Celine Dion serenades Paris, and now the Games can begin

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To close the opening ceremony of the 2024 Paris Olympics, Celine Dion, standing under the Eiffel Tower, belted out her first live performance since the French-Canadian singer was diagnosed with stiff person syndrome.

She received a standing ovation at this year’s Grammys when she made a surprise appearance to present the final award. That was the beginning of a comeback, completed tonight.

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Dion’s Olympics performance marks her return to performing after years. She was diagnosed with stiff person syndrome in late 2022, causing her to postpone a tour.

The rare neurological disorder causes rigid muscles and painful muscle spasms, which were affecting Dion’s ability to walk and sing. In June, at the premiere of the documentary “I Am: Celine Dion” she told The Associated Press that returning required therapy, “physically, mentally, emotionally, vocally.”

“So that’s why it takes a while. But absolutely why we’re doing this because I’m already a little bit back,” she said.

What to watch: ‘Deadpool & Wolverine’ might have just saved Marvel Cinematic Universe

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Will the MCU get back on its axis with “Deadpool & Wolverine?”

We have thoughts on that as well as about some indie films you need to check out, including “The Beast Within,” “Fresh Kills” and the documentary “Eno.”

Here’s our roundup.

“Deadpool & Wolverine”: What a bummer it’s been with the Marvel Cinematic Universe spinning out of control (“Ant-Man and the Wasp: Quantumania” and “The Marvels” were DOA), with even diehard fans suffering from superhero burnout. The elixir to all the multiverse burnout arrives in the costumed form of this rude, raunchy and hard-R-rated Marvel resurrection of sorts. Director and co-screenwriter Shawn Levy’s MCU bad-boy matchup pits profane wisecracker Deadpool with brooding worrywart Wolverine, and resuscitates the gasping and splintered MCU. The reason it works that it has the right people attached – from stars Ryan Reynolds and Hugh Jackman and on to Levy — who tones down the nauseating overuse of CGI that’s marred recent efforts and leans heavily into an irreverent midlife/existential crisis storyline concocted by a team of five (including Reynolds), which liberally ribs almost everything attached to it (20th Century Studios, Disney, “Gossip Girl,” Blake Lively, “Furiosa,” “The Proposal,” Jackman’s divorce and so on). The cameos — none of which should be revealed — pump things up even more so, to the approximate size of that eighth wonder of the world, Jackman’s biceps. (Impressive, Hugh. Impressive). Meanwhile, Emma Corrin gives one wicked turn as supervillain Cassandra Nova, the mind-manipulating twin sis of “X-Men’s” Charles Xavier. After Deadpool teams up with Wolverine (Why? I won’t tell you), the bickering duo are jettisoned off to the Void — a “Mad Max”-like post-apocalyptic junkyard where dead timelines waste away. Nova is the ruler there, and she loves control in every form, setting the stage for mayhem.

“Deadpool & Wolverine” throws a lot at us — including the awesome, over-the-top violent choreographed fights set to pop songs, and even the extra-juicy bit tagged on at the end  credits — and nearly all of it works. But what makes “Deadpool & Wolverine” the best Deadpool movie yet and the second best “Wolverine” film (James Mangold’s “Logan” still stands tallest) is how the union of two of the edgiest superheroes tempers the tendencies of each other, serving as a needed buffer between Deadpool’s barrage of double entendres and fourth-wall breaking asides and Wolverine’s relentless, gloomy tendency to beat himself up over and over again about past mistakes. United, they’re better and create something more sustainable and less monotonous, a game changer — if you will — that contributes in making “Deadpool & Wolverine”  one of the best, most satisfying and certainly adult roller-coaster rides of this summer. Details: 3½ stars out of 4; in theaters July 26 (with a scattering of screenings July 25).

