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Two “aliens” that allegedly landed in a Las Vegas family’s backyard used “some kind of cloaking device” to hide from humans, a crime scene reconstruction analyst has said.
“He told me to go inside the house. At this point, we all freaking out, me and my family, and here’s the video where we were in the backyard area. You can see. You cannot see it too good on camera, but it’s there.”
A dark blur in the top-hand corner which crime scene analyst Scott Roder said he believes is the head of an alien (Jim Quirk/Extraterrestrial Reality Podcast)
A year on, Scott Roder, who has testified in high-profile criminal cases, and Jim Quirk, a reporter who runs the “Extraterrestrial Reality” podcast, have claimed their analysis of the footage confirms that two “beings” used “some kind of cloaking device” to “shield” themselves from the curious family and, later, responding police officers.
Roder and Quirk said they used artificial intelligence (AI) to recreate the movements in the video to show what apparently happened.
Roder, who testified at disgraced Olympian Oscar Pistorious’ murder trial, alluded to a dark blur in the top-hand corner of the footage, which appears to be a shadow or a smudge. He told Fox News that he believes it’s a head of an alien in “some kind of smoky filter or using some kind of cloaking technique.”
The Kenmore family who say they filmed aliens in their Las Vegas backyard (Inside Edition)
Roder said: “I think what the AI software was able to allow us to do was to determine that it was not just a shadow, beyond any reasonable doubt to a degree of scientific probability.
“That’s the same standard that you testify in court, the same standard that can send a suspect to jail for the rest of their lives.”
Quirk added that he believes the alleged “cloaking technique” was also used to shield a craft that some believe crashed on the same night.
“My feeling is something went wrong with this craft or whatever they were in, and it had to come down and make an emergency landing,” Quirk said.
A glowing, green light was captured on a Las Vegas Police officer's bodycam (Las Vegas Police Department)
“They landed in this backyard, and while they’re making emergency repairs, perhaps these alien beings are trying to stave off the pesky humans while these other aliens that we don’t see are working on this craft.”
Quirk and Roder’s analysis also focused on the green light that Angel Kenmore says he saw falling from the sky shortly before the encounter. The glowing, green light also appeared to have been captured by police body camera footage around the same time.
Roder pointed out the “steep trajectory” of the light and claimed it made an “oscillating mechanical sound” when he tested it under Infrared vision.
“All evidence that shows that we are not alone and that there is an alien presence on this planet,” Roder said.
“This is bigger than Las Vegas. I mean, this shows we are not alone on this world,” Quirk added. “There is some sort of an alien presence here among us. What they’re doing here, we can’t really say. We can only speculate. But there is something here, no doubt about it.”
Roder and Quirk also teased future releases of further analysis of the video, adding that they believe something could have been missed.
While fans have gone wild over the Pitbull cover in “Bridgerton” Season 3’s climactic carriage scene, showrunner Jess Brownell admitted she was “nervous” to see the audience response.
“I picked the Pitbull song and I was a little nervous, because it’s an unusual choice that it might take people out of the scene,” Brownell told TheWrap. “But it’s been so wonderful to see that people have taken to it, that actually it’s given that scene even more depth.”
Brownell added that she knew the carriage scene — which features a steamy, intimate moment between Colin Bridgerton (Luke Newton) and Penelope Featherington (Nicola Coughlan) after Colin confesses his romantic feelings for his longtime friend — was strong, admitting she “had a good feeling that people were going to respond to it.”
That’s when she decided to layer Pitbull’s 2011 hit “Give Me Everything” over the scene, sending “Bridgerton” fans into a viral craze to revisit the hit from more than a decade ago.
“I’m glad Pitbull is getting his flowers. It’s a fantastic song and I think it slaps even more as a string version,” Brownell said. “I saw that he responded and that really made my day — it was very cool.”
Less than a week after “Bridgerton” Season 3 was released on Netflix, Pitbull, also known as Mr. Worldwide, shared his gratitude for the positive response online.
“This again shows the world how music is the international language that transcends over boundaries more so how a hit song can remain timeless,” the rapper wrote on Twitter, thanking “Bridgerton,” Netflix and his “Give Me Everything” collaborators Afrojack and Ne-Yo.
