Derek Hough Tears Up About Len Goodman’s Death: ‘Huge Shock’
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Gus and Big Man’s journey to Alaska is a go, but it comes with a caveat: Sweet Tooth‘s already-filmed third season will be its last, Netflix announced Wednesday.
“In a lot of ways, it’s exactly the story that I imagined we would tell and in a lot of ways it takes on its own life,” creator, showrunner and executive producer Jim Mickle said in a statement. “At the beginning, I think you set out to tell these landmark pieces of Gus’ story and the big pieces of the comic book, but the beauty of long-form storytelling and Gus’ journey over 24 episodes is the characters themselves tell you what they want to be. The crew and cast bring so much depth and point of view to who the characters are and where they’ve come from and where they’re going.”
Mickle continued: “Season 3 is an Arctic story with exciting new adventures and what we hope will be a satisfying conclusion to this epic tale. Gus is going to see a side of the world and humanity that he didn’t see in Season 1 or 2.”
In Season 2 (which hit the streamer Thursday, April 27), Gus (Christian Convery) and a band of fellow hybrids were held prisoner by General Abbot (Neil Sandilands) and his Last Men. Abbot used the children as fodder for the experiments of captive Dr. Aditya Singh (Adeel Akhtar), who was also racing to help save his wife, Rani (Aliza Vellani), a woman who was infected with the Sick. All the while, Tommy Jepperd (Nonso Anozie) and Aimee Eden (Dania Ramirez) raced the clock to save all of the children before it was too late. (Read our finale recap and interview with Nonso Anozie.)
The series also stars Stefania LaVie Owen as Bear, Naledi Murray as Wendy, Marlon Williams as Johnny Abbot, Christopher Sean Cooper Jr. as Tedd, Yonas Kibreab as Finn, and James Brolin as the narrator.
Rosalind Chao (who plays Zhang) and Amy Seimetz (Birdie) have been upgraded to series regulars for Season 3, while Cara Gee (The Expanse) and newcomer Ayazhan Dalabayeva join.
TVLine’s streaming scorecard has been updated with the renewal news. Excited to hear that Sweet Tooth‘s journey will continue? Sad to see it go so soon? Let us know by dropping some comments.
Gus and Big Man’s journey to Alaska
The upcoming Australian fantasy-adventure film “The Secret Kingdom” tells a story of two siblings’ courage being tested — and their adventures with some absolutely adorable magical animals — and you can see for yourself in the exclusive trailer at the top of the page.
In the trailer above, Verity (Alyla Browne) and Peter’s (Sam Everingham) trip to the old family mansion leads them on a magical journey beneath their bedroom floor which gives way, and they fall into a land of enchantment where they are met by a civilization of creatures. This underground world must be protected from the evil Shroud.
As the two take on this task, “to unite five mystical treasures and save the Kingdom, Peter and Verity must face epic challenges that will test their bravery to the limit,” per the official description.
Alongside Browne (‘’Nine Perfect Strangers”) and Everingham, the film stars Alice Parkinson (“X-Men Origins: Wolverine,” “Sanctum:), Darius Williams (“Home & Away”), and Christopher Gabardi (“My Pet Dinosaur”).
From Saban Films, “The Secret Kingdom” is written and directed by Matt Drummond, who produces with Alice Drummond. It hits theaters in limited release on June 9, as well as on demand and digital.
The upcoming Australian fantasy-adventure film “The Secret
Michigan-based experimental project Wolf Eyes have announced a new album. Dreams in Splattered Lines arrives May 26 via Warp imprint Disciples, marking the 25th anniversary of the prolific group, currently a duo of Nate Young and John Olson. Along with the announcement, Wolf Eyes have shared three tracks from the LP. Listen to “My Whole Life,” “Engaged Withdrawal,” and “Days Decay” below. Also below, find a trailer for the album.
Dreams in Splattered Lines was recorded following Wolf Eyes’ residency at the New York Public Library for the Performing Arts. “We had spent a lot of time in NYC during the residency but because of Covid we had limited access to the Library archives,” Wolf Eyes co-founder Nate Young said in a press release. “We would spend 4-5 hours at the library and then go to museums. The Met’s ‘Surrealism Beyond Borders’ exhibit was a huge influence on this record. Learning about the Chicago Surrealists’ spoken-word poetry performed with musicians was inspiring and affirmative. While Surrealism could generate often poetic and even humorous works, it was also taken up as a far more serious weapon in the struggle for political, social, and personal freedom, and by many more artists around the world.
“We started by continuing to explore the ideas of short dense sound collages that had similar behaviors to ‘hit singles.’ Using a lot of ideas that we established on the Difficult Messages series, we started to look at hit songs like terrariums: folding the idea of music and sound happening inside sound environments we created in the studio. The record starts with a Car Wash that includes a Short Hands track playing on the car radio while waves of white noise and contact microphones are plunging into water buckets. The track is then played in a car while going through an actual car wash and finally layered and mixed in the studio.”
John Olson added: “Dreams in Splattered Lines is the latest in Wolf Eyes’ journey into the corners of unknown electronic subterranean worlds. Thirteen tangled stories razor sharp from the duo’s recent Difficult Messages singles foray starting with a unique ‘suite’ from ‘Radio Box’ to ‘Engaged Withdrawl’ and ending with the grim title track, here is Wolf Eyes at their most abstract yet corrupted listening experience yet. For a group that would rather invent genres rather than follow them, Dreams in Splattered Lines is the twisted road that leads another 25 years onward to the unquenchable passion of unknown arcane electronic worlds. Music dreamt in 242 B.C. and horribly born in 20042 A.D.”
Michigan-based experimental project Wolf Eyes have announced
It’s a known fact that in films, the nanny (or manny) must have magical powers to accompany their parental wisdom. This is especially true in director-writer Venita Ozols-Graham and co-writer Brigitte Graham’s short film, The Ossan.
Alexis (Brigitte Graham) is a recent widow trying to get her and her step-family’s lives back together after the death of her husband. The problem is her two stepsons, Cole (Pappy Faulkner) and Brandon (Dean Hermansen), want nothing to do with their “not my real” mother. The maid, Rika (Toy Lei), suggests that Alexis hire a Japanese Ossan to help mediate between Alexis and her stepsons. However, when the Ossan (Keisuke Hoashi) arrives for dinner, Cole and Brandon lay out their entire plan to remove Alexis from the picture.
“…Cole and Brandon lay out their entire plan to remove Alexis from the picture.”
The story of The Ossan is pretty straightforward, setting the gap between protagonist Alexis and her antagonistic stepsons as far apart as possible. I mean, those brats are evil. The ending includes some practical and CG special effects that are not worth spoiling in regard to the Ossan’s true nature.
I would have liked to see the ending link closer to the nature of the conflict versus the comeuppance ending instead in the end. Still, The Ossan is a nice and tidy short thriller with a twinge of Twilight Zone mixed in.
For screening information, visit The Ossan official website.
It’s a known fact that in films,
EXCLUSIVE: The BBC has defended plans to film an American Idol-style acting competition series after performers compared the format to The Hunger Games.
The show, working titled Bring the Drama, was announced last month and promises to give untapped acting talent a shot at the big time with the winner securing agency representation and a role in a BBC drama.
Wall to Wall, the Warner Bros. Discovery-owned production company behind Netflix’s Glow Up, has begun casting for the six-part series and applicants are being told that they must not have attended drama school or had an agent for acting work.
The BBC said Bring the Drama aims to provide a break for those who have been unable to access professional training or representation.
But the show has angered some in the acting community, who raised concerns about the format and called on the BBC to give better opportunities to qualified actors in need of work.
Among those raising their concerns was Reece Shearsmith, the BAFTA-winning writer and actor, who has starred in the likes of Good Omens, The League of Gentlemen, and Inside No. 9.
He tweeted a gif of himself sighing and shaking his head alongside the caption, “Sorry, what?” The tweet was shared by Sherlock star Amanda Abbington.
Amy McPherson, who appeared in The CW’s Pandora, joked: “The Hunger Games prequel looks so exciting.” Theatre director Adam Morley added: “Here’s an idea, why not work on casting more untapped talent & less celebrity driven shows. Why not use the time and resources on more castings and opportunities rather than gladiatorial entertainment at the expense of people’s dreams. Actors hopes aren’t our entertainment.”
Acting uniton Equity’s Race Equality Committee tweeted: “We would like to ask the BBC why they don’t cast their net more widely and be more inclusive of the untapped talent that already exists in our harshly elitist profession?”
The BBC said: “The aim of Bring The Drama is to open the door to aspiring actors who have not previously felt able to consider professional training for a variety of reasons, for example lack of funds, geographical distance or lack of diverse representation.
“All the participants will get an invaluable insight into the acting world and tuition from leading industry mentors. The series is being accompanied by a Bring The Drama festival that will showcase careers in a range of non-performance roles in the creative industries.”
Competitors will undergo intense training and will be watched by leading casting directors and talent agents. The series will climax with a dramatic showcase, during which a winner will be crowned.
Emily Smith is the Executive Producer, while Alan Brown is the Showrunner. The Bring the Drama format is distributed by Warner Bros. International Television Production.
EXCLUSIVE: The BBC has defended plans to
Michael Douglas, the Oscar-winning star of features like “Fatal Attraction,” “Wall Street,” “Basic Instinct” and more recently Marvel’s “Ant-Man” film, will be recognized this month with the Cannes Film Festival’s honorary Palme d’Or for lifetime achievement.
Per an announcement from the festival Wednesday, the 78-year-old Hollywood vet will be subject of an opening ceremony tribute on May 16.
The tribute to Douglas will be also be commemorated with the premiere of previously unreleased documentary, “Michael Douglas, The Prodigal Son” from filmmaker Amine Mesta. Produced by Folamour and soon to be broadcast on Arte, the project will screen at the festival for two day beginning May 14.
A production of Arte France and Folamour Productions, with the support of Ciné+, an official logline for the documentary reads: “This special documentary shows us how Michael, an actor and producer like his father Kirk, had to embrace their resemblance throughout his remarkable career in order to assert his difference. The time to learn how to become Michael when your name is Douglas.”
More to come…
Michael Douglas, the Oscar-winning star of features
WGA members were motivated and irritated as they began the first wave of strikes in Los Angeles and New York City
WGA members were motivated and irritated as
Is the U.K. feeling royal fatigue? With three major royal events landing in the past 24 months — Prince Philip’s funeral in April 2021, followed by the Platinum Jubilee and Queen Elizabeth’s funeral in 2022 — the coronation of King Charles III on May 6 is dividing the nation.
The coronation arrives in a period of reflection about the monarchy and its place in modern British society, not to mention the optics of staging a ceremony replete with pomp and splendor while ordinary people are grappling with a cost-of-living crisis.
That makes it tricky for U.K. broadcasters to strike a balance between covering a historic event and serving diverse programming. When Prince Philip died, the BBC’s blanket coverage generated so many complaints that the broadcaster had to set up a dedicated hotline to field them.
Perhaps because of the respect Queen Elizabeth commanded, there were fewer grumblings about the coverage of the Platinum Jubilee last June or during her funeral in September. Still, Paramount Global-owned Channel 5 drew praise from some quarters for being the only British public service broadcaster to eschew coverage of the queen’s funeral entirely, opting instead to air “The Emoji Movie.” (On the day of the coronation the network is sticking to its regular Saturday morning kids programming, including episodes of “Peppa Pig” and “SpongeBob SquarePants.”)
Charlotte Moore, chief content officer at the BBC, acknowledges it’s a challenge to appease all viewers during national occasions. “There’s lots of choice for those who don’t want to [watch] but we see this as a huge honor that we’ll be covering this event,” she tells Variety.
As well as transmitting the two-hour coronation across the world, the BBC is producing and broadcasting a celebratory concert from Windsor Castle the following evening, featuring Katy Perry and Lionel Richie. (Indicative of the polarized attitudes about the coronation, rumors have swirled that several British stars, including Adele and Ed Sheeran, turned down the opportunity to take part, although Tom Cruise and Winnie the Pooh are confirmed to appear.) For those who do want to watch, the broadcaster will offer closed captioning and audio description, as well as ultra HD broadcasts.
Comcast-owned Sky News is also planning robust coverage, setting up studio hubs across the road from Buckingham Palace, where the procession will begin, and opposite Westminster Abbey, where the king and his wife, Queen Camilla, will be crowned. Sky News reporters will also be stationed around the country to catch the public’s joy — or discontent. “If there are demonstrations or protesters, we’ll make sure [their] voices are heard,” says Sarah Whitehead, Sky’s deputy head of newsgathering.
Whitehead says she’s looking forward to witnessing history come to life. “This is a moment of extraordinary spectacle,” she says. “The pomp and pageantry around it will be amazing.”
Channel 4, which has always boasted an anarchic streak, is leaning into a more anti-royalist sentiment with a weekend of programming that includes an unscripted special titled “Frankie Boyle’s Farewell to the Monarchy” and a rerun of the comedy “Prince Andrew: The Musical,” as well as a documentary about the king’s disgraced younger brother.
“Channel 4 is here to provide an alternative voice, so on the day of the coronation we’ll be offering viewers the chance to watch something different,” says Alisa Pomeroy, the network’s head of documentaries.
King Charles is certainly aware he has big shoes to fill in the eyes of his subjects and has planned accordingly: He’s scaled down the ceremony (it will clock in around an hour shorter than his mother’s) and, according to reports, ensured Prince Andrew has no official role in the proceedings. As a sweetener, Britons will also enjoy an extra day off from work.
As the BBC’s Moore points out, regardless of people’s personal feelings about the monarchy, Britain’s first coronation in 70 years represents a historic moment: “I don’t think it’s about whether you’re a royalist or not. This is a once-in-a-generation event.”
Is the U.K. feeling royal fatigue? With
Even when people don’t know Will Poulter’s name, they recognize his face. It helps that the 30-year-old Brit has been acting for half his life and has racked up an eclectic list of film credits, though he’s also blessed with a pair of distinctive eyebrows that are as curvy and expressive as a fleur-de-lis. They pull people in, even if those people aren’t always sure where to place the on-the-cusp actor.
“To be honest,” Poulter said, “the bulk of my interactions are, ‘Do I know you from somewhere? Are you the guy from that thing? What have I seen you in?’”
Often, this forces Poulter to cycle through a list of his projects until something clicks. Do they remember him as the shy dork who received kissing lessons from Jennifer Aniston in “We’re the Millers,” or the brash friend who meets a bad end in “Midsommar”? Or maybe they grew up on some of the YA franchises he co-starred in, like the “Maze Runner” series and “The Chronicles of Narnia: The Voyage of the Dawn Treader”?
Poulter is a patient man, but his willingness to oblige a stranger can still lead to some awkward moments. “No one wants to be put in a position where you’re reciting your C.V.,” he said. Likening himself to a supporting character from “The Simpsons,” he added: “I often feel like I’m doing a Troy McClure impression: ‘You may know me from such things as…’”
After this weekend, Poulter’s “where do you know me from” conversations will receive a cut-to-the-chase trump card: He’s joined the Marvel Cinematic Universe, playing the caped superhero Adam Warlock in “Guardians of the Galaxy Vol. 3.” Described in the comic books as a genetically engineered perfect being, Poulter’s Warlock has glittery-gold skin and dangerous powers: Imagine an Oscar statuette that can shoot cosmic beams out of its hands, and you’re halfway there.
Introduced flying through outer space to the stirring guitar rock of Heart’s “Crazy on You,” Warlock is a significant figure in Marvel lore, though he’s still coming into his own when we meet him in the new “Guardians” film: Ejected from his birthing cocoon a bit too early, Warlock has a sense of right and wrong that is up for grabs, which gives Poulter several surprising beats to play as he butts heads with the Guardians and considers joining their side.
“He brought life and reality to someone who is essentially a child in the body of an adult,” said the film’s writer-director, James Gunn, who picked Poulter over a wide field of hot Hollywood hopefuls. “And,” Gunn added, “he got yoked.”
Ah yes, the great yokening. Though he was often cast as scrawny geeks earlier in his career, Poulter’s been through a recent, gym-aided glow-up: 6-foot-2 and Marvel-muscular with a thick head of blond hair, he has followed in the path of fellow British actors Nicholas Hoult and Dev Patel, who played realistically awkward teenagers onscreen before blossoming into Hollywood heartthrobs.
Just a few years ago, Poulter was bullied on social media for his looks, but after his physical transformation, he’s been the subject of thirst tweets and internet-boyfriend articles. It’s enough to give a guy whiplash, and Poulter said he’s parsing the head trip.
“It’s quite odd, because I’ve sort of formed my personality around looking a certain way,” he admitted. “Psychologically, I’m still 5-foot-4 because that’s what I was at school. Even being tall is something that I’m still getting used to!”
