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Every Tom Hanks Crime Thriller, Ranked

Tom Hanks is easily one of the most beloved actors of all time. He has an uncanny ability to take on a wide variety of characters and make them believable. He’s turned in some very powerful performances over the years in memorable movies like Forrest Gump, Big, Castaway, and The Terminal. Hanks has won six Academy Awards, including a rare back-to-back win in 1993 and 1994 for Philadelphia and Forrest Gump, respectively. Some would argue his more recent movie A Man Called Otto should have earned Hanks an Oscar as well.

One of the reasons why people love Tom Hanks is his acting range. Whether it’s a funny character or a serious one, he’s able to figure out the nuances of the performance and make it his own. Crimethrillers are one of his specialties, and they show that his serious side is just as good as his silly side. There are so many good Tom Hanks crime movies and these are the best of the best.

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10 Inferno

Columbia Pictures

In Inferno, Tom Hanks plays respected symbologist Robert Langdon. It was the third time Hanks took on the role of the hero in a movie based on the novel by Dan Brown. When Langdon wakes up in a hospital with no recollection of how he got there, he teams up with doctor Sienna Brooks (Felicity Jones) to figure out what happened.

The pair race across Europe, trying to stop a madman (Ben Foster) who will stop at nothing to unleash a virus that has potential to destroy humanity. Langdon and Brooks follow clues based on the works of the poet Dante and end up in Istanbul where they must detonate a bomb to avoid catastrophe. Directed by Hollywood legend Ron Howard, Inferno followed a simple story but was elevated by Hanks’ powerful performance.

9 The Ladykillers

theladykillers-BuenaVistaPictures — Buena Vista Pictures

The Ladykillers is one of Tom Hanks’ lesser known films. It’s an offbeat crime caper directed by Joel and Ethan Coen who are known for creating screwball comedies that are witty, funny, and absurd. The movie revolves around a professor named G.H. Dorr (Hanks) who tries to rent a room at a house occupied by a lonely, religious woman. The professor’s goal is to use the room to work and rehearse his classical compositions, but he soon learns that the other residents of the house have more sinister plans in mind.

When the homeowner finds out about the residents’ plan to rob a casino, they decide she must be taken out. Dorr is caught in the middle and a series of mishaps foil the gangsters plans. Hanks delivers the best of both worlds in The Ladykillers, turning in a funny and nuanced performance that is seriously underrated in the context of his career.

8 Angels & Demons

Angels and Demons — Sony Pictures Releasing

Angels & Demons is the second installment in the trilogy about symbologist Robert Langdon. When a vial of antimatter is stolen from a lab, it’s up to Langdon to fly to Vatican City and find out what the thief is up to. Langdon realizes that the plan is driven by a villain named the Hassassin with ties to an ancient society known as the Illuminati.

The Hassassin kidnaps four cardinals and threatens to kill them one by one. Langdon once again follows a series of clues to find the Hassassin’s true identity as well as his motive for decimating the Catholic Church. In his second turn as Langdon, Hanks portrays the character perfectly, showing off his intelligence and vulnerability in equal parts.

7 Captain Phillips

Tom Hanks in Captain Philliips (2013) — Columbia Pictures

Paul Greengrass directs this action thriller about a group of pirates who take over a ship carrying cargo around the Horn of Africa. Hanks plays Captain Phillips, an experienced but stubborn ship captain who repeated ignores requests to sail further offshore to avoid the pirates. When the group of rebels uses guns to take over the ship, they hold the captain and his crew hostage until a ransom is paid.

Driven by amazing performances by both Hanks and the pirates’ leader (Barkhad Abdi), Captain Phillipsis a tense movie with lots of good twists and turns. The film was met with widespread critical acclaim and was nominated for six Academy Awards, including Best Picture. Many people consider it one of the best Paul Greengrass movies.

6 Bridge of Spies

mark-rylance-bridge-of-spies-movie (1) — DreamWorks Pictures

Tom Hanks’ performance in Steven Spielberg’s Bridge of Spies is excellent. At the height of the Cold War in the early ’60s, pilot Gary Powers (Hanks) is captured by the Soviet Union when his U-2 spy plane goes down. Knowing that Powers is high-ranking man with knowledge of the United States’ CIA and military secrets, the Soviets imprison and sentence him to three years of hard time.

The USA and the USSR eventually agree to a prisoner swap at Glienicke Bridge in Easy Germany, but neither side completely trusts each other. Hanks’ character Powers is used as leverage on both sides, with the two adversaries trying to figure out who his allegiance is truly with. Hanks’ performance is filled with nuance and subtlety, leaving viewers to question his motives until the very end.

5 The Da Vinci Code

Audrey Tautou and Tom Hanks — Sony Pictures Releasing

Tom Hanks’ best turn as Robert Langdon happens in The Da Vinci Code. It’s the first film in the series based on Dan Brown’s controversial novels, and it’s also arguably the best. After someone is murder at the Louvre in Paris, Langdon is called in to search for clues hidden in Leonardo da Vinci’s most famous paintings. With the help of Sophie Neveu (Audrey Tautou) Langdon unravels a mystery about the Catholic Church that could damage the institution if it were to come to the light.

Hanks and Tautou have great on screen chemistry and are electric as the pair of amateur detectives. The Da Vinci Code contains all kinds of theories about the church, and it was quite controversial when it first came out in 2006. Even Tom Hanks slammed The Da Vicini Code for being hokey years after it was filmed. What’s undeniable is Hanks’ excellent performance as Robert Langdon. It’s hard to picture any other actor taking the role and running with it the way he did.

4 The Green Mile

The Green Mile is one of Stephen King’s best novels. The movie version, which was released in 1999, follows Tom Hanks as prison guard Paul Edgecomb who works on The Green Mile, a section of the penitentiary reserved for the worst criminals living on death row. Hanks and his fellow guards befriend a detainee named John Coffey (Michael Clarke Duncan) who seems to have a gift for performing miracles.

Although Coffey is condemned to die, Edgecomb has doubts about him and whether he is actually capable of committing the crimes he was found guilty of. Hanks plays the character with ease, showing audiences his calm demenour and sense of peace in such a chaotic environment. Moviegoers loved the film and flocked to theatres to help it earn $286 million against a $60 million budget.

3 Road to Perdition

Road to Perdition Tom Hanks — Dreamworks

In Road to Perdition, Mike Sullivan (Tom Hanks) is a mob enforcer for Midwestern mobster John Rooney (Paul Newman). Set in 1931 against the backdrop of the Great Depression, James Bond actor Daniel Craig plays Rooney’s son Connor, who is jealous of his dad and Sullivan’s relationship. When Sullivan’s son Connor witnesses a mob hit, Sullivan must flee and fend for himself before an all-out mob war erupts.

Hanks commits to a fine balance as Sullivan in Road to Perdition. He’s both a brutal gangster and a loving father. His sense of tenderness towards his son in a seedy underbelly of crime shows that Hanks has the acting chops to accomplish anything. With phenomenal performances by Hanks, Newman, and Craig, Road to Perdition is a crime movie worth watching over and over again.

2 Catch Me If You Can

Leonardo DiCaprio as Frank in Catch Me If You Can — DreamWorks Pictures

Steven Spielberg’s Catch Me If You Can is an incredibly enjoyable film to watch. It’s based on a true story but somehow still feels original and fresh. Tom Hanks plays Carl Hanratty, a detective tasked with tracking down a conman named Frank Abagnale (Leonardo DiCaprio) who commits fraud everywhere he goes. Whether it’s impersonating an airline pilot or forging checks, Abagnale manages to escape the police at every turn. Each time, Hanratty is left speechless, and he can’t seem to get a step ahead of the criminal no matter what he does.

Catch Me If You Can is at different times funny, dramatic, and heart-pounding. Each time Abagnale escapes, Hanratty is left speechless, and he can’t seem to get a step ahead of the criminal no matter what he does. Hanks plays Hanratty with a certain whimsy that makes viewers want to cheer for him. The cherry on top is that Catch Me If You Can contains a great ending.

1 Philadelphia

Tom Hanks and Denzel Washington sitting in a courtroom in the movie Philadelphia — TriStar Pictures

Part legal drama, part crime thriller, Philadelphia is undoubtedly one of Tom Hanks’ best movies. When law associate Andrew Beckett (Hanks) is released from his firm due his status as an AIDS patient, he takes legal action against his former employer. Enlisting the help of homophobic attorney Joe Miller (Denzel Washington), the two work through their differences and prejudices to win the case before Beckett inevitably passes away.

Philadelphia was groundbreaking when it was released in 1993. Few movies had the courage to tackle topics like the AIDS crisis, homophobia, and stereotypes back then. The movie broke barriers and Hanks was praised for his performance as Beckett. It landed him an Oscar for Best Actor and showed the world that he was capable of being a huge Hollywood star.

Tom Hanks is easily one of

Comics

Sony Interactive Entertainment Acquires Firewalk Studios For New Multiplayer Experience

Today, Sony Interactive Entertainment acquired Firewalk Studios, a new studio founded in 2018, working on a multiplayer experience. Sony has been building a portfolio of live-service-based studios, such as Bungie, which continues to align with this mantra.

Sony Interactive Entertainment Acquires Firewalk Studios For New Multiplayer Experience

The studio is led by studio head Tony Hsu (Previously GM and SVP of Destiny) and game director Ryan Ellis (Previously Creative Director at Bungie.) It currently has roughly 150 employees.

Back in 2021, Firewalk and Sony announced their partnership to work on a multiplayer experience, and now, in 2023, Sony is acquiring Firewalk Studios for an undisclosed amount of money.

While neither team has spoken about the actual game its developing, all we know is that the studio is focused on making a multiplayer experience to expand PlayStation Studio’s portfolio.

Tony Hsu and Ryan Ellis released a statement that can be read in full on the PlayStation Blog, but below, you can find a small excerpt.

“Today we’re taking the next natural step and joining PlayStation Studios. We’ve worked closely with Hermen and the very talented team at PlayStation for years, helping to make our new game even better. To join PlayStation Studios is to formally become part of a family that has produced many of the most storied games of our age, and we are honored.”

Firewalk Studios’ new game will be an original IP and is reportedly working closely with Bungie and Haven to ensure that the game reaches the level PlayStation Studios expects.

It’s likely we won’t see this project for a while, but it’s another thing PlayStation fans have to look forward to.

PlayStation has yet to reveal more information on Spider-Man 2, which is still slated for 2023. We hope to hear about PlayStation’s offerings for the rest of the year soon.

Today, Sony Interactive Entertainment acquired Firewalk Studios,

“Titans” Takes Us On A Multiversal Journey

Titans season 4 episode 9 was out of this world, literally! In the past Titans has been one of the only DC shows to stay clear of crossovers and the addition of the Multiverse into the storyline. Sees as in the past Titans has been a much more grounded series, however this season in particular veers towards a more magical and fantasy aspect. The episode titled “Dude, Where’s My Gar?” revolves around Ryan Potter’s character Gar. In what was one of his only solo episodes where we got to learn more about his past.

In this episode we see Gar taken from the Red by Dominic Mndawe aka Freedom Beast (Nyambi Nyambi) to help him uncover the truth about his origin. That Niles Caulder, the very person who helped him when he was younger was behind his parents death. Gar wants to leave to find his family, the Titans but Dominic tries to convince him to stay and protect the Red which he calls “A force that connects and pervades all animal life, in this universe and many others.” This line opens the door to a sleu of cameos from beloved faces in the DC Universe.

Courtesy of HBO Max

When Gar Enters the Red again, this time looking for his family, he sees a few familiar faces. Most of the cameos were done using previous footage. We first get to see The Flash (Grant Gustin), who then shocks Gar into Blue Valley, where we see Brec Bassinger make a cameo in what was her final appearance as Stargirl since this is airing after her own series ended. After that Gar ends up back in the red where he sees Swamp Thing, it’s been a while hasn’t it, and we definitely weren’t expecting this but, we end up seeing Shazam (Zachary Levy) as well, and we even see a cameo by acclaimed comic book writer Grant Morrison who is titled “The master of the Multiverse”. Toward the end of the scene, Gar encounters B’Wana Beast, whose powers are also drawn from The Red (like Animal Man, Vixen, and Beast Boy).

: Courtesy of HBO Max

: Courtesy of HBO Max

: Courtesy of HBO Max

Courtesy of HBO Max

The episode ends with Gar landing in the Doom Patrol universe, there we finally see him come face to face with Cyborg (Joivan Wade). This meeting would’ve been a lot more exciting if Gar wasnt unconscious. Cyborg who is one of the original Titans characters is best friends with Gar in most realities. So seeing these two together is a real treat for Og Teen Titans fans. What comes next, now that is bound to be exciting.

That’s not all though, there was even a subtle nod to the original Teen Titans Cartoons Included. There are a number of voice cameos that appear toward the end, including characters from Harley Quinn and Man of Steel. Considering this is their final season the Titans writers have really gone all out this season.

Watch the scene here

Make sure you tune in for new episodes of Titans airing on Thursday mornings on HBO Max.

Titans season 4 episode 9 was out

Festivals

Uncovering the Mysterious World of Film Noir (A Comprehensive Guide)

Get ready to peer through the Venetian blinds.

As a film enthusiast, I have always been intrigued by the genre of film noir. Its dark and mysterious themes, coupled with its distinctive visual style, have made it one of the most iconic genres in the history of cinema.

In this comprehensive guide, I will dive deeper into the world of film noir by exploring its origins, key characteristics, the use of lights and shadows, the role of women, its impact on cinema, and its influence on modern media.

Let’s get started.

Table of Contents

Film Noir Definition

Film noir is a term used to describe a genre of films that emerged in the United States in the 1940s and 1950s. The term “film noir” is a French term meaning “black film” or “dark film,” which refers to the dark and moody themes and visual style of these films.

Film noir films often feature morally ambiguous characters, cynical and disillusioned attitudes, and a sense of pessimism and fatalism. The plots of film noir films often revolve around crime, particularly murder, and the characters are often involved in shady and illegal activities.

The visual style of film noir is characterized by low-key lighting, shadowy and high-contrast cinematography, and the use of dramatic camera angles and framing. The atmosphere of film noir is often one of tension, suspense, and unease, with a focus on the darker side of human nature.

Introduction to Film Noir

Film noir is a genre of cinema that emerged in the 1940s and 1950s, characterized by its dark and cynical themes, shadowy visuals, and morally ambiguous characters. These films were often low-budget productions that focused on the seedy underbelly of American society, featuring hard-boiled detectives, femme fatales, and dangerous criminals.

‘The Man Who Wasn’t There’Credit: Paramount Pictures

The Origins of Film Noir

The origins of film noir can be traced back to the German Expressionist cinema of the 1920s and 1930s. German Expressionist films were known for their use of chiaroscuro lighting, exaggerated sets, and twisted, psychological narratives. When many German filmmakers fled to Hollywood after the rise of the Nazi regime, they brought with them the visual techniques and thematic concerns of Expressionism, which would later influence the development of film noir.

Another important influence on film noir was the hard-boiled crime fiction of writers like Raymond Chandler and Dashiell Hammett. These writers created a new kind of detective story, one that was more realistic and gritty than the detective stories of the past. Their characters were flawed and complex, and their stories often explored the dark side of American society.

Key Characteristics of Film Noir

There are several key characteristics that define the film noir genre.

First, film noir is characterized by its use of chiaroscuro lighting, which creates deep shadows and high contrast between light and dark. This lighting technique is often used to create a sense of mystery and tension in the film.

Secondly, film noir is known for its morally ambiguous characters. The protagonist is often a flawed and cynical detective, caught up in a world of crime and corruption. The femme fatale is another key character in film noir, a seductive and dangerous woman who often leads the protagonist down a path of self-destruction.

Finally, film noir is characterized by its dark and cynical themes. The films often explore the seedy underbelly of American society, featuring themes of crime, corruption, and betrayal. The endings of many film noir movies are often bleak and pessimistic, with the protagonist often meeting a tragic fate.

‘Double Indemnity’Credit: Paramount Pictures

The Impact of Film Noir on Cinema

Film noir had a significant impact on the development of cinema, influencing filmmakers around the world. Its distinctive visual style and dark themes would go on to inspire many other genres of cinema, including neo-noir, crime thrillers, and psychological dramas.

Film noir also had a significant impact on the way that Hollywood produced and marketed films. Many of the films in the genre were low-budget productions, which allowed filmmakers to experiment with new techniques and ideas. The success of these films would later lead to the development of the independent film industry.

The Best Film Noir Movies of All Time

Now that you know what defines a film noir, let’s take a look at some of the best examples of the genre. Here is a our watchlist of the best films that define the film noir genre:

Double Indemnity (1944): directed by Billy Wilder and starring Fred MacMurray and Barbara Stanwyck.
The Maltese Falcon (1941): directed by John Huston and starring Humphrey Bogart and Mary Astor.
The Third Man (1949): directed by Carol Reed and starring Orson Welles and Joseph Cotten.
Out of the Past (1947): directed by Jacques Tourneur and starring Robert Mitchum and Jane Greer.
Sunset Boulevard (1950): directed by Billy Wilder and starring William Holden and Gloria Swanson.
Touch of Evil (1958): directed by Orson Welles and starring Charlton Heston and Janet Leigh.
The Big Sleep (1946): directed by Howard Hawks and starring Humphrey Bogart and Lauren Bacall.
Detour (1945): directed by Edgar G. Ulmer and starring Tom Neal and Ann Savage.
The Asphalt Jungle (1950): directed by John Huston and starring Sterling Hayden and Louis Calhern.
Kiss Me Deadly (1955): directed by Robert Aldrich and starring Ralph Meeker and Maxine Cooper.

