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Austin police sergeant suspended for not ensuring January crime scene was properly processed KVUE.comHILLSBORO, Ohio (WXIX) - Bodycam footage shows the deadly scene last month in which a Highland County sheriff’s deputy shot and killed a man during a traffic stop.
The footage comes from an Ohio State Highway Patrol trooper arriving to the scene moments after the shooting occurred.
It happened June 17. Richard Poulin, 58, was pulled over for a traffic stop on OH-62 south of Hillsboro, according to the Ohio Bureau of Criminal Investigations.
Steve Irwin with BCI said after the traffic stop, a chase occurred and eventually ended near 5760 US 62 in Hillsboro, which is when the shooting happened.
Poulin was pronounced dead at the scene.
The Highland County Sheriff’s Office requested Ohio BCI’s involvement, according to Irwin.
The investigation is ongoing and BCI’s findings will be turned over to Highland County Prosecutor’s Office once complete.
The name of the sheriff deputy who shot Poulin has not been released.
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The animated family movie DC League of Super-Pets — an origin story for Superman’s best friend, Kryptonian super-dog Krypto — is built for adult viewers as much as for kids. It’s packed with DC Comics gags, some of which are visual, like the Jonah Hex-themed steakhouse in downtown Metropolis. Others are musical: At one point, Krypto sings a little impromptu ditty about how much he and Superman love each other, to the tune of John Williams’ classic theme from 1978’s live-action Superman. Some are referential: Lex Luthor (Marc Maron) complains that he doesn’t have superpowers, not even the ability to “throw playing cards really hard” — seemingly a dig at Marvel characters like Bullseye or possibly Gambit, who each have used cards as weapons.
But viewers will have to wait through the credits for one of the more audacious gags, where League of Super-Pets openly makes fun of another DC property — and Dwayne Johnson, who voices Krypto, mocks himself. The movie’s co-writer and co-director, Jared Stern, tells Polygon how it happened.
[Ed. note: Spoilers ahead for the post-credits sequence in DC League of Super-Pets.]
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In the post-credits sequence, set after the film’s resolution, Superman (voiced by John Krasinski) and Krypto are enjoying a Metropolis park by night when DC antihero Black Adam flies in with his pet dog. The two human heroes share one terse, tense acknowledgement, but the two dogs immediately start talking. (The film establishes early on that animals can communicate with each other; humans listening to their conversations just hear barking, meowing, or other animal noises.)
Black Adam’s sidekick Anubis brags about how his partner is a cool, edgy antihero, while Krypto chuckles that “antihero” is just another word for “villain.” He mocks Anubis for thinking “my owner breaks all the rules, does what he wants, and takes down anyone in his way” is anything but villain behavior. “It’s a fine line, I’m not going to lie,” Anubis says.
But as Krypto continues to call Black Adam a villain, Anubis gets more and more flustered and boastful, until Krypto offhandedly says that Black Adam might be cool, but not cool enough to fly to Pluto. Anubis immediately says he can so, and he grabs Black Adam and takes off into space.
It’s a silly bit of banter ending in a sight gag, but it’s surprising because it’s such a pointed takedown of DC’s impending blockbuster Black Adam, also starring Dwayne Johnson in the title role. Stern says his higher-ups at DC never batted an eye at League’s irreverence toward Black Adam, though, and he says he’s fairly sure the sequence came from Dwayne Johnson himself.
“I believe it was Dwayne’s idea,” he tells Polygon. “He thought it’d be fun to act against a darker version of Krypto. And we all laughed at that and thought, ‘Yeah, that’s gonna be super fun. It’s just perfect.’”
Stern says movies aimed at a comic book fandom now essentially require post-credits gags of some kind, but in this case, he felt it was an opportunity to take the film in a different direction. “These post-credits sequences have become sort of cliche, so we thought we’d lean into it in a playful way,” he says. “The fact that Dwayne was playing roles in both these DC properties, it just seemed like a fun opportunity.”
Most of the animal heroes in DC League of Super-Pets have at least minimal canon histories — PB, aka Wonder-Pig (Vanessa Bayer), is a reference to a Justice League Unlimited episode and an early appearance of a flying pig in Wonder Woman’s comics. Merton the tortoise (Natasha Lyonne) was originally the super-turtle The Terrific Whatsit. The electro-powered squirrel Chip (Diego Luna) was once the Green Lantern Ch’p. And Ace the Bat-Hound has his own long comics history.
But Stern says Anubis is an entirely original character invented for the film. “We based it on an Egyptian dog, the kind of the dog you see in hieroglyphics and in Egyptian statues, in tombs,” he says. (Anubis does closely resemble a black Pharaoh hound, sometimes known as an “Anubis dog.”) “We thought, He’s Egyptian, it’d be cool to model the dog after that, and also, he’d look kind of badass. So we made that up.”
Just to make the jokey post-credits sequence even more meta and self-referential, Dwayne Johnson voices both Black Adam and his dog. “It’s all Dwayne Johnson,” Stern laughs. “As if you didn’t have enough Dwayne Johnson as our star and our producer.”
