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A former stunt performer walks away (mostly) unscathed from fist fights, flipped cars

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A former stunt performer walks away (mostly) unscathed from fist fights, flipped cars

Ryan Gosling plays a stuntman in the action movie The Fall Guy.

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Two concussions. A broken ankle and wrist. A torn meniscus (… actually make that two). A lost front tooth. Former Hollywood stunt performer David Leitch is no stranger to on-the-job injury. He says pain tolerance and being “a little bit tough” can come in handy when you get thrown out of windows for a living.

Leitch has since shifted into filmmaking. His latest, The Fall Guy, starring Ryan Gosling, is a tribute to stunt performers and the often unrecognized risks they take.

The film begins with a montage of action sequences: A man tumbles down a rocky cliff, rides a motorcycle over the roofs of several cars, gets thrown through a bus window and runs through a battlefield surrounded by explosions. Leitch says coordinating the stunts from behind the camera was actually more harrowing than executing them himself.

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“It’s harder because you have your friends that are doing the stunts and you’re designing them and you are responsible for their safety,” he explains. “Your heart goes through your chest.”

As a stunt performer, Leitch doubled for Brad Pitt in Fight Club, Mr. & Mrs. Smith and Ocean’s Eleven, and for Matt Damon in The Bourne Ultimatum. His directorial credits include Bullet Train,Fast & Furious Presents: Hobbs & Shaw, Deadpool 2 and Atomic Blonde.

“You have to evolve,” Leitch says of his transition from stunts to directing. “Being the physical double that’s getting ratcheted back from explosions or falling down the stairs or taking the big hits — I’m so grateful I was able to transition out of it, because you don’t want to be doing that at a certain age.”

Interview highlights

On not wanting to reveal too many industry secrets in The Fall Guy

It is a little bit like magic. I think we’re always reinterpreting the classic gags and the classic tricks. And so that’s what we did with Fall Guy. We sort of reimagined the big car jump. We reimagined the high fall from the helicopter. And there is a little secrecy. … Because it was such a business where it was passed down. It’s apprenticeships, it’s passed down from family — usually to kids — and it’s hard to crack in and find someone to teach you because they didn’t want to share the knowledge so much.

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I think in Fall Guy, we tried to pull the veil back just enough and not, give too much away. You see those fire stunts? We didn’t really give the science behind that away. That’s what’s really amazing about stunts. I think people think it’s a bunch of daredevils, and there’s a little bit of that sensibility in stunt performers, but really, there’s a lot of physics and math and legacy tricks that get you through the day.

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On what goes through his mind right before a stunt

Ultimately a lot of stunt work is trusting your team. … You’re hooked up to this machine and you’re trusting the physics of it, and you’ve rehearsed it and you’ve seen the weight bags go down and up, but again, you’re stepping off the ledge and you have to have this ability to calm your nerves, [to] trust in the process, [to] have the confidence that, you know, we’ve tested this over and over and it’s going to go great. And so it’s not unlike an athlete at the starting line: You really have to focus on the first step and then your body takes over. And you wait, you hear that cue “action” and you go.

On how his stunt work on the Matrix changed Hollywood

I was a fan of a lot of different Asian cinema, Korean and Chinese and Japanese cinema that had martial arts in the lead characters. Everyone just knew how to fight, and they could fight with a martial art style. Whether it was a police drama or a heightened sci-fi thing, every character knew how to fight. And it wasn’t until the Matrix movies where the Wachowskis [directors Lana Wachowski and Lilly Wachowski] had sort of said, “Hey, we want to have that same vibe in Western cinema.” And I think after that first Matrix film hit the ground where you saw Keanu and Laurence Fishburne fight in this dojo, and there were the actors doing the fighting, I mean, that had not happened to that level in Western cinema before that, really. So it was like a light went off for myself and a core group of us who were sort of training together at the time. …

We started to take that opportunity with a lot of different films, and we were of up-and-coming stunt coordinators and we were really specializing in fight choreography. And we did something that we learned from that Hong Kong team on the Matrix films: We would shoot and edit our own fight scenes to present to the directors and the producers, and through that we built a name for ourselves, and we also learned how to tell stories. And we also learned how to technically direct. We were shooting and editing these sequences and presenting them as sort of finished ideas like moving storyboards. And now it’s something that is like, standard.

