Green Bay Packers tight end Tucker Kraft dropped two passes during an ugly 35-14 loss to the Atlanta Falcons on Thursday night at Lambeau Field.
He kind of dropped the ball again after the game.
The injury-ridden Packers did not look particularly good in their first two games of the season, needing an overtime win over the New York Jets last week to bring a 1-1 record into their home opener on “Thursday Night Football.”
Getting their first live look at the team this season, Green Bay fans did not like what they were seeing. So they let their feelings be known. The boos started late in the first half, with the Packers trailing 17-7, and got louder and more frequent as the game — and the team’s woes — continued.
Speaking to reporters after the game, Kraft expressed his frustration — with the home fans.
“That’s pretty tough. Like, everyone pictures Lambeau Field — and not boos. I don’t picture boos. I picture my home stadium,” Kraft said. “That’s tough. It’s pretty disappointing.”
Two Green Bay Packers fans can barely watch during the second half against the Atlanta Falcons on Thursday at Lambeau Field.
(Abbie Parr / Associated Press)
One reporter interjected, “Especially for a home opener.”
“Especially for a home opener,” Kraft agreed. “It’s pretty disappointing. It’s not going to help us win. Like, I don’t know what people think, that’s going to rally us or something like that.
“But we’re grown men. We’re mentally strong enough, capable enough to get back on the field and play ball. But it’d probably be much easier with the 70,000 people behind us rather than opposing us.”
Naturally, folks on social media aren’t thrilled with Kraft’s take.
“Try catching a pass once in a while, then the boos may stop,” one person wrote on Kraft’s Instagram page. “Also, grow up.”
Another commenter said: “The response you were looking for was ‘we HAVE TO PLAY BETTER’ … We love the team and the players and always support…if you can hear when you win…you can hear it when yall look god awful.”
Others are simply booing him in the comment sections of his posts.
Green Bay Packers fans had little to cheer about Thursday night against the Atlanta Falcons.
(Mike Roemer / Associated Press)
Kraft finished the game with four catches for 26 yards on eight targets. He has 122 receptions for 1,657 yards and 15 touchdowns in his four-year career, but only nine of those catches and 106 of the yards have come in the first three games this season, and he has yet to find the end zone.
The absence of star players like defensive lineman Micah Parsons (knee injury) and running back Josh Jacobs (commissioner’s exempt list) certainly has played a role in the Packers’ struggles, but it’s tough to blame fans for expressing their frustrations.
Speaking to reporters after the game, coach Matt LaFleur called it “a humbling night.”
Rookie cornerback Brandon Cisse told reporters he understands the emotions behind the boos.
“We love the fans, and any time we’re not putting a [good] product on the field, it’s very disappointing to them as well,” Cisse said. “So I understand their frustrations … These fans, they pay a lot of money to come watch us play, so we need to make sure we play better.”
Wide receiver Christian Watson told reporters “it’s tough” to hear the home fans react in such a manner, but he gets it.
“At the end of the day, it’s an entertainment business, so we have to put a better product out on the field if we want to have the fans have our back,” said Watson, who had seven catches for 96 yards and a touchdown. “I mean, obviously, we’d like to think that the fans will be there through the ups and downs, but we’ve got to put out a better performance than that.”
It took a field goal with 10 seconds left by star soccer player Alejandro Carranza to give King/Drew a 13-12 win over L.A. Cathedral last week. That’s a breakthrough win for King/Drew against a quality Southern Section opponent.
King/Drew is 2-2 in nonleague games and wants a return to the City Section Open Division playoffs. The Golden Eagles always seem to have lots of talent but have failed to reach the championship game of the City playoffs at the highest level.
This season there’s signs of progress on offense. Quarterback Gerard Torres has passed for 1,106 yards and eight touchdowns. Receiver Darr Muhammad has 26 catches and three touchdowns. King/Drew has lost to San Pedro and Culver City this season and has wins over Cathedral and Gardena.
There’s a showdown with Crenshaw on Oct. 16 to probably decide the Coliseum League title. King/Drew also travels to face Baltimore St. Francis Academy, where coach Joe Torres used to coach.
King/Drew needs to keep improving to reach the top four in the City playoffs.
This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.
ITV is set to broadcast a 24-hour live stream from the Big Brother house ahead of the new series
Big Brother is returning to our screens in just a few days(Image: Vianney Le Caer/Shutterstock for Big Brother)
Big Brother fans have been begging ITV to resurrect the show’s beloved round-the-clock live stream.
