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Tampa Bay Rays' Blake Snell says taking a pay cut to play baseball isn't worth the health risk




Snell argued the risk for players was too high, and not worth the decreased money.

Blake Snell, star pitcher of the Tampa Bay Rays, is putting his foot down: No pay, no play.

The Cy Young Award winner said in a Twitch broadcast Wednesday he wouldn't return to play baseball amid the coronavirus pandemic unless the money's worth it.
"I'm not playing unless I get mine," said Snell. "That's just the way it is for me. Like, I'm sorry you guys think differently, but the risk is way ... higher and the amount of money I'm making is way lower. Why would I think about doing that?"


Blake Snell wipes his face at Minute Maid Park on October 05, 2019 in Houston, Texas.
The comments come as rumors swirl about a plan approved by MLB owners that would halve the amount of money players would make for the season -- in a 50-50 revenue split with owners, ESPN reported.
Snell, 27, was scheduled to make $7 million this season alone. Though some have said players should play for the love of the game, Snell disagreed, saying the risk was too high for everyone on the field.
"You all gotta understand. Cause you all are going to be like, 'Blake, play for the love of the game -- what's wrong with you? The money should not be a thing.' Bro. I am risking my life," he said.
"And then be on lockdown, not around my family, not around the people I love, and getting paid way the hell less," he continued. "And then the risk of injury runs every time I step on the field. So it's just, just not worth it. It's not. I love baseball to death, it's just not worth it."



In text messages to the Tampa Bay Times, Snell defended his comments, though he said he understood that some may perceive his ideas as greedy. 

"I mean, honestly, it's just scary to risk my life to get COVID-19 as well as not knowing and spreading it to others," he told the Times. "I just want everyone to be healthy and get back to our normal lives, 'cause I know I miss mine!"
He also called attempts by MLB towners to reduce player salaries "frustrating" because players have more risk, he said.

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Scoob review – scrappy animated reboot is a ruff ride



The relaunch of Scooby-Doo, a character born in the late 60s and sustaining a presence in the decades ever since, carries with it the potential for both high highs and low lows. Because universal familiarity and affection among parents might make it a swifter rental decision but the weight of expectation and of childhood association will mean that casual, uninvested background watching won’t suffice. Which is where the problem with Warner’s early summer franchise-relauncher Scoob lies. While a younger audience might be enthralled by the fast pace and bright colour palette, those understandably curious adults sitting nearby will find themselves watching in horror, a deep, sorrowful howl emerging.


Originally intended for a theatrical release, the studio decided to demote their animated adventure (the first big-budget Scooby-Doo film since 2004) to the home cinema, a wise sacrifice given a captive family audience thirsty for new content as shown by the controversial success of last month’s Trolls: World Tour. Scoob has a steeper hill to climb though, without the inbuilt younger fandom of Universal’s sequel, so it’s important to woo an older crowd and so while longtime animation director Tony Cervone might be at the helm, the script includes input by comedy writer Adam Sztykiel, whose previous projects have been aimed at adult viewers. The end result, trying to appeal to both ends of the spectrum, can’t quite master something that say, Pixar, manages with ease. It’s uncomfortably strained with laboured winks scattered among the sub-par slapstick action, a dog’s dinner of a movie best enjoyed by those with no knowledge of who or what Scooby-Doo used to be.

But even then, Scoob stumbles because so much of the plot plays off an assumed knowledge of the history of these characters and their dynamic, hoping that we fill in the many gaps it can’t fill itself. It starts promisingly, with a neat meet-cute as we learn how a young Shaggy befriends a stray dog he calls Scooby-Doo. On one Halloween night, the pair then end up meeting three friends, Fred, Daphne and Velma, who help them bring a thieving local in a ghost mask to justice. It’s a charming throwback and so it’s then frustrating that we’re dragged into the future via lazy mystery-solving montage as the gang find their business underfunded leading to a bizarre and dated cameo from Simon Cowell, playing himself as a potential investor. He bitchily recommends dropping Shaggy and Scooby from the Mystery Inc banner and so the group splits, a befuddling inciting incident that’s indicative of a confused and confusing plot to come.

