Latest news with #Monsters
Yahoo
7 hours ago
- Entertainment
- Yahoo
The case of Leslie Abramson vs. Marcia Clark: Ari Graynor and Sarah Paulson on ‘defending' their characters
Marcia Clark and Leslie Abramson may have been on opposite sides of the legal aisle, but the women who played them on TV — Sarah Paulson and Ari Graynor — are actually close friends. It stands to reason — beyond those impossibly curly wigs, they're both magna cum laude graduates of Ryan Murphy Acting University, trained in bringing humanity and depth to their real-life counterparts, and upending long-held public perception. "I learned a lot about how what we see we cannot take at face value, even when we think we know a story, we really know so little of it," says Graynor, who's contending for a leading actress nomination for Monsters: The Lyle and Erik Menendez Story. "I think this was such a massive reminder about the speed with which there is immense judgment and feelings of assurance of knowing exactly what someone is, what something is, and it never being the full story.' More from GoldDerby In Pixar's 'Elio,' Easter eggs are literally written in the stars - will you be able to spot them all? 'The messier, the better': How 'Andor' created the epic, heart-shattering Ghorman Massacre Adam Brody, Seth Rogen, Jason Segel, and the best of our Emmy Comedy Actor interviews Just like The People v. O.J. Simpson: American Crime Story before it, Monsters changed the narrative of the characters at the center of the story — so much so that the Menendez brothers' case is now back in the spotlight. 'I would personally like to see a conversation between Marcia Clark and Leslie Abramson,' says Paulson, who won the Emmy Award in 2016 for her portrayal of Clark in The People v. O.J. Simpson: American Crime Story Failing that, Gold Derby instead secured an exclusive conversation between their on-screen doubles. Here, the two actors reveal why they prefer playing real people, their experiences working with uberproducer Murphy — and yes, those wigs. Gold Derby: Sarah, given the way that crossed over with the O.J. case, I kept wondering if you were going to have a cameo as Marcia. Sarah Paulson: Listen, if Ryan had called and asked me to do it, nothing would have made me happier. Because when I was watching it, I, too, was like, "Wow, this is so wild, the time period that this took place in." These two women obviously at different ends of the judicial spectrum — what a wild time for both of these women to be thrust into the spotlight, women who are very successful in their in their own right, but to become these women who are so public facing, having not really been that for the bulk of their careers. I would love if he had asked me to be part of it, even for a second. When you play real people, it engenders a real sense of responsibility and you fall in love with the person you're playing, and that never really happened to me until I played Marcia. Ari Graynor: You hadn't felt that way before Marcia? Paulson: No. I just would literally go to the mat with anyone who wanted to argue with me pre the show coming out. After the show came out, people reshuffled their thoughts and feelings about Marcia, thank goodness. But prior to it coming out, people really wanted to talk to me about what Marcia had done incorrectly and where the fault lay with her. I would get so angry about it! It really, really bothered me, because I obviously felt I had much more information than your average person, because we'd been working on the show, and most people were just making their assessments based on whatever was put in front of them on the nightly news. So it made me angry. I had never really felt that way about wanting to defend a person I was playing. It was that really creepy actor thing that happens sometimes I couldn't tell where I ended and she began in a way, because it was so immersive for me. Was it like that for you? Graynor: It was absolutely like that for me. I also felt very early on that being an actor and being a defense attorney is not so dissimilar in that your job is to singularly stand behind your character or your client, understand them and how you've arrived at this moment and who they have become, how they have become who they have become, with as much detail as humanly possible and without judgment. I fell completely in love with her right from the start. I felt like I was her defense attorney as well. It was everything of why she was the way she was, why she had that spirit, how much she cared about not only these boys, but the defense of the judicial system, and the belief that everybody deserves a defense, and that people are not the worst thing that they do. It was about understanding her history and how she grew up. Her earliest memories were of the Holocaust and of seeing photographs of her family and then trying to track if anyone was in there. Her grandmother was a labor organizer, her father had left when she was young, and there was this real sense of fight and doing right. These ways of really understanding the ways she was criticized for being tough, it came from such a deep place in her. How do you balance playing a real person while also making it your own, without it being a caricature based on YouTube? Graynor: That was a nerve-wracking question, because I watched everything, every detail. It was very important to me to honor her way of being, her essence, her cadence, the way she moved, the way she gesticulated. She didn't have quite an accent, but there was a very specific way that she spoke that felt very important to me to differentiate her that felt so important to her spirit, and yet it was just subtle enough. l was afraid that people were going to be like, "What are you doing?" It