Lifestyle
What to know about California's new state park, a scenic green space where two rivers meet
On June 12, California will open its first new state park in nearly a decade, setting aside 1,600 acres near the confluence of the Tuolumne and San Joaquin rivers in the San Joaquin Valley.
The park will give visitors a glimpse of what the valley’s waterways were like before the arrival of agriculture, but it will be a while before the site offers many activities. Or has a name.
The site is known as Dos Rios, but state officials have yet to officially name it. It sits eight miles west of Modesto, amid dairy farms and almond orchards, and is considered the largest public-private floodplain restoration project in the state.
State parks officials said that beginning June 12, visitors will be able to take escorted hikes on some areas of the property and use about a dozen newly placed picnic tables and shade structures.
But many activities will need to wait. Officials are still seeking public input and making plans for other possible activities, including biking, swimming, fishing and nonmotorized boating.
“We’re still growing,” park manager Paige Haller said. Haller said the park would open with three full-time interpretive employees and be open 7 a.m. to 5 p.m., Friday, Saturday and Sunday. Visitors will be able to reserve guided visits, Haller said, on a soon-to-be-unveiled park website.
Temporary restroom facilities are in place. A prefab “welcome center,” about the size of a trailer, is due to open by year’s end, to be followed eventually by a larger visitor center.
Once a dock is in place at the park’s main pond, Haller said, “We’re planning on having nonmotorized boating” and fishing, perhaps by the end of 2025.
There will be no entrance fee at the beginning, Haller said, adding, “We expect that to happen in the next couple of years.”
The property, formerly known as the Dos Rios Ranch, includes eight miles of river; a long, oxbow-shaped pond; a barn; several farm buildings that will be adapted to new uses; and about 20 miles of ranch roads, many of which likely will become trails.
The property was run as a dairy and cattle ranch for decades, with a series of berms separating the rivers from the rest of the land, before it was acquired in 2012 by the California conservation nonprofit River Partners. River Partners planted vegetation, removed the berms in 2018 and began a transfer of the property to the state in 2023.
A River Partners analysis of the property found species including riparian woodrat, Swainson’s hawk, least Bell’s vireo, yellow warbler, sandhill crane and “an entire suite of neotropical migratory songbirds.” In waters near the restoration site, River Partners has documented spawning Chinook salmon, steelhead trout and white sturgeon. The park is neighbored by the San Joaquin River National Wildlife Refuge.
Before this, the last new state park unit to be unveiled was Eastern Kern County Onyx Ranch State Vehicular Recreation Area, opened in November 2014. The Dos Rios park will be the 281st unit in a system that covers nearly 1.4 million acres and includes almost 15,000 campsites and 3,000 miles of hiking, biking and equestrian trails.
The Dos Rios park’s name is to be determined and approved in coming meetings of the California State Park and Recreation Commission. Its next meetings are June 11 and Sept. 11. Gov. Gavin Newsom spoke at the Dos Rios site on Monday as part of an Earth Day celebration.
The Tuolumne and San Joaquin rivers both carry snowmelt from the Sierra into agricultural areas of the Central Valley. The 366-mile San Joaquin River, longest in the valley, eventually flows into the Pacific Ocean by way of Suisun Bay and San Francisco Bay.
Lifestyle
In 'The Fall Guy,' stunts finally get the spotlight
Eric Laciste/Universal Pictures
At the Hollywood premiere of the new movie The Fall Guy, motorcyclists popped wheelies along the red carpet, one stuntman took a dive off a 45-foot crane outside the Dolby Theater, and Ryan Gosling’s stunt doubles were ripped backwards through a movie poster. Three performers smashed through a window for a lively staged fight scene.
The movie’s storyline and its massive global marketing campaign are all about giving credit to Hollywood’s behind-the-scenes action stars. In every appearance, Gosling lavishes praise, noting he’s had a stunt double since his 1990’s TV show Young Hercules.
“I kind of had a stunt double my whole life,” he explained at the premiere at South By Southwest. “It’s always been this strange dynamic where they come and do all the cool stuff and then they go and hide, and you pretend that you did it. And it’s not cool…it’s about time that we recognize that they’ve been making actors into movie stars for a century.”
Valerie Macon/AFP via Getty Images
The Fall Guy is an action movie within an action movie: In the film, Ryan Gosling plays Colt Seavers, a stunt man trying to win back his film director ex, played by Emily Blunt. When the movie star for whom he doubles goes missing, Seavers is sent on a mission to find him.
Gosling did a few of his own stunts for the movie, including falling backwards 12 stories from a building. He did a fight scene inside a garbage bin spinning through the streets, and he surfed on a metal plate dragged by a truck on the Sydney Harbour bridge.
But Gosling’s stunt doubles did even more daring tricks.
“I got pulled back maybe 20 feet into a massive rock while on fire,” recalls Ben Jenkin, a parkour specialist who stood in for Gosling’s character as he was set on fire over and over. “I did the ‘fire burn’ eight times in one day. That was actually one of the ones that hurt the least.”
