in his trademark rasp.
While the song’s memes were all about screaming “MUSTAAAARD,” listeners will leave the track wondering about the guy taunting “Crazy, scary, spooky, hilarious.”
“Four words was all it took to have the best song,” he laughed. “All the other artists Kendrick features are real street dudes, and I’m so glad I got to be a part of that class. He sees something in us — he ran the play and gave me the alleyoop.”
Lefty Gunplay served nine years in Pelican Bay State Penitentiary, released just last year. For the guests whose careers got a shock of new fame on “GNX,” they’re hitting the pavement to make the most of it.
Many said they recorded more music with Kendrick beyond what appears on “GNX,” and while nobody would speak about their plans for it, it’s clear that Lamar has much more in the tank.
In the weeks to come, Peysoh has a gig at the Teragram Ballroom on Sunday, likely be mobbed by new fans from “GNX.” Siete7x has a new album, “Stucc in the Hole,” out Dec. 6. And in a masterstroke of lucky timing, Lefty Gunplay dropped his new album, “Most Valuable Gangbanger,” the same day the “GNX” landed.
“It’s gonna open every door for me. I know I’m not the best lyrically yet, but every day I’m getting better and I’ve got to capitalize on this moment,” Lefty Gunplay said. He’s still getting used to the idea that he’s already part of L.A. rap history.
“It still hasn’t hit me yet,” he laughed. “I’m on a Kendrick album. What a trip.”
Out Come the Wolves, 2024.
Directed by Adam MacDonald.
Starring Damon Runyan, Joris Jarsky, and Missy Peregrym.
SYNOPSIS:
At a cabin deep in the wilderness, a weekend of hunting turns to mayhem and a fight for survival.
Shortly after reuniting at a cabin in the woods for a weekend vacation and hunting in Adam MacDonald’s Out Come the Wolves, childhood friends Kyle (Joris Jarsky) and Sophie (Missy Peregrym) play a card game while getting reacquainted. Kyle is sure Sophie is bluffing about not having a convincing winning hand. A playful back-and-forth emerges, the kind best friends typically have, but Kyle is wrong. It’s a clever way of expressing that he also doesn’t know who she is anymore. For starters, she is vegan now and not particularly interested in hunting, but has arranged the get-together so he could teach her fiance Nolan (Damon Runyan) how to hunt for food as part of a journalistic piece in the making.
Initially, Kyle was going to bring his new partner along for the vacation, meaning that they would have had the chance to get to know who they are currently romantically intertwined with, but it is quickly revealed that those plans fell through. This also leaves Nolan suspecting that Kyle has ulterior motives for his chatty delight in being back around Sophie. Unsurprisingly, the silver-spooned Nolan has his insecurities. However, the subdued performances clarify that Kyle still pines for Sophie and imagines a past where things have gone beyond friendship.
It also probably won’t surprise anyone that the screenplay (courtesy of Enuka Okuma, with Adam MacDonald and Joris Jarsky receiving story credits) makes some not-so-subtle points that out here in the wild, the rules of civilization go out the window. The true nature of man comes out, leaving viewers questioning who the real wolves are. Speaking of wolves, their presence is a complete surprise to Kyle, who initially intended to train Nolan in tracking and shooting harmless deer.
However, the first half of this swift and absorbing 87-minute thriller wisely centers the characterization, with room for uncertainty about Kyle’s true motives and whether or not Nolan is even a healthy partner for Sophie. Each of the three relatively unknown actors brings a strong sense of inner conflict to the roles, with real complicated humanity under the surface that accentuates the tension and suspense when this shifts from relationship quarreling into full-blown survival horror more fitting of the Shudder label.
Daringly, the filmmakers have also opted to use real animals here (with several notices in the ending credits that it was safe for the actors and creatures involved), elevating that white-knuckle adrenaline. Due to circumstances that won’t be revealed, the drama between Kyle and Nolan also forces Sophie to shift gears into once again becoming the woman she was before, allowing her to showcase how resourceful and independent she is amid this peril. By no means does that mean there is no urgency or danger here; this is an unflinchingly violent feature with such vicious and grisly wounds and broken bones that it unquestionably crosses the line into body horror.
Admittedly, despite how tense the will to survive is depicted here, it is also a step down from the strong character dynamics in the first half, disappointingly never circling back to that aspect. Instead, Out Come the Wolves transitions into a survivalist thrill ride, implying that Sophie can only count on herself and, depending on how much production one wants to do, that the wolves represent something else. Going beyond that, women must be wary of the petty games men play in the name of asserting predator dominance and that survival is as much emotional as it is physical.
Out Come the Wolves is essentially two halves that moviegoers will find more satisfying for different reasons. Fortunately, Adam MacDonald has enough killer instinct to make both sides work.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
https://www.youtube.com/watch?v=embed/playlist
PA Poker News November Update: Phil Galfond's BetRivers in Pennsylvania; Global's '25 Days of Poker'
Historic Afternoon: Rhode Island Defeats Central Connecticut in Epic Playoff Battle – Newport Buzz
CFP bracket bubble watch: As Alabama, South Carolina try to inch in, how to view Buckeyes?
Diversion programs for youth increase after boost to county funding • South Dakota Searchlight
‘Worst quarter I’ve seen the Titans play’: Tennessee Titans fall apart in first quarter vs Commanders
Colorado Rockies game no. 116 thread: Zac Gallen vs José Ureña
See it: Tesla crashes into Columbus convention center at 70 mph
Why Marjorie Taylor Greene was ‘kicked out’ of the Freedom Caucus according to Rep. Buck
Fox News Politics: Georgia the whole day through
Death of missing Oregon girl found in stream ruled homicide
China promises 'countermeasures' to US arms sale to Taiwan
Centre-left party wins Iceland's election, but will need coalition to
Trump names loyalist Kash Patel to serve as FBI director
Kash Patel's nomination sparks enthusiasm, anxiety; future of the FBI appears uncertain
Georgia’s president will not step down until ‘illegitimate’ election rerun
-
Science5 days agoDespite warnings from bird flu experts, it's business as usual in California dairy country
-
Health1 week agoHoliday gatherings can lead to stress eating: Try these 5 tips to control it
-
Health6 days agoCheekyMD Offers Needle-Free GLP-1s | Woman's World
-
Technology5 days agoLost access? Here’s how to reclaim your Facebook account
-
Entertainment4 days agoReview: A tense household becomes a metaphor for Iran's divisions in 'The Seed of the Sacred Fig'
-
Technology3 days agoUS agriculture industry tests artificial intelligence: 'A lot of potential'
-
/cdn.vox-cdn.com/uploads/chorus_asset/file/24007866/acastro_STK109_microsoft_02.jpg "Microsoft pauses Windows 11 updates for PCs with some Ubisoft games installed")
Technology1 week agoMicrosoft pauses Windows 11 updates for PCs with some Ubisoft games installed
-
Sports1 day agoOne Black Friday 2024 free-agent deal for every MLB team