Hitting birdie putts is what every U.S. Women's Open golfer is trying to do this week, but Isi Gabsa had a different experience with a birdie on the 12th hole during her first round from Lancester Country Club.
Gabsa teed up on the par-3 12th hole hoping to get in good position to lower her score, which sat at 2-over par through her first round. When she made contact, the ball was heading right for the green, which is exactly what she wanted.
However, as the ball landed, it struck a bird that was simply in the wrong place at the wrong time. The bird was motionless, as the ball squirted a few feet away on the green.
Isa Gabsa tees off during the first round of the LPGA Marathon Classic at Highland Meadows Golf Club in Sylvania, Ohio.(Adam Lacy/Icon Sportswire via Getty Images)
An official ended up walking over to the green to check on the bird, and after giving it a look, he picked the bird up and carried it away.
It's unknown if the bird perished from being struck by the golf ball.
Gabsa would finish the hole with a par after missing the birdie putt. Her first round would conclude with a 3-over 73, putting her tied 67th after one round.
Isi Gabsa lines up a putt during the first round of the U.S. Women's Open at Lancaster Country Club on May 30, 2024, in Pennsylvania.(Patrick Smith/Getty Images)
Lancester Country Club was full of odd happenings in Thursday's first round, including the top-ranked golfer in the field, Nelly Korda, shooting a 10 on the same 12th hole. Korda's round was in shambles after that, as she finished 10-over on the day.
The course is playing hard for the top women golfers in the world, as the leading score was only 2-under par by Japan's Yuka Saso at the time of writing.
So, while Korda will have some work to do in Friday's second round to make the cut, Gabsa is certainly still in the running with how close everyone's scores were in the first round.
Isa Gabsa during the JTBC Classic presented by Barbasol at Aviara Golf Club on March 26, 2022, in Carlsbad, California.(Donald Miralle/Getty Images)
Getting to direct two episodes of the third season of Bridgerton was the biggest job of Andrew Ahn’s career — and that was before he learned was going to helm two of the juiciest episodes in the entire season. Ahn directed episodes three and four (“Forces of Nature” and “Old Friends,” respectively), which, as the closers to the first part of season three (part two premieres Thursday, June 13, on Netflix), include a massive ball scene, Colin’s coming to the rescue of Penelope when she’s endangered by a runaway hot-air balloon, and of course, the moment I, you, and all the others fans had been waiting for: Colin and Penelope’s intense — very intense — carriage scene.
Ahn was hardly unqualified for the task. The Korean American Los Angeles native had directed TV before (Max’s Generation and CBS’ MacGyver reboot) and saw his very first feature film, Spa Night, win a Special Jury Award for Breakthrough Performance for its star, Joe Seo, at Sundance, as well as Independent Spirit’s John Cassavetes Award. Fire Island, Ahn’s 2022 rom-com starring Joel Kim Booster, Bowen Yang, and Margaret Cho, earned critical acclaim and more award nominations, including a Primetime Creative Arts Emmy nomination for Outstanding Writing for a Limited or Anthology Series or Movie. So, yeah, Andrew Ahn didn’t get the chance to direct the two biggest episodes of the biggest show of the year by accident — he earned it, for sure. Yet even he will admit that when the time came to yell, “Action!,” on the Bridgerton set, he felt a teeny bit of nerves. For a minute, anyway.
“It was a little daunting,” he tells Shondaland from Vancouver, Canada, where he is shooting an undisclosed movie. “This is the biggest thing that I’ve done: the biggest budget, the most actors, the largest crew. So, I was a little overwhelmed. Yet at the end of the day, my job as a director is to be a storyteller. And it was just about me getting to work with these wonderful craftspeople, the cinematographer, production designer, costume designers, hair and makeup, and the insanely talented actors to bring these characters to life. Once I grounded myself, I was like, ‘Wait, this is all story and character. I know how to do this!’”
That confidence showed, as evidenced by Bridgerton’s thunderous buzz all over social media and eye-popping ratings. Directing those important episodes took technical skill, lots of planning, and a steady hand, to be sure, and also a reverence for the material season-three showrunner Jess Brownell created, knowing just how much the story — and that moment when Colin and Penelope finally, ahem, come together in the carriage — meant for fans. It certainly helped that he’s a fan himself.
