Latest news with #Esmail
NZ Herald
6 days ago
- Entertainment
- NZ Herald
On The Up: Kiwi actor and producer Peter Winkelmann's low-budget film projects are challenging the titans of cinema
'[Esmail] was like, I made a noir film once. This one's better,' Winkelmann tells me, recalling the high praise. He's zooming in from his LA apartment, a place he didn't expect to be real when he moved there during the Covid pandemic. 'On that Uber ride over, I was sort of like, I hope this place I took a lease on exists. I didn't know anyone on the continent or any friends in America at all, let alone LA.' The Viridian Jewel was filmed in the Hollywood hills on a shoestring budget. Having now lived in the US for five years, Winkelmann knows a fair bit about how the brutal commercial studio system works. In a world full of failures, he's found success through the unlikely avenue of low-budget film-making and takes pride in challenging the status quo. 'One of the films I produced for $400 has been included in the official selection for LA Shorts, next to short films with budgets in excess of $100,000,' he says. 'It's a serious festival too: it's Oscar-qualifying and has previously hosted the work of people such as Gary Oldman, Scarlett Johansson, Bill Murray and Sofia Coppola. A similar no-budget film I acted in won Best Picture at the San Pedro International Film Festival.' Winkelmann is a long way from his hometown of Taupō. His love of acting took him to the University of Auckland, then through two of the prestigious Stella Adler Studio and Academy of Acting outlets in the US, which boast alumni such as Marlon Brando and Robert De Niro. 'There's a really awesome film industry in New Zealand, but for me, I'm someone who believes if you want to try master something, you go to the source.' It hasn't all been smooth sailing, particularly in his first few months trying to figure out the lay of the land. 'Naturally, everything was shut, so those first few months were extremely isolating. I also got Covid within those first few months, which was quite scary because there was so much uncertainty about it,' Winkelmann recalls. But a chance foray into low-budget filmmaking during strict pandemic conditions made Winkelmann realise the future looked bright for independent film-makers. 'The nature of the opportunities were pretty bizarre. It didn't look like what we perceived the film industry to be, because the situation had shifted so radically,' he says. His film Trolled, with a crew of about five and a budget of less than $20,000, won a bunch of awards and got distribution in the US. 'We constructed this spooky horror film where we were doing it like a live stream, meant to look like it was all filmed on different GoPros positioned around the room. 'There was a bunch of us tied to chairs being attacked by this scary guy, and we filmed it all in this experimental one-take where we were all improvising.' Peter Winkelmann's low-budget films have found success up against revered film-makers. Winkelmann credits the ad-hoc format to putting him out of his comfort zone, something that he believes helps creatives thrive and form a sense of community. 'The film industry was going through this massive radical shift from all of the pressure coming from all these external factors. 'I think putting myself in a position where there was external pressure motivated me to go the extra step and sort of lit a fire on my bum to really put myself out there.' It's also helped fuel a new fire for low-budget film-makers who want to buck the trend. 'Over the last five years, the whole industry has really started to shift. I think it started with Covid, but then we went from Covid straight into the strikes, AI being a big factor in those strikes,' Winkelmann says. 'This changed people's consumption habits. Movie theatres still haven't returned to the same, and there has been a massive contraction around streaming. But the streaming bubble has kind of popped. There's essentially been this arms race between all of these different streaming studios, and with all these different strategies, a big company ends up like swallowing all the other ones.' Curious about the trends, he did some research and theorised that there may be a link between the consumption of social media and the success of low-budget film-making. 'You can see it in the younger demographics already. I saw a stat that was like less than 20% of people under 20 even watch streaming channels anymore in America. It's all like social media content, TikTok and Instagram and so on. 'This probably gets into my opinion here, but I think the reason for this is because people relate to authenticity. Connecting to an individual and the abundance of hyper niche content that's specifically targeted at your interest, as opposed to these big mass appeal, outdated media styles, right? With smaller budget films, there's an opportunity for a new model of film-making to come around where there's like a more niche audience and more targeted films.' But success isn't the only thing Winkelmann and his team gain from their low-budget endeavours - there's also the personal gain. 'The most important thing in film-making is spirit, and we've got that in buckets in the independent scene.' he says. 'I think that there needs to be a push for community building around cinemas. I think every area of life at the moment, we need to push towards community.' Peter Wineklmann moved to Los Angeles during the height of the Covid pandemic. For Kiwis looking to enter the weird and wonderful world of independent film-making, Winkelmann says NZ's number eight wire mentality will bode well. 'Do it. Do it yourself and figure it out yourself. Give yourself like grace and explore because filmmaking is a trade. It's a skill, and it's something you just have to do, and every single time you do it you'll get better and better and better,' he says. 'There's no point trying to write the perfect project or set out to make the next Scorsese film on your first go. Ask questions, be curious, explore and just have fun making stuff.' Mitchell Hageman joined the Herald's entertainment and lifestyle team in 2024. He previously worked as a multimedia journalist for Hawke's Bay Today.
