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Why the mainstream media is struggling to stay relevant in Pakistan

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Something Jon Stewart said during an episode he did on the trouble with mainstream media in the US, last year, stuck with me: The narcissism of Donald Trump was matched by the narcissism of the media. The progressive and/or liberal media took his victory personally. They saw themselves — he had a wicked grin when he referenced The New York Times tagline “Democracy Dies in Darkness” — as the upholders and pillars of democracy. They saw themselves as the immune system that filters out toxins to get the audience the news.

“But they’re not,” said Stewart. “They’re adding to the noise.” He added that they’d created a model that almost cements divisions rather than views context.

Does the ego get in the way of the media going outside the status quo, instead of becoming part of it, he asked guest and media critic for the Washington Post Margaret Sullivan — whose book Newsroom Confidential I highly recommend to journalists and students interested in the news. Sullivan replied by defending journalists, saying she knows many got into the profession to do a good job, and inform, but then “you’re in the reality of it, and then you know there’s a demand for audiences…”

Trump understood audience demands and knew he was a “ratings machine”. And that’s kind of how it resulted in the incessant coverage of all things Trump, which is evident even today.

It’s not dissimilar to Imran Khan, who is an attention magnet, irrespective of the screen being TV or digital. He’s mastered the art of getting the eyeballs. Some outlets thrive on calling him out for his lies, while others thrive on amplifying his narrative.

What happens then to the stories/issues that are not Trump/Khan-centric? And even when the news is personality driven (for example focusing on corrupt leaders vs corrupt system), is the audience better informed with accurate information or have media outlets decided that narrative guised as news is the only way to survive?

What the audience wants

I’ve spent a good portion of last year consuming the news professionally — because I had to, as editor of a legacy media outlet’s online properties and then, as a self-proclaimed media critic, researcher and now as a co-producer and co-host of a podcast on the news landscape in Pakistan.

And I have been attempting to answer many, many questions, including one that Stewart asked: “Is the media the architect of its own demise?”

He knows the media would rather blame the audience for wanting the content they do because that’s what sells, but I’m more interested in learning how the metrics are being determined in Pakistan.

Stewart argues that the media doesn’t know what else sells because they haven’t tried anything else. And, is selling the only way to measure success — what about public interest?

Context matters

It’s easy to want to dismiss the Pakistani news media for its partisanship or for amplifying specific personalities. While those things are true, I think the year 2022 saw journalists do some very good work on traditional and digital platforms.

Newspapers, known to be a dying breed, continue the hard work of reporting across the country, ensuring coverage of as many communities as possible. The work has become harder because companies’ “financial struggles” have resulted in staff layoffs or salary cuts as well as other budgetary constraints that prevent the audiences’ informational needs from getting served. For example, the coverage is often more urban-centric simply because media houses can’t afford stringers outside larger towns.

Perhaps the most stark example of this was the coverage of the floods, which received attention from the mainstream media, only when events turned catastrophic. And while many media outlets sent prime time anchors such as Asma Sherazi and Meher Bokhari out into the field to cover the floods, most of them moved on to other issues (primarily politics) within a fortnight. To his credit, Geo’s Hamid Mir stayed on the field longer than others and to their credit, the team at Zara Hat Kay featured many reporters from impacted areas on their show, long after flood images had left TV screens and others had moved on.

The trouble with much of the coverage across the mediums was the lack of contextualising, and this isn’t just about the floods. This is sort of what Jon Stewart was talking about in the aforementioned episode — why is the media not going outside the status quo and contextualising events for audiences to become better informed?

While the media reported on the floods, for example, the partisanship in their reporting was evident. Where one major channel came at its coverage in Sindh and Punjab with a ‘look how terrible it is for the people there due to a corrupt government’, it approached the situation in Khyber Pakhtunkhwa differently. The same is true for another media group, whose anti-PTI stance has become obvious by now to the average viewer.

Another major issue in newsrooms is the lack of trained resources, who have even studied the country’s map, let alone other issues faced by the country. During a training for journalists in Quetta in 2018, the participants complained that their colleagues would call them from head offices (often in Karachi) and ask them to cover an event that took place in Gwadar. One journalist told me that he told his colleague in Karachi that it would take them less time to get to Gwadar than it would take him from Quetta. This disconnect between desk and well … basic geography is depressing.

