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Health Care Reform: Are Doctors the Real Problem?

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Health Care Reform: Are Doctors the Real Problem?

The villains in the battle over health care reform in the U.S. are obvious, right? The insurance and pharmaceutical companies are not-so-quietly lining the pockets of their corpulent, greedy CEOs, who sit in corner offices adorned with centuries-old pine wooden desks and golden toilets, while doctors, patients, and businesses small and large are getting squeezed dry. But real reform requires a less one-dimensional examination of the industry, one that reveals a much more systemic assortment of maladies plaguing the system as a whole. President Obama has made prevention a pillar of his health care reform plan, suggesting patients’ poor diets and exercise habits are partly responsible for the astronomically rising costs of care. (According to the National Coalition on Health Care, health care spending represented 17 percent of the country’s gross domestic product in 2007, and is expected to reach 20 percent or more in the next eight years, and yet U.S. health care is ranked 37th by the World Health Organization.) Rush Limbaugh, he of the beer belly and hunger for prescription drugs, mocked Obama’s assertion, inanely postulating that it’s not the overweight or physically unfit who are the biggest burden on health care, but the physically active, who, he says, sustain injuries that cost taxpayers millions each year. And they say laughter is the best medicine.

A few months ago I made a rare trip to my primary care physician. His office is a veritable hole in the wall, with a sign on the window of the front desk that reads, “Do not ask how long the wait is or how many people are ahead of you.” He overbooks his schedule, no doubt to make as much money as he can; I waited two-and-a-half hours to see the doctor despite having scheduled an appointment. After a tirade about how changes in the system have forced him to refuse patients who don’t have coverage or who simply can’t afford to make their insurance co-payments, he informed me that it would likely be over a week before my HMO approved his referral for a CT Scan. In the meantime, he sent me for lab work.

When I received my blood results, I noticed that one of the tests my doctor ordered wasn’t performed. I called his office to ask him about it, and was told that “everything is fine” and that if I wanted to talk to the doctor, I should make an appointment. I insisted but was again refused, so I hung up.

I eventually went for the CT Scan and received a call from my doctor’s office several days later once again telling me that “everything is fine,” but that the doctor wanted me to stop by and pick up a new script for additional lab work. After waiting for an hour and a half, he told me that one of the tests he ordered wasn’t performed. I informed him that had he taken my call two weeks earlier, he would have known that already, and that perhaps the CT Scan, the necessity of which he fought with my insurance company about, might not have been necessary after all. He explained that he prefers to talk to his patients face to face and told me not to worry about the co-payment, which I had no intention of paying anyway. It occurred to me that, co-payment or not, he was planning to submit this “follow-up visit,” consisting of a gratuitous thermometer in my mouth and a brief conversation that should have taken place over the phone, to my insurance company for reimbursement.

Judging by the overall conditions under which my doctor practices, his actions might simply be a necessity of survival—having been fought tooth and nail by the insurance companies to do what he told me loves to do: practice medicine. And as someone who despises how the health insurance industry operates, I can certainly empathize with his plight. But not when it’s at the expense of his patients’ financial and medical well-being. More importantly, I couldn’t shake the feeling that I was being made an accessory to insurance fraud.

I’ve been following the health care reform debate closely since I began paying for my own policy out-of-pocket several years ago, and while I’ve heard lots of buzz terms being tossed around (efficiency, waste, choice, competition, public option), I’ve rarely heard anyone in the mainstream media discuss the role health care providers have played in the crisis. Even Obama, who received a tepid response from the American Medical Association last month, has been loathe to criticize doctors. And then I stumbled upon an article in The New Yorker (not exactly a bastion of the mainstream) by Atul Gawande, a surgeon at Brigham and Women’s Hospital and a professor at Harvard University, that sets out to find an answer to why the health care costs in a poverty-stricken Texas bordertown are some of the highest in the nation despite having state-of-the-art technology and facilities.

One of the factors Gawande examines is the profit motive of providers, who enjoy kickbacks for admitting patients to hospitals and, presumably, referring them to specialists and other agencies. In some cases, doctors are even paid a percentage of the profits from tests and procedures performed at what are called physician-owned hospitals. Doctors in the small town in question were prone to “overutilization,” ordering procedures that, among other things, serve as a preemptive defense against malpractice lawsuits, and performing unnecessary surgeries when lifestyle changes and pain management would be just as effective—and cheaper. It’s possible that a significant number of “unnecessary” tests would rule out more serious conditions, and therefore reduce the number of more invasive (and expensive) procedures that may have been performed based on less accurate testing. But how many doctors who view their practice as a profit-based business feel compelled to order unnecessary tests simply to pay for the cost of running their business?

