“They’re coming to get you, Barbara” is the most famous line from 1968’s revolutionary “Night of the Living Dead.” It’s a mean taunt that comes from a sibling, unaware that civilization is crumpling around him. In a few moments, his sister will be fleeing across a field barefoot from an undead zombie (terms that are never used in the movie because it’s so ahead of its time) and any Boris Karloff impressions will quickly be forgotten.
The line also sounds remarkably comfortable coming out of the mouth of a drag queen — one of the many sides of shade served in the generously funny and sharp “Queens of the Dead.” Directing and co-writing the film is 42-year-old Tina Romero, daughter of George Romero, “Night’s” original progenitor, whose death in 2017 was met with the kind of belated cultural praise usually reserved for Oscar winners.
Tina Romero understands the legacy of her father better than most. It’s not just a matter of gathering a bunch of bickering survivors inside a besieged location — here it’s a converted Bushwick warehouse — while the outside world goes to hell. (Adding to the film’s bona fides, legendary makeup artist Tom Savini makes a cameo as the city’s mayor on TV: “This is not a George Romero movie,” he warns.) Shrewdly, “Queens of the Dead” also foregrounds the deeper meanings that gore-obsessed knockoffs sometimes miss: the idea that working together across differences is harder than it seems and maybe the monster is already calling from inside the house.
Pink-hued and queered so aggressively that only a prig won’t be able to find some RuPaul-adjacent enjoyment in it, “Queens” stars Katy O’Brian, last seen as Kristen Stewart’s sculpted lust object in “Love Lies Bleeding.” Here O’Brian has much more to do emotionally as Dre, a wanna-be impresario with big dreams for her drag event, Yum, even if her attractions keep bailing and her target audience of influencers is in the process of turning into lumbering flesh-eaters. (They still clutch onto their cellphones, a nice touch.)
Within the makeshift club — a dressing room, a bar, some dance cages that will figure later — tensions flare and Dre has her hands full. Ginsey (Nina West), a hardworking diva, holds down the fort while unreliable protégé Sam (Jaquel Spivey) chooses this moment to show up and ruffle feathers. Unhappy with second billing, a younger queen (Tomás Matos) insists on being called Scrumptious while a gruffly accommodating handyman named Barry (Quincy Dunn-Baker, a smart inclusion of George Romero’s blue-collar streak) tries to keep all the pronouns straight.
Confidently, Tina Romero makes room for a wonderfully dumb makeover montage and a daring escape via Pride Parade float. If the comedy overcompensates at the expense of landing every gag, then good on her. It’s long overdue and there’s something touching to the idea that the end of the world might unleash leadership qualities in those who’ve had a rough time existing in the old one.
But a film this well-made and cut (the pacy editing by Aden Hakimi calls back to the elder Romero’s own cutting of his major titles) shouldn’t be relegated to just one kind of audience. Anyone who appreciates horror should find something to smile at here. Maybe it’s the side plot — as satisfying as a worn-in pair of shoes — of Dre’s wife, Lizzie (Riki Lindhome), a hospital nurse, racing across town in an old Impala.
Or, true to zombie movie form, there’s the mid-film arrival of a game-changing character, the synthesizer music pumping. Here it’s Margaret Cho on a motor scooter, cruising through a cloud of exhaust. “You all look healthy enough,” she tosses off, an action hero in the making. And yes, that’s as thrilling as it sounds.
Ike Turner Jr., the son of Ike and Tina Turner who won a Grammy for traditional blues album in 2007 as a producer on his father’s album “Risin’ With the Blues,” has died. He was 67.
Turner died Saturday at a Los Angeles hospital from kidney failure, family member Jacqueline Bullock told TMZ. She said the musician had been battling heart issues for years and had a stroke last month.
“It is with great sadness that we announce the passing of my cousin, Ike Turner, Jr.,” Bullock said in a statement to the New York Post. ‘”Junior’ was more than a cousin to me, but rather a brother, as we grew up in the same famed household together.”
