What's in Our Queue? ‘Paradise' and More
Here are five things I've recently enjoyed →
I am a fan of Sterling K. Brown and James Marsden, and they're both great in this gripping show. I went in cold and think that knowing nothing about it made each episode that much more shocking and enjoyable. Just know there's murder and post-apocalypse vibes (and maybe a little nerd-ing out over housing).
I am a sucker for coming-of-age movies. This one, about a Taiwanese American teenager growing up in the 2000s in Fremont, Calif., felt so similar to my own story: I grew up just a few miles away, a child of Indian immigrants. I particularly enjoyed all of the scenes involving AOL Instant Messenger.
Every day, this account streams from a water tank in the Chiricahua Mountains in southern Arizona, capturing all the critters that stop by for sips. I love not knowing what will pop up. I've spotted many Pyrrhuloxias, roadrunners and javelinas. On one morning, it was a thirsty great horned owl.
I initially avoided this movie because I'm not a cat person. My mistake. This story of how this cat and all its animal friends navigate a massive flood is well-paced, thought-provoking and visually beautiful. The lack of dialogue feels grounding. Stay for the capybara's heroics.
I read a lot about neuroscience, mindfulness and behavior because I want to better understand how readers process and act on what we, as journalists, produce. This podcast ties many of these concepts together, and suggests many of us need to rethink what we know about addiction, willpower and resilience.
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Newsweek
10 hours ago
- Newsweek
Released WWE Star Returns To The Ring
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. A recently released WWE NXT star has made his return to the independent wrestling scene. Eddy Thorpe, now once again performing under his Karl Fredericks name, appeared at a major event this past weekend and cut a passionate promo about his future. Fredericks was one of several talents released from their WWE contracts on May 2, 2025. He made his return on Saturday, July 26, at the "DPW x Prestige x West Coast Pro Cruel Summer" event in San Francisco, California. Karl Fredericks (Eddy Thorpe) just showed up at @WCProOfficial unannounced!!! — THAT Guy (@benyobest) July 27, 2025 An Independent Return After WWE Run During his appearance, Fredericks confirmed he is back on the independent scene and said that he has "regained his love of pro-wrestling." He then made a pointed comment that was a clear reference to his time in WWE's developmental system. He referenced the "cowboy" sitting in Orlando, a clear shot at NXT's head of creative, Shawn Michaels. He then added that he is "not their Indian," a direct criticism of the Eddy Thorpe character, which was heavily based on his Native American heritage. The Eddy Thorpe Experience During his run in NXT, Fredericks, as Eddy Thorpe, was given a character that leaned into his heritage. He had previously been critical of the gimmick, stating in interviews that he felt it lacked depth and that he had pitched other ideas, such as a character obsessed with winning the North American Championship. While he was featured in high-profile spots, including an "NXT Underground" match against Damon Kemp, it's now clear that he was not creatively fulfilled with the direction. His promo on Saturday was a declaration of his intent to return to a more authentic version of himself. More news: WWE Superstar Announces Retirement Match The "Alpha Wolf" Of The LA Dojo Before signing with WWE in January 2023, Karl Fredericks was a highly-touted prospect from the New Japan Pro-Wrestling LA Dojo. As one of the first graduates of the system under the tutelage of the legendary Katsuyori Shibata, Fredericks was known as the "Alpha Wolf." He was a no-nonsense, hard-hitting performer with a strong-style approach that made him a standout in NJPW STRONG. Appolo crews and Titus battle in the ring during the WWE show at Zenith Arena on may 09, 2017 in Lille north France. / AFP PHOTO / PHILIPPE HUGUEN Appolo crews and Titus battle in the ring during the WWE show at Zenith Arena on may 09, 2017 in Lille north France. / AFP PHOTO / PHILIPPE HUGUEN This tough, athletic persona is what many fans were excited to see when he signed with WWE. His recent comments suggest he is looking to return to that style on the independent circuit, free from the creative constraints he felt in NXT. After his WWE release, Fredericks had stated he was in "vacation mode," but it appears that vacation is now over. More WWE News: For more on WWE, head to Newsweek Sports.
