Bravo's 'The Valley': A Reality Drama sans Table Tossing, Says Marianne Garvey - Level Up Magazine (2024)

Bravo’s “The Valley” occupies a space between the youthful antics of “Vanderpump Rules” and the extravagant drama of the “Housewives” franchise, offering viewers a refreshing departure from typical reality TV chaos. Concluding its inaugural season recently, the series diverges from Bravo’s usual formula by portraying the relatable struggles of its mostly 30-something cast, encompassing themes of relationships, parenthood, and career challenges.

Set in the San Fernando Valley of Los Angeles, the show features familiar faces from “Vanderpump Rules” alongside newcomers, all navigating their own versions of an early mid-life crisis. Despite its inevitable messiness (it is Bravo, after all), “The Valley” opts for a more subdued approach, dialing down the co*cktail-induced theatrics.

Brian Moylan, a Vulture writer specializing in Bravo content, quickly became a fan of the series, recognizing its unique position within the network’s lineup. With cast members sharing their real-life struggles both on and off-screen, such as Jax Taylor and Brittany Cartwright’s separation and the Layy’s impending divorce, the show feels notably authentic. Issues like infertility and postpartum depression further contribute to its genuine appeal.

Bravo has already greenlit a second season, signaling a continued exploration of more grounded storytelling. As Moylan notes, “The Valley” offers a refreshing take on reality TV, focusing on themes like child-rearing rather than the typical drama and partying. In a genre often characterized by yelling and name-calling, “The Valley” stands out for its Bravo-worthy authenticity.

The rise of streaming platforms has brought a plethora of international series and movies to viewers, enriching the entertainment options available. American audiences are increasingly open to non-English content, as seen in the popularity of shows like “Squid Game,” “Lupin,” and “Shogun.”

However, even English-language shows from countries like the UK and Australia can present challenges for American viewers due to cultural and linguistic differences. If you’ve found yourself pausing to catch dialogue in series like “Baby Reindeer,” “Peaky Blinders,” “Bodkin,” or “Sexy Beast,” you’re not alone.

This trend is particularly notable among younger adults, who are more inclined to multitask while watching and often choose to use subtitles even for shows in their native language.

In a survey conducted by YouGov in 2023, it was revealed that nearly 40% of respondents in the US prefer watching TV with subtitles, especially when viewing content in their native language. Among those under 30, this preference was more than twice as common compared to those aged 45 to 64.

The survey identified two main reasons for using subtitles: they improve understanding and comprehension, particularly when it comes to deciphering accents.

Netflix, being one of the most widespread streaming platforms, has expanded its content offerings globally and adapted to evolving viewing habits.

The platform has significantly increased the availability of films and series with audio descriptions (AD) and subtitles for the deaf and hard of hearing (SDH).

Kathy Rokni, Netflix’s senior director of globalisation, highlighted the importance of providing a seamless viewing experience while remaining true to the original creators’ vision. Rokni emphasised that Netflix’s in-house team of subtitling experts and language managers ensures quality and authenticity in translations.

Rokni emphasised Netflix’s commitment to storytelling that transcends cultural and linguistic barriers, noting that 40% of viewing hours now involve subtitles, including SDH, with over half of these instances using subtitles in the viewer’s primary language.

The progress made by Netflix reflects a departure from past practices, such as the dubbing of the Australian film “Mad Max” into American English in 1979 due to concerns about audience comprehension of Australian accents.

British television series have a longstanding presence in the US, exemplified by shows like “Doctor Who” and those featured on “Masterpiece Theater.” However, they have typically catered to a niche audience and specific genres.

In contrast, there’s a noticeable shift today as a wider array of imports, whether in English or other languages, are gaining traction without extensive pre-promotion, akin to the success of “Baby Reindeer” and “Squid Game.” This trend indicates that viewers are actively exploring international content, often discovering it serendipitously via streaming platforms.

Streaming services stand to benefit from this trend, as acquiring series already produced elsewhere tends to be more cost-effective than producing original content, especially given the disruptions caused by last year’s actors and writers strikes.

So, if you’ve recently found yourself captivated by a show that prompts you to read subtitles while watching, whether for comprehension or personal preference, rest assured you’re not alone in this experience.

Apple stands at the brink of what could be one of its most pivotal moments in recent history, as it confronts a barrage of challenges on multiple fronts. The company’s annual Worldwide Developers Conference, slated to commence on Monday, is widely anticipated to herald a significant partnership with OpenAI, the creator of ChatGPT, and introduce a suite of groundbreaking generative AI tools integrated into its mobile operating system.