“We thought it would be so funny, but we were also a little bit nervous — we were like, Are you gonna be able to tell the voices apart? But he did a fun thing with his voice where Krypto leaned a little bit into a higher register, a little goofier, and then he went into his deeper badass antihero voice for Anubis, then kind of his normal Black Adam movie voice, though Black Adam just says one thing: ‘Superman.’ So, yeah, that scene was John Krasinski, Dwayne Johnson, Dwayne Johnson, and Dwayne Johnson.”
CLEVELAND HEIGHTS, Ohio
Felonious assault: Coventry Road
At 1:50 a.m. July 23, police were dispatched to the area of Coventry Road and Euclid Heights Boulevard on a report of several parties shooting at each other.
Officers arrived to a “chaotic scene,” with about 100 people running through the streets and parking lots and on Coventry Road. In one lot, an officer saw a man, 26, and his girlfriend, 24, walking and yelling about a fight that took place at The Courtyard bar, 1854 Coventry Road.
The woman said she was dancing when a man grabbed her buttocks. Her boyfriend confronted the man. According to her boyfriend, he was then attacked by several men. The man and his girlfriend were able to get away from the bar, but the man had blood on his face and shirt.
Another woman, 25, told police about a man at the same bar who was yelling at other patrons. This intoxicated man may have been the same one that grabbed the girlfriend as she danced.
The 25-year-old woman said she left the bar and heard a string of gunfire. She got on the ground on a grassy area until the gunfire stopped. She said she also saw a man carrying what looked like a body and putting the body into a car.
A security guard at the bar said he pulled the man who was causing trouble off another man and the first man lifted his shirt and showed a handgun in his waistband. The guard let the man leave the bar.
Police found a rifle in a grass median next to a parking lot. The gun was found to have been stolen from Cleveland.
Dispatch informed officers that a gunshot victim had arrived at a nearby hospital. Police from South Euclid and Shaker Heights were called to the scene to help.
CHPD detectives are attempting to piece together what happened. The matter remains under investigation.
Fleeing and eluding: Yellowstone Road
At 3:15 p.m. July 21, an officer was monitoring traffic in a marked cruiser at Yellowstone Road and Oakridge Drive when a car failed to stop at a stop sign. The officer followed and conducted a traffic stop. The offending driver stopped on Glenwood Road.
As the officer got out of his car and walked toward the 2020 Chevrolet Malibu, its driver drove off at a high rate of speed. Because it was a residential area, the officer, who took down the car’s license plate number, did not pursue.
The car’s owner was found to live on Englewood Road. Police went to the house, saw the Malibu in the driveway and knocked on the door. A teen boy answered. When asked who had been driving the Malibu, the boy said he didn’t know. Police ordered the car towed.
While police were at the home, the boy’s mother arrived. She said the car has mechanical issues and is not safe to drive. She said her son had taken the car’s keys from her purse.
The woman sought charges against her son. Police arrested the boy, but the juvenile detention center would not accept him. He was released back to his mother’s custody and will be cited for failure to stop at a stop sign, failure to comply and operating a vehicle without a license.
Felonious assault: Kildare Road
At 4:10 p.m. July 22, officers were dispatched to a home on a report of a custody dispute. As police traveled to the house, dispatch informed officers that the woman who had called police said shots had been fired.
Police met with the woman, who said that her daughter, without her permission, had left her home with her aunt. The daughter returned, but then her daughter’s father acme to her house and the two argued about the girl’s custody.
Several other relatives were at the home, as well. The father of her child began to argue with the father’s male cousin.
The two fought before the cousin went to his car, got a gun and fired it in the direction of the home. The cousin then got into his car and drove off, again firing the gun as he did so.
The woman and three others were on the home’s porch when the shots were fired. No one was injured.
Officers found four 9mm shell casings on the ground. Two bullets made their way into the home, and another into a neighboring home.
The woman signed complaints against the cousin for felonious assault and child endangering. Police are seeking the suspect.
Disorderly conduct: Lancashire Road
At 1:30 a.m. July 22, police were called to the 10th floor of an apartment building on a report of a disorderly woman. Police had been called twice to the same apartment about two hours earlier on reports of a verbal dispute between the woman and a man with whom she lives.
The woman had been pounding on the apartment unit door because the man had locked her out. Police could not make contact with the woman during the first call. On the second call, police met the woman, 53, outside the building and walked her to the 10th floor. The man allowed her and police to enter.
The woman was intoxicated, slurred her words and appeared to be drowsy. She told police she had been “out at the bars.”
On the third call to the apartment, at 1:30 a.m., the woman said she wanted the man to leave. She said the man, 61, had hit her, but police found no evidence of that charge.
The man told officers that he was trying to go to sleep when the woman entered and told him she wanted him to leave. The two have lived together for about a month.
Police told the woman she would have to speak to her landlord and go through the eviction process to get the man to leave. The woman was uncooperative. Police told the woman to go to sleep and she agreed.
Officers, however, were called once more -- before they had even left the scene -- because the woman again wanted the man to leave and was creating a disturbance. The woman was shouting obscenities and telling the man he had to leave.
Police arrested the woman for disorderly conduct.
Read more from the Sun Press.
Temperatures are predicted to reach 109 degrees in the Yakima Valley today, Friday, July 29, as part of a predicted eight-day stretch of 100+ degree weather. Although heat is good for growing wine grapes, excessive temperatures are challenging for grape growers.
It is vital for growers to monitor their vineyards for the following during periods of excessive heat:
• Grapes can become sunburned and destroyed.
