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Firefly Lane release date, cast, synopsis, trailer, and more

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Based on the Kristin Hannah novel of the same name, Firefly Lane is coming to Netflix at the end of the year. Featuring a few familiar faces, the series is ultimately a tale about maintaining a friendship in the face of adversity.

Here is everything that we know so far about the upcoming show.

Firefly Lane release date

As reported by The Bibliophile, Firefly Lane is scheduled for release on Netflix on December 31, 2020. The first season will have ten episodes in total.

Firefly Lane cast

According to What’s on Netflix, the series will be taking place over several years, meaning that a lot of the characters will be portrayed by a few actors to transition them from childhood to adulthood.

The character of Tully Hart will be played by London Robertson in the 1970s, Ali Skovbye in the 1980s, with actress Katherine Heigl playing Tully as an adult. You might know Katherine Heigl for her work on Grey’s Anatomy, or from one of her movies like The Ugly Truth or 27 Dresses.

The younger version of Kate Mularkey will be played by Roan Curtis, with the older version of the character being portrayed by Sarah Chalke. Viewers will recognize Chalke from her role on Scrubs.

There’s another character named Sean, who will be played by Quinn Lord and Jason McKinnon. Narcos actor Jon-Michael Ecker will be playing the role of Max Brody and Martin Donovan will be playing Reed Aiken. Other cast members include Yael Yurman, Beau Garret, Jon Ecker, Chelah Horsdal, Jenna Rosenow, and Brandon Jay.

Firefly Lane synopsis

The series will tell the story of two best friends, Tully and Kate, over the course of their decades-long relationship.

Firefly Lane trailer

You can check out the teaser for Firefly Lane below. The video is less than a minute long, so it doesn’t reveal much, but it seems like the show is going to be a heartwarming story about a lifelong friendship.

We can’t wait to get the full-length trailer!

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Julien Baker – “Faith Healer”

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In 2017, Julien Baker released her last album, the great Turn Out The Lights. (The title track of which ranked amongst the best songs of the whole decade.) Baker has, of course, remained plenty busy in the interim. But now she’s finally gearing up to release a new album: It’s called Little Oblivions, and it’ll be out in February.

Along with the announcement, Baker has shared a new song called “Faith Healer.” Here’s what she had to say about it:

Put most simply, I think that “Faith Healer” is a song about vices, both the obvious and the more insidious ways that they show up in the human experience. I started writing this song two years ago and it began as a very literal examination of addiction. For awhile, I only had the first verse, which is just a really candid confrontation of the cognitive dissonance a person who struggles with substance abuse can feel — the overwhelming evidence that this substance is harming you, and the counterintuitive but very real craving for the relief it provides. When I revisited the song I started thinking about the parallels between the escapism of substance abuse and the other various means of escapism that had occupied a similar, if less easily identifiable, space in my psyche.

There are so many channels and behaviors that we use to placate discomfort unhealthily which exist outside the formal definition of addiction. I (and so many other people) are willing to believe whomever — a political pundit, a preacher, a drug dealer, an energy healer — when they promise healing, and how that willingness, however genuine, might actually impede healing.

“Faith Healer” comes with a video directed by Daniel Henry. Check it out below.

In lieu of a traditional bio, the album announcement came with an essay written by Hanif Abdurraqib, which you can read below:

If you are lucky enough to have a future where the present anxieties of distance become romantic memories, I hope there are people who turn this album over in their hands years from now and remember the world it tumbled into. A world that, in whatever future moment exists, will likely be defined by the work people undertook and the fights people continued to show up for. But it will also be a world defined by how many of us exist on the other side of distance.

In the moment, here is a new Julien Baker album that arrives as a world comes to newly understand its relationship with touch, with distance. At the time of this writing, I shouldn’t want to run into the arms of anyone I love and miss, and yet I do. In an era of hands pressed on the glass of windows, or screen doors. An era of hands reaching back. An era where touch became an illusion. If we have been unlucky enough, our own lifetimes have prepared us for the ever-growing tapestry of aches.