A lot of this ties into a lack of resources — many staff on the desk are simply not equipped to do the work required for proper contextualising. So you get sloppy writing from digital, in both English and Urdu.

Financial woes

As an aside, I used quotes earlier in this section around financial struggles because I’ve yet to authenticate this claim, which I’ve heard repeated over and over from people in the media industry who tell me how hard a time it is for the media, economically.

I want to believe it because I can see my friends aren’t being paid on time at some legacy outlets — sometimes they’re two months behind in pay. However, I also know that staff employed in the same media house’s sister property gets paid on the dot each month. I’m also researching into the equally oft repeated mantra of the media’s dependency on government ads for its revenue and how the slash in that has impacted the industry.

Journalists deserve accolades for working against the backdrop of financial insecurity. I’ve spoken with at least two dozen journalists in different newsrooms, who said they felt trapped because they were unable to find better paying jobs. I also spoke to six people in hiring positions who complained they could not fit suitable staff. I feel for the underpaid, but also for the under-qualified staff on the desks and have zero sympathy for the owners whose lives have not been impacted by the so-called financial hardship they’re claiming.

A polarised landscape

Okay, back to the highly polarised media landscape, wherein you can pick the narrative of your liking for your informational needs. (I’m not referring to social-media only accounts that create “cute” easy to share posts that suit one’s already cemented position and gain a lot of traction, especially on Whatsapp. This is not news, this is propaganda.)

Within the mainstream media, one could still find a semblance of reality in a handful of outlets, especially legacy newspapers whose digital properties amplified the stories. Of course, you think, I would say this given that I’m writing for one of them, but this isn’t my first [media outlet] rodeo. I’ve seen how theirs are the stories that often get traction on social media — their reports, their editorials and their features. And it makes sense because they have the funds to spend, even if they don’t have the money for salaries. They still practice some of the elements of journalism and remain fiercely pro-democracy. They are able to contextualise events for you. They’re not just shilling for someone. Naziha Syed Ali’s investigative reporting is one example from DawnAnsar Abbasi’s reporting in The News is arguably another.

But these are just small islands of excellence amid a vast sea of mediocrity. To understand just how hard it is to report in Pakistan without fear of censure or consequences, imagine this: Ahmad Noorani’s report about Gen (retd) Bajwa’s family’s wealth was a big story to come out of an independent digital outlet. However, it only really got picked up in the mainstream when finance minister Ishaq Dar said he wanted to know how the former COAS’ information was leaked. These are the conditions journalists work under.

Nevertheless, 2022 was a year of big events in Pakistan — reporting on the lead up to, and then after, the vote of no-confidence, the floods and the change of command in the military come immediately to mind.

On that front, legacy media outlets did well in their reporting, especially given the restraints on them, be it from Pemra or well … you know where — the dreaded sword that needs no legal cover to strike to take you off air or muzzle owners into silencing editors. Editors took bold stances in their editorials, reporters went the extra mile in verifying stories before printing, journalists asked tough questions from people in power. Journalists like Sadaf Naeem put their lives on the line to get the job done. At least 53 journalists have been murdered in the last decade. There is no accountability.

The manner in which Arshad Sharif’s murder was covered is another example of partisanship and outlets pushing particular narratives — either for someone else or for their own interests. Amid all this, Twitter often plays the role of ombudsman — calling out media outlets for errors, from typos to misidentified people, places etc.

It’s a reminder of the pressure in digital newsrooms competing against social media to get the story out and errors will happen.

Working conditions

Of course, there are innumerable faults in the way the news is pushed out, but my point here is to shine a light on the miserable working conditions for so many people on the desk and in the field trying to get information across to audiences. The pressure in digital media is especially daunting, given that one is competing with social media where there are no checks and balances.

The errors, typos and editorial judgments that prove foolish in hindsight have been, and are, de rigueur in the newsroom, but the role of the journalist has evolved over the years and needs an urgent revisit.

For that, newsroom leadership needs to do better. And for that, everyone involved in the making of the news needs to revisit the purpose of journalism itself.

“The purpose of journalism is not defined by technology, nor by journalists or the techniques they employ,” write Bill Kovach and Tom Rosenstiel in The Elements of Journalism. “Rather, the principles and purpose of journalism are defined by something more basic: the function news plays in the lives of people.”