Doctors in the U.S. perform more operations than doctors in any other country in the world, and there’s no evidence to suggest that we’re any better off because of it. (The U.S. ranks 45th in life expectancy, below Cuba.) And the cost of certain procedures—like CT Scans, for instance—is also more expensive, but that doesn’t mean the quality of care or the accuracy of the results is any better. Due to subsidies, the equipment required for a CT Scan reportedly costs 40% less in a third-world country like India than it does in the U.S., and the average cost of one contrast scan here could pay for dozens of similar tests in Mumbai. So what accounts for this discrepancy?

The U.S. is a nation filled with the best and brightest physicians and technicians who have attended some of the most respected and expensive universities in the world. The cost to our providers is bound to trickle down to their patients. But radiology isn’t brain surgery; the cost of interpreting a CT Scan simply doesn’t justify the exponential cost incongruities being shouldered by Americans. Technical and professional fees are part of the problem, but that doesn’t explain how the cost of a test like a CT Scan varies so wildly in the U.S. (The fact that one has to “shop” for the best deal when it comes to potentially life-saving tests is obscene, but that’s a whole other topic.)

One factor might be that the cost of treating the uninsured—or the underinsured, which was the subject of a front-page article in The New York Times last week—is built into the cost paid by those who can afford to pay. The radiology clinic where I had my CT Scan offered to drop off the contrast fluid I had to drink prior to my test and gave me a ride to and from the clinic on the day of my test. This was a service provided by the clinic and wasn’t billed to me or my insurance (I know because I asked—twice). It was generous and helpful, especially since I’d never been there before and don’t have a car, but they no doubt offer this “free” service to all of their patients, not just those who are insured. Someone has to pay for it. A country with 45 million uninsured is bound to see its health care costs skyrocket.

Universal coverage isn’t feasible if large segments of the population are being priced out of the market. Blatant profligacy within the system, specifically of the variety Gawande has unearthed, means that prices won’t be dropping any time soon. But ironically, it also means reform isn’t a hopeless venture. Taking care of everyone doesn’t mean the country has to go bankrupt or that we have to saddle our grandchildren with even more debt. If we’re indeed wasting money, and that’s recognized as a reality on both sides of the aisle, that means at least one buzz term, “efficiency,” truly is the key to reform. Obama may be pointing one finger at the overweight, but as Gawande shrewdly observes, “the idea that there’s plenty of fat in the system is proving deeply attractive.” We just need to admit who the fat ones are.

Changing the culture is essential to solving the problem. Defensive medicine costs tens of billions each year. And doctors whose focus is not on patient care but on money—whether it’s profit-motivated or simply a matter of survival—might not even realize they’re part of the problem. The discussion draft of the House bill provides incentives for accountable care organizations, which are comprised of doctors and specialists who collaborate in networks—not for profit or kickbacks, but for results. These kinds of networks would purportedly discourage profiteering by changing the way doctors get paid through Medicare—paying physicians for results, not the quantity of service. Policymakers close to the bill say the details—how or if those changes are going to happen—haven’t been worked out yet, but what Congress seems to have realized is that Medicare is a barometer for the entire health care industry. As Medicare goes, so goes the nation.

It’s easy to blame one part of the system for the failure of the entire thing. But like the human body itself, health care is made up of the symbiotic relationship between separate but inextricably bound parts: providers, insurers, and patients. The House bill looks at the issue of reform from both sides: reforming delivery systems—how doctors are paid to create incentives for efficiency and quality—and adding a public plan to keep costs to consumers down. And while those goals might prove to be tricky (The Washington Post reported this week that a panicked health insurance industry is in full-on lobby mode, which means that even if a bill passes, it will likely be watered down), it’s still only one part of the solution.

Legislating cultural change is an essential component to reform, and while that’s likely to prove even more difficult, there has been some progress. At the beginning of the year, lawmakers introduced the Physician Payments Sunshine Act of 2009, a bipartisan bill that failed to make it through Congress two years ago but which, despite even stricter regulations, stands a better chance in the current economic and reform-happy climate. The legislation would amend the Social Security Act, requiring transparency in the relationship between physicians and pharmaceutical and biotechnology companies. The bill is currently under review, but even if it fails to pass a second time, the pressure has already forced companies like Pfizer and Merck to voluntarily disclose the amount of money they’re spending on things like consulting gigs, speeches, meals, and gifts—and to whom.

