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The San Sebastian Film Festival will fete Javier Bardem with its prestigious Donostia Award at its 71st edition, running 22 — 30 September.

The actor will receive the career achievement prize on Friday 22 September at the Kursaal Auditorium, thirty years after his first visit to the Festival for the competition screening of Bigas Luna’s film Golden Balls in 1993. An image of Bardem will also serve as the official poster of this year’s festival. Check out the poster down below.

Bardem is one of Spain’s most prominent cinematic names, with over 70 screen credits. He picked up an Academy Award®, Golden Globe, and a BAFTA for his turn in the Coen Brothers’ neo-western No Country for Old Men. Bardem was last at San Sebastian in 2021 with the workplace comedy-drama The Good Boss from Fernando León de Aranoa. The pic was Spain’s submission for the international Oscar race. Later this year, Bardem returns for the second film in Denis Villeneuve’s Dune series, where he plays the character Stilgar alongside Timothée Chalamet and Zendaya.

Last year, the lifetime achievement award was handed to David Cronenberg and Juliette Binoche. Other previous filmmakers to have received the Donostia Award include Francis Ford Coppola, Woody Allen, Oliver Stone, Agnès Varda, Hirokazu Koreeda, and Costa-Gavras.

Colombian filmmaker Laura Mora clinched the Golden Shell in the main competition at last year’s San Sebastian Film Festival with her latest feature The Kings of the World (Los reyes del mundo). Elsewhere, the festival held the European premiere of Chilean filmmaker Sebastián Lelio’s latest feature The Wonder based on Emma Donoghue’s novel starring Florence Pugh alongside an ensemble cast including Ciarán Hinds, Tom Burke, Toby Jones, Elaine Cassidy, and Niamh Algar. South Korean filmmaker Hong Sang-soo also debuted his latest offering Top / Walk Up in Competition.

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The San Sebastian Film Festival will fete

The next CEO of Twitter is likely to be a familiar face for advertisers.

NBCUniversal’s head of advertising sales, Linda Yaccarino, is in talks for the CEO role at the social media company, which is now owned by Elon Musk, The Wall Street Journal reports.

Yaccarino is currently slated to be on stage at NBCU’s upfront presentation at Radio City Music Hall Monday morning. “Linda is in back to back rehearsals for Monday’s upfront,” a spokesperson for the company told The Hollywood Reporter.

Yaccarino interviewed Musk at an advertising event three weeks ago, and last week NBCUniversal announced a new content deal with Twitter that will see the social site hosting 2024 Paris Olympics content, including an exclusive live show.

Musk said earlier on Thursday that he was “excited to announce that I’ve hired a new CEO for X/Twitter. She will be starting in ~6 weeks! My role will transition to being exec chair & CTO, overseeing product, software & sysops.”

He did not name the new CEO.

A veteran ad executive, Yaccarino has led NBCU’s advertising business for the last decade, and before that spent nearly 20 years at the former Turner cable channels as an ad executive. In February, she added group chair of management firm YMU to her duties. YMU’s talent roster includes The Rolling Stones, Emily Ratajkowski, Steve Aoki, and top British TV talent like Ant & Dec and Amanda Holden.

Musk took over as Twitter CEO in October 2022, after acquiring the company for $44 billion.

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The next CEO of Twitter is likely

Add MSNBC’s Chris Hayes to the pile of people who believe that the Donald Trump town hall CNN aired on Wednesday was a disastrous mistake.

On Thursday’s episode of “All-In,” Hayes laid out in great detail why he thinks it was such a bad idea for CNN to give the disgraced ex-president such a prominent platform. And while his criticisms often echoed what the the myriad other critics of the event have said, Hayes’ main concern was about the American system of government itself, and the role of journalism in it.

“‘I should rule’ is not a view that can be debated,” Hayes declared at one point. Watch the clip above right now.

The Trump town hall, moderated by former Tucker Carlson employee-turned CNN star Kaitlan Collins, featured an hour and change in which Trump told dozens of lies, repeatedly tried to promote falsehoods about the 2020 election, made racist statements, defamed the woman who successfully sued him for sexual assault and defamation just one day before, and even insulted Collins herself. All while, with the exception of when he brought up 2020, Trump received fairly tepid pushback from Collins.

CNN and various network stars have deployed the defense that Trump’s run for the 2024 GOP presidential nomination is worth covering because of how popular he is, and that the town hall somehow gave Americans information they didn’t already have.

Hayes refuted those positions in plain terms.

“The core reason last night was bad is the simple, undeniable truth that Donald Trump attempted to end American democracy. He tried to destroy the foundational conceit of this country, the one we all celebrate, right? Since the revolution of 1776. That the government is chosen by the people, that we decide who rules over us. That we are not ruled by a king, or a strongman,” Hayes said, as footage of Trump giving the speech that incited the Jan. 6 attack on the capitol played onscreen.

“That’s the soul of the American experiment. Not only did he try to snuff that out, he failed in doing so but wants to finish the job,” Hayes explained. “I cannot stress this enough: You did not need to watch the town hall last night to know that.”

Hayes, as he has often done recently, characterized Trump’s new presidential effort as “a campaign to finish what he started.”

“He will do that by any means necessary. No one should have any illusions about that. Donald Trump wants to end American elections,” Hayes added, arguing that Trump’s goal is that he and his followers “should rule over this nation, no matter how outnumbered they are.”

“He is not actually running for a second term, he is running for a forever term,” Hayes said.

Then he turned his attention to the town hall’s audience, which consisted almost entirely of Trump supporters. “As we saw on display in the audience last night, represented there are tens of millions of our fellow citizens, in the grip of, for lack of a better description, a kind of psychosis and fealty to that vision. That vision, which is that this minority of Americans should rule over everyone else, through the instrument of Donald Trump, that vision is an existential threat to the union and to American democracy.”

“Journalists who are protected by those constitutional principles, who can only exist in a liberal democracy, a constitutional republic with the first amendment, have a responsibility to preserve those foundational freedoms. Donald Trump is simply, and unquestionably, an enemy of that.”

Hayes then got to his main point: “Of course, the problem with giving that man a stage, and an audience braying in his favor, more than an hour of national airtime to make that pitch, is that that view, ‘I should rule’, is not a view that can be debated.”

Hayes continued that Trump’s political activity — which is an effort “to rule as a dictator,” he argues — “is not a platform to debate, or to rebut, or to fact-check. It is a platform that simply must be defeated.”

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Add MSNBC’s Chris Hayes to the pile

The 2023 Academy of Country Music Awards ceremony is taking place Thursday night.

Ahead of the broadcast, viewers can tune in to see the red carpet arrivals in a free livestream starting at 7 p.m. ET/4 p.m. PT on Prime Video, the Amazon Music channel on Twitch and Amazon Live.

The Academy of Country Music, Prime Video and Dick Clark Productions have tapped Amber Anderson, Kelly Sutton, Priscilla Block, BRELAND and Elaina Smith as hosts of the official red carpet show, which will feature “VIP access to all the excitement from the red carpet,” including the biggest fashion trends, interviews with stars, a look behind the scenes and performances from Dalton Dover, Tigirlily Gold and Matt Stell. 

You can watch all the preshow festivities live, above.

Anderson and Sutton are co-hosts of the Country Heat Weekly podcast; Black is a 2023 ACM Awards nominee for new female artist of the year; Breland is Amazon Music’s breakthrough artist of 2022, and Smith is a 2023 ACM Radio Awards winner.

Dolly Parton and Garth Brooks are set to host the 58th ACM Awards; Parton also is scheduled to perform. Hardy and Lainey Wilson lead the nominees for the awards and also will perform.

Other scheduled performers include Jason Aldean, Kane Brown, Luke Combs, Jordan Davis, Cody Johnson, Miranda Lambert, Jelly Roll, Ed Sheeran, Keith Urban, The War and Treaty and Bailey Zimmerman, along with collaborations from Carly Pearce and Trisha Yearwood, Cole Swindell and Jo Dee Messina and Ashley McBryde featuring Brandy Clark, Caylee Hammack, Pillbox Patti and John Osborne. 

The ceremony will be free to stream live at 8 p.m. ET/5 p.m. PT Thursday on Prime Video (Prime membership is not required to watch). It will be available in more than 240 countries and territories on Prime Video and the Amazon Music channel on Twitch from Ford Center at The Star in Frisco, Texas. The full rebroadcast will be available to watch after the show on Prime Video and on Friday starting at 8 p.m. ET/5 p.m. PT for free on Amazon Freevee.

The ACM Awards is produced by Dick Clark Productions, with Raj Kapoor, Barry Adelman and Fonda Anita serving as executive producers and Damon Whiteside serving as executive producer for the Academy of Country Music. Patrick Menton is co-executive producer.

Penske Media Eldridge is the parent company of Dick Clark Productions and The Hollywood Reporter.

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The 2023 Academy of Country Music Awards

Deepika was offered Happy New Year before Om Shanti Om.

In an interesting revelation, Farah Khan shared that her initial plan after Main Hoon Na was to direct Happy New Year.

Deepika Padukone made her acting debut with Kannada film Aishwarya in 2006, The actress played the titular role in the romantic drama, which released a year prior to Om Shanti Om. An official remake of the Telugu film Manmadhudu, it also featured Upendra and Daisy Bopanna in the leading roles. She then went on to captivate the hearts of millions when she made her Bollywood debut with Farah Khan’s reincarnation drama, Om Shanti Om, opposite Shah Rukh Khan, in 2007. Since then, her career has flourished with movies such as Piku, Padmaavat, Bajirao Mastani and the recent blockbuster Pathaan.

In an interesting revelation, Farah Khan shared that her initial plan after “Main Hoon Na” was to direct “Happy New Year” as her next project during an interaction with Komal Nahta, she spilled the beans on how Deepika landed Om Shanti Om. She revealed that during that time, Deepika Padukone’s manager would frequently call Farah and insist on meeting Deepika. Eventually, Deepika was brought to Farah’s house for a meeting. Check out the video here:

“I had seen her in a Fanta ad and I remembered her. Woh ad dekh ke laaga tha ke woh heroine banegi,” she said, adding that Deepika landed at her house in a traditional salwar kameez and had a simple aura about her.

Farah spoke to her and told her about she was making Happy New Year. “I told her that I test you. If you are good, I’ll take you opposite Shah Rukh Khan and if you are not good, I will take you with Zayed.”

Farah went on to add that due to a six-month delay in the production of Happy New Year, Deepika was eventually cast in Om Shanti Om after an audition.

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Deepika was offered Happy New Year before

The beloved PBS children’s program “Sesame Street” introduced its first Filipino American Muppet during a Sunday episode.

In a segment about what it means to be confident,Kal Penn, Asian Excellence Award winner and former Obama administration staffer, told the new Muppet, TJ, that he had confidence when acting or speaking in front of people and then asked TJ how he showed his confidence.

“Oh, well, I’m learning Tagalog,” he replied. “It’s a language my Filipino family speaks, and I have confidence because I can always ask my lola [grandma] for help when I don’t know a word.”

Ji-Young, a Korean American Muppet who made her debut on “Sesame Street” in 2021, appeared alongside TJ and Penn and said that confidence could be found in support from friends and family. She also showed off her shredding skills when she played a lick on the guitar and said she felt confident when she learned new songs.

TJ was the brainchild of Filipino American animation director Bobby Pontillas, who shared a sketch of TJ on Instagram, saying, “I had the amazing opportunity to work with the geniuses at the Sesame Workshop to create a Filipino Muppet for @sesamestreet ! Meet TJ!”

“For his look, I based him off of my lifelong friends’ kids, Max and Matteo, thank you for the inspiration, lads,” he continued. “I was blessed to collaborate with master puppeteer Louis Mitchell, the loveliest human on earth.”

He thanked collaborators in Tagalog, saying, “Maraming Salamat” to “Rosemary Espina Palacios @rosemvpmary for masterminding this and bringing me along, Yinan Shentu @aznshents for bringing TJ to life, and everyone @sesamestreet for making this happen!”

Rosemary Espina Palacios, Sesame Workshop’s director of talent outreach, inclusion and content development who is also Filipino, posted the proud moment on Instagram, admitting that she “ugly cried” on set when they finished filming and that she knew her mom was watching and hoped she was just as excited.

“Welcome to Sesame Street, TJ! I’m so proud to help bring some Filipino representation to the neighborhood, and just in time for API Heritage Month to show the range in our diaspora,” she wrote. “His first segment with @kalpenn and Ji-Young is all about confidence, something I personally feel can help unravel the model minority stereotype.”

TJ is played by voice actor and puppeteer Yinan Shentu, who also shared several ecstatic selfies with “Sesame Street’s” newest Muppet.

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The beloved PBS children’s program “Sesame

According to a key actress in Marvel Studios’ Guardians of the Galaxy Vol. 3, the animal scenes in the threequel had to be terrible for the movie to hit the way James Gunn wanted it to.

Gunn’s movie focused on Bradley Cooper’s Rocket Raccoon and his tragic origin story at the hands of the High Evolutionary. The villain is known for his horrific genetic experiments, and the story does not shy away from the nastiness of it all.

Understandably, this can make watching the film a little hard for some audience members. Despite that, however, including those scenes and not holding punches were the necessary step to deliver the emotional impact desired.

The Divisive Animal Scenes That Needed To Be Terrible

Miriam Shor

In an exclusive interview with The Direct, Guardians of the Galaxy Vol. 3 actress Miriam Shor, who played Recorder Vim in the movie, shared some thoughts on why she believes those terrible, hard-to-watch animal sequences were necessary.

Shor was quick to point out that her two kids are animal lovers, and her husband and herself weren’t sure how the dark subject material would land with them:

“I have two kids who are huge fans. And my youngest in particular is, both of them are animal lovers. My youngest in particular, is an animal lover, and my husband and I like we, like, ‘I don’t know, how are we gonna do this?’ You know, this is a hard movie for animal lovers to watch at the same because it’s as it goes to a really, really, really dark place.”

Baby Rocket, Guardians of the Galaxy Vol. 3
Marvel Studios

Despite the heavy animal scenes, the actress feels that there are several “pretty triumphant” moments as well:

“However, I think that it’s pretty triumphant for animal lovers, too. And that’s because we’re talking about Rocket’s backstory, we’re talking about, you know, an entity who is grappling with whether or not he is what kind of being he is, is he an animal? You know? His refrain is always not a raccoon, like, why doesn’t he want to be one? What is he? What is he pushing against? But there is a moment where I’m like, this moment brought to you by PETA. So there are some animal lovers will have moments of triumph in this movie as well.”

Despite the brutal animal sequences, even PETA thought James Gunn handled it all extremely well. The organization recently spoke out and gave their thumbs up approval to the MCU movie, noting how they’re “celebrating this as the best animal rights film of the year.”

When it came to some of those more intense moments, did Gunn offer any special guidance?

Shor admitted that he didn’t, though James Gunn’s direction was simply for everyone “to go for it,” and that at the end of the day, those animal scenes “[had] to be terrible,” and “the stakes have to be that high:”

“No, he just was like, ‘You have to go for it. It has to be terrible.’ The stakes have to be that high for the story to work. There has to be, you know, and I as a fan, know that for the fans, it has to be. Like, if you’re a bad guy in these movies, you can’t pull your punches, because it doesn’t work. But there was definitely a moment where I was like, I don’t think that kids are gonna let me come home after they see the movie.”

Miriam Shor, Karen Gillan, James Gunn, Chris Pratt, Chukwudi Iwuji, Bradley Cooper
Guardians of the Galaxy Vol. 3 Cast

Despite how harrowingly terrible the High Evolutionary is, according to Shor, Chukwudi Iwuji himself is “one of the kindest, sweetest, most gregarious sweetheart of a human being:”

“[Chukwudi Iwuji] is like one of the kindest, sweetest, most gregarious sweetheart of a human being, right? So the fact that he’s playing maybe one of [the worst people], because he really is like, he everybody who meets him falls in love with him instantly. But he’s also like an incredible actor. And he’s a stage actor, I come from stage as well.”

She compared herself and Iwuji to “kids in a candy store” when it came to the material they were able to work with.

“So, you know, it was such fun to get to work with him, because both of us were just fully committed. And that’s really what you have to do to have a good time. And to make it good to make it count for the fans, you know? So there were moments when James would be like, ‘this is like, let’s take it to the Shakespearean level, like go, like you’re doing The Scottish Play, go for it,’… we were excited… we were like kids in a candy store.”

The Unforgettable Weight of Guardians of the Galaxy Vol. 3

With everything Vol. 3 achieved, one of those things was nailing some of the most emotional scenes in all of the Marvel Cinematic Universe.

Not only will Rocket be remembered, but so will his close-knit group of friends, who sadly never made it out of the High Evolutionary’s ship. While they might be dead now, Llya, Teefs, and Floor will never fade into obscurity.

While the film’s end seems to hint that the High Evolutionary died alongside his ship, audiences never see the body. So the chances of Marvel using the character again are fairly high. Sadly, when it comes to Miriam Shor’s Recorder Vim, she is not so lucky.

Guardians of the Galaxy Vol. 3 is now playing in theaters worldwide.

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According to a new report, The CW is expected to cancel another two DC shows left on the network, including Superman & Lois. 