Poulter is polite and humble without a trace of former-child-actor neediness. In early March, when I met him for strip-mall soul food in Los Angeles, he had gotten up early to watch an Arsenal soccer game and was eager to follow the match with a big bowl of jambalaya. “Will is completely easy, listens to everything, and is simultaneously very serious and game for anything,” Gunn said. “He’s down to earth and just plain fun to be around.”
And though Gunn selected him to play a golden god, Poulter is too self-deprecating to let that kind of role go to his head.
“I knew when I was cast that they were definitely going in a different direction than ‘perfect man,’” he told me, grinning.
THOUGH IT CAN come with its own special baggage, Poulter has always considered acting to be a safe space. As a preteen growing up in Hammersmith, London, he would spend his entire school week looking forward to drama class on Friday morning, a place where he could kick off his shoes and explore creatively.
When he was 12, his drama teachers encouraged him to audition for the charming indie comedy “Son of Rambow”; he landed the film’s breakout role on his first try and filmed it for eight weeks during his summer holiday. “For that to be my introduction to the film industry, I couldn’t have asked for a gentler, nicer, more wholesome experience,” he said. “It really lit the fire in me to want to do it again.”
Poulter has worked steadily ever since — you may have also seen his supporting roles in prestige dramas like “The Revenant” and “Detroit” — while also navigating the unique challenge of growing up in the public eye. At 19, his role as awkward virgin Kenny in “We’re the Millers” elevated his profile but led to an uptick in jeers and catcalls from strangers; later, after playing a bespectacled computer-game designer in the 2018 “Black Mirror” episode “Bandersnatch,” some social-media users made such cutting comments about his looks that Poulter announced he’d be stepping back from Twitter to preserve his mental health.
That’s why, now that the tide has turned toward appreciative tweets instead of cruel jokes, Poulter is skeptical about putting any stock into what social media has to say about him. “It shouldn’t inform how I treat myself, because I don’t know those people,” he said. “One of the dangers with social media is we can conflate things that exist online to the real world without even questioning it. We just carry the one and don’t really ask whether it actually adds up at the end of the day.”
He smiled. “That’s a bad math analogy from someone who’s heavily dyslexic.”
He’s seen tweets that compare pictures of his gawky character from “We’re the Millers” to his modern-day, muscular incarnation, as though they couldn’t possibly be the same person. “People are acting like I played Kenny Miller in 2013 and then woke up and now I look like I do, like there was some strange and mystical explanation behind it,” he said. “I just grew up, like every other human being on Earth.”
But unlike Adam Warlock, who emerges from his birthing cocoon with a perfect physique, Poulter’s new look took time to attain: He began lifting weights at the start of the pandemic and found the regular fitness regimen did wonders for his mental health. A looming shirtless scene in the Michael Keaton-led limited series “Dopesick” spurred Poulter to step up his workouts, and by the time he began auditioning for “Guardians,” he had already reached the sort of shape that meant he could plausibly play a superhero.
“If you want to do it in a way that’s safe and is entirely natural, you have to be prepared to spend a long period of time doing it,” Poulter said. “There’s no way that I could’ve got into the shape that I got had I not been working out for a number of years prior and built up foundations.”
If people think his physical transformation happened overnight, Poulter worries they’ll believe he turned to enhanced means to attain it. “Obviously, there’s a lot of pressure out there on young people, both men and women, regarding body image,” Poulter said. “I’m being kind of careful in the words, but if you’re going to promote the process by which you achieved said body goal, I think you have to be fully transparent about how you got there.”
Are other actors less than transparent about getting yoked? “Potentially,” Poulter demurred. “It’s not for me to say.”
Still, even if Poulter took the long road to his Marvel musculature, he knows it hasn’t stopped people from speculating. “The rumor mill was mad,” he said. “My own mum was sending me something from someone being like, “Has Will had plastic surgery?’”
Though Poulter tries to brush all that off, one viral clip still gnaws at him: On YouTube, a physical trainer analyzed a shirtless photo of Poulter from “Dopesick” and criticized his team on the assumption that they had trained him to diet in a certain way.
“It’s got millions of views,” Poulter said. “Does it bug me that anyone might believe that, or think that I went about it in a different way that would contradict what I’m an advocate of? For sure. But I guess it’s about learning to relinquish your control over that sort of thing and just hope that there’s enough people who know what’s up.”
As we finished lunch, Poulter chatted with our server; over the course of our meal, I had watched it dawn on her that she knew who he was. “You’re very funny,” she eventually told Poulter, who thanked her.
We discussed his impending worldwide press tour for “Guardians,” though Poulter said he genuinely didn’t know whether Marvel had bigger plans for him beyond this film: “It kind of hinges on how people respond to the character,” he said. “If the fans don’t like Adam Warlock, obviously I’m going to be pretty gutted. My family’s opinion means a lot, but it’s not necessarily going to bring me back as the character.”
But even if it proves to be a one-off, playing Warlock was a valuable experience, Poulter said. When he first started on the production, Gunn told him that he shouldn’t be afraid to screw up, even if those mistakes might make him feel self-conscious. For someone who struggles with how he can be perceived, that advice was scary but also freeing: It meant that he could take big swings and feel safe, and that he could learn to forgive himself when things didn’t go to plan.
Those are the sort of realizations that keep Poulter enamored with acting even when so many other things about his chosen career can be tricky. “It can be stressful, it can be painful, and plainly speaking, it can be difficult to do and a strain on your mental health, but I also think it’s very necessary to reflect on your own psyche and think about its impact on the world around you,” Poulter said. “It’s a lovely psychoanalytical journey that I’m really enjoying.”
Even when people don’t know Will Poulter’s
Business entrepreneur Oudi Antebi spent 18 years in the United States and 20 years in the high-tech space before returning to his native Israel to kickstart a new venture, Session 42, a music production shingle that harnesses the ballooning globalwide power of AI technology.
“I was reading about how AI is just changing everything, and I decided that I wanted to start a company with a focus on creating music, a company that blends technology and music together,” says Antebi.
“I knew that I wanted to find the best technology and AI out there and use this technology and AI to unleash creativity.”
To manifest this vision, Antebi, CEO of Tel Aviv-based Session 42, joined forces with music industry vet Amit Shine, who serves as the company’s COO, and a trio of hit-making Israeli music producers: Tal Forer, Yinon Yahel and Stav Berger.
This month, Session 42 released its most ambitious project to date: an AI song duet titled “Kan Le Olam” (“Here Forever”). The track and attendant video, recorded by using the magic of technology to recreate the voices of deceased Israeli music legends Zohar Argov (a pioneer in the arena of Mizrahi music) and Ofra Haza — dubbed in music industry circles as “the Madonna of Israel” –dropped last month in honor of Israel’s 75th anniversary. The song became an instant viral hit.
“I knew we needed to start with the families of Zohar Argov and Ofra Haza because of ethical questions,” says Antebi. “I said, let’s let the families decide if this is what they want to do. So we went to them and told them we had a special song, about Israel’s independence, and we want to use these two icons. We told them we would not release the song unless it does the artists justice. They could veto the song at the end if they didn’t like it. And they agreed.”
It took the AI machine with which they were working about 4 weeks to learn how to mimic and reproduce the vocals of Argov and Haza.
“We had to train it,” says Antebi. “There could be musical instruments in the background, and it had to be the highest sound quality possible for the extraction from an original recording of the artists. Then we used a second AI solution to remove any effects made on the original vocals. And then we used a third AI process to get the device to learn the vocals of Argov and Haza.”
Per Antebi, what makes the song, penned and composed by Forer, Roy Machluf and Ron Biton, possess lasting impact is that it blends a wistful sense of nostalgia with cutting-edge technology. And this very much reflects Israel’s societal dichotomy. It is a country with thousands of years of cultural and religious history but it is also a bastion of high-tech innovation.
“The voices on the song are unique, exceptional, and easily recognizable,” says Antebi. “These two artists and their vocals inspire a very nostalgic feel.”
In real life, Argov and Haza never recorded together. But “Kan Le Olam” wasn’t created to bring these artists together in the afterlife so much as a way to bring the people of Israel together as they celebrate 75 years of nationhood.
“It’s a song sort of between Israel and its people,” says Antebi. “It’s amazing how popular it has become. It’s playing in restaurants, on the radio. It’s playing all the time on various channels, every news station. Everybody talks about it. I knew we were going to get attention. But it’s been shocking just how much. But I knew what we were doing. I knew that we were going to be the first in the world to release an official song based on AI technology. And we did it.”
Business entrepreneur Oudi Antebi spent 18 years
The MCU’s latest villain, the High Evolutionary from Guardians of the Galaxy Vol. 3, evoked feelings of hate from fans after the movie’s world premiere.
Following Chukwudi Iwuji’s DCU efforts alongside director James Gunn in Peacemaker, Guardians of the Galaxy 3 will give Iwuji his MCU debut going up against the central team of intergalactic misfits as the terrifying High Evolutionary.
Earning praise from Gunn for being the best actor that the director has ever worked with, Iwuji’s performance is one aspect of Guardians 3 that has fans wildly excited for its upcoming debut in theaters.
Iwuji’s High Evolutionary is one of Marvel’s foremost geneticists who is set to make the perfect world for himself, and he’s also tied heavily to Rocket Raccoon’s origin story, being revealed as Rocket’s creator and torturer in this threequel.
But how should MCU fans expect to react to one of the most powerful villains Marvel Studios has delivered when the threequel releases?
Following the first press screenings for Guardians of the Galaxy Vol. 3, fans and critics expressed their feelings of hate for the MCU’s newest villain, Chukwudi Iwuji’s High Evolutionary.
Matt “Supes” Ramos called him “the EASIEST Marvel villain to hate,” noting how much fans will want to hate him compared to other villains like Thanos, Killmonger, or Namor:
“The High Evolutionary is the EASIEST Marvel villain to hate. With Thanos, Killmonger, Namor, etc. you can understand their motivations. This dude is just an absolute menace that you want to curb stomp. He’s one of Marvel’s best villains.”
Warren Thompson, aka Cosmic Wonder, loves that the MCU has “a villain that is just bad” and used the words “SO HATE-ABLE” in describing Iwuji’s antagonist:
“I’ve seen people talk about this tonight and I want to just say I agree that The High Evolutionary in ‘Guardians of the Galaxy Vol. 3’ is SO HATE-ABLE. like you seriously hate him and what he’s doing. Also I love that we got a villain that is just bad. No like, oh I have to do this bad thing to save the world, but just a bad guy who wants things his way and will kill anything in his way. Loved it and hated him. Which is what you’re supposed to do.”
ComicBookMovie.com writer Mark Cassidy described the High Evolutionary as “the most detestable, despicable piece of shit villain ever:”:
“More thoughts to share soon, but the High Evolutionary deserves special mention for being the most detestable, despicable piece of shit villain ever. Chukwudi Iwuji is so good at making you hate him.”
@TeejayMcFly warned animal lovers to “be prepared” for the first villain that he “honestly hated” as opposed to other characters like Thanos and Loki, who were “cool to hate:”
“Caught myself wiping my eyes twice in ‘Guardians of the Galaxy Vol. 3’ If you are an animal lover, be prepared. High Evolutionary is the first villain that I honestly hated. Thanos, Loki, they’re all ‘cool to hate’. Kudos to Chukwudi Iwuji, he was so good that I legit hated him”
@OwennZo praised the High Evolutionary as “easily the best villain of the Guardians trilogy,” noting that he’s somebody that viewers will hate rather than feel sympathy for him:
“High Evolutionary is easily the best villain of the ‘Guardians’ trilogy. He isn’t a villain you feel sympathy for and side with but instead a villain that you absolutely hate and that’s what makes him a great villain. Chukwudi Iwuji KILLED it as this character”
Marvel Studios has done an excellent job over the years of delivering multi-dimensional villains that are hard to feel only hate for, highlighted by characters like Thanos, Namor, and Erik Killmonger.
This is apparently far from the case with the High Evolutionary, particularly with Chukwudi Iwuji’s performance in the role being described as “explosive” before the threequel releases.
While not much footage has featured Iwuji’s villain in the Guardians of the Galaxy 3 trailers thus far, reports from early critics and interviews with the cast have teased how impactful he’ll be following Ronan in the first movie and Ego the Living Planet in Vol. 2.
And with his story closely connected to Rocket Raccoon, who’s said to be the emotional core of this threequel, it’s clear that the High Evolutionary will hold nothing back in his efforts as fans gear up to truly hate his entire being.
Guardians of the Galaxy Vol. 3 will debut in theaters on Friday, May 5.
War movies generally get their acclaim for their accuracy in portraying the field of battle, the realism of the explosions and gore that are part and parcel of warfare. But as we know all too well, the battlefield is only a part of war. There are the families left behind when soldiers go off to war, and families that must flee fighting. There are prisoners of war and victims of concentration camps. There are diplomats and freedom fighters trying to change the outcome from a different vantage point.
Let’s look at a list of films that approach war from a different angle, at the way war is also played out off of the battlefield.
Roberto Begnini splashed onto the international scene in 1997 with a war film like no other. In Life Is Beautiful, he plays an Italian Jew named Guido who falls in love with a Gentile, Dora, and life seems picture-perfect as they open a bookstore and have a sweet son named Giosuè. But WWII arrives and Guido and Giosuè are taken to a concentration camp, with the desperate Dora (Nicoletta Braschi, Begnini’s real-life wife) volunteering to go with them.
Through a series of elaborate stunts and ruses, Guido keeps the truth of the camp from Giosuè, successfully persuading him that they are all playing a highly complicated game, and even as Guido is led to his death, he keeps up the charade that all is well for his son’s sake. Giosuè and his mother survive and are reunited, the little boy none the wiser about what has really gone on. Begnini was inspired to make the film for his father, who himself spent time in a Nazi labor camp, and preferred to use humor when telling people about his experiences.
Sophia Loren was still in her twenties when she won a Best Actress Oscar for her performance as the widowed Cesira in Vittorio de Sica’s 1960 drama. It’s the grim story of Cesira’s struggle to keep her daughter Rosetta safe after fleeing a bombardment on Rome for the supposed safety of the countryside where Cesira’s family is from. Even before leaving Rome, Cesira trades on her sexuality, sleeping with a man in exchange for him keeping an eye on her shop, and things only get worse.
Once Rome has been taken by the Allies and is considered the safer option, mother and daughter are sexually assaulted by soldiers in a church as they attempt to return. Jean-Paul Belmondo as Michele is a possible love interest for Cesira and a father figure to Rosetta, but that is not to be either. It’s a stark and brutal movie, portraying the often hideous impact that war has on women in particular.
Guillermo del Toro’s genre-blurring hit is so many things at once: dark fantasy, horror, and a coming-of-age film, but let’s not forget that it is also a war film, set during the early days of Franco’s regime after the Spanish Civil War, at the tail end of WWII. 10-year-old Ofelia is already in a stressful situation, dealing with her Falangist stepfather, Captain Vidal, while trying to care for her frail, pregnant mother. Ofelia is lured into a magical underworld labyrinth, where she hopes to find the tools to protect her mother, but she is continually stymied in the completion of tasks given her by the labyrinth’s faun, trying to stop Vidal from capturing or killing runaway rebels.
Del Toro has specifically referenced another classic Spanish film, The Spirit of the Beehive, as an influence when juxtaposing war and horror with a movie about a child.
You’ll be forgiven for misremembering whether or not Francis Ford Coppola’s iconic 1979 war movie had any battlefield scenes, as for one without any, it is still rife with violence. In the retelling of Joseph Conrad’s similarly iconic 1899 novella Heart of Darkness, we follow the tale of Captain Willard (Martin Sheen), who is on his way to Cambodia to kill the insane Colonel Kurtz (Marlon Brando), who is waging his own unsanctioned guerrilla warfare against the backdrop of the Vietnam War.
Willard travels by naval patrol boat, meeting a number of terrifying characters along the way, including Robert Duvall’s Lieutenant Colonel Kilgore, he of the famous “I love the smell of napalm in the morning” quote. The film is a heady mix of drugs, surfing, testosterone, and violence, with Kurtz eventually dying after Willard attacks him with a machete. It is a movie of men numbed by war but well-accustomed to the violence and insanity that go with it.
1942’s Casablanca was not only set during WWII, it was still raging as it was filmed. American ex-pat Rick Blaine (Humphrey Bogart) runs a popular nightclub in Morocco, where refugees of every stripe meet in hopes of making the contacts that can get them back home. The town is getting tense, and that’s when Blaine’s old flame Ilsa (Ingrid Bergman) shows up, looking for a way out herself, along with her Czech resistance fighter husband.
We flash back to see Rick and Ilsa back in Paris in 1940, when Ilsa thought her husband was dead, and the threat of the Battle of France had the two lovers preparing to run away together. It’s one of the most famous movie love triangles of all time, with every twist and turn orchestrated by the war going on around the lovers, just off-screen.