“What I love about the show,” Ahn says, “is that it really centers love and romantic relationships. But it doesn’t shy away from family relationships, sibling dynamics, and their drama, which for me is really fun. And makes it feel really relatable.”
Ahn’s best-known works address those themes, which is part of why he felt so comfortable with the material. Fire Island, a queer-themed rom-com inspired by Jane Austen’s Pride and Prejudice, paints a portrait of friends who are like family on a hedonistic vacation that gets complicated by romance and class issues — topics all too familiar to a Bridgerton or Featherington.
Likewise, his breakout short film, Dol (First Birthday), was a semi-autobiographical short about a young Korean American man coming out; Ahn actually used the film to come out to his parents in real life. Though there’s no shortage of family drama in the ton, his specific episodes of Bridgerton were among the most complicated ever for the series — beginning with that hot-air balloon sequence, the first large-scale stunt sequence in the show’s history.
“It was a very cool sequence,” he says. “We storyboarded that; every shot was planned. We had three cameras. We were at that location for more than a week, just trying to make this feel special, make it feel exciting, have Colin be a hero, and have Pen caught in between [Colin and Lord Debling]. That danger is a lot of fun to do.”
Even though it may not have been as physically demanding, the final scene of episode four — that big moment that essentially closes the first part of season three — when Colin and Pen take their relationship to the next level, required just as much planning and communication.
Each episode of Bridgerton takes about 30 days to film, and for the carriage sequence, the team spent days setting it up and preparing everyone for the intimacy depicted by actors Nicola Coughlan and Luke Newton. “We knew how important it was, and we really took the prep seriously,” Ahn says. “One of the first things my cinematographer and I did was, during preproduction, set up the carriage and have stand-in actors checking angles.” He says producers carefully broke the scene up into parts, choreographing the moment Colin goes from sitting opposite Penelope to getting down on his knees, professing his desire, to “find the rhythm of the scene.” The payoff is a scene in which the tension between Pen and Colin, as they become closer in proximity, gets thicker, more kinetic, and so hot that it virtually oozes off the screen.
Naturally, an intimacy coordinator worked closely with Coughlan and Newton. “We had a lot of conversations about what the ramp-up to eroticism would be,” Ahn says. “Luke and Nicola brought a lot of ideas about the kind of connection that these characters would have. And I think it was a very safe, consensual, respectfully done scene. I think they really trusted each other, and that really showed in how hot the scene is.”
Indeed. And even though little in Bridgerton is explicit, that’s by design — even when it comes to the nuances of the relationships, experiences, and the way we see ourselves. Ahn says his identity as a queer Korean American definitely infuses what we see on-screen. “I sometimes see myself as an outsider, right? And I think as an audience, we’re kind of always interested in how an outsider finds their sense of self. I think I have a lot of sensitivity towards underdogs, wanting to see them win, and I love that Bridgerton has that and casts actors of color and queer actors. I’m excited for even more of that in future episodes and seasons.”
Malcolm Venable is a Senior Staff Writer at Shondaland. Follow him on Twitter@malcolmvenable.
Getting to direct two episodes of the third season of Bridgerton was the biggest job of Andrew Ahn’s career — and that was before he learned was going to helm two of the juiciest episodes in the entire season. Ahn directed episodes three and four (“Forces of Nature” and “Old Friends,” respectively), which, as the closers to the first part of season three (part two premieres Thursday, June 13, on Netflix), include a massive ball scene, Colin’s coming to the rescue of Penelope when she’s endangered by a runaway hot-air balloon, and of course, the moment I, you, and all the others fans had been waiting for: Colin and Penelope’s intense — very intense — carriage scene.
Ahn was hardly unqualified for the task. The Korean American Los Angeles native had directed TV before (Max’s Generation and CBS’ MacGyver reboot) and saw his very first feature film, Spa Night, win a Special Jury Award for Breakthrough Performance for its star, Joe Seo, at Sundance, as well as Independent Spirit’s John Cassavetes Award. Fire Island, Ahn’s 2022 rom-com starring Joel Kim Booster, Bowen Yang, and Margaret Cho, earned critical acclaim and more award nominations, including a Primetime Creative Arts Emmy nomination for Outstanding Writing for a Limited or Anthology Series or Movie. So, yeah, Andrew Ahn didn’t get the chance to direct the two biggest episodes of the biggest show of the year by accident — he earned it, for sure. Yet even he will admit that when the time came to yell, “Action!,” on the Bridgerton set, he felt a teeny bit of nerves. For a minute, anyway.
