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11/192018

Marvel Teams Up With Riot Games For New ‘League of Legends’ Comic

November 19, 2018 1:30PM PT

Marvel Comics is working with Riot Games to bring a “League of Legends” graphic novel based on one of its popular heroes to life.

“League of Legends: Ashe: Warmother” is an upcoming graphic novel with a complete edition set for release in May 2019, which marks the first full-length comic based on “League of Legends.” It will mark the beginning of a series of monthly graphic novels based on the game that will come to digital platforms beginning on Wednesday, Dec. 19.

“We’re excited to partner with Riot and help build the League of Legends Universe for fans and players around the world,” said Marvel Editor-in-Chief C.B. Cebulski.

The first comic is an origin story that explores the Iceberg warrior champion Ashe’s past as she works to balance out her mother’s expectations for her as well as her role as the leader of her people in the world of Runeterra. Artist Nina Vakueva will bring the characters to life, while Riot Games writer Odin Austin Shafer will work alongside Vakueva in his comic debut, while Cardinal Rae will work on lettering for the graphic novel.

There’s no word yet on which “League of Legends” champions are set to follow Ashe just yet, but it’s likely Riot Games will offer more information on what to expect soon.

https://variety.com/2018/gaming/news/marvel-riot-games-league-of-legends-comic-1203032441/

11/192018

White House Fully Restores Jim Acosta’s Press Pass

News

November 19, 2018 12:50PM PT

WASHINGTON — The White House has fully restored CNN correspondent Jim Acosta’s hard pass, ending high stakes litigation that could have determined the extent to which the president controls access by the media.

“Having received a formal reply from your counsel to our letter of November 16, we have made a final determination in this process: your hard pass is restored,” the White House said in a letter to Acosta on Monday afternoon and published by CNN. “Should you refuse to follow these rules in the future, we will take action in accordance with the rules set forth above. The President is aware of this decision and concurs.”

“Today the @WhiteHouse fully restored @Acosta’s press pass,” the CNN public relations account wrote. “As a result, our lawsuit is no longer necessary. We look forward to continuing to cover the White House.”

Today the @WhiteHouse fully restored @Acosta‘s press pass. As a result, our lawsuit is no longer necessary. We look forward to continuing to cover the White House.

— CNN Communications (@CNNPR) November 19, 2018

If the White House were to seek again to pull the hard pass, it would have required the administration to first ask a federal judge to lift a court order. CNN won a temporary restraining order on Friday to at temporarily restore Acosta’s pass. U.S. District Judge Timothy Kelly on Friday ruled that the White House failed to follow due process when they revoked his credentials hours after a contentious press conference on Nov. 7.

Over the weekend, it looked as if the White House would attempt to revoke Acosta’s pass again by proving to the judge that they had followed due process.

Press Secretary Sarah Huckabee Sanders and Deputy Chief of Staff Bill Shine sent a letter to Acosta on Friday evening informing him that they had preliminarily decided to revoke his credential, with a final decision to be made on Monday. CNN’s legal team objected to the move, calling it retroactive and based on non-existent written standards of conduct. They sought an emergency court hearing.

The Trump administration also outlined a written set of guidelines for reporters at press conferences:

(I) A journalist called upon to ask a question will ask a single question and then will yield the floor to other journalists;

(2) At the discretion of the President or other White House official taking questions, a follow-up question or questions may be permitted; and where a follow-up has been allowed and asked, the questioner will then yield the floor;

(3) “Yielding the floor” includes, when applicable, physically surrendering the microphone to White House staff for use by the next questioner;

(4) Failure to abide by any of rules (1)-(3) may result in suspension or revocation of the journalist’s hard pass.

The Trump administration claimed that Acosta disrupted the press conference when he refused to stop trying to ask a followup question to the president. Trump called him “rude,” and Acosta initially declined to hand his microphone over to a White House intern when she attempted to grab it from him.

In the aftermath, Trump derided what he said was a lack of “decorum,” and over the weekend said that rules were being put in place. But in a hearing last week, CNN’s lead attorney Ted Boutrous said that it was the president who “set the tone” at the press conference, and it was he who contributed to its raucous atmosphere by interrupting reporters and, in some cases, berating them.

Sanders said that they issued the written guidelines “with a degree of regret,” but she and Shine blamed CNN and Acosta for forcing the issue.

