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Tuesday, Oct 20th, 2026
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CBS has extended its agreement with NATAS to air the Daytime Emmys through 2024.

In the meantime, it has set the date for this year’s milestone ceremony; the 50th annual event will air live on Friday, June 16 (9-11:00 p.m. ET) on CBS and stream live on Paramount+.

This year marks the 17th time CBS has broadcast the Daytime Emmys, more than any other network. 

The ceremony will take place at the Westin Bonaventure Los Angeles. Nominations and additional information will be available in the coming weeks.

“We are thrilled to be back with our incredible broadcast partner CBS for two years,” said Adam Sharp, president and CEO of NATAS. “In commemorating the show’s golden anniversary this year, we look forward to honoring and celebrating the beloved world of daytime television.”

“CBS has a storied history in daytime and we are delighted to continue having the Daytime Emmys on the network for the next two years,” added Mackenzie Mitchell, VP specials, music and live events, at CBS. “We look forward to celebrating the show’s 50th anniversary and highlighting the best that daytime has to offer.”

The Daytime Emmy Awards have recognized outstanding achievement in television programming and crafts since 1974, honoring work in a variety of categories, including daytime dramas, talk shows, instructional programming, hosting and legal/courtroom programs. In 2021, the National Academy of Television Arts & Sciences (NATAS) and the Television Academy jointly announced plans to realign the Daytime and Primetime Emmy Awards to be organized by content genre, as opposed to program airtime.

In addition, in recognition of the marked increase in content and entries for children’s programming, 2022 marked the first annual Children’s & Family Emmy Awards, with relevant categories separating from the Daytime Emmys into their own competition and ceremony. All awards are judged by a pool of peer professionals from across the television industry.

The 50th Annual Daytime Emmys is produced by NATAS and Associated Television International (ATI), which produced Daytime Emmy Awards ceremonies on The CW in 2009 and on CBS in 2010, 2011, 2020, 2021 and 2022. Adam Sharp and Lisa Armstrong are executive producers from NATAS, while McKenzie is executive producer from ATI.

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CBS has extended its agreement with NATAS

Clairo has shared a cover of the Vashti Bunyan ballad “Winter Is Blue.” The original track appears on Bunyan’s beloved 1970 album Just Another Diamond Day. Clairo released a pared-down video in which she sings and accompanies herself on acoustic guitar. Check it out below.

In the coming months, Bunyan’s recent memoir Wayward, Just Another Life to Live will be revised and issued in paperback, following the hardback edition that was made available in the U.S. earlier this year.

Earlier this month, Clairo released a one-off single called “For Now.” All proceeds from the track went toward For the Gworls and Everytown for Gun Safety. The former organization assists Black transgender people with rent, gender-affirming surgeries, and other necessities, while Everytown for Gun Safety is organization working to prevent gun violence through advocacy.

Revisit Pitchfork’s 2019 profile “Clairo Has Something to Prove.” ‌

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Clairo has shared a cover of the

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It was 2004 when the Los Angeles Times disclosed that Supreme Court Justice Clarence Thomas had accepted expensive gifts and private plane trips paid for by Harlan Crow, a wealthy Texas real estate investor and a prominent Republican donor.

The gifts included a Bible that once belonged to abolitionist Frederick Douglass — a gift Thomas valued at $19,000 — and a bust of Abraham Lincoln valued at $15,000.

“I just knew he was a fan of Frederick Douglass, and I saw that item come available at an auction and I bought it for him,” Crow explained at the time.

He also flew Thomas on his personal plane to Northern California to be his guest at the Bohemian Grove, which held all-male retreats for government and business leaders.

Thomas refused to comment on the article, but it had an impact: Thomas appears to have continued accepting free trips from his wealthy friend. But he stopped disclosing them.

On Thursday, ProPublica reported that Thomas and his wife, Ginni, enjoyed lavish trips across the globe in recent years at Crow’s expense, including “nine days of island-hopping” off Indonesia in 2019 aboard a 162-foot “superyacht staffed by a coterie of attendants and a private chef.”

That’s a stark contrast from the way Thomas often speaks in public about his summer travels, describing driving a blue motor home and staying in campgrounds.

But Pro-Publica reported that his summer trips regularly include stays in private resorts paid for by Crow, including at Crow’s ranch in East Texas and his resort in the Adirondacks in upstate New York.

“The extent and frequency of Crow’s apparent gifts to Thomas have no known precedent in the modern history of the U.S. Supreme Court,” ProPublica wrote, adding “these trips appeared nowhere on Thomas’ financial disclosures.

It remains unclear whether Thomas has violated any law or regulation by accepting such gifts and not disclosing them.

Since 1978, the Ethics in Government Act has required judges and justices to report travel costs and other expenses that are provided to them by groups, universities and other such entities. However, it includes an exception for the “personal hospitality of any individual,” so long as the travel does not involve official business.

“Justice Thomas and Ginni never asked for any of this hospitality,” Crow said in a statement to ProPublica. He added that we “never asked about a pending or lower court case, and Justice Thomas has never discussed one.”

Ethics advocates have been frustrated that the court and Congress have failed to enforce stricter rules for the nation’s top judges. They say Thomas and his wife illustrate the need for greater scrutiny.

Ginni Thomas is a longtime conservative activist in Washington who sought to overturn President Trump’s election loss in 2020, including communicating with Trump White House aides and state election officials.

“We have been here before,” said Gabe Roth, executive director of Fix the Court, an advocate for court reform. “Clarence Thomas has been taking these trips for decades and not disclosing them.”

In his recent annual disclosure statements, Thomas has checked a box indicating he had no gifts to report.

Responding to the ProPublica story, Senate Judiciary Committee Chairman Richard J. Durbin (D-Ill.) tweeted “the highest court in the land shouldn’t have the lowest ethical standard. Justice Thomas’ lavish undisclosed trips with a GOP mega-donor undermine the trust that our country places in the Supreme Court. Time for an enforceable code of conduct for justices.”

Last month, the federal court’s policy-making group announced somewhat tighter standards to require the reporting of travel on private jets and lodging at private resorts that operate commercially.

While those rules may prompt further disclosures next year, they would not regulate or prohibit such travel.

Roth said ProPublica’s report makes clear that “the personal hospitality rules the judiciary adopted last month do not go far enough: the Supreme Court and lower courts need the same, if not stricter, gift and travel rules than what members of Congress have. That means a judicial ethics office to preapprove sponsored trips, no matter who — even a ‘friend’ — is footing the bill.”

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WASHINGTON —  It was 2004 when

“I don’t really hate anyone, and yeah, in a way, I do feel sorry for him,” Stormy Daniels told Piers Morgan this week of her opinion of the now indicted Donald Trump. “It wouldn’t surprise me if it would come out that he’s been manipulated a lot more than we think, or that based on the things that have happened to me in the last five years, things I thought would never be possible, there could be something that we don’t know,” she said.

“I’m so torn between being snarky and, you know.. it, also still like just tell the truth,” Daniels went on to offer as advice to the ex-POTUS, who is facing felony charges from the Manhattan D.A., plus probes into election interference in Georgia, his role in the January 6 attack on the Capital and rape claims in a separate civil case.

“Like, you do have a daughter, you do potentially have granddaughters and women, and if you continue to do this you are setting a precedent where people think that they won’t be held accountable and there will be… I’m afraid there’s gonna be a lot of people hurt,” porn star Daniels added in her sit-down with Apprentice alum Morgan that aired online today.

In a back and forth that is likely to be one of the major takeaways from Morgan’s big get, Daniels told the host that she doesn’t think Trump’s “crimes” against her are “worthy of incarceration.” However, in what may over looked by some, Daniels then shifted to larger matters on Trump’s legal horizon and if the 45th president should be jailed. “I feel like the other things he has done, if he is found guilty, absolutely.”

“Those are such more significant crimes,” she added. “I mean January 6th, look how many people got injured or you know what I’m saying? It just seems like that’s a bigger thing but if this is what leads to it – I can’t help but wonder if there’s something we don’t know.” 

Filmed yesterday and seen in clips on Fox News today, Morgan’s much hyped interview with Daniels was shown in full starting Thursday on streamer Fox Nation in the U.S., on TalkTV in the UK, and Sky News Australia – all Rupert Murdoch owned outlets. Carved right out the classic sit-downs that Barbra Walters and Oprah perfected, Morgan rightly read the room in this one. To that, the past CNN host toned down his usual bruiser technique and turned up his empathy count. After the interview aired, Daniels took to social media to joke that it was “accurate” the nearly 90-minute chat was the longest time she ever been on camera and not had sex. “I think it was the most extensive one I’ve ever done and it laid to rest a lot of misinformation,” she added of the interview.

Coming two days after the former Celebrity Apprentice host was in court on 34-felony counts steaming in part from a 2016  $130,000 payoff to Daniels over the duo’s 2006 affair, the interview was originally scheduled for last week, but postponed at the last minute over “security reasons,” it was said at the time.

Spawning a series of lawsuits from both sides, the payoff to Daniels by then Trump right hand man Michael Cohen became public in 2018. Though an elaborate process of sleight of hand has gone into seemingly covering up the payment, Trump always has denied any affair with Daniels, though he admits to meeting her – as photographs of the two together make obvious.

In the interview broadcast today, Daniels also told Morgan about how threats against her and her family have taken on a much uglier and more assailing form since the grand jury started clearly moving against once again candidate Trump in past weeks. “They’re a lot more passionate,” Daniels said of the dearth threats and more she has been getting online and otherwise of late. “Enthusiastic with their threats and they’re not hiding.”

“They are way more specific and graphic, and just, instead of some babbling person, like, ‘You’re gonna burn in hell’, that kind of thing, they seem to be more… serious,” Daniels stated of the MAGA crowd. “They’re not hiding. It used to be if they were going to do something, they would do it from a blocked number or from a fake Twitter account. These people are using their actual phone numbers and their actual emails and their actual Twitter accounts, which then makes it worse because they actually have followers.”

In and out of processing in Manhattan Criminal Court and an arraignment in New York Supreme Court Judge Juan Merchan’s courtroom after a few hours on April 4, Trump has attacked D.A. Alvin Bragg and the judge personally and turned the spectacle to his financial and political advantage.

For Daniels, who was set to go before the grand jury at one point and says she will gladly testify if summoned, the whole indictment became a bit of non-event. “When I found out that it was coming or potentially coming, I thought that I would feel excited and vindicated, but it was kind of anti-climactic.”

“Part of me was finally like he had to go in and be under the rules of someone else,” she declared to Morgan. “He has to obey the judge and walk through like… the King has been dethroned. He’s no longer untouchable. And nobody should be untouchable …But the other side of it was like this is someone that our country elected and chose. Was there no better option?” 

(Credit – Getty Images)

(Photo by Ed JONES / AFP) (Photo by ED JONES/AFP via Getty Images)

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“I don’t really hate anyone, and yeah,

Audible’s hit podcast “Bitter Blood” is back for a second season — and the service has tapped “Succession” star Alan Ruck to narrate a story with as much intrigue and drama as his TV family’s.

“Murdoch v. Murdoch,” out April 6, is an eight-part deep dive into the Murdoch family, unearthing the contention and hostilities among the dynasty and its sprawling international media empire.

“The Roy culture parallels the Murdoch culture in a lot of ways,” Ruck tells Variety exclusively. The actor didn’t use the real-life Murdochs to inspire his portrayal of Connor Roy, but he did note some similarities: “[Rupert] Murdoch had one child by his first wife, just like Logan. That child is Prudence Murdoch, who, like Connor, is not really involved in the family business at all.”

Through interviews with key insiders and significant archival footage, “Murdoch v. Murdoch” tracks the rise, criticism and controversy of a media juggernaut that began more than 70 years ago. Centered around patriarch Rupert Murdoch and his children, the podcast spotlights the deep rifts and rivalries among a family whose power has grown to influence governments and effectively change the course of history.

“Bitter Blood” is produced by AYR Media, with Aliza Rosen and Paulina Williams serving as executive producers. The first season, “Kasem v. Kasem,” revealed the inside story of the lawsuit and elder abuse allegations surrounding the death of radio legend Casey Kasem.

From the Disney acquisition to the ongoing Dominion lawsuit, “Murdoch v. Murdoch” examines the fractured internal relationships, dissent and scrutiny that the Murdochs have endured through international scandals, divorces, litigation and $70 billion business deals.

“Why people love ‘Succession’ and why people want to know about Rupert Murdoch or any of these dynastic families is because, as regular people, it’s comforting to know that the rich are not that happy,” Ruck says. “They all seem to be a bunch of miserable people. I actually think we all get off on that as regular folks.”

In the cases of the Roys and the Murdochs, one may wonder: can money buy happiness? Ruck has a simple answer: “I think you can rent the hell out of it. But you can’t buy it.”

All episodes of “Bitter Blood: Murdoch v. Murdoch” are now available exclusively on Audible.

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Audible’s hit podcast “Bitter Blood” is back

If you’re looking for the best movies to watch on Netflix, you’ve come to the right place. Below, we’ve put together an expertly curated selection of some of the most exciting, compelling, emotional and funny movies currently streaming right now.

While it can be daunting thumbing through the streamer’s catalogue to find out what to watch, we’ve taken the guesswork and mindless scrolling out of it. This post will be frequently updated with new recommendations, keeping you up to date with all the Netflix movies you should be prioritizing in your queue.

So peruse our list of the best movies on Netflix right now below, and happy watching!

Galaxy Quest

galaxy-quest-cast
DreamWorks Pictures

Widely regarded by “Star Trek” fans as one of the best “Trek” movies ever made – despite the fact that it is not actually a “Star Trek” movie – “Galaxy Quest” is a hilarious riff on the iconic sci-fi franchise. Tim Allen stars as the washed-up star of a popular sci-fi TV show who now makes appearances at conventions (begrudgingly) with his former co-stars. But when the crew gets whisked away by actual aliens who have mistaken their TV series for “historical documents,” these selfish actors get in way over their heads.

Easy A

easy-a-emma-stone
Sony Pictures

A delightful romantic comedy with a teen twist, “Easy A” is also a terrific showcase for the charms and talent of Emma Stone. The eventual Oscar winner stars in this 2010 film as a high school student named Olive who, in a bid to help her friend who’s being bullied for being gay, offers to pretend to have sex with him. Olive soon gets a bit of a reputation, all the while boys from her school start paying her in gifts in return for telling people they hooked up. “The Scarlet Letter” serves as a backdrop for this bitingly funny and sharp teen tale, and the swell ensemble cast includes Penn Badgley, Thomas Hayden Church, Lisa Kudrow, Stanley Tucci and Patricia Clarkson.

The Hunger Games Franchise

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Jennifer Lawrence in “The Hunger Games: Mockingjay – Part 1” (Lionsgate)

All four films in the “Hunger Games” franchise are currently streaming on Netflix, so you can get your fill of this YA dystopian saga. While many imitators followed, “The Hunger Games” actually stands as a potent, handsomely crafted and striking screed against fascism. The first film, as directed by Gary Ross, paints a shockingly realistic portrait of a society in which the U.S. has been divided into districts, and “tributes” from each district fight to the death in a televised event. Jennifer Lawrence delivers a towering performance here, and continues to impress in the sequels directed by Francis Lawrence. Pound for pound “Catching Fire” is the best of the bunch – an entertaining blockbuster, emotional love story and political thriller all in one – but this series as a whole remains stirring.

Notting Hill

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Universal Pictures

If you’re looking to watch a classic rom-com, you can’t go wrong with “Notting Hill.” The 1999 film stars Julia Roberts as a famous American actress filming a movie in London’s Notting Hill neighborhood, who falls in love with the owner of a small bookstore (played by Hugh Grant). The chemistry between Roberts and Grant is lovely, and the script by Richard Curtis (also of “Love Actually” and “Four Weddings and a Funeral” fame) is open-hearted and sweet.

The Dark Knight

Warner Bros.

After successfully rebooting the Batman franchise, Christopher Nolan refined his approach with the 2008 sequel “The Dark Knight” – quite simply one of the best superhero films ever made. Heath Ledger steals the show in an Oscar-winning performance as the chaotic Joker, bringing an all-new take to the classic Batman villain that is similarly rooted in reality. The film is a direct response to the War on Terror, and in that regard is a thematically meaty affair that furthers Bruce Wayne’s story and internal conflict. That Nolan was able to handle all of this and the story of Two-Face (played by Aaron Eckhart) is still impressive all these years later.

The Lord of the Rings Trilogy

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Cate Blanchett in “Lord of the Rings” (New Line Cinema)

If you’re in for a really long binge-watch, “The Lord of the Rings” trilogy will do the trick. Peter Jackson’s epic trio of J.R.R. Tolkein adaptations remain some of the most accomplished achievements in the history of moviemaking, as this fantastical tale of a young hobbit who sets out to save the world as he knows it is crafted with ingenuity and passion to spare. Whether it’s your first or fifth time to Middle-earth, it’s a journey well worth taking.

Glass Onion

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Daniel Craig and Janelle Monae in “Glass Onion: A Knives Out Mystery” (Netflix)

You simply must, must, must watch “Glass Onion: A Knives Out Mystery” if you enjoy things like “fun” and “comedy.” This “Knives Out” sequel (once again written and directed by Rian Johnson) is a brand new mystery, with Daniel Craig’s Benoit Blanc as the only returning character from the original film. This time, he’s invited to a secluded island by a tech billionaire (played by Edward Norton), who has gathered a group of his closest friends – played by Kate Hudson, Dave Bautista, Kathryn Hahn, Leslie Odom Jr. and Janelle Monae – in Greece to play an elaborate murder mystery game. To say more would spoil the surprises, but suffice it to say this is just as thrilling, hilarious and surprising as the first “Knives Out” and you’ll want to watch it again immediately once it’s over.