• Watering is vital and difficult to keep up with during extreme heat.
• Vineyard workers are unable to spend as long in the field.
According to Kerry Shiels of DuBrul Vineyard in Sunnyside, they build their annual viticulture program around potential problems. “We really don’t anticipate any issues. It’s been a cool to moderate vintage until this week. Canopies are healthy, especially with the wet spring we have had. We are making sure the canopies remain healthy with water and we’re keeping grape clusters shaded and protected from sunburn. What happens in this heat is the vines shut down and go to sleep. If anything, it will slow things down.”
Patrick Rawn, co-owner of Two Mountain Winery and Vineyard Management, echoes the sentiment. He is keeping water on and saying a short prayer.
This type of heat is not completely unusual, and it’s something most growers are equipped to handle. However, any curveball Mother Nature throws causes worry to any farmer, anywhere.
Despite the heat, Shiels is optimistic about the 2022 vintage: “The vines are catching up to the 2012 vintage, which was a classic Yakima Valley vintage highly regarded by critics and consumers alike. A classic Yakima Valley vintage offers ripe fruit, balanced with acidity and good phenolics, with great potential to age — it’s everything we love about Washington wine,” says Shiels.
Development in most grape varieties is normal to slightly behind this year, according to both Rawn and Shiels.
“Six weeks ago, we were a month behind. Today, we are basically on schedule,” says Shiels. Both growers anticipate harvest beginning on or around Labor Day, and both will pick chardonnay first.
As the grapes ripen, the burden shifts from the grower to the winemaker. Ripe grapes lead to the biggest make-or-break decision made by a winemaker — the decision of when to harvest. The chemistry of the grapes largely determines the potential of a wine’s greatness, as well as the amount of work and attention needed in the winery. Most wineries begin estimations in the winemaking process by grape sampling — literally walking each vineyard and picking select clusters to take back to the winery for testing and tasting.
DuBrul Vineyard will begin sampling the middle of August. “We begin by sampling the grapes for sugar and acidity,” says Shiels. “Once those numbers get close, we start walking the rows and tasting the grapes. As ripeness gets close, the winemakers will start coming to assess the grapes and decide on picking schedules.”
Grape samples collected must be representative of each block, not the overall vineyard. Due to different soil types, elevation, aspects and micro-climates surrounding each part of the vineyard, it is important that the sampling is done with the same level of precision as the viticultural practices used by the winemaker. The uniformity of grape ripeness that results from making several harvest passes through a single vineyard — only picking the perfectly mature grapes and returning a few days later for another row — contributes to the balance and finesse of the resulting wine.
Although this season has been somewhat uncharacteristic, every harvest is unique. So far, the prayers for the 2022 vintage are working, and things are looking good.
• Barbara Glover is executive director of Wine Yakima Valley, an industry group representing member wineries. Her column runs every other week in Friday’s Explore section.
The “Stranger Things” writers’ room is refuting recent reports that older episodes of the Netflix series are being re-edited years after the fact. The official Twitter account for the show’s writers posted the following message: “PSA: no scenes from previous seasons have ever been cut or re-edited. And they never will be.”
Reports surfaced earlier in July that Netflix had re-edited a scene in the show’s first scene to make the character Jonathan Byers (Charlie Heaton) appear less “pervy.” The scene in question found Jonathan photographing Nancy Wheeler (Natalia Dyer) without her knowledge. Some fans believed that Jonathan continued to take photos of Nancy as she undressed, which is not how the scene is cut in the episode, thus leading to theories that the streamer was re-editing previous content.
When a fan responded to the “Stranger Things” writers’ room PSA by asking, “So that also counts for the Jonathan spying on Nancy scene in S01, as many people believe?” the group responded, “Yes.” Clearly, fans were misremembering the Jonathan scene.
The whole notion of “Stranger Things” being re-edited was first introduced by creators Matt and Ross Duffer in an exclusive interview with Variety. Fans noticed that an episode in Season 4 took place on March 22, but nowhere in the episode did anyone mention that date is Will Byers’ birthday, which had been confirmed in an episode years prior. The Duffer brothers admitted they forgot about the date and offered a solution to the gaffe.
“We’re thinking his new birthday is going to be May 22, because ‘May’ can fit in Winona’s mouth [in the Season 2 scene where Joyce says the date of Will’s birthday],” Matt Duffer said. “So that would be us George Lucas-ing the situation.”
Matt added in a follow-up interview with Variety, “We have George Lucas’d things also that people don’t know about.”
“George Lucas-ing” refers to the “Star Wars” creator’s frequent tweaks to his movies after they’ve been released. Matt Duffer’s comments opened up the door for speculation on what the creators had re-edited in the show. While the writers’ room denies any re-cuts are being made, the show’s lead editor Dean Zimmerman recently confirmed to Variety that updates are being made on “Stranger Things 4.” The full season has been out for three weeks now, but the editors are still updating certain VFX shots because the Duffer brothers want the show to be as perfect as possible.
The first four seasons of “Stranger Things” are now streaming. The series will return for a fifth and final season.