To wrestle with the interior of one’s self has become a side effect of the times, and will remain a side effect of whatever times emerge from these. The first time I ever heard Julien Baker, I wanted to know how an artist could survive such relentless and rigorous self-examination. I have been lonely, I have been alone, and I have been isolated. There are musicians who know the nuances between the three. What whispers in through the cracks of a person’s time alone. Julien Baker is one of those artists. A writer who examines their own mess, not in a search for answers, but sometimes just for a way out. A lighthouse to some newer, bigger mess.

It is hard to put into words what this feels like. Little Oblivions is an album that steps into that feeling and expands it. Sonically, from the opening swells of sound on “Hardline” rattling the chest, loving but persistent jabs to the way “Relative Fiction” spills into “Crying Wolf,” which feels like speeding down a warm highway that quickly turns into a sparse landscape, drowning in a hard rain. Lyrically, too, of course. There are writers who might attempt to bang at the doors of their listeners, shouting their particular anguish of the hour. And there are undoubtedly times when I have needed that to get from one sunrise to the next. But there are also writers who show up assuming anyone listening already knows what it is to crawl themselves back from one heartbreak, or to shout into an enduring darkness and hear only an echo. Little Oblivions is an album that details the crawling, details the shouting. An album that doesn’t offer repair, or forgiveness. Sometimes, though, a chance to revel in the life that is never guaranteed. Yes, the life that grows and grows and is never promised. How lucky to still be living, even in our own mess.

The grand project of Julien Baker, as I have always projected it onto myself, is the central question of what someone does with the many calamities of a life they didn’t ask for, but want to make the most out of. I have long been done with the idea of hope in such a brutal and unforgiving world, but I’d like to think that this music drags me closer to the old idea I once clung to. But these are songs of survival, and songs of reimagining a better self, and what is that if not hope? Hope that on the other side of our wreckage — self-fashioned or otherwise — there might be a door. And through the opening of that door, a tree spilling its shade over something we love. A bench and upon it, a jacket that once belonged to someone we’d buried. Birds who ask us to be an audience to their singing. A small and generous corner of the earth that has not yet burned down or disappeared. I can be convinced of this kind of hope, even as I fight against it. To hear someone wrestling with and still thankful for the circumstances of a life that might reveal some brilliance if any of us just stick around long enough.

Julien, how good it is to hear you again. And now, in all of our anguish and all of our glory. I miss the way the outside world reflected myself back to me. Now, I make mirrors out of the walls. I am so thankful for a better noise than the howling of my own shadows. Julien, you have done it again. You expert magician. You mirror-maker. Thank you for letting us once again watch you maneuver through all of your pleasant and unpleasant self-renderings. If there is a future, there will be people in it who might not remember how this album came at a time when so many hungered for a chance to put themselves back together. When the imagination of a person, a city, a country, was expanding. When, despite all of that, in the quiet moments, there were people who still wanted to be held by someone they maybe couldn’t touch. Thank you, Julien, for this comfort. This glass box through which a person might better be able to see a use for their own grief. This kingdom of small shards of sunlight, stumbling their way in to disrupt the darkness.

—Hanif Abdurraqib

TRACKLIST:

01 “Hardline”02 “Heatwave”03 “Faith Healer”04 “Relative Fiction”05 “Crying Wolf”06 “Bloodshot”07 “Ringside”08 “Favor”09 “Song In E”10 “Repeat”11 “Highlight Reel”12 “Ziptie”

Little Oblivions is out 2/26 via Matador.

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Chelsea Houska’s Net Worth: How Rich Is the Most Popular Teen Mom?

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Though Kailyn Lowry and Amber Portwood might receive more tabloid coverage, by most metrics, Chelsea Houska is the most popular star in the Teen Mom universe.