“We would prefer to continue hosting White House press conferences in reliance on a set of understood professional norms, and we believe the overwhelming majority of journalists covering the White House share that preference,” Shine and Sanders wrote in their letter on Monday. “But, given your insistence that shared practices be replaced by ‘explicit…standards,’ this letter attempts to convert into rules the widely understood practices described in our prior letter, and which your counsel inexplicably concludes were non-existent.”

Shine and Sanders also held out the possibility of a more extensive code of conduct.

They added that “the view from here is that White House interaction with the press is, and generally should be, subject to a kind of natural give and take. President Trump believes strongly in the First Amendment and interacts with the press in just such a way. It would be a great loss for all if, instead of this give and take, and instead of relying on the professionalism of White House journalists, we were compelled to devise a lengthy and detailed code of conduct for White House events.”

https://variety.com/2018/politics/news/white-house-jim-acosta-hard-pass-1203032401/

11/192018

Live+7 Ratings for Week of Oct. 29: ‘Sunday Night Football’ Soars 66 Percent Versus Last Week

News

Live+7 Ratings for Week of Oct. 29: ‘SNF’ Soars 66% Versus Last Week – Variety

https://variety.com/2018/tv/news/live-plus-7-ratings-week-of-oct-29-sunday-night-football-1203032557/

11/192018

‘Diablo’ Creator Rant Goes Viral

News

David Brevik, the senior designer of the original “Diablo” ranted about Blizzard on his wife’s “Path of Exile” Twitch stream last month, which has now caught the attention of the game community.

Brevik noted how much money ‘Fortnite’ is making on the Oct. 5 stream, before explaining how this might impact Blizzard’s financial decisions. He also stated that he thinks Activision is taking over Blizzard, and noted the loss of key individuals at Blizzard, including Mike Morhaime.

“’Overwatch’ isn’t ‘Fortnite.’ Why have you wronged us? Okay, we’re going to get rid of the [employee] profit-sharing program. We don’t like this,” Brevik said. “We don’t like the fact that low-level employees make decent money at Blizzard. We’re gonna get rid of this program because we need more profits to increase our stock price, and improve our shareholders and the elite 1% of the company.”

“And, so, therefore, you don’t like this very much, Mike Morhaime?” Brevik added. “Well too f—ing bad, you’re gone!”

At about this point, Brevik’s wife, Twitch streamer thejunglequeen, interjects with “We don’t know if that’s the case,” which Brevik acknowledges as true. Brevik left Blizzard back in 2003 to pursue other projects, including “It Lurks Below,” released earlier this year under Early Access.

Morhaime, co-founder and former president at Blizzard Entertainment, stepped down from the role last month. The employee profit sharing program was cut and then redistributed to employees as a part of their salaries rather than as a bonus, Blizzard explained in a statement last month.

Earlier in the stream, Brevik told his wife he was “way, way, way too drunk” to be on her stream, so it should be acknowledged that some of Brevik’s rant might have been fueled by alcohol. Brevik also told Newsweek that it was “probably my bedtime” and said that he was simply speculating.

“I was just speculating that this is a possible scenario,” Brevik said. “I have no inside information…. I don’t know if I even believe it, it was just a hypothetical scenario.”

The announcement of “Diablo Immortal” during BlizzCon 2018 left many “Diablo” fans disgruntled, as a common sentiment was that players don’t want a mobile version of the game and felt cheated by not getting any updates on a new PC/console “Diablo” game.

With the backlash over “Diablo Immortal,” Brevik’s rant has been used as fuel to keep the fire going. Debate over Brevik’s statements started on the Reddit thread at r/LivestreanFail.

https://variety.com/2018/gaming/news/diablo-creator-rant-1203032277/

11/192018

Beards: So sexually attractive they can get lit for the holidays

News

Step aside, pink-cheeked pansy boys — real women crave scruff.

Lusty ladies are just more turned on by men with facial forests, according to a new study published in the Journal of Evolutionary Biology.

“Beards may be more attractive to women when considering long-‐term [rather] than short-‐term relationships as they indicate a male’s ability to successfully compete socially with other males for resources,” the research says.

As part of the experiment, male subjects were first photographed clean-shaven, followed by snaps after five and 10 days of going natural. Finally, they posed in full manly glory after one month of growth.

Researchers tasked 8,500 women with rating the men on their appeal as a “long-term romantic partner.” Heavy stubble (10 days) was ranked most attractive, while full beards grown over four weeks came second.

A five o’ clock shadow was considered third-rate — and clean-shaven men constituted the dregs of the dating pool.

“Beards consistently render men with an older, more masculine, socially dominant and aggressive appearance,” the study says.