Additionally, nonprofit organizations like Area Health Education Centers are taking steps to offset Pharma’s influence on physicians. It’s a little disturbing to think that your local doctor’s office could be serving catered sandwiches for pharmaceutical reps who are hoping to peddle their latest inventions to the community via your family doctor, but that’s exactly what’s happening across the country. Doctors shouldn’t have to choose between what’s in the best interest of their patients and what’s in the best interest of keeping their practices in business. And we shouldn’t have to worry that our doctors aren’t on our side.

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Taylor Swift Drops Star-Studded, Pride-Themed “You Need to Calm Down” Video

The video takes the notion of visibility as a means of acceptance to the extreme.

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Taylor Swift
Photo: YouTube

After years of political agnosticism, Taylor Swift endorsed two Tennessee Democrats during the 2018 midterm elections, prompting a backlash from white supremacists and their dear leader, Donald Trump. In the span of less than a year, the singer went from being the Aryan goddess of the alt-right to being called out as an agent of sodomy in a sermon by a homophobic pastor and sheriff’s deputy in her home state.

Swift’s path to wokeness has been a long one, and while the launch of her new single, “You Need to Calm Down,” during LGBT Pride Month might feel like the equivalent of Google slapping a rainbow flag on their logo, her activism—which included a recent $113,000 donation to a Tennessee LGBT organization—seems like more than just a branding opportunity. “To be an ally is to understand the difference between advocating and baiting,” Swift posted on Tumblr after rumors circulated that she kisses former rival Katy Perry in the video for “You Need to Calm Down,” the second single from Swift’s seventh album, Lover.

The clip does, however, take the notion of visibility as a means of acceptance to the extreme, featuring cameos from RuPaul, Ellen DeGeneres, Adam Lambert, Adam Rippon, Laverne Cox, Billy Porter, Jesse Tyler Ferguson (whom she serenaded at a surprise performance at New York’s Stonewall Inn last week), and other queer celebrities, YouTube stars, and allies.

Directed by Swift and Drew Kirsch, the video opens with the pop singer waking up in a pastel-colored trailer home adorned with kitschy paintings and a framed Cher quote (“Mom, I am a rich man”). She makes herself a cotton-candy smoothie, takes a dip the cleanest above-ground pool you’ll ever see, and parades through the trailer park’s pride-themed festivities, which includes a “pop queen pageant” featuring drag versions of Swift, Ariana Grande, Lady Gaga, Adele, Cardi B, Beyoncé, Nicki Minaj, and Katy Perry.

The real Katy pops up for a heartfelt reunion with Swift that makes “You Need to Calm Down”—which seems to strive for, but falls short of, the campy eye candy that Perry has honed in her own videos over the years—feel like a bachelorette party at a gay bar. But just in case you question Swift’s allegiance to the cause, the video ends with a message urging viewers to sign her petition for Senate support of the Equality Act.

Watch below:

Swift’s album, Lover, is due August 23 via Republic Records.

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Mykki Blanco Is a Trans Joan of Arc in Madonna’s “Dark Ballet” Video – Watch

The self-described transfeminine rapper stars in the video from the queen of pop’s upcoming album Madame X.

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Mykki Blanco
Photo: YouTube

While presenting Madonna with GLAAD’s Advocate for Change award last month, Mykki Blanco hinted that a collaboration with the queen of pop might be imminent. Sure enough, the self-described transfeminine rapper stars in the video for “Dark Ballet,” the final track to be released in the lead-up to Madonna’s new album, Madame X.

Directed by Dutch Ghanaian visual artist Emmanuel Adjei, “Dark Ballet” echoes the themes of Madonna’s infamous “Like a Prayer” video, awash with Catholic iconography and a storyline revolving around a persecuted black person. But that’s where the similarities end. The singer only briefly appears in the clip, behind a black veil, and the burning crosses of her 1989 video are traded for a ceremonial burning at the stake.

The video is frenetic and non-linear, opening with Blanco held captive in a stonewalled room, wrapped in a dirty white robe. Wrists bound with rope, he’s led by clergymen to be executed for an undisclosed crime. He’s then seen dancing, first in a cathedral—pleading with the men, who forsake him—and then in the church’s sanctuary, dressed in a gold corset reminiscent of the iconic one designed by Jean Paul Gaultier for Madonna’s Blond Ambition Tour. Madonna is, in effect, all over the video, but her casting of a queer person of color as the oppressed, rather than herself, spotlights the disproportionate impact of the patriarchy on minorities.