As the ongoing “reimag[ing] of The CW” continues, cuts of the network’s scripted content have been plentiful. 

Since a majority stake in The CW of purchased last year by broadcast group Nexstar, the emphasis has been less and less on scripted series like that of the Arrowverse and its many other DC properties, and more on low-cost unscripted content and even live sports (i.e. the LIV Golf tour). 

All this comes amongst a number of recent DC cancelations by the network including a number of Arrowverse spin-offs like Batwoman, Legends of Tomorrow, and Stargirl. 

More DC Series Get the Ax

DC

Amid recent cancelations at The CW, two more DC shows are expected to be among the cuts. 

According to Variety, Superman & Lois and Gotham Knights are on the chopping block as the network continues its ongoing retooling. 

Superman & Lois is in the midst of its third season on The CW, meaning if this comes to pass (which Variety noted that it likely will), the upcoming Season 3 finale will also be the series finale. 

Gotham Knights just kicked off its first season back in March, and with news of a cancelation, it looks as though it will be one-and-done. 

 This news comes along with confirmation that Supernatural spin-off The Winchesters and reboot of the classic 1970s action series Kung-Fu both got the ax. 

Other shows expected to be canceled are the cowboy crime drama Walker: Independence and the spin-off of the hit high school football drama All American: Homecoming. 

A statement from The CW accompanied by the cancelations noted that they ” thank our partners at Warner Bros. and the casts and creative teams” for “all their hard work, creativity, and dedication:”

“As we reimagine the new CW, we had to make some tough programming decisions. We thank our partners at Warner Bros. and the casts and creative teams of ‘Kung Fu’ and ‘The Winchesters’ for all their hard work, creativity and dedication.”

Notably, The Hollywood Reporter contradicted this report, adding that its sources had told them that at least one of the DC series would be brought back; however, no official word has been made public by The CW proper. 

What Is Happening at The CW?

Gotham Knights poster
DC

While some fans may look at this and think, “Oh, these DC show cuts are to line up with the ushering in of James Gunn’s DCU,” that is only a small part of the equation here. 

Yes, a convenient byproduct of this will be that the deck is now clear for Gunn to execute his seamless vision for the super-powered brand, it has a lot more to do with the overall situation at The CW than it does with Gunn and the franchise-changing course.

Ever since Nexstar took the network off of Warner Bros. Discovery’s hands (and even before then) it was clear something needed to change at The CW. Before the network was purchased it was estimated to have annualized losses between $300 million and $400 million. 

So, as The CW’s new owners try to course-correct, cuts have to be made. And with a proposed solution of focusing on low-cost unscripted content, scripted series like Superman & Lois and Gotham Knights are going to be the casualties. 

Superman & Lois Season 3 continues its run on The CW every Tuesday at 8 p.m. ET.

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Riot Games CEO Nicolo Laurent will be stepping down this year after 6 years in the position, Riot has announced. He will be succeeded by the company’s current global president, A. Dylan Jadeja.

Laurent, who has spent 14 years in leadership positions at Riot, including six as CEO, told employees he’s stepping down to spend more time with his family. He will remain with Riot in an advisory role once the handover is complete.

Now Playing: Hop On | Lunar Revel 2023 Cinematic – Riot Games

Incoming CEO Dylan Jadeja has been with Riot since 2011, and was named president in 2017. Since then Riot says he “has been one of the key leaders in crafting Riot’s strategy and driving our culture forward,” which suggests his move to CEO won’t change too much about the company’s overall strategy. The leadership transition will take place over the coming months, with the process expected to be fully complete by the end of the year.

In an email sent to Riot employees, Laurent explained the personal reasons behind his decision, while assuring Rioters that he wouldn’t be moving to another company or starting a new one. He also explained some of the process that went into choosing Jadeja as his successor, saying Riot “looked both inside and outside the company to find the very best person for this role and for Riot’s next chapter.”

Jadeja also sent a message to employees affirming his commitment to the company and its ongoing goals. The incoming CEO said he would be spending the next few months engaging with Riot’s different departments to “take stock of where we are and get a deeper understanding of what’s working and what we can do better.”

He ended with an acknowledgement that he “may do some things differently than those before me,” but that he would still be pursuing the same goal.

While most known for its MOBA League of Legends, Riot has branched out in recent years with FPS Valorant, and League spinoffs Legends of Runeterra, Wild Rift, and Teamfight Tactics. The studio also saw huge success with its animated series Arcane, a collaboration with Netflix, and has suggested there will be more to come in its Runeterra cinematic universe. Riot also has a number of other Runeterra-related games in production, including a fighting game, an action RPG, and an MMORPG.

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Since its establishment in 2019, Leonine Studios has become one of Germany’s leading film distributors.

Forged by the merger of two companies, Concorde Film and Universum Film, the distribution powerhouse releases between20 and 25 films a year, including around five in-house productions or co-productions, says Bernhard zu Castell, Leonine Studios’ chief distribution officer.

“Our aim is to offer a slate of event movies that is an optimal blend of genres for all target groups and all our partners in the highest possible quality,” adds zu Castell, who previously headed Universum Film. “This strategy was key in establishing ourselves as a reliable distributor and licensor for all content platforms.”

The company last year enjoyed its biggest hit yet with “School of Magical Animals 2,” a fast-growing franchise that Leonine also co-produces. The film sold more than 2.8 million admissions (3 million counting Austria), making it 2022’s most successful German release and the fifth highest-grossing movie of the year by admissions. It also became the most successful German family film of the last 10 years in Germany and Austria, zu Castell points out.

The film’s success helped make Leonine the leading domestic distributor after Disney, Universal, Warner, Paramount and Sony.

The first instalment in the “School of Magical Animals” franchise likewise became the most successful film of 2021 (with nearly 1.8 million admissions). Describing it as “broad family entertainment that was embraced by the German-speaking audience,” zu Castell says it was the first film that really brought audiences back to theaters following the pandemic.

“School of Magical Animals” was released in the U.S. in March via Blue Fox Entertainment. Part 3 is currently in production and set for release on Oct. 3, 2024, with the fourth instalment scheduled to hit theaters on Oct. 2 the following year.

The first “School of Magical Animals” remains Leonine’s second most successful film since the company’s establishment. Its top 5 biggest movies also include “John Wick: Chapter 4” (1.5 million admissions), “Knives Out” (1.2 million admissions) and “John Wick: Chapter 3,” with nearly 1.2 million admissions.

“John Wick: Chapter 4”
Courtey of Leonine Studios

Leonine is enjoying another stellar year thanks in large part to the latest “John Wick” pic. It also saw a major box office bump with its re-release of “Everything Everywhere All at Once” after it swept this year’s Oscars. The film sold 22,000 admissions over March 18-19 for its best weekend box office since its April 2022 release, bringing its total admissions in Germany to approximately 340,000.

“Everything Everywhere All at Once” had a major impact, zu Castell notes. “The film drew a completely new audience to theaters that craves unconventional storytelling.”

Among this year’s diverse lineup are such forthcoming titles as “Beau Is Afraid,” which opens on May 11; French box office hit “Asterix & Obelix: The Middle Kingdom,” which hits local theaters on May 18; in-house co-production “Lassie – A New Adventure” (July 27); “The Expendables 4” (Sept. 21) and, opening Sept. 28, family dramedy “Weekend Rebels.”

An in-house production from subsidiary Wiedemann & Berg Film co-produced with Leonine Studios and directed by Marc Rothemund, “Weekend Rebels” follows a father (Florian David Fitz) who promises to help his young autistic son find a favorite soccer team.

Leonine’s other big titles this year include “The Hunger Games: Ballad of Songbirds and Snakes,” which opens Nov. 16, and, hitting theaters on Dec. 21, the highly anticipated pop band biopic “Girl You Know It’s True.”

Produced by Leonine Studios and Wiedemann & Berg Film and written and directed by Simon Verhoeven, “Girl You Know It’s True” is the story of Milli Vanilli, the infamous German-French R&B duo of Rob Pilatus and Fab Morvan formed by German record producer Frank Farian in the 1980s.

Leonine is seeing a revival of its live Metropolitan Opera broadcasts, which suffered during the COVID crisis. Audiences have slowly returned, however. The last live broadcast of “Der Rosenkavalier” last month reached No. 4 in the box office charts.

While Leonine got off to a tough start with the advent of the pandemic, the company saw a home entertainment business boom during the period and the division remains strong.

“We are actively distributing product in EST and TVOD on all available platforms, but also physical products are still doing well in Germany,” zu Castell says. “We license SVOD-rights to our partners or exploit these rights on our own SVOD-channels, Home of Horror, Arthouse CNMA, Filmtastic, Filmlegenden and Cinema of Hearts.”

In 2022 Leonine had 226 digital home entertainment releases and 322 physical home entertainment releases. The company also manages home entertainment distribution as an aggregator for a variety of partners and distributors in Germany that profit from its market leading position, zu Castell adds.

In addition, Leonine has multi-year license deals with Sky Deutschland and Amazon Prime Video.

Leonine’s international sales business, meanwhile, is currently focused mainly on TV productions.

The company is building up its slate with a blend of in-house productions, such as Odeon Fiction’s spy series “Bonn” and six-part thriller “The Seed” as well as shows from other territories, among them AGC’s Australian drama “Troppo” and Blue Ice Pictures’ Canadian title “SurrealEstate.”

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Since its establishment in 2019, Leonine Studios

If anything, the title of Netflix’s Mulligan is understating its premise. The animated comedy isn’t about just any second chance, but arguably the ultimate second chance: the chance to rebuild society, but better, in the wake of an alien attack that’s apparently wiped out all of humankind besides a thousand or so souls in the Washington, D.C., metro area.

Its central joke, however, is that there isn’t really any such thing as a clean slate. The world may have changed, but people fundamentally haven’t, and so most of its 10 half-hour episodes are spent watching humanity fumble their way back toward the same bad habits that doomed them the first time. But it’s one thing for characters to retreat into old patterns. It’s another for a series to do so. The great disappointment of Mulligan, created by Sam Means and Robert Carlock (Unbreakable Kimmy Schmidt), is that all of it feels like it’s been done before, better, elsewhere.

Mulligan

The Bottom Line

A squandered opportunity.

Mulligan starts at the end of the world, with Earth already under fire from an army of bug-like green aliens from the planet Cardi-B. (Not like the rapper, the extraterrestrials insist: “It’s a coincidence!”) But just when all seems lost, Matty Mulligan (Nat Faxon), a single-A baseball bro from Boston, stops the attack in its tracks with a well-aimed grenade throw. Hailed as a hero, he’s quickly named the new president of the United States and surrounded by a tight circle of advisors.

The most prominent is Senator Cartwright LaMarr (Dana Carvey), a Mitch McConnell type who sees in Matty an opportunity to install himself as the Dick Cheney to Matty’s Dubya. But there’s also DARPA scientist Farrah (Tina Fey), Georgetown history post-doc Simon (Sam Richardson), and former Miss America Lucy (Chrissy Teigen), the latter of whom becomes Matty’s First Lady. These three see in the apocalypse an opportunity to correct the mistakes of the past — but to get the job done, they’ll have to overcome both Matty’s Idiocracy-level stupidity and LaMarr’s underhanded scheming, as well as their own lingering hangups.

There’s narrative potential in the way Mulligan subverts the fantasy of burning it all down to start fresh, as represented in so many despairing editorials or post-apocalyptic fictions. LaMarr, a reactionary who recoiled from newfangled notions like “The Jeffersons, lady doctors and phones [that] let you press a button to talk in Spanish” well before the attack, may be the only explicitly conservative character, but he’s not the only one unable to get over the world that was. The saying goes that those who forget their history are doomed to repeat it. But in Mulligan even Simon the history nerd just finds new ways to get bullied by jocks or strike out with women, no matter that the surviving population is two-thirds female. (The men, we’re told, perished either in the alien battle or in jet ski and fireworks accidents shortly thereafter.)

Some of the echoes of the past are even kinda clever. With the electrical grid down and traditional news institutions demolished, the news cycle becomes a literal news cycle — that is, a guy on a bike yelling updates at his fellow citizens. Over the course of the season, however, what began as a modest act of community service devolves into bread-and-circuses infotainment, culminating in a live Bachelor-style reality show that’s actually just a crowd gathering to watch a woman pick between two suitors in real time. It’s more wry in an I-see-what-you-did-there way than hilarious in a laugh-out-loud way, but it’s nevertheless amusing to see how quickly good intentions can go south.

But the vast majority of Mulligan feels about as ambitious as its title character, who spends much of the season trying to find the national treasure from National Treasure. Where Carlock and Means’ other shows, including 30 Rock, Great News and Girls5eva, pushed past familiar stereotypes to turn their characters into unique and specific weirdos, Mulligan falls back on tired tropes about Massholes who hate the Yankees or women trying to have it all. Where those other shows delighted fans with the sheer density of their jokes, Mulligan gets in maybe two decent laughs an episode, and only occasionally crams funny details into its flat, simple backgrounds.

Its pop culture references, too, are oddly stale. There’s nothing necessarily wrong with referencing Hitch or The Handmaid’s Tale or Batman v Superman: Dawn of Justice, and it totally tracks that Matty is still doing Borat in 2023. But when a character’s go-to example of a backfiring celebrity song performance is the DNC’s “Fight Song” video from 2016 and not Gal Gadot’s “Imagine” video, Mulligan feels like a script that’s been gathering dust on a shelf for the past seven years.

Mulligan does improve a little over the course of the season, especially as it as gives itself over to sillier plotlines like an egg hunt gone monstrously awry. Axatrax (Phil LaMarr), the alien general being held hostage on Earth, is usually good for some chuckles, whether he’s furiously plotting his escape or trying to blend in with the population in a Bill Clinton mask. (The disguise turns out to work because everyone buys that “Bill Clinton” might be the sort of creep who stands around announcing stuff like “Boy, the penis I have sure hurts, just dangling there externally.”) A subplot about Farrah’s robot assistant TOD-209 (Kevin Michael Richardson) trying to remember his previous life as a man is really just a riff on RoboCop, but it’s deployed effectively as a counterpoint to the humans’ very human tendency to think only about themselves. And while Simon isn’t particularly an exciting spin on the geek archetype, Sam Richardson continues to show a knack for spinning comedy gold from uninspired straw.

Those flashes of humor or mild insight come too rarely, though, to save Mulligan as a whole. It’s possible, I suppose, to imagine this show coming back better someday with tighter pacing, sharper jokes and more memorable characters. But if there’s one thing the series makes a point of showing us, it’s that second chances aren’t always all they’re cracked up to be. The world will always be worth saving. Not all the TV that comes out of it will.

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If anything, the title of Netflix’s Mulligan

(Photo by: ABC)

“Come on down” and watch the first season of The Game Show Show TV show on ABC. As we all know, Nielsen ratings typically play a big role in determining whether a TV show like The Game Show Show is cancelled or renewed for season two (in this case, it’s billed as a limited series). Unfortunately, most of us do not live in Nielsen households. Because many viewers feel frustrated when their viewing habits and opinions aren’t considered, we invite you to rate all of the first season episodes of The Game Show Show here.

An ABC documentary series, The Game Show Show celebrates one of the most beloved and durable television genres of our time. Viewers are invited to spin the wheel, beat the clock, guess the answer, and play along through 80 years of game show history. Reflecting on the changing face of America, the series explores the contestants, hosts, visionary creators, and industry scandals that encapsulate iconic game shows. Participants include Wayne Brady, Drew Carey, Margaret Cho, Chris Connelly, Mark Cuban, Bob Eubanks, Nikki Glaser, Sara Haines, Claudia Jordan, Jay Leno, Howie Mandel, Jerry O’Connell, Sherri Shepard, Michael Strahan, Meredith Vieira, Vanna White, and Chuck Woolery.

What do you think? Which season one episodes of The Game Show Show TV series do you rate as wonderful, terrible, or somewhere between? Would you like to see The Game Show Show renewed for a second season on ABC?

Check out our ABC status sheet to track the alphabet network’s new series pickups, renewals, and cancellations. You can find lists of cancelled shows here.

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(Photo by: ABC) “Come on down” and watch

Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony Awards ceremonies, curated by Variety senior awards editor Clayton Davis. The prediction pages reflect the current standings in the race and do not reflect personal preferences for any individual contender. As other formal (and informal) polls suggest, competitions are fluid and subject to change based on buzz and events. Predictions are updated every Thursday.

Visit the prediction pages for the respective ceremonies via the links below:

OSCARS | EMMYS | GRAMMYS | TONYS

UPDATED: May 11, 2023

2023 Emmy Predictions:
Outstanding Guest Actress in a Drama Series

“Succession” (HBO)
HBO

Weekly Commentary: How many actors from “Succession” or “The Last of Us” will make it? That’s the burning question that we really can’t answer yet.

There is also an interesting mix of guest stars from “The Mandalorian” which includes music superstar and recent Emmy winner Lizzo (“Watch Out for the Big Grrrls”), Katy O’Brian and Amy Sedaris.

Emmy Nominations voting runs from June 15-26. The Primetime Emmy nominations will be announced on July 12. Check back every Thursday for the latest updates. All information is preliminary and is subject to change.