PSA: no scenes from previous seasons have ever been cut or re-edited. And they never will be. pic.twitter.com/H0j8JwidLs
— stranger writers (@strangerwriters) July 26, 2022
Yes
— stranger writers (@strangerwriters) July 26, 2022
The true onus of that scene falls way more on Faye Dunaway than William Holden. He doesn't speak a single line of dialogue in the whole thing. He just kisses her, takes off his clothes, and lies down in bed. She has to do all of that plus rattle off 197 words of television jargon and have an orgasm within the span of 110 seconds. It's a relentless scene, and Dunaway knew what a challenge it was going to be. As recounted in the book "Mad as Hell: The Making of Network and the Fateful Vision of the Angriest Man in Movies" by Dave Itzkoff, Dunaway said of the love scene:
"There is not a second of it when the dialogue stops ... The speed of it parallels the rhythm of their lovemaking ... I could not afford to stumble on a single word; it would have killed the momentum of the scene. It was the exact opposite of 'sex as chess.'"
The anxiety about it got to a point where she, according to producer Howard Gottfried, said, "I'm not going to do that scene. I don't have to do it," which she had the power to kibosh because the scene required nudity that he claims she didn't want to do.
While she admits to the dialogue struggle, Dunaway disputes she had any trepidation about the actual sex. It was actually William Holden who resisted it, saying, "He had a strongly held belief that making love was a private thing that should not be exposed by film." As Holden was a Republican nearing 60 that emerged in Hollywood's Golden Age, he was not accustomed to outright sex on screen. Dunaway was no stranger to it. Whatever their fears, both actors pushed them aside and created a stunning and hilarious movie moment that perfectly tees up the tonal whiplash of the next scene in which Beatrice Strait delivers a one-scene powerhouse dramatic performance that wins her an Oscar.
Child Jupe doesn't survive Gordy's rampage by running away or fighting off the animal. He survives by quietly hiding under the table. Notably, Jupe is distracted for a second by the upright shoe, so when Gordy first spots him under the table, they aren't making eye contact. Much like plenty of animals (and the alien, as we'd find out), chimpanzees often interpret eye contact as a form of aggression, which may be why the adult actor's attempts to calm Gordy down end so poorly.
So when Gordy spots Jupe under the table, the kid isn't making eye contact. Shortly after, when Jupe is in fact looking into Gordy's eyes, there's still the tablecloth between them, making it ambiguous as to how much Gordy's able to see Jupe's face. They cautiously begin to fist bump each other, but then Gordy's shot to death.
It's not clear what would've happened had the police not shown up at that moment, but the implication is that Gordy was finally calming down. At least, that's certainly Jupe's interpretation, because adult Jupe seems confident that he's able to keep the alien predictable and compliant. But at the end of the day, his belief that his fist bump was what tamed the wild Gordy was just an assumption, one that's later proven to be a deadly one.
Spoilers follow for Jordan Peele’s film Nope.
Movie trailers can be full of unkept promises. This is common for franchises like Star Wars and the Marvel Cinematic Universe: Think of Jyn Erso facing off against a TIE fighter, which didn’t make the final cut of Rogue One: A Star Wars Story. Or Doctor Strange of Earth-838 sneering, “Things just got out of hand,” nowhere to be found in Doctor Strange in the Multiverse of Madness’s final cut. Blockbusters often go through multiple edits, pick and choose between Easter eggs, and use diversionary footage to avoid spoiler leaks. Some of that might explain why certain scenes from Nope’s trailers didn’t make it into the theatrical version of Jordan Peele’s third directorial effort. But that doesn’t make us any less curious about them!
We reviewed all the official Nope videos and trailers released by Universal Pictures, compiled the scenes that got cut, and cooked up some theories about these lost moments.
1.
A struggling Em in Hollywood?
Nope revolves around the Haywood siblings, Otis Jr. (Daniel Kaluuya) and younger sister Emerald (Keke Palmer), who’ve inherited the family ranch where generations of Haywoods have raised and trained horses for hire on film and TV sets. Em has felt left out of the business since she was young, with her father focused on passing his skills onto his son. So she pursues her own multifaceted version of fame — singing, motorcycle riding, whatever else anyone will hire her to do — in Hollywood. Em only mentions these aspirations briefly in Nope, but it looks like at least some of her Hollywood journey was filmed. In the above screengrabs, is she squatting outside some bougie mansion? Did she come home not just to help run Haywood’s Hollywood Horses, but also because she had no other options? It would have been nice to spend some time with Em on her own.
Or, to spend some time with her while she flirted with a bachelorette party while livestreaming from Hollywood Boulevard!
The real question mark, though, is what Em could be filming in this scene. This looks like the Haywood family home, but Em is recording something at eye level using a camcorder — so maybe not the alien being, which all those Fry’s Electronics cameras captured by pointing straight up to the sky. Perhaps something is happening to OJ?
Or maybe this is not Em recording something, but watching something — an upsetting memory from her childhood, perhaps? Maybe this is a video of that first training session when Otis Sr. chose to train OJ and excluded Em, which we flash back to elsewhere in Nope.
2.
Antlers at home?First, an important note: Antlers Holst might be the best movie-character name ever. Second, this is actor Michael Wincott’s (The Crow, Strange Days, Westworld) first acting role in five years, and though he has a standout scene reciting lyrics to Sheb Wooley’s “The Purple People Eater” and a distinctive all-black look that contrasts sharply with the Haywoods’ graphic T-shirts, it wouldn’t have hurt the film to have more of this gravelly-voiced icon. To wit: Is this Antlers at home? Chilling in a perfectly oversize suit and looking out over his pool?