“As the son of Tina and Ike Turner, from an early age, his talents were evident as there wasn’t an instrument he did not want to play,” the statement continued. “Eventually, Junior would end up helping to run Bolic Sound Studios, the recording studios founded by his father, Ike Turner.”
Ike Turner Jr., and friend Mary Ellis at a memorial service for his father in 2007.
(Damian Dovarganes / Associated Press)
A musician, producer and sound engineer, Turner was pulled into the music business by his father when he was 13.
“My father took me out of [the] house and out of school and I traveled [with them],” Turner said in a 2017 interview on “The Bobby Eaton Show.” “That wasn’t no easy work.”
In that same interview, he also shared the role his mother Tina played in the instruments he picked up in his youth.
“My first instrument was drums, until my mother started making me break my drums down every day,” he said. “The piano was always there in the family room, so I started playing piano. I play guitar and bass. Everything except horn because horn used to make me dizzy from blowing air.”
Turner was one of four children associated with Ike Sr. and Tina Turner’s famed union, which ended with the latter filing for divorce in 1974 (finalized in 1978). The couple performed together from 1960 to 1976 as the Ike & Tina Turner Revue, but their musical achievements were often overshadowed by the former’s abuse.
Born in 1958 to Ike Turner Sr. and Lorraine Taylor, Ike Jr. and his brother Michael were adopted by the “What’s Love Got to Do With It” singer upon her marriage in 1962 to their father. Their siblings also included Ronnie and Craig.
“Tina raised me from the age of 2,” Ike Jr. told the Mail on Sunday in 2018. “She’s the only mother I’ve ever known.”
Over the years Turner had commented a number of times on his estrangement from his mother since his parents’ divorce. In 2018 he said he had not spoken to her in nearly 20 years.
Turner was preceded in death by both of his parents and two of his siblings. His father died in 2007 of a cocaine overdose and Tina died in 2023 after a long illness. Craig Turner died by suicide in 2018 and Ronnie Turner of complications related to late-stage cancer in 2022.
When the cast and crew of “Bob’s Burgers” gathered to celebrate the show’s milestone 300th episode earlier this month, two key figures were missing.
Creator Loren Bouchard and actor H. Jon Benjamin — who voices the “Bob” of the title — were unexpectedly waylaid by illness and travel troubles, respectively. It was a scenario that could have been an episode of the long-running adult animated series, down to the celebration’s setting, which took place in a room resembling the inside of the show’s titular hamburger joint.
The only thing missing was a musical interlude.
Centering a family that runs a restaurant, “Bob’s Burgers” kicks off its 16th season Sunday on Fox with its 300th episode titled “Grand Pre-Pre-Pre-Opening.” The milestone episode will take things back to before the Belcher’s opened their family eatery.
According to Bouchard, one of the questions the writers wanted to explore in this episode was “Why is Linda doing this?”
“Bob’s Burgers [the restaurant], it’s got his name in it, but we sense that he can’t do it without her,” Bouchard says. “[Bob] says that in the show, but what do we mean when we say that?”
The look to the past also shows Bob (Benjamin) and Linda (John Roberts) preparing to welcome their first child, Tina (Dan Mintz). The Belcher clan also includes Tina’s younger siblings Gene (Eugene Mirman) and Louise (Kristen Schaal).
“Grand Pre-Pre-Pre-Opening” is the 300th episode of “Bob’s Burgers.”
(20th Television / Fox)
Bouchard admits he is usually not one for celebrating episode counts — “It starts to feel a little bit like bulk pricing,” he jokes — but he recognizes that the longevity of the series is something special. “Bob’s Burgers” premiered in 2011.
“What you get with a show that lasts this long and has this many episodes is a different relationship with the fans,” Bouchard says. “You get to have a 15-year relationship. That’s like family. There are marriages that don’t last that long.”
Over the years, the show’s dedicated audience has seen “Bob’s Burgers” expand beyond television with the release of “The Bob’s Burgers Movie” in 2022 as well as a touring live show of comedy and music.
