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Image Credit: MEGA

Sofia Richie and Elliot Grainge were surrounded by their family and friends, which included many celebrities, during their wedding celebration on April 22! The model and the hunk became married in front of Cameron Diaz, her husband Benji Madden, Paris Hilton, her husband Carter Reum and many more, as seen in photos HERE. The bevy of Hollywood heavyweights enjoyed the gorgeous ceremony at the Hotel du Cap-Eden-Roc in France.

Sofia Richie and her sister Nicole Richie a day before the nuptials. (MEGA)

In addition to celebrity friends, Sofia’s celebrity family members were in attendance. Her dad, Lionel Richie, sister Nicole Richie, and brother-in-law Joel Madden, were dressed to impress as they happily watched her become a wife. Nicole was one of the people who actually helped Sofia plan the wedding of her dreams, a previous source told us.

“Nicole Richie has been loving every second of helping her sister Sofia plan her dream wedding to Elliot Grainge,” the source EXCLUSIVELY told HollywoodLife. “The two of them would talk about their wedding when they were little girls, and it has really gotten them closer than they ever have. Sofia looks up to Nicole when it comes to fashion, and she knows that her sister wants her to look like the most beautiful bride ever on her day.”

Sofia Richie’s other famous guests included Paris Hilton and Cameron Diaz. (MEGA)

Sofia’s brother Miles Richie also apparently helped with the plans. “Nicole and Miles have been giving Sofia plenty of input when it comes to their ideas for her wedding day,” a second source EXCLUSIVELY shared with us. “Of course, Sofia is making the final decision on every last detail, but she couldn’t imagine going through this process without her family helping along the way. Lionel has also been incredibly sweet and he keeps saying he can’t wait to watch his baby girl get married. This really couldn’t have been a more perfect union for Sofia and Elliot. The love and support they have from friends and family has truly been overwhelming.”

Sofia Richie, Elliot Grainge
Sofia Richie and Elliot Grainge at a previous event. (Shutterstock)

Sofia and Elliot got engaged in Apr. 2022 after dating for over a year. The proposal happened while the couple was surrounded by candles and flower petals, and Elliot got down on one knee as he asked his future bride for her hand in marriage.

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View gallery Image Credit: MEGA Sofia Richie and Elliot

The EU – and Germany in particular – has caused some consternation in the data center industry with plans to reduce the continent’s environmental impact.

The union has set renewable energy targets across numerous industries to be achieved by 2035, which includes making the heating and cooling sectors carbon neutral by reusing waste heat from data centers to keep cities warm.

Germany wants to go a step further by introducing targets for energy reuse, and whilst data center firms are happy for their byproduct to be recycled, they are worried that it will place a financial burden upon them to achieve. 

Costs of going green

Anna Klaft of the German Data Center Association told Bloomberg (opens in new tab) in January that “We’re ready to finance a lot of this,” but added that “[not] everything should be shunted off onto this sector.”

Although the heat given off by data centers isn’t high enough to for a heating system, heat pumps can be used to give it the boost required. The issue is that these use a lot of power themselves, with the Uptime institute revealing in a study (opens in new tab) last year that designing sites so that their emitted heat can be reused often increases energy use, as “heat pumps are needed to increase outgoing heat temperature.”

The upshot, though, is that this can still “lower overall carbon emissions by reducing energy that would otherwise be needed for heating.” But the report also noted that it only makes sense to reuse data center waste heat in colder climates, which means Northern Europe, and connections would have to be made to deliver the heat to wherever it needs to go. 

The EU claims (opens in new tab) that heating accounts for half of all energy demand on the continent, and 70% of that is produced using fossil fuels. This explains why it wants to push for district heating to recycle heat from industries such as data center sites.

The heat pumps also have high running costs, which is upsetting data center operators in Germany, as the nation’s proposed legislation – the Act to Enhance Energy Efficiency, Improve Climate Protection and Implement EU Legislation (Energieeffizienzgesetz, EnEfG) – could make it mandatory for them donate 10% of their waste heat from 2025 and then 20% from 2028, and leave them with the costs of doing so.

A draft of the law has already been approved (opens in new tab) by the Federal Cabinet.

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The EU - and Germany in particular

Rachael Leigh Cook and Missi Pyle share the screen in Netflix’s A Tourist’s Guide but 22 years ago they both starred in Josie and the Pussycats.

Cook was the leader of the music group Josie McCoy while Pyle played the role of Alexandra Cabot. The two stars recently recalled their time working together in the 2001 comedy film.

“I remember Missi improvising things that made all of us absolutely cry laughing,” Cook told Tudum about her costar. “An especially brilliant moment from her is when my character is having a big revelation about the conspiracy that is afoot, and Missi completely steals the scene by paying attention to nothing I’m saying and silently sneaking up behind me, plucking a hair from my head and inspecting it. I remember watching playback on the monitor absolutely in awe.”

Pyle noted that her character just “wanted to be any of the Pussycats.”

clockwise from back left: Missi Pyle, Paulo Costanzo, Rosario Dawson, Rachael Leigh Cook, Tara Reid, Alan Cumming

Shane Harvey / Universal / Courtesy Everett Collection

With Cook and Pyle reunited for A Tourist’s Guide to Love, Pyle noted that it “was pretty exciting” working together again.

“I’ve seen her here and there throughout the years, and I’ve always loved her,” Pyle said. “She’s hilarious. She has a very dry sense of humor and she’s obviously beautiful and soulful, and I love what’s she’s done: She’s created this whole world for herself. I’m just floored and blown away by her. She’s doing something that a lot of other actors, myself included, have yet to do. She’s blazing her own way.”

Rachael Leigh Cook and Missi Pyle in 'A Tourist's Guide to Love'

Rachael Leigh Cook and Missi Pyle in ‘A Tourist’s Guide to Love’

Sasidis Sasisakulporn / Netflix / Courtesy Everett Collection

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Rachael Leigh Cook and Missi Pyle share

James Ellroy walked onstage Saturday in teal slacks, a bubble gum pink button-up and white Converse sneakers, motioning for the L.A. Times Festival of Books audience to keep up its roar of applause greeting him and his interviewer, crime novelist Michael Connelly.

Friday night at the 43rd L.A. Times Book Prizes, Ellroy received the Robert Kirsch Award for lifetime achievement, and Connelly kicked off the discussion by asking Ellroy how he felt about it. “It was the most significant and pertinent award I’ve ever received,” Ellroy told the crowd at USC’s Bovard Auditorium.

“Widespread Panic” is Ellroy’s latest crime novel, and Connelly said it’s his best.

The book follows Freddy Otash, a real-life Los Angeles Police officer, private eye, Hollywood fixer and head goon for Confidential magazine through 1950s Hollywood. Ellroy researched the book more than 30 years ago with Otash himself.

Ellroy said he humanized Otash for “Widespread Panic” but still described the man as the “evil godfather of the TMZ scandal rag era.”

“He was a freelance extortionist and had hotel suites hot-wired all over the city. He had the dirt, the skank, the skinny — and it was all true,” Ellroy said. “Freddy was in his heart a chicken, he was charmless, he was brutal.”

For Ellroy, the old saying of “if you don’t have something nice to say, don’t say anything at all,” does not apply. Ellroy talked at great length about his love for all things Los Angeles, especially the LAPD, and his hate for the late Raymond Chandler, James Dean, cancel culture, the film adaption of “L.A. Confidential” and his complete disinterest in literature that isn’t about crime or that’s written outside of America.

“Raymond Chandler is full of [crap],” he said. “He wrote the man he wanted to be. I hate Chandler.”

“People love the movie ‘L.A. Confidential,’” Ellroy said. “I think it’s turkey of the highest form. I think Russell Crowe and Kim Basinger are impotent. The director [Curtis Hanson] died, so now I can disparage the movie.”

Ellroy on his own reading habits: “I’ve read almost no work by non-American writers,” he said. “What can I say, I’m the American Dostoevsky and I’ve never read the guy.”

Ellroy continued that he didn’t care about St. Petersburg, Russia, in the 1860s (“Crime and Punishment”) and that, for him, “it’s gotta be Los Angeles, it’s gotta be about my love for the Los Angeles Police Department.”

In more expletive-laden language, Ellroy said he loves a tough police department. “I love the LAPD, and they kicked my tall skinny [butt] on three notable occasions,” he said. “I have not stolen so much as a paper clip in 53 years. My relationship with the Los Angeles Police Department is in no way P.C., it’s in no way current, it’s in no way topical. It’s loving, It’s paternal.”

When an audience member asked Ellroy what he thought of cancel culture, the “Black Dahlia” author quipped, “I think it’s a bunch of [crap]. I think you can’t let fear run your life. I think censorship is permeating, soul destroying and polluting our country.”

It’s fairly well-known among crime novel connoisseurs that Ellroy’s fixation on crime stemmed from the 1958 rape and murder of his mother, when he was 10 years old. He worked with the LAPD for 15 months investigating the case, which still remains unsolved, and used the experience when penning his 1996 memoir, “My Dark Places.”

When it was time for the Q&A, an audience member asked Ellroy about the murder of his mother and what he would say to her if she were here today. “She’s not here,” he snapped.

“We weren’t close. I don’t think about my mother’s death much anymore.”

Connelly offered some levity to the awkward exchange, with a joke about closure being stuffed where the sun don’t shine, and Ellroy started to stroke the air, miming masturbation, and said, “Yeah I got your closure swingin’ 12 inches right here.”

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James Ellroy walked onstage Saturday

Disney+ is now home to more than a dozen movies and TV shows featuring Marvel’s Spider-Man after a new update.

While fans wait patiently for the MCU’s Spider-Man 4 and this year’s Spider-Man: Across the Spider-Verse, amongst countless other web-based entries, Disney+ recently added to its own cache of Spidey adventures.

Disney’s streaming home announced that multiple live-action Spider-Man movies would soon be available to watch on the service, with more new movies on the way only a few weeks later.

That said, it’s time to look at all of the new projects that just hit Disney+ in the United States, along with those that were already available to stream.

Note: These projects are listed in the order in which they appear in the Spider-Verse section on Disney+.

All 14 Spider-Man Projects Streaming on Disney+ U.S.

1.) Spider-Man (2002)

Sony Pictures

Tobey Maguire took on the leading role of Peter Parker in 2002’s Spider-Man, the first live-action big-screen adaptation for the hero under Sony Pictures. Alongside Kirsten Dunst’s Mary-Jane Watson and James Franco’s Harry Osborn, Peter engaged in an epic battle with Willem Dafoe’s Green Goblin as he learned what it took to be a hero.

2.) Spider-Man 2 (2004)

Spider-Man 2 (2004)
Sony Pictures

Moving from high school to college, Peter Parker progresses to new challenges as a superhero and a young man, also meeting one of his science idols in Alfred Molina’s Dr. Otto Octavius. As Peter finds himself losing his powers and trying to regain something of a normal life, Octavius succumbs to his own demons and becomes the villainous Dr. Octopus, making for one of the most revered superhero stories of the 21st century.

3.) Spider-Man 3 (2007)

Spider-Man 3 (2007)
Sony Pictures

As Peter enters adulthood, he faces his biggest challenges yet emotionally and physically while building up to propose to his girlfriend, MJ. Having to deal with a powerful villainous duo in Thomas Hayden Church’s Sandman and James Franco’s new Green Goblin, he also encounters the Venom symbiote while trying to keep his rage and Eddie Brock from getting the best of him.

4.) The Amazing Spider-Man (2012)

The Amazing Spider-Man (2012)
Sony Pictures

Andrew Garfield took over the web-slinger role for a new set of solo movies in 2012, reliving Peter Parker’s origin story as he took on the challenges of high school and formed a relationship with Emma Stone’s Gwen Stacy. This movie also gave more attention than ever before to Peter’s parents as he found his way with Martin Sheen’s Uncle Ben and Sally Field’s Aunt May, all while dealing with Rhys Ifans’ Curt Connors as he evolved into the Lizard.

5.) Spider-Man: The New Animated Series (2003) – 1 season

Spider-Man: The New Animated Series (2003)
Marvel

Initially intended to serve as an immediate follow-up to 2002’s Spider-Man, this series sees Peter, MJ, and Harry attending Empire State University together and going through the trials of life. Neil Patrick Harris pulls voiceover duties as Spider-Man alongside fellow cast members Lisa Loeb (MJ), Ian Ziering (Harry), and Keith Carradine (J. Jonah Jameson).

6.) The Spectacular Spider-Man (2008) – 1 season

The Spectacular Spider-Man (2008)
Marvel

The first of two seasons of The Spectacular Spider-Man are on Disney+, showing Peter in his junior year of high school only shortly after being bitten by a radioactive spider. Josh Keaton adds to his extensive voiceover resume as the show’s titular web-slinger alongside Lacey Chabert as Gwen Stacy, with the cast also featuring Thor: Ragnarok‘s Clancy Brown and Star Wars: The Bad Batch‘s Dee Bradley Baker.

7.) Spider-Man (2017) – 3 seasons 

Spider-Man (2017)
Marvel

Spider-Man‘s three-season run on Disney XD is featured on Disney+, with this version of Peter Parker enrolled at Horizon High School while fighting many of his classic antagonists from the comics. Robbie Draymond takes over Peter Parker duties in a series that also includes Nadji Jeter as Miles Morales – a role he would later reprise in PlayStation‘s Spider-Man video game series.

8.) Spider-Man (1994) – 5 seasons

Spider-Man (1994)
Marvel

All five seasons of 1994’s Spider-Man are available to stream for fans, providing a look back at a fan-favorite adventure for a college-aged Peter Parker in New York. This series features Christopher Daniel Barnes as the leading hero alongside industry icons like Ed Asner, Jim Cummings, and even Mark Hamill.

9.) Spider-Woman (1979) – 1 season

Spider-Woman (1979)
Marvel

Over 40 years ago, Jessica Drew got one of her earliest television projects with Spider-Woman, showing the heroine’s career as the editor of Justice Magazine while leading a double life as a superhero. Joan Van Ark embodies the series’ main character, Jessica Drew, while Marvel regular Paul Soles plays a supporting role as Peter Parker.

10.) Spidey and His Amazing Friends (2021) – 2 seasons

Spidey and His Amazing Friends (2021)
Marvel

Spidey and His Amazing Friends marks the newest entry to come to Disney+ in a Spidey-centric show that’s geared mostly towards the younger generation. Along with all of the classic Spider-Man characters, the series also shows off other big Marvel names like Iron Man, Black Panther, Ms. Marvel, and Ant-Man.

11.) Ultimate Spider-Man (2012) – 4 seasons

Ultimate Spider-Man (2012)
Marvel

Ultimate Spider-Man sets the stage for Peter Parker a year after he becomes the web-slinger, meeting Nick Fury and being given the opportunity to train and become a real superhero. Along with plenty of interactions with huge Marvel characters, this show even brings in memorable SHIELD heroes, most notably Clark Gregg’s Phil Coulson along with Leopold Fitz (Iain De Caestecker) and Jemma Simmons (Elizabeth Henstridge) from Agents of SHIELD.

12.) Spider-Man (1981) – 1 season

Spider-Man (1981)
Marvel

1981’s Spider-Man showed the young hero balancing his life of crimefighting with his duties at school, working as a part-time photographer for the Daily Bugle and caring for his Aunt May. Although he fights a number of iconic Marvel big bads, including Doctor Doom and the Red Skull, he has a multi-episode arc pitting him against Doc Ock.

13.) Spider-Man Unlimited (1999) – 1 season

Spider-Man Unlimited (1999)
Marvel

Loosely tied to 1994’s Spider-Man series, Spider-Man Unlimited goes more cosmic than any other series as the web-slinger kicks his battles off with Venom and Carnage, only going into more wild adventures later. Rino Romano shoots his shot at playing Spider-Man in this show, whose leading hero has also been seen in marketing material for 2023’s Spider-Man: Across the Spider-Verse as well.

14.) Spider-Man and His Amazing Friends (1981) – 1 season

Spider-Man and His Amazing Friends (1981)
Marvel

Considered to be a crossover with the 1981 Spider-Man series, the first season of this three-season show puts Peter at Empire State University alongside Bobby Drake (Iceman) and Angelica Jones (Firestarter). They eventually team up to become the “Spider-Friends,” living with Aunt May as they eventually interact with dozens of huge names from across the Marvel universe.

Other Spider-Man Entries on Disney+

For MCU fans, Disney+ hosts nearly every Marvel Studios project with Spider-Man as part of the cast, including three major team-up appearances in 2016’s Captain America: Civil War, 2018’s Avengers: Infinity War, and 2019’s Avengers: Endgame.

On the animated side, Hudson Thames took on the responsibility of playing the web-slinger in Episode 5 of Marvel Studios’ What If…?.

Also included on the site are a few Spider-Man shorts like Phineas and Ferb: Mission Marvel and Marvel Ultimate Comics, with plans in place for more additions in the near future as well.

May 12 will put Tom Hardy’s Venom on the streaming service along with Tom Holland’s first MCU solo movie, Spider-Man: Homecoming.

There are also plans to add Holland’s other two solo movies, Spider-Man: Far From Home and Spider-Man: No Way Home, to Disney’s streaming service in the not-too-distant future.