“Fresh Kills”: Actor Jennifer Esposito hits the target with her electrifying directorial debut that reinvents and reinvigorates worn-out mobster tropes. Esposito co-stars as an ‘80s-’90s Staten Island mob wife/mom shouldering domestic duties and raising two close sisters (Emily Bader from Prime Video’s “My Lady Jane” and Odessa A’zion) while hubby profits from crime and murder. Esposito’s grasp of her multi-dimensional characters, their problems and the era in which they live, is dead-on perfect. Better yet, she gives us a rich portrait of what it’s like to be a girl and then a woman brought up in the shady, violent, macho world of Mafia madness. Sadly, after the film’s successful screening during the 2023 version of Cinequest, it never received a release in the Bay Area. Now you can rent this dynamite film. Details: 3½ stars; available on Fandango at Home, Amazon Prime, Apple TV+, Google Play and more..

“The Beast Within”: Alexander J. Farrell’s Gothic tale conjures a visually intoxicating world that’s both dark and thematically unsettling in unexpected ways. Drawing on “Beauty and the Beast,” even “Little Red Riding Hood,” this bold narrative debut takes a huge swing in its critical, closing minutes and it works — extremely well. Kit Harington of “Game of Thrones” gives a high-wire performance as Noah, a cursed dad from an indeterminate era living with a hyper-alert family deep in the U.K.’s remote woods. Noah is a gregarious, handsome guy, but on occasion needs to get chained up when a bad moon rises. His wife (Ashleigh Cummings) and her father (James Cosmo) do everything to ensure Noah will do no harm to 10-year-old Willow (Caoillinn Springall, handling a tough role with ease). “The Beast Within” is a supernaturally laced thriller, but seems as if came from a painful, dark personal place where the horrors are human and the wounds remain open forever. Details: 3 stars; in theaters July 26.

“Eno”: Often, documentaries about creative types gush about their subject. Not so, Gary Hustwit’s revolutionary mindblower about musician/producer Brian Eno and his hyperkinetic creative process. While David Byrne of the Talking Heads — a group the former Roxy Music member produced — weighs in, Hustwit’s approach avoids the use of talking heads and favors emulating the organic, free-flowing process of creating something changeable — akin to musical performances. This “generative” documentary is continually fluid and changes from one screening to the next. What could have been a confounding mess morphs into a brilliant plunge into the creative process of the tech-savvy Eno and what inspires the the influential artist (he loves nature) and how he allows the work he’s conceived grow up, move out and become its own vibrant entity. “Eno.” is intellectually stimulating, cinematically exciting and truly unique. Details: 4 stars; opens July 26 for a seven-day engagement at the Roxie, with each screening being different than the other.

“The Commandant’s Shadow”: Two families — one whose matriarch survived Auschwitz and the other that includes the elderly son of the commandant (Rodolph Hoss) that oversaw the extermination of more than a million Jews — get their stories told in Daniela Voker’s extraordinary look at the legacy of evil and how unfathomable acts continue to scar ensuing generations. Anyone who saw Jonathan Glazer’s award-winning “The Zone of Interest” will spot how that 2023 film so eerily replicated the Hoss family house featured here, which sat next door to a relentless killing machine. Voker bookends interviews with family members — some who remain in denial of who their father really was — with clips of Hoss’ trial, recollections from his autobiography and photos. Its most powerful moments occur when 87-year-old Hans Jurgen Hoss confronts the scope and scale of the extermination and realizes that his memories of how idyllic his childhood are faulty. Details: 3½ stars; available now on Max.

“Dirty Pop: The Boy Band Scam”: Fans of The Backstreet Boys and NSYNC will want to watch Netflix’s spill-the-tea three-part series on Lou Pearlman, and how the boy-band wiz built an empire out bad money culled from the longest running U.S. Ponzi scheme. “Dirty Pop” dusts in performance footage but it’s the voices of those who knew or worked with Pearlman (sorry, no Justin Timberlake) that fuel it. Fine tells the story well, except when he dumps in video of Pearlman and doctors it up so it appears the late businessman’s reading (a voice actor is used) excerpts from a book he co-authored. Even though “Dirty Pop” reveals upfront this is manipulated, its weirdness backfires and distracts from the story itself. Details: 2½ stars; drops July 24 on Netflix.