Bouchard explains that the show’s approach to these milestone episodes have been to “go small and deep” to avoid overstuffing them with fan service. They’ve treated the 100th, 200th and 300th episodes like a new pilot that centers the restaurant and family “in a very basic way” as if it were someone’s introduction to the series.
The 300th episode, written by Bouchard and Nora Smith, digs into the show’s core premise to reveal how Bob and Linda came to juggle a restaurant and a family at the same time.
“I started my family when I started ‘Bob’s,’ so it’s very personal to me,” Bouchard says. “I like the chaos and just audacious optimism that you could have children and start a doomed-to-fail, Hail Mary of a creative project at the same time. It’s why I like this family, that they did this too.”
To commemorate the milestone, Bouchard and the cast discussed, in their own words edited for clarity and length, “Bob’s Burgers’” status as a “comfort show,” the Belcher family dynamics, memorable episodes and more.
A comfort food
“Bob’s Burgers” cast members Larry Murphy, left, Dan Mintz, Kristen Schaal, Eugene Mirman and John Roberts at the Bento Box offices.
(Frank Micelotta / Fox)
It’s not rare for “Bob’s Burgers” to be described as a “comfort show” — something fans can turn on to unwind or fall asleep to. The cast attributes this to the show having real emotions that come from the heart.
“The sweetness of [their affection] being genuine, that’s the thing,” Mirman says. “It’s just a mix of warmhearted and funny and sort of grounded.”
“The jokes aren’t taking people down a notch,” Schaal says. “The show has always been in a lane that people are realizing they should come over to — the kind lane.”
Bouchard says that “it’s very touching and affecting” that audiences turn to the show for comfort but acknowledges it’s something he can’t focus on while the show’s in production.
Bouchard: I definitely don’t take it lightly. I don’t want to think about it while we’re making “Bob’s.” If I thought about it while we’re making it, I would I feel like there’s a scenario where I could mess it up. You don’t want to shoot for comfort show, you want to shoot for edgy, attention-grabbing. [Episodes with] act breaks and big closing numbers. I know people don’t mean, “I fall asleep when I see it for the first time.” They mean, “I put on episodes I’ve seen before and it’s comforting in a profoundly, sleepy way.” I think being an adult by definition means at the end of the day you need something to just transition so that you can fall asleep. I’m glad that “Bob’s” does that for people.
Roberts: We love how much comfort this brings to the world. We like being light and having a job in entertainment that makes people feel good — it makes the world a better place. That’s rare and we’re blessed and we’re grateful.
Dinner (musical) theater
Tina, left, Louise and Gene in an episode of “Bob’s Burgers.”
(20th Television / Fox)
According to Bouchard, the music on the show was ”a ’dare we dream’ type thing in the beginning.” But the reception to the show’s catchy ukelele-driven theme song made him feel like there was room to push the musical elements further, like having a unique end credits and outro song for each episode.
“This sort of flea market find, slightly childlike music felt to us like of the show, but the audience had to give us permission,” Bouchard says. “We had to go slowly to get that.”
Once they saw the audience was on board, he felt like the show had the go ahead to hit the ground running from putting musical moments within the stories to eventually having musical episodes. While it’s still something they take “moment by moment,” Bouchard says he’s “so glad that [the music is] part of what people seem to want from the show.”
Roberts: I think in the earlier seasons, we were more improvising and things like that. But now it’s very professional big songs. It’s fun. I’m impressed by everybody.
Mirman: I’m truly incapable of singing. So the way we do it for me is that the person who’s in charge of the music will sing one line and I will mimic it like nine times to the best of my ability. [Then] they splice together a child singing poorly that is still much better than me in real life. But it’s still very fun. It’s very fun to be challenged.
Mintz: I’m kind of in Eugene’s boat. I can’t remember pitch for very long after I hear it, so I do have to immediately hear it and immediately repeat it. But I’ve been surprised at how much I do enjoy it. You do it again and again, and then the final ones are like, “Now do it and don’t hold back.” And you feel a real singer for, like, one line. There’s also the no pressure of it because I’m singing as a person, as a character, who’s not a professional singer, so it doesn’t have to be that good.