Hamilton Spectator
11 hours ago
- Hamilton Spectator
Kanesatake powwow dates announced
For Shirley Bonspille, one of the organizers of the annual Kanehsatà:ke Traditional Powwow, it's impossible to choose a favourite part of the event, but it's clear the drum is one of the most memorable features for her. 'When you feel the drums pounding, and you can feel that underneath your feet, it's an experience you have to experience. You've just got to feel it,' she said. Spirit Wolf Singers will be returning as host drum, but of course all the powwow staples will be there, including dancers, craft vendors, and food sellers - fans of the Indian taco need not worry - and some participants are already booked. 'We love to share our culture and our foods, different types of foods that we do,' said Bonspille. 'Our arts and crafts help out the vendors. It's beautiful work. Good company, good friends, making new friends from across North America, which is awesome.' Volunteers are still needed, however, with spots open on the powwow committee. Those interested in vending or volunteering can contact Bonspille at shirlbonspille68@ . 'We're requesting everything that is handmade, nothing that is bought from out west or whatever that is shipped in. We're asking for your own personal crafts,' Bonspille said. 'We have so many talented beadworkers here and leatherwork and baskets. It's a shame to keep it hidden. We want them out here. Show your beautiful artwork, show your work and show your craft.' Community member Dina Filippelli, who operates Wolf Crafts, will be one of the vendors. She has had a booth at the powwow since the mid-90s. 'My experience has always been great,' she said. 'People come out and encourage me and my business by buying from me, and it's nice to see people that we don't get to see very often and can catch up with small chit chat,' she said. She's crossing her fingers for good weather that will encourage crowds to come take part in the meaningful experience that is the Kanesatake powwow. 'It's meant to remember the sacrifices and the hardships, the pain we went through fighting for what's ours and protecting our land,' said Filippelli in describing what the powwow means to her. 'July 11 was a big day that happened here, and this year's the 35th anniversary of that day,' said Bonspille, noting the significance of this year's edition. 'We want to honour the ones that were there that are still here and the ones that passed on since then. We would like to honour them and show our thanks for them standing up for our community. It's a day that the world knew what was going on, that they're still trying to steal our land.' Everyone is welcome, she said, and she's hoping for a big turnout. 'What I appreciate is a lot of the comments. I go around, and they love to come. The scenery around here is so beautiful at the powwow. We're surrounded by pine trees. It's the best feeling in the world,' she said. The powwow will be held from August 30-31 at the powwow grounds starting at 10 a.m. each day, with grand entry at noon. Camping is available for $20. marcus@ Marcus Bankuti, Local Journalism Initiative Reporter Error! Sorry, there was an error processing your request. There was a problem with the recaptcha. Please try again. You may unsubscribe at any time. By signing up, you agree to our terms of use and privacy policy . This site is protected by reCAPTCHA and the Google privacy policy and terms of service apply. Want more of the latest from us? Sign up for more at our newsletter page .