Minority Report

20th Century Fox

One of Steven Spielberg’s very best films, 2002’s “Minority Report” offered a more gritty, more dystopian version of a sci-fi future than he had tackled before, as well as finally pairing him with Movie Star with a capital “M” Tom Cruise for the first time. A rip-roaring thriller with some of Janusz Kaminsky’s best cinematography to date, the story concerns a future in which three “pre-cogs” have the ability to predict crimes and police arrest the offenders before the crime has been committed. Cruise plays a dogged detective who finds himself in the crosshairs when a premonition arrives that he is due to commit a murder. Colin Farrell, Max von Sydow, Samantha Morton and Lois Smith round out the impeccable ensemble.

Scott Pilgrim vs. the World

scott pilgrim vs the world
Photo: Universal

Filmmaker Edgar Wright’s 2010 graphic novel adaptation was famously a box office bust upon release, but has become a true cult classic over the last decade – to the point that it was re-released in theaters last year to mark its anniversary. And it’s a really fun movie! Michael Cera wants to date a girl (played by Mary Elizabeth Winstead), but first he must defeat her seven evil exes in a series of eye-popping, delightfully over-the-top action battles. This movie is a nerd’s delight, packed with Wright’s signature quick-witted humor and outfitted with a stunning ahead-of-its-time ensemble (Chris Evans, Brie Larson, Aubrey Plaza, and Anna Kendrick all star just to name a few) and rockin’ soundtrack.

Guillermo del Toro’s Pinocchio

Netflix

Guillermo del Toro’s first stop-motion feature film is as emotional as you’d expect, and this is “Pinocchio” like you’ve never seen the story before. Co-written and directed by del Toro, this adaptation features the voices of Ewan McGregor, David Bradley, Burn Gorman, Cate Blanchett, Finn Wolfhard, Ron Perlman and Tilda Swinton and offers up a fantastical twist on the Carlo Collodi Italian classic. Emotional and awe-inspiring in equal measure, and set against the backdrop of fascist Italy, this is a gorgeous work of art.

Prisoners

prisoners
Warner Bros. Pictures

If it’s hard-boiled thrillers you’re looking for, “Prisoners” is a pretty taut (and handsomely crafted) entry in the genre. Directed by Denis Villeneuve of “Arrival” and “Dune” fame, the film stars Hugh Jackman as a man whose daughter is abducted and decides to take matters into his own hands when he identifies a suspicious suspect (played by Paul Dano). Jake Gyllenhaal plays the detective trying to crack the case, but this one’s less about plot and more about the toll the case takes on these individuals, with an all-star cast rounded out by Viola Davis, Maria Bello, Terrence Howard and Melissa Leo. It also features stellar cinematography by Roger Deakins and a haunting score by the late Jóhann Jóhannsson.

The Mask of Zorro

the-mask-of-zorro
Sony Pictures

Before “The Mummy” or “The Pirates of the Caribbean,” there was “The Mask of Zorro.” The 1998 film is based on the classic TV series of the same name, but director Martin Campbell injects this 19th century-set tale with enough intrigue, adventure and swashbuckling to keep a grin on your face from beginning to end. Anthony Hopkins stars as the original Zorro, who has been in prison for 20 years. When a hapless bandit played by Antonio Banderas breaks him out, he sets about training him in the ways of Zorro to help rescue his daughter, played by Catherine Zeta-Jones, from the clutches of the man who first put him in prison.

Where the Crawdads Sing

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Daisy Edgar-Jones as Kya in “Where the Crawdads Sing” (Sony Pictures)

The highly anticipated Delia Owens adaptation is newly streaming on Netflix this month, in case you didn’t get a chase to see “Where the Crawdads Sing” in theaters when it was initially released this summer. The murder mystery thriller stars Daisy Edgar-Jones as Kya, a woman who has raised herself to adulthood in the North Carolina marshland. But when a man ends up dead and questions surround Kya’s involvement, she must face her past in traumatic fashion. The film was a box office success, grossing $140 million against a budget of just $24 million, and also stars Taylor John Smith, Harris Dickinson and Garret Dillahunt. Bonus: There’s an original Taylor Swift song in it too.

The Nice Guys

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Warner Bros.

“The Nice Guys” is so good, it will make you mad you didn’t see it in a theater when it first came out. This 1970s-set noir comedy from filmmaker Shane Black stars Ryan Gosling as a private investigator and Russell Crowe as a gruff enforcer who are forced to team up to investigate the disappearance of a teenage girl (played by Margaret Qualley). Gosling and Crowe’s chemistry is absolutely dynamite, and Black demonstrates his knack for two-handers that he previously perfected on “Lethal Weapon” and “Kiss Kiss Bang Bang.” And not for nothing, but Gosling delivers one of the best comedic performances of the century here. Seriously, give it a whirl. You won’t regret it.

Skyfall

EON/MGM/Sony

One of the best James Bond movies ever made, 2012’s “Skyfall” deepens the emotional core of Daniel Craig’s 007 without sacrificing spectacle. Director Sam Mendes crafts an explosive and thrilling action film that is deeply personal in nature, as Bond is forced to reckon with a changing world all while going up against an enemy from his past. It culminates in an emotional climax, and is photographed beautifully by cinematography great Roger Deakins.

Road to Perdition

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DreamWorks Pictures

After winning the Oscar for Best Picture with “American Beauty,” filmmaker Sam Mendes tackled a film of a very different sort: the neo-noir crime thriller “Road to Perdition.” Set in 1931, the film stars Tom Hanks as a mob enforcer who is forced to go on the run with his son, seeking vengeance against the mobster who murdered the rest of their family. Paul Newman plays the mobster in question, while Jude Law plays a hired hitman hot on their trail. It’s a gorgeously crafted crime drama, featuring Oscar-winning cinematography from Conrad L. Hall.

Paddington

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StudioCanal

Truly a perfect film for all ages, 2014’s “Paddington” is far better than it has any right to be. Based on the Paddington Bear doll, the film tells the story of a mild-mannered bear who moves to London where he’s taken in by a kind yet somewhat cautious family. Shenanigans ensue as Paddington seeks out an explorer who once offered his family an invitation to come to London, all while he’s hunted by an evil taxidermist played by Nicole Kidman. This film is full of unbridled compassion and kindness.

Mudbound

Netflix

The first film to ever earn a woman an Academy Award nomination for Best Cinematography, 2017’s “Mudbound” is a moving and compelling historical drama. Directed by Dee Rees and shot by Rachel Morrison, the film follows two World War II veterans as they return home to Mississippi, one white and one Black. Carey Mulligan, Jason Mitchell, Garrett Hedlund and Mary J. Blige anchor the terrific ensemble cast as the film tackles race relations in the past with a direct line to our present, packed with rich and complex characters.

Phantom Thread

phantom-thread-daniel-day-lewis
Focus Features

While “The Master” may be filmmaker Paul Thomas Anderson at his most serious, “Phantom Thread” is him at his most playful. The acerbic romance stars Daniel Day-Lewis in his final onscreen role before his retirement and is set in 1954 London. Day-Lewis stars as a famous fashion designer who takes his meticulous process seriously. But when he strikes up a relationship with a waitress, his routine starts to get shaken up, and he must consider the impact said relationship will have on his work. This is Paul Thomas Anderson’s version of a twisted romantic drama, and the film is surprisingly funny.

The Power of the Dog

power of the dog
Netflix

Writer/director Jane Campion’s 2021 drama “The Power of the Dog” is a powerful and surprising film about, among other things, family. Set in 1925 Montana, Benedict Cumberbatch and Jesse Plemons play a pair of brothers whose strained relationship is pushed to the limit when Plemons marries a widowed single mother (played by Kirsten Dunst) on a whim, and brings her son (played by Kodi Smit-McPhee) to live with them on their ranch. The performances are top-notch all around, as Campion crafts a complex and tension-filled character-centric drama that’s certainly one of 2021’s best films.

tick, tick… BOOM!

tick-tick-boom-andrew-garfield
Netflix

“Hamilton” creator Lin-Manuel Miranda makes his feature directorial debut with the Netflix musical “tick, tick… BOOM!,” based on the autobiographical stage musical by “Rent” creator Jonathan Larson. Andrew Garfield plays Larson, who is on the cusp of turning 30 and has yet to have a masterpiece staged on Broadway. As he puts the finishing touches on his sci-fi rock epic, he grapples with his own anxieties, his crumbling relationship with his girlfriend, and the impending AIDS epidemic that’s taking his friends far too quickly. The songs are incredible and the direction is inspired, but Garfield’s electric and soulful performance makes this a must-watch.

Mank

Netflix

This one might come with a “For Cinephiles Only” warning, but if that describes you there’s much to love in David Fincher’s 2020 film “Mank.” Gary Oldman stars as Hollywood writer Herman J. Mankiewicz as the film chronicles his experience writing the screenplay for “Citizen Kane,” all while flashing back to events from his life that inspired certain characters and themes in what many consider to be the greatest film ever made. Fincher presents the film entirely in black-and-white (it won the Oscar for Best Cinematography), and Amanda Seyfried gives a terrific performance as Marion Davies while Trent Reznor and Atticus Ross compose a surprising original score.

Private Life

private-life-kathryn-hahn-paul-giamatti-image
Netflix

Kathryn Hahn has made a career out of scene-stealing supporting performances, but she takes center stage in writer/director Tamara Jenkins’ 2018 dramedy “Private Life.” Inspired by Jenkins’ own experience, Hahn and Paul Giamatti star as a middle-aged New York City couple struggling through infertility who decide to try and have a child through IVF. The film follows the ups and downs of infertility in heartbreaking detail, while also finding moments of humor throughout that ring true to life. Hahn and Giamatti are spectacular together, as they also chronicle how their journey strains their marriage.

Hail, Caesar

Universal Pictures

The Coen Brothers are known for their dry sense of humor, but the duo try their hand at screwball comedy (in their own way) with their 2016 film “Hail, Caesar!” The story takes place over the course of one day in the Hollywood film industry in the 1950s, as told through the eyes of a fixer played by Josh Brolin. The film is rooted in historical fact, but as Brolin’s fixer works through his day, various Hollywood-based shenanigans ensue with a robust ensemble cast that includes George Clooney, Scarlett Johansson, Tilda Swinton, Ralph Fiennes, Alden Ehrenreich, Channing Tatum, Jonah Hill and Frances McDormand.

The Ballad of Buster Scruggs

Netflix

This Western anthology from the Coen Brothers is a delightful romp that builds to a shockingly emotional conclusion. “The Ballad of Buster Scruggs” is made up of six different stories set in the Old West, each featuring different characters. Themes of mortality, morality and justice are prevalent throughout “Buster Scruggs” just as they are through the Coens’ other films, but this time all against a wonderful, slightly exaggerated Western backdrop. The stellar cast includes Tim Blake Nelson, Stephen Root, Zoe Kazan, Bill Heck, Liam Neeson and Brendan Gleeson.

Marriage Story

Netflix

Writer/director Noah Baumbach 2019’s drama “Marriage Story” is, ultimately, a divorce story, but it’s so richly drawn and beautifully acted that you’ll find your own heart breaking as you watch the conscious uncoupling of a pair played by Scarlett Johansson and Adam Driver. This is far from a mean-spirited or even depressing film. Instead, while it does indeed chronicle the dissolution of a relationship (inspired by Baumbach’s own life) and how the divorce impacts their young son, “Marriage Story” smartly always keeps an eye on one very important fact: while these two individuals may be splitting up, that doesn’t mean the love they once had for each other wasn’t real. Driver and Johansson are terrific, and Laura Dern is a scene-stealer in her Oscar-winning supporting turn.

It Follows

RADIUS-TWC

One of the more inventive horror films of the last decade, 2014’s “It Follows” is all the more impressive considering the supernatural presence at the heart of the movie isn’t actually seen onscreen. It goes like this – if you have it, it follows you everywhere until you pass it on to another person through a sexual encounter. Then it’s their problem. Writer/director David Robert Mitchell crafts a terrifying and patient horror film, anchored by a swell performance from Maika Monroe as the latest victim of “it” who is trying to figure out how to shake this supernatural follower.

The Sparks Brothers

the-sparks-brothers
Focus Features

You don’t need to know anything about the band Sparks to find “The Sparks Brothers” a tremendously entertaining documentary. This marks the first documentary feature from “Shaun of the Dead” and “Baby Driver” filmmaker Edgar Wright, whose passion for Sparks – “your favorite band’s favorite band” as they’re described – bleeds onto the screen. Through interviews with the two Sparks brothers and a number of celebrity fans, as well as archival footage, the film takes a trip through the unique and genuinely stunning five decade (and counting) career. If you like music documentaries, check this one out.

The Mitchells vs. the Machines

Netflix

If you’re looking for a movie the whole family can enjoy, the 2021 Netflix original “The Mitchells vs. the Machines” is an emotional crowd-pleaser that’s as funny as it is inventive. Directed by Mike Rianda and produced by Phil Lord and Chris Miller, the film follows a family going on a cross-country road trip to send their eldest daughter Katie (Abbi Jacobson) to college, where she hopes to learn how to become a filmmaker. The family isn’t on the best terms when the road trip begins, which makes things even trickier when a robot uprising occurs, leaving the dysfunctional Mitchells as humanity’s last hope. This is a hilarious, colorful and heartfelt story about the importance of communication.

13th

Netflix

Netflix has a wide variety of documentaries to choose from, but Ava DuVernay’s 2016 film “13th” is a must-watch. The doc delves into mass incarceration in the United States, and how race and injustice intersect with the issue, through the prism of the 13th Amendment to the United States Constitution, which abolishes slavery except as punishment for a crime. Through a number of interviews, DuVernay examines why a disproportionate number of Black people are incarcerated in the U.S., and how the current justice system perpetuates this injustice.

Enola Holmes

Netflix

One of the great things about Netflix is how it has a little bit of something for everyone, and in that vein, the YA-skewing “Enola Holmes” is a delight for the teenaged crowd (and beyond). Based on the young adult series of the same name by author Nancy Springer, the film stars Millie Bobby Brown as the younger sister of Sherlock Holmes (Henry Cavill). When her mother (Helena Bonham Carter) goes missing, Enola leaves the safety of her home compound and ventures into London to try and solve this mystery. Along the way, however, Enola learns that her mother kept many secrets of her own. This is a rollicking mystery-adventure that’s also a sweet and substantial coming-of-age story, all wrapped up in a gorgeous 19th century Victorian package.

Set It Up

Netflix

If you’re into romantic comedies, you simply must check out “Set It Up.” This Netflix original is a throwback in the best way, as Zoey Deutch and Glen Powell have that Meg Ryan/Tom Hanks chemistry in a story about friends turning into lovers. They play overworked assistants to demanding bosses (played by Lucy Liu and Taye Diggs) and hatch a plan to set their bosses up in an effort to earn more free time themselves. But their scheming puts them in frequent close contact, during which sparks fly.

Hunt for the Wilderpeople

Piki Films

Before Taika Waititi took audiences by storm with “Thor: Ragnarok” and won an Oscar with “Jojo Rabbit,” he crafted a wonderfully whimsical comedy called “Hunt for the Wilderpeople.” The film stars Julian Dennison as a troubled youth who goes on the run with a cantankerous man (played by Sam Neill) when both are being hunted through a remote part of Australia. The film is packed with Waititi’s signature sense of humor and unique style, and Dennison and Neill make for one heck of a dynamic duo.

Eurovision Song Contest: The Story of Fire Saga

Netflix

The Netflix original comedy “Eurovision Song Contest: The Story of Fire Saga” is not just an incredibly funny film, it’s a surprisingly emotional one too. Based on an original idea by Will Ferrell, the “Elf” actor stars as one half of an Icelandic duo alongside Rachel McAdams, both of whom are thrust into the spotlight when they’re unexpectedly selected to compete in the international singing competition Eurovision. The film is packed with some genuinely great songs, and a sweet story about staying true to your roots in the face of immense growth.

The Fear Street Trilogy

Netflix

Everyone loves a good scare, but the “Fear Street” trilogy gives you three times the thrills for the price of one overarching story. These three interconnected films trace the origins of a witch’s curse on a small town, covering events in 1994 in the “Scream”-inspired first film, then heading back to 1978 for the summer camp slasher sequel, before concluding in the year 1666 for the third and final feature that reveals the origin story of the Shadyside witch. Colorful, fun and genuinely scary, the “Fear Street” trilogy tells a truly epic horror story.

Miss Americana

Netflix

The Taylor Swift documentary “Miss Americana” is full of surprises. While the film begins by chronicling Swift’s career, complete with the ups and downs it encompassed, it soon morphs into the origin story of a feminist as Swift begins to speak out on socio-political issues important to her. It’s a fascinating window into the management of fame, as some around her caution against making any kinds of political statements for fear of alienating her fanbase. Swift is honest throughout – or as honest as a documentary like this can be – and the film doesn’t shy away from tough moments like Kanye West infamously interrupting her at the 2009 MTV Video Music Awards.

The Irishman

Netflix

Martin Scorsese’s 3-hour-and-40-minute gangster epic “The Irishman” is best viewed in one sitting – trust me. The brilliance of the film is in its construction, as Scorsese charts the career of a hitman for the mob from the 1950s up to the present day. But unlike the bombast of “Goodfellas,” this is a film where regret and grief hang over nearly every frame, subtly building until the mournful third act hits you like a ton of bricks. Robert De Niro’s Frank Sheeran spends his entire life killing people, and what does it all add up to? Scorsese gets downright philosophical with questions of morality and mortality, crafting a self-reflexive film about what it means to come to the end of your life and look back on what you’ve done, why you did it and whether it was all worth it in the end.

Rush

Universal Pictures

Chris Hemsworth has proven himself to be a great comedic talent in the Marvel Cinematic Universe, but his best dramatic acting chops thus far are exemplified in the 2013 film “Rush.” Directed by Ron Howard, this biographical sports drama stars Hemsworth as British Formula 1 driver James Hunt and chronicles his 1970s rivalry with Austrian driver Niki Lauda (played by Daniel Brühl). The racing scenes are absolutely thrilling, and the story lays bare these drivers’ determination while also delving into what drives each of them to compete.