Time Magazine
03-07-2025
- Entertainment
- Time Magazine
'Mr. Robot' Has Only Gotten Better With Time
Starting today, the USA Network drama Mr. Robot is available to stream on Netflix. It's a great time to introduce a new wave of viewers to the series; between 2015 and 2019, it was one of the most prescient, anti-capitalist shows on TV. At the tail end of the network's optimistic 'blue sky' programming era, this was a techno thriller with prestige-drama aspirations, injecting its core character study with trenchant social commentary. But despite creator and showrunner Sam Esmail's success in airing four seasons of his passion project with little intervention from the network, Mr. Robot never quite took off to the same extent as many of its peers, including critical darlings like FX's The Americans and HBO's The Leftovers. Following a universally acclaimed first season, the show got weirder, bolder, and marginally less gripping on an episode-by-episode basis, at least during a polarizing second season that appeared on far fewer year-end 'best TV' lists than the first. Today, though, the show's occasional missteps feel like part of its charm—integral pieces to a grand vision that Esmail executed with confidence. Time will be kind to Mr. Robot; don't let anyone tell you otherwise. Here's what to know before you dive in. What is the show actually about? Rami Malek stars as Elliot Alderson, a young, clinically depressed man working as a cybersecurity engineer at a company called Allsafe. At night, Elliot moonlights as a cyber-vigilante—and his hacking skills attract the attention of one Mr. Robot (Christian Slater), the enigmatic leader of a hacktivist group called fsociety determined to cancel all consumer debt and take down the massive corporation E-Corp (or 'Evil Corp,' as Elliot's brain interprets it). Sounds very Fight Club… Esmail wears his influences on his sleeve, and Fight Club is one particularly obvious one, from the anti-consumerist setup to the Tyler Durden-esque title character. (Taxi Driver is another, evident from Elliot's voiceover narration and the me-versus-society mentality that leads him into several deranged rants.) But Mr. Robot feels like its own specific cocktail of sci-fi and thriller ingredients, and Esmail isn't afraid to directly reference his inspirations—as when he borrows the Pixies' 'Where is My Mind,' iconically used in Fight Club, near the end of Season 1. It's also not much of a spoiler to acknowledge that Elliot's fracturing identity is a consistent throughline of Mr. Robot. What's going on in Elliot's head is just as important as the latest heist to hurt E-Corp. (In fact, the last couple episodes of the show are basically devoid of hacking.) The sooner you make peace with that focus, the more you'll enjoy the show's many flights of fancy: beginning, perhaps, with the fourth episode, a harrowing and hallucinatory dip into his consciousness as he experiences drug withdrawal. That one feels straight out of David Lynch. Just how weird does the show get? Season 1 of Mr. Robot is the most grounded, and Esmail only directed three of the episodes, though his distinct style—with faces isolated at the bottom edge of the frame as if to emphasize the characters' alienation—was present from the beginning. But he takes over as full-time director from Season 2 onward, dialing up the experimental episodes: a 15-minute '90s sitcom parody; an entire installment presented as a single shot during a riot; a hostage situation with high personal stakes, structured like a five-act play. The show also flirts with science fiction as it goes on, teasing the possibility of time travel and alternate dimensions. That flexibility when it comes to both genre and tone—the show can be funny, suspenseful, heartbreaking, and terrifying—makes it memorable. Does it ever get bad? Most people would agree Mr. Robot is at its worst in Season 2, especially with one key Elliot-centric storyline dragging on much longer than it should. And while the show is filled with interesting supporting characters—from Elliot's morally compromised childhood friend Angela (Portia Doubleday) to the slimy E-Corp brownnoser Tyrell Wellick (Martin Wallström) to a trans cyberterrorist named Whiterose (BD Wong) operating as the Minister of State Security with her birth name—not all of their arcs get the same time to develop and wrap up in satisfying fashion. But the show's occasional lags in pacing are much more bearable on a binge, where you