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The FOMO of having missed Joni Mitchell’s appearance at the Newport Folk Festival last summer no longer needs to be so strong. Most of that comeback set, which as augmented by an all-star cast, is being released as a live album in July, “At Newport,” produced by Mitchell and Brandi Carlile.

The album will be released by Rhino on July 28, four days after the one-year anniversary of the surprise show at the Rhode Island Festival. The guest stars who shared lead vocals and instrumentals with Carlile during the “Joni Jam” will all be represented — including Carlile, Marcus Mumford, Dawes’ Taylor Goldsmith, Lucius, Celisse and Wynonna Judd. Other players included Phil and Tim Hanseroth, Allison Russell and Blake Mills.

Mitchell bestie Cameron Crowe is writing the notes, as he has for Mitchell’s recent collections of unreleased material on Rhino.

A single, the Newport version of “Both Sides Now,” is being released today to all major DSPs for streaming. The late July release of the full collection will be available digitally, on CD, on two-LP black vinyl and (as a Barnes & Noble exclusive) clear vinyl.

Joni Mitchell album cover (Rhino)

The show last July — her first substantial one in public since 2013 — came as a partial, if not total, surprise even to diehard Mitchell fans. It was no secret that she had been regularly participating in “Joni jams” at her central California home in the last couple of years, but her devotees might have become resigned to the idea that she would only sing an isolated line here or there in public — as she had a few months earlier at a starry MusiCares benefit in Las Vegas. At Newport, Mitchell not only sang what were described as robust lead vocals, but picked up an electric guitar with a solo instrumental, “Just Like This Train.” It was a happy outcome after a 2015 brain aneurysm had rendered prospects for future performances unlikely.

Joni Mitchell at the Newport Folk Festival (Photo: Nina Vestervelt)

The live album includes 13 performances, out of 15 that took place last July 24. The only omissions are two covers of oldies that have been favorites of Mitchell’s over the years, “Why Do Fools Fall in Love” and “Love Potion No. 9”; a third cover, of George Gershwin’s “Summertime,” has been widely viewed in video form and is included in the album track list. The other dozen songs that populate the setlist are Mitchell classics. Although individual artists who performed with her are not identified in the track listings, setlists from the Newport date note the primary guest singers on some of the selections — like Mumford being featured on “A Case of You,” Goldsmith as primary singer on “Come in From the Cold” and “Amelia,” and Carlile, the jam’s organizer, being at the forefront for “Carey” and “Big Yellow Taxi.”

Fans may hope that another upcoming performance might be recorded for posterity. Carlile has the Gorge in Washington state booked for a three-night stand June 9-11, and the middle night will be devoted to another Joni jam, a la Newport. That show quickly sold out as soon as it was announced. It’s being characterized as Mitchell’s first pre-announced, ticketed show in 20 years.

The track list for “At Newport”:

  1. Introduction by Brandi Carlile
  2. “Big Yellow Taxi”
  3. “A Case Of You”
  4. “Amelia”
  5. “Both Sides Now”
  6. “Just Like This Train”
  7. “Summertime”
  8. “Carey”
  9. “Help Me” – Celisse
  10. “Come In From The Cold”
  11. “Shine”
  12. “The Circle Game”

Joni Mitchell at Newport (Photo: Nina Westervelt)

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The FOMO of having missed Joni Mitchell’s

Shahid Kapoor tied the knot with Mira Rajput in 2015. They have two children, Misha and Zain. (Photo: Instagram)

Interestingly, Shahid Kapoor played the role of a cricket player in the Hindi remake of Jersey last year.

A rare photo of Shahid Kapoor with his son Zain Kapoor has surfaced on social media. The father-son duo recently attended an Indian Premier League (IPL) match at Mumbai’s Wankhede stadium when they were snapped by fans.

A fan account shared the picture on social media in which Shahid and Zain can be seen hanging out at Wankhede Stadium. Shahid sported a grey T-shirt with a denim shirt and jeans. Needless to say, he looked dapper as always. On the other hand, young Zain wore a white T-shirt with jeans. He looked absolutely adorable.

In the picture, Shahid can be seen flaunting his million-dollar smile while his son looks visibly serious. Sharing the photo on Instagram, the fan account wrote, “Our King With His Prince”. Check out the picture here:

Reportedly, not just Shahid Kapoor but Anushka Sharma and Anu Malik also attended the same match. Earlier, the official Twitter account of Mumbai Indians also shared a picture of the actor.

Shahid Kapoor tied the knot with Mira Rajput in 2015. The couple welcomed their first child, a baby girl in 2016 and named her Misha. They then attained parenthood for the second time in 2018 when they welcomed Zain into their lives.

Interestingly, Shahid Kapoor played the role of a cricket player in the Hindi remake of Jersey last year. In the film, his actor-father Pankaj Kapur had played his coach. Next, Shahid will be seen in Bloody Daddy along with Kriti Sanon. The film will mark their first collaboration together. The film is directed by Ali Abbas Zafar and produced by AAZ Films and Offside Entertainment. It is going to be presented by Jio Studios and will be releasing digitally.

Besides this, Shahid recently made his OTT debut with Farzi and later confirmed that the season two of the show will also be happening.

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Shahid Kapoor tied the knot with Mira

Dolph Lundgren revealed on “In Depth With Graham Bensinger” that he nearly punched Sylvester Stallone during the making of their 2010 ensemble action movie “The Expendables.” Stallone helmed the film himself, marking the second time he directed Lundgren in a movie after 1985’s “Rocky IV.”

“We had some good times and bad times, kinda like family to some degree,” Lundgren said about his long-standing working relationship with Stallone. “He was very harsh on me in a scene in ‘The Expendables’ where he kinda yelled at me in front of the whole crew and had me do about 20 takes on a scene. It was like, ‘My grandmother could do it better than that. What the fuck, what are you doing?’ You know, basically in front of everybody. And there was press there that day too, international press.”

Lundgren continued, “We took a lunch break and I remember I was kind of in tears. I was really upset. I called my wife that time and I basically just told her, ‘If he says one more word, I’m gonna knock him out and fuck this movie, I’m outta here. I’m just gonna punch him out and fucking leave.’ And I think when I walked on the set, people felt it wasn’t such a good vibration. And then I had a tap on the back and it was Sly. And he was like, ‘Uh, I’m sorry about that. Let’s just do another take and let’s just keep moving on.’ And we’ve had a few run-ins over the years, but what can I say, he’s a crazy Italian. I think he knows that I’ve always respected him and loved him, and I think that’s why we’re still friends.”

Lundgren and Stallone remain close, with Lundgren even appearing in Stallone’s new Paramount+ reality series “The Family Stallone.” Both actors reprised their “Rocky” roles in 2018’s “Creed II.” MGM announced last year it was developing a new “Rocky” spinoff movie centered on the Drago family. Lundgren starred as Rocky’s Russian rival Ivan Drago in “Rocky IV,” while Florian Munteanu debuted as Ivan’s son in “Creed II.” Robert Lawton was hired to pen the script. Stallone spoke out publicly against the spinoff and said he was never told about its development.

“By the way, I have nothing but respect for Dolph but I wish HE had told me what was going on behind my back,” Stallone said at the time, hinting at tension between the actors. “Keep your REAL friends close.”

Lundgren then got involved by telling “Rocky” fans to relax. “Just to set the record straight regarding a possible ‘Drago’ spinoff. There’s no approved script, no deals in place, no director and I was personally under the impression that my friend Sly Stallone was involved as a producer or even as an actor,” Lundgren wrote. “There was a press leak last week which was unfortunate. In touch with Mr. Balboa – just so all the fans can relax… There ya go.”

Stallone and Lundgren have since squashed their beef. The actors went on to headline two “Expendables” sequels together, 2012’s “The Expendables 2” and 2014’s “The Expendables 3,” and they’ve got “The Expendables 4” opening in theaters on Sept. 22 from Lionsgate.

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Dolph Lundgren revealed on “In Depth With Graham

One of the directors behind Spider-Man: Across the Spider-Verse spoiled the film’s ending as it readies for its theatrical debut. 

Spider-Verse 2 is mere weeks away, as the animated epic looks to follow up on the success of the 2018 original, Into the Spider-Verse. 

The film is set to be “a love story” set amongst the Multiversal shenanigans of Shamiek Moore’s Miles Morales and Hailee Steinfeld’s Spider-Gwen.

However, not all will be resolved, as Across the Spider-Verse serves as the middle chapter of this story, setting up the grand finale in next year’s Beyond the Spider-Verse. 

A Major Spider-Verse Spoiler Revealed

Marvel

Spider-Man: Across the Spider-Verse co-director Kemp Powers revealed a major spoiler for the ending of the upcoming animated sequel

Powers, to SFX Magazine (via GamesRadar), said the film will “end on a bit of a cliffhanger,” being a “satisfying tee-up for what’s coming in the third film:”

“Across The Spider-Verse is a movie on its own, but it definitely ends on a bit of a cliffhanger. I think it’s a good cliffhanger. We hope that it’s a satisfying tee-up for what’s coming in the third film, because you want people to be excited about what’s coming next.”

He remarked that it “helps that we knew going in that this was part two of a three-part story,” so they could “tackle it a bit differently” when it came to resolving the story in Spider-Verse 2:

“And it helps that we knew going in that this was part two of a three-part story. Since you already know that that third story is guaranteed, you can tackle it a bit differently. That being said, there’s a lot of key characters in this film, and there’s a story in this film that has an arc of its own that we needed to complete.”

The Spider-Verse filmmaker then compared the upcoming film to the cliff-hanger seen at the end of Star Wars Episode V: The Empire Strikes Back, saying that he hopes “this is our Empire:”

“I was very satisfied after ‘The Empire Strikes Back.’ And hopefully, this is our ‘Empire.’”

This is not the first time this Empire comparison has come up. Writer-producer on Across the Spider-Verse Christopher Miller recently revealed to Empire Magazine that people who have seen the film “have told us that it feels like The Empire Strikes Back of the Spider-Verse franchise:”

“People who’ve seen ‘Across’… have told us that it feels like The Empire Strikes Back of the ‘Spider-Verse’ franchise. “It shows you worlds you haven’t seen, and it’s an emotional story that ends in a place where you need to see the third one. So, yeah: this is our ‘Empire.’”

The Empire Strikes Back of the Spider-Verse

While a cliffhanger ending for Across the Spider-Verse is not all that surprising, seeing as a third movie was already on the cards, what is shocking is that those involved in the film are so openly spoiling the fact that there is a cliffhanger. 

It is almost a sign of the confidence these creatives must have in their film to be publicly brandishing the fact that this movie is going to “[end] in a place where you need to see the third one.”

If Beyond the Spider-Verse is the Endgame of the franchise, then Across will surely serve as the Infinity War. And fans know how that movie ended.

What is also interesting is all these Empire comparisons being thrown about. That is a lofty statement to compare one’s self to not just one of the best sequels ever but one of the best movies ever. 

If there is a team that could live up to those standards though, the people behind one of the most beloved animated films of all time, Into the Spider-Verse, feel like they could do it. 

And perhaps this Empire comparison goes a little deeper than just the quality and cliffhanger nature of the ending. Empire is also one of the darkest Star Wars films, so maybe Spider-Verse 2 will venture into some tonally dark territory as well. 

In a conversation from last fall with The Direct, former Across the Spider-Verse animator Ere Santos revealed he (and much of the team) think this is “not a kid’s movie,” and maybe an Empire-esque narrative milieu could have something to do with that.

Spider-Man: Across the Spider-Verse comes to theaters, cliffhanger ending and all, on Friday, June 2. 

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Review: Superman & Lois 3×03 – “In Cold Blood”

[Editor’s note: This review may contain spoilers!]

Director: Gregory Smith

Writers: Jai Jamison

Cast: Tyler Hoechlin, Elizabeth Tulloch, Alex Garfin, Michael Bishop, Tayler Buck, Wolé Parks, Inde Navarrette, Sofia Hasmik, Erik Valdez

 

Reviewed By: Steven Brown

 

 

Summary

Clark attempts to help Lois get through her first round of chemotherapy, with disastrous results; Lois and Chrissy pursue a new lead in the Mannheim investigation against Clark’s wishes; Jonathan, Jordan, and Nat’s attempt at a kind gesture is complicated by an unexpected obstacle; Lana, Sarah, and Kyle adjust to their own new normal.

Superman & Lois 3x03

Positives

Superman & Lois 3×03 deals with Lois’ breast cancer in a completely realistic way, even though it’s based in a comic book world. Her first round of chemotherapy doesn’t exactly go as planned, and Clark isn’t too happy about it. As someone who has dealt with family suffering from cancer, it was great to see these characters, even with their abilities, having to deal with a disease in such a supportive way. You actually feel invested in not just Lois and Clark, but their family as a whole as they deal with this disease.

Superman & Lois 3x03

Negatives

I have no complaints about this episode. It was superbly done.

Verdict

Superman & Lois 3×03 was a great episode that shows us how determined, and how stubborn, Lois Lane can actually be. The family, as a whole, is handling this disease in different ways, and I’m eager to see how Lois continues to pursue Bruno Manheim, while she continues to fight this. Superman will be needed by his family now more than ever, and I believe the twins will need to step up as well to help both parents protect the world–and themselves.

 

Score: 5/5

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248 Review: Superman & Lois 3×03 – “In

Samsung is kicking off its Discover Samsung Event next week on May 15, but right now you can cash in on some great deals ahead of the festivities. The most enticing deals are for TVs and gaming monitors, giving you a chance to score premium models at budget prices.

Samsung’s Odyssey lineup is one of the best in its catalog, offering a bold design, blistering fast refresh rates, and vivid displays. Several different models in the lineup are included in the current savings, with the 27-Inch Odyssey listed for $270 (down from $350), while the 24-Inch Odyssey is just $170 (down from $250). Consider checking them out if you’re in the market for an upgrade.

A handful of TVs are also discounted right now, but none are as impressive as the 55-Inch Class S95B OLED Smart TV. This high-end smart TV is seeing a massive $900 price cut, letting you pick it up for $1300. Featuring the Neural Quantum Processor 4K for smooth performance and 4K upscaling, a vibrant OLED display, and support for Dolby Atmos, this impressive TV is a great fit for all home theaters.

Here’s a look at the best Samsung deals available right now.

Best Samsung Deals

You’ll see even more sales go live on May 15, which is the start of the Discover Samsung Event. It runs until May 21, and new products will be discounted daily. This includes a 16% price cut for the Q-Series 11.1.4 ch. Soundbar on May 17, a $300 price cut for the Galaxy S22 Ultra on May 16, and up to 60% off the Galaxy S23 Ultra.

Other great deals include a 27% discount on the Galaxy Buds2, 50% off a Galaxy Tab S6 Lite when bundled with a 2023 Neo QLED TV, and a 21% price cut on the 32-Inch ViewFinity S80A UHD High Resolution Monitor .

There are plenty of deals to get excited about–but here’s a look at some of the best upcoming price cuts you’ll see during the Discover Samsung Event.

Discover Samsung Event Deals

Remember–new deals will go live daily starting May 15, so be sure to check back often.

The products discussed here were independently chosen by our editors.
GameSpot may get a share of the revenue if you buy anything featured on our site.

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It might not make sense at first, but you’ll find a lot of surprising uses for this new way of thinking about wireless microphones.

Generally, when you see a new piece of kit, you can sort of imagine how you might use it. It’s some generally familiar iteration of what you are used to: a lower light camera, and a wireless microphone that also charges via USB. You see it and think, “Oh, hey, I can do X with that.”

That’s not what I got from the new BlinkMe from Saramonic. When you first see it, a normal response–or at least my response–is “Why?” It doesn’t intuitively initially make sense.

But, “I don’t get it” doesn’t always mean that something is bad. With the BlinkMe, it’s a surprisingly helpful tool for both content creators and for making Zoom meetings better.

BlinkMe Up, Scotty

The BlinkMe unit is a single small box with two microphone pods mounted on it. The pods can be separated and mounted to a variety of clips or magnets to strap onto your shirt.

The pods are designed to be seen (these aren’t hidden lavaliers) but have a microphone and a touchscreen LED display that you can customize. They come with a bunch of prebuilt designs, but it’s also incredibly easy to add your own design to the unit in a very short amount of time.

The BlinkMe touchscreenCredit: Saramonic

The key to why the BlinkMe ends up working is that it is all just so easy. Once you install the Saramonic app, it’s very easy to change the screen on the device to a custom one (and it’s very, very easy to switch between your installed screens. You just swipe). I was able to use it to record a YouTube video with one logo on the screen, then change the logo on the screen for a Zoom call an hour later. 

But that’s not the end of the easiness. If you want to plug the base station into your computer, you patch in the USB, and the device automatically becomes an audio input.  You don’t need to change settings or install drivers. It just shows up. On top of that USB connectivity, you can also run an audio out so that you can put the audio into devices like phones or cameras.

The BlinkMeCredit: Saramonic

The best part, hands down, is that it’s not just one microphone pod but two that get mixed together. This means that if you are out wandering around doing Person on The Street or interviews, you have one you can wear for yourself and one you can hand to folks you interview.

In a recent Zoom meeting, I had one on myself, then passed the other around the class for Q&A. Having been in countless Zoom meetings over the last three years where the microphone process for both the host and the audience was a complicated nightmare, this setup made for, hands down, the easiest meetings I’ve done. There were no more tweaking cables and trying to figure out which particular part of the chain wasn’t working.

The microphone port on the BlinkMeCredit: Saramonic

Zoom Me Up, Scotty

This actually matters a lot for filmmakers. Currently, I’m in prep on three projects, and while the shoots will be in person, all of our prep meetings are largely on Zoom. Honestly, these meetings and the work we’re doing have been made tremendously easier by having this setup since Zoom only allows for a single input.

Previously, for a group meeting where I’m doing most of the talking but others input some, I’ve either had to break out a mixer and use multiple microphones or pass the main microphone around, which creates a lot of awkward pauses. With this setup, I always have my microphone on me to keep things flowing, and the other microphone is easy to pass around.

It’s rare the same tools I use to make Zoom meetings better and have with me on a shoot. But I’ve now done a lot of “content” recording with this unit on my chest and it is an overall game-changer.

Credit: Saramonic

How Is the Audio Quality?

The audio quality is just fine, and I mean that not as faint praise but as “it’s totally acceptable for what you need it to be.”

Does it sound as good as a boom microphone pointed correctly on a windless soundstage? No. But it is far superior to the faint sound of someone without a proper mic on a Zoom call. It’s even better than using the camera microphone for vlogging or YouTube interviewing. It’s clean, crisp, and useable audio. It’s not going to be your new podcast microphone, but your podcast microphone isn’t going to manage a meeting like this will.

Credit: Saramonic

The BlinkMe is one of those weird things that comes along sometimes and says, “Hey, here’s a new way of thinking about this. Why don’t we make it really easy to use the wireless microphone and make it okay to look at?” By not trying to hide the microphone behind wires, you end up with something that is easier on the eyes.

I was at a talk recently where the interviewers’ lavalier stopped working, and they had to pull up their shirt to change it out on stage. I found myself thinking, “Man, another case for the BlinkMe. If it dies, you don’t have to show your belly to a crowd to change it out.”

If you are making content where it’s OK to see the microphone, doing on-stage interviews, vlogging, or if you are finding yourself managing an increasingly Zoom-heavy remote world and finding yourself thinking about microphone options, the BlinkMe is a killer option.     

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It might not make sense at

CNN CEO Chris Licht “unequivocally” believes that America was served well by Donald Trump‘s town hall on Wednesday, as he defended his decision to showcase Trump while on a call to CNN staff Thursday morning.

“I absolutely unequivocally believe America was served very well by what we did last night,” Licht said on the call, per Semafor media reporter Max Tani.

Licht also said that he was “aware” that there have been “opinions and backlash” to the event but “there is so much that we learned last night of what another Trump presidency looked like.”

“While we all may have been uncomfortable hearing people clapping, that was also an important part of the story because the people in that audience represent a large swath of America,” Licht said on the call. The CEO also said that the “mistake” media made in the past was “ignoring that those people exist just like you cannot ignore that President Trump exists.”

CNN did not immediately respond to TheWrap’s request for comment.