And the Predicted Nominees Are:


  1. Cherry Jones — “Succession” (HBO)
  2. Lizzo — “The Mandalorian” (Disney+)
  3. Hiam Abbass — “Succession” (HBO)
  4. Aya Cash — “The Boys” (Prime Video)

Other Top-Tier Possibilities


  1. Amy Sedaris — “The Mandalorian” (Disney+)
  2. Hope Davis — “Succession” (HBO)
  3. Claire Foy — “The Crown” (Netflix)
  4. Jacki Weaver — “Yellowstone” (Paramount Network)
  5. Bethany Antonia — “House of the Dragon” (HBO)
  6. Jeanie Berlin — “Succession” (HBO)
  7. Mckenna Grace — “The Handmaid’s Tale” (Hulu)
  8. Gwendoline Christie — “The Sandman” (Netflix)
  9. Phylicia Rashad — “The Good Fight” (Paramount+)
  10. T’Nia Miller — “The Diplomat” (Netflix)

All Eligible Titles (Alphabetized by Network)**


** This official list and/or category submission is not yet complete or confirmed and is subject to change.

2022 category winner: Lee Yoo-mi as Ji-Yeong in “Squid Game” (Netflix)


Emmy Awards Predictions Categories

DRAMA SERIES | COMEDY SERIES | LIMITED OR ANTHOLOGY SERIES | TV MOVIE | LEAD ACTOR (DRAMA) | LEAD ACTOR (COMEDY) | LEAD ACTOR (LIMITED/TV MOVIE) | LEAD ACTRESS (DRAMA) | LEAD ACTRESS (COMEDY) | LEAD ACTRESS (LIMITED/TV MOVIE) | SUPPORTING ACTOR (DRAMA) | SUPPORTING ACTOR (COMEDY) | SUPPORTING ACTOR (LIMITED/TV MOVIE) | SUPPORTING ACTRESS (DRAMA) | SUPPORTING ACTRESS (COMEDY) | SUPPORTING ACTRESS (LIMITED/TV MOVIE) | TALK SERIES | SCRIPTED VARIETY | GAME SHOW | DIRECTING (DRAMA, COMEDY, LIMITED/TV MOVIE) | WRITING (DRAMA, COMEDY, LIMITED/TV MOVIE) |

Creative Arts and Other Emmy Categories

GUEST ACTOR (DRAMA) | GUEST ACTRESS (DRAMA) | GUEST ACTOR (COMEDY) | GUEST ACTRESS (COMEDY) | VOICE-OVER | SHORT FORM | DOCUMENTARY | MUSIC | ANIMATED |

About the Primetime Emmy Awards

The Primetime Emmy Awards, better known as the Emmys, are given out by the Academy of Television Arts & Sciences (ATAS). Since 1949, the awards have recognized excellence in American primetime television programming. They are divided into three classes – Primetime Emmy Awards, the Primetime Creative Arts Emmy Awards (honors artisan achievements), and the Primetime Engineering Emmy Awards (recognizes significant engineering and technological contributions). The typical eligibility period is between June 1 and May 31 of any given year. The Television Academy comprises over 25,000 members, representing 30 professional peer groups, including performers, directors, producers, art directors, artisans, and executives.

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Variety Awards Circuit section is the home for all

Aaron Paul in Black Mirror’s “Beyond The Sea”
Photo: Nick Wall/Netflix

As one of the most successful anthology shows to crop up in the last decade and change, there’s a special pleasure that shows up in our lives any time a new season of Black Mirror is getting ready to release: Looking at the esoteric episode titles of Charlie Brooker’s latest batch of TV dystopias, and trying to figure out what these latest installments will actually be about. What’s Aaron Paul doing in space, huh? (Will he meet Jesse Plemons in space for a Breaking Bad space reunion?) Good news for us, then, that Netflix has released a whole new crop of titles (along with a handful of basic plot descriptions, which are available over at Entertainment Weekly) ahead of the show’s upcoming sixth season, leaving our brains to pick away at the new reveals.

Five new #BlackMirror episode titles revealed!

Like “Joan Is Awful,” which sounds hard on Joan, if you ask us. That one stars Schitt’s Creek and Kevin Can F**k Himself’s Annie Murphy as an “average woman” who discovers that her life is being made into a prestige TV show, complete with Salma Hayek playing her. (We don’t know why Murphy is consistently drawn to this kind of meta project, but we’re not going to argue against it; meanwhile, Michael Cera and Rob Delaney co-star.) Or “Loch Henry,” in which a young couple (Samuel Blenkin and Myha’la Herrold) travel to a small Scottish town to film a “genteel nature documentary,” but end up being drawn into something much more sordid. Does it involve a monster? Are we exposing our ugly American natures by revealing we automatically associate Lochs with monsters? Only time will tell.

Space Aaron Paul, meanwhile, will appear in “Beyond The Sea,” where he’ll apparently be sharing a space setting with Space Josh Hartnett. This is the most immediately flashy of the five episodes, promising “an alternate 1969, where two men on a perilous high-tech mission wrestle with the consequences of an unimaginable tragedy.” (Said tragedy appears to also involve Kate Mara.) Black Mirror has gotten a lot of mileage out of “two guys in very isolated circumstances lose their minds at each other,” so seeing Hartnett and Paul play out that dynamic sounds pretty exciting. Then there’s “Mazey Day,” which stars Zazie Beetz, and is yet another Black Mirror episode about the ways our various panopticons encroach on regular life, in this case, in the form of paparazzi hounding a starlet. And finally, “Demon 79,” which stars Anjana Vasan, and which, at the risk of being reductive, sounds pretty Knock At The Cabin to us: “A meek sales assistant is told she must commit terrible acts to prevent disaster.” EW also notes that it’s the only one of this batch not to be written solely by Brooker, who collaborated on this one with Ms. Marvel’s Bisha K. Ali.

Black Mirror returns to Netflix this June.

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Aaron Paul in Black Mirror’s “Beyond The

What makes Nathan Hilu charming is his eccentricity: “In art, there’s all kind of isms,” he says in a quintessential New York rasp. “There’s futurism, impressionism… this is Nathan-ism.” Indeed, director Elan Golod’s Nathan-ism is an eccentric film in its own right. On the surface, it is a documentary about the titular Jewish artist and WWII veteran. But intersecting like scribbled lines below that veneer are considerations of history, memory, and personal expression. The film faithfully follows those intersections, endeavoring to glean from them a central truth. And much like a child’s drawing, the result is something interesting but unfocused.

At 91 years of age, Hilu is a guru-like figure. Slumped from age and clad in thick glasses and suspenders, he strikes as a combination of Woody Allen and Art Spiegelman. It is not surprising, then, that Hilu’s storytelling is as neurotically entangled as Allen’s Vicki Christina Barcelona, nor that his art is as emotionally charged as Spiegelman’s Maus. But the heart of the subject’s charm undoubtedly stems from his life story. During the Nuremberg Trials, he guarded some of the highest-ranking members of the Nazi Party, including Hermann Göring and Albert Speer.

Nathan-ism succeeds mainly in how it navigates the disparate strands of Hilu’s wartime stories, all of which are told through his artwork. He narrates with the belief of a guru, making everything he’s saying implicitly engaging. The film aids this process by utilizing Hilu’s drawings as a visual re-enactment of his words, bringing them to life like a folk tale. This aesthetic, set against the backdrop of modern New York City and accompanied by imagery of war-torn 1940s Germany, establishes a strong sense of context.

“…Hilu’s wartime stories…are told through his artwork.”

Further, because of Golod’s studious manner, the audience is frequently given tiny peeks into the interconnected worlds of art history and historical verification. This, in turn, helps explore the nature of memory and reveals how artistic expression is as vital to the human condition as the rationality of that expression.

However, of the many “worlds” Nathan-ism visits, it often foregoes decisive insight for something resembling conjecture. When the potentially amateurish quality of Hilu’s work is discussed, for example, the film stops shy of coming to even an approximated conclusion. And when the reliability of Hilu’s memory is questioned, the film nearly abandons practical opinion altogether. Throughout its runtime, the film remains hesitant to offer any concrete perspective, as if doing so might sully Hilu’s legacy. However, the exact opposite holds true. “I did not degrade the Germans. I just told it as it is.”

About midway through Nathan-ism, it is suggested that conclusions on Hilu’s artwork are best left to the observer. As a result, the film itself leaves too much to the viewer’s discretion, rendering its sum as less than its parts. And yet, Hilu’s life and perspective are unique enough to give this film all the impulse it seems to need. His stories are rich with detail and intuition, and even more, the way in which he tells of his adventures and life is worth hearing.

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What makes Nathan Hilu charming is his

Burnaby RCMP say they arrested four men and seized $300,000 worth of equipment and materials related to a suspected “fraud factory.”

In a Thursday media release, Mounties said the seized items were linked to two alleged fraudulent purchases in Burnaby.

The first involved the purchase of a pair of industrial printers capable of producing drivers’ licences, bank drafts, credit cards and other identification documents with a total value of about $97,000.


Click to play video: 'Money Matters: Debunking financial myths from social media'


Money Matters: Debunking financial myths from social media


About two weeks later, a pair of excavators and a generator valued at more than $215,000 were purchased using a forged bank draft, police said.

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The Burnaby RCMP Prolific Offender Suppression Team raided a property near the Katzie Slough in Pitt Meadows, where they located the equipment in what Mounties said appeared to be an “organized fraud factory.”

Investigators also seized hundreds of other items, including printers, hard drives, laser engravers, a VIN plate stamping machine and modifying tools, hundreds of phony ID and blank ID cards, blank bank draft paper and a hand gun and ammunition.

The four suspects have yet to be charged, and have since been released.

Police said they’re being investigated on potential charges of fraud over $5,000, theft over $5,000, possession of stolen property over $5,000, uttering forged documents and identification fraud.

&copy 2023 Global News, a division of Corus Entertainment Inc.

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Image Credit: Matt Baron/BEI/Shutterstock

After nearly 35 years of marriage, Michael J. Fox and his wife, Tracy Pollan, are as in love as ever. In the actor’s new Apple TV+ documentary, Still: A Michael J. Fox Movie, he opened up about the relationship, and showed how supportive Tracy has been amidst his grueling Parkinson’s Disease. Michael was diagnosed with the illness in 1991, just three years into his marriage. When he told Tracy the news, he said he remembered her whispering, “In sickness and in health.” She has held strong to that vow for more than three decades.

“Tracy’s the smartest person I know,” Michael admitted. “She’s learned to deal with a lot of stuff. How frustrating it must be to have to bear the burden of something that isn’t her burden. She shares it with me. She not only shares it with me, she takes on more than I take on. Everything I go through, she goes through.” 

michael j fox tracy pollan
Michael J. Fox and Tracy on the red carpet. (Matt Baron/BEI/Shutterstock)

The documentary showed footage of Tracy accompanying Michael to a doctor’s appointment. She listened intently as they discussed his medications and treatment, and offered her two cents at times, as well. Ther was also clips of Michael enjoying downtime with Tracy and their four children, giving a glimpse of what the family’s life is like. The actor praised his family for not letting his disease take a toll on them on a day-to-day basis. “When I’m with my family, there’s not ‘Poor baby, I feel your pain, you’re a saint among men,’” Michael said. “That would be the worst thing.”

Michael also opened up about how Tracy and his family were the reason he decided to get sober in 1992. He said he “drank to disassociate” and “escape” having Parkinson’s. However, after one particularly long night of partying, something clicked. “[Tracy] was meeting my sorry state with indifference,” Michael explained. “‘Is this what you want?’ she said. ‘Is this what you want to be?’ I’ve never been so frightened in my life.”

He described his first years of sobriety as a “knife fight,” and started taking movie roles in other parts of the world because he wasn’t able to face things at home. “Tracy was having a hard time and really getting to the end of her rope,” Michael shared. “Now, we had twins. I had to get back to my family.” That’s when he “made up [his] mind” and decided to return to television with Spin City. “The schedule matched perfectly with the rhythm of my family,” he added.

The documentary also featured a look into the early days of Michael and Tracy’s relationship. They met when she starred on Family Ties, and Michael recalled the moment he fell for her. It happened when they filmed a scene together after a lunch break. “The moment she said her first line, I detected a little garlic, and I seized the opportunity to have a little fun at her expense,” he said. “‘Who, a little scampi for lunch, babe?’ At first she said nothing. Her expression didn’t even change. But looking me in the eye, she said slowly, ‘That was mean and rude and you’re a complete f****** a******.’ Nobody talked to me that way. This woman was completely unintimidated by whoever I thought I was. A pig is a pig no matter how many hit movies he’s just had. She was joking, but I didn’t get it because no one would ever joke with me like that. I was never the butt of any jokes. She just poked through that and called me out. In that moment, I fell in love with her.”

He gushed that he was “the most in love person” once he and Tracy finally got together, and added, “I still am.” Michael also praised Tracy for her honesty. “Who she is is so locked in because she’s so honest,” he said. “I could be the King of England and she’d be her. I could be Elvis and she’d be her.”

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View gallery Image Credit: Matt Baron/BEI/Shutterstock After nearly 35

Elon Musk is in talks to hire Linda Yaccarino, the chair of global advertising and partnerships at NBCUniversal, as chief executive of Twitter, two people with knowledge of the matter said.

The talks are at an advanced stage, said the people, who spoke on the condition of anonymity because the conversations are confidential. Ms. Yaccarino has been in discussions with Mr. Musk for weeks, they said. Last month, Ms. Yaccarino interviewed Mr. Musk onstage at an advertising event in Miami.

Mr. Musk had said earlier on Thursday that he had selected a chief executive for Twitter but did not identify the executive. In a tweet, he said “she will be starting in ~6 weeks!” He added that he would remain involved as executive chair and “CTO,” which typically denotes chief technology officer, and that he would still oversee Twitter’s product and software.

Mr. Musk and Ms. Yaccarino did not respond to requests for comment. The Wall Street Journal earlier reported that Ms. Yaccarino was in talks with Mr. Musk.

Mr. Musk, who bought Twitter for $44 billion last year, will retain a firm grip on the company even if he names a chief executive. As Twitter’s owner, he has put his stamp on it by eliminating more than 75 percent of its 7,500 employees, installing his own leaders and changing the service’s features and strategy. He also took Twitter private, which means he does not have to disclose corporate information to the public.

Any new chief executive is set to inherit a litany of challenges at Twitter. The company faces a sagging advertising business, which has been its main source of revenue, as well as debt payments of about $1.5 billion a year from the sale to Mr. Musk. At an investor conference in March, he said Twitter had experienced a 50 percent decline in ad revenue and had been on the path to bankruptcy within months of being purchased.

Some of Twitter’s advertising woes were related to a broader slump driven by uncertainty in the global economy. But Mr. Musk also spooked advertisers after buying Twitter by throwing out guardrails on what kind of posts would be allowed on the social media service. Brands typically do not want to run ads alongside toxic content.

IPG, one of the world’s largest advertising companies, issued a recommendation in the fall through its media agencies for clients to temporarily pause their spending on Twitter because of moderation concerns.

Last month, in an interview with the BBC, Mr. Musk said that most of Twitter’s advertisers had returned.

In Ms. Yaccarino, Twitter would get an executive with deep ties to the advertising industry and with extensive experience in the media sector. Ms. Yaccarino, whose star has risen over the course of a long career at NBCUniversal, has personal relationships with most of the chief executives of the advertising holding companies, a key constituency for Twitter.

She has moved in the top echelons of the advertising world for years, overseeing a sprawling team that has brokered major marketing partnerships, helped develop NBC Universal’s streaming options, criticized outdated industry practices and generated more than $100 billion in advertising sales. She has been heavily involved in the network’s dealings with marquee events such as the Super Bowl and the Olympic Games. She is also a reliable presence at glittering advertising events, such as the Cannes Lions festival in the South of France.

The conversations about Twitter’s chief executive come at a delicate time for Ms. Yaccarino, who is slated to address NBCUniversal’s biggest clients next week in the upfronts, an annual pitch to woo advertisers.

Mr. Musk had raised the idea of a chief executive for Twitter in December after he was criticized for some of his decisions at the company. He ran a poll on Twitter at the time asking if he should step down as the head of the company. “I will abide by the results of the poll,” he wrote.

More than 17 million votes were cast in the poll, with some 58 percent of respondents saying they were in favor of him stepping down as chief executive. In February, while speaking at a conference in Dubai, Mr. Musk said he was aiming to name a new Twitter chief executive by the end of 2023.

Twitter’s workers were not notified of a new chief executive before Mr. Musk’s tweet, according to two employees.

Mr. Musk has also been under pressure from investors at his other companies — notably the electric carmaker Tesla — to move away from day-to-day management of Twitter, which they have regarded as a distraction. Shares of Tesla, which were little changed for most of the day, jumped after Mr. Musk’s tweet, rising about 2 percent in the final minutes of trading on Thursday.

Mr. Musk has previously ceded some leadership responsibilities at his other companies. At SpaceX, his private rocket manufacturer, he has delegated much of the running of the firm to Gwynne Shotwell, the president and chief operating officer. That has freed Mr. Musk to focus on engineering and product decisions, and to move among his various companies.

