Days of Our Lives (DOOL) spoilers recap for Wednesday, September 16, reveal that Philip Kiriakis (Jay Kenneth Johnson) walked into the CEO office at Titan and made himself at home. He found a present from Kate DiMera (Lauren Koslow) waiting for him, which was a CEO mug along with a card. Soon, Xander Kiriakis (Paul Telfer) arrived and he started griping about Philip taking over his office. Philip said that it was HIS office, and Xander blustered about.
Xander ended up breaking Philip’s mug from Kate, and the two men bickered a bit over who was going to get the office. Xander broke Philips new CEO mug in anger. Philip sat in the CEO chair and refused to move, and Xander promptly wheeled Philip right out of the room.
Afterwards, Xander realized that Philip had the key to the locked desk drawer. Xander sighed with discontent.
At Hope Brady’s (Kristian Alfonso) house, Belle Black (Martha Madison) told Claire Brady (Isabel Durant) that the person standing before them was Jan Spears (Heather Lindell). “You kidnapped my dad,” Claire said.
Belle was furious that Jan was there, and Jan said that she just wanted a chance to make up for what she had done after battling mental illness. That struck a chord with Claire. Belle threw Jan out.
Afterwards, Claire was upset as Belle said that Jan had purposely tried to bond over their shared mental health problems. Belle tried to explain that Jan was a master manipulator, but Claire got agitated, thinking that Jan should get the second chance that Ciara Brady (Victoria Konefal) had given her. Claire left, upset.
In town square, Philip ran into Jan, and he promptly got in her face and told her that she should get out of town, and that she needed to stay away from Belle. Jan shared that she had befriended Claire, and Philip got peeved.
Philip grabbed Jan forcibly and told her that he won’t call the authorities next time – he’ll take care of her permanently.
Xander walked up and overheard that last remark, then he approached Philip about needing the keys to his desk. Philip refused to return the keys and left, and then Xander met Jan. Jan thought that Xander should mind his own business, but Xander clearly had an angle and he formally introduced himself to her.
Philip headed over to Hope’s house, where he told Belle that he just saw Jan in town square. Belle shared that Jan had barged in and made friends with Claire. Philip said that he had put Jan on notice, and that he wouldn’t let Jan hurt her or Claire. Belle and Philip hugged.
At the hospital, Sami Brady (Alison Sweeney) arrived to see John Black (Drake Hogestyn) with a peace offering – a cactus. John was immediately angry with Sami and threw the plant across the room in anger.
Sami was stunned. John growled that Sami had a lot of nerve coming in here after what she said to him before his collapse, and John proceeded to berate Sami.
John ended up calling Sami the “b” word, then Sami started fighting back, yelling at John that she hoped he got another blood clot. Marlena Evans (Deidre Hall) walked in to hear Sami’s remark, and she angrily ushered Sami out of the room.
Out near the nurses’ station, Sami told Marlena what John said, and Marlena was stunned, saying that it didn’t sound like John.
Marlena went back in with John, and John admitted that he said horrible things to Sami. John wondered what was going on with him, and Marlena explained about brain trauma and that these things can happened.
John then turned on Marlena, angrily telling her not to jerk him around. “See – just like that,” John sad apologetically. Marlena and John vowed to figure this out.
At the DiMera mansion, Lucas Horton (Bryan Dattilo) was dealing with his fussy grandson when Nicole Brady (Arianne Zucker) came in. Nicole wanted to hold the baby, so Lucas handed him over, and the baby finally quieted down.
Nicole held the baby gently, and then Sami walked in and demanded to hold her grandson. Frustrated, Nicole left, and Lucas made a remark about family gatherings being unpleasant going forward.
That made Sami think, and she decided to take the baby and leave Salem. Lucas protested, but when he and the baby went upstairs, Sami got on the phone and tried to book two plane tickets back to Rome for her and the baby.
Suddenly, Allie Horton (Lindsay Arnold) walked in and indicated that Sami wasn’t going anywhere with the baby.
At Nicole and Eric Brady’s (Greg Vaughan) apartment, Eric was alone when his old friend Angie (Nzinga Blake) from the Congo showed up at the door. Angie wanted to make Eric an offer to return to the Congo to help, since the village was experiencing hard times.