The ensuing mess of events continues to take us further away from the ingredients that made the original show and its many iterations so well-loved by so many, replacing a goofy small-town mystery with a blockbuster-level global quest. In trying to update the formula, the film’s four writers have expanded the focus too wide, flattening out the distinctively shaggy mystery elements and turning it into just another soulless kids movie. The tiresome insertion of a superhero narrative feels patronising, as if a younger audience can’t be trusted without it, and transforming kitschy Wacky Races bad guy Dick Dastardly into a slick, all-powerful supervillain is both boring and a predictable sign that a Hanna-Barbera cinematic universe is upon us.


There’s something too big about the plot, making it feel more like the third or fourth instalment in a franchise, rather than the more modest scene-setter it needed to be. We get so little time with the group as a whole and have such little understanding of what it is they actually do that suddenly throwing them into jeopardy doesn’t have much of an effect, especially when it’s on such a large scale. It doesn’t help that the garish animation looks more suited to a mobile game than a studio movie, passable in the bigger action sequences but hideous when trying to portray human features. There’s a stacked voice cast – including Zac Efron, Mark Wahlberg, Gina Rodriguez and Amanda Seyfried – and while Will Forte nails his Shaggy impression, the others are hard to distinguish, struggling to add life to a script that relies on clunky pop culture references (most of which conveniently nod to other Warner properties).

At one point in Scoob, Fred insists that this is their “most important mystery ever” rather than being “about some guy in a rubber mask”, an annoyingly smug attempt to elevate this above the many entertainingly dopey adventures we’ve seen them on before. But the bigger Scoob goes, the more anonymous it feels, a lacklustre example of what happens when Hollywood execs pander, meddling with a classic that should have been treated with more respect.

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'How to Get Away With Murder' saves its last big twists for series finale





Viola Davis in the series finale of 'How to Get Away with Murder.' (ABC/Jessica Brooks)

If you lost track of "How to Get Away With Murder" after the buzzy first season, don't worry, you're not alone. The ABC series wrapped up its six-year run on Thursday night, highlighting both its main strength -- Viola Davis' fearsome presence -- and how far the mighty fell from when producer Shonda Rhimes' "TGIT" lineup was in full flower.

Frankly, this is one of those shows that shouldn't have dragged on this long, demonstrating that you can only get away with a concept like "Murder" for so long. The series had to keep concocting improbable twists and crazy cliffhangers to gin up interest, with additional contortions to keep the various law students in the orbit of their imperious professor Annalise Keating (Davis).
As the arcs built on each other they became increasingly ridiculous, while adding layer upon layer of government corruption. That culminated in Annalise's murder trial, which played out in the final episode after a teased shooting on the courthouse steps and glimpse of Annalise's funeral, leaving the implication that she had met an untimely and violent end.

But no, that wasn't what happened. Instead, the bullets caught Annalise's tormented associates Bonnie (Liza Weil) and Frank (Charlie Weber), after Frank shot Governor Birkhead (Laura Innes). Annalise, in fact, was actually being memorialized after what appeared to be a good long life, as her former students (in really bad old-age makeup) wistfully remembered her.
It was melodramatic and more than a little manipulative -- descriptions that have applied to the show from the beginning, but which were more tolerable before the novelty of its serialized mystery format wore off.

That said, the finale wasn't entirely unredeemed, thanks to the showcase it provided Davis. Annalise has always been an inordinately complicated character, here admitting during her courtroom summation to being a "bad person," just not a murderer.
"I'm ambitious, black, bisexual," she told the jury, amid rattling off a long list of attributes, before concluding, "And I am at your mercy."
It was also nice to see one more scene between Annalise and her mom, played by 95-year-old Cicely Tyson, who always classes up the joint, having made good on her pledge never to retire.