On Wednesday, former president Donald Trump took the stage at St. Anselm College in New Hampshire for CNN’s first town hall of the 2024 election. Moderated by CNN Anchor Kaitlan Collins, the town hall has been criticized since it was first announced as a transparent ratings grab.

The live event proved to be as controversial as expected. As Collins struggled to fact-check the former president, Trump defended his infamous “Access Hollywood” tape, lied about the 2020 election being “rigged” and called the Jan. 6 attack on the Capitol “a beautiful day.”

But perhaps the most shocking part of the town hall had to do with E. Jean Carroll, the journalist who was recently awarded $5 million in damages after a court found Trump liable for defamation and sexual abuse. When asked about Carroll, Trump said, “I don’t know her. I never met her. I had no idea who she is.” He then recited Carroll’s claims in a mocking voice, which drew laughter and applause from the audience. When Carroll tried to get Trump back on track, he steamrolled her and called Carroll a “wack job.”

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CNN CEO Chris Licht “unequivocally” believes that


The penultimate season of Outlander gets underway next month, and Starz has released the trailer and key art.


The promotional material promises the series will delve into the source material like never before, preparing us for a huge season ahead.


The key art declares “Our History is Now,” depicting Jamie and Claire on a battlefield.


Outlander returns with the first half of its highly anticipated seventh season on Friday, June 16 at midnight ET on the STARZ app, all STARZ streaming and on-demand platforms, and internationally on the LIONSGATE+ premium streaming platform in the U.K.


On linear, it will debut on STARZ on Friday, June 16 at 8:00 PM ET/PT in the U.S. New episodes will be available to stream weekly on Fridays at midnight on the STARZ app, all STARZ streaming and on-demand platforms and will air weekly on the STARZ linear platform on Fridays at 8:00 pm ET/PT.


Outlander Season 7 picks up from the harrowing events of the end of season six, with Jamie and Young Ian racing to rescue Claire before she’s tried and wrongfully convicted for the murder of Malva Christie.


But their mission is complicated by the beginning of a geopolitical firestorm: The American Revolution has arrived.


In the seventh season of Outlander, Jamie, Claire, and their family are caught in the violent birth pains of an emerging nation as armies march to war and British institutions crumble in the face of armed rebellion.


The land the Frasers call home is changing – and they must change with it. In order to protect what they’ve built, the Frasers have to navigate the perils of the Revolutionary War.


They learn that sometimes to defend what you love, you have to leave it behind. As the conflict draws them out of North Carolina and into the heart of this fight for independence, Jamie, Claire, Brianna, and Roger are faced with impossible decisions that have the potential to tear their family apart.


The cast of the series includes Caitríona Balfe as Claire Fraser, Sam Heughan as Jamie Fraser, Sophie Skelton as Brianna MacKenzie, Richard Rankin as Roger MacKenzie, John Bell as Young Ian, and David Berry as Lord John Grey, and Caitlin O’Ryan as Lizzie Beardsley.


New cast members include Charles Vandervaart as William Ransom, Izzy Meikle-Small as Rachel Hunter, and Joey Phillips as Denzell Hunter.


Check out the wild trailer below.


Can you already tell it’s going to be another stellar season?


It looks great.


<iframe src=”https://www.starz.com/videos/embed/c083207b-ba28-42e2-af06- d30a745189fb?footer=false&cid=” width=”640px” height=”360px” frameborder=”0″ ></iframe>  

Paul Dailly is the Associate Editor for TV Fanatic. Follow him on Twitter.

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The penultimate season of Outlander gets underway

Belgian directors Felix Van Groeningen and Charlotte Vandermeersch’s Italian-language drama The Eight Mountains and veteran Marco Bellocchio’s Exterior Night topped the 68th edition of Italy’s David di Donatello Awards on Wednesday evening.

The Eight Mountains won best film as well as best non-original screenplay, photography and sound.

Based on the novel of the same name by Paolo Cognetti, it stars Luca Marinelli and Alessandro Borghi as two men from different backgrounds who form a life-long bond during summers spent together as children in a remote mountain village.

The film world premiered in Competition at Cannes last year where it co-won the Jury Prize. Read the Deadline review here.

It is the second time in the history of the awards that a film by non-Italian directors has clinched the best film prize.

The last time was in 1971 when the Dino de Laurentiis-produced epic Waterloo by Russian director Sergei Bonderchuk, tied with The Garden of the Finzi-Continis and The Conformist.

Van Groeningen said the film had been “an incredible journey” adding, “Why did two Belgians end up making a film in Italy? It was a very beautiful story, from a book that the producers sent me, and I said: yes, let’s do it.”

His co-director Vandermeersch is also only the second woman to win the best film award after Francesca Archibugi, who clinched the prize twice for Verso Sera and The Great Pumpkin in 1991 and 1993 respectively.

Marco Bellocchio won best director for series Exterior Night about the events surrounding the Red Brigade kidnapping and assassination in 1978 of former Italian Prime Minister Aldo Moro.

The veteran filmmaker previously won the prize for Vincere and The Traitor in 2010 and 2020 respectively.

Ruben Oslund’s Triangle Of Sadness won best international film.

“I didn’t expect it, I’m telling the truth, but I accept it” he explains. “At my age you become wise. The important thing is not to stop. I wish I still had time to do things,” said the director who heads to Cannes next week with Kidnapped.

In other prizes, actress Isabella Rossellini and director Enrico Vanzina were feted with special honorary awards.

“I feel half Italian. Italy is my second home and I am in love with Italy. It’s a marvellous country from A to B, but if I had to choose it would of course be Rome,” said Rossellini on receiving her trophy from Matt Dillon.

Veteran producer Marina Cicogna, who worked with the likes of Sergio Leone, Lina Wertmuller, Pier Paolo Pasolini, Vittorio De Sica and Franco Zeffirelli, was also feted with a career award.

The awards are voted on by 1,600 Italian film professionals belonging to the David di Donatello Academy.

Full list of 2023 winners (in bold) and nominees

Best Director

  • Marco Bellocchio, Exterior Night
  • Gianni Amelio, Lord of the Ants
  • Roberto Andò, Strangeness
  • Felix Van Groeningen and Charlotte Vandermeersh, The Eight Mountains
  • Mario Martone, Nostalgia

Best Directorial Debut

  • Caroline Cavalli, Amanda
  • Jasmine Trinca Marcel!
  • Niccolò Falsetti Margins
  • Giulia Louise Steigerwalt, September
  • Vincenzo Pirrotta, Spaccaossa

Best Original Screenplay

  • Astolfo, Gianni Di Gregorio, Marco Pettenello
  • Chiara, Susanna Nicchiarelli
  • Exterior Night, Marco Bellocchio, Stefano Bises, Ludovica Rampoldi, Davide Serino
  • Lord of the Ants, Gianni Amelio, Edoardo Petti, Federico Fava
  • L’Immensità, Emanuele Crialese, Francesca Manieri, Vittorio Moroni
  • Strangeness, Roberto Andò, Ugo Chiti, Massimo Gaudioso

Best Adapted Screenplay

  • Bentu, Salvatore Mereu
  • Brado, Massimo Gaudioso, Kim Rossi Stuart
  • The Hummingbird, Francesca Archibugi, Laura Paolucci, Francesco Piccolo
  • The Eight Mountains, Felix Van Groeningen, Charlotte Vandermeersh
  • Nostalgia, Mario Martone, Ippolita Di Majo

Best Leading Actress

  • Benedetta Porcaroli, Amanda
  • Margherita Buy, Exterior Night
  • Penelope Cruz, L’Immensità
  • Barbara Ronchi, September
  • Claudia Pandolfi, Dry

Best Leading Actor

  • Fabrizio Gifuni,Exterior Night
  • Luigi Lo Cascio, Lord of the Ants
  • Ficarra e Picone (Salvatore Ficarra and Valentino Picone), Strangeness
  • Alessandro Borghi, The Eight Mountains
  • Luca Marinelli, The Eight Mountains

Best Supporting Actress

  • Giovanna Mezzogiorno, Amanda
  • Daniela Marra, Exterior Night
  • Giulia Andò, Strangeness
  • Aurora Quattrocchi, Nostalgia
  • Emanuela Fanelli, Dry

Best Supporting Actor

  • Fausto Russo Alesi, Exterior Night
  • Toni Servillo, Exterior Night
  • Elio Germanus, Lord of the Ants
  • Filippo Timi, The Eight mountains
  • Francesco Di Leva, Nostalgia

Best Producer

  • Exterior Night (Lorenzo Mieli, The Apartment/Fremantle, Simone Gattoni, Kavac Film)
  • Strangeness (Angelo Barbagallo, Bibi Film, Attilio De Razza, Tramp Limited)
  • The Eight Mountains (Wildside, Rufus, Menuetto, Pyramide Productions, Vision Distribution)
  • Nostalgia (Medusa Film, Maria Carolina Terzi, Luciano and Carlo Stella, Mad Entertainement, Roberto Sessa, Angelo Laudisa, Rosebud Entertainment Pictures)
  • Princess (Carla Altieri, Roberto De Paolis, Young Films, Nicola Giuliano, Francesca Cima, Carlotta Calori, Viola Prestieri, Indigo Films)

Best photography

  • Exterior Night, Francesco di Giacomo
  •  I racconti della Domenica, Giovanni Mammolotti
  • Strangeness, Maurizio Calvesi
  • The Eight Mountains, Reuben Impens
  • Nostalgia, Paolo Carnera

Best Composer

  • Exterior Night – Fabio Massimo Capogrosso
  • Il Pataffio, Stefano Bollani
  • Strangeness, Michele Braga and Emanuele Bossi
  • The Eight mountains, Daniel Norgren
  • Dry, Franco Piersanti

Best Art Director

  • Giada Calabria, Loredana Raffi, Strangeness
  • Andrea Castorina, Marco Martucci, Laura Casalini, Exterior Night
  • Marta Maffucci, Carolina Ferrara, Lord of the Ants
  • Massimiliano Nocente, Marcella Galeone, The Eight Mountains
  • Tonino Zera, Maria Grazia Schirippa, Marco Bagnoli, The shadow of Caravaggio

Best Costume

  • Maria Rita Barbera, Strangeness
  • Daria Calvelli, Exterior Night
  • Massimo Cantini Parrini, Chiara
  • Valentina Monticelli, Lord of the ants
  • Carlo Poggioli, The shadow of Caravaggio

Best Makeup

  • Paola Gattabrusi, Lorenzo Tamburini, The hummingbird
  • Enrico Iacoponi, Exterior Night
  • Federico Laurenti, Lorenzo Tamburini, Dante
  • Luigi Rocchetti, The Shadow of Caravaggio
  • Esmé Sciaroni, Lord of the ants

Best Hair

  • Desiree Corridoni, The shadow of Caravaggio
  • Alberta Giuliani, Exterior Night
  • Samantha Mura, Lord of the ants
  • Rudy Sifari, Strangeness
  • Daniela Tartari, L’Immensità

Best Editing

  • Esmeralda Calabria, Strangeness
  • Francesca Calvelli with the collaboration of Claudio Misantoni, Exterior Night
  • Nico Leunen, The Eight Mountains
  • Simona Paggi, Lord of the Ants
  • Jacopo Quadri, Nostalgia

Best Sound

  • Exterior Night, Gaetano Carito, Lilio Rosato, Alberto Bernardi
  • Lord of the Ants, Emanuele Cicconi, Mimmo Granata, Alberto Bernardi
  • Strangeness, Carlo Missidenti, Marta Billingsley, Gianni Pallotto
  • The Eight Mountains, Alessandro Palmerini, Alessandro Feletti, Marco Falloni
  • Nostalgia, Emanuele Cecere, Silvia Moraes, Giancarlo Rutigliano

Best Special Effects

  • Dampyr, Alessio Bertotti, Filippo Robino
  • Diabolik, Simone Silvestri, Vito Picchinenna
  • Exterior Night, Massimo Cipollinia
  • The Eight Mountains, Rodolfo Migliari
  • Dry, Marco Geracitano

Best International Film

  • Bones and All, Luca Guardagnino
  • Elvis, Baz Luhrmann
  • Licorice Pizza, Paul Thomas Anderson
  • The Fabelsmans, Steven Spielberg
  • Triangle Of Sadness, Ruben Ostlund

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Belgian directors Felix Van Groeningen and Charlotte

Michael Constantine, who played patriarch Gus, passed away in 2021. 

On February 17, Focus Features confirmed Fatone’s involvement, as well as the returning cast: John Corbett (Ian), Louis Mandylor (Nick) , Elena Kampouris (Paris), Maria Vacratsis (Aunt Freida), Andrea Martin (Aunt Voula), and Gia Carides (Cousin Nikki) are all set to reprise their roles.

Elias Kacavas and Melina Kotselou are newcomers joining the family. Though they won’t appear onscreen, Tom Hanks and Rita Wilson are joining the project as producers, per Focus Features’s press release. 

We have our first look!

From left: Andrea Martin, Elena Kampouris, Maria Vacratsis, Elias Kacavas, Louis Mandylor, John Corbett, Nia Vardalos. 

Focus Features

What’s it about? 

Vardalos filmed her announcement video from Athens, hinting at the big family vacation! In the second My Big Fat Greek Wedding movie, Gus and matriarch Maria get remarried (their original certificate was never signed), Ian and Toula renew their vows, and their daughter Paris goes to prom and then college. This movie starts after Gus’s death, and the family’s observance of his final wish: For everyone to return to the village where he grew up and meet the cousins and friends he left behind. (See more in the trailer below.)

“The sweet friendship which bloomed from the producers’ first taking a chance on me then grew into a beautiful relationship as they entrusted me to direct this installment of our franchise,” Vardalos said in a statement released mid-February. “We filmed our family reunion entirely in Greece which was thrilling for us all. Plus, we ate for free.”

The trailer is here!

In the official trailer, released on May 11, 2023, the Portokalos family takes a trip to Greece for a reunion with their extended Greek family—the final wish of patriarch Gus, who has passed away. (The real-life actor who played Gus, Michael Constantine, passed in 2021.)

While Toula and Ian search for Gus’s childhood friends, love blossoms between Aristotle and Paris (which is an unwelcome development to Paris, who had ghosted Aristotle before the trip), and Aunt Voula continues to be Aunt Voula, a.k.a the most hilarious member of the Portokalos family.

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Michael Constantine, who played patriarch Gus, passed

Drafthouse Films has acquired global distribution rights to Alex Winter’s documentary “The YouTube Effect.”

The film, which made its world premiere at the Tribeca Film Festival in 2022, explores the ascension and potential fall of YouTube, the world’s most popular video-sharing website. In the docu, YouTubers, reporters, and experts weigh in on the platform, its algorithms as well as privacy and ethical issues the site presents.

“The YouTube Effect” will open exclusively with Alamo Drafthouse Cinemas on July 7 before expanding to theaters nationwide on July 14.

Several films directed by Winter, who starred alongside Keanu Reeves in the original “Bill and Ted” movie and its sequels, have played at Alamo Drafthouse Cinemas in recent years, including “Zappa,” “Panama Papers” and “Deep Web.”

“Alamo Drafthouse Cinema has a long history of collaborating with Alex Winter,” says Alamo Drafthouse Cinema founder Tim League. “It is a thrill to see Drafthouse Films dig in even deeper to distribute this incredible and very timely film.”

Winter has also teamed with Kanopy, an educational streaming platform. “The YouTube Effect” will debut on Kanopy and other digital platforms after July 14.

“We’re thrilled to be collaborating with Drafthouse Films and Kanopy on our release”, says Winter. “The unparalleled scale of Google’s YouTube has significant and problematic implications worldwide and has received much less attention than its competitors.”

Producers include Winter (Trouper Productions), Gale Anne Hurd (Valhalla Entertainment) and Glen Zipper (Zipper Bros. Films).

“With ‘The YouTube Effect,’ we want to shine a light on its benefits and dangers in the hopes of fostering a dialogue on how the platform can be made safer,” Hurd says. “YouTube is a platform as controversial as it is entertaining and yet, for far too long, the general public has been kept in the dark about how its algorithm can drive users down dangerous conspiracy theory rabbit holes.”

The doc’s executive producers include Michael Cho, Mimi Rode and Tim Lee of Olive Hill Media, Michael Y. Chow and Sue Turley of XRM Media, Kevin Lin of Metatheory and Ian Orefice, Rebecca Teitel and Mike Beck for Time Studios.

The deal was negotiated for the filmmakers by Amanda Lebow at CAA and Drafthouse Films ‘s Nick Savva and Ahbra Perry. Drafthouse Films is representing international sales for “The YouTube Effect” at next week’s Cannes Film Market.

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Drafthouse Films has acquired global distribution rights

EXCLUSIVE: HBO Documentary Films has pre-bought North American streaming and TV rights to Musk, Alex Gibney’s upcoming documentary about lightning rod entrepreneur and businessman Elon Musk.

Black Bear has boarded international sales rights on the eve of the Cannes market and will be shopping the high-end doc to overseas buyers.

Taxi To The Dark Side and Enron: The Smartest Guys In The Room director Gibney has been working on the project for months. It was recently described by the producers as “a definitive and unvarnished examination” of the provocative Twitter owner.

The deal with HBO was negotiated with UTA’s Independent Film Group, AC Independent, and Double Agent. The door is seemingly ajar for a North American theatrical deal.

Tesla, Twitter and SpaceX CEO Musk recently reassumed his position as the world’s richest man with a net worth in the range of $187BN, but the mercurial tech titan has come under fire during his turbulent ownership of Twitter, which he acquired last year in a $44BN deal.

Nancy Abraham and Lisa Heller, Co-Heads of HBO Documentary Films, said today: “We’re thrilled to be working with such a stellar team and always excited to collaborate with Alex Gibney. Alex’s track record speaks for itself, and we know he’ll bring unparalleled craft and dimensionality to this portrait of such a singular figure of our times.”

Pic is being produced by Jigsaw Productions and jointly financed and produced by Closer Media, Anonymous Content via their sales and finance division AC Independent, and Double Agent. 

From Jigsaw Productions, Gibney, Jessie Deeter, and Erin Edeiken produce with Richard Perello executive-producing. Joey Marra and Zhang Xin produce with William Horberg executive-producing on behalf of Closer Media. Anonymous Content’s Nick Shumaker and Jessica Grimshaw produce with David Levine executive-producing. Dana O’Keefe produces on behalf of Double Agent with Teddy Schwarzman, Michael Heimler, John Friedberg, Yariv Milchan, and Michael Schaefer executive-producing.  

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EXCLUSIVE: HBO Documentary Films has pre-bought North

Podcasting had a more sober 2022 — at least when it came to advertising.

According to a report from the Interactive Advertising Bureau, released on Thursday ahead of the Podcast Upfront presentations, total ad revenue for the podcast industry reached $1.8 billion during 2022, falling short of the $2.1 billion figure that the IAB had forecasted in its previous advertising revenue study.

Though podcasting continues to see advertising growth rates outpace other digital mediums (including video and social media, which grew by 19 percent and 4 percent, respectively), last year’s ad revenue performance was a marked slowdown compared to the boom times of 2021, when total podcast ad revenue grew by 72 percent to cross $1 billion for the first time.

At the time, the IAB predicted that the podcast market would hit $4.2 billion by 2024. Thursday’s report has reevaluated that timeline, placing podcasting’s 2024 revenue projections at $3.2 billion. (The latest study is forecasting that podcasting ad revenue will fall just under the $4 billion threshold by 2025.)

IAB U.S. Podcast Advertising Revenue Study

As for marketing spend, the top genres in podcasting saw a major shift during 2022. For the first time since 2018, news was overtaken by sports, comedy, and society and culture as the top content genres for marketing spend.

In an interview with The Hollywood Reporter, which is a media partner of the IAB Podcast Upfronts, IAB Media Center VP Eric John said the decline in news was likely due to 2022 being a gap year in between election cycles. “The pandemic is receding, so we’re returning to in-person life, and so you’re seeing an uptick in, in society and culture and comedy and sports — all that stuff is driven by face-to-face life,” John said. “It’s not that news is not important, but I think people are probably expressing an interest to not engage in a minute-to-minute cycle that we all lived through in the pandemic.”

True crime, a stalwart of podcasting, also saw a decline in revenue share during 2022. But John said he believed the change was indicative of the growing diversity within podcasting, with listeners being introduced to more genres within the medium, rather than listeners “dropping true crime.”