A man running down a long tunnel — ‘The Third Man’Credit: Selznick Releasing Organization

Famous Film Noir Directors and Actors

There have been many talented directors and actors who have worked in the film noir genre over the years. Some of the most famous film noir directors include:

Billy Wilder: Known for his films Double Indemnity and Sunset Boulevard, Wilder was one of the most successful directors of the film noir era.
Alfred Hitchcock: Although not known for making traditional film noir movies, Hitchcock’s films often featured many of the same themes and visual techniques.
Orson Welles: Welles directed Touch of Evil, one of the most iconic film noir movies of all time.

Some of the most famous film noir actors include:

Humphrey Bogart: Known for his roles in The Maltese Falcon and The Big Sleep, Bogart was one of the most iconic actors of the film noir era.
Barbara Stanwyck: Stanwyck starred in many classic film noir movies, including Double Indemnity and The Strange Love of Martha Ivers.
Edward G. Robinson: Robinson was known for playing tough-talking detectives and gangsters in many of his film noir roles.

The Use of Lighting and Shadow in Film Noir

One of the most distinctive visual elements of film noir is its use of lighting and shadow. The chiaroscuro lighting technique used in film noir creates a sense of mystery and tension, as the characters are often shrouded in darkness and only partially visible.

Lighting is often used to highlight certain aspects of the scene, such as a character’s face or a particular object. Shadows are also used to create a sense of danger and uncertainty, as the characters are often seen lurking in the darkness.

‘Sunset Boulevard’Credit: Paramount Pictures

The Role of Women in Film Noir

Women play a significant role in the film noir genre, often portrayed as seductive and dangerous femme fatales. These characters use their sexuality to manipulate and control the male protagonist, leading them down a path of self-destruction.

However, there are also many strong and complex female characters in film noir, such as the character of Phyllis Dietrichson (Barbara Stanwyck) in Double Indemnity. These characters often subvert traditional gender roles and challenge the expectations of the male-dominated society in which they live.

Film noir continues to influence modern media, with many filmmakers and television producers drawing inspiration from the genre. The use of chiaroscuro lighting and morally ambiguous characters can be seen in many modern crime dramas and thrillers.

The popularity of film noir has also led to a resurgence of interest in the genre, with many classic film noir movies being re-released and restored for modern audiences.

Summing Up The Mysterious World of Film Noir

Film noir is a genre of cinema that has had a significant impact on the development of cinema. Its distinctive visual style, dark themes, and morally ambiguous characters have made it one of the most iconic genres in the history of cinema. Although the era of classic film noir may be over, its influence continues to be felt in modern media, and its legacy will undoubtedly continue to inspire filmmakers for generations to come.

Let me know what you think in the comments.

Get ready to peer through the

Film

Kathleen Kennedy Teases New Star Wars Projects

ANAHEIM, CALIFORNIA – MAY 26: Kathleen Kennedy, President, Lucasfilm attends the studio showcase panel at Star Wars Celebration for “Obi-Wan Kenobi” in Anaheim, California on May 26, 2022. The series streams exclusively on Disney+. (Photo by Jesse Grant/Getty Images for Disney)

Following the Ahsoka panel at the Star Wars Celebration in London, Kathleen Kennedy, the President of Lucasfilm, spoke with Variety about upcoming projects in the Star Wars franchise.

During an interview, Kathleen Kennedy expressed interest in featuring Daisy Ridley’s character Rey in an upcoming Star Wars film. The project announcement took place during a panel on April 7th.

In addition to discussing Daisy Ridley’s return as Rey, Kennedy provided an update on the studio’s partnership with filmmaker Rian Johnson. She revealed that Johnson is potentially working on a new trilogy within the Star Wars universe, further expanding the franchise’s storytelling potential. With Johnson’s talent and Kennedy’s leadership, fans can anticipate an exciting new chapter in the Star Wars legacy.

Kathleen, the President of Lucasfilm, discussed filmmaker Rian Johnson’s potential involvement in a new Star Wars trilogy. While Johnson is now busy with other projects, he has expressed a strong desire to return to the franchise. Kennedy shared that she and Johnson maintain regular communication. But any official plans are on hold until Johnson’s schedule clears up. Kennedy acknowledged that a new Star Wars trilogy would require a significant time commitment, leaving the decision ultimately up to Johnson.

Kathleen Kennedy provided an update on Taika Waititi’s standalone film in the Star Wars universe.

According to Kathleen, Taika Waititi is hard at work on his standalone Star Wars film. Waititi is writing the script and is determined to maintain his singular creative vision. Kennedy emphasized that the studio supports Waititi’s unique voice and is committed to bringing his vision to the big screen.

During an interview, the question of a second season for the Obi-Wan Kenobi series arose. Fans have expressed interest in seeing Ewan McGregor’s Jedi character return for another adventure. Kennedy addressed the inquiry, but there are no official plans for a second season.

ANAHEIM, CALIFORNIA - MAY 26: Kathleen Kennedy,

Ariana Madix Joked About a ‘Throuple’ With Tom Sandoval and Raquel Leviss Pre-Cheating Scandal

Ooof. It seems that even before Ariana Madix discovered Tom Sandoval had been cheating on her with their Vanderpump Rules costar Raquel Leviss, she could sense a bit of chemistry between them.

In a newly released deleted scene from last week’s episode of Vanderpump Rules—which was set during Scheana Shay’s wedding—the 37-year-old reality star caught a vibe while chilling in a hot tub with Sandoval, 40, and Leviss, 28. “It looks like we’re a throuple,” she joked to her then boyfriend of nine years and former friend after the group posed for photos. “It looks like we’re in a throuple on a romantic vacay.”

After seeing the hot tub snaps, Leviss said, “These photos better never surface.” Hmm…I wonder why?

VPR’s Shay and Brock Davies tied the knot in Cancún, Mexico, in August 2022. Though Leviss’s kiss with Katie Maloney’s ex Tom Schwartz caused a fair amount of drama at the time, Bravo fans later learned that Leviss and Sandoval had been having an affair since that summer. Many even speculate that Leviss and Schwartz’s makeout session was an elaborate coverup (which Schwartz has denied).

Meanwhile, this week’s episode of the reality series, which aired on April 19, raised a bunch more red flags. Sometime between the wedding and the Scandoval of March 2023, Leviss’s former fiancé, James Kennedy, noted his ex’s closeness with both Toms after his girlfriend Ally Lewber told him she saw Sandoval and Leviss dancing at The Abbey in West Hollywood. “I thought it was kind of weird,” Lewber told Kennedy, per People. “It was like 1 a.m., and we were like, ‘Where’s Ariana?’”

During a confessional, Lewber added, “I personally wouldn’t be comfortable with it, I guess, to have my boyfriend out at 1 a.m. with girls, but everyone’s different.”

Amy Sussman/Getty Images

Ooof. It seems that even before Ariana

Ana De Armas and Chris Evans for GHOSTED

What to Watch

Why Ana De Armas Replaced Scarlett Johansson In Ghosted, And How Her John Wick Spinoff Helped Make It Happen

Hollywood is driven by schedules. Want to know when that movie you have been dying to see is finally coming out? We have a full schedule of Upcoming 2023 movies. Are you a studio looking for the best release window? Check the schedule. Are you a producer hoping to land the ideal director or cast members? You are beholden to their schedules. This is something that Ghosted director Dexter Fletcher discovered when he was working with Chris Evans to nail down a co-star. Originally, Ghosted was meant to be a Marvel reunion of sorts, casting Scarlett Johansson opposite the Captain America actor. But Scarlett Johansson had to exit the movie, and now we have more details as to why. Read on as you wait for the movie to arrive on AppleTV+ later this week.

Chris Evans has a rich history with both ladies, having appeared alongside Scarlett Johansson in countless Marvel stories that you will encounter if you ever try to watch the Marvel movies in order. But Evans and Ana De Armas also turned heads as members of the first Knives Out cast. See where they placed on our ranking of the five best Knives Out performances. So the moment that Johansson had to drop Ghosted, Evans rang up De Armas, according to Dexter Fletcher, who went on to elaborate:

Chris is a great guy, and much loved by everyone he works with. So when things didn’t quite work out with Scarlett, which was his other great plan, I think (Ana) was his next go-to sort of… I mean, I said to him, ‘What about Ana?’ And he was on the phone with her within the next three seconds.

But Fletcher confirms Scarlett Johansson was the option in the planning stages of Ghosted. Only, those aforementioned schedules (so troublesome) came into play. The director continued:

When (Evans) came to me, and we were talking about it with Skydance, they were like, ‘Okay, we really think there’s a good chance that Scarlett…’ She was certainly engaged, and Chris and her had been speaking about it. The conversation got to a certain point, but then she had to make a choice, and another project moved. And so we didn’t fit into her window. But then Ballerina moved, and we did fit into Ana’s window. So it was one of those things. It’s the choice between a rock and a hard place. I mean, I wasn’t going to complain about either options.

Because as you will see when you check Ghosted (opens in new tab) out, Chris Evans can spark chemistry with virtually any actor, and he falls into a comfortable rhythm with Ana De Armas basically from the opening of this film. And the movie takes audiences to some unexpected places as it tells the story of a needy farmer (Evans) who thinks the beautiful girl he met at the Farmer’s Market is blowing him off. It might not make our current list of the best movies available on AppleTV+ in the moment, but if you are fans of the actors, you should press play starting on Friday, April 21.

Hollywood is driven by schedules. Want to

A man in a heavy coat and more layers with a bag over his shoulder walks away from a scene of destruction; still from "Andor."

Awards

2023 Emmys: ‘Andor’ Can Hold Its Own Against ‘The Mandalorian’

“Andor” has a lot going for it in the upcoming Emmys craft races as the best “Star Wars” since “Rogue One.”

With three “Star Wars” series competing for the first time in the same Emmy season — especially in the craft races — how can the critically acclaimed yet underperforming “Andor” hold its own against “The Mandalorian” (which has amassed 14 craft wins in two seasons), let alone the Jedi-infused “Obi-Wan Kenobi” limited series?

Simple: By touting its strengths as one of the top 10 shows of 2022 (per IndieWire’s Ben Travers), as well as the best “Star Wars” since “Rogue One,” which first introduced Cassian Andor (Diego Luna) as part of the daring mission to steal the Death Star plans. In the “Andor” prequel, created by Tony Gilroy (who co-wrote “Rogue One”), we find out how Cassian went from world-weary scavenger to conniving Rebel spy.

Beyond sci-fi, it’s a gritty spy thriller that emphasizes politics more than any other “Star Wars” show, slowly filing in the details of this complex loner, who will eventually light the fuse that ignites the rebellion against the Empire.

True, there are drawbacks to the Emmy chances of “Andor.” “Andor” isn’t as flashy as “The Mandalorian” or as iconic as Ewan McGregor’s return in “Obi-Wan Kenobi.” It’s the first “Star Wars” series to abandon the Jedi and their lightsabers, which disappointed fans and hampered viewership on Disney+. However, it delivers constant galactic tension throughout its 12 episodes and will complete Cassian’s five-year journey right up until the “Rogue One” mission in Season 2.

But “Andor” has already showed some awards promise by receiving early guild recognition. It won the ACE Eddie TV drama award for editing, and got ADG, VES, and SCLA nominations for fantasy production design, created environments, and Nicholas Britell’s brilliant score.

Diego Luna in “Andor”

Disney+

Part of the special allure of “Andor” is that it’s a Gilroy sibling collaboration, with Tony joined by screenwriter-director Dan (“Nightcrawler) and editor John (“Nightcrawler”). Unable to direct, Tony relied on the team of Toby Haynes (“Black Mirror”), Susanna White (“Billions”), and Benjamin Caron (“Wallander”). Plus, there were two additional writers: Stephen Schiff (“The Americans”) and Beau Willimon (“House of Cards”).

In keeping with the grounded and visceral quality of Gilroy’s feature work (“Michael Clayton”), a great deal of “Andor” was shot on location. Forgoing the Volume — ILM’s StageCraft LED wall used by the other “Star Wars” series — “Andor” set up shop around the U.K. (including a foggy Scottish landscape) and at London’s Pinewood Studios.

Although the three “Star Wars” shows will be submitted in all craft categories, “The Mandalorian” is expected to once again dominate for Season 3 (previously winning cinematography, production design, VFX, prosthetic makeup, score, sound mixing, stunt coordination, and stunt performance). However, “Andor” should be most competitive in editing, production design, and score (with the standouts being Episode 10’s “One Way Out” prison escape on Narkina 5 and the “Rix Road” finale).

Editing

What’s singular about “Andor” is that its dramatic beats are grouped into four, three-block mini-movies. This points to the strength of Gilroy’s blueprint, which helped bolster such standout editing. John Gilroy, who was new to TV, worked with Tim Porter (“Game of Thrones”) on the first three episodes and the Garrison payroll heist in Episode 6 (“The Eye”) with Dan Roberts (“Peaky Blinders”). The other episodes were edited by Hazel Baillie (“Black Mirror”), Frances Parker (Emmy winner for “Band of Brothers”), Matthew Cannings (“Black Mirror”), Simon Smith (Emmy winner for “Chernobyl”), and Yan Miles (“The Crown,” “Game of Thrones”). Smith won the ACE award for “One Way Out.”

“Andor” takes its time exploring Cassian’s childhood trauma through a series of emotional flashbacks in the first three episodes. In the second block, Cassian goes on his first heist; in the third, he is imprisoned on Narkina 5; and, in the fourth, his desire intensifies to join the rebellion and fight back against the Empire.

Production Design

Emmy winner Luke Hull (“Chernobyl”) was encouraged from the start to treat “Andor” as a grounded, political, period drama, and he delivered on this “Star Wars” departure, particularly with the sterile white prison on Narkina 5. But that’s not all: The detailed world building that went into the working class mining town of Ferrix, where Cassian lives, required that the art department construct an outdoor, practical build containing several city blocks. One of the highlights is a firefight in a warehouse with Cassian and Luthen (Stellan Skarsgård) taking on a dozen security guards.

By contrast, the luxurious galactic capital of Coruscant, where Luthen and Imperial Senator Mon Mothma (Genevieve O’Reilly) live, offered stunning visual contrasts. He owns an eccentric antique shop (full of “Star Wars” references) but leads a double life organizing the rebellion, and she leads a double life as their financier.

Original Score

“Succession” Emmy winner Britell was such a fan of Gilroy’s “Michael Clayton” that he was thrilled at the prospect of re-imagining the “Star Wars” musical landscape for “Andor.” And he was encouraged to lean into the gritty and dark vibe that reflects Cassian’s personal rage against the Empire, formed with the aid of a pulse motif. Britell was free to be experimental, so he used analog synths and created atmospheric elements. At the same time, there are passages very much in keeping with the majestic sweep of John Williams, courtesy of a 50-piece orchestra at AIR Lyndhurst Studios in London.

But there was also a very strategic on-camera musical sound of a bell ringer devised as a warning system on Ferrix. That rhythm was not only time-consuming to figure out, but it was also essential that it not be confused with the rest of the score.

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The Best of Coachella 2023 Day 1: Bad Bunny, Gorillaz, Blink-182, and More

"Andor" has a lot going for it

Music

Blink-182 Shift to Main Stage After Frank Ocean Cancels Weekend 2 Headlining Set

After closing out the first weekend of Coachella 2023, Frank Ocean will not return as the Sunday headliner of the California festival’s second weekend. Though it doesn’t appear that there’s a direct replacement for him, Blink-182 will now perform on the main stage on Sunday night at 9:20 p.m., after playing on a side stage last Friday. After them is an as-yet-unannounced act that’ll take the stage at 10:25 p.m., the festival revealed in its full weekend two schedule.

Mark Hoppus, Tom DeLonge, and Travis Barker reunited for a set announced just one day before they appeared at Coachella on Friday, April 14. It was their first performance with the classic lineup since DeLonge departed the band in 2015. They performed, among other songs, “What’s My Age Again?,” “I Miss You,” their new single “Edging,” and a mash-up of “No Scrubs” and “Dammit.”

Blink-182 were originally slated to begin a tour in March across South America, but they were forced to postpone those appearances after Travis Barker sustained an injury that required surgery on his finger. The band’s North American tour is currently scheduled to begin in May with dates alongside Turnstile.

Frank Ocean’s camp said he was forced to cancel the weekend two performance on the advice of his doctor due to two fractures and a sprain in his left leg. “It was chaotic,” Ocean said in a statement. “There is some beauty in chaos. It isn’t what I intended to show but I did enjoy being out there and I’ll see you soon.”

The news followed reports that overall production of Ocean’s headlining set was altered due to an ankle injury; a pair of ice skaters also seemed to confirm rumors of a scrapped ice rink component. Ocean’s set was one of very few that didn’t appear on the festival’s YouTube livestream, and it ended somewhat abruptly with an address to the crowd: “Guys, I’m being told it’s curfew, so that’s the end of the show. Thank you so much.” (Coachella was ultimately fined for breaking curfew on all three of the festival’s nights.)

Ocean’s performance last week was his first since 2017. He was announced as a headliner for Coachella 2020 before the festival was canceled for two years in a row due to the pandemic. In 2021, the festival revealed that Ocean would headline the 2023 edition instead of returning for a set in 2022.