It appears show bosses have finally listened, but there’s a brutal catch that has left viewers fuming. Rather than giving fans unfiltered access to watch the Housemates in their new home, ITV is handing the keys over to content creator crew The Bov Boys.
The social media influencers will occupy the property for a full 24 hours before this year’s contestants walk through the door. The broadcaster confirmed the twist on Thursday (September 10), revealing that the Manchester lads will move in on Saturday (September 12) as producers apply the finishing touches ahead of Sunday’s official series launch.
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The stream will run continuously on Twitch and YouTube, giving viewers a preview of the brand-new house. The official synopsis promises plenty of entertainment, teasing: “Viewers can watch the takeover unfold live for the full 24 hours, with the action streaming continuously across Twitch and YouTube.
“From the moment they arrive until they’re finally sent packing, viewers will have an exclusive, around-the-clock look at all the drama, antics and action inside the House.”
ITV viewers will no doubt recognise The Bov Boys member Angry Ginge, real name Morgan Burtwistle, following his triumphant appearance on I’m A Celebrity… Get Me Out Of Here! just last year. The rest of the crew consists of Tays, Jakey Davies, Heinz Baines and Chazza.
However, Heinz Baines will not be taking part in the stream due to a “family commitment,” reports OK! The popular social media group won’t be the only influencers getting a sneak peek at the iconic house, they have also extended invitations to fellow creators Adeola Patronne, Mariam Musa, Shauna Games, Scouse Mali and Pieface.
The announcement has been greeted with some excitement, with one Instagram fan gushing: “This feels like Christmas came early,” and a second agreeing: “THIS IS INCREDIBLE! “Let’s go lads this is huge”
Someone else raved: “OMG my 2 favourites together can’t wait BIG BROTHER BOV HOUSE.” However, other viewers have labelled the twist a “slap in the face”, given that fans have been pleading with producers to bring back the show’s much-loved 24-hour live stream feeds of the actual Housemates.
A furious fan posted: “Load of c**p. You can’t give us live feed for the main series but will stream the dry run,” with a second adding: “Sorry but are you actually trying to annoy your fans @bbuk?! You’ll do a 24/7 live stream for a bunch of randoms testing the house, but won’t do any live stream at all for the actual show?!”
Yet another viewer critiqued: “I find it really wild that the Big Brother producers promote a pre-series live stream with content creators going in, but can’t invest in a consistent series long live stream. It’s really sad. #BBUK.”
Big Brother x Bov Boys 24-Hour Takeover will be a live co-stream on The Bov Boys’ individual Twitch accounts, plus a live stream on BBUK and ITV YouTube accounts from Saturday 12th September at 12pm.
The series launches on Sunday (September 13) at 9pm on ITV2 and ITVX.
VENICE, Italy — When Skyler Gisondo turns up in “Primetime” as “Decoy Dan” Plum, an aspiring 23-year-old actor cast to play teenage bait for an unsuspecting pedophile, the camera can’t take its eyes off him.
The second trap set in director Lance Oppenheim’s lurid sweeps-ploitation drama about “To Catch a Predator” follows Gisondo’s face, most often in extreme close-up, as Dan processes what he’s gotten himself into, attempts to make small talk with the predator and finally flees off set, where he sits down, steadies himself and sheds a shaken tear. The suspect, meanwhile, is an afterthought, or more accurately a punchline: He only truly captures the camera’s attention when he drops trou, rips the top off a canister of whipped cream and sprays.
It’s an arresting formal choice, repeated from the opening sequence — that of the viral “You see how this looks, right?” moment from the trailer — to the climatic suicide of Rockwall County, Texas, Assistant Dist. Atty. Bill Conradt Jr., whose case is explored in the Esquire magazine article on which Ajon Singh’s screenplay is based. With rare exception, “Primetime” doesn’t have the guts to look its predators in the eye.
And perhaps it doesn’t need to. The film directs its most gleeful energies instead to taking “To Catch a Predator” host Chris Hansen (Robert Pattinson) down a peg. The former “Dateline NBC” correspondent, who turned a newsmagazine segment about men soliciting teens for sex online into a hidden-camera sensation in the mid-aughts, comes off here as a self-serious showboat who’s mistaken tabloid trash for accountability journalism. (As one audio technician complains, “Guy thinks he’s f— Mike Wallace.”) It’s not just that stentorian voice, either. Envy of “Dateline” co-anchor Stone Phillips provides as much motivation as ratings pressure from TV executive Jeff Zucker (playing himself), with Hansen micromanaging his crew, insulting his producer, Andie (Merritt Wever), and neglecting his wife and kids in the process.