Podcast Ad Revenue Percentage Share by Content Genre (2021-20222) bar chart

IAB U.S. Podcast Advertising Revenue Study

But as for quarterly performance, 2022 was weighed down by a weak fourth quarter. Even though Q4 has typically been the strongest quarter for the medium, last year’s fourth quarter dipped to its lowest level — 29 percent — since 2017, according to the IAB report.

“Everyone who’s in advertising knows that Q4 last year was a huge challenge,” John said. “Podcasting wasn’t immune to that to that. There was a lot of pausing taking place. Despite that, we’re pleased to see the growth that we have.”

U.S. Market Podcast Ad Revenue Percentage Share by Quarter (2017-2022) line graph

IAB U.S. Podcast Advertising Revenue Study

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Podcasting had a more sober 2022 —

“Danny, do you know why you’re here?” asks Amanda Seyfried’s interrogator Rya Goodwin, to which Tom Holland’s Danny replies, “I have some blank spots.”

Apple TV+ has released the trailer for The Crowded Room, the anticipated upcoming limited series starring and executive produced by Holland, and created by Oscar-winning writer and executive producer Akiva Goldsman.

Written and executive produced by Goldsman, The Crowded Room follows ‘Danny Sullivan’ (Holland), a man who is arrested following his involvement in a shooting in New York City in 1979. A captivating thriller told through a series of interviews with curious interrogator ‘Rya Goodwin’ (Seyfried), Danny’s life story unfolds, revealing elements of the mysterious past that shaped him, and the twists and turns that will lead him to a life-altering revelation. 

The ensemble cast also includes Emmy Rossum, Sasha Lane, Will Chase and Lior Raz along with guest stars Jason Isaacs, Christopher Abbott, Thomas Sadoski and Zachary Golinger. 

The Crowded Room is a co-production between Apple Studios and New Regency. Goldsman serves as executive producer through his Weed Road Productions banner. The series is also executive produced by Holland; Alexandra Milchan for EMJAG Productions; and New Regency’s Arnon Milchan, Yariv Milchan and Michael Schaefer, along with Suzanne Heathcote. Kornel Mundruczo directed several episodes, including the pilot, and executive produces. 

The 10-episode series premieres globally on Apple TV+ with the first three episodes on Friday, June 9 followed by one new episode weekly through July 28.

Check out the trailer above.

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“Danny, do you know why you’re here?”

Last October, he released his debut EP, “Leave the Light On,” which remains in the Top 50 of the all-genre Billboard album chart. This is owing to his success at radio, but also to Zimmerman’s relentless presence on TikTok and Instagram. He is his own best promoter, and his success underscores how even Nashville, the most hidebound of music industry towns, is increasingly powerless against the tide of social media.

Lucas said that Zimmerman’s attitude has been crucial to the speed of his success. “I love how excited he gets and how much he jumps the gun,” he said of Zimmerman’s no-brakes ascent. “I don’t think we’d be where we are today if Bailey wasn’t that enthusiastic. I know we wouldn’t.”

“The TikTok and the Instagram, me doing that every day, that is the brand, of course,” Zimmerman said. “That is the company. And now it’s like, whoa, whoa, whoa, label, hold on. I now have an avenue of my own to make me successful by myself.” That said, TikTok provides, and TikTok takes away, as seen in Zimmerman’s first true public fumble — a viral video of him singing woefully off-pitch at a recent concert. But rather than duck it, Zimmerman posted through the embarrassment, apologizing for his misstep and taking his lumps with a sense of humor and as much enthusiasm as when he posts about a new song.

“I heard a saying the other day, and I’m living by that now,” he said. “Dogs don’t bark at parked cars.”

And so he’ll keep speeding. Sometimes literally, in the white 2023 Corvette with a red interior that he bought in cash after “Fall in Love” went to No. 1 at country radio, his first splurge. (He also has an even taller truck than his old one that’s in the shop being built to spec.)

“I try to keep my sins to a limit, of course, always,” he said. “But of course, dude, I cuss every day. I drink, I smoke, I harm my temple.” And so he’s also taken to the trappings of being a star who needs to perform at a high level — vitamin IV drips, injections of the anti-inflammatory treatment N.A.D.+ and cryotherapy. He’s put both of his parents on his payroll, and is trying to encourage his uncle Brent, whose guitar Zimmerman used to practice on as a child, to become a full-time songwriter.

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Last October, he released his debut EP,

BlackBerry

Starring Jay Baruchel, Glenn Howerton, Matt Johnson, Saul Rubinek, Rich Sommer, Michael Ironside, Martin Donovan, Cary Elwes, Michelle Giroux, Sungwon Cho and Mark Critch. Written by Matt Johnson and Matthew Miller. Directed by Matt Johnson. Opens Friday at multiple Toronto theatres. 119 minutes. STC

There are many “Eureka!” moments in “BlackBerry,” Matt Johnson’s rollicking and mostly true account of how the world’s first smartphone, made right here in Canada, went from must to bust.

Research in Motion founders Mike Lazaridis (Jay Baruchel) and Doug Fregin (actor/writer/director Johnson) share high fives and joyful whoops with their fellow RIM geeks whenever technical problems — and there are many — are overcome on the road to creating the game-changing BlackBerry, their handheld device that is phone, email and pager all in one.

My favourite “Eureka!” flash occurs during breakfast at the Seinfeldian diner where RIM folks regularly convene. Mike suddenly realizes how to solve a wireless network bandwidth snafu that is threatening to sink their Waterloo, Ont., tech firm just as it’s achieving global greatness in the early years of this century.

“You can have my bacon!” Mike yells to his companions, as he abandons his unfinished meal to run back to BlackBerry HQ.

The scene speaks to the nutty charm of Johnson’s movie, which begins in 1996 to the hip-shaking strains of Elastica’s “Connection” and which, in its quintessentially Canadian against-all-odds way, resembles such earlier hoser classics as “Project Grizzly” and “Goon” (which also co-starred Baruchel).

It’s impossible to imagine Thomas Edison, say, yelling, “You gonna finish those fries?” as he switched on his electric light bulb for the first time. Or Henry Ford moaning about the lack of jelly doughnuts as he inaugurated his automobile assembly line.

Yet such nerdish behaviour is completely believable of these crazy Canucks. Mike and Doug are 30-something lifelong pals who dream big but still get excited about extra bacon, office movie nights and playing in marathon video game competitions.

Mike, awkward and prematurely grey, and Doug, wired and headband-wearing, want to tap into continent-wide internet service to make real the prophecy of their high school shop teacher: “The person who puts a computer inside a phone will change the world.”

The problem is that Mike and Doug don’t have a clue how to bring their BlackBerry idea to fruition (they initially think of calling it PocketLink) or how to make and exploit a successful business deal, as they comically demonstrate when they fumble a huge modem sale to U.S. Robotics.

Enter Jim Balsillie (Glenn Howerton of TV’s “It’s Always Sunny in Philadelphia”), the MVP of a crack ensemble cast, who becomes both hero and villain of the piece. The Harvard-educated and hair-deficient Jim, impatient and explosive, has the permanent look of a man who has just discovered that his car has been towed. He’s disdainful of geeks — he doesn’t even love “Star Wars”! — but he has the corporate moxie that RIM badly needs.

Jim informs a meekly compliant Mike and a sputtering Doug that they need to create, right now, a prototype he can shop around to the telecoms. Oh, and he also wants 50 per cent of the company and the title of CEO. (He settles for less and sharing co-CEO status with Mike.)

The RIM nerds race to fashion a (barely) working BlackBerry prototype out of spare parts and toys while Jim starts barnstorming the big U.S. telecoms for a network deal, despite not really understanding how this outlandish new device works.

“You’re not a tech guy, are you?” a Bell Atlantic exec named Woodman (Saul Rubinek) calmly inquires, after Jim attempts to BS a board meeting with razzle-dazzle of how they’re “selling self-reliance” rather than communications. Fortunately, Mike is a tech guy and he’s able to convince the Bell suits that RIM and BlackBerry are worth gambling on.

History records and the film shows with restless camera moves what happens next. The BlackBerry smartphone becomes the ultimate business tool — even U.S. presidents have one — and status symbol. RIM (later renamed BlackBerry Ltd.) and Waterloo become synonymous with Canadian enterprise and achievement.

Success makes the RIM guys extremely wealthy but also changes their corporate culture and friendships. The biggest transformation happens to Mike, who gets contact lenses, coiffed hair and suits, and begins acting like the corporate shark that Jim has always been (a comparison to George Orwell’s “Animal Farm” comes to mind here).

The biggest change of all happens in 2007 when Apple’s Steve Jobs unveils the iPhone, a device Mike disdains as “an over-designed, trying-to-do-too-much toy” that doesn’t even have a physical keyboard.

Apple is out not to eat Mike’s breakfast bacon but rather his lunch — the iPhone becomes the new communications status symbol and BlackBerry begins its shocking plummet. In the space of less than 15 years, it plunges from owning nearly 50 per cent of the world’s smartphone market to its current share: zero per cent.

Along the way, BlackBerry had to fend off other challenges, including rapacious early competitor PalmPilot and SEC investigations into how the slippery stock deals used to woo top-dollar engineers were arranged. The closing-credits soundtrack of the Kinks’ “Waterloo Sunset” makes the best use of that song in a film ever.

Toronto filmmaker Johnson co-wrote the script with Matthew Miller, adapted from the book “Losing the Signal: The Untold Story Behind the Extraordinary Rise and Spectacular Fall of BlackBerry,” by Jacquie McNish and Sean Silcoff. A lot gets thrown at the screen, including Jim Balsillie’s first of several failed attempts to buy an NHL franchise, and it makes the movie hard to keep up with at times.

“Blackberry” is nevertheless a new career peak for Johnson, who has played with the documentary form in his splendid previous films, “The Dirties” and “Operation Avalanche.”

He now finds gold in the tragicomic account of how “the best phone in the world” became just another piece of plastic junk in a desk drawer.

My love affair with BlackBerry phones

Movie Critic Peter Howell, a BlackBerry smartphone fan, holds four of the eight BlackBerry devices he owned during the company's heyday, which came to an end in 2022 when the phones were finally abandoned by both the company that made them and the telephone companies that carried their signal.

Like many BlackBerry cultists, I used to swear they’d have to pry my treasured “CrackBerry” out of my cold, dead hands.

That’s how much I loved and depended on the smartphone that was my favourite tech device of the past 20 years. I had at least eight BlackBerrys in various incarnations, from the early Model 850 email pager of the early 21st century to the final BlackBerry of all, the Android-driven Key2 smartphone, released in 2018.

Having phone, email and camera in one device made the BlackBerry essential for any journalist. But it was the physical keyboard that sealed the deal for me. I found it easy to type with two thumbs — a BlackBerry design innovation — and I loved the “satisfying click” of the keys, as someone calls it in Matt Johnson’s new “BlackBerry” film.

Even after Apple’s iPhone arrived to snatch the smartphone crown from BlackBerry, I remained a loyal member of the BB fold. That’s somewhat surprising, since I’ve long been an Apple fanboy, having bought my first of many Macs in 1984 and having been the first kid on the block to own an iPod and an iPad. In my opinion, the iPhone has always been a dud because it has inferior wireless connectivity to the BlackBerry, and the iPhone’s lack of a real keyboard is a huge drag; I hate typing on glass.

I used to rock my BlackBerry like a “Star Wars” lightsaber. I could file a story to the Star from anywhere, including the Cannes, Sundance and Toronto film festivals, because my CrackBerry felt like an extension of my hands. No other smartphone felt so good and I’ve tried ’em all.

I got so good at typing on it that about 10 years ago I began a Thursday night tradition I called the “BlackBerry spanking.” The big movie studios went through a phase back then where they delayed showing certain films to critics until Thursday evenings, mere hours before public screenings began. The studios were trying to avoid bad reviews for their most dodgy films (a faint hope in the age of social media) by screening them after the deadlines of most print journalists.

But the Star had later deadlines then and with my CrackBerry I could hammer out a short one-star pan of a bad movie while the credits rolled to alert the masses, hence my term BlackBerry spanking. On rare occasions there would be a good movie that received my BlackBerry blessing.

It was invigorating and among the many reasons why I kept my BlackBerry long after they ceased to be cool. People would gawk at me using one in public as if I were still employing a 1980s brick cellphone. (Back in the ’80s, I used those, too.)

BlackBerry’s demise as a smartphone maker was long in coming. (It’s only a software firm now.) Its end became official in late 2021 when the company announced it would “decommission the legacy services” for most of its product line beginning in January 2022. The telecoms were also cutting bait, especially in the U.S., where BlackBerry wireless coverage was simply being severed altogether.

I got many extra months out of my Key2 BlackBerry because it still worked in Canada. But by late last fall, I finally had to admit defeat when it became apparent that essential security updates would no longer be offered for my device.

The CrackBerry wasn’t pried out of my hands, after all. It just died in them. I switched to Samsung’s Galaxy Z Flip4, which folds up to fit in my pocket. It’s pretty cool, but it’s no BlackBerry.

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BlackBerryStarring Jay Baruchel, Glenn Howerton, Matt Johnson,

Ant-Man and The Wasp: Quantumania‘s Disney+ release date broke an important record for Marvel Studios, and it appears to signal a major change in strategy.

After almost a month since the digital release date was announced, Marvel Studios finally revealed when Ant-Man and The Wasp: Quantumania will come to Disney+, setting its debut for Wednesday, May 17.

This date proved to be a frustrating record-breaker for MCU Disney+ releases, serving as the longest wait yet for one of the red brand’s movies to come to the streamer since the service launched. 

These theatrical-to-streaming windows have been consistently increasing with each new movie since May 2022’s Doctor Strange in the Multiverse of Madness, and the full list can be seen below:

How Early Disney+ Releases Lost Marvel Money

Marvel

Doctor Strange 2 managed to turn over an impressive box office result of $955 million, making it the second-highest-grossing movie of Phase 4 behind only Spider-Man: No Way Home. But it likely could have continued to gross more if it and other MCU releases around it remained theatrical exclusives for longer.

The Multiversal sequel hit Disney+ just 47 days after it came to theaters, while that window has varied from movie to movie, that was by far the lowest, with Ant-Man 3 now waiting 89 days and Black Panther 2 holding for 80 days.

In those extra 33 days that Black Panther 2 remained theatrical exclusive compared to Doctor Strange 2, the movie brought in a further $22 million domestically, $18 million higher than the $4 million extra that Multiverse of Madness managed to gross in the 33 days after it came to Disney+.

That would seem to indicate the earlier Disney+ release lost Disney and Marvel Studios a significant amount of money, and that’s just looking at the domestic figures, with that total likely climbing far higher with worldwide numbers included.

Disney Shifts Marvel Streaming Release Strategy

Black Panther: Wakanda Forever breaking the MCU record for the longest theatrical-to-Disney+ window since the service launched had many thinking Disney was trying to allow more time to accrue box office revenue due to the movie’s massive success and how well the 2018 original performed.

However, seeing Ant-Man and The Wasp: Quantumania not just match, but even exceed that window signals a bigger change in strategy. After all, neither of the first two Ant-Man movies have been particular box office hits and Ant-Man 3 came to be a huge box office disappointment all around.

So, with these longer theatrical windows being applied to both the MCU’s biggest hits and most unfortunate disappointments, perhaps Disney and Marvel are trying to gradually recondition audiences to make the trip to theaters for its movies, as opposed to holding out those few short months to watch it at home.

There are a number of reasons why the urgency to see Marvel Studios’ latest releases may have declined, the shorter wait for home viewing certainly among the biggest ones. But the massive influx of MCU content and arguable drop in consistent quality are certainly other major factors to consider.

Marvel Studios and Disney appear to be seeking a return to the pre-pandemic status quo of movies flowing from theaters, to digital VOD, to Blu-Ray, before finally landing on streaming at the end of it all. This system seems optimal to preserve theaters and profits, while also keeping Disney+ populated with content.

This also comes as Marvel Studios takes strides to transition into a “quality over quantity” approach following backlash to Phase 4. Even on the streaming originals side, the MCU’s next Disney+ series, Secret Invasion, will mark the longest gap yet between streaming originals since they began in Phase 4. 

Hollywood Course Corrects From Streaming Obsession 

Marvel Studios aren’t the only one at Disney looking to change strategy after former CEO Bob Chapek caused significant damage to the brand. Along with shortening theatrical-to-home release windows, Chapek sent most animated releases straight to Disney+, which has caused lasting damage as Disney’s animated movies have struggled to return to pre-pandemic box office standards.

It will likely take a long time to restore the audience’s mindset to view animated movies as theatrical-worthy and just as special as live-action. Perhaps after enough time of releasing animated flicks from Pixar and other studios as theatrical exclusives with longer home release waits, box office results will improve.

Disney is also making great efforts to preserve Avatar: The Way of Water as a theatrical event, with the movie still not on Disney+ over 146 days after its release. These efforts have clearly paid off as the movie has grossed over $2 billion and has become the third highest-grossing release of all time worldwide.

The House of Mouse’s efforts to shift focus from streaming to theaters represents part of a larger movement on this front across Hollywood. For example, Paramount didn’t drop its biggest hit of last year, Top Gun: Maverick, onto its Paramount+ streaming service until December 22, 209 days after its May 27 release.

HBO Max appears to be taking similar action, with Shazam 2 not coming to the rebranded Max for 67 days after release, marking a gradual step-up from Black Adam‘s 56 days and The Batman‘s 45 days. Granted, these windows may not be as long as Disney or Paramount, but it marks a huge improvement from the same-day theatrical and streaming releases Warner Bros. had in 2021.

Streaming was a powerful tool for Hollywood to keep delivering movies through the pandemic and as theaters began to recover. This worked out particularly well as services were already beginning to push streaming original series and movies with effects, actors, and budgets on par with the big screen. 

And clearly, theaters are alive and well, as event-level movies such as Avatar: The Way of Water, Top Gun: Maverick, and Spider-Man: No Way Home have been able to bring in record-breaking numbers. The struggle Hollywood now has is getting audiences back into theaters on a more regular basis for more standard releases, just as they did before the worldwide shutdown. 

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A whole new slate of comics are coming to DC Universe Infinite this month, and you can check out what to expect below!

CHECK OUT WHAT’S COMING TO DC UNIVERSE INFINITE IN MAY 2023!

DC UNIVERSE INFINITE, the DC COMMUNITY forum and the DC SHOP are all ready for May! DC’s subscription service and comic reader currently has a digital library of over 32,000 comics, with new titles dropping every week! Register here for DC UNIVERSE INFINITE, the primary destination for fans to discover new comics every day, all year long. For fans not currently signed up, registration is free! The World’s Finest digital comic book reading experience is just clicks away!

Speaking of free…one of the rewards that comes with DC UNIVERSE INFINITE registration is free comics to read before you subscribe. For the next few weeks, dig deeper into DC’s line of comics featuring AAPI characters like Monkey Prince, Kong Kenan aka New Super-Man, and more.

For all DC UNIVERSE INFINITE subscribers, DC is thrilled to continue offering backlist titles like 1973’s Shazam! and 1955’s The Brave and the Bold for fans to read anytime, with new issues of these classics arriving every month. And for readers that missed picking up print editions of new series like Batman & The Joker: The Deadly Duo, WildC.A.T.s, Justice Society of America, or Blue Beetle: Graduation Day, these titles all drop new #1 issues digitally throughout May!

And for comic book readers wanting the newest comics as soon as possible, these new issues will be going live for all subscribers in May, either same day as publication for DC’s ‘We Are Legends” comics or one month after their print releases for Green Arrow and Shazam!’s “Dawn of DC” launches:

  • Spirit World (2023) #1 — 5/9
  • The Vigil (2023) #1 — 5/16
  • Green Arrow (2023) #1 — 5/23
  • City Boy (2023) #1 — 5/23
  • Shazam! (2023-) #1 — 5/30

Below are all the comics arriving on DC UNIVERSE INFINITE for Ultra subscribers throughout May 2023, with collected editions, exclusively on the service for Ultra subscribers, shown bold. Special call-out to DC’s FCBD issues, available in print Saturday May 6 at your LCS, and DC Pride 2023 #1, hitting digitally and in print on May 30!