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Elon Musk is in talks to hire

EXCLUSIVE: Fisher Stevens’ Highly Flammable production company today announced Leonardo DiCaprio and his Appian Way Productions have joined the documentary We Are Guardians as executive producers.

The film, about Indigenous protectors of the imperiled Amazon rainforest in Brazil, premiered at Hot Docs in Toronto last week. Stevens, the Oscar-winning producer of The Cove, recently launched Highly Flammable, and We Are Guardians marks the first documentary under the new banner. Stevens has previously collaborated with DiCaprio and Appian Way on several documentaries, including And We Go Green and Sea of Shadows.

We Are Guardians “follows Indigenous forest guardians of the Tenetehara as they fend off incessant encroachment of illegal loggers and invaders,” according to a description of the documentary. “The film weaves together politics, history, economics and science, providing an in-depth exploration of the critical situation in the Amazon — the impact of which ripples around the globe.”

The documentary is directed by Edivan Guajajara, co-founder of Mídia Indígena, the leading Indigneous-led investigative journalism collective in Brazil, and environmental filmmakers Chelsea Greene and Rob Grobman. We have your first look at the film in the trailer above.

Fisher Stevens

Courtesy of Tim Cragg

“This is my third collaboration with Appian Way and it is obvious that they have an enduring commitment to elevating important, often underrepresented, stories that shed light on some of the most critical issues of our time,” Stevens noted in a statement. “I am so grateful to have their support in bringing the fight of the forest guardians to the foreground and helping to illuminate their stories.”

Leonardo DiCaprio

Leonardo DiCaprio

Priscilla Grant/Everett Collection

Stevens, Zak Kilberg and Maura Anderson of Highly Flammable produced the documentary along with filmmaker Chelsea Greene of One Forest. DiCaprio, the Oscar-winning actor and activist, serves as executive producer with Jennifer Davisson and Phillip Watson of Appian Way Productions, in addition to Christopher Gebhardt and Randy Gebhardt of Random Good, Bruce Cohen, Edivan Guajajara, Flay Guajajara and Erisvan Bone Guajajara of Mídia Indígena, Rob Grobman, Iz Web, Luiza Krapels, and Marco Krapels. Co-executive producers are Conscious Good, Michael Grimm, Brigit Grimm, Heather Conforto Beatty and Scott Beatty.”

“This film is very important. It not only tells the story of my people and my community,” Guajajara said in a director’s statement, “it reinforces the need to be attentive and unite more and more to take care of our Mother Earth and take care of those who give their lives for forests, for the preservation and maintenance of biodiversity in the world. This is our strength. We are all together in this fight.”

UTA is representing the documentary for sales. Highly Flammable is repped by Danny Passman at Gang, Tyre, Ramer, Brown and Passman. Appian Way is repped by LBI Entertainment.

Highly Flammable is promising “a robust impact campaign” for the film, in support of “the ongoing work of the Tenetehara forest guardians.” 

Watch the trailer for We Are Guardians above.

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EXCLUSIVE: Fisher Stevens’ Highly Flammable production company

Knowing producer Bill Lawrence has plenty of benefits, including access to his address book full of connections. That’s according to composer Tom Howe, who worked with Marcus Mumford and Ben Gibbard on the themes songs for two of Lawrence’s shows, Apple TV+’s Ted Lasso and Shrinking, respectively.

“When we started in Season 1 [of Ted Lasso], Marcus and I were sort of put together by a great friend of Jason’s [Sudeikis] and I knew Bill [Lawrence]. We met for breakfast and we got on and he invited me to his house to hang out. So I flew from [Los Angeles] to Devon, which is in the middle of nowhere in England, and stayed there for 10 days with Marcus. Considering I had only met him once for breakfast, it was quite interesting,” Howe told Deadline during a panel for the shows at Sound & Screen: Television.

“We hung out for 10 days having no footage or scripts or anything. We met every day at around 9 a.m. with coffee in his studio. It was nice for me because he came with more of a record background and I have more of a TV-film background. I think we both hopefully learned a few tricks off each other. Across the 10 days, we worked on some thematic stuff and stuff that might be useful for action or comedy or whatever.”

The collaboration earned Howe and Mumford an Emmy nomination for Outstanding Original Main Title Theme Music.

For Lawrence’s newest project, Shrinking, Lowe collaborated with Death Cab for Cutie’s Gibbard in the creation of the song, titled “Frightening Fishes,” which leans into the show’s SoCal vibe.

“Shrinking is like trying to sit in a band while thinking of the sounds of California,” said Howe. “Instantly, I tried a few things, but think of ’60s Beach Boys-type California sound. So Shrinking is full of organs and different types of keyboards and also vocals.”

On working with Gibbard, “Bill obviously has an incredible address book. And actually, on Ted Lasso, I did the main title before we did anything else, which is quite unusual, certainly for me. But in Shrinking, it was at the end, but I had some thematic ideas. And we’re just saying, ‘Who do you think would be good for this?’ And somebody said, ‘What about Ben Gibbard?’ So [Bill] literally dialed him in whilst we’re on the phone talking about it and said, ‘Would you be up for it?’ And he said, ‘Sure.’ And then it sort of went from there.”

Check back Friday for the panel video.

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Knowing producer Bill Lawrence has plenty of

The most interesting part of “ The Mother,” a decent if forgettable action pic starring Jennifer Lopez, is the one that is left largely unexplored. The movie is a high-concept thriller that boils down to just a few words: She’s a mother and an assassin. OK, you’re probably thinking, fine.

Misha Green’s script was a hot commodity in 2017, around the time “Wonder Woman” opened, which had left some studios scrambling for action movies fronted by women. There were condescending headlines propping it up as a “female empowerment” script. And, eventually, with Niki Caro signed on to direct and a movie star like Lopez on board to star and produce, it was enough for greenlight and a Netflix budget. The final film also credits Peter Craig and Andrea Berloff for the script.

But history has unfortunately taught us to be suspect of a Mother’s Day rollout. The greeting card holiday is where studios always seem to dump mediocre material that happen to have women at the center. If the movies were better, you start to suspect, maybe they wouldn’t need the lame hook. Happy Mother’s Day! Here’s a woman doing… something!

Vengeance is a mother. After years of hiding out in the Alaskan wilderness, a deadly assassin returns to rescue the daughter she loved from afar. This Mother’s Day watch “The Mother” starring Jennifer Lopez, Joseph Fiennes, Lucy Paez, Omari Hardwick, Paul Raci and Gael Garcia Bernal. On Netflix May 12.

This is a bit unfair to “The Mother,” which at worst is just what you expect it to be — a mostly generic action trifle that’s very self-serious and wants to be a lot of different kinds of films. Lopez’s character is basically Jason Bourne, James Bond, John Wick and Nikita rolled into one, at least when it comes to her skills which are vast and seemingly just the product of her tours in Afghanistan She’s. Just. That. Good.

After her military service, she’s left with few job prospects so she becomes a guard in Guantanamo and gets entangled, professionally and personally, with a few handsome arms dealers, Adrian (Joseph Fiennes) and Hector (Gael García Bernal). A bit of this is revealed in a brief prologue, in which she gives birth and has to give up the baby before even holding her. It’s for everyone’s safety and her only wish is that the kid gets placed with the most boring, stable family out there — that and that FBI Agent Cruise (Omari Hardwick) sends updates on her birthdays.

There is a “Mamma Mia”-esque mystery about who the father is and an even bigger mystery about if this pregnancy was planned or expected or wanted. And all of this is very interesting in theory. But the movie itself is set 12 years later when Mother learns that the daughter (who does get a name, Zoe) is in danger. This brings her out of her glamorously rugged Alaska retirement and back in action as a superhuman spy/assassin/one-woman army.

At first, Mother denies her Mother-hood to Zoe (Lucy Paez), whose foster parents get about as much character development and screen time as a couple in a cell phone commercial. This is supposed to be a big emotional journey for Mother and Zoe and the viewing audience, but I can’t say this movie ever really convinces you to care about this relationship, which is especially odd because there have been plenty of random pairings of adult assassins and non-blood relation children in movies that I’ve felt invested in. “The Mother” just expects that you’re on board with some essential connection, which Paul Raci (nice to see him again on screen) tries his best to sell.

As expected, Lopez is an athletic and capable action hero (maybe too capable, but that could also be said of most of the guys out there, too). This is taken much more seriously than the over-the-top “Shotgun Wedding” and Caro and her filmmaking team ably capture Lopez in all her glory, whether walking through the Alaskan snow framed by a fur hood, jumping out of multi-story parking garages and sliding over cars in a chase, or dancing with Fiennes in a body hugging dress. It’s all a much better showcase for Caro as a director in this big budget arena than the live-action “Mulan” was.

Lopez’s output has been prolific lately as she and her closest collaborators continue to look for interesting projects for her, undeterred by any Hollywood or societally imposed ideas about movies a woman in her 50s should be making. Romantic comedies, action movies – they’re all fair game, which is great. You just wish the movies could match the ambition.

“The Mother,” a Netflix release streaming Friday, is rated R by the Motion Picture Association for “violence, some language and brief drug use.” Running time: 115 minutes. Two stars out of four.

—-

Follow AP Film Writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr.

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Seattle International Film Festival (SIFF) executive director Tom Mara has announced the company’s acquisition of the Seattle Cinerama Theater from the estate of late Microsoft co-founder Paul G. Allen.

Mara revealed the news at the opening night celebration of the 49th annual SIFF on May 11. The festival runs through May 21.

“We are honored to take on stewardship of this historic theater. It’s a film venue adored by the community and speaks to the critical role SIFF plays in bringing the power and art of film to diverse audiences across our region,” Mara said. “So many of us have experienced the magic of this theater, and we are excited to carry on the vision and impact that Paul Allen started so many years ago.”

The theater opened in 1963 before Allen purchased and refurbished the venue in the late 1990s. Since its revamp, the theater has become “an unmatched destination for blockbuster movies, independent film and a variety of film festivals and events.” Amid the pandemic, the Seattle Cinerama Theater was closed.
Per Allen’s wishes, the theater was to be sold with estate profits donated to philanthropy. 

“We are so pleased about SIFF’s acquisition of the theater,” said Jody Allen, executor of the Allen Estate. “They are the ideal mission-driven organization to now shepherd this very special place, bring more film and movie lovers to downtown Seattle, and steward the venue and its role in our community for years to come.” 

SIFF stands as Seattle’s top film organization, bringing together leading international and independent films to the area with its varying venues. 

SIFF will reopen the theater under a new name, becoming the fourth venue run by the nonprofit organization alongside the SIFF Film Center at Seattle Center, SIFF Cinema Uptown and SIFF Cinema Egyptian.

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Seattle International Film Festival (SIFF) executive director

Secret Invasion star Emilia Clarke recently talked about how major movie franchises similar to the MCU can get very confusing if done wrong.

Clarke is set to make her MCU debut in the upcoming Disney+ series, Secret Invasion.

The actress already publicly talked about her role in the show, and even expressed her excitement by saying how working on the project resulted in “star struckness” for her.

Clarke continues to promote the “badass show” that will be hitting Disney+ on June 21, and so far has only stated that the experience has been “fabulous.”

Secret Invasion Isn’t Reliant on the Greater MCU

Marvel

Emilia Clarke, who will be portraying Talos’ daughter, G’iah, in Secret Invasion, recently spoke with Empire Magazine about how the upcoming series will tie into the greater MCU.

Clarke warned that some interconnected franchises similar to the MCU “can get into dangerous territory” and become convoluted if every single project within it has to connect with one another.

The Game of Thrones star then revealed that Secret Invasion doesn’t suffer from this problem, and even said her mother, “who doesn’t watch Marvel,” will be able to enjoy the upcoming series:

“It’s definitely a show for the fans, but it’s also a show that my mum, who doesn’t watch Marvel, will watch and get, do you know what I mean? You can get into dangerous territory sometimes with this sort of genre where if you haven’t watched all 17 other films or shows, you’re not going to get it. This isn’t that at all.”

This isn’t the first time that Clarke spoke out about the MCU as a whole. In the past, the actress talked about how she would like to make appearances in the franchise for a long time, and even said that she feels “lucky” to be a part of something that is “so loved:”

“I mean, I should be so lucky is what I’ll say to that. Everyone I know and everyone I’ve spoken to who is a part of the Marvel universe — and actors talk! Everyone has only the highest praise to offer. There’s a reason why actors stay in it. They’re so loved because they’re having loads of fun. So I’m down for that. Sure!”

Making Secret Invasion Accessible for Everyone

Emilia Clarke’s comments should encourage the more casual fans of the MCU that Secret Invasion is aiming to not only be a good Marvel project but to just be an excellent television series in general.

However, what the star said should not discourage the die-hard MCU fans in any way when it comes to the upcoming series.

Just because the spy show will be accessible and easy to enjoy for everyone doesn’t mean that there won’t be some deep storyline tie-ins to the entire franchise, and fans can expect there to be some Easter eggs that only they will be able to catch.

All Clarke means is that viewers will not have to watch any other MCU project to be able to sit down, enjoy, and understand the plot and conflict of Secret Invasion.

Secret Invasion is set to hit Disney+ on June 21.

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Life in the 10th century was intense. Look no further than The Last Kingdom: Seven Kings Must Die, which recently hit Netflix. The stand-alone feature-length film marks a fitting final touch to the popular British Netflix series, The Last Kingdom, which is based on the compelling novels by Bernard Cornwell. Written by Martha Hillier and directed by Ed Bazalgette, the film takes place eight years after the events of season five, leaping off the series to bring back Uhtred (Alexander Dreymon).


He’s the daunting warrior leader of a Northumbria region who now is confronted by the death of King Edward, to whom Uhtred vowed allegiance when season five bowed. The King’s son, Aethelstan (Harry Gilby) rises to power and decides — advised, perhaps — to take over all of Britain’s kingdoms.

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Bold move. How will he overthrow eight kings? A prophecy suggests that seven of those kings will perish and as things play out Uhtred must decide where his loyalties rest — with the king, or with his homeland. For head of photography Luke Bryant, The Last Kingdom: Seven Kings Must Die, was a mammoth undertaking. There were countless camera angles to master a bevy of challenges using multi-camera setups, including the epic final battle. He shared more about the film with MovieWeb in this exclusive interview.


Breaking Down the Shots & Special Cameras

Luke Bryant had a monstrous workload in The Last Kingdom: Seven Kings Must Die. For starters, he had to switch to an anamorphic style of shooting for the film while also keeping hand-held shots so that he could adapt a similar look of the series. But that approach gives this outing a more cinematic look.

“The main difference between what we did in the preceding five seasons of the show is that anamorphic style,” said Bryant. “If you’re in your 40s, a lot of the films you grew up watching were shot anamorphically, whether it’s something you’re aware of or not. An audience member will always be aware of it, even though they might not be able to tell you that the anamorphic lens is a wider aspect ratio, or the depth-of-field of those kinds of things. But they noticed it. Audiences are smarter than we give them credit for. We just felt that with this tale, because it was summing up five seasons of the show, we asked ourselves how we could stay true to the visual DNA of the show, too.”

Related: The Last Kingdom Cast and Character Guide

There’s a lot of handheld, almost documentary-like feel to these scenes from the Middle Ages. In fact. “We wanted to raise the stakes and give you a wider aspect ratio, where everything looks a bit more epic on screen,” Bryant added. “Secondly, because anamorphic lenses basically squeeze the image when it goes on to the center, when something is out of focus, you get beautiful pockets and the quality of what is happening.”

The hand-held shots and along the rawness of the color here also allowed Bryant to create compelling visuals that immerses audiences in the gritty reality of the era, making them feel as if they are part of the journey regardless of whether it’s an intimate shot between the main characters or the astounding final battle, which included more than 300 extras and four cameras.

Filming the Epic Battle Was a Battle Itself

Netflix

Bryant admits that the film’s final battle sequence was certainly the most challenging thing he had to shoot. It was shot over 10 days with a second unit as well. “We were generally running for cameras, and we had a drone at the same time. So, trying to maintain a continuity, especially when we were filming in the middle of Hungary in the winter with the temperature being -8 degrees, it was incredibly cold.”

Related: Best Netflix Original Movies of 2022, Ranked

Snow, wind, sleet, and rain joined the fun, too. “We were trying to marshal all the four cameras and then maintain unity with 300 extras on the battlefield. That was kind of crazy. And we were quite remote as well. So basically, every time you see all these shots, we feel like you’ve got thousands of men in the background. We were using very long lenses, cramming the frame as much as you can. And when we decided to shoot anamorphic lenses, they’re huge. They’re incredibly heavy. You’ve got camera operators just getting exhausted.”

Bryant’s use of lighting, camera angles, and composition stands out. For one, they emphasize the important intimacy of interpersonal relations with the characters here, and even foreshadows one character’s future and motivations. All that adds layers of depth to the project.

As for why viewers have been so enthralled with The Last Kingdom, Bryant chuckles. “They’re very tight. There is a huge, devoted fan base. That’s what I love. The fan base responds to it really being rooted in historical accuracy. There are plenty of shows which are shot in a more contemporaneous fashion because they’re trying to reach contemporary audience. But they’re not about historical accuracy. Whereas I feel like what we’re doing with The Last Kingdom, you feel like you’re watching a documentary that’s been made in the Middle Ages. It’s great.”