was really something that I struggled with. But I think at the end of the day, there was a certain amount of faith that when you're also doing the psychological deep dive work, with what was available to me historically and in her book, but then also my own interpretation of what that means, I think, hoping and having faith that that would provide the foundational element of artistic expression that is not just a mechanical impersonation. SEE Ari Graynor to submit as Lead Actress for 'Monsters: The Lyle & Erik Menendez Story' (exclusive) Paulson: There was no shortage of footage, but there was so little of her in her daily life. It was all public Marcia. How do you determine how to calibrate so that you honor all these little moments? Like when I come into the courtroom with my new haircut and Sterling scrawls, "You look fantastic." There was no way to really know what was communicated. There was no way to know what happens in the elevator with them on the way to the courtroom. There's no way to really know what it's like up in the law offices before they're in in the courtroom. But my favorite things to watch was the footage that was in the hallway when she would be just walking to and from the courthouse, or while she was in the building on her way to the courtroom. She also wrote a book, so I had the book as her version of the events. And then some of it is that beautiful alchemy where I feel like, for whatever reason, I was the right person to play her. Some indefinable, unknowable thing — it's not tangible. There was just some magical thing that just felt it was part of me molecularly. I just felt as if I knew her, and I had no reason to think that. Because I certainly didn't know her and didn't get to meet her until way, way after. Graynor: But there's something so incredible about it — it's like magic when it happens. You're not doing something wild in some Marcia-y way. And yet you look at your face and you are just her. It is like looking at a photograph of her. Paulson: And it's not because of some prosthetic, and it's not because of some makeup, though the wigs, obviously, for both of us, were integral to convincing the audience of who we were. I just think there is something that happens that's magic. God knows she was really lucky that it was you. Ari, I know you didn't get to talk to Leslie, but if there was one question you could ask her, what would that question be? What would you want to have wanted to know from her? Graynor: Probably the question really would have been about what it was like for her after the second trial and that chapter was done and out of her hands, and how that changed her, because my perception of her was that that was the great heartbreak of her life, second to her father abandoning her as a child. I think it was just a massive heartbreak for her that she was unable to get them out. The second trial was so screwed up in so many ways, I think it was just unbearably painful for her. How do you move through after that and with the baby? To think of all of the things that Marcia was going through during that trial, and not just the onslaught from the media, but these massive personal things that were going on at the highest moment of her career, and similarly, thinking about Leslie in the first trial, she adopted a baby, her mother died, and she reconnected with her father after 35 years of estrangement. Thinking about holding all of that in the midst of all of this. In some ways her bravado served her, and I think helped keep a certain amount of things at bay, while also, of course, the people that have the strongest defense systems are also people that have the tenderest hearts. So I think there's also massive, massive hurt. Would there have been a difference in that first trial if everything she had said was the same, but it was coming from a man, would that have had a different outcome? I don't like to think so. Paulson: With the advent of social media, when I really think about these women and what they went through and the public nature of it, I wonder what would have happened to people that would have been pro them, and if there had been a kind of cocoon or a safe space, even if it was some nameless, faceless person in the dark, even if no engagement happened in that way, but just the discourse being something that was known to them, as opposed to just hearing this negative onslaught of opinions about their appearance. At the end of the day, I personally believe no matter how strong you are as a person, it is a very difficult thing to feel that kind of scrutiny and that kind of vitriol and real hatred, and all you're trying to do is to do your job and to do your job well. And anybody in the same position, male, female, would have wanted to do their job to the best of their ability. Just the idea that they were having to wade through all this, not only with their lives in the background, and not really having a safe port, it's really isolating and very lonely. And so all these years later, I continue to marvel at how she did it, and just wish that she never had to go through it at all, quite frankly. SEE'I felt so proud of myself': 'Monsters' star Cooper Koch on awards buzz, filming 'The Hurt Man' episode, and advocating for the Menendez brothers What does it mean to each of you to have been part of something that truly changed national conversation? Paulson: I can say truthfully that first of all, I didn't approach the work with any expectation or aspiration for any of that to happen. And maybe why it had the effect that it did is that there was no reaching on my part to have anybody recalibrate their thoughts or assessments of her. I was simply trying to show up and tell the truth to the best of my ability, and