Crimson Peak

Universal Pictures

“Crimson Peak” is not a horror movie, but it’s a great watch for Spooky Season (or any time of year) regardless. Guillermo del Toro’s original story is a Gothic romance through and through, as Mia Wasikowska stars as a budding author living in 1900s New York who marries a kind yet mysterious man (Tom Hiddleston) and then moves into the decrepit mansion he shares with his sister (Jessica Chastain). When she arrives at the mansion, however, Wasikowska’s character discovers it’s full of secrets and ghosts. While the film is creepy, it’s not a full-on scare-fest – nor is it trying to be one. This is a sorrowful, ghastly story of love and what happens when our past won’t let go.

Da 5 Bloods

Da 5 Bloods

Spike Lee is not known for making bland films, and indeed his 2020 Vietnam veterans drama “Da 5 Bloods” is confrontational in the best way. The story revolves around four aging Vietnam War veterans who return to the Southeast Asian country to search for the remains of their fallen leader — and also a trove of buried treasure. Along the way they confront their own fears and differences, as Lee’s film delves into how America left an entire generation of soldiers behind.

Crip Camp

Netflix

Netflix is host to a ton of great documentaries, including “Crip Camp.” This Oscar-nominated 2020 film begins by showcasing archival footage from a camp in the 1970s that was created for teens with disabilities, before then following various individuals as they fought for disability rights. It’s a moving portrait of activism that shows just how far we’ve come as a country, and how far we have left to go.

21 Jump Street

21 Jump Street

21-jump-street-jonah-hill-channing-tatum-image
Sony Pictures

A “21 Jump Street” movie has no business being this good, but that’s kind of what filmmakers Phil Lord and Chris Miller do best – turn bad ideas into great movies. Jonah Hill and Channing Tatum play two young police officers who are sent undercover at a high school to try and trace the origins of a new drug on the market, but whereas their own high school experience saw Hill being bullied and Tatum as top dog, the duo find the social dynamics have changed since they were teenagers. The story puts a smart spin on your typical high school movie while delivering some truly inspired (and insane) comedy in the process.

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If you’re looking for the best movies

Switching up your dye job based on the latest hair color trends is fun and all, but let’s be honest: nobody wants to spend more time or money at the salon than necessary. While there may not be a magic wand for you to wave each time you need a refresh (especially when it comes to red hair and blonde hair colors, which are currently trending), there are certain colors and in-salon techniques that ensure that your hair continues looking great long after you leave your color appointment.

It’s always smart to consult with your colorist about what you’re looking for, but it can also be helpful to go in knowing what you want. A quick Instagram scroll can help provide timely hair color inspo. 

To help you save time and money, we spoke to top colorists to get their expert advice about which colors grow out best and will buy you more time between salon visits. 

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This content can also be viewed on the site it originates from.

What is the most low maintenance hair color? 

According to Lorena M. Valdes, a colorist at Maxine Salon in Chicago, “anything that leaves your natural hair alone and only adjusts the mids and ends” is best for not needing so many touch-ups. With something harsh like highlights, you would get a band of growth from the roots down, but if you’re not touching the roots and leaving them natural, there won’t be a recognizable “line of demarcation,” she says.

“Balayage is amazing for low maintenance as it starts off as a soft point at the root to a thicker ribbon towards the bottom, which mimics what the sun does to our hair naturally,” says Valdes. Balayage is a highlighting technique where colorists hand paint the highlights strategically, so that the lightened pieces appear more naturally placed. 

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Switching up your dye job based on

The new movie “ Air ” is technically about a shoe. There is nothing especially extraordinary about this shoe. As the Q-like Nike designer Peter Moore (Matthew Maher) explains, the last significant change to footwear was made some 600 years ago when the decision was made to differentiate the right and left feet. The Air Jordan is, at the end of the day, just another shoe.

No one coos about how comfortable it is. No one waxes poetic about its performance enhancing abilities or how many podiatrists recommend it for sporting purposes. No one even tries it on.

That’s because “Air,” directed by Ben Affleck from a smart script by Alex Convery, is not really about the shoe at all. Nor is it about Michael Jordan, who has exactly one line in the film and is mostly seen from behind and in silhouette. It is about the men – and they were all men – of Nike who defied the odds and signed the rookie despite being a very distant third to Adidas and Converse in the basketball sneaker game in 1984.

From director Ben Affleck comes AIR. Exclusively in theatres April 5, 2023. #AIRMovie

This is not a sports movie, however. If “Moneyball,” a spiritual cousin to “Air,” was baseball-adjacent, “Air” is about as far away from the game of basketball as one can get. The sport and romance of basketball in “Air” is almost completely beside the point, which is in some ways the most honest way for a couple of Gen-Xers to make a sincere movie about a corporate brand’s biggest success.

“Air” is more “Mad Men,“ but without the glamour. In 1984, everything was brown and drab, except for the grape-colored sports car driven by Nike CEO Phil Knight (Affleck, in a comedic role about C-suite eccentricities and ineffectuality). Even the new stuff looked old. There are only so many ways cinematographer Robert Richardson can shoot a corporate office park and series of conversations between men in ill-fitting polos and khakis. But Affleck and his music supervisor do have fun with their conventional but not ineffective needle drops.

The center of “Air” is Sonny Vaccaro (Matt Damon), a Nike exec with a basketball scout’s eye for rising talent. He is not, at least on the surface, a slam dunk movie hero. Sonny is out of shape, as the movie reminds us with cruel frequency, he’s middle aged, he doesn’t have a family and he seems to do all his grocery shopping at the gas station. All he has is this job, which isn’t going especially well. And his big idea to bet on Jordan, and Jordan alone, has everyone — Knight; Jordan’s hot tempered agent David Falk (Chris Messina); Nike execs Rob Strasser (Jason Bateman) and Howard White (Chris Tucker); college ball coach George Raveling (Marlon Wayans); and Jordan’s mom Deloris (Viola Davis) — essentially telling him he’s crazy.

One big issue with “Air” is that the dramatic stakes never really quite crystalize or spark excitement in the way that the best movies do when you go in knowing the ending. There are no life-or-death scares or thrilling plane escapes at the end for Affleck to fall back on for tension. Nike was not even an unsuccessful company on the brink of collapse, they just hadn’t cracked the basketball market to the satisfaction of their shareholders yet. It’s hard, as an audience member, to discern whether your own apathy is because you know the outcome or because the story hasn’t convinced you to care enough.

Still, this is movie that also has the potential to get better with time and rewatches. “Air” coasts quite well on its compelling, funny and self-aware script (which even allows room for an amusing disagreement about who exactly came up with the name Air Jordan) and charismatic movie stars. And Damon, who gets one show-stopping monologue, is the perfect actor to carry the film in his first time acting for his old pal. Here’s hoping that the longtime friends make this a habit.

“Air” pivots about halfway through when the Jordans finally enter the picture and, through Davis’ stoic performance, add a much-needed human element. It’s easy to forget that athletes being compensated justly for the value of their image is a relatively new phenomenon. One wonders why the movie couldn’t have mainly been about her and her savvy.

There is an admirably sly subversiveness to the whole endeavor in its refusal to glamourize the shoe, the company or the guys they’ve made a movie about. These are white-collar cubicle dwellers just trying to make it through the week and keep their jobs. I’m not even sure the movie buys into its subjects’ self-written and occasionally contradictory mythologies. Credit to the filmmakers that this is not a TED talk.

How can you be romantic about a billion-dollar shoe company?

“Air,” an Amazon Studios/MGM release in theaters now, is rated R by the Motion Picture Association for language throughout. Running time: 112 minutes. Three stars out of four.

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MPA Definition of R: Restricted. Under 17 requires an accompanying parent or adult guardian.

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Follow AP Film Writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr.

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The new movie “ Air ” is

MOIRA VS. KRAKOA

After leaving Krakoa, Moira went on the run from Mystique, who was still trying to kill her in X DEATHS OF WOLVERINE (2022) #1 by Benjamin Percy and Federico Vicentini. At the same time, Moira was also targeted by Omega Wolverine, a Phalanx-infected Logan from a future where Moira teamed up with the Omega Sentinel and the Phalanx to destroy Krakoa. As the time-traveling Logan went on the attack, Moira turned to Arnab Chakladar, an ambitious inventor and entrepreneur, for help uploading her consciousness into a cyborg body in X DEATHS OF WOLVERINE (2022) #3 by Percy and Vicentini. 

After luring her old beau Banshee into a trap and killing him, Moira snuck back onto Krakoa in a misguided attempt to repower herself with Forge’s power-removing gun. However, she was fatally wounded by Omega Wolverine in the process. Although the human Moira died on Krakoa, she uploaded her intelligence into her cybernetic body and rose from her grave in X DEATHS OF WOLVERINE (2022) #5 by Percy and Vicentini. 

Now fully dedicated to eradicating mutantkind, Moira found like-minded allies in Feilong and Doctor Stasis at Orchis. Moira also electronically possessed Mary Jane Watson and attended the second Hellfire Gala in X-MEN: HELLFIRE GALA (2022) #1 by Gerry Duggan, Russell Dauterman, Kris Anka, C.F. Villa, and Matteo Lolli. While on Krakoa, Moira confronted Proteus, who had evolved into a beloved part of the mutant community, and unsuccessfully tried to goad him into attacking Krakoa. However, Spider-Man, Wolverine, and Greycrow ultimately stopped her and saved Mary Jane. Moira went on to play a significant role in turning the Eternals against mutants in A.X.E.: JUDGMENT DAY (2022), although she ended up helping the X-Men and their allies take down the Progenitor, an artificial Celestial. 

Although Moira lost her mutant powers, Mister Sinister created several clones of her that still had her abilities, and he used them to reset the timeline numerous times in order to accomplish his goals. With his so-called Moira Engine, Sinister successfully corrupted Xavier and Krakoa’s other leaders, who then took over the world and viciously conquered much of the universe in the SINS OF SINISTER timeline. 

After spending a millennium hiding in the ruins of a dead Earth, Moira reemerged in IMMORAL X-MEN (2023) #3 by Kieron Gillen, Alessandro Vitti, Rain Beredo, and VC’s Clayton Cowles, and she’s ready to help Sinister reset the timeline one last time.

Don’t miss Moira’s latest schemes in IMMORAL X-MEN #3, on sale now!

You can grab these comics and more digitally or at your favorite local comic book shop. Be sure to ask your local shop about their current business policies to observe social distancing or other services they may offer, including holding or creating pull lists, curbside pick-ups, special deliveries, and other options to accommodate. Find and support your local comic book shop at ComicShopLocator.com or by visiting Marvel.com/LoveComicShops.

For digital comics, all purchases in the Marvel Comics app can be read on iPhone®, iPad® and select Android™ devices! Our smart-paneling feature provides an intuitive reader experience, ideal for all types of mobile device and tablet users! Download the app on iOS and Android now!

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MOIRA VS. KRAKOA After leaving Krakoa, Moira went

James Gunn speaks on the possibility of a Marvel Cinematic Universe and DC Universe crossover now that he is at DC Studios. Gunn is the new creative mind for DC, becoming one of the comic book giant’s top two executives as co-CEO of DC Studios alongside Peter Safran. The new DC Universe has started making waves with a novel vision for rebooting the film franchise. That vision aims to bring DC closer to its comic book roots, much like the MCU, and it is possible that the two comic book titans are bound for a crossover in the future.

SCREENRANT VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT

Speaking with Empire Magazine, Gunn revealed that there is a real possibility that DC and Marvel have a crossover now that he is in charge of DC Studios. While the audacious crossover seems possible now, Gunn is quick to point out that any projects between the two companies are still “many years away,” as Gunn’s DC Universe needs to first take shape on its own. Nonetheless, Gunn concluded on a positive note, confirming that discussions about a potential Marvel and DC crossover have happened in some form. Check out the full quote below:

“I’m certain that’s more likely now that I’m in charge [at DC]. Who knows? That’s many years away, though, I think we have to establish what we’re doing [at DC] first. I would be lying to say that we haven’t discussed it. But all discussions have been very, very light and fun.”

Related: James Gunn Gets Honest About Superhero Movie Fatigue


How A Marvel & DC Crossover Could Happen

Gunn confirming that discussions about a possible Marvel and DC crossover, however small, have taken place is significant. The director-turned-executive is in a unique position to help bring the two biggest companies in comics together on the big screen. Gunn has a longtime friendship with Marvel Studios president Kevin Feige, having directed the Guardians of the Galaxy trilogy and once being thought to be the one who would shepherd the entire cosmic division of the MCU before Gunn moved over to DC.

Based on Gunn’s comments and his new DC position, it seems like a Marvel and DC crossover is just a matter of time. But first, as Gunn mentioned, DC needs to focus on itself. The old DCEU and its many controversies need to stay in the past, and Gunn is actively addressing complaints about DC’s past management. The new DC Universe will have a bigger focus on the company’s iconic heroes, like the forgotten Green Lantern, bringing them closer to their comic book versions while also maintaining the level of originality that Gunn’s known for.

After the new DC Universe gets established, with 2025’s Superman: Legacy reboot movie being written and directed by Gunn and properly starting the new universe, the door will be open for planning on how to have Marvel and DC crossover. Obviously, whatever way the companies decide to do it, the multiverse will be there. As the MCU is deep underway in its Multiverse Saga, DC will soon start playing with the multiverse with this June’s The Flash. The already announced new DC Universe versions of Batman and Superman meeting MCU characters like Spider-Man or Daredevil would be an unprecedented and historic live-action crossover.

Source: Empire Magazine

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James Gunn speaks on the possibility of

“They Cloned Tyrone,” Netflix’s satirical conspiracy film starring Golden Globe winner John Boyega, Teyonah Parris and Oscar winner Jamie Foxx has been set for opening night of the 27th American Black Film Festival (ABFF).

“They Cloned Tyrone” will premiere on June 14 in Miami Beach, ahead of its July 21 Netflix launch. ABFF runs in person through June 18, followed by a virtual festival scheduled for June 19-25 via ABFF play.

According to the logline, the film “follows a series of eerie events that thrusts an unlikely trio (Boyega, Parris and Foxx) onto the trail of a nefarious government conspiracy in this pulpy mystery caper.” 

“ABFF is proud to continue its legacy of elevating emerging Black content creators,” said ABFF president and COO Nicole Friday, “Opening the festival with Juel Taylor’s directorial debut ‘They Cloned Tyrone,’ represents what we have stood for within the Hollywood community for 27 years, and we are thrilled to join with our partner Netflix to bring this film to our festival audience.”

“They Cloned Tyrone” was co-written by Tony Rettenmaier and “Creed II” screenwriter, Taylor, who makes his directorial debut with the Netflix production. The screenwriters also serve as the film’s producers alongside Foxx, Charles D. King, Stephen “Dr.” Love and Datari Turner, with executive producers Mark R. Wright, Kim Roth, Jack Murray, Federal Films, Dana Sano and Monte Lipman. James Lopez and Poppy Hank are co-executive producers.

“It’s an honor and privilege to open the 27th American Black Film Festival,” said Taylor. “We had a blast making this film alongside John, Teyonah and Jamie, and we’re excited to share it.”

For more festival information please visit www.abff.com.

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“They Cloned Tyrone,” Netflix’s satirical conspiracy film

A beloved public access painter struggles to stay relevant in this muted comedy about male fragility.

Channel-surfing may be a nostalgic pastime these days, but those who experienced the mindless boredom of finding “nothing on TV” will probably recall the most compellingly boring show ever: “The Joy of Painting” with Bob Ross. With his signature curly brown afro and soothing voice, Ross was a fixture on PBS and of many a rainy afternoon. Though new episodes stopped airing in 1994, the late painter reached sustained notoriety through international reruns, Twitch streams, a Netflix deal, and a YouTube channel. In 2021, Netflix released a documentary about his life, “Bob Ross: Happy Accidents, Betrayal & Greed.”

A new fictional film plays on Ross’ pop culture icon status without using his name or any particular details of his life, instead trading on his distinctive look and the public television painting show setting. Written and directed by Brit McAdams (“Tosh.0”), “Paint” stars Owen Wilson as Carl Nargle, a revered painter with a successful daytime show on a Vermont public access channel.

Saddling the character with a decidedly harder to pronounce name and a nasty habit of sleeping with every woman who works for him, McAdams presents a head-scratching and tone-deaf image of the beloved TV personality. With nary a plot point in sight besides a light rivalry and an old flame, Wilson must cling for dear life to the caricatured portrait of the hapless small town hero. Unfortunately, playing cartoonish versions of lovable goof have become Wilson’s bread and butter in recent years. Even the biggest of Wilson fans are sure to notice watching “Paint” is a lot like watching paint dry — except far less fun than Bob Ross made it.

“Paint” sets up Carl’s local celebrity status with a flurry of fawning women, who massage his painting hand and soothe his ego the second he finishes his live taping. His subject of choice of the day (and the last decade) is Mount Mansfield, Vermont’s highest peak, which he distinguishes by painting in various seasons and at different times of day. McAdams quickly establishes Carl’s adoring audience in their various milieus: A group of rapt seniors at the nursing home, a single middle-aged woman who paints along, and even a few local barflies who find themselves unexpectedly mesmerized by Carl’s gentle brushstrokes.

McAdams makes sure at least three attendant women exist solely to fuss over Carl, wasting the comedic talents of Wendi McLendon-Covey, Lusia Strus, and Lucy Freyer. Station manager Tony (Stephen Root) is just as obsequious, but Catherine (Michaela Watkins) is distinctly more reserved. Through a series of clunky flashbacks, we learn that Catherine and Carl once had a passionate fling in the back of his van (dubbed “Vantastic”). The rest of their star-crossed backstory is filled out in drips and drabs, as if it were exciting enough to merit such close attention, but eventually we learn of some mutual infidelity brought on by Carl’s fame.