After closing out the first weekend of

Docs

Blackjack: Fundamentals and Strategies of the Game

Blackjack is one of the most popular games among casino regulars. Contrary to popular misconception, placing real money bets on slot machines online or blackjack is still legal for U.S. citizens. So find legal blackjack in the USA will not be difficult. It is a very simple and fast game that even beginners can participate and win. In addition, playing blackjack is profitable because this game has a minimum casino advantage.

Thus, the probability of winning increases many times over. To enjoy playing blackjack, you just need to know the basics and practice a little. Mastering the basic strategy of the game is necessary to play with confidence at the table. Beating the dealer is the ultimate goal of all players. If a player scores more points than the dealer, he wins. Below you will learn the basic blackjack rules and strategies.

Blackjack Basics

There are a few basic rules in blackjack. For example, each card is counted on points. The king, queen and jack have a value of “10”, the ace is equal to “1” or “11”, the other cards have a face value: 3 is “3” and 4 is “4”. If you need more cards, you ask the dealer to “press”. When you have enough cards, you ask the dealer to “stop”.

To win at blackjack, you must not exceed the number 21. If the total number of cards in your hand exceeds 21, you lose. You’ll also lose if the dealer’s total of cards reaches 21 before yours.

Key Blackjack Terms

Before you start playing, you should make sure you know all the necessary blackjack terminology. Here are a few of the most basic terms:

Master is the last player to act before the dealer;
Bankroll – This is the money you have at your disposal during the game;
Hot card – This is the top card in the deck that the dealer puts face down to the side before dealing. This is done to keep players from guessing what the first card will be;
Bust – This word is spoken by a player who is running out of money. It is usually said that you are “broke” if you lose or have no more money to bet;
Cold deck – is a deck of cards from which the player constantly gets bad cards and loses money;
Paunch – the player asks the dealer to exchange low value chips for higher value chips;
A discard is all the cards that have already been dealt;
Double – a situation where a player doubles his original bet and receives only one additional card;
Push – the word means a draw, when the player and the dealer got the same number of points;
Casino Advantage – This is the advantage that the casino has in the game;
Fixed Bet – This is the action where the player bets the same amount over and over again;
Hit – A player asks the dealer to give another card;
A Pit is the table the player sits at while playing blackjack;
Stand is when you decide not to draw any more cards;
Split is when you split two cards of the same value.

Basic blackjack strategy

There are practical basic strategies with which a player is more likely to win. But even the best strategy will not bring you more than 99.5% theoretical profit. The main reason blackjack players make large earnings is to be able to count cards and gain an advantage in physical casinos.

One of the best blackjack strategies is to memorize all the scenarios and solutions of the game outcomes. A player should learn how to use a basic blackjack strategy chart. Strategy charts and graphs explain all the moves to be made in all possible situations. They are very easy to use and allow even novice players to apply the basic strategy.

This is one of the varieties of blackjack strategy, the filling style is all the same. There are certain rules in different versions of blackjack, so schemes need to be tailored to the rules of a particular style of play.

The dealer’s card and its corresponding value are located at the top of the table, and the player’s total is on the left side. Find your total on the initial vertical line and determine the intersection point between your hand and the dealer’s hand. Use the chart to determine the appropriate course of action based on your fundamental strategy.

Suppose the dealer’s card shows a 7 and your cards add up to 14. At the point where they intersect, the letter H will appear, signifying the “Hit” command. The dealer and the player have their respective card sums of 5 and 12, which may be confusing since the latter card is not usually considered a desirable hand. Although players may be inclined to fold in this situation, the table orders them to stand, as the dealer is at a disadvantage.

Additional information about the game of blackjack will be helpful. In the game, a hand containing an ace is called a soft hand, and it can be worth 1 or 11 points, depending on player preference. Soft hands require a different strategy than hard hands, which are hands without an ace and have a fixed value. This model program offers a specific course of action that varies depending on the type of hand.

Blackjack is one of the most popular

Global

‘Be kind. Show love’: Dozens gather to remember teen stabbed on Surrey bus – BC

Dozens of people came out Thursday afternoon to honour and remember the 17-year-old who was fatally stabbed on a Surrey, B.C., bus on April 11.

Ethan Bespflug was on his way home when an altercation took place on the bus. He died of injuries sustained on board at 100th Avenue and King George Boulevard around 9:30 p.m.

During the celebration of life Thursday, friends and family members of the young man hugged, shared memories and laid flowers.

“I hope when you leave here today that you do so with a real sense of having shared something special for a special and unique young man,” Barry Slocombe, the funeral celebrant said at the service.

Click to play video: 'Emotional vigil held for Surrey teen Ethan Bespflug'

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Emotional vigil held for Surrey teen Ethan Bespflug

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Bespflug’s mother, Holly Indridson, also spoke at the celebration of life.

“I don’t have much to say,” she said. “My whole being is gone. My soul is gone. He was the most polite, kind, gentle soul. He paved the way for his brothers and sisters and set such a good example of how to live life and how you should be – helping others and helping strangers.”

Indridson said the morning of the day he died, Bespflug was teaching his younger sister how to ride a bike.

“Just be kind,” she added. “Show love.”

Indridson said it meant a lot to her to have so many people show up to the celebration of life and express how much they loved her son.

Two GoFundMe campaigns have been set up, which Indridson said will go towards her son’s funeral. She said she hopes to bury him alongside her mom.

A suspect is in custody and charged with second-degree murder for Bespflug’s death.

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The Integrated Homicide Investigation Team (IHIT) said officers arrested 20-year-old Kaiden Mintenko of Burnaby at a residence on Sunday. The charge was laid on Monday afternoon.

“They were known to each other through a third party,” Sgt. Timothy Pierotti said in a Monday press conference. “We can confirm this was not a random attack.”

Mintenko was known to police, he added.

— with files from Elizabeth McSheffrey

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

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Trending

Alec Baldwin Thanks His Wife & His Lawyer After ‘Rust’ Charges Are Dropped – Deadline

Alec Baldwin today thanked two rather disparate people in responding to New Mexico dropping criminal charges today against him in the on-set shooting death of Rust cinematographer Halyna Hutchins.

The Oscar-nominated and Emmy-winning star’s first public comments on the surprise development came in an Instagram post. Under a doting photo of Baldwin and his wife, Hilaria, the actor added the caption: “I owe everything I have to this woman (and to you Luke).”

The latter is a nod to Luke Nikas, Baldwin’s attorney in the Rust case.

Today’s news about the charges surrounding the death of cinematographer Halyna Hutchins on the Rust set in October 2021 came less than two weeks before a mini-trial was scheduled to begin in New Mexico. Later in the day, it emerged that charges also will be dropped against Rust armorer Hannah Gutierrez-Reed. A virtual status conference in the case has been scheduled for April 21 before Judge Mary Marlow Sommer.

Baldwin and Gutierrez-Reed were charged in late January with two counts of involuntary manslaughter. Along with a mandatory five-year firearm enhancement that later was cast aside as “unconstitutional,” the charges carried a maximum of 18 months behind bars and about $5,000 in fines if a jury delivered guilty verdicts. At the time, New Mexico officials made a plea deal with Rust assistant director Dave Halls, who was sentenced to six months of unsupervised probation.

Baldwin, who was rehearsing a scene for the movie when the gun went off, repeatedly has insisted he did not pull the trigger on the 1880s prop gun that killed Hutchins and wounded the film’s director, Joel Souza.

Erik Pedersen contributed to this report.

Alec Baldwin today thanked two rather disparate

Tech

Twitter removes Legacy Blue Checks and sparks anger, confusion, ennui

As promised, Twitter Legacy Blue verification checks started quietly disappearing from user accounts Thursday afternoon. Now the only way to hold onto the coveted Blue Tick is by paying Twitter a $7.99 a month subscription fee.

Elon Musk announced the final day to pay up last week and — even as he juggled the first SpaceX StarShip (opens in new tab) launch (which ended with a spectacular mid-air explosion) — Musk found time to set his draconian plan in motion.

The change appears to have impacted many legacy verified accounts including those of The Pope, who goes by Pontifex (opens in new tab) on the platform, and actor Halle Berry (opens in new tab), who made it clear in a tweet that she would not be paying. Even Beyoncé (opens in new tab) and Lady Gaga lost their Blue Checks.

As of this writing, basketball player Lebron James (opens in new tab) still had his Blue Check, which says he now subscribes to Twitter Blue. This despite the fact that James tweeted on March 31, “Welp guess my blue will be gone soon cause if you know me I ain’t paying the 5.”

Who are you on Twitter?

The good news is that those who are verified with a Blue Check are being asked for more than just a credit card. Now, when you click on a Blue Check, you see this message: “This account is verified because they are subscribed to Twitter Blue and verified their phone number.”

The phone number is to ensure that those seeking Twitter verification aren’t impersonating someone. But is it useful? After all, it’s still completely possible to have a phone number and claim you’re Beyoncé even if you’re not. There’s also little to stop someone from changing their Twitter name (but not the “@” handle) to someone else’s name. An issue Monica Lewinsky pointed out last month.

As Journalist Ed Krassenstien (a paying Twitter Blue member) wrote on Twitter on Thursday, there could be an imposter problem for those who’ve put in the time growing a Twitter following. “Some people spent years building up accounts and building a presence on this platform. They did so without the assumption of having to eventually pay for it. Now, it is extremely difficult for their fans to differentiate their posts from imposters’ posts unless they pay.”

What does Blue get you

Twitter Blue is not all about the Blue Tick. Subscription has its privileges, including massive 10,000-character tweets, fewer ads, the ability to post longer and higher-quality videos, and prioritized rankings.

The last bit may prove frustrating for those previously verified, since it may soon be harder to get their Tweets noticed and found through search. Still, Musk’s pay-to-play system may be necessary as the now-private Twitter struggles to become profitable. Musk’s previous efforts have included massive staff cuts. He’s also undermined his own efforts with tweets and actions that have so concerned advertisers that they fled the platform. There are some indications, though, that they are returning.

Today is a new day for Twitter. If nothing else, it’s a social media landscape where anyone can have a Blue Check, if they’re willing to pay. It remains to be seen if this is the magic elixir Twitter needs to survive.

As promised, Twitter Legacy Blue verification checks

BuzzFeed News Union says CEO Jonah Peretti has failed to face reporters in light of announced job cuts.

Video

BuzzFeed News’ Closure Is the Ultimate Cautionary Media Tale

The viral news sweetheart of the 21st century shut down on Thursday – leaving many journalists to ask what the damn point was

It started with cat videos. “What the hell is this?” I thought, as people around me in 2011 started talking about “viral videos.” We needed a social strategy that would … MAKE US GO VIRAL.

Like BuzzFeed.

The rise and fall of BuzzFeed — by which I mean BuzzFeed News — will live on as a cautionary tale in the annals of 21st-century media. The ambition. The overconfidence. The rapid conquest of an audience and then the race to go public and monetize it all.

It ended, Thursday, in tears, with founder and CEO Jonah Peretti writing a chest-pounding mea culpa the likes of which I have not seen since Yom Kippur as he announced the closure of BuzzFeed News:

“We’ve faced more challenges than I can count in the past few years,” he wrote in a memo to staff that oozed public shame and private guilt, a marked change from someone who for years asserted news dominance. “A pandemic, a fading SPAC market that yielded less capital, a tech recession, a tough economy, a declining stock market, a decelerating digital advertising market and ongoing audience and platform shifts …

“But I also want to be clear: I could have managed these changes better as the CEO of this company and our leadership team could have performed better despite these circumstances.” He added: “The macro environment is tough, but we had the potential to generate much more revenue than we delivered over the past 12 months.”

Never mind the wasted value to shareholders, as the company went from a $1.5 billion (inflated) valuation at the time of its SPAC deal in December 2021 to a market cap of $105 million. Consider that.

No, I’m thinking hardest about the wasted effort and dreams of hundreds of journalists who believed BuzzFeed was the future of journalism, as Peretti and others constantly preached.

BuzzFeed, went the story, was successfully using technology to challenge legacy players like the New York Times, leading a path forward for journalism and redefining news in the 21st century. After figuring out how to leverage social media, mostly Facebook, to drive millions of views and grow an audience of millions of Millennials, BuzzFeed was pivoting from cat videos and listicles and “The Dress” to real news.

Having articulated that vision, BuzzFeed, then led by Editor-in-Chief Ben Smith (now the co-founder of Semafor) set out to achieve it, hiring dozens of journalists from established institutions who bought the dream. The site broke some big stories, mostly in politics, and took some risks that paid off.

“Nine out of 10 Millennials know BuzzFeed and BuzzFeed News.”

– Jonah Peretti, Dec. 12, 2017

2014: BuzzFeed News wins National Press Foundation Award
2016: Wins National Magazine Award
2017: Publishes the controversial Steele dossier
2021: Wins George Polk Award and the Pulitzer Prize

The same year it won a Pulitzer, BuzzFeed went public through a SPAC merger. And the transparency and accountability of being a public company suddenly posed a challenge for Peretti’s fancy rhetoric.

This Story Was Not Written by a Robot: AI and the Future of News Media

As a private company, no one asked questions about BuzzFeed throwing a party at the Republican National Convention that nominated Donald Trump in 2016. Smith held court in the corner of the rooftop of a hip building in downtown Cleveland. He was a player and so was the site.

I texted Smith on Thursday after the news of the site’s closure. “Our goal was to build a news organization really embedded in social media, and as consumers turned against social media and social media turned against news, we never lost our footing,” he wrote back.

But BuzzFeed the company clearly lost its footing. As Google and Facebook ate up direct advertising, the company needed to get bigger. Facebook was no longer the viral playground it once was. Acquiring the Huffington Post — now just HuffPost — in a 2020 all-stock deal made it bigger, but not more profitable. Then BuzzFeed went and bought the urban lifestyle site Complex to get even bigger. But getting bigger took them further from the journalism.

“We are building a better model for digital journalism, with a focus on original documents and receipts.”

– Jonah Peretti, Jan. 3, 2020

For me, the die was clearly cast when the company filed paperwork for its IPO. BuzzFeed promised huge growth from its $300 million-plus in revenue by acquiring Complex and leaning into e-commerce. Selling stuff. Back to listicles that drive sales leads to Amazon? That translated away from journalism and into — what exactly?

BuzzFeed Forecasts a Dire Revenue Implosion in Q1

What was BuzzFeed if not a company defined in the public imagination by news? I don’t know the answer to that question today, and I don’t know if Peretti does either.

The tale of BuzzFeed News is notable in the media landscape because of how quickly it created credibility out of an audience built on viral nonsense, and how just as quickly a quest for growth and profit doomed its ability to sustain itself as a news organization.

Peretti admitted as much in his Thursday note: “I made the decision to overinvest in BuzzFeed News because I love their work and mission so much. This made me slow to accept that the big platforms
wouldn’t provide the distribution or financial support required to support premium, free journalism purpose-built for social media.”

In short: The idea didn’t work.

In my 14 years as a media entrepreneur and parallel life as a reporter, I’ve written plenty of news media obits. This one came as no great shock.

How Vice, Vox and BuzzFeed Blew the Future of Media

The viral news sweetheart of the 21st

‘Drag Race España’ Season 3 | Decider

By Brett White

If you’re wondering where to get your Drag Race fix now that the winner of Season 15 has been crowned, you need look no further than Drag Race España Season 3. This international spinoff is back and bigger than ever before — and I also mean that literally, because this season has 13 queens vying for the crown. I know there are a lot of international spinoffs, including 2023 debuts Drag Race Belgique and Drag Race Sverige, but España has elevated itself above the rest due to the extra-ness of its theatrics, hosts, and — of course — queens. We’re just one episode into Season 3 and it already feels like España is at the height of its powers. So what are you waiting for? Turn on the subtitles (and maybe fire up Duolingo between episodes) and watch these queens get to werk.

Photo: World of Wonder

By Brett White If you’re wondering where to get

Movies

Guy Ritchie and Other Directors Who Put Their Names in Movie Titles

He turned Will Smith into a cerulean genie for the 2019 live-action “Aladdin” and twice reimagined Sherlock Holmes as a swashbuckling rogue, to hefty box-office returns. As a filmmaker, though, Guy Ritchie has long been synonymous with sprawling ensemble pictures like “Snatch,” “The Gentlemen” and “Lock, Stock and Two Smoking Barrels”: laddish, kinetic crime capers larded with movie stars, bloodied knuckles and inscrutable Cockney accents. (The latest of such outings, an antic international spy lark called “Operation Fortune: Ruse de Guerre” featuring Jason Statham, Hugh Grant and Aubrey Plaza, arrived to middling fanfare this past March.)

So why is “Guy Ritchie’s The Covenant,” a somber-looking Iraq War drama about an American sergeant (Jake Gyllenhaal) and his Afghan interpreter (Dar Salim), the first of the director’s 15 features to formally bear his name? The answer, according to its U.S. distributor, MGM, turns out to be fairly prosaic: Another company had already asserted rights to the title. (“Lee Daniels’ The Butler,” produced by the Weinstein Company, faced a similar challenge in court from Warner Brothers in 2013 and lost, precipitating a hasty last-minute change.)

But this kind of déjà vu is hardly new: Broad-strokes monikers like “Crash,” “Heat” and “Rush” have all done double duty over the last few decades; “Twilight” is the name of both a poorly received 1998 neo-noir starring Paul Newman and Susan Sarandon and the 2008 teen-vampire juggernaut that launched four fanged, lugubrious sequels, as well as a cult 1990 mystery by the Hungarian filmmaker György Fehér. (Ritchie might have called his latest‌ ‌ “The Interpreter” instead, had that appellation not already been claimed by a 2005 Sydney Pollack political thriller starring Nicole Kidman; so back, alas, to the drawing board.)