At least in the film’s early going, this yearning for adulation is played for cringeworthy comedy, and effectively so; my hardest laugh came when Hansen screens the rough cut of a new episode for his young sons and brags to them about “To Catch a Predator” being moved to a better time slot. As the tone moves toward horror, though, the decision to make the host the story quickly stops paying dividends. Indeed, though the real-life broadcaster may not find all the ego-deflation very funny, even Hansen — who told my colleague Stephen Battaglio that he objects to the film using his name and likeness under the label “inspired by true events” — would have to admit that “Primetime” avoids the thorniest questions about the true-crime empire he built.
Robert Pattinson as Chris Hansen in “Primetime.”
(A24)
Compared with David Osit’s superb 2025 documentary “Predators,” a kaleidoscopic examination of the phenomenon from the perspective of Hansen, the decoys, the suspects, law enforcement, journalistic ethics and the filmmaker’s own experience as a survivor of child sexual abuse, “Primetime” seems remarkably incurious about “To Catch a Predator” and its consequences. It would probably be too much to ask a scripted feature to explore the challenge of achieving convictions against defendants ensnared on an episode of “Dateline,” or to delve into the legal niceties of surreptitious recording. But the suspects here are so anonymized — seen in profile or steep angles through a hidden camera lens, spied at a distance on a monitor in video village, heard as a disembodied voice on a phone or read via text in an instant message — that there’s not much to argue over anyway. The predators are reduced from people to “perverts,” of scarcely more interest to “Primetime” than to the bloodthirsty viewer Hansen meets on a plane.
When an entrapped rabbi attacks Hansen during a sting, screaming in his own tight close-up, “You don’t have the right to do this. Who do you think you are?” the film briefly, mercifully breaks this pattern, and generates an electric moment of moral uncertainty. But it doesn’t last. Instead, in its depiction of the Conradt case — ostensibly meant to underscore “To Catch a Predator’s” worst extremes — “Primetime” stumbles into some of the very same gutter sleaze tactics as the original series, transforming what was in reality a grim mid-afternoon standoff into a tense, pitch-dark operation punctuated by lightning strikes, power outages and night-vision cameras.
Such poetic license offers little new insight into a topic that has already been picked over for two decades, but it might be forgiven were Hansen as easily dramatized as he is made fun of. Alas. “Primetime” itself seems to know this — why else hire Gisondo to play Jimmy Olsen to Pattinson’s unlikable Man of Zeal — yet proceeds to construct its second half around Hansen’s unraveling: an extramarital affair, about to be exposed in the National Enquirer; ratings losses to ABC competitor “Lost”; desperation to reel in a “whale” and willingness to cut corners to do it. By the time the film again confronts the specter of something wicked under “To Catch a Predator’s” glossy surface, it comes in the form of Hansen’s own phantoms, introduced in a grueling flashback to India in the 1990s and carried through to the film’s conclusion. Why we’re to care about this apparent flash of horror, if not of conscience, remains unexplained. What about the faintly ludicrous figure of the foregoing 100-plus minutes was supposed to make me care about his moral compass?
In the final estimation, then, “Primetime” isn’t a Chris Hansen hit piece. In fact, it’s so in love with its flawed protagonist that it can’t see he’s the least compelling character in the movie, an ambitious, arrogant, grasping, unscrupulous man we’ve met countless times before. Which may explain the film’s final bit of poetic license. The last we last see of Hansen, muttering lines from his script as the police process the Conradt crime scene, suggests a man disturbed, perhaps even chastened, by what he has witnessed. But of course the real-life Hansen continues his sting operations to this day under the banner of “Takedown,” a series on his streaming service TruBlu, and both there and in “Predators” he appears utterly unshaken, unhaunted, unbowed. So for all the tension between the film and its subject to come through in the press of late, the gulf between them is not so wide as one might suspect.
Chris Hansen has not seen “Primetime,” the A24 film in which Robert Pattinson plays him, and he probably won’t anytime soon. He walked out of an Aug. 20 screening arranged for him at the studio’s Manhattan offices after refusing to sign a nondisclosure agreement, which he believed would prevent him from raising any legal objection to the way he is portrayed.
But Hansen’s company has purchased preshow advertising in theaters showing “Primetime,” which opens Sept. 25. The spots promote TruBlu, the subscription streaming platform where the former “Dateline NBC” correspondent presents his current sting operations under the title “Takedown.”
“It’s a movie that uses my name, image and likeness,” Hansen told The Times in a recent interview. “Why not direct people to what the real Chris Hansen is doing? Here’s where you can see it.”