Produced by Madonna and longtime collaborator Mirwais, the song itself is an ambitious electro suite featuring a heavily Auto-Tuned denouncement of gender, lies, and fame, before the track breaks into Tchaikovsky’s “Dance of the Reed Pipes” from The Nutcracker accompanied by a robot Joan of Arc proclaiming her faith. (There’s a brief, blink-and-you’ll-miss-it shot from Carl Theodor Dreyer’s 1928 film The Passion of Joan of Arc near the beginning of the video.) The song is a reminder of the wacky magic Madonna and Mirwais are capable of cooking up together.

Watch below:

Madame X will be released on June 14 via Interscope Records.

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Film

James Gray’s Ad Astra, Starring Brad Pitt, Gets Official Trailer

It has been a wild ride to the screen for the film, which Gray announced way back in 2016 at the Cannes Film Festival.

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Ad Astra
Photo: 20th Century Fox

It has been a wild ride to the screen for Ad Astra, which director James Gray announced way back in 2016 at the Cannes Film Festival. Originally it was set to come out in the doldrums of January, then on May 24, but as a trailer had yet to be announced in the leadup to that date, it was inevitable that the release would get bumped again. And it was probably for the best, as a film with the obvious ambition as this one wouldn’t get the attention it deserved from its studio—or is it studios?—had it opened in the midst of the confusing Disney-Fox Hollywood merger continuing to play out at that time.

Anyway, today we’ve been gifted with the official trailer for Ad Astra, and the official announcement that it will be coming out on September 20, which suggests that a world premiere at a fall festival is in order. The film tells the story of an astronaut, Roy McBride (Brad Pitt), who “travels to the outer edges of the solar system to find his missing father and unravel a mystery that threatens the survival of our planet.”

Shot by Oscar-nominated cinematographer Hoyte Van Hoytema (Dunkirk) and scored by post-minimalist composer Max Richter, Ad Astra has been likened by Gray to Joseph Conrad’s Heart of Darkness, and described as “the most realistic depiction of space travel that’s been put in a movie and to basically say, ‘Space is awfully hostile to us.’” In addition to Pitt, who’s also a producer on the film, Ad Astra stars Tommy Lee Jones, Ruth Negga, Liv Tyler, Donald Sutherland, Jamie Kennedy, John Finn, Kimberly Elise, Bobby Nish, and LisaGay Hamilton.

Watch the official trailer below:

20th Century Fox will release Ad Astra on September 20.

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Film

Terminator: Dark Fate Official Trailer: Going Back to the Well with Sarah Connor

Linda Hamilton at least makes a killer impression as Sarah visits fiery justice upon Gabriel Luna’s terminator.

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Terminator: Dark Fate
Photo: Paramount Pictures

Today, Paramount dropped the trailer for the sixth entry in the Terminator series, Terminator: Dark Fate, which promises to deliver…more of the same? With this film, Deadpool director Tim Miller aims to give the series a reboot: by pretending that none of the films that came after Terminator 2: Judgement Day ever existed (sorry, Rise of the Machines fans), maybe even Terminator: The Sarah Connor Chronicles. “Welcome to the day after judgment day,” reads the poster, promising the badass return of Linda Hamilton’s Sarah Connor. And on that front, the film looks to deliver, as Hamilton certainly makes a killer impression as Sarah visits fiery justice upon Gabriel Luna’s terminator.

But based on everything else that’s on display throughout the trailer, we’re worried that there’s not anything new that a film in this series stands to bring to the table besides running and gunning, with the occasional wink thrown in for good measure. Cast in point: Mackenzie Davis stars as Grace, an “enhanced human” who looks to fill the hanger-on role to Connor that Edward Furlong’s John Connor did to Arnold Schwarzenegger’s T-800, now apparently living in woodsy retirement, and at the ready to give sage advice. In short, we’re not impressed, and that also holds true of that cover of Björk’s “Hunter” by some zombie man singer.

Watch the official trailer below:

Paramount Pictures will release Terminator Dark Fate on November 1.

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Film

The Nightingale Trailer: Aisling Franciosi and Sam Claflin Star in Jennifer Kent’s Follow-Up to The Babadook

Today, IFC has released the first trailer for the film, which is set during the colonization of Australia in 1825.