“The Fabulous Four”: There’s nothing wrong about wanting to make a goofy comedy about four 60ish/70ish female chums reuniting for a wedding in Key West. But there’s really not much right about “The Fabulous Four,” a predictable slog built around wah-wah jokes, lame situations and an incredibly horrendous bit of lip syncing from Michael Bolton. The cast — Bette Midler, Susan Sarandon, Megan Mullally and Sheryl Lee Ralph – deserve better, and the beginning promises there will be one doozy of a cat fight since Sarandon’s workaholic, cat-lady Dr. Lousie Zebarski and Midler’s social-media addict Marilyn have been estranged for years over a dating kerfuffle. But the tired-out screenplay from Ann Marie-Allison and Jenna Milley even botches that gimme near the end. An obligatory song-and-dance number at the end comes feels tacked on, as if someone saw “Mama Mia!” and said bingo – let’s replicate that box-office crowd pleaser. Made me want to rewatch “Grace and Frankie” instead. Details: 1½ stars; in theaters July 26.

“The Girl in the Pool”: Freddie Prinze Jr.’s growing-more-desperate performance as a cheating family man who stuffs his murdered mistress’ bloody body into a pool storage bin minutes before his surprise birthday party gets sprung keeps this dark comedic thriller afloat. What manages to sink it happens when the screenplay takes a radical tonal shift that doesn’t produce the emotional punch it thinks it’s earned. For the first two thirds, “The Girl in the Pool” leans into genre inclinations and gives us loads of suspects: a drunken, flirtatious invitee who paws at Tom’s (Prinze Jr.) and his angry wife Kirsten’s (Monica Potter) model-looking son; a suspicious father-in-law (Kevin Pollak) and so on. The red herrings don’t net much of anything, except making us realize that Prinze Jr. and Potter (seen together in the 2001 rom-com “Head Over Heels”) deserve better than this. Details: 2 stars; opens July 26 in theaters and also available to rent.

Contact Randy Myers at soitsrandy@gmail.com.

Melanin in Motion hosts bike ride and more this weekend in Minneapolis

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An illuminated nighttime bike ride on Friday, and possibly a record-breaking cha cha slide dance event on Saturday, is what Melanin in Motion has planned for the community this weekend.

“When we started doing this experience called a ‘Glow Roll,’ we just found that adults have an amazing time, it’s more fun to dress your bike up and ride at sunset,” says event organizer Anthony Taylor.

The free “Glow Roll” event starts at 6 p.m. Friday with a bike ride around Midtown Greenway and ends with a community meal and music by KMOJ’s Q Bear.

Saturday’s sickle cell awareness event, “Ride Roll Rumba Rahda for Sickle Cell,” begins with the riders’ choice of a 40-mile bike ride at 8 a.m. or a conversationally paced ride at 9 a.m.

Zumba, yoga, dancing and a community meal are some of the other planned activities for the day, which ends at 12:30 p.m.

“We wanted to do a variety of things so that families and young people living with sickle cell that have a limited capacity can participate as well, and also set a progression and a goal to normalize movement in those communities,” Taylor said. “That idea of not dying from sickle cell, but living with sickle cell.”

Melanin in Motion focuses on connecting the BIPOC community to the outdoors, movement and well-being. Components of the “Slow Roll” bike rides include encouraging people to learn a new name, share a meal and take breaks during rides for educational talks led by Taylor.

“What slow roll does is place people in the geography that they live in already but because they’re on a bike they really have an experience of the changing neighborhoods,” Taylor said.

Looking ahead, Taylor said he is excited about the upcoming ride partnered with the Minneapolis Institute of Art, “The Housing is a Human Right edition” on Thursday Aug. 1, which highlights housing disparities and how they affect Minnesotans.