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The Arrowverse Justice League deserves a DC Elseworlds movie to conclude the shared DC TV universe. The currently airing The Flash season 9 will not only be the final season for Grant Gustin’s Barry Allen but will also serve as the Arrowverse’s swan song. Once a massive universe with several different series, the Arrowverse has recently seen the cancelation of multiple shows. The only series that resisted the wave of cancelations was The Flash, which concludes with season 9, and Superman & Lois, which was retconned to take place outside the Arrowverse.


The Arrowverse ending with The Flash season 9 and the cancelation of several shows make it impossible for there to be another crossover event that would finally see the debut of the Arrowverse’s Justice League. The Arrowverse’s biggest crossover event, “Crisis on Infinite Earths,” saw the creation of the Justice League at its end, teasing future adventures for the team. With the Arrowverse shows soon concluding, an Arrowverse Justice League movie being released as part of DC’s new Elseworlds brand should become a reality, as it would allow audiences to experience the Arrowverse like never before through the emotional payoff of seeing its Justice League in the big screen.

Related: The Flash’s Arrowverse Justice League Confirmation Is Too Little Too Late

5 James Gunn Announced DC’s New Elseworlds Label

The old DCEU is giving way to a new era for the comic book giant, with DC Studios being helmed by James Gunn and Peter Safran. In a video announcement of the first few projects in the new DC Universe, Gunn revealed that DC is creating an Elseworlds brand. DC’s Elseworlds will allow movies and TV shows to exist outside the main DC Universe continuity, with shared universes such as Matt Reeves’ The Batman, which has a spinoff Penguin series and a sequel movie announced, being fair game. The Batman‘s Elseworlds status opens the door for an Arrowverse Justice League movie, with both being able to co-exist with Gunn’s DC.

4 The Flash Season 10 Had Plans For A Huge Justice League Event

Grant Gustin's Flash and the Arrowverse Justice League

While The Flash season 9 will be the series’ last, that was not always going to be the case. The speedster series’ showrunner, Eric Wallace, revealed that The Flash season 10 would have featured the Arrowverse’s Justice League. According to the showrunner, the series would have paid off the Arrowverse’s Justice League tease at the end of the Crisis on Infinite Earths event in a big way, with DC’s premiere superhero team coming together for an even bigger Arrowverse crossover event. A smaller-scale Arrowverse crossover, “Armageddon,” happened over five episodes of The Flash season 8, and it would have factored into the proper debut of the Arrowverse’s Justice League.

Armageddon’s plot revolved around Tony Curran’s Despero trying to kill The Flash due to the hero being responsible for creating an Armageddon ten years in the future, which would destroy Earth. At the end of the crossover event, The Flash beat Despero, who disappeared, saying that he would come back to get revenge on the speedster. The Flash season 10 would have continued that plot line, bringing back Despero, who would lead an alien invasion on Earth. The Arrowverse’s Justice League would have come together to fight off the invasion, which could be turned into the plot of an Elseworlds movie. A Blackest Night adaptation was also discussed.

3 The Arrowverse Was There When The DCEU Faltered

grant gustin and ezra miller as the flash

While Gunn’s DC Universe has injected new energy into DC’s future, the shared universe’s past was not quite as promising. The DCEU received many criticisms over the years due to the varying quality of its projects, and while DC’s movie side was always seemingly having to put out a new fire in the past, the Arrowverse presented a perfectly functional shared universe for DC fans to migrate to. Despite the logistical challenges of a shared universe on the small screen, the ambitious project always worked well enough.

The Arrowverse thrived while the DCEU went into disarray after seeing Snyder’s projects fail to achieve the expected returns and DC parting ways with the director. With its several shows, the Arrowverse presented an expansive shared DC Universe on television. The DC movies even noticed the Arrowverse’s success, with executives asking the Arrowverse’s team to include Ezra Miller’s The Flash in a cameo role in the Arrowverse’s Crisis on Infinite Earths. A DC Elseworlds movie focusing on the Arrowverse’s Justice League would serve as a sign of respect from the movie division for the role the TV team had in keeping DC fans excited.

2 An Elseworlds Movie Could Provide An Emotional Send-Off To The Arrowverse

Arrowverse's Justice League in Crisis on Infinite Earths

The Arrowverse started back in 2012 with Stephen Amell’s Oliver Queen coming back after being missing for five years at sea to become the Arrowverse’s first hero in Arrow. Since then, the universe blossomed, with Gustin’s Barry Allen first debuting in two episodes of Arrow season 2 before getting his own spinoff, The Flash. The trend continued to the point where the Arrowverse had six live-action series running simultaneously, excluding the retconned Superman & Lois. The Arrowverse’s shows included: Arrow, The Flash, Supergirl, Legends of Tomorrow, Black Lightning, and Batwoman. Sadly, not all the series ended the way they should have.

The Arrowverse’s first show, Arrow, aired its series finale in 2020. Recently, the Arrowverse saw most of its shows get canceled due in part to a change in The CW’s, the Arrowverse’s network, scripted series plan, and partly due to the creation of Gunn’s new DC Universe, which likely did not want to have to share focus with a large shared DC TV universe as the Arrowverse. While a few Arrowverse heroes have shown up in The Flash season 9, with more still to appear — such as Amell’s Green Arrow — an Elseworlds Justice League movie would allow the Arrowverse to have a proper ending for its most important heroes.

1 Superman & Lois Showed What The Arrowverse Can Achieve With A Bigger Budget

Superman & Lois season 3 image pic

Superman & Lois is easily better looking than all the Arrowverse shows, with fantastic cinematography and special effects. The series is also not lacking in the story department, with nearly three seasons of overwhelmingly positive reviews. Over the years, the Arrowverse series started to see a downgrade in both its story and VFX, the fruit of around 20-episode seasons for several years. The Hollywood Reporter revealed that Superman & Lois has a budget of $5 million per episode, which beats The Flash‘s allegedly $2 million per episode sum.

Given a slight budget increase, it is already noticeable the difference in quality the Arrowverse can deliver. If a DC Elseworlds Arrowverse Justice League movie gets made with the regular superhero film budget of $100-$200 million, then there is a high chance that DC will have a bona fide blockbuster on its hands. Many Arrowverse actors have been requested to join DC’s movies by fans over the years, and an Arrowverse Justice League movie would be the perfect way for that to happen, honoring DC’s successful TV universe by allowing the Arrowverse to go out with a bang.

Key Release Dates

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The Arrowverse Justice League deserves a

Netflix is reassuring investors that it does in fact have the technical infrastructure to host live broadcasting events after a season reunion of the Love is Blind cast on Sunday was delayed for over an hour due to technical issues.

During today’s Q1 earnings call, co-CEO Greg Peters reiterated a previous apology for the issues, saying the problems were “just a bug” inadvertently introduced after the service’s last live broadcast:

“From a technical perspective, we’ve got the infrastructure,” he said. “We had just a bug that we introduced actually when we implemented some changes to try and improve livestreaming performance after the last live broadcast, Chris Rock, in March. And we just didn’t see this bug in internal testing because it only became apparent once we put multiple systems interacting with each other under the load of millions of people trying to watch Love Is Blind.”

Peters went on to reiterate that Netflix has the technical infrastructure, saying that 6.5 million people watched the broadcast. He then tossed to his fellow co-CEO, Ted Sarandos, who noted that the company will continue to experiment with live broadcasts for similar types of programming, but also pointed out that 90% of the viewership of the aforementioned Chris Rock special happened after the live event itself was over.

Peters and Sarandos were put on the spot today after the season four reunion of the Love is Blind cast was delayed for over an hour Sunday night as viewers were repeatedly given error messages or booted from watching the show. This was only the second of Netflix’s experiments with live events, with the first being Chris Rock: Selective Outrage on March 4 of this year.

In tandem with Netflix’s earnings today, we also learned more details about its plans to roll out a password sharing crackdown in the next few months, and that it’s shuttering its more than two decade old DVD rental program this fall.

Rebekah Valentine is a news reporter for IGN. You can find her on Twitter @duckvalentine.

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Netflix is reassuring investors that it does

What’s your favorite movie from the decade? 

The 1970s were a pivotal decade in the history of cinema, marked by a convergence of factors that resulted in a remarkable era of filmmaking. From the rise of auteur directors to the emergence of the New Hollywood movement, the 1970s saw groundbreaking films that continue to captivate audiences and influence modern cinema.

The era was characterized by social and political relevance, genre innovation, and the talent of visionary filmmakers and actors.

In this article, we will explore why the cinema of the ’70s is heralded as a significant period in film history, examining the key reasons that make it an enduring and celebrated era of filmmaking.

Let’s dive in. 

Table of Contents


Why Do We Herald ’70s Cinema as the Hollywood Heyday?

The ’70s were a groundbreaking era in cinema, marked by a unique confluence of factors that resulted in a diverse and influential body of work. The decade saw the emergence of socially relevant and thought-provoking films that reflected the cultural and political climate of the time. Filmmakers tackled issues such as the Vietnam War, civil rights, gender roles, and the disillusionment with the American Dream. 

Technological advancements also played a significant role in shaping Hollywood in the ’70s. The introduction of new filmmaking techniques, such as the use of handheld cameras, naturalistic lighting, and on-location shooting, added a sense of realism and authenticity to films. Moreover, the development of new sound technologies, such as Dolby Stereo and Dolby Surround, revolutionized the way films were experienced in theaters, enhancing the overall cinematic experience.

The 1970s also witnessed a shift in the portrayal of characters and stories on the big screen. Antiheroes and complex, flawed protagonists became prominent, providing a departure from traditional archetypes.

The economic landscape of Hollywood in the 1970s also underwent significant changes. The era saw the decline of the traditional studio system, with independent production companies gaining traction and challenging the dominance of major studios. This gave rise to a more diverse range of voices and stories in Hollywood, providing opportunities for underrepresented filmmakers and actors.

The 1970s were a dynamic and transformative era in Hollywood, marked by artistic freedom, social relevance, technological advancements, and shifting industry dynamics. The films of this decade pushed the boundaries of storytelling and challenged traditional norms, leaving a lasting impact on the trajectory of American cinema.

The legacy of the 1970s can still be seen in the films of today, with its influence continuing to shape the landscape of Hollywood and inspire filmmakers and audiences alike.

‘The Godfather Part II’Credit: Paramount Pictures

Reasons Why the Cinema of the 1970s is Heralded

The ’70s are widely heralded as a golden era for American cinema, producing an exceptional body of films that continue to captivate audiences to this day. During this decade, Hollywood experienced a creative renaissance, marked by groundbreaking storytelling, innovative filmmaking techniques, and bold social commentary.

The ’70s saw the emergence of a new generation of filmmakers who challenged traditional norms and pushed the boundaries of cinema, resulting in a remarkable collection of influential and enduring movies.

Robert De Niro as John "Johnny Boy" Civello in 'Mean Streets'
Robert De Niro as John “Johnny Boy” Civello in ‘Mean Streets’Credit: Warner Bros.

Auteur Filmmaking

The ’70s witnessed the rise of the auteur filmmaker, who had significant creative control over their films and used the medium as a form of personal expression. Directors such as Martin Scorsese, Francis Ford Coppola, Steven Spielberg, Stanley Kubrick, and others emerged during this era, creating films that were highly distinctive in terms of their visual style, thematic depth, and storytelling techniques.

These directors were known for their bold and uncompromising visions, and their films were often characterized by complex characters, gritty realism, and an exploration of the human condition. The auteur filmmakers of the ’70s pushed the boundaries of traditional filmmaking, challenging conventions and creating a new wave of cinema that was highly influential and groundbreaking.

Behind the scenes photo of the shark from 'Jaws'
‘Jaws’Credit: Universal Pictures

The ’70s marked a departure from the traditional studio system in Hollywood, with the emergence of the New Hollywood movement. This movement was characterized by a shift towards more unconventional and daring films that were edgier, riskier, and often explored controversial subject matter.

Filmmakers of the New Hollywood era were known for their independent spirit and a desire to break away from the formulaic studio system, resulting in a wave of films that were highly innovative and challenging. These films often dealt with complex themes, such as anti-establishment sentiments, disillusionment, and existentialism, and reflected the changing social landscape of the time. Films like Easy Rider, Five Easy Pieces, Mean Streets, and Chinatown are considered iconic examples of the New Hollywood era, and they continue to be celebrated for their artistic and cultural significance.

Best screenplays that writers need to read
‘Chinatown’Credit: Paramount Pictures

The ’70s were a time of great social and political change, and this was reflected in the films of the era. Filmmakers of the time often used their films as a platform to address important social and political issues of the time, such as civil rights, feminism, the Vietnam War, the Watergate scandal, and the counterculture movement.

These films offered thought-provoking commentaries on the state of society and challenged the status quo, providing a lens through which audiences could engage with the pressing issues of the era.

Films like One Flew Over the Cuckoo’s Nest, which explored the corrupt and dehumanizing mental health system, All the President’s Men, which delved into the investigation of the Watergate scandal, and Network, which critiqued the sensationalism of the media, are considered powerful examples of the social and political relevance of ’70s cinema.

‘Network’Credit: United Artists

The 1970s saw significant innovation in various film genres, with filmmakers pushing the boundaries of traditional genre conventions and introducing fresh storytelling techniques. For instance, crime films like The Godfather and Taxi Driver delved into the dark and gritty underworld of organized crime, presenting complex characters and morally ambiguous narratives.

Horror films like The Exorcist and Halloween redefined the horror genre with their innovative use of suspense, atmosphere, and psychological terror.

Science fiction and fantasy films like Star Wars and A Clockwork Orange challenged conventional notions of genre storytelling with their visionary visions, unconventional narratives, and visual effects. The ’70s saw a renaissance of genre filmmaking. 

A Catholic priest standing outside a house in 'The Exorcist'
‘The Exorcist’Credit: Warner Bros.

The ’70s saw the emergence of several talented actors and filmmakers who left a significant mark on cinema. Actors such as Robert De Niro, Al Pacino, Meryl Streep, and Jack Nicholson rose to prominence during this era, delivering powerful and memorable performances that are still revered today. Additionally, many renowned directors, writers, and cinematographers who had a lasting impact on the art of filmmaking emerged in the ’70s.

The combination of auteur filmmaking, the New Hollywood movement, social and political relevance, genre innovation, and talented actors and filmmakers make the cinema of the 1970s a distinctive and influential period in film history and a reason why it is heralded and remembered by film enthusiasts and critics alike.

‘Close Encounters of the Third Kind’Credit: Columbia Pictures

Some of the Most Important Movies of the 1970s

The 1970s was a decade that produced several groundbreaking and influential films across various genres. Here are some of the most important movies of the 1970s that left a lasting impact on cinema:

  1. The French Connection (1971): Directed by William Friedkin, The French Connection is a gritty crime thriller based on a true story. The film follows two New York City police detectives, played by Gene Hackman and Roy Scheider, as they try to intercept a large heroin shipment from France. Known for its realistic depiction of police work, intense car chase scenes, and Hackman’s electrifying performance, The French Connection won five Academy Awards, including Best Picture, and is considered a landmark film in the crime thriller genre.

  2. The Godfather (1972): Directed by Francis Ford Coppola, this epic crime film is often considered one of the greatest films in the history of cinema. Based on the novel by Mario Puzo, The Godfather follows the story of the Corleone crime family, and its themes of family, loyalty, and the American Dream resonated with audiences and critics alike. It won three Academy Awards, including Best Picture, and remains a landmark film in American cinema.

  3. The Godfather: Part II (1974): Directed by Francis Ford Coppola, The Godfather Part II is a crime film and the sequel to the highly acclaimed The Godfather. The film continues to follow the Corleone crime family as it expands its empire and delves into the backstory of Vito Corleone, played by Robert De Niro, and his rise to power. Known for its complex narrative structure, powerful performances, and masterful direction, The Godfather Part II won six Academy Awards, including Best Picture, and is considered one of the greatest sequels in cinema history.

  4. The Exorcist (1973): Directed by William Friedkin, The Exorcist is a horror film based on William Peter Blatty’s novel of the same name. The film follows the demonic possession of a young girl and the attempts of a priest, played by Max von Sydow, to save her. Known for its terrifying visuals, intense performances, and groundbreaking practical effects, The Exorcist is considered one of the scariest films of all time and a milestone in horror cinema.

  5. Star Wars (1977): Directed by George Lucas, Star Wars, retroactively titled Star Wars: Episode IV – A New Hope, is a science fiction epic that became a cultural phenomenon and redefined the genre. With its groundbreaking visual effects, memorable characters, and epic space opera storytelling, Star Wars became a global phenomenon and spawned a highly successful franchise that continues to be influential in popular culture.

  6. One Flew Over the Cuckoo’s Nest (1975): Directed by Milos Forman, this drama film based on the novel by Ken Kesey is a powerful exploration of the oppressive mental health system. Starring Jack Nicholson as Randle McMurphy, a rebellious patient in a mental institution, the film delves into themes of freedom, individuality, and institutionalized oppression. It won five Academy Awards, including Best Picture, and is considered a classic of American cinema.

  7. Taxi Driver (1976): Directed by Martin Scorsese, Taxi Driver is a gritty and dark portrayal of a mentally unstable Vietnam War veteran, played by Robert De Niro, who becomes a taxi driver in New York City. The film explores themes of alienation, violence, and the decay of society, and is known for its powerful performances, atmospheric cinematography, and Scorsese’s distinctive directorial style.