“It was a little daunting,” he tells Shondaland from Vancouver, Canada, where he is shooting an undisclosed movie. “This is the biggest thing that I’ve done: the biggest budget, the most actors, the largest crew. So, I was a little overwhelmed. Yet at the end of the day, my job as a director is to be a storyteller. And it was just about me getting to work with these wonderful craftspeople, the cinematographer, production designer, costume designers, hair and makeup, and the insanely talented actors to bring these characters to life. Once I grounded myself, I was like, ‘Wait, this is all story and character. I know how to do this!’”
That confidence showed, as evidenced by Bridgerton’s thunderous buzz all over social media and eye-popping ratings. Directing those important episodes took technical skill, lots of planning, and a steady hand, to be sure, and also a reverence for the material season-three showrunner Jess Brownell created, knowing just how much the story — and that moment when Colin and Penelope finally, ahem, come together in the carriage — meant for fans. It certainly helped that he’s a fan himself.
“What I love about the show,” Ahn says, “is that it really centers love and romantic relationships. But it doesn’t shy away from family relationships, sibling dynamics, and their drama, which for me is really fun. And makes it feel really relatable.”
Ahn’s best-known works address those themes, which is part of why he felt so comfortable with the material. Fire Island, a queer-themed rom-com inspired by Jane Austen’s Pride and Prejudice, paints a portrait of friends who are like family on a hedonistic vacation that gets complicated by romance and class issues — topics all too familiar to a Bridgerton or Featherington.
Likewise, his breakout short film, Dol (First Birthday), was a semi-autobiographical short about a young Korean American man coming out; Ahn actually used the film to come out to his parents in real life. Though there’s no shortage of family drama in the ton, his specific episodes of Bridgerton were among the most complicated ever for the series — beginning with that hot-air balloon sequence, the first large-scale stunt sequence in the show’s history.
“It was a very cool sequence,” he says. “We storyboarded that; every shot was planned. We had three cameras. We were at that location for more than a week, just trying to make this feel special, make it feel exciting, have Colin be a hero, and have Pen caught in between [Colin and Lord Debling]. That danger is a lot of fun to do.”
Even though it may not have been as physically demanding, the final scene of episode four — that big moment that essentially closes the first part of season three — when Colin and Pen take their relationship to the next level, required just as much planning and communication.
Each episode of Bridgerton takes about 30 days to film, and for the carriage sequence, the team spent days setting it up and preparing everyone for the intimacy depicted by actors Nicola Coughlan and Luke Newton. “We knew how important it was, and we really took the prep seriously,” Ahn says. “One of the first things my cinematographer and I did was, during preproduction, set up the carriage and have stand-in actors checking angles.” He says producers carefully broke the scene up into parts, choreographing the moment Colin goes from sitting opposite Penelope to getting down on his knees, professing his desire, to “find the rhythm of the scene.” The payoff is a scene in which the tension between Pen and Colin, as they become closer in proximity, gets thicker, more kinetic, and so hot that it virtually oozes off the screen.
Naturally, an intimacy coordinator worked closely with Coughlan and Newton. “We had a lot of conversations about what the ramp-up to eroticism would be,” Ahn says. “Luke and Nicola brought a lot of ideas about the kind of connection that these characters would have. And I think it was a very safe, consensual, respectfully done scene. I think they really trusted each other, and that really showed in how hot the scene is.”
Indeed. And even though little in Bridgerton is explicit, that’s by design — even when it comes to the nuances of the relationships, experiences, and the way we see ourselves. Ahn says his identity as a queer Korean American definitely infuses what we see on-screen. “I sometimes see myself as an outsider, right? And I think as an audience, we’re kind of always interested in how an outsider finds their sense of self. I think I have a lot of sensitivity towards underdogs, wanting to see them win, and I love that Bridgerton has that and casts actors of color and queer actors. I’m excited for even more of that in future episodes and seasons.”