This strategic foray into AI holds immense potential to catalyze growth in iPhone sales and services for the foreseeable future, particularly as consumers increasingly defer device upgrades amidst economic uncertainty, compounded by lingering effects of the pandemic, particularly in markets like China. Concurrently, Apple finds itself navigating regulatory scrutiny in the United States, exacerbated by recent shifts in market dynamics that saw chip maker Nvidia surpass it as the nation’s second-largest publicly traded company.

Apple’s Chief Executive Officer, Tim Cook, hinted at the impending AI initiative during the company’s latest earnings call, underscoring its strategic significance and positioning within the broader technological landscape. While Apple traditionally adopts a cautious approach to integrating emerging technologies, the rapid proliferation of generative AI is seemingly accelerating its timeline, compelling the company to maintain its competitive edge in the smartphone market.

Anticipation is rife regarding the nomenclature of Apple’s AI endeavor, rumored to be christened “Apple Intelligence” and set to be accessible exclusively on select devices such as the iPhone 15 Pro or those equipped with an M1 chip or newer iterations. Speculation abounds regarding the potential enhancements AI could bring to Siri, Apple’s virtual assistant, by leveraging OpenAI’s latest ChatGPT-4o model to imbue it with advanced conversational capabilities akin to those of a chatbot.

Beyond Siri, generative AI holds promise for revolutionizing various facets of Apple’s ecosystem, potentially augmenting user experiences across core applications like Apple Maps, iMovie, and iPhoto. Analysts anticipate Apple’s unveiling to spotlight on-device AI’s manifold benefits, emphasizing its seamless integration into daily routines while elucidating the company’s long-term vision for AI-driven innovation.

Crucially, Apple’s purported collaboration with OpenAI could be pivotal in shaping its AI trajectory, representing a concerted effort to harness external expertise in advancing its technological prowess. However, such partnerships entail inherent risks, potentially impinging on Apple’s autonomy in product development and its unwavering commitment to data privacy and security.

As Apple embarks on this transformative journey into AI, it remains steadfast in its commitment to consumer privacy and security, underscoring the imperative of responsible AI deployment amidst mounting concerns over its ethical implications. Moreover, the company is expected to provide updates on its Vision Pro mixed reality headset, positioning AI as a cornerstone of its immersive experiences strategy aimed at unlocking new frontiers in enterprise adoption.

Ultimately, Apple’s bold foray into generative AI underscores its unwavering commitment to innovation, poised to redefine the future of human-computer interaction while navigating the complex interplay of technological advancement and societal impact.

Alec and Hilaria Baldwin are set to bring their large family and expected big adventures to TLC. The couple, along with the network, announced on Tuesday that they will be the stars of a new reality series about their family, scheduled to debut on TLC in 2025.

In a video announcement shared on social media, the couple humorously teased an “announcement.” Alec Baldwin quipped, “Good God no!” to which his wife replied, “No definitely not. We’re done having kids.” The video then cuts to the expected chaos of a household with seven children under the age of 10.

“We’re inviting you into our home to experience the ups and downs; the good, the bad, the wild and the crazy,” Alec Baldwin says in the video. “Home is the place we love to be most.”

A TLC representative stated, “Alec and Hilaria Baldwin have been making headlines since they were married nearly 12 years ago. For the first time, they’re opening up their family lives and bringing everyone in to join in the non-stop love, laughter and drama.”

TLC, is part of Warner Bros. Discovery.

In addition to his seven children with Hilaria, Alec Baldwin has an adult daughter, Ireland, from his previous marriage to Kim Basinger. Baldwin became a first-time grandfather last year when Ireland welcomed her own daughter.

More recently, Alec Baldwin has been in the news due to ongoing legal issues. He has pleaded not guilty to an involuntary manslaughter charge in the “Rust” fatal shooting case, related to the 2021 death of the film’s cinematographer, Halyna Hutchins. The trial is set to begin in July in New Mxico.

“The Baldwins” is the working title for the new show.

Los Angeles, CA – Aline Humbert, the multifaceted talent hailing from France, is poised to steal the spotlight at the upcoming Hollywood Fringe Festival with not one, but two captivating productions showcasing her prowess as a writer, director, and actress.

In her solo performance, “If We Were a Movie,” Humbert takes audiences on a whirlwind journey through the complexities of life, love, and mental health. Portraying the character Lily, Humbert deftly explores the nuances of trauma with a touch of humor and lightness, leaving audiences both laughing and reflecting. With six different characters and an intricate staging that pushes her physical limits, Humbert’s performance promises to be a tour de force.