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The Nightingale
Photo: Matt Nettheim

Jennifer Kent’s The Nightingale, the Aussie filmmaker’s much-anticipated follow-up to The Babadook, premiered way back in September at the Venice Film Festival, and to mostly positive notices. Today, ahead of its U.S. theatrical release in August, IFC has released the first trailer for the film, which is set during the colonization of Australia in 1825 and follows a young Irish convict settler, Clare (played by Aisling Franciosi), who, after finishing her seven-year sentence, struggles to be free of her abusive master, Lieutenant Hawkins (Sam Claflin). According to the studio’s official description of the film:

Clare’s husband Aidan (Michael Sheasby) retaliates and she becomes the victim of a harrowing crime at the hands of the lieutenant and his cronies. When British authorities fail to deliver justice, Clare decides to pursue Hawkins, who leaves his post suddenly to secure a captaincy up north. Unable to find compatriots for her journey, she is forced to enlist the help of a young Aboriginal tracker Billy (Baykali Ganambarr) who grudgingly takes her through the rugged wilderness to track down Hawkins. The terrain and the prevailing hostilities are frightening, as fighting between the original inhabitants of the land and its colonizers plays out in what is now known as “The Black War.” Clare and Billy are hostile towards each other from the outset, both suffering their own traumas and mutual distrust, but as their journey leads them deeper into the wilderness, they must learn to find empathy for one another, while weighing the true cost of revenge.

Watch the official trailer below:

IFC Films will release The Nightingale in NY and LA on August 2.

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Film

Downton Abbey Trailer Sees the Crawley Clan Prepping for a Royal Arrival

Kippers for breakfast, Aunt Helga? Is it St. Swithin’s Day already? No, it ain’t, dear. ‘Tis Downtown Abbey Day.

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Downton Abbey
Photo: Focus Features

Kippers for breakfast, Aunt Helga? Is it St. Swithin’s Day already? No, it ain’t, dear. ‘Tis Downton Abbey Day—that is, the release of the official trailer for the Downton Abbey movie. It’s been some three years since we’ve gotten to sip tea with the Crawley clan and hang out downstairs with the servants making sure that the biscuits are placed just right on the proper fine bone china tea set. And from the looks of the two-and-a-half-minute trailer, it would appear that nothing has changed at Downton Abbey since the series’s finale.

In the tradition of Mad Men’s episode-ending “next week on AMC’s Mad Men” teasers, it’s just a series of snappy snippets that suggest we’re in for more of the same, from Maggie Smith’s Dowager Countess of Grantham snarking up a storm to Robert James-Collier’s Thomas Barrow getting his gay on. And we are here for it. The cherry on top? The king and queen are coming to Downton! And as everything must be in tip-top shape for their arrival, the Crawleys must enlist the help of the one and only Charles Carson (Jim Carter), who is treated here with the reverence of a god, or a superhero from the Marvel Cinematic Universe.

Downton Abbey is directed by Michael Engler and written by Oscar- and Emmy-winning screenwriter Julian Fellowes. And in addition to the aforementioned actors, the film stars Hugh Bonneville, Laura Carmichael, Brendan Coyle, Michelle Dockery, Kevin Doyle, Joanne Froggatt, Matthew Goode, Harry Hadden-Paton, David Haig, Geraldine James, Simon Jones, Allen Leech, Phyllis Logan, Elizabeth McGovern, Sophie McShera, Tuppence Middleton, Stephen Campbell Moore, Lesley Nicol, Kate Phillips, Imelda Staunton, and Penelope Wilton.

Watch the official trailer below:

Focus Features will release Downton Abbey on September 20.

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Film

Watch the Teaser Trailer for Andy Muschietti’s It Chapter Two, Starring Jessica Chastain and Bill Hader

The teaser seems hell-bent on satisfying those who found the first film to be an over-directed succession of freakouts.

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It Chapter Two
Photo: Warner Bros.

Today, Warner Bros. revealed the teaser trailer for It Chapter Two, Andy Muschietti’s highly anticipated follow-up to his worldwide box-office smash It. The teaser is certainly promising, if only because it seems hell-bent on satisfying above all else those who might have found the first film to be an over-directed succession of freakouts. Indeed, while the trendy retroism of that film is certainly evident across this teaser’s three minutes, there’s something rather impressive about how it forces us to spend so much time stewing in the atmosphere of dread that slowly overcomes the adult Beverly (Jessica Chastain) inside an old woman’s house as she comes to realize that she and other grown-up members of the Losers Club may not have fully shaken off the horror that is Pennywise.

