Sam Page, he of “The Bold Type” and “Mad Men,” has joined the cast of “Grey’s Anatomy” in a recurring role.
Page will make his first appearance during the May 4 episode of “Grey’s Anatomy,” playing Sam Sutton. According to the character description provided by ABC, Sam is “an Air Force pilot who is seriously injured in a base-jumping accident. Although he’s coping with trauma, he somehow maintains his sense of humor and charm.” The episode is titled “Come Fly With Me,” and in the logline, it says the character of Link (Chris Carmack) willl be wrestling “with his own self-doubt as he preps for a massive surgery.”
Will that massive surgery be performed on Sam? Perhaps!
Page co-starred on the series “The Bold Type” — a five-season-long Freeform show that drew a cult following, especially among media people — as a publishing executive (and endgame for Meghann Fahy’s character, Sutton). He also appeared as a recurring cast member on the original “Gossip Girl,” “Desperate Housewives,” “House of Cards,” and on “Mad Men,” on which he played Greg Harris, Joan’s (rapist!) husband.
Page is represented by UTA, Silver Lining Management and attorney Alan Wertheimer.
Last month, ABC announced an early renewal for “Grey’s Anatomy” for a historic 20th season. Executive producer Meg Marinis will take over as showrunner from Krista Vernoff, an original writer for the medical drama who’s been running “Grey’s” since Season 14. The Season 20 status of Ellen Pompeo as Meredith Grey — around whom “Grey’s Anatomy” has revolved since its 2005 premiere, but who said goodbye to Seattle on the Feb. 23 episode — remains in flux.
“Drug-fueled orgies. Ejaculation. Adult breastfeeding.” Brandon Cronenberg’s Infinity Poolshocked the Sundance Film Festival this January, garnering lots of headlines thanks to its provocative subject matter and earning an NC-17 rating along the way. Now that it’s streaming and we’ve seen it for ourselves, let’s just say all of the controversy was well-deserved. James (Alexander Skarsgard, who is having one helluva run between this, The Northman, and Succession) and Em (Cleopatra Coleman) star as a couple who go on vacation to a fancy resort as a means to respark their crumbling marriage, as well as break James’ lengthy case of writer’s block. While there, they meet the enigmatic couple Gabi (a positively electric Mia Goth) and Alban (Jalil Lespert), a married couple who definitely seem like they’re up for some swinging. After a night of drinking and dancing, the foursome decide to leave their posh resort for a day of adventuring and, well, things go amok rather quickly. (“Never leave the resort” has long been one of this writer’s mantras, and for good reason!) What happens next is weird, wild, and wholly nightmarish, and not for the faint of heart, but if you’re up for a challenging evening filled with some big ideas about morality, fidelity, and class, it’s worth wading into this Infinity Pool.
When director Peter Sohn and producer Denise Ream began working on Elemental, they started with the idea of elements coming to life. This led to the creation of Element City, a sprawling metropolis filled with residents made of fire, water, earth and air. The story follows Ember (Leah Lewis), a fire resident working in her parents market, whose fiery temper leads her to a chance meeting with Wade (Mamoudou Athie), a sappy water resident working as a city inspector. While fire and water do not mix well, Ember and Wade find themselves forming an unlikely friendship. As Sohn and Ream were working on the project, they soon discovered how difficult it was to animate fire and water to give them emotional performances, without turning them into humans. Elemental premieres in theaters on June 16, 2023 with new animated short Carl’s Date.
DEADLINE: Where did you get the idea for using fire and water as the main characters?
PETER SOHN: It was through doodling and drawing different ideas and then finding out personalities from them. As an animator, you’re always trying to explore something that would be really fun to animate, like blinking flames and all that kind of stuff. And then I had this idea that I first drew about this water character coming to a dinner. And when he was eating something, it was all boiling in his mouth… and that started forming this idea.
DEADLINE: Did you realize from the beginning that water and fire are two very difficult things to animate well?
SOHN: It was really early on. Even when we pitched the idea, everyone said it was going to be very difficult.
DENISE REAM: From the get-go, basically. Our boss was really worried about the fire, and that was something we heard a lot about. We never wanted realistic fire, but the character still needs to feel like fire. So, I immediately started talking to the tools people and big R&D brains.
SOHN: It’s hard to look back on it right now, because there wasn’t anything before. Even online, there were no real fire characters. There was the Human Torch and Jack-Jack on fire. That was it – a man on fire and a baby on fire, but nothing really made of fire in that way. So, all I had were drawings. When we told people it’s gonna be a fire person and a water person, there wasn’t anything that people would immediately think of.
Ember Lumen (Leah Lewis) in Elemental
Disney/Pixar
REAM: Well, the shot that they showed [at the press conference] of the paper airplane going through Ember ended up being a really great rallying point, where people were getting what Pete meant when he said, “I don’t want it to be a character on fire.”
DEADLINE: That was something that everybody who worked on this said, that these are elements, they’re not human. Ember is fire, not a human on fire. How did that realization come about?