Although Annalise was acquitted and survived, the blood-soaked finish felt like a way for series creator Peter Nowalk to make her pay a price, while tying up a few extra loose ends as the hour raced through servicing the large cast of characters.
Davis became the first African-American woman to win a lead actress in a drama Emmy in the first season, when "How to Get Away With Murder" joined Rhimes' "Grey's Anatomy" and "Scandal" in a powerhouse night. Thanks to her, the series finale delivered a few reminders of where it began, even if that closing argument came a few years too late to earn a favorable verdict.

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'Percy Jackson' Series in the Works at Disney+



Rick Riordan, author of the book series on which two feature films starring Logan Lerman are based, announced the plans Thursday on social media.

dan, author of the book series on which two feature films starring Logan Lerman are based, announced the plans Thursday on social media.
A series based on the Percy Jackson novels is in development at Disney+.

The project, which author Rick Riordan announced Thursday on Twitter, is in its early stages at the streamer, sources tell The Hollywood Reporter.

Riordan's Percy Jackson and the Olympians series, beginning with The Lightning Thief, encompasses five novels and also spawned two follow-up series, Heroes of Olympus and Trials of Apollo. The first two series were published by Hyperion when it was a Disney subsidiary (the Trials of Apollo books came after the imprint's acquisition by Hachette).

The Lightning Thief and the second book in the series, Sea of Monsters, were previously adapted as feature films at 20th Century Fox (which is now owned by Disney). The pics starred Logan Lerman as the title character, a boy who discovers he's the son of the Greek god Poseidon, and Alexandra Daddario as Annabeth, another demigod. 

The movies aged up the characters somewhat, with Percy as a 16-year-old rather than a 12-year-old as at the beginning of the book series. Riordan wrote on Twitter that the potential series will be a more faithful adaptation.

We are very excited about the idea of a live-action series of the highest quality, following the storyline of the original Percy Jackson five-book series, beginning with The Lightning Thief in season one," Riordan wrote. He added that he and his wife Becky will be involved "in every aspect of the show." 

The Percy Jackson news follows a familiar Disney+ blueprint of using well-established IP as the basis for series projects. The streamer has already debuted series based on Star Wars (The Mandalorian) and High School Musical (High School Musical: The Musical: The Series) and is developing a host of Marvel projects, several other Star Wars series, a Beauty and the Beast prequel, a reboot of Doogie Howser, M.D. and a National Treasure series, among other efforts.

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The Epic Games Store was down for hours as everyone tried to get GTA V for free



After a more than eight-hour outage, the Epic Games Store appears to finally be back online, meaning you should finally be able to claim Rockstar’s smash hit Grand Theft Auto V for free until May 21st.

The Epic Games Store had been counting down to the launch of an unnamed free title at 11AM ET today, and we learned last night that game would be GTA V, thanks to an early tweet posted by Epic Games’ official Twitter account. However, when the time came for the deal for the game to go live, the Epic Games Store went down, presumably as people tried to refresh the site to claim the free title.

Epic acknowledged the outage in an 11:05AM ET tweet, and in a 12:58PM ET tweet the company said the store was still experiencing issues:

The heavy traffic to the store may have affected other Epic services as well, as an official Fortnite Twitter account said Epic was “investigating issues” on PC and Mac and later said there were also issues on iOS and Android. Epic’s Battle Breakers mobile game was also experiencing issues during the day. However, according to Epic’s status page, both Fortnite and Battle Breakers are now fully operational again.

 Epic is letting you claim the Premium Edition of GTA V, which includes “the complete GTA V story, Grand Theft Auto Online and all existing gameplay upgrades and content,” according to the studio, as well as the Criminal Enterprise Starter Pack, which gives you additional content and $1,000,000 bonus cash for GTA Online.

Before snagging your copy, you should know that Epic is now requiring people have two-factor authentication turned on to claim free games. If you need a guide on how to turn on two-factor authentication for your account, Epic has one you can follow here.