In the film, we only see Antlers at home in what looks like a backyard video village, reviewing all kinds of animal-focused footage. But at some point, at least, it looks like we got to go inside. I want to go to there! What is he filming? In terms of costuming, Antlers looks a bit like Nope’s cinematographer, Hoyte van Hoytema, who before Nope worked on other sky- and space-focused films like Interstellar, Ad Astra, and Dunkirk. Maybe Antlers is pointing his camera up into the clouds in another nod to Hoyte?
3.
What is this guy’s deal?Here is where we deviate a bit. Moments in which Em tries to establish herself in Hollywood or Antlers feels aimless at home would have expanded characters we already know. They wouldn’t be all-new additions to the story, but additional texture and shading. But who the hell is this guy, and what is his deal?
The Nope IMDb page at least gives us a name: The actor and comedian Michael Busch, who is credited as “Nobody.” This scene seemingly shows this mysterious dude walking toward the set of Gordy’s Home while everyone else flees, after one of the chimpanzees who plays Gordy attacks his co-stars. Maybe this was a subplot about a Gordy’s Home superfan? The story that Ricky “Jupe” Park (Steven Yeun) tells about Gordy’s Home makes it sound like the sitcom wasn’t on the air for very long before the “massacre,” but we all know that it can take very little to spark an obsession. (I am proof: Look at me, trying to spin out subplot theories based on seconds from a trailer.) Maybe, in an earlier version of the film, we saw some version of the Gordy’s Home incident from the eyes of someone tied to the spectacle of the show. Peele recently shared the fictional sitcom’s opening credits on Twitter:
In the shot below, we see that footage of Gordy the chimp dressed in a red double-breasted jacket mirrored in this guy’s glasses. Is he watching an episode? Maybe he is a vet tech who worked with the chimps, hence the scrubs?
Maybe he made a miniature version of the Gordy’s Home set and had a pet crab who stood in for Gordy?
A nod to marine horrors wouldn’t be completely out of place in Nope: The alien’s final form resembles a gigantic squid, and the way Peele gradually unveils his monster seems to pay tribute to Steven Spielberg’s Jaws. If Peele’s looking for more horror inspiration, the deep dark holds an array of options. Exploring the 80-plus percent of the ocean that remains unmapped? That’s a nope from me.
Fans came to believe that the sequence following Nancy's shirt removal had been edited. The claim is that Jonathan could previously be seen snapping a photo of Nancy in her bra, and fans thought that quick moment had been removed to make him look like less of a creep. The evidence of this snapshot moment once existing is said to be this: When Steve and his popular crew discover the photos that Jonathan took after having them developed in the dark room at school in the third episode, "Holly, Jolly," one of them is a photo of Nancy in her bra, just as she was taking off her shirt.
However, /Film can officially confirm that the scene where Jonathan takes photos of Nancy has not been edited at all. As a physical media nerd, I have both the first and second seasons of "Stranger Things" on Blu-ray. As soon as this claim started making the rounds, I got out my season 1 discs and tossed them in my Blu-ray player. Though there are several articles out there claiming fans with their DVDs have confirmed this edit to be real, that's simply not the case.
Stray Paws dog rescue, northwest of downtown St. Louis, saves between 800 to 1,000 dogs each year.
Now the building where animals are held before being sent to foster homes is ruined.
“Everything ... All our dog food … washers and dryers, we had pens, refrigerators keeping our medicine in them … all of our food, collars, bedding, everything is gone,” Stray Paws board member Jennie Miller said in a phone interview Tuesday afternoon, holding back tears.
(MORE: The Most Staggering Facts About Historic St. Louis Flooding)
Miller and other Stray Paws helpers rushed to the facility in St. Peters, Missouri, Tuesday morning after they saw the flooding on TV at about 5:45 a.m. They picked their way around flooded and closed roads.
“We snuck in behind and we just went into the building, which [had water that] was waist deep,” Miller said.
Ten puppies died in the flood. They were from two different litters and ranged in age from 6 to 8 weeks. Fifteen adult dogs were rescued and taken to another facility nearby for medical treatment. All survived.
A neighboring business owner who's been in the area since 1991 told Miller he had never seen it flood there before.
“The whole downtown … Old Town St. Peters, is underwater,” Miller said. “It’s devastating … We lost puppies, but these poor people lost their homes … cars were submerged, businesses are underwater. It’s affecting everybody here.”
Stray Paws Rescue is accepting donations to help them recover and will need volunteers to help with cleanup. Visit their Facebook page or website for more information.
The group says several other rescues in the area are also in need of dog foster families. They include:
-Helping Strays of Monroe County
-Belleville Area Humane Society
Click here for a look at our live updates from the St. Louis area throughout the day Tuesday.
The Weather Company’s primary journalistic mission is to report on breaking weather news, the environment and the importance of science to our lives. This story does not necessarily represent the position of our parent company, IBM.
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RUSSELL, MA (WGGB/WSHM) - Crews remain on-scene after a massive four-alarm fire tore through the vacant Strathmore mill buildings in Russell on Tuesday.
The fire started in Mill #3 in the Woronoco section of town, but the flames did eventually spread to Mill #1 across the street.