 

Week of May 1

  • Adventures of Superman: Jon Kent (2023) #2
  • Batman (2016-) #134
  • Batman & The Joker: The Deadly Duo (2022-) #6
  • Fables #158
  • Icon Vs. Hardware (2023) #2
  • Poison Ivy (2022-) #11
  • Scooby-Doo, Where Are You? (2010-) #121
  • The Flash (2016-) #796
  • The Joker: The Man Who Stopped Laughing (2022-) #7
  • Stargirl: The Lost Children #6
  • Stormwatch (1993-1997) #50
  • Creature Commandos #5
  • The Brave and the Bold (1955-) #66
  • New Teen Titans (1980-) #71
  • Shazam! (1973-1978) #1
  • Clark & Lex and Fann Club: Batman Squad 2023 FCBD Special Edition #1
  • Dawn of DC Knight Terrors 2023 FCBD Special Edition #1
  • Dawn of DC We Are Legends Special Edition #1
  • Girl Taking Over: A Lois Lane Story 2023 FCBD Special Edition #1
  • Batman Vol. 1: Failsafe
  • Batman: The Doom that Came to Gotham (new edition)
  • DC vs. Vampires Vol. 2

 

Week of May 8

  • Batman Incorporated (2022-) #7
  • Batman: The Adventures Continue Season Three #4
  • Danger Street (2022-) #5
  • Lazarus Planet: Revenge of the Gods #3
  • MAD Magazine (2018-) #31
  • Superman: Lost (2023-) #2
  • The Batman & Scooby-Doo Mysteries #7
  • The Sandman Universe: Nightmare Country – The Glass House #1
  • WildC.A.T.s (2022-) #6
  • Superboy: The Man Of Tomorrow #2
  • Creature Commandos #6
  • Batman: Mask of the Phantasm #1
  • The Brave and the Bold (1955-) #67
  • New Teen Titans (1980-) #72
  • Shazam! (1973-1978) #2
  • Spirit World (2023) #1
  • Batman: Detective Comics Vol. 4: Riddle Me This
  • Future State: Gotham Vol. 3: Batmen At War

 

Week of May 15

  • Multiversity: Harley Screws Up The DCU #4
  • Batgirls (2021-) #17
  • Batman/Superman: World’s Finest (2022-) #14
  • Black Adam (2022-) #10
  • Catwoman (2018-) #54
  • DCeased: War of the Undead Gods (2022-) #8
  • Nightwing (2016-) #103
  • Static: Shadows of Dakota #3
  • Superman (2023-) #3
  • The Flash (2016-) #797
  • Wonder Woman (2016-) #798
  • Creature Commandos #7
  • Green Arrow (1988-1998) #26
  • The Brave and the Bold (1955-) #68
  • New Teen Titans (1980-) #73
  • Shazam! (1973-1978) #3
  • The Vigil (2023) #1
  • Girl Taking Over: A Lois Lane Story
  • The Batman Who Laughs: The Deluxe Edition
  • The Jurassic League
  • Wonder Woman: Who Is Wonder Woman The Deluxe Edition

 

Week of May 22

  • Action Comics (2016-) #1054
  • Batman: The Audio Adventures (2022-) #6
  • Blue Beetle: Graduation Day (2022-) #6
  • Blue Beetle: Graduation Day – Spanish Language Edition (2022-) #6
  • DC/RWBY #3
  • Detective Comics (2016-) #1071
  • Green Arrow (2023) #1
  • Harley Quinn (2021-) #29
  • Justice Society of America (2022-) #4
  • Lazarus Planet: Revenge of the Gods #4
  • The Riddler: Year One (2022-) #4
  • The Sandman Universe: Dead Boy Detectives #5
  • Tim Drake: Robin (2022-) #8
  • Unstoppable Doom Patrol (2023) #2
  • Creature Commandos #8
  • Green Arrow (1988-1998) #27
  • The Brave and the Bold (1955-) #69
  • New Teen Titans (1980-) #74
  • Shazam! (1973-1978) #4
  • City Boy (2023) #1
  • DUO

 

Week of May 29

  • Adventures of Superman: John Kent (2023) #3
  • Batman (2016-) #135
  • Batman & The Joker: The Deadly Duo (2022-) #7
  • Peacemaker Tries Hard! (2023) #1
  • Poison Ivy (2022-) #12
  • Shazam! (2023-) #1
  • The Flash (2016-) #798
  • The Joker: The Man Who Stopped Laughing (2022-) #8
  • DC Pride 2023 #1
  • Green Arrow (1988-1998) #28
  • The Brave and the Bold (1955-) #70
  • New Teen Titans (1980-) #75
  • Shazam! (1973-1978) #5
  • The Flash (1959-1985) #213
  • Catwoman Vol. 2: Cat International
  • Justice League Vol. 3: Leagues of Chaos
  • Legends of the DC Universe: Carmine Infantino
  • Shazam!: The Monster Society of Evil
  • Superman: Space Age

 

DC UNIVERSE INFINITE subscribers can download comics for unlimited offline reading on their favorite iOS and Android devices. For more information on DC UNIVERSE INFINITE Ultra, download the app from the Apple App and Google Play stores and visit dc.com/Ultra. DC UNIVERSE INFINITE is not available in all countries and is not intended for children.

 

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296 A whole new slate of comics are

The Legend of Zelda Tears of the Kingdom releases for Nintendo Switch on May 12. After many long years of waiting, the sequel to the mega-popular Breath of the Wild is just around the corner, and today, on May 11, the first press reviews arrived. Let’s see how Tears of the Kingdom was rated by a number of media who had the opportunity to play the game earlier by checking out its score review score aggregator site Metacritic.

The Legend of Zelda Tears of the Kingdom Metacritic Score Revealed

The current rating on Metacritic is 97 and the game received Metacritic’s Must Play badge, so far there are 60 reviews and all of them are positive.

The current Metascore is 97!

Related: The Legend of Zelda Games Ranked by Critic Scores

In the Tweet below you can see the ratings of some of the most relevant media as well as how The Legend of Zelda Tears of the Kingdom is ranked on the Opencritic site as well.

These are very strong ratings and extremely good impressions that already put Tears of the Kingdom side by side with Breath of the Wild. We will continue to monitor the rating situation as it develops!

Related: How to Pre-Order the Tears of the Kingdom Link Amiibo

Are you excited about Tears of the Kingdom? The wait is coming to an end soon. See you in Hyrule soon!

For more The Legend of Zelda: Tears of the Kingdom here on Prima Games, click the tag below and be sure to visit us again after May 12 for our day one guides, tips and tricks, and everything else in our upcoming extensive coverage of this title.

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The Legend of Zelda Tears of the

Slow Horses star Jack Lowden is leading a John Maclean-helmed survival thriller that will be taken to Cannes Market by HanWay Films.

Lowden is starring opposite Takehiro Hira (Giri/Haji) and Kōki (Touch) in Tornado.

Set in the rugged landscape of 1790s Britain, Tornado (Kōki, is a young and determined Japanese woman who finds herself caught in a perilous situation when she and her father’s (Takehiro) travelling puppet Samurai show crosses paths with a gang of ruthless criminals led by Sugarman and his ambitious son Little Sugar (Lowden). In an attempt to create a new life for herself, Tornado seizes the opportunity to take matters into her own hands and steal the gold from their most recent heist.

HanWay has boarded and will launch sales at next week’s Cannes.

Maclean is a BAFTA-winning director whose feature directorial debut, the Michael Fassbender-starring Slow West, won the World Cinema Jury Prize at Sundance in 2015.

Lowden has attracted acclaim for his portrayal of River Cartwright in Apple TV+ hit Slow Horses and he has since starred in BBC drama The Gold.

“We are thrilled to be working with John Maclean again, especially in support of such a unique project,” said HanWay CEO Gabrielle Stewart. “A female led, British set, Samurai inspired survival thriller – what’s not to love there?”

The film was developed with the support of the BFI and awarded National Lottery funding.

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Slow Horses star Jack Lowden is leading

The ’zon is many things: a gigantic retailer, streaming platform—and perhaps the most underrated adult toy shop ever. The best Amazon sex toys can go toe-to-toe with any luxury sex toy merchandiser—with the added bonus of arriving expeditiously (and discreetly) at your door. There’s no better way to stock up on the best vibrators, glass dildos, and butt plugs.

The free two-day shipping on most devices is a plus, of course, but the retailer’s convenience isn’t its only draw. If you’re ready to expand your sexual horizons—those kinks and fetishes won’t explore themselves, after all—Amazon is stocked with everything you’ll need (plus rave reviews to back them up). Maybe it’s time to try new things, like a fun sex toy for couples or a sex wedge; perhaps you’re in the market for the first time and need some personal lube and a trusty vibrator for beginners (the one from Womanizer is an all-time bestseller for a reason). There might also be a chance you’re looking for something a little more advanced, like nipple stimulators or remote-control vibrators. Thankfully, it’s all on Amazon.

In fact, the retailer has so many toys up for grabs that picking one can feel overwhelming even for the most seasoned shopper. But that’s where we come in: We combed through every inch of Amazon to curate our very favorite picks, many of which we’ve tested for ourselves and all of which have earned glowing reviews. If you need help deciding what’ll work for you (and any partners), these are the very best Amazon sex toys—and their glowing reviews.

Our top picks

All products featured on Glamour are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

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The ’zon is many things: a gigantic

CNN’s Donald Trump town hall went over like a lead balloon with most viewers, judging by the overwhelmingly negative reactions.

But while viewers were put off by the debacle, the studio audience, which appeared to consist primarily or even solely of Trump supporters, was decidedly the opposite. As the disgraced former president lied nearly nonstop, with only mild, frequently shouted-down pushback from moderator Kaitlan Collins, (the exception being whenever Trump tried to lie about the 2020 election), the crowd whooped and cheered and laughed.

That was especially the case in two of the town hall’s nastiest moments. First, early in the broadcast when Trump defamed E. Jean Carroll just 24 hours after a jury found him guilty of sexually assaulting her and defaming her. And second, when he lost his cool and called Collins, a “nasty person.”

Trump was of course found guilty on Tuesday of sexually battering Carroll in an incident that happened in the 1990s, and of defaming her when she came forward to report the attack decades later. He has been ordered to pay her a total of $5 million on both counts.

While discussing this topic, Trump was asked what he would say to people who consider this conviction a deal breaker when it comes to voting for him. He replied, “There aren’t too many of them because my poll numbers just came out. They went up. I think I think I’m the only person in history [that it happened to]. And usually, you leave office, you say ‘I’m sorry, but I’m going to back home. I’m back home to my family’ and everything. I’m going to be reserved. My poll numbers went up, and they went up with the other fake charge too.”

Then Trump smeared Carroll directly. First, he falsely characterized her lawsuit as “election interference.” Then, he attempted to imply she is racist, while sharing unsourced and irrelevant claims against her that his legal team had been forbidden from bringing up in the trial.

“What’s happening,” he said, “is they’re doing this for election interference. This woman, I don’t know her. I know, have a met her” I have no idea who she is. I had a picture taken years ago with her and her husband. Nice guy, John Johnson. He was a newscaster. Very nice man. She called him an ape. Happens to be African or African American, called him an ape. The judge wouldn’t allow us to put that in.”

“Her dog, or her cat was named vagina,” Trump added, pronouncing the word with heavy, extended emphasis on the last syllable. “The judge wouldn’t allow us to put that in.”

Again, when he said these things, Trump had already been found guilty by a jury of defaming Carroll, and has been ordered to pay $5 million.

Later in the town hall, Trump lost his cool when Collins asked him about the classified documents he illegally took from the White House after his presidential term ended. This led to him insulting her personally.

“The question that investigators have, I think, is why you held on to those documents when you knew the federal government was seeking them, and then had given you a subpoena to return,” Collins said. 

“Ready. Are you ready? Can I talk?” Trump asked.

“Yeah, what’s the answer?” Collins replied.

“Okay, do you mind? It’s very simple to answer,” said Trump.

“That’s why I asked it,” Collins said.

“It’s very simple — you are a nasty person, OK,” Trump spat out. And yes, it should be noted that it’s reminiscent of 2016 when Trump called his opponent, Democratic presidential candidate Hillary Clinton, a “nasty woman.” Without the gender specification this time, of course.

Watch his comments about Carroll at the top of the page, and his remark about Collins below.

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CNN’s Donald Trump town hall went over

Forgetting Sarah Marshall was released 15 years ago, but nearly everything about the infinitely rewatchable rom-com still holds up today. Somehow striking the perfect balance between raunchy and romantic, Jason Segel‘s script subverts the common love triangle trope in a really refreshing way: the love triangle is crucial to the plot of the movie, but no one is really that horrible of a person, and in any other scenario, you’d probably be rooting for Sarah Marshall (Kristen Bell). And at some points in this one, you might actually be! Sarah is as flawed as her ex, Peter (Segel), and the hotel concierge Rachel (Mila Kunis) are, in different but equally fleshed out ways. It’s a realistic take on romance we don’t see as often in rom-coms anymore; things now are more clear cut and characters fall squarely into tropes. But there’s a way to take the trope-y goodness we love in a rom-com and turn it into something that’s not so cookie-cutter. In that regard, Forgetting Sarah Marshall should still be considered among the genre’s best.

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By Angela Tricarico Forgetting Sarah Marshall was released 15

The Peabody Awards Board of Jurors has selected 35 winners to award at this year’s Peabody ceremony, including entertainment fare such as “Abbott Elementary,” “Atlanta,” “Better Call Saul,” “Severance” and “We’re Here.” Chosen by unanimous vote of 32 jurors from over 1,400 entries, the 83rd annual Peabody Awards landed on ten entertainment shows, eight documentaries, seven news programs, five from interactive and immersive content, three podcast/radio programs, and one each from arts and public service fare.

PBS led the winners circle with six, followed by Apple TV+ and Disney+ with three each, and HBO Max with two. For “Atlanta” and “Better Call Saul,” both shows recieved Peabody honors in their first season — and will receive another for their final seasons. The winners, announced on Tuesday, came out of previously announced 69 nominees in all categories.

Topics tackled by this year’s winners include the environment, mental health, women’s reproductive rights, transgender rights, the gun violence epidemic in America, women’s rights under the Taliban, the war in Ukraine, migrant stuggles and extremist threats to democracy.

“Representing a wide range of mediums, genres, and narrative approaches, this year’s winners continue to advance what it means to craft storytelling that is compelling, powerful, and prescient,” said Jeffrey Jones, executive director of Peabody, in a statement. “Whether capturing the lives of teachers in Philadelphia or young women in Afghanistan, these stories are powerful enough to make us laugh, cry, and learn. They are all deserving of this honor, and we are thrilled to shine a light on their amazing achievement. All citizens should seek out, watch, and engage these winners.”

Previously announced specialty awards including NBC News’ “Today” as an Institutional Award winner; Lily Tomlin was named this year’s Peabody Career Achievement Award recipient; Issa Rae won the Peabody Trailblazer Award; and Shari Frilot was named the winner of the Visionary Award.

The winners of the 83rd annual Peabody Awards will receive their honors at a Los Angeles ceremony, on Sunday, June 11, at the Beverly Wilshire Hotel — the org’s first in-person ceremony since before the pandemic, in 2019, and also its first time here in Southern California. Bob Bain Productions will produce the event.

Here is a roundup of this year’s Peabody Award honorees:

ENTERTAINMENT

“Abbott Elementary” (ABC)

“A group of passionate Philadelphia public school teachers battle budget restrictions, a rival charter school, and their own (mostly) incompetent principal, forging friendships and an occasional love match in this sweet mockumentary sitcom from creator and star Quinta Brunson.”

Delicious Non-Sequitur Productions in association with Warner Bros. Television and 20th Television, a part of Disney Television Studios

“Andor” (Disney+)

“The ‘Star Wars’ franchise gets a new perspective, focusing on thief-turned-Rebel spy Cassian Andor’s journey to discover the difference he can make. Taking place during a time before the first ‘Star Wars’ film when a Rebel Alliance is forming in opposition to the fascist Galactic Empire, the series explores themes of Fascism and how resistance movements emerge from the strangling weight of authoritarian repression.”

Lucasfilm Ltd.

“Atlanta” (FX)

“Creator-star Donald Glover finishes his four-season masterpiece about a group of friends that includes rapper Alfred ‘Paper Boi’ Miles and his manager cousin, ‘Earn’ Marks, along with their friends Darius and Van. The final two seasons are particularly inventive as the characters find themselves in new situations and consider their relationships to each other and their hometown.”

FX Productions

“Bad Sisters” (Apple TV+)

“A blend of dark comedy and thriller from creators Sharon Horgan, Brett Baer, and Dave Finkel, ‘Bad Sisters’ follows the lives of the Garvey sisters, who are bound together by the premature death of their parents and a promise to always protect each other.”

Merman /ABC Signature in association with Apple

“Better Call Saul” (AMC)

“This ‘Breaking Bad’ prequel is much more than the sum of its parts, and that’s evident in its capstone season, which concludes the complicated journey and transformation of its compromised hero, Jimmy McGill, played perfectly by Bob Odenkirk, into criminal lawyer Saul Goodman.”

High Bridge, Crystal Diner, Gran Via Productions and Sony Pictures Television

“Los Espookys” (HBO Max)

“Eccentric friends turn their passion for horror into a peculiar business—scaring people for a fee— in this bilingual series that weaves together elements of magical realism and the absurd to create a comedy like no other.”

HBO in association with Broadway Video, Antigravico and Mas Mejor

“Mo” (Netflix)

“The title character toggles among two cultures, three languages, and a pending asylum request while hustling to support his Palestinian family in Houston, Texas, in this dramedy co-created by star Mo Amer, based on his own life, and Ramy Youssef.”

A24

“Pachinko” (Apple TV+)

“A sweeping American drama series based on Min Jin Lee’s 2017 novel, ‘Pachinko’ starts with an intimate story about forbidden love but widens out to include epic journeys among America, Japan, and Korea, encompassing no less than war and peace, love and loss, and triumph and reckoning.

Media Res / Blue Marble Pictures in association with Apple

“Severance” (Apple TV+)

“This bold, topical sci-fi thriller series stars Adam Scott as Mark Scout, an employee at Lumon Industries, where employees have undergone a ‘severance’ procedure that surgically divides their memories between their work and personal lives. But he soon discovers a darker conspiracy behind this cutting-edge experiment.”

Fifth Season / Red Hour Productions in association with Apple

“We’re Here” (HBO Max)

In this uplifting and timely reality series, three drag queens spread love and connection across small-town America through the art of drag, putting on shows with local drag enthusiasts, queer people, and allies, and changing lives along the way.

HBO in association with House of Opus 20 and IPC

ARTS

“Fire of Love” (Disney+)

“Miranda July narrates this dramatic documentary about the doomed relationship between obsessive French scientists Katia and Maurice Krafft and their shared passion for capturing spectacular imagery of stunning—and deadly—volcanoes.”

National Geographic Documentary Films presents A Sandbox Films Production / An Intuitive Pictures & Cottage M Production

DOCUMENTARY

“Aftershock” (Hulu)           

“After the deaths of two young women from childbirth complications, their families galvanize activists, birth workers, and physicians to face America’s grave maternal health crisis in this eye-opening film.”

A Malka Films and Madstone Company Inc Production In Association with Good Gravy Films and JustFilms | Ford Foundation Impact Partners Presents

“Batata”  (Various streaming platforms)      

“This unprecedented film spans ten years in the life of Syrian migrant worker Maria, a Muslim woman, and her journey from days of farming potatoes to life in a refugee camp in Lebanon, demonstrating the spirit of a woman who puts family above all else.”

Saaren Films Inc., Six Island Productions Inc., Musa Dagh Productions

“Independent Lens: Missing in Brooks County” (PBS)             

Migrants go missing in the rural area of Brooks County, Texas, more than anywhere else in the United States, and activist Eddie Canales is the one who helps their families find them. PBS’ documentary profiles Canales in this subtle, specific, and alarming take on U.S. immigration.