SOHN: Well I just knew that I’m still not happy with the rigs. I’d love to push the rigs even further, you know? I’ve been here for so long and we’ve had [characters made from] hard plastic, hard metal, you know cars or toys and humans… and we knew how to do that. I remember there was this [article] on Terminator 2 where they had done the T-1000, the liquid man of metal. And I remember where it was successful and where it was weird, and then thinking about that for our characters… we’ve never done this before. Let’s see what we can do with that and see where it goes.
REAM: From the animation perspective, that was the hard thing to figure out.
SOHN: A friend had said, “You should just mocap [motion capture] this and then put it on fire.” But the whole point of animation for us is to do something that you couldn’t do in a human outfit. And that was a weird, little back of the pocket goal for us – to make it look like you could never mocap this. We always want that hand animated feel that’s so fun and perky, you know?
DEADLINE: You’ve mentioned that you thought fire was going to be the really difficult one to animate, but water was actually the hardest. The VFX Supervisor, Sanjay Bakshi, mentioned that you went hard on animating the water before having to pull back.
SOHN: Yes, I went into a mania. I was so afraid that he was gonna look too human, so I kept pushing the water side of it. Every dial has transparency – his bubbles, the ripples, everything. Every time his mouth moved, everything in his head was moving and you couldn’t see anything and his performance started getting lost. We had to rework some of the design to accommodate that look, but that wasn’t the hard part. The hard part was lighting. What does Wade look like when the light hits him? Wade changes in every lighting situation, where Ember has no shadows on her. She’s essentially the same in every shot, except for her movement. But Wade in the basement or outdoors or daylight in the city, he could easily turn into something really weird. Or he’s too transparent here, or he’s too blue, or he feels like jello…
REAM: I would say designing the characters all the way through is probably the most challenging thing because, unlike our previous films, we had to have all of these shot based departments there to add their part to make the character come to life. You normally wouldn’t be in early pre-production with the effects team, but because we had to do character effects for the secondary motion, we ended up having this big team working less on paper and more on the computer to try to get that look. So that was challenging.
Wade and Ember in Elemental
Disney/Pixar
DEADLINE: Seems very challenging, especially because as you said, there’s no reference for this online.
SOHN: Yeah, and it’s so expensive to do. With current technology, it is so hard to render that type of volume in both characters. The rendering power will work to render the skin of Woody’s fabric and bounce off. But for Ember and Wade, it needs to render that part and render the hundreds of layers that go through them.
DEADLINE: You just finished working on the final frames of the film, so what does it feel like to have put all this work in to create something that hasn’t been done before?
SOHN: It’s very emotional. There’s a strange bittersweetness to finishing it, but that just shows you how much you really cared for the process. When you’re in the middle of it, you’re just focusing on the goal and how hard it is to get there. But once you start seeing what the teams here are doing, there’s this weird building of energy that happens inside where you realize that it’s exciting because they’re doing such cool work. Now that we got to the end, it’s so emotional and feels like you’ve raised a child. There’s a great pride in this sort of parental way, but it just grows as you’re growing it, you know?
REAM: It feels like it’s been ours for such a long time and now everyone’s coming to get the kid. I feel emotional as well because it’s been a long time. It’s happened through our life, personal lives, and the pandemic. There’s just been so much work, but seeing what everyone came together to do just blows me away.
SOHN: And like the art of all of this reflects what we’re going through, you just can’t help it. For this film, it was just the idea of trying to thank our parents for all the sacrifices that they made. My parents passed during this, so the idea of trying to honor them got even stronger and all of a sudden all of this stuff got colored into it. Everyone just puts a part of themselves into it.
DEADLINE: Speaking of emotional, what’s it like to have the animated short playing before your film be Carl’s Date, with characters from Up.
SOHN: Oh, I’m extremely proud. I love Bob [Peterson] and I love what he’s been doing to keep those characters alive, since we both worked on Up.
REAM: That was my first movie, so it feels extra special for me to have that attached.
SOHN: And that one specifically, it just connects directly to the heart of the first film and of what Carl’s going through. So, we are super proud.
The first episode of season 2 of the “Yellowjackets” series premiered on March 24. Viewers hadn’t even had time to recover from the previous season! They continue to speculate and look for answers to intriguing questions. After all, the end of the first season was simply stunning. Moreover, the audience will be given a hint as to who could be behind everything that happened to our main characters at the very beginning. The first episode of this season again shows two timelines that develop parallel to each other. The story begins after the shocking events that occurred earlier. But you can definitely notice that our heroes have changed and unfortunately not for the better — neither in the past nor in the present. What awaits the audience this season? Get ready, it will definitely be unexpectedly and TERRIBLY interesting!
WHAT IS THE BIGGEST REVEAL IN THE FIRST EPISODE?
Events begin two months after the terrible accident (Jackie froze to death!), witnessed by those who survived the plane crash. A cold winter is raging in the forest, food supplies are running out, no one is waiting for them to be rescued. The most important event that happens at the beginning of the episode is the appearance of Lottie (Courtney Eaton). You can see that she was able to survive after the terrible events. But what happened to her after that is just dreadful. After all the horror that they have experienced (and they spent 19 months in this forest!), it is not surprising that Lottie cannot communicate normally with people and behaves inappropriately. But is it so?