Smoke could be seen all the way from the Mass. Pike near Westfield and crews are still keeping a close eye on the situation.
“It’s still smoldering in a couple spots, but it’s not going anywhere. Basically, it’s all brick and some roofing, a few timbers that are still smoldering and we’re just making sure it doesn’t rekindle,” said Russell Fire Chief Edward Renauld.
Mutual aid was called in from more than a dozen fire departments across western Massachusetts, as well as Westover Air Reserve Base. Fire officials also told us a limited water supply in the area made putting out the fire challenging.
We’re told that the cause of the fire remains under investigation by the state fire marshal.
Part of Woronoco Road remains closed to traffic at this time.
Copyright 2022. Western Mass News (WGGB/WSHM). All rights reserved.
Stranger Things season 4 has been gripping our attention since it arrived on Netflix in May, attention that has now turned back to earlier seasons. Creators the Duffer brothers revealed they've re-edited scenes from older episodes, and now fans have spotted changes that have been made.
One such scene involves Nancy Wheeler (Natalia Dyer) and her new boyfriend, Steve Harrington (Joe Keery), in the second episode of the first season, titled The Weirdo on Maple Street. Steve, a jock-type, convinces Nancy to join him at a house party, where they sleep together for the first time.
Out in the woods, Jonathan Byers (Charlie Heaton) snaps pictures of the party guests, including Nancy when she removes her clothes. Fans on TikTok and Twitter picked up on a slight tweak to this scene -- Jonathan is no longer shown taking a picture of Nancy when she undresses.
However, he still possesses a picture of the moment, revealed in the next episode, titled Holly, Jolly. Steve and his bully pals discover the photos from the party, calling Jonathan a "creep" and a pervert. "He was probably gonna save this one for later," says Carol Perkins (who was dating Tommy Hagen), referring to the photo of Nancy undressing.
The Duffer brothers have had other opportunities to make tweaks, including the date of Will's (Noah Schnapp) birthday. In season 2, episode 8, Will's mother Joyce (Winona Ryder) says his birthday is March 22. In season 4, episode 2, a timestamp on a video camera recording reads March 22, but no one celebrates Will's big day.
Matt Duffer suggested changing Will's birthday to May 22, "because 'May' can fit in Winona's mouth." He continued, "So that would be us George Lucas-ing the situation." Star Wars creator George Lucas frequently altered his movies after their release. Mostly, this involved improving special effects.
At time of writing, however, Joyce still says March 22 in the season 2 scene.
Your best memory of Dale Dickey likely comes in a brutal flash from one of your favorite shows or movies: crushing a man with an ATM in Breaking Bad. Smacking Jennifer Lawrence across the face with a mug in Winter’s Bone. Leading a heroin-smuggling ring inside a prison in Justified.
For almost 30 years now, the Tennessee native has made memorable parts out of even the tiniest bits of screen time, often by channeling a particular harsh intensity. She finally gets a true showcase in A Love Song, a tender middle-aged romance that drew raves out of this year’s Sundance Film Festival and hits theaters this Friday. Costarring with fellow Hollywood traveler Wes Studi, Dickey plays Faye, a widow feeling out a new romantic and emotional connection. Shot and set in the Colorado mountains, it’s a simple, affecting tale of new hopes and possibilities, set against a stunning natural backdrop. (Watch an exclusive clip from A Love Song below.)
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At the center of Max Walker-Silverman’s film, Dickey is a marvel: vulnerable, heartbreaking, and transfixing. The amount of screen time marks a huge change of pace for the actor; so does the tenor of the role, without the ragged edges with which she’s made her name. In a career-spanning conversation for this week’s Little Gold Men (listen below), Dickey admits she’s still getting used to the exposure brought about by a lead role—one that may just reintroduce her to an industry she’s spent nearly half her life in.
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Vanity Fair: For me, you’re an actor who makes an impression in every project, no matter the size of the part, which at times can be quite small. And I saw that this film’s director, Max Walker-Silverman, wrote you a letter asking you to play the lead and describing what your work has meant to him. Is that right?
Dale Dickey: I got a letter from Max that spring, so it was my first job into COVID. I watched his two short films before this, and I knew he had a real gift. His script alone was so poetic, and simple and beautiful, that the letter was enough to just say, “I’ll do it. I don’t even need to read the script.” It was so flattering. But yeah, I lucked out. I mean, whodathunk?
As you’re someone who’s been in this business as a working actor for a long time, I’m curious what it meant to have the letter, to see the kind of impact you can have on a filmmaker and that your work has resonated in that way.
It’s a beautiful gift that I take to heart, if someone takes the time to write you a letter saying how much they admire your work and why you’re so perfect for this script. I’ve worked with more and more young filmmakers, and I’ve told my agents over the years—if I’m not missing a big money job, because I have to take money jobs when they come around—if I have the time I want to do it. I like working with young filmmakers. It makes me feel a little old, like I’ve been around a while, but it’s nice that I’ve made some kind of impression. These are our filmmakers of tomorrow. We need new writers and new voices. So yeah, it warms my heart! It makes me feel really good to be wanted, to have somebody put this faith in me that I could carry the film. I was terribly insecure about it and very nervous if I could handle it. And I wanted the challenge. When you’re scared of something, you’ve got to do it.