Moviegoers, in other words, will be asked to have a seat twice.
The film revisits one of the most provocative and scrutinized franchises in the history of TV news. “To Catch a Predator,” which ran as a periodic “Dateline” investigation from 2004 to 2007, exposed men who used online chat rooms to solicit sex with minors. It accelerated the popularity of the true crime genre while raising lasting questions over journalistic ethics.
Directed by Lance Oppenheim in his narrative feature debut, “Primetime” is based on Luke Dittrich’s 2007 Esquire article “Tonight on Dateline, This Man Will Die,” about the suicide of a Texas prosecutor targeted by one of the stings. It premieres Sept. 5 at the Venice Film Festival.
Hansen, 66, is ready to ride the wave of notoriety the film is bound to generate. He is still pursuing online predators and a new generation of fans have found him on TruBlu, his YouTube page and on social media. “I’ve got to be the only 66-year-old man in America with 1.1 million TikTok followers,” he said.
Hansen first heard from A24 regarding “Primetime” when an executive reached out to him in late May to ask whether he would participate in promoting the film, according to emails obtained by The Times. Over the two months that followed, the journalist and his business partners repeatedly asked to see the film or a script before making any commitment. They also raised the possibility of compensation or a production credit, although Hansen said no formal request was made.
Hansen and his partners repeatedly raised concerns that he had never been contacted about the use of his name and likeness, even as a courtesy, before production was completed. The studio said it wasn’t necessary.
“Chris’s work was an important inspiration for ‘Primetime,’ which is a dramatized film inspired by true events,” according to an Aug. 8 email from A24. “While the film didn’t require individual consultation or permission during production, we’d love to have Chris’s support of the film to the extent he feels comfortable. If not, we certainly understand.”
An A24 representative declined to comment for this story. A person involved with the film who was not authorized to discuss the matter publicly said the nondisclosure agreement Hansen was asked to sign is standard for a movie screened ahead of release, so that viewers do not reveal plotlines or spoilers.
The trailer, released earlier in August, has generated buzz in media business circles for the appearance of Jeff Zucker, former NBCUniversal chief executive, who appears as himself in a small role as a ratings-hungry network executive. Pattinson’s Hansen is later seen in the trailer screaming, “I’ll be bigger than ‘Lost’!” in reference to the ABC hit.
Robert Pattinson in a scene from A24’s “Primetime.”
(Sinna Nasseri / A24)
Hansen said he is not looking for a payout from the filmmakers. But he would like a clearer statement that the film is fiction rather than “inspired by true events,” as it says in the trailer, and perhaps a financial contribution to organizations for victims of child predators.
“I want some recognition that they used my name, image, and likeness in a largely fictional story,” he said. “They used my name, my colleagues’ names and some family members. Based upon what I know about this, it’s an insult to the thousands of people who work diligently, often at great risk, every day to protect children from predators.”
The conflict is hardly the first involving a living celebrity objecting to a fictional depiction. But legal challenges are often futile.
“You don’t own your life story,” said Domenic Romano, managing partner at Romano Law. “If you’re a celebrity, the filmmaker doesn’t need your permission to dramatize it. Even if you’re alive and you don’t like how you’re being portrayed, the 1st Amendment gives broad protection.”
Actor Olivia de Havilland went to court in 2017 over the FX series “Feud: Bette & Joan,” claiming the portrayal of her as a vicious gossip damaged her reputation. The court ultimately ruled in FX’s favor.
Actor Daryl Hannah took a different route, publishing an opinion piece in the New York Times in March objecting to her depiction in FX’s “Love Story: John F. Kennedy Jr. & Carolyn Bessette.” Hannah, who dated Kennedy before he married Bessette, wrote: “In the weeks since the series aired, I have received many hostile and even threatening messages from viewers who seem to believe the portrayal is factual.”
“When entertainment borrows a real person’s name, it can permanently impact her reputation,” Hannah wrote.
The rise and fall of “To Catch a Predator” provides enough drama for a big-screen treatment.
During his run at NBC News, Hansen was an Emmy Award-winning correspondent delivering hidden-camera investigative stories on such topics as identity theft and sex trafficking. But his “Predator” franchise, which used online decoys in chat rooms to draw men seeking sex with minors into police stings turned him into a global sensation, albeit a polarizing one.
NBC News conducted the investigations with the help of a civilian watchdog group called Perverted-Justice and local police in the towns and cities where the stings were set up. The suspects arrested and convicted included a rabbi, a teacher and a doctor.
