Following Netflix’s docu-series Tiger King instant rise to viral fame, Hillsborough County Sheriff Chad Chronister saw an opportunity to close the 20-year-old cold case surrounding the mysterious disappearance of Carole Baskin‘s husband Jack “Don” Lewis. The couple were prominently featured on the show, which gave Chronister hope that the renewed attention on Baskin and Lewis might jar some memories, so he tweeted out a request for new leads that could finally put the case to bed.
While Chronister’s request worked and his department has received a steady barrage of tips, not all of them have been helpful. In a surprisingly lengthy interview with Vulture, the Florida sheriff shoots down theories, sheds light on the “complicated” lives of the show’s subjects, and most importantly, he drills down on a key point that makes Lewis’ disappearance seem very suspicious:
And then there’s the will. I know that was a big point of contention: that the will was forged. Certainly, like you and everyone else, I am suspect of the will. I’ve never heard, in my 52 years of life or in my 28 years in law enforcement, of anyone creating a will that stated “if I’m missing, or kidnapped, please leave the bulk of my wealth to this individual.” So a lot of that was suspect. And then we had someone who worked for Carole who said, “Yes, I witnessed all the signatures.”
And then, later on, she recanted her statement.
As Chronister further explains, there are two things about the will that are huge red flags: Lewis’ kids were written out of it, and it specifically predicts going missing or being kidnapped. “I’ve heard of wealthy people wanting to get away or disappear,” Chronister said. “But I’ve never heard of one disappearing and not taking their money with them. Who can forecast that they might disappear?”
When it comes to the new leads that have become coming in, Chronister notes that, so far, none of the tips have been viable. In fact, most of them are just people who watched Tiger King and formed their own theories from the documentary, but Chronister is still encouraging his detectives to hear them out:
I’ve told my detectives not to get upset, because someone may call and cause us to look at this case from a different lens, and maybe that will help us solve the case. I certainly don’t discount it. But you saw the documentary, where everyone believed that he was buried under the septic tank. Well, that septic tank wasn’t put in until years after his disappearance. That was a dead end. There something about the meat grinders, and people asked, “Why didn’t you get DNA from the meat grinders?” Well, the meat grinders where removed. They stopped using them weeks before his disappearance. But people watching the documentary don’t know a lot of the information we’ve already investigated.
Stephen Williams, whose directing credits include episodes of Watchmen, The Walking Dead, Lost, and more, is set to helm Universal’s new monster movie Don’t Go in the Water. There are zero plot details at the moment, but it’s safe to assume from the monster movie distinction and the title that this is going to be some sort of aquatic horror movie – and we could always use more of those.
Variety has the scoop on Don’t Go in the Water, described simply as a “suspenseful monster movie” from director Stephen Williams. Stranger Things producer Shawn Levy is producing, along with Dan Levine for 21 Laps Entertainment, while Adam Kolbrenner will produce for Lit Entertainment Group. Adam Rodin is executive producing.
Williams directed two Watchmen episodes – “She Was Killed by Space Junk”, which featured the now-infamous giant Dr. Manhattan dildo, and “This Extraordinary Being”, one of the most memorable episodes of the series, in which Regina King’s Angela relives her grandfather’s memories via a drug trip. That episode was highly renowned for its unique visual style, so it’s great to see Williams branch out into a big movie. Save for 1995’s Soul Survivor, all his other credits are in TV.
I wish I could tell you more about the Don’t Go in the Water plot, but there simply isn’t anything to tell. However, the title certainly suggests this is some sort of aquatic horror film, and that’s a sub-genre I always enjoy. Earlier this year we saw the release of Underwater, a surprisingly fun undersea monster movie starring Kristen Stewart.
Other entries include DeepStar Six, Leviathan, Deep Rising, and more. Hell, you can even include every shark movie under that banner as well – all the Jaws flicks, The Shallows, Deep Blue Sea, and so on. The only real prerequisite is that the plot involves unlucky characters either on a boat or in some sort of underwater location being plagued by danger. It doesn’t even have to be monster-based danger. There’s Dead Calm, where the danger is Billy Zane. Hell, go ahead and include Titanic in there, I don’t care. There are no more rules anymore, folks. Anything goes these days.
