Adnan Syed Of "Serial" Wins Motion To Appeal Against His Murder Conviction



via BuzzFeed

The appeal relates to arguments his trial attorney failed to properly represent him.



Adnan Syed in 1998.


Courtesy of Serial


Adnan Syed, the Baltimore man whose 2000 murder conviction was explored in last year's wildly popular Serial podcast, won leave to appeal against his conviction on Friday in Maryland's Court of Special Appeals.


Having exhausted his chances for standard court appeals, Syed petitioned the Court of Special Appeals in January 2014 to overturn the Baltimore City Circuit Court's denial of "post conviction relief." His application for leave to appeal was based on arguments that his trial attorney Cristina Gutierrez failed to seek a plea deal and to pursue a key witness in the case, Asia McClain, who claims to have been with Syed in Woodlawn Public Library on Jan. 13, 1999, when the state ruled he killed his ex-girlfriend, Hae Min Lee.


"The Application for Leave to Appeal be and hereby is granted," Chief Judge Peter B. Krauser ruled on Friday.



serialpodcast.org


The appeal will be held before a panel of judges in the Court of Special Appeals in June, with Syed's brief due to be filed by March 16.


The victory means Syed's new attorney, C. Justin Brown, can argue that Gutierrez provided ineffective legal counsel, as well as that McClain's version of events is crucial to the case, before the panel of judges, who will then determine what action to take.


McClain, who wrote an affidavit establishing an alibi for Syed in 2000, filed a new affidavit on Jan. 13 of this year, claiming trial prosecutor Kevin Urick convinced her not to participate in Syed's trial.


McClain wrote that after being interviewed by Serial host Sarah Koenig and subsequently listening to the podcast, she "came to understand [her] importance to the case."


"I realized I needed to step forward and make my story known to the court system," she wrote.


BuzzFeed News has sought comment from Syed's attorney, as well as the producers of Serial.




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Brian Williams Off The Air As NBC Investigates False Helicopter Story



via BuzzFeed

The company’s investigative unit head is leading the probe, BuzzFeed News confirmed. On Saturday, Williams emailed colleagues to inform them he would be going off the air temporarily.



AP Julio Cortez


NBC News has launched an internal investigation into the false claims Brian Williams made and has since apologized for, an NBC source confirmed to BuzzFeed News.


The investigation was first reported by the New York Daily News.


The investigation into Williams, who for more than a decade was a trusted voice and anchor of NBC Nightly News, will be led by Richard Esposito, the senior executive producer at NBC Investigations.


The New York Post also reported that NBC News set up a "truth squad" – a team of reporters and producers – to investigate Williams' claims, including some of his statements about his experiences covering Hurricane Katrina.



This has been a difficult few days for all of us at NBC News.


Yesterday, Brian and I spoke to the Nightly News team. And this morning at the Editorial Exchange, we both addressed the wider group. Brian apologized once again, and specifically expressed how sorry he is for the impact this has had on all of you and on this proud organization.


As you would expect, we have a team dedicated to gathering the facts to help us make sense of all that has transpired. We're working on what the best next steps are – and when we have something to communicate we will of course share it with you.


Since joining NBC News, I've seen great strength and resilience. We are a close-knit family, and your response this week has made that even clearer.


As a relentless news agenda marches on, thank you again for continuing to do what we do best – bring the most important stories of the day to our audience.


Deborah





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"Jupiter Ascending" Is A Bad Sci-Fi Movie, But It's A Great Twist On A Fairy Tale



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The Wachowskis’ latest epic is a better antimaterialist fable than a space opera. Capture, rescue, repeat. WARNING: MAJOR SPOILERS BELOW.



Mila Kunis as Jupiter Jones in Jupiter Ascending


Warner Bros.


Jupiter Ascending is not a very good sci-fi movie.


It's just not. It has a heroine and hero, Jupiter Jones and Caine Wise, who are archetypes instead of characters — the royal in need of rescue and the impossibly capable warrior who is always poised to help her out with that. And the actors playing them, Mila Kunis and Channing Tatum, rarely get comfortable working in a stylized mode that requires them to talk about skyjackers and differential equation boots and fall in love in the beats between outsize action sequences.


Kunis and Tatum can't get on the same wavelength as fellow cast members like the mouse-ear-sporting Gugu Mbatha-Raw, the crusty Sean Bean, or Eddie Freakin' Redmayne, none of whom seem to share their trouble surrendering to Andy and Lana Wachowski's "go big or go home" vision. Jupiter Ascending does some gorgeous, expansive world-building, but the only way it can navigate the baroque cosmic empire it introduces is via a cycle of capture, rescue, repeat involving its two uncertain leads.