Speaking about her debut play, Humbert expressed gratitude for the opportunity to bring “If We Were a Movie” to life. “It’s incredibly challenging physically,” she shared. “It’s also very dear to my heart. I hope the show can help people with their own issues or at least make them laugh!”

Catch “If We Were a Movie” at The Madnani Theater on June 8th, 13th, 22nd, and 29th. Tickets are available at The Hollywood Fringe Festival.

But that’s not all. Humbert’s talents extend beyond the stage as she takes on the role of director and actress in the comedic mystery, “A Story as Old as Time.” Set against the backdrop of Brooklyn, the play follows NYPD Detective Sergeant Ben Gutierrez as he unravels a series of mysterious deaths linked to a new mummy at the Brooklyn Museum.

In this production, Humbert steps into the shoes of Elisabeth (Liz) Habib, a defense attorney entangled in a web of intrigue and danger. Drawing from her experience as an assistant director in France, Humbert brings a fresh perspective to the director’s chair, breathing life into the characters and storyline.

Reflecting on her directorial debut, Humbert remarked, “Directing made me evolve as an actress and as an artist. I feel incredibly fortunate the writer/producer is giving me so much freedom and trust.”

Don’t miss “A Story as Old as Time” at the JAXX Theater on June 7th, 11th, and 30th. Secure your tickets now at www.hollywoodfringe.org

Aline Humbert’s journey from France to Hollywood is a testament to her passion and dedication to the craft. With a background in acting, directing, and a penchant for storytelling, she is a rising star to watch out for on the entertainment scene. As co-founder and artistic director of Niche Stage Productions in LA, Humbert is poised to make an indelible mark on the industry.

For more information about Aline Humbert and her upcoming projects, follow her at instagram.com/aline_humbert

Slim Shady is back, but it seems his return might be short-lived. Eminem appears to be bidding farewell to his iconic alter ego in his latest project, an album titled “The Death of Slim Shady.” This highly anticipated release marks a significant moment in the rapper’s career as he signals the end of an era.

Eminem has kickstarted this new chapter by releasing the album’s first single, “Houdini,” which features a sample from the Steve Miller Band’s 1982 hit, “Abracadabra.” True to his style, Eminem’s lyrics are provocative and hard-hitting, taking aim at various figures including Megan Thee Stallion, and even himself.

In the song, he raps, “If I was to ask for Megan Thee Stallion if she would collab with me, would I really have a shot at a feat?” This line references the 2020 incident where Tory Lanez shot Megan Thee Stallion in the feet, an act that resulted in Lanez receiving a 10-year prison sentence.

Accompanying the single is a star-studded music video where Eminem receives assistance from some of his celebrity friends. The video opens with his music manager, Paul Rosenberg, leaving a seemingly critical voicemail about the new album. This is followed by a scene featuring Eminem’s mentor and frequent collaborator, Dr. Dre, who tells him, “We’ve got a problem.” The issue in question is a portal that allows time travel between the present and 2002, setting the stage for a visually dynamic narrative.

The video features cameos from 50 Cent, Snoop Dogg, and Pete Davidson, adding to its star power. In a nostalgic twist, Eminem is seen battling his younger self, a scene reminiscent of his 2002 “Without Me” video. This confrontation symbolizes the end of the Slim Shady persona, bringing his journey full circle.

Recently, a faux obituary for Slim Shady appeared in the Detroit Free Press, Eminem’s hometown newspaper. The obituary described Slim Shady as “a rogue splinter in the flourishing underground rap scene,” further cementing the idea that Eminem is closing the chapter on this influential alter ego.

“The Death of Slim Shady (Coup de Grâce)” is Eminem’s follow-up to his 2020 album “Music to Be Murdered By.” Fans can look forward to the full collection of new music set for release this summer, marking what promises to be another transformative period in the rapper’s illustrious career.

The third season of “Hacks,” the Emmy-nominated comedy series on Max, presents an intriguing paradox. While the veteran comic Deborah Vance’s quest for a late-night TV show feels somewhat anachronistic—given the declining prestige of such shows—the series imparts a timeless lesson about Hollywood’s cutthroat nature and the lengths to which people will go to succeed.

The finale makes this lesson crystal clear. Deborah (Jean Smart) deceives her writer and confidant Ava (Hannah Einbinder) by claiming that the network barred her from appointing Ava as the head writer. However, a chance encounter with the network executive (Helen Hunt) reveals the truth: the decision was Deborah’s alone. Confronted, Deborah admits she prioritized her shot at late-night stardom over loyalty to Ava. “You have to be selfish,” she tells Ava. “This show has to be bulletproof, and it has to work. I’ve lost way too much for it not to.”