ITVS, Fork Films, Engel Entertainment

“Independent Lens: Writing with Fire” (PBS)    

“Fearless journalists staff India’s only all-female newspaper in an intensely patriarchal landscape, painting a portrait of courage and hope. Filmmakers Rintu Thomas and Sushmit Ghosh spent four years in India’s Uttar Pradesh state capturing the women’s daily work lives as well as the larger context in which they operate: India’s caste system and its far-right religious movement.”

Black Ticket Films

“Mariupol: The People’s Story” (BBC Select)    

“This terrifyingly crucial feature-length documentary tells the story of the essential coastal Ukrainian city of Mariupol through those who lived there as it was destroyed by Russia.”

Top Hat Productions / Hayloft Productions

“The Rebellious Life of Mrs. Rosa Parks” (Peacock)            

“Rosa Parks was more than an ‘old’ lady who was too tired to go to the back of the bus, as this documentary demonstrates, delving deep into the Civil Rights icon’s historic role in the Montgomery Bus Boycott beyond her traditionally assigned role in school textbooks.”

SO’B Productions

“The Territory” (Disney+)       

“This immersive, awe-inspiring documentary looks at the tireless fight of the Amazon’s Indigenous Uru-eu-wau-wau people against the encroaching deforestation brought by farmers and illegal settlers.”

National Geographic Documentary Films Presents A Documist And Associação Jupaú Film in association with Time Studios, Xtr, Doc Society Climate Story Fund / A Production of Protozoa Pictures, Passion Pictures, Real Lava

“We Need To Talk About Cosby” (Showtime)              

“Writer/director W. Kamau Bell weighs the life and legacy of Bill Cosby as a peerless groundbreaker and dominant cultural force against his crimes as a convicted sexual predator through difficult and candid conversations with comedians, journalists, and survivors in a potent examination of problematic artist versus art.”

Showtime Documentary Films Presents, A Boardwalk Pictures Production, In Association With WKB Industries

INTERACTIVE & IMMERSIVE 

“ContraPoints” (YouTube)

“Through her YouTube channel, ContraPoints, Natalie Wynn defies the reductive quality that rules most of the internet, developing a following of more than 1 million subscribers by producing long, beautifully produced video essays that dissect trending topics and social phenomena. From ‘Canceling’ to ‘Cringe,’ ‘Incels’ to J.K. Rowling, Wynn explores all sides of an argument, treating different perspectives with equal parts seriousness and shade.”

Natalie Wynn

“Life is Strange: True Colors” (PC, Xbox, PlayStation, Stadia)

“’Life Is Strange: True Colors’” is a game that follows a 21-year-old, bisexual Asian-American woman, Alex Chen, who has spent the last eight years in foster care and is investigating her brother’s death. Largely about grief and trauma, the game is also joyful, affirming the true importance of empathy through Alex’s supernatural ability to sense and manipulate others’ emotions.”

Deck Nine Games & Square Enix External Studios

“Lucy and the Wolves in the Walls” (Oculus Rift, Oculus Quest)

“Through the endearing and earnest narrative of Lucy and her quest to find the source of mysterious happenings in her house, this wonderful interactive VR fable based on the book by Neil Gaiman and Dave McKean, which continues in Lucy’s extended life across platforms, invites us along to explore the fine line between imagination and reality and reminds us of that liminal space of possibility that we occupy as children.”

Fable Studio, Third Rail Projects, Sound+Design, Story Studio & Experiences

“Reeducated” (Oculus, Mobile, Desktop)

“China’s systemic detention of Uyghurs and other minorities is well-documented, but there exists no photographic evidence from inside the camps, which limits journalistic coverage. This New Yorker VR project combines the testimony of three brave survivors, hand-drawn illustration, and immersive video technology, showing the conditions inside prison cells, classrooms, torture rooms, and a makeshift operating room, and illuminating the atrocities of harrowing life.”

The New Yorker

“The Uncensored Library” (Minecraft)

“Meticulous and artistically-rendered, this Minecraft build serves as a monument to press freedom and an innovative back door for censored content. Because Minecraft is often freely accessible in countries where other media is blocked, more than 20 million gamers in 165 countries have been able to access information about threats to press freedom in their own countries as well as censored articles from independent journalists from oppressive countries such as Saudi Arabia, Russia, Mexico, Egypt, and Vietnam.”

Media.Monks, Reporters without Borders, DDB Germany

NEWS

“Frontline: Michael Flynn’s Holy War” (PBS)

“Truly terrifying in its implications, this Frontline episode asks how Michael Flynn went from being an elite soldier overseas to waging a ‘spiritual war’ in America, emerging as a leader in a far-right movement that puts its brand of Christianity at the center of U.S. civic life and institutions, attracting election deniers, conspiracists, and extremists around the country.”

Frontline (PBS) with The Associated Press

“Frontline: Ukraine: Life Under Russia’s Attack” (PBS)

“Frontline provides a dramatic and intimate look inside the Russian assault on Kharkiv, Ukraine’s second largest city, following the displaced families trying to survive underground, civilians caught in the war, and first responders risking their lives.”

Frontline

“The Gap: Failure to Treat, Failure to Protect” (KARE-TV)

“A year-long investigation by local Minneapolis-St. Paul’s KARE 11, revealed systemic failures to treat people with mental illness who were declared incompetent in court and resulted in state-wide reforms that were deemed lifesaving by the mental health community and lawmakers.”

KARE-TV

“Guns in America” (PBS)

“Faced with repeatedly reporting on the endless cycle of mass shootings across America, ‘PBS NewsHour’ raised the bar, providing context while also telling empathetic stories across different segments throughout the year dealing with victims, survivors, and their communities in Buffalo, New York, and Uvalde, Texas.”

PBS NewsHour

“No Justice for Women in the Taliban’s Afghanistan” (Vice)

“Women’s lives drastically changed after the withdrawal of American troops from Afghanistan in August 2021. Vice takes viewers inside a justice system tipped against women facing physical and sexual abuse and the underground shelters where women turn to escape violence at home for a devastating look at the country’s inequality.”

Vice News

“One Day in Hebron” (Direct From)

“American Al Jazeera host Dena Takuri returns to Hebron, the once-vibrant Palestinian city where her father was born and raised to see what Israel’s military occupation has done to his hometown: segregated streets, traumatized residents, shuttered businesses, and the remaining Palestinians erecting nets to catch the trash thrown at them by settlers.”

AJ+

“Shimon Prokupecz: Unraveling Uvalde” (CNN)

“After the deadliest school shooting since Sandy Hook in 2012, the CNN team led by Shimon Prokupecz relentlessly pursued the glaring, unanswered questions about the law enforcement response to the Uvalde, Texas school shooter who killed 19 children and two teachers. A gut-wrenching interview with one surviving teacher underscores the horrific question, ‘Why didn’t anyone help sooner?’“

CNN

PODCAST/RADIO

“The Divided Dial” (New York Public Radio)

“’On the Media’ presents this thorough five-part series about how one side of the political spectrum came to dominate talk radio, and how one company, Salem Media Group, is launching a right-wing media empire.”

On the Media/New York Public Radio

“Stolen: Surviving St. Michael’s” (Spotify)

“Investigative journalist Connie Walker delves into her own family history and uncovers the trauma passed down through generations as part of one of Canada’s darkest chapters, the residential school system for indigenous children, showing the ways that personal secrets and national shame reinforce one another.”

Spotify & Gimlet Media

“This American Life: The Pink House at the Center of the World” (This American Life)

“On the day the Supreme Court overturned Roe v. Wade, public radio’s seminal storytelling program had exclusive access inside the clinic at the center of the legal case, Mississippi’s last abortion clinic, showing what happened as patients and staff received the news.”

This American Life

PUBLIC SERVICE

“Frontline: The Power of Big Oil” (PBS)

“The fossil fuel industry has sowed doubt about climate change in America and stalled climate policy, even as scientific evidence grows more certain, all as part of a concerted effort, as documented by this three-part series.”

Frontline (PBS)

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The Peabody Awards Board of Jurors has

Philly Goats have cooked up a foolproof formula: deliver breakneck raps for elevated BPMs and invite the entire neighborhood to rock with them in videos, making every track feel like a block party. On TikTok, you can find the electrifying trio of D Sturdy, PGS Spence, and Sou rocking their hips in Wawa gas stations and Wu Tangin’ on street corners. Their latest release, “X EM,” is a glorious addition to their fast-growing collection of dance hits. Over production that sounds like a mutant version of Scooby Doo chase music—courtesy of producer DJ Crazy, a club beat savant blessed with being Baltimore-born, Philly-raised, and New Jersey-based—the trio spit comical flexes and subtle threats. “My niggas pull up fresher than the pope,” Spence raps, while Sou follows it up by promising to end your life if you run up on him with Dyce.

The blistering track’s music video elevates it exponentially. Philly Goats are surrounded by a joyous pep rally at a local school, with the rappers and kids taking turns in front of the camera. Everyone’s clamoring to try the new version of their signature hip move, adding in an “X” hand motion as they rock from side to side. Like the rest of Philly Goats’ music and videos, it’s pure, unadulterated fun.

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Philly Goats have cooked up a foolproof

Faith can help people find an inner resolve previously unknown. A belief in something higher can help give someone aspirations. But, on the flip side, horrific deeds are carried out by people who are convinced their way of thinking is the only right one. Atrocities done in this or that religion’s name plague the world to this day. These themes are at the core of Bhagwan Bharose, directed by Shiladitya Bora and written by Mohit Chauhan and Sudhakar Nilmani Eklavya.

Set in India during the 1980s, the drama follows two best friends as their world starkly changes. Bhola (Satendra Soni) and Shambhu (Sparsh Suman) live in a small Indian town where religion rules the day. Their days are spent being told religious stories, and the elders tell them that demons live on the other side of the river. The one atheist in town is scorned by everyone, save for Nana Babu (Vinay Pathak), Bhola’s grandfather.

When Bhola’s father returns from a long job on the road, he sends his son back to school. The catch is the school is quite a walk away. Bhola hates it, as everything he’s being caught contradicts the religion he’s so versed in. Shambhu is okay with school but is witness to his best friend becoming more and more radicalized. The news is not helping matters, which chronicles the attacks happening in the wake of a sacred temple being destroyed.

“…is witness to his best friend becoming more and more radicalized.”

Bhagwan Bharose is an absorbing slice of life. It is filled with equal parts heart, humor, and drama. The true point of the film only manifests itself at the very end. But, whoa, what an emotional wallop it packs. The screenwriters and director have something they are passionate about and convey it with heart.

The film is simply beautiful to behold. The walk to school is scenic, lined with trees and a river on one side. Despite the high tensions that accompany the trek to or from school, the journey is simply stunning. Add on to the precise editing, and it just goes to show that India really is home to some of the best filmmakers anywhere in the world.

Of course, the cast of Bhagwan Bharose is also splendid. Soni internalizes emotional up and down swings with dignity. His refusal to go home despite the late hour due to a fight with God is most believable. Suman has the less showy role, mainly reacting to what his on-screen pal does. But his wide-eyed demeanor and innocence are easy to buy into. As Bhola’s mother, Masumeh Makhija is radiant and makes the most of the role.

Bhagwan Bharose fully envelopes everyone watching into its character lives. It is fascinating to see how these young kids react to the world around them and learn. The film proves that everyone, despite our differences, is human and needs to be treated with respect and dignity.

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Faith can help people find an inner

Explosion rocks central Milan: Street in flames after van carrying gas cylinders blows up

  • Footage showed thick black smoke rising up from between buildings in the city
  • It was not immediately clear what caused the explosion

Several vehicles were in flames today after a van carrying twenty gas cylinders exploded in the centre of Milan in northern Italy.

Local police said the van had caught fire, while local reports said that at least one person had been injured in the subsequent blast.

SkyTG24 broadcast footage from the Milan’s Porta Romana neighbourhood, showing high plumes of black smoke rising between buildings, and firefighters on the scene.

Mobile phone footage from the street showed several cars in flames, as well as what appeared to be a scooter and nearby buildings. The wreckage of one vehicle appeared to be in the centre of the one-way road.

Milan’s mayor said the blast was not due to terrorism or any criminal action. 

Several vehicles are in flames in the centre of Milan in northern Italy after an explosion, the SkyTG24 news channel reported on Thursday

Several vehicles are in flames in the centre of Milan in northern Italy after an explosion, the SkyTG24 news channel reported on Thursday

Speaking to reporters at the scene, Mayor Giuseppe Sala said the explosion had caused no deaths and that the situation was under control. 

The explosion occurred at around 11.30am local time on via Pier Lombardo in the city’s Porta Romana district, 1.75 miles south-east of the city’s centre.

The city is home to around 1.3 million people.

Italian newspaper Corriere della Sera reported that the van was likely en-route to the nearby Italian Auxological Institute.

Witnesses reported seeing the van catch fire, before a huge explosion.

Firefighters said the fire in the van’s engine compartment, and despite efforts from the driver to turn off the vehicle, the fire spread. 

The van was carrying twenty 32-litre cylinders of oxygen, which is highly flammable. These acted as an accelerant, causing the blast, they said.

The publication said in addition to the van, five other parked cars – as well as a nearby pharmacy and an apartment building – caught fire.

One person was reported to have suffered smoke inhalation. 

Pictured: Firefighters are seen in Milan working to extinguish cars that caught fire after a large blast rocked the city's Porta Romana neighborhood on Thursday

Pictured: Firefighters are seen in Milan working to extinguish cars that caught fire after a large blast rocked the city’s Porta Romana neighborhood on Thursday

Mobile phone footage from the street showed several cars in flames, as well as what appeared to be a scooter and nearby buildings. While the cars were quickly extinguished, smoke continued to billow our of the window of a nearby apartment block (pictured)

Mobile phone footage from the street showed several cars in flames, as well as what appeared to be a scooter and nearby buildings. While the cars were quickly extinguished, smoke continued to billow our of the window of a nearby apartment block (pictured)

Mobile phone footage from the street showed several cars in flames, as well as what appeared to be a scooter and nearby buildings. While the cars were quickly extinguished, smoke continued to billow our of the window of a nearby apartment block (pictured)

Pictured: Snoke is seen rising above the streets of Milan after oxygen canisters exploded today

Pictured: Snoke is seen rising above the streets of Milan after oxygen canisters exploded today

Pictured: A firefighter is seen dragging a fire hose as emergency responders work to extinguish flames caused by an explosion on Thursday

Pictured: A firefighter is seen dragging a fire hose as emergency responders work to extinguish flames caused by an explosion on Thursday

The explosion occurred at around 11.30am local time on street via Pier Lombardo in the city's Porta Romana district, south-east of the city's centre

The explosion occurred at around 11.30am local time on street via Pier Lombardo in the city’s Porta Romana district, south-east of the city’s centre

Ambulances and firefighters rushed to the scene, while the carabinieri – the police – cordoned off the area. While the blazing cars were soon extinguished, smoke was continued to billow from the windows of nearby buildings.

A nearby nursery school and one apartment building has been evacuated.

The blast came the morning after a huge Champions League semi final clash between two football clubs based in the city – Inter Milan and AC Milan.

The two clubs share a stadium and an intense, historic rivalry. There is no suggestion that the blast was connected to the match.

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Image Credit: BACKGRID

Ahead of Hailie Jade‘s own pending nuptials to her fiancé Evan McClintock, rapper Eminem‘s 27-year-old daughter celebrated her sister, Alaina Mathers’ engagement with a full-blown bachelorette party over the weekend of May 6. “weekend recap,” she captioned the carousel of photos from the festivities. In the first slide, Hailie rocked a sexy black bikini, as she soaked up the sun on a lounge chair. The brunette bombshell completed her poolside attire with black slides, a black long-sleeve top, and on-trend mini-sunglasses.

The party really kicked off in the second slide, as the podcast host showed off her large pitcher full of margarita mix. Hailie proved the party was a family affair with the third photo, as she posed alongside her sister, Alaina, 30. Alaina is engaged (amid Hailie’s engagement) and said “yes” to her fiancé, Matt Moeller, in Dec. 2021. In the fifth slide of Hailie’s post, she hilariously opened her mouth and got shot with what appeared to be some kind of alcohol into her mouth with a water gun. The 30-year-old and her baby sis adorably rocked matching cowgirl hats in the second to last slide as they continued partying.

After Alaina’s younger sister shared the bachelorette party photos, many of her three million followers took to the comments to gush over her stylish swimsuit photo and more. One follower couldn’t help but note how much alike the two ladies look, even though Alaina is Eminem’s adopted daughter. “It’s crazy how much you two look alike, especially considering that you are biologically cousins,” the fan wrote. Meanwhile, another admirer couldn’t help but ask Hailie to ask her dad for new music. “Ask your father drop the album,” the fan joked.

Hailie Jade black bikini
Hailie Jade is rapper Eminem’s daughter. (BACKGRID)

As previously mentioned, Alaina announced her respective engagement in Dec. 2021. “this moment. this life yes a hundred times over. I LOVE YOU,” she captioned the adorable engagement announcement at the time. Meanwhile, her sister, Hailie, announced her engagement in Feb. 2023. “casual weekend recap… 2.4.23 i love you @evanmcclintock11,” she captioned the engagement photos with Evan merely three months ago. On Feb. 6, Eminem’s eldest daughter took to Instagram to gush over her sibling’s pending nuptials. “my sis is finally engaged there’s not many moments in life that leave you feeling pure bliss, but this has to be one of them,” Alaina wrote. “To look at my younger sister and see her living her best life – one that some may think was always easy, has me over the moon.”

The “Sing for the Moment” rapper not only is the proud dad to Alaina and Hailie, but also to his nonbinary child, Stevie Laine Mathers, 21. Eminem welcomed his only biological daughter, Hailie, with his ex-wife Kimberly Anne Scott, in 1995. Later, he adopted Kim’s twin sister, Dawn Scott’s daughter, Alaina, amid her younger years. In 2002, Kim and Eric Hartter, welcomed Stevie, however the recording artist also adopted them in 2005. Eminem and Kim divorced for the second and final time in 2006.

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View gallery Image Credit: BACKGRID Ahead of Hailie Jade‘s own

For more than 50 years, designers of computer chips mainly used one tactic to boost performance: They shrank electronic components to pack more power onto each piece of silicon.

Then more than a decade ago, engineers at the chip maker Advanced Micro Devices began toying with a radical idea. Instead of designing one big microprocessor with vast numbers of tiny transistors, they conceived of creating one from smaller chips that would be packaged tightly together to work like one electronic brain.

The concept, sometimes called chiplets, caught on in a big way, with AMD, Apple, Amazon, Tesla, IBM and Intel introducing such products. Chiplets rapidly gained traction because smaller chips are cheaper to make, while bundles of them can top the performance of any single slice of silicon.

The strategy, based on advanced packaging technology, has since become an essential tool to enabling progress in semiconductors. And it represents one of the biggest shifts in years for an industry that drives innovations in fields like artificial intelligence, self-driving cars and military hardware.

“Packaging is where the action is going to be,” said Subramanian Iyer, a professor of electrical and computer engineering at the University of California, Los Angeles, who helped pioneer the chiplet concept. “It’s happening because there is actually no other way.”

The catch is that such packaging, like making chips themselves, is overwhelmingly dominated by companies in Asia. Although the United States accounts for around 12 percent of global semiconductor production, American companies provide just 3 percent of chip packaging, according to IPC, a trade association.

That issue has now landed chiplets in the middle of U.S. industrial policymaking. The CHIPS Act, a $52 billion subsidy package that passed last summer, was seen as President Biden’s move to reinvigorate domestic chip making by providing money to build more sophisticated factories called “fabs.” But part of it was also aimed at stoking advanced packaging factories in the United States to capture more of that essential process.

“As chips get smaller, the way you arrange the chips, which is packaging, is more and more important and we need it done in America,” Commerce Secretary Gina Raimondo, said in a speech at Georgetown University in February.

The Commerce Department is now accepting applications for manufacturing grants from the CHIPS Act, including for chip packaging factories. It is also allocating funding to a research program specifically on advanced packaging.

Some chip packaging companies are moving quickly for the funding. One is Integra Technologies in Wichita, Kan., which announced plans for a $1.8 billion expansion there but said that was contingent on receiving federal subsidies. Amkor Technology, an Arizona packaging service that has most of its operations in Asia, also said it was talking to customers and government officials about a U.S. production presence.

Packaging chips together isn’t a new concept and chiplets are just the latest iteration of that idea, using technological advances that help cram the chips closer together — either side by side or stacked on top of one another — along with faster electrical connections between them.