  8. A Clockwork Orange (1971): Directed by Stanley Kubrick, this dystopian crime film based on the novel by Anthony Burgess is a controversial and thought-provoking exploration of human nature, morality, and free will. The film follows the story of a violent and sociopathic young man named Alex, played by Malcolm McDowell, and his journey through a futuristic and oppressive society. A Clockwork Orange is known for its bold and provocative themes, unique visual style, and Kubrick’s meticulous direction.

  9. Jaws (1975): Directed by Steven Spielberg, Jaws is a landmark film that defined the modern blockbuster. The film follows the story of a great white shark that terrorizes a small beach town, and its suspenseful storytelling, iconic score, and groundbreaking visual effects set a new standard for the thriller genre and established Spielberg as a master filmmaker.

  10. Rocky (1976): Directed by John G. Avildsen, Rocky is a sports drama film that tells the story of an underdog boxer, played by Sylvester Stallone, who gets a chance to fight for the heavyweight championship of the world. The film’s rags-to-riches narrative, memorable characters, and inspirational themes of perseverance and determination resonated with audiences, and it became a successful franchise that continues to be influential in the sports genre.

  11. Apocalypse Now (1979): Directed by Francis Ford Coppola, Apocalypse Now is a war film loosely based on Joseph Conrad’s novella, Heart of Darkness. The film depicts the horrors of the Vietnam War and explores the madness and darkness of human nature. Known for its visually stunning and immersive storytelling, Apocalypse Now is considered a masterpiece of American cinema.

  12. Chinatown (1974): Directed by Roman Polanski, Chinatown is a neo-noir mystery film that follows a private investigator, played by Jack Nicholson, as he uncovers a conspiracy involving water rights in Los Angeles. The film is known for its complex plot, memorable performances, and Polanski’s skillful direction, and it is considered one of the greatest films of the 1970s.

  13. Annie Hall (1977): Directed by Woody Allen, Annie Hall is a romantic comedy-drama that broke new ground with its unconventional storytelling and innovative structure. The film follows the ups and downs of a neurotic comedian, played by Woody Allen, and his tumultuous relationship with a quirky aspiring singer, played by Diane Keaton. Annie Hall won four Academy Awards, including Best Picture, and is regarded as a landmark film in American cinema.

  14. Network (1976): Directed by Sidney Lumet, Network is a satirical dark comedy-drama that depicts the ruthless world of television news media. The film follows a disillusioned news anchor, played by Peter Finch, who goes on a rant on live television, leading to unexpected consequences. Network is known for its biting social commentary, sharp writing, and outstanding performances, and it won four Academy Awards, including Best Actor for Peter Finch.

  15. Alien (1979): Directed by Ridley Scott, Alien is a groundbreaking science fiction horror film that redefined the genre. The film follows a crew of astronauts who encounter a deadly extraterrestrial creature on a distant planet. Alien is known for its innovative visual effects, intense atmosphere, and strong female protagonist, played by Sigourney Weaver, and it spawned a successful franchise that continues to be influential in the science fiction genre.

  16. Dog Day Afternoon (1975): Directed by Sidney Lumet, Dog Day Afternoon is a crime drama film based on a true story. The film follows a bank robbery gone awry and the ensuing hostage situation in Brooklyn, New York. Starring Al Pacino and John Cazale, the film is known for its raw and intense performances, realistic depiction of urban life, and Lumet’s masterful direction. Dog Day Afternoon received critical acclaim and is considered a classic of American cinema.

  17. Close Encounters of the Third Kind (1977): Directed by Steven Spielberg, Close Encounters of the Third Kind is a science fiction film that explores the idea of human contact with extraterrestrial beings. The film follows a group of people who experience a close encounter with a UFO and become obsessed with understanding the phenomenon. Known for its awe-inspiring visuals, memorable score, and Spielberg’s masterful storytelling, Close Encounters of the Third Kind is considered a classic in the science fiction genre.

  18. The Deer Hunter (1978): Directed by Michael Cimino, The Deer Hunter is a war drama film that depicts the psychological effects of the Vietnam War on a group of friends from a small Pennsylvania town. Starring Robert De Niro, Christopher Walken, and Meryl Streep, the film is known for its powerful performances, realistic depiction of the horrors of war, and Cimino’s bold direction. The Deer Hunter won five Academy Awards, including Best Picture, and is considered a landmark film that explores the human toll of war.

  19. Halloween (1978): This classic horror film is widely considered one of the most influential and iconic movies of its genre. Directed by John Carpenter, who also co-wrote the screenplay with Debra Hill, Halloween tells the story of Michael Myers, a deranged killer who escapes from a mental institution and returns to his hometown to terrorize a group of babysitters on Halloween night.

  20. Nashville (1975): A critically acclaimed satirical musical comedy-drama film directed by Robert Altman. It is widely regarded as one of the most significant films of the 1970s and a hallmark of Altman’s distinctive style. Nashville is known for its complex narrative structure, sprawling ensemble cast, and innovative use of overlapping dialogue, which became a trademark of Altman’s filmmaking

These are just a few examples of the many important movies of the ’70s that had a significant impact on cinema and continue to be celebrated for their artistic merits and cultural significance. The films of the ’70s pushed the boundaries of traditional storytelling, challenged conventions, and reflected the changing social and political landscape of the time, leaving a lasting legacy in cinema history. 

‘The French Connection’Credit: 20th Century Fox

Summing Up Why We Herald ’70s Cinema as the Hollywood Heyday

The cinema of the ’70s remains a cherished period in film history, renowned for its bold and innovative approach to storytelling, its reflection of social and political issues, and the immense talent of its filmmakers and actors.

The auteur directors, the New Hollywood movement, the genre-defining films, and the powerful performances continue to inspire and influence contemporary cinema.

The legacy of ’70s cinema lives on, as these films continue to captivate audiences and be celebrated for their artistic merits and cultural impact. From crime dramas to sci-fi epics, the cinema of the 1970s has left an indelible mark on the history of cinema, and its significance and reverence among film enthusiasts and critics endure to this day.

Let me know what you think of this era in Hollywood in the comments.      

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Warning: The following contains spoilers for The Power Episode 6. Proceed at your own risk!

From this week’s grim episode of The Power emerged at least one bright spot: a new romance between Tunde (played by Ted Lasso‘s Toheeb Jimoh) and Ndudi (newcomer Heather Agyepong).

In the hour, streaming now on Prime Video, Tunde returned from investigating the use of the biologically produced electrical shocks by women in Saudi Arabia. He then attended a friend’s wedding where he met up with Ndudi, who he hadn’t seen since she was hospitalized after being unexpectedly struck by the power (an injury that was partially Tunde’s fault).

After some light banter, Ndudi said, “You have everything you’ve ever wanted,” and Tunde remarked, “Not everything,” before smirking and offering her a drink. There was a little discussion of Tunde’s recent travels, a little intensification of their chemistry, and then the sex scene that followed told us exactly what we speculated from the premiere: Ndudi has always had feelings for Tunde, it just took him a while to notice.

In the video above, Jimoh and Agyepong tell TVLine about their characters’ budding romance, with Jimoh admitting that he was waiting for his character to realize the feelings he’d had for Ndudi all long.

“Sometimes when something is this close to you, you kind of take it for granted and you don’t really see it,” Jimoh says in the video above. “And it isn’t until Tunde goes out and sees the rest of the world, and is kind of broken out of his sheltered little privileged bubble that he’s lived in his entire life and sees everything else, that he comes back and he realizes that this relationship that he’s now missing out on is nurturing, is his safe space, and this is somebody who he cares about ultimately.”

Agyepong then opens up about the way the show honors Ndudi’s needs throughout the episode.

“Ndudi wants Tunde from the jump, but she’s just trying to figure that out,” she says. “She’s scared. She’s fearful. She’s fearful of rejection, but the next time you see her after Tunde’s gone on his journey, she knows exactly what she wants. There’s a confidence and an inner strength,” Agyepong says. “She gets what she wants, and there is a beautiful celebration in that.”

Check out the video above to hear Jimoh and Agyepong talk about their characters’ relationship, as well as Agyepong’s thoughts on what she did — and didn’t — want to do while portraying Ndudi’s trauma. Then head to the comments to let us know how you feel!

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Warning: The following contains spoilers for The

Asian American activist and blogger Jenn Fang says the response given by the creators of the Netflix show “Beef” regarding its star David Choe’s comment about “rapey behavior” is not sufficient. 

Choe, a Korean American graffiti artist-turned-actor, has recently come under fire after a 2014 video resurfaced in which Choe admitted he’d engaged in “rapey behavior” with a Black masseuse. On Friday, the show’s creator Lee Sung Jin, along with its stars and executive producers Ali Wong and Steven Yeun, made a statement to Variety that reaffirmed Choe’s 2017 apology in which he said the story was fictitious. The trio also deemed the story “undeniably hurtful and extremely disturbing.”

“The story David Choe fabricated nine years ago is undeniably hurtful and extremely disturbing. We do not condone this story in any way, and we understand why this has been so upsetting and triggering. We’re aware David has apologized in the past for making up this horrific story, and we’ve seen him put in the work to get the mental health support he needed over the last decade to better himself and learn from his mistakes,” they said, per Variety.

But Fang, founder and editor of the Asian American blog Reappropriate, who has been critical of Choe in the past and blogged about Choe’s story when it was first released in 2014, says this recent statement is simply not enough.

“I don’t think the 2017 apology or this statement do enough to address how violent, misogynistic, and anti-Black the original remarks were or how his subsequent excuse of ‘art’ only perpetuates how society delegitimizes stories of r*pe and discourages victims from coming [forward],” Fang wrote in a Twitter thread Friday. 

Fang goes on to demand that Choe and the show’s creators actively engage in the discussion surrounding rape culture.

“I think I would like to see efforts – by Choe and producers of BEEF – to actually speak openly, honestly and at-length about how this whole thing illustrates how intertwined toxic masculinity is with sexual violence. Engage – not end – the discourse,” Fang continued.

Fang’s focus on toxic masculinity is consistent with her initial criticism of Choe’s statements back in 2014. 

“Honestly, what most disturbed me here was how David Choe’s story caters to a particular subset of the Asian American community: the highly misogynist counter-movement to the Asian American emasculation stereotype that emphasizes the objectification and sexual conquest of women to reinforce Asian American masculinity,” Fang wrote on Reappropriate in 2014. 

Circling back to Friday’s thread, Fang also called into question the creators’ claim that they’d “seen [Choe] put in the work to get the mental health support he needed.”

“It doesn’t sit well with me that the apology and statement blame a story of sexual violence on mental illness. Mental health issues don’t need to be further stigmatized — most [people] with mental illness aren’t violent,” Fang wrote.

Fang did not immediately respond to The Wrap’s request for further comment.

Netflix has declined to comment. 

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Asian American activist and blogger Jenn Fang

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As Earth Day celebrations took place across the world on Saturday, the City of Penticton took part in its first-ever.

From 10 a.m. until 2 p.m., residents were encouraged to stop by Gyro Park to take part in a variety of interactive games, to learn about the city’s natural environment and to discover how to become more sustainable as a community.

“We’re here to discuss recycling, as well as our blue-sky transportation fund,” said David Kassian, the city of Penticton’s sustainability supervisor.

“We have a couple of funding sources for businesses and apartments to get bike racks, as well as EV-ready studies to find out what it takes to get electric vehicle charging (station) at your existing apartment building.”

Read more:

‘Climate impacts are here’: Earth Day 2023 marked by demonstrations worldwide 

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Furthermore, residents also had an opportunity to give their input on an interactive map, to indicate where they would like to see improvements to the city’s active transportation infrastructure.

Kassian said the city was looking for input on things like where it could put washrooms, or where it could locate water bottle filling stations or bike racks. “We’re getting a lot of feedback that will help us do future planning on that initiative, too.”

Earth Day also marks the launch of Penticton’s “Official Communi-Tree Plan,” where residents were asked to share their thoughts on where Penticton needs more trees, to help support the city’s urban forests.

Read more:

Earthfest 2023: Forest City goes green with 80 exhibits for Earth Day

“The whole purpose of the OCTP is actually providing a strategic framework for the city and for the next 20 years, and then also providing some education to the community of where we are today and where we are in the future,” said Ysabel Contreras, the city of Penticton’s parks planning and capital projects coordinator.

“In the next month or so, we’ll also be proceeding with our community engagement, which will have all of our next steps for this project.”

Penticton resident Heather Allen and her husband said they spent the morning biking to various Earth Day celebrations around the South Okanagan. She says thanks to the city of Penticton’s continued support of green transportation, she no longer relies on driving a motorized vehicle to get around town.

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“I was just emailing back and forth with my accountant earlier, and he asked me, ‘How much do you use your car for your self-employment?’ and I said, ‘none,’” Allen said.

“I can bike everywhere now, especially with my e-bike, so whenever I go to my office or to a boardroom, it’s by bike.”

Read more:

Secure bike rack hub being installed in downtown Kingston, Ont.

Allen does however have a suggestion when it comes to how Penticton can encourage more people to hop on a bike and reduce their carbon footprint: “Earlier, I was speaking about my dad. He’s 82 and has an electric bike, but one thing that’s stopping him is he’s afraid to lock it up. So more infrastructure for safer bike storage would be fantastic.”

Earth Day was originally created by U.S. Senator Gaylord Nelson in 1970, after a massive leak spilled millions of gallons of oil off the coast of California the year prior, killing thousands of birds and other marine life.

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

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As Earth Day celebrations took place across

Courtesy of Jamie Thompson/Instagram

 Taking a break. Married at First Sight alum Jamie Thompson announced that he and wife Elizabeth “Beth” Bice are separating for now.

“A lot of you have been asking and I’ve been avoiding the questions … So, I just wanted to share that I’m taking some time away from my wife to focus on myself and my personal growth,” Thompson, 39, shared via Instagram on Saturday, April 22.

The duo married in 2019 on the ninth season of MAFS. The pair said “I do” moments after they met at the altar on the Lifetime reality show. Despite some dramatic blowout arguments, they decided to stay together at the end of filming. After shooting the show in North Carolina, they moved to San Francisco and later relocating to Colorado together.

In his April announcement, Thompson emphasized that this separation is what’s best for him. “It’s not easy, but it’s necessary. Taking this step may be difficult, but I know it’s necessary for me to become the best version of myself,” he wrote. “I can’t say what the future holds for Beth and I, but I know I will be a stronger version of myself regardless. #selfcare #mentalhealth #personaldevelopment #personalgrowth #takingtimeforme #marriedatfirstsight.”

In his Instagram Story, Thompson answered questions about the separation and revealed Bice, 36, was the one to walk out on him after a lot of fighting.

“At first it was not [a mutual separation]. Beth was actually the first one to leave,” the tech guru said on Saturday. “The fighting had gotten really bad — I’m not going to lie — and I said a lot of things that I really should not have said. I said them out of anger and frustration. But I also haven’t felt like I’ve had any reciprocation back of how to fix this and how to move forward, so she’s been gone for four weeks. I think at this point it’s better for me to focus on myself and trying to become a better version of myself, honestly.”

Thompson’s social media message may have surprised fans as the couple celebrated their fourth wedding anniversary on March 23.

'Married at First Sight' alums Elizabeth Bice and Jamie Thompson
Courtesy of Jamie Thompson/Instagram

“Happy 4 years babe! It’s hard to believe we did something so crazy that changed our lives forever a whole 4 years ago,” Bice shared via Instagram at the time. “I sometimes forget we met on a TV show because life seems so right with you in it! I love us and I love our life together! Happy anniversary!!!!!!!! Thank you for everyone that follows and is part of our journey!”

Later that month, the tech guru shared a gushing tribute to Bice. “Selfie time! … Hold onto the precious things around you. I am seriously grateful for the love and joy this beautiful soul has brought to me over the years!” he captioned smiling snaps of him and his wife.

Thompson admitted that he felt he needed to portray that their marriage was better than it was. However, their recent separation made him determined to take time for himself and be honest about their situation.

“I knew I needed to take a step back when Beth and I had been apart for three weeks and I really wasn’t getting any sense of desire to fix this,” he said. “The only thing I was really hearing coming from her side was blame. And I’m not perfect … but I gotta take care of myself now.”

Thompson added that separations aren’t always the right choice and he’s working on ways to control anger and argue in a healthy way.

“I don’t think being apart and growing and evolving is always the best solution. … I’m really trying to to this in a tactful way,” he said. “I’m not trying to bash Beth.”

He added that one particular thing didn’t cause them to take a break. “It’s basically death by a thousand paper cuts,” Thompson revealed.

Bice, for her part, has not addressed her husband’s statements about their separation.

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Courtesy of Jamie Thompson/Instagram  Taking a break.

Chris Evans and Ana de Armas reunite for their third collaboration in the new Apple TV+ Rom Com “Ghosted”. The two prevously starred in “Knives Out” in 2019 and in “The Gray Man” in 2022. Those two names alone should be enough to capture one’s attention, but it’s the entertaining film filled with action, humor, a lot of adorable banter, some exciting and well placed cameos and not to mention, a killer soundrack that keeps it.

