By Eleanor Klein. Meet Gilda Joelle Osborn Who Stars in Tyler Farr’s Latest Music Video
Gilda Joelle Osborn burst into the country music scene this summer as the gorgeous blonde love interest of Tyler Farr in his hugely popular ‘Only Truck In Town‘ music video.
As a model, she has starred in major campaigns for companies including Lilly Pulitzer and Moosejaw. However, this is Gilda’s first major feature in a Country music video, that has helped propel her to a new level of notability in the modeling world. Today we find out more about her experience on set.
When did you find out you were going to be in Tyler Farr’s New Video?
I actually found out that I confirmed the job the night before the shoot! A few days prior, I was told that the label was trying to decide between another girl and me, so I had a a little bit of a head’s up that I might be in the video.
What was the atmosphere like on set? What was your greatest memory from it?
Given the current situation with COVID-19, things were a bit different than normal onset. Everyone followed the recommended precautions of course. I came to set hair and makeup ready, and I also provided my own clothes for the shoot. I love shooting video, so I had a blast running around a beautiful farm and riding in the back of an awesome, old Ford truck. I totally lived my country girl music video dream that day!
How was your experience meeting and working with Tyler Farr?
Tyler was so nice and down to earth. I remember listening to his music years ago, so it was awesome getting to meet him! Of course, I now have a new favorite song of his, but I always loved his song “Redneck Crazy.”
What has the reaction to the video been like so far for you?
I knew the music video was premiering on CMT Hot 20 Countdown on June 6, so I was glued to the TV that morning! I grew up watching music video countdowns, so it was surreal seeing myself in the video. I have received so much support and love from my friends and family. The video already has over 16k views on YouTube!
What advice would you give to an aspiring model?
Make all the connections that you can, be kind, be smart, and tell people about your goals and dreams. You never know – you could come into contact with someone who has a connection to someone in the modeling world.
How California based Yoga Instructor Nina Jarnum Is Growing Her Empire . By Eleanor Klein.
As a pioneer in the wellness industry, Nina Jarnum, a 42-year old Danish woman has become one of California’s most exciting up-and-coming Yoga instructors, offering Yoga classes, workshops, and online training to her growing following of Yogi’s. Nina’s knowledgeable teaching mixed with her strong authentic personality and sense of humor, delivered with her slight accent seems to captivate yogis not just in California, but around the world.
Her story begins from injury: she started practicing Yoga to counteract the impact years of competitive horse riding had on her body. After realizing her burning passion for yoga and the ability to teach the practice to others, she used the power of passionate determination, hard work, and creativity to share her love of movement with the world, by becoming a qualified instructor.
Now with a long list of clients, an impressive Instagram following, magazine covers, and years of experience as a certified Yoga Instructor, Jarnum’s empire is on the rise.
Thank you for speaking to us today. We would love to hear more about how you got your start. Was there a particular moment when you realized you wanted to do Yoga for a living?
I had a very dedicated yoga practice for many years without considering becoming a teacher and even as I attended my first teacher training, it wasn’t with the specific intention of becoming a teacher, I just wanted to deepen my understanding of yoga. However, it was during this training I slowly realized that I had something to share, a voice and a unique perspective. My love of yoga evolved into a love of sharing yoga and that’s when I knew, I could and should be a teacher.
Many small businesses are suffering during this pandemic. How have you adapted during this time?
I’m lucky in that I already have a solid online presence, both through Instagram but also via online yoga platforms. The transition from normal studio classes to Zoom classes was therefore not that big to me; I’m used to being in front of a camera and understand how online teaching differs from real life. That being said, I do miss seeing people up close, doing hands-on adjustments, and feeling the energy of the room.
What are three lessons you have learned since starting your yoga journey?
I always like to talk about the lessons we learn on the mat and can implement into our life off the mat. For me, the most important lesson is being able to sit with discomfort. Think about it; how many things do you not do in your life because of fear of discomfort? Whether its walking away from a relationship that no longer serves us or starting a new business.. imagine no longer fearing failure, being alone, being humiliated? Truly understanding that discomfort does not kill us, and learn to sit with it… experience it.. is incredibly powerful.
Another important lesson from the mat is observing oneself; taking the time to witness my thoughts, my movements, my heart.. without interacting with the “drama” of my monkey-brain and ego. This sprouts an insight into your own instinctual patterns and reactions, which leads me to the third lesson: Understanding that you are something deeper than your thoughts, your ego, your instincts. It’s not that this is not part of you, but you are also something deeper than that. Once we understand that, we also realize that we have the power to change our patterns and reactions.
What has been the biggest risk you have taken so far in your career?
I walked away from a budding career in law and became a yoga teacher… nothing seems super risky after that haha.
