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Katie Holmes rose to cultural prominence roughly around the same time as the Manic Pixie Dream Girl, the quirky, ultimately quite shallow millennial incarnation of a woman who only exists to better a man. Twenty years later, it feels staggeringly retro to see Holmes doing a variation on the same type of character in “Rare Objects.” Times have changed in the interim, however, which means that now the character’s sole purpose is to support another woman on her journey of self-discovery. A Manic Pixie BFF, if you will. 

In this case, the woman in need of transformation is Benita Parla (Julia Mayorga), a college student who’s come home to Queens to recover after a stint in a psychiatric hospital. She checked herself in with symptoms of PTSD after she was sexually assaulted in a bar bathroom—an event the movie doesn’t gloss over but does depict in the least explicit way possible. Benita is tired and broken. She moves back in with her mom Aymee (Sandra Santiago), an immigrant from Latin America who doesn’t know what happened to her daughter but doesn’t ask too many questions. 

Through a series of whimsical events, Benita ends up taking a job at a Manhattan antiques store owned by Peter Kessler (Alan Cumming), a kind and genteel man whose business partner Ben Winshaw (Derek Luke) is always away sourcing unusual objects from around the world. Although she initially fudges her way into the job, Benita fits in beautifully at Kessler & Winshaw. That’s where—through another series of wacky coincidences—she reunites with Diana Van der Laar (Holmes), a kooky heiress who also happens to be Benita’s BFF from the psych ward. 

After this twist, the movie sets out on a predictable path to an underwhelming end. The general idea seems to be that of an Altman-esque ensemble piece about the lives and loves of colorful characters in New York City. (Yes, this is a “New York is a character in the movie” movie.) The film does show promise in this area early on, in street scenes that capture the different flavors of the boroughs where Benita works and lives. Her bond with her mother has its moments as well, and the film is sincere in depicting Benita’s recovery arc. But it’s just too awkward to sustain any kind of warmth.

The primary culprit here is the editing, with some responsibility reserved for Holmes as the director. Parts of the film are unnecessarily drawn out, with lots of dead air between lines and filler in scenes. (One set at a sidewalk cafe sees Benita entering, sitting down, exchanging pleasantries with Peter, eating an oyster, and then starting a conversation.) Other parts are glossed over to the point of being confusing: At one point, Benita’s mom disappears from the story with little explanation, which seems more important than the small talk that pads so much of the narrative. 

This dead air also adds a stilted quality to the performances. Cumming’s natural charm is suffocated here, and Holmes’ performance channels that Manic Pixie Dream Girl energy with a baby voice added to make things even more uncomfortable. The movie gets worse as it gets more serious: Scenes of Benita and Diana just hanging out and revisiting their trauma bond are believable, because no one is trying too hard. But a climactic confrontation between Diana and her brother James (David Alexander Flinn) ratchets up the drama and may make viewers want to crawl under the nearest table out of secondhand embarrassment.

“Rare Objects” means well. It’s trying to capture New York’s multiethnic communities, and it’s trying to make us fall in love with these characters. It’s passionate about high culture—characters discuss art and quote poetry at one another—and contains glimmers of a promising theme of history as living memory through objects. Unfortunately, none of the movie’s good intentions ever pan out. 

A Netflix documentary series depicting Queen Cleopatra VII as a black African has sparked controversy in Egypt.

A lawyer has filed a complaint accusing “Netflix’s Queen Cleopatra” of violating media laws and aiming to “erase Egyptian identity.”

One archaeologist insisted that Cleopatra was “light-skinned, not black”.

But the producer said her “legacy is very much debated” and the actress who played her told critics “if you don’t like the actors, don’t watch the show”.

Adele James commented in a tweet, which featured compilations of abusive comments that included racist slurs.

Cleopatra was born in the Egyptian city of Alexandria in 69 BC and was the last queen of a Greek-speaking dynasty founded by the Macedonian general Ptolemy of Alexander the Great.

She succeeded her father Ptolemy XII in 51 BC and ruled until her death in 30 BC. Egypt then fell under Roman rule.