can inhale a whole stretch of slower episodes rather than waiting a week and praying for plot movement each time. Besides, the majority of the dips in quality derive from Esmail prioritizing stylistic playfulness and experimentation over the relatively straightforward, linear storytelling of Season 1. In many ways, Season 2 is easier to admire in retrospect, but it's still a good time if you go in with an open mind. Is the ending satisfying? The show's viewership took a huge hit in Season 2 and never really recovered despite a solid, improved Season 3 and a genuinely rich, fascinating Season 4. In fact, watching back Mr. Robot after knowing where it's all going, the occasional bumps in the road feel beside the point; the show sticks the landing in a way that reframes the entire series in a surprisingly moving way. Credit Esmail, whose projects since include the podcast adaptation Homecoming and apocalyptic-thriller novel adaptation Leave the World Behind, for sticking to his vision for the series—and never straying far from the journey of its unique and oddly relatable protagonist, the heart of the series. Credit should also go to Malek, whose work as Elliot led to starring movie roles like his Oscar-winning turn as Freddie Mercury in Bohemian Rhapsody and his casting as a Bond villain. His stellar vulnerable breakout performance anchors the entire show. It's immediately evident, just from watching the pilot episode, when Elliot Alderson first invites us into his world. Once you're in, you won't want to leave.
The Independent
05-06-2025
- Health
- The Independent
Expert warns these five things can make contraception less effective
Reports of pregnancies in women using weight-loss injections, including those using contraception, have prompted concern from the UK's Medicines and Healthcare products Regulatory Agency (MHRA). The MHRA has received over 40 reports of pregnancies among women using weight-loss medications. Data shared with the PA news agency also reveals 26 pregnancy-related reports specifically for the Mounjaro jab. This has led to online discussions about so-called "Ozempic babies". The MHRA advises that Mounjaro may reduce the effectiveness of oral contraceptives in overweight individuals. Patients taking Mounjaro are recommended to use condoms, especially in the first four weeks of starting the medication and after any dose increase. The agency also stresses 'skinny jabs' such as Ozempic, Wegovy, Saxenda, Victoza, and Mounjaro should not be used during pregnancy, when trying to conceive, or while breastfeeding. In some cases, women are also advised to continue using contraception for up to two months between stopping the medicine and trying to get pregnant. This guidance around pregnancy is included in patient information leaflets given to people who are accessing the skinny jabs from regulated sellers like pharmacies. In light of this news, we got in touch with Dr Alisha Esmail, women's health GP at London Gynaecology, to find out what other factors may influence hormonal contraception's effectiveness… 1. Illness Vomiting within a few hours of taking a contraception pill can reduce its effectiveness, says Esmail. 'If you're sick – especially with vomiting or diarrhoea – soon after taking your pill, your body might not absorb it properly, which can lower the hormone levels needed for it to work properly,' she explains. 'Remember, this applies to the morning-after pill too, which is especially time-sensitive. 'If you've been unwell, it's a good idea to use back-up contraception and check in with a clinician – they can help work out if you need to take another dose or consider a different option.' 2. Weight Weight can also play a role in how well some hormonal contraceptives work. 'For instance, the patch and emergency contraception might be a little less effective if you have a higher Body Mass Index (BMI),' says Esmail. 'This is because your body may absorb and process the hormones differently, although for most people the difference is quite small. 'Because of this, doctors often recommend exploring other methods to ensure you get the most reliable protection. Safety is key – some combined hormonal options (those with both oestrogen and progesterone) may carry a slightly higher risk of side effects for people with higher BMI, so it's always a good idea to discuss your personal health and preferences with your clinician.' 