How did you find that experience of carrying a movie with Wes and finding the rhythms of the story and the tone? What was the experience of making the movie like for you?
It was really glorious. It was hot. We were outdoors the whole time.
It looks hot.
We filmed on Miramonte Reservoir, which is like an hour southwest of Telluride. It’s where Max grew up. We all had to quarantine in Telluride. Oh, it was so hard. [Laughs] And then we moved to this little tiny town of Norwood where the crew was in two different ranch houses. We were in big bubbles. When Wes joined us a week later, he and I shared a ranch house, but they brought everything to us. We did not go out. We each had individual cars to drive the half hour to set. We were masked entirely the whole time, and particularly difficult for the crew in the heat.
Wes and I got along just brilliantly right away. We both have the same politics. We watch Jeopardy! And we just hung out. I don’t want to ruin the movie, but there is one scene of hiking the mountain, which was our wrap night. It was the most glorious wrap night of my life. It was difficult. I was like, with 12,000 feet, you might want to take a can of oxygen for the old lady. I didn’t need it. They took good care of me. Up on that mountain we could finally relax. It was our last night. We all tore off our masks and laid down and looked at the beautiful stars and embraced this wonderful family that we had, this journey we’d taken together.
Have you found the exposure to this point new at all or perhaps intimidating?
Little bit! I think the only other time I went through this kind of media or large-scale film that has gotten this kind of press was when I did Winter’s Bone. I had that wonderful supporting role as Merab. In the beginning, Jennifer Lawrence and John Hawkes and I would go and do Q&As for the film to try to get the word out. We knew it was embraced at Sundance, so I had a little bit of a taste of this. Going to some of the awards things, they would always try to include me, which was lovely. And now we’re watching Jennifer spiral away. Bye-bye! Well deserved. What a wonderful actress and woman.
I tend to be a little shy. Doesn’t seem that way—I’m very gregarious, I love people—but in terms of intimacy and talking about me, it’s difficult. The more I do interviews, the easier it is. I’m so happy this film is going to be seen. Whether they like me or not, I think it’s a beautiful film. So that’s where I’m staying right now. Staying in the present. And whatever comes my way with more screenings and stuff, I’m there.
I was struck by how gentle the role was, and how gentle the story was in comparison perhaps to some of your, let’s say, harsher roles and works.
Let me count the number of harsh roles. [Laughs] Most people that see me on the street, they run from me. They think I have an ATM machine, or a chainsaw or something, and I’m going to kill them. Don’t let her near your children! So yeah, this was a real gift to play someone so vulnerable, and so quiet, and so gentle. The same with Wes as well. Max was talking about that. The two of us are very weathered, and always have played sort of violent, tough people. To show us in a gentler light was really lovely to play. I haven’t gotten to do that much. It was new and it felt different, but Max had studied acting years ago before he went to film school, studied theater and history, and so he knows how to talk to actors quietly and gently, and keep you centered. So that I don’t fall into Dale—I’m very animated, as you can tell. Faye is very concise, and routine is very important. I wanted to really make sure I could find that stillness and that quiet. It’s not hard in that environment.
You’ve done many independent films. Being top of the call sheet for this one, had you, over your career, witnessed how actors have handled being in that spot and how to be the focal point of the cast?
I’ve been so grateful and lucky to work as much as I have on a lot of different sets with a lot of different people. The number one, there’s always huge pressure because they set the tone of the film, particularly on a big budget film. Like Iron Man 3 with Robert Downey Jr. or something. This is from a smaller scale, but it was important to me. We all have our moments. I was struggling to quit smoking, and so my head can turn quickly, but I try to always work well with others and respect. Coming from theater you respect all the other disciplines. I’m only as good as the people I’m working with and they’re the ones making me look good.
I wanted to go back to Winter’s Bone for one moment. I remember the moment you won the Indie Spirit Award, which felt very deserved. What do you remember about that, really that whole flurry and that being the culmination, perhaps, for you on that campaign?
That was nervewracking for me. I remember very little about that entire evening. And I wasn’t drinking, so I was in good shape. I was so excited just to be there, and I knew the film had been embraced by Film Independent, and I knew that they liked Winter’s Bone. I never expected to win. I was really thrilled and honored to be nominated, but I did know that award was coming first and that made me terribly nervous. Plus, it was like, keep it to 30 seconds, and then all the producers just saying, “Don’t thank us. You don’t need to thank us. We know you’re thankful.” And so I get up there and I completely forget to thank Jennifer Lawrence, number one. Excuse me. And I’ll tell you what. I learned a lot from that young lady. She’s raw talent at its best and a good human being.
I remember getting up on stage and looking out into the audience and seeing so many big stars. And I landed on Jesse Eisenberg. Sweet little Jesse, with this curly hair, and he was just sitting right in the center just smiling at me. So I thought, “Dale, just keep looking at Jesse. You don’t know him, he doesn’t know you, but he’s giving you good energy and you’re nervous.” Whenever I finished, I turned to exit the stage, and I’m pretty sure it was Mark Ruffalo that had been there to give the award. I kind of collapsed into Mark’s arms crying, and laughing, and in shock. And I know he was like, “What the hell? Get her off of me and get her into the press!” Then I’d never done that whirlwind thing. I thought I just got to go back out and sit at the table. I wanted to see John Hawkes and Jennifer get their awards. But they take you through all the stuff. And I kept asking, “When can I stop and watch TV? I want to see my friends.” It was overwhelming and exciting. It was just such a new thing for me, like being the belle of the ball. I’d never experienced that before. You’ve just got to take a deep breath, and relax, and enjoy. Enjoy being there, and why you’re there, and celebrating everyone’s work.