Where’s the beef? Belcher family dynamics
The Belchers inside their restaurant.
(20th Television / Fox)
One thing that comes through in every episode of “Bob’s Burgers” is just how much the Belchers love each other.
“[Linda] is a mom that pays attention and is present and shows up for her children,” says Roberts, who draws from his own mother for his performance. “There’s a realness there and it’s very grounding for the show. … Linda’s gone a little crazy sometimes, but for the most part, it’s all very much stuff that you can relate to.”
Perpetually in the Belchers’ orbit is Teddy — handyman, loyal customer and Bob’s best friend.
“I think of Teddy as constantly trying to inject himself into the lives of the family that he doesn’t have,” says Larry Murphy, who voices Teddy. “The best part about that is that they might shake their heads [at him], but they always rise to the occasion and are supportive of the character.”
And as much as the Belcher children can tease or annoy each other at times, there is no doubt that they all genuinely care for one another too.
“There’s a sibling camaraderie that is really lovely,” Mirman says. “It reminds me of the camaraderie on TV and movies in the ‘80s. That era of the stuff I grew up watching.”
Schaal: I love how they enjoy each other’s company. They’re usually not trying to lose the other one. I mean, in some episodes, Louise is bothering Tina and we explore that. But in general, they hang out together, they play together. They’re not on their f— iPads, separate in their own worlds. They’re going on adventures. And at the end of the day, Louise has their back like no one else and she’ll fight for them.
Mintz: I think it’s great for Tina to be pulled out of her comfort zone by her siblings, even though she’s supposed to be the leader as the oldest. Those are some of the most fun episodes for me when Gene and Louise want to do something dangerous or against the rules or whatever. Tina’s anxious for some reason and keeps being like, “Well, we shouldn’t,” but she gets dragged along. There’s always some moment in every one of those where it’s like, ‘Wait, Jimmy Jr. will be there. OK, maybe I’m fine with this.’ I think Tina’s life would be a lot more boring if she didn’t have someone make her break the rules all the time.
Favorite flavors
Tina and Linda in “Bob’s Burgers.”
(20th Television/Fox)
Over the years, “Bob’s Burgers” has come to be known for its various holiday episodes for Halloween, Thanksgiving and Christmas that often rank among viewers’ favorites.
“I love on Thanksgiving when they play the marathon of stuff,” Roberts says.
But holidays aren’t the only flavor of memorable episodes. And even after 16 seasons, the cast says they are just as excited to flip through new scripts and record episodes together as they were when they started.
As for their favorites, Mintz says he enjoys “all the fantasy ones.” Murphy agrees.
Murphy: I like those episodes where the kids are each telling their own story — and it might not have happened. It just gets to not exist in the world of “Bob’s Burgers,” but it’s someone’s point of view telling a story, like when they built that giant robot [“The Handyman Can”]. Kind of a “Rashomon”-type idea.
Schaal: I like anything that’s emotional. If Louise ever gets to be emotional, I get excited. Even like the one where they’re looking for Bob’s mom’s grave [“Show Mama From the Grave”]. They’re going for something that is really sad, but doing it so well. I love those episodes.
Roberts: I think what’s really awesome is that there’s an individual episode for each character that’s genius. For me, I think “Lindapendent Woman” was an incredible episode. I just did an episode Holly Schlesinger wrote where it’s more about Linda and her past. We all got our turn at having incredible episodes.
Mirman: I agree with Kristen about the ones that have an emotional arc. There is a Christmas one [“The Plight Before Christmas”], where all three kids have an event and the parents understand they can’t make it to everything. Eventually Tina makes it to Louise’s poetry reading where she wrote two poems and one is really sweet and about the family. I’ve watched that episode a bunch.