First Movember moustaches — the annual November celebration of men’s-health awareness — and now this? With the spotlight’s glare so laser-focused on man fur, what better time for a little celebratory beard bling than the season of giving?

Firebox to the rescue: The online gift shop now offers a personal holiday light show for your man’s facial fur. For $14, you can deck your hunk with 18 multicolored LED lights. The tiny heat-less bulbs are strung on a 35-inch wire that clips discreetly into their burly aphrodisiac.

Oh, and don’t feel bad if you lack a luxurious chin mane, guys. It doesn’t mean you’re not packing testosterone — it just means you can’t process it.

Men who can’t cultivate a full bush don’t produce enough dihydrotestosterone, or DHT, a hormone that “causes the body to mature during puberty and is responsible for many of the physical characteristics associated with adult males.”

But not all men are created equal.

“DHT is a modified, more active form of testosterone,” Dr. Joshua Zeichner, a director of clinical research in dermatology at Mount Sinai Hospital, tells Men’s Health. “In your body, testosterone is transformed into DHT, which exerts stronger effects than testosterone itself.”

https://nypost.com/2018/11/19/beards-so-sexually-attractive-they-can-get-lit-for-the-holidays/

11/192018

‘Benny in the Dark’ Heads ‘Brit List’ of Top Unproduced Screenplays

News

The Brit List, the annual survey of British film executives’ favorite unproduced screenplays (similar to the Black List in the U.S.), was unveiled Monday in London with “Benny in the Dark,” a supernatural thriller by Phillip Morgan, heading the list.

The film, which garnered nine recommendations, is a “character-driven 1950s-set allegory for the unspoken societal fears around male depression.” It will be produced by House Productions, the company headed by Tessa Ross, the former controller of film and drama at Channel 4, and Juliette Howell, the former head of television at Working Title.

Morgan, whose credits include 2017 short “Blackmoor,” has another features screenplay in development, “E for English,” with Blue Shadow Films.

Following closely with eight recommendations was thriller/drama “Surge,” written by Rupert Jones and Rita Kalnejais, and set to be produced by Rooks Nest, BBC Films and Creative England. The film, set over 24 hours, is “a stripped-back thriller about a man who goes on a bold and reckless journey of self-liberation in London.”

The 10th annual list – reproduced below – was compiled using the recommendations of leading professionals from more than 90 companies across the British film industry, including agents, financiers, producers and distributors. Out of 134 script recommendations, 18 received the required minimum of three recommendations to make it onto the list.

Alexandra Arlango, who has run The Brit List for the past decade, said: “The Brit List is not a competition; it’s a showcase. Our intention is twofold: to put the year’s best unproduced scripts before the industry, and to provide a spotlight for rising talent. A look at previous lists will show you how many scripts that make it onto The Brit List go on to be produced. This year, an unprecedented three writers on the list do not have representation, and two scripts are as yet unattached to production companies, so the networking event will be of special interest to all the agents and producers attending.”

Of the screenplays that have appeared on The Brit List, 70 have gone on to be produced – a rate of 1 in 4. These films have generated more than $1.7 billion in worldwide box-office and garnered more than 100 nominations for major awards, including six Oscar, nine BAFTA and four Golden Globe wins, according to Arlango. Films whose screenplays appeared on The Brit List in past years include “The Favourite,” “Operation Finale,” “Lion,” “Paddington” and “The King’s Speech.”

“Operation Finale” writer Matt Orton said: “Featuring on The Brit List has been invaluable for my career progression. It drew attention to projects, and gave me exposure to producers both here and overseas when it would have taken far longer to get otherwise. It’s a fantastic way to showcase emerging and established U.K. talent alike, and all selected this year should be deeply proud to be featured.”

NINE RECOMMENDATIONS
“BENNY IN THE DARK” by Phillip Morgan (Independent Talent Group)
Producers: House Productions
Genre: Supernatural Thriller
Summary: A character-driven 1950s-set allegory for the unspoken societal fears around male depression.

EIGHT RECOMMENDATIONS
“SURGE” by Rupert Jones (Casarotto) & Rita Kalnejais (42)
Producers: Rooks Nest/BBC Films/Creative England
Genre: Thriller/Drama
Summary: Set over 24 hours in London, SURGE is a stripped-back thriller about a man who goes on a bold and reckless journey of self-liberation in London.