“What is unique about chiplets is the way they are connected electrically,” said Richard Otte, the chief executive of Promex Industries, a chip packaging service in Santa Clara, Calif.

Chips can’t do anything without a way to connect them with other components, which means they need to be placed in some kind of package that can carry electrical signals. That process starts after factories complete the initial phase of manufacturing, which may create hundreds of chips on a silicon wafer. Once that wafer is sliced apart, individual chips are typically bonded to a key base layer called a substrate, which can conduct electrical signals.

That combination is then coated in protective plastic, forming a package that can be plugged into a circuit board that is essential for connecting to other components in a system.

These processes originally required lots of manual labor, leading Silicon Valley companies to shift packaging to lower-wage countries in Asia more than 50 years ago. Most chips are typically flown to packaging services in countries like Taiwan, Malaysia, South Korea and China.

Since then, packaging advances have gained importance because of the diminishing returns from Moore’s Law, the shorthand expression for chip miniaturization that for decades drove progress in Silicon Valley. It is named for Gordon Moore, a co-founder of Intel, whose 1965 paper described how rapidly companies had doubled the number of transistors on a typical chip, which improved performance at a lower cost.

But these days, smaller transistors are not necessarily cheaper, partly because building factories for leading-edge chips can cost $10 billion to $20 billion. Big, complex chips also are costly to design and tend to have more manufacturing defects, even as companies in fields like generative A.I. want more transistors than can currently be packed onto the biggest chips manufacturing machines allow.

“The natural response to that is putting more things in a package,” said Anirudh Devgan, chief executive of Cadence Design Systems, whose software is used to design conventional chips as well as chiplet-style products.

Synopsys, a rival, said it was tracking more than 140 customer projects based on packaging multiple chips together. As much as 80 percent of microprocessors will use chiplet-style designs by 2027, according to the market research firm Yole Group.

Today, companies typically design all the chiplets in a package along with their own connection technology. But industry groups are working on technical standards so companies can more easily assemble products from chiplets that come from different makers.

The new technology is mostly used now for extreme performance. Intel recently introduced a processor called Ponte Vecchio with 47 chiplets that will be used in a powerful supercomputer at Argonne National Laboratory, which is near Chicago.

In January, AMD disclosed plans for an unusual product, the MI300, that combines chiplets for standard calculations with others designed for computer graphics, along with a large pool of memory chips. That processor, intended to power another advanced supercomputer at Lawrence Livermore National Laboratory, has 146 billion transistors, compared with tens of billions for most advanced conventional chips.

Sam Naffziger, an AMD senior vice president, said it wasn’t a slam-dunk for the company to bet its chip business for server computers on chiplets. Packaging complexities were a major hurdle, he said, which were eventually overcome with help from an undisclosed partner.

But chiplets have paid off for AMD. The company has sold more than 12 million chips based on the idea since 2017, according to Mercury Research, and has become a major player in microprocessors that power the web.

Packaging services still need others to supply the substrates that chiplets require to connect to circuit boards and one another. One company driving the chiplet boom is Taiwan Semiconductor Manufacturing Company, which already makes chips for AMD and hundreds of others and offers an advanced silicon-based substrate called an interposer.

Intel has been developing similar technology, as well as enhancing less-expensive conventional plastic substrates in an approach favored by some such as the Silicon Valley start-up Eliyan. Intel has also been developing new packaging prototypes under a Pentagon program and hopes to win CHIPs Act support for a new pilot packaging plant.

But the United States has no major makers of those substrates, which are primarily produced in Asia and evolved from technologies used in manufacturing circuit boards. Many U.S. companies have also left that business, another worry that industry groups hope will spur federal funding to help board suppliers start making substrates.

In March, Mr. Biden issued a determination that advanced packaging and domestic circuit board production were essential for national security, and announced $50 million in Defense Production Act funding for American and Canadian companies in those fields.

Even with such subsidies, assembling all the elements required to reduce U.S. dependence on Asian companies “is a huge challenge,” said Andreas Olofsson, who ran a Defense Department research effort in the field before founding a packaging start-up called Zero ASIC. “You don’t have suppliers. You don’t have a work force. You don’t have equipment. You have to sort of start from scratch.”

Ana Swanson contributed reporting.

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For more than 50 years, designers of

CNN’s live townhall Wednesday with Donald Trump might have been well received by the painfully obvious pro-Trump audience in the studio, but if social media is any indication viewers at home were far less amused.

The struggling cable news outfit was excoriated widely on Twitter during the event — and for hours after. Some said the broadcast was “not a town hall,” but a “rally” for Trump, others dismissed it as “a Trump infomercial,” and Democratic congressional representative Alexandria Ocasio-Cortez said simply that CNN “should be ashamed.”

And many who watched called for CNN CEO Chris Licht to resign.

So what upset them? For one thing, the event featured what appeared to be an audience solely made up of Trump supporters. For another, it amounted to just over an hour in which the disgraced ex-president lied repeatedly, dissembled, evaded questions and advanced yet more false claims about the 2020 election.

Trump was was even allowed to smear E. Jean Carroll without real pushback from moderator Kaitlan Collins, literally a day after being found guilty of sexually assaulting and defaming her. And later he even insulted Collins in personal terms.

After the show, journalist Mark Harris, among those calling on Licht to step down, offered this brutal assessment of the debacle: “A failure this immense happens when you forget that journalism’s only allegiance is to the truth, and decide instead that your highest priorities are to have no opinion about anything and to platform lies by calling them ‘newsworthy’ or saying, ‘But a lot of people believe him.’”

Harris also broke down what he saw as the key mistakes made, among them CNN agreeing to pack the audience with Trump supporters, and not canceling the event entirely in light of Trump being convicted by a civil trial jury of sexual battery and defamation.

Writer and political consultant Simon Rosenberg also called on Licht to resign, declaring that “he’s brought incredible shame to his once proud network.”

Journalist Kara Swisher broke down what she saw and the major problems with how Trump was treated, and noted “the audience was gamed in his favor.”

Trump’s estranged niece, Mary Trump, said “CNN is anti-American.”

One Twitter user deemed the interview a “stand up comedy show.”

An unnamed CNN on-air personality deemed the network’s coverage a “Trump infomercial,” according to The Daily Beast. 

When asked about the January 6 riots, Trump celebrated those who stormed the Capitol, speaking of his supporters, “they thought the election was rigged. And they were there proud.”

“They were there with love in their heart,” he continued. “That was an unbelievable and it was a beautiful day.”

President Joe Biden tweeted a video in response to these assertions, placing Trump’s statements above a video displaying the violence of the insurrection. “The January 6th rioters were not good people,” Biden wrote. “End of story.”

The town hall interview, which took place in New Hampshire Wednesday night, was criticized by some Democrats even before it aired. Many were skeptical of CNN’s willingness to give the former president such a large platform with so much airtime amid his myriad legal scandals. 

Another viewer believes Trump’s continued denial of Carroll’s allegations on CNN were grounds for another defamation lawsuit.

Rep. Alexandria Ocasio-Cortez (D-New York) slammed CNN’s coverage, tweeting that the network allowed the town hall to “be manipulated into platforming election disinformation, defenses of [the January 6 Capitol riots], and a public attack on a sexual abuse victim.”

Below are some more critiques of the town hall, from Collins’ lack of assertiveness to the hall’s fully Republican and GOP-leaning independent live audience, and more:

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CNN’s live townhall Wednesday with Donald Trump

Project Runway is coming back for an all-star 20th season on June 15 — and with that announcement comes some good news and some bad news. The good news: for probably the first time in streaming TV history, all 19 seasons of Project Runway are available to stream in one place thanks to Peacock. Every season, from the initial Bravo run to the criminally underrated Lifetime run (where the show has spent most of its run, BTW!) to its grand return to Bravo, is available to binge. What could possibly be the bad news? Seasons 8 through 16 are only available in edited — dare I say butchered? — 40-minute versions as opposed to their original 60-minute incarnations. And considering that Season 8 is quite possibly the best season of the show, if not one of the best seasons of reality competition TV ever produced, this is a crime. So while we’re thrilled to finally be able to stream all of this trailblazing show in one place, we really need to be able to stream all of it. Make it work, Peacock!

©Bravo TV/Courtesy Everett Collection

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By Brett White Project Runway is coming back for

To understand the forces that have been roiling the biggest media companies, look no further than Disney’s earnings. Streaming economics are improving — considerably so. But not fast enough to offset declines in traditional television, which is in free fall.

Disney said on Wednesday that losses in its streaming business for the most recent quarter totaled $659 million, an improvement from a year earlier (and a vast improvement from the October-to-December period, when losses totaled $1.1 billion). Streaming revenue climbed 12 percent, reflecting a sharp increase in revenue per paid Disney+ subscriber, a metric investors watch closely.

The problem: Disney still relies on old-line TV channels for a colossal portion of its profit — and those outlets are being maimed by cord cutting, sports programming costs and advertiser pullback. Disney’s linear networks (ESPN, Disney Channel, ABC, National Geographic, FX) reported $1.8 billion in operating income, down 35 percent from a year earlier. Revenue fell 7 percent.

Robert A. Iger, Disney’s chief executive, called the decline of traditional television “a worrisome circumstance” in an earnings-related conference call with analysts. Disney shares fell by more than 4 percent in after-hours trading on Wednesday.

As part of its push toward streaming profitability, Disney announced that content from Hulu would be made available on Disney+ to subscribers of both services in the United States. Mr. Iger said this “one app experience” would roll out by the end of the year. Hulu, which does not operate overseas, will also continue as a stand-alone product.

Disney+ content is primarily aimed at children and families. The addition of more generalized Hulu content would “increase engagement and increase our opportunity in terms of serving digital ads — growing our advertising business,” Mr. Iger said.

Disney said it would raise the price for ad-free subscriptions to Disney+ later this year, in part to push more viewers toward cheaper subscriptions that allow for advertising (which, in turn, would allow Disney to increase advertising rates). Disney most recently raised the ad-free price in December: Those subscriptions now cost $11, up 38 percent from what Disney previously charged. The option with advertising costs $8.

Disney owns 67 percent of Hulu, with Comcast holding the balance. Under a 2019 agreement, Disney has an upcoming opportunity to buy out Comcast. (Estimates start in the $9 billion range.) Mr. Iger indicated on Wednesday that Disney would like to make that deal.

“We’ve had some conversations with them already,” he said. “I can’t really say where they end up.” Mr. Iger notably started the conference call by congratulating Comcast, an archrival, on the success of its animated “Super Mario Bros. Movie,” which has collected $1.2 billion worldwide.

Disney+ subscriber counts have abated over the past six months, in part because Disney has pulled back on expensive “subscriber acquisition” efforts — marketing campaigns that try to persuade people to subscribe. Disney+ now has about 158 million subscribers worldwide, a 2 percent decline from December, with most of the loss coming from ultra-low-priced subscriptions in India. Disney+ peaked with 164 million subscribers in October.

Disney had 231.3 million subscriptions across Disney+, Hulu and ESPN+ in the quarter, down from 234.7 million in December.

Unlike most of its competitors, Disney has a safety net in the form of theme parks. Operating profit in the company’s Parks, Experiences and Products division climbed 22 percent, to $2.2 billion, as Disney resorts in Shanghai and Hong Kong finally began to recover from the pandemic. Disneyland Paris continued its attendance surge, which started last summer with the opening of a Marvel-themed expansion.

Attendance also increased at Disney World in Florida and Disneyland in California, although higher costs — the introduction of a new “Tron”-themed roller coaster, for instance — dented profitability in Florida. Disney Cruise Line bookings were strong, partly because of a recent expansion of its fleet, the company said.

It was Disney’s first full quarter under the second reign of Mr. Iger, who returned as the chief executive in November. He replaced Bob Chapek, who was ousted by the board following a series of blunders, including the company’s response to contentious education legislation in Florida. The fallout from that matter has led to a legal battle with Gov. Ron DeSantis over Disney World’s future expansion and oversight.

On Wednesday, Mr. Iger said the company was “evaluating where it makes the most sense to direct future investments” for theme park construction, a clear reference to the standoff in Florida. Disney said last month — before the deteriorating situation with Mr. DeSantis — that it had earmarked $17 billion for Disney World expansion projects over the coming decade.

When asked by analysts about the tense situation in Florida, Mr. Iger reiterated that Disney viewed it as unconstitutional retaliation for its opinion on the education legislation.

As a whole, Disney generated $21.8 billion in sales, a 13 percent increase compared with last year, slightly surpassing analyst projections. Disney reported earnings per share of 93 cents, excluding certain items affecting comparisons, on par with analyst expectations.

Disney is in the midst of eliminating roughly 7,000 jobs, or roughly 4 percent of its global total, as part of a campaign to cut costs by $5.5 billion. There have been two rounds of layoffs so far; the final round is expected by the end of the month.

The company continues to pour money into original Disney+ programming. The third season of “The Mandalorian” arrived on the service in March. Another lavish series set in the “Star Wars” universe, “Ahsoka,” is scheduled to roll out on Disney+ this summer.

At the same time, however, Disney said it would begin removing some content from its streaming services, particularly in overseas markets where growth potential is limited. It did not give any examples of the content. Because content costs are amortized over time, early removal would cost Disney up to $1.8 billion. But the move will save Disney money over the long term because the company will not need to pay residual fees (a type of royalty) to show creators.

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To understand the forces that have been

Tal vez sea apropiado que MTV News, una marca juvenil si alguna vez hubo una, nunca alcance el gran 4-0.

El martes, Paramount Global desconectó MTV News, un elemento básico de la televisión por cable desde finales de la década de 1980 hasta principios de la década de 1980, y fue particularmente conocido, especialmente para los miembros de la generación X y los millennials mayores, por narrar la embriagadora cultura musical de ‘ años 90

La transmisión televisiva influyente y agradable para la multitud llevó la cultura de la música pop, las noticias y la política a las audiencias jóvenes, mucho antes de que Internet y Napster cambiaran las industrias de los medios y la música de manera fundamental.

La división de noticias se cerró como parte de una ronda más grande de despidos que hizo que el personal doméstico de MTV y Showtime se redujera en casi un 25%, según una nota interna a los empleados de Chris McCarthy, presidente de Showtime/MTV Entertainment Studios y Paramount Media Networks.

McCarthy dijo que la medida era parte de una consolidación de las operaciones de Showtime y MTV Entertainment Studios de la compañía. La compañía también está fusionando nueve equipos de red en un solo grupo.

“Este es un realineamiento estratégico difícil pero importante de nuestro grupo”, escribió McCarthy. “A través de la eliminación de algunas unidades y la racionalización de otras, podremos reducir costos y crear un enfoque más efectivo para nuestro negocio a medida que avanzamos”.

MTV News comenzó alrededor de 1984. En ese momento, MTV publicaba principalmente videos musicales, pero Viacom contrató a un joven ejecutivo, Doug Herzog, como director de noticias de MTV. Había estado trabajando en “Entertainment Tonight” y había captado la atención de la cadena con una primicia de una entrevista con Bruce Springsteen.

“Este fue el verano de ‘Purple Rain’, ‘Born in the USA’, el Victory Tour de los Jacksons y Madonna. Fue como los días de los videos musicales de Mt. Rushmore”, dijo Herzog a The Times en una entrevista. “Me dieron un poco de dinero para iniciar un departamento. Pero los muchachos que dirigían MTV, como Bob Pittman, eran muchachos de radio y realmente no querían interrumpir la música”.

MTV alguna vez fue sinónimo de Music Television, después de todo.

Inicialmente, había segmentos de noticias cada hora, dijo Herzog. El punto de inflexión llegó al año siguiente con el concierto Live Aid para recaudar dinero para aliviar la hambruna en África. El personal de MTV News ayudó a coordinar entrevistas en vivo de algunos de los nombres más importantes de la música rock.

“De repente, las noticias se convirtieron en algo”, dijo Herzog.

Pero la red encontró cierta resistencia, dijo.

“Las estrellas más grandes, Madonna, Prince, Bruce y otros, estaban un poco menos interesadas en hablar con los VeeJays, porque pensaban que eran, bueno, esponjosos”, dijo Herzog. “Algo de eso fue una crítica injusta, pero sentimos que tal vez [los artistas] querían a alguien con más credibilidad. Así que a Linda [Corradina] se le ocurrió la idea de contratar a Kurt Loder de la revista Rolling Stone”.

Loder fue contratado en 1987 para presentar un programa independiente, “The Week in Rock”. Los ejecutivos de Viacom de entonces vieron rápidamente el potencial de ofrecer las noticias de actualidad en un formato sencillo para atraer aún más a los principales espectadores de MTV que amaban los videos musicales, las películas y los centros comerciales.

En unos pocos años, Loder, junto con la corresponsal Tabitha Soren, Gideon Yago y otros, habían alcanzado el estatus de celebridad en medio del ascenso meteórico de MTV en la cultura pop estadounidense. En 1992, los tres candidatos presidenciales —el actual republicano George H.W. Bush, el demócrata Bill Clinton y el candidato independiente Ross Perot— aparecieron en entrevistas en MTV News como parte de sus cambios de campaña.

En 1993, MTV transmitió un informe especial, “Hate Rock”, presentado por Loder, que según un crítico de Los Angeles Times proporcionó una “evaluación sobria de las fuerzas que se han combinado para crear una liga de cabezas rapadas post-punk que hostigan a las razas”. en Alemania y en otros lugares. Al año siguiente, MTV News trajo a los televidentes un reportaje especial sobre “Gangsta Rap”.

“Empezamos a hacer cosas más contundentes”, dijo Herzog. “Comenzamos a hacer documentales y a ganar premios. MTV, en esos días, era una gran fuerza cultural. Todos la veían y todos querían ser parte de ella, incluido Bill Clinton”.

Durante una aparición en 1994 del entonces presidente Clinton en un ayuntamiento de MTV para abordar el aumento de la violencia, un miembro de la audiencia le preguntó: “¿Son calzoncillos o calzoncillos?”

El momento se convirtió en una sensación nacional, décadas antes de que la noción de “volverse viral” fuera parte de la lengua vernácula. Esa pregunta y la respuesta de Clinton (“Por lo general breves”) cambiaron los límites de lo que se consideraba un discurso político aceptable.

Ese mismo año, Loder interrumpió la programación habitual de MTV con un informe especial para anunciar que Kurt Cobain de Nirvana se había suicidado.

Loder se sentó en un escritorio en los estudios MTV en Nueva York, sosteniendo una sola hoja de papel. En una cadencia rápida, anunció que era un “día muy triste” y que “el líder de una de las bandas más talentosas y prometedoras del rock, Nirvana, ha muerto”. Señaló que el cuerpo de Cobain había sido encontrado en una casa en Seattle y que aparentemente había muerto por una herida de bala autoinfligida.

Algunos compararon la escena con una de tres décadas antes, cuando Walter Cronkite irrumpió en la programación de CBS para anunciar que el presidente John F. Kennedy había sido asesinado en Dallas.

El presidente Obama apareció varias veces a lo largo de los años. En 2012, MTV News presentó una entrevista en vivo de 30 minutos con él llamada “Pregúntale a Obama en vivo: una entrevista con el presidente”.

Pero a lo largo de los años, en medio de la reestructuración corporativa y la llegada de Vice News y BuzzFeed, más vanguardistas, la influencia de MTV News comenzó a desvanecerse. El ejecutivo de MTV Van Toffler dejó la empresa en 2015.

A diferencia de sus padres, los nativos digitales no necesitaban encender la televisión para recibir las noticias. Las redes sociales llenaron ese vacío. YouTube saltó a la fama.

En 2016, Herzog, quien entonces estaba a cargo de las cadenas de MTV, luego de un largo período al frente de Comedy Central, trató de revivir la marca MTV News contratando a varios periodistas, “mi fallido intento de reinventar MTV”, dijo.

En 2017, McCarthy intentó un reinicio de alto perfil de MTV para devolverle la relevancia. Pero a pesar de esos esfuerzos, MTV News continuó contrayéndose en los últimos años, haciéndolo menos relevante para los consumidores.

