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Fox News says none of its employees wrote jokes for Trump to tell at traditional campaign dinner

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NEW YORK (AP) — Fox News Channel on Friday denied Donald Trump’s assertion that any of its employees wrote jokes for him to deliver this week at a New York appearance.

The former president and current candidate said on “Fox & Friends” that “a couple of people from Fox” helped him prepare jokes for Thursday’s Al Smith dinner, a traditional event in the last weeks of a presidential campaigns where candidates usually appear.

“I shouldn’t say that,” Trump said. “But they wrote some jokes. For the most part, I didn’t like any of them.”

Candidates often turn to professional comedians for material when needed for such appearances; it would be eye-opening and ethically suspect if a news organization contributed.

But Fox, in a statement, said none of its employees or freelancers did so. Instead, Trump is believed to have received material from a comic who occasionally tries to sell jokes to the Fox show “Gutfeld.”

Trump was at the dinner, while opponent Kamala Harris sent in a taped routine.

The Canadian Press. All rights reserved.



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Fox’s Bret Baier acknowledges ‘mistake’ in Harris interview over airing of Trump clip

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Fox News anchor Bret Baier says he “made a mistake” during his interview with Kamala Harris in not airing video of a Donald Trump comment, something Harris pointed out to him in real time.

Baier made that admission on Thursday roughly 24 hours after his interview with the Democratic presidential candidate was aired. Just under 8 million people watched the session, Harris’ first sit-down with a Fox News Channel journalist during the campaign.

It wasn’t immediately clear, however, what Baier meant by saying he made a mistake.

Their exchange over the Trump video, one of the most contentious of the interview, came after Harris criticized her Republican opponent for saying that he might have to call out the National Guard or military to deal with “the enemy within,” whom he defined as “radical left lunatics.”

Baier then said his colleague, Harris Faulkner, had asked Trump about his “enemy within” comment earlier in the day, “and this is how he responded.” The clip showed Trump saying he wasn’t threatening anybody, and criticized “phony investigations” of him, cracking a joke his audience laughed at.

“Bret, I’m sorry, and with all due respect, that clip was not what he has been saying about the enemy within … that’s not what you just showed,” Harris said.

Speaking a day later, Baier said that when he asked his staff for video to play during the interview, he was expecting to get two clips — one that showed Trump making the “enemy within” comment to Fox’s Maria Bartiromo, and the one from Faulkner’s town hall that was played during the Harris interview.

“Take a listen to what I meant to roll,” Baier said on Thursday. He then aired both clips back to back.

Yet during the interview, Baier had given no indication that he meant to air the “enemy within” comment at all, even after Harris had pointed it out. For that reason, his explanation of a mistake met with some skepticism online.

“Newsflash: When wrong clips run (which happens) hosts can easily say `Sorry that was the wrong clip,'” former Fox News anchor Gretchen Carlson wrote on “X.” “He or his producers would have know it was the wrong one right then.”

There was no immediate comment from a Fox representative on Friday to clarify what Baier meant.

___

David Bauder writes about media for the AP. Follow him at http://x.com/dbauder.

The Canadian Press. All rights reserved.



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Lawyer for family members of Pickton’s victims wants copy of killer’s ‘tell all book’

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VANCOUVER – A Vancouver lawyer representing families of the victims of serial killer Robert Pickton says he and his clients want to read a copy of a “tell all book” seized from Pickton’s cell after he died following an attack in a Quebec prison.

Jason Gratl said Friday that he and his clients, who have pending lawsuits against Pickton and his brother David in B.C. Supreme Court, were “surprised” when an RCMP search warrant revealed the existence of a 200-page manuscript handwritten by Pickton.

“We had been led to believe that the investigation had concluded and the RCMP had no further leads,” Gratl said. “Now the RCMP says there’s nothing of interest in the 200-page manuscript, but we prefer to read it for ourselves.”

A search warrant filed in New Westminster, B.C., this summer said prison officials found “numerous writings and notes authored by Pickton” after going through his things in search of a will following his death in May.

The “information to obtain” document said Quebec prison officials had a “cursory read” of Pickton’s manuscript, which was titled “Telling My Story.”

Cpl. Craig Mitchell, who applied for the warrant, said in the application that he believed Pickton wanted to give a “full account” of the murders in court, having interviewed him after he was convicted.

The search warrant document said investigators with the Missing Women Task Force had met with Pickton on “numerous occasions,” trying to coax him to identify an unknown victim, still known to this day as “Jane Doe.”