Spielberg’s 1993 masterpiece told the epic story of Oskar Schindler (Liam Neeson), a German businessman and Nazi party member whose WWII efforts saw him save over a thousand Polish Jews from almost certain death in concentration camps by employing them in his factories. Filmed in stark black and white, Schindler must continue to make nice with his Nazi associates, and keep on the good side of the terrifying SS Lieutenant Amon Göth (a remarkable Ralph Fiennes) as he gets out as many of the camp inmates as possible.
The battles here are fought on factory floors, in a crowded ghetto, and at glittering parties where Schindler greases palms and outwits Nazis. But it is every bit as brutal as a movie set in the trenches, bringing the horrors of the Holocaust into sharp definition.
Stanley Kubrick took on the Cold War in 1964, with a dark and hilarious satire starring luminaries such as Peter Sellers (in three roles) and George C. Scott, and marked James Earl Jones’ film debut. There are umpteen films featuring terrified soldiers in the trenches, railing against the clueless higher-ups who decide their fates, well this one is about those higher-ups and how reckless they really are.
A paranoid general, played by Sterling Hayden, is hell-bent on a preemptive nuclear strike against the then-Soviet Union, and the US president, his advisors, and a team of others is scrambling to stop it. And of course, there is the titular Dr. Strangelove (Sellers in a career-defining role), a nuclear expert who happens to be a former Nazi. It’s all more than a little bit insane, and there’s likely more truth to it all than the rest of us would like.
Yet another film that you would be forgiven for misremembering as having battle scenes, given its undeniable brutality. Michael CImino’s 1978 drama made stars of Robert De Niro, Christopher Walken, Meryl Streep, and the tragic John Cazale, and is the story of three friends who go off to the Vietnam War. From a wedding to a deer hunt to a Viet Cong prison camp and back home, the three friends endure captivity, torture, horrific injury, and PTSD. The film has taken some flak for historical inaccuracies, but where it shines is in the depiction of the inability of these men to leave the war behind them, all without showing us a battlefield.
Rene Clément’s 1952 wartime classic (Le Jeux Interdit in the original French) is set in June 1940, during the French Campaign. It begins with citizens fleeing Paris, and little Paulette’s (Brigitte Fossey) parents and pet dog are killed during an airborne assault. She finds refuge with a peasant family who has a little boy, Michel (Georges Poujouly) who takes Paulette under his wing. Left largely to their own devices, the children formulate their own ideas of how life, death, and war work, establishing a secret animal graveyard in a barn, stealing crosses from the church cemetery, and incurring the wrath of the villagers.
The film is a success due to the talents of the young protagonists, a tragic reminder that while adults are waging war, children are trying to make sense of it.
Renowned actor Bruno Ganz is unparalleled in this chilling 2004 depiction of Hitler’s last days sequestered in an underground bunker. He portrays Hitler as a frail and demented man who has lost his grip on the empire he once ruled over with ease, a portrayal that some critics found to show too much of a human side of one of history’s greatest villains. But it’s a fascinating look at him and the group of people who were in the bunker with him, including his mistress Eva Braun, whom he married shortly before their joint suicide, and Joseph Goebbels and his wife Magda, who poisons each of their six children with cyanide capsules in their sleep.
At first, there is a stubborn denial to believe that everything is really falling apart, as Braun hosts a party in the bunker. But the news from above ground, and Hitler’s increasingly unstable mental state, prove otherwise. It’s a little like watching karma in action, as this group of people who orchestrated so much of the killing above realize that they are in fact doomed.
War movies generally get their acclaim
Social deduction games have been around for decades, but mostly as tabletop experiences. Though there are a handful of early examples, like the 2009 Trouble in Terrorist Town mod, the genre’s popularity in the video game space is a relatively recent development with early trendsetters releasing in 2017-2018 and Among Us becoming a surprise overnight sensation in 2020. But before the likes of Among Us and the many games thereafter chasing its popularity, there was 2017’s Deceit, a social deduction game so ahead of its time that it was not even called a social deduction game–since you outed the traitor with guns, the game is classified as a shooter.
That game is now getting a sequel, Deceit 2, and it aims to inject all the learnings of the social deduction genre that came after Deceit to make for an even creepier experience that prioritizes clue hunting, monstrous masquerading, and a horror-driven world. The game is also being made in Unreal 5, featuring an artistic direction that’s going for photorealism, much like the first Deceit. It sees you play as one of the members of the Truth Seekers Anonymous, who are looking to uncover the story behind an occult ritual gone wrong from decades prior. Their efforts lead them into a trap set up by a mysterious masked entity known as the Game Master, who hides eldritch horrors and monsters amongst the party in a bid to complete some strange ritual before anyone can escape.
I got to play two sessions in the alpha build of the 6-9 player social deduction horror game. Both times, I played with members of developer World Makers for a full nine-player lobby. In the first match, I played as one of the seven Innocents, and we barely scraped together a victory. In the second, I was one of the two monstrous Infected–save for custom games, you always play with two Infected in Deceit 2–and just barely lost. I had a lot of fun both times, though not in a way that felt totally different and unique from what I’ve experienced elsewhere in the genre. The original Deceit may have been ahead of its time, but I worry Deceit 2 may be just another social deduction game playing catch-up to Among Us. Following my play session, I spoke to World Makers CEO James Thompson and executive producer Jord Fox about what players can expect from the full version of Deceit 2, which is scheduled to launch for Xbox Series X|S, Xbox One, PS5, PS4, and PC in 2023.
Both matches we played lasted about 12-15 minutes. Is that a good indication of how long most matches go?
Thompson: Yeah, I think that’s a good indicator. It’s hard to tell when you’re playing how long it was, but I think 15 minutes is a reasonable game length. And I think that this build, the alpha, it’s got basically all the features of the actual in-game experience we’re launching with. It doesn’t have all the visuals yet. It doesn’t have all the polish yet, but it has all the features, so I think it’s pretty representative.
Is the one map we played on going to be all that the game launches with or will there be more?
Thompson: Yeah, we’re launching with [only] this map. And this is a halfway blockout still of that map, so there are loads more visuals going into it, but that’s the layout of the map that we’ll launch with. We’ve also specced out and got an initial blockout of our second map, which we’re planning to launch pretty quickly after launch alongside the Werewolf DLC.
And as the game expands and evolves in scope, will the story as well?
Thompson: Those narrative threads will become clearer because the Game Master that featured really briefly in the initial cutscene will have more voice lines and the character in the shop will be fleshed out instead of being a hand in the wall. So you’ll see more of those threads come in. In general, [the story] is obviously a backdrop as opposed to the main part that you are playing, but the narrative does already support the idea of multiple locations. These are all liminal places. They’re places where reality breaks down and you go to this other dimension.
And so the idea is that there are weak points all over the earth where these maps can be placed, and the Game Master brings you between these locations through this other dimension. We’re looking at a research station in the forest at the moment [for a future map], but there’ll be many other maps and they can be anywhere with the narrative structure.
Fox: On top of that, we’ve been experimenting with more transmedia things we can do outside of the game. One small example we released a few months ago is this ARG forum that introduces a bit of the backstory of all of the characters and the backdrop as to why they’re in this place, and players can follow the clues amongst that forum and then find a code and eventually lead to an emblem that unlocks in DLC 1. But I think it’s just an example of ways that we can, outside of the game, drip feed and explore with the narrative that the people who are more interested in that side of the game can sink their teeth into as well.
Thompson: We’re also looking to do a couple of YouTube series that explores the narrative of Deceit ourselves, and we’re working out the timing of those right now. But generally, yeah, we’re keen to do a lot of video content around the narrative.
So with some attention being devoted to the narrative and direction of the story, who are the characters that we’re playing? Do they matter or are they just placeholders for the player?
Thompson: The original six characters are from the original [Deceit], and we’ve added three more and really updated the backstory of all the characters. Originally, they had some in-game note backstory, but I think for Deceit, we’ve revisited the whole narrative and we wanted to give them a meaning and a backstory that made sense. And so yeah, they all have backstories [in-game], and the way they all come together is that they’re part of this online group called the Truth Seekers Anonymous, where they were investigating murders.
One of the places they were investigating is this asylum [the first map], and they realized when they decide to finally meet up that something a little bit mysterious and otherworldly is actually happening and they get trapped in this ritual, so they’re brought together by this.
Much like Overwatch 2, Deceit 2 is essentially sunsetting the original game and replacing it. What’s the reasoning for creating a brand-new game as opposed to continuing to expand the original experience?
Thompson: We came back to Deceit in 2020 and thought, “How can we take this to the next level?” We built the first game very early on, even before social deception and horror games were that popular necessarily, and so the market had grown. There was a great following for Deceit as a Steam game and we thought, “We can take this to the next level, but how do we do that?” And originally, we considered a large set of updates to the original game, but last year we landed on the full sequel approach for a combination of reasons.
Number one, though we’re following the same formula, we are fundamentally making quite a lot of changes to make it more sandbox-like. And with a more sandbox-like experience, we felt that we needed to rebuild the game from the ground up so we could add content faster. And then also, with Unreal 5 coming out, the opportunity was there to make sure that we can also more efficiently develop the game across multiple platforms instead of continuing to use the original CryEngine version.
Deceit 2 is a low-cost premium game because we think that model is actually the best for us going forward. We could effectively have achieved that with some DLC into the original game, but I think, in general, we are far more clear on how we’re positioning Deceit 2 as a product nowadays. We really see it as a new start to the game, because I would look at Deceit 1 as almost like an early access way that we’ve been able to get feedback from millions of games played, and it’s been a fantastic way for us to really understand what works, what doesn’t work. And now we’re really, across the board, we’ve rebuilt everything in Deceit 2. The choice then became, “Do we give it a completely new name or call it Deceit 2?,” but I think we all felt that we really liked the name and the IP behind Deceit, so we went with Deceit 2.
Likening your original game to an extended early access while making a sequel game does feel like a strategy that some devs are using when making their respective follow-ups. I don’t think you’re alone there.
Thompson: True, the term “early access” does get used a little bit too much. But I think Deceit 1–though it definitely did well–wasn’t quite right. You had a gun when you first started the game in Deceit 1. It was a very action-focused experience and we wanted to make it more broad, more sandbox-like. We definitely consider [Deceit 2] to be repositioning a little bit towards its ideal feel as well.
Fox: Also when we made the decision to do Deceit 2, it allowed us to reframe the design in our heads instead of thinking of how to apply these updates to Deceit 1. It basically gave us a clean slate to take the best parts of Deceit 1, add all the new features we wanted to do, and just generally upgrade everything into this new package that we can now present as Deceit 2.
Thompson: And on the polish point, you can see where we are today with the alpha, but obviously a game gets a lot more polished as it gets more resources–that’s the nature of game development. And I think, for building a multiplayer experience, we’re getting a lot of polish. And so for us, the team’s super proud of where we ended up with Deceit 1, especially given the budget and time constraints. We’re a very small team and we built Deceit 1. But now have investment from Makers Fund and we’re growing the team. I think this is something that will prove more as we get from alpha to launch, but I think we’re going to be hitting a level above in terms of visuals and sound and overall quality of the products [for a social deduction game]. We’re trying to set a new bar with Deceit 2. It’s always gameplay first for us, obviously, but with the new technology and the new budget that’s come online, we’re also leveling it up in terms of fidelity.
Will there be cross-play and cross-progression between systems?
Thompson: We’re doing cross-play and we’re leaving out cross-progression, because from what we can see as a studio, both the additional time to legislate all the things you need for cross-progression and the main reason why you would want to have the game cross-play, I think cross-play brings the biggest benefit, bang-for-buck, for the time and investment. So, we are doing cross-play. Not at the moment planning to do cross-progression.
This interview was edited for brevity and readability.
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.
If you see me in real life and I appear stressed, it’s probably because I am either waiting on someone to give me notes on an idea or I owe someone notes. One thing they don’t tell you in film school is that notes are going to be your ticket to jobs in Hollywood.
One of the most valuable tools in the screenwriter’s arsenal is the ability to give and receive constructive feedback on scripts.
Screenplay critiques serve many purposes in the screenwriting process. First and foremost, they offer valuable feedback to the writer, identifying strengths and weaknesses in their work. This feedback helps writers refine their scripts, making them more engaging and effective. Furthermore, screenplay critiques serve as a learning tool, allowing writers to see how their work is being received by others and providing an opportunity for growth and improvement.
If you can give good notes, you can get a job at any production company, or you can show your value and make friends with writers who hire you to work with them on shows or as their assistants.
Mastering the art of screenplay critique is an essential skill that will elevate your writing and improve your storytelling abilities.
Let’s dive into the world of script notes and see how they can help you become a better writer.
The most important part? Don’t be a dick.
Table of Contents
We all want to watch the best movies and TV shows. To get to them, you need a series of checks and balances. You need multiple reads and rounds of notes to hone your idea.
Script notes are detailed feedback provided by script readers, fellow writers, or industry professionals on a screenplay. They typically include observations on various aspects of the script, such as structure, character development, dialogue, pacing, and overall storytelling. The primary goal of script notes is to help the writer identify areas of improvement in their screenplay and provide guidance on how to address these issues.
Once you see them, you can rewrite your screenplay.
The importance of script notes lies in the iterative nature of screenwriting. Rarely is a script perfect in its first draft. Instead, it undergoes multiple revisions before reaching its final form. Script notes are a crucial part of this revision process, as they help identify areas where the script can be improved and provide suggestions for how to make these improvements.
Once you improve the story to its finished product, you can package it and get the movie or TV show going.
Many people are bad at this, so I knew we needed to include a section on it. Don’t be a dick. Instead, work to come up with ideas that may help the writer achieve their goals.
Giving constructive feedback is an essential skill for anyone involved in the screenwriting process. It’s important to strike a balance between providing honest, helpful criticism and offering praise and encouragement. To give effective feedback, it’s crucial to focus on the script’s specific elements and provide actionable suggestions for improvement.
One of the keys to giving constructive feedback is to approach the process with empathy. Remember that the writer has invested time and energy into creating their script, and your feedback should be respectful and supportive. Offer praise for the aspects of the script that work well, and be specific in your compliments. This will help the writer understand their strengths and build confidence in their abilities.
Again, don’t be a dick and say something doesn’t work without being specific about why it doesn’t work.
When offering criticism, focus on the script’s elements rather than the writer’s abilities. Avoid using negative language or making personal comments about the writer. Instead, provide specific examples of areas that need improvement, and offer suggestions on how to address these issues. By keeping your feedback focused on the script itself, you’ll help the writer feel supported and motivated to make improvements.
Some scripts need help!
When giving notes on a script, it’s important to follow some best practices to ensure your feedback is constructive and helpful.
Here are some guidelines to keep in mind:
Read the script thoroughly: To provide meaningful feedback, you need to have a deep understanding of the script. Take the time to read it carefully, and make notes as you go. This will help you identify areas for improvement and provide specific examples when offering feedback.
Focus on the big picture: Before diving into the details, consider the script’s overall structure and story arc. Are there any plot holes or inconsistencies? Are the characters well-developed and engaging? Addressing these fundamental issues should be your priority when giving notes.
Be specific: When offering feedback, provide clear examples and explanations to support your observations. This will help the writer understand your perspective and make it easier for them to address the issues you’ve identified.
Offer actionable suggestions: Instead of simply pointing out problems, provide suggestions for how to improve the script. This will make your feedback more valuable and help the writer feel empowered to make changes.
Be respectful and supportive: Remember that your goal is to help the writer improve their script, not to tear them down. Offer praise for the aspects of the script that work well, and be empathetic and understanding when offering criticism.
Don’t be a dick: Seriously, I don’t know how many times I have to add this in there. Your job is to help. Not hinder.
There are so many different types of notes in Hollywood.
Here’s an overview of the most common types of script notes you might encounter:
Coverage: Coverage is a summary and evaluation of a script, typically prepared by a script reader or industry professional. It provides an overview of the script’s strengths and weaknesses and includes a recommendation on whether the script should be considered for further development or production.
Development notes: Development notes focus on the creative aspects of the script, offering suggestions for improving the story, characters, and dialogue. These notes are typically prepared by producers, development executives, or other industry professionals involved in the development process.
Writer-to-writer notes: These notes are provided by fellow writers, offering feedback and suggestions from a writer’s perspective. They can be informal, such as comments exchanged in a writers’ group, or more structured, such as a script swap or feedback session.
Line edits: Line edits focus on the script’s grammar, spelling, and formatting. These notes are typically prepared by a script editor or proofreader and help ensure the script is polished and professional.
These notes can be delivered in various formats, including written notes, verbal feedback, or a combination of both. The format you choose will depend on your preferences and the nature of the feedback you’re providing. For example, written notes can be more detailed and specific, while verbal feedback might be better suited for discussing broader issues and brainstorming solutions.
Try and structure your notes in a way so you cover acts one, two, and three in order. With overarching ideas at the top.
So, how are you supposed to give good notes?
Let’s break down the process using a hypothetical script.
Read the script thoroughly: Begin by reading carefully, making notes on any issues or areas for improvement you encounter.