The story follows Cole who falls head over heels for enigmatic Sadie, after being ghosted by her he follows her to London where he makes a shocking discovery, that she’s a secret agent. When the people Sadie is is hunting down beleive Cole to be The Taskmaster, a CIA agent, who is in fact Sadie herself, they have no choice but to two join forces on a hair-raising, globe-hopping mission together.

Courtesy of Apple TV +

Oscar scar-nominated actress Ana de Armas plays tough and badass CIA agent Sadie Rhodes, who is just as killer with her looks as she is with a gun, but doesnt want to make any big moves in life. Marvel actor Chris Evans plays a farmer who doesnt do anything for himself is accidently dragged into Sadie’s crazy world of deadly assasins and secret missions. The fim also stars Adrien Brody as Leveque, Mike Moh, Tate Donovan, Amy Sedaris, Lizze Broadway, Anna Deavere Smith as Claudia Yates and Mustafa Shakir. Directed by Dexter Fletcher.

“Ghosted” steers away from the classic rom com trope in one way especially, unlike most movies where we see the CIA agent rescue the beautiful female damsel in distress and then the two fall in love, in this case it was the other way around, which was another thing that was very humorous to see. Evans had to play the clueless “boyfriend” who was constatly in distress, but lets give him some credit, he could hold his own. As we have seen in the past, his comedic acting is great, and demonstrated that throughout this film. Whereas de Armas demonstrates her leading lady abilities once again.

In what was the most hilarious moments in the movie, we see the baddie Leveque place a bounty on Cole. This leads to every bounty hunter in the area to take up the job, this was also the perfect oppurtunity Fletcher to iclude a series of cameos, and he used that chance well, we see three different bounty hunters pick up Cole and Sadie and they just so happen to

as Sadie’s ex who showed up during the final fight.

When speaking about Evans and de Armas’s performance in Ghosted Fletcher said “Chris’s reaction always feels genuine. He’s scared. When people are blowing things up and driving fast and shooting guns, he’s like– I’d just be like, “How would we react?” And he’d be like, “I’d be terrified!” I’m like, “That’s what you gotta do, be terrified.” And she’s [De Armas] a very high achiever who’s used to that world but can’t handle romance, can’t handle feelings, and that’s how she plays.”

With so much going on in terms of action and espoionage, this film plays out more like a thriller than a rom com, actually there is so much thrown at this film that it is quite hard to narrow down a genre. One thing is for sure, you will not be bored, we’ve got rescues, bus chases, a deadly game of assasin tag, all leading up to an elaborate fight scene in a revolving restaurant in a skyscraper. If you’re looking for a film that’s not too serious and something you can enjoy and laugh at, this is it, with certain aspects that remind one of “Lost City” and “Murder Mystery”, “Ghosted” which is Directed by Dexter Fletcher who helmed Rocketman opened to negative reviews from critics, but maybe, just maybe this fun and spirited action-adventure rom-com is enough to grab the attention of viewers.

Watch the trailer here

“Ghosted” is now streaming on Apple TV+.

Chris Evans and Ana de Armas reunite

Chloe Sims, star of British reality show “The Only Way Is Essex,” last year moved to L.A. with her three siblings to try to break into Hollywood — an experience they’ve documented in an original show for OnlyFans’ free streaming service.

OnlyFans generates billions of dollars in revenue, much of it from sexually explicit content. But the social platform also is working to build out the non-porn side of its business, including through OFTV, its free-to-view, safe-for-work streaming platform and app.

The company inked a multiyear deal with Chloe, Frankie, Demi and Charlie Sims, starting with the five-episode first season of “House of Sims,” billed as reality series in the vein of “Keeping Up With the Kardashians.” OFTV this week unveiled the trailer for “House of Sims” (at this link.) whose premiere episode will debut May 3. The remaining episodes will be released weekly on Wednesdays on OFTV.

Why did the Sims sibs go with OnlyFans for this project? A big part of it was that the company offered them complete creative control over “House of Sims,” according to Charlie Sims, who spearheaded the deal with OnlyFans. Under the partnership, the family members have created OnlyFans accounts, which they’re using to promote the show — and Chloe, for one, said it opened her eyes to how she could monetize social media in a way she couldn’t on Twitter or Instagram.

“I’m British. We have a reputation for being prudish,” she said. “At first I did have some reservations [about joining OnlyFans]… but we’re going to do a good job of showing people that it’s a big platform and there’s a lot more to it.”

Chloe’s OnlyFans account is free to follow, but she shares “locked” content (as do sisters Frankie and Demi) that costs $6-$40 per post to access. She said her paid content on OnlyFans includes the kinds of photos and videos she’s uploaded to Instagram, featuring her posing in lingerie and swimwear (no explicit nudity). “It’s pretty much the same content I posted for years — but now I own the content,” she said.

“I’m proud to be part of OnlyFans,” Chloe added. “I think people think you have to do explicit things to make money on OnlyFans. It’s probably the biggest thing you don’t realize.”

Pictured (l. to r.): Chloe Sims, Frankie Sims, Charlie Sims, Georgia Shults, Demi Sims
Courtesy of OnlyFans

Chloe and her siblings also plan to share behind-the-scenes moments from “House of Sims” on their OnlyFans accounts. In the show itself, “You’re going to see a British family who are packing up from a little village in Essex and moving to America,” Chloe said. “We landed in America completely blind. We had a house for a month, we didn’t know our way around! Even getting a reservation at a restaurant isn’t easy when you’re not famous here. It’s been a bit of humble pie for me.”

The Sims lived in a rented house with a pool in the Bel Air neighborhood of Los Angeles. Also appearing in “House of Sims” is Georgia Shults, who is Charlie’s fiancée. Charlie said during the filming of the show, some of the family members got homesick; he wouldn’t spill the tea on who wanted to move back to the U.K., noting that will be revealed in “House of Sims.”

“When you take people out of their comfort zone, you see who starts to crack,” he said. “We had this idea to move across the Pond, stay safe and push each other to get where we wanted to get to… The dream was to break into Hollywood. It’s easier said than done.”

The first season of “House of Sims” was shot from October to December 2022, in the U.K. and L.A. The episodes range in length from about 30 minutes to 50 minutes. One of the benefits of producing the show for a streaming platform was that the segments didn’t need to be a specific number of minutes, Charlie noted. The Sims family members serve as producers on the show.

Chloe Sims first joined ITV’s “The Only Way Is Essex” in 2011, followed by Demi in 2018 and Frankie in 2019. Last year the siblings announced that they were leaving the show.

Over the last few years, OnlyFans has attracted a range of celebrities and other creators to the platform, including Iggy Azalea, Carmen Electra, Denise Richards, Bella Thorne, Bhad Bhabie and comedian Whitney Cummings (who is producing a series of comedy roasts on OFTV). The company says it empowers creators to “take control of their likeness” and “monetize their content in a safe environment on their own terms.”

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Chloe Sims, star of British reality show

Dead & Company have announced longtime drummer Bill Kreutzmann, a founding member of The Grateful Dead, will not be joining them on their final tour. 

In a post on the band’s Instagram Saturday, Kreutzmann, along with bandmates Bob Weir, Mickey Hart and John Mayer, said the drummer will sit out their final summer tour. 

“Every day, things change,” the band said. “After many long discussions and some good old-fashioned soul searching, we are letting you know that our brother Bill Kreutzmann will not be joining us on our final summer tour.”

A founding member of The Grateful Dead, Kreutzmann formed the group alongside Weir, Jerry Garcia, Dana Morgan Jr. and Ron McKernan in 1964 when they were initially known as The Warlocks. The drummer has had health issues in the past, though the band made it clear he is not hanging up the sticks for good. 

“Bill wants you to know that he is in good spirits, good health and he is not retiring,” the band said in the post.

Dead & Company, an offshoot of the original eclectic rock band with a devout following to this day, was formed in 2015, bringing together founding members of the band and weaving in Grammy winner Mayer. According to the post, the decision for Kreutzmann to bow out of their final tour was completely mutual. 

“This is the culmination of a shift in creative direction as we keep these songs alive and breathing in ways that we each feel is best to continue to honor the legacy of the Grateful Dead,” the post read. “The final tour will go on as planned with Bill’s full endorsement and support.”

The band’s final tour will begin at the New Orleans Jazz Fest in Louisiana on May 6. 

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Dead & Company have announced longtime drummer

SAG-AFTRA’s national board has lent its support to the WGA as the latter guild buckles down for a last sprint of negotiations in the days leading up to the May 1 expiration of film and TV writers’ master contract with Hollywood’s major employers.

“SAG-AFTRA stands strongly in support and solidarity with the members of the Writers Guild of America who are engaged in contract negotiations with the Alliance of Motion Picture and Television Producers. It is long past time for the studios, streamers, and other employers in the entertainment industry to remove roadblocks to fair and equitable wages and working conditions, and to agree to terms that reflect the unique worth and contribution of creative talent and workers, without whom the industry would not exist,” read a resolution passed Saturday by a unanimous vote of SAG-AFTRA’s national board.

The performers union even included a photo of Duncan Crabtree-Ireland, SAG-AFTRA’s national executive director, with WGA West chief negotiator Ellen Stutzman, which was taken Friday at the Sherman Oaks headquarters of the Alliance of Motion Picture and Television Producers, where Hollywood’s collective bargaining talks are usually held. The May 1 deadline has Hollywood’s creative community on edge about the possibility of a work stoppage forcing the industry to abruptly shutter production or scramble to work around the absence of writers and showrunners.

SAG-AFTRA’s full-throated support of the WGA is notable as it comes two days after the Directors Guild of America issued a notice reminding members that the DGA is bound by a no-strike clause in its existing contract with AMPTP member companies. The DGA and SAG-AFTRA are waiting in the wings to negotiate their own new contracts with Hollywood’s largest employers, with both guilds’ facing a June 30 expiration date. The DGA is scheduled to begin its talks in Sherman Oaks on May 10.

Here is the full text of the resolution passed April 22 by SAG-AFTRA’s national board of directors:

WHEREAS, history shows that fairness and equity to the workers who power the creativity of the entertainment industry has only been achieved through solidarity and the efforts of those workers working within their labor unions and guilds; and

WHEREAS, changes in the economics of the entertainment industry have worked to the great benefit of large corporate employers and in many cases to the detriment of the creators who make their businesses possible; and 

WHEREAS, workers are stronger when they stand together united, and the unions that represent them are more powerful working and collaborating together; and

WHEREAS, after weeks of bargaining, it is time for the employers in our industry to step up and make meaningful changes to fairly compensate writers and to acknowledge their unique needs and concerns, along with the concerns shared by all artists and workers in the industry;

NOW, THEREFORE, BE IT RESOLVED by the National Board that SAG-AFTRA stands strongly in support and solidarity with the members of the Writers Guild of America who are engaged in contract negotiations with the Alliance of Motion Picture and Television Producers. It is long past time for the studios, streamers, and other employers in the entertainment industry to remove roadblocks to fair and equitable wages and working conditions, and to agree to terms that reflect the unique worth and contribution of creative talent and workers, without whom the industry would not exist.

(Pictured: SAG-AFTRA’s Duncan Crabtree-Ireland and WGA West’s Ellen Stutzman)

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SAG-AFTRA’s national board has lent its support

Priyanka Chopra rocks a sexy look at the Citadel premiere in Rome.

Priyanka Chopra looked drop-dead gorgeous in a plunging green dress in new pictures and her husband, singer Nick Jonas couldn’t keep his eyes off her.

Priyanka Chopra raised temperatures with her latest photos from Rome. The actress was in the city to promote her upcoming series Citadel and was joined by Nick Jonas. While the couple had heads turning with their red carpet appearance, Priyanka shared photos from the couple’s sizzling photo shoot done before their red carpet appearance and it is evident, Nick couldn’t take his eyes off her.

For the special night, Priyanka opted for a green plunging neckline gown. She topped the dress with a matching cape and tied her hair up into a chic hairdo. Meanwhile, Nick looked handsome in a tuxedo. In the photos, Priyanka and Nick posed in their room and in the balcony, with their chemistry setting Instagram on fire. Priyanka was seen holding Nick close in one of the photos while Nick admired her.

Sharing the pictures, Priyanka wrote, “Roman holiday ?.” Fans took to the comments section and showered the couple with love. “Alexa, play ‘Sexual’ by Nick Jonas,” a comment read. “He can’t keep his eyes off you,” noticed another. “You two are so hot,” a third user said.

Prior to Rome, a special Citadel premiere was also held in London and Mumbai. The show marks Priyanka’s web series debut with Richard Madden. Helmed by The Russo Brothers, Citadel is all set to stream on Amazon Prime Video from April 28.

Priyanka returned home on Saturday and one of the first things she did was spend quality time with her daughter Malti Marie. The actress took to her Instagram Stories and shared a picture in which the mother-daughter duo was seen spending play time together.

Besides Citadel, Priyanka will also be seen sharing screen space with John Cena and Idris Elba for Heads of State. The actress shared the news on Instagram and wrote, ‘On to the next.’ Reportedly, the shoot will begin in May this year. Directed by Ilya Naishuller, the film is being produced by Safran Company’s Peter Safran and John Rickard.

Read all the Latest Movies News and Entertainment News here

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Priyanka Chopra rocks a sexy look at

SPOILER ALERT: This article contains spoilers for the series finale of “Snowfall.”

When John Singleton set out to tell the story about the effects of the ’80s cocaine business on Los Angeles, he had a clear vision in mind. He wanted something that came full circle and ultimately led into his directorial debut “Boyz ‘N the Hood,” a film that was set in the ’90s and explored the harsh realities of Black families living in South Central L.A. The movie earned the then 24-year-old his first Oscar nomination, making him the youngest and first Black filmmaker to be nominated for best director.

Damson Idris was a major part of the story of “Snowfall.” Starring as Franklin Saint, Idris carried out Singleton’s tale and vision down to the show’s final scenes. As Franklin’s story came to an end on Wednesday night, fans finally said goodbye to what was left of its prolific anti-hero after his brutal war with the CIA, his family and the dealers of South Central which rendered him penniless, alone and on the brink of sanity.

“Over the years, we talked a lot lot of different variations of it,” said “Snowfall” showrunner Dave Andron. “I can remember pitching FX the fifth and sixth seasons and at that point, I was like, ‘Well, maybe he gets his money and loses everything and everybody and destroys his community, but he becomes the soloist.’ But this was the right thing to do and even in the very, very, very early mini rooms we did with Leonard [Chang] and John [Singleton] there was a talk of ‘Well, maybe he ends up destroyed like his father.’”

“It feels like the right thing,” added writer Walter Mosley. Mosley also told Variety that killing Franklin just wasn’t in the plans for their writing team. “I read it many times and I think we had the right ending for him and for everybody else.”

With Teddy McDonald (Carter Hudson) dead before he could transfer the millions of dollars he stole from Franklin back to him and his imprisoned mother, Cissy (Michael Hyatt), Franklin was in need of cash quickly. But instead of taking the advice of the family and friends he had left, he slowly clipped away all of his life lines.

He resorted to a life of thieving and killing in his fall from power, which also included a short cameo from Peaches (Deray Davis). Davis starred on the series from Season 2 until his character abruptly skipped town with $5 million of Franklin’s money.

SNOWFALL “The Struggle” — Season 6, Episode 10 (airs Wednesday, April 19th) — Pictured: Damson Idris as Franklin Saint. CR: Ray Micksaw/FX.

The episode closed with Leon (Isaiah John) making the trip from Ghana back to South Central to pay Franklin a visit, but what he finds is a shell of his former best friend. Franklin is unkempt. His eyes are hazy; one is bloodshot. His teeth are past the point of repair due to his excessive drinking (a habit he picked up once his life began to run sour), and his mother’s home — which he previously bought with his drug money — is being foreclosed by the city because of unpaid property taxes.

In preparation for the final scene, the actor even left some of the production crew emotional as they also said goodbye to his character.

“When we walked onto the set for the first time with him and we talked about what they were going to do hair, makeup, wardrobe, right? But I hadn’t seen the full thing. So we walked onto the set for rehearsal and it was in Cissy’s house. We shot that stuff before we shot the stuff out in the street. The director, myself and our script supervisor walked on set and our script supervisor saw him over in the next room, in the corner, head down and muttering and shuffling around. She started crying. And I was like, ‘Oh yeah, this is gonna land.’ Just seeing him, she couldn’t take it.”

The two friends go for a walk in the changing neighborhood to reflect on old times. At one point, they stop by a movie set with a young John Singleton in the director’s chair. To whom Franklin shouts, “Y’all ain’t gon’ win no Oscar!”

That line, along with two other scenes, were ad-libbed by Idris, Andron shares.

“One of them aligned to Leon when they’re walking down and he’s saying ‘sexy, chocolate motherfucker like me,’” says Andron. (The actual line Idris said is “Sexy, chocolate n–– like me, can’t keep a bitch”).

“Then, the real heartbreaker with him and Leon standing there. Part of it was wanting to really push Isaiah and get Isaiah as Leon to the point of breaking and when Damson leaned in and was like, ‘You’re my best friend and I’m proud of you.’ That was Damson. I was like, Oh my God, and that broke Isaiah. It was perfect. It was unbelievable.”

SNOWFALL “The Struggle” — Season 6, Episode 10 (airs Wednesday, April 19th) — Pictured: Isaiah John as Leon Simmons. CR: Ray Micksaw/FX.