in doing that, I think it maybe revealed the human underbelly of the person I was playing. And put it in stark contrast with what people thought. And so it's a very, very powerful thing to have been a part of. I do feel a connection to helping Marcia have a little bit of a closure on that experience, and that's really powerful. But I don't really think it has anything to do with me. I think it has to do with the readiness of audience to hear the story anew, and I think it was presented in a way that was truthful and honest and therefore made inroads for people in their hearts and minds. So I can't tell you how thrilled I am that I got to do it. Graynor: I've never experienced something like this, where Ryan has his finger on the pulse of something. Talk about a magician! You don't know how he does it. It's a moment of creativity and culture aligning, and then watching the power of eyeballs and storytelling and the effect that I think the show has unquestionably had on their case. I think the most powerful part for me was to really be able to give voice to the story, not only of their abuse, but of male sexual abuse in general. We have a different understanding as a culture about the psychology of trauma now than we did 35 years ago, which Leslie was in many ways ahead of her time introducing. That felt incredibly powerful to me, as unbelievably difficult as it is to listen to or to watch sometimes, but to be able to put that so front and center in a way that can, as you say, change hearts and minds. Ryan gave you both incredible centerpiece episodes, with 's 'Marcia, Marcia, Marcia' and 'Episode 5,' the greatest episode of back acting ever seen on television. Paulson: Well, truly. I've never in my life experienced something like that where I could feel you were porous from the back. And usually that only happens when you can look into someone's eyes. What you had established in the episodes prior — you and Cooper had such a beautiful, special, powerful relationship as performers and as people. It was like Smell-o-Vision where you would go to the movie theater and they would pipe in the scent. There was something about this that felt almost like the power of you from the back. It just makes absolutely no sense. It's just a real testament to the track you'd already laid, but also just your unflinching ability to just hold someone's gaze, to be there for another performer. It was just really, really extraordinary. Graynor: I was very afraid of it for a long time, and sort of avoided it after the first read, for its intensity. I had to work quite hard during the whole process of building up my ability to hold space for both of the boys, when they were talking about these stories, in ways where I didn't fall apart because I wanted to just sit there and sob. But that's not who Leslie was. It was a profound experience for me, and one of the purest artistic experiences I've ever had —a lesson in listening and a lesson in presence, to not have a camera on your face. It's like that thing in physics about how an observer changes the atoms. There's something quite pure about actually not having a camera there, in those very subtle ways, for better or for worse, that you change for a camera, when you know you're being witnessed in a way. Because what he was doing was so extraordinary and so important, I just was praying like, "Please, please, let me arrive and not do anything except support him or screw up in any way to just protect what he was doing." It was a gift that I will carry with me for my entire life and career. Ari, did Sarah give you any advice before taking on this role? Graynor: She said your job is to protect Leslie. You are there for Leslie, and that is the only thing you have to worry about. You go in, you have her back. I knew I won the lottery getting this gig. You know what a gift this is, and you know what a massive opportunity it is, and you just don't want to blow it for them, for Ryan, for yourself. Paulson: When you're jumping into something with the awareness of what has preceded you, it's really overwhelming and can be totally detrimental to scary keeping your eyes on your paper and doing the thing you've gotta do and telling the story and not thinking about the result or the consequence or the aftermath or how anyone's going to perceive it. It's really none of our business. The job is in front of you to be done. You got a person's story to tell, and if you're lucky enough to be able to do it, you've just got to keep your head down and run towards the 50-yard line. Ari, does this mean you're now officially a member of the Ryan Murphy acting troupe? Graynor: Yes, yes. I don't think things can be said, but I am very pleased to report I am in the troupe, and lots of cool, fun secret stuff. Just a big thank you to Ryan Murphy. Paulson: I owe everything to him, I truly do. I'd done a lot of things I was proud of before working with him. And I've done things without him that I'm very proud of. But there will never not be the real heart vein pumping thing at the center of it all, which is that he took a chance on me, and he said yes to me, and he said yes to me repeatedly, the ball to me. He repeatedly asked me to show up and repeatedly bet on me, and therefore making me a person who's willing to bet on myself. It was a beautiful gift, in so many ways. Best of GoldDerby Adam Brody, Seth Rogen, Jason Segel, and the best of our Emmy Comedy Actor interviews Kristen Bell, Tina Fey, Bridget Everett, and the best of our Emmy Comedy Actress interviews 'It was wonderful to be on that ride': Christian Slater talks his beloved roles, from cult classics ('Heathers,' 'True Romance') to TV hits ('Mr. Robot,' 'Dexter: Original Sin') Click here to read the full article.