Focus on the big picture: After reading the script, consider the overall story structure and character development. For example, you might notice that the third act feels rushed and that the protagonist’s character arc is unclear.
Be specific: When offering feedback on these issues, provide specific examples from the script. For instance, you could point out a scene where the protagonist’s motivation is unclear or a plot point that feels contrived.
Offer actionable suggestions: In addition to identifying issues, offer suggestions for how to address them. For example, you might recommend extending the third act to allow for a more satisfying resolution or adding scenes to better develop the protagonist’s character arc.
Be respectful and supportive: Throughout the feedback process, it’s crucial to maintain a respectful and supportive tone. Remember that the writer has invested significant time and effort into their script, and your feedback should be focused on helping them improve their work.
I sat down and looked at some of the best notes docs I have been given. Then, I decided to list ten things I think you should address if you were trying to give someone notes. From that, I made this template.
By using a template, you can ensure that you cover all the necessary elements of the script and provide consistent feedback across multiple scripts or writers. Templates can also save time, as you won’t need to start from scratch with each new script.
Here are some common elements to consider when critiquing a screenplay:
Story/Plot: Does the story have a clear and compelling arc? Are there any plot holes or inconsistencies?
Characters: Are the characters well-developed and interesting? Do their actions and dialogue feel authentic and consistent with their personalities?
Dialogue: Is the dialogue realistic and engaging? Does it move the story forward or feel extraneous?
Pacing: Is the story paced effectively? Does it feel too slow or rushed at any point?
Structure: Is the screenplay structured effectively? Does it follow the traditional three-act structure or another effective structure for the genre?
Themes: Are there any themes or messages conveyed in the story? Are they effectively communicated?
Tone: Is the tone consistent throughout the screenplay? Does it fit the genre and subject matter?
Setting/World-building: Is the setting or world of the story well-established and believable?
Visuals: Are there any scenes that would be particularly visually striking on screen? Are there any scenes that could be cut or condensed to improve the visual storytelling?
Overall Impression: What is your overall impression of the screenplay? Would you recommend it for production?
Here’s a huge part of the process. Try not to be a dick when hearing notes, too. It can hurt or be scary to have someone go over your work. Trust me, I have snapped on occasion. But as a writer, receiving feedback on your work will help you grow.
People are giving it out of the goodness of their hearts. So, be nice and listen to what someone has to say (even if you don’t always agree with their notes).
Here are some tips for receiving and applying script feedback:
Listen carefully: When receiving feedback, listen carefully to the comments being offered. Try to understand the perspective of the person giving the feedback and take notes to help you remember their suggestions.
Don’t take it personally: Remember that feedback is about the script, not about you as a person. Try not to take criticism personally, and focus on using the feedback to improve your work.
Consider the source: Consider the credentials and experience of the person giving the feedback. A producer or industry professional may have different insights than a fellow writer in a workshop.
Evaluate the feedback: After receiving feedback, take time to evaluate the comments and suggestions. Consider which feedback resonates with you and which suggestions you feel are most valuable.
Make revisions: Once you’ve evaluated the feedback, begin making revisions to your script. Focus on addressing the areas for improvement while maintaining the strengths of the script.
Mastering the art of screenplay critique is an essential skill for any writer looking to succeed in the film or television industry. By understanding the importance of script notes, giving constructive feedback, and utilizing best practices, you can become a valuable asset to any creative team.
Remember to approach the feedback process with empathy and respect, focusing on the script’s elements rather than the writer’s abilities. Utilize script note templates to streamline the process and maintain consistency in your feedback. Don’t forget to balance praise and criticism, offering encouragement and support along with constructive criticism.
With these tools and techniques, you can become a master of screenplay critiques, helping writers refine their scripts and tell more engaging and effective stories.
Now go out there, and give and receive some great notes.
Do you have any tips for giving and receiving script notes? Let us know in the comments.
A well-crafted screenplay is the foundation
Chukwudi Iwuji teases his irredeemable and unsympathetic take on the High Evolutionary, the villain at the center of Guardians of the Galaxy 3
No matter how brutal a villain may seem, there’s typically a moment which allows the audience to sympathize with them, or at least understand their goals. It doesn’t sound like there will be much to sympathize with when it comes to the High Evolutionary, the villain at the heart of the upcoming Guardians of the Galaxy Vol 3.
Described as a brilliant scientist, the High Evolutionary is played by Chukwudi Iwuji, who told GamesRadar that there’s no humanity left in his character. “He doesn’t have any redeeming qualities,” Iwuji said. “He’s a proper villain you know, proper with a capital P. He’s going after something terrifying, he makes you very uncomfortable, and you’re waiting for him to get his comeuppance. And those [qualities] are very fun to play without any apology or any craving for sympathy from the audience’s side.”
The High Evolutionary specializes in genetic engineering and played a part in Rocket’s creation, which goes to some pretty dark places, something which surprised the actor. “I was a little bit surprised I won’t lie,” Iwuji said. “We’ve all come up on Marvel movies. We’ve seen the sympathy that a lot of the movies draw out for the villains, which is not the case here.” The High Evolutionary isn’t the only villain we’ll see in Guardians of the Galaxy Vol 3, as Adam Warlock (Will Poulter) and Ayesha (Elizabeth Debicki) are also on hand to cause our heroes a little grief.
Guardians of the Galaxy Vol 3 finds our beloved band of misfits settling into life on Knowhere. But it isn’t long before their lives are upended by the echoes of Rocket’s turbulent past. Peter Quill, still reeling from the loss of Gamora, must rally his team around him on a dangerous mission to save Rocket’s life—a mission that, if not completed successfully, could quite possibly lead to the end of the Guardians as we know them. The first reactions to the threequel have been reasonably positive, with some calling it the best Marvel movie since Endgame.
Guardians of the Galaxy Vol 3 will hit theaters on May 5th, so be sure to check out the review from our own Chris Bumbray.
Chukwudi Iwuji teases his irredeemable and unsympathetic
Weeks after it was falsely labeled “state-affiliated media” by Elon Musk, NPR said Tuesday that Musk has threatened to give the outlet’s Twitter handle to “another company” unless it starts tweeting again.
National Public Radio stopped using Twitter on April 12 after the label “State-Affiliated Media” was added to its account, a move apparently ordered by Musk himself. The label was later changed to “government funded,” which is also inaccurate.
According to NPR, this week Musk sent an unprompted email to the outlet asking, “So is NPR going to start posting on Twitter again, or should we reassign @NPR to another company?”
After some back and forth, Musk eventually told NPR, “Our policy is to recycle handles that are definitively dormant. Same policy applies to all accounts. No special treatment for NPR.”
NPR says it asked Musk if he intends to change Twitter’s terms of service which, the outlet notes, states that inactivity is based on whether or not a user has logged in at least once every 30 days, not on how often it actually tweets. The exact phrasing is: “To keep your account active, be sure to log in at least every 30 days. Accounts may be permanently removed due to prolonged inactivity.”
While NPR didn’t say so expressly, it has only been 20 days since it stopped tweeting. According to NPR, Musk refused to explain why he reached out and asked if it intends to resume tweeting.
The labels “state-affiliated” and “government-funded” were previously applied to Twitter accounts that served as either propaganda outlets or official government mouthpieces, such as the Russian news site RT and accounts associated with the Chinese government. In response to criticism of his actions against NPR and PBS, Musk removed those labels from all accounts it was applied to, meaning that known propaganda and disinformation sources are no longer clearly identified on Twitter.
It’s been a tumultuous time for Twitter since Musk purchased the social media company. Bloomberg reports from September to October, the top advertisers on Twitter spent $71 million on ads. But in February and March, that figure dropped to $7.6 million, a decline of 89%, Bloomberg cited research firm Pathmatics.
In April, Musk ended verification on Twitter and removed blue check marks from all “legacy” verified accounts. The intent was to encourage prominent Twitter users to subscribe to Twitter Blue, which provides blue checks to anyone who pays $8 dollars a month. After almost no one subscribed, Musk began restoring blue checks to accounts with more than 1 million followers, very often over the account holder’s express objections, while dishonestly labeling them as subscribers to Twitter blue.
Weeks after it was falsely labeled “state-affiliated
Adult Content, Adult Language
As the family girds themselves for an emotional funeral, Kendall finds himself at odds with Rava… and inopportune news from Jess. Later, Shiv tries to reposition herself within a new political landscape, as Kendall rallies supporters to his side.
Succession - Church and State Season 4
The 2023 Tony Awards nominations featured a number of snubs and surprises, including an unexpected six nods for Ain’t No Mo, which closed shortly before the end of 2022 despite a star-studded effort to keep it going.
It seems Tony voters well remembered this fall’s productions, handing out five nods for Cost of Living, which closed in November, and three for KPop, which closed in December.
Another surprise was the strong showing by corn-centric musical Shucked, which landed nine nods.
But Tony voters surprisingly left out a few stars in more recently opened productions: Neither Oscar Isaac nor Rachel Brosnahan were nominated for their leading roles in The Sign in Sidney Brustein’s Window, and neither Danielle Brooks nor John David Washington were nominated for The Piano Lesson, with director LaTanya Richardson Jackson not nominated for directing.
Other well-known stars not nominated include Laura Linney, not nominated for her role in Summer, 1976; The Good Place and Barry star D’Arcy Carden, not nominated for her role in The Thanksgiving Play, which was shut out; New York, New York director Susan Stroman; and Hamilton alums Phillipa Soo (up this year for her roles in Into the Woods and Camelot) and Tony winner Thomas Kail (up for directing the Sweeney Todd revival that earned eight nominations).
Speaking of the American Revolution, 1776 was unexpectedly shut out of the nominations announced this morning. Legendary composer Andrew Lloyd Webber also missed out on a best original score nomination for Bad Cinderella.
Almost Famous, based on Cameron Crowe’s Oscar-winning film, which received mixed reviews and closed on Jan. 8, landed a surprising score nod.
Ahead of Tony nominations day, the Tony Awards administration committee deemed New York, New York ineligible for best original score. The score features songs by John Kander and Frank Ebb, some of which were written for the 1977 film, some for other musicals, as well as new material by Kander, with additional lyrics by Lin-Manuel Miranda. To qualify for best original score, the Tony Awards Administration Committee asks productions to approximate what percentage of the material was newly written for a production and what percentage comes from other sources, but there is no hard and fast rule on what those percentages need to be.
While Life of Pi and Prima Facie received five and four nominations respectively, neither landed the best play nod some experts expected the shows to receive. And the latest revival of Death of a Salesman, often a popular production among Tony voters, only landed two nods, one for Wendell Pierce and one for lighting design. But the Pulitzer Prize winner was left out of other top categories, with stars André De Shields and Sharon D. Clarke also failing to land nods.
Caitlin Huston contributed to this story.
8:26 a.m. Updated to add Rachel Brosnahan and John David Washington not being nominated.
The 2023 Tony Awards nominations featured a
Duetti, a new music financing startup led by former Tidal COO Lior Tibon and former Apple Music business development executive Christopher Nolte, has closed a $32 million funding round to launch its new service, the company announced Wednesday (May 3). The round includes money from Viola Ventures/Viola Credit, Roc Nation, Untitled and Presight Capital.
The company is aiming to get in on the catalog sales market by providing funding to rising or independent artists in exchange for full catalogs, individual tracks or parts of tracks — then optimizing and growing their returns through marketing and/or social platform promotion. Duetti likens the deals it’s making as akin to the big catalog sales that major artists like Bruce Springsteen, Bob Dylan and others have executed in recent years, but for smaller artists — or at least those who have had songs on streaming platforms for two years and racked up at least 500,000 streams within the past 12 months.
Lior Tibon
“In recent years, the trend of legacy A-list musicians selling their entire catalogs has left independent artists out of the equation,” said Tibon, who serves as Duetti’s CEO, in a statement. “Now, artists at all stages of their careers can easily capture the potential of their tracks and catalogs to help them reach the next step of their journey. We are arming artists with the information they need to choose when, and how, to leverage their assets from a position of strength.”
Duetti has been in stealth mode, and during that period it says it has partnered with over 60 artists — including Sylvan LaCue, CVBZ and Croosh — across 100 tracks, with acquisitions totaling as much as $400,000; Duetti’s deals take roughly 30 days to complete on average, according to the company. It now sees an opportunity to open up this funding model to more than 70,000 additional independent artists. The company plans to use the seed funding to expand its staff, onboard more artists and boost the value of the tracks already in its catalog. It’s tapping into a market that includes companies like Sound Royalties, which recently sold to GoDigital, that aim to help artists finance their lives and careers by selling royalty streams and other assets and seeing higher returns in the long run.
“Duetti’s cutting edge technology enables efficient analysis of an artist’s potential for successfully monetizing a catalog or track — we are incredibly excited by the potential of their business model and the new, independent investment class it unlocks,” said Avi Zeevi, fintech investor and co-founder of Viola Ventures, in a statement accompanying the announcement. “Independent artist revenue growth is outpacing the entire industry and their highly scalable model returns revenue uncorrelated to broader market and economic conditions. A win-win for investors and musicians.”
Duetti, a new music financing startup led
An estranged family gathers together for a deadly Christmas in Tyler Beveridge and Sean Cruser’s horror short, Jingle Hell. A very pregnant Margo (Poonam Basu) and her husband, Nathan (Tyler Beveridge), arrive at a secluded cabin in the woods. The cabin is decked out with a modicum of Christmas decorations but homey nonetheless. Arriving just after them are Margo’s sister, Grace (Shalini Bathina), and her partner, Spencer (Murphy Patrick Martin).
After a bit of chit-chat, this reunion quickly becomes a confrontation, and Grace and Spencer storm off angrily. As Margo and Nathan prepare to call it a night, there is a banging on the door, but no one is there. Nathan then spies a mysterious figure off in the distance. Much to Margo’s protest, Nathan goes out to confront the stranger (this is a horror short, right)? With its back to Nathan, the figure turns around, and now we have a horror film.
“…there is a banging on the door, but no one is there. Nathan then spies a mysterious figure…”
Anything beyond this point of the story would be considered a spoiler. So what we have with Jingle Hell is a bloody and gory tale of survival for Nathan, Margo, and their unborn child.
The film is your typical serial killer situation, with ample amounts of blood streaming from various parts of the body and a dismemberment or two. It becomes an all-out war using any weapon you’d find in a secluded cabin in the woods. Let’s also not forget a killer with a pretty-cool mask.
Both Tyler Beveridge and Sean Cruser do an excellent job of laying the foundation of a story behind the thrills—a challenge with its thirty-minute runtime. The cast and other supporting characters hit all the right notes for a horror tale that elevates itself above many low-budget indie horrors we feature at Film Threat.
It may be too early for Christmas…or Christmas in July, but if you’re looking for a nice tight horror, definitely check out Tyler Beveridge and Sean Cruser’s Jingle Hell…yes, this could easily be a feature film.
An estranged family gathers together for a
Ukrainian engineers have designed a DIY rocket that families can build in their own back gardens from everyday materials to rain terror on the Russian invaders.
Dubbed the ‘people’s missile’, the Trembita uses the same technology as the German V1 flying bombs, or Doodlebugs, used in the Second World War.
The anti-Russian Vidsich protest group designed the ‘garage-made’ rocket which, while not as accurate as laser-guided missiles, should be able to travel around 87 miles.
A barrage of 20 of the missiles could ‘overcome enemy air defences and hit targets at a sufficient depth’, the group has claimed.
The rockets can carry up to 20kg of explosives or a thermobaric charge, and use a painfully loud 100-decibel engine. This, creators say, would strike fear into Russian soldiers in the same way that the distinctive whine of Hitler’s Doodlebugs terrified Londoners during WW2.
The anti-Russian Vidsich protest group has designed the ‘garage-made’ rocket which, while not as accurate as laser-guided missiles, should be able to travel around 87 miles
Social media videos showing the new Trembita weapons being made appear to show its creators firing up a jet engine
The Trembita missiles can carry up to 20kg of explosives or a thermobaric charge
An unexploded German V1 missile fired at Britain following D-Day. The so-called Doodlebugs used technology being harnessed for Ukraine’s new ‘people’s missile’, the Trembita
The genius of the improvised weapon also lies in its ability to deplete expensive Russian weapons, its developers say.
By releasing a thermal signal picked up by enemy air-defence systems, the Russians would then fire expensive munitions to down the cheaply made rockets.
‘Our simple missile is incomparably cheaper than the shots of enemy anti-aircraft missile systems,’ Vidsich told The Telegraph.
The new weapons have been likened to V1 rockets, used by the Nazis on London towards the end of the Second World War.
Some 5,000 V1s, the world’s first cruise missile, were launched by the Germans to bomb London, causing massive loss of life.
The Trembita uses the same technology as the V1. It is effectively a motor-powered steel tube which is then attached to glider wings and fired from a catapult.
Social media videos showing what appear to be prototypes of the new Trembita weapons seem to show its creators firing up a jet engine.