Ava initially wants to quit in protest of Deborah’s betrayal. However, the tables turn in the final scene when Ava blackmails Deborah into granting her the head writer position. When Deborah questions if Ava would really use such tactics, Ava retorts, “I would. Wouldn’t you?”

This development leaves the future of their uneasy alliance uncertain, though their turbulent relationship suggests they are bound to each other, for better or worse.

“Hacks” captures the blend of narcissism and self-absorption often seen as prerequisites for showbiz success. This season parallels the themes of another late-night TV series, “The Larry Sanders Show.” The titular character, played by Garry Shandling, wielded significant power while grappling with profound neuroses—a description that also fits those around him.

The irony is palpable: “The Larry Sanders Show,” which premiered on HBO in 1992 (while “Hacks” streams on Max), emerged during a different era in late night, one still dominated by the legacy of Johnny Carson. The show debuted shortly after Carson’s final episode, amid the infamous “late-night wars.”

Today’s late-night landscape, featuring hosts like Stephen Colbert, Jimmy Fallon, and Jimmy Kimmel, has seen its audience fragment dramatically. Other shows, such as those hosted by James Corden and Samantha Bee, have been canceled due to less favorable economics. Unlike the fierce rivalry between David Letterman and Jay Leno, current hosts exhibit a collegiality, even banding together during the writers’ strike.

Despite Deborah’s nostalgic pursuit, “Hacks” remains contemporary. The penultimate episode deals with Deborah addressing backlash over outdated jokes, echoing the controversy that led Kevin Hart to step down as Oscar host.

Following the show’s Christmas episode, it seems fitting that “Hacks” finds a way to navigate the past, present, and future. As long as the dynamics of Hollywood persist, the series continues to reflect the industry’s enduring—and often ruthless—quest for success.

As summer movies hit the big screens, the outcomes are falling short of expectations. Despite Hollywood’s hopes for a rebound after pandemic-related losses and the rise of streaming, the reality hasn’t matched up, especially compared to the booming May of 2023.

While it’s too early to hit the panic button, the numbers paint a bleak picture. Box office totals for May are down approximately 35% from last year, with the average for the top new movie down almost 50%. Memorial Day weekend, traditionally a strong kickoff for summer blockbusters, saw lackluster performances from “Furiosa” and “Garfield,” marking the weakest start to summer in over three decades.

Despite these setbacks, there are some rays of hope on the horizon. “Deadpool & Wolverine” is generating record advance ticket sales, and the animated sequel “Inside Out 2” is expected to draw families to theaters.

However, the days of $100 million opening weekends seem like relics of the past, and Hollywood faces several challenges in the current landscape. Changing consumer habits, exacerbated by shortened theatrical windows, have made it harder to entice audiences to theaters. Additionally, the recent strikes have disrupted release schedules, further dampening interest in cinema outings.

Disney’s Marvel franchise, once a reliable box office juggernaut, has also experienced a downturn, prompting the studio to reevaluate its strategy. Meanwhile, introducing new concepts to audiences has proven difficult, with even established franchises struggling to draw crowds.

While there are bright spots, such as the success of “Barbie” and “Oppenheimer” in 2023, true blockbuster events are becoming increasingly rare. The dwindling star power of Hollywood’s leading actors further compounds the industry’s challenges.

In response to shrinking profits, studios may need to rethink their spending strategies and produce movies more cost-effectively. However, finding the right balance between budget constraints and audience expectations remains a daunting task.

Ultimately, the fate of Hollywood’s summer season and the future of the movie industry rest in the hands of consumers. As uncertainties loom, one thing is clear: the movie business is in for a bumpy ride, and only time will tell how it will weather the storm.

Saundra Glenn was already a fan of Coldplay’s frontman Chris Martin, and her admiration only grew after he gave her a lift.

In an interview, Glenn, 64, shared her experience of heading to Radio 1’s Big Weekend music festival, which was disrupted by osteoarthritis and a troublesome right hip. This condition forced her to pause her walk on the way to the accessibility box office.

As she was resting against a fence, Glenn described how a black Mercedes pulled up beside her, and a woman inside the car offered her a ride.

“When the door opened, I saw it was Chris Martin and said, ‘Oh, I can’t get in with him,’ but they insisted, ‘Yes, you can,’” Glenn told Initially, Glenn had been contemplating heading home to watch the concert on television instead. “But I thought, I love Coldplay and never thought I’d get another chance to see them in my hometown,” said Glenn, who is a resident of Luton in the UK.

During the ride, Glenn made Martin laugh when she told him, “I’m 64, Chris, I don’t do festivals. I’ve come just to see you, and now I’ve seen you, I can go home.”