“I believe that Pickton wanted to tell his story of the murders he committed,” Mitchell wrote. “I believe he would have written down his account of the murders and his account in the book titled ‘Telling My Story’ and any related written documents or notes he made when writing that book.”

Mitchell said Pickton’s writings could help investigators link Pickton, and potentially others, to murders committed on the serial killer’s Port Coquitlam property, and though he was charged with killing 27 women, he later admitted to 49 murders.

“I believe Pickton committed 49 murders and the book and related documents and notes may identify the other victims not yet known.”

Gratl said he’ll seek a copy of the manuscript for its “potential relevance” to his clients’ civil lawsuits against the Pickton brothers, as they work to consolidate the cases and set a trial.

Sgt. Vanessa Munn, a media relations officer with the RCMP, said the writings seized were “thoroughly examined” but didn’t refer to any missing women or his crimes and investigators have “unfortunately” no new information to share with the victims’ families.

“We recognize that there are families with questions about their loved one’s disappearances, however the content of writings did not provide any answers,” Munn said in a written statement.

Pickton was convicted of six counts of second-degree murder for the killings of Mona Wilson, Sereena Abotsway, Georgina Papin, Marnie Frey, Brenda Wolfe and Andrea Joesbury in 2007 and sentenced to life in prison.

The remaining charges against him were stayed.

This report by The Canadian Press was first published Oct. 18, 2024.

The Canadian Press. All rights reserved.



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It’s time for a Halloween movie marathon. Here’s what AP had to say about 10 iconic horror films

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Sometimes, you just have to return to the classics.

That’s especially true as Halloween approaches. While you queue up your spooky movie marathon, here are 10 iconic horror movies from the past 70 years for inspiration, and what AP writers had to say about them when they were first released.

We resurrected excerpts from these reviews, edited for clarity, from the dead — did they stand the test of time?

“Rear Window” (1954)

“Rear Window” is a wonderful trick pulled off by Alfred Hitchcock. He breaks his hero’s leg, sets him up at an apartment window where he can observe, among other things, a murder across the court. The panorama of other people’s lives is laid out before you, as seen through the eyes of a Peeping Tom.

James Stewart, Grace Kelly, Thelma Ritter and others make it good fun.

— Bob Thomas

“Halloween” (1978)

At 19, Jamie Lee Curtis is starring in a creepy little thriller film called “Halloween.”

Until now, Jamie’s main achievement has been as a regular on the “Operation Petticoat” TV series. Jamie is much prouder of “Halloween,” though it is obviously an exploitation picture aimed at the thrill market.

The idea for “Halloween” sprang from independent producer-distributor Irwin Yablans, who wanted a terror-tale involving a babysitter. John Carpenter and Debra Hill fashioned a script about a madman who kills his sister, escapes from an asylum and returns to his hometown intending to murder his sister’s friends.

— Bob Thomas

“The Silence of the Lambs” (1991)

“The Silence of the Lambs” moves from one nail-biting sequence to another. Jonathan Demme spares the audience nothing, including closeups of skinned corpses. The squeamish had best stay home and watch “The Cosby Show.”

Ted Tally adapted the Thomas Harris novel with great skill, and Demme twists the suspense almost to the breaking point. The climactic confrontation between Clarice Starling and Buffalo Bill (Ted Levine) is carried a tad too far, though it is undeniably exciting with well-edited sequences.

Such a tale as “The Silence of the Lambs” requires accomplished actors to pull it off. Jodie Foster and Anthony Hopkins are highly qualified. She provides steely intelligence, with enough vulnerability to sustain the suspense. He delivers a classic portrayal of pure, brilliant evil.

— Bob Thomas

“Scream” (1996)

In this smart, witty homage to the genre, students at a suburban California high school are being killed in the same gruesome fashion as the victims in the slasher films they know by heart.

If it sounds like the script of every other horror movie to come and go at the local movie theater, it’s not.

By turns terrifying and funny, “Scream” — written by newcomer David Williamson — is as taut as a thriller, intelligent without being self-congratulatory, and generous in its references to Wes Craven’s competitors in gore.

— Ned Kilkelly

“The Blair Witch Project” (1999)

Imaginative, intense and stunning are a few words that come to mind with “The Blair Witch Project.”

“Blair Witch” is the supposed footage found after three student filmmakers disappear in the woods of western Maryland while shooting a documentary about a legendary witch.