The Last Kingdom: Seven Kings Must Die is streaming exclusively on Netflix.

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Life in the 10th century was intense.

It’s time for workers across Hollywood (and maybe the world) to ensure humans keep their jobs.

The great Roger Ebert once said cinema is the ultimate empathy machine. Well, many years later, we’re dealing with regular machines attempting to take human empathy out of the process, and we need to stop them. No matter what it takes. 

This week in Vanity Fair, there was a fantastic article about how the WGA strike is really just the first skirmish in what is about to be the human war on artificial intelligence. In Hollywood, the writers are on the front lines right now as the AMPTP refuses to negotiate provisions to protect our jobs from AI. 

This may look like just the writer’s fight right now, but what’s coming is sweeping changes that will affect the entire industry. 

AI is coming for your jobs. There will be measures for it to replace writers, producers, editors, directors, and executives. 

If we don’t nip it in the bud now and ensure that creative jobs stay with human beings, we’re going to have a lot of people out of work.

‘Morgan’Credit: 20th Century Fox

As the studios gobble each other up and answer to corporate overlords who demand rising stock prices and profitability to increase an impossible percentage each year, they’re looking to cut jobs where they can. We covered the massive layoffs across Hollywood. And the cutting of overall deals during the writer’s strike. 

But as automation comes into play, we need to make them see we should be respected for being humans. Creativity is something only we can do. From green lighting ideas as important as Citizen Kane to writing ideas as unique as Everything Everywhere All at Once, it all comes from the human experience.

The biggest thing being taken for granted right now is the idea that computers can replicate what we think and feel. Maybe someday they can. But today, it’s not even close. The idea that we don’t need a human in the chain in Hollywood is simply wrong. 

Humans have emotions. We understand nuance, stakes, and intention. We can learn experiences, share wonder, and ultimately connect in a way automation cannot. At best, computers are going to spend time reflecting on humanity because they’re not humans, we’ll only ever be a nature program to them that they can mimic but never truly recreate. 

They cannot anthropomorphize us because they have no idea what it is like to live and breathe. 

That’s also why they have no place in Hollywood–outside of maybe a tool for inspiration or to make sure we get paid on time. 

A still from 'Do the Right Thing'
‘Do the Right Thing’Credit: Universal Pictures

I have to admit that the strike and the occasional stupid note make me wonder if we need human executives, but we do. We need human beings running Hollywood and participating in storytelling and creation because the process is beautiful. It is collaborative. It’s teamwork. 

We need more diverse and interesting voices working in this town and in entertainment across the world, and we need them to be human. 

Because if you take human empathy out of the machine, it’s just a machine. 

No set of widgets and gears can write and direct Casablanca or Do The Right Thing. 

They can barely get you to the theater on time. 

The fight for human creativity is now, and we have to win. If not, then the only thing left is nuts and bolts.      

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It's time for workers across Hollywood

JJ & Tom return for yet again another deep cut in animated cult film cinema: the two cheesy Rankin Bass Lord of the Rings TV movies as well as the rotoscoped Ralph Bakshi 1978 gem. 

What are some of the neat faces here in these films and do they own the roles (including John Huston, Paul Frees, Don Messick, Orson Bean, Anthony “C-3PO” Daniels, William Conrad, Casey Kasem & John Hurt!)? Why did the Bakshi film deserve to make best animated movie lists of all time? And how well do they handle adapting the material versus being 2 hours of escapism? And more insights into an often forgotten evolution in adapting popular material!

 

 

 

 

 

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JJ & Tom return for

When it comes to acting, talent counts. But as Elle Fanning told Josh Horowitz on his “Happy Sad Confused” podcast, there’s another factor that sometimes counts even more.

Fanning said that she wasn’t considered for a role in an unnamed franchise movie because her Instagram following wasn’t large enough for the studio’s taste.

“I didn’t get a part once for something big because – it might not have just been this reason, but this was the feedback that I heard – was because I didn’t have enough Instagram followers at the time,” she said. Fanning currently sits at 6.2 million.

“That’s something I firmly don’t believe in, for not getting a part,” she said.

Fortunately, Fanning claims she isn’t under pressure to join the tentpoles.

“I don’t feel that way. I don’t,” she said. “It does something for people, you know, but you also don’t know if they’re gonna work sometimes, which is also scary.”

Fanning does have one great role. She portrays Catherine the Great in the Hulu series “The Great.” Season3 of the series premieres Friday, May 12.

.

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When it comes to acting, talent counts.

A very important podcast today as I’m joined by Jeremy Hartwell and Nick Thompson from season 2 of “Love is Blind.” They’ve been in the news for the last 3 weeks or so after Jeremy’s lawsuit versus Netflix started getting national run after a Business Insider article ran a few weeks ago detailing the horrible conditions some of the LIB contestants were under during filming. Jeremy and Nick have teamed up to start the UCAN Foundation to help past, current, and future reality TV contestants deal with any mental health issues stemming from their time on TV. We know their lawsuit and new foundation came under attack from Nick Viall who made some very dangerous, ignorant, and baseless claims against them, which we talk about as well. A very informative podcast that gives insight as to why they chose to do what they do, why they feel change needs to be made, and so much more. I want to thank Jeremy and Nick for coming on and spreading this news that more people need to hear. Please donate to UCAN if you would be so kind. Any donation is helpful.

You can listen to today’s podcast on a number of platforms, but you can also tune in by clicking the player below:


Subscribe: Apple Podcasts,RSS, Stitcher, Spotify
Music written by Jimmer Podrasky
(B’Jingo Songs/Machia Music/Bug Music BMI)

(SPOILERS) I begin by briefly talking about Jeremy and Nicks background. Then they join me (11:45) to talk about Jeremy’s lawsuit versus Netflix and Kinetic, the conditions they dealt with during the show, whey they started the UCAN Foundation and what their goal is, how Nick Viall’s response has actually helped their cause, and much, much more.

Instagram – @jjhrtwll
Instagram – @nthompson513

(SPOILERS) Today’s Daily Roundup covers Charity’s TV appearance today, a Reader Email, Temptation Island, Survivor, the Challenge, and another sequel coming after almost 40 years.

You can listen to that podcast on a number of platforms, but you can also tune in here:


Subscribe: Apple Podcasts,RSS, Stitcher, Spotify
Music written by Jimmer Podrasky
(B’Jingo Songs/Machia Music/Bug Music BMI)

Send all links and emails to: steve@realitysteve.com. To follow me on Twitter, it’s: www.twitter.com/RealitySteve. Instagram name is RealitySteve, or join my Reality Steve Facebook Fan Page. Talk to you tomorrow.






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Share Tweet Share Share Email A very important podcast today as I’m

My Morning Jacket announced that they will play their celebrated album It Still Moves in its entirety for select shows during its fall North American tour. The handful of shows will mark the 20th anniversary of the record, which Rolling Stone called a “first-class acid-country Radiohead swimming slowly to the surface” back in 2003.

The Louisville, Kentucky quintet will perform It Still Moves from start to finish at New York’s Beacon Theatre (Oct. 19), Atlanta’s Fox Theatre (Nov. 3), and the Chicago Theatre (Nov. 9). Additional dates outside of the anniversary performances will include guest support from Fleet Foxes, Karl Denson’s Tiny Universe, Wilderado, M. Ward, Katie Pruitt, Devon Gilfillian, Jaime Wyatt, and Costa de Ámbar.

May and early June tour dates will see the band performing in Europe including stops in Guadalajara, London, Barcelona, and Madrid. My Morning Jacket will hit the road May 14 in Mobile, Alabama at the Saenger Theatre with Jaime Wyatt, and follow with a handful of festival stops including Bonnaroo near Nashville and Peach Music Festival in Scranton.

The band’s fall tour kicks off Oct. 17 in Toronto and wraps Nov. 9 to 11 in Chicago.

Trending

My Morning Jacket 2023 Tour Dates

May 14 – Mobile, AL @ Saenger Theatre *
May 15 – Jackson, MS @ Thalia Mara Hall *
May 19 – Guadalajara, Mexico @ Guanamor Studio **
May 20 – Guadalajara, Mexico @ Corona Capital Guadalajara ^
May 30 – London, UK @ O2 Kentish Town Forum #
May 31 – Manchester, UK @ O2 Ritz Manchester #
June 3 – Barcelona, Spain @ Primavera Sound ^
June 5 – Antwerp, Belgium @ De Roma #
June 6 – Utrecht, Netherlands @ TivoliVredenburg #
June 9 – Porto, Portugal @ Primavera Sound ^
June 10 – Madrid, Spain @ Primavera Sound ^
June 15 – St. Augustine, FL @ St. Augustine Amphitheatre ‡
June 16 – Charleston, SC @ Firefly Distillery ‡
June 17 – Manchester, TN @ Bonnaroo Music & Arts Festival ^
June 20 – St. Paul, MN @ Palace Theatre ‡
June 21 – Milwaukee, WI @ The Riverside Theater ‡
June 23 – Indianapolis, IN @ TCU Amphitheater at White River State Park *
June 24 – Newport, KY @ MegaCorp Pavilion *
June 26 – Lewiston, NY @ Artpark Amphitheater ¶
June 28 – Pittsburgh, PA @ Stage AE ¶
June 30 – New Haven, CT @ Westville Music Bowl ¶
July 1 – Scranton, PA @ Peach Music Festival ^
July 29 – Washington, DC @ The Anthem ##
July 30 – Beech Mountain, NC @ Beech Mountain Summer Series ##
Aug. 15 – Troutdale, OR @ McMenamins Edgefield ‡‡
Aug. 16 – Bend, OR @ Hayden Homes Amphitheater ‡‡
Aug. 18 – Berkeley, CA @ Greek Theatre †
Aug. 19 – Berkeley, CA @ Greek Theatre †
Aug. 20 – Los Angeles, CA @ Hollywood Bowl †
Aug. 22 – San Diego, CA @ CalCoast Credit Union Open Air Theatre ‡‡
Aug. 23 – Mesa, AZ – Mesa Amphitheatre ‡‡
Aug. 25 – Morrison, CO @ Red Rocks Amphitheatre ‡‡ +
Aug. 26 – Morrison, CO @ Red Rocks Amphitheatre ‡‡
Sept. 30 – Memphis, TN @ Mempho Music Festival ^
Oct. 17 – Toronto, ON @ Massey Hall
Oct. 19 – New York, NY @ Beacon Theatre +
Oct. 20 – New York, NY @ Beacon Theatre
Oct. 21 – New York, NY @ Beacon Theatre
Oct. 24 – Boston, MA @ Roadrunner
Oct. 25 – Albany, NY @ Palace Theatre
Oct. 30 – Birmingham, AL – Alabama Theatre
Oct. 31 – New Orleans, LA – Orpheum Theater
Nov. 3 – Atlanta, GA @ Fox Theatre +
Nov. 4 – Atlanta, GA @ Fox Theatre
Nov. 7 – St. Louis, MO @ Stifel Theatre
Nov. 9 – Chicago, IL @ Chicago Theatre +
Nov. 10 – Chicago, IL @ Chicago Theatre
Nov. 11 – Chicago, IL @ Chicago Theatre

* w/ Special Guest Jaime Wyatt
** w/ Special Guest Costa de Ámbar
^ Festival Appearance
# w/ Special Guest Devon Gilfillian
‡ w/ Special Guest Wilderado
¶ w/ Special Guest Karl Denson’s Tiny Universe
## w/ Special Guest Katie Pruitt
‡‡ w/Special Guest M. Ward
† w/ Fleet Foxes
+ It Still Moves 20th Anniversary Show

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My Morning Jacket announced that they will play

Communicable is a surrealistic science fiction film from writer-director David Lawler that explores the tones around tragic loss juxtaposed with the complications of relationships. The film could also be considered experimental in the sense that Lawler avoids linear narrative and conveys the gist of various scenes through a dreamlike series of conversations and voice-overs. There’s no obvious sequence to the events, and in fact, there aren’t many obvious events. Most of what an audience takes away will be whatever meaning the viewer connects to and imbues from within their own experiences and personality.

As such, recounting any narrative beats would be an exercise in futility since it’s more about tone and emotions in the moments instead of linear storytelling. We can, however, set the stage to some degree. The two main characters are young women named Louise (Lucia Roberts) and Iris (Rivers Duggan). In the wake of a drowning, Louise seems to be escaping to an alternate version of the world that includes a comforting companion in Iris. Iris is possibly her Tyler Durden, giving her emotional support and a point upon which to focus. It’s also possible that Louise has created Iris to be the better version of herself, so she can see how her life might have played out if she’d been more than she is. This is open to interpretation.

There is also at least one secondary character. Nick (Morgan Elgarten) may be Louise’s real-life boyfriend if there is meant to be a baseline “reality” here. In some scenes, the part of Louise in her dream appears to be played by Iris, as if Louise is seeing someone else in her role. The action has the fuzzy confusion of a dream partly remembered upon waking.

“…she is escaping to an alternate version of the world…”

An extraordinary soundtrack accompanies the internal and external rumination. The music is a highlight of Communicable, cementing emotions solidly into the moment more effectively than anything else. The images are made up of claustrophobic close-ups and ominous interstitial shots of a mushroom cloud, creating an anxious tension throughout. The structure is represented visually by a circuit diagram for a digital device. It is used as a map the characters trace to follow a certain path.

Roberts and Duggan deliver the main characters expertly, evoking deep empathy in their performances. Duggan, in particular, carries the film with her bright, expressive eyes. She makes Iris into someone you’d probably enjoy hanging out with.

Lawler said, “Communicable tells the story of a young woman who disappears inside the reality of a recent tragedy and then attempts to make sense of her fictional existence through the creation of another woman.“

It’s helpful not to get too invested in seeking linear meaning in the film. This is an experience to be lived and felt, not necessarily understood. Perhaps it’s more accurate to say the audience will naturally sense meaning based on gestalt driven by whatever the film touches in their own lives… or not, and that’s the risk of making a movie that reflects the audience back at themselves in such a direct way. Either way, Communicable is a trippy journey through a moment of existential pain.

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Communicable is a surrealistic science fiction film from

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A storybook love. Garth Brooks and Trisha

Google continues to “experiment” with its advertising efforts as it looks like YouTube may begin looking for ad-blockers.

Reddit user Sazk100 posted a screenshot of a new popup on the YouTube subreddit (opens in new tab) telling them ad-blockers are no longer allowed on the website. As a result they were unable to watch videos. After getting the notification, YouTube gave Sazk100 two options: one) disable the ad-blocker or two) purchase a subscription to YouTube Premium. This does appear to be a real notice and not some prank. The moderator team on the subreddit claims a YouTube employee reached out to them confirming its legitimacy. Other outlets (opens in new tab) have had a YouTube spokesperson tell them the company is running a small global experiment urging users with ad blockers to allow ads or try YouTube Premium.

It’s unknown just how far reaching this experiment is nor do we know if YouTube will officially implement these plans. We asked the company these questions only to be given the same comment by a representative – that it’s all an “experiment”. 

It is important to point out Google has been conducting multiple advertising tests such as the recent flood of integrated ads into Gmail accounts. As you can probably imagine, people aren’t too happy with any of them. 

War against ad-blockers

For the past several years, Google has been at war with ad-blocking software. Back in early 2016 (opens in new tab), the company actually banned ad-blockers from its Play Store only to revert its decision not long after. But that hasn’t stopped Google from trying other methods to ensure you get your daily dose of commercials. Last year, Android VPN apps that didn’t use the VPNService API (Application Programming Interface) were banned from the Play Store because they were claimed to interfere with advertising. And YouTube Vanced, which offered a totally ad-free experience of the video platform, was unceremoniously taken down.

Don’t think that browser extensions are safe either. Google has been working on the third version of its Manifest API which may prevent privacy tools like uBlock Origin from working as it would remove “key read and modify data permissions”. 

Intrusive 

None of this would be so bad if YouTube ads weren’t intrusive. Unfortunately, they are. Screenshots from Twitter (opens in new tab) and Reddit posts (opens in new tab) have shown people getting as much as 10 unskippable advertisements back-to-back on certain videos. These unskippable advertisements cropped up in late 2022, and like today, a YouTube spokesperson (opens in new tab) back then said the unskippable advertisements were a part of an experiment. So it is possible Google is telling the truth and has no real intention of implementing anything.

But if it is implemented, you have to wonder if this whole thing is going to turn into a weird cat-and-mouse game where developers find a way to circumvent YouTube’s ad-blocker detector only for the platform to make stricter tech ad infinitum. Let’s hope this doesn’t happen. 

Intrusive advertising online has gotten so bad you even have the FBI recommending (opens in new tab) people get an ad-blocker. To find out which one is the best, check out TechRadar’s list of the best ad-blockers for 2023.

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Google continues to “experiment” with its advertising

Directors Jimmy Chin and Elizabeth Chai Vasarhelyi are never impulsive when selecting their next documentary subject. “It has to become such an important issue to us that we have to make the movie,” Vasarhelyi said on Variety’s Doc Dreams, presented by National Geographic. “We made this film for our kids because it’s a hopeful, environmental call-to-action film. It’s also a big love story with a big heart.