Schaal: Going back to the story ones. The one about the chores [“Fight at the Not Okay Chore-ral”], where Louise is butting heads with Linda about doing chores and then they tell stories about being in a wild west town. That one I love because it was about this real conflict. And the funny thing is, my daughter has requested to watch that one several times. I think it’s because Linda breaks down and says, “I’m wrong, I give up,” and my kid is thrilled to see the mom say that.
We’re here, we’re gruyere, get used it
Teddy and Linda in an episode of “Bob’s Burgers.”
(20th Television / Fox)
“Bob’s Burgers” has often been hailed for its inclusivity. As a series living in “the kind lane,” the characters are accepted for who they are — even if there’s gentle ribbing at times.
“Nobody’s trying to change anyone,” Roberts says. “They’re just trying to make them better human beings.”
“And they don’t have to defend who they are,” adds Schaal. “There’s complete acceptance.”
At a time when trans and queer people are increasingly targeted by ring-wing politicians and activists through legislation and dehumanizing rhetoric — LGBTQ+-friendly shows such as “Bob’s Burgers” can, for some, feel like a refuge. Bouchard explains how the show’s approach to being inclusive is intentional.
Bouchard: One of the simple tricks that we do is you just do it. You don’t have to shine a light on it. What I think is interesting about acceptance and tolerance and inclusivity — all those things have become capitalized words, and they almost lose their value when they’re not just part of your daily life. Your storytelling has to be about something other than that. That’s not going to be as satisfying as just put it in the character and let it be their daily. They get up feeling accepting and inclusive and normalizing, and they go to bed that way. They don’t learn that f— lesson in the middle of a half-hour show. That’s fine that it exists. Maybe sometimes, as a culture, we need to all come together and learn a lesson. [But] “Bob’s” is in the business of not writing those episodes. We’re in the business of writing those characters without fanfare.
And I give credit to my parents. I think my sister and I were weird in the normal weird way — weird kids are normal. A lot of parents make room for that, and love their kids no matter how they express themselves as little kids. I guess some don’t, but I am glad to have come up in that. To me, it feels natural. To me, it’s not a stretch. The way to do it is to just live it, just be it, and assume that when it’s on paper and it seems normal to you, hopefully it’ll feel reassuring and comforting to other folks too.
Ron Turcotte, who rode Secretariat during his Triple Crown year in 1973 and electrified the sport, died Friday at his home near Grand Falls, New Brunswick, Canada. He was 84. According to his longtime friend and business partner Leonard Lusky, his death was due to natural causes.
Turcotte, who despite being in a wheelchair since 1978 after a riding accident left him paralyzed from the waist down, often showed up at big races to sign autographs, pose for pictures and act as an ambassador for the sport.
During his almost two-decade career, beginning in 1961, Turcotte won 3,023 races with lifetime earnings of more than $28 million. He was forced to retire in 1978 when, at 36, he suffered career-ending injuries in a spill at Belmont Park.
Turcotte’s accomplishments earned him a spot in six different Halls of Fame, including the National Racing Hall of Fame in 1979 and the Canadian Sports Hall of Fame in 1980. He won the George Woolf Memorial Jockey Award, presented at Santa Anita, the Avelino Gomez Memorial Award, given in Canada, and the Turf Publicists Big Sport of Turfdom Award.
He spent much of his later years bringing attention to the Permanently Disabled Jockeys Fund, or PDJF.
Of all his more than 3,000 wins, he will most be remembered for his ride aboard Secretariat winning the Triple Crown and Belmont Stakes by an unheard of 31 lengths.
“I couldn’t hear the announcer all the time, saying how far I was in front,” Turcotte told The Times in 2023, to mark the 50th anniversary of Secretariat winning the Triple Crown. “I knew I was quite a ways in front because I couldn’t hear any other horses hitting the ground behind me. When I got the quarter pole I looked and I could barely see them and I looked at the clock and saw 1:59 on the board, which was faster than we ran the Derby.”
The family plans a private funeral and asks that in lieu of flowers donations be made to the PDJF. Turcotte is survived by his wife of almost 60 years, Gaetane, and their four daughters: Tina, Ann, Lynn and Tammy.