If the back story of “The Covenant” wanders into the weeds of copyright law, “Guillermo del Toro’s Pinocchio,” which won the Academy Award for best animated feature last month, makes an easier case for its qualifier: Without it, the movie could hardly be set apart from both the 1940 Disney classic still widely seen as definitive and an uncanny remake led by Tom Hanks — it currently sits at a grim 29 percent approval rating on the critical-aggregation site Rotten Tomatoes — released less than two months before.

In a larger sense, though, the inclusion of del Toro’s name also serves as shorthand and a promise, portending not only the age-old tale of a wooden boy made real but the particular vision of its maker — a lush, prolific fantasist famed for the distinctive visual style and dazzling gothic grotesqueries of films like “Pan’s Labyrinth” (2006) and the best picture-winning “The Shape of Water” (2017). That del Toro actually split directing duties for “his” “Pinocchio” with Mark Gustafson seems almost a footnote. Though Gustafson, an industry journeyman with a wide range of writing and animation credits (“Fantastic Mr. Fox,” the original California Raisins), shared both the stage and the statuette with del Toro at this year’s Oscars ceremony, it’s the latter’s renown, by most Hollywood metrics, that matters.

With “Pinocchio” and the 2022 Netflix horror-anthology series “Guillermo del Toro’s Cabinet of Curiosities,” the director joins a long line of auteurs, from Alfred Hitchcock to Tim Burton, whose presence not merely above the title but in it serves as a stylistic marker, even when it’s not strictly their hand guiding the material. (The horror godhead Wes Craven habitually did the same; see “Wes Craven’s New Nightmare.”) Few, though, can claim to be the one-man industry that is Tyler Perry, who retains full ownership of the projects produced under his personal shingle at his stand-alone studio in Atlanta. The multihyphenate creator has famously put‌‌ his signature on several movie and television titles released under its umbrella — including “Tyler Perry’s A Madea Homecoming,” the most recent iteration of the reliably raucous comedies that he also writes and stars in as a salty, well-cushioned matriarch of a certain age.

While Madea is Perry’s wholesale creation, indubitably linked to the man who wears her wig onscreen, certain intellectual properties with roots that reach back centuries have tilted their brims instead toward a more literal (and literary) acknowledgment of the source. Think of the high-gloss 1990s productions “Bram Stoker’s Dracula” (directed by Francis Ford Coppola) and “Mary Shelley’s Frankenstein” (directed by Kenneth Branagh): It takes both the budget and the personal leverage of a prestige director, one presumes, to lay claim to the definitive versions of characters who have long been turned over to the public domain. Neither movie did much service to these iconic novels, but show business, as always, carries on: Coppola’s four-decades-in-the-making passion project “Megalopolis,” which wrapped shooting several weeks ago, was funded in part, he has publicly said, by his long-ago work on “Bram Stoker’s Dracula.” And Branagh, having recently mined his own Irish childhood for the dewy black-and-white drama “Belfast” (which won him an Oscar for original screenplay), will next direct and star as Hercule Poirot in his third Agatha Christie adaptation in six years, “A Haunting in Venice,” due this September. Neither he nor Christie is officially billed in the title.

He turned Will Smith into a cerulean

Rico Nasty Concert Review: Rap, Moshing and More in New York

Sugar trap queen Rico Nasty came to Brooklyn on her first headlining tour since 2019, and her legions of hardcore, mosh-pit-loving fans shook the floors of the Music Hall of Williamsburg on Wednesday night.

With her unique style and sound, a witch’s brew of carefree punk and new-age grunge mixed with banging trap and Gen-Z hyperpop, Rico has amassed a loyal fan base of young fans who have waited patiently throughout the pandemic for her to go on tour. At Wednesday’s concert, she treated a sold-out crowd to rocking renditions from her 2020 studio album “Nightmare Vacation,” her 2022 mixtape “Las Ruinas” and classics from her past releases like “Sugar Trap 2” and “Nasty.”

Chants of “Rico! Rico! Rico!” rang out in the 650-person audience at the Music Hall of Williamsburg before the 25-year-old rapper took the stage. A short DJ set hyped up the young crowd, who sang along word-for-word to viral hits from Lil Uzi Vert, Megan Thee Stallion, Ice Spice, Drake and more.

The concert crowd erupted when Rico finally took the stage and sang “OHFR” and “Trust Issues,” two head-banging songs that were merely appetizers for what would soon break out. She strutted, jumped and twerked around the stage in striped, black-and-white platform boots and a pink mini-dress with matching black-and-white pockets, like a Beetlejuice Princess Peach. A fuzzy, pink bunny hat with two floppy ears hung on for dear life as she bounced around the stage. Standing guard on either side of Rico were two giant inflatables: a sunflower and pumpkin that both sported creepy, skeletal grins and smiley gum piercings like Rico herself.

Many of the raging fans were dressed in similar fashion, with plenty of colorful hair, fishnets and leather in the crowd. On three separate occasions, however, people may have partied too hard as Rico had to stop the music to call for security to assist guests in need. She even helped throw water bottles to overheated fans and told concert workers to grab extra water from her dressing room.

Despite the minor hiccups in the night, Rico carried on performing an impressively high-energy set. Halfway through, she pulled out a stool to sit and slow things down with her mellow verse on Injury Reserve’s “Jawbreaker” and “Phuckin Lady” from “Las Ruinas.” After a brief interlude where she had an assistant carefully reapply her makeup on stage, Rico amped things back up with her furious, breakout single “Smack a Bitch” and her appropriately titled track “Rage.” The crowd turned into a living wave, moshing and crashing into each other as strobes and pink and green lights washed over everyone. After the chaos died down, Rico ended on a calmer note and sang her verse from Bktherula’s “We Made It.” The night closed out with her legions of fans chanting “You hate but you wish you was us.”

Since coming onto the rap scene in 2017 with her first major release, “Tales of Tacobella,” Rico has blown up to 1.9 million followers on Instagram and 2.1 million on TikTok. Her infectiously catchy hooks have made her a TikTok favorite, with nearly half a million videos using her song “Smack a Bitch” and 160,000 using “Tia Tamera,” her collab with fellow female rapper Doja Cat. She’s also worked with the likes of hit producer Kenny Beats, Megan Thee Stallion, Kali Uchis, Denzel Curry and hyperpop duo 100 Gecs.

After a busy week for the hip-hop industry, from headlines decrying the use of “AI Drake” in a fake song to Frank Ocean pulling out of Coachella’s second weekend after a disappointing set, there’s something uniquely refreshing about Rico’s performance. Her brand of “sugar trap” is wholly her own and unmatched. She juxtaposes her upbeat, bubbly lyrics with occasionally scream-o vocals and trap beats; she’s sugar and spice, sweet and sour, like a thorny rose or acid bubblegum. Rico has carved out her own section of the rap game, and so far she’s the master chef of her secret recipe of sugar trap.

Sugar trap queen Rico Nasty came to

MCU

Elizabeth Olsen Says She Has No Contract With Marvel

After redeeming herself following the events of Doctor Strange in the Multiverse of Madness, the fate of Wanda Maximoff was left ambiguous.

The newly christened Scarlet Witch finally saw the error of her ways after her multiversal children were terrified of her. Returning to the MCU’s main timeline, Maximoff destroyed the temple dedicated to the Darkhold author Chthon, seemingly sacrificing herself.

Image Credit: Marvel

Because Wanda isn’t shown again on-screen following the Darkhold destruction, fans have speculated about whether Scarlet Witch could have survived, and if so, when we would see her again.

With the WandaVision spin-off Agatha: Coven of Chaos on the horizon, it seemed like a Scarlet Witch return could be in the cards.

Photo:©Marvel Studios 2021.

Olsen Hopes To Return, But There Is a Catch

While the actress has continued to publicly state that she would love to return to the role, in an interview with Good Morning America, Olsen stated that she has no contract with Marvel, and is thus not privy to any glimpse into Wanda’s future.

“So my no twist zone is ‘Yes I hope so.’ I have no idea. When I say that, it’s not because I have a loaded answer. It’s because I say, ‘Yes I hope so,’ and I mean it at face value,” she said.

Photo: Marvel

When pressed by the Good Morning America hosts, however, Olsen admitted that she doesn’t even have a Marvel contract:

Roker: Have you started filming?

Olsen: Absolutely not.

Roker: Have you seen a script?

Olsen: No

Craig Melvin: Has there been a Zoom call?

Olsen: There’s no contract. There you go.

Could The Scarlet Witch Return?

So there you have it. While it doesn’t seem like Olsen will return to the MCU anytime soon, you never know.

With the actress willing to reprise her iconic role, would Marvel really throw away the opportunity to bring an Avenger back?

Thanks for visiting MickeyBlog.com! Want to go to Disney? For a FREE quote on your next Disney vacation, please fill out the form below and one of the agents from MickeyTravels, a Diamond level Authorized Disney Vacation Planner, will be in touch soon! Also, thanks for reading!

After redeeming herself

DCU

Other “Enterprise Kids” We Want in a STAR TREK: PICARD Spinoff

Star Trek: Picard has wrapped up its glorious final season, ending with a bit of a tease for the future. Towards the end of the episode, we learn that our Starfleet “Hero Ship” of the season, the Titan, has been rechristened as the new U.S.S. Enterprise. Seven of Nine is her Captain, and among her crew are Jack Crusher (Ed Speleers), son of Beverly Crusher and Jean Luc Picard, and Sidney La Forge (Ashlei Sharpe Chestnut), daughter of Geordi La Forge.

Star Trek: Picard's next generation of officers, Sidney La Forge (Ashlei Sharpe Chestnut) and Jack Crusher (Ed Speleers). — *Paramount+*

These inclusions have us wondering. Could a potential Star Trek: Legacy spinoff, focusing on the crew of the new Enterprise, have a role for all the kids of the TNG crew? While they shouldn’t all be crewmembers on board the Enterprise, as that would be a tad cheesy, they could still all have parts to play in the potential show. A “Next Next Generation.” Here are the kids of the classic Enterprise-D crew we hope to see in a future spin-off, should Paramount+ ever greenlight this series.

Kestra Troi-Riker

We first met Kestra Troi-Riker (Lulu Wilson) in Picard’s first season episode, “Nepenthe.” She was the second child of the former Enterprise crewmates William Riker and Deanna Troi and about 14 when we met her. Although only seen in that one episode, Kestra Troi-Riker was portrayed as an adventurous kid with a lot of spunk. Although she clearly carried a great sadness due to the loss of her older brother Thaddeus.

In a piece of dialogue cut from Picard season three’s “Surrender,” the show was going to reveal that Kestra was attending Starfleet Academy. So maybe once she graduates, she gets an assignment on the Enterprise-G? Again, we hesitate to place all the kids of the TNG crew as Enterprise-G officers. We would mostly just want them to appear in different capacities. However, if we got to include just one more as a crew member, Kestra Troi-Riker would make the most sense.

Soji Asha

Much of the plot of season one of Picard revolved around the mystery of Data’s children, particularly Soji Asha (Isa Briones). Soji was created by scientists Bruce Maddox and Altan Soong, the son of Data’s creator Noonien Soong. They took a single positronic neuron of the then-deceased android Data and used it to create new, more human-sentient androids. These twins were Soji Asha and her sister Dahj. Although Romulan extremists sadly murdered Dhaj, her synthetic sister survived.

We last saw Soji on the planet Raritan IV, where she was on a diplomatic tour advocating for the newly unbanned synths. As far as we know, Soji never met her father Data, who is now living in a flesh-and-blood body of his own. But that father/daughter reunion is one we would want to see on a Star Trek: Picard spinoff. We do think it would be a stretch to have Soji as a member of the crew. However, given her relationship with both Seven and Raffi, she would cross paths with them at some point. Not to mention also work together with the children of her dad’s Enterprise-D family.

Alexander Rhozenko

The teenage and child versions of Worf's son Alexander, as seen on Star Trek: The Next Generation and Deep Space Nine. — *CBS/Viacom*

Not all the kids of the Enterprise-D crew were introduced in Picard. Worf was the first TNG crew member to have a child, back when TNG was still airing new episodes. In season four of The Next Generation, Worf met his son Alexander, whom he had with his old flame K’Ehleyr. When they killed his half-Klingon/half-human former girlfriend, Worf became a single father. And usually, he wasn’t very good at it.

Alexander grew up partly on the Enterprise-D, and partly raised by Worf’s human parents on Earth. As a teen, he joined the crew of a Klingon Bird of Prey, as seen on Deep Space Nine. We haven’t seen Alexander in over thirty years. So it would be great to this “Enterprise kid” on a Picard spinoff series, possibly now as a Klingon warrior of great renown. It would be cool if he were a Klingon Captain, and we saw his Bird of Prey working alongside his dad’s old friends on the new Enterprise. A variety of actors played Alexander—so a recast wouldn’t be out of the question.

Sela

Tasha Yar is often regarded as the forgotten Enterprise-D crew member. Actress Denise Crosby left the role of the Enterprise security chief at the end of season one of TNG, and her character was killed off. But an alternate timeline Tasha appeared in the season three episode “Yesterday’s Enterprise.” In that episode, she went back in time to the prime reality in order to die a more honorable death. But it turned out she didn’t die after all.

Romulans captured alt-Tasha, and after marrying one, they had a child together. That child grew up to be Romulan Commander Sela, also played by Crosby. She faced off against Picard and his crew a handful of times. As far as we know, Sela is still out there—unless she died in the destruction of Romulus. But we have a feeling she survived. Since Denise Crosby didn’t get to come back for Picard’s final season, Legacy could be the perfect place to bring her back. We’d love to know how the last thirty years have changed her.

Wesley Crusher

Last but definitely not least, we can’t forget the original child of an Enterprise officer, the one and only Wesley Crusher. Wesley, played by Wil Wheaton, was the son of Dr. Beverly Crusher and the late Jack Crusher, Jean-Luc Picard’s best friend. After a time at Starfleet Academy, Wesley’s true nature as a Traveler was revealed to him, a being that lives outside of space and time. We didn’t see him again until a cameo scene at the end of Picard season two, where he recruited a new Traveler into the fold.

The show explained that the Travelers ensured the flow of time in the universe, recruiting agents to act on their behalf. In Picard season 3, Beverly heavily implies that she has not seen Wesley in decades and that he remains lost to her. But Wesley is not dead, and it seems a meeting with his brother Jack is in order. Certainly, Jack might have some resentment towards Wes, who not only abandoned their mother, but who also had the benefit of having Picard as a father figure… Even though he was not his biological son. Think of the drama! It would certainly be a story worth telling on a Picard spinoff.

All seasons of Star Trek: Picard and Star Trek: The Next Generation are streaming now on Paramount+.

Star Trek: Picard has wrapped

Comics

The Best Bows in Elden Ring

These are the best bows in Elden Ring. These weapons will hopefully encourage you to try being an archer on your next playthrough.

These are the best bows in Elden

Festivals

Ildikó Enyedi will preside over Cannes jury for Short Film Palme d’or – Deadline

Hungarian director and screenwriter Ildikó Enyedi has been announced as president of the Cannes Film Festival jury deciding the Short Film Palme d’Or and the 3 La Cinef prizes for student films in the Official Selection.

She will be joined by Iranian-American screenwriter and director Ana Lily Amirpour, Canadian actress and director Charlotte Le Bon, French actress Karidja Touré and Israeli filmmaker Shlomi Elkabetz.

Enyedi got her international break in Cannes in 1989 when her first film My 20th Century was selected for Un Certain Regard and won the Caméra d’Or

“When, in 1989, in that magical year of change in Europe I arrived in Cannes with my first feature film – with exhibitions banned, a student film banned and many difficulties – it was an unbelievable feeling,” said Enyedi.

“Being chosen meant to be understood, to be seen for real, as if this huge, colorful and flamboyant community of brilliant artists and film professionals opened their arms to me, the total beginner, inviting me among them, extending trust where there was just a promise. Till this day I remember every moment of the time spent in Cannes,” she continued.

“I am sure that those young filmmakers who present their short films in this year’s festival feel the same positive shock. I root for them, I hope that this recognition will boost their confidence to continue, to be bold and humble, not to lose focus, not to be starstruck or stunned – I root for them to deal with this recognition in a mature and wise way. Well, in a nutshell or rather in short…I root for them!”

Enyedi’s subsequent works included the Oscar-nominated On Body and Soul, which won the Golden Bear in 2017, and The Story of My Wife, which was in Competition in Cannes in 2021.

Hungarian director and screenwriter Ildikó Enyedi has

Film

Love & Death: Everything We Know About Your Next Big Little Lies-Like Obsession

Elizabeth Olsen as Candy Montgomery.

HBO Max

What’s the official synopsis?

Per HBO Max publicity, “Love & Death tells the true story of Candy and Pat Montgomery and Betty and Allan Gore–two churchgoing couples enjoying their small town Texas life…until an extramarital affair leads somebody to pick up an axe. Inspired by Evidence of Love: A True Story of Passion and Death in the Suburbs and a collection of articles from Texas Monthly (Love & Death In Silicon Prairie, Part I & II).”

Says Sarah Aubrey, Head of Original Content, HBO Max: “This is a gripping story about the frustrations and desires of two women in a small town that culminates in a terrible act of violence.”

Olsen as Candy.

Jake Giles Netter

Should you read up on what happened before you watch?