Eric kindly but firmly turned Angie down, saying that he was newly married with a stepdaughter.
Angie left a folder of the work that they were doing in the village, and she and Eric were hugging when Nicole walked in. After Angie left, Nicole perused the folder and said that Angie and her team were doing great work and that Eric could do a lot of good.
Eric said that he couldn’t leave, but Nicole said, “Are you sure that’s what you really want?”
There’s definitely a lot going on right now on Days of Our Lives, so stay tuned! Stick with the NBC soap and don’t forget to check CDL frequently for the latest Days of Our Lives spoilers, daily episode recaps, and news. We’ve got you covered!
— (@paisoaps) September 17, 2020
Mark your calendars because Derek Hough will perform on ‘Dancing with the Stars’
Derek Hough is lacing up his dancing shoes again: The former pro and new “Dancing with the Stars” judge will perform on the Oct. 19 episode, ABC announced Wednesday during its “VirtuFALL” virtual panel for the show.
The six-time champ will perform a routine with his girlfriend and former “Dancing” troupe member Hayley Erbert. It’ll be his first performance on the show since he placed sixth with Marilu Henner on the 23rd season in 2016. Hough departed after that for NBC’s “World of Dance,” but he returned to his old stomping grounds as a judge this season to replace Len Goodman, who was unable to travel to Los Angeles due to COVID-19 restrictions.
Last week, the two-time Emmy winner teased his future performance with reporters, sharing that they were still trying to “figure it out.” “Obviously, there are limitations [due to COVID], but I enjoy limitations,” he said. “They force you to be creative. It’ll be further along [into the season] when there’s time.”
SEE Derek Hough has a good reason for saving Carole Baskin on ‘Dancing with the Stars’
Because of the pandemic, “Dancing” has shelved the band and extra performances this season. Thus far, only the contestants have performed. If there are no surprise eliminations (or non-eliminations), the Oct. 19 episode will feature the top 11 couples.
Hough and Ebert previously performed together on ABC’s two “Disney Family Singalong” specials in the spring.
“Dancing” airs Mondays at 8/7c on ABC.
PREDICT ‘Dancing with the Stars’ now; change them until Monday night’s show
Be sure to make your predictions so that the contestants can see how they’re faring in our racetrack odds. You can keep changing your predictions until just before the next episode airs every Monday on ABC. You’ll compete to win a spot on our leaderboard and eternal bragging rights. See our contest rules and sound off with other fans in our reality TV forum. Read more Gold Derby entertainment news.
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The Social Network And 10 Years Of Reznor & Ross Scores
Mark Zuckerberg walks out of a bar. He’s just been absolutely ethered in The Social Network’s infamous opening scene, but all that wordiness and vitriol dissipates into empty air. He takes off through the dark streets on a peaceful Cambridge night circa 2003. A dull sawing sound is undercut by the hum of the city, car horns and sirens and Zuckerberg’s sandals flip-flopping against the pavement. A piano plinks intermittently, turns into a pounding synth and then back again. The keys feel listless and frustrated; the synths are more determined. They are both leading to an idea, one that would transform society as we know it for better and, mostly, for worse.
As Zuckerberg rushes to his dorm room to start Facebook, we get our introduction to Trent Reznor and Atticus Ross, the film composers, and what an introduction it is. “Hand Covers Bruise,” the track that works its way through The Social Network’s opening credits sequence, is stunningly restrained. It’s eerie and still — just like the shots that David Fincher uses to establish the Harvard campus, all filmed surreptitiously because the school would not let them film on location — but it carries a heavy weight.
Reznor and Ross were getting into the psyche of Mark Zuckerberg, or at least the Facebook founder as Fincher and Aaron Sorkin envisioned him: creatively unfulfilled and maniacally, probably sociopathically brilliant. In just a couple minutes, the composing team establish what has made them this past decade’s most in-demand, accomplished, and influential movie scorers.
