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Sidharth Malhotra was not offered the lead role in Rowdy Rathore 2

A recent report claims that Sidharth Malhotra was not offered the lead role in the sequel of Rowdy Rathore.

Akshay Kumar’s Rowdy Rathore was one of the biggest blockbusters when it first came out. The movie was again in the headlines recently owing to the rumours of a possible sequel. Several reports surfaced claiming that Sidharth Malhotra might be playing the lead. The same was followed by speculations that the actor had refused to star in it due to his commitments towards Indian Police Force. There were also rumours that there won’t be a sequel to the 2012 blockbuster film.

Now in a fresh development, a source has revealed that Sidharth Malhotra was not offered the lead role in the first place.

As per a report by entertainment portal PeepingMoon, while it’s true that Rowdy Rathore 2 is in the process of pre-production and Anees Bazmee of Bhool Bhulaiya 2 fame will be helming it, the cast and other technical details are yet to be formalized. The film is being written at the moment and the producers Sanjay Leela Bhansali and Shabina Khan will only make up their mind once the script is materialized. The source stated, “Rowdy Rathore sequel might very likely star Akshay Kumar, and why would anyone think of not casting him? But even he hasn’t been offered the film yet, given that the script is not yet finished.”

The report further claimed that Sidharth Malhotra came to know about the project from his wife Kiara Advani who played the lead in Anees Bazmee’s sequel Bhool Bhulaiya 2. While it’s not clear whether Sidharth Malhotra proposed to play the part but the reports suggesting that Sidharth Malhotra had rejected the role is nothing but speculative. The source alleged, “It’s someone’s PR aggressively spreading false information.”

Meanwhile, Rowdy Rathore 2 is expected to go on floors by mid-next year. The makers are currently engrossed in other projects as of now including an action comedy with Shahid Kapoor and one other film. The source disclosed, “Rowdy Rathore was a huge blockbuster and the makers don’t want to go ahead with the sequel without a proper script with a strong narrative that justifies the first part. The scripting is going on in full swing, and the makers will start approaching actors as soon as the final draft is locked. Akshay Kumar will obviously be their first choice, but only time will tell if the film actually happens with him or someone else.”

Rowdy Rathore, directed by Prabhu Deva, was released in 2012 and featured Akshay Kumar in a dual role alongside Sonakshi Sinha. The storyline centres around Shiva (Akshay Kumar), a petty thief who pretends to be a cop to win over a woman’s heart but finds himself tangled up in a complex conspiracy involving the village he’s in.

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Sidharth Malhotra was not offered the lead

Australian satirist Barry Humphries, known for his onstage and TV drag persona Edna Everage and for his character Sir Les Patterson, has died. He was 89.

The BBC reported that Humphries had been in hospital in Sydney, Australia and had been suffering from complications following surgery in March.

“A great wit, satirist, writer and an absolute one-of-kind, he was both gifted and a gift,” Australian Prime Minister Anthony Albanese said following the news of Humphries’ death.

“RIP Barry Humphries – one of the greatest ever Australians – and a comic genius who used his exuberant alter egos, Dame Edna Everage and Sir Les Patterson, to say the otherwise unsayable. Also an infallibly brilliant Spectator contributor. What a loss,” said former British Prime Minister Boris Johnson on Twitter.

For his one-person show “Dame Edna: The Royal Tour,” which had a run on Broadway, Humphries received a Special Tony Award for a live theatrical presentation in 2000, and in 2014 “Barry Humphries’ Farewell Tour — Eat, Pray, Laugh!” was nominated for an Olivier Award.

Variety panned “All About Me,” a Broadway show that awkwardly paired Humphries with song man Michael Feinstein in 2010, but declared, “It’s a joy to have Dame Edna Everage back on Broadway, regardless of the indignities she’s forced to suffer in ‘All About Me.’ After umpteen appearances, Barry Humphries’ monstrously funny incarnation of an Australian housewife run amok on fame and flattery still retains its savage wit.”

Edna Everage evolved slowly but got a big boost into the public consciousness of Australians with the release of Aussie cult films “The Adventures of Barry McKenzie” (1972) and 1974 follow-up “Barry McKenzie Holds His Own,” both directed by Bruce Beresford and written by Beresford and Humphries. In addition to the popular character of Barry McKenzie, played by Barry Crocker, the films featured Humphries playing Aunt Edna Everage among other characters.

He appeared as Edna on an episode of “Saturday Night Live” in 1976 and cameo’d as Edna in the 1978 film version of “Sgt. Pepper’s Lonely Hearts Club Band,” starring the Bee Gees and Peter Frampton.

The performer made many appearances on Australian and American television as Dame Edna, but it was in the solo stage revues in which Humphries appeared as Edna that he really shined, offering acerbic observations on popular culture and just about anything else. Over the years the character evolved from an ordinary housewife to an increasingly glamorous media diva.

Humphries appeared six times as Dame Edna on “The Tonight Show With Jay Leno” from 2001-11. In recent years he had also appeared in the persona on “The View” (2004 and 2010), “Live With Kelly and Michael” and “The Tony Danza Show” (both 2005), “The Graham Norton Show” in 2008, “The Late Late Show With Craig Ferguson” in 2009

Humphries also appeared in or did voicework for films apart from his turns in his famous personae. In 1991 he played Rupert Murdoch in the miniseries “Selling Hitler,” about the faked Hitler diaries. He played Austrian statesman Klemens von Metternich in the 1994 Beethoven biopic “Immortal Beloved,” appeared in 1997’s “Spice World” as Kevin McMaxford, had a small role in 2002’s “Nicholas Nickleby,” voiced Bruce in hit animated film “Finding Nemo” (2003), served as the narrator for the beloved 2009 animated feature “Mary and Max” and appeared as the Great Goblin in 2012’s “The Hobbit: An Unexpected Journey.”

The actor could boast that he played a fictional character playing a fictional character more than once. He voiced the kangaroo in the 1995 live-action children’s film “Napoleon” and he recurred on “Ally McBeal” in 2001-02 as eccentric lawyer Claire Otoms — in both cases he was credited as Dame Edna Everage.

His persona Les Patterson is described by Humphries as a “priapic and inebriated cultural attaché” who has “continued to bring worldwide discredit upon Australian arts and culture, while contributing as much to the Australian vernacular as he has borrowed from it.”

Humphries made a guest appearance as Sir Les on the arts documentary series “Omnibus” in 1982, and appeared in some of Humphries’ TV movies during the 1980s and ’90s, he appeared as both Edna and Les, as in 1987’s “Les Patterson Saves the World.” In 1997 came “Les Patterson and the Great Chinese Takeaway.”

From 1987-89 Humphries had his own satiric talk show on the U.K.’s ITV, “The Dame Edna Experience,” in which he occasionally appeared as Patterson.

John Barry Humphries was born in Kew, Melbourne, Victoria, Australia. Often left to his own devices as a childhood, he played dressed up by himself. “Disguising myself as different characters and I had a whole box of dressing up clothes,” he once said, “Red Indian, sailor suit, Chinese costume, and I was very spoiled in that way … I also found that entertaining people gave me a great feeling of release, making people laugh was a very good way of befriending them. People couldn’t hit you if they were laughing.”

At Melbourne University, he began appearing in revues and doing impersonations. He first appeared as Mrs. Norm Everage in a stage sketch at the campus’ Union Theatre in December 1955. He revived the character for a performance at Philip Street Revue Theatre after moving to Sydney.

In September 1957 Humphries appeared as Estragon in Australia’s first production of Samuel Beckett’s “Waiting for Godot” at a Melbourne theater.

He made his screen debut in Australia on the ABC (Australia Broadcasting Corp.) program “Wild Life and Christmas Belles” but began his TV career in earnest after moving in 1959 to London. There he became friends with some of the most influential figures on the British comedy scene, including Dudley Moore, Peter Cook, Alan Bennett, Jonathan Miller and Spike Milligan.

Humphries was in the original West End production of Lionel Bart’s musical “Oliver!,” creating the role of Mr. Sowerberry and reprising it when the production moved to Broadway in 1963.

A still-early version of the Edna Everage persona was seen in 1966 on the BBC’s “The Late Show,” for which Humphries and future Monty Python members Michael Palin and Terry Jones wrote. Humphries also recurred on the BBC’s Dudley Moore-Peter Cook TV series “Not Only.. But Also” in the late ’60s. Humphries made an appearance as Edna Everage on David Frost talkshow “Frost on Sunday” in 1969.

In the 1967 film “Bedazzled,” a comic fantasy directed by Stanley Donen and starring Dudley Moore, Peter Cook (as the devil) and Raquel Welch (as Lust), Humphries played one of the embodied sins, Envy. (The film was remade in 2000 with Brendan Fraser and Elizabeth Hurley.) The actor also had a supporting role the following year in the Shirley MacLaine vehicle “The Bliss of Mrs. Blossom.”

Humphries got his own, five-episode BBC show in 1970, “Barry Humphries Scandals,” in which he appeared as Mrs. Norm Everage as well as other characters.

In addition to Edna Everage and Les Patterson, Humphries also created the satirical character Barry McKenzie, a typical Australian bloke who started off as the hero of a comic strip about Australians in London (Nicholas Garland did the drawings) first published in Private Eye magazine. The jokes not infrequently centered on the consequences of drinking.

The actor was firmly set on his career path thanks to the two Australians films that centered on McKenzie as portrayed by Barry Crocker. In 1972’s “The Adventures of Barry McKenzie” and 1974 follow-up “Barry McKenzie Holds His Own,” both directed by a young Bruce Beresford and written by Beresford and Humphries, the actor played Aunt Edna Everage and other characters in what are enduring cult classics in Australia.

As a host of the Royal Pop Concert in Buckingham Palace on June 4, 2002, Humphries appeared as Dame Edna Everage and Sir Les Patterson and was privileged to announce Queen Elizabeth II.

He won a lifetime achievement award at the British Comedy Awards in 1999 and the Sir Peter Ustinov Award at the Banff Television Festival in 1997.

Among other honors in his native Australia, Humphries was depicted in a set of five 50¢ postage stamps in the Australian Legends series issued in January 2006. One stamp had a photograph of Humphries without makeup; the others depicted how his alter ego Edna Everage changed over the years.

Humphries was married four times, the first time to Brenda Wright from 1955-57, the second to Rosalind Tong from 1959-70, the third to Diane Millstead from 1979-89.

He is survived by fourth wife Lizzie Spender, to whom he had been married since 1990; two daughters from Tong, actress Tessa Humphries and Emily; and two sons from Millstead, journalist Oscar Humphries and Rupert Humphries.

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Australian satirist Barry Humphries, known for his

With his future in the franchise in question amid assault charges, Jonathan Majors is still being featured in Ant-Man and The Wasp: Quantumania marketing.

Majors made unfortunate headlines at the end of March after he was arrested and charged with assault. This comes as the actor’s MCU character, Kang the Conqueror, is being primed to be the next big bad in the franchise, with a number of appearances planned over the next decade.

Marvel Studios has not made anything public about Major’s legal troubles, but they are reportedly “discussing potential options going forward.”

Upon the news of his arrest breaking, the Quantumania actor was quickly dropped by the US Army as a part of its latest round of television advertising. 

Jonathan Majors Makes MCU Appearance Amid Assault Charge

Marvel Studios

Despite having recently been arrested and currently being under investigation for assault, Kang actor Jonathan Majors was featured in a newly-released trailer promoting the digital release of Ant-Man and The Wasp: Quantumania. 

The short spot features a number of shots of Major’s Multiversal villain, including the text “A NEW DYNASTY BEGINS” in reference to Avengers: The Kang Dynasty in which Majors will seemingly be a key player. 

Kang 2
Marvel Studios

The move to include the actor some as a surprise as the investigation into his recent assault charges remains ongoing. 

Majors’ attorney remains adamant that the MCU star has “disavowed any allegations.” However, he has been dropped from a number of brand deals as of late because of the ongoing legal battle. 

 See the full promo below:

What Will Marvel Do with Jonathan Majors?

With Jonathan Majors swamped in these legal troubles, Marvel Studios finds itself in a troubling spot. 