If you aren’t familiar with the story or didn’t want the Hulu series, Candy (which actually didn’t begin production until two months after Love & Death had started filming, even though it came out first), Linka Glatter says hold off for now. “Stay away, just go for the ride. But they’re going to be people that know the story already. And because of the Hulu series or they’ve read the articles, or there was a TV movie made a long, long time ago. Obviously, the story still intrigues. All I can say is that even if you’ve seen other things, it is approached in a really different way. And there’s room for all kinds of storytelling. And this is a very different way to tell this story.”

Who’s in the cast?

Elizabeth Olsen (WandaVision, Marvel Cinematic Universe, Martha Marcy May Marlene) as Candy Montgomery, Patrick Fugit (Almost Famous), as Candy’s husband, Pat Montgomery, Jesse Plemons (The Power of the Dog, The Irishman), as Allan Gore, and Lily Rabe (The Tender Bar, Shrinking) as Allan’s wife, Betty Gore. Krysten Ritter (Marvel’s Jessica Jones, Breaking Bad) plays Candy’s best friend, Sherry Cleckler, and Tom Pelphrey (Ozark) plays attorney Don Crowder. (Speaking of Pelphrey, wait till you see the final three episodes). Keir Gilchrist plays Pastor Ron Adams, Elizabeth Marvel plays Pastor Jackie Ponder, and Bruce McGill plays judge Tom Ryan.

Elizabeth Olsen as Candy Montgomery. HBO MaxWhat's the

Streaming TV Rankings March 20-26, 2023 – The Hollywood Reporter

Nielsen figures for The Night Agent confirm what Netflix’s internal data already said: The thriller had a very good opening week. Daisy Jones & the Six also made its chart debut for the week of its finale on Prime Video.

The Night Agent racked up 2.6 billion minutes of viewing time in the United States for the week of March 20-26 (it premiered on March 23). That’s equal to 43.4 million hours, or just over a quarter of the 168.71 hours of worldwide viewing Netflix reported for that week. It had more than double the viewing time of any other title Nielsen measures for the week; Shadow and Bone finished second overall with 1.03 billion minutes.

Daisy Jones & the Six snuck into the top 10 original series with 334 million minutes of viewing for the week it concluded its 10-episode run. Having the full run available (two or three episodes were released weekly starting March 3) likely helped push the show into the rankings.

After crossing the billion-minute mark the previous week, The Mandalorian dropped to 795 million minutes — good for third among original series — on Disney+. Netflix’s You, which finished first a week earlier, fell by more than 50 percent to 579 million minutes, while Ted Lasso (568 million minutes) edged up by about 5 percent for Apple TV+.

South Park had its best week to date on HBO Max, drawing 831 million minutes of viewing and leading all acquired series (the show is the subject of a legal fight between Max parent Warner Bros. Discovery and Paramount Global, whose Comedy Central is home to its first run).

Nielsen’s streaming ratings cover viewing on TV sets only and don’t include minutes watched on computers or mobile devices. The ratings only measure U.S. audiences, not those in other countries. The top streaming titles for March 20-26 are below.

Overall

1. The Night Agent (Netflix), 2.6 billion minutes viewed
2. Shadow and Bone (Netflix), 1.03 billion
3. South Park (HBO Max), 831 million
4. NCIS (Netflix/Paramount+), 797 million
5. The Mandalorian (Disney+), 795 million
6. Cocomelon (Netflix), 775 million
7. Bluey (Disney+), 744 million
8. Waco: American Apocalypse (Netflix), 738 million
9. Love Is Blind (Netflix), 691 million
10. Grey’s Anatomy (Netflix), 610 million

Original Series

1. The Night Agent, 2.6 billion minutes
2. Shadow and Bone, 1.03 billion
3. The Mandalorian, 795 million
4. Waco: American Apocalypse, 738 million
5. Love Is Blind, 691 million
6. You (Netflix), 579 million
7. Ted Lasso (Apple TV+), 568 million
8. Outer Banks (Netflix), 556 million
9. Gabby’s Dollhouse (Netflix), 383 million
10. Daisy Jones & the Six (Prime Video), 334 million

Acquired Series

1. South Park, 831 million minutes
2. NCIS, 797 million
3. Cocomelon, 775 million
4. Bluey, 744 million
5. Grey’s Anatomy, 610 million
6. Supernatural (Netflix), 583 million
7. The Big Bang Theory (HBO Max), 481 million
8. The Walking Dead (Netflix), 476 million
9. Shameless (Netflix), 467 million
10. Gilmore Girls (Netflix), 408 million

Nielsen figures for The Night Agent confirm

What to Watch

Sydney Sweeney Leads HBO Biopic Drama

The first Reality teaser trailer for HBO Films‘ forthcoming biographical drama thriller has been released featuring Sydney Sweeney.

As the one-minute Reality teaser trailer shows, the Euphoria star portrays real-life whistleblower Reality Winner. Winner, a former US Air Force member and NSA translator, uncovered Russia’s involvement in the 2016 U.S. presidential election. The film is slated to premiere on May 29 on HBO and Max.

Check out the Reality teaser trailer below (watch more trailers):

Based on Tina Satter’s play Is This A Room, Reality is directed by Tina Satter from a screenplay written by Satter and James Paul Dallas. The film stars Emmy nominee Sydney Sweeney (Euphoria, The White Lotus), Josh Hamilton, and Marchánt Davis.

“On June 3, 2017, 25-year-old former American intelligence specialist Reality Winner is confronted by FBI agents arriving at her home to question her suspected role in the mishandling of classified information,” reads the logline. “Based on true events, the film’s dialogue is directly from the transcript of their tense and transfixing conversation.

Reality is executive produced by Satter, Ellyn Daniels, Will O’Connor, Daniel Ginsberg, Andrew Beck, Bill Way, Elliott Whitton, Eva Maria Daniells, Philipp Engelhorn, and Caitlin Gold. Producers are Noah Stahl, Brad Becker-Parton, Riva Marker, and Greg Nobile.

The first Reality teaser trailer for HBO

Awards

Why Michelle Yeoh Is Returning to Star Trek After Oscar Win

Paramount+ announced earlier this week that Michelle Yeoh would reprise her role as Phillipa Georgiou from “Star Trek: Discovery” in a standalone movie event.

Production on the movie, titled “Star Trek: Section 31,” will begin later this year. The film will “follow Georgiou as she joins a secret division of Starfleet tasked with protecting the United Federation of Planets and faces the sins of her past.”

“Section 31” was initially announced as a series back in 2019. But then the pandemic hit and Yeoh’s career trajectory changed thanks to a role in a movie called “Everything Everywhere All at Once.” Last month, Yeoh won the Best Actress Oscar for portraying an immigrant mom struggling with her interpersonal relationships and her laundry business.

But despite her newfound status, Yeoh said she’s “beyond thrilled” to return to the “Star Trek” franchise.

“Section 31 has been near and dear to my heart since I began the journey of playing Philippa all the way back when this new golden age of ‘Star Trek’ launched,” the actress said in a statement Tuesday. “To see her finally get her moment is a dream come true in a year that’s shown me the incredible power of never giving up on your dreams.”

Executive producer Alex Kurtzman said he’s grateful for her return but mindful of her commitments.

“We happen to have a star who literally lit up the entire planet, and is now quite in demand,” Kurtzman told TheWrap at Wednesday’s “Picard” finale screening. “And I wanted to make sure that we were able to build this in a way that was respectful of her time and respectful of everything that she has more than earned for herself.”

“I adore Michelle so much,” he continued. “We’re very close. And she had a million reasons not to come back. And she did. And I will always be grateful to her for that. And I think she did because she’s so dedicated to the fans, and she’s so dedicated to the character and because we had a great time. So I’m excited for what’s in store. I think we get to do something really great.”

Akiva Goldsman, who directed Yeoh on “Discovery,” agrees.

“I remember an episode which I directed, where we actually sort of created these slightly darker versions of the characters. And Michelle ate it up,” he recalls. “She can do anything and she’ll do this amazing.”

Every Upcoming ‘Star Trek’ Show on Paramount+

Instead of a series, Georgiou’s story will be contained to a feature film, a first for the “Trek” franchise on Paramount+.

“Some stories are better told in two hours, some stories are better told in ten over multiple seasons,” Kurtzman explained.

The character of Philippa Georgiou was first introduced as Michael Burnham’s (Sonequa Martin-Green) commanding officer and mentor aboard the U.S.S. Shenzhou. Captain Georgiou was killed in battle with the Klingons in the second episode of “Discovery.”

Michelle Yeoh as the sadistic Emperor Georgiou (Photo credit: Paramount+)

An alternate universe version of Georgiou — one far more scheming and sadistic — was introduced later that season and journeyed with the “Discovery” crew 900 years into the future. When we last saw her, this Georgiou was teleported back into the past by the Guardian of Forever. It’s presumed she’ll link up with Section 31, Starfleet’s Black Ops division, in this 23rd-century timeline.

There’s no word yet if any “Discovery” talent will crossover to the “Star Trek: Section 31” movie.

Olatunde Osunsanmi will direct a script written by Craig Sweeny. Alex Kurtzman, Craig Sweeny, Aaron Baiers, Olatunde Osunsanmi, Frank Siracusa, John Weber, Rod Roddenberry, Trevor Roth and Michelle Yeoh serve as executive producers. The film is produced by CBS Studios in association with Secret Hideout and Roddenberry Entertainment.

Paramount+ announced earlier this week that Michelle

Music

BLACKPINK’s Carpool Karaoke, Ariana Grande Wicked Casting – Billboard

BLACKPINK wasted no time bringing the pop straight to your dome on “Carpool Karaoke”. Loren Gray reveals her love for Nicki Minaj and Taylor Swift, talks about growing up with Eminem, her My Chemical Romance tattoo, and more! Amanda Seyfried, Dove Cameron, and Reneé Rapp are just some of the few that auditioned for the coveted roles of Glinda in the upcoming ‘Wicked’ movie. British singer/songwriter Rita Ora talks about how her husband Taika Waititi inspired her new music, special involvement with a Daniel Craig commercial, tequila brand Prospero, and more!

BLACKPINK wasted no time bringing the pop

Docs

Yes Repeat No. | Film Threat

Juilano Mer-Khamis’ name transcends every aspect of political activism, with polarizing opinions about his sayings, methods, and vision. An IDF paratrooper turned actor and activist, Mer-Khamis’ life was a rollercoaster of his thoughts and actions. Born to an Israeli-Jewish father and an Israeli-Arab mother, Mer-Khamis was often regarded as one of the thoughtful and learned activists who turned to teach filmmaking and acting as part of bringing social change amidst religious struggle in Israel and Palestine. Yes Repeat No begins with a similar textual introduction to Juliano, claiming to be inspired by him. Mind you – inspired by him, not his life.

Yes Repeat No doesn’t literally dive you through the long-standing warring and conflict. And nor does it visually depict Mer-Khamis’ riveting life. Then how does Juliano, a self-proclaimed “100% Palestinian and 100% Jewish,” anchor Yes Repeat No as a stimulus? That’s what the unique artistry of filmmaking means – to use binding references to lead to a resembling, or sometimes, wholly contrasting outcome. Yes Repeat No is nothing less than the near-perfect embodiment of that creative artistry.

Three actors are on a set to read and audition for a conceptual film. The role – Juliano Mer-Khamis. But not Julano himself. Instead, the three actors must play a type that resembles Juliano’s different characters he portrayed in his career. Stretching out a diverse filmography, Mer-Khamis has several credits to his name. The three actors are asked to embody the personality of some of those characters and lay out a caricature of the late activist while understanding his controversial yet thought-provoking opinions.

“…actors must decode Juliano Mer-Khamis’ traits through his acting roles and prove they can embody him…”

But there’s another catch. The three actors themselves come from different ethnicities of Israeli/Palestinian ancestry. And hence, their conversations, approaches to Juilano’s characters, and their views on their portrayals are bound to clash. With a director on the mic relaying instructions, these three actors must find a missing link between several of Juliano’s personalities shaping his activist opinions and acting career. And thus, prove who’s the best to take on the part for the proposed movie.

It’s too much to understand in the text. Michael Moshe Dahan’s Yes No Repeat is something you may not have seen earlier. It largely sways from the basics of filmmaking. It’s not just smartly written and choreographed but is also dramatic, growingly intense, and remarkably serene despite conveying a defiant message.

A conceptual film traverses a streamlined story and drives itself on a premise. The characters here are a narrative support system. Compelling and attention-grabbing, they are more than just a movie. Yes Repeat No is a conceptual film in itself.

In its first half, it formulates an arc of the three protagonists, handset them well in their characters. As performing artists, they read and act on distinct collective interpretations of Juliano’s characters. Being personally connected to the Israel-Palestine conflict, given their ethnic backgrounds, they share their dejection towards the director’s approach to the part as she isn’t as politically nuanced as the three. Here Dahan offers an observation into these enigmatic characters who are put in a situation to handle a conflicting polarity between their political/religious opinions and that of the part the director has offered them.

Juilano Mer-Khamis’ name transcends every aspect of

Global

Alec Baldwin: Criminal charges dropped over shooting, say lawyers

The actor’s lawyers say they are “pleased” with the move to drop the involuntary manslaughter case.

Click to Subscribe to Get Our Free HollywoodLife Daily Newsletter to get the hottest celeb news.

The actor's lawyers say they are "pleased"

Trending

‘Teen Mom’ Star Ryan Edwards Sentenced To 1 Year In Prison – Hollywood Life

Image Credit: Hamilton County Sheriff’s Office / SplashNews

Ryan Edwards was sentenced to one year in prison on Thursday, April 20 after pleading guilty to harassment charges against his estranged wife Mackenzie Edwards. The Teen Mom star, 35, appeared in Hamilton County Court where Judge Starnes gave him a bit of tough love following the sentence, which also stemmed from a DUI and drug possession arrest, according to The Sun. “He needs to grow up, you know that. You have three kids. You may have some problems with your wife, but you have three kids,” Starnes told Ryan, before adding, “I’m trying to save your life.”

Ryan Edwards was sentenced to 1 year in prison after pleading guilty to harassment charges. (Hamilton County Sheriff’s Office / SplashNews)

The Tennessee native, who shares son Bentley, 14, with ex Maci Bookout and son Jagger, 4, and daughter Stella, 3, with Mackenzie, has had a string of bad luck with the law lately, as he was arrested almost a week ago for violating his parole. He had been arrested on March 1 and charged with harassing Mackenzie just a few days after she had filed for divorce. Mackenzie was granted both a restraining order and temporary custody of their children at the time of filing.

When Ryan appeared in court on March 14 and entered the initial guilty plea for the harassment charge, Judge Starnes dropped most of his charges stemming from his previous arrests – including stalking, possession of drug paraphernalia and violating a protection order. The judge also ordered Ryan to have no contact with Mackenzie, nor post about her on social media, and to also wear a GPS monitor.

Ryan was also ordered to rehab, which he skipped out on early, which led to the April 7 arrest. And because he failed to complete his six-month rehab stint, Starnes reinstated his 11 months and 29 days prison sentence on Thursday.

“I’m going to revoke probation for 11 months and 29 days in custody,” Starnes told Ryan in court, per The Sun. “At some point, I may send you to rehab. You won’t do it now. It’s because the drug addiction is so strong. You can’t do it. You have to grow up and want to save yourself. I’m going to do what I can to save you.”

Ryan is due back in court on June 12 for charges involved with his April 7 arrest.

View gallery Image Credit: Hamilton County Sheriff's Office

Alec Baldwin's role in an on-set death on "Rust" highlighted the issue of crew safety.

Tech

‘Rust’ Prosecutors to Drop Charges Against Alec Baldwin

Special prosecutors for the “Rust” criminal trial in New Mexico are expected to drop involuntary manslaughter charges against Alec Baldwin, though the charges could be brought up again in the future.

“We are pleased with the decision to dismiss the case against Alec Baldwin and we encourage a proper investigation into the facts and circumstances of this tragic accident,” a lawyer for the film’s star and producer said.

According to multiple media reports, the motion expected to be filed by recently appointed special prosecutors Kari Morrisey and Jason Lewis will request for the charges against Baldwin to be dropped “without prejudice,” meaning that prosecutors could pursue the charges again in the future. Baldwin was facing a prison sentence of up to 18 months if convicted.

This would allow Morrisey, Lewis, and the Santa Fe District Attorney’s office to investigate further into the death of “Rust” cinematographer Halyna Hutchins, who was killed when a gun being held by Baldwin during a scene rehearsal discharged and fired a live bullet that also injured director Joel Souza.

Baldwin insisted in an interview on ABC that he did not pull the trigger when the gun discharged, though a forensics analysis on the gun conducted by the FBI determined that the gun could not have fired without a trigger pull.

For now, prosecutors are still moving forward on involuntary manslaughter charges against “Rust” armorer Hannah Gutierrez-Reed. A two-week pretrial session was set to begin on May 3, though it may be postponed given this new motion.

Such a delay would be another twist in a criminal case that has been filled with them. The recent hiring of Morrisey and Lewis by Santa Fe DA Mary Carmack-Altwies came after a judge ruled that the DA’s office must either appoint special prosecutors or try the case themselves, but could not do both.

Morrisey and Lewis replace previous special prosecutor Andrea Reeb, who stepped down after Baldwin’s attorneys questioned whether she was eligible to serve on the trial as she was serving in the New Mexico state legislature. Reeb’s handling of the case was also criticized as she charged Baldwin with a firearm enhancement that could have raised the prison sentence to five years, though it was dropped as the enhancement was added to the state’s penal code after Hutchins was killed.