In addition to Chastain, It Chapter Two stars James McAvoy as Bill, Bill Hader as Richie, Isaiah Mustafa as Mike, Jay Ryan as Ben, James Ransone as Eddie, and Andy Bean as Stanley. Reprising their roles as the original members of the Losers Club are Jaeden Martell as Bill, Wyatt Oleff as Stanley, Jack Dylan Grazer as Eddie, Finn Wolfhard as Richie, Sophia Lillis as Beverly, Chosen Jacobs as Mike, and Jeremy Ray Taylor as Ben. And, of course, there’s Bill Skarsgård, who reprises his role of Pennywise.

See the teaser trailer below:

Warner Bros. will release It Chapter Two on September 6.

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Francis Ford Coppola’s Apocalypse Now Final Cut Coming to Theaters in August

The film remains as legendary for its artistry as it is for the difficulty of its making.

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Apocalypse Now Final Cut
Photo: Paramount Pictures

Francis Ford Coppola’s Apocalypse Now is as legendary for its artistry as it is for the difficulty of its making. Some have argued that Coppola became the victim of the film’s legend with the 2001 release of Apocalypse Now Redux, a significant re-edit of the original film put together by the director and editor Walter Murch. The two most famous additions made to the original had its naysayers for being flow-breaking: the second meeting with the Playboy playmates, and the meeting with a family of holdout French colonists on a remote rubber plantation. I recommend you read the responses to this tweet from critic Glenn Kenny to get a sense of what we have in store from the new, never-before-seen restored version of the film, entitled Apocalypse Now: Final Cut, coming our way in August.

According to Lionsgate, the film, which premiered at the Tribeca Film Festival on Sunday, has been remastered from the original negative in 4K Ultra HD.

The Beacon Theatre will be outfitted for this exclusive occasion with Meyer VLFC (Very Low Frequency Control), a ground-breaking loudspeaker system engineered to output audio frequencies below the limits of human hearing, giving the audience a truly visceral experience. In addition, the film has been enhanced with Dolby Vision, delivering spectacular colors and highlights that are up to 40 times brighter and blacks that are 10 times darker, and Dolby Atmos, producing moving audio that flows all around you with breathtaking realism.

Audiences will be able to experience a special NAGRA myCinema theatrical release of Apocalypse Now Final Cut on the giant screen in select theaters nationwide on August 15. Then, on August 27, the film will be available to own on a 4K Ultra HD Combo Pack, which will include a 4K disc, plus three Blu-ray discs and a digital copy.

Watch the trailer for the film below:

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Sonic the Hedgehog, Starring Jim Carrey, Gets Weird, Teeth-Forward Trailer

Sonic the Hedgehog and Slant’s nine-year relationship has seen its ups and downs.

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Sonic the Hedgehog
Photo: Paramount Pictures

Sonic the Hedgehog and Slant’s nine-year relationship has seen its ups and downs. Outside of a rare rave we extended to Sonic Colors way back in 2010, most of our writers have been mixed about the Sega flagship mascot’s output over the last decade, even as they acknowledge the wily speed demon’s nostalgic appeal. Per our own Jaime N. Christley: “A free agent with no history, no employment, Sonic has no agenda, except one: run like hell.” Paramount’s Sonic the Hedgehog, though, would appear to want to change that—not by slowing him down but by giving him more of a purpose than just saving a bunch of captive animals at the end of every level and acting all smug about it.

Today, the studio released the trailer for the Jeff Fowler-directed film, a live-action comedy adventure that sees Sonic (voiced by Ben Schwartz) navigating, um, “the complexities of life on Earth” alongside his best human friend, Tom Wachowski (played by James Marsden). That unmistakable ring sound that litters the trailer will surely bring a smile to the faces of Sonic fans young and old, but Sonic the Hedgehog feels like it’s going to be a hard sell, given its positioning of Sonic—so full of a sass, not to mention a mouthful of teeth—as a pubescent nuisance. Good luck picking your jaw up from the floor once Sonic takes on Jim Carrey’s villainous Dr. Robotnik to the sounds of “Gangsta’s Paradise.”

For better and worse—okay, just worse—the film looks like it’s straight from 1991, the year that the first Sonic the Hedgehog game was released. See the trailer below and cringe for yourself as the blue speed freak gets his Coolio on:

Paramount Pictures will release Sonic the Hedgehog on November 8.

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Awards

2019 Tony Nominations: Hadestown and Ain’t Too Proud Lead Field

Both shows were joined in the Best Musical category by Beetlejuice, The Prom, and Tootsie.