I think deciding to make a living from teaching yoga is in itself very risky. It is one of the hardest industries to earn a decent living in. The yoga industry is saturated with teachers and less than adequate teacher trainings, which in many ways cheapens the profession. Another problem is that it is almost as if money is a dirty word when it comes to yoga.. like we should be ashamed that we earn money teaching the gift of yoga.
But that being said, with choosing to be a yoga teacher, I have followed my heart and despite the chance of failure, following my heart is never truly risky to me …and always worth it…
Is there a particular goal you are currently working towards right now?
Yes! I have a concept for a start-up in mind and its evolving as we speak… I wish I could share more, but I can’t. I also have a book that needs to be written at some point.
Nina Jarnum
My more down to earth goals are simply expanding my knowledge. Ever since becoming a teacher, I have dedicated myself to training an average of a minimum of 100 hrs per year; expanding not only my understanding of yoga but also movement in general and mobility. This year Im doing a Functional Range Conditioning training, which is all about mobility. I think it is so important as a teacher of movement to not get locked into a box of your specific practice, but learn from other movement practices, be it dance, gymnastics, Tai Chi; it will give your a more whole understanding and approach as a teacher.
Where do you see yourself in 5 years time?
Older, a little wiser, and hopefully living 50/50 between US and Europe. I want to expand my community, increase my reach, and hopefully do my part in raising the training and education levels of yoga teachers in general.
What’s Up Tiger Lily? Woody Allen Retrospective – By Alif Majeed.
What’s Up Tiger Lily is a very confusing film in Woody Allen’s oeuvre that came from his comic writer phase. Calling it a film written and directed by Woody Allen might not be the correct term to use. For the edited version, you could probably say it is a film he wrote and “supervised.” He had mainly taken a Japanese movie International Secret Police: Key of Keys, a straight spy thriller about guerrilla fighters and black money, and re-dubbed and re-shot it, changing the plot to make it revolve around the quest for a secret egg salad recipe.
It’s a movie created by a comic and not a movie writer that comes off as an extended sketch comedy. Seeing that the name is a play on his first movie, you might be confused in thinking it is a sequel to the first movie he wrote, What’s New Pussycat?
It would have taken quite a thing to watch that original movie and decide the swap, switch the scenes around to turn it into a film about an international super spy in a quest to find the secret recipe for the world’s most fabulous scrambled egg. If you think it has no business to work, it somehow comes together reasonably well.
The problem with the movie is that while it is funny and manages to hit the spot with the gags more often than it would seem, it does try too hard to be smart. Like he was an intelligent writer trying to show off and wanted every line in the movie to be a gag, all dialed up. What makes it works is Woody Allen throwing everything and the kitchen sink at whatever scene is playing on the screen. It is also a pure product of its time.
The original Japanese spy movie, though a straight film, does come off as silly at times. Coming on the heals of all the film that at least partly tried to cash in on the James Bond craze of the ’60s. Or even the ones that played it straight during that era like the Henry Palmer movies. But the spoofs like the Dean Martin Matt Helm series. You know, the ones that are easily spoofed by the likes of Austin Powers.
Nevertheless, his experience as a sketch comedy writer shines through here, especially in scenes where the spies are trying to put their best ladies man hat on. By adding a few looks here and there, and a few lines here and there, he manages to change the reactions entirely. The Kuleshov Effect is in full display with some slight editing changes giving it some whole new meaning and character.
He even manages to turn Tatsuya Mihashi, the Japanese actor playing the spy in the original, into a Woody Allen surrogate in some scenes involving the woman. It might not be obvious, but it is still there.
It might not feel that much different from an MST3K version of a Woody Allen sketch, but he does manage to turn it into something slightly more than a string of gags stuck together.
There is a thing that my friend keeps saying whenever he eats something that he doesn’t like. Generally, if you have something that you don’t like, you might say it’s good or bad, depending on whether you liked it. With him, I immediately know he didn’t like it when he eats the food and goes, “interesting.” It has become his go-to word for things he doesn’t enjoy. After watching Joan of Arc, i couldn’t help but wonder what he would think of it.
Joan of Arc, directed by Bruno Dumont, could have been an exciting experiment, and it had incredible potential to be so much more than that. Based on one of the most iconic figures in France who inspired people from all mediums. The most famous example of them among cineastes maybe Carl Dreyer’s Passion of Joan Of Arc and Luc Besson’s The Messenger.
Joan of Arc is the latest movie to come out of that vast space. It is also a sequel (or rather, a quasi continuation) to Bruno Dumont’s 2017 film, Jeannette: The Childhood of Joan of Arc. Even as he is an extremely divisive filmmaker, the best thing about the first movie is that it entirely lives up to his reputation for better or worse. Things like its use of the spare barren location, the long shots that linger on the actors forever, and the music by Igorrr, which somehow works even if it has no business to all came together to make it a unique take on the early days of Joan of Arc.