By using gasoline as fuel, the rockets can fly up to 87 miles, giving them almost twice the range of the US-made M31 GMLRS missiles fired by America’s M142 Himars launchers, which have proved one of Kyiv’s most crucial armaments in the war.
The DIY missiles can be built in Ukrainian back yards using simple materials
A US-made rocket being fired from an M142 High Mobility Artillery Rocket Systems (Himars) launcher by Ukrainian forces on the front line in Kherson
‘Improvised weapons can be very effective and the Ukrainians are very canny and the Russians pretty inept,’ Hamish de Bretton-Gordon, a former Nato commander, said of the new weaponry.
Ukrainians are no strangers to developing improvised weapons, from Molotov cocktails made by civilians when Vladimir Putin’s forces first invaded to kamikaze drones. Drone racing groups such as the formidable Angry Birds team have been praised for their clever use of racing drones as weapons, turning the small devices into bombs that could be sent straight into enemy strongholds.
Russia has also used drones in brutal attacks on Ukrainian positions and cities, with Iran reported to have sent 1,700 military drones to Putin’s forces.
Moscow has launched hundreds of Iranian drones, including suicide drones, and others that can conduct both strikes and reconnaissance.
But in a spectacular attack in the early hours of today, suspected to have been carried out by Ukrainian drone teams, an oil storage depot in Russia exploded in a towering inferno.
The strike – the latest in a series of apparent strikes by Ukraine on Russian territory – was only six miles from the Kerch Bridge built by Putin to link the Krasnodar region in Russia with Crimea, which he annexed in 2014.
As the war drags on, Ukrainians continue to employ ingenious tactics to repel the Russian invaders.
Saboteurs yesterday derailed a Russian freight train and destroyed power cables with explosive devices in a double blow for Putin.
The train, carrying oil and construction materials, burst into flames following a detonation on the tracks in the Bryansk region, 37 miles from the Ukrainian border.
The new weapons have been likened to V1 rockets, used by the Nazis on London towards the end of the Second World War
Drones have been a big feature of the war on both sides. Ukrainian forces have used the devices as improvised bombs, sending them behind enemy lines
Video taken shortly after the attack showed several destroyed carriages ablaze and lying on their sides, with dark smoke billowing into the air.
Local governor Alexander Bogomaz said the explosive device went off ‘on the 136th kilometre’ of the railroad between Bryansk and the town of Unecha – a route used for transporting Moscow’s military supplies.
The sabotage attacks came as Kyiv prepares for a widely expected counter-offensive this spring, with Ukraine building up its mechanised brigades with armour supplied by its Western allies.
A Russian freight train derailed and burst into flames today after an explosive device detonated on the rail tracks just 37 miles from the Ukrainian border
The train, which was carrying Russian tanks, was targeted in the Bryansk region of Russia, the local governor Alexander Bogomaz said, adding that there were no casualties
Video shows several destroyed oil tanker carriages ablaze and lying on their side following the blast, with dark smoke billowing into the air
Separately, the governor of Russia’s Leningrad region said a power line had been blown up overnight and an explosive device was found near a second line
Russian Railways, the country’s rail operator, said the attack on the freight train occurred at 10.17am Moscow time (07.17 GMT).
It said the locomotive and seven freight wagons were derailed and the locomotive caught fire.
Meanwhile, the White House said on Monday that Russia has suffered 100,000 casualties, with more than 20,000 killed in action, during just the past five months amid the grinding conflict in Ukraine.
It reflects how Moscow’s hopes of rapid victory have given way to a brutal war of attrition that carries a huge cost.
Coupled with previous estimates by US officials it could put the total number of Russian casualties at 200,000 since Moscow invaded last year.
John Kirby, White House security spokesman, said Russia’s attempt at an offensive in the eastern Donbas region, through the city of Bakhmut, had largely failed
Police survey the ruin of a residential area hit in a Russian military strike on the town of Pavlohrad in the Dnipropetrovsk region
John Kirby, White House security spokesman, said Russia’s attempt at an offensive in the eastern Donbas region, through the city of Bakhmut, had largely failed.
‘For Russia this attempted effort, particularly in Bakhmut, has come at a terribly, terribly high cost,’ he told reporters.
‘Russia has exhausted its military stockpiles and its armed forces and since December alone… we estimate Russia has suffered more than 100,000 casualties, including over 20,000 Killed in action, nearly half of whom were Wagner soldiers, the majority of whom were Russian convicts that were thrown into combat… [without] sufficient combat training, combat leadership, or any sense of organisational command and control.’
He said the information was based on newly declassified intelligence, but did not offer further details.
Ukrainian engineers have designed a DIY rocket
View gallery
The Met Gala on May 1 had many viral moments and A$AP Rocky, 34, hopping over his fans to jump into his hotel’s entrance was one of them! The rapper, who walked the red carpet alongside his pregnant girlfriend, Rihanna, used his fans to help bolster him over a barricade outside the Carlyle Hotel in New York City just hours ahead of his Met Gala entrance. After the moment went viral online (watch here), the 34-year-old took to Twitter to apologize to one of the fans whose face he accidentally squished. “ASAP Rocky just literally jumped over me,” the admirer named Maddy wrote, to which he replied, “LOL MY FAULT $WEETHEART.”
LOL MY FAULT $WEETHEART https://t.co/hrQmeHosBL
— LORD FLACKO JODYE II (@asvpxrocky) May 2, 2023
Soon after he publicly apologized, many of the father-of-one‘s fans took to the comments section of A$AP’s tweet to react to his statement of regret. “This is the most A$AP Rocky way for A$AP Rocky to apologize,” one follower quipped, along with a gif of the recording artist. A second fan couldn’t help but feel sorry for Maddy, whose eyeglasses got seemingly smashed in the process. “I wanna fix her glasses so bad!”, they wrote.
So does anyone know why ASAP Rocky had to do this? #MetGala pic.twitter.com/cKVttaCfAY
— philip lewis (@Phil_Lewis_) May 1, 2023
The plot got even more interesting when Maddy realized that Riri’s man has officially begun following her on Twitter. “why is asap now oomf [one of my followers],” she wrote on May 2. The superfan also quote tweeted his apology and explained that she was set to make it into an official shirt. “I’m printing this on a t-shirt,” she joked on Twitter. Hours before A$AP Rocky apologized to her, she took to Twitter to clarify that it was actually Harry Styles, 29, that she was hoping to see. “i am literally a Harry Styles fan like trust asap was not the man i wanted to manhandle me,” Maddy wrote in the early hours of Tuesday morning.
Despite the online chatter surrounding A$AP and the fan, he and the Fenty Beauty founder were complete couple goals on the red carpet. Rihanna wowed in a heavenly white gown by Valentino, while her partner rocked a black suit jacket and a plaid kilt over his jeans. The billionaire glided onto the carpet wearing a floral hood over the gown which she later removed. Riri complete the look with a diamond statement necklace and a bold red lipstick.
While on the red carpet the soon-to-be mother-of-two spoke to Entertainment Tonight about her second pregnancy while she also gushed over her 11-month-old son. “It’s so different from the first one,” she said of her second pregnancy. “Just everything! No cravings, tons of nausea, everything’s different.” Rihanna also quipped about how much she is loving motherhood. “I’m enjoying it! I feel good… I feel energetic,” she added. She welcomed her son, whose name she is still keeping under wraps with A$AP last May. “I’m in love!”, the “Umbrella” songstress gushed of her little man. “I’m obsessed and I don’t even feel guilty about it.”
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View gallery Image Credit: David Fisher/Shutterstock The Met Gala
What Szabo didn’t initially disclose in his two-minute testimony to the panel: He is vice president and general counsel for NetChoice, a tech trade association that receives funding from tech giants including Amazon, Google and Facebook parent company Meta. NetChoice has vocally opposed the measure and already sued to block a similar law in California.
The session was one of dozens happening around the country this year as policymakers and consumer advocacy groups mount a sprawling push for new safeguards for children online, spurring legislation to tackle a recent groundswell of concerns that digital platforms may worsen mental health issues for young users.
Federal efforts to pass children’s online safety protections have languished amid disagreements between House and Senate leaders about which proposals to rally around. State officials have rushed to fill the void with a wave of their own bills, including proposals in Maryland and half a dozen other states requiring tech companies to vet their products for risks to children before rolling them out.
But the push has faced broad opposition from tech trade groups representing some of the United States’ biggest digital platforms, who have blitzed statehouses around the country in an effort to stymie the bills, even as many of their member or partner companies including Amazon remain largely mum. (Amazon founder Jeff Bezos owns The Washington Post.)
Tech groups including NetChoice, CCIA and the Chamber of Progress have fired off letters warning about the potentially catastrophic impact of the bills on user privacy and free speech online, deployed lobbyists to meet with key state officials and sent their leaders to testify in opposition to the efforts in Maryland, Minnesota and Nevada, among other states — part of a widespread campaign to neutralize the budding regulatory push.
Supporters of the proposed legislation, which they say is necessary to prevent children from being exposed to addictive social media features and other harmful designs, say the tech groups’ lobbying has at times relied on misleading or deceptive tactics aimed at stoking confusion about what the proposals do.
After Szabo’s remarks to the Maryland state lawmakers, one of them pressed Szabo to identify himself. “I was offended that he would come in and, quite frankly, misrepresent his interest in this issue,” Maryland state Sen. Benjamin F. Kramer (D) said in an interview recalling the exchange.
Szabo told The Post in an interview that his lack of disclosure was a “simple mistake” and that his intent was not to deceive the policymakers.
“I did testify quite accurately that I was there as a parent first, as a Maryland resident first,” he said. “The fact that I work for NetChoice doesn’t dismiss anything I said.”
The uptick in activity is a harbinger of how states have become a new lobbying battleground for Silicon Valley, after lawmakers in Washington have passed no new comprehensive laws regulating the tech industry despite years of debate. Senate lawmakers this week reintroduced a slate of bills aimed at boosting privacy and safety protections for children, including a bill requiring that companies vet and address potential risks to children in their products. But the measures have faced major political head winds in the House, clouding their path to passage and shifting attention back to the states.
Washington lawmakers have become more aware of tech giants’ lobbying strategies and more skeptical of groups that receive funding from Meta, Amazon and other companies, said Katie Paul, the director of the Tech Transparency Project, which tracks large tech companies’ lobbying efforts and compiled a report on tech groups’ lobbying against the children’s safety legislation. But state lawmakers are an “easy target” because they do not have as much experience or depth of knowledge about the industry apparatus, she said.
By turning to industry groups, tech companies are able to push their interests in state houses while distancing themselves from the bad optics of fighting legislation intended to keep children safe online.
“It removes the Big Tech companies one degree at least,” Paul said. “That simple step back can be all that’s needed for Big Tech companies to absolve themselves from looking like they’re pushing this issue.”
Left-leaning trade group Chamber of Progress urged lawmakers in Minnesota to reject their version of the bill, testifying in March that it would “undermine its goals by sacrificing user privacy” and “jeopardizing many of the same tools and resources already available to children.” Fellow tech trade association CCIA said in comments to lawmakers in New Mexico that their measures “may raise constitutional concerns, conflicts with federal law” and could hinder industry efforts to remove “inappropriate or dangerous content.” In its lawsuit against the California law, NetChoice also argued that the legislation would force companies to “serve as roving censors of speech on the internet.” All three receive funding from tech giants including Meta, Facebook and Google.
Chamber of Progress CEO Adam Kovacevich said such bills could create new legal risks for companies already trying to make their products safer for children. CCIA state policy director Khara Boender warned that some of the language under consideration could result in companies taking privacy invasive steps like collecting government-issued IDs or geolocation data to verify users’ ages and whether they’re located in a state with design restrictions.
Some digital rights groups such as the Electronic Frontier Foundation have echoed those concerns. The group wrote last year that it has “deep concerns” that the California law would “prompt companies to require all users to verify their ages to access online services” and impose vague requirements that companies protect the “best interests of the children.”
Kramer, whose bill failed to make it out of the Maryland legislature this year, said the lobbying campaign by NetChoice and other trade groups has been “very effective” in grinding down their efforts and called it the main reason their proposal did not advance. Industry groups have racked up wins in other states like New Mexico, where the legislative session wrapped for the year before similar legislation could advance. Other state work periods like in Minnesota, where the fate of their own measures are still up in the air, are poised to end this month.
“A combination of very organized industry opposition as well as the short calendar of state legislative sessions can make it more of an uphill battle to be passing bills,” said Irene Ly, policy counsel for the children’s safety advocacy group Common Sense Media, which is backing the proposals. “They’re running out the clock.”
Szabo, the NetChoice vice president, disputed the suggestion that he’s beholden to the tech giants.
“I don’t work for Big Tech. I don’t at all,” Szabo said at the March meeting. “We are a small business … but the more important note is that I’m a father of two children and a lifelong Maryland resident, and that’s why I’m so passionate about this issue today.”
Proponents say that rather than engaging in good faith with policymakers on how to address their concerns about the proposals, styled after landmark new regulations in the United Kingdom that required companies to build safety features into their product designs, tech trade groups in the United States have largely pushed to tank the efforts by issuing dire warnings about their potential impact for users and companies.
“Their position was ‘you’re shredding the First Amendment’ and ‘you’re destroying the internet,’” said Maryland Del. Jared Solomon (D), another lead sponsor for the age-appropriate design code legislation. “There is no middle ground on that.”
Ly said that in lieu of federal action on children’s safety, states can fill in some gaps in protection. “There’s never any guarantee that these bills will pass on the federal level. And so state bills like these, like the design code, are incredibly important, because you can just protect as many kids as possible,” she said.
Companies and industry groups have at times engaged with policymakers on possible tweaks to their measures. At a Maryland Senate Finance Committee working group session last month, an official from the 5Rights Foundation, a nonprofit led by a British filmmaker that has led efforts to replicate the age appropriate design code in the United States, outlined amendments to the state’s bill that they said were crafted in consultation with Google and other industry representatives, including to refine what the bill considered to be the best interests of children.
Google public policy manager Sarah Holland said at the time that if the committee adopted the amendments proposed at the meeting, the bill would be “strong” and “workable.”
“We really think that it reflects the best of what well crafted regulation should do,” she said.
One tech company, digital gaming platform Roblox, became the first to publicly back the California law last year, as The Post reported. But others, including Amazon, have not publicly taken a stance on state efforts to expand the age appropriate design code in the United States.
After the California law passed, Meta issued a statement expressing concerns about some of its provisions but called it “an important development towards establishing” standards to protect young people online. Antigone Davis, the company’s global head of safety, said in a statement Tuesday that they will “continue evaluating proposed legislation and working with policymakers on these important issues.”
Google referred an inquiry to its representative’s comments at the Maryland working group session, where they called that bill “workable” with some changes. Amazon did not return a request for comment.
Proponents of the legislation say they have been frustrated by the conflicting messages they have gotten from tech companies and some of the groups representing them.
“These trade associations are … sort of like the height of disingenuousness,” Solomon said.
Comment on this storyCommentAt a March meeting
EXCLUSIVE: Deadline can reveal the international trailer for Valérie Donzelli’s domestic violence drama Just The Two Of Us ahead of its festival debut at the Cannes Film Festival.
Virginie Efira co-stars opposite Melvil Poupaud as a woman who falls passionately in love with the man of her dreams and rapidly cements the relationship with marriage.
When they relocate far from her family and friends, her new life slowly turns from dream to nightmare as she comes to understand that she is in the grip of a deeply possessive and dangerous man.
Efira’s star is on the ascendency following her award-winning performances in films with strong female storylines, including Paris Alice Winocour’s Memories (Revoir Paris) and Rebecca Zlotowski’s Other People’s Children.
Just The Two Of Us will play in the Cannes Premiere section reserved for established filmmakers with a history at the festival.
Actress and director Donzelli made her Cannes debut in 2011 with her second film Declaration Of War in Critics’ Week and returned in Official Selection in 2015 with costume romance Marguerite & Julien.
Donzelli adapted the screenplay from Eric Reinhardt’s novel L’Amour Et Les Forêts, with Venice Golden Lion winning Happening director and writer Audrey Diwan.
The drama is produced by Edouard Weil and Alice Girard at Paris-based Rectangle Productions with France 2 Cinema and Les Films de Françoise. Goodfellas (formerly Wild Bunch International) is handling sales.
Diaphana Distribution has French rights and will release the film in France on May 23.
EXCLUSIVE: Deadline can reveal the international trailer
Michael Douglas is to receive the Honorary Palme d’or at this year’s Cannes Film Festival.
The festival will pay tribute to the actor and hand him the award during the Opening Ceremony on May 16.
“It is always a breath of fresh air to be at Cannes, which has long provided a wonderful platform for bold creators, artistic audacities, and excellence in storytelling,” Douglas said.
“From my first time here in 1979 for The China Syndrome to my most recent premiere for Behind the Candelabra in 2013, the Festival has always reminded me that the magic of cinema is not just in what we see onscreen but in its ability to impact people all around the world. After more than 50 years in the business, it’s an honor to return to the Croisette to open the Festival and embrace our shared global language of film.”
