Zach

Hot mics have embarrassed many a media professional.

Cincinnati Reds longtime broadcaster Thom Brennaman was suspended indefinitely in 2020 after his microphone accidentally picked up him using a three-letter anti-gay slur.

Charles Barkley dropped an uncensored F-bomb during an Inside the NBA on TNT broadcast in 2025 while venting about NBA award voters.

And just two months ago, San Francisco Giants executive Buster Posey trolled radio station KNBR on-air after a behind-the-scenes employee was caught on a hot mic talking trash about him.

Add reporters covering Sacramento Kings media day Monday to the list. At least three were heard in an unvarnished conversation about Kings players Ben Simmons and Zach LaVine that took a personal turn.

A handful of local outlets livestreamed media day interviews. But the mics also picked up reporters chatting, and embarrassing comments went beyond their frequent use of the hyper-localized and outdated NorCal modifier “hella.”

Comments begin about Simmons, a guard on a one-year, non-guaranteed contract after missing last season with injuries. A female says “That’s what comes with being Ben Simmons. He is cringe, cringe,” and another jumps in to say he is “lucky he’s so fine.”

The first media member agrees, saying “He’s a good-looking dude. His skin is, like, so smooth, I was like, damn, no tattoos?”

A male voice joins the conversation, asking, “I thought Jordan Poole was your type.”

A female voice replies, “Allegedly, I like light-skinned, I guess.”

The male voice continues: “What about Zach LaVine, then?”

“Hella fine,” the female voice replies.

“I think his personality annoys the [expletive] out of me, so that’s what makes him less fine,” the first person says. “Zach’s cute but his personality [expletive] annoys me. He just seems like hella like a prick. But he is beautiful.”

“He’s a [expletive] UCLA guy,” replies the third person. “Just all of them are.”

Another voice jumps in, offering that LaVine is “hella fine, too.”

Someone asks how the others would rank Kings players by hotness. One voice votes for Simmons because of “his skincare routine.”

Apparently referring to the team’s woeful 22-60 record last season, the male voice responds by cracking, “Well, Ben wasn’t a King for the last year and a half either,” to which a female voice concedes, “That’s true.”

The reporters involved have not been publicly identified, and none of the players have responded. LaVine’s wife, Hunter, did offer a low-key comment to the Kings Muse recording, writing on X, “a great start to the season!”

The episode called to mind the hot mic that marred the Toronto Raptors’ postseason news conference last April. Two unidentified media members were heard making disparaging comments about players Scottie Barnes and Jonathan Mogbo.

“It’s not just his enunciation, which, like, was super bad, especially last year,” one person said about Barnes. “But even the attitude. Just the attitude — like he’s having fun up there. First year or even before, he just kept getting worse and worse every year.”

Rookie forward Mogbo was the next target. “When I first interviewed Mogbo when he was drafted, I was shocked ’cause he was so dumb,” the person said.

Raptors fans were appalled by the comments, but Barnes responded with humor on social media. It remains to be seen how Simmons and LaVine react.

After his existential suburban horror epic “Weapons” became an Oscar winner (for Amy Madigan’s chilling supporting performance as Aunt Gladys), filmmaker Zach Cregger has dashed off a fun little riff on one of his favorite video games. His “Resident Evil” reboot is the eighth film in the big-screen franchise based on the Japanese zombie survival game, though Cregger’s “Resident Evil” is its own beast — put those Milla Jovovich movies out of your head entirely.

There are, of course, a few shared strands of DNA in the screenplay by Cregger and Shay Hatten: an evil company, Umbrella Corporation, responsible for a virus that mutates humans into zombies and all manner of monsters, located in the lovely Raccoon City. But our hero, Bryan (Austin Abrams), a hapless medical courier, knows none of this when he takes a gig delivering what he thinks is an organ on the snowy mountain roads to the metropolis.

Abrams, who was a standout in the ensemble cast of “Weapons,” has another big movie out this fall in which he stars as the lone protagonist, “Whalefall,” and the two films comprise an apt survival thriller double feature. In “Resident Evil,” Abrams’ Bryan spends much of his lonely mission muttering to himself in annoyance and sometimes victory, much like a gamer would. During one self-reflective moment, Bryan yells, “Yeah! Video games!” elated at how his shooting is improving.