She has a massive following on social media, and though her life is mostly devoid of the intense drama that has made the show such a success, many fans say Chelsea is the reason they continue to tune in week after week.

So has all of that popularity translated to big bucks for the mother of three?

Well, yes and no …

If you’ve seen the pictures of the South Dakota farmhouse that Chelsea has been building, you know she’s not exactly hurting for cash.

But considering the fact that she’s been anchoring a popular TV show for over a decade, and her husband is also a regular on the series, Houska’s net worth is considerably lower than you might anticipate.

A new report from the UK tabloid The Sun puts Chelsea’s net worth at $200,000.

Obviously, that’s a considerable chunk of change, especially in the context of Covid-plagued Middle America.

But considering earlier reports indicated that Chelsea pulls in an annual salary of $500,000 from her appearances on the show, we expected her to be worth a bit more.

Salary, of course, is not the same as net worth — in fact the two numbers are quite far apart for most people.

But Chelsea’s Teen Mom earnings don’t tell the full story of her financial situation.

For starters, her husband, Cole DeBoer, is appearing in more episodes than ever these days.

His earnings per episode are likely slightly lower than Chelsea’s, but they’re still in the low- to mid-six figures range.

On top of that, Cole is one of the few Teen Mom baby daddies who actually has a job outside of the show!

And these two are not the only earners in the house.

Chelsea’s daughter Aubree is also compensated for her appearances.

Insiders report that the 11-year-old already has $50,000 saved for her future college tuition.

Obviously, that wouldn’t count toward Chelsea’s net worth, but the fact is, there’s a ton of money pouring into that household, and you’d think that would make it easier for everyone in the family to save.

And Teen Mom 2 isn’t Chelsea’s only source of revenue these days.

Houska also has her own fashion line, and like the rest of the franchise stars, she pulls in several thousand a month from sponsored content.

In fact, Chelsea is perceived to be so well off that she was recently labeled an “out-of-touch snob” by fans who were upset by the price f a diaper bag she was selling.

Needless to say, the criticism was more than a little harsh.

Chelsea is doing well, of course, but she’s far from fabulously wealthy.

It just goes to show that appearances can be deceiving in terms of financial status.

Chelsea is currently pregnant with her fourth child, and while the DeBoers are pulling in some lofty salaries these days, those no telling how long the reality TV earnings will keep rolling in.

Fortunately, Chelsea and Cole are responsible parents, and we’re sure they’re saving up for a rainy day.

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The most unexpected character will be in Zack Snyder’s Justice League

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The decision to bring Leto back to play the Joker in the retooled version of Justice League is puzzling for a few reasons. First is the obvious point that the Joker didn’t factor into the 2017 version of the movie at all, and there isn’t a super obvious place in the narrative for him to be slotted in.

Secondly, Leto’s Joker has become somewhat of a spectacle in the years since the 2016 release of Suicide Squad, and not necessarily in a good way. The actor’s on-set pranks became notorious and drew ire from people who found his behavior unnecessarily obnoxious. When fans finally got to see his intense look and wild performance, it was met with a very mixed reaction.

Despite being a main draw for the movie, Leto’s Joker was a bit player at most in the overall scope of Suicide Squad, appearing in the movie for around ten minutes, with David Ayer insinuating that there were more Joker scenes that ended up getting cut by the studio. To add insult to injury, Leto neither got the opportunity to star in the standalone Joker film (which he was reportedly furious about), nor will he be appearing in The Suicide Squad reboot helmed by Guardians of the Galaxy mastermind James Gunn. Many likely thought his time as the vicious clown had come to an end, but it turns out the joke was on them.

Whether the Joker gets a fully fleshed out subplot, or if he’s little more than a high-profile cameo, it’s just another odd development in the ongoing saga of Zack Snyder’s Justice League. We’ll have to wait until the film drops on HBO Max in 2021 to find out exactly what the deal is, but at this rate we’re on pace for an insane four-plus hour ride.

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