“Paint”

©IFC Films/Courtesy Everett Collection

In an effort to boost ratings, Tony hires another painter to follow Carl’s slot, the younger and more daring Ambrosia (Ciara Renée). Where Carl has gotten comfortable painting the same mountain every day, Ambrosia excites fans with her bold depictions of stumps, rocks, and…UFOs raining blood? She even catches Catherine’s eye with fresh energy, and eventually Carl’s rival in work becomes his rival in love. Carl is obviously still nursing his decades-old feelings for Catherine, despite hand-feeding fondue to his much younger production assistant at the local Cheesepot Depot. (McAdams seems to think throwing in the tidbit that they never have sex might make this look better. It doesn’t.)

But the inconsequential minutiae of the thinly silly plot would be easier to ignore if the characters and understated tone amounted to anything funny on its own. Carl is almost eerily subdued; one of the running jokes in the film is that no one can ever tell when he’s mad because he speaks so softly no matter what.

This low hum tone extends to the pitch of “Paint,” which churns along at a snail’s pace of comedy. There’s an overall vibe that something kinda maybe a little bit funny is going on, but it’s buried beneath so many layers of mocking faux-quirkiness that it’s impossible to make out. With Vermont jokes that read like the musings of someone who’s only ever been for ski season, and the embarrassingly half-baked attempt to critique sexism by writing a kind-hearted womanizer, every stroke of “Paint” misses the mark. Bob Ross deserved better.

Grade: C-

IFC Films will release “Paint” in theaters on Friday, April 7. 

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A beloved public access painter struggles to

Compton-based rapper Coolio died from the effects of fentanyl, his manager Jared Posey confirmed to Deadline Thursday. He also had traces of heroin and methamphetamines in his system.

Coolio died September 28, 2022 in Los Angeles. Posey told TMZ at the time that the rapper was found on the floor of a bathroom at a friend’s home, but an immediate cause of death was not known. He was 59.

The rapper won a Grammy in 1996 for his No. 1 smash “Gangsta’s Paradise” from the soundtrack of the Michelle Pfeiffer-starring film Dangerous Minds The title track form the late 1995 album was a rap take on “Pastime Paradise,” a track from Stevie Wonder’s Grammy-winning 1976 album Songs in the Key of Life, and topped the Billboard Hot 100 and other charts around the world, including the UK. It also won the Grammy for Best Rap Solo Performance, scored a pair of MTV Video Music Awards and was parodied by “Weird” Al Yankovic as “Amish Paradise,” which peaked at No, 53 in 1996.  

He followed that with another hit single, “1, 2, 3, 4 (Sumpin’ New),” which reached No. 5 in the U.S. That same year, Coolio wrote and performed “Aw, Here It Goes,” the theme song for Kenan & Kel, the Nickelodeon comedy starring Kenan Thompson and Kel Mitchell. 

In addition to his music, Coolio moved into reality TV with appearances on Big Brother in 2009 and a year later on Ultimate Big Brother. He also was one of eight celebrities who appeared on the Food Network reality show Rachael vs. Guy: Celebrity Cook-Off representing the Music Saves Lives Organization; he later became known for his cooking and wrote several cookbooks, including Cookin’ with Coolio: 5 Star Meals at a 1 Star Price in 2009, which would be a bestseller.

He also was featured on ABC’s Wife Swap and guest starred as himself in an episode on the first season of Sabrina the Teenage Witch His other credits include Gravity Falls, The Nanny and the Adult Swim show Black Jesus in an episode titled “Gangsta’s Paradise.” He was most recently cast in a recurring role on 2020 HBO Max pilot Vegas High.

Patrick Hipes and Erik Pedersen contributed to this report.

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Compton-based rapper Coolio died from the effects

The amount of bankable A-list actors playing theatrical characters in the Fast and Furious franchise is unbelievable, and Fast X is going to significantly add to that pool of talent. With each consecutive release, the Fast Saga introduces more and more characters, and F9 alone introduced Cardi B as Leysa, a member of an all-female paramilitary group, and Jakob (John Cena), Dom’s long-lost brother, both of whom will return in Fast X. The 10th movie will see Dom and his family taking on a new threat, and it’s the first movie of a two-part narrative, so it’s essentially the series’ very own Avengers: Infinity War.


Despite a couple of setbacks, including losing director Justin Lin, the 10th movie in the series is expanding the world more than any previous release, as five key characters will be introduced in Fast X. And, unsurprisingly, they’re all family in some capacity, whether it’s Dom and Mia’s grandmother or Fast Five’s drug lord’s melodramatic son. The Fast and Furious franchise amazingly attracts actors from drastically different backgrounds, whether it’s Academy Award winners like Helen Mirren or former wrestlers like Cena. And Fast X will see the addition of more Oscar winners and charming superhero actors, and one actor being introduced fits into both categories.

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5 Dante Reyes Is Fast X’s Main Villain

Jason Mamoa’s introduction into the Fast and Furious franchise as villain Dante Reyes has been well-documented, and his scenes in the trailer reveal how much of a threat he’ll be to Dom’s crew. The character is the son of Hernan Reyes, who was the drug lord who had $100 million stolen from him in Fast Five. Mamoa is clearly hamming it up as Dante, and it’s the most theatrical a Fast and Furious villain has been since Carter Verone in 2 Fast 2 Furious. The actor explained the character is “very sadistic and androgynous and he’s a bit of a peacock… He’s definitely got some daddy issues” (via Variety).

In the 2011 movie, Dom and his gang orchestrated an epic heist that saw them successfully rob Hernan Reyes, and he’s killed by Luke Hobbs. Dante is looking to avenge his father’s death in Fast X, even though it wasn’t actually Dom who killed him. It’s likely that Dante will come to this revelation and inevitably join Dom’s crew, teaming up against the much greater threat that is Cipher. That’s exactly what happened with Jakob, and to an extent, what happened with Hobbs too. However, Fast X could be building a villain team, so Mamoa’s character could be a refreshing change to the formula if he actually joined Cipher.

4 Agent Aimes Is The New Leader Of Mr. Nobody’s Agency

Alan Ritchson in Fast X

Alan Ritchson is playing Agent Aimes in Fast X, and while not much is known about the character’s background, he has taken over Mr. Nobody’s agency, but he doesn’t approve of Dom’s crew. Ritchson’s role raises the question of why Little Nobody isn’t leading the agency, as Scott Eastwood is returning in Fast X too. Ritchson hasn’t had many roles outside of single episodes of TV shows, but the actor played Arthur Curry, a.k.a. Aquaman, in four episodes of Smallville. That means two Aquaman actors have main roles in the film, and It’ll be a wasted fan service opportunity if Ritchson and Mamoa don’t have a scene together in the movie.

3 Isabel Is Dom’s Old Street Racer Friend

Daniela Melchior and Vin Diesel sitting down on the Fast X set.

Daniela Melchior became the most in-demand actor almost overnight. While she was a complete unknown two years ago, she is now a part of almost every billion-dollar movie franchise. The actor played Ratcatcher 2 in The Suicide Squad, has an undisclosed role in The Guardians of the Galaxy vol. 3, and will play Isabel in Fast X. Melchior’s Isabel is somehow connected to Dom’s past. Given that the story is heavily tied to Fast Five with Dante’s relationship to that movie’s villain, and the fact that the 2011 movie is set in Brazil, Isabel will likely be retconned into that film’s narrative.

However, the most interesting thing about Isabel is that she’s a street racer, meaning that the movie could be going back to its roots in a major way. Every Fast and Furious movie features some kind of street race, but ever since the 2009 requel, Fast & Furious, there have been significantly fewer car-related scenes with each consecutive release. And while the later movies have featured souped-up police cars, $500,000 sports cars, and the occasional muscle car, the series has totally distanced itself from heavily customized Japanese imports, the very style it popularized. But Isabel’s inclusion could bring that missed street racing format back.

2 Tess Is Mr. Nobody’s Rogue Daughter

Tess talks to Dom in Fast X

Brie Larson’s introduction into the Fast and Furious franchise is one of the most high-profile. The Captain Marvel actor and Academy Award winner will be playing, Tess, Mr. Nobody’s daughter. Tess seems way more of a light-hearted and fun role than anything Larson has done in her career, whether it’s an indie movie or in the MCU. It’s likely that Tess will have some run-ins with Agent Aimes, as the character has been described as a rogue agent in Mr. Nobody’s agency, and unlike Aimes, Tess becomes an ally of Dom’s. However, while this creates an interesting dynamic within Mr. Nobody’s agency, Larson’s Fast X role is ultimately disappointing.

Before details were revealed about her character, it was heavily theorized that the actor was playing a relative of Brian O’Conner (Paul Walker) and that she’d bring the same charm and cavalier attitude to the character that Walker brought to Brian. That would have been more than welcome, as nobody has been able to fill Walker’s shoes following Furious 7. Unfortunately, that isn’t the case. However, Larson did draw inspiration for the character from Dom’s daughter, Pauline (via Uproxx), who was named after Walker. The actor even had the wardrobe department recreate Pauline’s “Good Vibes Only” T-shirt. So there is some kind of link there, even if it is paper-thin.

1 Abuelita Is The Oldest Member Of Dom’s Family

Rita Moreno as Valentina in West Side Story

While younger audiences might not be familiar with Rita Moreno, she’s a Hollywood icon, having starred in classics such as Singin’ in the Rain and The King and I. And in 2023, Fast X will be added to that list, as Moreno is playing Dom and Mia’s grandmother, Abuelita. Given that Dom has a rocky relationship with his family, as he watched his father die and became enemies with his brother, Moreno’s casting hints that Fast X will dive even further into the soap opera-like narrative that F9 fully embraced. Moreno will be joining other seasoned Hollywood elites like Helen Mirren in the movie, making for one of the weirdest and most wonderful casts ever.

Sources: Variety, Uproxx

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The 50th annual Daytime Emmy Awards will air live June 16 on CBS and Paramount+.

The National Academy of Television Arts & Sciences unveiled the date as part of a new two-year telecast deal that the academy has set with CBS.

“We are thrilled to be back with our incredible broadcast partner CBS for two years,” said Adam Sharp, president and CEO of NATAS. “In commemorating the show’s golden anniversary this year, we look forward to honoring and celebrating the beloved world of daytime television.”

Mackenzie Mitchell, VP of specials, music and live events for CBS, added, “CBS has a storied history in daytime and we are delighted to continue having the Daytime Emmys on the network for the next two years.”

Last year, the 49th ceremony’s big winners included the soap opera “General Hospital” with six wins, with “The Kelly Clarkson Show” taking home the prize for best entertainment talk show. Both series are eligible for this year’s awards.

The Daytime Emmy Awards have recognized outstanding achievements in television programming and crafts since 1974. In 2021, the NATAS and the Television Academy announced plans to realign the Daytime and Primetime awards to be organized by genre, as opposed to program airtime. In addition, 2022 marked the first annual Children’s & Family Emmy Awards, with relevant categories separating from the Daytime Emmys into their own competition and ceremony. All awards are judged by a pool of peer professionals from across the television industry.

This comes as the Primetime Emmy Awards season is underway with shows like “Succession,” “Ted Lasso” and “Abbott Elementary” among the front-running series. Primetime Emmy Nominations voting runs from June 15-26, with noms announced on July 12. Check Variety Awards Circuit for all coverage.

The Daytime Emmys are scheduled to take place at the Westin Bonaventure Los Angeles, with nominations and more information coming in the next few weeks.

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The 50th annual Daytime Emmy Awards will

In a floppy wig, various bathrobes and V-necks displaying his hairy chest and a heavenly ’70s mustache, Timothy Olyphant channels Justified‘s Deputy U.S. Marshal Raylan Givens’ energy into a debauched, seen-it-all tour manager in Prime Video’s fictional series Daisy Jones & The Six. As Rod Reyes, Olyphant gleefully solves problems with little lies and bribes, offering a small-town bus repairman free concert tickets and habitually telling Daisy (played by Riley Keough) that practice is an hour earlier than actually scheduled. When she winds up overdosing in a posh hotel shower, Reyes knows which local doctor to call to get her to the show on time.

“You put on those outfits,” the actor told Collider, referring to the standard-issue band-manager movie costume of low-waisted leather jacket and giant open collar, “and it’s easy after that.”

Reyes’ portrayal was clearly influenced by other band managers in biopics and fictional rock n’ roll movies over the years — particularly Jimmy Fallon’s Dennis Hope in 2000’s Almost Famous.

Here, we share our list of 10 memorable managers in TV shows and movies. Some are based on real-life characters who receive a percentage off the top to book bands in venues, oversee merch sales, usher artists to record label and booking-agent connections and (in the case of tour managers) handle day-to-day obligations such as repairing buses and supplying drugs.

Others are fictionalized, often drawing from the creators’ expertise (in the case of ex-Rolling Stone band chronicler Cameron Crowe, who directed Almost Famous) or Taylor Jenkins Reid (who did copious research for her novel Daisy Jones & The Six, which begat the Prime Video series.)

Read on for the band managers in TV shows and movies who made an impression.

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Adolphus Hailstork, courtesy of Peralta Pictures.

Following the death of George Floyd, composer Adolphus Hailstork and librettist Herbert Martin created “A Knee on the Neck,” an orchestral work featuring a large chorus and three soloists. The Requiem Cantata is in memory of Floyd, speaking to the adversity Black Americans have endured, both past and present.

Premiering with the National Philharmonic Orchestra and Chorale in 2022, the world debut of the piece featured J’Nai Bridges as one of the soloists. In the midst of the pandemic, Bridges had similarly raised conversations regarding inclusion and racial justice in the performing arts, including leading a panel on race and inequality in classical music with the Los Angeles Opera. In “J’Nai Bridges Unamplified” directed by Christine Turner, Bridges reflects on the emotional toll of these experiences and the catharsis of participating in “A Knee on the Neck” during this time of cultural reckoning.

American Masters spoke with Hailstork to discuss his creative process, collaboration with J’Nai Bridges and his visions for the future of classical music.

1. You said Herbert Martin’s libretto for “A Knee on the Neck” came first, what was the emotional experience first reading the text?

Emotionally, I was still upset about George Floyd. When I saw that’s what it was about, it only stimulated those feelings more. I had no hesitation in accepting his invitation to join him on the project. I saw it as an opportunity to vent my feelings. I never expected it to develop as big as it has, but I immediately got charged up to do it.

2. Broadly speaking, what was the process writing the music?

Adolphus Hailstork and J’Nai Bridges, courtesy of Peralta Pictures.

In this particular case, I decided to use the score of a previously existing work I’d written for David Lockington – which I didn’t think had much hope of getting performed beyond its premiere. That was a piece called “Hercules.” In it a slave, in fact George Washington’s cook – a chef of the 13 colonies – ran away and just disappeared mysteriously. It’s a powerful score, with a lot of energy and even a lot of angst. I thought it would line up perfectly with Herb’s text,  so I decided to use that and adapt it.

It’s worked out pretty well. We’re going to have a performance in June in New York, that will be the fifth performance in two years. I’m pleased with how it’s turned out.

3. Why was J’Nai Bridges your first choice for the mezzo-soprano soloist?

She’s kind of the reigning mezzo. She’s an up-and-coming star, but I see her as an established star. To get a person of that caliber in on the premiere of this piece made great sense. It gave the piece a lift by having someone of that star caliber in the cast.

4. Do you remember a performance that brought J’Nai Bridges to your attention?

There are a lot of recordings I’ve seen, but certainly her turn as Carmen is very, very nice, as well as other pieces she did in concert. She has a very powerful presence.

5. The cantata ends on a note of hope, or as you phrased it “universal hand-clenching.” What do you hope people take from “A Knee on the Neck?”

I would hope that they take away some sense of determination. With the direction the country has taken in the last few years, I want people to say, “we can do better.” Remember, our constitution says “in order to form a more perfect union,” – it’s an ongoing track. It’s not a case of “well, we’ve arrived, we don’t have to do anything to make ourselves better.” It’s the contrary, we have to do a lot of things to make ourselves better. A lot of things in terms of the creeping vulgarity that’s been overtaking our culture. We can do a lot of things in terms of teaching our children. There are many things we have to work on. That’s why with good leadership we will continue to work together and that’s also why I liked Herb’s words. Together we can have hope and can abide together, be better together.

That’s the thing I wish. We can do better.

6. What further changes would you like to see in opera and classical music?

A sense of inclusion. That’s been happening and growing among the big ensembles, like the New York Philharmonic. Also the inclusion of young people, providing opportunities to them that I did not have as much when I was their age. Not only inclusion for African American composers, but composers of other backgrounds, especially women composers. The whole idea that classical music, compositions, belong to dead folks in Europe, has been wrong for a long time. But now there’s this increase in awareness and determination to expand.

7. Is there a role you hope to see J’Nai Bridges perform one day?

Hopefully I’ll have an opportunity to write for her again!

In terms of existing material, anything that she feels comfortable with she should get to do. She has a great voice, a great talent, just get her on the stage, give her the time to prepare, it will be a knockout.

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Adolphus Hailstork, courtesy of Peralta Pictures. Following the




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Stormy Daniels won’t be afraid to testify if she’s asked to in former President Donald Trump’s trial for his charges for falsifying business records. The adult entertainer, 44, said that she would “absolutely” take the witness stand if she’s asked in a preview of her first interview on Piers Morgan Uncensored since Trump, 76, was arrested.

When asked about what her feelings about testifying about her alleged affair with Trump are, Stormy admitted that it can be nerve-wracking, but she was still confident to share her story. “Anytime you’re up in the public eye, it’s scary,” she said. “It’s daunting, but I look forward to it. I have nothing to hide.”

Stormy continued and said that she didn’t think that there was anything that could be done to intimidate her from continuing to share her story. She also said she hoped to be called, because it would continue to validate her experience. “I’m the only one who has been telling the truth. You can’t shame me even more. I feel like if they don’t, it paints the picture that they know something about me that makes me untrustworthy or not reliable,” she said. “I think having them call me in and put me on the stand legitimizes my story and who I am, and if they don’t, it almost feels like they’re hiding me.”

Stormy shared that she would ‘absolutely’ testify against Trump. (MediaPunch/EyePress News/Shutterstock)

She then suggested that if she wasn’t called on to testify, people would likely label her as “not credible” or as not “a good witness.”  The full interview with Piers Morgan will air at 8 p.m. on TalkTV on Thursday, April 6.