Throughout production, Jenkin took more than a few punches.
“The car hit wasn’t fun,” he told NPR. “I mean, it was fun to do, but the pain! It definitely hurt my leg a little bit when I smashed through the front windshield and landed on the road. That was a thumper. You watch the movie and you see the stunts and you’re like, ‘Oh my god, that’s crazy. That must have hurt.’ But you don’t see the prep that went into it.”
Walt Disney Television Photo Archives/Getty Images
Pulling back the curtain on stunts
The movie was directed by former stuntman David Leitch, who spent 20 years doubling for A-list actors like Brad Pitt and Matt Damon before making such action films as Atomic Blonde, Bullet Train, John Wick and a Fast and Furious spinoff.
For The Fall Guy, Leitch says he wanted all the stunts to be old school and practical — using real people, not AI or CGI.
“We did high falls out of helicopters. We lit people on fire multiple times,” Leitch told NPR. “Cars flipping, crashing, fight scenes, bottles broken. A lot of stunts. We really put everything into it. Honestly, we knew we had to make sure we did right by the stunt community.”
Posing as Gosling’s character in the movie, aerialist Troy Brown took a backwards 150-foot fall out of a helicopter to land onto the same airbag his legendary stuntman father Bob Brown once landed on for a movie.
Stunt driver Logan Holladay jumped a truck over a 225 foot-wide canyon. And for another scene, he broke a Guinness World Record. Driving 80 miles per hour on a wet, sandy Australian beach, Holladay maneuvered a modified Jeep Grand Cherokee. A blast from an air cannon under the SUV propelled it to roll over itself eight and a half times. (The previous record for cannon rolls in a car was seven, held by Adam Kirley for the 2006 James Bond film Casino Royale.)
Eric Laciste/Universal Pictures
“Logan gets out of the car and gives us the thumbs up, and we know he’s okay,” recalls the movie’s stunt designer, Chris O’Hara. He and his team had carefully calculated the density of the sand and the speed.
“It’s definitely a science,” he told NPR. “It’s not just, you know, go crash a car; We’re really doing our due diligence to make it the perception of danger while eliminating all the risks so that in the end, we can make something super exciting.”
David Leitch says all of the stunts in the movie are also there to serve the story. “There’s a lot of math, there’s a lot of physics, there’s a lot of physicality and performance,” he says. “But there’s also this artistic design and creativity. Like, how is this sequence going to move the character forward? How is this sequence going to be more fun? How are we going to make them laugh? How are we going to make them be scared?”
Eric Laciste/Universal Pictures
Campaigning for an Oscars category
Unlike costume designers, hair and makeup designers, and soon, casting directors, the Academy Awards have never had a category for stunts. But The Fall Guy stars Gosling and Blunt made a pitch for one at this year’s Oscars ceremony.
“To the stunt performers and the stunt coordinators who help make movies magic,” Gosling said onstage, “we salute you.”
That support is appreciated by stunt performers like Michelle Lee, who doubles for Rosario Dawson in the Star Wars spinoff series Ahsoka. She hopes this effort helps people understand discipline and sacrifices stunt performers make to entertain audiences. “Sometimes, you pad up and you’re like, ‘Oh, this one’s going to hurt,’ but this is what I’m here for and I’ve practiced,” she says. “You know, pain is temporary, film is forever. You have that cool shot forever.”
Mike Chat and Neraida Bega train Hollywood stunt performers at a center run by 87 North, the production company run by The Fall Guy director David Leitch and his producer wife Kelly McCormick. They say that for years, stunt performers have campaigned for the Academy to honor their work.
“People have petitioned, they’ve gone out and picketed,” says Chat. But that didn’t work, says Bega.
“The fear was that people were going to make the stunts more dangerous and bigger and bigger for them to win. But that is not the goal,” Bega says. “There is so much discipline, they work so hard and they have to be always ready.”
Chat has been in the business for more than 20 years. He and others hope The Fall Guy may finally convince the Academy to award an Oscar for best stunts.
“They have taken the initiative to say, ‘OK, we’re going to educate you, we’re going to earn it, we’re gonna prove it and show you why it’s deserved.’”
And for that effort, he says the stunt community around the world is giving The Fall Guy a big thumbs up.
Lifestyle
Gypsy Rose Gave Wedding Ring Back to Estranged Husband, Family Heirloom
Gypsy Rose Blanchard has already given back her wedding ring to estranged husband Ryan Anderson … because the piece of jewelry meant quite a bit to him, TMZ has learned.
Sources close to Gypsy Rose tell TMZ … she felt it was the right thing to give back the ring — as it was a family heirloom given to Ryan by his mom. We’re told Gypsy Rose left the ring with Ryan when she made the decision to end her marriage … along with an apology note next to their bed on March 22.
The note read … “I’m sorry, you and I deserve happiness.”