“Snowfall” served as an exploration of the U.S. crack epidemic’s beginnings in South Central, Los Angeles. It was a story told from the Black perspective, as the issue plagued Black neighborhoods and homes across the country. Franklin Saint built a life while pedaling cocaine and, consequently, killing off those around him. He ultimately lost everything because of it. His mother became a prisoner. His father, Alton (Kevin Carroll), was killed along with his uncle Jerome (Amin Joseph), and his aunt Louie (Angela Lewis) was left to live a life on the run.

In looking at this wreckage, fans considered the meaning behind Franklin’s downfall, which begs the question: Who wins in this game of eat or be eaten?

“It’s not so much that nobody wins. Though, that’s part of it. But I mean, this is also true about life itself. Nobody wins, you know?” said Mosley. “This is a really concentrated experience of life. How these people, having done their absolute best, couldn’t think of everything. In that way, it transcends race.”

Singleton’s vision was celebrated at USC’s School of Cinematic Arts on Thursday as the school unveiled its plans to honor the director with a lounge named in his honor. The sitting area will be located outside of the Dean’s office suites and will be decorated with posters from Singleton’s popular films.

View the photos of the lounge below.

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Recent Spider-Man movie additions to Disney+ left many wondering when The Amazing Spider-Man 2 will finally stream with them.

Andrew Garfield’s The Amazing Spider-Man and Tobey Maguire’s Spider-Man trilogy arrived on Disney+ on April 21, with Tom Holland’s Homecoming and Tom Hardy’s Venom set to follow on Friday, May 12.

When Will The Amazing Spider-Man 2 Come to Disney+?

Disney+

Sony and Disney entered into a deal in April 2021 that would see the studio’s Spider-Man-related movies join other Marvel projects on Disney+. Not only would this include new releases from 2022 onwards, after they spend some time on Netflix, but also other Spider-Man flicks from Sony’s back catalog.

Tobey Maguire’s Spider-Man trilogy and 2012’s The Amazing Spider-Man have been doing the rounds on streaming for a while, having previously spent some time on Netflix and have just now come to Disney+. But through that hopping, The Amazing Spider-Man 2 has been absent.

The movie is currently streaming on Starz in the US, but once the existing streaming deal for the Andrew Garfield sequel ends, Disney+ will likely aim to secure The Amazing Spider-Man 2 to continue expanding its webhead library.

The Amazing Spider-Man 2 is already streaming on Disney+ in Canada and other select regions, so it will likely come to the platform at some point. It’s unclear for now exactly when that will be, although late 2023 is certainly possible after Sony promised more Spider-Man movies will come to Disney+ later this year:

“Additional titles from Sony Pictures’ film and television library are expected to premiere on Disney+ in the U.S. later this year.”

But even when The Amazing Spider-Man 2 and other missing movies do finally hit the Disney+, there’s no guarantee they will be staying for the long term. After all, five Spider-Man movies were added to Disney+ in the UK in June 2022, all of which are now gone from the streamer in the region just ten months later.

Spider-Man’s Complicated Rights Situation Explained

Unlike the rest of the Marvel universe, Sony holds the film rights to Spider-Man and the gallery of characters related to him. This means the studio has the exclusive right to make movies with the character and full control of their distribution in terms of streaming and home releases.

That said, in recent years, Sony has been more willing to play ball with Disney, having reached a deal in 2015 to bring Spider-Man to the MCU. The agreement sees Marvel Studios assist in producing Sony’s Spider-Man movies while Tom Holland’s hero is allowed to appear in a limited number of other MCU movies.

With no sign of those rights changing hands anytime soon, this will likely continue to be the case for many years to come, provided the two don’t suffer another major fallout. The collaboration between studios is expected to continue in the long run after a Sony exec hinted at “lots of opportunities” with Marvel Studios.

For now, The Amazing Spider-Man 2 is streaming on Starz in the US.

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The first month of the year ended with a big announcement from DC Studios. The Warner Discovery division, led by James Gunn and Peter Safran, is already developing its 10-year plan to integrate all the comic company’s projects in film, television, and even video games to follow the same timeline.


However, the announced titles are only a brief part of what will come in the next couple of years. Much remains to be revealed, related to the expected casting of iconic characters like Batman or Superman and new projects that will surely surprise the audience.

In fact, it seems two projects have been kept under wraps, and one of them is a favorite of Gunn’s, as he recently confessed in a chat with /Film:

MOVIEWEB VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT

“There’s one thing I know is my favorite, one of my favorite projects of all of this. And it’s just so totally unique that the idea itself is giving away too much when it may not come out for two or three years. Also, with some other things, it’s kind of a choice. We have a director working on a really fantastic other project that may take him a little more time than some other people.”

These two projects could be focused on already known characters, as well as heroes or groups that have rarely been seen, considering that in the future, we will see an animated series of Creatures Commandos and a movie centered on The Authority, which was considerably unknown to most of the fans.

Related: Swamp Thing: Why a Horror Outing is a Great Choice for James Gunn’s DCU


The Next Steps for DC Studios

Warner Bros.

Although Gunn and Safran’s plan will not officially start until 2024, the company still plans to release four major titles in 2023. The first one will be Shazam! Fury of the Gods, which is still unclear as to whether or not it will be Zachary Levi’s last appearance as The World’s Mightiest Mortal.

In July, the universe will be rebooted with The Flash, which by adapting Flashpoint, will allow the new leadership to make critical, creative decisions without having to start entirely from scratch. Ezra Miller’s future as Barry Allen is also uncertain.

In August, Xolo Mariduena will become Jaime Reyes in Blue Beetle, which, being a new story, will have no problem integrating into the future DCU. The conflict will be Jason Momoa’s Aquaman, who will premiere his second film in December. Although his story was intended as a trilogy, it will depend on the film’s performance and the company’s plans whether they will continue with the actor in that mythical character.

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The first month of the year ended

There’s a pretty sick new Fortnite Creative 2.0 map that’s gotten a lot of traction this week, and for good reason–the Lucky Block Arena free-for-all map by Rafa To Ja is a refreshing remix of an old Creative formula.

Fortnite’s Creative 2.0, powered by the Unreal Editor for Fortnite, is still so new that creators are continuing to figure out what exactly they can do with it. For now, that means most Fortnite Creative maps made with UEFN are mostly the same kinds of things creators were making before, but with new bells and whistles that weren’t possible previously. In other words, Creative 2.0 is more evolution than revolution so far. The Lucky Block Arena is a high-quality example of that kind of thing.

You and the other players will spawn on your own floating platforms above an arena, a format that Fortnite creators love to use for all sorts of different games. Usually these involve building, but the Lucky Block Arena does not.

Where this map innovates is how it turns a standard Creative deathmatch formula on its head. There are many deathmatch maps in which you’ll start with some blue-quality guns and beat other players to earn coins to buy better guns from a large selection of vending machines–like The Pit, for example. But the Lucky Block Arena doesn’t let you choose what guns to use.

Instead, you’ll spend your coins from defeated enemies to open boxes that give you random guns. You can choose what quality you want–higher qualities require more coins–and you can also open boxes that have gadgets and other items. And on top of that, once you jump into the free-for-all arena, you’ll find various power-up boxes, like damage multipliers. And there are certainly other surprises to be found–like the occasional appearance of a low-gravity area.

This may not sound incredibly impressive, but that’s because this map is largely a below-the-surface, quality-of-life evolution: These boxes are custom assets that do things that cannot be done with the old Creative tools. They aren’t doing anything particularly shocking or astounding, but Rafa To Ja basically had to invent them (or they borrowed the idea from whoever did).

Beyond that, the Lucky Block Arena is simply a well-designed free-for-all map that’s fun to play on. So, unlike many of the new Creative 2.0 maps, this one is actually practical and fun and could become a long-term community favorite–rather than being an amusing tech demo, like most of the other Creative 2.0 maps we’ve seen so far.

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

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The 2023 Tribeca Festival has announced its lineup of world premieres of new and returning television, including the world premieres of Steven Soderbergh’s Max series Full Circle about a botched kidnapping that reveals long-held secrets in present-day New York City, Prime Video’s Sweeney Todd-inspired The Horror of Dolores Roach and BET+’s Diarra From Detroit, a dark comedy executive produced by Kenya Barris that centers on a divorcing school teacher.

The fest, which runs June 7-18, announced its film slate earlier this week.

The eight series premieres and two first looks also include The Golden Boy, a documentary about Oscar De La Hoya, Disney+’s Choir, the story behind America’s Got Talent finalists the Detroit Youth Choir, A&E’s Exposing Parchman, an investigative documentary about the efforts to reform the Mississippi correctional system and Paramount+’s De La Calle, a docu-series that delves into the Latino diaspora.

Also on tap: AMC’s The Walking Dead: Dead City, a return to The Walking Dead universe that follows Maggie (Lauren Cohan) and Negan (Jeffrey Dean Morgan) as they travel into a post-apocalyptic Manhattan; the season seven premiere of Starz’s Outlander, starring Caitríona Balfe and Sam Heughan; and the season two premiere of Apple TV+’s Swagger, inspired by NBA superstar Kevin Durant’s experience on the youth basketball circuit. 

The Fest’s Now program will feature The Long, Long Night, a comedy starring Mark Duplass and Barrett O’Brien; Hey, Joe, an absurdist cooking show with Philly-based pizza chef Joe Beddia, executive produced by Eric Wareheim; and Honeycomb, a dark comedy starring Baron Vaughn.

“There’s genuinely something for everyone in our Tribeca Festival TV selection. From romance in the 18th Century to a hilarious mystery in modern day Detroit; from a sports legend in the ring to hip-hop heroes in the Bronx; from zombies in post-apocalyptic Manhattan to cannibalism in Washington Heights,” says Tribeca Senior Programmer Liza Domnitz. “Similarly, a fantastic variety of projects commemorate the 10th anniversary of indie episodic at Tribeca, offering attendees the chance to see the next generation of provocative and unique stories.”

The full lineup follows below:

2023 TRIBECA FESTIVAL TV SELECTION 

Choir (Disney+) – New Series World Premiere.For the Detroit Youth Choir, everything changed when they entered the spotlight on America’s Got Talent. They’d come a long way from rehearsing in a church basement with a handful of kids, but now their past achievements are old news and the new kids need to step up. With new talent and auditions underway, can the DYC stay relevant both in their hometown and on the national stage?Executive produced by Jason Blum, Brian Grazer, Ron Howard, Justin Wilkes, Sara Bernstein, Michael Seitzman, Chris McCumber, Jeremy Gold, Gretchen Palek, Ryan Miller, Rudy Valdez, and Ross Dinerstein. 

After the Screening: A conversation with the artistic director of the Detroit Youth Choir Anthony White, director Rudy Valdez, executive producer Sara Bernstein, and members of the choir, plus a special performance by the Detroit Youth Choir.

De La Calle (Paramount+) – New Series, Episode World Premiere. De La Calle is a docu-series that takes a journey into the Latino diaspora to explore the evolution of Urbano music and cultures that ignited the musical revolution of rap, reggaeton, bachata, Latin trap, cumbia, and other sounds that are influencing music and culture worldwide. Hosted by Nick Barili, featuring Fat Joe, Juelz Santana, and other artists. Executive produced by Nick Barili, Picky Talarico, Lydia Tenaglia, Christopher Collins, Jared Andrukanis, Amanda Culkowski, Bruce Gillmer, and Craig H. Shepherd.

After the Screening: A conversation with series host Nick Barili and special guests.

Diarra From Detroit (BET+) -New Series World Premiere. Diarra From Detroit is a dark comedy that follows a divorcing school teacher who refuses to believe she’s been ghosted by her rebound Tinder date. Her search for the missing man pulls her into a decades-old mystery involving the Detroit underworld. As the case unfolds, her co-workers, friends, and lovers become unlikely allies as she falls down a dangerous rabbit hole. Executive produced by Kenya Barris, Diarra Kilpatrick, and Miles Orion Feldsott. 

After the Screening: A conversation with Diarra Kilpatrick and castmates.

Exposing Parchman (A&E) – Limited Series World Premiere. Exposing Parchman is an investigative documentary that explores the efforts to reform the Mississippi correctional system led by a team of attorneys on behalf of the inmates of Parchman Prison. The film tells the inside stories of the families, the legal team, and Roc Nation across three years of legal battles to end the deadly conditions for those incarcerated at Parchman. Executive produced by Jordana Hochman, Jeanmarie Condon, Desiree Perez, Lori York, Rahman Ali Bugg, Elaine Fontaine, Shelly Tatro, and Brad Abramason.

After the Screening: A conversation with the subjects, legal team, and Roc Nation executives behind Exposing Parchman.

Full Circle (Max) – New Series World Premiere. Full Circle is a limited series about an investigation into a botched kidnapping that uncovers long-held secrets connecting multiple characters and cultures in present day New York City. Directed by Steven Soderbergh, starring Dennis Quaid, Claire Danes, Timothy Olyphant, Zazie Beetz, and Jharrel Jerome.

After the Screening: A conversation with director and executive producer Steven Soderbergh, writer and executive producers Ed Solomon and Casey Silver, and cast. 

The Golden Boy (HBO Sports Documentaries) – New Series World Premiere. The Golden Boy is the definitive documentary unpacking the spectacular myths and painful truths behind the life of Mexican-American boxing legend, business magnate, and cultural icon Oscar De La Hoya. The two-part documentary tells the story of a young, Mexican-American boy from East LA with a gentle soul whose boxing talent, charismatic good looks, and heartwarming story of winning an Olympic gold medal for his dying mother combined to create the mythic character of “The Golden Boy.” Directed by Fernando Villena and executive produced by Mark Wahlberg, Stephen Levinson, Archie Gips, Mario Lopez, Jeffrey Stearns, and David Wendell. 

After the Screening: A conversation with director Fernando Villena, executive producers Mario Lopez, and Oscar De La Hoya.

The Horror of Dolores Roach (Prime Video) – New Series World Premiere. Based on the hit Spotify Studios podcast series of the same name The Horror of Dolores Roach is a contemporary Sweeney Todd-inspired urban legend of love, betrayal, weed, cannibalism, and survival of the fittest. Dolores Roach (Justina Machado) is released from prison after 16 years and returns to a gentrified Washington Heights. She reunites with an old stoner friend, Luis (Alejandro Hernandez), who lets her live and work as a masseuse in the basement under his empanada shop. When the promise of her newfound stability is quickly threatened, “Magic Hands” Dolores is driven to shocking extremes to survive. Created by co-showrunner, writer,  and executive producer Aaron Mark. Executive produced by Dara Resnik, Daphne Rubin-Vega, Jason Blum, Chris McCumber, Jeremy Gold, Chris Dickie, Dawn Ostroff, Mimi O’Donnell, Justin McGoldrick, Gloria Calderón Kellett, and Roxann Dawson.  

After the Screening: A conversation with cast members Justina Machado, Alejandro Hernandez, Kita Updike, and K. Todd Freeman, plus creator, co-Showrunner, executive producer Aaron Mark, co-showrunner and executive producer Dara Resnik, and executive producer Gloria Calderón Kellett.

Outlander (Starz) – Season Seven World Premiere. In the seventh season of Outlander, the land the Frasers call home is changing – and they must change with it. In order to protect what they’ve built, the Frasers have to navigate the perils of the Revolutionary War. They learn that sometimes to defend what you love, you have to leave it behind. As the conflict draws them out of North Carolina and into the heart of this fight for independence, Jamie (Sam Heughan), Claire (Caitriona Balfe), Brianna (Sophie Skelton), and Roger (Richard Rankin) are faced with impossible decisions that have the potential to tear their family apart. Executive produced by Matthew B. Roberts, Ronald D. Moore, Maril Davis, Toni Graphia, Luke Schelhaas, Andy Harries, Jim Kohlberg, Caitríona Balfe, and Sam Heughan.

After the Screening: A conversation with cast members Caitriona Balfe, Sam Heughan, Sophie Skelton, and Richard Rankin.

Swagger (Apple TV+) – Season Two World Premiere. Inspired by NBA superstar Kevin Durant’s experiences, Swagger explores the world of youth basketball, and the players, their families, and coaches who walk the fine line between dreams and ambition, and opportunism and corruption. Off the court, the show reveals what it’s like to grow up in America.

After the Screening: A conversation with creator and executive producer Reggie Rock Bythewood and cast.

The Walking Dead: Dead City (AMC) – New Series World Premiere. A new series set in The Walking Dead Universe, starring Lauren Cohan and Jeffrey Dean Morgan, The Walking Dead: Dead City follows the popular Maggie and Negan characters traveling into a post-apocalyptic Manhattan long ago cut off from the mainland. The crumbling city is filled with the dead and denizens who have made New York City their own world full of anarchy, danger, beauty, and terror. The series also stars Gaius Charles and Željko Ivanek, amongst others. Eli Jorné serves as the showrunner of the series. Executive produced by Scott M. Gimple, Eli Jorné, Lauren Cohan, Jeffrey Dean Morgan, and Brian Bockrath. 

After the Screening: A conversation with executive producer and cast members Jeffrey Dean Morgan and Lauren Cohan, cast members Gaius Charles and Zeljko Ivanek, along with the chief content officer of The Walking Dead Universe and executive producer Scott M. Gimple, and showrunner and executive producer Eli Jorné. 