Malcolm Venable is a Senior Staff Writer at Shondaland. Follow him on Twitter@malcolmvenable.
The first trailer for Wolfs is here, starring George Clooney and Brad Pitt as reluctant partners in (covering up) crime.
Wolfs marks the actors' first time on the big screen together since Steven Soderbergh's Ocean's trilogy and 2008's Burn After Reading, but their characters are far from enthusiastic about the collaboration. The trailer sees the two lone wolves begrudgingly team up after being independently hired to "fix" a crime scene.
Despite being "basically the same guy," the two take very different approaches to their assignments, and, according to the logline on YouTube, they will "find their night spiraling out of control in ways that neither one of them expected," with the trailer showing quickfire shots of punch-ups, parties, and hot pursuits.
Clooney and Pitt lead the pack on Wolfs in a cast that features Austin Abrams, Amy Ryan, and Poorna Jagannathan, with Spider-Man: No Way Home helmer Jon Watts writing, producing and directing the project.
"We're already talking about a sequel for this film I did with Brad [Pitt] and Jon Watts," Clooney revealed during a Q&A with Deadline last year. "It was a great shoot, and Jon is an extraordinarily talented guy who's also really joyful. He loves what he does. We had a blast doing it, and we've seen it. It's an off-the-charts great film, and it's fun to work with Brad again. We had a really good time."
Apple acquired the rights to Wolfs in 2021 after winning a studio bidding war, with Sony Pictures later taking over theatrical distribution rights, meaning the movie will roll out in cinemas on September 20, 2024 (the same month as Beetlejuice Beetlejuice, Transformers One, and Saw XI), before streaming globally on Apple TV+.
Adele Ankers-Range is a freelance entertainment writer for IGN. You can follow her on X/Twitterhere.
Girl/Girl Scene: The Movie is an American comedy revolving around the lives of two lesbian ladies, Evan and Ryan. It is loosely based on the television series of the same name. It was released on February 28, 2019 opening to mixed-to-negative reviews.
Here’s how you can watch and stream Girl/Girl Scene: The Movie via streaming services such as Amazon Prime Video.
Is Girl/Girl Scene: The Movie available to watch via streaming?
Yes, Girl/Girl Scene: The Movie is available to watch via streaming on Amazon Prime Video.
The film showcases the exciting lives of lesbian women in a vintage style. It provides a flashback to the 80s with Evan, a charming and promiscuous blonde woman, and Ryan, a wild party animal. It is a homage to some of the most iconic and classic movies of the 80s. Tucky Williams is the writer and director of the film.
The star cast features Tucky Williams, Amanda K. Morales, Roni Jonah, Kayla Perkins, L.E Barone, and Vanessa Allen among others in key roles.
Watch Girl/Girl Scene: The Movie streaming via Amazon Prime Video
Girl/Girl Scene: The Movieis available to watch on Amazon Prime Video.
Amazon Prime Video includes a wide range of genres, from classic films to the latest releases, as well as popular TV series.
You can watch via Amazon Prime Video by following these steps:
Amazon Prime is the online retailer’s paid service that provides fast shipping and exclusive sales on products, so the membership that includes both this service and Prime Video is the company’s most popular offering. However, you can also opt to subscribe to Prime Video separately.
Girl/Girl Scene: The Movie’s synopsis is as follows:
”The lives and loves of a close-knit group of young gay ladies as they make their way in a not-so-modern world.”
NOTE: The streaming services listed above are subject to change. The information provided was correct at the time of writing.
The latest headlines from our reporters across the US sent straight to your inbox each weekday
Your briefing on the latest headlines from across the US
From the late 1960s until the mid-1980s, adult entertainment films dominated the theaters along 42nd Street between 7th and 8th Avenue in New York City, earning it the nickname “The Deuce”. Throughout the week, those theaters played hardcore pornographic movies for those brave enough to walk the chaotic and disruptive street.
And the person who ran those theaters was Chelly Wilson, a Jewish Greek grandmother.
Wilson, a Holocaust survivor, became one of the most influential figures during the era, eventually producing and distributing adult films in theaters that she owned.