Chicago Tribune
2 days ago
- Chicago Tribune
Review: A delicious weekend at Ravinia brings together music and fine dining
'A good program,' chief conductor Marin Alsop told a crowd in Ravinia's Tree Top Lounge, 'is like a meal.' She wasn't just reaching for a fanciful metaphor. Each year, Breaking Barriers, the festival-within-a-festival she devised around gender equity at Ravinia, spotlights a different profession. This year's focus on the culinary arts invited women chefs to devise dishes inspired by Alsop's Chicago Symphony programs. Alsop picked the music, while her co-curator, 'Food Network' star Molly Yeh, matchmade the pieces with specific chefs. At this ticketed, add-on event in the Tree Top Lounge, a Ravinia audience sampled the results. The chefs themselves assembled and handed out the hors d'oeuvres at a long table: 'Chopped' judge Maneet Chauhan, New York City baker Jacqueline Eng, Florida chef Mika Leon, and Monteverde and Pastificio chef/co-owner Sarah Grueneberg. For some of the chefs, thinking deeply about music is already second nature. Yeh is the daughter of CSO clarinetist John Bruce Yeh and a Juilliard-trained percussionist; she designed a bite and performed at Saturday's chamber concert. And Eng is also a percussionist with a Juilliard credential. (Those department dinner parties must have been elite.) Despite the crush of more than 250 attendees — about the most Tree Top can fit comfortably — the preconcert tasting went off smoothly. When the line got long, a quick-thinking Chauhan started offering her dish to those waiting, scoopable from a Fritos bag. I'm a pale excuse for a food critic. But after sampling the bites first, then attending the concert in the Pavilion, I found that the chefs' dishes uncannily forecasted the performance to come. Here's how this musical feast went on Friday: Accompanying Reena Esmail's 'Re|Member' By seeking an Indian spin on Midwestern comfort food, Chauhan set a challenge for herself. Any Frito pie, even a cheffed-up one, has to contend with the overwhelming saltiness of the chips themselves. Chauhan might not have been able to surmount that totally, but I can't imagine it being done much better. Her answer was to introduce several tastes: fruity pops of pomegranate seed and mango koochumbar, sweet-and-sour tamarind chutney and briny-creamy queso fresco. In a clever stroke, Chauhan made the vindaloo with ground lamb, rather than the usual hunks, to nod to the more traditional chili topping. Your aunt in Cedar Rapids would surely approve. The Midwest/Indian mashup was apropos for Esmail, who was born in Chicago. In her 'Re|Member,' premiered in 2021, an oboist prerecords their solo, to be shown on a video screen at the top of the piece. Later, the video returns, with the same oboist duetting with their past self live onstage. Of all the pandemic-era commissions out there, Esmail's 'Re|Member' stands out for its poignancy — and I loved that Chauhan, by riffing on a familiar, lovable dish, managed to nod to that nostalgia. So, I was extra disappointed that Ravinia opted to go a different direction for this performance. Instead of the video duet, CSO oboists Lora and Will Welter played a spatialized duet— Schaefer playing in the Pavilion aisle, Welter onstage. Even with its profundity curbed, this was a fine, stirring performance. That's a credit to guest conductor Alexandra Arrieche, a participant in Alsop's fellowship program for female conductors. Accompanying Tim Corpus's 'Great Lake Concerto,' Movement III When you think 'percussion,' you probably think big, bold, maybe a little aggro. It's no surprise Eng's perspective as a former percussionist led her to temper those stereotypes. Instead of going for the obvious associations, she focused on that other, unseen aspect of being a musician: long sessions in the practice room. As she explained in the introductory video played in the Pavilion, she selected rye for its resilience in many different climates. (That grain selection had the added benefit of a slightly sour edge, brightening the dish.) And the bean-and-vegetable it rested upon had the rich, layered flavor one can only achieve by stewing high-quality ingredients patiently for hours on end. Decadent, a little cheesy, and oh-so-umami, it was the most flavor-packed bite of the evening. With its focus on Lakes-region vegetables and grains, Eng also drew inspiration from the piece's title. Corpus, a Chicago-based composer, composed the work specifically for CSO percussionist Vadim Karpinos and Lyric percussionist Ed Harrison; it was premiered by Roosevelt University's student orchestra last year. The third movement, marked 'Explosive,' throws us into a fast-paced