Did it change the direction of your career at all? I know that before Winter’s Bone especially, you’d done a lot of bit parts, particularly in television shows.
Yeah, of course it did. Everybody always talks about a big break. I’m like, little breaks over the years, starting from theater in New York. And then with Winter’s Bone, when I got that audition, I knew this was a casting director I’d never met before. They did really good films. I knew I fit into that world; I had no idea Debra [Granik] would cast me as Merab, but we had a great audition. Certainly the exposure of that film, the fact that it did so well, that certainly put me at a different level in terms of my agents being able to get me into the room to meet new casting directors. So it was a turning point. One thing just leads to the other. Like Breaking Bad, believe me—when Breaking Bad came out, I was like, really? I spent three hours in the makeup chair getting lesions put on my face. But if you recognize me, that’s fine.
It’s unforgettable. Breaking Bad had to have been 2009, right? Around then?
It was, it was. I think I filmed it in 2008, 2009. You know what? I had just finished filming Breaking Bad, and my agents called and said, you have a meeting with Debra Granik as soon as you get off the plane. That was that day. I had come back from Breaking Bad, and my husband picked me up at the airport and took me, and I went straight in. So maybe I was just on a high and that helped me.
You mentioned people running from you in terror. You watch a movie like A Love Song, and there is such vulnerability to your work, and it’s really affecting and sweet. And there is also a real ability on your part to play very intense, harsh characters. And that did seem like, especially in the smaller parts that you took on earlier in your career, I don’t necessarily want to call it typecasting, but I’m curious how it felt for you and how you came to start playing a lot of those kinds of parts?
Years ago when I started off in New York, because I came from theater, and I just wasn’t auditioning well. I took a casting director workshop and I was like, “I want to do my Ophelia; I’m classically trained.” And they’re like, “No, you don’t get it. You need to do Southern. You need to do Beth Henley monologues.” I was like, “No, I’ll only be typecast as Southern.” But he was basically saying, that is what you want, and that’s what you do better than anyone else. That’s what is in your soul and your heart. You may not have a thick Southern accent, but you grew up there. So I started embracing some of the Southern roles I’d been shying away from because I did need to be typecast. Hollywood, particularly when I moved to L.A., it’s like they have a very specific look that they want. I knew I was not the normal kind of look—the beautiful leading girl. One of my first auditions when I was in L.A. was for a police show—would’ve been in ’96—I walked in to read for the next door neighbor that baked pies. I literally walked in the room and the director looked at me and he went, “Can you come back tomorrow and read for the heroin addict?” This face, I learned early on, it’s a strong face. It reads hard, it reads Appalachian. I can have a little mean mouth.
Does A Love Song almost change the way you see yourself as an actor? You’ve mentioned your face a few times now, and I think the movie really has this, it’s beautifully shot, but it does really embrace your face. And it does take on a different connotation to when it’s placed in an episode of Breaking Bad, as you were saying.
Right. What I really loved about some of the reviews from Sundance were that they embraced the fact that Wes and I are older character actors, and the unapologetic closeups of my face. I got tickled because I think that they were all trying to find a nice way to say she’s wrinkled as shit. [Laughs] And instead, someone said, “gloriously grooved,” or “wonderfully weathered,” and so I need a new t-shirt. Botox is not for me. I love that I can use my weathered face and still feel beautiful.
I tell young students, “Doesn’t happen overnight.” I didn’t expect it to. I just was going to keep going. But I was 45 when I could finally quit my day job and started working. Tyne Daly told me years ago, “Embrace your face, because you’re going to work more and more as you get older.” And so thank you, Tyne. I hope this is not the end of it now. I don’t mind doing supporting roles. Look, baby. I just love to work.
You’re also in the A League of Their Own reboot that’s coming up. You’re a regular in that, correct?
Well, kind of, sort of. When we did the pilot I was recurring. I play the girls’ chaperone. The chaperone’s pretty much always there—unless they’re sneaking out at night or the privacy of their rooms, they were their everything. When they went into series, because the chaperone is there, I’m in the background every time we’re on the field. I have to be there, so I’m written into every episode, but I’m not considered a regular. But it was a wonderful job and I learned a lot. I loved doing period pieces. And the girls were terrific. We had a great time.
Between that and A Love Song, it’s two pretty substantial projects for you coming out in the same year.
They were actually originally going to be released on the same day, on July 4! Then, this was weird. I go to Tribeca for A Love Song. Our big screening was on a Monday night, [mid] June. It was the same night they premiered League of Their Own at Tribeca. Except it was two hours earlier. So I got to do both. I’m completely playing opposite characters, and wow, this won’t ever happen again. So yeah, it’s exciting. I’ve been so lucky to work as much as I have, but particularly during COVID, I’ve been shocked. I mean, it’s hard. You’ve got to follow all the rules, but we want to keep it going. We’ve got to keep it going.
Yeah. And maybe it will happen again.
Never know.
This interview has been edited and condensed.