Bunkered in an apartment above the all-male Adonis Theatre, she regularly held court with entertainers, poker players, female lovers and more all while her grandchildren ran at her feet.
A new documentary, Queen of the Deuce by Valerie Kontakos, explores Wilson’s life from escaping Europe during World War II to becoming an unlikely influential figure at the height of the golden era of adult entertainment, with interviews from both friends and family.
“Grandma Chelly was, to us, larger than life. Going into her apartment was always an interesting experience — she was living over a pornographic movie theater,” said one grandchild in the film’s trailer. “She owns most of the porn theaters in New York — and then I’d get that right note, what does your grandmother really do? I was like ‘no, that’s the truth actually,” said another.
Wilson was one of the last people to leave Europe before the Nazi occupation in 1939. She left her two children behind, instructing a caretaker to never turn them over to anyone else, and sought a better life in New York.
Adonis’ marquee (Courtesy of the Wilson family)
And she found a different type of life on 42nd Street in the mid-1970s. The neighborhood’s provocative theaters inspired peep shows and massage parlors to open up around. Sex workers walked the streets at all hours every day. One New York Times article from 1971 claimed “40 prostitutes are arraigned” on a “normal Thursday.”
Muggings and violent crime were constant in the area too.
But when faced with an environment everyone else ran away from, Wilson set up shop above one of the theaters.
Her film career began by playing Greek movies in rented-out theaters to honor her heritage and cater to the Greek community in Manhattan. She married her second husband, Rex Wilson, a film projectionist and the two had a daughter together.
After the war ended, Wilson brought her two children other children to New York. Her connections in the film industry helped her obtain her own movie theaters and seeing how profitable pornographic film showings were, she ventured into the industry.
Chelly Wilson (Courtesy of the Wilson family)
The public perception of adult films shifted during the “porno chic” era. Movies like Blue Movie and Deep Throat captivated audiences and critics – pushing the films from taboo to mainstream.
Wilson seized on the era’s lucrative opportunity to build a better life for herself and her family. She unapologetically embraced the envelope-pushing energy – even inviting her female lovers to live with her and her family.
Ms Kotankas, the documentary’s director, writer and producer, knew Wilson personally and said from the moment she met her, she knew she wanted to make a movie about her.
In an article for CBC, she recounted meeting Wilson and her second husband, Rex, at “11 or 12 years old” in Athens.
“I was fascinated and struck by the role reversal I saw that day. Rex had arranged to have a manicure, so there he was, sitting on our balcony getting his nails done, while his wife was holding court in the living room with my mother. They were smoking and drinking coffee, laughing about this, that or the other,” Ms Kotankas wrote.
Through interviews with Wilson’s family and close associates, Ms Kotankas tells a story about a trailblazer who wasn’t afraid to be herself.
Queen of the Deuce is available to stream on Apple TV or Amazon Prime Video.
New surveillance video shows wanted suspect limping away from crime scene
Philadelphia police share new surveillance footage Monday that shows a suspect wanted for firing down a Kensington street after being knocked off his scooter, limping away from the crime scene.
PHILADELPHIA - New surveillance footage shared by police Monday shows a shooter wanted for firing down a Kensington street after being knocked off his scooter hobbling away from the crime scene.
Investigators say the unknown suspect was riding a motorized scooter on the 300 block of East Allegheny Avenue last Thursday afternoon when he collided with a turning car.
The crash caused the suspect, described by police as a Hispanic man wearing a gray GAP hoodie and long pants, to be thrown from the scooter and tumble down the road.
The man briefly sits on the side of the road while the car he struck continues to drive away. He then hops to his feet and hobbles down the road while firing a gun.
Three people were hit by gunfire, including a 47-year-old woman who was shot in the face and a 9-year-old girl who was grazed in the head. A 45-year-old man also suffered a gunshot wound to the leg.
New video shared by police three days after the crash-turned-shooting shows the suspect limping across a nearby street as he fled the crime scene. Police believe he suffered an injury to his right leg and ankle as a result of the crash.
Anyone with information on the suspect's whereabouts is urged to contact police.