The Hollywood giant made a significant investment in the actor, one that was only just getting started. 

Despite reports saying there have been “zero conversations” about recasting the Kang actor in the MCU, it seems unrealistic for Marvel to at least be exploring contingencies just in case.

Insider Jeff Snider recently revealed he heard Marvel Studios had at least the type of actor in mind if they were to move on from Majors. 

With everything up in the air, no the studio does not need to make any public declarations about the future of Jonathan Majors; however, it might be smart – from a public perception standpoint – to keep the actor away from the marketing of projects at least until a verdict is rendered. 

Ant-Man and The Wasp: Quantumania is available for digital purchase now.

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Shazam! Fury of the Gods proved to be a massive disappointment at the box office, and Warner Bros. Discovery seems to think James Gunn and Peter Safran’s upcoming DCU reboot may be to blame.

As Gunn and Safran chart course to launch the first projects in Chapter 1: Gods and Monsters, the final projects of the old DC regime continue to trickle out, with Shazam 2, The Flash, Blue Beetle, and Aquaman 2 padding out this year’s slate.

Kicking off the year was Fury of the Gods, which suffered the worst DCEU opening ever, even coming in below Birds of Prey, which released right as the COVID-19 pandemic was kicking off in 2020.

Director David F. Sandberg reacted to the disappointment as he shared his shock at Shazam 2‘s negative reviews and his lack of surprise at the sequel’s poor box office results, revealing it was somewhat expected.

WB Blames James Gunn’s Reboot for Shazam 2 Failure

DC

According to a report from The Wrap, Warner Bros. Discovery (WBD) may be blaming the box office disappointment of Shazam! Fury of the Gods, at least partially, on James Gunn’s upcoming DCU reboot.

The sequel was projected for a $35 to $38 million domestic opening – already far below the $53.5 million of 2019’s Shazam – but ultimately left its March 17 first weekend with just $30.5 million domestic and $65.5 million worldwide.

The Wrap’s sources claim reaching the $35 million projection would have been taken as a reasonable outcome for WBD. But the studio thinks Gunn’s upcoming reboot dipped “general audience interest” in Shazam 2 and the existing universe.

That being said, the studio is said to believe Gunn and Peter Safran’s new rebooted projects will be able to overcome this hurdle when it gets underway – with the first release said to be coming to Max in 2024.

By Sunday, April 9, four weekends into its box office run, the movie was sitting at just $56.6 million domestic. By contrast, at the same period of time into its 2019 run, Shazam had grossed $131.2 million, roughly 2.3 times the amount.

Fury of the Gods was reportedly made on a $100 million production budget, and with a current worldwide total of $128.6 million, the movie is currently looking at a major loss once theaters take their cuts and other costs are factored in.

2019’s Shazam performance was already nothing insane with a $367.3 million worldwide box office, but still, according to Deadline, managed to turn a profit of around $74 million as it was made on a relatively low budget.

Will DC’s Other 2023 Movies Flop Too?

Warner Bros. DC Superhero Movies
DC

With James Gunn’s upcoming DCU reboot now being common knowledge after the ten-project slate announcement, expectations were low going into Shazam 2. This was only further hindered by a minimal and lackluster marketing campaign that even resorted to spoiling the sequel’s Wonder Woman cameo by the end.

DC still has three projects left from the old regime to release this year – The Flash, Blue Beetle, and Aquaman 2 – and one has to wonder whether they will face similar struggles to Shazam 2 if the upcoming reboot is indeed a hindrance.

Reports from test screenings have already indicated Aquaman 2 may be a “boring” downgrade from the billion-dollar 2019 original. In an age where quality and word of mouth continue to impact audience turnout, combined with the reboot factor and the Amber Heard controversy, Aquaman 2 may face a flop too.

Warner Bros. Discovery essentially left Shazam 2 out to dry with minimal effort placed into its marketing, and one has to wonder whether Aquaman 2 may see the same treatment. Although that movie may receive slightly more favor as it tries to capitalize on its Christmas release and replicate the original’s massive box office.

The Flash has a big leg-up at the box office in being a massive event movie that features both Ben Affleck and Michael Keaton’s Batmen. As this is a Multiverse movie in an age where those are all the rage, combined with setting up the reboot and apparently being the best DC movie since The Dark Knight trilogy, it’s easy to see The Flash becoming the blue brand’s biggest hit of the year.

On the other end of the spectrum, Blue Beetle appears to be a far smaller movie that will introduce a brand-new hero to the DCU. There has even been talk that this may be the first movie in the rebooted DC universe, if that becomes part of Blue Beetle‘s marketing after The Flash provides that reset, it could perform well.

Even listening to James Gunn’s DCU Chapter 1 slate announcement video, the filmmaker only had some offhanded comments to offer about Shazam 2 and Aquaman 2, meanwhile, he praised both The Flash and Blue Beetle as “fantastic [films],” suggesting they may see more favor internally at the studio.

What Happens If James Gunn’s DC Reboot Fails?

James Gunn, Justice League, DC
DC

Once DC concludes its 2023 slate with Aquaman 2 in December, it won’t have another superhero blockbuster until James Gunn kicks off his slate properly in 2025 with Superman: Legacy – except for Joker 2, although that’s perhaps the furthest thing from a traditional comic book movie.

Taking a break in 2024 ought to help serve as a reset in the eyes of the fans, so it’s clear when the DCU properly gets underway in 2025 that it’s a new universe. With the animated Max series Creature Commandos set to arrive in 2024 as the first entry in the DCU, perhaps that will help serve as a transition between universes.

But one has to wonder, what if Superman: Legacy ultimately flops when it finally arrives in 2025 to kick the DCU into action? Well, that would certainly be a signal that the brand damage done to DC over the years with disappointing movies and an incohesive franchise plan may be too severe to fix with just a reboot.

If Gunn’s Superman and subsequent DCU movies were to flop, perhaps the only option would be to give up on a connected universe for the blue brand, at least for a while, until fans can forget the past. But one can only hope that won’t be what happens and this begins a prosperous new era for DC.

Will Zachary Levi’s Shazam Survive the DC Reboot?

Zachary Levi Shazam DC
DC

Zoning back in on Zachary Levi’s Shazam after the disappointment of Fury of the Gods, one can only wonder if he will survive the reboot. Well, Gunn and Safran’s DC opted to leave in two post-credits scenes that set up a future for Shazam, which certainly seems like a good sign, especially after The Flash apparently cut two superheroes from its ending in a scene to tease a continuation.

Levi’s DC hero future may be saved by how Safran, one of the co-CEOs of DC Studios, is a close friend of the actor, even spending a vacation together. Not to mention, the DC boss served as a producer on both Shazam movies, and with Gunn’s Suicide Squad-related characters seemingly safe going into the reboot, perhaps the same will be true for those under Safran.

Nonetheless, it’s currently too soon to tell what the fate of Shazam will be, perhaps Levi will eventually have to release a similar statement to The Rock after Black Adam failed, confirming he won’t be returning. If so, with Shazam being a fairly major character in DC, it wouldn’t be a shock to see a new actor showing up in the suit in the not-too-distant future.

Shazam! Fury of the Gods comes to streaming on May 23, with the DC flick set to launch with Warner Bros. Discovery’s new service Max.

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WTMG’s Leo Faria: “In the grand echelon of modern bullet hell shooters, R-Type Final 3 Evolved is still one of the most advanced and featured-filled games available right now, but as a game only available on the PS5, supposedly taking advantage of what that hardware has to offer? Yeah, I don’t see the point. It’s barely better performing than its predecessor, sometimes featuring framerate hiccups not even R-Type Final 2 had. I don’t see why this wasn’t a cross-gen title, since its exclusivity will do nothing but hinder its sales. It’s still a good shooter, don’t get me wrong, but I expected more from it. This isn’t what I expect from the next generation of the genre.”

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WTMG's Leo Faria: "In the grand echelon

Editors note: This review was originally published June 10, 2022 after its world premiere at the Tribeca Festival. The film opens in theaters today.

Although Ray Romano has dabbled in writing quite a bit, including a series he created called Men of a Certain Age, the star (best known for the Emmy-winning sitcom Everybody Loves Raymond, which certainly contained lots of material drawn from his own life and family experiences) is moving to the big screen with perhaps his most ambitious project yet. The film, Somewhere In Queens, draws its comedy and drama from a very somewhat overbearing but likeable and recognizable Italian American family.

Again Romano is borrowing from his own life, in this case his wife’s family in particular for the script he co-wrote with Mark Stegemann. This time he not only writes but also directs, produces and stars as Leo Russo, married to Angela (Laurie Metcalf) and bringing up a son, “Sticks” (Jacob Ward), whose talent for hoops in high school makes Dad proud especially when his son gets the unexpected opportunity to play college ball on a scholarship — a surprise since he was planning to skip college and go straight into the family construction business run by Leo’s father (Tony Lo Bianco) and where his brother (Sebastian Maniscalco) works. Trouble starts however when Sticks’ spirited girlfriend (Sadie Stanley) suddenly breaks up with him, an act he takes so hard it upends his basketball plans, something Leo is determined to go to great lengths to get back on track. This leads to not the best decisions, and lots of family strife.

Romano has crafted a film, which debuted at the Tribeca Festival, that walks a fine line between comedy and drama, sometimes getting very heavy. He shows a good degree of directorial skill in not letting it careen out of control once Leo’s plans start to blow up in his face. It is hard enough to just direct a film, but for his first Romano has also given himself one of his most challenging roles as a guy who clearly loves his family but nearly loses it all. Although like much of his past work this film about a family from Queens (just like Romano’s) offers some very funny stuff; it feels authentic in showing off a vocal and vibrant Italian American family who sometimes just get too much on each other’s nerves. They are loud and loving, and they actually have conversations around the dinner table believe it or not. In that way, the Russos feel comfortably old fashioned, and Romano definitely knows the territory.

He is lucky to have put together such a talented cast. Metcalf (who gets a classic final line in the film) is incapable of hitting a false note, even when things turn highly dramatic. Her Angela is a loving mom, fearful for her own future and that of her family who nevertheless holds them all together even as her husband teeters on the edge of calamity. Ward is understated and terrific as a kid who is somewhat fragile, and not really sure he wants what his dad insists is good for him. Lo Bianco and Maniscalco are fine as well in less defined roles they still make engaging. Stanley is a real firecracker as the girlfriend, and Jennifer Esposito makes the most of a role of an attractive neighbor who might be too much of a temptation for Leo is his worst moments.

Producers are Albert Berger and Rox Yerxa (Little Miss Sunshine, Nebraska) along with Romano and Stegemann. The film is looking for distribution, and based on the impressive results of Romano’s directorial debut I would say it shouldn’t be a problem finding the right place for it to land.

Title: Somewhere In Queens
Distributor: Lionsgate
Release date: April 21, 2023
Director: Ray Romano
Screenwriters: Ray Romano and Mark Stegemann
Cast: Ray Romano, Laurie Metcalf, Tony Lo Bianco, Sebastian Maniscalco, Jennifer Esposito, Jacob Ward, Sadie Stanley, Dierdre Friel, Jon Manfrellotti 
Rating: R
Running time: 1 hr 47 min

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Editors note: This review was originally published June

Following confirmation Thursday that Alec Baldwin will no longer face criminal charges in the death of Halyna Hutchins, the family of the Rust cinematographer will press ahead with a civil suit against Baldwin, who was holding the prop gun that fired the bullet killing Hutchins on set in October 2021.

Lawyer Gloria Allred, who represents Hutchins’ mother Olga Solovey, her father Anatolii Androsovych, and sister Svetlana Zemko, said Friday her clients “remain hopeful”, asserting:

“Mr Baldwin may pretend that he is not responsible for pulling the trigger and ejecting a live bullet which ended Halyna’s life. He can run to Montana and pretend that he is just an actor in a wild west movie but, in real life, he cannot escape from the fact that he had a major role in a tragedy which had real life consequences.”

Baldwin’s lawyers called their action “misguided” and unlikely to survive legal scrutiny. Baldwin, as both star and producer of the film, previously reached a deal with Hutchins’ widower, the details of which remain private, but which include the latter becoming a named exec producer on the film, which has now resumed production in Montana. 