“Wild Life” chronicles the close relationship of conservationist Kris Tompkins, the first CEO of Patagonia, and her husband Douglas Tompkins, an outdoorsman and entrepreneur who founded The North Face brand. Spanning decades of their work, the reveals their love story and how together they created national parks throughout Chile and Argentina making the largest private land donation in history.

Chin and Vasarhelyi, who are married and share two children, have made their careers out of their kinship on film projects. Shown with their features such as “Meru” (2015), which won the U.S. Audience Documentary Award at Sundance, and cemented with the rock-climbing epic “Free Solo” (2018), which won the Oscar for documentary feature and the Tham Luang cave mission flick “The Rescue” (2021), which made the Oscar shortlist. Now with “Wild Life,” the two capture how love is a force of nature.

When setting out to make a movie, whether narrative or nonfiction, filmmakers often talk about stripping it down and rebuilding it multiple times. Vasarhelyi calls it “breaking a movie.” And yes there was a point where the producers said to them, “It’s time to stop breaking the movie.”

However, if lucky, you find the film. Such a moment came when Chin and Vasarhelyi decided to open the movie with Doug dying. Vasarhelyi said, “It changed the whole movie. It was our commitment that this film is actually about Kris and how she finds her voice.”

This doesn’t mean directors are always on the same page. On the contrary, each person has a connection to a particular scene or footage. For example, Chin revealed, “I’m always sentimental when she cuts something, and it takes me a little time to recover, but that’s how we work.”

A scene that didn’t make the cut was centered around one of Doug’s most effective marketing campaigns, which protested what would have been the world’s biggest clearcutting in Chile to build a dam. “It still pains me because it says a lot of things about Doug. But, even watching it now, I don’t know where it would go.”

“Visually, we had the goal of expressing the beauty of this place that Doug and Kris worked so hard to save,” Chin said. “Our films really lean in on the human aspects of the story. Of course, we love vérité, but there were some interview moments where you know you’re capturing something real, authentic and a real sense of emotion. I’ve never cried more doing interviews on a movie than this one.”

From inception to finish, it took about seven years for Chin and Vasarhelyi to complete the documentary after spending almost four months in total filming in South America, hiking more than 100 miles, watching over 150 hours of archival footage, and utilizing a crew that ranged from two to eight people at a time.

The two auteurs are still busy. First, they’ll make their narrative feature directorial debut with the Netflix drama “Nyad” about 64-year-old marathon swimmer Diana Nyad, who attempts to become the first person ever to swim from Cuba to Florida. It stars Oscar-nominee Annette Bening in the titular role alongside Jodie Foster.

When asked about the movie and what audiences can expect, Vasarhelyi says: “It’s amazing in your forties to have a creative challenge where you grow again. Being a married couple who worked together, it’s also interesting to see our relationship grow through a creative process.”

Chin added: “What she [Vasarhelyi] is really saying is it kicked our ass, and we had to throw down to make it happen. So we hope you all get to see it.”

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Directors Jimmy Chin and Elizabeth Chai Vasarhelyi

Melanie Lynskey might be reading this story. The “Yellowjackets” star is a fan of TV, and she’s also a fan of writing and criticism about TV. And that includes reading press about her own shows — and herself. “I love [film and TV] criticism so much,” she tells Variety’s Awards Circuit Podcast. “And it would make me sad to not get to read it. You have to put your ego aside for a minute and just be like, ‘it doesn’t matter what I read about myself. When it’s someone you really love reading, and they’re writing about something that you spent six months working on, it’s hard for me to not do it.”

Lynskey says the reviews aren’t always great — but they’re usually accurate even in those cases. “They’ve always been right,” she says. “I know when something hasn’t been that good. So I’ve never been like, ‘that’s not fair.’ I’ve never really had that feeling.”

With one exception: When reviews have brought up physical appearance “where it felt like I don’t know if that necessarily matters. But other than that, I’ve always agreed!’

On this episode, Lynskey discusses the twists and turns that came with Season 2 of the hit Showtime drama, as well as her turn as a complicated bad ass on HBO’s breakout “The Last of Us.” She also discusses how personal the storyline of her younger self’s pregnancy was to her own life, and how much she knows or doesn’t know about the trajectory of her character, Shauna. She also shares what its like for so many fans to ‘ship her marriage to Jason Ritter (as witnessed by a recent viral video of the couple on “The Drew Barrymore Show”) — and she learns, live on the podcast, about the news that her former “Two and a Half Men” co-star Charlie Sheen and boss Chuck Lorre have made up.

Listen below!

On “Yellowjackets,” Lynskey’s character, Shauna, is a woman who, 25 years after surviving a plane crash, is still reeling from what happened and hasn’t been able to fully movie on. The series flashes back and forth between the aftermath of the crash, when members of a high school girls soccer team fend for themselves in the wilderness; and present day, when they’re still scarred as adults.

In the flashbacks, Sophie Nélisse plays teen Shauna, who faced an unexpected pregnancy. In the show’s most recent episode, young Shauna loses the baby. For Lynskey, the story was deeply personal, and in first joining the show in Season 1, Lynskey said she wasn’t ready to ask series creators Ashley Lyle and Bart Nickerson what ultimately happens to the pregnancy.

“I’ve talked about it publicly so many times, but in the first episode, I had just had a pregnancy loss in my own life and I couldn’t talk about it,” she says. “I couldn’t ask [the show’s creators] what happened. I had a weird wall up about it. But so did the character in the first season. It was just something that wasn’t discussed in my timeline. And then this season, I think I had enough distance that I was like, okay, I can start to get into it. At the same time as older Shawna is also letting herself remember and feel it.”

Discussing Season 2’s sixth episode, “Qui,” Lynskey says, “When I read that script, I cried. It was so heartbreaking. I knew Sophie would do a beautiful job, and then seeing it… Just her little face, there’s so much happening on her face at all times, and just how freely she feels emotion. I know that Sophie sometimes doubts herself because she’s like, ‘Oh, ‘I’m not tortured. I’m not curled up in a ball on the corner, trying to get to a place.’ And I’m like, ‘you have a gift, where you can just be in front of a camera and the emotion comes out of you. And you don’t have to try to beat yourself up to get there. It’s just natural.’”

Lynskey says the producers are open to talking about things that might personally trigger somebody. “And they also always make sure to have a writer on set, which is something that those writers are usually doing an unpaid capacity. That’s part of what the writers strike is about. But they’re there to do the work with us and help us in the moment change things if we need to, or just for questions to be answered. It’s invaluable having a writer there.”

As “Yellowjackets” progresses, Lynskey says she’s along for the ride — and she has no idea where it’s going either. “I’m past the point of what they’ve told me now,” she says. “Before I signed on, I had a lot of questions. And then they answered those questions. And now, I’m trying not to be annoying, so I’m not asking them too many questions. But I am really curious. I don’t know what Season 3 is gonna look like. I I’m nervous. I’m excited. There’s also so many people on our show, and so many characters. So following all the different storylines is also really fun for me.”

As for her guest spot on HBO’s “The Last of Us,” as diabolical revolutionary leader Kathleen, Lynskey says she relished the brutal way in which her character dies. “She was not a nice person. But I did love that in the writing that they took their time and revealing things like they didn’t instantly show how she came to be in power. They didn’t instantly show her own backstory. She’s just this person who’s doing kind of awful things, and you don’t know why she’s in charge or why she’s ordering these things. And then it slowly unfolds. Craig (Mazin) is just so brilliant.”

Ritter made an uncredited appearance, under heavy makeup, as a “clicker” zombie in one of her episodes. The couple has become a fan favorite Hollywood duo, which Lynskey admits is surreal. “It’s very strange to have a spotlight on your relationship,” she says. “But we also do really like each other and love each other.”

Meanwhile, Lynskey hadn’t heard about Sheen and Lorre burying the hatchet. (Sheen, of course, was fired from “Two and a Half Men” after going on a tirade against Lorre, CBS, the show and others.) “The last time I was texting with Charlie, he seemed to be in such a good place, like an honestly good place,” Lynskey says. “I always hope the best for both of them. Honestly. I think that’s amazing.

If a “Two and a Half Men” reunion were in the cards, would she do it? “I mean, I’d do a guest star if they want,” she says. “There were moments on that show that were so fun. And I do genuinely love live audience sitcoms. There’s nothing like the energy of it, especially when people know the show and love the show.”

Also on this episode, on the Awards Circuit Roundtable, we check in on how the writers strike is impacting the Emmy FYC season, as well as the flurry of last minute category changes as the Emmy submissions deadline came to pass this week.

Variety’s “Awards Circuit” podcast, produced by Michael Schneider, is your one-stop listen for lively conversations about the best in film and television. Each week “Awards Circuit” features interviews with top film and TV talent and creatives; discussions and debates about awards races and industry headlines; and much more. Subscribe via Apple Podcasts, Stitcher, Spotify or anywhere you download podcasts. New episodes post weekly.

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Melanie Lynskey might be reading this story.

Just over a week after thousands of television and movie writers took to picket lines, Netflix is feeling the heat.

Late Wednesday night, Netflix abruptly said it was canceling a major Manhattan showcase that it was staging for advertisers next week. Instead of an in-person event held at the fabled Paris Theater, which the streaming company leases, Netflix said the presentation would now be virtual.

Hours earlier, Ted Sarandos, Netflix’s co-chief executive, said he would not attend the PEN America Literary Gala at the Museum of Natural History on May 18, a marquee event for the literary world. He was scheduled to be honored alongside the “Saturday Night Live” eminence Lorne Michaels. In a statement, Mr. Sarandos explained that he withdrew because the potential demonstrations could overshadow the event.

“Given the threat to disrupt this wonderful evening, I thought it was best to pull out so as not to distract from the important work that PEN America does for writers and journalists, as well as the celebration of my friend and personal hero Lorne Michaels,” he said. “I hope the evening is a great success.”

Netflix’s one-two punch in cancellations underscored just how much the streaming giant has emerged as an avatar for the writers’ complaints. The writers, who are represented by affiliated branches of the Writers Guild of America, have said that the streaming era has eroded their working conditions and stagnated their wages despite the explosion of television production in recent years, for much of which Netflix has been responsible.

The W.G.A. had been negotiating with the Alliance of Motion Picture and Television Producers, which bargains on behalf of all the major Hollywood studios, including Netflix, before talks broke down last week. The writers went on strike on May 2. Negotiations have not resumed, and Hollywood is bracing for a prolonged work stoppage.

Last week, at a summit in Los Angeles a day after the strike was called, one attendee asked union leaders which studio has been the worst to writers. Ellen Stutzman, the chief negotiator of the W.G.A., and David Goodman, a chair of the writers’ negotiating committee, answered in unison: “Netflix.” The crowd of 1,800 writers laughed and then applauded, according to a person present at that evening who spoke on condition of anonymity because of the sensitivity of the strike.

The last time the writers went on strike, in 2007, Netflix was little more than a DVD-by-mail company with a nascent streaming service. But over the past decade, Netflix has produced hundreds of original programs, helping to usher in the streaming era and upending the entertainment industry in the process.

Initially, Netflix was cheered by the creative community for creating so many shows, and providing so many opportunities.

Demonstrations over the past week have underscored just how much writers have soured on the company. In Los Angeles, Netflix’s Sunset Boulevard headquarters have become a focal point for striking writers. The band Imagine Dragons staged an impromptu concert before hundreds of demonstrators on Tuesday. One writer pleaded on social media this week that more picketers were needed outside the Universal lot, lamenting that “everyone wants to have a party at Netflix” instead.

On Wednesday, demonstrators were out in force outside the headquarters. “Ted Sarandos is my dad and I hate him,” read one sign. Another said: “I shared my Netflix password. It’s ‘PAY ME’!”

While the writers marched, the veteran television writer Peter Hume affixed fliers to picket signs that read “Cancel Until Contract” and “Please Cancel Netflix Until a Fair Deal Is Reached.”

Mr. Hume, who has worked on shows like “Charmed” and “Flash Gordon: A Modern Space Opera,” said the streaming giant was responsible for dismantling a system that had trained writers to grow their careers into sustainable, fulfilling jobs.

“I have 26 years of continuous service, and I haven’t worked in the last four because I’m too expensive,” Mr. Hume said. “And that’s mostly because Netflix broke the model. I think they put all the money into production in the streaming wars, and they took it away from writers.”

Netflix’s decision to cancel its in-person showcase for marketers next week caught much of the entertainment and advertising industry off guard.

The company had been scheduled to join the lineup of so-called upfronts, a decades-old tradition where media companies stage extravagant events for advertisers in mid-May to drum up interest — and advertising revenue — for their forthcoming schedule of programming.

Netflix, which introduced a lower-priced subscription offering with commercials late last year, was scheduled to hold its very first upfront on Wednesday in Midtown Manhattan. Marketers were eager to hear Netflix’s pitch after a decade of operating solely as a premium commercial-free streaming service.

“The level of excitement from clients is huge because this is the great white whale,” Kelly Metz, the managing director of advanced TV at Omnicom Media Group, a media buying company, said in an interview earlier this week. “They’ve been free of ads for so long, they’ve been the reach you could never buy, right? So it’s very exciting for them to have Netflix join in.”

So it came as a surprise when advertisers planning to attend the presentation received a note from Netflix late Wednesday night, saying that the event would be virtual.

“We look forward to sharing our progress on ads and upcoming slate with you,” the note said. “We’ll share a link and more details next week.”

The prospect of hundreds of demonstrators outside the event apparently proved too much to bear.

Other companies staging upfronts in Manhattan — including NBCUniversal (Radio City Music Hall), Disney (The Javits Center), Fox (The Manhattan Center), YouTube (David Geffen Hall at Lincoln Center) and Warner Bros. Discovery (Madison Square Garden) — said on Thursday that their events would proceed as normal, even though writers were planning multiple demonstrations next week.

Mr. Sarandos’s decision to pull out of the PEN America Literary Gala will not disrupt that event either. Mr. Michaels, the “Saturday Night Live” executive producer, will still be honored, and Colin Jost, who co-hosts Weekend Update on “Saturday Night Live,” is still scheduled to M.C.

“We admire Ted Sarandos’s singular work translating literature to artful presentation onscreen, and his stalwart defense of free expression and satire,” PEN America said in a statement. “As a writers organization, we have been following recent events closely and understand his decision.”

The writers’ picket lines have successfully disrupted the productions of some shows, including the Showtime series “Billions” and the Apple TV+ drama “Severance.” On Sunday, the MTV Movie & TV Awards turned into a pretaped affair after the W.G.A. announced it was going to picket that event. The W.G.A. also said on Thursday it would picket the commencement address that David Zaslav, the chief executive of Warner Bros. Discovery, is scheduled to give on the campus of Boston University on May 21.

One of the writers’ complaints is how their residual pay, a type of royalty, has been disrupted by streaming. Years ago, writers for network television shows could get residual payments every time a show was licensed, whether for syndication, broadcast overseas or a DVD sale.

But streaming services like Netflix, which traditionally does not license its programs, have cut off those distribution arms. Instead, the services provide a fixed residual, which writers say has effectively lowered their pay. The A.M.P.T.P., which bargains on behalf of the studios, said last week that it had already offered increased residual payments as part of the negotiations.

“According to the W.G.A.’s data, residuals reached an all-time high in 2022 — with almost 45 percent coming from streaming, of which the lion’s share comes from Netflix,” a Netflix spokeswoman said.

“Irrespective of the success of a show, Netflix pays residuals as our titles stay on our service,” the spokeswoman said, adding that the practice was unlike what network and cable television did.

Outside Netflix’s Los Angeles headquarters on Wednesday, writers on picket lines expressed dismay that the company was beginning to make money off advertising.

“If they make money doing ads, my guess would be that ads will become a bigger revenue stream for them,” said Christina Strain, a writer on Netflix’s sci-fi spectacle “Shadow and Bone.” “And then we’re just working for network television without getting network pay.”

Sapna Maheshwari contributed reporting.

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Miriam Shor, who portrayed Recorder Vim in Guardians of the Galaxy Vol. 3, just shared why her villain chose to go against her master in the recently released MCU project.

Chukwuji Iwuji’s High Evolutionary may have led Vol. 3 as its key villain, but he wasn’t alone.

As they say, it takes a team. In this case, for the High Evolutionary, the sentiment remained true. Within the film, the big bad is seen tailed at almost every moment by his trusted team of advisors. One of those people was Shor’s Vim.

While she helped Iwuji’s god-like villain do terrible deeds, there does come a point in Vol. 3 where she attempts to overthrow her master. But why now?

Recorder Vim’s Mindset

Miriam Shor

In an exclusive interview with The Direct, Guardians of the Galaxy Vol. 3 actress Miriam Shor, who played Recorder Vim in the movie, spoke about her character’s big twist towards the end of the movie.

So, what exactly was Vim thinking in that fateful moment when she attempted to usurp Chukwudi Iwuji’s High Evolutionary? Shor shared how she was “looking at what leads people” to “follow the worst people in the world:”

“So I think in that moment, I was sort of looking at what leads people, what allows people to follow the worst people in the world. What allows people to follow and do their bidding, the absolute worst? And because this isn’t a question only for like some far off universe that doesn’t exist. This is a question for the world we live in? How? How do people make themselves Okay, by following these, the worst people in the world right off the cliff.” 