It's not a good sci-fi movie. But it is a good, sometimes even great, reworked fairy tale, a Cinderella story in which the servant girl gets swept away to the palace, only to realize that life as a princess is awful and not worth the trouble. The Wachowskis have marshaled a sprawling, intensely detailed old-school space opera universe, all to tell an ultimately simple story about appreciating what you have, with an antimaterialist bent that feels particularly perverse and daring coming from a $175 million studio effort.


The sibling directors have crafted a story that's a rebuttal to the classic trope in which someone finds out they've always secretly been the most important person in some magical other world they never knew about. Courtesy of her genetic code, Jupiter goes from unhappy housecleaner to intergalactic heiress, and being bequeathed with multiple planets turns out to be much worse than scrubbing toilets.



Channing Tatum in Jupiter Ascending


Warner Bros.




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All 86 Best Picture Oscar Winners Ranked



via BuzzFeed

From the gut-wrenching (12 Years a Slave) to the terrifying (Silence of the Lambs), and the classic (The Godfather) to the god-awful (Crash). The comments section is open for yelling!



Justine Zwiebel/BuzzFeed


Gigi (1958)


Gigi (1958)


Directed by: Vincente Minnelli

Written by: Alan Jay Lerner

The other Oscars it won: Minnelli (Best Director); Lerner (Best Adapted Screenplay); Joseph Ruttenberg (Best Cinematography – Color); William A. Horning, E. Preston Ames, Henry Grace, and F. Keogh Gleason (Best Art Direction); Cecil Beaton (Best Costume Design); Adrienne Fazan (Best Film Editing); André Previn (Best Score – Musical); Frederick Loewe and Lerner (Best Original Song)

What it beat for Best Picture: Auntie Mame, Cat on a Hot Tin Roof, The Defiant Ones, Separate Tables


Yes, the creepiest, most pedophiliac movie ever to win Best Picture is this list's worst. How to define "worst" in this context, especially when judging Gigi — a movie musical some people love now, and certainly many people loved in 1958 — against films that were barely movies as we currently recognize them? This list is, of course, totally subjective: I factored in my personal feelings about each movie, along with how well it has held up, how influential it is, and what it was up against. And then there's the ineffability of common wisdom, which I also have taken into account. No matter how I feel about Annie Hall or about Schindler's List, for example, I know I'm in a minority view in my dislike — and that matters. Not with Gigi, though, in which Leslie Caron plays a Parisian girl being trained to be a courtesan who ends up in a push-and-pull relationship with the much older Gaston (Louis Jordan). This is the movie that gave us that disturbing cultural artifact, the song "Thank Heaven For Little Girls." If you want disturbing psychosexual movies from 1958, let's agree that Vertigo, which was nominated only for Best Art Direction and Best Sound, is preferable. To reiterate: Gigi is the worst.


MGM


The Greatest Show on Earth (1952)


The Greatest Show on Earth (1952)


Directed by: Cecil B. DeMille

Written by: Fredric M. Frank, Barré Lyndon, Theodore St. John, and Frank Cavett

The other Oscars it won: Frank, St. John, and Cavett (Best Story)

What it beat for Best Picture: High Noon, Ivanhoe, Moulin Rouge, The Quiet Man


Produced and directed by Cecil B. DeMille on a huge scale, this movie is often cited as one of the worst movies ever to win Best Picture. I say it is second worst. Jimmy Stewart as Buttons the clown is a complete travesty for sure. Note that Singin' in the Rain, a classic that also came out in 1952, wasn't even nominated for Best Picture.


Paramount Pictures / Everett Collection


Crash (2005)


Crash (2005)


Directed by: Paul Haggis

Written by: Paul Haggis and Bobby Moresco

The other Oscars it won: Haggis and Moresco (Best Original Screenplay); Hughes Winborne (Best Film Editing)

What it beat for Best Picture: Brokeback Mountain; Capote; Good Night, and Good Luck; Munich


It's one outrage that the superior, devastating tragedy Brokeback Mountain lost the Best Picture prize; it's another that Crash won instead. These are two separate terrible things that happened, and the fact that these movies are forever associated taints the beauty of Brokeback Mountain. Crash wields its message with a mallet's touch — every nominated movie was better (and I don't like Munich much).


Lionsgate Films




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