SIX RECOMMENDATIONS
“YESTERDAY TOMORROW TODAY” by Lawrie Doran (unrepresented). Revisions by Polly Vernon (42)
Producers: Met Film Production
Genre: Indie Rom Com
Summary: Feeling pressure to start a family she’s not sure she wants, a bored thirty-something finds a portal to the past where she embarks on an exciting affair with a younger man – her husband before they met.

FIVE RECOMMENDATIONS
“SHEPHERD” by Chris Andrews (Independent Talent Group)
Producers: Stray Bear Productions
Genre: Revenge Thriller
Summary: Determined to avenge the killing of his flock, a Cumbrian shepherd is drawn into a cycle of violence that exposes secrets from his past.
“THE BIKE THIEF” by Matt Chambers (unrepresented)
Producers: Ugly Duckling Films/Ellipsis Pictures
Genre: Thriller
Summary: A Romanian delivery rider’s moped is the center of his family’s new life in London. When it is stolen, how far will he go to get it back?
“ANNA’S STORY” by Paul Herzberg (MBA Literary and Script Agents)
Producers: Ecosse Films
Genre: True Story
Summary: The extraordinary story of Anna Nathan, who became pregnant during the Holocaust and, facing certain death if discovered, resolved to conceal her pregnancy inside the camps.

FOUR RECOMMENDATIONS
“QUEEN’S GAMBIT” by Henrietta & Jessica Ashworth (United Agents)
Producers: Magnolia Mae/Baby Cow
Genre: Period Drama
Summary: Adaptation of Elizabeth Fremantle’s novel about Katherine Parr, the one wife to survive Henry VIII.
“CAB RIDE HOME” by Charlotte Colbert (unrepresented)
Producers: Popcorn Group
Genre: Drama
Summary: In the final fortnight of Marilyn Monroe’s life, when she cannot find her therapist, she instead befriends her taxi driver.
“A PAIL OF AIR” by Alistair McDowall (Judy Daish Associates)
Producers: Pari Passu Films
Genre: Post Apocalyptic SciFi
Summary: A family survives a devastating ice age and find out they are not alone. Adapted from the short story of the same name by Fritz Leiber.
“GB” by Philip Robinson (The Agency)
Producers: Available
Genre: Road Movie
Summary: A white-van man and his best friend since childhood, who is a trans woman, take a road trip to make the money for her reassignment surgery – one last trip as mates before they’re husband and wife.
“ALL MY FRIENDS HATE ME” by Tom Stourton & Tom Palmer (Independent Talent Group)
Producers: Available
Genre: Comedy Horror
Summary: Pete’s turning 30, and the old gang from college is throwing a party. But his head begins to spin as one by one his friends slowly turn against him. He can’t work out: Did he do something wrong? Is he paranoid? Or are his friends the sick ones?

THREE RECOMMENDATIONS
“BLUE” by Sam Baron (Curtis Brown) & James Appleby (unrepresented)
Producers: Blueprint/3Arts
Genre: Sci-fi drama
Summary: In near-future San Francisco, a successful therapist is struggling to raise her child after her husband’s death. She is intrigued by an offer to treat the world’s first artificial consciousness, but is surprised to discover that it wants to die.
“BURMESE DAYS” by Richard Cottan (Casarotto)
Producers: Magnolia Mae
Genre: Period Drama
Summary: An adaptation of George Orwell’s first novel and based on his experiences as a policeman in Burma, it presents a devastating picture of British colonial rule.
“THE POWER” by Corinna Faith (Casarotto)
Producers: Stigma Films/Air Street Films
Genre: Horror
Summary: In 1973, a young nurse is forced to work the night shift in a crumbling hospital as striking miners switch off the power across Britain. But inside the walls lurks a terrifying presence that threatens to consume her and everyone around her.
“THE HORNED MAN” by Toby Finlay (Casarotto)
Producers: Nira Park/Jim Wilson/Rachael Prior
Genre: Psychological Thriller
Summary: Based on the novel by James Lasdun. A New York professor of gender studies becomes increasingly unhinged when he suspects that his mysteriously AWOL predecessor – who epitomized the toxic masculinity he rails against – is framing him for the brutal murders of women in the city.
“THE HOUSEKEEPER” by Patrick Gale (United Agents)
Producers: Headstrong Pictures
Genre: Psychological Drama
Summary: A tragic love story between two women set in 1930s England and the fictional origins story of the Daphne du Maurier novel, “Rebecca,” and du Maurier’s creation of the infamous character of Mrs. Danvers.
“FACE BLIND” by Dominic Harari & Teresa de Pelegri (Curtis Brown)
Producers: Rooks Nest
Genre: Thriller
Summary: A female psychiatrist develops a condition that makes her unable to distinguish people’s faces, including the face of her stalker.
“SHE WILL” by Kitty Percy (The Agency)
Producers: Popcorn Group
Genre: Supernatural Thriller
Summary: After a double mastectomy, fading star Veronica Ghent goes to a healing retreat in rural Scotland with her young nurse, Desi. The two develop an unlikely bond after mysterious forces give Veronica the power to enact revenges in her dreams.