For more information and to sign up for events visit eventbrite.com/o/the-cultural-wellness-centermelanin-in-motion-32101604185.

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Can texting new parents to report their blood pressure help address maternal mortality? These doctors think so

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Sarah Gantz | The Philadelphia Inquirer (TNS)

PHILADELPHIA — Two Penn Medicine physicians had an unorthodox idea for reducing the number of patients who develop dangerously high blood pressure in the weeks after giving birth: Stop asking them to come into the doctor’s office for blood pressure screenings.

Dangerously high blood pressure, is a leading cause of maternal death and hospital-readmission after birth, and is often preventable with routine screening. But many new parents are too overwhelmed in the first days of their baby’s life to get themselves to extra medical appointments.

Physicians Sindhu Srinivas and Adi Hirshberg decided to instead send patients home with blood pressure cuffs and instructions for how to report their readings by text message twice daily for 10 days.

Ten years later, the results are so impressive, Penn has made it standard practice across its eight hospitals. The program, called Heart Safe Motherhood, has been nationally recognized with awards from the American Heart Association and American Hospital Association, among others. And now, it’s being used at other Philadelphia hospitals, including Thomas Jefferson University Hospital and Jefferson Einstein Philadelphia Hospital.

More than 18,000 Penn patients have participated since the program launched in 2014. It’s credited with nearly eliminating the rate at which postpartum patients are readmitted for blood pressure complications within a week of giving birth, and closed a racial disparity gap that left many more Black patients at risk of severe complications.

The reason: More patients are following through on blood pressure screening after childbirth. Fewer wind up back in the hospital because doctors are able to spot danger signs and intervene sooner.

“We’re empowering the patient,” said Hirshberg, the director of obstetrical services at Hospital of the University of Pennsylvania. “We couldn’t do it without the monitors, but an important part of the program is the education of why we’re doing it.”

Shortly after Victoria Batista’s son was born, she developed a splitting headache, her vision was blurry, and she tripped walking through her home in Philadelphia. She attributed it all to being exhausted after a 67-hour labor that ended in a C-section, and the stress of caring for a newborn, her first.

“All these signs were pointing to having an issue, but I kept glossing over them,” said Batista, 32. “And then I got a notification: Check your blood pressure.”

She had so much going on she didn’t want to bother, but knew that her phone would just keep buzzing until she responded.

Batista punched in the numbers: 220/110, blood pressure so critically high she was at risk of a stroke. Within 10 minutes, someone at Penn called, telling her she needed to get to the hospital immediately.

“Had it not been for that program, for them harassing me about it — almost — I could have died,” she said.

Addressing maternal death disparities

The program is an emerging solution to sobering statistics that show Black Americans remain more than twice as likely to die during pregnancy or childbirth, or in the following months, according to the Centers for Disease Control and Prevention. The disparity persisted despite a national decline in maternal mortality rates in 2022.

Handing out blood pressure cuffs alone won’t solve a national maternal mortality crisis. But the Heart Safe Motherhood program has reduced readmissions for blood pressure complications among Penn’s postpartum patients from 5% to 1%.

Philadelphia institutions say the Heart Safe Motherhood program has also helped them understand how to better connect with patients and potentially make inroads addressing other deadly postpartum complications.

Jefferson launched the program in late 2021, and Einstein’s Philadelphia campus followed in spring 2022.

Response from patients and providers has been overwhelmingly positive, said Anneliese Gualtieri, the patient safety and performance improvement coordinator for obstetrics and gynecology at Einstein.

“You’re actually partnering with the patient in their care, which is something that patients like — to be part of their own solution,” she said.

Catching symptoms early

Jasmine Hudson, a nurse practitioner at Penn’s diabetes center, gave birth to her second child at Penn in May 2023. She credits the Heart Safe Motherhood program for saving her life days later.