Director Joel Souza made a statement, calling the move “bittersweet” and vowed to finish the film “on Halyna’s behalf.” No “working firearms” or ammunition are allowed on set for the film, expected to wrap in May. 

Baldwin had been due to appear in court May 3rd for a preliminary hearing, but the charges were withdrawn on Thursday, following prosecutors’ receipt of “other information.” The film’s armourer, Hannah Gutierrez-Reed, remains charged with two counts of involuntary manslaughter.

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Following confirmation Thursday that Alec Baldwin will

‘VPR’ Sneak Peek: Tom Sandoval Wonders If He’s Right for Ariana Madix as Raquel Leviss Affair Begins | Entertainment Tonight
































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New Apple TV+ movie Ghosted’s combination of Ana de Armas and Chris Evans in a romantic adventure thriller seems like a guaranteed hit, but it certainly hasn’t romanced positive reviews from critics on Rotten Tomatoes. From the first round of reviews, Ghosted has been called out for bad writing, bad chemistry and has even been called the “worst movie of the year” by some.


Ghosted sees de Armas and Evans teaming up again following their appearances together in Knives Out and The Gray Man. Evans plays Cole, who finds himself falling in love on a first date with Sadie (de Armas). When Sadie vanishes Cole jets off to Europe to try and track her down and find out if she is safe. What he discovers is that Sadie is actually a special forces agent, and he is soon caught up in a dangerous conspiracy.

The plot seems very familiar, and it looks like many critics believe it is perhaps a bit too much like other genre offerings of the past such as Romancing The Stone, True Lies and other romantic action thrillers that came long before it. While there are many movies that tread the same path, they can often be helped along by a decent script and well connected lead actors. However, Ghosted looks to be lacking in these departments too.

Movieweb’s Julian Roman’s review of the movie very much agrees with the consensus, and makes particular note of how the movie’s reliance on big name cameos cannot compensate for the movie’s inability to show its leads as a believable couple. He said:

“Ghosted can’t figure out how to make its individually likable leads work as a couple. The premise of a needy farmer accidentally falling for a lethal secret agent had promise. Opposites attract and love blooms while bullets fly. Sounds good on paper, but there needs to be a tangible connection tying the mismatched pair together. The film packs on the star power with a barrage of big name cameos. These scenes are relatively humorous but too fleeting to make a difference.”

Related: Ghosted Review: Chris Evans and Ana de Armas Mix Like Oil and Water


How Did Ghosted Fail With Its Big Name Cast?

Apple TV+

Movies that are developed for streaming always come with the idea that they were not quite good enough to be given a theatrical release. While that is not strictly true in all cases, it appears that there is something about Ghosted that just couldn’t be saved by its all-star cast.

While it is hard to pin down exactly the pairing of Evans and de Armas has failed to ignite on screen, part of the problem could stem from the role of Sadie being recast when original star Scarlett Johansson was forced to pull out due to a scheduling conflict. However, with so many negative reviews suggesting that the script doesn’t quite work as either a romantic comedy or an action thriller, it probably wouldn’t have made much different to the end result.

For those who would like to still like to spend time with Chris Evans and Ana de Armas, Ghosted is streaming now on Apple TV+.

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New Apple TV+ movie Ghosted’s combination of

Written and directed by Justin Lerner, Cadejo Blanco begins by introducing two sisters living in Guatemala City. Bea (Pamela Martínez) is older and more carefree, wishing to go out and party most nights. Sarita (Karen Martínez) is more of a shut-in, preferring quiet time. But she loves Bea, who convinces Sarita to go out with her one night. She does and leaves before it gets too late. However, the next morning, Sarita discovers Bea never came home. Due to an unmotivated police force, she has no choice but to investigate herself.

Said search for Bea leads Sarita to her sister’s dangerous ex, Andrés (Rudy Rodriguez). Sarita demands to join his gang, believing this will bring her closer to her sister’s whereabouts. While she’s not wrong about that, the truth is more devastating than she ever could’ve imagined. What happened to Bea? Will Sarita survive the underworld’s vicious ways?

“Sarita demands to join his gang, believing this will bring her closer to her sister’s whereabouts.”

Cadejo Blanco is filled with images that are dirty and pretty at the same time. Roman Kasseroller’s cinematography crystalizes the grime-infested world Sarita inhabits. But he makes it look inviting, even appealing at times. The visuals hold a power few dramas, save for the likes of City Of God, possess. The power imagery on the screen is helped immeasurably by the carefully thought-out screenplay. The dialogue is sharp but realistic.

To that end, the acting from this (mostly) non-professional cast is wonderful. Karen Martínez is a revelation. She turns Sarita into a relatable person, with her determination and trepidation coming across in equal measure. Rodriguez is just as good as the angsty but soft-hearted gang member. Their chemistry sizzles, and when the crap hits the fan, they let loose in a realistic manner. They are supported by a fantastic ensemble, all of who do a fine job.

The power of Cadejo Blanco comes in its mystery and reveal. As such, don’t look much into it; don’t even watch a trailer. Instead, let the story wash over you and be awestruck by the impressive talent on display.

For more information, visit the Cadejo Blanco Film Movement page.

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Written and directed by Justin Lerner, Cadejo Blanco begins

Four dogs have been honoured in Quebec for roles outside the home, including providing support in homeless shelters and helping to solve crime.

The canines — Argon, Monty, Hestia and Tango — were inducted Friday into the provincial animal hall of fame, which is in its 25th year.

The pups took centre stage at the event hosted by the Association des médecins vétérinaires du Québec (AMVQ) in Montreal. The furry friends were honoured one at a time by the veterinary association.

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Meet Sophie, a ‘hero’ dog who helped save her Montreal owner from flesh-eating disease

MIRA dog Argon works at Montreal’s Maison du Père, a shelter for homeless men alongside André, her partner and handler. The Saint-Pierre Labernois pup not only provides comfort to those in need, she specializes in defusing crises.

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Outside the shelter, Argon also works her magic with an intervention team that patrols the city’s public transit system to help the unhoused and other vulnerable Montrealers. She was recognized in the hall of fame’s professional category.

Monty the German Shepherd was also honoured for his professional pursuits. The five-year-old dog works with Montreal police and is known for his bravery on the job.

Monty was stabbed while helping his colleagues locate a suspect during a high-risk police operation in May 2021. The AMVQ says he “certainly prevented serious or life-threatening injuries” to his fellow officers at the scene, and helped ensure an arrest. He has since recovered and still works with police.

Golden boy, Tango, is well known at a Bonventure, Que., high school. Literally the teacher’s pet, he accompanies his owner and helps students with learning difficulties. One teen reported feeling less anxious when completing schoolwork thanks to Tango.

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Tango gleefully sniffed a red bone on stage to a round of applause alongside his owner, Annie Saucier-Bujold. She held his ceremonial plaque commemorating his nomination in the companionship category.

Hestia, 13, was saluted for her well-earned retirement after years of tackling fire investigations. As a trained accelerant detector, Hestia carried out about 125 warrants on the job in both Quebec and Ontario.

Aside from gracing the stage with their handlers (or co-workers), the pups are in good company too. The AMVQ has a inducted a total of 50 dogs, six cats and two horses into its hall of fame since 1998.

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

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Four dogs have been honoured in Quebec

Snap CEO Evan Spiegel says a U.S. ban on TikTok would be beneficial in the “short term” but shared his concerns about the longer-term implications of “singling out a single technology company.”

“We’d love that in the short term,” Spiegel said in an interview with Kara Swisher at the tech and social platform’s Snap Partner Summit on Wednesday. “I do think it is important for us to be thoughtful and really develop a regulatory framework to deal with national security concerns, especially around technology. And I think based on the information that is publicly available, there are legitimate national security concerns far above my pay grade and security clearance.”

TikTok has faced massive scrutiny from Congress based on data and privacy concerns due to its ownership by the Beijing-based company ByteDance, even though there has not been evidence that TikTok has handed over American user data to the Chinese government. To help assuage concerns about user data safety, TikTok has also been in the process of rolling out Project Texas, a $1.5 billion plan meant to keep TikTok’s U.S. operations and data protected from foreign interference.

As TikTok’s fate in the U.S. still remains uncertain, state governments have already taken steps to ban the app. Last week, the Republican-controlled Montana House of Representatives passed a bill that would make it illegal to download the TikTok app in the state. Montana Gov. Greg Gianforte is expected to sign the bill into law. In a statement on April 14, TikTok said the “bill’s champions have admitted that they have no feasible plan for operationalizing this attempt to censor American voices” and asserted that the move would be “decided by the courts.”

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Snap CEO Evan Spiegel says a U.S.

The former president’s discriminatory policy might be a surprising catalyst, but from “Mo” to “Ms. Marvel,” writers and directors dedicated to telling their own stories are changing how Hollywood depicts those born into the faith

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The former president’s discriminatory policy might be

Heidi Klum showcased her derrière at the release party for pop star Kim Petras’s new single “Alone,” featuring Nicki Minaj. 

Clad in a backless chainmail minidress that dipped down to reveal her skimpy black thong with gold embellishments, the German supermodel partied the night away with Petras herself as well as RuPaul’s Drag Race veterans Violet Chachki and Gottmik. Gottmik, it’s worth noting, also happens to be Klum’s longtime friend and makeup artist. 

In a clip later shared to Instagram, the 49-year-old gave followers a closer look at her shimmering ensemble as she danced to the freshly released track. To complete the outfit, Klum paired the gilded thong and dress with black thigh-high boots, a cherry red clutch, and a black feather boa. 

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Heidi Klum isn’t the first celebrity to try out the exposed-thong trend, and she probably won’t be the last. Recently Hailey Bieber sported a tiny white G-string at Coachella. On New Year’s Eve, Dua Lipa served up an even cheekier version of Klum’s ’fit with a white thong and a glittering pink halter dress. And months before that, Bella Hadid put her own spin on the trend with a black thong that peeked out of a pair of leather pants. 

More recently, Kourtney Kardashian took things a step further in a pair of butt-crack-exposing leggings with a heart-shaped cutout over her rump. Suns out, buns out, and all that!


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Heidi Klum showcased her derrière at the

11 Risk-Taking Movies That Worked, And 11 That Failed

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11 Risk-Taking Movies That Worked, And 11

Amid the controversies that the Kang the Conqueror actor is facing, a new report revealed Jonathan Majors‘ salary for Avengers 5. 

After a memorable portrayal of Kang in Ant-Man and The Wasp: Quantumania, Majors faced a string of controversies. The Creed 3 actor was arrested in New York for the alleged assault of a woman, leading to fan backlash online. 

Although Majors’ lawyer has maintained that the actor is a “victim” after the arrest, the situation surrounding the Kang star has worsened when more alleged abuse victims came forward to cooperate with the Manhattan district attorney’s office.

It remains to be seen how this controversy will affect Majors’ stint in upcoming MCU projects, but a new report may have revealed how much money he may end up losing if he gets recast.

Marvel Report Unveils Jonathan Majors’ Avengers 5 Salary

Marvel

As per Variety, Jonathan Majors is set to earn $20 million, including back-end compensation, for Avengers: The Kang Dynasty, making him one of the MCU’s highest-paid actors ever.

The report noted that the controversial star is still attached to appear in the upcoming MCU crossover movie, which is slated to be released in theaters on May 2, 2025. 

In addition, Majors also signed to reprise his role as Kang in Avengers: Secret Wars, which is currently slated to debut in 2026. Details about his compensation in the sixth installment of the Avengers movie are still being kept under wraps. 

For comparison, Tom Hiddleston earned $800K for The Avengers while Josh Brolin was paid $5-6 million each for portraying Thanos in Avengers: Infinity War and Avengers: Endgame (Variety wasn’t able to find a source to confirm the exact numbers).

Among the MCU stars, Robert Downey Jr. remains the highest-paid actor in the franchise when he earned $75 million in Avengers: Endgame followed by Scarlett Johansson’s $20 million salary from Black Widow (which didn’t include the extra amount she received from her lawsuit) and Chris Hemsworth’s $20 million payday from Thor: Love and Thunder.