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Hadestown
Photo: Matthew Murphy

Nominations for the 73rd Tony Awards were announced this morning, with CBS This Morning co-host Gayle King and actors Bebe Neuwirth and Brandon Victor Dixon revealing the nominees in the top eight categories. Leading the pack with 14 nominations Hadestown, followed by Ain’t Too Proud—The Life of the Temptations with 12. Both shows were joined in the Best Musical category by Beetlejuice, The Prom, and Tootsie.

See below for a full list of the nominations.

Best Musical
Ain’t Too Proud—The Life and Times of The Temptations
Beetlejuice
Hadestown
The Prom
Tootsie

Best Play
Choir Boy by Tarell
The Ferryman
Gary: A Sequel to Titus Andronicus
Ink
What the Constitution Means to Me

Best Revival of a Play
Arthur Miller’s All My Sons
The Boys in the Band
Burn This
Torch Song
The Waverly Gallery

Best Revival of a Musical
Kiss Me, Kate
Rodgers & Hammerstein’s Oklahoma!

Best Performance by an Actor in a Leading Role in a Play
Paddy Considine, The Ferryman
Bryan Cranston, Network
Jeff Daniels, To Kill a Mockingbird
Adam Driver, Burn This
Jeremy Pope, Choir Boy

Best Performance by an Actress in a Leading Role in a Play
Annette Bening, Arthur Miller’s All My Sons
Laura Donnelly, The Ferryman
Elaine May, The Waverly Gallery
Janet McTeer, Bernhardt/Hamlet
Laurie Metcalf, Hillary and Clinton
Heidi Schreck, What the Constitution Means to Me

Best Performance by an Actor in a Leading Role in a Musical
Brooks Ashmanskas, The Prom
Derrick Baskin, Ain’t Too Proud—The Life and Times of the Temptations
Alex Brightman, Beetlejuice
Damon Daunno, Rodgers & Hammerstein’s Oklahoma!
Santino Fontana, Tootsie

Best Performance by an Actress in a Leading Role in a Musical
Stephanie J. Block, The Cher Show
Caitlin Kinnunen, The Prom
Beth Leavel, The Prom
Eva Noblezada, Hadestown
Kelli O’Hara, Kiss Me, Kate

Best Book of a Musical
Ain’t Too Proud—The Life and Times of the Temptations, Dominique Morisseau
Beetlejuice, Scott Brown and Anthony King
Hadestown, Anaïs Mitchell
The Prom, Bob Martin & Chad Beguelin
Tootsie, Robert Horn

Best Original Score (Music and/or Lyrics) Written for the Theatre
Be More Chill, Joe Iconis
Beetlejuice, Eddie Perfect
Hadestown, Anaïs Mitchell
The Prom, Matthew Sklar and Chad Beguelin
To Kill a Mockingbird, Adam Guettel
Tootsie, David Yazbek

Best Performance by an Actor in a Featured Role in a Play
Bertie Carvel, Ink
Robin De Jesús, The Boys in the Band
Gideon Glick, To Kill a Mockingbird
Brandon Uranowitz, Burn This
Benjamin Walker, Arthur Miller’s All My Sons

Best Performance by an Actress in a Featured Role in a Play
Fionnula Flanagan, The Ferryman
Celia Keenan-Bolger, To Kill a Mockingbird
Kristine Nielsen, Gary: A Sequel to Titus Andronicus
Julie White, Gary: A Sequel to Titus Andronicus
Ruth Wilson, King Lear

Best Performance by an Actor in a Featured Role in a Musical
André De Shields, Hadestown
Andy Grotelueschen, Tootsie
Patrick Page, Hadestown
Jeremy Pope, Ain’t Too Proud—The Life and Times of the Temptations
Ephraim Sykes, Ain’t Too Proud—The Life and Times of the Temptations

Best Performance by an Actress in a Featured Role in a Musical
Lilli Cooper, Tootsie
Amber Gray, Hadestown
Sarah Stiles, Tootsie
Ali Stroker, Rodgers & Hammerstein’s Oklahoma!
Mary Testa, Rodgers & Hammerstein’s Oklahoma!