2023 TRIBECA FESTIVAL NOW SELECTION

NOW Showcase A (Narrative)

Hey, Joe, (United States) – Episode One World Premiere. A humorously deadpan show about the joys of everyday home cooking, hosted by Philadelphia chef Joe Beddia. In this pilot episode, Joe visits an oyster farm and his local grocer to make dinner for his friend Khoran Horn, a fellow chef. Created by Joe Beddia and Scott J. Ross.

I Hate People, People Hate Me, (Canada) – Episodes One and Two World Premieres. Perpetually disturbed by the world around them, two twenty-somethings navigate their lives as underdogs in Toronto’s queer community. Created by Bobbi Summers.

The Long, Long Night, (United States) – Episodes One and Two World Premieres. It’s been 6 months since that disastrous night in the motel and these two guys (Mark Duplass and Barrett O’Brien) are nowhere near over it. Created by Barrett O’Brien and Mark Duplass.

NOW Showcase B (Documentary)

The Fourth Wall, (United States) – Episode One World Premiere. The Fourth Wall is an intimate documentary series in which the son of cult leaders investigates the transgressive group in which he was raised. This is the story of the Sullivanians, New York’s secretive “psychotherapy cult,” which was hidden in plain sight on Manhattan’s Upper West Side in the 1970s and ’80s. Created by Luke Meyer and Keith Newton.

Taking Root: Southeast Asian Stories of Resettlement in Philadelphia, (United States) – Episode One World Premiere. Taking Root amplifies the stories of Southeast Asians who resettled in Philadelphia after the Wars in Southeast Asia. It highlights the intergenerational impact of structural violence and demonstrates the power of Southeast Asians in resisting and rebuilding in America. Created by Oanh-Nhi Nguyen.

NOW Showcase C (Narrative)

Do It To Me If You Want, (United States) – Episode One World Premiere. After an unexpected run-in on the lawn of a Halloween frat party, Kent and Alexandra try…and try again to communicate. Do It To Me If You Want is a pitch-black dramedy series exploring the gray area of desire – all the sh*t we don’t have language for that nevertheless dictates everyone’s relationship to everybody – as experienced by a group of state college students over the course of a school year. Created by Elise Kibler, and developed and co-directed by James Udom.

Driven, (United States) – Episode One World Premiere. Driven tells the story of Teddy Fischer (Rebecca Henderson), an Uber driver and failed novelist who is living in her brother’s laundry room. While contemplating suicide, Teddy gets a ride request from Yari Alvarez (Krissy Lemon), an overly confident, deaf yodeler, who insists that Teddy drive her to her parents’ (Liza Colón, Gary Perez) McMansion to defend her as a fellow artist. Created by David Shane.

Honeycomb, (United States) – Episode One New York Premiere. After a has-been musician (Baron Vaughn) live-streams his suicide attempt, his band’s single goes viral. For the first time in their life, they have a chance at fame and fortune — as long as the world continues to believe he’s dead. Created by Sam Roden, Joseph L. Roberts, and Elisha Yaffe.

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The 2023 Tribeca Festival has announced its lineup of

BayView Entertainment will soar to heady heights with the release of horror thriller Barun Rai And the House On The Cliff coming to Blu-ray in the USA on 25th April 2023.

 

Synopsis:

A newlywed couple moves into their dream home expecting their new life to be perfect, but unexplained incidents begin occurring that derail their married bliss. Detective Barun Rai is soon hired to investigate as his expertise lies in solving paranormal activities. What the detective ultimately finds will shock and disturb everyone involved.

 

Barun Rai And the House On The Cliff was Directed by Sam Bhattacharjee and stars Priyanshu Chatterjee, Nyra Banerjee and Sid Makkar.

 

Barun Rai And the House On The Cliff will be released to Blu-ray in the USA from BayView Entertainment on 25th April 2023.

 

Available to pre-order now at:

Amazon.com

ImportCDs.com

DeepDiscount.com

 

Keep up to date with all things BayView Entertainment by following them on social media and via their website.

Links below:

WEBSITE

FACEBOOK

TWITTER

INSTAGRAM

YOUTUBE

YOUTUBE

 

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BayView Entertainment will soar to heady heights with

The actor revealed that the props department warned him he was down to his last weapon.

THE MANDALORIAN, Giancarlo Esposito, (Season 1, ep. 108, aired Dec. 27, 2019). photo: ©Disney+/Lucasfilm / courtesy Everett Collection

Giancarlo Esposito on “The Mandalorian”

©Disney+/Courtesy Everett Collection

Few actors make for more convincing villains than Giancarlo Esposito, so he made playing an evil Galactic Empire leader look easy on “The Mandalorian.” But his performance on the Disney+ series didn’t go off without a hitch: Esposito had to compensate for his inability to handle a lightsaber without breaking it.

Appearing on “The Kelly Clarkson Show” this week, Esposito explained that he was constantly breaking lightsabers while filming Season 3 of “The Mandalorian.” The problem got so bad that the show’s props department had to warn him that he was depleting their supply.

“I did break six lightsabers,” Esposito said. “The prop guy comes to me on the fifth one, and he’s sweating because he’s not telling anyone that I’m breaking them. He’s just shoving them away. He comes over to me and says, ‘I just want you to know I just have one more. You gotta be careful.’ Because you want to pull your shots. You want to be really careful, but you have to make it look good. We made it through and I got a great, great, great scene and I learned a lot.”

Fortunately, the last lightsaber made it through and Esposito was able to complete his Season 3 story arc as Moff Gideon. Many viewed the series finale as a farewell to his character (to the extent that anyone is ever really gone in the “Star Wars” universe). But even if this means goodbye, Esposito has always been open about how much it meant to play a nuanced “Star Wars” villain who wasn’t white.

“It means a lot to me because I’ve strived in my career to be colorless,” he said in an interview with IndieWire. “I am of mixed race, half Italian, half African American, and I grew through the period of time where I was relegated to playing thieves and thugs. I learned how to do a Spanish accent, to play Spanish street characters, who were murderers, killers, robbers, the like. So for me, it’s a crowning moment when I could get a phone call from Jon Favreau, to say, ‘I wrote a role for you.’”

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The actor revealed that the props department

As per Deadline


Four actors have been cast in recurring roles for the second season of Prime Video’s hit fantasy drama The Wheel of Time, based on Robert Jordan’s best-selling novels. Maja Simonsen and Ragga Ragnars will portray Chiad and Bain, Jay Duffy will play Dain Bornhald, and Rima Te Wiata will play Sheriam Bayanar. The series is executive produced by Rafe Judkins, Larry Mondragon, Rick Selvage, Ted Field, Mike Weber, Darren Lemke, Marigo Kehoe, and Rosamund Pike, with Harriet McDougal and Brandon Sanderson as consulting producers.



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As per Deadline Four actors have been cast

SAG-AFTRA board unanimously voted Saturday to support the WGA, urges “the studios, streamers, and other employers in the entertainment industry to remove roadblocks to fair and equitable wages and working conditions.”

“SAG-AFTRA stands strongly in support and solidarity with the members of the Writers Guild of America who are engaged in contract negotiations with the Alliance of Motion Picture and Television Producers,” a resolution passed Saturday by the performers’ union read. “It is long past time for the studios, streamers, and other employers in the entertainment industry to remove roadblocks to fair and equitable wages and working conditions, and to agree to terms that reflect the unique worth and contribution of creative talent and workers, without whom the industry would not exist.”

The existing contract expires on May 1.

Talks between the WGA and studios labor reps at AMPAS began on March 20 with several issues that needed to be addressed. At the top of the list was the issue of compensation for streaming TV shows and films and the abuse of mini-rooms in which studios require writers with a TV show pitch to assemble a writers’ room at scale pay to produce scripts before the pitch is even greenlit.

More than 9,000 WGA members voted on April 17 to authorize their leaders to order a strike if a deal was not met and a drastic change was not in the future. But individuals with knowledge of the talks told TheWrap that the WGA and AMPTP negotiating committees remained far apart on several key issues.

The resolution passed Saturday reads in full:

WHEREAS, history shows that fairness and equity to the workers who power the creativity of the entertainment industry has only been achieved through solidarity and the efforts of those workers working within their labor unions and guilds; and

WHEREAS, changes in the economics of the entertainment industry have worked to the great benefit of large corporate employers and in many cases to the detriment of the creators who make their businesses possible; and 

WHEREAS, workers are stronger when they stand together united, and the unions that represent them are more powerful working and collaborating together; and

WHEREAS, after weeks of bargaining, it is time for the employers in our industry to step up and make meaningful changes to fairly compensate writers and to acknowledge their unique needs and concerns, along with the concerns shared by all artists and workers in the industry;

NOW, THEREFORE, BE IT RESOLVED by the National Board that SAG-AFTRA stands strongly in support and solidarity with the members of the Writers Guild of America who are engaged in contract negotiations with the Alliance of Motion Picture and Television Producers. It is long past time for the studios, streamers, and other employers in the entertainment industry to remove roadblocks to fair and equitable wages and working conditions, and to agree to terms that reflect the unique worth and contribution of creative talent and workers, without whom the industry would not exist.

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SAG-AFTRA board unanimously voted Saturday to support

From the first note of the trumpet to the beat of the drum, the jazz music sets the tone for the story. Even though many people are familiar with the questionable choices of Billy, Velma, and the other ladies of the Cook County Correctional Facility, the tale is less about murder and mayhem and more about the trap of celebrity. As seen in the current Chicago 25th Anniversary Tour, the razzle-dazzle still shines brightly.

Some musicals have earned the iconic description. Beyond the term revival, it is the combination of music and story that adapts to any timeframe which makes it watchable time and again. Although staging might evolve, the heart of the story relates from the first time it was performed to the actors that take the stage every night.

With the Chicago 25th Anniversary Tour, the songs are familiar, but it is the nuances that invite the audience to see the production in a new light. Even if there are some people who might not know the Lipschitz reference or thought All That Jazz was from a different movie, the reality is that the story of the ladies might have more relevance now than when the musical first debuted in 1975.

The current touring production is the revival staging from Ann Reinking. With a focus on the iconic dance movements inspired by Bob Fosse, the audience is drawn into the intricacies of the movements. It is more than just another quick step. It is about the subtle hand gestures, the precision of the lift, and the sultry movement of the hips.

Chicago 25th anniversary tour, photo credit Jeremy Daniel, photo provided by Dr. Phillips Center

In some ways, the choreography is like its own character in the show. On the sparse stage except for the orchestra, the performers and their movements need to transport the audience. While some movements project the allure of the women who had their way with certain men, it is more than seduction. It is another layer to how and why the women in this story always have power.

As seen with the Chicago 25th Anniversary Tour cast, it is the women who drive the show. From Logan Floyd as Velma Kelly to Katie Frieden as Roxie Hart, the characters exude their desire for fame in far different ways. Whether it is sometimes manipulative or other times unfulfilling, the need to hear the adoration never fades. From their powerful vocals to their exuberant dance numbers, the audience is captivated by their performance.

While the big moments sparkle, it is the quieter times where these performers shine. The slight tremble when doubt appears makes everything a little more relatable. Although the bright light of a celebrity might bring excitement, it can be equally as silent in the dark.

Chicago 25th Anniversary Tour

Chicago 25th anniversary tour, photo credit Jeremy Daniel, photo provided by Dr. Phillips Center

One scene needs to be looked at in a different light. When the company performs “We Both Reached for the Gun” the idea is that Roxie is Billy’s puppet. Although it is true at the moment, Roxie can and does manipulate Billy, and everyone else. Whether it is making Amos believe that he is loved or having the media salivate over her every revelation, it is Roxie who makes everyone else her puppet.

For the audience members who have seen Chicago and stage and screen many times over, they will enjoy this touring production. Amos, played by Brian Kalinowski, charms everyone. It is one of the reasons why he will always have his exit music. Billy, played by Jeff Brooks, exudes swagger. In that love to hate him role, there is something irresistible.

Overall, the Chicago 25th Anniversary Tour is a delightful night of theater. The news cycle might have its own stories of murder and mayhem, but the ladies of the Cook County Correctional Center will always be ready to bring their stylized entertainment to the stage.

The Chicago 25th Anniversary Tour is currently playing at Dr. Phillips Center in Orlando, Florida. More information on the tour can be found online.

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From the first note of the

Could Netflix’s red DVD envelopes and Redbox’s bright red DVD kiosks someday be part of the same company?

Bill Rouhana, the CEO of Redbox owner Chicken Soup for the Soul Entertainment, sure hopes so.

“I’d like to buy it,” Rouhana said of Netflix’s DVD business in an interview with The Hollywood Reporter on Wednesday. “I wish Netflix would sell me that business instead of shutting it down.”

Redbox is already the biggest DVD rental company in the U.S., with a network of some 32,000 red DVD kiosks across the country. Just this week, it announced plans to add another 1,500 kiosks at Dollar General stores (Rouhana says the Dollar General kiosks are some of the company’s most profitable).

Netflix on April 18 announced that after 25 years, it would mail out its last DVD in September. While the DVD business kickstarted Netflix’s meteoric rise, in recent years it has been on the decline. In 2022, it had $146 million in revenue, down $40 million from the year prior. Q1 had revenue of $32 million, suggesting a further decline this year.

And Rouhana says he has reached out to Netflix over the years expressing a desire to acquire the DVD business, to no avail.

“I have tried like three or four times to reach out to the corporate development people about it but just got rebuffed each time,” Rouhana says. “So when I saw it being closed, I thought, ‘Well, maybe they’ll do it now.’”

A Netflix source tells THR that the company is winding down the business, and not selling it. (As for what happens to those warehouses full of DVDs that fueled Netflix’s red envelope business, they seem to be in limbo for now.)

Even if that is the case, Rouhana says he believes Netflix’s decision to shutter the service will benefit his company. “This could be a great boon to us because now there are a whole bunch of people who are going to look for a new place to get their DVDs, and we’re close to 90 percent of them based on where our kiosks are located,” he says.

And, he notes, he does not expect the DVD business to go away anytime soon.

“We believe in it, and we believe it’s going to be around for a while. Like most legacy things, it’s a lot harder to kill them than people say, I believe,” he adds.

In fact, he believes the DVD business is in a position for growth over the next few years, thanks to a larger slate of movies hitting theaters and a desire from studios to reengage with windowing strategies.

“We programmed our business plan for us to get back to about 30 percent of the 2019 level,” Rouhana says. “I feel that’s pretty conservative, I think we’ll be better than that. But, you know, that’s how we built the business plan that we’ve articulated. So people can decide for themselves whether they think that’s overly optimistic or overly pessimistic.”

But adding Netflix’s red envelopes, and its estimated million or so customers, would be another feather in the cap.

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Could Netflix’s red DVD envelopes and Redbox’s

Just days after Twitter removed all blue check verification marks from accounts that are not subscribed to Twitter Blue, CEO Elon Musk and the site’s overlords have, for whatever reason, gifted certain users a free blue check — whether they asked for it or not. 

And chaos ensued.

“On my soul I didn’t pay for twitter blue,” tweeted rapper Lil Nas X. “u will feel my wrath tesla man!”

It’s becoming comical. Some users like model Chrissy Teigen and meme lord @Dril have fought back against their forced blue checks. When a user changes their name on Twitter, the blue check goes away. The two have both changed their names and lost the check, but Twitter again re-assigned them. And then Teigen’s mysteriously vanished again (at least it had when this story posted).

It’s hard to imagine some of these gifts are not actually intended to be curses laid down by the Twitter powers that be, considering who some of the recipients are. @Dril, for example, has been leading the “Block the Blue” campaign, pushing users to block anyone who is paying for Twitter Blue. 

Here are just a sprinkling of others:

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Just days after Twitter removed all blue

Alex Borstein and Rachel Brosnahan hope that the fifth and final season of The Marvelous Mrs. Maisel makes audiences laugh.

But beyond that, Borstein, who plays Susie Myerson, wants the takeaway of the Emmy-winning Prime Video series to be that shows can have more than just one woman as the main star.

“I hope that this female relationship is something that that kind of stands the test of time and maybe alters TV landscape a little bit, that you can have more than one woman on a show, and they can all be like really well-defined,” Borstein tells The Hollywood Reporter. “It’s not just Midge. It’s not just Susie. It’s Rose. It’s Shirley. It’s Imogene. It’s Dinah. It’s a massive amount of fully realized characters. I hope that says something to everybody.”

The actress adds that she appreciates that the women in the series aren’t chasing after men, they’re chasing after dreams and putting importance on that.

Brosnahan echoes that statement, reflecting on the time she was on THR’s Comedy Actress Roundtable and realizing she didn’t really know the women around the table because multiple lead actresses don’t usually have the opportunity to work together.

“There’s never room for more than one woman at the table,” Brosnahan tells THR when discussing the interview, which also featured Drew Barrymore, Alison Brie, Tracee Ellis Ross, Debra Messing, Molly Shannon and Frankie Shaw. “We’re all competing against each other all the time, and it was a really special afternoon, getting to listen to all of these women at the top of their game talk about working on these shows.”

The Emmy-winning actress behind Miriam “Midge” Maisel says she remembers looking around the table and hoping she would get to celebrate and be in community with the other actresses from the roundtable onscreen one day. She also points out that Marvelous Mrs. Maisel is one of the few series on television that allows multiple women at the forefront.