The filmmakers want us to believe the footage is real, the story is real, that three young people died and we are witnessing the final days of their lives. It isn’t. It’s all fiction.

But Eduardo Sanchez and Dan Myrick, who co-wrote and co-directed the film, take us to the edge of belief, squirming in our seats the whole way. It’s an ambitious and well-executed concept.

— Christy Lemire

“Saw” (2004)

The fright flick “Saw” is consistent, if nothing else.

This serial-killer tale is inanely plotted, badly written, poorly acted, coarsely directed, hideously photographed and clumsily edited, all these ingredients leading to a yawner of a surprise ending. To top it off, the music’s bad, too.

You could forgive all (well, not all, or even, fractionally, much) of the movie’s flaws if there were any chills or scares to this sordid little horror affair.

But “Saw” director James Wan and screenwriter Leigh Whannell, who developed the story together, have come up with nothing more than an exercise in unpleasantry and ugliness.

— David Germain

Germain gave “Saw” one star out of four.

“Paranormal Activity” (2009)

The no-budget ghost story “Paranormal Activity” arrives 10 years after “The Blair Witch Project,” and the two horror movies share more than a clever construct and shaky, handheld camerawork.

The entire film takes place at the couple’s cookie-cutter dwelling, its layout and furnishings indistinguishable from just about any other readymade home constructed in the past 20 years. Its ordinariness makes the eerie, nocturnal activities all the more terrifying, as does the anonymity of the actors adequately playing the leads.

The thinness of the premise is laid bare toward the end, but not enough to erase the horror of those silent, nighttime images seen through Micah’s bedroom camera. “Paranormal Activity” owns a raw, primal potency, proving again that, to the mind, suggestion has as much power as a sledgehammer to the skull.

— Glenn Whipp

Whipp gave “Paranormal Activity” three stars out of four.

“The Conjuring” (2013)

As sympathetic, methodical ghostbusters Lorraine and Ed Warren, Vera Farmiga and Patrick Wilson make the old-fashioned haunted-house horror film “The Conjuring” something more than your average fright fest.

“The Conjuring,” which boasts incredulously of being their most fearsome, previously unknown case, is built very in the ’70s-style mold of “Amityville” and, if one is kind, “The Exorcist.” The film opens with a majestic, foreboding title card that announces its aspirations to such a lineage.

But as effectively crafted as “The Conjuring” is, it’s lacking the raw, haunting power of the models it falls shy of. “The Exorcist” is a high standard, though; “The Conjuring” is an unusually sturdy piece of haunted-house genre filmmaking.

— Jake Coyle

Coyle gave “The Conjuring” two and half stars out of four.

Read the full review here.

“Get Out” (2017)

Fifty years after Sidney Poitier upended the latent racial prejudices of his white date’s liberal family in “Guess Who’s Coming to Dinner,” writer-director Jordan Peele has crafted a similar confrontation with altogether more combustible results in “Get Out.”

In Peele’s directorial debut, the former “Key and Peele” star has — as he often did on that satirical sketch series — turned inside out even supposedly progressive assumptions about race. But Peele has largely left comedy behind in a more chilling portrait of the racism that lurks beneath smiling white faces and defensive, paper-thin protestations like, “But I voted for Obama!” and “Isn’t Tiger Woods amazing?”

It’s long been a lamentable joke that in horror films — never the most inclusive of genres — the Black dude is always the first to go. In this way, “Get Out” is radical and refreshing in its perspective.

— Jake Coyle

Coyle gave “Get Out” three stars out of four.

Read the full review here.

“Hereditary” (2018)

In Ari Aster’s intensely nightmarish feature-film debut “Hereditary,” when Annie (Toni Collette), an artist and mother of two teenagers, sneaks out to a grief-support group following the death of her mother, she lies to her husband Steve (Gabriel Byrne) that she’s “going to the movies.”

A night out with “Hereditary” is many things, but you won’t confuse it for an evening of healing and therapy. It’s more like the opposite.

Aster’s film, relentlessly unsettling and pitilessly gripping, has carried with it an ominous air of danger and dread: a movie so horrifying and good that you have to see it, even if you shouldn’t want to, even if you might never sleep peacefully again.

The hype is mostly justified.

— Jake Coyle

Coyle gave “Hereditary” three stars out of four.

Read the full review here. ___

Researcher Rhonda Shafner contributed from New York.



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