Epic has given away dozens of free titles since launching its PC store in December 2018, and the company said in January it plans to continue to give away free games through 2020.

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REALITY TV PERSONALITY MAURICE FAYNE CHARGED WITH BANK FRAUD


The reality TV personality who stars in Love & Hip Hop: Atlanta, has been arrested on federal bank fraud charges arising from a Paycheck Protection Program (“PPP”) loan that he obtained in the name of Flame Trucking.


able loans to small businesses for job retention and certain other expenses, through the PPP.  In April 2020, Congress authorized over $300 billion in additional PPP funding.
The PPP allows qualifying small-businesses and other organizations to receive loans with a maturity of two years and an interest rate of 1 percent.  PPP loan proceeds must be used by businesses on payroll costs, interest on mortgages, rent, and utilities.  The PPP allows the interest and principal to be forgiven if businesses spend the proceeds on these expenses within eight weeks of receipt and use at least 75 percent of the forgiven amount for payroll.
Maurice Fayne, a/k/a Arkansas Mo, 37, of Dacula, Georgia, was charged with bank fraud.  Members of the public are reminded that the indictment only contains charges.  The defendant is presumed innocent of the charges and it will be the government’s burden to prove the defendant’s guilt beyond a reasonable doubt at trial.
This case is being investigated by the Federal Bureau of Investigation in conjunction with the Atlanta Complex Financial Crimes Task Force supported by the Gwinnett County Sheriff’s Office, and the Small Business Administration-Office of the Inspector General.
Assistant U.S. Attorneys Russell Phillips, Bernita Malloy, and Michael J. Brown are prosecuting the case.
Georgia’s COVID-19 Task Force warns the public to be on the lookout for potential increased criminal activity related to federal stimulus checks, fake COVID-19 cures, personal protective equipment (PPE) price gouging and fair housing violations. The public can report potential scams to the National Center for Disaster Fraud (NCDF) hotline (1-866-720-5721) or to the NCDF e-mail address www.disaster@leo.gov​. The public can also file complaints with the Attorney General’s Office by calling 800-869-1123 (toll-free) or at www.consumer.ga.gov​.

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Ousted HHS official Rick Bright says critical steps were not take in early stages of coronavirus response


Dr. Rick Bright appears before the House Energy and Commerce Committee (LIVE) | USA TODAY


WASHINGTON – Critical steps were not taken in time in the early stages of the coronavirus outbreak, Rick Bright, an immunologist who says he was unfairly ousted from the Department of Health and Human Services, told a House panel Thursday.
Bright said he’d known for some time that the nation’s stockpile of supplies was insufficient and pushed urgently in January to ramp up production of masks, respirators and other supplies.
“Those alarms were not responded to,” he told a subcommittee of the House Energy and Commerce Committee.
Bright also said he unsuccessfully tried to increase the availability of Remdesivir, a drug that has shown a modest benefit for patients with COVID-19. 