Are media owners hiring the right leaders to run newsrooms tasked with ensuring best practices in reporting, editing and disseminating information? Are newsroom leaders working towards ending income inequality at the workplace and creating an environment that makes staff’s lives better? What is the role of the HR department really, because right now, it is embarrassing; they enable abusers and serve to please masters. Moreover, job insecurity cuts across departments in news organisastions.

It is simply impossible to assess the highs and lows in media coverage without highlighting working conditions in newsrooms because that impacts how you receive the news. Those who make the news you want to hear during prime time receive the highest ratings on TV, thus the highest salary. Even though the demographics of who watches TV is on the decline.

Most media owners’ understanding of the digital landscape — for example, who consumes what and where, and how that impacts advertisers — is flawed because they are reliant on newsroom leaders to give them that information, but those men (almost always men) are holding onto power and some distorted reality of audience needs.

I’m struck by what Professor Victor Pickard of the University of Pennsylvania wrote in Nieman Lab, where he said people point fingers in several directions when trying to understand the “wild fluctuations of the news industry” but don’t discuss the main culprit: capitalism.

“It is capitalism that incentivises the degradation of our news media — disinvesting in local journalism, weaponising social media to capture our attention and data, and devaluing media workers’ labour conditions. All the while, commercial media outlets treat news as a commodity, not a public service, and audiences as consumers, not engaged citizens,” he writes.

Since Gen Musharraf liberalised the media, more and more businessmen have entered the industry with a singular goal of maximising their profits. They are not concerned with the press’ role in ensuring a functioning democracy.

The billionaires buying up the media to turn into, as Professor Pickard writes, “their personal plaything” has dangerous consequences — as we can see all over the world (looking at you Elon Musk). Even in Pakistan, a small number of people control a few media outlets, allowing them to shape public opinion to tailor their business needs if they wanted to.

It’s overwhelming to imagine a media system not dependent on the market, but perhaps there are glimmers of hope on the horizon. I know at least one editor who is venturing out on his own to create a 360 website — text, video, audio — focused solely on investigative journalism.

Perhaps a non-profit model is in the works in Pakistan somewhere? Perhaps systems will be in place in the near future to allow audiences to make micropayments for incisive fair reporting on important issues that don’t make it to mainstream media. Perhaps we can hope for activism in press unions that address the systemic inequalities in salaries and working conditions among journalists.

In April last year, I wrote about the need for public media and how it can help “fill the gap and provide fair news and diverse programming which reflects Pakistan’s plural society.” I know it cannot happen overnight, not even the next few years, but imagining a “post commercial system that privileges democracy over profit” as Professor Pickard writes, is worth fighting for.

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It’s time for a Halloween movie marathon. 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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Sutherland House Experts Book Publishing Launches To Empower Quiet Experts

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Sutherland House Experts is Empowering Quiet Experts through
Compelling Nonfiction in a Changing Ideas Landscape

TORONTO, ON — Almost one year after its launch, Sutherland House Experts is reshaping the publishing industry with its innovative co-publishing model for “quiet experts.” This approach, where expert authors share both costs and profits with the publisher, is bridging the gap between expertise and public discourse. Helping to drive this transformation is Neil Seeman, a renowned author, educator, and entrepreneur.

“The book publishing world is evolving rapidly,” publisher Neil Seeman explains. “There’s a growing hunger for expert voices in public dialogue, but traditional channels often fall short. Sutherland House Experts provides a platform for ‘quiet experts’ to share their knowledge with the broader book-reading audience.”

The company’s roster boasts respected thought leaders whose books are already gaining major traction:

• V. Kumar Murty, a world-renowned mathematician, and past Fields Institute director, just published “The Science of Human Possibilities” under the new press. The book has been declared a 2024 “must-read” by The Next Big Ideas Club and is receiving widespread media attention across North America.

• Eldon Sprickerhoff, co-founder of cybersecurity firm eSentire, is seeing strong pre-orders for his upcoming book, “Committed: Startup Survival Tips and Uncommon Sense for First-Time Tech Founders.”

• Dr. Tony Sanfilippo, a respected cardiologist and professor of medicine at Queen’s University, is generating significant media interest with his forthcoming book, “The Doctors We Need: Imagining a New Path for Physician Recruitment, Training, and Support.”