“It feels pretty cool to be a part of this new wave of women taking over television, and women of all different shapes and sizes and ages,” she says. “It’s cool and overdue.”

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Alex Borstein and Rachel Brosnahan hope that

Scarlett Johansson And Gwyneth Paltrow’s Iron Man 2 Feud Debunked

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Scarlett Johansson And Gwyneth Paltrow’s Iron Man

James Gunn’s Guardians of the Galaxy Vol. 3 is just around the corner, and some members of the press have now seen the long-awaited threequel, sharing their reactions and reviews to the public.

It’s been over half a decade since James Gunn last took audiences on an adventure with everyone’s favorite cosmic misfits. Now, not only is he back, but it’s his last story with the group of heroes he first introduced in 2014.

The trailers have painted the picture of a sad, emotional, and hopefully satisfying tale—one that many fans are worried will end by killing off Bradley Cooper’s Rocket Raccoon.

And after the film just had its first screening, some passionate reactions are starting to hit social media.

Guardians of the Galaxy Vol. 3 First Reactions

Marvel

A handful of critics just saw Marvel Studios’ Guardians of the Galaxy Vol. 3 at the threequel’s European premiere at Disneyland Paris, and their strong reactions are hitting the web.

Digital Spy’s Ian Sandwell proudly proclaimed the movie to be “a brilliant end to a brilliant trilogy:”

“‘Guardians of the Galaxy Vol. 3’ is a brilliant end to a brilliant trilogy. It’s very funny, emotional and everybody gets their stand-out moment. Will Poulter’s Warlock is a terrific addition, yet the focus is rightly on telling a satisfying end for the Guardians. Gonna miss them.”

Alexander Kardelo from Movie Zine warned that “nothing can prepare you for all the emotions,” specifically pointing to Rocket Racoon’s “beautiful and heart-wrenching origin story:”

“‘[Guardians Of The Galaxy Vol. 3’] is, more than ever, Star Wars as a stoner comedy. Lovable weirdos, big Marvel action and goofy jokes. But nothing can prepare you for all the emotions. Rocket Raccoon’s origin story is beautiful and heart-wrenching.”

A reaction translated from German journalist Markus Trutt called the outing “the saddest & darkest MCU film:”

“[‘Guardians Of The Galaxy Vol. 3’] is probably the saddest & darkest MCU film & a wonderfully rounded conclusion to Gunn’s trilogy, where everyone in the fight against a mean (but rather shallow) villain gets their big moment again. Have tissues ready!”

Another translated tweet from Jesús Agudo teased a “darker” story with “touches of terror:”

“I went with a preconceived idea to [‘Guardians Of The Galaxy Vol. 3’] and James Gunn has managed to surprise me for good. It is darker and has even touches of terror, but it is still very funny and with a lot of personality. Rocket and Nebula excel in a very dignified send-off.”

El Español’s Valentina Morillo, in a Spanish tweet, called the movie “the best Marvel movie since Endgame:”

” [‘Guardians Of The Galaxy Vol. 3’] has spectacular action set pieces, is fun, entertaining and emotional. It is a perfect and beautiful closure for its characters and the saga. And it’s the best Marvel movie since Endgame (and Top3 in general).”

Rory Cashin from JOE.ie confirmed to the world how he “shed a tear,” and that he’d “very happily watch an Adam Warlock solo movie:”

“Can confirm that I shed a tear during [‘Guardians Of The Galaxy Vol. 3’]. And that I would very happily watch an Adam Warlock solo movie. Full review (and interviews with the cast) coming very soon.”

@FourmiLily called the story “very complex,” and that there “was a LOT to process:”

“This movie… my heart is full and broken at the same time, it was a LOT to process, a very complex story but it left me feeling awesome “

Will James Gunn Stick The Landing?

Many fans have been fed up with Marvel Studios’ recent string of mediocre projects, with the company’s most recent movie, Ant-Man and the Wasp: Quantumania, resulting in their second Rotten-branded MCU film.

If these reactions are to be believed, fans might finally have a big Marvel Studios win. After all, it would have really been a harsh blow if the final movie in Gunn’s trilogy was a massive misfire.

It wouldn’t be too surprising if Vol. 3 is as good as these reactions claim. It’s James Gunn’s baby and his last Marvel project before diving into the deep end of the DCU for good.

To get ready for the film’s proper debut, fans can now watch two new clips online.

One recaps the events of Avengers: Infinity War and Endgame hilariously, and the other gives fans a brief tender moment between Star-Lord and Gamora.

Guardians of the Galaxy Vol. 3 hits theaters on Friday, May 5.

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With James Gunn’s Superman: Legacy set to kick off production next year, the director shared his positive thoughts on the casting process for Clark Kent.

Superman: Legacy, the first film in James Gunn and Peter Safran’s revamped DCU slate, seems poised to do things a bit differently than other movies featuring the Man of Steel.

Gunn has strongly indicated that this new take on Clark Kent and his world would be injected with more of a sense of fun than Zack Snyder and Henry Cavill’s incarnation perhaps possessed. And any new actor chosen to play Gunn’s Superman would, in turn, need to embrace that mentality.

DC

Responding to a fan on Twitter, Superman: Legacy director and DC Studios co-CEO James Gunn hyped up the selection of Superman actors he has to choose from for the upcoming movie. He said this in response to another Twitter user inquiring if any particular names have stood out so far:

“Yes we have some incredible choices. I’m incredibly excited, and relieved.”

Recently, Gunn mentioned that a casting director had been hired for the film and, in late March, stated that he hadn’t met with anyone for the role yet but was prepping for auditions.

Only three actors have ever played Superman on the big screen in live-action: Christopher Reeve in the four original Superman movies in the ’70s and ’80s, Brandon Routh in 2006’s Superman Returns, and Henry Cavill in the DCEU, starting in 2013’s Man of Steel.

Additionally, Gunn made some recent remarks on the creative process behind producing Legacy, making mention of how “notes work in Hollywood:”

“It’s interesting to see the numerous responses to my answer here about how notes work in Hollywood. From when I began writing I have given my scripts and stories to many different trusted parties for “notes.” Listening to constructive criticism is the lifeblood for any writer.”

Gunn also praised the partners he’s had during his time at DC thus far, saying he’s been “blessed” to be able to work with them.

“This process has worked for me because I have been blessed in the partners I’ve chosen to work with – we are all moving towards one thing: making the movie better. And I can put my ego aside and be open when I need to be and convincing when I need to be.”

What Will James Gunn’s Superman Be Like?

Fans still don’t have a ton of concrete details on Superman: Legacy. Gunn appears to be deep into the casting and development process right now.

But it has been implied that this new version of the legendary superhero would be a bit more lighthearted. The film will very likely better connect with some of the more outlandish elements of the comics as well.

After all, look at James Gunn’s cinematic track record; he’s responsible for bringing the Guardians of the Galaxy into the mainstream. That team features what is essentially a talking raccoon, so it’s probably safe to say that Legacy won’t be so beholden to the gritty, grounded nature of Henry Cavill’s hero in Man of Steel or Batman v. Superman.

The official synopsis for the movie has even specifically stated that Superman will be “guided by human kindness.”

And really, that’s how the character should be. Clark is a beacon of hope, positivity, and optimism. In all of his best incarnations, his capacity for good and his faith in humanity are unshakable. And in today’s sometimes-dark world, a little hope and optimism go quite a long way.

Gunn’s excitement over casting is surely encouraging and it’s nice to see that the quality of actors he’s considering has granted him a sense of relief.

DC Studios’ Superman: Legacy soars into theaters on July 11, 2025.

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No one speaks their mind like Friedkin. 

William Friedkin is a name synonymous with bold and groundbreaking cinema. As a renowned American film director, Friedkin has left an indelible mark on the history of filmmaking with his influential works such as The French Connection and The Exorcist.

However, despite his remarkable career, Friedkin has often expressed his desire to make a movie “for himself,” free from the constraints of the film industry and fully aligned with his artistic vision. And not worried about the ultimate critic, the audience. 

Check out this video from Turner Classic Movies and let’s talk after. 

William Friedkin Opens Up About the Kinds of Films He Never Got To Make

Throughout his career, Friedkin has faced various challenges and constraints that have impacted his creative freedom. Like many filmmakers, Friedkin has often had to work within the constraints of studio systems, budget limitations, and artistic compromises to secure funding for his projects. He has also faced criticism and controversy over some of his films.

But no matter what he was making, he wasn’t making it for himself. His reaction was implicit. Friedkin made films for the audience. He wanted them to enjoy, react, and ultimately have an emotional experience with his work. 

Additionally, Friedkin’s uncompromising and daring filmmaking style has sometimes clashed with the expectations and demands of the mainstream film industry. He has been known for pushing boundaries and taking risks, which has not always been met with commercial success or critical acclaim.

Director William Friedkin on the set of ‘Killer Joe’Credit: LD Entertainment

It’s worth noting that Friedkin has made many successful and critically acclaimed films throughout his career, and his body of work has left an indelible mark on the history of cinema. His biggest hits all accomplished his main goal of capturing the hearts and minds of viewers. 

Despite the challenges he has encountered, William Friedkin’s contribution to cinema remains undeniable. Friedkin has made an indelible mark on the world of cinema, leaving a legacy that continues to inspire and influence aspiring filmmakers and audiences. 

Let me know what you think in the comments.      

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No one speaks their mind like

Amazon Prime

Maja Simonsen (“Emily in Paris”), Ragga Ragnars (“Vikings”), Jay Duffy (“Hollyoaks”) and Rima Te Wiata (“Kiri and Lou”) have all scored recurring roles in Amazon Studios’ “The Wheel of Time” TV series.

They will reportedly play Chiad, Bain, Dain Bornhal and Sheriam Bayanar, respectively. The series’ second season was already filmed from July 2021 through to May 2022 in the Czech Republic.

The Amazon Studios and Sony Pictures Television series was renewed for a third season in July last year and began production on those episodes last week, with filming to run through October.

The newcomers join returnees Moiraine (Rosamund Pike), Lan (Daniel Henney), Rand (Josha Stradowski), Egwene (Madeleine Madden), and Nynaeve (Zoe Robins) and Perrin (Marcus Rutherford) return while Donal Finn will be taking over the role of Mat.

The announcement was made this afternoon at JordanCon, an event dedicated to the author and celebrating sci-fi and fantasy writing.

Also joining for the second season is Ceara Coveney as Queen Elayne Trakand, Ayoola Smart as Aviendha, Bayle Domon as Julian Lewis Jones, along with Meera Syal and Natasha O’Keeffe in unspecified roles.

Executive producer and showrunner Rafe Judkins adapted the series for the screen, whilst Larry Mondragon, Rick Selvag, Ted Field, Mike Weber, Darren Lemke and Marigo Kehoe all serve as executive producers.

Source: Variety

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What happens in Tokyo doesn’t stay in Tokyo. Emily Ratajkowski and Harry Styles learned that the hard way when they were photographed kissing in Japan’s capital in March. The coupling took fans completely by surprise, but the 29-year-old pop star and the 31-year-old model have kept things pretty quiet ever since. 

In an April interview with Spanish Vogue, Ratajkowski said she “didn’t expect” their moment to go viral. “In general, there’s a reason certain celebrities live in LA, hire security, don’t go to public restaurants,” she said, per Elle. “It’s very bizarre to have certain experiences and then have the whole world know and comment on them.”

So, are they dating or not? Here’s a timeline of whatever is going on between Emily Ratajkowski and Harry Styles.

2014: During his One Direction days, Styles calls Ratajkowski his celebrity crush in an interview. It’s called manifesting.

July 2022: Sometime in the summer, Ratajkowski divorces Bear-McClard following cheating rumors. The former couple shares a one-year-old son, Sylvester Apollo Bear. “They split recently. It was Em’s decision,” a source tells People. “She is doing okay. She is strong and focused on her son. She loves being a mom.” 

November 19, 2022: People reports that Harry Styles and Olivia Wilde are “taking a break” after two years of dating. “He’s still touring and is now going abroad. She is focusing on her kids and her work in LA,” one source tells the publication. “It’s a very amicable decision.”

September 2022—February 2023: For months, the model is linked to various suitors, including Brad Pitt, Hollywood Casanova Pete Davidson, and comedian Eric André. In January, Ratajkowski admits that paparazzi make dating difficult. “Any time I go on another date, everybody knows,” she said on her High Low podcast. “So the other guys I’m dating see it, and it has been kind of difficult because of course they’re like, ‘Didn’t talk to her last night,’ and then there’s pictures of me out to dinner with someone else. It sucks.”

March 9, 2023: During an episode of the podcast Going Mental With Eileen Kelly, Ratajkowski says she’s dating someone who’s “kind of great.” She adds, “I’m hoping that dating someone that has more of their own life will prevent the issues I had before.”

March 25, 2023:  While Styles is in Japan for his latest Love on Tour performances, the “As it Was” singer makes out with Ratajkowski in full view of witnesses, based on photos and video obtained by The Daily Mail. 

March 26, 2023: An anonymous source tells People that Ratajkowski and Styles had been “friendly for a while” before their public kiss. “Harry and Emily know each other,” the source said, adding that Ratajkowski is also “friendly” with Styles’s ex, Olivia Wilde.

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What happens in Tokyo doesn't stay in


Beginning this Sunday on MGM+, director Jack Riccobono will take horror-loving fans on a journey into the origins of The Amityville Horror.


The four-episode docuseries studies how the film captured the zeitgeist of the era as interest in the paranormal increased and how the real-life crime that occurred in the house fed into the lore.


Through never-before-seen interviews with people with first-hand relationships to the murders and the film, Riccobono offers viewers a stunning inside look at how the film impacted us for generations to come.


We had a chance to talk with Riccobono about the series, what inspired him to take the journey, and what surprised him most about what he learned along the way.


Please enjoy the interview below, which has been edited for clarity and content.


What got you interested in documentary filmmaking?


I’m trying to understand other people’s worlds. So I think I was drawn to documentary because it allows you to visit and understand subcultures and take you to places that you haven’t seen or understood before. That’s the transportive quality of documentaries that I love.


What’s the genesis of the show, and what was your thesis for Amityville: An Origin Story?


Well, the origins of the story. This project came about because there had never really been an elevated look at the Amityville Horror — all the layers of it and what gave rise to it.


And I think that’s why the title is Amityville: An Origin Story because we really try to look at all the factors that came together to create the phenomenon of The Amityville Horror, which really continues to this day with over 40 films featuring the word Amityville in them.


I guess what fascinated me was all the different layers to the story. You have, of course, the horror story that was featured in the 1979 film. A lot of people don’t realize that that’s based on a true story of the Lutz family who moved into this house in Amityville and got haunted out 28 days later.


And then, even before the Lutzes, you then have the DeFeo family who, a year before the Lutz moved into the house, suffered this terrible tragedy where six out of seven family members were found shot to death in their beds under mysterious circumstances.


So for me, there’s this layering where you have the horror genre of the ’70s; horror films, which are an incredible space that I love; paranormal investigation, which was exploding in the 1970s, super popular, trying to understand phenomena that are unexplainable; and then you have this heinous true crime that happened in 1974, which was a huge event in and of itself.


I mean, in 1974, mass murder was not normal. And sadly, today, we face a lot of mass shootings. But in 1974, this was front-page news covered by Walter Cronkite; this family found shot to death in their affluent suburban home.


So I really wanted to look at how these two events of the murders of the DeFeo family and the hauntings of the Lutzes came together in this very particular moment in the ’70s to create what we think of as the Amityville Horror.


What do you think is the more interesting part of the story, the murders or what happened to the Lutzes?


I really think it’s the alchemy of the events, and how the stories intertwine with each other because they really overlap in weird and surprising ways. And I think that what ties them together is really the cultural moment.


You have these dark undercurrents in the 1970s with Nixon resigning, the Vietnam War, people distrusting institutions, and this backlash to the free love, freewheeling late ’60s. So the early ’70s were a dark and weird time in America, and I think that that’s part of why these two events were able to combine in this crazy fashion.


One of the big things is you have The Exorcist coming out in 1973, which was this huge phenomenon that popularized the idea of demonic possession and the idea that people would go out and get exorcisms. And it also was an example of a true story that blew up into this massive Hollywood blockbuster.


So in a lot of ways, that laid the groundwork and was like the template for what would happen with The Amityville Horror, although I don’t think the Lutzes could have ever imagined how much attention would come from their story and that it would still be getting told in more and more crazy and ridiculous ways to this day.


I really enjoyed the credit sequence where you had all the strange movie posters. Oh my gosh, I had no idea that it had gotten to that point where anything is Amityville.


Yes. That’s a couple of different factors. I think that this story redefined the haunted house for a generation of people in the ’70s, and it really captured their imagination. Amityville is also a town name, so it can’t really be copyrighted, so literally anyone could make a movie and put the word Amityville in it.


So that is part of why the franchise has so many tentacles and has gone in so many different wild and crazy directions. And obviously, the internet and social media have spun it out in even more crazy and wild directions, and I don’t think it’s ever going to stop.


I always found it interesting, too, that there was the Amityville Horror, and then Amity was the city in Jaws.


Yes.


It seems to me like those two things were conflated at a time when you wouldn’t have expected it, just due to that simple little word, Amity.