Their first film score came out only a decade ago, and it already feels as though they’ve taken over the scoring world. Since The Social Network was released in 2010, Reznor and Ross have gone on to score more Fincher-directed films — The Girl With The Dragon Tattoo, Gone Girl, and the upcoming Mank — and have lent their talents to a wide array of projects, from the Ken Burns documentary The Vietnam War to A24-core such as Mid90s and Waves. Their most prominent work — and probably most impressive since The Social Network — came last year with their stellar turn on HBO’s Watchmen. In a few months, they’ll release their first score with animation titans Pixar for the jazz-influenced Soul.
Reznor and Ross have been rewarded handsomely for their talent, picking up an Oscar, a Grammy, and most recently an Emmy for their soundtracks, leaving them one Tony short of the coveted EGOT. The two of them are perhaps an unlikely pairing to gain such a foothold in the movie world. Electronic and rock musicians have dabbled in film before, but often their work has been relegated to cult and genre films, not movies that have a serious shot at a Best Picture nomination. They’re among the few musicians who can make a movie score feel like an event.
And their reign began with The Social Network just 10 years ago. Ross had already done a handful of scores on his own prior to The Social Network, striking up a creative partnership with directors Albert and Allen Hughes. Reznor had, of course, a lot of experience making intense soundscapes through the aggressive sweep of Nine Inch Nails, including a fondly-remembered soundtrack for the 1996 video game Quake. Reznor and Ross began working together in the early 2000s when Ross became first an engineer, then a producer, and eventually a member of Reznor’s boundary-pushing rock project.
It makes sense that they would find a kindred spirit in David Fincher, who has been making smart thrillers that are conventional but formally restrained since the ’90s. Fincher has an exacting vision, and Reznor and Ross were able to adapt to his drive, working well within the constraints of a big-budget motion picture. Especially for their first time out, being around a well-oiled machine was a boon. “It was us learning on the fly, but being surrounded by a camp of people that were functioning at the highest level of excellence,” Reznor reflected in an interview a couple years ago. “And we didn’t want to be the ones that fucked it up.”
The Social Network is an odd movie to have such an iconic score. Propelled by Aaron Sorkin’s hyperactive script, there aren’t many opportunities for Reznor and Ross’ soundtrack to be the center of attention, but they use every big moment they get wisely. Their showiest sequences are toward the beginning of the film, in the scenes chronicling Zuckerberg’s late-night drunken creation of FaceMash. “In Motion” accompanies a debaucherous montage that establishes the smooth reality of Harvard’s elite finals clubs, thumping and cool, in contrast to the seemingly innocent nerds writing equations on their dorm room window, which is soundtracked by the textural and guitar-forward “A Familiar Taste.”
Their score is a persistent source of simmering tension in the movie, even when it’s only buzzing away in the background. “The Gentle Hum Of Anxiety,” one of the soundtrack’s more impressive standalone compositions, is an appropriate name for their score as a whole. Reznor and Ross’ scoring work is often built around persistent iterations on a theme — they manipulate sounds by modulating them up and down, circling around the same few notes as a way to ramp up the pressure slowly.
The general eeriness of The Social Network’s score feels prescient considering how large and chaotic a role Facebook would go on to play in disinformation politics. “When we were creating these ideas, we weren’t scene specific. We thought, ‘This could be the sound of an asteroid hitting the Earth at the end of humanity,’” Reznor half-joked back in 2011. “But I don’t know if that fits in with the tale of founding Facebook, when someone finds out someone stole their website. Is that the appropriate level of drama, or is it comically overdone?”
It was not comically overdone. The wannabe frat boy antics of the real people behind The Social Network has changed the face of the world. Reznor and Ross made a story about geeks seem grand and imbued their technological developments with a hubris that rings true. Fincher and Sorkin made a story about a character that viewers could almost empathize with; Reznor and Ross’ score seems, purposefully or not, to act in opposition to that. It constantly sounds as if the world of the film is on the precipice of disaster, which turned out to be accurate.
That might not have been their intention: “I could relate to the character on the page of Mark Zuckerberg,” Reznor said in a 2018 interview. “To the feeling of somebody that believed in something so much and maybe went to any length to get it to work and then realized, well, maybe I fucked some people over in the process, and that weird sense of unfulfillment or melancholy.” Considering Reznor’s own storied history of being a difficult genius, the scathing and icily confident music he created for The Social Network has a deep thematic resonance.