Irish Examiner
15 hours ago
- Entertainment
- Irish Examiner
'It's four or five seconds a week per animator': The maker's of Pixar's new film, Elio
Three decades ago, a new animation studio prepared to release their first-ever feature film in cinemas, a buddy movie featuring a quirky cowboy and a space superhero. The fledgling studio was called Pixar and their first release — Toy Story —broke the mould for animated storytelling and changed the course of movie history. Almost thirty years after the world fell in love with Andy's toys and other Pixar classics, their 29th feature film comes to our big screens. Elio, the tale of a space-obsessed boy who finds himself accidentally beamed into outer space — where he's mistaken for Earth's chief ambassador — sends its protagonist on a intergalactic voyage of self discovery. While it might not quite scale the heights of classics like Monsters, Inc, Up or Wall-E, Elio again blends the intimate with the universal in a richly detailed tale. It all comes about through years of story building and preparation, attention to detail and animators who spend dozens of hours creating just a few seconds of film footage over the course of their work at Pixar's studios in California. 'The logistics are a big part of my job,' says Elio's producer Alice Mary Drumm. 'For Elio, we probably had about 250 people at the peak of the crew, but we had over 400 people involved throughout the film. Almost everyone at Pixar touches the film in some way, and there are 1,200 of us. The average animator is animating about five, five and a half feet a week, which is basically one shot. It's four or five seconds a week per animator, maybe a little less. At our peak, we are probably going through one or two minutes of animation a week.' It's the kind of painstaking craftwork that makes Pixar best in show in a golden era for animated filmmaking. Featuring subtle nods to sci-fi classics like Alien and Close Encounters, and a backstory involving Nasa's Voyager space probe, Elio tells the story of a recently orphaned boy who has a loving but testing relationship with his aunt. He's a space-obsessed boy with a lively imagination who has long dreamed of encountering alien life - so he's thrilled when he's accidentally beamed up into outer space. Elio arrives at the Communiverse, an interplanetary organisation with representatives from various galaxies, and is mistaken as Planet Earth's leader. But when he's tasked with helping prevent the fearsome and powerful Lord Grigon from seizing control of the Communiverse, he needs to get savvy fast with the help of his eccentric sidekick, Glordon. When Elio's wish to be abducted by aliens actually comes true, he meets an array of space inhabitants, including Glordon, the tender-hearted son of a fierce warlord ruler. Taking on a sci-fi movie means creating two very different worlds within one movie, and Pixar's production team got to work, says director Domee Shi. 'Tackling a sci-fi movie, you can basically design the alien world to look like anything, the sky's the limit, and that's kind of daunting. Production designer Harley Jessup and his art team did such an amazing job with finding the look and feeling of the Communiverse. He really challenged himself and the team to design a space that we've never seen before in any of our movies at Pixar, but also in other sci fi movies from other studios. 'A good North Star for us was thinking about space as this aspirational wish fulfilment for Elio, a lonely boy on Earth who feels like an alien. The moment that he arrives in space, it has to be the opposite feeling of how he felt on Earth. If Earth was desaturated, cold, and he felt visually boxed in, then space is huge, colourful, vibrant, full of organic shapes and alien designs that are not humanoid at all, but still feel quite friendly and appealing.' From the antics of superhero family The Incredibles to the happy/sad emotional rollercoaster that was Inside Out, as the studio approaches its 30th year, almost everyone has an opinion on the former movie they hold closest to their hearts, which tale resonated with them the most as they watched on the big screen for the first time. They include, it emerges, the filmmakers themselves. 'I grew up watching Pixar movies, and they were some of the first times I experienced cinema that could change me,' says Madelaine Sharafin, making her feature directorial debut with Elio, who was a toddler when Toy Story debuted in cinemas. 