BTW … legally speaking, she didn’t have to return the ring. Once they tied the knot, it was hers unconditionally.
As Ryan explained on ‘Life After Lock Up’ … he snuck the jewelry into the prison where Gypsy Rose was doing time for her role in the murder of her mom, Dee Dee Blanchard.
Remember, Gypsy Rose and Ryan first connected after he wrote her a letter. They fell in love … marrying in a prison ceremony in July 2022.
GRB and Ryan’s relationship deteriorated in the months after Gypsy’s release from prison. She announced her decision to separate in March … filing for divorce not long after.
Gypsy Rose has already moved on to a new relationship … confirming a romantic reunion with ex-fiancé Ken Urker with a kissing selfie.
Sources tell us the relationship is moving fast … as Ken is planning to move from Texas to Louisiana in June to be closer to Gypsy Rose.
Yet, as Gypsy Rose told a photog this week, she and Ken aren’t talking about marriage … yet!!!
Lifestyle
Renowned painter and pioneer of minimalism Frank Stella dies at 87
Ian Nicholson/PA Images via Getty Images
Renowned minimalist painter Frank Stella died Saturday of lymphoma at his home in Manhattan, N.Y. The artist was 87 years old.
Stella’s representative, Marianne Boesky Gallery in New York, confirmed the news with NPR.
“Marianne Boesky began representing Stella in 2014, and the gallery is deeply grateful for a decade of collaboration with the artist and his studio,” Boesky said in a statement shared with NPR. “It has been a great honor to work with Frank for this past decade. His is a remarkable legacy, and he will be missed.”
One of the most influential American artists of his time, Stella was a pioneer of the minimalist movement of the early 1960s. During that time, painters and sculptors challenged the idea that art was meant to be representative and used their medium as their message.
Instead of representing three-dimensional worlds through the canvas, some of Stella’s early artworks reflected his desire to have an immediate visual impact upon viewers. A series titled Black Paintings used parallel black stripes to prompt awareness of the painting as a two-dimensional surface. As Stella once gnomically stated, “What you see is what you see.”
2015 Frank Stella/Artists Rights Society (ARS), New York. Digital Image
“It was about being able to make an abstract painting that really wasn’t based on anything but the gesture of making itself, which was the gesture of making the painting,” Stella Terry Gross in a Fresh Air interview in 2000.
Frank Stella was born into a middle-class Italian American family. His father was a gynecologist who painted houses during the Great Depression and his mother was a housewife and artist. Young Stella grew up surrounded by paint; amongst his mother’s artworks and helping his father whenever he repainted his own home. “I always liked paint,” he told Gross, “the physicality of it.”
He started exploring paint more professionally when he was in high school in Massachusetts under the supervision of abstractionist painter Patrick Morgan, who taught there. Even while studying history as a Princeton undergraduate, Stella continued taking art classes. Through his Ivy League connections, Stella was introduced to the art world of New York City, which started to shape his early artistic vision as he encountered artists such as Jackson Pollock and Franz Kline, who would become some of his most admired influences.
“I really wanted more than anything to make art that was as good as the good artists were making. I wanted to make art that someday — and I didn’t expect it to be that way right away — that it would be as good as [Willem] de Kooning or Kline or [Barnett] Newman or Pollock or [Mark] Rothko. They were my heroes and I wanted to make art that was as good as them,” he told Fresh Air.
Ben Stansall/AFP via Getty Images
When Stella was only 23, he made his debut at New York’s Museum of Modern Art. And soon after his series Black Paintings, which he started in 1958, Stella created two more series, Aluminum Paintings (1960) and Copper Paintings (1960-61), that committed to the idea that the art was in the medium and was, as he told The Guardian in 2015, supposed to be “fairly straightforward.”
In 1970, when he was 33 years old, Stella became the youngest artist ever to receive a retrospective at New York’s Museum of Modern Art. His exhibition covered a decade of his drawings and paintings and emphasized his originality in simplicity.
In the 1990s, Stella’s work evolved from the canvas to colorful geometrical configurations and sculptures. He started using computer technology and architectural rendering to incorporate digital images into his work. His Moby Dick series, a set of paintings, lithographs, and sculptures, took their titles from chapters of Herman Melville’s classic novel. According to the Princeton University Art Museum, the series was Stella’s “most ambitious artistic endeavor … [that] pushes the boundaries between printmaking, painting, and sculpture.”
Volker Hartmann/DDP/AFP via Getty Images
A straightforward, rather blunt artist, Stella never really cared about what others thought of him — or of his art. But his six-decade career inspired generations of artists, including painter Julie Mehretu. “Once I really started to understand his work and follow it, there’s a certain type of invention and playfulness and extreme rigor with which he kept going forward,” she said in a 2015 NPR interview.
Stella’s numerous awards and accolades included the National Medal of Arts, the country’s highest honor for artistic excellence, in 2009, and the 2011 Lifetime Achievement in Contemporary Sculpture Award from the International Sculpture Center.
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