Los disruptores de antaño que cortaron la relevancia de MTV también han atravesado tiempos difíciles últimamente. BuzzFeed News cerró a principios de este mes y, según los informes, Vice Media está a punto de declararse en bancarrota en medio de un mercado publicitario difícil para los sitios de noticias en línea.

La decisión de la compañía de despedir al personal de MTV y cerrar la unidad de noticias se produce en medio de fuertes presiones financieras sobre la empresa matriz de MTV, que informó la semana pasada que tuvo una pérdida neta de $1,100 millones en el primer trimestre de este año.

Paramount ahora se enfoca en construir sus puntos de venta de transmisión de video, Pluto TV y Paramount+.

El redactor Stephen Battaglio contribuyó a este informe.

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Tal vez sea apropiado que MTV

On January 2, 2023, Scarlet Johansson was shooting Project Artemis in Atlanta, when she woke up to the news that her Avengers co-star Jeremy Renner had almost been killed in a snowplow accident.

Renner, who broke more than 30 bones and suffered blunt chest trauma, was run over by a 7-ton snowcat while trying to save his nephew from being hit.

Jeremy Renner

Photo: Jeremy Renner on Instagram

“I was very upset,” she remembers.

“Real Superhero Stuff”

Happily, Renner’s prognosis continued to improve over the next few days. Even Johansson and her Avengers co-stars were impressed.

“On the Avengers text chain, we’re like, ‘OK, you beat us all. That’s it. You won,’” she says. “That’s like real superhero stuff. It’s unbelievable.” The thread includes the original six Avengers — Johansson, Chris Evans, Jeremy Renner, Robert Downey Jr., Chris Hemsworth, and Mark Ruffalo.

Jeremy Renner

Photo: Instagram / @jeremyrenner

A few weeks ago, Johansson and Evans flew to Los Angeles together to visit Renner. While the actor still has a long road to recovery, he is in good spirits.

“No tears at all. A lot of laughs and smiles and hugs,” Evans says. “Leave it to Jeremy to take something this potentially tragic and turn it into something so inspiring.”

Jeremy Renner Chris Evans

Photo: Variety

An Emotional Reunion

For Johansson, the reunion was emotional, there was a time when the actress had wondered if she would ever see Renner again.

Johansson Renner

Photo: Access

“I was honestly so [very] happy to see him. I didn’t know if I was ever going to see him again. To not only see him again but to see him thriving and in such an amazing space, mentally,” Johansson says.

“He’s a very spiritual person in general and a very soulful person. And you can see that in his work. It comes through. He has such a depth to him. And I just was so happy to see that he is full of life and light, and he’s also hilarious. We laughed a lot.”

GOAT

Source: slashfilm.com

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On January 2, 2023,

DCU head and Guardians of the Galaxy director James Gunn has heaped heavy praise on the long-delayed The Flash movie, calling it “probably one of the greatest superhero movies ever made.” While outlining his plans via social media for the rebooted DC cinematic universe, Gunn could not help but commend The Flash director Andy Muschietti for his work and states that the filmmaker will work within the DCU again in the future.


“We had input on it for sure, but there’s nothing we had to do in order to set up our universe,” said co-CEO of DC Studios Peter Safran. “We’re very close to Andy Muschietti and Barbara Muschietti, the director and producer of The Flash,” adds James Gunn. “Andy’s going to be doing some more stuff for us.”

MOVIEWEB VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT

Luckily for Gunn and Safran, while they were brought on board the development of The Flash, they did not have to change anything to fit in with their plans for the DCU going forward. While details of The Flash remain largely under wraps, it has been revealed that the movie will follow in the footsteps of the MCU and introduce the concept of the multiverse.

The Flash takes inspiration from the comic book arc Flashpoint and finds Barry Allen traveling back in time to prevent his mother’s murder. But, as is often the case when you mess with the madness of the multiverse, things do not go to plan, with Barry’s actions causing various universes to collide and thus introducing variants of different characters, including the return of Michael Keaton as Batman.

RELATED: Michael Keaton’s Batman Future Teased by DC Studios Bosses


The Flash Will Reset the Franchise and Make Way for the DCU

Warner Bros.

Following the recent announcement from Gunn, we now have a much better idea of what the DCU will entail. The recalibrated franchise will begin with a Superman reboot, Superman: Legacy, in July 2025, followed by the superhero team-up flick The Authority, a Batman project titled The Brave and the Bold, Supergirl: Woman of Tomorrow, a Swamp Thing reboot, a Wonder Woman prequel series titled Paradise Lost, the animated series Creature Commandos, a series centered on Amanda Waller, a Green Lantern series titled Lanterns, and a series about Booster Gold.

Gunn has also revealed that The Flash will directly lead to the DCU as he and Safran see it. The filmmaker explains that Muschietti’s multiverse movie completely “resets the entire DC Universe.”

While it is expected that the DC universe will be largely rebooted and recast, Safran did reveal that there is a chance Ezra Miller will continue as Barry Allen, aka The Flash following the emergence of the DCU. “Ezra is completely committed to their recovery,” he said. “We’re fully supportive of that journey that they’re on right now. When the time is right, when they feel they are ready to have the discussion, we’ll all figure out what the best way forward is, but right now, they are completely focused on their recovery. In our conversations with them over the last couple of months, it feels like they’re making enormous progress.”

Directed by Andy Muschietti from a screenplay by Christina Hodson, The Flash stars Ezra Miller alongside Ron Livingston, Michael Keaton, Kiersey Clemons, Michael Shannon, Sasha Calle, and Ben Affleck. Following all manner of delays and drama behind the scenes, The Flash will make his solo debut on the big screen later this year and is scheduled to be released on June 16, 2023.

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DCU head and Guardians of the Galaxy

“Can you believe it took 75 years to nominate a woman as the president of the Cannes Film Festival?” Iris Knobloch asks, reflecting on her 2022 appointment as the fest’s top executive.

Known for her strong will, the chic, charismatic German is used to being a rare woman in power — she essayed various roles at the top of WarnerMedia in Europe for 25 years, where she cultivated relationships with such Hollywood players as Warner Bros. Discovery consultant and former Disney chief Alan Horn, filmmakers Christopher Nolan and Todd Phillips, Amazon Studios and MGM film head Courtenay Valenti and Amazon Studios marketing chief Sue Kroll.

“I love to point out that each time a woman comes into light, it’s a small step for men and a big leap for the other half of humankind,” she says.

Sitting in the festival’s Paris offices, Knobloch describes her Cannes role as the “legal and moral authority of the festival — the temple’s guardian.” She wears her confidence like perfume. “Women too often question their legitimacy and tend to censor their own ambition,” she says. “So I hope this nomination can inspire women to think big and fulfill their dreams.”

It’s fitting that Knobloch’s strongest memory of the Cannes Film Festival is the 2011 world premiere of “The Artist,” Michel Hazanavicius’ black-and-white love letter to Hollywood. Knobloch, who started her career as a lawyer at Warner Bros. in L.A., notes that she brought the film to Cannes as head of Warner France. It ended up winning five Oscars. “I remember sitting in the Lumiere Auditorium,” she says. “Since it was a silent movie, it was quite stressful as I could hear every noise the audience would make. I kept wondering, ’Is it a good or a bad sign?’ And then once the end credits started rolling, we had one of the longest standing ovations — almost 20 minutes. It was magical.”

Knobloch says that presiding over the festival is more than a job; it’s a commitment that comes “full circle,” allowing her to use everything she’s learned during her professional career. From her experience working at Warner Bros., she says, she gained a “profound understanding of the American and European cultures. This ability to act as a bridge between those two cultures is going to help me a lot,” she says.

Having attended Cannes as a studio executive for more than two decades is helpful, too, Knobloch says. “The first time I went to Cannes was in 1998. And for all those years, I experienced it from the other side — I participated in discussions about whether or not to bring a film to Cannes, and I know the commitment that takes, the concerns and anticipation it can trigger,” she says.

With studios and streamers recently pledging to invest in the theatrical experience, Knobloch says the momentum is ripe for her to take the helm of the festival. “The public and films are back in theaters,” she says. “The debate that pitted streaming services and movie theaters against each other is in the past. This year’s selection mirrors this new era for the festival.” Knobloch cites such streaming giants as Apple and Amazon, which are “dedicating important investments for theatrical releases.”

When Knobloch was appointed to her post last year, people suspected that, in order to placate such key streamers as Netflix, she would revamp the festival’s rule that prohibits films vying for a Palme d’Or from bypassing a theatrical launch in France. But Knobloch says she has no intention of pushing for that reform. “Of course, that’s an issue I pondered last year. But the debate has totally changed. The Cannes Film Festival can be proud of having always carried the torch in favor of cinema,” she says.

What’s her take on a giant like Netflix, which famously doesn’t screen its films theatrically in France, and thus is locked out of the Cannes competition due to the fest’s rules? “We respect their position,” she says. 

Cannes is often the center of controversy, and this year could hear some grumblings over the inclusion of Maïwenn’s “Jeanne du Barry,” starring Johnny Depp (both director and star have been involved in court cases) and Catherine Cor­sini’s “Le Retour” (which included accusations of inappropriate behavior during production). But Knobloch says, “Creating debates is one of the festival’s roles.

“A festival is a reflection of society. I find it healthy to disagree and to discuss important topics that are raised by certain films. We’re never seeking the easy way.” 

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“Can you believe it took 75 years

The Oldenburg International Film Festival is entering the metaverse. The indie film fest, known as “Germany’s Sundance,” is celebrating its 30th anniversary this year with a new cooperation that will allow fans to enter a virtual reality version of the event.

The collaboration between Oldenburg, German metaverse platform MILC and film critics’ site The Film Verdict, announced Thursday, is being billed as a way to bring “the magic of Oldenburg” and the international festival scene into the virtual world.

Oldenburg founder and festival director Torsten Neumann also noted that doing “metaverse screenings” — showing festival films for a global audience in the virtual reality space of the MILC platform — may be the way for international festivals to give fans worldwide access to their premieres and exclusive events.

Currently, regulations imposed by the International Federation of Film Producers Associations (FIAPF), require international festivals like Oldenburg to restrict access to their world premiere screenings to local in-person audiences or individual territories. But a “metaverse premiere,” Neumann argues, could be a separate event.

“Ever since the world had to move into digital isolation back in 2020, we decided to embrace new and innovative formats for the festival as welcome opportunities,” said Neumann, “and the sheer idea that entering the MILC metaverse like a virtual territory that claims its own status with regard to digital film premieres could open new perspectives and support, especially for indie films, seems like an exciting path to explore.”

MILC and The Film Verdict launched the first-ever metaverse-only film festival, the Alpha Film Festival, in March this year. Their cooperation with Oldenburg, MILC’s Hendrik Hey and The Film Verdict’s Eric Mika noted, was part of a common goal “to establish a new digital platform for independent filmmakers around the world to premiere their work and break free from the limitations of traditional digital distribution channels.”

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The Oldenburg International Film Festival is entering

Ashley Park was wrapped in black and beige at the second annual Gold Gala in Los Angeles. 

On Wednesday, May 10, the Emily in Paris actor hit the gold carpet in a Roberto Cavalli gown featuring asymmetrical cutouts that were adorned with sparkly gold pineapples. The embellishment added an element of charm to the sexy dress, which crisscrossed over her neck, chest, waist, and hips in alternating colors. At first glance, the nude fabric melts into her skin to create the illusion of a strappy black dress, which she perfectly accessorized with gold jewelry and a glittery handbag. 

Monica Schipper/Getty Images

The last band of nude fabric wraps around her waist and flows into a black skirt with a thigh-high slit. The peek-a-boo detail gave her platform black heels a chance to shine.

Gregg DeGuire

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Ashley Park was wrapped in black and

Stream it on Disney+.

Disney’s TV show “Chip ’n Dale: Rescue Rangers” ran for only three seasons, from 1989 to 1990, but the comedian Andy Samberg and his Lonely Island collaborator Akiva Schaffer are bringing the odd-couple chipmunks back together for a new generation. It’s a live-action/computer-generated hybrid that brings in characters from the worlds of Lego, “Peter Pan,” “Sonic the Hedgehog” and more. The hodgepodge style gives children a crash course in how animation has evolved over the years — but they probably won’t realize that. They’ll just be entertained by the visuals. The plot revolves around Chip (John Mulaney) and Dale (Samberg), who, after being estranged, reunite in Los Angeles because their old friend Monterey Jack (Eric Bana) has been kidnapped. They team up with a detective (Kiki Layne) to solve the crime. Chip sells insurance and still looks like old-school 2D animation, while Dale has had “C.G.I. surgery” and pines for their glory days. The movie, directed by Schaffer, doesn’t take itself too seriously, so there’s a silliness mixed with some more elevated (as elevated as a Lonely Island collaboration can be) humor meant to appeal to parents. It’s a fun, fast-paced action comedy, with Will Arnett voicing the villain Sweet Pete, a scruffy, potbellied Peter Pan who looks like he’s seen better days.

Stream it on Amazon Prime Video.

Imagine “Ocean’s Eleven” in Monte Carlo with an animated lion, zebra, giraffe and hippo instead of Brad Pitt and George Clooney, and you sort of have the tone of the third installment in DreamWorks Animation’s “Madagascar” franchise. Alex the lion (Ben Stiller), Marty the zebra (Chris Rock), Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) find themselves not in New York or Africa, but the South of France. Their mission? To find their penguin friends and go back to New York. Of course, they encounter obstacles along the way, like the monomaniacal animal-control captain Chantel DuBois (Frances McDormand). Eric Darnell and Noah Baumbach wrote the script, so for all the wild antics and over-the-top action that will excite the kids, there is some clever writing and more than a few endearing moments to entertain older viewers. It’s also tough to resist an animated chase scene set to Journey’s “Any Way You Want It.”

Based on the Cornelia Funke book “Dragon Rider,” this animated action-adventure tale doesn’t possess the Oscar caliber visuals and storytelling of “How To Train Your Dragon,” but it’ll likely entertain young viewers who love a good dragon tale. As the movie begins, we’re told that once upon a time, humans and dragons lived in harmony, but the humans became greedy and declared war on all dragons. A villainous monster called Nettlebrand (voiced by Patrick Stewart) was created to devour innocent dragons, so they all scattered and went into hiding, cast out and unable to do things that dragons do best, like breathe fire. But, as the narrator says, “Nothing remains hidden forever.” Enter the young dragon Firedrake (Thomas Brodie-Sangster), who sets off with his forest buddy Sorrell (Felicity Jones) to find a mythical place where dragons can exist freely, without the fear of Nettlebrand or evil humans. Along the way, they meet an orphan boy named Ben (Freddie Highmore) and encounter some humans who aren’t as malicious as they’ve been told. There are positive lessons about bravery, honesty and acceptance, so if your kids are in search of a new dragon adventure, this one’s worth a look.

Stream it on Netflix.

The original legend of the chupacabra paints these mythical creatures as scaly reptilian monsters that drink the blood of livestock — but don’t tell your children that part. In “Chupa,” the director Jonás Cuarón (son of the Oscar winner Alfonso Cuarón) turns the chupacabra into a cuddly, adorable furry-winged creature, so cute that your kids will probably want one as a pet. The story kicks off when a young boy named Alex (Evan Whitten) visits his grandfather (Demián Bichir) and cousins in Mexico and discovers one of these creatures in a shed. The chupa appears in a sequence that appears to be a direct nod to Elliott discovering E.T. in a backyard shed, and the film follows a familiar trajectory of lonely boy (Alex is bullied in school) and misunderstood creature finding strength in friendship while fending off evil forces — in this case, a callous poacher played by Christian Slater. The story is simple, and the younger Cuarón isn’t revolutionizing the genre, but there are moments of suspense and tenderness that should charm young ones and maybe even teach them some lessons about empathy and acceptance.

“Earwig and the Witch” is another children’s movie made by the son of a famous director — this one by Goro Miyazaki, son of the Oscar winner Hayao Miyazaki (“Spirited Away,” “Howl’s Moving Castle”). This computer-generated animated movie from Studio Ghibli was originally made for Japanese TV and re-voiced with an English-speaking cast. It is about a plucky young orphan named Earwig (Taylor Paige Henderson) who is left at the door of an orphanage by her rock-star biological mother. Eventually Earwig — who is renamed Erica during the movie — is adopted by a witch called Bella Yaga (Vanessa Marshall) and her demon friend Mandrake (Richard E. Grant). Erica hasn’t longed to be adopted, but off she goes. The witch puts her to work helping with magic spells and potions, and along the way, Erica discovers magical powers of her own. The movie is based on a book of the same title by Diana Wynne Jones, and even though the plot is a little thin and the visuals are not nearly as beautiful to look at as most Studio Ghibli productions, it’ll entertain kids who love a good witch tale.

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‘Chip ’n Dale: Rescue Rangers’Stream it on

It’s hard to talk about “Dead Ringers” and not start with the lamb wall. One of the most striking images in the entire six-episode Prime Video adaptation is Elliot Mantle (Rachel Weisz) standing in front of a display of lamb fetuses in different stages of gestation. In order to fully feel the effects of the meticulous work that the Mantles do to push the boundaries of science, the show’s production team put in plenty of their own (far more legally and ethically acceptable) work.

For series prop master Patrick Head, that meant working to help make something that would fit with the aesthetics of the show that showrunner Alice Birch had set out, and would also seem functional for Elliot’s purpose inside the story.

“We presented to Alice the prototype, which is very similar to research that they’re doing in Philadelphia right now. We were going to present various stages, the scientific version of DIY,” Head said. “The next version would be a lot more clean-looking. Then we would dispense with sort of the functionality of it and just have like a very impressive display. So we had these lambs made at various ages. Some of them just were static props, and some of them were puppets that can be manipulated so their legs moved. It ended up being the simplest, cleanest presentation in these glass boxes, and then they’re floating in, you know, goo.”

Before dealing with the eventual realities of four-legged puppets, one of the biggest challenges came at the beginning of production, with a scene depicting an emergency C-section. It was just one example of the production team working with OB-GYN consultants to make sure that the tools and techniques involved were accurate and used properly. That also went for the quick succession of births in the first “Dead Ringers” episode, which laid the groundwork for Head’s interactions with the LA-based effects house Autonomous FX, which built the prosthetic babies that allowed the series to film those intense delivery room scenes as practically as possible.

“The birthing montage was something that they wanted to portray very viscerally and accurately. I had access to a lot of photographers who accompany people when they’re giving birth. I pulled a lot of images of the freshest of newborns, and all the different colors they come in and the weird head shapes. We identified some of the details that we wanted to depict. Early on, I knew I was gonna need a lot of fake babies,” Head said. “We were telling Autonomous, ‘We want one baby that’s kind of bluish, and one that’s got a smushed-up head,’ all this stuff. They did a standing birth for another show. So they sent me over a picture of a prosthetic rig that they built already, which was essentially a belly, an anatomically correct vagina, and legs. It’s hollow, so that they can put the baby in the top and push it on through. That went over well, and we had them build several more of them in in different skin tones. And that was all for the first week of shooting.”

For days like one of the C-section shoots, the intricate setup required everything from silicone umbilical cords to a massive two-step process elsewhere.

“The C-section had some moving parts. That was another piece they built for us where they could fit the baby inside of the belly. There was one piece just for the incision, where the scalpel cut the silicone skin and there’s a little bit of blood underneath that would then leak out. Then they had a separate section where the incision and already been cut, and then you have all the different layers of subcutaneous fat, a uterus that you could cut open. And then inside of that was the baby attached to an umbilical cord attached to a placenta. They could do their hand movements and eventually scoop the baby out.”

With that intricate choreography of silicone happening in this birthing center, there was one surprisingly practical part of the shoot’s demands that proved to be as tricky as the elaborate setups: having enough supplies.

“Doing take after take, we needed fresh gloves, the paper for the table, and everything. Once it gets messy, then you switch everything out again. So we were just blowing through all these different surgical drapes and PPE. That was something that was kind of nerve-racking, I guess, ‘Are we have enough of this very specific kind of surgery drape?’” Head said. “And then of course, whenever you’re working with actors who are not doctors, you’ve got to get them to a point where they feel comfortable doing the motions as if they’re been doing it forever. And this was another instance where we would bring in actual OB-GYN surgical techs, and use them as hand doubles so that you could work very quickly and assuredly, to get all those steps done right.”