However, Martin’s kindness didn’t end with just giving her a ride to the show. “When we got to the artist area, he didn’t leave me there. He said, ‘Get the golf buggy and make sure Saundra reaches her destination,’” she shared. “It’s the fact that he’s conscious of disability; he’s such a kind person.”

Representatives for Martin have been contacted for comment.

Glenn, of course, stayed for the show, describing it as the “coolest festival” she’d ever attended.

Nearly a decade after Charlize Theron’s portrayal in “Mad Max: Fury Road,” the franchise continues with George Miller’s latest installment, “Furiosa: A Mad Max Saga.”

The new film, releasing this Friday, is a prequel to 2015’s “Fury Road,” focusing on Furiosa, originally played by Theron. Anya Taylor-Joy now takes on the role, depicting Furiosa’s childhood and teenage years.

In a recent interview, Taylor-Joy praised Theron, revealing they have been in touch since both actresses share the iconic role.

“We’ve emailed a lot and met at the Oscars. She’s as lovely and cool as you’d imagine,” Taylor-Joy said. “We’re due for a long dinner to swap war stories. I’m so lucky to share a character with her. She’s one of my favorite actors.”

Taylor-Joy felt connected to Furiosa even before reading the script, inspired by Theron’s performance in “Fury Road.”

“I fell in love with Furiosa through Charlize’s interpretation,” she said.

Initially, Miller considered casting Theron again, even exploring de-aging technology but ultimately chose a new star to fit Furiosa’s younger years better.

“De-aging can be distracting. You end up focusing on the technology, not the performance,” Miller explained. “We quickly moved away from that.”

Miller found Taylor-Joy, known for “The Queen’s Gambit,” to be a perfect fit for the role.

“After watching her, I thought, ‘Holy cow – she could take this on.’ She has a timeless quality and wonderful intensity,” Miller said.

Opposite Taylor-Joy, Chris Hemsworth plays the villain Dementus. Hemsworth, nearly unrecognizable with prosthetics and makeup, found the transformation helped him fully embrace the character.

“Immersive sets and makeup make it easier to lose yourself in the role,” Hemsworth said.

“Furiosa” is the fifth film in the “Mad Max” series. Miller has other stories in mind, hinting at future movies but keeping details under wraps.

“We’ve written a story for Max before ‘Fury Road,’ and I’ve speculated on what happens after,” Miller teased.

Superhero movies have seen better days at the box office, making an action-comedy based on a 1980s TV show an unlikely contender to kick off the summer. Drawn by the appeal of Ryan Gosling’s Barbie” performance (or Ken-core), “The Fall Guy” falls flat in the beginning and only picks up towards the end, failing to achieve the major impact it aims for.

At its best, director David Leitch (“Deadpool 2”) presents a film defined by its appreciation for the movies, particularly the stunt work where he began his career. The original TV series starring Lee Majors (noted mostly for its theme song) provides a loose framework for a story about a stuntman whose on-screen troubles spill into real life, compelling him to use his skills to deal with real-life villains.

The film takes some time to set this up, introducing Gosling’s Colt Seavers as the stunt double for the egotistical star Tom Ryder (Aaron Taylor-Johnson), while also entangling him with Jody (Emily Blunt), a fellow crew member.

An accident derails Colt’s life and career, and after some time, he is coaxed out of retirement by Gail (Hannah Waddingham from “Ted Lasso”), the fast-talking producer of Ryder’s films. Colt is reluctant to return, but the chance to reunite with Jody, now making her directorial debut, entices him, though things don’t go as planned.

Colt’s comeback is driven by more than just professional interest—off-screen shenanigans and Ryder’s involvement with shady characters force Colt into a quasi-detective role, using his stunt skills to navigate dangerous situations.

The setup, including the romantic subplot, leads to some dull stretches between the elaborate stunts, which are the main attraction of “The Fall Guy” and its comedy. Gosling brings a goofy charm and amusing neediness to Colt, but the premise, already somewhat strained in the Reagan era, doesn’t fully hold up despite being amplified for the big screen.

“The Fall Guy” shines in its smaller moments and unique touches, like Colt’s boss (Winston Duke) frequently quoting movie lines, Taylor-Johnson channeling Matthew McConaughey, and a stunt dog trained to respond to French, including a particularly juvenile command.

Ultimately, “The Fall Guy” feels weighed down by high expectations and its positioning as a major blockbuster when it’s a light-hearted homage to the unsung stuntman. While Gosling has the talent to carry much, elevating this film beyond its amiable nature is a heavy lift, even for him.