As part of the tribute, the festival will screen a previously unreleased documentary by Amine Mesta on Douglas titled Michael Douglas, The Prodigal Son on the festival site for two days, from May 14 at 6 pm to May 16 at 6 pm. The doc was produced by Folamour and will be broadcast on Arte.
Douglas has a long history with the festival, first hitting the Croisette for the festival’s 32nd edition for the premiere of The China Syndrome alongside director James Bridges and co-stars Jane Fonda and Jack Lemmon. In 1992, thirteen years later, Douglas joined Sharon Stone and Dutch filmmaker on the Croisette to debut Basic Instinct, which screened in Competition.
More to follow.
Michael Douglas is to receive the Honorary
The creator of the show, Darren Star, confirmed Season 4 will be all about “navigating complicated relationships.”
According to TV Guide, “Season 4 is going to be more about navigating complicated relationships, personal relationships, and work relationships, and how they come into conflict with each other.”
Emily has several relationships to work out in the series, the daring question of will-they-or-won’t-they with Gabriel, mending fences with her newly pregnant friend Camille, learning not to steamroll every conversation with her co-workers, mainly Julien, and figuring out who she wants to be in a relationship with — Alfie or Gabriel, even though it’s clearer than ever (in my opinion).
The creator of the show,
Smile FM launches line-up refresher for 10-year milestone celebration
Smile FM launches line-up refresher for 10-year
James Gunn’s wife, Jennifer Holland, is now set to make her official debut in the Marvel Cinematic Universe.
Gunn and Holland started dating all the way back in 2015, even before Guardians of the Galaxy Vol. 2 was made. However, the two only recently officially got married in September of 2022.
Since then, the filmmaker has worked to bring her into his world. She portrayed ARGUS agent Emilia Harcourt in DC Studios’ The Suicide Squad, where the character went on to play a key role in Peacemaker, and made brief appearances in Black Adam and Shazam! Fury of the Gods.
Outside of her work with Gunn, Holland was part of small roles on shows like Rush Hour, The Glades, and American Horror Story.
Now, Holland is confirmed to make her debut in the Marvel Cinematic Universe.
Thanks to the official press release for Guardians of the Galaxy Vol. 3, it’s been revealed that James Gunn’s wife, Jennifer Holland, has made her MCU debut in the upcoming movie.
Holland will be playing Administrator Kwol, a character who briefly appears at a set piece the Guardians visit early in the movie.
It’s probably best not to get one’s hopes up about Holland’s days in the MCU just beginning.
Administrator Kwol’s role in Guardians of the Galaxy Vol. 3 is a small one that doesn’t seem likely for a reprisal.
At least, when it comes to her part in the DCU, Holland is probably set for quite some time.
While Holland herself isn’t yet confirmed to be returning in James Gunn’s big DCU reboot, it seems a clear inevitability. Most recently, Steve Agee’s comeback as John Economos was made official, and his character goes hand-in-hand with Emilia Harcourt.
It would be a good bet to assume that Harcourt will appear in animated form at some point in the Creature Commandos and then in live action for Waller, with the eventual Peacemaker Season 2 to follow.
Guardians of the Galaxy Vol. 3 is releasing this week in theaters across the globe.
After weeks of negotiations, for the first time in 15 years, the Writers Guild of America has officially gone on strike. Dan Casey breaks down everything you need to know about why this strike happened, how long it might last, and what it means for you, the viewers at home, on today’s episode of Nerdist News! Watch more Nerdist News: http://bit.ly/1qvVVhVOpens in new tab Follow Us:
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After weeks of negotiations, for the first
This game has been in development since 2018. There´s no excuse for its current state. The game is not even ambitious. They couldn´t even bother to create proper stealth execution/incapacitation animations.
Some enemies won´t even attack you, others will just ignore you completely. The graphics reminds me of some early Xbox 360 games.
This game is an embarrassment for a goty awarded studio like Arkane Austin.
No sure which project they might work in the future, but certainly Redfall´s director and producer has to be replaced ASAP!
Obscure_Observer8h ago(Edited 8h ago)This game has been
If you’re a Canon shooter and have been looking to upgrade your way to the new RF mount, this week’s sale is your sign. While new updates to the Canon R6 are already out, that doesn’t mean the original R5, R6, and R7 aren’t great cameras.
For this week’s Deals of the Week, we have camera bodies and lenses to get you started on any budget.
The Canon EOS R5 is for shooters that need resolution, speed, and video capabilities. It’s a full-frame mirrorless camera that features a newly developed 45MP CMOS sensor, which offers 8K raw video recording, 12 fps continuous shooting with a mechanical shutter, and is the first EOS camera to feature 5-axis sensor-shift image stabilization.
For those on a budget that still want a full-frame sensor, the Canon EOS R6 is a great choice. Built around a revised 20MP full-frame CMOS sensor, the EOS R6 offers 4K60p and FHD 120p 10-Bit Internal Video on top of some solid still options. Its sensor is paired with a tuned DIGIC X image processor, which enables impressive stills and video capabilities, along with sensitivity from ISO 100-102400, which can be expanded up to ISO 204800.
Finally, for those who need to make every dollar count, the Canon EOS R7 is the perfect fit. Representing Canon‘s move into APS-C, the R7 features a 32.5MP CMOS sensor that is capable of high-speed 30 fps shooting for sports and wildlife and features the renowned Dual Pixel CMOS AF II focusing system to keep up with and track fast-moving subjects. And, for the multimedia image-maker, 4K video is supported at up to 60p, or 30p when oversampled from a 7K area, and Full HD at up to 120 fps.
Covering a versatile wide-angle focal length range, the Canon RF 15-35mm f/2.8 L IS USM is a great first lens for your new Canon R series camera. The fast f/2.8 aperture is a solid tool for shooting in available light conditions and also affords greater control over the depth of field. The range of wide focal lengths suits working in a variety of situations, from landscape to documentary shooting, and this zoom is complemented by an advanced optical design that greatly reduces color fringing and distortion for high clarity and sharpness.
An Air-Sphere coating has also been applied to reduce flare and ghosting for improved contrast and color fidelity when working in bright conditions. A unique Control Ring is also integrated into the lens design for intuitive control over exposure settings from the lens itself.
Additionally, this 15-35mm is weather-sealed and has a fluorine coating to protect the front and rear elements.
Combining a short-telephoto field of view with a sleek design and close-focusing performance, the Canon RF 85mm f/2 Macro IS STM is a well-rounded lens for a range of subjects, from portraits to macro subjects. Its close-focus design enables working with subject matter as close as 1.15′ away with a 1:2 maximum magnification. The STM stepping motor affords impressively quiet and smooth autofocus performance and full-time manual focus override.
Helping to create sharp imagery, the lens also features optical image stabilization, along with Hybrid IS, to suppress up to five stops of camera shake for cleaner, steadier shooting. A UD (Ultra-low Dispersion) element is also used in the optical design to minimize aberrations and ensure clarity. Additionally, a configurable Control Ring lets you adjust exposure settings, including ISO, aperture, and exposure compensation, from the lens itself.
Getting into the Canon ecosystem? Which of these cameras is on your shortlist?
Let us know in the comments!
For our "Deals of the Week," we
Pete Davidson was supposed to make his hosting debut on Saturday Night Live this weekend, but the episode has been scrapped. And it’s only Tuesday!
No, Pete isn’t canceled or anything. For those not following Hollywood news (which, fair), the Writers Guild of America is currently on strike for a fairer contract with the studios that accurately reflects the value writers bring in the streaming age. We don’t need to get into the details here; the point is, the SNL writers are all union, ipso facto, can’t work this week. NBC will presumably air a rerun. Here, I’ll let Danny Strong explain:
This content can also be viewed on the site it originates from.
They’re not the only ones! All the late-night shows, including The Late Show With Stephen Colbert, Late Night With Seth Meyers, Jimmy Kimmel Live! and The Tonight Show With Jimmy Fallon, are shut down until further notice (Corden’s show aired its finale right before the strike started; clever move). The only topical program still producing new episodes is Fox’s Gutfeld! Make of that what you will.
Will Lorne Michaels bring Pete Davidson back once the strike is over? Depends how long it lasts, and how badly they want to promote his new Peacock show Bupkis (it actually looks really good, IMHO). I do hope we get another Chad soon!
Pete Davidson was supposed to make his
Sitcoms do a funny thing — no pun intended — when they get things right. They make us care.
Night Court Season 1 Episode 15 doesn’t surprise us, but it manages to innovate within the format’s parameters.
With a finale on the horizon, character exits are expected, but I don’t think Gurgs going to Scotland Yard was on anyone’s BINGA card.
She’s demonstrated savant tendencies throughout her hijinks and is easily the most chaotic character on the team in terms of objectives and distractibility.
But she’s always guided by a good heart and a keen — if scattered — intellect.
I’m not sure what Olivia is angling at by schmoozing Emily since I’m pretty sure her law credentials won’t transfer to the UK.
Maybe having a barrister on her contacts list is a bucket list item? Or she’d like to snag one of those wigs.
Gurgs: She’s a lawyer visiting from England.
Olivia: Oh, a barrister! With the exchange rate, they’re worth 1.18 American lawyers.
In any case, the leap from Bailiff Supervisor to Super Recognizer is both surreal and entirely in keeping with Gurgs’s life as we know it.
From Sunday Bunday to her bailiff sword to her alibi standee, Gurgs has all the continuity of a time traveler and a mind palace like a Manhattan Miss Havisham.
While we’ve never seen what became of the office she and Olivia share, she’s obviously had a humanizing effect on the flinty, high-strung DA.
Olivia: Where do you feel most safe?
Gurgs: Uh, the basement level of Bed, Bath, and Beyond; the world of aquatic birds at the Bronx Zoo; and this court.
Olivia: Yes! You love this court! It’s the thing I understand least about you, and you love Daylight Savings Time.
Gurgs: Well, I love anything that Arizona is not involved in.
Unlike the other core characters, Gurgs hasn’t grown over the season as much as sprouted like a Chia Pet.
If she leaves for Scotland Yard (which I guarantee has an entrance exam), it’ll mean considerably less energy in the courtroom but potentially a more foundational bailiff.
I won’t lie. I’ve really missed Bailiff Bull in this revival.
However, without Gurgs, we would’ve been ROBBED of the moment of sheer delight that is MUPPET NEIL.
Yes, Hamburglar Olivia is bonkers, and Abby channeling Danny Zuko (?) amusing. Pennybags Dan isn’t so much a departure from reality as a potential parallel universe version of him.
But MUPPET NEIL is EVERYTHING. I sincerely hope Kapil Talwalkar got to keep his Muppet self. Or at least has visitation rights.
Can we cheer for the continuity of Neil being happily involved with Gabby still? One wonders if anyone ever let Rand in on Neil’s crush on Abby, although I can’t see Rand doing anything but empathize.
Rand is a conundrum of a character. He’s utterly inoffensive in every respect and still completely awkward in the context of the show’s cast.
There are two ways to analyze his role.
On the one hand, he symbolizes Abby’s past. He’s Skaneateles on two feet, a walking, talking personification of Upstate New York.
In this respect, he’s a contrast to Manhattan and Abby’s current existence. He’s who she was juxtaposed against who she is now.
In no way is he a villain. He just is.
He’s static, expecting Abby to be as wide-eyed and inspired by Big City novelty as he is.
You don’t understand. They were doing flips OVER me. They made Patrick Swayze and Jennifer Gray look like trash. Most impressive part was none of the dancing was even remotely dirty.
Rand
He’s coming to New York as a visitor, a tourist. He’s only there because Abby is and doesn’t have a vision beyond getting married and setting up house with her.
If he genuinely recognizes her future is in Manhattan, he’d be looking to make a place for himself there too. That is, if he sees his future with her.
But then there’s the Dan Factor. And I’ll admit that there’s some weirdness creeping into the Abby-Dan vibe.
The two have been a stellar pairing as mentor-mentee, curmudgeon-Pollyana, or courtroom ogre-imp.
The point is you’re always going to be her go-to person, her first phone call when she needs someone.
But when Abby calls Dan before she calls Rand, there’s a significant shift in their understanding of each other.
There were hints of it when Dan tries to pull the Mary Poppins-esque “I shall stay until the wind changes” bit, taking a judgeship in Louisiana.
Yeah, being a judge is kind of a dream I had given up on. Think about it, I’ve been judging people my entire life for free. Now, I’m gonna get a paycheque.
Abby’s distress at his departure is over-the-top even for her.
And it suddenly becomes clear that she’s transferred her affection for Harry to Dan, and his leaving is her losing her father all over again.
It’s enough to make me wonder if she didn’t embark on the seniors’ home shenanigans as a type of risk-seeking behavior bound to land her in trouble that she’d need Dan to come back and save her from.
Rand: Can’t wait for this courthouse tour. Is it true you guys have a vending machine that still sells cigarettes?
Abby: That’s nothing. We also have a working switchboard. No one uses it, but those nice ladies just have nowhere to go.
I’d be really disappointed if that’s the direction they take Abby’s character with the finale looming.
Furthermore, Rand isn’t wrong about her not prioritizing him in her life.
She verbally shunts aside her doubts about their relationship, but it’s not like they’ve worked them out. She’s just decided they were groundless.
Dan is her priority. Followed by her job. And then the total strangers her job brings into her life.
You’re not taking off for the bayou without us throwing a party to say, ‘Bye, you!’
Abby
So Rand’s other role is as a sort of NPC in the DnD of the Night Court-verse. He’s there to highlight how Abby’s values have changed.
As we slide into the finale (and back half of this two-parter), watch Night Court online and consider how much we’ve learned about these characters in a few short months.
Olivia will never be as cutthroat as she sees herself.
You know what quiets the old brain? Alcohol. Nature’s snooze button.
Olivia
Neil may have a chance at a mature and lasting relationship.
Gurgs could actually get the chance to be a femme fatale undercover operative.
But, ultimately, Dan and Abby’s subtly co-dependent scaffolding may collapse.
Where will the season leave us, Fanatics?
How many characters will exit Stage Left?
Goodbyes can be tough, but that’s how you know you had something real.
Waiter
Are you Team Rand? Or Team Reinholdt? No, wait, don’t answer that.
Just hit our comments with how you think Abby can stay on the bench after being arrested for trespassing and attempted kidnapping!
Diana Keng is a staff writer for TV Fanatic. She is a lifelong fan of smart sci-fi and fantasy media, an upstanding citizen of the United Federation of Planets, and a supporter of AFC Richmond ’til she dies. Her guilty pleasures include female-led procedurals, old-school sitcoms, and Bluey. She teaches, knits, and dreams big. Follow her on Twitter.
Sitcoms do a funny thing -- no
Some of the biggest names of Broadway (and Hollywood) won’t be receiving those phone calls of congratulations today as this morning’s Tony Awards nominations included more than a few surprising — or, in some cases, not surprising — omissions.
Aaron Sorkin, whose rewritten book for the classic musical Camelot was not beloved by critics, didn’t get any Tony approval today. His revisions were extensive enough to make him eligible in the Best Book of a Musical category, but he is not among the nominees.
As for lead actors and actresses, Oscar Isaac and Rachel Brosnahan, the bold-name stars of The Sign in Sidney Brustein’s Window, were overlooked, as was The Piano Lesson‘s John David Washington and Pictures From Home‘s Nathan Lane. Marcel Spears, the star of the acclaimed Fat Ham, was not nominated, nor was Olivier Award winner Hiran Abeysekera (Life of Pi). Jefferson Mays, so good in the seasonal A Christmas Carol, is not on the list.
In addition to Brosnahan, Broadway favorite Laura Linney was overlooked in the Leading Actress/Play category, while her Summer, 1976 co-star Jessica Hecht got a nom.
Among the Featured (i.e., supporting) performers, some of the biggest surprises were the absences of the well-reviewed Danielle Brooks (The Piano Lesson), Sharon D Clarke (Death of a Saleman), Michael Potts (The Piano Lesson) and Leopoldstadt’s David Krumholtz. Scott Foley, a big TV name, went unrecognized for his performance in The Thanksgiving Play, not a huge surprise given the so-so critical reception for the production.
Among musical directors, the absence of three of Broadway’s most successful and popular names — Susan Stroman (New York, New York), Bartlett Sher (Camelot) and, perhaps most of all, Hamilton director Thomas Kail (Sweeney Todd) — was one of the day’s biggest shockers. Good to see Lear deBessonet recognized for the delightful Into the Woods, even though the Encores! transfer was a more stripped-down affair than Camelot, NY2 and Sweeney.
The Direction/Play had its own share of snubs of major names, most notably LaTanya Richardson Jackson (The Piano Lesson), Kenny Leon (Topdog/Underdog), Anne Kauffman (The Sign in Sidney Brustein’s Window) and Daniel Sullivan (Summer, 1976). Justin Martin, who directed the highly praised Prima Facie, was left off the list as well.