Cregger’s approach to “Resident Evil” is to seamlessly blend the cinematic with a gaming experience and his adaptation best mimics the feeling of playing an actual game or watching someone else play one. At one point, Bryan and a comrade he meets along the way (Paul Walter Hauser) marvel at the shooting skills of Maxine (Kali Reis) as if they’re watching her play the game too.

Immediately, Cregger establishes a camera that follows closely behind Bryan, a similar motif to the cinematography he used in “Weapons.” As Bryan starts to encounter the strange beings who appear on the outskirts of Raccoon City, the game mechanisms click into place. Different characters — villains and helpers — pop up along his journey, as well as different tools and weapons. He frequently encounters locked doors, obstacles and empty spaces that he has to explore. Cregger uses first-person-shooter point-of-view shots, with the long barrel of a rifle or automatic weapon lining up our sights; one running gag sees Bryan, completely hopeless with guns, having to shoot the locks off of gates.

What was already a very darkly funny and incredibly gross film gets even more disturbing as Bryan ventures into the Raccoon City hospital, trying to make his delivery. He encounters monsters that vomit acid or explode with zombie rats; one particular ward is full of undulating sacs of bloody viscera.

Cregger remains one of our finest horror image-makers, creating surreal and snowy landscapes that are as beautiful as they are disturbing: the red and blue lights of a flipped police car in a blizzard, dark pools of blood and mysterious footsteps, tentacles greeting and meeting each other, stomach acid decimating an elevator. With impeccable sound design and an eerie score by Ryan and Hays Holladay, Cregger delivers a textured, wholly realized world.

But our guide is just a regular guy, which lends to the charm. Bryan is dealing with relationship problems that add to the urgency of his desire to survive, but he’s also just a dude with questionable self-preservation instincts, which makes for a good adventure. He has an overwhelming desire to help, which leads to some ridiculous circumstances and is a quality that Cregger plays for laughs. Abrams plays the goofball well and we’re constantly rooting for him, even as his fortunes take a turn in a tragic reversal that we’ve seen in monster movies before.

Cregger wears his influences well and they aren’t just video games but pulled from the history of horror. Still, he blends it all into his own vision so it doesn’t feel derivative. While the unwieldy ending might get away from him, the tightly controlled and efficient stretch that precedes it is the work of a new master, one who delivers imaginative, terrifying and hilarious thrills and chills, whether he’s reanimating a dead franchise or dreaming up his own uncanny vibe. “Resident Evil” might be his most playful — and gooey — film yet.

Katie Walsh is a Tribune News Service film critic.

Garth Brooks, Zach Top and Riley Green will headline 2027’s Stagecoach country music festival, organizers announced Monday, bringing together one of the genre’s veteran standard-bearers with two of Nashville’s ascendant stars.

The three-day event, scheduled for April 23-25 at Indio’s Empire Polo Club, will also feature Hardy, Brothers Osborne, Willie Nelson, Shaboozey, Stella Lefty, Charley Crockett, Stephen Wilson Jr., Turnpike Troubadours, Gretchen Wilson, Ernest, Hudson Westbrook and a reunited Florida Georgia Line.

Among the non-country acts on the bill for the annual show, which for years has been expanding its stylistic footprint, are Kelly Clarkson, Pitbull, David Lee Roth, Sean Paul, Flo Rida, Matchbox Twenty, the Fray and Journey, the last of which was scheduled to perform at this past April’s festival but whose set was called off after high winds temporarily shut down Stagecoach.

Brooks, who previously headlined Stagecoach in 2018, launched an arena tour last month, while Top and Green both just picked up nominations for November’s CMA Awards: Top for male vocalist of the year and album of the year (for his “Ain’t in It for My Health”) and Green for musical event of the year (for his and Carly Pearce’s duet “If I Don’t Leave I’m Gonna Stay”).

Other acts scheduled to perform at next year’s festival, which takes place on the same grounds as Coachella the weekend after that event, include Carín León, Cody Jinks, Melissa Etheridge, Dasha, Waylon Wyatt, Tedeschi Trucks Band and Laci Kaye Booth.

Passes for Stagecoach, which start at $549 and go up past $4,000 for various VIP packages, will go on sale Friday. Goldenvoice, the Los Angeles-based promoter that puts on Stagecoach and Coachella, announced last week that its inaugural Ocean Way festival, which was to be held on the beach in Santa Monica on Sept. 26 and 27, had been canceled due to erosion caused this month by Hurricane Marie.