Last Updated: March 30th
In addition to being America's most trusted source of Carnivale episodes, HBO Go/HBO Now has a lovely collection of movies available ranging from trashy action thrills to elegant period pieces to star-studded comedies. Here is a ranking of the 30 best movies on HBO Go/HBO Now that you could and should be watching right now.HBO 1. Deadwood: The Movie 2019
Run Time: 110 min | IMDb: 7.5/10
HBO managed to pull off the seemingly impossible with this follow-up movie based on a series that left us too soon. Ian McShane, Timothy Olyphant, and the rest of the residents of the camp are back to celebrate the South Dakota's statehood in the only way this dusty drama knows how — with reignited rivalries, betrayals, bloodshed, and lots of swearin.' The show became a fan favorite thanks to its gritty performances and nuanced storytelling, and the movie continues the tradition, investigating the lives of these pioneers who've endured plenty of hardship for their piece of the American dream.Focus Features 2. Won't You Be My Neighbor? 2018
Run Time: 94 min | IMDb: 8.4/10
Everyone's favorite friendly neighbor gets the documentary treatment with this expose on the beloved TV icon. Fred Rogers left his mark on the world through his show, one that sought to bridge cultural, religious, and racial divides by teaching children the importance of kindness, acceptance, and compassion. He taught us all how to be better human beings, but the doc dives further, exploring the man behind the TV personality, a guy who fought Congress for funding for the arts and who left a legacy worth celebrating. Bring tissues for this one, folks.Universal 3. Us 2018
Run Time: 116min | IMDb: 6.9/10
Jordan Peele's nightmarish follow-up to Get Out cements the director's status as a master of horror. This twisted tale follows an African-American family on vacation who encounter evil doppelgangers of themselves that hint at an even darker conspiracy. Lupita Nyong'o, and Winston Duke play a married couple, Adelaide and Gabe Wilson, who must protect their family from beings known as the “Tethered,” clones of themselves who have been trapped underground for decades and who are ready to take over on the surface. Peele takes fans on a thrilling ride, causing us to constantly question what's real and who's who but you probably won't get a good night's sleep after watching this thing.Ariel Nava/Lionsgate 4. Blindspotting 2018
Run Time: 95 min | IMDb: 7.4/10
Hamilton alum Daveed Diggs writes and stars in this crime drama that's as funny as it is critical of our current justice system. Diggs plays Collin, a man with three days left on a probation sentence who's trying to stay out of trouble on the streets of...
Right now, everyone is looking for some kind of reprieve from being locked up at home due to the spread of the coronavirus across the United States. That doesn’t appear to be in the cards anytime soon, but The Office executive producers Paul Lieberstein and Ben Silverman think they’ve figured out a way to make light of the situation by crafting a new workplace comedy series inspired by the sudden rise in employees working from home due to the outbreak of coronavirus forcing people to practice social distancing.
Deadline was first to learn of the currently untitled coronavirus comedy series, though it’s not necessarily about the pandemic. Paul Lieberstein and Ben Silverman, better known to The Office fans as the frequently maligned Toby Flenderson and one of Jim’s business partners at their company Athlead, are creating the series that is said to focus on “wunderkind boss who, in an effort to ensure his staff’s connectedness and productivity, asks them all to virtually interact and work face-to-face all day.”
The series is in the works at Big Breakfast, the comedy production banner Silverman runs, where he’ll executive produce the series along with and Luke Kelly-Clyne College Humor and Kevin Healey Scare Tactics. They’ll also be working with Howard Owens’ Propagate Content, which will have Rodney Ferrell serving as an executive producer as well.
Silverman, who was also once an NBC executive, explained the inception of the series and his hope for what it will become:
“So many of us are jumping on daily Zoom meetings — for work and beyond. We are in a new normal and are personally navigating ways to remain connected and productive at work and in our home lives. With the brilliant Paul Lieberstein at the helm, we think we have a series that not only brings humor and comfort during this troubling time but will also be an inventive and enduring workplace comedy for years to come.”
While the prospect of trying to craft a series around the coronavirus outbreak sounds like a bad idea at this time, there’s no indication that the pandemic will actually play a part in the overall concept of the series. In fact, it would be easy to pull something like this off without introducing such a grim plot device.
What I’m envisioning with this series is a show with a format that echoes what we’ve seen accomplished with movies like Unfriended and Searching. Both of those films play out entirely on computer or mobile device screens and successfully tell a solid narrative. Modern Family did something similar with an episode that unfolded across the ensemble cast’s various screens, and it worked pretty well. But if that’s what this series will be like, can that concept be sustained for an entire series? Or will they need to take...