In fact, Prima Facie, which was a major Olivier winner during its London run, wasn’t mentioned in the Best Play category, nor was London hit Life of Pi or the Sean Hayes-starrer Good Night, Oscar. Neither Death of a Salesman — another London hit — nor Ohio State Murders took spots in the Play Revival category.
Two of the season’s more anticipated shows — Almost Famous and A Beautiful Noise — were shut out of the Best Musical category. In fact, the Neil Diamond musical A Beautiful Noise got zero nominations. Ditto Andrew Lloyd Webber’s Bad Cinderella and and Bob Fosse’s Dancin’.
The Lead Actress/Musical category saw its share of snubs: Anna Uzele (New York, New York), Patina Miller (Into the Woods) and, perhaps most unexpected, Phillipa Soo (Camelot). Soo’s co-star, Andrew Burnap, also emerged empty-handed.
In the Featured Actor/Musical category, Gaten Matarazzo (Sweeney Todd), Gavin Creek (Into the Woods), Alex Joseph Grayson (Parade), Steven Boyer (Kimberly Akimbo) and Joshua Henry (Into the Woods) all received sterling reviews; none were nominated.
As for the more pleasant surprises, Shucked, the little show that could, had a fantastic day, scoring an impressive nine nominations — more than Sweeney Todd, Into The Woods, Leopoldstadt, Parade and any number of productions that were far better known commodities heading into their opening nights. Shucked producers were so confident in their show that they offered low-priced tickets throughout the musical’s entire preview period, hoping for word and maybe some Tony love. Seems they got both.
Also heartening: Ain’t No Mo’, Jordan E. Cooper’s edgy comedy about race and identity that received excellent reviews but struggled at the box office and closed too early, was nominated for Best Play.
Yahya Abdul-Mateen II and Corey Hawkins of Topdog/Underdog got nominated, a good turn since some feared the co-stars might cancel each other out. That’s a situation that may have occurred with Summer, 1976, with the deserving Jessica Hecht getting a nomination but her equally deserving co-star Laura Linney going unrecognized.
Other excellent performances nominations that might have gotten overlooked — but thankfully didn’t — include Miriam Silverman (Sidney Brustein), Alex Newell (Shucked) and Julia Lester (Into the Woods).
Some of the biggest names of Broadway
“And so each venture is a new beginning, a raid on the inarticulate with shabby equipment always deteriorating…” So goes one of the many richly etched lines in T.S. Eliot’s Four Quartets. Eliot, one of Britain, as well as—by history’s judging—the world’s pre-eminent poets, felt that any poem’s essential meaning had to be contended for and discovered. So it is, then, that director Sophie Fiennes has ventured with Four Quartets, creating something wholly distinctive and unquestionably resounding but also something imprecise.
Four Quartets is the translation for the televised screen of Ralph Fiennes’ one-man theatrical performance of the very same T.S. Eliot work (Director and actor, in this case, being sister and brother). Eliot’s work was penned in the wake of the Second World War. Split into four smaller poems, Four Quartets is a dense but sumptuously considered series of ruminations on time, purpose, faith, and existence.
Particularly noteworthy of Fiennes’ performance on-stage is that he memorized Four Quartets in its entirety—nearly 1,000 lines of intricate and difficult poetry, to put it in perspective. However, therein enters the aforementioned imprecision: The magnitude of that fact certainly cannot be felt in any direction when witnessing it on screen, and so too is the intimate theatrical context lost.
“Eliot’s work was penned in the wake of the Second World War. Split into four smaller poems…”
What’s left is a suite of oddly integrated visuals. At times they are wonderfully transportive—showing, for example, the verdant garden of the manor Burnt Norton, which inspired the name of Four Quartets’ first poem—and at other times, starkly dull—showing, for the majority of the Fiennes’ performance, his figure cast against ghastly monoliths of concrete. What makes the latter particularly confusing is that the inherent nakedness of this setup is occasionally utilized to rather profound effect, such as when Fiennes performs whilst sitting at a table, speaking into a wartime microphone, alluding to the era of the poem’s inception.
I suspect the stripped-down aesthetic was designed to highlight the harrowing nature of the time and to highlight Fiennes himself, who is in riveting form. His chosen articulations and emphases give Eliot’s work a trancelike persona. And the words of Eliot’s pen are as intensely metaphorical and as decadently sublime as ever. Thus, it is a pity that the program runs for an hour and twenty minutes—likely twenty minutes too long. It is meticulous work to digest poetry of such a nature, and one’s attention—without better visual aid—wanders almost invariably. Splitting the performance into four episodes would have better served the televised format.
Still, Four Quartets is a special experience. There is something quite prescient about this work being rendered on the screen in the frenetic modern age. For those who can gather the patience, it is a reminder of the wisdom Eliot so treasured, with all its overt Christian inspiration, birthed with such difficulty in the fires of war. There are many who will feel Eliot’s stanzas require too much toil, and toil though Four Quartets may sometimes be, it is nonetheless timeless and unendingly beautiful.
“And so each venture is a new
The village of Cache Creek has declared a local state of emergency due to the flooding situation in the community.
The village of Cache Creek has declared
Being strong for mom. Savannah Chrisley shared an update on how her mom, Julie Chrisley, is coping with her new life in prison.
“She sent me home 30 to 40 days’ worth of letters … it was like her daily diary basically,” the Chrisley Knows Best alum, 25, said on the Monday, May 1, episode of her “Unlocked With Savannah Chrisley” podcast, noting she was eventually going to read them aloud at a later date.
Savannah confessed that her mom, 50, felt remorseful for the responsibility she put on her while Julie and Savannah’s dad, Todd Chrisley, serve out their prison sentences. (Julie was sentenced to seven years behind bars, while Todd, 54, is serving 12 years. The couple were convicted of multiple counts of bank and wire fraud, tax evasion and conspiracy in June 2022.)
“It was a lot to read, it was tough to see the accounts of her day and just things that she’s scared of or nervous about or just all the thoughts that go through her mind,” shared Savannah, who was granted custody of her 16-year-old brother, Grayson, and 10-year-old niece, Chloe, amid her parents’ amid her parents November 2022 sentencing. “And not having my dad there with her is the biggest thing.”
As the Sharknado 4: The 4th Awakens actress opened up about how her mom was faring, she revealed that Julie was trying to distract herself during her sentence.
“She’s just staying busy. You know, like, she’s trying to do anything and everything, take classes, [be] first at-bat — everything known to man that she can do, she does,” Savannah explained, noting her mother is the type of person who likes to accomplish tasks and focus on her health.
The Sassy by Savannah founder, who has visited her parents on multiple occasions, shared that she thinks her mom was trying to “shield” her kids “from a lot of things” regarding their legal woes in order to protect them.
In January, Us Weekly confirmed that Todd surrendered at FPC Pensacola minimum security facility in Florida to begin serving his sentence while Julie reported to the Federal Medical Center in Lexington, Kentucky.
In addition to Savannah and Grayson, Todd and Julie are also the parents of son Chase, 26. Todd, for his part, is also dad of daughter Lindsie, 33, and son Kyle, 31, whom he shares with ex-wife Teresa Terry.
Before Julie’s departure to Kentucky, she opened up about how she was handling everything and trying to remain strong for her family.
“We have to live every day as if it’s our last,” Julie said on her and Todd’s “Chrisley Confessions” podcast in December 2022. “The difficulties I’m going through, how I handle it — [my kids are] watching that as well. If I handle it right, they’re watching, if I screw up, they’re watching, and so, for me as a parent, I want to try to make sure that I do it right more than I do it wrong.”
Rampage/ MEGA Being strong for mom. Savannah Chrisley
Roku is reinvesting in — and bulking up — its originals lineup, announcing a new season of “The Great American Baking Show” and an unscripted comedy featuring singer-songwriter Charlie Puth among the shows coming to the Roku Channel.
Notably, the content announcements at Roku’s 2023 NewFronts presentation — coming on Day One of the WGA writers strike — were unscripted/reality formats. Also at the event in New York Tuesday, the streaming platform unveiled a suite of new ad solutions, including sponsorships for its popular Roku City screensaver.
The company announced that it has renewed reality competition series “The Great American Baking Show” for Season 2. The news came ahead of the premiere Friday, May 5, of the new six-episode run of the show featuring Paul Hollywood, Prue Leith, Ellie Kemper and Zach Cherry (pictured above, left) on the Roku Channel. “The Great American Baking Show,” produced by Love Productions USA, ran for five seasons on ABC as a spinoff of original hit “The Great British Baking Show” before it was picked up last year by Roku. The streaming company previously acquired U.S. rights to dozens of episodes in the “Great Baking Show” franchise for a FAST channel. Roku will also bring back the holiday special of “The Great American Baking Show,” which will feature all-new celebrity bakers and debut this upcoming holiday season.
“Charlie Makes a Record” (working title) is an unscripted comedy series that takes stories from his real life and “elevates them into borderline-surreal scenarios” to show “a whole different side of Charlie and his talents,” according to Roku. The series will follow Puth as he writes new music and attempts to balance stardom with a regular life… all while “trying to silence the oppressive sense of crippling solitude racing through his head.” The six-episode series is produced by Scout Productions with David Collins, Rob Eric, Renata Lombardo and Michael Williams serving as executive producers alongside Charlie Puth, his sister Mikaela Puth and Ty Stiklorius.
Additional originals announcements:
Other Roku originals featured in the presentation included the previously announced “Carpe DM with Juanpa,” featuring Mexican social media star Juanpa Zurita, and “Celebrity Family Cook Off” (working title), executive produced by Sofia Vergara and hosted by her son, Manolo Gonzalez Vergara.
“Bringing together the power of the Roku platform and the strong storytelling of our top-tier global creative partners has made Roku originals unmissable TV for millions of streamers,” said David Eilenberg, Roku Media’s head of content. “We’re thrilled to delight our audience with new premium original series and proud to continue the Roku originals stories that audience already love, by bringing several series back for more.”
The new titles join the Roku Channel’s lineup of upcoming originals, including “WWE: Recruits,” “Kevin Hart’s Muscle Car Crew,” “Morimoto’s Sushi Master,” “Match Me in Miami,” “Reptile Royalty,” “Lincoln Log Masters,” “The Marriage Pact,” “The Newsreader,” “Die Hart” and “Chad.”
At the NewFronts, the company revealed the Roku City brand experience will let marketers buy a sponsorship slot on the screensaver. This summer, McDonald’s is slated to be the first brand to sponsor Roku City, according to the company. The company says the screensaver is used by nearly 40 million active streaming accounts.
Roku also announced new brand sponsorship opportunities on the platform’s home screen for two content verticals — home and garden, and sports — that curate content from across multiple sources. In addition, the company touted new AI-powered contextual ads for shows and movies on the Roku Channel, which uses artificial intelligence to search the Roku library for “iconic plot moments” that match a brand’s message and places ads in real-time.
During the presentation, Roku highlighted its commerce solutions, which provide data measurement to advertisers in partnership with retailers and marketplaces including Instacart, Best Buy, Cox Automotive, DoorDash, Kroger and Walmart. The company also called out its primetime reach guarantee, announced last month, under which Roku is pledging to clients that their campaign will reach more TV households in primetime than the average program on a top-five cable TV network.
Roku noted that in 2022, streaming TV surpassed cable viewing for the first time (per Nielsen). In the first quarter of 2023, Roku reported streaming per active account reached a record high of 3.9 hours per day.
“We’re uniquely positioned to make brands unmissable in TV because Roku is not fighting for turf in streaming — we are the turf,” said Alison Levin, Roku’s VP of ad revenue and marketing solutions. She added that the company is “bringing the entire power of the platform, not just the pieces, to give marketers more of the scale, delight and flexibility that they love in TV.”
Roku hosted the NewFronts presentation at the Chelsea Factory in Manhattan.
Roku is reinvesting in — and bulking
A bombshell text sent by ex-Fox News star Tucker Carlson, published by The New York Times on Tuesday, finally reveals the beginning of the chain of events that led to him being fired by the right-wing network last month.
The text, written the day after the Jan. 6 insurrection at the Capitol, was filled with racist vitriol, violent language and introspection over his own lack of morality, with the host confessing to a desire to support those who “surrounded an Antifa kid and started pounding the living s— out of him.”
Carlson wrote: “Suddenly I found myself rooting for the mob against the man, hoping they’d hit him harder, kill him. I really wanted them to hurt the kid. I could taste it. Then somewhere deep in my brain, an alarm went off: this isn’t good for me. I’m becoming something I don’t want to be.”
Written to one of his producers, the text was part of what was surfaced during discovery in the Dominion Voting Systems lawsuit against Fox News. According to the Times, the text so alarmed Fox executives that they informed the board the next day that they had hired an outside law firm to conduct an investigation.
The full text reads: “A couple of weeks ago, I was watching video of people fighting on the street in Washington. A group of Trump guys surrounded an Antifa kid and started pounding the living shit out of him. It was three against one, at least. Jumping a guy like that is dishonorable obviously. It’s not how white men fight. Yet suddenly I found myself rooting for the mob against the man, hoping they’d hit him harder, kill him. I really wanted them to hurt the kid. I could taste it. Then somewhere deep in my brain, an alarm went off: this isn’t good for me. I’m becoming something I don’t want to be. The Antifa creep is a human being. Much as I despise what he says and does, much as I’m sure I’d hate him personally if I knew him, I shouldn’t gloat over his suffering. I should be bothered by it. I should remember that somewhere somebody probably loves this kid, and would be crushed if he was killed. If I don’t care about those things, if I reduce people to their politics, how am I better than he is?”
It only added to growing concerns Fox News had about its highest-rated star, according to the Times. Other material that came out during discovery in the Dominion lawsuit was nearly as damning, with other Carlson messages containing crude, sexist language — including one in which he said he hated Trump “passionately.”
But Carlson had also come into conflict with Fox News bosses over, among other things, his feeling that then network hadn’t protected him enough during the case. Reportedly, things got so bad that Carlson had to be given an intermediary between himself and Fox’s communications department.
Carlson was fired on April 24, a move that he later said took him completely by surprise.
A bombshell text sent by ex-Fox News
Netflix faces a new downfall again! The Television Writers’ strike is taking down the streaming giant with it. We all know that the platform has already been struggling with subscribers for a long time. From password-sharing clampdown to cancellation of fan-favorite shows, people have been infuriated badly. Social media users who follow their official page on Twitter might already know how subscribers constantly bash the streaming giant for not bringing the thing they want to watch. Now this new rising issue seems to create a darker effect on the company.
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The Writers Guild of America has started a strike for the first time in 15 years. All television and film writers are demanding an increment in pay for their creative contributions. Moreover, it is revealed that this halt would impact all the streamers and shows like The Late Show, Jimmy Kimmel Live!, The Tonight Show, and Late Night on NBC.
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As of now, the effects of the strike might not be visible for streamers like Netflix but will certainly come out in the long run. “When it comes to scripted dramas or comedies, it would actually be quite a while before a normal viewer would see a difference,” Hollywood Reporter’s Alex Weprin told CBS News.
The writer stated the change would not be visible to people right away because the OTT platforms already have episodes shot for running shows. Also, some scripts for the upcoming shows have been written. However, if the strike continues this whole summer things might turn upside down for streamers.
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Considering the writers have stopped working for companies and production houses, streamers are rushing to finish their current projects. They are trying to create a backup because if things get complicated in the coming months they would have something for viewers. Netflix recently revealed that they will add more overseas content to engage their subscribers during the strike.
“We’ve got ourselves ready. We’ve had a lot of content that’s been produced,” said the chief executive of Warner Bros. Discovery. Yet, the production teams are still in the red zone as they don’t have writers to make last-minute changes. Meanwhile, the DGA will try to settle things with the Alliance of Motion Picture and Television Producers (AMPTP) on May 10.
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Will Netflix be successful in coming out peacefully from this wave? Drop your comments below.
Netflix faces a new downfall again! The
Nawazuddin has said Kangana is one of the best actresses in the country.
Actor Nawazuddin Siddiqui, who’s starring in Kangana Ranaut’s production Tiku Weds Sheru, commended her for being supportive and creating a positive atmosphere on set. In an interview with Amar Ujala, Nawazuddin spoke highly of Kangana and praised her for being one of the best producers he has worked with. He also acknowledged Kangana’s acting skills and called her one of the best actresses in the country. The film also stars Avneet Kaur alongside Nawazuddin in the lead role.
He said, “I have not yet seen a better producer than Kangana Ranaut. She used to create a good atmosphere on the set. Everyone used to feel affinity. There is no doubt that she is one of the best actress of our country. As good an actor as she is, she is also a good producer.”
Meanwhile, Apurva Asrani, who has previously worked with Kangana Ranaut, has expressed his appreciation for her support of same-sex marriage. Asrani took to social media to express his gratitude towards Kangana for standing up for the cause.