Here, the movie depicts Joan continuing her siege to her incarceration and trial to her final demise. Sadly, though it still looks like the movie will be unique while expanding on the themes of the first movie and continuing the story from its prequel, it doesn’t manage to stick the landing well. The unevenness in tone and the fact that after a point, the songs kind of gets overbearing hampers Jeannette to some extent. But the truth is it could have used more of that over here. Maybe the director was not trying to repeat what he did, but you seriously miss the prequel’s madness in Joan of Arc.
Both movie also owes a considerable debt to the theatre to a large extent. If Jeannette partly feels like a musical theatre, Joan feels like a version of the kitchen sink dramas. Though not that best version of either of them.
There are several bizarre scenes in the movie where you think it would go somewhere but ends up grating your nerves. Like the scene where Joan finally rides a horse to what looks like a battle, but somewhere down the line, you kind of zone out as the scene keeps cutting from drum beats to Joan to overheads shots of the horses playing a game of revolving chairs. It continues with the tradition of the first movie of staging several necessary scenes and conversations with actors across barren sparse landscapes.
As far as the performance of Lise Leplat Prudhomme as the titular character is concerned, she is excellent in a role you could say she continued from the first movie if you ignore the second half. Having played the younger version of Joan while giving over the reins to Jeanne Voisin in the latter part of the film, she already had herself as he point of reference. Considering she was a significant part of the reason why the first movie worked or why you could buy into the musical version of the film, it is hardly a surprise. It might also seem strange only if you had seen the first movie and get too caught up in that detail.
As she had herself as he point of reference, she managed to give a performance that belies her age with great maturity and skill, which was also evident from the prequel. Take the scene where she is on trial with the religious Clergymen and Burgundians determine to hang her. It is a scene that stretches on despite being the centerpiece of the movie, but she manages to flirt the fine line between a kid throwing a tantrum and someone who is defiant even while staring at her doomed fate.
Ultimately I would not know what my friend would say if he ever watched it as is not the kind I can get him to watch. But from what I know of him, he would probably find it “interesting”. Or if I prob further, he might say it is an interesting failure. That is how I would sum up Joan of Arc. It might be an interesting failure. But a failure nevertheless.
Charismatic everyman Joseph Gordon-Levitt thrived as a notable name in blockbuster epics (Inception) and indie favorites (500 Days of Summer), but his waning presence in Hollywood has left his career in a curious state. In the German thriller 7500, Gordon-Levitt’s first starring vehicle since 2016, the actor’s versatile abilities carry an effective, yet uneven boilerplate thriller set in the sky.
7500 follows Tobias Ellis (Joseph Gordon-Levitt), a proficient pilot who has happily settled down with his flight attendant fiancée Gokce (Aylin Tezel). His daily routine is forever changed when a group of terrorists board the plane, including a weary young man Vedat (Omid Memar) who begins to have doubts about his actions.
Considering its subject matter, writer/director Patrick Vollrath effort could have easily drifted into trashy, exploitative territory. Thankfully, his debut feature places a keen eye towards realism, eschewing genre standards in an embrace of authentic moments. Utilizing quiet ambiance and a mixture of cinematic styles (jumps between tight-knit shots to coldly captured camera footage), Vollrath holds his audience’s attention throughout, never glorifying the horrifying realities shown on screen.
7500 delivers a commendably empathetic effort in capturing both sides of the fence. Joseph Gordon-Levitt’s performance affectively carries the narrative, capturing the blur of mental states during this spiraling situation while properly dialing his emotive cadence. The pain and guilt Tobias feels during the initial incident is portrayed throughout, with violent outburst morphing into a solemn acceptance of the losses that has occured.
Going toe to toe with Levitt is Omid Memar, delivering a breakout performance as a terrorist faced with his agonizing actions. Vollrath’s script thankfully offers some dimension to Vedat’s journey, displaying him as a byproduct of a systematic effort rather than a callous killer. It all builds to a tense third act standoff between Tobias and Vedat, with the characters connecting over their respective pains while operating in a frantic frenzy to survive.
7500 takes off without a hitch, but there are limitations to its approach. Vollrath’ commendably grounds the narrative in its close-quarters setting, but that choice comes with its fair share of dry spells during the film’s dramatically insipid frames (it’s a shame that aside from Tobias and Vedat, the characters are flat and one-dimensional). The script also fails to escape cliché-laden genre beats, landing at its inevitable conclusion without much inventiveness.
Even with its limitations, 7500 soars as a tense, workmanlike thriller, elevated by its delicate balance between thrills and realistic moments.