'I hadn't realised that a person can watch a movie and come out feeling incredibly different about themselves and about the world, or even that a movie could make somebody cry. 'The one that really changed things for me was watching Monsters Inc, which I think is one of my favourite movie endings of all time (when Sully and his best friend Boo are reunited). I think it's brilliant. I would finish the movie, and then I'd immediately restart it, because I was so moved. I didn't want to leave that feeling.' Mary Alice Drumm, Domee Shi and Madeline Sharafian attend the UK gala screening of Elio. Picture: Tim P Whitby/Getty Looking back for director Domee Shi, it was the opening moments of Up, in which a grumpy and heartbroken widower takes to the skies — not knowing he had a stowaway on board — that first resonated. 'Pixar films, they just felt different than other animated films,' says Shi. 'Because they always have such an emphasis on good story, and they really treat animation like a medium, not a genre. They never shy away from telling stories with deeper or more adult themes, and you always walk away from a Pixar film feeling a little bit changed in some way, and that's our hope with Elio too. 'The film that impacted me the most was probably Up just because I bawled my eyes out when I watched the first 10 minutes of it. There were no words spoken, but you got the sense of an entire relationship, marriage, a life. It was just amazing to see, like pure visual storytelling on the big screen.' For producer Alice Mary Drumm, it was the studio's imagination in bringing audiences a movie where the central character was a rat that resonated. 'There are so many great movies,' she says. 'Ratatouille, for me, was one — it's just incredible that any studio would make a movie about rats in a kitchen. It's such a crazy idea, and I think that encapsulates Pixar for me, that there's such creative freedom and such belief, while also holding the bar. It's about story and character, whether it's a rat, whether it's aliens, as long as we're focusing on that, and then we use animation, because we can do anything in animation. Those are the things that I think help us keep our compass at Pixar.' Elio is in cinemas from Friday, June 20
Indian Express
a day ago
- Entertainment
- Indian Express
‘Ugly-cute' Labubu doll craze places Pop Mart CEO Wang Ning among China's richest, is worth $22.7 bn
Labubu, the quirky 'ugly-cute' doll, has become an internet sensation and a favourite among celebrities, igniting a new wave of fashion trends. From Rihanna and BLACKPINK's Lisa to Ananya Panday, stars around the world have been spotted showing off their Labubu dolls. Amid the global craze, Wang Ning, CEO of Pop Mart International Group, has now become one of China's ten richest individuals, according to Forbes' Real-Time Billionaires List. His net worth is now estimated at a staggering $22.7 billion, primarily due to his stake in Pop Mart. Created by Hong Kong artist Kasing Lung, the creation first entered the toy industry in 2015. However, it was 2019 when the sales of Labubu dolls skyrocketed after a collaboration with the Chinese toy giant, Pop Mart. The global craze for Labubu has played a key role in fueling Pop Mart's growth. In 2024, the company's net profit reportedly jumped by 188 per cent, with total sales more than doubling from the previous year to reach roughly 13 billion yuan (around $1.8 billion), the report said. Revenues from the Monsters collection, which features Labubu, soared by an extraordinary 726.6 per cent, serving as a major catalyst for the rise in Pop Mart's value. Labubu dolls, priced between $20 and $30, are sold in 'blind boxes', a format where buyers only discover which design they have received after unboxing. This element of surprise sparked a trend across social media platforms like TikTok and Instagram. In an interview with Hypebeast, Lung shared that his time in the Netherlands was a major source of inspiration for the character. 'I liked to read storybooks and was influenced by ancient European elf legends,' he explained. Reflecting on his early years, Lung added, 'There were no game consoles or computers, so I had to draw dolls with a pen, so I had the idea of painting fairy tales since I was a child.'