https://variety.com/2018/film/news/benny-in-the-dark-brit-list-top-unproduced-british-screenplays-1203032373/

11/192018

AFI Conservatory Dean Richard Gladstein Steps Down

News

AFI Conservatory Dean Richard Gladstein Steps Down – Variety

https://variety.com/2018/film/news/afi-conservatory-richard-gladstein-1203032569/

11/192018

‘Luke Cage’ Star Theo Rossi Joins Netflix Thriller ‘Rattlesnake’

News

November 19, 2018 11:39AM PT

“Sons of Anarchy” star Theo Rossi has joined the cast of “Rattlesnake,” an upcoming Netflix movie from filmmaker Zak Hilditch.

Character details are under wraps, but Rossi will star alongside Carmen Ejogo (“It Comes at Night,” “True Detective”) in the psychological thriller, which is currently in production.

It follows a single mother who accepts emergency help from a mysterious woman when her daughter is bitten by a rattlesnake. She’s forced to return the favor by taking the life of a stranger in the desert town of Tulia, Texas. Hilditch is reteaming with producer Ross Dinerstein and his label Campfire on the project.

Rossi most recently appeared on two seasons of the Netflix series “Luke Cage,” part of the streamer’s cluster of Marvel Studios television properties, where he played fan favorite villain Hernan Enrique Salazar “Shades” Alvarez. His breakout role came on Kurt Sutter’s FX series “Sons of Anarchy,” where he portrayed hacker and intelligence officer Juice Ortiz.

Rossi is repped by Creative Artists Agency, Management 360 and law firm Schreck Rose Dapello Adams.

https://variety.com/2018/film/news/theo-rossi-netflix-rattlesnake-1203032491/

11/192018

Former Remedy Entertainment, Wargaming Devs Form New Studio

News

November 19, 2018 11:30AM PT

A multinational group of former AAA game developers and executives are forming a new studio called Redhill Games, they announced on Monday.

Redhill is comprised of developers from Remedy Entertainment (“Alan Wake,” “Quantum Break”), Wargaming (“World of Tanks”), Guerrilla Games (“Horizon Zero Dawn”), Starbreeze (“Payday 2”), and more. Based in Helsinki, the studio will concentrate on “creating high-quality titles targeting underserved market segments in the gaming industry.” Specifically, its core focus will be rooted in free-to-play tactical shooters and ongoing games-as-a-service titles, two genres the team knows best.

“I’ve had the joy of working with so many wonderfully talented people since beginning in games in 1999,” said Redhill Games CEO Matias Myllyrinne. “Redhill Games represents the best of the best from all my years of experience, bringing together some of the industry’s top professionals from various disciplines for a new adventure. These are people who have collaborated closely before, and I’m confident our best games are still ahead of us.”

Myllyrinne is the former CEO of Remedy Entertainment and former head of global development at Wargaming, where he spearheaded advancements to the company’s development efficiency, quality, and output across its ten internal studios worldwide. He’s joined by Redhill CTO Mikko Uromo and executive producer Milos Jerabek. Both previously worked at Wargaming and Remedy. Meanwhile, Redhill COO Ekaterina Dolgova was the former head of HR and chief of staff for global development at Wargaming.

The studio said the next phase of its company roadmap will focus on expanding its development and production team. It will talk more about what it’s working on in 2019.

https://variety.com/2018/gaming/news/former-remedy-wargaming-devs-form-redhill-games-1203032418/

11/192018

Rolling Stones Announce 2019 U.S. Stadium Tour

News

The Rolling Stones, who have toured every year since 2012 and whose principals are all in their 70s, have announced a North American tour for next year that launches April 20 in Florida and wrap in Chicago on June 21. The initial announcement includes 13 dates, however there are several days between each tour date so additional shows seem likely, even with the Stones’ average of 3-4 days between shows. The dates, which appear in full below and are an extension of the group’s 20118 “No Filter” tour, were first announced by Rolling Stone.

“It’s a thrill when we play stadiums in the States,” Mick Jagger said in a statement, “the energy is always amazing!”