Best Scenic Design of a Play
Miriam Buether, To Kill a Mockingbird
Bunny Christie, Ink
Rob Howell, The Ferryman
Santo Loquasto, Gary: A Sequel to Titus Andronicus
Jan Versweyveld, Network

Best Scenic Design of a Musical
Robert Brill and Peter Nigrini, Ain’t Too Proud—The Life and Times of the Temptations
Peter England, King Kong
Rachel Hauck, Hadestown
Laura Jellinek, Rodgers & Hammerstein’s Oklahoma!
David Korins, Beetlejuice

Best Costume Design of a Play
Rob Howell, The Ferryman
Toni-Leslie James, Bernhardt/Hamlet
Clint Ramos, Torch Song
Ann Roth, Gary: A Sequel to Titus Andronicus
Ann Roth, To Kill a Mockingbird

Best Costume Design of a Musical
Michael Krass, Hadestown
William Ivey Long, Beetlejuice
William Ivey Long, Tootsie
Bob Mackie, The Cher Show
Paul Tazewell, Ain’t Too Proud—The Life and Times of the Temptations

Best Lighting Design of a Play
Neil Austin, Ink
Jules Fisher + Peggy Eisenhauer, Gary: A Sequel to Titus Andronicus
Peter Mumford, The Ferryman
Jennifer Tipton, To Kill a Mockingbird
Jan Versweyveld and Tal Yarden, Network

Best Lighting Design of a Musical
Kevin Adams, The Cher Show
Howell Binkley, Ain’t Too Proud—The Life and Times of the Temptations
Bradley King, Hadestown
Peter Mumford, King Kong
Kenneth Posner and Peter Nigrini, Beetlejuice

Best Sound Design of a Play
Adam Cork, Ink
Scott Lehrer, To Kill a Mockingbird
Fitz Patton, Choir Boy
Nick Powell, The Ferryman
Eric Sleichim, Network

Best Sound Design of a Musical
Peter Hylenski, Beetlejuice
Peter Hylenski, King Kong
Steve Canyon Kennedy, Ain’t Too Proud—The Life and Times of the Temptations
Drew Levy, Rodgers & Hammerstein’s Oklahoma!
Nevin Steinberg and Jessica Paz, Hadestown

Best Direction of a Play
Rupert Goold, Ink
Sam Mendes, The Ferryman
Bartlett Sher, To Kill a Mockingbird
Ivo van Hove, Network
George C. Wolfe, Gary: A Sequel to Titus Andronicus

Best Direction of a Musical
Rachel Chavkin, Hadestown
Scott Ellis, Tootsie
Daniel Fish, Rodgers & Hammerstein’s Oklahoma!
Des McAnuff, Ain’t Too Proud—The Life and Times of the Temptations
Casey Nicholaw, The Prom

Best Choreography
Camille A. Brown, Choir Boy
Warren Carlyle, Kiss Me, Kate
Denis Jones, Tootsie
David Neumann, Hadestown
Sergio Trujillo, Ain’t Too Proud—The Life and Times of the Temptations

Best Orchestrations
Michael Chorney and Todd Sickafoose, Hadestown
Simon Hale, Tootsie
Larry Hochman, Kiss Me, Kate
Daniel Kluger, Rodgers & Hammerstein’s Oklahoma!
Harold Wheeler, Ain’t Too Proud—The Life and Times of the Temptations

Recipients of Awards and Honors in Non-competitive Categories

Special Tony Awards for Lifetime Achievement in the Theatre
Terrence McNally
Rosemary Harris
Harold Wheeler

Special Tony Awards
Jason Michael Webb
Sonny Tilders
Marin Mazzie

Regional Theatre Tony Award
TheatreWorks Silicon Valley

Isabelle Stevenson Tony Award
Judith Light

Tony Honors for Excellence in the Theatre
Broadway Inspirational Voices
Peter Entin
Joseph Blakely Forbes
FDNY Engine 54

Tony Nominations by Production
Hadestown – 14
Ain’t Too Proud—The Life and Times of the Temptations – 12
Tootsie – 11
The Ferryman – 9
To Kill a Mockingbird – 9
Beetlejuice – 8
Rodgers & Hammerstein’s Oklahoma! – 8
Gary: A Sequel to Titus Andronicus – 7
The Prom – 7
Ink – 6
Network – 5
Choir Boy – 4
Kiss Me, Kate – 4
Arthur Miller’s All My Sons – 3
Burn This – 3
The Cher Show – 3
King Kong – 3
Bernhardt/Hamlet – 2
The Boys in the Band – 2
Torch Song – 2
The Waverly Gallery – 2
What the Constitution Means to Me – 2
Be More Chill – 1
Hillary and Clinton – 1
King Lear – 1

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