BROOKHAVEN, Ga. — Brookhaven Police are investigating a shooting that broke out in a shopping center near Ashford Dunwoody and Johnson Ferry Road. Investigators were called out Sunday afternoon to the Dollar Tree at the Cambridge Square complex.
Employees at the nail salon next store told Channel 2′s Elizabeth Rawlins, they saw and heard the whole thing.
“I got under the reception desk because I heard gun shots,” said Nikki Do.
Rawlins obtained exclusive cell phone video showing the dramatic seconds that followed the shooting. Channel 2 Action News has blurred parts of the video that are too graphic.
“I don’t know who shot who, I just do know he was shot in the back.” Do told Rawlins.
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In the video, you can see a man who appears to have been shot and is bleeding, but he manages to jump into car that is waiting out front.
The video shows the car, and the injured person did not stick around for police to arrive.
The circumstances surrounding the shooting are still unclear. Witnesses told Rawlins, they believe it may have been a domestic situation between a man and woman.
“He was screaming and running down the t-shirt aisle,” said Do.
DEMI Moore is no stranger to getting naked in public.
How could we forget the Vanity Fair cover of pregnant Demi totally naked whilst cradling her baby bump?
Margaret Qualley and Demi Moore celebrate The Substance in CanneCredit: AP
Then there were her star turns in movies Striptease and Indecent Proposal. Now at the age of 61 she has stripped off again for her new feminist horror movie The Substance.
The film has become the talk of Cannes where it received an 11 minute standing ovation after its premiere.
Moore plays a fading celebrity who uses a black market cell-replicating device to create a younger, better version of herself, played by Qualley.
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Demi seems unfazed by the nude scenes saying: “I had someone who was a great partner who I felt very safe with.
"We obviously were quite close — naked — and we also got a lot of levity in those moments at how absurd those certain situations were when laying on the tile floor.
“But ultimately. it’s just about really directing your communication and mutual trust.”
And she isn’t the only actress of a certain age still prepared to bare all in the name of their art.
The raunchy scenes featuring Liz and 28-year-old co-star Pear Chiravara appear in 22-year-old Damian’s directorial debut movie Strictly Confidential.
But Liz, who exudes body confidence by regularly posting bikini snaps of herself on social media, says people were making a lot of fuss about nothing.
Liz shared steamy scenes with Pear Chiravara in the movieCredit: Lionsgate Movies
She was directed by son DamianCredit: Getty
“Yes, of course, people have got their knickers in a twist about it a bit,” she said.
“But actually for us it wasn’t a big deal at all, just one of the seven scenes we were shooting on that day. We didn’t have a lot of time. It was a night scene… and the minute it gets dark the mosquitoes start dive-bombing you. There was a bit of exposed flesh for the mosquitoes to get.”
Kate Winslet
Kate starred in the hit HBO series Mare of EasttownCredit: Alamy
Kate wanted to show every 'bulgy bit of belly'Credit: HBO
Oscar winner Kate is no stranger to on-screen nudity, famously stripping off as Rose in Titanic.
But after giving birth to three children, Kate, now 48, vowed never to get naked on film again.
However she changed her mind to normalise the idea of a middle-aged gran having sex and one night stands in Mare of Easttown.
Not only did she strip off for a sex scene with Guy Pearce, she told the New York Times she refused to let director Craig Zobel edit out “a bulgy bit of belly," saying: “Don’t you dare!”
She said: “Listen, I hope that in playing Mare as a middle-aged woman, I guess that’s why people have connected with this character in the way that they have done because there are clearly no filters,”
Winslet added. “She’s a fully functioning, flawed woman with a body and a face that moves in a way that is synonymous with her age and her life and where she comes from.”
Julianne Moore
Julianne has steamy scenes with Amanda SeyfriedCredit: Alamy
Oscar winner Julianne was 49 when she got naked in the movie Chloe about a married woman who embarks on a steamy lesbian affair.
Amanda Seyfried, then aged 24, starred opposite as call-girl Chloe, and both women had to shed their inhibitions for the intimate scenes, which Julianne admitted made her nervous. “It’s tricky stuff to do,” she said, adding: “Obviously there’s something inherently dangerous about doing a scene like that, but it was all very deliberately staged, we watched playback, we were able to adjust things.”