The identity of Cleopatra’s mother is unknown, and historians say it is possible that she, or some other female ancestor, was an indigenous Egyptian or from somewhere else in Africa.

Netflix’s companion website Tudum reported in February that the choice to cast Adele James, a mixed-race British actress, as Cleopatra in its new documentary series was a nod to age-old dilemmas about the ruler’s race.

Jada Pinkett Smith, the American actress who served as executive producer and showrunner, meanwhile, was quoted as saying “we don’t get to see or hear stories about black queens very often, and that was really important to me, and to my daughter, and for my community to be able to know those stories because there are a lot of them!”

But when the trailer was released last week, many Egyptians condemned the depiction of Cleopatra.

Zahi Hawass, a prominent Egyptologist and former antiquities minister, told al-Masry al-Youm newspaper “this is completely false. Cleopatra was Greek, which means she was fair-skinned, not black.”

Hawass said the only rulers of Egypt known to have been black were the Kushite kings of the 25th Dynasty (747-656 BCE).

“Netflix is ​​trying to provoke confusion by spreading false and misleading facts that the origin of Egyptian civilization is black,” he added, and called on Egyptians to take a stand against the streaming giant.

On Sunday, lawyer Mahmoud al-Semary filed a complaint with the public prosecutor asking him to take the “necessary legal measures” and block access to Netflix services in Egypt.

He claimed the series included material and visual content that violated Egypt’s media laws and accused Netflix of trying to “promote Afrocentric thought which includes slogans and writings aimed at distorting and erasing Egyptian identity.”

Three years ago, plans for a Cleopatra movie starring Israeli actress Gal Gadot sparked a heated debate on social media, with some insisting that the role should go to an Arab or African actress.

18 months after the tragic event, where the photographer, Halina Hutchins, was accidentally killed during the shooting in New Mexico, the cast of the western film “Rust” is back on the set.

Actor Alec Baldwin is also expected to return to Montana in the coming weeks with his role, just 2 weeks before the New Mexico trial to decide whether he will be sentenced for Hutchins’ death in October 2021. .

7 months ago, Baldwin reached an agreement with Hutchins’ husband, according to which he was given the green light to reshoot the movie “Rust” with the same subject, with the same actors and the same director, Joel Souza, since the events of 2021 was also injured.

Yes, according to the agreement, Hutchins has been appointed executive producer of the film.

Universal Music Group, the music company that represents superstars including Sting, The Weeknd, Nicki Minaj and Ariana Grande, sent letters to streaming platforms including Spotify and Apple Music in April asking them to ban AI-generated music from the platforms.

“The company has an ethical and commercial responsibility to artists to work to prevent unauthorized use of their music and to stop platforms from reproducing content that infringes on artists’ rights,” a Universal Music Group spokesperson told CNN.

UMG’s move, first reported by the Financial Times, aims to stop artificial intelligence from posing an existential threat to the music industry. UMG says it is not opposed to the technology itself, but to artificial intelligence that is so advanced it can recreate melodies and even musicians’ voices in seconds.

The company said that AI using artists’ music violates UMG’s agreements and copyright law. UMG has sent requests to broadcasters asking them to delete AI-generated songs.

Difficult control

“I understand the intent behind this move, but I’m not sure how effective it will be, as AI services will likely still have access to copyrighted material in one way or another,” said Carl Fulks, entertainment and business attorney at The Fowlkes Firm.

There are no regulations dictating what AI can and cannot train, CNN reports. But last month, in response to people wanting to claim copyright for works created with artificial intelligence, the US Copyright Office issued new guidance on how to register literary, musical and artwork created with artificial intelligence.

“In the case of works containing AI-generated material, the Office will consider whether the AI ​​contributions are the result of mechanical reproduction,” the new guidance states.

“AI companies using copyrighted works to train their models to create similar works is precisely the practice that copyright courts should expressly prohibit. Original art should be protected by law, not machine-generated works that use original art to create new works,” Fulks said.

Grammy Award-winning DJ and producer David Guetta showed in February how easy it is to create new music using artificial intelligence. Using ChatGPT for the lyrics and Uberduck for the vocals, Guetta was able to create a new song within an hour.