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'The Bachelor' tapped its first Black EP in 2021. Why is she missing from the credits?

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'The Bachelor' tapped its first Black EP in 2021. Why is she missing from the credits?

Jenn Tran exuded excitement and optimism after meeting a group of single men eager to marry her on the season premiere of ABC’s “The Bachelorette.” But storm clouds are already forming over her journey to find a husband.

Tran is the first Asian lead in the popular reality franchise, and her season has been positioned by “Bachelor” producers as a crucial demonstration that they are honoring their pledge to be more culturally inclusive, moving past the criticisms over racism and cultural insensitivity that have dogged the dating show since its 2002 debut.

Yet as Tran embarked on her romantic quest, one of the franchise’s most prominent people of color is MIA.

Jodi Baskerville became the franchise’s first Black executive producer in 2021 after the racism scandal that upended the season starring Matt James, the first Black Bachelor. Now, just three years later, she is absent from the closing credits of “The Bachelorette,” which premiered Monday.

Network ABC and production company Warner Bros., who announced Baskerville’s elevation with considerable fanfare, declined to comment on her exclusion from the episode‘s credits, raising questions about whether her role has changed and the franchise’s commitment to reform on matters of race.

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This season of “The Bachelorette” has already faced criticism about the near-absence of Asian men in Tran’s dating pool.

In an interview with Glamour, Tran herself called the casting shortfall “unfortunate.” Acknowledging the lack of Asian representation this season and in the franchise overall, executive producer Bennett Graebner told the Times: “That’s on us. We didn’t do what we needed to do. Our hope is that they will see Jenn and realize this is a safe space. We’re not saying it will solve and fix everything. But it is a step.”

Questions about Baskerville’s role come four months after a disastrous panel discussion at the Television Critics Assn. winter press tour, in which executive producers from “The Bachelor” were asked about the franchise’s troubled racial history and its deep struggles with cast members of color, particularly Black leads.

Instead of answering the question, Graebner and fellow EPs Claire Freeland and Jason Ehrlich froze, prompting an awkward silence that lasted several seconds.

Baskerville’s promotion to the executive producer ranks followed the firestorm that erupted during James’ 2021 stint as “The Bachelor,” which led to longtime host Chris Harrison’s exit from the franchise. James remains the only Black male lead in the series’ history.

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In a move seen as an attempt to repair the damage from James’ season, Baskerville, a veteran of the franchise, was named as an executive producer for the 18th season of “The Bachelorette.” That season was a milestone: for the first time, the series had a Black executive producer, a Black lead — Michelle Young — and a Black co-host — former Bachelorette Tayshia Adams.

“Having Jodi there, having another woman of color, if there’s anytime something was concerning or I just wanted to talk about something, she was right there to do that with me [and] make me feel heard, as well as to sit down and have conversations and bring everybody else into those conversations as well,” Young said in an interview with the Hollywood Reporter.

She added, “And so I felt like with that, the story is going to be told accurately, is going to be told in a way that all walks of life can understand, but is really going to showcase those diverse love stories.”

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Movie Reviews

Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

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Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.

What Makes It Work

The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.

Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.

The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.

Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.

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Nailed It

This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.

The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!

The Verdict

This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.

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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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Movie Reviews

‘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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