Before Reznor and Ross came along, your typical movie score did not sound like this. There were outliers, of course, many of them inspirations for The Social Network: Vangelis’ work on Blade Runner, Goblin’s run on horror scores in the ’70s, Tangerine Dream’s similar dominance of moody thrillers during the ’80s. But The Social Network signified a shift away from orchestral scores for a certain kind of prestige film. They opened up a wider lane for musicians who might have started in rock music to cross over into the film world more easily. The kinds of scores that Reznor and Ross make are a far cry from the John Williamses and Hans Zimmers of the world.
Their fingerprints are all over some of the most critically-acclaimed scores from the last 10 years, from Mica Levi’s terse and haunting work on Jackie and Under The Skin to Daniel Lopatin’s pulse-pounding team-ups with the Safdie brothers. Nicolas Britell’s classically grand Succession score feels like it’s in direct conversation with The Social Network’s masterful “In The Hall Of The Mountain King” boat regatta sequence. (Britell was also nominated for an Oscar twice, for his scores on Moonlight and If Beale Street Could Talk.)
Now it feels as if a lot of films are aiming for the style of detached coolness that threads itself through The Social Network and the rest of their scoring oeuvre. Though I doubt Reznor and Ross were involved in the decision, the stripped-down cover of Radiohead’s “Creep” featured in The Social Network’s first trailer would go on to cause almost every single trailer, from superhero movie on down, to have a slowed-down cover in it. It’s indicative of their influence in a larger sense — that trick, despite how watered-down and inescapable it has become, gets at some of what’s so magical about the scores that Reznor and Ross create. Their scores are disorienting, like a familiar hit thrown off its axis, fraught with tension and pathos and moments of sheer beauty that often do so much with so little.
Reznor and Ross have not slowed down. They’ve periodically revisited Nine Inch Nails throughout the last decade, but their main focus seems to have shifted to their movie scores. Their soundtracks are standalone works and, though they’re always in service of whatever movie or show they’re composed for, almost every Reznor and Ross score feels a significant achievement all on its own. It was apparent from those first few moments of The Social Network that Reznor and Ross had hit on to something special. We just didn’t how special and important they would be.
Audrey Roloff Makes an Impressive Living Outside of ‘Little People, Big World’
There’s something about big reality TV families that people cling onto and won’t let go of, even long after some cast members have left the show. Because even though Jeremy and Audrey Roloff are no longer on Little People, Big World, fans are still heavily invested in their lives outside of the show. That’s mostly because they have made a living on their own, on social media, and thanks to their established fan base.
And, with the success they have seen while being off reality TV, you can’t help but wonder how much Audrey’s net worth is. Unlike Jeremy, she wasn’t on reality TV for years before stepping back from the camera and focusing on other projects.
But as his girlfriend, she got her first taste of the TLC limelight years before they were married. Now, they are both no longer part of the series and have focused their attention on their own growing family and other business ventures.
Does Audrey Roloff practice blanket training with her kids?
Although Audrey has plenty of fans who consider her a role model as a wife, mother, and all around trendy former reality TV personality, she has her fair share of critics. In 2019, she and Jeremy came under fire for sharing their “blanket training” tactic they practice with their daughter Ember. The method stems from controversial pastor Michael Pearl and his wife Debi’s book To Train Up a Child — Child Training for the 21st Century.
The book instructs parents to place their child on a blanket for a few minutes at a time, and when the baby moves off the blanket, they are to strike them lightly with a ruler or something flexible, and place them back on the blanket. It is meant to teach babies boundaries, discipline, and solo playtime.
When Audrey explained on Instagram hers and Jeremy’s method of simply placing Ember back on the blanket, she didn’t explain if it’s exactly the same as the Pearls’ method, which the Duggar family also utilizes. But it brought plenty of criticism for a couple who seem to try and remain as likable as possible. And even though it wasn’t a good moment for them, Audrey has continued to revel in her post-reality TV fame.
Watch Little People, Big World on Tuesdays at 9 p.m. ET on TLC.
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