Seeman, whose recent and acclaimed book, “Accelerated Minds,” explores the entrepreneurial mindset, brings a unique perspective to publishing. His experience as a Senior Fellow at the University of Toronto’s Institute of Health Policy, Management and Evaluation, and academic affiliations with The Fields Institute and Massey College, give him deep insight into the challenges faced by people he calls “quiet experts.”

“Our goal is to empower quiet, expert authors to become entrepreneurs of actionable ideas the world needs to hear,” Seeman states. “We are blending scholarly insight with market savvy to create accessible, impactful narratives for a global readership. Quiet experts are people with decades of experience in one or more fields who seek to translate their insights into compelling non-fiction for the world,” says Seeman.

This fall, Seeman is taking his insights to the classroom. He will teach the new course, “The Writer as Entrepreneur,” at the University of Toronto, offering aspiring authors practical tools to navigate the evolving book publishing landscape. To enroll in this new weekly night course starting Tuesday, October 1st, visit:
https://learn.utoronto.ca/programs-courses/courses/4121-writer-entrepreneur

“The entrepreneurial ideas industry is changing rapidly,” Seeman notes. “Authors need new skills to thrive in this dynamic environment. My course and our publishing model provide those tools.”

About Neil Seeman:
Neil Seeman is co-founder and publisher of Sutherland House Experts, an author, educator, entrepreneur, and mental health advocate. He holds appointments at the University of Toronto, The Fields Institute, and Massey College. His work spans entrepreneurship, public health, and innovative publishing models.

Follow Neil Seeman:
https://www.neilseeman.com/
https://www.linkedin.com/in/seeman/

Follow Sutherland House Experts:

https://sutherlandhouseexperts.com/
https://www.instagram.com/sutherlandhouseexperts/

Media Inquiries:
Sasha Stoltz | Sasha@sashastoltzpublicity.com | 416.579.4804
https://www.sashastoltzpublicity.com

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What to stream this weekend: ‘Civil War,’ Snow Patrol, ‘How to Die Alone,’ ‘Tulsa King’ and ‘Uglies’

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Hallmark launching a streaming service with two new original series, and Bill Skarsgård out for revenge in “Boy Kills World” are some of the new television, films, music and games headed to a device near you.

Also among the streaming offerings worth your time as selected by The Associated Press’ entertainment journalists: Alex Garland’s “Civil War” starring Kirsten Dunst, Natasha Rothwell’s heartfelt comedy for Hulu called “How to Die Alone” and Sylvester Stallone’s second season of “Tulsa King” debuts.

NEW MOVIES TO STREAM SEPT. 9-15

Alex Garland’s “Civil War” is finally making its debut on MAX on Friday. The film stars Kirsten Dunst as a veteran photojournalist covering a violent war that’s divided America; She reluctantly allows an aspiring photographer, played by Cailee Spaeny, to tag along as she, an editor (Stephen McKinley Henderson) and a reporter (Wagner Moura) make the dangerous journey to Washington, D.C., to interview the president (Nick Offerman), a blustery, rising despot who has given himself a third term, taken to attacking his citizens and shut himself off from the press. In my review, I called it a bellowing and haunting experience; Smart and thought-provoking with great performances. It’s well worth a watch.

— Joey King stars in Netflix’s adaptation of Scott Westerfeld’s “Uglies,” about a future society in which everyone is required to have beautifying cosmetic surgery at age 16. Streaming on Friday, McG directed the film, in which King’s character inadvertently finds herself in the midst of an uprising against the status quo. “Outer Banks” star Chase Stokes plays King’s best friend.

— Bill Skarsgård is out for revenge against the woman (Famke Janssen) who killed his family in “Boy Kills World,” coming to Hulu on Friday. Moritz Mohr directed the ultra-violent film, of which Variety critic Owen Gleiberman wrote: “It’s a depraved vision, yet I got caught up in its kick-ass revenge-horror pizzazz, its disreputable commitment to what it was doing.”

AP Film Writer Lindsey Bahr

NEW MUSIC TO STREAM SEPT. 9-15

— The year was 2006. Snow Patrol, the Northern Irish-Scottish alternative rock band, released an album, “Eyes Open,” producing the biggest hit of their career: “Chasing Cars.” A lot has happened in the time since — three, soon to be four quality full-length albums, to be exact. On Friday, the band will release “The Forest Is the Path,” their first new album in seven years. Anthemic pop-rock is the name of the game across songs of love and loss, like “All,”“The Beginning” and “This Is the Sound Of Your Voice.”