Trump was arrested on 34 counts of falsifying business records, including an alleged hush money payment made to Stormy to prevent her from sharing her story about the alleged affair ahead of the 2016 election. Trump pleaded “Not Guilty” to the charges after surrendering for arraignment on Tuesday, April 4. He has also denied having an affair with Stormy.

Since Trump was indicted, Stormy has spoken out about him on a number of occasions, including tweeting a joke about his arrest on Tuesday. After his indictment was announced, Stormy shared that she felt “vindication” in an interview with The Sunday Times. “Trump is no longer untouchable,” she told the outlet. “A person in power is not exempt from the law. And no matter what your job is, or what your bank account says, you’re held accountable for the things you’ve said and done, and justice is served.”

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View gallery Image Credit: MediaPunch/EyePress News/Shutterstock Stormy Daniels won’t be

Pedro Pascal says that his love of mysteries — and new opportunities in the world of content creation — are why he jumped on board for a series of Merge Mansion commercials.

Last month, social media chatter around The Last of Us and The Mandalorian star picked up when fans spotted him in a new commercial for the mobile game. In a trio of minute-long spots filmed in Lisbon, Portugal, Pascal portrays Tim Rockford, a detective who has set out to unravel the mysteries around “Grandma’s” mysterious home.

“Everything points to Grandma,” Pascal’s Rockford says in one spot. “It’s almost like some twisted game.”

Pascal is the second major actor — following Kathy Bates — to appear in commercials for the app, a puzzle discovery game from Finnish company Metacore that had more than 800,000 daily players, according to TechCrunch, and amassed close to $40 million in annual revenue that year alone. (The game developer recently held an interactive activation that allowed fans to enter a real-life version of the game’s “mansion” and solve a puzzling mystery.)

In a recent interview with Insider, Pascal shared, “I particularly like a mystery,” before adding that he likes “the tone and atmosphere of this kind of experience that Merge Mansion provides.” But that was only part of why he chose to appear in the ads. The other reason was an opportunity to enter new content spaces as a performer.

“What I love is that different opportunities continue to emerge, and content continues to emerge in so many different ways,” he said. “And I’m being introduced to the world of gaming in a way that the stories are as compelling to those that kind of had me and held my imagination as a kid and as a teenager and as a young adult and now.”

“My past is exemplary of not wanting to limit what the opportunities are or what the experiences are,” he continued.

In another recent interview with Yahoo! Entertainment, Pascal pointed out how the game immerses players in its mystery, which he liked. He also admitted he’d “never done anything like this before” — largely out of the mobile gaming culture around apps like Merge Mansion. “I haven’t really been in the know… But I guess I’m just drawn to things that I feel like I would enjoy.”

As for whether he’d take on an expanded story for Rockford, the actor responded, “It has not come up, but anything is possible.”

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Pedro Pascal says that his love of

Hank Azaria, Sutton Foster, Darren Criss, Danny Strong and Sean Gunn will guest star on the fifth and final season of the Prime Video series “The Marvelous Mrs. Maisel,” Amazon announced Thursday. David Paymer will also reprise his role as Harry Drake.

Season 5 premieres April 14 with a three-episode premiere. New episodes will be added each Friday until the series finale on May 26.

Tony-winning Broadway star Foster previously recorded “I Enjoy Being A Girl” for the third season of the series and starred in “Mrs. Maisel” creator Amy Sherman-Palladino’s ABC Family series “Bunheads.” Strong and Gunn both previously worked with Sherman-Palladino and Daniel Palladino on “Gilmore Girls.”

David Paymer, Danny Strong, Sean Gunn (Getty Images)

Azaria most recently portrayed Apple CEO Tim Cook in Showtime’s “Super Pumped” and won an Emmy for his recurring role on “Ray Donovan.”

“Glee” alum Criss won an Emmy for his performance as killer Andrew Cunanan in “American Crime Story: The Assassination of Gianni Versace,” as well as awards from the Golden Globes, Screen Actors’ Guild and Critics’ Choice.

Strong, who created and executive produced Hulu’s miniseries “Dopesick” and co-created the Fox drama “Empire,” currently recurs on Showtime’s “Billions” as Todd Krakow.

Veteran, Oscar-nominated actor Paymer recurs on FX/Hulu’s “Dave” and Apple’s “The Morning Show.”

Rachel Brosnahan stars in the Emmy-winning “The Marvelous Mrs. Maisel” as Miriam Maisel, along with Tony Shalhoub, Alex Borstein, Marin Hinkle, Michael Zegen, Kevin Pollak, Caroline Aaron, Reid Scott, Alfie Fuller and Jason Ralph. The hit series, which is set in New York in the ’50s and ’60s, has won 20 Primetime Emmys, including Outstanding Comedy Series.

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Hank Azaria, Sutton Foster, Darren Criss, Danny


Diddy and Sting
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A very costly mistake. Diddy revealed that he’s still paying Sting for sampling his song in the ‘90s without getting permission first.

Back in 2018, the British rockstar, 71, appeared on the Breakfast Club and Charlamagne Tha God asked if it was true that the music producer, 53, paid him $2,000 daily for sampling the Police’s “Every Breath You Take” on his track “I’ll Be Missing You.” Sting laughed and confirmed the statement and joked that Diddy would be making those payments “for the rest of his life.”

On Wednesday, April 5, the Bad Boy Records founder shared a clip from the resurfaced interview via his Twitter and noted the amount was incorrect.

“Nope. 5K a day. Love to my brother @OfficialSting! ? ✊???,” he wrote at the time.

Diddy created the 1997 hit track as a tribute to Notorious B.I.G. — also known as Biggie Smalls — following his tragic death in a drive-by shooting. Faith Evans, who was married to the “Hypnotize” rapper, was also featured on the song. (Evans, 49, also shared son C.J. Wallace with the late performer.)

In March 2017, the Making the Band producer penned a touching tribute for the 20th anniversary of the late hip-hop star’s death.

“Today is March 9. Twenty years ago today we lost the greatest rapper of all time, the Notorious B.I.G. Today, we’re celebrating his life through his music and through his legacy today,” he said in a recorded Instagram clip. Diddy called on fans and fellow musicians to rap their favorite Biggie verse and share it using the hashtag #WeMissYouBIG. He promised to edit them all into “something special.”

Diddy Says He Still Pays Sting 5K a Day for Sampling Every Breath You Take Without Permission 2

Sting
Larry Marano/Shutterstock

“I’ll Be Missing You” was a commercial success and spent 11 weeks on the top of the Billboard Hot 100 chart. The single earned Diddy the Top Rap Artist and Top Rap Song awards at the Billboard Music Awards that same year.

At the time of its release, Diddy did not reach out to the 17-time Grammy winner for permission to use the iconic song from The Police. Sting did admit that the “Bump, Bump. Bump” rapper later sought out approval to use a portion of the song.

“Those guys just take your s—t, put it on a record and deal with the legality later,” the “Roxanne” artist said in a 2003 interview with Rolling Stone about Diddy’s use of his song.

Sting also told the outlet about how his friend Elton John came to him to tell him about the Sean John designer’s hit song noting that his pal was going to be “a millionaire.”

“I said, ‘I am a millionaire!’ He said, ‘You’re gonna be a millionaire twice over!’,” he recalled at the time. “I put a couple of my kids through college with the proceeds, and me and P. Diddy are good pals still.”

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“Matt Damon: His performance captivated me. I believed so much in this character’s conscious and underlying motives. Damon does a great job portraying the character as a scared, little boy looking for a true identity.

Jude Law: In my mind, there is no one who plays the spoiled, playboy, millionaire better than Jude Law. While watching the film, I had to keep reminding myself that this was indeed Jude Law. His character reminds me of someone we’ve all met or interacted with at one point in our lives. Gwyneth Paltrow’s character points it out best, ‘The thing with Dickie… it’s like the sun shines on you, and it’s glorious. And then he forgets you and it’s very, very cold.’ I think all of us, at one point, have known that person.

Gwyneth Paltrow: She turns in a very solid, nuanced performance by playing the relatively silent, hopeless romantic. Trying desperately to see the good in Dickie, she blindly accepts his faults without realizing the damage it does to herself and the individuals around her.

Freddie Miles: What else can I say? Phillip. Seymour. Hoffman. He may be the most unlikeable character in the film and no one but Mr. Hoffman could make him so repugnant. He plays a similar character to Jude Laws’ Dickie Greenleaf, but with an heir of snobbish, uncaring, and narcissistic quality that makes him far more gratuitous than Dickie.

As for the other players, Cate Blanchett, Jack Davenport, and James Rebhorn, all add their own little quirks and curiosities to the film. This a superbly well-casted film, and I implore you to revisit the movie if you have not watched it in a while.”

—u/orogamo

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"Matt Damon: His performance captivated

Troubled genius meets troubling system in the revealing, palpably tense archival documentary “Rewind & Play” from Senegalese French filmmaker Alain Gomis (“Félicité”). While doing research for a possible dramatic biopic about Thelonious Monk, Gomis made an extraordinary find: the unseen and unsettling parts of an interview the music legend did for a French documentary that aired in 1970.

In December 1969, Monk, by then a recognized game-changer and lauded artist, was in the City of Lights for a concert that would become a celebrated late performance at a time of declining health and his increasing retreat from the world. But before that, he sat down at a studio Steinway, its lid removed, for a 30-minute program called “Jazz Portraits,” to be hosted on camera by co-director Henri Renaud, himself a jazz pianist, admitted fan and occasional acquaintance.

What transpired, though, was a discomfortingly awkward interview that would eventually be excised before broadcast, leaving only Renaud’s superficial biographical narration to “speak” for the sweating, wary-looking Monk between his rapturous solo performances, which include “Round Midnight,” “Crepuscule With Nellie” and “Ugly Beauty.” Behind that packaging decision, though, which we can now see thanks to the footage Gomis re-edits back in, is the laid-bare reality of a power imbalance — a Black artist’s attempt to tell his story being overridden by a white gatekeeper’s preference for his own self-congratulatory, polished framing.

At the heart of this is an exchange prompted by Renaud, leaning on the piano, as he recalls meeting Monk in New York in 1954 and arranging for him to play at that year’s Paris Jazz Festival. Monk counters that foregrounding of Renaud’s experience with his own, specifically the difficulties making that gig work despite learning all too late that he was the face of the festival — he got no help finding musicians and was paid less than everybody else.

“Rewind & Play” is plenty disquieting in the sausage-making aspects of a TV documentary looking for what’s safe and palatable in centering a famously erratic, misunderstood Black musician.

(Courtesy of Grasshopper Film)

Renaud wants the answer taken out, calling it “derogatory.” Monk keeps trying to tell it, though, to the point of getting up to leave when he gets pushback, clearly reliving the exploitation. “It’s no secret, is it?” Monk says. Renaud responds, “No, but it’s not nice.” Gomis spotlights this moment’s aura of condescension and disrespect by giving “Rewind & Play” the cheeky subtitle, which was also Monk’s retort, “It’s Not Nice?” (Monk makes his own nonverbal commentary about his interviewer later, when Renaud asks for one more mid-tempo number. Monk chooses “Nice Work If You Can Get It.”)

At a little over an hour, which includes nonstudio footage before the taping of Monk in a bar smoking and petting someone’s dog, “Rewind & Play” is plenty disquieting in the sausage-making aspects of a TV documentary looking for what’s safe and palatable in centering a famously erratic, misunderstood Black musician. But the film is also marked by a tonal opposite when Monk plays: the rhythmic, harmonic brilliance of his work in full flight, even as the isolating setting gives the performances the feeling of a release valve, and perhaps at the same time, one more turn inward.

Monk once famously asserted that there were no wrong notes on the piano, a statement that was, by extension, a defense of his considerable body of compositions — now an essential lexicon for modern jazz. Key to the impact of a gripping historical correction like “Rewind & Play” is that where Monk’s art relished asymmetrical, free expression — what’s simultaneously playful and wrenching in life — Renaud felt he had to avert and suppress to promote his own appreciation of it, creating a space where improvisation meant nothing.

But thankfully, in the stretches when Monk is playing, he gets to be exactly who he is, his exhilarating music doing the talking, his exquisite dissonance suddenly more revelatory than perhaps intended.

‘Rewind & Play’

In French and English with English subtitles

Not rated

Running time: 1 hour, 5 minutes

Playing: Lumiere Cinema at the Music Hall

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Troubled genius meets troubling system in

After a memorable stint in Thor: Love and Thunder, Russell Crowe recently teased his Marvel future.

Crowe portrayed Zeus in the Chris Hemsworth-led MCU flick, the King of the Olympians and the leader of Omnipotence City. Although Thor seemingly killed Zeus with his own lightning bolt, Love and Thunder‘s post-credits scene confirmed that he is still alive and ready to seek revenge.

Aside from his MCU role, Crowe is also confirmed to star in Sony Pictures’ Kraven the Hunter in an unknown role. 

Russell Crowe Teases Kraven Role & Marvel Future

Marvel

Speaking with Josh Horowitz on the Happy, Sad, Confused podcast, Russell Crowe was asked about his experience working on 2023’s Kraven the Hunter movie. 

When asked about his time with Kraven the Hunter director JC Chandor, Crowe admitted that he had a great experience with the filmmaker, noting that “they’re mates” on and off the set: 

“Yeah, I mean, I got on with JC very, very well. And we sort of like dined together a few times offset, and everything, and I’m pretty easy to say we’re mates.”

Crowe also confirmed that he is playing a “Russian” in the movie, pointing out that it was a challenge to portray: 

“So, I really enjoyed working on that for him playing a Russian. That was a challenge. I did it once. I did a Russian accent once on Saturday Night Live, and it’s probably the worst Russian accent ever done on television, because I didn’t really think about it that much. I just jumped off the cliff.”

Crowe then claimed that his role in Kraven is “significant” to the main characters: 

“But yeah, I don’t really know what to expect in that movie. Mine is not a hugely significant role in that film, I wouldn’t think. A significant role in the background of the main characters, but not necessarily in the feature film.”

Plot details of Kraven the Hunter are still being kept under wraps, but the veteran actor did tease that it will be “unexpectedly dark.”

Meanwhile, when asked by Horowitz if he is hopeful about an MCU comeback, Crowe noted that Thor: Love and Thunder’s post-credits scene implied that fans will see more of Zeus and Hercules: 

“Well, nobody’s brought anything up with me, but, I mean, it seems like that’s the idea at the end of the last one, right? But, I don’t really know.”

The actor also offered high praise to Thor 4 director Taika Waititi and Chris Hemsworth: 

“Yeah, look… if you’re a young actor and you get the opportunity to be on a set with Taika Waititi, take it. It’s a lot of fun, he’s a creative genius, but he’s also just a lovely bloke, and I also… I didn’t know Chris Hemsworth very well at all yeah before working with him and I was really pleasantly surprised at what a good actor he is. And he’s got great comedy chops, man. He’s just funny. And he’s a really warm welcoming fella, so we just went to town with that. I mean, what you see when you’re at the movie theater is this big, sumptuous, amazing set, but in reality, it’s just me, and Chris, and a couple of cardboard boxes covered in blue sh*t, you know?”

Who Is Russell Crowe’s Kraven the Hunter Character?

Given that it was rumored that Russell Crowe could be portraying Kraven’s father in Sony’s upcoming Marvel movie, the actor’s latest comments may have confirmed that tidbit, especially after him saying that his role is significant “in the background of the main characters.” 

In Marvel Comics, Kraven is a son of an aristocrat who fled to the United States after the Russian nobility was destroyed by the February Revolution. 

While the comics didn’t put much focus on Kraven’s father, it’s possible that the film will likely involve him in its overall story. 

Meanwhile, Crowe’s comment about an expected MCU return is a no-brainer since Zeus’ survival meant that another appearance for the Omnipotence leader is in the cards, especially after what Thor did to him. 

That said, it’s possible that a future clash involving Thor and Hercules with Zeus by his side could be explored in a potential Thor 5. 

Kraven the Hunter is set to premiere in theaters on October 6.

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The first teaser for the upcoming animated series My Adventures with Superman offers our first look at The Boys star Jack Quaid as the Man of Steel. While the series had initially been set for release on Cartoon Network, My Adventures with Superman now comes courtesy of Adult Swim, with the brief teaser also revealing that the series will land this summer. Check out our first look at My Adventures with Superman via the official DC twitter account below.


“My Adventures with Superman is a serialized coming-of-age story catching up with twenty-somethings Clark Kent, the bright and driven Lois Lane, and their best friend Jimmy Olsen as they begin to discover who they are and everything they can accomplish together as an investigative reporting team at the Daily Planet,” the official synopsis for My Adventures with Superman reads.

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The animated series will center on a fledgling version of the Man of Steel and “follows Clark as he builds his secret identity as Superman and explores his own mysterious origins. Lois, on her way to becoming a star reporter, teams up with photographer Jimmy Olsen to break the stories that matter. All the while, Clark and Lois are falling in love…”

Scream and The Boys star Jack Quaid will provide the voice of Clark Kent aka Superman in the series, with the teaser giving us just a taste of what that will sound like. The rest of the cast includes Alice Lee (Zoey’s Extraordinary Playlist) as Lois Lane, Jeannie Tirado (Soul) as Lana Lang, Ishmael Sahid (The Mindy Project) as Jimmy Olsen, and Kiana Madeira (the Fear Street trilogy) as Kara Zor-El aka Supergirl.

My Adventures with Superman was announced some time ago, and is produced by Warner Bros. Animation. The creative team behind the DC series includes several veterans, including Sam Register (Batman: The Killing Joke), Jake Wyatt (Invader ZIM: Enter the Florpus, Ducktales), Brendan Clogher (Rise of the Teenage Mutant Ninja Turtles, Reign of the Supermen), and Josie Campbell (Jurassic World: Camp Cretaceous, She-Ra and the Princesses of Power).