3. Medication Some medications can lessen the effectiveness of hormonal contraceptives, so it's important to talk to a clinician if you're unsure how your medication might affect them. 'Some medications like certain antibiotics (e.g. Rifampicin), anti-seizure drugs, HIV medications, and even herbal supplements like St. John's Wort can reduce the effectiveness of hormonal contraceptives,' highlights Esmail. 'They may speed up how quickly hormones are digested in the liver, lowering your blood hormone levels and reducing its reliability. 'So, it's definitely worth letting your clinician know about any medications you're taking – whether they're prescribed or not.' 4. Inaccurate use Incorrect use is one of the main reasons why contraception can fail. 'Some of the most common slip-ups I hear about include forgetting pills, not taking them at the same time each day, starting a new pack late, or incorrect use of patches, rings, or injections,' says Esmail. 'With methods like the pill, consistency is key – even small drops in hormone levels can allow ovulation, increasing your risk of an unexpected pregnancy. 'If sticking to a routine is proving tricky, it's worth knowing there are plenty of longer-acting options that don't rely on daily habits – you've got choices.' The GP also points out that pill packs include a leaflet with a section on missed pill rules, which can be helpful when you're uncertain about what to do. She also reinforces the importance of timing when it comes to emergency contraception, such as Plan B. 'And when it comes to emergency contraception, timing really matters – the sooner it's taken after unprotected sex, the more effective it is,' says Esmail. 'Delays can reduce its chances of working, so don't wait to seek advice if you think you might need it.' 5. Heat The GP also recommends storing contraception pills at room temperature or cooler because if too hot the hormones within them could be changed/ deactivated. 'Storing your pills in a place that gets too hot – like a car on a sunny day – can affect how well they work,' says Esmail.
Cision Canada
06-05-2025
- Health
- Cision Canada
Fraser Institute News Release: Medical wait times cost Canadian patients almost $5.2 billion in lost wages last year
VANCOUVER, BC, May 6, 2025 /CNW/ - Long waits for surgery and medical treatment cost Canadians almost $5.2 billion in lost wages and productivity last year, finds a new study released by the Fraser Institute, an independent, non-partisan Canadian public policy think-tank. An estimated 1.5 million patients waited for medically necessary treatment last year, and each lost an estimated $3,364 (on average) due to lost wages and reduced productivity during working hours. "Waiting for medically necessary treatment remains a hallmark of the Canadian health-care system, and in addition to increased pain and suffering—and potentially worse medical outcomes—these long waits also cost Canadians time at work and with family and friends," said Nadeem Esmail, a senior fellow with the Fraser Institute. The study, The Private Cost of Public Queues for Medically Necessary Care, 2025, draws upon data from the Fraser Institute's annual Waiting Your Turn survey of Canadian physicians who, in 2024, reported the national median waiting time from specialist appointment to treatment was 15 weeks. Crucially, the $5.2 billion in lost wages is likely a conservative estimate because it doesn't account for the additional 15 week wait to see a specialist after receiving a referral from a general practitioner. Taken together, the total median wait time in Canada for medical treatment was 30 weeks in 2024. "As long as lengthy wait times define Canada's health-care system, patients will continue to pay a price in lost wages and reduced quality of life," said Esmail. Because wait times and incomes vary by province, so does the cost of waiting for health care. Residents of Prince Edward Island in 2024 faced the highest per-patient cost of waiting ($6,592), followed by New Brunswick ($6,210) and Quebec ($4,261). Average value of time lost during the work week in 2024 for patients waiting for medically necessary treatment (by province): Follow the Fraser Institute on Twitter, Like us on Facebook About The Fraser Institute The Fraser Institute is an independent Canadian public policy research and educational organization with offices in Vancouver, Calgary, Toronto, Montreal, and Halifax and ties to a global network of think-tanks in 87 countries. Its mission is to improve the quality of life for Canadians, their families and future generations by studying, measuring and broadly communicating the effects of government policies, entrepreneurship and choice on their well-being. To protect the Institute's independence, it does not accept grants from governments or contracts for research. Visit SOURCE The Fraser Institute