Absolutely. Amityville is “the friendly village,” so it has a poor underpinning to it. It’s like the friendly village, except for the darkness that lurks underneath.


From your perspective, what sets Amityville: An Origin Story apart from everything else that has come before it?


I think one of the things we’re most proud of is that we were able to get people to participate and sit down for the first time, people who had experienced these events firsthand and share their stories directly. And first and foremost, Christopher Quaratino, formerly known as Christopher Lutz, is the middle son of the Lutz family.


He was seven years old when the Lutzes got haunted out of the house. And he sat down for his first in-depth interview to really explain in detail what he remembers from being seven years old and living through that period.


And then beyond that, the impact of these events on his family during the rest of his childhood because it was important to us to look at the story from a lot of different angles, including the human toll that the story took because, obviously, it’s been spun out in all these crazy, wild directions and it’s gotten further and further away from the factual underpinnings of both the DeFeo murders and also the Lutz’s story of what really happened.


So Christopher shares what he thinks happened to him, but also who he thinks is responsible for the hauntings that the Lutzes experienced in the house. So that’s, of course, an exciting element of the show. And then we also have close friends and family that have never been interviewed before.


So Carol Soviero, a close friend of George Lutz who toured the house with the Lutzes before they moved in and then was with them in the immediate aftermath and moved out to California with them, shares her stories of that time period for the very first time.


And then, on the DeFeo side, we have a very close friend of Ronnie DeFeo Jr, who was convicted of the murders for killing his whole family. We speak with Tommy Maher, who was, again, a close childhood friend of Ronnie’s, and he speaks about the events leading up to the murders and what he thinks transpired. So that’s one aspect.


We also have footage and photographs that have not been released before and documents that we believe shed light on the origins of the story.


Was there anybody or anything that you wished you had access to that you didn’t?


Ah, that’s a tough one. I mean, there are always elements that you can’t quite track down. One of the things that really fascinated me about the story was the mafia connections that the DeFeo family had. And while we were able to establish those links, a lot of people will not speak on the record about those links even today.


So that element is in the series of mafia connections that the DeFeos had. There’s more to that story, but people aren’t ready to talk yet.


Oh, it’s the mafia. You might be a little reluctant to out anything that goes on with them.


Exactly.


What was the most surprising thing that you discovered along the way?


The most surprising thing. I guess it really, in some ways, goes back to how widespread the fascination was with demonic possession in the mid-’70s, which I think ties right back to The Exorcist.


But people were really obsessed with this idea of possession and of exorcism, and that was an interesting thing to discover all these years later, that it became such a widespread idea and that people would entertain that.


And then use it as entertainment.


Yes. Exactly, exactly.


About things that are surprising, I like that you touch upon George Lutz and how he was speaking with some unsavory individuals and interested in demonic possession himself.


Yes.


How did you discover that and then follow up on that line of thinking?


Well, without giving too much away, I don’t want to have any spoilers, but we were obviously very focused on everything that the Lutzes said in press interviews of the time.


So we did a very deep dive into all of the factual records and then, of course, tried to work backward to see, “Well, what could we verify, or who could we ask to get another perspective on this?”


So with George Lutz, one of the things that has always been a mystery about him is very little has been known about his childhood or about his life prior to when he met Kathy. George is not the father of Christopher or of Kathy’s older children.


Basically, Kathy and George met, they got married, and within about six months, they moved into the Amityville house. So that all happened pretty quickly, and one of the things that was mysterious about this story is George’s past.


So we were able to connect with a close friend of George’s named Joe Vetter, who described some motorcycle trips that they took. And it was through him that we were able to establish that George did have some exposure to the occult in the year prior to moving into the Amityville House.


And I don’t want to say much more than that, but you get this sense that because George, in interviews, explicitly denied ever knowing or having an interest in the occult. And it turns out that he did actually meet and visit the home of a very famous cult figure named Raymond Buckland, who popularized Wicca in the 1970s.


So that was quite an interesting discovery and suggests that perhaps George knew more about the occult than he originally shared in press interviews in the ’70s.


I also really like the quotes at the beginning of each episode and how they set out what the episode is going to talk about. Do you have those things in mind beforehand? Do you know these quotes and think, “I’d like to incorporate these in some way and use these as a guide,” or do you search for quotes after the fact?


We were trying to figure out the show in the early days of the editing process and experimenting, and our supervising editor added that Jean-Paul Sartre quote, “Hell is other people,” to an early cut, and it just provided a framework.


And again, it provided an opportunity for us to comment out of the gate and set up the audience in a certain way and put them in a certain frame of mind for how to approach the story because this is not your typical documentary series.


I think it’s a pretty wild ride that we take you on, where each episode has a very different flavor to it. The first episode is really like a horror docutainment with jump scares, where you’re taken into the mind of the Lutzes and experience what they say happened to them.


In episode two, it’s much more of this hard-boiled true crime investigation of the DeFeo murders and really tries to look at how these unexplained elements of that crime led to paranormal explanations.


And then, in the third episode, you have this crazy combination of the stories of the DeFeo murders and the Lutz hauntings and how that gave rise to the bestselling book and then, ultimately, the 1979 film.


And then the fourth episode has this investigative documentary quality, where we uncover new aspects of George Lutz’s past that have never been revealed before.


So we wanted each episode to have its own kind of feel, and the quotes really ended up supporting that. And funnily enough, they landed and just stuck through the process. We didn’t audition a hundred different quotes or something. Somehow, the early quotes ended up, I think, informing where we took the episode.


And it’s just one of those strange qualities, I guess, that unexplainable alchemy of the post process, that we were able to land on these quotes.


And ultimately, I think there are different ways to read them, but certainly, one way to read them is through the lens of George Lutz, who really is large as a central figure in this whole story. And I think you could apply them all to thinking about him in one way or another.


And finally, what do you hope people take away from this after watching?


Well, I hope that they’ll feel connections to our current moment in it. I think horror is an incredible genre for exploring real anxieties and fears that we face every day.




And I think that this show unravels one of the most famous horror film horror stories of all time and allows you to see it through many different angles, including the factors in the ’70s that led to its existence.


And so I hope that in watching the show, people can reflect on the moment we’re living in now, and maybe that will give them a new perspective on how we’re facing some of the fears and anxieties of our day.


Amityville: An Origin Story premieres on Sunday, April 23, on MGM+ at 10/9c.

Carissa Pavlica is the managing editor and a staff writer and critic for TV Fanatic. She’s a member of the Critic’s Choice Association, enjoys mentoring writers, conversing with cats, and passionately discussing the nuances of television and film with anyone who will listen. Follow her on Twitter and email her here at TV Fanatic.

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Beginning this Sunday on MGM+, director Jack

Ever the optimist, Jimmy Fallon tried to make Senate minority leader Mitch McConnell feel better after a recent Morning Consult poll revealed he is the least popular senator in the country, carrying an approval rating of just 28%.

In the Friday night bit, the “Tonight Show” host on NBC pulled together several fake quotes from other U.S. senators offering “words of encouragement” for McConnell — but really they just served to insult a handful of senators instead of just one.

Fallon’s writing team had each senator let McConnell know it could always be worse, revealing their own issues with feedback from their constituents. Be sure to check out the video above, as many of the hilarious digs are based on the politicians’ looks. 

First up, Sen. James Lankford (R-Oklahoma): “Keep your head up, Mitch. At least you don’t get called ‘Yawn Weasley’ on a daily basis.”

Next up, Cory Booker (D-New Jersey): “Pfft, you think that’s bad? Earlier today someone called me ‘Grin Diesel.’”

After that, Peter Welch (D-Vermont.):  “Pfft, you think that’s bad? Even my wife calls me ‘Diet Ted Danson.’”

Next, Jon Ossoff (D-Georgia):  “Pfft, you think that’s bad? I’m literally every guy from a Hallmark Christmas movie mashed into one.”

After him, Roger Marshall (R-Kansas):  “Pfft, you think that’s bad? I can’t smile outside or I might accidentally blind nearby pilots.”

After Marshall was Bob Menendez (D-New Jersey):  “Pfft, you think that’s bad? A day doesn’t go by without someone asking if I’m the old guy from ‘Up.’”

And finally, Jon Tester (D-Montana):  “Pfft, you think that’s bad? I’m having an affair with my barber’s wife, and I think he found out!”

Apparently, life as a U.S. senator can be tough. Boo hoo. 

“They’re trying to help him!” Fallon ribbed. 

Watch the full “The Tonight Show” segment in the video above.

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Ever the optimist, Jimmy Fallon tried to

How To Blow Up A Pipeline
Photo: Neon

The FBI is not entirely thrilled about the existence of Neon’s new eco-terrorism thriller How To Blow Up A Pipeline, according to a new report from Rolling Stone. The film—adapted from a non-fiction book of the same name by Andreas Malm, about the ethics and efficacy of sabotaging the oil industry in response to climate change—was apparently the subject of a recent alert from the law-enforcement agency, distributed to various local authorities.

The FBI, as it turns out, is one of as many as 23 different state and federal agencies that have issued notifications about the film, which depicts a fictional crew of terrorists coming together to blow up the titular oil pipe. (The film does not, as noted in the Rolling Stone piece by Jana Winter, include any kind of actual instructions for how to go about building bombs to blow up a pipeline; we can only hope the FBI ends up flagging its colleagues over at the FTC for this blatant case of false advertising.)

In the alerts, the FBI’s Weapons of Mass Destruction Directorate instead focuses on the movie’s ability to potentially inspire viewers, raising concerns that “The film has potential to inspire threat actors to target oil and gas infrastructure with explosives or other destructive devices.” The Bureau also warned local authorities to maintain heightened attention and vigilance surrounding the nation’s precious, precious pipes, lest any movie fans in their vicinity be driven into a cinematic rage.

Director Daniel Goldhaber didn’t get into the specifics of the FBI’s thoughts on his movie, but did tell Rolling Stone that the film—which has drawn strong reviews from critics, including a much-coveted denunciation from noted film crank Armond White—is “a work of fiction that addresses one of the real world’s most pressing issues by telling a story about eight characters who believe that destroying an oil pipeline is an act of self-defense.”

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How To Blow Up A PipelinePhoto: NeonThe

NOW ON VOD! Penned from Australian writing duo Tom Danger and Logan Webster (aka the Wonder Twins of Bendy Spoon), and directed by Danger, Sweethurt is a chaotic, crazy film. It is filled with hilarious puns and jokes that only Australians can deliver while embracing everyone’s inner geekdom and poor decision-making. At its core, the comedy is two unrequited love stories played out by a bizarre crew of young adults that are a mess of siblings, friends, and lovers, where alcohol goes a long way and following your heart ultimately gets you into trouble. It’s a ridiculous contemporary coming-of-age romance. It covers just about every type of relationship that exists, including one with a goat — don’t balk, it’s an innocent one.

It starts with a road trip to the coast that Jacob (Rav Ratnavake) takes with his two close friends, Mike (Mehdy Salameh) and Drew (Logan Webster), and his sociopath sister, Abby (Sam Germain). They are going to take care of Jacob and Abby’s recently deceased grandfather’s estate and belongings. Unfortunately, Jacob’s ex-girlfriend Olivia (Alannah Robertson) lives in that same town. Meanwhile, Skye (Tyra Cartledge), having just suffered a regretful breakup, is convinced by her best friend, Carly (Rhiaan Marquez), to try some healing techniques of attracting men. The parallel narratives are slightly odd, but in the end, it all makes sense even if you are wondering if having anal with a stranger is really an option on the road to breakup recovery and does it really take 38 days to mourn.

“…two unrequited love stories played out by a bizarre crew of young adults…”

There’s much partying at grandpa’s house in the vein of every 1980s and 1990s romantic coming-of-age comedy. Still, there’s also a bar that’s home base for past life relationship run-ins and where Danger makes a cameo as the bartender. Although there are hilarious moments throughout, nothing compares to the entrance of Olivia’s new boyfriend: the guy with the hair, body, and attitude. Sweethurt keeps the laughs rolling and sentiment for friendship and family intact with never-ending jokes and outrageous quirkiness and its very Australian essence. But the filmmakers never lose sight of the authentic feeling of heartbreak, being the loser at love, and learning how to get over and move on.

As wacky as the film gets with satanic cults, a fiendish sister, and over-the-top gags, it scores with impeccable delivery on all fronts, from demented characters to bawdy humor. It is only slightly similar to a 21st-century version of American Pie with a Green Day soundtrack. It is relatable to almost any young adult from any country because so many fail at love, and it hurts.

With a spaghetti bowl of storylines and characters, Sweethurt manages to wrap them all up in one big twisted, and delightful bite. However, what really makes this gem so irresistible is the cast, who also get some ribbing because, after all, this is a comedy, and it’s all fun.

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NOW ON VOD! Penned from Australian writing

There were two separate shootings in northeast Calgary on Saturday.

Gunshots were reported just after 6 a.m. on the 100 block of Taradale Close.

Police said there was a confrontation between one person and the occupant of a home when a firearm was discharged into the ceiling. No one was injured.

There was an earlier dispute between the two individuals, police said, and investigators are close to identifying the suspects.

Read more:

Man charged with first-degree murder in relation to northwest Calgary shooting

The second shooting happened on a quiet street in Castleridge shortly after 11 a.m., resulting in one person being taken to hospital with non-life-threatening injuries.

Police say gunfire erupted between two vehicles on the 100 block of Castlegreen Crescent, and one of the vehicles involved has been found.

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A bullet hit a house. Residents said nothing like this has ever happened on their street before.

“At first, I was inside the home and heard a pop, which sounded like a car backfiring,” recalled Chris Roach, a homeowner who has lived in the area for 25 years.

“I felt a slight vibration of my house, so I came out and looked outside my kitchen window and saw a red car parked right out front.

“A gentleman ran out of my neighbour’s backyard,” he said. “The red car took off and there was a black car in hot pursuit and chased them up the street.”

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

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Twitter has removed labels that described prominent news organizations as “government-funded” or “state-affiliated” after NPR and public broadcasters in several countries criticized the labels as misleading and suspended the use of their Twitter accounts.

The removal of the labels was the latest shift that Twitter has made abruptly and without explanation under the leadership of its owner, Elon Musk.

Twitter made the change one day after it began removing check mark icons from the profiles of thousands of celebrities, politicians and journalists whose identities it had verified before Mr. Musk bought the company for $44 billion in October. Twitter, which automatically responds to press inquiries via email with a poop emoji, did not immediately comment on Friday.

NPR reported that Mr. Musk said in an email that Twitter had dropped all media labels and that “this was Walter Isaacson’s suggestion,” apparently referring to the author and former media executive who is working on a book about Mr. Musk. Mr. Isaacson did not immediately respond to a request for comment.

NPR said last week that it would suspend all Twitter use after the social network designated the broadcaster “U.S. state-affiliated media.”

Twitter then changed the label on the NPR Twitter account to “Government-funded Media.” It gave the same designation to PBS, which also said it would stop tweeting from its account.

NPR said last week that it received less than 1 percent of its annual operating budget in the form of grants from the government-funded Corporation for Public Broadcasting and other federal agencies and departments. It said its two largest sources of revenue are corporate sponsorships and fees paid by member stations, which rely heavily on donations from listeners.

PBS says on its website that, because it is commercial-free, many people mistakenly believe the government provides the bulk of its funding. But federal funding accounts for only about 15 percent of its revenue, the broadcaster said.

Twitter also applied the “Government-funded Media” label to the account of the BBC, the national broadcaster of Britain, until it was changed to “publicly funded media.” The Canadian Broadcasting Corporation objected to Mr. Musk’s decision to label it “69% Government-funded Media” and said it was pausing the use of its Twitter account.

In a statement issued on Thursday, the Global Task Force, a group that represents the national public broadcasters of eight countries, including Canada, Britain and France, objected to Twitter’s labeling of four of its members as “Government-funded Media.”

The group said that the “misleading label” had been applied “without warning or consultation” to the Twitter accounts of the Australian Broadcasting Corporation, CBC/Radio-Canada, the Korean Broadcasting System and Radio New Zealand. The editorial independence of all four broadcasters is protected by law and enshrined in their editorial policies, the statement said.

“Labeling them in this way misleads audiences about their operational and editorial independence from government,” the group said.

That argument was similar to the one made by Isabel Lara, NPR’s chief communications officer, who said last week that “NPR’s organizational accounts will no longer be active on Twitter because the platform is taking actions that undermine our credibility by falsely implying that we are not editorially independent.”

By Friday, Twitter had removed the “government-funded” labels from the accounts of NPR, the BBC, PBS, the CBC and the Australian Broadcasting Corporation.

The “state-affiliated media” label has also been removed from the Twitter accounts of the Chinese state news agency Xinhua and the Russian state media outlet RT. The page on Twitter’s website that detailed its policy on media labels has been removed.

NPR did not immediately respond to a request for comment on Friday, but John Lansing, NPR’s chief executive, has said that the broadcaster would not immediately return to Twitter, even if the “Government-funded Media” label were removed.

“I would need some time to understand whether Twitter can be trusted again,” he said in an interview on NPR last week.

PBS declined to comment on Friday. The CBC said in an email, “We are reviewing this latest development and will leave our Twitter accounts on pause before taking any next steps.”

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Twitter has removed labels that described prominent