Continuing, the actress noted that she doesn’t believe Vim “has a plan,” but she did come to finally understand “the depth of the lunacy that’s happening:”

“And then inevitably, that moment, right before you fall off that cliff, you realize what’s happening. I mean, we’ve seen it with the leaders throughout history. And currently, you know, I’m kind of fascinated by that moment. And that happens for my character, this moment of like, really understanding the depth of the lunacy that’s happening. So I don’t think she has a plan, right? I think this is like, this is a do or die, literally do or die moment, and she makes the decision.”

Shor doesn’t exactly think Vim “becomes a good guy in that moment,” noting that her betrayal was more about basic survival from a bottom line perspective:

“What I love is the idea of like, what could that look like? You know, I think she thinks of herself as a scientist. I think she thinks of herself as someone who’s doing this. And again, this is not unrealistic. In the world. We live in someone who, who believes in—she’s a zealot, right? She believes in this. And so I don’t think she suddenly becomes a good guy in that moment. I think that moment is more about, ‘How do we preserve this thing that I valued?’ I thought we both valued… ‘How do we get out of this alive?’ but I would love to be like, and then she’s a hero!”

Recorder Vim, High Evolutionary, Miriam Shor, Chukwudi Iwuji
Marvel Studios

But what would she do had her efforts been successful? Shor believed that Vim would’ve stuck around and after recouping, continued the work, as she always believed she “was doing the right thing:”

 “Although *there might be some soul searching that had to happen right after that moment, because that’s an eye opening moment where you realize I’ve gone to the depths and there’s no going back so I think she would stay. I think she would recoup and I think she thought she was doing the right thing. But also, that’s how she was built. But I think this whole movie is [about] questioning your Creator and your creation and what you were you thought you were meant to do. So I do think that’s that moment for her she’s questioning that.”

She also jokingly pitched the idea that perhaps she would work for the Guardians had things gone her way.

That final scene between Vim and the High Evolutionary was actually the actresses’ favorite scene between her and Iwuji’s villain:

“The climactic scene that my character has… James let us play… There were a couple of times where we did things like he was like, this is never going to make the movie keep going. It’s so fun.., we were chewing the scenery and having so much fun with the like, stakes of it, you know, at the end of the day, we just were like… sipping our tea and honey, and just being like, ‘that was the best.’”

Feeling that way about is scene is exactly what actors like Shor and Iwuji want, with the actress saying that there’s a deep “[appreciation for] someone asking you to dig as deep as possible:”

“I mean, that’s what you want… if you’re the kind of actors that really appreciate someone asking you to dig as deep as possible, which we are, and you know, and then with someone like Chuck, you can’t really ask for a better scene partner, you really can’t.”

Chukwudi Iwuji, High Evolutionary, Guardians of the Galaxy Vol. 3
Marvel Studios

But how exactly how long was Recorder Vim with The High Evolutionary? Shor doesn’t have a specific timeframe, but she assumes that it was “eons:”

“I mean, eons… know, worlds were created and destroyed. Whole worlds were created and destroyed. I think it’s longer than humans can imagine. Because we’re talking about creation and destruction multiple times, you know, whole worlds, whole areas of the universe… And this is where the makeup is kind of great…”

The actress also called attention to her makeup, noting that clear wear and tear is visible as time goes on in the story’s flashbacks and present-day storytelling:

“But what’s great about the makeup, is that you there is a difference between when you see them earlier, and you see them later. There’s wear and tear, you know, those recording devices that are in their heads that are recording every single little thing, and you think about, like, how they get refurbished and redone and the upkeep. At what point did they break down? But it’s been quite a long time. I don’t have an exact answer. But in my mind, it was eons… it’s not like they’re good friends… She’s standing up to her creator. I mean, that’s the scariest thing you can do.”

While her MCU journey might have been cut short, Miriam Shor will next be seen later this year in Bradley Cooper’s Maestro.

In talking about the project, Shor declared her time on the movie “was amazing,” and that “Bradley Cooper is just a gem of a human:”

“Well, [Bradley Cooper] plays Leonard Bernstein. I play Cynthia O’Neil, who was a very good friend of the Bernstein’s especially at least, Leonard Bernstein’s wife. And Bradley Cooper is just a gem of a human, but he’s also like an immense creative talent and watching him create that piece. Direct it, write it, star in it. I mean, and then he, there were days where I was like, being directed by Leonard Bernstein. It was amazing. So that was quite the experience. I’m like, I apparently I only work with Bradley now. And only when he’s like, either. unrecognizable is like a space raccoon or musical genius.”

Vim’s MCU Future That Never Was

It is hard to imagine how Recorder Vim thought her final confrontation would go down. She was well aware of how powerful the High Evolutionary was and that her odds of actually usurping him were extremely low.

Perhaps she just didn’t care either way. She saw how deranged and obsessed he had become, so she felt like she had to do something.

As mentioned previously, the timeline where Recorder Vim was successful could make for a great episode of What If…?. Would she lean towards the side of good or continue down the dark path Vim was already so familiar with?

Sadly, audiences will likely never know.

Guardians of the Galaxy Vol. 3 is now playing in theaters worldwide.

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Now we know the nerds have truly inherited the Earth. Announced via Variety, Hasbro’s Entertainment One, or eOne, is launching a free 24-hour streaming channel dedicated solely to Dungeons & Dragons. That’s right, in addition to the current feature film Honor Among Thieves and an upcoming live-action series, the iconic RPG will now stake a claim to its very own network. The Dungeons & Dragons Adventures FAST channel (Free Ad Supported TV) has no distribution partner just yet, but a summer launch is in the cards.

Hasbro/Wizards of the Coast

So what can Dungeons & Dragons super fans expect from this new channel? For starters, it will include several original celebrity-focused unscripted series. These include programs like Encounter Party, based on the podcast, and the comedy improv Faster, Purple Worm! Kill! Kill!, of which series co-creator Matthew Lillard will retain involvement. There’s also the talk show/cooking competition Heroes’ Feast.

Dungeons & Dragons is going to be a TV series, dragon fighting a knight
Hasbro/ Wizards of the Coast

And yes, the classic 1980s Dungeons & Dragons Saturday morning cartoon show will be among the offerings. You didn’t they’d forget that one, did you? The channel will also have plenty of third-party content from more internet creators and D&D influencers, including lots of live gameplay. Hey, if there are 50 or more golf channels, it’s high time someone rolled the d20 on a D&D channel.

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Now we know the nerds

The Federal Communications Commission (FCC) today ordered voice service providers to block the global gateway provider One Eye. The FCC says the company, which serves as an “on-ramp” to US phone networks from outside the country, enabled robocall scams like impersonating a major financial institution and calls about bogus “preauthorized orders” placed in consumers’ names. The Biden administration’s FCC has focused on increasing its ability to enforce robocalls. “This company — what’s left of it — will now have a place in robocall history,” said FCC Chairwoman Jessica Rosenworcel. “We can and will continue to shut off providers that help scammers.”

Today’s order is the culmination of an escalating series of actions by the FCC to stop One Eye from facilitating shady robocall campaigns. First, the agency cited the company’s predecessor, PZ/Illum Telecommunication, for transmitting illegal robocalls. Then, in a cease-and-desist letter sent in February, the FCC’s Enforcement Bureau warned the newly minted One Eye that its rebranding wouldn’t help it avoid consequences while alerting it that a failure to comply would lead to a permanent block. (On the same day, it cautioned US voice providers about One Eye’s activity.) Finally, it sent an “initial determination order” in April, another step toward the block it ultimately issued today.

The FCC’s statement doesn’t specify where One Eye’s headquarters are. The February cease-and-desist letter was addressed to a registered LLC in Delaware, but that could merely be a US branch of a global operation based elsewhere.

The block has teeth thanks to the FCC’s Gateway Provider Order issued in May 2022. It laid out a new list of requirements for companies routing foreign calls to the US, including (among others) caller ID authentication using the STIR / SHAKEN framework, submitting certification plans, responding to traceback requests within 24 hours and blocking illegal traffic when notified by the FCC. 

“The Enforcement Bureau team has built a fair, transparent, but tough process by which we can essentially shut down access to U.S. communications networks by companies such as One Eye that are targeting consumers with illegal robocalls,” said Enforcement Bureau Chief Loyaan Egal. “Today’s action demonstrates another cutting-edge tool in our robocall enforcement options and represents a landmark date in our efforts to protect consumers from scam calls.”

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The Federal Communications Commission (FCC) today ordered

The Sundance Institute has revealed that the 40th edition of the Sundance Film Festival will take place in person in Utah from January 18-28, 2024, with a large selection of films also to be made available online, as they have been for a number of years.

The festival’s program will comprise feature films, short films, episodic, and innovative storytelling in New Frontier, and projects can be submitted to it via FilmFreeway starting today.

The early deadlines for Sundance 2024 are July 31st for Shorts, August 4th for New Frontier, August 7th for Episodic, and August 11th for Features. Official deadlines are August 18th for Shorts, August 21st for New Frontier, September 1st for Episodic, and September 4th for Features. Late deadlines, meanwhile, are September 1st for New Frontier, September 4th for Shorts, September 18th for Episodic and September 25th for Features. More information on the application process can be found here.

Among the big winners of last year’s Sundance Film Festival, which took place from January 19-29, were Maryam Keshavarz’s The Persian Version and A.V. Rockwell’s A Thousand and One. The former title won both the U.S. Dramatic Audience Award and the Waldo Salt Screenwriting Award, while the latter laid claim to the U.S. Dramatic Grand Jury Prize.

While lodging for Sundance 2024 can be booked at this link, more information on ticket passes and packages will be shared closer to the festival.

 

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The Sundance Institute has revealed that the

Horror films love monstrous mothers. These frightening and violent maternal figures are often the thrust of an entire subgenre of horror films. Whether out-and-out straight horror or more cerebral, genre-bending fare like Ari Aster’s Beau is Afraid, it’s everywhere. Like masked maniacs or incorrigibly bad toddlers, the horror genre exploits perennial, often Freudian fears to sensational (and often regressive) effect. Scholars largely agree the earliest iterations of monstrous mothers—think Mrs. Bates or Mrs. Voorhees—were reactions to an increasingly feminine world.

The masculine worldview linked its associated fears and anxieties to mothers and, by extension, their sons. Mothers simply had too much control. They were threats to the innate masculinity of their sons. This often rendered both of them monstrous in the process—think Norman Bates or Jason Voorhees. And while motherhood is often monstrous and traumatic, some genre properties have retconned the ideals of the past for projects more empathetic and probing than the simple “the matriarchy as horror” routine of yesterday. 1992’s The Hand That Rocks the Cradle is secretly one of the best.

Depictions of motherhood are often contingent on the persons behind the camera (Jennifer Kent’s classic The Babadook as an example). While Curtis Hanson (L.A. Confidential) directed The Hand That Rocks the Cradle, Amanda Silver is the sole credited writer. Silver and her husband, Rick Jaffa, are more prolific than most. They’re responsible for some of the best horror thrillers of the 1990s (Eye for an Eye, The Relic). Yet, they’re also credited alongside James Cameron on Avatar: The Way of Water and its many (many) pending sequels. That’s range. Silver’s touch is all over The Hand That Rocks the Cradle, a quasi-Fatal Attraction riff that sees Rebecca De Mornay’s Mrs. Mott ingratiate herself into the lives of Claire (Annabella Sciorra) and Michael (Matt McCoy) Bartel, posing as nanny Peyton Flanders for their new baby. She’s gonna rock that cradle straight to Hell.

Months before the con, Mrs. Mott’s husband, an obstetrician, died by suicide after Claire credibly accused him of molesting her during an exam. The Motts’ assets were frozen, their homes seized, and more women came forward with accusations. The resultant stress caused De Mornay’s Mrs. Mott to miscarry. Left penniless and alone, she opts to go full Lifetime Channel, only with considerably more graphic horror flare.

While it might seem odd to classify The Hand That Rocks the Cradle as straight horror, the psychological terror is merely window dressing for classic body-count action. The Orphan movies are perhaps the closest contemporary examples (and those are inarguably horror). In the 90s, there were plenty of horror movies masquerading as thrillers for broader appeal and bigger box office bucks. For reference, Mrs. Mott kills Julianne Moore’s Marlene in sensational Final Destination fashion. In the finale, she’s brandishing shovels and savagely attacking anyone in her way. Michael Myers would be proud.

What’s most exciting, however, is how The Hand That Rocks the Cradle, thirty years on, makes some poignant and startling assessments about motherhood and ownership. In its broadest form, ownership and possession drive the central conflict. Claire has something Mrs. Mott desires. She covets the child she lost, and in her mind, she feels entitled to Claire’s newborn. 2007’s splatterhouse epic Inside follows a similar maternal trajectory. Yet, when viewed through a contemporary lens, in an era when ownership of one’s body is stripped away, when bodily autonomy and reproductive rights are frequently under siege, The Hand That Rocks the Cradle is frighteningly prescient.

Neither Mrs. Mott nor Claire had ownership over their bodies. John de Lancie’s Dr. Victor Mott was the patriarchal, inciting force. He first assaulted Claire and then cravenly left his wife to deal with the aftermath. While it doesn’t excuse Mrs. Mott’s misplaced rage—Claire, for her part, did nothing wrong—it speaks to the ongoing schism whereby men police women’s bodies and then pits them against one another. They do so while rolling back the innate rights women have to make their own decisions. Their right to say no.

So, in effect, The Hand That Rocks the Cradle has two women, both victims in their own way, reclaiming maternal ownership in a system designed to keep them constrained. Claire reported her abuse and desperately tried to live her life in peace. Mrs. Mott’s husband ruined her life. She fervently tried to reclaim what she perceived as having been taken from her. And while, yes, The Hand That Rocks the Cradle often leans into the regressive crazed mania of a woman on the edge—De Mornay is a powerhouse, even if Hanson’s camera lingers a bit too long on allegedly “crazy” woman eyes—it’s considerably more tactful and insightful than just another psycho biddy feature.

Contemporary horror cinema has reframed motherhood. The genre allows nuance whereby motherhood is neither heavenly nor a Freudian front to feminize men, whatever that really means. The difficulties are front and center, with titles like Birth/Rebirth and Run Rabbit Run centering women’s perspective behind the scenes, rendering the on-screen scares and anxieties that much more palpable. The Hand That Rocks the Cradle might be 30 years old, but it remains a fixture in empathetic, frightening maternal horror. Mrs. Mott might be a villain, but she’s a villain worth understanding.


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Fox has ordered two more seasons of Gordon Ramsay’s “Next Level Chef,” Allison Wallach, Fox Entertainment’s president of unscripted programming announced.

“Serving up two more orders of ‘Next Level Chef’ was an easy decision on the heels of an incredible sophomore season, propelled by its historic post-Super Bowl debut,” said Wallach. “Gordon has orchestrated a series that brilliantly demands skill and creativity in a tri-level pressure cooker, delivering high stakes, high drama and some of the most innovative cooking I’ve ever seen.”

“I’m so thrilled that we’ll be bringing two more seasons of Next Level Chef to Fox,” said Ramsay. “It’s the culinary gauntlet of cooking competition shows and we’re excited to continue to raise the bar!”

Ramsay is joined by fellow mentor chefs Nyesha Arrington and Richard Blais as they search nationwide for the best line cooks, home chefs, social media stars and everything in between. The chefs all face off against one another with the goal of winning the $250,000 grand prize and earning the title of Next Level Chef.

“Next Level Chef” is currently averaging a 1.0 Live + 7 Day rating among Adults 18-49 and 6.1 million multi-platform viewers. Its Season Two premiere, which aired post-Super Bowl LVII, opened to 16.9 million viewers. The news comes just ahead of the two-hour Season 2 finale, which airs tonight, May 11 at 8 PM ET/PT on Fox.

Seasons 3 and 4 will be produced by BiggerStage and Studio Ramsay on behalf of Studio Ramsay Global. Gordon Ramsay and Matt Cahoon serve as executive producers.

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Fox has ordered two more seasons of

The Equalizer will reveal another secret from Robyn’s pre-vigilante life in this Sunday’s episode (CBS, 8/7c).

TVLine has an exclusive first look at Robyn recounting the night of her father’s murder, which occurred 30 years ago, when she was 17. As you’ll see in the clip, Robyn tells Mel she called her dad to pick her up after a night of partying. Unbeknownst to Robyn, he didn’t show because he was carjacked and then killed. The teen got the tough news after she walked home.

Robyn isn’t opening up for the sake of baring her soul; she may have an opportunity to solve her father’s murder after receiving a tip. This scenario could play out in so many ways. Will she uncover the truth by the episode’s end, or will the mystery become an ongoing storyline? Will she become obsessed with getting revenge? After all, we saw how driven she was in pursuit of her nemesis, Mason Quinn.

Will Robyn learn new information about her father that changes everything? Will viewers learn that his death set her on a path to becoming the warrior she is today? With just two more episodes to go in Season 3, the show is ripe for another cliffhanger.