RELATED: DC Animated Movies: A Guide to What’s Coming in 2023


Live Action Superman Will Soon Get the Reboot Treatment in Superman: Legacy

Outside of animation, the Man of Steel will soon receive the reboot treatment as part of director James Gunn and producer Peter Safran’s recalibrated DCU. Titled Superman: Legacy, the reboot will be the first movie in the first chapter of the DCU, and will focus on a younger Superman, leaving Henry Cavill behind in favor of another actor. “Superman Legacy tells the story of Superman’s journey to reconcile his Kryptonian heritage with his human upbringing as Clark Kent of Smallville, Kansas,” the recent synopsis for Superman: Legacy reads. “He is the embodiment of truth, justice and the American way, guided by human kindness in a world that sees kindness as old-fashioned.”

While we still have no idea who will play the new Superman, with James Gunn debunking all sorts of rumors, it has been confirmed that Gunn will both write and direct Superman: Legacy for DC Studios.

Superman: Legacy is scheduled for release on July, 11, 2025.

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The first teaser for the upcoming animated

T-Mobile and Major League Baseball (MLB) are renewing their partnership. In addition to sponsoring various pro-baseball events, the carrier announced today that its subscribers would continue receiving free MLB.TV subscriptions through 2028.

MLB and T-Mobile have offered the deal for the past eight years as part of its T-Mobile Tuesdays promotion, which gives subscribers access to weekly discounts and freebies. MLB.TV lets you stream home and away broadcast feeds around the league — live or on-demand. (However, it’s subject to dreaded regional blackouts, so you shouldn’t count on it to watch teams nearby.) In addition, for the first time this season, the service lets you stream minor-league games for your favorite major-league team’s affiliates in the MLB app.

Speaking of the minor leagues, the two corporations are partnering on an automated ball-strike (ABS) system, which lets Minor League Baseball (MiLB) players and officials “review, challenge and analyze calls.” This season, T-Mobile will power the system with a “5G Private Mobile Network” during some minor-league games. You may recall that MLB has been experimenting with robot umps in the independent Atlantic League since 2019. Last year, MLB commissioner Rob Manfred said the league aims to introduce the system to the big leagues by 2024. From a labor perspective, it’s hard not to see this as a first step toward automating umpires’ jobs, but at least fans can direct their vitriol over (perceived) bad calls to a machine instead of a human. 

T-Mobile says its baseball partnership will also include a little-league sponsorship, part of which consists of the carrier donating millions of dollars toward equipment and grants for aspiring young sluggers. It’s also continuing to sponsor the All-Star Week Home Run Derby and batting practice broadcast. Finally, T-Mobile plans to expand its 5G coverage in baseball stadiums across North America, envisioning eventual “immersive 5G-connected experiences for fans” and better in-stadium speeds and reception for its subscribers.

All products recommended by Engadget are selected by our editorial team, independent of our parent company. Some of our stories include affiliate links. If you buy something through one of these links, we may earn an affiliate commission. All prices are correct at the time of publishing.

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Things are about to get sharper. 

Breaking down the narrative jigsaw puzzle of a psychological thriller like Sharper is no easy feat, but there is always a bolt of enjoyment that comes from watching a con unfold, moving back and forth, as characters grow, change, and shape a larger story than the audience could ever expect.

In Sharper, motivations are suspect, and expectations are turned into chaos as a con artist takes on Manhattan billionaires. With multiple players and more plot twists than one can count, Yan had the delicate task of delivering audiences with a puzzle that kept them guessing and doubting the characters’ intentions at every turn. Editing, an already essential tool to great filmmaking, becomes even more vital when weaving together a story that has multiple moving parts separated across a non-linear timeline.

No Film School had a chance to chat with Yan Miles, the Emmy-winning editor behind A24’s and Apple TV+’s recent crime thriller, Sharper, starring Julianne Moore, Sebastian Stan, and John Lithgow. In the interview, Miles shares insights into editing non-linear story, his approach to creating multidimensional characters, and his advice for aspiring editors.

NFS: The events in Sharper are not organized chronologically. How did you approach that, and what were some advantages of editing this story in chapters?

Yan Miles: The script was always non-linear until the Madelaine chapter, where we ran in the current timeline before the last series of flashbacks. In the cutting process, giving her a final wrap-up with a name card and her own chapter felt right, so we jumped back in time to see her leave Max and Madeline on the plane.         

The entire film is really about Sandra/Sandy; with all the chapters, we often lean into characters’ back stories as useful character development and a way to understand motivations. For example, Sandra meets Tom in his bookstore: they fall in love, cook, drink, talk books, and make love.

In chapter two, Sandy meets Max, and he trains her for the bookstore con on Tom. He goes as far as asking her to seduce a man in a hotel bar back to his room. In a non-linear chronology, it is a joy to experience a character’s why and how. It creates much more complex storytelling because we get to experience this one story from the perspective of multiple people.

NFS: We meet each character in their own little chapter. Which one of those chapters was most intriguing for you to edit? 

Miles: I loved all the chapters. Each had a similar motive, with the character being alone and the music playing in the background. Sandy, the final chapter, is the most intriguing as it shows her redemption. We explore why and how she did what she did. She initially lied and cheated to survive in life, and Max capitalized on this aspect of her.

When you break down her chapter, you can see that she learned a lot from Max, but then she became a teacher to tricky Max and Madeline. Why? You can’t cheat an honest person, and Sandy truly felt for Tom. It’s the moment when the human condition shines in, and we see who Sandy really is and what limits she is willing to safeguard or sacrifice.

Sebastian Stan and Briana Middleton in ‘Sharper’ Credit: A24/Apple TV

NFS: Since the story is based on chapters, they could have been arranged in multiple ways. Was the idea always to start with Tom and finish with Sandy?

Miles: As I explained above, the script was always organized in chapters apart from Sandy. However, we re-ordered the chapters into the linear version before we started editing to better understand the story. Ben, the director, placed whiteboards around the room, and we scribbled the linear version of the story. There are time gaps between each part of the storyline, so we would imagine our characters’ journey and fill in those gaps to inform the narrative. It was a very rewarding and creative process.

NFS: It also seems like we are introduced to Madeline, Max, and Sandy twice. Once when we meet their curated person and the other time when we discover their true identity. Like when we meet Sandy being a perfect match for Tom in his chapter, and then we meet a whole new version of her when she meets her parole officer in the restaurant. How did you balance characters’ two identities while editing?

Miles: It reflects the duplicitousness of the human character that defines us all. We can be empathetic to others, although we sometimes fail at it. The same goes for love. Sharper is a con film, but for me, it’s also a slice, a mirror of life. Sandra seduces Tom, and he falls in love with her, the real her. Sandra meets Max, and she falls for him showing her need to be loved. Max needs Madeline to love him, and it’s a broken truth that he tries to hide.

Richard loves Madeline because he looks for happiness due to his age and sickness. Madeline loves money and the thrill. Even with the billions, she steals a ring because she can’t help herself.  So by delving into the brilliant performances, we tried to understand what people are motivated by and the complexity of the desire for money and happiness.

John Lithgow and Julianne Moore kissing in 'Sharper'
John Lithgow and Julianne Moore in ‘Sharper’Credit: A24/Apple TV

NFS: What were some of the little details you focused on to create such multidimensional characters in a heist movie?

Miles: Based on the trailer, the audience knew it would be a con movie and the twist that comes with that. The key is that Sharper is more about the human condition than just a con. The big question is, who we really are? When do you really meet the real Max or Madeline? For me, the characters were able to straddle both duplicitous parts of themselves very well.

There is a scene when Madeline explains to Tom, “We are all human, just doing the best we can,” and she summarizes the multidimensional story we were aiming at, con or non-con.

NFS: You edited many prominent projects in the past. Do you have one that really stuck with you or provided you with the most creative opportunities? 

Miles: I’ve enjoyed and learned from all projects I worked on. They all brought me new elements to sharpen my storytelling. Sherlock unlocked some creative shackles. Nick Hurran, the director, would always show me his side scripts, and on top, he would write “BE BOLD,” and it’s exactly what I did.

Similarly, I worked with Ben Caron before, but he always surprises me with his creativity. Working with him is magical and robust. Editing is interesting because you start with a script written by skilled writers, shoot actors with a vastly talented crew, and then cut this together to examine the story we all embarked on together. Easy, right? Nope, because creativity doesn’t work this way. For me. it’s not bottled, distilled, or formulated. It’s shared. It always amazes me how much we can learn from each other.

Briana Middleton and Justice Smith walking in the park in 'Sharper'
Briana Middleton and Justice Smith in ‘Sharper’Credit: A24/Apple TV

NFS: What advice would you give to aspiring editors? Or what is something you wished you knew before first starting?

Miles: I’ve taught editing to students at university, and I’ve learned that editing is difficult to summarize or teach because we all see things differently. I am very grateful for having a career in editing, which I’m profoundly proud of. I often remind myself of my journey here, and it was tough. I remember being an assistant editor and desperately wanting to sit in the editor’s chair. Now I realize that every editor subconsciously enlightened me and taught me something.

So ultimately, no time really was wasted. Today with social media platforms like TikTok, we are surrounded by editing and creativity. I’m in awe of this, so I wish I knew to appreciate all the opportunities you get before reaching the editor’s chair.     

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Things are about to get sharper. 

Eliza Taylor and Bob Morley will be returning to our screens very soon! In the trailer (first released by Screen Rant) for their upcoming thriller, I’ll Be Watching. In the film, Julie (Taylor) is a talented artist but is in deep grief over the murder of her sister. To make things much worse, Julie is fighting for her life during a home invasion when her genius husband, Marcus (Morley), is on a business trip to Hong Kong. The only person or thing to help Julie out of this dangerous situation is the high-tech security system called Hera, installed in the couple’s new home.

Check out the trailer for I’ll Be Watching below!

The trailer leaves a pretty cryptic message between technology and reality, so much so that the two try to mesh together but simultaneously hold an oppositional force. Viewers can piece together various theories about I’ll Be Watching‘s overall structure throughout the movie and will be just as surprised by the climax.

Both Taylor and Morley starred alongside all seven seasons of the post-apocalyptic drama, The100. The couple played Clarke Griffin and Bellamy Blake, respectively, who often butted heads when it came to the survival of humanity but had undeniable chemistry. Since the series finale in 2020, Morley has been part of the main cast in the Australian drama, Love Me. Season two of this heart-stopping series will premiere on April 6th on the Australian Binge platform, then on Hulu on April 21st. The trailer can be watched on Binge’s Youtube channel.

Taylor, for her part, executively produced and starred in the Australian Indie, It Only Takes A Night. The film follows a group of young women whose all lives are changed after one night. No word yet on its release date, but it’s suspected to premiere later this year.

I’ll Be Watching will be Taylor’s and Morley’s first project together since wrapping up The 100. The movie is distributed by Uncorked Entertainment and directed by Erik Bernard. The film’s location was shot around Atlanta, Georgia, in 2021, when Taylor was pregnant with her first child.

When will I’ll Be Watching be available?

I’ll Be Watching will be available to stream across most platforms on May 2nd.

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Eliza Taylor and Bob Morley will

“Ted Lasso” breakout Phil Dunster’s role in the second season of “Surface” has been revealed.

Dunster joining the second season of the Gugu Mbatha-Raw-led Apple series was reported in early March, but character details were being kept under wraps at the time.

Variety can now exclusively report that Dunster will star as Quinn, the older brother of Eliza (Millie Brady). Quinn is described as “the privileged scion of a troubled, old-money family who’s attempting to blaze a new trail for the younger generation – all the while struggling against his own darker tendencies.”

As previously announced, “Surface” Season 2 will see Mbatha-Raw’s character Sophie return to her hometown of London and “rediscovering the unfinished relationships that have haunted her memories – as she finds out where she really came from, and what made her the flawed person she was.”

Dunster is best known for his role as Jamie Tartt in fellow Apple series “Ted Lasso,” the critically-acclaimed and award-winning comedy series starring Jason Sudeikis as an American football coach who heads to England to manage a Premier League team. Tartt is the star player of the team who initially bristles at Lasso’s coaching.

Dunster’s other recent credits include the six-part series “The Devil’s Hour” at Amazon. He will reprise his role in the second season of that show. He has also been in projects like “The Good Liar,” “Murder on the Orient Express,” “Ten Percent,” and “Catastrophe.”

He is repped by Independent Talent Group out of the UK, CAA, Authentic, and Jackoway Austen Tyerman.

“Surface” was created by Veronica West, who serves as executive producer and showrunner. Reese Witherspoon and Lauren Neustadter executive produce on behalf of Hello Sunshine. Apple Studios and Hello Sunshine produce.

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“Ted Lasso” breakout Phil Dunster’s role in

There’s no doubt Disney is well-known for their princesses. Ever since their first princess film in 1937, and the honorary Oscar it won since there was no category for it to fit into, princesses have made up a lot of Disney’s movie line and merchandise. There always seems to be a new princess project just around the corner for Disney, whether it be a sequel for an existing princess or a new one to join the rankings.


One interesting thing Disney does with their princesses, though, is rank them based on certain criteria. There are official Disney princess rules to determine who can and can’t be a part of their strict lineup. This is how characters who aren’t necessarily princesses, such as Mulan, can still end up on the list. It’s also how obvious princesses like Anna and Elsa are only given honorary titles and not included on the official list. This list only includes the current official princesses, but that doesn’t mean there aren’t other princess movies worthy of inclusion too.

12 Pocahontas – Pocahontas

Buena Vista Pictures Distribution

Pocahontas is based on the true story of the Native American Pocahontas, though it’s historically inaccurate to a sometimes insulting degree. Taking place during the arrival of English settlers from the Virginia Company, the film shows the relationship between the Native Americans and the Europeans, both friendly and hostile. It also romanticizes Pocahontas’s encounter with John Smith and how she saved his life.

Related: Best Disney Princess Animal Sidekicks of All Time, Ranked

Pocahontas is considered a Disney Princess because she is the daughter of the tribe’s chief, so she’s considered a royal in this regard. Though not an official requirement, she does also have an animal sidekick. Meeko the raccoon is her pet and spends a good chunk of the film by her side.

11 Merida – Brave

Merida in Brave
Walt Disney Studios Motion Pictures

The only princess that is not fully Disney is Merida from Brave, which was made in conjunction with Pixar. Merida’s story is about defying the age-old custom of an arranged marriage, preferring for the time to be on her own, and choosing who she wanted to marry when she was ready for it. It’s also set in Scotland and brings some aspects of local folklore into the story, such as the will-o’-the-wisps leading her through the forests.

There’s no questioning how she has gained the title of princess in her own movie, and how she fits the normal rules to become a Disney princess either. Of course, as is with all Disney princesses, she has some animal companions as well. Her horse, Angus, is a loyal beast who tries to help her out when he can. You might also consider her brothers animal companions as well when they accidentally turn into bears halfway through the movie.

10 Tiana – The Princess and the Frog

Tiana The Princess and the Frog
Walt Disney Studios Motion Pictures

The Princess and the Frog is based on the popular fairy tale of the same name, but with Disney’s own twist. Set in New Orleans, Tiana is the star of the movie, focused on trying to open her own restaurant. Instead of the princess kissing the frog and the frog turning back into a human prince, however, Tiana gets turned into a frog with him, and they have to work together to find a different way to break the curse.

Though not initially a princess, Tiana does earn the title by the end of the movie when she marries Prince Naveen. Marrying into the title is an approved way to get onto the list, especially since she’s not the only one. Tiana could also technically have animal sidekicks in the alligator Louis and the firefly Ray, because while they might not be together at the beginning of the movie, they become fast and nearly inseparable friends.

9 Aurora – Sleeping Beauty

Princess Aurora Sleeping Beauty
Buena Vista Distribution

The tale of Sleeping Beauty is a classic. Princess Aurora is cursed as a young child to fall into a deep sleep after pricking her finger on a spinning wheel, only to be awakened by true love’s kiss. Of course, if you’ve ever read the original story, the basic concept has remained for the Disney movie while making it all more family-friendly. We get to see Aurora leave the castle and live with her fairy caretakers in an attempt to save her from this inevitable fate, as well as her blossoming love for Prince Phillip.

Related: 10 Highest-Grossing Disney Princess Movies Ever Made

She’s one of the oldest Disney princesses and one of the building blocks for the guidelines of what a princess is. Her movie also cemented Disney’s insistence to build stories based on these fairy tales but changing them to be more appropriate for kids.

8 Mulan – Mulan

Mulan
Buena Vista Pictures Distribution

Mulan is based on the Chinese legend of Hua Mulan, bringing to life much of her story. Though the time period of the movie is unclear, it is definitely set in China during an imperial dynasty that is under attack by the Huns. Mulan doesn’t hesitate to pretend to be a man to take her father’s place in the conscription, knowing that only men were supposed to answer and her father’s health was too frail to go to war.

Mulan is one of the few on the list that, while officially a part of the Disney Princess franchise, isn’t actually a princess at all. Instead, she earned her place in the ranks by taking the lead and performing a heroic deed in her movie. She even manages to fit the unofficial rule of having animal sidekicks, with the ever-popular Mushu always by her side once she goes off to war. She also keeps her lucky cricket around and has a loving dog at home.

7 Ariel – The Little Mermaid

Prince Eric and Ariel The Little Mermaid
Buena Vista Pictures Distribution

The Little Mermaid takes very loose inspiration from the Danish fairy tale of the same name. This is, again, because the original tale is a lot darker, and not very family-friendly at all. Ariel sits in the center of this story, a mermaid with a strange fascination with humans and all of their items that end up at the bottom of the sea.

She is the reason one of the rules for being a princess is to be mostly human-looking, as she’s the only non-human on the list but still deserved her spot here. She also manages to become a princess twice, once by being the daughter of King Triton and again when she marries Prince Eric in the end.

6 Rapunzel – Tangled

Rapunzel
Walt Disney Studios Motion Pictures

Tangled uses the basic idea of Rapunzel’s fairy tale and creates its own story from it. The idea of a woman locked up in a tower with really long hair stays prevalent, but there are many differences between the two stories. Staying within Disney movie guidelines, the movie turns away from some of the story’s components and instead makes it about Rapunzel learning about the outside world she was never allowed in and truly discovering herself to get away from Mother Gothel, who was keeping her locked in the tower for her own gains. Of course, she also gains the signature animal sidekicks, her chameleon Pascal and the horse Maximus, which are definitely only part of the movie.