More to come…

Special prosecutors for the “Rust” criminal trial

Video

Deloitte’s Jana Arbanas On Digital Media Trends Among Young Consumers

Jana Arbanas, Deloitte’s Vice Chair & U.S. Telecom, Media & Entertainment Sector Leader, sat down with President & Chief Media Analyst of Variety’s Intelligence Platform, Andrew Wallenstein, at Variety’s Entertainment Marketing Summit presented by Deloitte to help elucidate Deloitte’s latest digital media trends report on media consumption across generations.

The survey was the 17th of its kind from Deloitte and analyzed data from 2,020 consumers. In the report, generations were defined as those born within these timelines: Gen Z (1997-2009), millennial (1983-1996), Gen X (1966-1982), boomers (1947-1965) and matures (1946 and earlier).

Arbanas touched on four key themes: the notion of an interconnected social tapestry; consumer frustrations and economic pressure; gaming’s unique interactive, immersive experience; power of user-generated content.

“Screen time used to be this dirty word,” Arbanas said. “Now, it is an important conversation about community and connectivity that is at the center of most consumers’ lives. Ten years ago, only a quarter of the U.S. saw themselves interacting with media digitally, but 48% of Gen Z and millennials say they spend more time interacting with others on social media than in the physical world, according to Deloitte’s survey.

Arbanas believes companies must lean into fandoms and digital suits in response.

“There’s real power in convergence,” she said, the same way Spotify took advantage of the Kate Bush revival thanks to “Stranger Things” and Netflix. It’s all about discovery and engagement, Arbanas explained.

Though, the issue arises of how to attract consumers and keep them around. Monitoring churn rate was a key part of Deloitte’s survey and they found that, on average, consumers will have only four streaming subscriptions at one time, so as they pick up one, they drop another. This “churn and return” rate was highest amongst millennials, though they also invested the most into streaming, spending an average of $54 a month as they sought out platforms that best fit their consumption.

Arbanas attributed higher millennial spending on streaming to the fact that Gen Z prefers user-generated content. “It’s snackable, free, fresh and new content,” she said, giving it the ability to fill the gaps of streaming services. Because of this, Arbanas stated that UGC should be seen as an attention competitor for entertainment media.

Similarly, Deloitte’s survey found younger generations devoted lots of their time to gaming –and even their self-worth. Success in a video game boosted self-confidence by 73% in the Gen Z and millennials demographic. “They’re the main character, they have a hand in how it plays out,” explained Arbanas. She believes that it’s vital for entertainment media to extend their content into the gaming world in order to increase consumption.

In terms of branding and advertising, the rise of influencers across social media has brought forth a whole new way of selling products to consumers directly through their screens. Deloitte found that 70% of millennials and Gen Z use UGC to discover new products and services. “It’s almost like asking a friend for advice.”

As UGC becomes the more palatable form of advertising for younger generations, Arbanas feels it’s important for companies not to write off the power of creators, even smaller ones, who can grab the attention of niche communities. “Tolerance for traditional ads continues to go down,” she said. Gen Z and the even younger Gen Alpha will continue to push the envelope for tech expectations. “We need to get over some of our reservations for how things work.”

Watch the full conversation above.

Jana Arbanas, Deloitte’s Vice Chair & U.S.

Restored Hungarian Drama Casts a Disquieting Spell – The Hollywood Reporter

With the great auteur Béla Tarr no longer directing movies, the newly restored Twilight, by one of his compatriots in the small Hungarian moviemaking community, arrives as the next best thing. Restored and taking its first stateside theatrical bow (beginning with a run in New York) 33 years after it first hit festivals, György Fehér’s existentialist crime drama is drawn from the same cinematic DNA as Tarr’s distinct body of work. This is not pre-chewed, easily digestible entertainment but patience-testing and austere, built with long takes and pared-down dialogue. Twilight is a procedural with little procedure and, by design, no satisfying answers. The mood it builds is soul-shaking.

Call it Twin Peaks without the jokes or the colorful characters — or the color. Shot in gripping black-and-white, the film unfolds in remote towns in thickly forested mountains where evil hangs in the air, and its narrative revolves around a murdered 8-year-old girl. The source material, The Pledge: Requiem for the Detective Novel, was Swiss writer Friedrich Dürrenmatt’s corrective to It Happened in Broad Daylight, a 1958 Swiss- German-Spanish thriller for which he wrote the screenplay; he objected to the way the finished product neatly tied up the story’s mysteries.

Twilight

The Bottom Line

Short on exposition, long on mood, and a notable rediscovery.

Release date: Friday, April 21
Cast: Péter Haumann, János Derzsi, Judit Pogány, Kati Lázár, István Lénárt, Gyula Pauer, Miklós Székely B., László Németh, Pál Hetényi
Director-screenwriter: György Fehér; based on the novel The Pledge by Friedrich Dürrenmatt

1 hour 41 minutes

Fehér’s 1990 feature is one of seven subsequent film versions to date, among them Sean Penn’s 2001 feature The Pledge. That Jack Nicholson starrer, chock-full of ultra-starry cameos, maintained Dürrenmatt’s bleak outlook, and a familiarity with it could help parse some of the unexplained relationships in Twilight. But for all their connective tissue, the two film’s differences are stark and instructive. It’s the contrast between art house and Hollywood, between stripped-down and ginned-up. The love-it-or-hate-it restraint of Twilight is, of course, its own artifice, a storytelling device that prefers to observe the gaps rather than rush to fill them in.

Fehér was an accomplished TV writer-director and cinematographer when he made Twilight, his first feature. (There would be only one more, Passion, an adaptation of The Postman Always Rings Twice, before his death in 2002, at 63.) Tarr is credited as consultant on the film, and many of the castmembers were Tarr regulars, as was Fehér — he produced Satantango and contributed dialogue to Werckmeister Harmonies.

The camerawork by Miklós Gurbán — who won the Bronze Leopard in Locarno for his cinematography, and who supervised the grading for the movie’s 4K restoration by the National Film Institute Hungary — deploys remarkable pre-drone aerial shots and precisely framed interactions that seesaw between revelation and withholding. In shrouding mists and unforgiving lamplight alike, Gurbán finds a startling range of color within the monochromatic palette. László Vidovszky’s score, with its creeping groans of dread and its choral prayers, is no less essential to the film’s disquieting effect.

Péter Haumann plays a police inspector who becomes obsessed with the case of the murdered girl. Her body is discovered during his last days before retirement, and he continues to pursue a solution after he’s officially unemployed. When one of his former colleagues tells him, “You’re not with us anymore,” he’s complaining about more than the inspector’s job status. The inspector stands alone in at least one other crucial way: He’s not rushing to condemn the man who found the girl’s body, a peddler played with haunting understatement by Gyula Pauer (the character received a far more showy interpretation by Benicio Del Toro in The Pledge).

The inspector interviews the peddler as a witness, not as the prime suspect the other police have decided he is. There’s bloodlust in the air: The townspeople, arrayed around the police station like zombies, hunger for a decisive punishment but not necessarily the truth. Pauer (who also served as the film’s costume designer) is especially unsettling when the peddler, surrounded by cops who have convinced themselves he’s guilty, smiles. It’s not the grin of a crazy person who doesn’t understand what’s happening to him, but the smile of someone who recognizes the Kafkaesque joke of incriminating coincidences aligned against him. He’s a doomed man who sees the way the so-called investigation is going, bending not toward justice but toward a quick verdict.

Well after the other cops have indulged in questionable methods and made up their minds, the inspector presses on. And yet Fehér hardly casts his protagonist in the light of unequivocal virtue. Early in the film, he skulks around the house where the dead girl’s parents are receiving the terrible news. Sneaking into her school at night with a flashlight — a scene that also appears in Penn’s movie — he’s a lawbreaker, a ghost, as well as a man with a nose for important clues. He finds the deceased girl’s drawing of the man he suspects is her still-at-large killer, a figure her schoolmates refer to as the giant or the wizard. It’s one of his more profitable tacks in working the case unofficially. And yet, Twilight asks, do the clues finally matter?

In a particularly chilling scene, some sort of medical expert (István Lénárt) deems the inspector’s search for the truth futile and the case unsolvable, and the carved figure of an owl on his desk underscores his claim to wisdom. The inspector’s obsessive commitment “to uncover the truth” will eventually send him over an emotional precipice. He’s not the only one to lose his footing.

Most disturbing are two separate sequences that center on a young girl being interrogated — different girls, different questioners. The way the camera holds each child in tight close-up, one of them silent, the other squirming and whispering her responses, and the way each man holds each girl, blurs the line between attentive focus and seduction, between protection and peril, and gives frightening form to the medical man’s dark certainty about evil that can’t be vanquished.

If things are clearer by the end of the film, it’s only by degrees, and there’s no comfort to be had. Gus Van Sant, a filmmaker who has drawn deep wells of inspiration from Tarr and other Eastern European filmmakers, told me when I interviewed him about his 2005 feature, Last Days, “People want answers in the same way that they want the culprit. It doesn’t matter if the guy or girl was really responsible for the crime, so long as you have somebody to hang by the tree.” In Twilight there’s no rescue for scapegoats or other innocent prey, and, as Dürrenmatt preferred, there’s no triumph for the dogged detective. Fehér’s film, long feared lost, rises out of the celluloid dustbin to claim its place in a provocative in-between, where trouble slinks like fog and each piece of evidence is just an invitation to a new mystery.

With the great auteur Béla Tarr no

Movies

TV Shows And Documentaries To Watch On Earth Day

TV Shows And Documentaries To Watch On

Bonang Matheba spills the tea on ‘Young, Famous & African’ and confirms she’s dating again

Bonang Matheba spills the tea on ‘Young,

MCU

Tobey & Andrew’s Spider-Men Star In New Disney+ Commercial

A new promo spot for Disney+ put Tobey Maguire and Andrew Garfield front and center as their respective Spider-Men.

Ever since Spider-Man: No Way Home hit theaters in 2021, love for both Maguire and Garfield only grew stronger.

For Garfield, it became a redemption for his take on the character, seeing as his last endeavor under Sony’s leadership was a massive miss. Now, fans are so in love with his Peter Parker that many are clamoring for a third Amazing Spider-Man movie.

Now, the fan-favorite Spideys are front and center in a new ad campaign, as their Marvel movies will be joining the ranks of the rest of the MCU on Disney+.

Tobey Maguire & Andrew Garfield Hit Disney+

A new promotional spot for the arrival of the Spider-Man films on Disney+ brings Tobey Maguire and Andrew Garfield into the spotlight.

Clips from both Spider-Man and Spider-Man 2 feature the OG live-action Peter Parker:

Marvel

One of Garfield’s key shots from The Amazing Spider-Man shows the actor in his bright debut costume:

The Amazin Spider-Man, Andrew Garfield — Marvel

Tom Holland’s webhead isn’t forgotten either, as Spider-Man: Homecoming will be hitting the streaming service as well:

Spider-Man, Homecoming Tom Holland — Marvel

The promo ends with a classic bit from Maguire’s time as Spider-Man:

All of these movies will be hitting Disney+ on Friday, April 21. However, both Homecoming and Venom don’t start streaming until Friday, May 12.

The full commercial can be seen below:

When Will Maguire & Garfield Return?

It’s great to see that Sony’s expensive Spider-Man collection will finally be able to rest on the same platform as the rest of the mainstay Marvel projects in the United States. They were previously available on the service in other countries.

Now all that’s left is Far From Home, No Way Home, Venom: Let There Be Carnage, and Morbius.

But when is the next time fans will see Tobey Maguire and Andrew Garfield in live-action? It likely won’t be until Avengers: Secret Wars, which isn’t landing in theaters until 2026 or later.

Thankfully, fans might be in for a treat before then. Rumor is that both of them will provide a voice cameo in either this year’s Across the Spider-Verse or next year’s Beyond the Spider-Verse.

For those hoping to see The Amazing Spider-Man 3, the odds of the project ever seeing the light of day is slim; it could be the perfect time to bring the Multiverse into play and have Garfield’s hero meet Emma Stone as an alternate Spider-Gwen.

Tobey Maguire and Andrew Garfield’s Spider-Man movies will begin streaming on Disney+ on Friday, April 21.

DCU

The Flash Movie Is Finally Acknowledging Batman V Superman

The Flash movie is paying tribute to Batman v Superman: Dawn of Justice in at least one key way. In The Flash, Barry Allen (Ezra Miller) time travels to the past to prevent the murder of his mother, Nora Allen (Maribel Verdú) and the framing of his father, Henry (Ron Livingston). In doing so, Barry causes unexpected consequences for his timeline, with General Zod (Michael Shannon) once again arriving to terraform Earth into a new Krypton.

In addition to adapting the time-travel elements of the Flashpoint comics story, The Flash is also DC’s major multiverse film, with both Ben Affleck and Michael Keaton’s respective versions of Batman appearing in the film. The premise of The Flash demonstrates that it is using 2013’s Man of Steel as a major basis for its plot (and could even spark a Man of Steel resurgence.) However, a new TV spot for The Flash also indicates that elements of Batman v Superman are also being revisited and retold from a similarly new angle.

Supergirl Punching A Missile Is A Nod To Batman V Superman

In the new TV spot, Kara Zor-El, a.k.a. Supergirl (Sasha Calle), can be seen punching through a U.S. Army missile during a battle between the military and the invading forces of Michael Shannon’s General Zod. This surprisingly similar to the introductory scene of Superman (Henry Cavill) in Batman v Superman. In the scene in question, Lois Lane (Amy Adams) is taken hostage by terrorists in a North African desert, with Superman flying through a missile launched on the site by the C.I.A. and then through the drone that launched it before arriving to rescue Lois.

What makes the two parallel moments in Batman v Superman and The Flash even more closely related is their shared desert setting, with each also showcasing their Kryptonian hero’s strength and invulnerability. The Flash‘s homage to Batman v Superman‘s missile scene does raise interesting questions about what other parallels will be shown in the movie’s multiversal story. With that said, The Flash primarily using Man of Steel as its basis makes sense for a few reasons.

Why The Flash Movie Is Primarily Focusing On Man Of Steel

Ezra Miller as Barry Allen Looking Up in The Flash Movie

The Flash is set to tie together a huge swath of DC’s film and television history under one gigantic multiverse, which is why Michael Keaton’s much older version of Batman is appearing alongside two versions of Ezra Miller’s Flash, Supergirl, and General Zod. With that said, The Flash still needs a primary setting to base its Flashpoint-inspired story within. With that being a necessary narrative choice, the decision for The Flash to be a kind of alternate reality version of Man of Steel with Michael Keaton’s Batman present makes sense.

The Flash‘s story is quite expansive per director Andy Muschietti, with Muschietti saying, “It’s inclusive in the sense that it is saying all that you’ve seen exists, and everything that you will see exists, in the same unified multiverse.” That makes The Flash‘s nod to the missile scene Batman v Superman: Dawn of Justice more clear as a multiversal tribute. The Flash could very well have far more such alternate universe takes on big moments from other past and contemporary DC movies, as well.

Key Release Dates

The Flash movie is paying tribute to

Comics

Harley-Davidson’s LiveWire S2 Del Mar electric motorcycle costs $15,499

Harley-Davidson’s LiveWire division has revealed pricing and availability for its second electric motorcycle, the S2 Del Mar. Deliveries should start in the US in July and you can reserve one now for $100. The EV will have three colorways and cost $15,499, which is $499 more than the previous target price. However, the S2 Del Mar remains LiveWire’s most affordable model — the LiveWire One starts at $22,799.

LiveWire will announce the final specifications in June, though it has offered a taste of what to expect. The brand says the Del Mar, which weighs 431 pounds, will have a 110-mile city range on a single charge. Plugging in a Level 2 charger should take the battery from a 20 percent charge level to 80 percent in 75 minutes, LiveWire claims (there’s no fast charging capability, unfortunately). It’s expected that the Del Mar’s powertrain will deliver 184 pound-feet of torque and be capable of accelerating from zero to 60MPH in 3.1 seconds.

Along with US pricing and availability, LiveWire revealed the initial S2 Del Mar details for Europe. Reservations for the S2 Del Mar European Launch Edition open on April 27th and require a €100 down payment, but only 100 of the EVs will be available at the outset. Those who snag a S2 Del Mar Launch Edition will get an exclusive, hand-painted finish and wheel design.

European deliveries of the Launch Edition are slated for September. It costs €20,190 in France, €19,990 in Germany, €20,390 in the Netherlands and £18,990 in the UK. Details of the European production model will be revealed later.

Harley-Davidson's LiveWire division has revealed pricing and

Festivals

DreamWorks’ ‘Teenage Kraken,’ ‘Trolls Band Together’ at Annecy Festival

DreamWorks Animation will reveal exclusive looks of their new projects at the 2023 Annecy International Animation Film Festival, including the premiere of the new film “Ruby Gillman, Teenage Kraken” and a work-in-progress presentation of “Trolls Band Together,” as well as first look at an unannounced film from the studio. DreamWorks will also host an outdoor screening of “Puss in Boots: The Last Wish.”

“We are excited to showcase our newest projects to the global animation community at Annecy,” says Margie Cohn, president of DreamWorks Animation.

“As a studio that celebrates creativity and innovation, it’s an honor for us to participate in this annual event and share our passion for animation with fans from around the world. We look forward to connecting with other industry leaders, and for the opportunity to engage with audiences through the power of storytelling.”