The full list can be seen below:  

  • Robert Downey Jr. – $75 million (Avengers: Endgame)
  • Scarlett Johansson – $20 million (Black Widow) – not including the extra received from her lawsuit
  • Chris Hemsworth – $20 million (Love and Thunder)
  • Chris Evans – $15 million (Endgame)
  • Mark Ruffalo – $15 million (Endgame)
  • Jeremy Renner – $15 million (Endgame)
  • Paul Rudd  – $8 million (Endgame)
  • Benedict Cumberbatch – $6.4 million (Doctor Strange in the Multiverse of Madness)
  • Brie Larson – $5 million (Captain Marvel)
  • Chris Pratt – $5 million (Avengers: Infinity War)

Will Marvel Studios Replace Jonathan Majors?

Jonathan Majors’ $20 million payday is a large sum, indicating that the actor’s role as Kang will be larger than expected in Avengers: The Kang Dynasty. 

Aside from being the film’s villain, the actor’s salary indicates that he is the movie’s protagonist, which is already confirmed by Avengers 5 scribe Jeff Loveness. 

However, as controversies continue to pile up, Marvel Studios may need to re-evaluate if Majors is still the right actor for the job. 

In fact, Majors has already been recast in two non-MCU movies, following the allegations that he’s facing.

Although a past report shared that Marvel has yet to discuss potential replacement options for Majors, there are rumors circulating that talks have already begun, with the studio eyeing “a Damson Idris-type … if [a recast], in fact, happens.”

Hopefully, Marvel Studios will clear the air sooner rather than later.

Avengers: The Kang Dynasty premieres in theaters on May 2, 2025.

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Horror fanatics won’t have to wait too much longer for the television adaption of The Horror of Dolores Roach because the summer premiere is just around the corner. Prime Video has finally announced that the horror dramedy will premiere on July 7th, and the streamer additionally released first-look images to give audiences a taste of what’s in store. Adapted from the hit Spotify podcast series of the same name, The Horror of Dolores Roach is billed as a contemporary Sweeney Todd-inspired urban legend rife with love, betrayal, weed, cannibalism, and survival of the fittest.


The series consists of eight, half-hour episodes starring Justina Machado as the titular character. In the series, Dolores Roach has just wrapped up serving an unjust 16-year prison sentence and is in her a rude awakening upon returning to her life. To her dismay, she returns home to find her family is gone, her boyfriend is missing, and Washington Heights is severely gentrified. Dolores eventually 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, Empanada Loca — one of the last fragments of her previous life. Her unanticipated career success creates a dangerously symbiotic relationship between Luis and Dolores, with Luis eventually unmasking an odd proclivity. When the promise of her newfound stability is quickly threatened, “Magic Hands” Dolores is driven to shocking extremes to survive.

Check out the first-look images for an inside look into the forthcoming series.

Prime Video

Dolores Roach First-Look
Prime Video

The Horror of Dolores Roach cast members include Machado, Hernandez, Kita Updike, K. Todd Freeman, Judy Reyes, Jeffery Self, Marc Maron, and singer Cyndi Lauper.

The new horror series comes from Aaron Mark, the creator, writer, and director of the original podcast. He also serves as co-showrunner and executive producer alongside Dara Resnik. Additional EPs include Daphne Rubin-Vega, Jason Blum, Chris McCumber, Jeremy Gold, and Chris Dickie under the banner of Blumhouse Television, Spotify’s Dawn Ostroff, Mimi O’Donnell, and Justin McGoldrick, GloNation Studios’ Gloria Calderón Kellett, and Roxann Dawson, who also serves the pilot director.

Related: 10 Horror Movies That Are Unintentionally Very Funny


The Horror of Dolores Roach Has Evolved Across the Years

Dolores Roach First-Look
Prime Video 

Last February, Amazon gave a series order to The Horror of Dolores Roach, giving Aaron Mark another chance to tell Dolores’ twisted tale in a new medium. Though the series is being adapted from the Spotify podcast, Dolores’ journey actually began nine years ago in the form of a stage play. Originally titled Empanada Loca, the initial concept for The Horror of Dolores Roach came from Aaron Mark’s one-woman show that starred EP Daphne Rubin-Vega.

“After eight years living with the indomitable Dolores Roach in multiple forms, I could not be more thrilled to be bringing her to life on television with this powerhouse team,” said Mark during an interview with Variety following last year’s series order announcement.

After developing the concept into a successful stage play, Mark later adapted Dolores’ story into the podcast and brought Rubin-Vega on board once again to star in the titular role. The success of the podcast only catapulted the series into further acclaim where it eventually caught the eyes of the coveted horror production studio, Blumhouse. During the series announcement, president of Blumhouse Television, Chris McCumber discussed the show’s uniqueness and what helps it stand apart from other horror series.

“’Dolores Roach’ is exactly the type of fresh, bold, and completely unique storytelling that Blumhouse is passionate about making. Audiences will soon see why this modern-day horror story with a darkly humorous twist is just so special.”

Audiences can check out The Horror of Dolores Roach when all eight episodes become available on Prime Video July 7.

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Horror fanatics won’t have to wait too

Google’s long-planned 80-acre San Jose campus may be on hold, at least for now. CNBC sources say the Alphabet brand has halted construction of its Downtown West facility after an initial demolition phase. The company reportedly “gutted” the campus development team as part of its large-scale layoffs in January, and froze construction with no word to contractors on when it might resume.

In a statement to Engadget, a representative says the firm wants its office space to reflect the “future needs” of the business, hybrid workers and the community. Google is still determining “how to best move forward” with the San Jose campus but is “committed” to long-term development in San Jose, the spokesperson adds.

Google spent years negotiating and designing Downtown West, and received approval in 2021 after promising concessions that include 15,000 housing units across Silicon Valley, $200 million in community support (such as helping displaced businesses) and devoting more than half the campus to public uses. Construction was supposed to start in earnest later this year and take 10 to 30 years. Critics objected to the elimination or relocation of well-known businesses and landmarks, but the potential economic boon for the city was such that Governor Gavin Newsom touted the deal as playing a major role in recovering from the COVID-19 pandemic.

However, it’s the pandemic that ultimately put Google in its current position. The company has hired aggressively in previous years (its ranks have grown 20 percent since 2017), but is laying off around 12,000 employees this year as would-be ad and cloud service customers tighten their budgets. Google is also adopting a hybrid work strategy that lets staff stay home some of the time. Simply put, there’s not as much need for offices as there was before.

This doesn’t mean Downtown West is dead. The potentially decades-long timeframe for the project gives Google some flexibility. However, the uncertainty leaves San Jose in an awkward state. Google has cleared out a large area, but isn’t building the campus that’s supposed to bring jobs and economic activity to the region.

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Google's long-planned 80-acre San Jose campus may

On day two of NAB 2023, and Tech Editor Yaroslav Altunin and NAB host Raafi Rivero sit down to share more details about the conference.

Joining the episode are special guests Haeleigh Royall and Indeana Underhill of Cinematography for Actors and producer Ian McClellan of Coco Butter Family. We all agree the one word that comes to mind when describing NAB 2023 is “innovation.”

In today’s episode, we discuss: 

  • Recognizing the need for imagination with the rise of virtual production 

  • Seeing NAB from the perspective of a newbie

  • Speaking to Stefan Karle from DoPchoice about their accessible gear

  • How OWC is accommodating workflow solutions

  • Being impressed by Sennheiser’s wireless microphone

  • Meeting the CEO of the companies that you love at NAB

  • The issues we had filming NAB on Day 1

  • Collaborating with people that aren’t in your same physical location

  • Filmic’s 106-bit film scanner

  • Lexar’s amazing new memory card

  • The benefits of automatic transcription now offered by Adobe Premiere Pro and DaVinci Resolve

  • Being inspired by every booth we visited

Subscribe to the No Film School Podcast on:

Send us an email with questions or feedback: podcast@nofilmschool.com!      

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On day two of NAB 2023, and

The term ‘pan India film’ is quite the rage across the country these days and four leading producers convened at the recently concluded Dakshin South India Media and Entertainment Summit in Chennai to break down the concept.

Organized by the Confederation of Indian Industry (CII), southern region, the theme of the conference this year was Beyond Borders and the pan India discussion fell neatly into that remit.

In recent decades, India has been a patchwork of local cinema markets, defined partly by geography and language group, and with only limited overlap or transfer between them, except for the Bollywood (Hindi-language) segment which enjoys wider releases. Change may now be afoot.

Pan India film is a term usually used for films made in one of the four south Indian languages – Telugu, Tamil, Kannada and Malayalam – which is dubbed into Hindi and other languages and released across India and in diaspora markets. Mani Ratnam’s Tamil-language films “Roja” (1992) and “Bombay” (1995) were hits all over India in their Hindi-language dubbed versions. Recent examples include S.S. Rajamouli’s Telugu and Tamil language “Baahubali: The Beginning” (2015) and “Baahubali 2: The Conclusion” (2017) and Telugu-language “RRR”; Prashant Neel’s Kannada-language “K.G.F: Chapter 1” (2018) and “K.G.F: Chapter 2” (2022); and Rishab Shetty’s “Kantara” (2022).

The producers on the panel all have pan India films in the works. Chaluve Gowda, from “Kantara” and K.G.F. franchise producer Hombale Films has Neel’s “Salaar,” starring “Baahubali” lead Prabhas in the works; T.G. Thyagarajan’s Sathya Jyothi Films has Arun Matheswaran’s “Captain Miller,” starring Dhanush; K.E. Gnanavel Raja’s Studio Green has Siva’s “Kanguva,” starring Suriya and Pa. Ranjith’s “Thangalaan,” starring Vikram; and S.S. Lalit Kumar’s Seven Screen Studios Lokesh Kanagaraj’s “Leo,” starring Vijay.

Thyagarajan said that most of the south Indian stars are now well known across India and if a film has a big budget, is well made and the content is good, it has the scope to be a pan India film. The subject of “Captain Miller,” an 1980s-set action film, called for a big budget and that’s when Thyagarajan decided to make it a pan India film. Besides Dhanush, the film also stars Shiva Rajkumar from the Kannada-language film industry and Sundeep Kishan who works across the Tamil and Telugu-language film industries.

However, populating a film with stars from other film industries is not a formula, said Kumar. Bollywood star Sanjay Dutt, who also had a key role in “K.G.F: Chapter 2,” was cast in “Leo” because he suited the character, Kumar said, adding that the decision to make the film a pan Indian one was based on director Kanagaraj’s “Vikram” emerging as a major hit and the producer’s desire to take the film to the next level, beyond Tamil Nadu.

Raja said that the stories of the films he’s producing were chosen on the basis of their span. As pan India films are usually by nature big budget, dubbing them in different languages can help in recovering costs, Raja said.

“Throughout India the audience has an idea of what flavor south Indian films are,” said Raja. “If we try and make a film with a Hindi flavor we’ll end up failing. If we make a regional film that satisfies our audiences, 100% it will bring in northern audiences.”

Gowda too stressed on the importance of being local. “Kantara” deals with rituals in a small part of Karnataka and the theme resonated across India and has also attracted interest in dubbing it in European languages. “We have to take our culture to the world, not copy from Hollywood,” Gowda said. “We want to showcase our culture and that is what we are doing.”

“There is no formula to make a pan India film – definitely we have to trust ourselves before planning the film in a big way with a big budget, a good story and an A-lister,” Gowda added. “We can plan it, and with good marketing and distribution network you can take the movie to a pan India level.”

                

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The term ‘pan India film’ is quite

Netflix’s top executives saw a bump in pay in 2022 as the streamer’s stock fell more than 51% during the year following its first subscriber loss in over a decade.

According to a filing with the Securities and Exchange Commission on Friday, Netflix’s executive chairman and former co-CEO Reed Hastings raked in approximately $51.1 million in total compensation last year, up from the $40.8 million he received in 2021. Hastings’ package included a $650,000 base salary, approximately $49.4 million in stock options and $1 million in other compensation, including personal use of the company’s aircraft and $212 for car services.

Hastings’ co-CEO Ted Sarandos brought in approximately $50.3 million, compared to his $38.2 million package in 2021. The package was comprised of a $20 million base salary, $28.5 million in stock options and $1.8 million from other compensation, including $11,299 for car services, $336,148 for personal use of the company’s aircraft and $1,427,129 in residential security costs.