While these prosthetic babies do need to look realistic, there’s also plenty of attention paid to how much they weigh. For scenes where Weisz has to move around with (at least) one cradled in her arms, it helps the illusion that the model has the same heft and can’t just be flung around.

“When you hold a living thing, a precious newborn, you treat it with the utmost of care. Every single motion is considerate, and you have to support the head. You want to build that into the prosthetic or the prop, so that when the actors are handling it, they have that same sense of care and consideration with this piece of silicone which, as it turns out, weighs about the same and is kind of floppy,” Head said.

Those babies represented not only a budgetary investment for the props department but a time one as well. For every baby that came to life within the context of the show, that also represented a lengthy process for making sure that the performers playing the pregnant mothers also fit seamlessly into the fabric of “Dead Ringers.”

“Dead Ringers”Niko Tavernise/Prime Video

“The timeframe for making the work is a lot longer than what you usually have with television. We would have to cast some of these mothers very early in the process, much earlier than they would otherwise. That way, they could do a mold of their body and match their skin tone and all these other things that need weeks and weeks to play out,” Head said.

One other distinct challenge for “Dead Ringers” is that some sequences switched back and forth between models and the actual live babies they’re modeled after. Monitoring that process and making sure everyone remained safe — particularly filming during a time where Covid considerations were still very much at the forefront — added to the list of considerations for the crew.

“Any time you have an infant, you bring a nurse in. We work with the nurse and the costume department to swaddle the baby properly in the blanket and the hat or whatever else we want to appear on screen. We work with a professionals to make sure that we’re not going to do anything that causes the babies to have an adverse reaction or to stress them out too much. No one wants a crying baby,” Head said. “If we’re gonna do any kind of gunk on them, we have to run that by the nurse and the parents. We bought a thick baby lotion to replicate the vernix, the protective coating that’s on the skin of the babies when they’re first born. You’re not really supposed to wipe that off because it has nutrients, but that’s why they look like they’ve been smeared in something white.”

While birth is really the star of the show, don’t sleep on the food. It’s the slicing into poultry that in some ways sets up the visceral sequences with the scalpel. Head also pointed out that food plays a key part in tracking the thematic evolution of the season.

“Each episode had a fruit theme that corresponded to the development of a fetus. We started with cherries, and then we moved to limes. Grapefruit was for the episode when they’re in Alabama, and then we ended on watermelon. If you watch carefully, there’s a pomegranate that’s in there, too, when the parents were visiting,” Head said.

That, in turn, made for an incredible parting gift for the “Dead Ringers” cast and crew.

“For wrap, I made these little goodie bags with fake placenta and fake umbilical cords and put them in a biohazard specimen bag. Dehydrated watermelon was the placenta, and then some red licorice. It was a hit,” Head said.

“Dead Ringers” is now available to stream on Prime Video.

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It’s hard to talk about “Dead Ringers”

Killer Mike has shared two new videos, one for the previously released single “Don’t Let the Devil” and another for the new track “Motherless.” Mike refers to the Shane Smith-directed video as a celebration, not a  eulogy, for his mother, who he describes as a “bad ass Black girl from Atlanta.” He’s also detailed his new album Michael, which is out June 16 via Loma Vista. Check out both videos, plus the album’s tracklist and artwork below.

“When I first played Dion (No I.D.) the album he said two things—one of which was that I was essentially holding something back and that was the song ‘Motherless,’” Mike said in a statement. “It was the last song made for the album because I hadn’t uttered these words [“my momma dead”] out loud since her transitioning. When I tell the story of my mother the tales told include one when I walked in on her attempting to take her own life—it gets to the heart of how deeply sensitive an artist and human she was. She survived, was diagnosed bi-polar and depressed; she fought that until the day she died. She lived a beautifully rich outlaw of a life and I am honored to show her as the total beautiful badass she was.” 

Mike recently announced a tour. On Sunday, July 23, Killer Mike is set to perform at Pitchfork Music Festival in Chicago. Tickets are on sale now.

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Killer Mike has shared two new videos,

The trailer for Moroccan filmmaker Asmae El Moudir’s Cannes entry “The Mother of All Lies” debuts here (below). The documentary hybrid, about the lies that pervaded El Moudir’s childhood in Casablanca, has its premiere in Un Certain Regard on May 24. World sales are being handled by Autlook Filmsales.

The film starts with El Moudir wanting to know why she has only one photograph from her childhood, and why the girl in the picture isn’t even her.

To get to the truth, El Moudir and her father build a miniature set that recreates their neighborhood, and bring the whole family to the soundstage where it is built.

She then begins to ask questions, unraveling the story, letting her family members talk, asking probing questions. Slowly, she begins to interrogate the tales that her mother, father and grandmother have told all her life about their home and their country, starting to understand the layers of deception and intentional forgetting that have shaped her life.

Asmae El Moudir

In the film, she uses her own voice – as a child and as an adult – to lead the story. “My questions and my fantasized memories — between fiction and reality, between truth and lies — show how difficult it is to build one’s identity when all your memories are unreliable,” El Moudir says.

“I am not trying to document the true story of my family but to make a film about the multiplicity of points of view and the plurality of interpretations that exist within one household, not only for the sake of family history but for that of national history as well.”

El Moudir is a Paris- and Rabat-based director, screenwriter and producer. She has directed short documentaries for SNRT, Al Jazeera Documentary, BBC and Al Araby TV. She completed the mid-length film “The Postcard” in 2020. “The Mother of All Lies” is her first feature film.

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The trailer for Moroccan filmmaker Asmae El

RCMP are looking for a suspect accused of conspiracy to commit murder in central Alberta who allegedly threatened to kill a women in her home, and said he could be armed.

Three Hills RCMP said a woman reported that two men came to her home the night of Wednesday, May 3.

Police said one of the men allegedly entered the home, took the woman’s cellphone and said he was there to kill her.

The victim told police she was able to convince the men not to hurt her, and they left.

On May 10, Red Deer RCMP arrested 45-year-old Chrys Tremblay on multiple charges, including conspiracy to commit murder, forcible confinement and uttering threats.

Tremblay is currently on a conditional sentence order and will brought back to court to face the allegation of the CSO breach, RCMP said.

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Police are now looking for 31-year-old Chad Wickett, who is wanted on five charges: conspiracy to commit murder, unauthorized possession of a firearm, weapons possession contrary to order, using a firearm in the commission of an offence and fail to comply with release order.

RCMP said Wickett is considered armed and dangerous, and should not be approached.

Anyone with information on his whereabouts is asked to contact police.

Three Hills is about 100 kilometres northeast of Calgary.

— With files from Karen Bartko, Global News

&copy 2023 The Canadian Press

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By Staff The Canadian Press Posted May 11, 2023

Over it. Katie Maloney thinks the Tom Sandoval and Raquel Leviss cheating scandal is a “dumpster fire” — but believes the twosome should consider giving their relationship a real try. 

“I don’t know what they’re doing but I still think maybe they should give [their romance] a shot because they’ve blown up their lives, so they might as well,” Maloney, 36, said during her Wednesday, May 10, appearance on Watch What Happens Live With Andy Cohen. 

The “You’re Gonna Love Me” podcast host shared her opinions on Leviss, 28, giving Ariana Madix advice about her relationship problems with Sandoval, 40, during Wednesday’s season 10 episode, calling it the “most nefarious” thing she had “ever” seen. “My jaw was on the floor,” she told host Andy Cohen about the uncomfortable exchange. 

The Utah native’s candid insight comes after season 10 of Vanderpump Rules originally centered around Tom Schwartz’s August 2022 hookup with Leviss, 28. Things took a turn, however, when Us Weekly confirmed in March that Sandoval, 40, cheated onMadix, 37, with the model ahead of their split.

Before footage of Maloney calling Sandoval and Leviss’ connection into question aired on Bravo, she issued a message to her costars.

“I gave you every opportunity. I was so kind to you when I didn’t have to be, but I was,” Maloney said on Lala Kent’s “Give Them Lala” podcast in March, referring to her brief friendship with Leviss. “The fact that you didn’t really step [up] or appreciate that or recognize that and you walked all over that and took a giant dump on it, you’re an idiot.”

Maloney, who announced her split from Schwartz, 40, in March 2022, said she had no sympathy for Leviss amid the public controversy, adding, “You deserve … what’s coming to you right now.”

The Something About Her co-owner also weighed in on her past feud with Sandoval. “I never stood a chance with him. He was always gonna find fault with me,” she explained about her ups and downs with the Missouri native, adding that he “never” respected or acknowledged her during her marriage to Schwartz.

Schwartz, for his part, revealed he was aware of his business partner’s affair before it made headlines. “I learned about the affair in August. The one-night stand was in August and then it became, from my point of view, it became an emotional affair. Which is still inappropriate, but I didn’t think it was linear,” he said on WWHL one month later. “[Then] in January, he came to me and told me that he was in love with Raquel.”

Earlier this month, Maloney made it clear that she has remained on the outs with Leviss. In response to the California native’s stint in a mental health facility, the OG Vanderpump Rules star took to social media to call out the decision.

“Being so morally bankrupt to the point you cause this kind of chaos you better be equipped to deal with the backlash,” she wrote in the comments section of a Bravo fan post via Instagram. “And if your [SIC] not.. then get help you need but you can’t ask for sympathies in the process. That’s all. Mental health May isn’t reserved for those who seek and destroy.”

Vanderpump Rules airs on Bravo Wednesdays at 9 p.m. ET. Watch What Happens Live With Andy Cohen airs Sunday through Thursday nights and is available to stream the next day on Peacock.

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Over it. Katie Maloney thinks the Tom Sandoval and

It’s time for your daily dose of Quordle hints – now with added Daily Sequence answers! 

Yes, that’s right: the makers of Quordle have a new game, which sees you complete four Wordle puzzles consecutively. The twist is that the letters you’ve already used on the first game are repeated on the second and so on. 

It’s good fun, but also difficult – so if you already find yourself searching for Wordle hints, you’ll probably need some for Quordle and the Daily Sequence too. 

I’m a Quordle and Wordle fanatic who’s been playing since December 2021, so I can definitely help you solve Quordle today and improve your game for tomorrow. Read on for my Quordle hints to game #472 and the answers to the Daily Sequence. 

SPOILER WARNING: Information about Quordle today is below, so don’t read on if you don’t want to know the answers. 

Your Quordle expert

Your Quordle expert

Marc McLaren

Marc is TechRadar’s UK Editor in Chief and has been playing Wordle and Quordle for more than a year. He’s authored dozens of articles on the game for TechRadar and its sister site Tom’s Guide, including a detailed analysis of the most common letters in every position. His Wordle streak recently reached the 450 mark and he’ll be inconsolable if he loses it. Yes, he takes it all too seriously. 

Quordle today (game #472) – hint #1 – Vowels

How many different vowels are in Quordle today?

• The number of different vowels in Quordle today is 3*.

* Note that by vowel we mean the five standard vowels (A, E, I, O, U), not Y (which is sometimes counted as a vowel too). 

Quordle today (game #472) – hint #2 – total vowels

What is the total number of vowels in Quordle today?

• The total number of vowels across today’s Quordle answers is 6.

Quordle today (game #472) – hint #3 – repeated letters

Do any of today’s Quordle answers contain repeated letters?

• The number of Quordle answers containing a repeated letter today is 1.

Quordle today (game #472) – hint #4 – total letters

How many different letters are used in Quordle today?

• The total number of different letters used in Quordle today is 14.

Quordle today (game #472) – hint #5 – uncommon letters

Do the letters Q, Z, X or J appear in Quordle today?

• No. None of Q, Z, X or J appear among today’s Quordle answers.

Quordle today (game #472) – hint #6 – starting letters (1)

Do any of today’s Quordle puzzles start with the same letter?

• The number of today’s Quordle answers starting with the same letter is 0.

If you just want to know the answers at this stage, simply scroll down. If you’re not ready yet then here’s one more clue to make things a lot easier:

Quordle today (game #472) – hint #7 – starting letters (2)

What letters do today’s Quordle answers start with?

• C

• D

• W

• N

Right, the answers are below, so DO NOT SCROLL ANY FURTHER IF YOU DON’T WANT TO SEE THEM.

Quordle today (game #472) – the answers

Quordle answers for game 472 on a yellow background

(Image credit: Merriam-Webster)

The answers to today’s Quordle, game #472, are…

Some days, the Quordle gods smile on you. Today was one of those days, for me at least.

My strategy involves playing three set words at the start – STARE, DOILY, PUNCH – and that typically gives me three or four letters for each answer by the end of the third guess. Today, it gave me all five letters for two answers, four for another and three for the final one. What’s more, for one of the answers – DUNCE – it gave me all five letters in green. No, that one did not take long to solve!

CRYPT, WHEEL and NOBLE all followed fairly easily after that, and I solved the Daily Quordle with two guesses remaining.

The Daily Sequence was tougher – isn’t it always? It took me five guesses yet again to solve the first puzzle. Clearly this is a deliberate ploy on Quordle’s part, to front-load the difficulty. And I fall for it every time. I did find FILLY eventually, leaving me just five guesses left to solve the other three, but they were more straightforward and I finished with two chances left. Phew! 

How did you do today? Send me an email and let me know.


Daily Sequence today (game #472) – the answers

Quordle Daily Sequence answers for game 472 on a yellow background

(Image credit: Merriam-Webster)

The answers to today’s Quordle Daily Sequence, game #472, are…


Quordle answers: The past 20

  • Quordle #471, Wednesday 10 May: PRINT, VICAR, GAFFE, PLAIT
  • Quordle #470, Tuesday 9 May: PROSE, MUNCH, PIVOT, CONDO
  • Quordle #469, Monday 8 May: PUSHY, GRIPE, BLOAT, ASSET
  • Quordle #468, Sunday 7 May: TOOTH, SKULK, BRISK, SLOSH
  • Quordle #467, Saturday 6 May: SCALD, TABBY, STYLE, TEASE
  • Quordle #466, Friday 5 May: LIMBO, REVUE, TOTEM, ELBOW
  • Quordle #465, Thursday 4 May: BALER, SCORN, FETID, PASTE
  • Quordle #464, Wednesday 3 May: GODLY, LAGER, STEEL, GROWL
  • Quordle #463, Tuesday 2 May: CROSS, MOULT, STAIN, TATTY
  • Quordle #462, Monday 1 May: ETHIC, ALIKE, BIRTH, SLAIN
  • Quordle #461, Sunday 30 April: STOUT, GROUT, RALPH, RIGOR
  • Quordle #460, Saturday 29 April: SCOUR, BLUSH, WHINE, ELIDE
  • Quordle #459, Friday 28 April: TRITE, SLEEK, ALTAR, VOTER
  • Quordle #458, Thursday 27 April: QUASI, PLUSH, CHUTE, SOAPY
  • Quordle #457, Wednesday 26 April: PARKA, SPINY, BUSHY, CHAIR
  • Quordle #456, Tuesday 25 April: CREST, SHRUB, CREDO, BELOW
  • Quordle #455, Monday 24 April: DEUCE, BEAST, NOISY, YOUNG
  • Quordle #454, Sunday 23 April: FALSE, LUSTY, EMPTY, FLESH
  • Quordle #453, Saturday 22 April: LIMIT, IRONY, TERRA, ARBOR
  • Quordle #452, Friday 21 April: WARTY, SEVER, KNAVE, PUBIC

Quordle FAQs: Everything you need to know

What is Quordle?

Where Wordle challenges you to guess a new five-letter word each day, Quordle presents you with four puzzles to solve. And rather than complete them in turn, you do so simultaneously. You get nine guesses, rather than the six for Wordle, but the rules are otherwise very similar. 

It’s played online via the Quordle website (opens in new tab) and you can also get to it via the Merriam-Webster site (opens in new tab), after the dictionary purchased Quordle last year. 

As with Wordle, the answers are the same for every player each day, meaning that you’re competing against the rest of the world. And also as with Wordle, the puzzle resets at midnight so you have a fresh challenge each day.

The website also includes a practice mode – which I definitely recommend using before attempting the game proper! – and there are daily stats including a streak count. You also get Quordle Achievements – specific badges for winning a game in a certain number of turns, playing lots of times, or guessing particularly hard words.

Oh, and it’s difficult. Really difficult.

What are the Quordle rules?

The rules of Quordle are almost identical to those of Wordle.

1. Letters that are in the answer and in the right place turn green.

2. Letters that are in the answer but in the wrong place turn yellow. 

3. Letters that are not in the answer turn gray…

4. …BUT the word you guess appears in all quadrants of the puzzle at the same time, so an A could turn green in one square, yellow in another and gray in the final two. 

5. Answers are never plural.

6. Letters can appear more than once. So if your guess includes two of one letter, they may both turn yellow, both turn green, or one could be yellow and the other green.

7. Each guess must be a valid word in Quordle’s dictionary. You can’t guess ABCDE, for instance.

8. You do not have to include correct letters in subsequent guesses and there is no equivalent of Wordle’s Hard mode.

9. You have nine guesses to find the Quordle answers.

10. You must complete the daily Quordle before midnight in your timezone.

What is a good Quordle strategy?

Quordle needs to be approached in a different way to Wordle. With four puzzles to solve in nine guesses, you can’t blindly throw letters at it and expect to win – you’ll stand a far better chance if you think strategically.

That’s the case in Wordle too, of course, but it’s even more important in Quordle.

There are two key things to remember. 

1. Use several starting words

Firstly, you won’t want just a single starting word, but almost certainly two or three starting words. 

The first of these should probably be one of the best Wordle starting words, because the same things that make them work well will apply here too. But after that, you should select another word or possibly two that use up lots more of the most common consonants and that include any remaining vowels.

For instance, I currently use STARE > DOILY > PUNCH. Between them, these three words use 15 of the 26 letters in the alphabet including all five vowels, Y, and nine of the most common consonants (S, T, R, D, L, P, N, C and H). There are plenty of other options – you might want to get an M, B, F or G in there instead of the H, maybe – but something like that should do the trick.

If all goes well, that will give you a good lead on what one or sometimes two of the answers might be. If not, well good luck!

2. Narrow things down

Secondly, if you’re faced with a word where the answer might easily be one of several options – for instance -ATCH, where it could be MATCH, BATCH, LATCH, CATCH, WATCH, HATCH or PATCH – you’ll definitely want to guess a word that would narrow down those options. 

In Wordle, you can instead try several of those in succession and hope one is right, assuming you have enough guesses left. It’s risky, but will sometimes work. Plus, it’s the only option in Hard mode. But in Quordle, this will almost certainly result in a failure – you simply don’t have enough guesses.

In the scenario above, CLAMP would be a great guess, as it could point the way to four of the seven words in one go.

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It's time for your daily dose of

“I know I don’t look it, but I got a Ph.D.,” Richard Montañez tells his new supervisor at the Frito-Lay plant. After a doubting “Hmm?” from the boss, he continues, “I’m poor, hungry and determined, sir.”

Replies the button-down manager, “OK, I can see you’re gonna be a weird one.”

Welcome to the first trailer for Flamin’ Hot, director Eva Longoria’s tale of a janitor who channeled his Mexican-American heritage and upbringing into an idea for Flamin’ Hot Cheetos, which disrupted the food industry and became a pop culture phenomenon. As Montañez says in the trailer, “I’m the guy who helped bring the world the most popular snack it’s ever seen.”

Have a look above.

Layoffs are hitting the PepsiCo snack-food giant because “Frito-Lay isn’t getting enough orders to keep the factory open,” the workers are told. But Montañez has the answer: “It’s a spicy chip. It’s gonna change everything.” Doubts converge among the higher-ups — “Why are we wasting time on this janitor’s crazy idea?” — but he starts to convincing.

Talking to roomful of execs, Montañez says, “If we knew there was a product out there for us, we’d say, ‘Take all our money, cabrones!” A mini-montage later, he admits, “I got a little ‘hood there at the end, but …”

Annie Gonzalez, Dennis Haysbert, Emilio Rivera, Tony Shalhoub, Matt Walsh, Pepe Serna, Bobby Soto, Jimmy Gonzales, Brice Gonzalez, Vanessa Martinez, Fabian Alomar, Mario Ponce, Hunter Jones also star in the Searchlight Pictures film, which will be the first pic to hit both Disney+ and Hulu in its streaming debut, on June 9.

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“I know I don’t look it, but