“I was told that my urgings were causing a commotion and I was removed from those meetings.”
Bright said the window is closing to address the pandemic because the nation still lacks a standard, centralized coordinated plan.
For example, he said, doses of Remdesivir are still limited.
“And we don’t have a plan for how to scale up the drug,” Bright said.
- Maureen Groppe
Bright warns of 'darkest winter in modern history'
An immunologist who says he was unfairly ousted from the Department of Health and Human Services plans to tell a House panel on Thursday that if the U.S. does not develop a plan to address a second wave of the virus, the country will experience the "darkest winter in modern history." 
Rick Bright, who was removed last month from his position as the director of HHS' Biomedical Advanced Research and Development Authority (BARDA), is scheduled to testify before the House Energy and Commerce Committee at a hearing titled, "Protecting Scientific Integrity in the COVID-19 Response." 
"Our window of opportunity is closing. If we fail to develop a national coordinated response, based in science, I fear the pandemic will get far worse and be prolonged, causing unprecedented illness and fatalities," Bright says in a copy of his planned opening statement to the panel. "While it is terrifying to acknowledge the extent of the challenge that we currently confront, the undeniable fact is there will be a resurgence of the COVID19 this fall, greatly compounding the challenges of seasonal influenza and putting an unprecedented strain on our health care system." 
In his statement, Bright says he began warning in January that the outbreak required the urgent "development of critical medical countermeasures" but "HHS leadership was dismissive about my dire predictions" and "were therefore unwilling to act with the urgency that the situation required." 
As he called for the increased production of medical supplies and personal protective equipment through February and March, Bright says he "faced hostility and marginalization from HHS officials" and was "cut out of key high-level meetings." 
Bright said he was finally removed from BARDA when he "resisted efforts to promote and enable broad access to an unproven drug, chloroquine, to the American people without transparent information on the potential health risks." 
President Donald Trump publicly touted the rumored efficacy of chloroquine and hydroxychloroquine as a potential "game-changer" in the fight against the virus even as Dr. Anthony Fauci, director of the National Institute of Allergy and Infectious Diseases, said there was only "anecdotal" evidence of its success. 
Bright has filed a whistleblower complaint alleging he was ousted in retaliation for his views. Last week, the Office of Special Counsel said there were "reasonable grounds" to believe Bright was ousted in retaliation for his efforts to sound the alarm about the outbreak. 
Bright has also alleged he was pressured to award government contracts "based on political connections." On Tuesday, the Office of Special Counsel said in a letter to Bright's attorneys that based on the information he had shared, there was a "substantial likelihood of wrongdoing." The special counsel's office said it was calling on HHS Secretary Alex Azar to open an investigation into Bright's allegations. 
BARDA is designed to aid in securing the nation from chem, biological, radiological, and nuclear threats, as well as from pandemic influenza and emerging infectious diseases, according to the HHS website. Part of BARDA's work against COVID-19 includes assisting in the development of a vaccine. 
"Sidelining me in the middle of this pandemic and placing politics and cronyism ahead of science puts lives at risk and stunts national efforts to safely and effectively address this urgent public health crisis," Bright said in a statement last month calling for an Inspector General's investigation.
Trump paradoxically said in a tweet ahead of Bright's testimony that he had both never heard of him, and that people told him Bright was not held in high regard by his colleagues. 
"I don’t know the so-called Whistleblower Rick Bright, never met him or even heard of him, but to me he is a disgruntled employee, not liked or respected by people I spoke to and who, with his attitude, should no longer be working for our government!" Trump said. 
I don’t know the so-called Whistleblower Rick Bright, never met him or even heard of him, but to me he is a disgruntled employee, not liked or respected by people I spoke to and who, with his attitude, should no longer be working for our government!
— Donald J. Trump (@realDonaldTrump) May 14, 2020
Prior to his reassignment, Bright had received an "outstanding" performance review.
In his statement to lawmakers on Thursday, Bright said he was testifying "because science – not politics or cronyism – must lead the way to combat this deadly virus." 
The coronavirus has infected nearly 1.4 million people in the U.S. and has killed more than 84,000. 
Bright's testimony comes two days after Fauci warned of increased "suffering and death" if states begin to lift their lockdown measures, which aim to slow the spread of the disease, too quickly
"As I reflect on the past few months of this outbreak, it is painfully clear that we were not as prepared as we should have been," Bright says. "We missed early warning signals and we forgot important pages from our pandemic playbook. There will be plenty of time to identify gaps for improvement. For now, we need to focus on getting things right going forward." 
Bright outlines several steps he believes are necessary to take to minimize the damage before the cure he believes will come is discovered. He called for a public education campaign on mitigation techniques such as handwashing, social distancing and wearing masks, adding that "leaders must lead by modeling the behavior"; increased production of medical supplies and PPE; a national distribution system for those supplies that stops "state vs. state competition"; and a national testing strategy." 
"We will either be remembered for what we did or for what we failed to do to address this crisis," Bright concludes. 
Contributing: David Jackson, USA TODAY; The Associated Press

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