Apurva Asrani thanked Kangana for her support of same-sex marriage in a tweet on Monday. A person ‘canceled’ by the ‘liberal’ media has no right to an opinion right? Even if her statement is humane, brave & timely all at once? Kangana Ranaut speaks for #marriageequality. Something that most movie stars have been shy of doing. From one Queen to another, Thankyou.”
During her media interaction in Haridwar, Kangana Ranaut was asked about her opinion on same-sex marriage. In response, the actress said, ““Jo shaadi hoti hai, woh dil ke rishte hote hai. Jab logo ke dil mil gaye hai baaki kuchh logo ki jo preference hai, use hum kya bol sakte hai (Marriages happen when two hearts meet. And when their hearts have met, who are we to say anything about the preferences of some other people?).”
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Nawazuddin has said Kangana is one of
Kevin Costner and Christine Baumgartner are calling it quits.
Former model and handbag designer Baumgartner filed to dissolve their 18-year marriage on Monday.
“It is with great sadness that circumstances beyond his control have transpired which have resulted in Mr. Costner having to participate in a dissolution of marriage action,” a rep for the “Yellowstone” star confirmed to The Times.
“We ask that his, Christine’s and their children’s privacy be respected as they navigate this difficult time,” the rep added.
According to TMZ, Baumgartner, 49, asked for joint custody of their three children: Cayden, 15, Hayes, 14, and Grace, 12. Costner responded to the petition on Tuesday, also requesting joint custody of the children.
Baumgartner and Costner reportedly met on a golf course in the 1980s when Costner was rehearsing for his role in the 1996 film “Tin Cup.” The actor was married to his first wife at the time and didn’t start dating Baumgartner until 1999.
The couple split briefly in 2003 — Baumgartner wanted to have children and Costner wasn’t sure he should have more — but the two ultimately worked it out, tied the knot in Aspen, Colo., in 2004, and welcomed three children over the next several years.
This is the second divorce for 68-year-old Costner. The “Dances With Wolves” star was previously married to Cindy Silva. Their 16-year marriage ended in 1994, and according to Forbes, the divorce was one of the most expensive in Hollywood history, with Silva awarded an $80-million estimated settlement.
According to TMZ, Baumgartner is not asking for spousal support. Costner’s response, filed by divorce attorney to the stars Laura Wasser, says, “Spousal support to be payable to petitioner pursuant to the terms of the parties’ Premarital Agreement.”
Which basically means: A prenuptial agreement was signed.
Kevin Costner and Christine Baumgartner are
Director James Gunn confirmed that a spin-off movie for Rocket & Groot was planned before it became Guardians of the Galaxy Vol. 3.
Fans have yearned for Guardians of the Galaxy members to branch off into their own movies, especially one starring Rocket & Groot. The two almost had a short film planned, but it was deemed “too much” by Marvel Studios President Kevin Feige and scrapped before it went into development.
However, Gunn recently revealed that he always felt that Rocket Raccoon was “always the secret protagonist” of the Guardians films. So, it’s only fitting that the last movie of Gunn’s trilogy finally explores Rocket’s backstory.
But Gunn also revealed in a new interview that this threequel could have been a spin-off movie instead.
In an interview with io9, director James Gunn revealed that due to Guardians of the Galaxy Vol. 3 focusing so heavily on Rocket’s backstory, he had considered at one point making it a Rocket and Groot spin-off instead.
Gunn said that Rocket’s story should be reserved for the third movie, as he “thought we had to tell Peter Quill’s story first.” When it came time for the threequel, Gunn asked himself if it was “going to be a Rocket and Groot movie or was it going to be Guardians 3:”
“I always thought it was a third movie thing because I thought we had to tell Peter Quill’s story first and then get into Rocket’s story. I think the only question was, was it going to be a Rocket and Groot movie or was it going to be Guardians 3—because initially, I was going to do it as Rocket and Groot.”
Ultimately, Gunn decided to make his last outing at Marvel Studios another team-up movie with Rocket still at the center.
Thus far, fans know that Guardians of the Galaxy Vol. 3 will be the last movie in the franchise for Chris Pratt, Zoe Saldana, Dave Bautista, Sean Gunn, and possibly Pom Klementieff. Unfortunately, this leaves the fates of Rocket, Groot, and Nebula up in the air.
But it’s not like Disney, an entertainment conglomerate focused on profit, to stop making more Guardians movies, so a new team of Guardians will likely be formed. It’s only a question of that team still having Rocket and Groot in it.
It’d be insane for Disney to squander the toyetic as heck Groot, so he’s likely safe, but that still leaves Rocket’s life hanging in the balance. Gunn teased Rocket’s fate to a fan on Instagram, but that could easily be a fake out.
Fans will discover what happens to Rocket and Groot when they see Guardians of the Galaxy Vol. 3 on Friday, May 5.
Henry Cavill’s Superman has often been described as a dark and gritty version of the character, but there are many lighter moments with his Man of Steel. Henry Cavill first debuted as Superman in Zack Snyder’s 2013 film, Man of Steel, and would go on to reprise the role in its 2016 follow-up, Batman v Superman: Dawn of Justice. After the eventual release of Zack Snyder’s Justice League in 2021, many were eager to see Cavill continue as Superman following his cameo in Black Adam. But James Gunn’s DC Universe would ultimately head in a different direction with a different Man of Steel in Superman: Legacy.
Cavill’s Superman performances and the overall tone of Zack Snyder’s approach to the character are polarizing, with many detractors finding Cavill’s Superman to be lacking in Kal-El’s well-known hopeful personality. However, Cavill’s Superman of Zack Snyder’s DCEU not only overcomes many dark circumstances and harrowing challenges, but also has plenty of lighter moments that show him as both an inspirational and aspirational hero. Here are five of the most inspiring moments with Henry Cavill’s Superman.
After General Zod (Michael Shannon) issues his ultimatum to the world to hand over Kal-El, Superman voluntarily turns himself over. Man of Steel’s interrogation scene reveals the hope that he is embodying and trying to inspire in others by doing so. To be sure, Superman makes clear that he cannot be detained like other prisoners when he nonchalantly breaks his handcuffs, but his words say it all – “You’re scared of me because you can’t control me. You don’t, and you never will, but that doesn’t mean I’m your enemy.”
Superman is between a rock and a hard place in Man of Steel – he knows Michael Shannon’s unyielding version of General Zod is up to no good, but he cannot be sure that humanity will accept him if he reveals himself and voluntarily allows himself to be handed over. The stakes couldn’t be higher, but Superman still wants to stave off a worldwide panic as much as he can in giving every assurance that he is on Earth’s side. With General Calvin Swanwick (Harry Lennix) also secretly being Martian Manhunter, Superman also inspires hope among his fellow aliens with his surrender, as well.
Following Superman resurrection in Zack Snyder’s Justice League, he returns to the foreclosed Kent farm with Lois Lane (Amy Adams). Martha Kent (Diane Lane) also arrives for an emotional reunion, and it is one of the most heartwarming scenes in the movie (and one of the Snyder Cut’s many big differences from the theatrical version of Justice League). Moreover what Clark himself says to Lois and Martha here is what really captures the hope that is central to Superman. Clark tells Lois “I have a second chance Lo, and I am not going to waste it.”
Following up this statement, Clark tells Lois and Martha “They wanted me back for a reason. I need to find out why.” Having returned from death, Superman makes his fiancée and his adoptive mother overjoyed to see him alive again, but he’s also still thinking like Superman. The world is in trouble, and the Justice League needs help, which looks like a job for Superman.
Superman dies in Batman v Superman battling Doomsday, and his resurrection is given a lot of build up in Zack Snyder’s Justice League, finally culminating in Superman’s arrival in the final showdown with Steppenwolf (Ciarán Hinds). Quipping “Not impressed” against Steppenwolf’s axe strike, this one moment is Superman in a nutshell. Unyielding to Steppenwolf’s axe hitting his shoulder with a metallic clang, you get Superman’s invulnerability. With the Man of Steel freezing Steppenwolf’s axe with his arctic breath and kicking him a hundred feet away, you get his immense superhuman strength.
To top it all off, Superman’s grin brings his innate confidence and joy into the fight to save the world. It also has thematic importance to Superman’s story in Snyder’s Justice League arc, the Man of Steel having not only overcome his self-doubt and the world’s initial skepticism of his motives, but returned from death after convincing Batman (Ben Affleck) that he is a friend. Superman’s big one-liner in Zack Snyder’s Justice League might be “Not impressed,” but the impressive factor of it is undeniable.
Following the Justice League’s defeat of Steppenwolf in Zack Snyder’s Justice League, the heroes stand victoriously atop a nuclear cooling tower with the sun rising behind them. While in itself a grandiose group shot of the Justice League finally formed, the moment leading into it of Superman lifting Batman to the top is a deeply personal component of his story. Ben Affleck’s Batman, having fought many villains in the 20 years preceding Batman v Superman, was once determined to preemptively destroy Superman to protect mankind, with the Man of Steel also once seeing Batman as an enemy.
Batman has since completely returned from the abyss he was in to help resurrect Superman, but the seemingly small moment of Superman helping Batman up says a lot. They’ve grown beyond the animosity that they met each other under, and now see each other as allies and as equals as they grin and nod to each other. Even small acts of kindness or friendship can mean a lot, and Superman lifting up Batman to stand side-by-side with the Justice League is exactly that.
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Cavill’s best moment as Superman remains his first scene donning Superman’s suit and cape in Man of Steel, and like Batman v Superman, is true to Superman himself and his hopeful nature. His red cape majestically flowing behind him, Kal-El makes his first attempt at flight, struggling a bit at first before finally soaring into the sky. The guidance of his father Jor-El (Russell Crowe) adds as much weight and gravity to Superman’s first flight scene as Hans Zimmer’s thunderously powerful score, while Cavill himself seals the scene with Clark’s exhilaration at flying.
Having been living like a vagabond and saving lives where he can, Clark has done everything he can to hide his powers from the world for fear of how humanity might respond to an alien living among them. While he keeps that practice up for a bit longer in the film, Clark’s first flight opens his eyes to the possibilities of his powers, and what both Jor-El and Man of Steel‘s controversial Jonathan Kent (Kevin Costner) believe he can accomplish. Ultimately, like his comic book counterpart, Henry Cavill’s Superman exemplifies bringing hope into a dark world through his lighter Snyderverse moments.
Henry Cavill's Superman has often been described
Twitter owner Elon Musk has reportedly emailed an NPR reporter to ask if the organization is returning to the website and to suggest that the company could reassign its account if it doesn’t. According to NPR, Musk sent one of its reporters an unprompted email that reads: “So is NPR going to start posting on Twitter again, or should we reassign @NPR to another company?” If you’ll recall, the organization quit Twitter in April after being labeled as a “state-affiliated media,” along with state-run outlets, such as China’s Xinhua News Agency and Russia’s RT.
Before NPR decided to ditch Twitter altogether, the social network changed the label to “government-funded media” after being called out. However, NPR said the updated label is still “inaccurate and misleading,” as it’s “a private, nonprofit company with editorial independence.” The label also prompted PBS to leave the website. Twitter ultimately decided to remove the “government-funded media” label entirely, even from state-run outlets, but neither NPR nor PBS has returned to the website.
Musk’s surprise email turned into an exchange with the executive, wherein he reportedly wrote in one of his responses: “NPR isn’t tagged as government-funded anymore, so what’s the beef?” And when asked who would be taking over the NPR account on Twitter, he replied: “National Pumpkin Radio,” along with a couple of emoji. We reached out Twitter for a statement, but the company doesn’t have a communications team anymore.
Under Twitter’s policy, the company said that users can simply log in once every 30 days to keep their account active. Further, it said that accounts may be permanently removed due to inactivity, but it “cannot release inactive usernames at this time.” It encourages people to find a variation if the username they want is “used by an account that seems inactive.” However, NPR said that in their email exchange, Musk told the organization that Twitter’s “policy is to recycle handles that are definitively dormant.” He apparently added: “Same policy applies to all accounts. No special treatment for NPR.” It’s unclear if Twitter intends to update its official policy page for inactive accounts with that information, and if it will implement safeguards to protect former users from impersonation.
Twitter owner Elon Musk has reportedly emailed
The Tribeca Festival today announced its Storytellers Series, which includes Paul McCartney in conversation with Conan O’Brien for a podcast recording of Conan O’Brien Needs a Friend, and Rock and Roll Hall of Famer John Mellencamp in conversation with David Letterman.
The annual Tribeca Festival will celebrate its 22nd year from June 7–18, 2023 in New York City.
The talk lineup also features Lin-Manuel Miranda, Rosie Perez, Chance the Rapper, Billy Porter, Hailee Steinfeld and music producer Diplo.
The Directors Series has David Fincher in conversation with Steven Soderbergh, and Patty Jenkins in with Katie Holmes.
The Reunions section brings Kevin Sullivan and Angela Bassett together for the 25th anniversary of How Stella Got Her Groove Back; Mario Van Peebles, Michael Michele, and Fab 5 Freddy for New Jack City; and Charlie Ahearn, Lee Quiñones, Fab 5 Freddy and Grand Wizzard Theodore for the 40th anniversary of Wild Style.
The third annual Harry Belafonte Voices for Social Justice Award will be awarded to actor, producer, author and activist Jane Fonda. The award, an original drawing entitled Exodus #3 from artist Julie Mehretu, is being presented by Grammy-winning artist Alicia Keys.
Named for the famed actor, activist, and civil rights leader who recently passed away at age 96, the award honors those who have used storytelling and the arts to enact change in their communities. Stacey Abrams and Common are previous recipients. Fonda will sit for Q&A with Robin Roberts of Good Morning America.
“As an artist, Harry Belafonte captivated audiences with his talent, but it was his work as an activist and mentor that truly set him apart,” said Paula Weinstein, Tribeca’s chief content officer. “Harry inspired countless artists to use their fame and talent in the name of justice. He led by example and was a fearless warrior for civil rights. Jane Fonda, this year’s recipient of the Harry Belafonte Voices for Social Justice Award, shares Harry’s indefatigable commitment to activism. We are honored to have established this award in Harry’s name to honor his ongoing legacy.”
Tribeca will open with the North American premiere of documentary Kiss the Future about a community of underground musicians during the siege of Sarajevo, as well as the 1997 U2 concert celebrating the liberation of the Bosnian capital. Matt Damon and Ben Affleck are producers.
The Centerpiece Gala film is the New York premiere of Disney/Pixar’s Elemental.
The Tribeca Festival today announced its Storytellers
A racially charged and bloodthirsty text sent by Tucker Carlson about the assault of a protestor by Trump supporters was reportedly a key factor that precipitated the anchor’s shock exit from Fox News last week.
The New York Times reported Tuesday night that the discovery of Carlson’s message, and the language it contained, “set off a panic” amongst Fox executives on the eve of the defamation trial brought by Dominion Voting Systems against the cable news network.
Carlson’s text, published in full by the Times, was sent the day after the Jan.6 U.S. Capitol attack and was a reaction to a video clip of an assault that occurred weeks earlier. In the text, Carlson reacts to three Trump supporters beating one lone protestor. It is unclear what race the protestor was. “Jumping a guy like that is dishonorable obviously. It’s not how white men fight,” Carlson writes. “Yet suddenly I found myself rooting for the mob against the man, hoping they’d hit him harder, kill him. I really wanted them to hurt the kid. I could taste it,” the text published by the Times said.
Later in the text, Carlson admonishes himself for his bloodlust. “I’m becoming something I don’t want to be,” he writes. “The Antifa creep is a human being. Much as I despise what he says and does, much as I’m sure I’d hate him personally if I knew him, I shouldn’t gloat over his suffering. I should be bothered by it.”
He concluded, “I should remember that somewhere somebody probably loves this kid, and would be crushed if he was killed. If I don’t care about those things, if I reduce people to their politics, how am I better than he is?”
The Times reports that the Fox board saw the text the day before the Dominion trial was set to begin, and they were worried that it would become public during legal proceedings, particularly if Carlson was called to the stand. Fox ultimately settled the Dominion suit for $787.5 million.
Citing people with knowledge of the situation, the Times reports that the text, part of redacted court filings, was yet another factor pushing Fox to jettison Carlson, the most popular anchor on cable news.
The Hollywood Reporter has reached out to Fox News for comment.
The Fox board’s dramatic reaction to the text might seem at odds with the commentary Carlson regularly pushed on his Fox News show. Carlson’s show has been accused of mainstreaming white nationalist talking points such as the overtly racist “great replacement theory.”
In 2018, in a segment on Tucker Carlson Tonight, Carlson said that immigration makes the United States “dirtier,” a comment he later doubled down on. The controversy led to an advertiser backlash that saw brands such as Pacific Life Insurance, TD Ameritrade, IHOP, the United Explorer credit card, Just For Men and Jaguar Land Rover pull their ads from Fox News.
A racially charged and bloodthirsty text sent