Greg Peters, the company’s former chief operating officer who succeeded Hastings as Netflix’s new co-CEO in January, received a total pay package of $28.1 million in 2022, compared to the $20.37 million package in 2021. The 2022 compensation was comprised of a $16 million base salary, $11.5 million in stock options and $617,263 in other compensation, including $510,375 for personal use of the company’s aircraft, $1,579 for car services, $49,864 in tax penalties arising from Peters’ prior expatriate assignment and $55,445 in related tax gross-up.

In response to shareholder feedback, Netflix’s board of directors has adopted changes to its executive compensation program for 2023. The changes include a minimum 50% allocation to stock options, a $3 million salary cap, an annual performance-based cash bonus program and a one-year vesting period for stock options.

“The Compensation Committee believes these changes to our compensation structure align with stockholder interests and incentivize the co-Chief Executive Officers to execute on strategies aimed at achieving long-term success, while also maintaining aspects of our compensation program that we believe have helped attract and retain top talent to support our growth,” the company noted in the filing.

In 2023, Sarandos and Peters will each receive a $3 million base salary, according to the filing. Sarandos is allocating $20 million to stock options and has a $17 million estimated target bonus for 2023, while Peters is allocating $17.3 million to stock options and has a $14.3 million estimated target bonus. Meanwhile, Hastings will receive a $500,000 salary and is allocating $2.5 million toward stock options.

More to come…

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Netflix’s top executives saw a bump in

Netflix subscription is required to watch on Netflix

 

Great news! “The Wildflower” is available to watch on Netflix USA!

 

Date Added: 21st April 2023

Want to keep forever? Try looking for ‘The Wildflower’ on Amazon (paid link)

 

Description:

Three women silently endure abuse and assault from a lecherous boss, an abusive husband and a creepy neighbor until one of the women speaks out.

 

Certificate: TV-MA
For Mature Audiences.

 

Year: 2022

Duration: 1hr 47m

Audio: English [Original]

Subtitles: English

 

Cast and Crew

Director: Biodun Stephen

 

Cast: Deyemi Okanlawon, Damilare Kuku, Zubby Michael, Toyin Abraham, Nosa Rex, Eso Dike, Sandra Okunzuwa, Kiki Omeili, Etinosa Idemudia

 

Production & Box Office Details:

“The Wildflower” was originally released on May 27th 2022.

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Available on Netflix USA!

Netflix subscription is required to watch on Netflix

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Paramount giveth, and Paramount taketh away: Paramount Global will receive a $167.5 million settlement from a shareholder lawsuit over CBS’ merger with Viacom, less than two months after paying out $122.5 million in a separate settlement revealed last month.

The latest exchange of hundreds of millions was noted Friday in a securities filing. CBS shareholders had alleged that it overpaid for Viacom in 2019 so that Shari Redstone could consolidate her family’s media empire.

According to a securities filing Friday, the company will be paid $167.5 million to settle the suit. It is separate from another settlement revealed in March, in which former Viacom shareholders received $122.5 million from the company.

In the latest settlement, the CBS shareholders alleged that the company overpaid for Viacom so that Redstone (the controlling shareholder of both companies) could consolidate her family’s media empire. It also took issue with “waste and unjust enrichment in connection with certain aspects of … compensation awards” for Joe Ianniello, former CEO of CBS after the exit of Les Moonves. The filings said Ianniello pulled the cord on a $125 million golden parachute upon leaving the company.

In March, former Viacom shareholders belonging to a California pension fund were awarded $122.5 million after claiming the 2019 merger was unfair to them.

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Paramount giveth, and Paramount taketh away: Paramount

Bad Bunny, the first of the three Coachella 2023 headliners, returns to the festival grounds in Indio, California, for Weekend 2 following his previous history-making set. It’s looking like he’ll perform another career-spanning set that included hits from his most recent LP, 2022’s Un Verano Sin Ti. Check out his performance in the livestream below.

Bad Bunny is the first Latin or Spanish-language artist to headline the festival. Last weekend, he was joined by Jowell y Randy, Ñengo Flow, Jhay Cortez, and Post Malone across two hours and more than two dozen songs. During Gorillaz’s Weekend 2 set, not long before he took the stage himself, Bad Bunny joined Damon Albarn and company for “Tormenta,” from last year’s Cracker Island.

Follow along with all of Pitchfork’s coverage of Coachella 2023.

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Bad Bunny, the first of the three

Toronto-based outfit Syndicado has acquired world rights for Daniel Kötter’s “Landshaft,” which is competing in the Burning Lights sidebar of Swiss international documentary film festival Visions du Réel. In Germany, the film will be distributed by Arsenal Filmverleih.

Shot in the form of a road movie as the director travels across Eastern Armenia in an old Lada, the film offers a striking contrast between the region’s peaceful-looking mountains and the voice of his passengers, its inhabitants, who live in the shadow of the threat of war.

They speak about the six-week conflict waged in 2020 by neighbouring Azerbaijan over control of the Nagorno-Karabakh region. Although this disputed region is located further to the south, the conflict has now moved further up the border, and runs through the Sotk gold mine, whose concession has been granted to a Russian company by the Armenians.

Kötter shot the film between the spring of 2021 and April 2022. He enlisted the help of local fixers and an Armenian ethnologist, who played an essential role in building trust with the locals. He explains how he discovered the car early on while filming through a chance encounter, and decided to make it the key character.

“I don’t want to tell their stories, because who am I as a German filmmaker to go there and tell their story? So, I needed to find the kind of dramaturgy that reflects my position as a visitor. This is how the road movie came up: I [travel] through the landscape and have encounters with these people.”

Kötter, who previously worked on a trilogy on urbanization on the peripheries of Tehran (“Hashti Tehran,” 2017), Cairo (“Desert View,” 2018) and Addis Ababa (“Rift Finfinnee,” 2020), says that while his work remains anchored in concrete case studies, his films are a kind of allegory: his goal is to create empathy with what he calls “psychogeographic situations” in different parts of the world.

“If you use a border to divide places, that creates spatial situations, and if the military is involved and extractivism [mining] is involved, this creates feelings within the human-beings living there.

“In this case, the prevailing emotion is fear. The fear is inscribed in the landscape because they are surrounded by mountains, controlled by the Azerbaijanis,” he explains.

The filmmaker kept his camera at eye level to create a feeling of empathy with the protagonists.

“The film does not show war or military equipment or the mine: sometimes what is not seen is more important than what it shown. I do think it’s a film that tries to create empathy with human and non-human actors on the ground, and it’s a very deliberate decision that the camera stays on the ground,” explains Kötter, who chose not to use drone shots he had made during filming.

Kötter, who is also a theater director and is currently working on a theater project called “Shared Landscapes,” is the producer of “Landshaft.” The creative producer is Jana Cisar.

The film has its world premiere at Visions du Réel on April 23. The festival runs in Nyon until April 30.

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Toronto-based outfit Syndicado has acquired world rights

UKRAINIAN troops are readying to use their shiny new Western weapons in a “big bang-style” onslaught to humiliate Vladimir Putin, according to top military experts.

The Sun Online spoke to former US General Ben Hodges, retired British Army Brigadier Ben Barry, and ex-Brit Colonel Hamish de Bretton-Gordon about Kyiv’s next steps to defeat Russia.

6

Challenger 2 battle tank on exercise before being sent to Ukraine

6

Challenger 2 battle tank on exercise before being sent to UkraineCredit: PA
Ukrainian soldiers pose on the frontline of Donetsk Oblast

6

Ukrainian soldiers pose on the frontline of Donetsk OblastCredit: Getty

And while they gave varied accounts of how the counter-offensive could look, they all agree Ukraine has the capability to give the Russians a major bloody nose.

Brave soldiers have been holding the line against Putin’s twisted invasion – enduring for months some of the bloodiest fighting of the war in brutal, close quarters trench warfare-style battles.

But the Ukrainian leadership has been clear, they view this high-attrition fighting as a price worth paying while they ready for their counter offensive.

Behind the frontline, a new wave of troops determined to protect their homeland have been training with Western weapons.

Putin 'accidentally' bombs Russian city as dictator suffers 'nervous breakdown'
Bill Clinton 'feels terrible' about role in Ukraine war after nuclear deal

They will be rolling into battle with key new pieces of kit, such as Challenger 2, M1 Abrams, and Leopard 2 main battle tanks, Stryker and Bradley armoured vehicles, and new artillery systems.

With these weapons – in theory should outrange and outmatch the Russians, laying the groundwork for the new offensive.

General Hodges told The Sun Online he believes Ukraine will go big – and concentrate their efforts on finally retaking Crimea, which has been in Russian hands since 2014.

Colonel de Bretton compared a potential Ukrainian strike to “Operation Desert Storm” – with their forces seeking to push up to 200 miles behind the Russian line in a blitzkrieg style assault.

And meanwhile, Brigadier Barry said the counter offensive will be like a “big bang” to try and break the stalemate – particularly around Bakhmut.

He told The Sun Online: “Ukraine could kill every Russian soldier within 200 miles of Bakhmut and it wouldn’t change the strategic situation.”

However, General Hodges – former commander of the US Army Europe – believes the offensive will be far more ambitious than winning the battle for Bakhmut.

It was never going to be a spring offensive

US General Ben Hodges

“The key is winning Crimea – that will be the decisive terrain. Once Crimea is liberated, it’s all over, it changes everything.

“Ukraine knows that it will never be safe without taking back Crimea.”

With Hodges’ extensive military experience, he believes that the offensive will focus on isolating the annexed Crimean peninsula by severing the land bridge from partly-Russian controlled areas in Ukraine’s south.

“It will be aimed at breaking this land bridge and more precision weapons to hit targets and make the peninsula untenable for Russian forces,” he explained.

This onslaught he believes will involve hitting Russia’s air bases, ambitious attacks on Russia’s Black Sea Fleet and targeting logistics & command centres deep into enemy-held territory in Crimea.

“When it makes sense to,” Hodges said that they may “again” blow up the Crimean bridge – Putin’s favourite bridge that was attacked last October.

Ukrainian commanders are presumed to have blown in the £3.2billion Kerch Bridge – a highly symbolic link between Vlad’s mainland and annexed Crimea.

General Hodges claims that the offensive will be concentrated in a narrow area to break through the well-dug in Russian lines.

“I think Ukraine will pick one or two places to focus their attack on a narrow front a few miles wide and penetrate through the fortified frontlines using tanks, mechanised infantry, engineers and artillery.

He continued: “They will use their air force to help cover them and there will be activity in Russian rear area by special forces and partisans to stop them reacting [to the attack].”

When could it happen? “It was never going to be a spring offensive,” he stated.

“They’ve been busy training, practicing and carefully protecting information – they’re waiting on the right conditions for traffic ability – waiting on the ground to be able to sustain the attack,” he speculated.

Colonel de Bretton-Gordon also predicts the Ukrainians will be ambitious in their counter strike – with the key being their new arsenal of Ukrainian maine battle tanks.

Ukrainian soldiers fire artillery at Russian positions near Bakhmut

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Ukrainian soldiers fire artillery at Russian positions near BakhmutCredit: AP
A Ukrainian T-72 tank fires at Russian positions on the front line near Bakhmut

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A Ukrainian T-72 tank fires at Russian positions on the front line near BakhmutCredit: AFP
The battle for Bakhmut has been raging for more than seven months

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The battle for Bakhmut has been raging for more than seven monthsCredit: AP

He said the Western armour will outmatch the ageing Soviet-era tank fleet currently being used by Putin, punching through tank traps, trenches and barbed wire like the so-called “Saddam Line” in the Operation Desert Storm back in 1991.

Saddam Hussein’s fortifications were breached in a matter of hours by the US forces using M1 Abrams tanks – just as the Ukrainians now have in their arsenal.

The Desert Storm ground offensive lasted just 100 hours and saw an army led by American and British forces make mincemeat of Saddam’s tanks and troops – who ended up surrendering en masse.

Colonel De Bretton-Gordon told The Sun Online: “Over four days [in Desert Storm] we covered a couple of hundred miles. The Ukrainians will probably want to go a bit further but not much further.’