Keith Richards added, “I’ve always loved playing the states. It’s a great crowd.”

The group has been teasing the announcement for several weeks, with banners featuring its iconic logo hanging at football stadiums and various other hints.

Rather than doing months-long campaigns as they did over the past few decades, the group’s strategy over the past five years has been to do a dozen-odd shows per continent every few months. The group’s most recent tour, the European segement of “No Filter,” had a first leg spanning September and October of 2017 and concluded with a second run spanning May to July of this year. The Stones toured Latin America in 2016; they last toured North America in 2015, although the group has performed in Las Vegas, at the Desert Trip festival and at a pair of private gigs in the States since then.

While the group continues work on a new studio album, Abkco, which curates the group’s early catalog, is celebrating the 1968 Stones with three special releases emanating from that year: a remastered and repackaged “Beggars Banquet” vinyl reissue; a restored version of Jean-Luc Godard’s “Sympathy for the Devil” film (which documents the Stones recording the titular song); and, early next year, an expanded reissue of the legendary “Rock and Roll Circus” video and album.

Shortly after the tour was announced, Jagger and Richards did a brief but exclusive Q&A on iHeartRadio, hosted by New York Q104.3 host Jim Kerr. Excerpts follow.

Kerr: What can we expect when we see you next year?
Richards: Well, first off, it’s great to be there playing back in America actually. It’s been a while, basically our stomping grounds from the early ’60s, so I always feel like I’m coming home. We finished off a few months ago in Europe and it just felt so good that when they said, “Do you want to do the States?” “Yeah!,” because I didn’t want to get off, I thought we were just getting going.

Kerr: The band has been on a pretty consistent role when it comes to performing with tours – how do the Rolling Stones instead of dialing it down, keep turning it up?

Jagger: Well, we’ve been pretty regularly on the road – we’ve not been doing long, long, long stints we’ve been doing a lot of short ones. Last year we did a lot in UK and a little bit in Europe. We’re keeping our hand in and not getting too rusty, I hope. I haven’t been to quite a few of these places in a while.

Kerr: What’s your personal training regimen like to get ready for those gigantic big stages?

Jagger: Well, pretty stupidly, I made the stage even wider and a bit longer.

Richards: Oh, thanks a lot, Mick.

Jagger: Between these tours I have to keep a sort of plateau of fitness, so after I talk to you I’m probably going to go into the gym. I do a little bit of sprints and jogs, and I do dancing.

Richards: If Mick can do it, I can do it.

Kerr: This year, we’ve seen a lot of pretty prominent artists announce that they are embarking on farewell tours. You have never said that:

Richards: No, other people have always said this could be the last one. I never think of it that way, no: This is a “hello again” tour.

Kerr: Would there be separate set list for United Kingdom than for the Unites States?

Jagger: It will be slightly different, you know, if I do my research I can see that there are certain songs that might be popular in one place. Say slightly different songs in France might be more popular than, say, in Britain. I mean, not all of them, but there are slightly regional variations. I do look at it and go, “That’s a big song here, so we can do that instead of this one.”

Kerr: Do you lobby for any specific songs in the setlist?
Richards: Oh yes, I do, I do push a few in – “Under My Thumb” we started on again. I had an old one we did called “Cry To Me,” an old Solomon Burke song, which I broke into rehearsals. It didn’t make it yet on stage but I’m going to keep pushing that one.

Kerr: What is the meaning behind calling the tour, “No Filter”

Jagger: “It’s supposed to mean that it’s pretty straight-ahead, and no frills.”

Rolling Stones 2019 U.S. Tour Dates

April 20 – Miami Gardens, FL @ Hard Rock Stadium

April 24 – Jacksonville, FL @ TIAA Bank Field

April 28 – Houston, TX@ NRG Stadium

May 7 – Glendale, AZ @ State Farm Stadium

May 11 – Pasadena, CA @ The Rose Bowl

May 18 – Santa Clara, CA @ Levi’s Stadium

May 22 – Seattle, WA @ CenturyLink Field

May 26 – Denver, CO @ Broncos Stadium at Mile High

May 31 – Washington, D.C. @ FedExField

June 4 – Philadelphia, PA @ Lincoln Financial Field

June 8 – Foxborough, MA @ Gillette Stadium

June 13 – East Rutherford, NJ @ MetLife Stadium

June 21 – Chicago, IL @ Soldier Field

https://variety.com/2018/music/news/rolling-stones-announce-2019-u-s-stadium-tour-1203032383/

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