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On enduring the physical pain of stunts

The car stunts and cars and fire and things like that, they actually hurt less sometimes, I think, because you’ve built in all these protocols to protect the performer and there’s a lot of science involved, but the meat and potatoes of stunt performing is just physical performance. And sometimes [it’s] getting thrown down a set of stairs [for] multiple takes and how to protect yourself. And you know you’re not going to break anything, but you’re going to get a lot of bumps and bruises and twisted ankles and crooked necks, but that’s just something that you accept.

Ryan Gosling, David Leitch and stunt performer Logan Holladay on the set of The Fall Guy.

Ryan Gosling, David Leitch and stunt performer Logan Holladay on the set of The Fall Guy. “Your heart goes through your chest,” Leitch says, of coordinating stunts for others.

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On being asked to do more takes when you’re in pain

You hate it, but you’re stoic about it. … The unwritten contract that you sign, like if you can get up, you should be going again. And the stunt coordinator expects you to do that too, because he’s hired you and he doesn’t want you to not make him look good in front of the director.

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On not showing your face as a stunt performer so the audience believes it’s the actor

It was definitely part of the old-school mentality. You learned how to hit a mini trampoline and jump in the air and keep your head away from camera. … Like, I always try to give [the director] the back of your head. And you just got good at it. … It’s kind of changed in the last decade or so, because the use of face replacement allows you to just let the stunt performer perform and then if it’s a few frames where we see a face, we can use a digital still and wrap it around their face and with motion blur and simple visual effects, you can mask the stunt performer’s profile or face or whatever. And it allows the performers more freedom in doing the action and not trying to contort their body to hide their face.

On whether visual effects will replace stunt performers

I know that that’s where the world is heading, and I think that that’s OK. For me, as someone who enjoys action films, I feel the difference in the stakes of what’s happening on the screen with the characters when I feel that it’s real. And so I think there’ll always be the want for that. I hope especially for action film lovers, but actually just really good storytelling. The visual effects and the CGI can’t deliver the reality of really feeling the stakes behind it all, then it’s always going to fall flat.

Heidi Saman and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.

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‘Stranger Things’ is over, but did they get the ending right? : Pop Culture Happy Hour

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‘Stranger Things’ is over, but did they get the ending right? : Pop Culture Happy Hour

Millie Bobby Brown in the final season of Stranger Things.

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After five seasons and almost ten years, the saga of Netflix’s Stranger Things has reached its end. In a two-hour finale, we found out what happened to our heroes (including Millie Bobby Brown and Finn Wolfhard) when they set out to battle the forces of evil. The final season had new faces and new revelations, along with moments of friendship and conflict among the folks we’ve known and loved since the night Will Byers (Noah Schnapp) first disappeared. But did it stick the landing?

To access bonus episodes and sponsor-free listening for Pop Culture Happy Hour, subscribe to Pop Culture Happy Hour+ at plus.npr.org/happy.

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JasonMartin Says Adin Ross Disrespecting Doechii Stops in 2026

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JasonMartin Says Adin Ross Disrespecting Doechii Stops in 2026

JasonMartin
Adin Ross Disrespecting Doechii …
Will Not Be Tolerated!!!

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‘Everything I knew burned down around me’: A journalist looks back on LA’s fires

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‘Everything I knew burned down around me’: A journalist looks back on LA’s fires

A firefighter works as homes burn during the Eaton fire in the Altadena area of Los Angeles County, Calif., on Jan. 7, 2025.

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On New Year’s Eve 2024, journalist Jacob Soboroff was sitting around a campfire with a friend when he made an offhand comment that would come back to haunt him: The last thing he wanted to do in the new year, Soboroff said, was cover a story that would require donning a fire-safe yellow suit.

Just one week later, Soboroff was dressed in the yellow suit, reporting live from a street corner in Los Angeles as fire tore through the Pacific Palisades, the community where he was raised.

“This was a place that I could navigate with my eyes closed,” Soboroff says of the neighborhood. “Every hallmark of my childhood I was watching carbonize in front of me. … There were firefighters there and first responders and other journalists there, but it was an extremely lonely, isolating experience to be standing there as everything I knew burned down around me in real time.”

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In his new book, Firestorm: The Great Los Angeles Fires and America’s New Age of Disaster, Soboroff offers a minute-by-minute account of the catastrophe, told through the voices of firefighters, evacuees, scientists and political leaders. He says covering the wildfires was the most important assignment he’s ever undertaken.