“Ruby Gillman, Teenage Kraken” is a film by Academy award nominee Kirk DeMicco. It follows the story of title character Ruby (Lana Candor), a sweet, shy girl who discovers that she is a descendent of the warrior Kraken queens, who are sworn to protect the oceans against mermaids. Ruby will soon inherit the throne from her grandmother, the Warrior Queen of the Seven Seas (Jane Fonda), which will put her up against the most popular girl at school, a mermaid named Chelsea (Annie Murphy). The cast also includes Toni Collette, Colman Domingo, Sam Richardson and Blue Chapman. DeMicco will host a discussion about the film at the festival on June 13, followed by the presentation of an unannounced DreamWorks Animation film. “Teenage Kraken” will premiere on June 15.

Also on June 15, a “Trolls Band Together” panel will be held, featuring director Walt Dohrn, producer Gina Shary and co-director Tim Heitz. The feature will also showcase glimpses of the animation progress along with all-new original songs.

The Annecy International Animation Film Festival has been around for over six decades and is held in Annecy, France, this year running from June 11 to June 17.

DreamWorks Animation will reveal exclusive looks of

Film

Evil Dead Rise, Bad Sisters Stars Join Elijah Wood Movie – The Hollywood Reporter

Evil Dead Rise actress Nell Fisher and Bad Sisters actor Michael Smiley are set to join Elijah Wood in Bookworm, a new family adventure comedy from New Zealand director Ant Timpson (Come to Daddy).

Fisher will play Mildred, a 12-year-old girl whose life is turned upside down when her estranged, washed-up American magician father, Strawn Wise (Wood), comes to look after her. Hoping to bond with the tween, Strawn takes Mildred on an ill-advised camping trip into the rugged New Zealand wilderness in a quest to find the mythological beast known as the Canterbury Panther, named after the region on New Zealand’s South Island.

The project will reteam Wood with Come to Daddy director Timpson and will see the Lord of the Rings actor return to New Zealand to shoot.

“In Bookworm we’re going to put him through the wringer again, except this time he’s at the mercy of a precocious 12-year-old and the rugged landscapes of the Canterbury region,” said Timpson.

Fisher stars in Warner Bros.’ upcoming Evil Dead Rise, the fifth installment in the cult horror franchise, directed by Lee Cronin. Smiley had a starring role in Apple TV+’s acclaimed Bad Sisters alongside Sharon Horgan and Anne-Marie Duff, and had supporting roles in Ben Wheatley’s Kill List and Yorgos Lanthimos’ The Lobster. His recent films include Gunpowder Milkshake and The Silent Twins.

Mister Smith Entertainment is handling international sales on Bookworm and will be shopping it to buyers at the Cannes Film Market next month. CAA Media Finance, which is arranging financing for the film, is handling U.S. rights. Rialto Distribution will distribute the film across Australia and New Zealand.

Bookworm is produced by Emma Slade, Roxi Bull, and Victoria Dabbs of Firefly Films and Mette-Marie Kongsved, and Laura Tunstall of Nowhere. It is executive produced by Steven Demmler of Talon Entertainment Finance, Blair Ward and Anders Erdén of Orogen Entertainment, and Kelly Rogers and Kevin Gordon of Rialto Distribution.

Smiley is represented by B-Side Management in the U.K. Fisher is represented by Gail Cowan Management (NZ), Untitled Entertainment (U.S.) and United Agents (U.K.). Wood is represented by CAA, Brillstein Entertainment Partners, Meyer & Downs and Narrative.

Evil Dead Rise actress Nell Fisher and

Zachary Quinto-Led NBC Medical Drama Pilot Adds 4 – Deadline

EXCLUSIVE: Alex MacNicoll, Spence Moore II, Aury Krebs and Ashleigh LaThrop have been cast opposite Zachary Quinto in the NBC medical drama pilot Wolf.

From writer/executive producer Michael Grassi, Wolf is inspired by the books The Man Who Mistook His Wife for a Hat and An Anthropologist on Mars by Oliver Sacks. It follows a revolutionary, larger-than-life neurologist, Dr. Oliver Wolf (Quinto), and his team of interns as they explore the last great frontier, the human mind, while also grappling with their own relationships and mental health.

Teddy Sears and Tamberla Perry also star.

MacNicoll plays Dr. Van Markus, who struggles around patients in crisis because of a rare, undiagnosed condition he’s lived with his whole life. He experiences a crisis of confidence when he discovers Dr. Wolf keeps him close to study this condition.

Moore plays Dr. Jacob Nash, an ex-college football star who, after an injury, pivoted to studying medicine. Jacob secretly worries he suffers from concussion-related brain trauma and self-medicates to cope with his fear.

Krebs plays Dr. Dana Dang, who has amassed a social media following by providing mental health tips and tricks. While Dana is transparent about her anxiety, the truth is she’d rather pop a Xanax than work to identify the root of her issues.

LaThrop plays Dr. Ericka Kinney, a first-year intern at Bronx General who has always lived her life by the books. Now with Dr. Wolf as her new attending, Ericka’s thrust into the most unpredictable environment possible while also juggling to keep a secret from her fellow interns.

Director Lee Toland Krieger executive produces Wolf alongside Greg Berlanti, Sarah Schechter and Leigh London Redman for Berlanti Productions. Additionally, Henrik Bastin and Melissa Aouate EP via Fabel Entertainment, as well as Jonathan Cavendish, Andy Serkis and Will Tennant for The Imaginarium. Warner Bros Television is the studio.

MacNicoll is repped by Gersh, Joanne Horowitz Management and Goodman, Genow, Schenkman, et al; Moore is repped by Hyperion Talent Agency, AEFH, Venture Entertainment Partners and Goodman Genow; Krebs is repped by CESD and Authentic Talent & Literary Management; LaThrop is repped by The Kohner Agency and Venture Entertainment Partners.

EXCLUSIVE: Alex MacNicoll, Spence Moore II, Aury

What to Watch

Freedom Beast Powers & Comic Story – Titans S4’s New Hero Explained

Warning: The following contains SPOILERS for Titans season 4, episode 9, “Dude, Where’s My Gar?”The story of Titans season 4 took an astonishing twist when it introduced the hero Freedom Beast. Created by writer Grant Morrison and artist Chaz Truog for the Animal Man comic book, Freedom Beast has one of the most memorable powers in superhero history, as well as a unique backstory. This made him the perfect mentor for Beast Boy, whose evolving powers and inability to control them have played a major role in the plot of Titans season 4.

SCREENRANT VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT

Gar Logan’s fate following the cliffhanger mid-season finale of Titans season 4 was revealed in Titans season 4, episode 9, “Dude, Where’s My Gar?” Beast Boy awoke in a cave on Mount Kilimanjaro and was greeted by a man, whom he recognized as the stranger that warned him to visit The Red “when the tower splits in half” in Titans season 4, episode 6, “Brother Blood.” The stranger introduced himself as Freedom Beast and confirmed that they were but two of the many heroes who had protected the Earth using the powers of animals since the dawn of time.

Freedom Beast’s Titans Backstory Explained

Freedom Beast reveals that he was once a man named Dominic Mndawe, who lost his family to the same Green Plague that killed Beast Boy’s parents. He left his past life behind after he was given the Helmet of the Beast by Mike “Bwana Beast” Maxwell. Since that day, he has acted as a protector of the environment, striking at those who “profit off pain,” like the scientists responsible for creating the Green Plague. This is part of the reason he brought Beast Boy to him through The Red, thinking they might bond through their shared pain. Yet he also seeks a successor to take his place and end his vigil.

Freedom Beast’s backstory in Titans season 4 is largely true to his comic book origin story from Animal Man #13. The chief difference is that the comic book Freedom Beast was more politically motivated, using his powers to fight against the Apartheid regime of South Africa, as well as poachers and other enemies of the environment. The comic book Freedom Beast also had a history as a political dissident, taking photos of racially motivated acts of violence being committed by White Afrikaner police officers against Black civilians. There’s no suggestion of Titans‘ Freedom Beast having a similar background beyond his liberty-based codename.

What Powers Freedom Beast Has In Titans (& In DC Comics)

Freedom Beast describes his powers as being at “one with all beasts, who breed and bleed.” Later, he clarifies this point, explaining to Beast Boy that the Helmet of the Beast gives him “strength, stamina, and the ability to fuse two creatures into one super-hybrid” as well as an extended lifespan and slowed aging. The Helmet also gives him a connection to The Red, and through it, the ability to sense the presence of animals empathically and communicate with them. The Red also grants him the powers of teleportation and postcognition, which he uses to show parts of his past to Beast Boy.

All of these powers are in keeping with Freedom Beast’s abilities in the comics and the powers potentially available to any hero who taps into The Red. The only difference is that the Freedom Beast of the comics accessed his powers through the Helmet of the Beast and a magic elixir. It is possible the Freedom Beast of Titans does the same thing, as he gives Beast Boy a potion that helps him to access The Red on his own. The comic book Freedom Beast also has a healing factor. It’s possible Titans’ Freedom Beast has this power as well, but there is no occasion for him to demonstrate it.

How Beast Boy Is Connected To Freedom Beast

Freedom Beast Explains History of Beast Heroes To Beast Boy in Titans Season 4

Beyond their shared grief from having lost their families to the Green Plague, Freedom Beast and Beast Boy share a connection to the same mystic power source. Freedom Beast outlines the history of beast-themed heroes to Beast Boy, showing him that his helmet has passed through a succession of superheroes who used its powers to tap into The Red. He also mentions Animal Man and Vixen, two superheroes who also tap into The Red to mimic the powers of different animals. Freedom Beast says that Beast Boy taps The Red as they do but that he does not need a magic artifact to do it.

Freedom Beast says that Beast Boy’s connection to The Red is stronger than the one granted by the Helmet of the Beast, being able to become animals rather than merely borrowing their power. This means that Beast Boy potentially has the ability to do far more with his connection to The Red than Freedom Beast once he is properly trained to take advantage of it. This is why Freedom Beast believes that Beast Boy is meant to take over his role as the lead Champion of the Red.

Will Freedom Beast Return In Titans Season 4?

Beast Boy and Freedom Beast in Titans Season 4 Episode 9

It is unclear if Freedom Beast will have a larger role to play in Titans season 4 following the episode “Dude, Where’s My Gar?” His primary purpose in appearing in the show was to act as a mentor to Beast Boy and to offer some exposition regarding the full range of powers available to him through The Red. The episode ends on a cliffhanger, with Beast Boy falling out of The Red into unfamiliar territory after making contact with Freedom Beast one more time. It is possible Freedom Beast might need to act to rescue Gar Logan from whatever trouble he’s put himself in.

It’s also possible that Freedom Beast will join the fight against Brother Blood on his own, believing this to be the final battle of his long life before Beast Boy officially replaces him. The two heroes clashed throughout “Dude, Where’s My Gar?” with Freedom Beast insisting that those who connect to The Red must live apart from humanity and avoid personal connections. Gar Logan insisted that made no sense, given that his powers only made him feel more connected to everyone, especially his family in the Titans. Despite this, he did agree to take on the Champion of the Red role once Brother Blood was defeated.

Titans season 4 continues on Thursdays on HBO Max.

Key Release Dates

Warning: The following contains SPOILERS for Titans

Awards

Issa Rae, Lily Tomlin to Receive Honorary 2023 Peabody Awards – The Hollywood Reporter

The Peabody Awards announced Thursday that Issa Rae and Lily Tomlin will receive honorary awards at the June 11 ceremony, which will be held in Los Angeles for the first time in Peabody’s 83-year history. Shrinking star Jessica Williams will host the event at the Beverly Wilshire Hotel, the first in-person ceremony since 2019.

Rae will receive the Trailblazer Award, which “recognizes visionaries that are impacting our culture and affecting social change through their innovative storytelling.” The Black Lady Sketch Show and Rap Sh!t producer previously won a Peabody in 2017 for HBO’s Insecure, which Rae created with Larry Wilmore.

Tomlin will be honored with the Peabody’s Career Achievement Award, “reserved for individuals whose work and commitment to broadcasting and streaming media have left an indelible mark on the field and in American culture.” She won two Peabody Awards in 1996 for the documentary The Celluloid Closet, for which she provided narration, and the television special Edith Ann’s Christmas (Just Say Noël), in which Tomlin played the precocious 5-year-old character that she first originated on Rowan & Martin’s Laugh-In in 1968. Tomlin joins Carol Burnett, Rita Moreno, Cicely Tyson, Dan Rather and Sam Pollard as recent winners of the career achievement honor.

“Beyond our annual awards recognizing the most compelling stories, Peabody is dedicated to recognizing individuals that inspire and delight us,” Jeffrey Jones, executive director of Peabody, said in a statement. “Lily Tomlin has made so many people laugh over the decades with her remarkable talent, and Issa Rae has proven herself a profound entertainment storyteller, performer and force for good. We’re thrilled to recognize Issa and Lily for not only their extraordinary contributions to storytelling, but also for their important role and place for women in comedy and entertainment.”

Of host Williams, Jones added, “Since breaking onto the scene with her hysterical segments on The Daily Show, Jessica’s wit, wisdom, and powerful performances have established her as not only a comedic force, but also one of the great young actresses working today. We relish pretty much every moment Jessica appears on the screen and we are so thrilled that she will be hosting our first awards ceremony to take place in Los Angeles.”

The nominees for the Peabody Awards’ arts and entertainment categories were announced April 13, while documentary and news nominees were announced April 11. PBS led the total nominees with 13, followed by HBO/Max with six, Apple TV+ with four, Disney+ and FX with three each, and ABC, Channel 4, Netflix and Vice receiving two each.

The Peabody Awards announced Thursday that Issa

Music

John Legend Talks ‘Embarrassing’ Music Request His Kids Make on Way to School

John Legend Talks ‘Embarrassing’ Music Request His Kids Make on Way to School | Entertainment Tonight

Docs

High There! Five of Our Favorite Marijuana-Themed Indie Features

Of all the unofficial holidays derived from an apocryphal bit police code, 4/20 is by far the most enduring. And just as “420” has gradually become entrenched as stoner shorthand for marijuana, the date April 20 has become an opportunity not just for college kids looking to indulge in a little extralegal fun, but also for drug law reformers and other advocacy groups to stump for a more reasonable national attitude toward America’s big green weed of choice.

And as marijuana laws have shifted over the years—from outright prohibition, to limited medicinal usage, to tightly regulated recreational use within certain states—marijuana themed movies have likewise evolved. Once upon a time, the only movies that even touched the subject of pot were hysterical propaganda pieces like Reefer Madness. Then, from the 1960s onward, weed became a popular (and hip) subject of broad comedy—in everything from Animal House to Annie Hall to Friday.

In recent years, though, stoner movies have gotten more thoughtful, nuanced and even, yes, serious—especially as it’s started to become big business, with even bigger stakes. So regardless of whether you’re completely toasted or a total teetotaler, here are five indies we love—including (why not?) a few comedies—about marijuana and marijuana lovers.

WOODSHOCK (2017)

Writers & Directors: Kate & Laura Mulleavy

Producers: Michael Costigan, Ken Kao, Ben LeClair, Pilou Asbæk

Starring: Kirsten Dunst, Joe Cole, Pilou Asbæk

Where You Can Watch: Kanopy, Fubo TV, Showtime

Why We Love It: The directorial debut of Rodarte fashion label founders Kate and Laura Mulleavy, Woodshock is the dreamlike tale of Kirsten Dunst’s grief-stricken Theresa, an employee at a northern California cannabis dispensary who, as the film begins, uses a joint laced with rare poison to help her terminally-ill mother commit suicide. Thereafter, Theresa is haunted by her own fantasies of self-extermination, despite the efforts of friends, coworkers and boyfriend to try and shake her from her funk. The result is an enigmatic visual experience rooted far more in tone and atmosphere than plot—full of sultry neon lights and hallucinatory overlapping images. More than any other film on this list, Woodshock conjures the sensation of actually being high—not that we would know, Mom.

GREEN IS GOLD (2016)

Writer & Director: Ryon Baxter

Producers: Ryon Baxter, Anthony Burns

Starring: Ryon Baxter, Jimmy Baxter, Derek W. Adam, Liz Claire

Where You Can Watch: Amazon Prime, Tubi, Kanopy, Pluto TV, Plex, Freevee

Why We Love It: Premiering at the 2016 LA Film Festival where it won the Audience Award, writer/director Ryon Baxter’s debut feature is a semi-autobiographical family drama set amid northern California’s booming (and at the time only quasi-legal) cannabis cultivation industry. Baxter himself plays Cameron, a temperamental young worker at a massive growing operation who’s suddenly put in charge of caring for his 13-year-old sibling, Mason—played by Baxter’s real-life sibling, Jimmy Baxter. At first Cameron tries to keep his brother away from the family business. But it doesn’t take long for the elder Baxter to start showing the younger one the (hemp, probably) ropes. The result is an intimate portrait of complicated family dynamics and an incisive look at the ins-and-outs of California’s booming pot industry.

HAROLD & KUMAR GO TO WHITE CASTLE (2004)

Director: Danny Leiner

Writers: Jon Hurwitz, Hayden Schlossberg

Producers: Nathan Kahane, Greg Shapiro

Starring: John Cho, Kal Penn, Neil Patrick Harris

Where You Can Watch: Pluto TV

Why We Love It: At first glance, this 2004 cult hit might seem like just another dumb stoner comedy. But the raucous road trip caper-flick—released by stalwart indie shingle New Line—is actually a low-key milestone in terms of progressive onscreen representation, starring two non-white actors as the sort of charming, funny stoner bro-heroes not typically played by actors of Asian descent. It’s also super-hilarious, following odd-couple roommates Harold (Cho) and Kumar (Penn) on an epic misadventure into the New Jersey night on a desperate quest to procure munchies from the titular fast food chain. Add to that Neil Patrick Harris in a deliriously demented supporting role as an unhinged version of himself, and you have one high-ly entertaining film (see what we did there?)