The ensuing battles saw Western tanks like the Abrams and Challenger face off against Russian armour and make short work of them.

If they Ukrainians can in similar style smash through Russia’s defences, they will then exploit that position to cause havoc and destruction behind enemy lines.

The key to Ukrainian victory, Colonel De Bretton-Gordon says, will be putting in place the logistics to maintain such an advance until it can get far enough behind Russian lines to cause maximum devastation.

He added: “The Ukrainians are very canny. I’ve been impressed with the way they operate.

“There isn’t much we can teach them. Obviously we taught them how to use our tanks and artillery but in terms of teaching the generals, they are already very impressive.

“Now they have tanks and artillery for the close fight, I’m pretty confident they’ll be able to [succeed].”

For months now, the war has been “at stalemate” and frontlines have remained “pretty static”, but Brigadier Barry told The Sun Online – but change is coming.

The senior fellow for land warfare at International Institute for Strategic Studies said Russia has been making “very slow progress at the cost of enormous casualties” in Bakhmut.

Bakhmut has been referred to as the “bloodiest battle” of the war so far – with both side locked in meat grinder-style combat, with reports of soldiers beating each other to death with shovels.

Ukraine has “said repeatedly 2023 is the year of counteroffensives, where they want to evict Russia from Ukraine,” he explained.

“Ukraine will want to make sure that offensive works, so we’re looking at a ‘big bang’ concentrated attack, rather than dribbling it away in penny packets.”

He continued: “The longer they delay it, the more modern weapons and armour they will have in service and train people to operate it.”

Ukraine is known to be forming a network of new “Storm Brigades” – with around 40,000 soldiers.

Named Hurricane, Spartan, Chervona Kalyna, Frontier, Rage, Azov and Kara Dag (a mountain in Crimea), Ukraine’s new units are preparing to play their role in a decisive new offensive to push back Putin’s troops.

War analysts at the Conflict Intelligence Team said the main goal of the fresh counter offensive will be to “unblock” Bakhmut.

“The vehicles are already on the territory of Ukraine at the disposal of its military and may be used in combat in the nearest future,” the team wrote in their situation report on March 28.

“We expect that the primary goal of the Ukrainian counter-offensive will be to unblock Bakhmut.”

Commander of Ukrainian land forces, Colonel General Oleksandr Syrskyi, said recently: “Our task is to destroy as many enemies as possible and create the conditions for us to launch an offensive.”

Russian and Eastern Europe security expert Samantha de Bendern that she is likewise sceptical that a Ukraine counteroffensive will take place until at least the summer.

She told The Sun Online that its troops are “busy defending Bakhmut and are holding it by the skin of their teeth….and will not be ready in the near-future”.

“That will change very soon,” she said, when the foreign-trained Ukrainian troops arrive and so do their glitzy new weapons and machinery.

One thing is absolutely sure – Ukraine will never give up.

Samantha de Bendern

Agreeing with the military experts, she believes “they can’t go on all fronts… it will be a concentrated assault.”

“The frontline is so long, it’s about as long as the stretch from London to Barcelona”.

However, the former political officer from NATO HQ explained that what the offensive will entail will “be the best kept secret for the Ukrainians”.

They are the masters of “surprise”, she said, who know how to disguise their true intentions, “create fake lays and then attack somewhere else”.

The Chatham House Associate Fellow disagrees that Crimea will be Ukraine’s aim as “there is pressure from the Americans not too attack the peninsula, they are not welcoming to Ukrainian ideals of liberating Crimea”.

Instead, de Bendern believes the attack will be focused East and will wholly depend on when the Western weapons sent to Ukraine will become operational.

Air support will also be absolutely essential to any Ukrainian offensive, she said. The recently leaked Pentagon files exposed the fundamental truth that “Ukraine air defences are running out” and so too are their aircrafts.

Whatever the plan behind the offensive, de Bendern said: “one thing is absolutely sure – Ukraine will never give up.

“They will fight to the last man.”

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UKRAINIAN troops are readying to use their

The interview given by the Duke and Duchess of Sussex to Oprah Winfrey in March 2021 caused ripples on both sides of the Atlantic, especially Meghan Markle’s allegation that a member of the British royal family had speculated on the skin colour of her then unborn child.

Now, with just three weeks to go before the coronation of Harry’s father, King Charles, the UK’s Daily Telegraph reports that following the interview Meghan wrote to her father-in-law, raising her concerns about unconscious bias within the family, and identifying the person who made the comments about her child’s skin colour.

The paper also cites a source claiming that, in her letter, Meghan wrote that she had never intended to specifically accuse one person of racism, more that she was concerned by unconscious bias.

The King, then Prince of Wales, replied, expressing his disappointment in the split within his family, and that her allegations had been made so publicly.

The paper reports that both the King and Meghan agreed the remark had been “an innocent observation”, nevertheless, the source tells the Telegraph Meghan did not receive what she considered a satisfactory response to her concerns, and this was one factor in her decision not to attend the coronation on May 6th. 

Instead, Prince Harry will attend his father’s coronation service alone, and is expected to fly home immediately afterwards, without taking part in any other public events. 

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The interview given by the Duke and

A “loud siren-like sound” will blare from cellphones for up to 10 seconds across Britain on Sunday as part of a test for a new emergency alert system launched by the British government.

Governments and institutions across the world use similar alert systems in life-threatening situations such as terror attacks and dangerous weather. The alerts, which in many cases are sent as notifications or text messages, warn people in the path of danger to take shelter or to get to safety.

In Britain, the test of the warning service has prompted a backlash among some, with some officials and organizations encouraging people to turn off the service.

Here’s what to know.

People with smartphones across Britain, including visiting tourists, will receive an alert that the government described as a “loud, siren-like sound” accompanied by a vibration, on Sunday at 3 p.m.

“It will appear on your device’s home screen and you must acknowledge it before you can use other features,” the British government said in an announcement about the alerts.

The alerts will be sent via cellphone towers, which will broadcast warnings to anyone in danger. They are intended to be used “very rarely,” the British government said in a statement, adding that the alerts will only be used when there is an “immediate risk to people’s lives.”

Similar warning programs are used across the world, including in the United States, Canada, the Netherlands and Japan. They have not always been met with favor, as happened in Florida on Thursday when a test alert was sent at 4:45 a.m.

Like how they will be used in Britain, the alerts are sent out in emergencies, such as a mass shootings, floods, wildfires, tornadoes and other natural disasters. When a gunman opened fire on the campus of Michigan State University in February, students were alerted about the situation through a text message and many waited for emergency system updates throughout the night.

In some cases, they have also been used to warn residents against using city water when operations at a water facility has been disrupted.

Sunday’s test of the new emergency alert service has already prompted some backlash. For some, the alert, which could sound for up to 10 seconds, is seen as an annoyance. Jacob Rees-Mogg, a member of Parliament for North East Somerset, told his followers on Twitter to “switch off the unnecessary and intrusive alert.”

For others, the alert has prompted serious concerns about privacy. Refuge, an organization that helps women and children suffering domestic abuse, is advising survivors of abuse to turn off the service, out of concern that hidden phones within their homes could sound off.

Responding to such criticism, the British government said it has been collaborating with organizations that work with “vulnerable women and girls to ensure they are not adversely affected by the introduction of emergency alerts,” adding that it will be possible to opt out if they need their phone to stay hidden.

Others have been worried that the alerts could access personal information on phones, such as location data, but the British government has said that should not be a concern because the alert system works through cellphone towers. Personal data and exact locations won’t be collected or shared, the government said.

The alerts can be turned off by searching a phone’s settings for “emergency alerts,” and turning off “severe” and “extreme” alerts.

Britons can also avoid receiving the test alert on Sunday by turning off their phones or putting their phones in airplane mode for the duration of the test.

The alert will only sound on phones with the latest available software, such as iPhones running iOS 14.5 or later and Android phones and tablets running Android 11 or later.

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A “loud siren-like sound” will blare from

Netflix dropped the soundtrack for its hit limited thriller series “Beef.”

The 10-episode miniseries, which debuted on Netflix April 6, carries a name that completely conveys its plot. “Beef” centers on two strangers — a failing contractor named Danny Cho (Steven Yeun), and an unsatisfied entrepreneur named Amy Lau (Ali Wong) — whose worlds literally collide after they get into a road rage incident. When things escalate, the feud brings out their innermost darkest sides. 

The cast includes Wong, Yeun, Young Mazino, David Choe, Mia Serafino, Ashley Park, Justin H. Min, Joseph Lee and Andrew Santino.

The A24-produced thriller was created by Lee Sung Jin, and executive produced by Jake Schreier, Ravi Nandan and Alli Reich. Series leads Wong and Yeun also serve as executive producers. 

“Beef’s” original Score is by Bobby Krlic, and the soundtrack includes songs by prominent artists Christina Aguilera, Hoobstank and even tracks from Yeun and some of the cast. Here are all the songs you can bop to while watching “Beef.”   

Episode 1: “The Birds Don’t Sing, They Screech In Pain”

  • “Liquid Dreams” by O-Town
  • “The Reason” by Hoobastank

Episode 2: “The Rapture of Being Alive”

  • “Shine” by Collective Soul
  • “Same Squad” by P-Lo 
  • “Cornflake Girl” by Tori Amos

Episode 3: “I Am Inhabited By a Cry”

  • “O Come to the Altar” by Steven Yeun (Original song by Elevation Worship)
  • “Drive” by Incubus

Episode 4: “Just Not All At the Same Time”

  • “Fly” by Sugar Ray
  • “Nookie” by Limp Bizkit
  • “Cure For Pain” by  Morphine
  • “Self Esteem” by The Offspring

Episode 5: “Such Inward Secret Creatures”

  • “Natural One” by Shearwater
  • “Lonely Day” by System of a Down

Episode 6: “We Draw a Magic Circle”

  • “Raise A Hallelujah” by Steven Yeun and cast (original song by Bethel Music)
  • “I Don’t Want to Wait” by Paula Cole
  • “Genie In A Bottle” by Christina Aguilera
  • “Machinehead” by Bush

Episode 7: “I Am a Cage”

  • “Amazing Grace” by Steven Yeun and cast
  • “Somewhere Only We Know” by Keane 

Episode 8: “The Drama of Original Choice”

  • “Mockingbirds” by Grant Lee Buffalo

Episode 9: “The Great Fabricator”

  • “Jinx” by Tad
  • “All is Full of Love” by Björk 

Episode 10: “Figures of Light”

“Mayonaise” by The Smashing Pumpkins

“Beef” is currently streaming on Netflix.

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Netflix dropped the soundtrack for its hit

When an interviewer asked Joshua Abrams how he tends to start writing a new song, he demurred: “Our process is one of continuance.” The Chicago composer and bandleader’s music, through the conduit of his ever-expanding ensemble Natural Information Society, feels as if it exists in a state of perpetual evolution, just beyond the range of human perception. Performances can take on the air of a ritualistic summoning. When Abrams convenes his band, the first notes glint like light in the crack between our world, with its strict laws of temporal-spatial continuity, and the one in which the music has existed, ceaselessly unspooling, for centuries.

While there is nothing explicitly spiritual about Natural Information Society’s output, the group draws on practices from around the world that facilitate transcendent experiences: Gnawa from North Africa, Hindustani classical, ecstatic jazz. The music of these traditions is frequently longform  and often uses improvisation to expand upon a central scale or motif. Abrams threads together these sounds and structures, which have been reaffirmed and renewed by their tradition-bearers across hundreds of years, with the postmodern sensibilities of minimalist composition. The music’s timelessness is twofold: The techniques it employs to suspend time for the listener—mesmerizing repetition, nimble rhythmic interplay, buzzing drones—have unfathomably deep lineages themselves.