Decoys posing as young teens lured the men to sting locations, mostly set up at private homes in quiet communities. Hansen would then enter and confront the men with his signature line: “Have a seat.” After a chat with the correspondent (“You see how this looks, right?”), the men were arrested by local police, while a camera crew captured it all.
The tableau of Hansen going face-to-face with suspects seated in suburban kitchens became so familiar it was spoofed in a comedy sketch that opened the 2006 Emmy Awards.
“Predator” remained a giant hit until a November 2006 sting in Murphy, Texas, went awry. Bill Conradt, a Rockwell County assistant district attorney, had been exchanging online messages and photos with a decoy posing as a 13-year-old boy. Unlike other targets, he never came to the sting house. Police obtained warrants and a SWAT team came to his home with a “Dateline” crew in tow. He shot himself to death after law enforcement entered.
Conradt’s family sued NBC, which settled out of court. The incident sharpened the debate over Hansen’s tactics, and as the “Predator” franchise became more popular, he was criticized in journalism circles for collaborating with police and an outside group of private citizens in his investigative work.
There have been many accolades as well. Law enforcement organizations credited the program for shedding light on a new form of criminal activity in the then-emerging internet age. Over the years, Hansen has helped promote advocacy groups and legislation protecting the rights of sexual abuse victims.
“Dateline” continued producing “Predator” investigations for another year after Conradt‘s death, airing its final installment in December 2007 before NBC retired the franchise in early 2008. Hansen has long maintained that the show simply ran its course. The library of his episodes continued to air on cable news channel MSNBC, now called MS NOW.
Hansen left NBC News in 2013 after the network declined to renew his contract. He continued to orchestrate the sting operations on a short-lived syndicated series, “Crime Watch Daily.” He also became one of the first well-known TV journalists to use a Kickstarter campaign to raise money to produce his own work to present on web platforms, which eventually led to the TruBlu site he has now. He also has a podcast series distributed by Red Seat Ventures called “Have a Seat,” a true crime podcast where he interviews figures in law enforcement.
Families should be aware of some important rules before they travel
The change came into force on July 8(Image: Akabei via Getty Images)
Heathrow has issued a summer travel update telling families they can now benefit from a major change to Britain’s airport border controls.
The airport said: “Get ready for easier arrivals for families. Children aged 8 and 9 will now be able to use the eGates. They will need to have an eligible passport and be travelling with an adult”. The change could prove a welcome boost for parents returning to Britain from their summer holidays – potentially cutting the time they spend queuing at passport control.
Children aged eight and nine can use UK eGates, bringing them into line with older children who are already eligible to use the automated border gates.
But there is an important catch. The youngsters must have an eligible passport, be travelling with an adult and, under the Government’s rules, be at least 120cm (3ft 11in) tall.
The change came into force on July 8, just as the summer holiday travel season was getting into full swing. And the Government estimates that up to 1.5 million more children could become eligible to use eGates over the next year.
For parents facing the prospect of tired youngsters after a long flight, the prospect of avoiding a lengthy passport-control queue could be particularly welcome. Heathrow has urged passengers travelling with younger children to check airport signage or speak to staff if they are unsure which lane they should use.
What parents need to know
The expanded eGate access applies to eight and nine-year-olds who meet the requirements.
They must:
Be aged eight or nine
Be at least 120cm tall
Have an eligible passport
Be travelling with an adult
The Government says the change covers more than 290 eGates across the UK and at so-called juxtaposed ports, where British border checks are carried out in Europe. Millions of passengers already use eGates each year.
The Government says using one typically takes only a few minutes – and increasing the number of people who can use them should also help reduce queues for passengers who still need to go through staffed passport control.
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Major change for families
The move was announced by the Home Office in May as part of a wider programme to transform the UK’s border system. Migration and Citizenship Minister Mike Tapp said: “Travel with young children can be stressful for parents.”
He said expanding eGate access would allow more families to have a “swifter and smoother journey home” while keeping Britain’s borders secure.
Border Force Director General Phil Douglas said eGates were an “essential part” of keeping the border secure.
He said the expansion would deliver safe and smooth journeys while freeing officers to concentrate on intercepting people who pose a threat to the UK.
Karen Dee, chief executive of AirportsUK, welcomed the change, saying it would give more families the opportunity to use the technology and could reduce waiting times.
Part of wider border overhaul
The change comes alongside the Government’s wider push to modernise Britain’s borders. The Electronic Travel Authorisation scheme has also been introduced for eligible travellers, with almost 25 million ETAs issued, according to Government figures.
The longer-term ambition is for a more “contactless” border, with facial comparison technology being used to verify travellers’ identities.