Hudson took home the blood pressure cuff nurses offered and diligently responded to the text prompts with her blood pressure reading.

An automated algorithm analyzes the blood pressure readings patients send in and flags abnormal results to doctors.

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The program texts back to let patients know their reading is good, or to ask them to test again in a few hours if it’s elevated. When a patient doesn’t respond to the prompt, the program texts a reminder.

And when someone’s reading is too high, patients receive a text with the hospital phone number and instructions about who to ask for.

Hudson didn’t think much about it when a reading came back slightly elevated one morning. She felt tired, and her husband said she seemed a little irritable — but she reasoned: What new mom isn’t?

“As moms, we’re so used to caring for our families and caring for others. We come second or third or fourth,” she said.

But after a second elevated reading, the automated program urged her to go to the hospital, where she stayed for three days.

Hudson went home with blood pressure medication and, more than a year later, is doing well.

Postpartum care at home

Hudson is among some 18,000 Penn patients who have participated in Heart Safe Motherhood. The program has about 50 patients on any given day.

Staff focus on patients at risk for hypertension or preeclampsia, for instance, people with elevated test results during pregnancy or immediately after birth, or a history of high blood pressure during a past pregnancy.

Between 30% and 40% of Penn’s maternity patients qualify and are sent home with blood pressure cuffs and instructions for reporting their readings, said Srinivas, the vice chair for quality and safety for obstetrics and gynecology at Penn. The health system covers the cost of the device, about $30, for patients who can’t get reimbursement from their insurer.

Prior to launching the Heart Safe Motherhood program, Penn would ask at-risk patients to come back in the days after giving birth to have their blood pressure checked. Many never showed. Others had a normal reading at their appointment, only to have their blood pressure begin rising after returning home again.

Black women were at greater risk than white women — they were less likely to come for a follow-up blood pressure check and more likely to be readmitted to the hospital.

Too often, Srinivas would see a new mother go home in good health, only to return days later with life-threateningly high blood pressure.

“How did we not know this was going to happen?” Srinivas would ask herself.

Now, she doesn’t have to worry as often. About 90% of patients in the Heart Safe Motherhood program follow up on requested screenings, a compliance rate that’s the same for Black and white patients.

Providers say the program addresses a few key hurdles to managing blood pressure postpartum: Parents don’t have to self-identify subtle, common symptoms, and they don’t have to leave their home.

“Access to care is one of the biggest issues,” said Ryan Brannon, an OBGYN and director for quality and safety in obstetrics at Thomas Jefferson University Hospital. “Heart Safe Motherhood was something that enabled us to get access to a larger population.”

Next steps for reducing maternal deaths

Despite the program’s success, there’s more work to be done.

“While home blood pressure monitoring is great, we have to have a system in place that then will be able to make a difference for those elevated blood pressures,” said Laura Hart, a co-director of Temple’s cardio-obstetrics program. “It’s a multilayer process.”

For instance, people who develop hypertension or preeclampsia during pregnancy are at greater risk for heart problems later in life.

Temple Health has not adopted Heart Safe Motherhood, but providers have spent hours talking to doulas, patients, and other community health leaders about the symptoms of high blood pressure and where to turn for help, said Estefania Oliveros, who is also co-director of the cardio-obstetrics program.

At Jefferson’s hospitals, Brannon and Gualtieri want to expand the Heart Safe Motherhood program to include more languages, such as Russian and Mandarin.

The program currently communicates with patients in either English or Spanish.

Penn doctors are testing what other maternal health complications, such as postpartum depression, they can improve with the program’s monitoring approach.

And because of Heart Safe Motherhood’s success, the system now hands out blood pressure cuffs to at-risk patients during pregnancy, to begin tracking potential blood pressure complications even earlier.

©2024 The Philadelphia Inquirer, LLC. Visit at inquirer.com. Distributed by Tribune Content Agency, LLC.