“The experience of doing this is something that I don’t wish on anybody, but in a way I wish everybody could experience,” he says. “It’s given me insane reverence for our colleagues in the local news community here, who, I think, definitionally were exercising a public service in the street-level journalism that they were doing and are still doing. … It was actually beautiful to watch because they are as much a first responder on a frontline as anybody else.”

Interview highlights

Firestorm, by Ben Soboroff

On the experience of reporting from the fires

You’re choking with the smoke. And I almost feel guilty describing it from my vantage point because the firefighters would say things to me like: “My eyeballs were burning. We were laying flat on our stomach in the middle of the concrete street because it was so hot, it was the only way that we could open the hoses full bore and try to save anything that we could.” …

I could feel the heat on the back of my neck as we stood in front of these houses that I remember as the houses that cars and people would line up in front of for the annual Fourth of July parade or the road race that we would run through town. Trees were on fire behind us — we were at risk of structures falling at any given minute. It was pretty surreal because this is a place I had spent so much time as a child and going back to as an adult. … I had no choice but to just open my mouth and say what I saw to the millions of people that were watching us around the country.

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On undocumented immigrants being central to rebuilding the city

These types of massive both humanitarian and natural disasters give us X-ray vision for a time into sort of the fissures that are underneath the surface in our society. And Los Angeles, in addition to being one of the most unequal cities between the rich and the poor, has more undocumented people than virtually any other city in the United States of America. Governor Newsom knew that with the policies of the incoming administration, some of the very people that would be responsible for the cleanup and the rebuilding of Los Angeles may end up in the crosshairs of national immigration policy. And I think that that was an understatement. …

Pablo Alvarado in the National Day Laborer Organizing Network said to me that often the first people into a disaster — the second responders after the first — are the day laborers. They went to Florida after Hurricane Andrew, to New Orleans after Katrina, and they’d be ready to go in Los Angeles. And I went out and I cleaned up Altadena and Pasadena with some of them in real time.

And only months later did this wide-scale immigration enforcement campaign begin … on the streets of LA as sort of the Petri dish, the guinea pig for expanding this across the country. And it’s not an exaggeration to say that the parking lots of Home Depots, where workers [were] looking to get involved in the rebuilding of Los Angeles, has been ground zero for that enforcement campaign.

On efforts to rebuild

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The pace is slow and it’s sort of a hopscotch of development. And I think for people who do come back, for people who can afford to come back, it’s going to be a long road ahead. You’re going to have half the houses on your street under construction for years to come. And for people that do inhabit those homes, it’s going to an isolating experience. But there’s an effort underway to rebuild. …

There’s also a lot of for-sale signs. And that’s the sad reality of this, is that there are people who, whether it’s that they can’t afford to come back … or that they just can’t stomach it, I think, sadly, a lot people are not going to be returning to their homes.

On what the Palisades and Altadena look like today

They both look like very big construction sites in a way. There are still some facades, some ruins of the more historic buildings in the Palisades. … But mostly it’s just empty lots. And in Altadena, the same thing. If you drive by the hardware store, the outside is still there. But it’s a patchwork of empty lots. Homes now under construction. And lots and lots of workers. … There are still a handful of people who are living in both the Palisades and in Altadena, but for the most part, these are communities where you’ve got workers going in during the day and coming out at night. …

We have designed this community to be one that’s in the crosshairs of a fire just like the one we experienced and that we will certainly, certainly experience again, because nobody’s packing it up and leaving Los Angeles. People may not return to their communities after they’ve lost their homes, but the ship has sailed on living in the wildland urban interface in the second largest city in the country.

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On seeing this story, personally, as his “most important assignment”

Jacob Soboroff is a correspondent for MS NOW, formerly MSNBC.

Jacob Soboroff is a correspondent for MS NOW, formerly MSNBC.

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Jason Frank Rothenberg/HarperCollins

I don’t think I realized at the time how badly I needed the connections that I made in the wake of the fire, both with the people who have lost homes and the firefighters, first responders who were out there, but also honestly with my own family, my immediate family, my wife and my kids, my mom and my dad and my siblings and myself. I think that this was a really hard year in LA, and I think in the wake of the fire, I was experiencing some level of despair as well. Then the ICE raids happened here and sort of turned our city upside down. And this book for me was just this amazing cathartic blessing of an opportunity to find community with people I don’t think I ever would have otherwise spent time with, and to reconnect with people who I hadn’t seen or heard from in forever.

Anna Bauman and Nico Wisler produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.

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