— For fans of raucous guitar music, Jordan Peele’s 2022 sci-fi thriller, “NOPE,” provided a surprising, if tiny, thrill. One of the leads, Emerald “Em” Haywood portrayed by Keke Palmer, rocks a Jesus Lizard shirt. (Also featured through the film: Rage Against the Machine, Wipers, Mr Bungle, Butthole Surfers and Earth band shirts.) The Austin noise rock band are a less than obvious pick, having been signed to the legendary Touch and Go Records and having stopped releasing new albums in 1998. That changes on Friday the 13th, when “Rack” arrives. And for those curious: The Jesus Lizard’s intensity never went away.

AP Music Writer Maria Sherman

NEW SHOWS TO STREAM SEPT. 9-15

— Hallmark launched a streaming service called Hallmark+ on Tuesday with two new original series, the scripted drama “The Chicken Sisters” and unscripted series “Celebrations with Lacey Chabert.” If you’re a Hallmark holiday movies fan, you know Chabert. She’s starred in more than 30 of their films and many are holiday themed. Off camera, Chabert has a passion for throwing parties and entertaining. In “Celebrations,” deserving people are surprised with a bash in their honor — planned with Chabert’s help. “The Chicken Sisters” stars Schuyler Fisk, Wendie Malick and Lea Thompson in a show about employees at rival chicken restaurants in a small town. The eight-episode series is based on a novel of the same name.

Natasha Rothwell of “Insecure” and “The White Lotus” fame created and stars in a new heartfelt comedy for Hulu called “How to Die Alone.” She plays Mel, a broke, go-along-to-get-along, single, airport employee who, after a near-death experience, makes the conscious decision to take risks and pursue her dreams. Rothwell has been working on the series for the past eight years and described it to The AP as “the most vulnerable piece of art I’ve ever put into the world.” Like Mel, Rothwell had to learn to bet on herself to make the show she wanted to make. “In the Venn diagram of me and Mel, there’s significant overlap,” said Rothwell. It premieres Friday on Hulu.

— Shailene Woodley, DeWanda Wise and Betty Gilpin star in a new drama for Starz called “Three Women,” about entrepreneur Sloane, homemaker Lina and student Maggie who are each stepping into their power and making life-changing decisions. They’re interviewed by a writer named Gia (Woodley.) The series is based on a 2019 best-selling book of the same name by Lisa Taddeo. “Three Women” premieres Friday on Starz.

— Sylvester Stallone’s second season of “Tulsa King” debuts Sunday on Paramount+. Stallone plays Dwight Manfredi, a mafia boss who was recently released from prison after serving 25 years. He’s sent to Tulsa to set up a new crime syndicate. The series is created by Taylor Sheridan of “Yellowstone” fame.

Alicia Rancilio

NEW VIDEO GAMES TO PLAY

— One thing about the title of Focus Entertainment’s Warhammer 40,000: Space Marine 2 — you know exactly what you’re in for. You are Demetrian Titus, a genetically enhanced brute sent into battle against the Tyranids, an insectoid species with an insatiable craving for human flesh. You have a rocket-powered suit of armor and an arsenal of ridiculous weapons like the “Chainsword,” the “Thunderhammer” and the “Melta Rifle,” so what could go wrong? Besides the squishy single-player mode, there are cooperative missions and six-vs.-six free-for-alls. You can suit up now on PlayStation 5, Xbox X/S or PC.

— Likewise, Wild Bastards isn’t exactly the kind of title that’s going to attract fans of, say, Animal Crossing. It’s another sci-fi shooter, but the protagonists are a gang of 13 varmints — aliens and androids included — who are on the run from the law. Each outlaw has a distinctive set of weapons and special powers: Sarge, for example, is a robot with horse genes, while Billy the Squid is … well, you get the idea. Australian studio Blue Manchu developed the 2019 cult hit Void Bastards, and this Wild-West-in-space spinoff has the same snarky humor and vibrant, neon-drenched cartoon look. Saddle up on PlayStation 5, Xbox X/S, Nintendo Switch or PC.

Lou Kesten

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