repartee between Karpinos and Harrison from opposite sides of the stage — Karpinos on xylophone, Harrison on tom-toms. Corpus's writing is consistently inventive: It's never quite clear whether the soloists are teasing one another or casually trying to one-up each other, and you'll never hear a xylophone sound more mournful than it does at the middle of the movement. I's always a high endorsement, to both performer and composer, when people start hooting in the middle of a classical music piece like they're at a stadium show. Harrison's moment was his minute-long maraca solo (yes, really), and Karpinos' his stunt of tossing, then catching, a shekere 10 feet in the air during a cadenza. I'll be thinking about that performance for a long time—just like those beans. Accompanying George Gershwin's 'Cuban Overture' Of the four, León's dish was the most conventional, which is no slight. The texture of the ropa vieja was just right — not too soupy, but also not getting caught in your teeth for perpetuity, like some ropier ropas viejas. I could see a world in which the tostón weighs down the dish. Instead, it was just dense enough to support the generous mound of meat on top. I might have wanted some more acidity to brighten the dish. Then again, at this point in the meal, some unabashed heartiness was welcome. Without León's dish, I don't know that I would have left the Tree Top Lounge fully satiated. Alsop and the CSO's 'Cuban Overture' stuck to one's ribs, too. Maybe a little too much, actually — the overall spirit seemed transplanted from Gershwin's blustery, big-city tone poems, like 'American in Paris' or 'Rhapsody in Blue.' For a work that references son and rumba so deeply over its short duration, this overture didn't dance much as possible, I tried to isolate each dish's composite parts before taking them in together. The lamb vindaloo in the Frito pie. The cultured butter off Eng's rye toast. Even the tostón, alone, in León's creation. When I did the same for this 'pasta tale' — a chilled orzo, with a tomato saffron sauce pooling at its side — I admit, I was skeptical. Between the freshness of the lump crab and its vegetal crunch, the orzo had all the makings of a great summer pasta salad, if on the mild-mannered side. Meanwhile, the sauce was not at all what I expected, leading with the tomato's acidity. The saffron, for all its potency, arrives only on the back end of the bite, albeit mild enough to be overpowered by the taste of Ravinia's wooden utensils. I swapped to plastic before mixing it all together and digging in. Then: total magic. It's as though Grueneberg had carefully plotted a run-of-show for each bite. First, the salinity of the crab, now amplified. Then, that tomato zing, rounded off pleasantly to become more mere aroma than star. The fresh veggies complete the garden, but no longer dominate. And then: the saffron, asserting itself more bravely than before. If this ends up on Monteverde's menu, catch me there tomorrow, a Road-Runner puff of dust pluming behind. What kismet that the most nuanced dish got the most nuanced performance. If programs are like meals, 'Scheherazade' would be the equivalent of a weekly special at Chez Ravinia: Like Copland's Clarinet Concerto, appearing later in the weekend, Alsop conducted the work earlier in her Ravinia tenure, in 2022. But the flavor profile of this meeting between CSO, Alsop and associate concertmaster Stephanie Jeong — who, then and now, played the expansive solos representing Scheherazade — has only deepened in those three years. Conducting scoreless, as is her wont in big repertoire works, Alsop had a specific and inspiring vision for the piece: an end-to-end lyricism, episodes that elicited delicious contrasts, slowdowns that were just right. But don't mistake specificity for micromanagement. Just as exhilarating was the sheer freedom and creativity the CSO seized in their solos. Stephen Williamson's runs in the third movement slowed at their peak, like the suspended, heartstopping moment before a roller coaster's big drop. Keith Buncke's bassoon solo was punctuated by pauses, a sage carefully choosing his words. And Jeong — where to begin? It was really her Scheherazade, a masterclass in taking time and, when called for, freezing it altogether. I can't think of a better 'Scheherazade' I've heard live, anywhere, even including Grant Park's noble account last summer. If only we could come back for seconds. The Breaking Barriers Festival continues 5 p.m. Sunday with Felix Mendelssohn's Symphony No. 4, 'Italian,' and Chicago Symphony clarinetist Stephen Williamson playing Aaron Copland's Clarinet Concerto. Tickets $35–$95 Pavilion, $15 lawn. More information at