Natural Information Society’s latest album, Since Time Is Gravity, is a suite of vivid snapshots of eternity, a concept that should be oxymoronic but which feels completely natural in Abrams’ hands. He brings together players from across Chicago’s multifaceted improv community, including drummer and longtime collaborator Hamid Drake, multi-instrumentalist Ben LaMar Gay on cornet, saxophonist Nick Mazzarella, and elder statesman Ari Brown. Brown has played tenor sax alongside Coltrane sidemen McCoy Tyner and Elvin Jones, as well as AACM pioneers Malachi Thompson, Famoudou Don Moye, and Kahil El’Zabar; his improvisations on bookending pieces “Moontide Chorus,” “Is,” and “Gravity” are informed by that lineage while maintaining a deeply individualistic sensibility, and his modal melodies walk a fine line between mystical ambiguity and conversational familiarity. These players are all steeped in jazz, but they are also students of the global histories that led to its development in the early 20th century.

Abrams’ guimbri provides the rhythmic and tonal center for each composition, including two solo pieces for the instrument, “Wane” and “Wax.” The guimbri is a three-stringed bass lute played by the Gnawa people of Morocco that Abrams first heard on The Trance of Seven Colors, by Maleem Mahmoud Ghania and Pharoah Sanders, key influences on his own work. Compared to Steve Reich, who invoked African styles within a Western classical context while claiming much of the credit, Abrams is more attuned to the traditions that have inspired him—and to the nature of his own borrowing. “I wondered if it was right to take it up,” he once admitted of the guimbri, but Drake, who recorded with Ghania, encouraged him to continue. Using the instrument’s unique tone, a bulbous snap of gut strings against stretched hide and buzzing metallic rings, Abrams traces concentric circles around ostinato figures, forming the frame onto which the tapestry of drums, percussion, horns, and strings is hung.

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When an interviewer asked Joshua Abrams how he tends

Last Updated: April 22, 2023, 12:23 IST

Samantha Ruth Prabhu was recently seen in Shaakuntalam.

Samantha Ruth Prabhu did her schooling at St Stephen’s Matriculation School in Pallavaram, Chennai.

Samantha Ruth Prabhu is one of the most popular actresses in Indian cinema and she has proved her acting prowess in many movies across different languages. However, do you know that besides acting, Samantha also checked the right boxes when it came to academics? Her class 10 half-yearly report card is a testimony to her academic excellence. The actress had scored a terrific 887 out of 1000 in class 10.

Back in 2020, Samantha’s Class 10 mark sheet went viral on social media. She scored 100/100 in Mathematics and 95/100 in physics. The actress also scored 90 in English, 84 in Botany, 91 in History and 83 in Geography. And in her language paper, she scored 88/100. The viral report card also showed the remarks column in which Samantha’s teacher wrote, “She has done well. She is an asset to the school.”

When the report card surfaced online, the Shaakuntalam actress was delighted. She retweeted it and wrote, “Ha ha this has surfaced again, Awww.”

Meanwhile, Samantha recently attended the Citadel premiere with co-star Varun Dhawan in London. The duo is also headlining the Indian chapter, which is a branch from the international version starring Priyanka Chopra and Richard Madden. The Indian version of Citadel will be headlined by The Family Man directors Raj and DK.

The actress had earlier shared with PTI, “Physically, the show is very intense, there is a lot of action in Citadel and we recently shot something and we are very happy and proud to show it to the world, I am really looking forward to that. Considering the challenges that I am facing health wise, I am glad I am able to do what I am doing in Citadel. Everyone is being patient and kind and I am truly grateful for that.”

Besides this, Samantha Ruth Prabhu was last seen in the mythological film Shaakuntalam. The actress essayed the titular role of Shaakuntala, the daughter of Menaka and Viswamithra. The film also starred Dev Mohan opposite her. Produced and helmed by Gunasekhar, it hit theatres on April 14 but failed to leave a mark at the box office.

Read all the Latest Movies News and Entertainment News here

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Last Updated: April 22, 2023, 12:23 ISTSamantha

An enigmatic story of art and life in Communist Bucharest, a debut novel set in a red-light district in Pakistan, a searing YA story set in Soviet-era Czechoslovakia — as well as reexaminations of J. Edgar Hoover, the Jim Crow era and more — are among the winners of the 43rd annual Los Angeles Times Book Prizes, awarded Friday evening during a ceremony at the University of Southern California’s Bovard Auditorium.

Among the winners were widely known historians and journalists, including Biography winner Beverly Gage, for “G-Man: J. Edgar Hoover and the Making of the American Century,” which drew on new source material for a fresh new look at the notorious FBI director, and Dahlia Lithwick, whose “Lady Justice: Women, the Law, and the Battle to Save America,” won the Current Interest Prize.

In Mystery/Thriller, Alex Segura — best known as a writer of award-winning comics — won for his retro comic-artist crime novel, “Secret Identity.”

“When I first started this book I thought oh this’ll be easy, I know comics,” Segura said, before adding that this was the most intense journalistic endeavor of his life.

Other categories helped to boost writers less familiar (at least to American readers). Mircea Cărtărescu took home the fiction prize for “Solenoid,” a Borgesian exploration of life and art in which various, monstrous dimensions erupt within Communist Romania. The history prize went to “By Hands Now Known: Jim Crow’s Legal Executioners,” the first book by Margaret A. Burnham,” a law professor and the founder of Northeastern University’s Civil Rights and Restorative Justice Project.

A few special prizes announced in advance also recognized household names of today as well as those of the future. James Ellroy, best known for his L.A.-based crime novels “L.A. Confidential” and “The Black Dahlia” — and most recently “Widespread Panic” — was honored with the 2022 Robert Kirsch Award for lifetime achievement, an award which lauds an author whose work focuses on the American West.

“Yeaaa, you ain’t nobody’s audience but mine, yeaaa,” Ellroy growled into the microphone during his passionate acceptance speech. “I’m from LA, geography is destiny. The film noir epicenter. I lived here, I grew up here. I went to church here, I got in trouble here. But what I did most of all was read books here. In the end I’m just a dip s— kid who just loves to read.”

The Christopher Isherwood Prize for Autobiographical Prose went to Javier Zamora, whose memoir, “Solito,” recounts his unaccompanied 4,000-mile journey from El Salvador to the United States in 1999, when he was just 9-years-old.

“First, thank you to the L.A. Times and the Christopher Isherwood foundation for this enormous honor, I can’t think of a more fitting prize and a more fitting place to be recognized for my work as a Salvadoran immigrant,” Zamora said after accepting the award. “More than 1 million of us have been displaced by state oppression, racism, homophobia and gender based violence. When you acknowledge me, you acknowledge all of us.”

The 2022 Innovator’s Award went to the Freedom to Read Foundation, recognizing their work in protecting the public’s right to access information in libraries and helping provide legal counsel to librarians fighting to preserve their First Amendment rights. The foundation has also been active in documenting and opposing the current nationwide wave of book bans plaguing the country.

The Book Prizes ceremony is a prologue to the Los Angeles Times Festival of Books, the nation’s largest literary and cultural festival, which brings together more than 500 writers, musicians, artists and chefs, hundreds of exhibitors and an estimated 150,000 attendees each year.

Jamila Rowser and Robyn Smith won the graphic novel/comic prize for “Wash Day Diaries,” a tribute to Black joy that follows four best friends living in the Bronx. When accepting the award on behalf of both winners, Rowser said she believes she and Smith are the first Black women to be nominated for this award, and the first to win it. “We shouldn’t have to prove books like ‘Wash Day Diaries’ should be published, so I hope this will pave the wave for more comics like ours.”

The Poetry prize was awarded to Dionne Brand for “Nomenclature: New and Collected Poems” a collection which displays “Brand’s ongoing body of thought—trenchant, lyrical, absonant, discordant, and meaning-making,” according to the judges’ citation.

In Science and Technology, Sabrina Imbler was honored for “How Far the Light Reaches: A Life in Ten Sea Creatures,” which explores themes of survival and sexuality, community and care, while weaving the extraordinary world of marine biology with the author’s personal account of family and relationships.

“Writing this book helped me come out as trans, which I can’t recommend enough,” Imbler joked, before adding that we’re living in a time when the trans and queer community is under siege. “The ocean proves that changing sex is the most natural thing in the world. If you don’t believe me ask a clown fish.”

“Spear,” Nicola Griffith’s “queer Arthurian masterpiece for the modern era,” earned The Ray Bradbury Prize for Science Fiction, Fantasy & Speculative Fiction, while he Art Seidenbaum Award for First Fiction prize went to Aamina Ahmad’s “The Return of Faraz Ali,” in which a young girl meets a violent death in Lahore’s red-light district. Ahmad’s debut poses and explores the question “Whom do we choose to protect, and at what price?”

In Young-Adult Literature, judges awarded another work on youth and sacrifice: Lyn Miller-Lachmann for “Torch” which follows three teens in 1969 Czechoslovakia as they struggle to survive in the wake of their friend’s self-immolation.

See the full list of finalists and winners below.

Biography

Tomiko Brown-Nagin, “Civil Rights Queen: Constance Baker Motley and the Struggle for Equality”

Beverly Gage, “G-Man: J. Edgar Hoover and the Making of the American Century”

Jennifer Homans, “Mr. B: George Balanchine’s 20th Century”

David Maraniss, “Path Lit by Lightning: The Life of Jim Thorpe”

Robert Samuels and Toluse Olorunnipa, “His Name Is George Floyd: One Man’s Life and the Struggle for Racial Justice”

Fiction

Mircea Cărtărescu, “Solenoid” (translation by Sean Cotter)

Anna Dorn, “Exalted”

James Hannaham, “Didn’t Nobody Give a S— What Happened to Carlotta”

Jamil Jan Kochai, “The Haunting of Hajji Hotak and Other Stories”

Fernanda Melchor, “Paradais” (translation by Sophie Hughes)

Graphic novels/comics

Alex Graham, “Dog Biscuits”

Yamada Murasaki, “Talk to My Back” (translation by Ryan Holmberg)

Tommi Parrish, “Men I Trust”

Jamila Rowser and Robyn Smith, “Wash Day Diaries”

Noah Van Sciver, “Joseph Smith and the Mormons”

History

Margaret A. Burnham, “By Hands Now Known: Jim Crow’s Legal Executioners”

Hugh Eakin, “Picasso’s War: How Modern Art Came to America”

Kerri K. Greenidge, “The Grimkes: The Legacy of Slavery in an American Family”

Andrew M. Wehrman, “The Contagion of Liberty: The Politics of Smallpox in the American Revolution”

Donald Yacovone, “Teaching White Supremacy: America’s Democratic Ordeal and the Forging of our National Identity”

Mystery/Thriller

Rachel Howzell Hall, “We Lie Here”

Laurie R. King, “Back to the Garden”

Tracey Lien, “All That’s Left Unsaid”

Alex Segura, “Secret Identity”

Peng Shepherd, “The Cartographers”

Poetry

Dionne Brand, “Nomenclature: New and Collected Poems”

James Cagney, “Martian: The Saint of Loneliness”

Marwa Helal, “Ante body”

Cynthia Parker-Ohene, “Daughters of Harriet: Poems”

Solmaz Sharif, “Customs: Poems”

Science & Technology

Juli Berwald, “Life on the Rocks: Building a Future for Coral Reefs”

Jessica Hernandez, “Fresh Banana Leaves: Healing Indigenous Landscapes Through Indigenous Science”

Sabrina Imbler, “How Far the Light Reaches: A Life in Ten Sea Creatures”

James Vincent, “Beyond Measure: The Hidden History of Measurement From Cubits to Quantum Constants”

Ed Yong, “An Immense World: How Animal Senses Reveal the Hidden Realms Around Us”

The Art Seidenbaum Award for First Fiction

Aamina Ahmad, “The Return of Faraz Ali”

Maayan Eitan, “Love”

Sidik Fofana, “Stories from the Tenants Downstairs”

Oscar Hokeah, “Calling for a Blanket Dance”

Morgan Thomas, “Manywhere: Stories”

The Ray Bradbury Prize for Science Fiction, Fantasy & Speculative Fiction

Sara Gran, “The Book of the Most Precious Substance”

Nicola Griffith, “Spear”

Alex Jennings, “The Ballad of Perilous Graves”

Ray Nayler, “The Mountain in the Sea: A Novel”

George Saunders, “Liberation Day: Stories”

Young-adult literature

Samira Ahmed, “Hollow Fires”

Lyn Miller-Lachmann, “Torch”

Sabaa Tahir, “All My Rage”

Andrew Joseph White, “Hell Followed With Us”

Kip Wilson, “The Most Dazzling Girl in Berlin”

Current interest

Anand Giridharadas, “The Persuaders: At the Front Lines of the Fight for Hearts, Minds, and Democracy”

Sarah Kendzior, “They Knew: How a Culture of Conspiracy Keeps America Complacent”

Dahlia Lithwick, “Lady Justice: Women, the Law, and the Battle to Save America”

Luke Mogelson, “The Storm is Here: An American Crucible”

Dorothy Roberts, “Torn Apart: How the Child Welfare System Destroys Black Families — and How Abolition Can Build a Safer World”

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An enigmatic story of art and

New financial data revealed the ten most successful movies in 2022.