But in 2019, Julianne stripped off again aged 58 to star in Gloria Bell, about a free-spirited divorced mum-of-two who falls in love.
Despite first getting naked on screen in 1993’s Body of Evidence she says she never gets used to it.
"Somebody asked me, 'How do you become comfortable?' And I'm like, 'You don't. Nobody's comfortable,' she said.
Helen Hunt
Helen Hunt played a 'sex surrogate'Credit: Handout
Hunt was Oscar-nominated for her part as sex surrogate Cheryl in the 2012 film The Sessions.
The film was based on the story of Mark O’Brien, a poet who was paralysed from the neck down due to polio and hired a sex surrogate to lose his virginity.
The role required full frontal nudity from the then 48-year-old Hunt who said she embraced the sex scenes.
"I think I thought a couple of times before we shot the movie. I said to my boyfriend: 'I'm about to do this'. Should you be stopping me from doing this? Because this is about to happen,” she recalled.
"I said to another friend of mine, it's getting late... who cares? Maybe one of the great things about getting older is, who cares?
"To get a chance to embody a woman, particularly a woman who's not 20 years old, and celebrate that we all have bodies and everybody has a god-given right to feel pleasure. I liked being part of bringing that to life.”
Emma Thompson
Emma starred with Daryl McCormack in the movieCredit: Alamy
Stripping off at the age of 62 was “a challenge” admitted Dame Emma, who tackled full frontal nudity for her role in Good Luck to You, Leo Grande.
Emma played Nancy, a sexually frustrated widow, who hires a sex worker in the hope of experiencing her very first orgasm.
In order to break the ice, she and her co-star, 29-year-old Irish actor Daryl McCormack, went for a walk together on Hampstead Heath to get to know each other.
But she says the demands society places on women to look a certain way meant she was still apprehensive about getting naked.
"Oh, God. Well, it’s very challenging to be nude at 62," she told the Daily Mail.
“Especially in a world where nothing has changed in the dreadful demands made on women to look a certain way.
"It’s something I’ve been thinking about writing on since I was in my 20s, and the young female actors I speak to now still suggest there’s the same thing going on, a sort of tyranny to make women lose their self-confidence.
I said to a friend of mine, it's getting late... who cares? Maybe one of the great things about getting older is, who cares?
Helen Hunt
“It was very interesting to me, because I realised that if I’m not near any mirrors and I look down at my body, it looks fine. I can see my toes and it doesn’t look horrible.
“But as soon as I look in a mirror, I see nothing but flaws. It was definitely an interesting thing to experiment with.”
Helen Mirren
Dame Helen was in the buff for her Calendar Girls role
The star had to be told to put her clothes back onCredit: AF Archive
Dame Helen has been naked countless times during her career since her very first on-screen nude scenes in the 1969 film Age of Consent aged just 22.
But she was 58 when she confidently stripped off in the 2003 British comedy Calendar Girls about a group of middle-aged Yorkshire women who decide to produce a nude calendar to raise money for Leukaemia Research with the support of the Women's Institutes.
Calendar Girls director Nigel Cole previously joked that Helen was almost too comfortable on set during her nude scenes.
He said: "After one nude shoot, I recall having to tell Helen Mirren to put her robe back on three or four times”.
Helen decided to undress one more time in 2011 in a nude photoshoot for New York Magazine, but the actress later declared that this would be her last time going naked in front of the camera.
In a CBS interview, the actress said: "I was doing nude scenes [from] the first moment I started doing movies, it was the era. It seemed to be nothing to get your knickers in a twist over.
"That’s the good thing about getting older, you don’t have to do that sort of thing any more."
Anne Reid
Anne was 68 when she stripped off for a film with the Bond starCredit: BBC
The Brit actress was 68 when she stripped off for sex scenes with the then 35-year-old Daniel Craig in the film The Mother.
Anne played a widow who initiated an affair with her daughter’s boyfriend, played by Craig.
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She later revealed she was so anxious about filming the raunchy scenes that the night before she got drunk and burst into tears.
Anne, who also starred as Valerie Barlow in Coronation Street, said: ”I rang my son and I was weeping and he said, ‘Look Mum, it’s a great part, if you’re inhibited it’s not going to work so just go for it’".
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