SUPER HIGH ME (2001)

Director: Michael Blieden

Producer: Alex Campbell

Starring: Doug Benson

Where You Can Watch: Not currently available

Why We Love It: Despite its title, venerable LA comedian Doug Benson’s feature-length Super Size Me riff isn’t really a parody of the hit 2004 Morgan Spurlock fast food exposé. Like Spurlock’s documentary, Super High Me is a surprisingly comprehensive look at an important social issue, expertly disguised as a quirky bit of stunt journalism. Here, Benson trades daily Big Macs for heaping helpings of THC, ramping up his own recreational pot use to smoke weed for a very cloudy 30 straight days in a row—this, following 30 straight days of total sober abstinence, as a control. Along the way Benson interviews fellow potheads, doctors, dispensary operators, politicians, law enforcement and medical marijuana patients, putting together a fascinating portrait of the quasi-legal no-man’s land of mid-‘aughts cannabis consumption.

INHERENT VICE (2001)

Writer & Director: Paul Thomas Anderson

Producers: Paul Thomas Anderson, Daniel Lupi, JoAnn Sellar

Starring: Joaquin Phoenix, Josh Brolin, Katherine Waterston

Where You Can Watch: VOD, Blu-Ray/DVD

Why We Love It: Winner of the Robert Altman Award at the 2015 Film Independent Spirit Awards, Paul Thomas Anderson’s shaggy-dog LA neo-noir detective fable stars Joaquin Phoenix as Doc Sportello—an underemployed South Bay private dick and champion pothead—who stumbles into a labyrinthine murder conspiracy involving… well, it’s sort of hard to explain. Adapted from the critically acclaimed novel by Thomas Pynchon, Anderson’s dutifully tracks his collection of oddball characters as they woozily sink into the aimless, drug-soaked decadence of the post-hippie 1970s. The results are less manic than the coked-up Boogie Nights, and far sloppier (in a good) way than the rigid There Will Be Blood. It’s like the movie itself took a few minutes to hotbox the station wagon before heading up to the projection booth—watching it high would almost be redundant.

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Global

Man charged for pointing firearm during argument: Port Hope police – Peterborough

A Gores Landing, Ont., man faces firearm charges following an incident at a residence in Port Hope on Wednesday.

According to the Port Hope Police Service, officers responded to a 911 call for reports of a man pointing a handgun at the complainant’s mother and dog and two other males at a residence on Hope Street North.

Police determined the suspect had been consuming alcohol with the complainant and friends at the residence, when an argument broke out over clothes the accused was wearing.

It’s alleged the man pulled out a black handgun and pointed it at the complainant and other male, police say. He then pointed it at the complainant’s mother and dog.

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The suspect fled on foot into a wooded area at the end of Howard Street when informed police had been called

Police, including officers from the Cobourg Police Service, Northumberland OPP and Durham Regional Police, were called to assist in the search of suspect. A canine unit and helicopter were also deployed but the suspect was not found.

A short time later police located the suspect leaving the area in a vehicle and were able to arrest him without incident. A firearm has not yet been located and officers are spending Thursday searching the area.

The 23-year-old Gores Landing man was arrested and charged with three counts of careless use of a firearm, and one count each of careless use of a firearm, possession of a weapon for a dangerous purpose and carrying a concealed weapon.

He was held in custody and is scheduled to appear in court in Cobourg for a bail hearing on Thursday.

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

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Trending

Sean Lowe Reveals Why He and Catherine Giudici Rehomed Dog

While Sean Lowe and his wife, Catherine Giudici, loved Bullmastiff puppy Gus, they ultimately needed to rehome the canine for the safety of their family.

“Y’all know how much I loved that dog and he was such a great dog. Great with the kids, well-trained and he was so full of love. However, he showed a couple instances of resource guarding in the past when he snapped at/bit Mia,” the former Bachelor, 39, wrote via his Instagram Stories on Wednesday, April 19, referring to his youngest child, 3. “We did everything in our power to keep it from happening again but one night several weeks ago, [our son] Samuel bent down to pet Gus, and Gus bit him on the side of the head.”

Lowe and Guidici, 36, initially met on season 17 of The Bachelor, which ended with the former graphic designer earning her man’s final rose when they got engaged. The pair, who wed in 2014, went on to welcome sons Samuel, 7, and Isaiah, 5, and daughter Mia. Their Texas-based brood grew again in April 2022 when the married couple adopted Gus.

Courtesy of Sean Lowe/Instagram

“Well, Mia had a nice 2-year run, but that run is now over. Please say hello to my new favorite child, Gus,” Lowe quipped via Instagram at the time while introducing the pup.

While Samuel, Isaiah and Mia forged special bonds with the family pet, Lowe and Giudici knew rehoming was the best solution after Samuel was bitten earlier this year. (The Bachelorette alum chalked up Gus’ behavior to “temporary lapses in judgment.”)

“The result was a trip to the E.R. and a staple in the head,” Lowe added in his Wednesday upload. “So, as much as I love that dog, I have to put my kids first. But [Gus is] in a great home and we’ll get to still see him occasionally. [By the way], I died a little on the inside.”

The former collegiate football player further explained that his kids had “fully healed” from the incidents. “[Samuel is] doing great,” he added on Wednesday. “He misses his dog, too. And so do his brother and sister.”

Gus has since found a “great” new home with Lowe and Giudici’s dog trainer.

“He gets to go to work everyday and be around other dogs. She texted me the other day and said this [one] pug hates all dogs except for Gus. Must be the close resemblance,” the former ABC personality jokingly wrote via his Stories, before noting it will be “a while” before he adopted another pooch. “It’d feel like I was cheating on Gus if we got one anytime soon.”

While Sean Lowe and his wife, Catherine

Tech

BuzzFeed News Is Shutting Down, Company Laying Off 180 Staffers

BuzzFeed is shutting down BuzzFeed News because it is not able to turn a profit, according to a memo CEO Jonah Peretti sent to company staff Thursday. The digital publisher is laying off 15% of its employees, or about 180 people, across BuzzFeed News and other divisions.

Going forward, BuzzFeed will concentrate its news efforts in a single profitable news organization — HuffPost, which it acquired from Verizon in 2020, per Peretti’s memo. The company’s flagship BuzzFeed.com site will remain in place.

“While layoffs are occurring across nearly every division, we’ve determined that the company can no longer continue to fund BuzzFeed News as a standalone organization,” Peretti wrote.

BuzzFeed News first launched in 2011 under then-editor in chief Ben Smith. In the memo, Peretti said, “I made the decision to overinvest in BuzzFeed News because I love their work and mission so much. This made me slow to accept that the big platforms wouldn’t provide the distribution or financial support required to support premium, free journalism purpose-built for social media.”

HuffPost is “a brand that is profitable with a highly engaged, loyal audience that is less dependent on social platforms,” than BuzzFeed News, according to Peretti.

Peretti also wrote, “we will bring more innovation to clients in the form of creators, AI and cultural moments that can only happen across BuzzFeed, Complex, HuffPost, Tasty and First We Feast.” According to a BuzzFeed spokesperson, no jobs are being replaced by AI. The company recently started using AI to assist in creating some content, including quizzes, and Peretti said the technology would become “part of our core business.”

Alongside the shutdown of BuzzFeed News, chief revenue officer Edgar Hernandez and COO Christian Baesler are leaving the company. BuzzFeed president Marcela Martin will assume responsibility for all revenue functions effective immediately.

According to a BuzzFeed rep, there are ongoing discussions about the future of BuzzFeedNews.com, but all of BuzzFeed News work will be preserved and available within the BuzzFeed network. The company also is working to ensure any stories currently in the works from the BuzzFeed News team will be published and promoted on BuzzFeed properties as well.

BuzzFeed.com and HuffPost will be offering roles to a number of BuzzFeed News journalists to match areas where they’re interested in expanding coverage, the rep added.

According to an SEC filing, BuzzFeed to incur between $7 million to $11 million in charges related to the layoffs.

Read Peretti’s full memo:

Hi all,

I am writing to announce some difficult news. We are reducing our workforce by approximately 15% today across our Business, Content, Tech and Admin teams, and beginning the process of closing BuzzFeed News. Additionally, we are proposing headcount reductions in some international markets.

Impacted employees (other than those in BuzzFeed News) will receive an email from HR shortly. If you are receiving this note from me, you are not impacted by today’s changes. For BuzzFeed News, we have begun discussions with the News Guild about these actions.

As part of today’s changes, both our CRO Edgar Hernandez and COO Christian Baesler have made the decision to exit the company. I’m grateful to both of them for their passion and dedication to Complex and to BuzzFeed, Inc. Christian will be with us through the end of April, and Edgar through the end of May to help with the transition.

Marcela Martin, our President, will take on responsibility for all revenue functions effective immediately. In the US, Andrew Guendjoian is our new Head of Sales, and Ken Blom will continue in his role as Head of Revenue Operations. Globally, International Sales will move under Rich Reid, Head of International and Head of Studio, also reporting to Marcela.

I have great confidence in this revenue leadership team, and the early plans I’ve seen from them to accelerate performance from our Business Org. We will share more on their plans in the Business All Hands next week (and we are extending an invite company-wide).

The changes the Business Organization is making today are focused on reducing layers in their organization, increasing speed and effectiveness of pitches, streamlining our product mix, doubling down on creators, and beginning to bring AI enhancements to every aspect of our sales process.

While layoffs are occurring across nearly every division, we’ve determined that the company can no longer continue to fund BuzzFeed News as a standalone organization. As a result, we will engage with the News Guild about our cost reduction plans and what this will mean for the affected union members.

HuffPost and BuzzFeed Dot Com have signaled that they will open a number of select roles for members of BuzzFeed News. These roles will be aligned with those divisions’ business goals and match the skills and strengths of many of BuzzFeed News’s editors and reporters. We raised this idea with the News Guild this morning and look forward to discussing it further. Moving forward, we will have a single news brand in HuffPost, which is profitable, with a loyal direct front page audience.

I want to explain a little more about why we’ve come to these deeply painful decisions. We’ve faced more challenges than I can count in the past few years: a pandemic, a fading SPAC market that yielded less capital, a tech recession, a tough economy, a declining stock market, a decelerating digital advertising market and ongoing audience and platform shifts. Dealing with all of these obstacles at once is part of why we’ve needed to make the difficult decisions to eliminate more jobs and reduce spending.

But I also want to be clear: I could have managed these changes better as the CEO of this company and our leadership team could have performed better despite these circumstances. Our job is to adapt, change, improve, and perform despite the challenges in the world. We can and will do better.

In particular, the integration process of BuzzFeed and Complex, and the unification of our two business organizations, should have been executed faster and better. The macro environment is tough, but we had the potential to generate much more revenue than we delivered over the past 12 months.

Additionally, I made the decision to overinvest in BuzzFeed News because I love their work and mission so much. This made me slow to accept that the big platforms wouldn’t provide the distribution or financial support required to support premium, free journalism purpose-built for social media.

More broadly, I regret that I didn’t hold the company to higher standards for profitability, to give us the buffer needed to manage through economic and industry downturns and avoid painful days like today. Our mission, our impact on culture, and our audience is what matters most, but we need a stronger business to protect and sustain this important work.

Please know that we exhausted many other cost saving measures to preserve as many jobs as possible. We are reducing budgets, open roles, travel and entertainment, and most other discretionary, non-revenue generating expenditures. Just as we reduced our footprint in NYC last year, we will be reducing our real estate in Los Angeles — from four buildings down to one, which saves millions in costs as well as mirrors our current hybrid state of work.

I’ve learned from these mistakes, and the team moving forward has learned from them as well. We know that the changes and improvements we are making today are necessary steps to building a better future.

Over the next couple of months, we will work together to run a more agile and focused business organization with the capacity to bring in more revenue. We will concentrate our news efforts in HuffPost, a brand that is profitable with a highly engaged, loyal audience that is less dependent on social platforms. We will empower our editorial teams at all of our brands to do the very best creative work and build an interface where that work can be packaged and brought to advertisers more effectively. And we will bring more innovation to clients in the form of creators, AI, and cultural moments that can only happen across BuzzFeed, Complex, HuffPost, Tasty and First We Feast.

It might not feel this way today, but I am confident the future of digital media is ours for the taking. Our industry is hurting and ready to be reborn. We are taking great pains today, and will begin to fight our way to a bright future.

On Monday we’ll begin to have conversations with each division about the way forward. And in the meantime, I hope you can take time for yourselves this weekend.

Thank you for supporting one another on a difficult day.

BuzzFeed is shutting down BuzzFeed News because

Video

Netflix Orders Sci-Fi Series ‘The Boroughs’ Duffer Brothers

Netflix has ordered a new science fiction series from “Stranger Things,” under The Duffer Brothers shingle Upside Down Productions.

“The Boroughs” will unfold in eight episodes, telling the story of a supernatural mystery. The logline for the drama series reads, “In a seemingly picturesque retirement community in the New Mexico desert, a group of unlikely heroes must band together to stop an otherworldly threat from stealing the one thing they don’t have… time.”

The series order comes from the minds of Jeffrey Addiss and Will Matthews (“The Dark Crystal: Age of Resistance”) who will serve as showrunners.

“We’re thrilled to be back at Netflix. Working alongside the Duffer Brothers (who are pretty good at making shows) and their team has been a dream come true,” Addiss and Matthews said in a statement. “They bring the perfect balance of heart and horror to our story. We can’t wait for audiences around the world to unlock the dark mystery buried beneath the sunny facade of ‘The Boroughs.’”

The Duffer Brothers and Hilary Leavitt will executive produce on behalf of Upside Down Pictures.

“We’ve been fans of Jeff and Will’s writing for a long time, and when they pitched us their idea for ‘The Boroughs,’ we immediately knew they had something very special on their hands,” The Duffer Brothers said. “While the heroes in The Boroughs have a few more years on them than the kids from Stranger Things, they are a similarly lovable bunch of misfits, and we can’t wait for you to join them on an adventure that is at turns scary, funny, and deeply touching.”

Duffer Brothers Launch Upside Down Pictures With Netflix; ‘Stranger Things’ Spin-Off in the Works

“The Boroughs” marks the latest project to come from the “Stranger Things” duo, who also recently announced their “Stranger Things” cartoon series, also headed to Netflix. The show is being developed by Flying Bark Productions with executive producer Eric Robles, set in the “Stranger Things” universe in the vein of Saturday morning cartoons of the Duffer brothers’ childhood.

Season 5 of the Duffer brothers’ Netflix tentpole “Stranger Things” will also be on the back burner with these projects. The writing room began in August 2022. Read here for everything we know about the last season.

Netflix has ordered a new science fiction

Danielle Deadwyler Thriller ‘Parallel’ Sets Release With Vertical – Deadline

EXCLUSIVE: In an early bid, Vertical has secured worldwide rights to Parallel, a new sci-fi thriller starring Danielle Deadwyler (Till), Aldis Hodge (One Night in Miami…) and Edwin Hodge (The Tomorrow War). The film directed by Kourosh Ahari (The Night), from a screenplay by Jonathan Keasey (Down Wind) and the Hodge brothers, is slated for release in theaters later this year.

Currently in post-production, Parallel is a remake of Lei Zheng’s award-winning Chinese film Parallel Forest that marks the first under the Hodges’ new banner, Hodge Brothers Productions. Pic tells the story of Vanessa (Deadwyler), who takes refuge at her family’s lake house to grieve after suffering the loss of her child. Accompanied by her husband, Alex (Aldis Hodge), and his brother, Martel (Edwin Hodge), Vanessa attempts to regain her sense of normalcy after the tragedy. But soon after their arrival, she experiences an aberration when she is attacked by a parallel universe’s version of herself. Faced with the reality that multiverses exist, she must reconcile the fact that these parallel gates will either hold the key to releasing her grief or trapping her forever.

Parallel is produced by Sean Lydiard, Jaylen Moore, Edwin Hodge, Aldis Hodge, Keasey, Elliot Michael Smith and Ann Zhang. Pic is exec produced by Richie Doyle, Raja Collins, Jovanna Burke, Deadwyler, Lei Zheng, Chengxi Li, Alex Bretow, Randall J. Bacon and Joseph Lanius, as well as Vertical’s Peter Jarowey, Rich Goldberg and Kristin Harris, and the BondIt trio of Luke Taylor, Tyler Gould and Mathew Helderman. Additional EPs include Danny R. Carmona, Alex Farnham, Charles H LaHaie, Dean Sheske, Michelle Seanez, Kris Meyer, Ron Baptiste and Ray Coleman. Vertical’s Sammi Farber served as the film’s associate producer.

The production companies behind the film include Rumble Riot Pictures and Hodge Brothers Productions. Financing was provided by Fremont Films, One Dollar Studios and BondIt Media Capital.

“We sought out a distributor who shared the same fervor for Parallel as we did as filmmakers and Vertical’s passion convinced us we had found a genuine partner who truly understood and shared our vision and dedication,” said producer Lydiard of Rumble Riot.

Vertical Partner Peter Jarowey added that “when the opportunity to partner on Parallel presented itself, we said yes immediately. With critically acclaimed source material and an excellent screenplay adaptation coupled with The Night‘s Kourosh Ahari set as director, we knew it would be a win-win. It is the perfect fit for Vertical and we look forward to working with Aldis, Edwin and their team for years to come.”

Jarowey and SVP of Production & Development Kristin Harris negotiated the deal for Parallel on behalf of Vertical, with Rumble Riot’s Lydiard on behalf of the production.