Fox News
04-04-2025
- Entertainment
- Fox News
‘Battlestar Galactica' star says show's AI warnings more timely as sci-fi fantasies come to life
BEVERLY HILLS, Calif. — "Battlestar Galactica" star Tricia Helfer feels the show was a prescient warning about artificial intelligence when it debuted more than 20 years ago. "We did warn against AI while we were shooting it," Helfer told Fox News Digital at the Beverly Hills Film Festival this week. She continued, "It was 20 years ago, and I've recently re-watched it and went, 'Oh my gosh, it's even more relevant now.' So I think we just really need to be careful. It's a slippery slope between using it to our advantage and having it maybe be able to control us a little bit." "I think we're a little bit far off from the humanoid Cylons yet and humanoid robots, but I don't know, they're coming," Helfer added. "Battlestar Galactica" debuted on the SyFy channel in 2004, reimagined from the 1978 original series, and follows the battle between humans and Cylons, the humanoid sentient robots humans created that turned on them and launched a nuclear attack that nearly wiped out the entirety of humanity. Helfer played a Cylon in the series, named Number Six, who played a key role in the story as both antagonist and ally. Regarding AI, the Canadian-born actress said, "It's not going away, so I think it's something that we're going to have to embrace. But I think one of the things 'Battlestar Galactica' did was warn about it. And that's, I think, something that we need to make sure [is] that we have is regulations and an understanding of how quickly and how overwhelming this technology could become." WATCH: 'Battlestar Galactica' star says show's AI warnings more relevant than ever A "Battlestar Galactica" reboot was in the works at Peacock with Sam Esmail, the showrunner behind "Mr. Robot," but it has since been halted and shopped elsewhere, per Variety. In 2023, Esmail spoke with The Hollywood Reporter about how the new version's view of AI would be evolving from the original. "The world is changing way too fast for us. I mean, when we started working on it, I obviously was aware of AI, but now, four or five years later, it's in the public consciousness and now that's so influential in how we're going to tell the story," Esmail told the outlet. "The allegory piece is something that is crystallized in a different way, too. The focus is the same, which is the fear of tech and how it might take over, but this idea of just 'the robots are going to be our overlords' is a very facile and overly simplistic way of looking at it. Now that the audience is more sophisticated about the consequences, I think we have to match that with 'Battlestar.'" "It's a slippery slope between using it to our advantage and having it maybe be able to control us a little bit." While Helfer believes humanoid robots are still in the somewhat distant future, there are some attempts to create them in the present day. Suzanne Somers' widower, Alan Hamel, recently worked with an AI company called Hollo to create a "twin" of his late wife. "I am working with Hollo, an AI company to create Suzanne AI. It's very exciting to think about being able to interact with Suzanne's twin," Hamel told Fox News Digital in a statement last month. The robot replica of Somers trained on her film and TV appearances, as well as her books, to bring back the "essence" of the "Three's Company" star, according to CEO Rex Wong. When it came to the Suzanne AI, Wong said, "The robot, which we did in collaboration with Realbotix, is the first of many AI versions of Suzanne, but AI Suzanne can also be accessible via call, chat and text. AI Suzanne highlights how we can extend a person's legacy and bring it to the next generation, and one of the services we will be rolling out will be the ability to preserve one's legacy for future generations or bring back a loved one." Somers died in 2023 after a long battle with breast cancer. Hamel told the New York Post that the idea for the Somers AI-powered bot "absolutely did come from her" and that "She may have known her life was going to be shortened [after a lifelong battle with cancer]."