Press PLAY on the sneak peek at the top of the post, then share your thoughts in the comments: How long do you think it will take Robyn to solve her father’s murder?


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The Equalizer will reveal another secret from

Maïwenn Lo Besco (known simply as Maïwenn) has admitted to assaulting a French journalist. She made the admission on a live French talk show called “Quotidian.”

Last month Maïwenn was accused of assaulting Edwy Plenel, the editor-in-chief of Mediapart, an online investigative newspaper, during a February encounter. Plenel said he was having dinner with his lawyer when Maïwenn walked over, grabbed his hair and spit in his face. Plenel said the encounter was “damaging on a moral and psychological level” and after the supposed attack was left feeling “very traumatized.”

It was unclear what the motivation for the alleged assault could have been, although there speculation that it was because the site was reporting on the sexual assault allegations leveled against French filmmaker Luc Besson. Besson is Maïwenn’s ex-husband from 1992 to 1997. They started dating when she was only 15 and he was nearly 30; her first child was born when she was 16 and she has admitted that the relationship between Jean Reno and Natalie Portman in “The Professional” was based on her relationship with Besson (yikes).

Maïwenn said during the interview, as translated and published by the Telegraph, when asked about the alleged assault: ““Do I confirm that I assaulted him? Yes. It’s not the time. I’ll speak about it when I’m ready. I’m very anxious about the release of my film.”

“My film” is “Jeanne du Barry,” a historical biographical drama where she plays the title role (of the last mistress of King Louis XV of France), along with directing, co-writing and producing. The film has already generated significant controversy as being the first big comeback role for Johnny Depp following his prolonged legal battle with Amber Heard and is slated to open the Cannes Film Festival next week on May 16.

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Maïwenn Lo Besco (known simply as Maïwenn)

NOW ON VOD! The next step in the great slasher evolution has been taken in the game-changing Thai horror title Night of the Killer Bears by director Kanphong Banjongpinit. Out in the woods is a cozy inn with a coffee house attached where one can get away from it all. Bouncy teen Aim (Sananthachat Thanapatpisal) and boyfriend Win (Patchata Jan-Ngern) have booked rooms for the weekend for all of their friends. They pick up the keys from the owner (Teerapong Liaorakwong), who is busy with something in his office.

Shortly after that, Tony (Chanagun Arpornsutinan) arrives, reeking of pot, as usual. He’s keen on seeing Nan (Panisara Rikulsurakan), who will come once she wraps up her acting audition. Chang (Akalavut Mankalasut) is preoccupied and keeps getting upset. Aim tries to calm everyone down, as they are all still on edge over a tragedy they all went through previously. This weekend was supposed to bring the whole gang back together. However, out in the woods, a well-dressed murderer sporting a big teddy bear head is circling the group, ready to cut them up to ribbons.

Don’t be fooled into thinking Night of the Killer Bears is a comedy. It is far more blood-curdling than cuddly. Having the murderer run around in a giant teddy bear head doesn’t automatically mean it’s a comedy, the same way Jason in a hockey mask doesn’t make Friday the 13th 3D a sports movie. What we have here is the grimmest and grisliest movie ever made using teddy bear heads. What makes it so dark despite the fuzzy is the genius screenplay by Kanphong Banjongpinit, Lee Thongkham, and Sorawi Alapach.

“… a well-dressed murderer sporting a big teddy bear head is circling the group, ready to cut them up…”

The story adheres to the slasher formula with reverence, except for a radical innovation that blasts the doors off. The concept of universal evil is seldom seen in movies, even horror ones. It was touched upon in the Central Park scene in Inferno and was explored a little further in Evil Dead Trap 2. However, this goes full throttle with the concept, as reflected in the original title, The World of Killing People. The slasher is refracted through a prism of universal evil, and it pays off immensely. The surprises keep coming along with sickening waves of revulsion. Yes, the gore is intense and very imaginative. However, it is the jet-black nihilism that distinguishes the depth of darkness found here. Just the notion of what slithers beneath the surface sends you straight to shiver town.

This may seem at odds with the fabric softener furry charm of the teddy bear imagery. However, this juxtaposition between the childhood comforts and the slaughter ballet illustrates that very theme. Beneath the shining surface of polite life, there is a bottomless pool of blackness that most swim into when no one is looking. Slashers have always tapped into universal evil abstractly with the potential that anyone may secretly be the masked killer. Here the floodgates are thrown open, and the results are exhilarating. Instead of just tapping our toes and waiting for body count, we have spine-tingling scenic rides on the way to the bloody spectacles.

Night of the Killer Bears joins recent elevated slashers like Bliss of Evil and Last of the Grads. If you are hankering for horror, this movie will make you higher than Cocaine Bear. This is absolutely the best horror movie from Thailand I have ever seen.

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NOW ON VOD! The next step in

Russia today threatened Britain with ‘an adequate response from our military’ after the UK agreed to supply Ukraine with Storm Shadow long-range missiles.

The missiles, which cost about £2.2million, will allow Ukraine to hit Russian troops and logistics hubs deep behind the front line in a major blow to Vladimir Putin. 

Britain had received assurances from the Ukrainian government that these missiles would be used only within Ukrainian sovereign territory and not inside Russia, multiple senior Western officials said.

Ukraine has been asking for months for long-range missiles, but support provided by Britain and other allies such as the United States has previously been limited to shorter range weapons.

But UK Defence Secretary Ben Wallace today confirmed that Britain is sending the Storm Shadow missiles to Ukraine, a decision that prompted a furious response from the Kremlin.

A graphic showing how the Storm Shadow Missiles would work on the battlefield

Russia today threatened Britain with 'an adequate response from our military' after the UK agreed to supply Ukraine with Storm Shadow long-range missiles (file image)

Russia today threatened Britain with ‘an adequate response from our military’ after the UK agreed to supply Ukraine with Storm Shadow long-range missiles (file image)

The missiles, which cost about £2.2million, will allow Ukraine to hit Russian troops and logistics hubs deep behind the front line in a major blow to Vladimir Putin

The missiles, which cost about £2.2million, will allow Ukraine to hit Russian troops and logistics hubs deep behind the front line in a major blow to Vladimir Putin 

‘The donation of these weapons systems gives Ukraine the best chance to defend themselves against Russia’s continued brutality especially with the deliberate targeting of Ukrainian civilian infrastructure, which is against international law,’ Wallace told the House of Commons. ‘Ukraine has a right to be able to defend itself.’

Storm Shadow

The Storm Shadow, also known as SCALP, is an air-to-ground missile that can hit fixed or stationary targets.

Length: 16ft 9in 

Range: 350 miles 

Speed:  600mph 

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Wallace said the missiles would be used to push back Russian forces in ‘Ukrainian sovereign territory’, while adding that the UK’s support for Ukraine is ‘responsible, calibrated, coordinated and agile’.

‘We simply will not stand back while Russia kills civilians,’ Wallace said.

Wallace did not say how many cruise missiles were being sent to Ukraine, but said they are ‘now going into or are in the country itself’.  

Earlier, a Western official had told CNN about the decision to supply Ukraine with the missiles, saying: ‘The UK has previously said that it will supply Ukraine with long-range weapons, this will now include a number of Storm Shadow missiles.

‘The British government has been clear that this is only in response to Russia’s deliberate targeting of civilian national infrastructure and is a proportionate response.’ 

The Kremlin said the reports would require ‘an adequate response from our military’.

The Storm Shadow is an air-launched long-range missile, designed for attacks against high value targets such as hardened bunkers and key infrastructure.

The missiles, jointly developed by the UK and France, has a firing range of more than 155 miles (250km) which means Kyiv would be able to strike deep into Russian-held territory in eastern Ukraine where the fiercest battles are ongoing.

The missile is ‘a real game changer from a range perspective,’ a senior US military official said. At the moment, Ukraine’s current maximum range on US-provided weapons is around 49 miles.

The UK’s decision to supply the missiles comes as Wallace and the foreign minister James Cleverly have been in the United States for talks on supporting Ukraine in recent weeks.

Britain and other Western countries have scaled up their military aid for Ukraine this year, with Britain saying in January it would send 14 of its main Challenger 2 battle tanks to Ukraine, a pledge that was followed by other nations including the United States and Germany.

Prime Minister Rishi Sunak told the Munich Security Conference in February that Britain would be the first country to provide Ukraine with longer range weapons.

The United States said in February it would provide the Ground Launched Small Diameter Bomb (GLSDB), which has a range of about 151 km.

Asked on Tuesday about supplying long range missiles, Cleverly declined to detail specific plans but he said it was important to keep looking at ways to ‘enhance and speed up the support we give to Ukraine’.

The war in Ukraine is at a turning point, with Kyiv expected to unleash its new counteroffensive after six months of keeping its forces on the defensive, while Russia mounted a huge winter offensive that failed to capture significant territory.

UK Defence Secretary Ben Wallace today confirmed that Britain is sending the Storm Shadow missiles to Ukraine, a decision that prompted a furious response from the Kremlin

UK Defence Secretary Ben Wallace today confirmed that Britain is sending the Storm Shadow missiles to Ukraine, a decision that prompted a furious response from the Kremlin

The Storm Shadow (pictured, centre) is an air-launched long-range missile, designed for attacks against high value targets such as hardened bunkers and key infrastructure

The Storm Shadow (pictured, centre) is an air-launched long-range missile, designed for attacks against high value targets such as hardened bunkers and key infrastructure

The UK's decision to supply the missiles comes as Britain's defence minister Ben Wallace and the foreign minister James Cleverly have been in the United States for talks on supporting Ukraine in recent weeks. Pictured: Cleverly with US Secretary of State Antony Blinken in Washington DC, US, on Tuesday

The UK’s decision to supply the missiles comes as Britain’s defence minister Ben Wallace and the foreign minister James Cleverly have been in the United States for talks on supporting Ukraine in recent weeks. Pictured: Cleverly with US Secretary of State Antony Blinken in Washington DC, US, on Tuesday

Artillery rocket units of the mechanized brigade of the Ukrainian Army conduct operation to target trenches of Russian forces through the Donetsk region in Ukraine on Tuesday

Artillery rocket units of the mechanized brigade of the Ukrainian Army conduct operation to target trenches of Russian forces through the Donetsk region in Ukraine on Tuesday

A Ukrainian soldier fires an RPG toward Russian positions at the frontline near Kremenna in the Luhansk region, Ukraine, on Tuesday

A Ukrainian soldier fires an RPG toward Russian positions at the frontline near Kremenna in the Luhansk region, Ukraine, on Tuesday

Moscow’s main target for months has been the small eastern Ukrainian city of Bakhmut, which it has come close to capturing but not quite taken in what would be its sole prize after months of the bloodiest ground combat in Europe since World War Two.

Kyiv says it has pushed Russian forces back over the past two days near Bakhmut in small-scale local assaults, but a counteroffensive involving tens of thousands of troops and hundreds of new Western tanks has yet to begin.  

‘We still need a bit more time,’ President Volodymyr Zelensky said on Thursday.

Ukrainian forces had already received enough equipment from Western allies for their campaign, but were waiting for the full complement to arrive to reduce casualties, Zelensky said.

‘With [what we have] we can go forward and be successful,’ he said. ‘But we’d lose a lot of people. I think that’s unacceptable. So we need to wait. We still need a bit more time.’

Ukrainian forces have been training a new contingent of forces and stockpiling Western-supplied munitions and hardware that analysts say will be key to reclaiming territory captured by Russia.

The timing of Kyiv’s effort to claw back ground in the eastern Donetsk and Lugansk regions, as well as the Kherson and Zaporizhzhia regions, remains a question.

Ukrainian Defence Minister Oleksiy Reznikov said late last month that Kyiv’s preparations were ‘coming to an end’ and his forces were ready ‘in a global sense’.

But he also said that Abrams tanks promised by the US would not be able to take part in the offensive because they would not arrive in Ukraine until the end of this year.

The head of Russia’s Wagner private military company Yevgeny Prigozhin meanwhile accused Zelensky of being ‘dishonest’ in his BBC interview saying that Ukraine’s counter-offensive ‘is in full swing’. 

A senior Ukrainian military official said earlier this week that Russian forces had dropped back from some areas near Bakhmut after limited counter-attacks by Kyiv’s forces around the eastern city. 

Prigozhin, whose forces are on the front line of the battle for Bakhmut, admitted that some Ukrainian units were successfully breaking through in some areas.

‘The Ukrainian army’s plan is in action… All the units which have been trained, which have received weapons, tanks and everything they need are already fully engaged,’ he said.

Prigozhin is involved in a long-running dispute with Russian military chiefs over ammunition supplies for his fighters and he has threatened to pull them out of Bakhmut.

The mercenary force chief appeared to brand Putin a ‘complete a**hole’ and mock him as a ‘happy grandfather’ in a scathing video yesterday. 

Prigozhin trashed his troops’ lack of ammunition and threatened to strangle those who are preventing shells from reaching the frontline.

Ukrainian soldiers walk through the forest close to the Russian positions near Kremenna in the Luhansk region, Ukraine, on Tuesday

Ukrainian soldiers walk through the forest close to the Russian positions near Kremenna in the Luhansk region, Ukraine, on Tuesday

‘They’re collecting [artillery shells] in warehouses – why, no one knows.

‘Instead of spending a shell to kill the enemy and save the lives of our soldiers, they let our soldiers die – and the ‘happy grandfather’ thinks this is good for him.

‘If he turns out to be right, then God bless everybody… but how will we win the war, if, by chance – and I’m just speculating – it turns out that this grandfather is a complete a**hole?

Prigozhin concluded: ‘The shells give freedom. And if they don’t give freedom with the shells… if they keep holding onto them then first we need to shove it up their a*** and then throw them in jail.’

Though the Wagner chief did not refer to Putin by name, he has never shied away from criticising other senior Russian defence figures – and Putin is often referred to as ‘grandfather’ or even ‘the bunker grandfather’ in opposition circles, suggesting his rant was almost certainly aimed at the President.

Meanwhile, in anticipation of the Ukrainian counteroffensive, Russia has resumed air strikes on Ukraine over the past two weeks after a lull of nearly two months. Moscow says Ukraine has used drones to strike occupied areas and Russian territory near the border. 

Russian politicians and commentators in turn warned the Storm Shadow missiles could be used to launch attacks on targets in Russia, and lead to an escalation of the war in Ukraine. 

Colonel Igor Korotchenko (pictured) said Kiev will use the missiles to strike Russian cities

Colonel Igor Korotchenko (pictured) said Kiev will use the missiles to strike Russian cities

Dr Konstantin Sivkov warned the Storm Shadow missiles pose a serious threat in their ability to circumvent Russian air defences

Dr Konstantin Sivkov warned the Storm Shadow missiles pose a serious threat in their ability to circumvent Russian air defences

War hawk Colonel Igor Korotchenko, editor-in-chief of Russia’s National Defence magazine and a leading military TV propagandist, suggested the Ukrainian government would break his promises to Britain by targeting Russian cities. 

‘Do not have any illusions – the West is ready to supply Ukraine with everything except nuclear weapons, and Kiev will not keep its promises and will use these missiles to strike Russian cities,’ Mr Korotchenko said. 

Vadim Kozyulin, of the Russian Foreign Ministry’s Diplomatic Academy, said Britain’s decision to supply Ukraine with the weaponry marked a ‘new round of escalation on the part of the Western countries.’

He said it is no surprise that the UK had led the supply of the Storm Shadow missiles, as he claimed Britain has ‘historically’ been ‘one of the most Russophobic countries, which always tries to be one step ahead of other ‘partners’ in activities against Moscow.’

Mr Kozyulin argued that while Kiev has vowed not to attack targets outside Ukraine’s territorial borders, the missiles may be used to hit Crimea, which was annexed by the Russian Federation in March 2014. 

‘Crimea and the new regions of the Russian Federation are recognised by Western countries as lands of Ukraine,’ he said. ‘Therefore, I think the [Ukrainian army] will attack these very regions.’ 

‘Ukraine is indeed being prepared for a counter-attack and strikes on Crimea, and we need to take this seriously,’ Mr Kozyulin added. 

Commentators in Russia were split as the extent the missiles pose a threat, as they noted Russia’s air defences had previously successfully intercepted Storm Shadow missiles in Syria. 

Dr Konstantin Sivkov, deputy president of Russian Academy of Rocket and Artillery Sciences, said: ‘Storm Shadow poses a serious threat to our army and the country, as this missile can go around the air defence zone and the actions of long-range radar aircraft.’

Diplomacy expert Mr Kozyulin said it ‘is not very clear yet’ the extent to which Ukraine will be able to ‘successfully’ use the Storm Shadow missiles. 

Military expert Yury Knutov said Russia’s will ‘adapt’ to ‘neutralise completely the actions of these strike weapons.’ He also claimed the Storm Shadow missiles are ‘nothing new’ as he described them as ‘an analogue of the Tomahawk cruise missiles, but with a much shorter range’ 

Dmitry Belik, an MP for occupied Sevastopol, said Storm Shadow would not be a ‘miracle weapon’ for Ukraine, as he claimed Russia is ‘strengthening its shield and, of course, is preparing a longer-range response capability.’

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Russia today threatened Britain with 'an adequate