5 Cinderella – Cinderella

Cinderella
RKO Radio Pictures

Perhaps one of the fairy tales with the most adaptations is Cinderella. The original tale has no specific origin as a similar story repeats across many different cultures throughout time. However, Disney chose to adapt French author Charles Perrault’s version, who brought the pumpkin, glass slippers, and the fairy godmother into the story.

Related: Disney: The Evolution of Princesses in Movies

They didn’t have to change too much to still bring Cinderella her own happily ever after, but her stepmother was definitely even meaner and eviler in the original fairy tale. The addition of the pumpkin carriage into this particular story also lent a hand to designing her animal companions, as it wasn’t hard to turn the mice who drove the carriage into her friends.

4 Moana – Moana

Moana
Walt Disney Studios Motion Pictures

Moana definitely shows the more recent change into making more movies, especially in the princess category, that let the princess be the heroine instead of being saved by the prince or other similar figure in her life. It’s set in ancient Polynesia, and while the plot is completely original, there’s no doubt that it draws inspiration from several different Polynesian myths.

As the daughter of the village chief, Moana gets to make it onto the list by being considered a princess but also completing a heroic deed. Leaving her island alone to find the demigod Maui and save Te Fiti to save her island from a blight is definitely a worthy heroic deed.

3 Belle – Beauty and the Beast

Belle Beauty and the Beast
Buena Vista Pictures Distribution

Based on the fairy tale of the same name, while also bringing in ideas from a French film of the tale, Beauty and the Beast is a classic Disney princess movie from the Disney Renaissance era. As the daughter of an inventor who gets looked at strangely by everyone in town, she definitely wasn’t born a princess. Instead, she marries into the title when she falls in love with the Beast and returns him and the rest of the castle to their previous states after breaking the spell.

Belle is, technically, one of the few Disney princesses who doesn’t really have an animal companion. While you might be able to consider her horse, he isn’t used in the same way as most princess companions do. Instead, the role falls onto the enchanted objects in the castle, like Lumiere and Chip.

2 Snow White – Snow White and the Seven Dwarfs

Snow White and the Seven Dwarfs
RKO Radio Pictures

Snow White and the Seven Dwarfs holds a lot of firsts. Snow White was the first Disney princess to be in a feature film (historians point out that, actually, Persephone from the 1937 short Silly Symphonies was the ‘first Disney princess,’ though she’s often omitted from most lists). This was also the first full-length traditionally animated feature film, as well as Disney’s first animated feature film in general. It’s based on the German fairy tale of the same name, bringing a lot of the same themes of the tale. This includes the Evil Queen seeing Snow White as a threat and trying to kill or otherwise get rid of her several different times.

Related: Every Live-Action Disney Princess Movie, Ranked

Though it can be easy to forget, Snow White is actually a princess in her own birthright and was forced to be a maid by her cold-hearted stepmother. While Snow White eventually does end up with the prince as well, it’s not what made her princess-worthy in the first place.

1 Jasmine – Aladdin

Aladdin and Jasmine
Buena Vista Pictures Distribution

Jasmine is the only princess on the list who manages to make princess status while the title of the movie doesn’t include her at all. Instead, it’s titled after the other main character, Aladdin. It’s based on the Arabic folktale of the same name that can be found in the collection One Thousand and One Nights.

Since she’s not the titular character, Jasmine isn’t in the whole movie, but she is central to the plot and why Aladdin begins to change his ways and try to gain her favor in the first place. She even has an animal companion in her tiger Rajah and does play an important role later in the film in trying to save the city from Jafar.

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There’s no doubt Disney is well-known

The “Everything Everywhere All at Once” Oscar winner will be feted during the 2023 film festival this May.

Michelle Yeoh is officially the 2023 Kering Women in Motion Award recipient for this year’s Cannes film festival.

The “Everything Everywhere All at Once” Oscar winner will be celebrated during the annual Women in Motion dinner honoring women in cinema. Since its launch during the festival in 2015, the program has been rewarding and highlighting the creativity and unique contribution made by women in culture and the arts, whose work helps to transform our vision of the world. Past recipients include Jane Fonda, Geena Davis, Susan Sarandon, Isabelle Huppert, Patty Jenkins, Gong Li, Salma Hayek, and Viola Davis.

“I’m very moved to receive this award. I’m convinced that times are changing; public awareness has certainly grown in recent years,” Yeoh said in a press statement. “It’s vital that women, in front of the camera and behind it, keep playing roles and telling stories that reflect the diversity and complexity of the world.”

Malaysian-born actress and producer Yeoh made history as the first Asian woman to win the Best Actress category at the Oscars. Yeoh also earned Golden Globe and SAG Awards for her role in “Everything Everywhere All at Once.”

“Through her iconic roles, Michelle Yeoh has managed to shatter every stereotype,” Kering chairman and CEO François-Henri Pinault said. “Together with the Festival de Cannes, we wanted to recognize her significant contribution to cinema, and her ability to inspire future generations of talent. Presenting her with the Women In Motion Award was the obvious choice.”

Thierry Frémaux, the director of the Festival de Cannes, added, “We are thrilled to be honoring Michelle Yeoh, an actress who is passionately dedicated to her films and has made her mark on the industry in so many different ways, and who we had the great pleasure of welcoming to the jury of the Festival de Cannes in 2002. Throughout her career, she has relentlessly explored new possibilities — to the point where this has become her trademark for a large international audience. The awards she is receiving are simply the inevitable outcome of this exceptional journey.”

Iris Knobloch, president of the Cannes festival, shared, “I am happy and proud to celebrate, along with Kering, the contribution made by women to the film industry. For the past nine years, Women In Motion has been highlighting the figures who have played a key role in changing the way women are represented in culture and the arts. Michelle Yeoh is undoubtedly one of the most outstanding examples of this commitment.”

The 2023 Cannes film festival will take place from May 16 to May 27.

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The "Everything Everywhere All at Once" Oscar

World sales agency Impronta Films has boarded “La Ricerca” (“The Quest”) ahead of its world premiere on April 24 at Visions du Reel, a documentary film festival in Switzerland. The film was written, directed, edited and produced by Giuseppe Petruzzellis. Nicolás Jaar composed the original score.

The film focuses on the Italian artist Luigi Lineri, who has been working continuously on “The Quest” over the last 60 years. It’s a one-of-a-kind installation made of thousands of stones. Pebbles resembling primitive flint tools and symbolic sculptures illustrate the turning points in humanity’s evolution.

Petruzzellis said in a statement: “Luigi’s masterpiece is a formidable tool to investigate universal themes. He has materialized a vast field of anthropological, philosophical and even political topics. Many of these contents are extremely actual and urgent, as, for example, our conflicting relationship with the ecosystem.

“Shaping the film structure, I built on top of these elements. Re-contextualized film archives and evocative images/sounds work in an allusive fashion, further exploring the film themes. It’s a continuing and open dialogue with Luigi and with the audience.

“’La Ricerca’ deals with collective empowerment, reshaping lost memories to build a better future. This conservation topic matters also with regards to the survival of the one-of-a-kind art installation created by Luigi Lineri. Given its peculiarities, there is the risk that it will disappear together with its author, now 85 years old. This film is a legacy of Luigi’s life commitment to art, intended as a way of serving the universal human community.”

The film was produced by Petruzzellis at Aplysia, and coproduced by Alessandro Carroli at EiE Film, and Liza Faktor and Andrea Arena at Vessel, with the collaboration of Lisa Fierro. Cinematography is by Michele Brandstetter de Bellesini and Petruzzellis.

In 2007, Petruzzellis set up Aplysia, a production company specializing in creative documentaries. Since then, he has worked on more than 70 film projects, including 17 features, working as the screenwriter, producer or editor, and he has directed several shorts. Some of these films have played at major film festivals such as Venice, Ji.hlava, CPH:DOX and Sheffield Doc Fest. “La Ricerca” is his debut feature documentary.

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World sales agency Impronta Films has boarded

Whitby Mayor Elizabeth Roy says it is “completely unacceptable” that Ontario’s 2023 budget didn’t include the $3-million planning grant that is needed for a proposed new hospital in Durham.

“I am extremely disappointed that Ontario’s 2023 Budget released today does not include the planning grant required to support a new hospital in Durham Region,” Roy said in a statement on March 23. “This is completely unacceptable.”

Read more:

Durham municipalities compete to be site of region’s new hospital (June 11, 2021)

It’s been more than a year since Lakeridge Health announced that an expert panel had selected a site in Whitby as the location for a new proposed hospital in Durham Region.

Yet the process is now stalled, after the Ontario 2023 budget failed to include a requested $3-million planning grant from the Province,  that would be needed to push the hospital project forward.

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That prompted Roy to issue her March 23 statement calling on the government of Ontario to immediately release funds for the planning grant, and in addition, to confirm support for Durham’s new hospital to be located in Whitby.

Read more:

Highlights of the Ontario government’s 2023 budget

“Healthcare is in such dire straits,” Roy said. “This is the fastest growing community in Durham and Ontario. It was identified in 2015 that there needed to be a hospital within our proximities, and this is what Lakeridge went forward with in 2019.”

“I don’t understand why we are having this conversation today,” Roy said in an interview with Global News. “It’s actually disheartening.”

The concern is growing as this is the second provincial budget to leave out funding for this planning grant, and it comes as the region continues to see overwhelming strains on healthcare.

The proposed new hospital is expected to be for acute, cardiac and trauma care. The proposed land, located south of Highway 407 and west of Highway 412, is currently owned by the Ministry of Transportation. Roy said Whitby is in the final steps of obtaining the property, and said acquiring the land won’t be a concern.

Mayor Roy adds that the Ministry of Transportation also has given the Town of Whitby a commitment letter that the site would be used for the hospital.

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Click to play video: 'Lakeridge Ajax Pickering Hospital records longest wait times in Durham Region'


Lakeridge Ajax Pickering Hospital records longest wait times in Durham Region


With the stalling of the process, some municipalities are voicing their concerns with the expert panel that designated Whitby as the preferred hospital location. Pickering Mayor Kevin Ashe said his community had concerns with the decision that was made.

“It was made of entirely people outside of Durham who lacked a complete understanding of the region as a whole, and how Pickering was going to explode in terms of population,” said Ashe, adding that his city has free land versus the Whitby taxpayers’ land.

With no planning grant yet allocated to the Whitby site, Ashe has decided to “throw his hat back into the ring” and advocate for Pickering.

“We thought we had a better proposal, free land, which is a significant advantage over the Whitby site,”Ashe said. “We are saying to the province that we know Pickering is going to be the biggest community in Durham, with the most population, the most jobs, and we need to have better and quicker access to hospitals and healthcare.”

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Ashe said the province has made Pickering a growth centre, with the greenbelt, new developments and growing population. “I think as the province, they need to follow up with the proper infrastructure requirements, and that requires new healthcare and a hospital.”

Ashe said he has plans to reopen the process, which he told stakeholders ahead of the budget being announced.

Roy said the location of this new hospital shouldn’t be influenced by politics or developer interests, and the process shouldn’t be delayed any further.

“We all entered as municipalities into a process that we approved,” Roy said. “For Pickering to say they want to open up the process, well, the process is not opened up. We are done the process.”

As for Ashe, he says he’s just advocating for Pickering. “I have the upmost respect for Mayor Roy and her council, and I understand she is trying to do the best for her community. But, I will too.”

Read more:

Hospitals, paramedics in Durham under pressure from ‘critical’ staff shortage (Oct. 29, 2022)

In a statement, Lakeridge Health told Global News that Whitby is still the proposed location. “A fair and transparent process was undertaken that involved an exhaustive public and expert consultation and a competitive bidding process,” adding that the process included evaluations that measured all site proposals against a set of criteria.

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“The Expert Panel unanimously recommended that the proposed new hospital be located on land in Whitby,” Lakeridge said. “The Lakeridge Health Board of Trustees approved this recommendation. Lakeridge Health stands by the site selection process.”

All municipalities can agree on one thing: that healthcare in the region is necessary.

“All of Durham Region, we require more healthcare services,” said Whitby Mayor Roy. “No matter if we are Pickering, Oshawa, Ajax, Whitby North, Clarington, the need for healthcare in the community is dire, and we need to put our differences aside and find a way to see how this can move forward.”

“That joint support for a regional hospital is unequivocal in terms of all the mayors,” added Pickering Mayor Ashe. “There is just a friendly disagreement on the best site, but at the end of the day it’s not the expert panel that will make the determination, it’s the government of Ontario, Ministry of Health, and Finance.”

While she is discouraged, Roy said she will continue to fight, and will continue to work with her local community, and chamber of commerce. The Town of Whitby task force will be meeting in the coming weeks to discuss next steps.

“We are looking at how we can get ourselves in front of those who are making decisions, to make the decision to get this project to move forward,” Roy said.

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Whitby Mayor Elizabeth Roy says it is

Ready to mingle? Khloé Kardashian confirmed she is currently single following her public ups and downs with Tristan Thompson — but is she trying to get back out into the dating scene?

“I haven’t yet. I don’t want to say never because who knows where I’ll be next year. But as of now, I haven’t yet,” Kardashian, 38, shared on the Wednesday, April 5, episode of The Jennifer Hudson Show.

Shortly before the pre-taped interview aired, the reality star was spotted at a McDonald’s drive-thru with Thompson, 32. In footage shared by an employee on social media, the former couple seemed to be on friendly terms as they stopped at the fast-food joint on Wednesday.


Khloe Kardashian
Frank Micelotta/Shutterstock

Kardashian and Thompson were first linked in September 2016. Days before they welcomed their first child together, daughter True, in 2018, the former Boston Celtics player was accused of cheating on his then-pregnant girlfriend with multiple women. The twosome stayed together at the time, but they called it quits in February 2019 after the professional basketball player kissed Kylie Jenner‘s former best friend Jordyn Woods.

In August 2020, Us confirmed that the Good American cofounder and the athlete had rekindled their romance. Less than one year later, however, the duo split again before reconciling again in fall 2021. They split for good that December.

Thompson’s private life made headlines again when news broke that he was being sued for child support by Maralee Nichols. In the paperwork filed in June 2021, the fitness model, 32, claimed that the NBA player was the father of her baby. The Canada native, for his part, acknowledged in his court response that he hooked up with Nichols that March — while he was still dating Kardashian.

Thompson publicly acknowledged the child’s paternity after his son’s arrival in December 2021. The Strong Looks Better Naked author later shocked fans when news broke that she was expecting a second child with Thompson. The exes welcomed a son via surrogate in July 2022.

“Khloé and Tristan are coparenting, but not speaking [outside] of coparenting, that is the only communication they have anymore,” an insider shared with Us at the time, adding that the baby was conceived ahead of Thompson’s paternity scandal. “Tristan has realized that he’s a parental figure to True and the new baby [and] that’s all he is to Khloé right now.”

Since then, a second source shared that Kardashian and Thompson have maintained a platonic relationship.

“He knows they’re always going to be in each other’s lives because of their children. But that doesn’t mean he hasn’t been trying,” the insider said earlier this month. “At this point, he feels like all he can do is be the best father to their kids that he can and show Khloé over time that he’s there for their family. He is so happy he was able to find a home right around the corner from them because they’re his priority. He just wants to be there for his kids.”

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Ready to mingle? Khloé Kardashian confirmed she

Future Android phones running Android 14 and later could work together to make devices easier to find, even when the devices are turned off. Current iPhone 14 and older iPhones dating back to the iPhone 11 can already perform the same function, but Google is baking the feature into an upcoming Android upgrade and hoping for wider support from phone makers. 

There are a number of ways a phone can remain findable even when the device is technically powered off. Google’s model, according to tipsters who leaked the news to 91Mobiles (opens in new tab), will keep sending power to the phone’s Bluetooth module after you’ve shut down. The Bluetooth feature can broadcast a variety of data to nearby devices, including location data and personal identifiers. 

All modern iPhones and some of the best Android phones also have ultra wideband radio (UWB) for location. This is the tech Apple uses in its AirTags, and it works wonderfully. Google is rumored to be working on a UWB locator tag as well, perhaps to launch with its next Pixel phones. 

Samsung includes UWB in the Galaxy S23 Plus and S23 Ultra, but not the base model Galaxy S23. Samsung tags are inexplicably pricier than Apple’s AirTags and the battery doesn’t last as long, but you need to use UWB locators that are compatible with the phone you own, so that’s your only option if you have a nicer Galaxy. 

Finding a way to find a phone

Google could presumably also use the UWB feature for location even when the phone is turned off, as it is designed to draw minimal power for battery-enabled tags. The 91Mobiles leak suggests that Google will brand this feature Pixel Power-Off Finder, which is quite a mouthful. Whatever it’s called, it will be nice to have this working. 

The best way for phones to be discoverable using Bluetooth is when devices can talk to each other, which is why Google is encouraging phone makers to adopt a power-off Bluetooth module in upcoming devices. The code for this leak was apparently spotted in an early build of Android 14 that is being sent to manufacturers for future development. It’s therefore not clear if any current devices on the market can support this feature, including Google’s own Pixel 7 family. 

Both Apple and Samsung offer extended warranty plans (at least in the US) that include accidental theft and loss protection. For the iPhone, at least, you need to make sure the Find My iPhone feature has been turned on, or else your lost iPhone will not qualify for a claim. 

The fine print for Samsung’s similar warranty doesn’t seem to have any such requirement, though that will likely change if Samsung and other manufacturers adopt Google’s new power-off plan. 

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Future Android phones running Android 14 and

Just how close is the new Paramount+ prequel series “Grease: Rise of the Pink Ladies” connected to the beloved 1978 film “Grease?” Pretty close, as it turns out, considering two characters from “Grease” make appearances in the TV show.