Metro
5 days ago
- Entertainment
- Metro
AliExpress launches Pop Mart's favourite Labubu and unmissable Summer Sale
Metro journalists select and curate the products that feature on our site. If you make a purchase via links on this page we will earn commission – learn more Some of you may have heard of AliExpress, but you have definitely heard of a Labubu. If you haven't, we'll assume you live under a rock. AliExpress is an international online retail marketplace where customers can shop a whole host of products from a plethora of brands. Adding to its extensive list of commercial partners is Pop Mart, which only means one thing – AliExpress will be your go-to to secure new editions of the viral Labubu characters. In recent months we have heard (and seen) the hype around the devilish faced furry Labubu. The Monsters collection – created by illustrator Kasing Lung – has taken social media by storm and caused an absolute frenzy. Originally brought to life in illustrated books and later produced as miniature collectibles, the dolls now appear in a variety of formats, including plush toys and keychains. The mystery-packaged figures, which are sold in blind boxes so the colour is a surprise to the shopper, is said to have gone viral because of former Love Island contestant-turned-presenter-come-podcast-host Olivia Attwood's obsession, though David Becham, Dua Lipa and Rihanna have been spotted with what we consider looks like a miniature gremlin on their bags. The hype around Labubu has seen hordes of people flock to Harrods in a bid to get their hands on a Labubu. The demand for Labubu's has also been evident on AliExpress, which has seen a rise in searches for the trending toy in the last two weeks alone. Now, you won't have to queue for hours in a bid to get a Labubu, as you can shop the viral sensation online through the official Pop Mart store on AliExpress, including hotly anticipated new editions of the Labubu characters. Alongside the Pop Mart shop, AliExpress is also launching an unmissable Summer Sale, which will run from June 16 to June 25. More Trending The 10-day sale will enable customers to shop to their heart's content, save more on exclusive deals, and secure free shipping as well as free returns. Just when you thought you'd heard it all, AliExpress is also set to run a live stream directly from Pop Mart's theme park Popland, in Beijing, via the AliExpress app, as well as TikTok, on June 17 to honour the sale and to introduce the range of Pop Mart products to shop – including said new Labubu's. Safe to say AliExpress really is spoiling us. Follow Metro across our social channels, on Facebook, Twitter and Instagram Share your views in the comments below MORE: From Space NK to Mango – here's 23 items our shopping expert is buying this weekend MORE: I tried Molly-Mae Hague's holiday makeup routine – and I'm never going back MORE: Make the most of a small garden with these fun outdoor toys for kids
Hindustan Times
6 days ago
- Entertainment
- Hindustan Times
Not everyone agrees with Ryan Murphy's JFK Jr-Carolyn Bessette casting for American Love Story: It's iconic nonetheless
Probably among the most notorious American love stories, is set to be televised. And who better to heartbreakingly cinematise America's biggest tragedies, than Ryan Murphy. A post shared by Ryan Murphy Productions (@ryanmurphyproductions) Don't get us wrong. The American Horror Story production veteran KNOWS what he's doing. Many may not agree with the principle of profiting off pain, but we do need to give credit where it's due. Just like AHS and its in-your-face themes season on season weren't for everyone, neither was his next anthology venture, Monsters — both parts. And we're assuming his next passion project, American Love Story will also be following the same brief. Either which way, the former two at least, did what they promised to do, leave everyone shook to their core. Coming back to American Love Story, the season will be following the love and demise of one of America's most tragically beloved sweethearts, JFK Jr and Carolyn Bessette Kennedy. JFK Jr was the son of former assassinated President of the United States, John F Kennedy. While JFK Jr was a journalist, lawyer and publisher, his lady love Carolyn was a publicist — though her personal legacy leads with her quiet aura and understated style, both of which have been endlessly replicated for decades as an insignia of undying elegance. The couple's life was cut short in a tragic aircraft crash in July 1999 — one that was incidentally being piloted by JFK Jr himself. So who has landed the honour of bringing this tragedy to our screens? The official handle of Ryan Murphy Productions, shared a series of test looks and shots of Paul Kelly and Sarah Pidgeon as the final picks to portray the doomed romance. And if you're thinking there was any scope for improvement, just know that over a thousand faces auditioned for each of these two roles. So best believe, the process of elimination has been meticulous. A post shared by Ryan Murphy Productions (@ryanmurphyproductions) Now right off the bat, internet analysts don't seem all that convinced. The general reception can best be described as lukewarm. But just to refresh your (and their) memory, Ryan is the same man who signed off on the criminally underrated Evan Peters to play Jeffrey Dahmer, making his season of Monsters — the first of the anthology, one of the most quietly unnerving and haunting watches of 2022. It's legacy held well, and sensationally show, with the second anthology installment, bringing to life the harrowing Menendez brothers case, with relatively new finds Cooper Koch and Nicholas Alexander Chavez becoming overnight sensations. So, let's just trust the process maybe? Ryan Murphy's American Love Story will be premiering on Valentine's week, 2026.