Last year was a huge one for movies, particularly on the sequel front, bringing about hit follow-ups to movies released long ago like Top Gun: Maverick and Avatar: The Way of Water. There were also new entries in Hollywood’s biggest franchises like Marvel, DC, Jurassic World, Despicable Me, and more.

2022’s Top 10 Most Successful Movies

Throughout its ten “2022 Most Value Blockbuster” articles, Deadline shared the box office, revenue, expenses, and profit data for last year’s ten most successful movies, some of which may prove surprising.

10.) Smile

Paramount Pictures

Perhaps the most surprisingly successful movie of 2022 came with Paramount’s Smile, which turned over an impressive box office haul – the highest for a non-sequel horror movie since 2019’s Us. 

As the movie was made on a production budget of just $17 million, with total expenses of $107 million, it was able to pull in an impressive profit of over $100 million to become the most successful horror movie of the year.

  • Box Office: $217.4 million
  • Revenue: $208 million
  • Expenses: $107 million
  • Profit: $101 million

9.) Thor: Love and Thunder

Thor Love and Thunder
Marvel Studios

Thor: Love and Thunder, despite facing plenty of criticism, still managed to turn over an impressive box office result of $760.9 million (the lowest of last year for Marvel Studios) leading to $650 million in revenue for the studio.

The Asgardian sequel would have made far more than $103 million in profit if it hadn’t proven so expensive, having cost $547 million, making it the MCU’s most expensive and yet least successful of 2022.

  • Box Office: $760.9 million
  • Revenue: $650 million
  • Expenses: $547 million
  • Profit: $103 million

8.) Puss In Boots: The Last Wish

Puss In Boots
Dreamworks

Puss In Boots: The Last Wish was a long time coming, with its predecessor having released all the way back in 2011. With the Shrek franchise, of which Puss In Boots is a spin-off, having been largely absent since then, perhaps audiences were craving more in this world.

That factor combined with the excellent response – currently sitting with a 94% audience score on Rotten Tomatoes – allowed Puss In Boots 2 to gross $478.7 million, turning a solid profit of $120.2 million.

  • Box Office: $478.7 million
  • Revenue: $440 million
  • Expenses: $319.8 million
  • Profit: $120.2 million

7.) The Batman

The Batman
Warner Bros. 

The Batman stands as the seven-highest-grossing DC movie ever, having taken in $770.9 million from the box office after years of excitement and well-liked trailers, with it serving as the first solo Batman movie since 2012’s The Dark Knight Rises.

On total expenses of $458 million, lower than anything Marvel released last year, the movie managed to turn over $177 million in profit.

  • Box Office: $770.9 million
  • Revenue: $635 million
  • Expenses: $458 million
  • Profit: $177 million

6.) Jurassic World: Dominion

Jurassic World
Universal Pictures

The Jurassic Park franchise is an infamous one in Hollywood, and the latest Chris Pratt-led trilogy has proven it still to be a powerhouse. Even with mixed reactions to Jurassic World sequels Fallen Kingdom and Dominion, every movie in the trilogy grossed over $1 billion.

As the culmination of this franchise, bringing back three original Jurassic Park stars, Dominion hit big with a $229.7 million profit, a slight drop from the $235.4 million of Fallen Kingdom and a huge decline from the $470 million-plus profit of 2015’s Jurassic World.

While there’s no denying this was a huge hit, coming in as the sixth biggest movie of 2022, perhaps better word-of-mouth reactions could have turned Dominion into a true box office-dominating sensation.

  • Box Office: $1 billion
  • Revenue: $750 million
  • Expenses: $520.3 million
  • Profit: $229.7 million

5.) Black Panther: Wakanda Forever

Black Panther 2
Marvel Studios

Black Panther: Wakanda Forever had a lot to live up to after the 2018 blockbuster shattered records and made a cultural impact on Hollywood. Marvel Studios had the tough task of doing this in the absence of original star Chadwick Boseman, who passed away in 2020, with this movie now serving as a tribute to him.

Despite having to fill in the leading role, with Letitia Wright’s Shuri taking the reins, Wakanda Forever was massively successful, grossing $859 million, which albeit does mark a major drop from the $1.34 billion of Black Panther.

  • Box Office: $859 million
  • Revenue: $750 million
  • Expenses: $491 million
  • Profit: $259 million

4.) Doctor Strange in the Multiverse of Madness

Doctor Strange 2
Marvel Studios

Marvel Studios went all-in on marketing Doctor Strange 2 as a huge event, loaded with cameos and integral to the Multiverse Saga. With how popular the MCU has become and Multiverse of Madness being a key piece of the next era of storytelling, it’s no surprise it was one of 2022’s biggest movies and Marvel’s most successful of the last year.

Despite its massive magical scale, the expenses came in just short of $500 million, fairly standard for Marvel Studios, with its almost $1 billion box office, the Doctor Strange sequel improved greatly on its predecessor to turn a $284 million profit.

  • Box Office: $955.7 million
  • Revenue: $780 million
  • Expenses: $496 million
  • Profit: $284 million

3.) Minions: The Rise of Gru

Minions
Illumination Entertainment

Minions: The Rise of Gru was successful enough for Illumination to quickly set a 2024 release date for Despicable Me 4. It marked yet another successful installment in the iconic animation franchise, the last two entries in which – Minions and Despicable Me 3 – both grossed over $1 billion.

The Rise of Gru even turned into a viral sensation as the Despicable Me prequel spurred a TikTok trend of large groups attending screenings in suits, something which undoubtedly helped its box office greatly.

Having been made on total expenses of $368 million, the costs are fairly standard for animation, with the Toy Story spin-off Lightyear having cost Disney $373 million to make last year, but that one resulted in an unfortunate $106 million loss.

  • Box Office: $939.6 million
  • Revenue: $750 million
  • Expenses: $368 million
  • Profit: $382 million

2.) Top Gun: Maverick

Top Gun 2
Paramount Pictures

1986’s Top Gun has truly stood the test of time and has gone on to be watched by many over the years since its release. The legacy sequel Top Gun: Maverick arrived to storm the box office in 2022, smashing a huge post-pandemic record set by Spider-Man: No Way Home.

Now standing as Tom Cruise’s highest-grossing movie ever, the insanely positive word-of-mouth reactions and limited competition definitely helped Maverick dominate the box office all summer long in 2022.

The movie managed to bring $391.1 million in profit for Paramount, even with a huge $753.9 million in expenses, largely due to an above-average $280 million in participations (cuts of profits paid to certain actors and crew) – for comparison, Doctor Strange 2 had $40 million.

  • Box Office: $1.49 billion
  • Revenue: $1.15 billion
  • Expenses: $753.9 
  • Profit: $391.1 million

1.) Avatar: The Way of Water

Avatar 2
20th Century Studios

Following up on the massive success and the biggest movie of all time, Avatar: The Way of Water was always expected to be a huge hit, although many questioned whether the James Cameron sequel could attain the same success 13 years after the 2009 blockbuster.

Avatar 2 defied already-high expectations to become the most successful movie of 2022, and the third-highest-grossing of all time, raking in $531.7 million profit on a $2.32 billion box office haul. This figure could even be far higher, but according to Cameron himself, the sequel was “the worst business case in movie history” and racked up an insane $1.09 billion in expenses.

  • Box Office: $2.32 billion
  • Revenue: $1.62 billion
  • Expenses: $1.09 billion
  • Profit: $531.7 million

Why Avatar 2 Isn’t 2022’s Most Impressive Hit

Every movie listed above was undeniably a massive success and brought home massive profits for their respective studios. Avatar: The Way of Water was a particularly historic one as it managed to replicate the 2009 original’s success to become the third-highest-grossing movie of all time, and those profits could have been truly insane if the expenses hadn’t been quite so excessive.

While the top nine most profitable movies of the year all come from established franchises with familiar names and characters, perhaps 2022’s most impressive hit comes with the horror original Smile. The Paramount flick managed to stand on its own two feet and become a true sensation on an exceptionally low budget, now sitting as the 37th highest-grossing horror movie of all time.

Paramount will undoubtedly be thanking the heavens it abandoned its original plan to dump the Sosie Bacon-led horror directly onto Paramount+ – a decision made due to its impressive test screening results. While Smile 2 has yet to be announced, director Parker Finn recently revealed what a sequel would need after signing a first-look deal with Paramount for future projects.

Although only time will tell what will go on to become the most successful movie of 2023, The Super Mario Bros. Movie is already off to an impressive start. But there are still many huge contenders to come including Guardians of the Galaxy Vol. 3, Barbie, Oppenheimer, and Indiana Jones and the Dial of Destiny.

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And we used to think they said “ I’ve got a bad feeling about this” a lot in Star Wars. Well, that phrase ain’t got nothin’ on The Mandalorian‘s favorite catchphrase, “This is the Way.” For a Mando who follows the creed, saying “This is the Way” happens as often as saying “Amen” for an Earth human in church. But how many times did characters say this over the course of three seasons of The Mandalorian, and one of The Book of Boba Fett? The folks at YouTube channel Auralnauts did the hard work for us to find out, and they put it to funky beat.

First off, we love the ’80s-style synth beats in this video. Everything sounds better with a little musical retro synth action. Secondly, we are shocked to learn that characters have said the phrase a whopping 222 times. Has anyone ever even said “May the Force be with you” that many times in the entirety of the Star Wars franchise? Maybe when you factor in The Clone Wars and Rebels, and not just the live-action films. Granted, The Mandalorian is a TV series with a lot of hours to its name. We were still a bit surprised at how high the number was.

Mandalorian holding Grogu in his ship
Lucasfilm

As for who said “This is the Way” the most times? It’s not surprising to learn that it was the Armorer. If the Mandalorian Covert has a high priest, then it’s her. But our lead character Din Djarin only said it 13 times across three and a half seasons. We suppose Din understands that you can wear out a catchphrase on a TV series pretty fast. It’s best to only say it when it matters. The Auralnauts have a ton of other similar fun Star Wars (and Star Trek) videos, so be sure to head on over to their channel and check them out.

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And we used to think

Infinity Ward has said it’s “investigating” server issues that have recently marred the gameplay experience for some Warzone 2 and Modern Warfare 2 players.

As noted by Dextero, console and PC players have been complaining about bullet registration issues, delayed actions, and significant frame drops since Season 3 launched on April 12.

After a number of high-profile members of the Call of Duty community drew attention to the issues over the past week or so, the Modern Warfare studio finally acknowledged them on April 20.

BlackCell | Call of Duty: Modern Warfare II & Warzone 2.0

“We are investigating reports of server-related gameplay issues and are actively working to resolve them,” the official Call of Duty account tweeted.

The problem has been added to Infinity Ward’s Modern Warfare 2 Trello board, where players can keep track of known issues that are being worked on.

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One prominent player who had been voicing complaints about the issues is Warzone 2 streamer JoeWo, who earlier this week shared a video of his parachute failing to deploy.

Prior to Activision’s announcement, ModernWarzone, which has almost 800,000 followers on Twitter, also wrote: “Call of Duty needs to publicly acknowledge the server issues with Warzone instead of promoting Blackcell, their new bundles and battle pass all over social media.”

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Activision kicked off a week-long Modern Warfare 2 free multiplayer trial on April 19.

It includes access to some of the content introduced last week with Season 3, including new core map Pelayo’s Lighthouse, which is set on a small, craggy island during an evening storm, and Gunfight mode.