Now streaming on Paramount+, “Grease: Rise of the Pink Ladies” takes place four years before the events of “Grease,” before the T-Birds are the coolest guys in school, and before the Pink Ladies even exist. The story centers on Jane (Marisa Davila), Olivia (Cheyenne Isabel Wells), Cynthia (Ari Notartomaso) and Nancy (Tricia Fukuhara), a group of misfits at Rydell, who eventually just lean into the reputations they’ve been given.

They’re the ones who pave the way for the future Pink Ladies we know and love: Rizzo, Frenchie, Marty and Jan. But, as it happens, two of those ladies do get an appearance in this show, because one has a direct connection to the original Pink Ladies.

At the start of the episode, we see Jane’s mother scolding her youngest daughter, who she calls Fran, for how she’s been acting lately. Apparently, she’s made friends with a girl named Betty, who the girls’ mother says “is a bad seed.” Later in the episode, we learn that Betty not only pierced Jane’s sister’s ears, but also gave her a “vulgar” nickname: Frenchie.

Yes, as it turns out, Frenchie — the bubbly Pink Lady played by Didi Conn in the original film — is Jane’s little sister. And for those who don’t remember, Betty is actually Betty Rizzo, played by Stockard Channing in “Grease” the movie.”

But these aren’t just quick name drops. We do meet a young Rizzo alongside a young Frenchie in the second episode of the series, as the latter defends their friendship to her sister.

Now, it’s unclear if either a young Jan or Marty will show up in this series at this point. But it might just be worth keeping an eye out.

The first two episodes of “Grease: Rise of the Pink Ladies” is now streaming on Paramount+.

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Just how close is the new Paramount+

Rivron’s laboratory was the first to create these embryo-like structures in 2018. His team showed that mouse stem cells can self-organize into structures that resemble a blastocyst, which forms five or six days after sperm fertilizes an egg. They dubbed the balls of cells “blastoids.” 

Then in 2021, several labs showed they could create human blastoids using stem cells. And last year, researchers at the University of Cambridge and the California Institute of Technology reported that they created mouse structures mimicking natural embryos at 8.5 days of development, which even had beating hearts and neural folds, the foundations of the brain.

Scientists behind these experiments insist that these balls of cells are just models, not actual embryos. The International Society for Stem Cell Research, or ISSCR, a scientific group that sets guidelines for stem cell research, prohibits these structures from being transferred into humans for the purpose of trying to start pregnancies. 

For now, scientists want to use them to better understand early pregnancy. “Because monkeys are closely related to humans evolutionarily, we hope the study of these models will deepen our understanding of human embryonic development, including shedding light on some of the causes of early miscarriages,” said Zhen Liu of the Chinese Academy of Sciences in Shanghai, one of the authors of the study, in a press statement. (Liu’s team did not respond to an emailed request for comment by press time.)

Still, trying this in a monkey is the closest approximation to what could happen in a human. “This shows that you can get a pregnancy started, or at least trigger the macaque’s hormonal system to think that it’s pregnant,” says Hank Greely, director of the Center for Law and the Biosciences at Stanford School of Medicine. “It says there’s some evidence that maybe it could give rise to a baby monkey.”

Embryo research is especially controversial in the US, where it has faced religious objections for decades. While most states allow research on human embryos, national law prohibits federal funds from being used to create or destroy them. 

Several countries, including the United Kingdom, Canada, and South Korea, have legal restrictions against growing human embryos in a lab past 14 days after fertilization—when the first signs of the central nervous system appear. (In other countries, the 14-day rule is just a guideline, initially established by the ISSCR.) In 2021, the ISSCR relaxed the 14-day rule to consider experiments that involve growing human embryos past that mark on a case-by-case basis.

Embryo models give researchers an alternative without having to rely on the real thing. But as they get more sophisticated, they are raising concerns of their own. “I think what we’d really like to know is: Can an embryo model give rise to a living organism?” Greely says. “If it can, then it should be treated like an embryo. If it can’t, then it doesn’t need to be treated like an embryo.” 

To answer that question, Greely is in favor of scientists conducting the kind of experiments that the new paper outlines. He feels it would be unethical to do so in people, because any resulting babies could end up with birth defects or genetic disorders.

Rivron thinks scientists should move slowly with trying to establish animal pregnancies with blastoids, because it’s extremely likely that these structures won’t develop correctly. But at the current pace of research in the field, he thinks the first live mouse born from a blastoid could be a reality within five years. “I think we should do things gradually to make sure we do this right.” 

In their press statement, the team behind the new paper recognizes the work may be controversial. “The researchers said they acknowledge the ethical concerns surrounding this type of research but emphasize that there are still many differences between these embryo-like structures and natural blastocysts,” the statement reads. “Importantly, the embryo-like structures do not have full developmental potential. They note that for this field to advance it’s important to have discussions between the scientific community and the public.”

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Rivron’s laboratory was the first to create these

Shah Rukh Khan grooves to Jhoome Jo Pathaan during KKR vs RCB Match at Eden Gardens.

Shah Rukh Khan flaunted ‘Jhoome Jo Pathaan’ dance moves during KKR vs RCB IPL match at Eden Gardens.

It’s Shah Rukh Khan’s year of triumph. The actor who swept the box office with the Pathaan storm has been constantly making headlines. Whether it was his viral pictures from NMACC gala or his mind-blowing performance with Ranveer Singh and Varun Dhawan on Jhoome Jo Pathaan, the superstar certainly grabbed all the spotlight he rightly deserves. Maintaining that trajectory, Shah Rukh Khan turned up to support his team Kolkata Night Riders for the IPL 2023 match with Royal Challengers Bangalore and gave fans the surprise of their lives.

One of the fans pages of SRK on Twitter shared a video of the star performing one of the hook steps of Jhoome Jo Pathaan. Then he goes on to wave and blow kisses to his fans who can be heard screaming his name in unison. Shah Rukh Khan flaunted a black hoodie and matching pants. He also rocked sunglasses. The caption read, “Eden Gardens posing with the happiness of “JHOOME JO PATHAAN “?? # KKRvsRCB #ShahRukhKhan #KKR #AmiKKR”.

As soon as the clip was shared, several fans swarmed to leave their reactions, one of them pointed out that Shah Rukh Khan had donned Aryan Khan’s hoodie. Another one tweeted out, “Love you SRK SIr!!” Someone else said, “I love him(with pink hearts)”. Others spammed the thread with red and pink heart emojis and some peppered it with fire emojis as well.

Meanwhile, as per recent reports, the highly anticipated crossover featuring Pathaan (Shah Rukh Khan) and Tiger (Salman Khan), tentatively titled Tiger vs Pathaan, is set to be directed by Siddharth Anand. This comes after it was announced that Ayan Mukerji will be directing ‘War 2’. Reportedly, both Salman and Shah Rukh have agreed to the concept and have allocated their schedules. Shooting is expected to commence next year, with a tentative early 2025 release date.

Read all the Latest Movies News, Entertainment News

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Shah Rukh Khan grooves to Jhoome Jo

No redemptive stone is left unturned in “On a Wing and a Prayer,” Sean McNamara’s formulaic dramatization of the true events surrounding civilian Doug White’s 2009 emergency landing of a King Air 200 plane carrying his wife and children. Dennis Quaid leads a cast that includes Heather Graham, Jesse Metcalfe, Brett Rice and Rocky Myers through a “story of faith and survival” far less extraordinary than the filmmakers would have you believe, at least when working from a script by Brian Egeston that feels as mechanical as an aircraft instruction manual. Meanwhile, McNamara, best known for directing 2011 faith-based sleeper hit “Soul Surfer,” leans so heavily on the virtue of starting from the truth that he fails to recognize the abundance of elements that make his movie ring false.

Quaid personifies flop sweat as White, a Louisiana pharmacist who brings his brother Jeff (Rice) along on his pilot lesson — to heckle him, apparently — before the two of them, aided by his wife Terri’s (Graham) sauce, take first prize in a barbecue cook-off. Jeff dies days later, and the Whites travel to Florida for the funeral, where Doug experiences such a crisis of faith from the loss that he can’t even speak publicly about his brother. But only minutes into the flight back to Louisiana after the service, the pilot of their private plane succumbs to a fatal heart attack.

With nominal experience behind the yoke, Doug promptly panics, and air traffic control prepares for the worst; the likeliest outcome is a crashed plane and multiple lives lost, especially without any experienced pilots available to coach him. But in a last-ditch effort to find a solution, aspiring controller Dan Favio (Myers) makes a cellular call from inside the center — a federal offense — to connect with Kari (Metcalfe), an experienced pilot living in Connecticut who also knows the plane that Doug is flying, but is also carrying the weight of another plane crash in his past.

After Kari agrees to help by passing information through Dan to the flight official in touch with Doug, both the Whites and flight officials begin to breathe a sigh of relief. But when a storm rolls directly into the path of the flight, killing communication with air traffic control, Kari realizes that other contact must be made, direct with Doug, or else the pharmacist and his family will not survive the flight.

A cursory Google search didn’t produce a detailed enough account to determine how faithful this film is to the event that inspired it, but even taking its depiction at face value, what’s remarkable about “On a Wing and a Prayer” is how lazily it reduces some profound personal, professional and spiritual epiphanies to bullet points in a checklist of “uplifting” clichés and dramatic pivots. The Doug White on screen isn’t just inexperienced as a pilot, he’s absolutely terrified of the prospect — despite taking lessons; he reasonably asks what kind of God would take the life of his brother (and his father, long before the start of the movie), yet his faith is fully restored after his Lord and savior sends him up in an airplane whose pilot promptly dies, threatening not just his life but his entire family’s.

One of his daughter’s sins is excessive pride in the family’s achievements, and the other’s is in not suitably honoring her father and mother. Dan Favio hopes to become an air traffic controller, but he’s a combative alcoholic who breaks the rules and does his job with a hangover. Haunted by a plane crash that he couldn’t prevent, Kari Sorensen bottles up his feelings and alienates his girlfriend Ashley (Anna Enger Ritch) until she announces plans to leave him. Then there’s Donna (Raina Grey), a neglected preteen who dreams of flying herself and provides a layman’s play-by-play as the rest of the adult characters trade piloting lingo. Only Doug’s saintly, devout wife Terri doesn’t face a pivotal personal crisis, a blessing that elevates Graham’s steady-handed performance above those of her co-stars.

Regardless of how ham-fisted those other turns are, McNamara simply handles the material all wrongly, from the way he navigates the cramped space of the airplane to his treatment of an emotional arc that telegraphs its genuflection to God’s grace before the story takes off. Even being kind to a production that was obviously limited in its resources, he bafflingly swoops over, around and outside the plane instead of putting us in the co-pilot’s seat alongside Doug and Terri, yet re-creates piloting methodologies and language so exactingly that the experience becomes impossible to penetrate, perhaps except as a training video for future air traffic controllers to learn from.

Though it unfolds on a much bigger scale, something like “Apollo 13” seems the obvious (and much better) template for a film like this — the scrappy banding together of people to help save lives. Unfortunately, McNamara’s fealty to perfunctory, paper-thin absolution makes the film feel like he strapped this compelling story to a rocket and failed to give it the right fuel. Like “Soul Surfer” before it, “On a Wing and a Prayer” clearly aims to appeal to audiences seeking faith-based entertainment; but just because its story is based on events that are technically true, that doesn’t mean that ticket buyers should be subjected to a version of them that’s executed too predictably to believe.

“On a Wing and a Prayer” begins streaming April 7 on Prime Video.

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No redemptive stone is left unturned in

Secret Invasion stars Samuel L. Jackson, Ben Mendelsohn, Cobie Smulders, Martin Freeman, Kingsley Ben-Adir, Charlayne Woodard, Killian Scott, Samuel Adewunmi, Dermot Mulroney, Christopher McDonald, Katie Finneran, with Emilia Clarke and Olivia Colman, and Don Cheadle.

 

Ali Selim directs the series and executive-produces, along with fellow executive producers Kevin Feige, Jonathan Schwartz, Louis D’Esposito, Victoria Alonso, Brad Winderbaum, Samuel L. Jackson, Ali Selim, Kyle Bradstreet, and Brian Tucker. Kyle Bradstreet is also the head writer, and Jennifer L. Booth, Allana Williams, and Brant Englestein serve as co-executive producers. 

Who do you trust? Secret Invasion premieres June 21 on Disney+. 

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Secret Invasion stars Samuel L. Jackson, Ben

The CW featured some of the biggest names from the Arrowverse‘s long history in a new trailer for the final season of The Flash.

After a run of more than a decade on The CW, DC’s Arrowverse is inching closer to its final days on the air. The journey first began its march toward the end when DC’s Legends of Tomorrow was first canceled after a seven-season run, and more of the saga’s programming followed.

Season 9 of The Flash has Grant Gustin‘s Barry Allen going out on a high and fast note, pitting him against a number of his most popular rogues from the past nine years.

And with this season being something of a culmination for arguably the most expansive franchise in superhero TV history, it’s clear there is still more in store in terms of blasts to the past.

The CW Trailer Brings Back Arrowverse Heroes

The CW

The CW released a new trailer for Season 9 of The Flash, which teased a couple of iconic Arrowverse characters coming back for the franchise’s final season on TV.

David Ramsey’s John Diggle makes his return in his Spartan gear, still making his presence felt as one of the original cast members dating back to Season 1 of Arrow.

Diggle stands next to Stephen Amell’s Oliver Queen for one final battle together in front of an unknown adversary.

Arrow, John Diggle
The CW

Sendhil Ramamurthy’s Dr. Ramsey Rosso/Bloodwork returns alongside Keiynan Lonsdale’s Kid Flash, teasing a potential end to the Multiverse in the new footage.

Kid Flash
The CW

Barry winds up slamming Wally West against a wall as dialogue in the trailer exclaims “Everyone has darkness inside them.”

The Flash, Kid Flash
The CW

The full trailer can be watched below:

Ramsey, Amell, Gustin, and Lonsdale all posed for a candid picture together in their costumes during filming earlier this year, marking the end of an incredible era for The CW’s superhero saga.

John Diggle, Arrow, The Flash, Kid Flash
The CW

Amell and Ramsey also shared a fun moment off-camera as they took a break from shooting, smiling with one another as they added their final touches to the Arrowverse legacy.

Ramsey and Amell then posted a candid photo with Gustin and Killer Frost actress Danielle Panabaker, with Panabaker wearing a long blue jacket to hide her suit from the show.

Arrowverse’s Final Run Moving Forward

Seeing David Ramsey and Keiynan Lonsdale in these photos and the trailer will certainly bring some sentimental and exciting moments for Arrowverse fans who are going on a wild ride in The Flash‘s final season.

Gustin commented in recent weeks on his feelings about the series ending, noting that the team wanted to bring “as many people that had been a part of the Arrowverse” into the final season as possible.

And with only a handful of episodes remaining in this final season, these appearances will be far from the last surprises that The CW’s Scarlet Speedster has in store.

The Flash continues on The CW with Episode 8 premiering on Wednesday, April 5 at 8 p.m. PST.

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Sony has criticised the UK’s Competition and Markets Authority (CMA) on its revised appraisal of Microsoft‘s proposed acquisition of Activision Blizzard.

After five months of investigation, the UK regulator provisionally found in February that the deal could reduce competition and “result in higher prices, fewer choices, or less innovation for UK gamers”.

However, a month later the CMA seemingly reversed its decision, saying it had updated its provisional findings after receiving fresh evidence that alleviated some of its concerns about the $69 billion deal.

Sony’s response, published today by the CMA, questions the regulator’s new stance.

“The CMA’s reversal of its position on its consoles theory of harm is surprising, unprecedented, and irrational”, Sony’s response reads.

The PlayStation company argues that the CMA had “assessed a significant body of evidence” to come to its initial conclusion where it had suggested there would be an issue with the acquisition.

It adds that the CMA’s new “diametrically opposite approach” is based “almost exclusively on a single economic model on which it places ‘significantly more weight’ than other available evidence”.

Specifically, it claims that the CMA’s new findings are based on a new ‘lifetime value’ model, which shows how much an average player is worth to a company over time.

It says the new model suggests Microsoft would see a “significant financial loss” if it kept Call of Duty exclusive to Xbox, and that therefore there was no incentive to keep it off PlayStation.

However, Sony claims the new data the CMA was using was flawed, and that if the “errors” were to be corrected then the gains Microsoft would get from players switching to Xbox would be “three times as high as the lifetime value of an average PlayStation user”.

Much of the debate around Microsoft’s acquisition revolves around Call of Duty, which Sony claims may be withheld from it to some degree following the deal

Sony’s response also claims that:

  • the CMA had previously calculated lifetime player value on typical Microsoft documents created “in the ordinary course of business”, which had been used to suggest there was a strong incentive to keep Call of Duty off PlayStation, and that for its new findings it allegedly “adopts, without apparent explanation”, Microsoft’s own adjusted lifetime value estimates.
  • the CMA’s new conclusion “wrongly downplays the ‘significant’ strategic benefits to Microsoft adding Activision content to Game Pass”.
  • the CMA had now concluded that “not a single user with less than 10 hours of gameplay or $100 spend on CoD would switch” from PlayStation to Xbox, something it questions.
  • using Minecraft as an example of a game Microsoft kept multi-platform doesn’t work, because Minecraft is “a single release game that is already in users’ hands”, and that it “does not drive anything like the level of gameplay, engagement or purchasing decisions as CoD”.

Sony’s argument concludes that “the addendum does not justify the CMA’s U-turn on the consoles theory of harm”.

“To reach a robust decision, the CMA should revisit its analysis of Microsoft’s incentives and partial foreclosure, correcting for the errors identified in this paper,” it says.

In a bid to gain approval for the deal, Microsoft has told regulators it’s willing to make each new Call of Duty game available on PlayStation the same day it comes to Xbox for a 10-year period, with full content and feature parity.

In an attempt to address concerns about the impact the merger will have on the cloud gaming market, Microsoft also recently announced several deals to bring Call of Duty to third-party cloud gaming platforms should the acquisition be approved.

The CMA’s final report ruling on the Activision Blizzard deal is due by April 26.