COURTESY OF SHOWTIME
We are shown that after her return, her parents placed her on compulsory treatment on a psychiatric ward where she was given electroconvulsive therapy. And she endures everything steadfastly, simultaneously helping other patients cope with their tantrums (does she really have a gift?!). In parallel, viewers are shown that before they were rescued, Lottie took “temporary” leadership over the survivors’ camp. She foresees events and almost everyone believes her. And what remains, because all events really happen (is she a medium?).
But what happened to the adult Lottie (Simone Kessell)? Could she survive all this? In the present, we see her as an adult and quite successful woman. At first glance, it seems that she works in a psychological help center for people. But this is far from the case… We won’t reveal all the cards, but Lottie didn’t move on from the speeches she gave to those who survived in THAT forest. Is Lottie really behind all this and why is she doing it?
WHAT HAPPENS TO THE REST OF THE YELLOWJACKETS?
But how are things going for the others who survived in this forest? We are talking about the FOUR “close friends” — Shauna, Taissa, Misty and Natalie. The events of the first season greatly changed them and forced them to fight for their place in the sun. The viewers are let into the most secret corners of their lives and there are a huge number of skeletons in the closet, which they have been trying so hard to hide all this time.
COURTESY OF SHOWTIME
In the first episode, each of them struggles with their demons and tries to deal with the consequences of the events that happened earlier. Everything that happened to them 25 years ago and is happening now is natural and inevitable, because they can only rely on themselves and do what they know how to do — SURVIVE. But what happens to each of them? Let’s run through the main points of the two time periods.
WHAT HAPPENED TO THEM 25 YEARS AGO?
Shauna (Sophie Nélisse), after the events of the first season, is having a hard time going through the death of her friend Jackie (Ella Purnell). She’s not just mourning her friend, but trying to get through it emotionally with her (how is that?). It’s easy to see that Shauna is clearly not herself, because she is communicating with the frozen corpse of her friend (WOW!). And Jackie (like a ghost) is trying to figure out how they let this happen and what Shauna should do with the baby from Jackie’s boyfriend (that’s a twist!).
COURTESY OF SHOWTIME
Natalie (Sophie Thatcher) is trying to patch things up with Travis (Kevin Alves) and help him get over the loss of his brother Javi (Luciano Leroux). But Travis still believes that Javi just managed to get further away from the forest and will survive this cold winter. And indeed Lottie (Courtney Eaton) constantly tells him that he needs to believe that he will definitely come back. Natalie and Travis still continue to go hunting, as food supplies are running low. But, unfortunately, they find nothing.
COURTESY OF SHOWTIME
Taissa (Jasmin Savoy Brown) is still trying to figure out what’s going on with her. Why is she doing strange things in her sleep (is something really affecting her in this house?). Van (Liv Hewson) helps her deal with this and assures her that it will not frighten her in any way and she will not go anywhere. They don’t hide their feelings and swear to love each other.
Misty (Samantha Hanratty) continues to deal with the consequences of what she did in the previous season. She tries to explain that she didn’t do it out of spite. Anyway, this drink with “magical mushrooms” was intended for coach Ben (Steven Krueger). But is it so? Is it possible to believe her? After the coach’s loud confession that he is not interested in Misty as a girl, she cools off from him. And who will be her object of attention this time?
WHAT’S GOING ON NOW?
Shauna (Melanie Lynskey) and her husband Jeff (Warren Kole) are trying to figure out what’s going on with their relationship. After they tell each other everything and realize that they made a big mistake in their decisions, but there is no way back. They keep this secret and decide to clean up the remaining traces. Shauna is trying to deal with what she did — not only started an affair on the side, but also killed her lover Adam (Peter Gadiot) in cold blood, believing that he was blackmailing them over what happened in the woods. Jeff is trying to come to terms with the fact that Shauna cheated on him because she thought he was cheating on her too. And everything turned out to be banal — Jeff was just trying to save his store, so he blackmailed Natalie and Taissa.
COURTESY OF SHOWTIME
Taissa (Tawny Cypress) is trying to enjoy her moment of triumph and the fact that she became the first black woman elected to the state Senate. But she can’t enjoy it to the fullest, because she’s going through bad times in her marriage. She is trying to establish a relationship with her wife and son. But she is asked not to approach them until she goes to a psychiatrist. And all because her wife Simone (Rukiya Bernard) found a terrifying altar in the basement of their house. And she is sure that something terrible is happening to her. Taissa doesn’t understand what it’s about and what’s going on. She finds this altar and is terrified. Did she put it there? Or did someone else break into their house?
COURTESY OF SHOWTIME
Natalie (Juliette Lewis) is trying to figure out where she got to, and who controls these people with a mysterious sign that takes her back to the days when they were in that forest. After this mysterious group kidnaps Natalie from her room without telling her anything, she tries to figure out how this is connected with Travis’ death (after all, there is definitely a connection here). Did anyone else survive? But when she sees who runs this secret place and what’s going on here, she can’t believe her eyes. “A friend” from Natalie’s dark past gives her hope that she can help her solve Travis’ death. But who is this “friend”? It is not necessary to reveal all the cards at once…
And finally Misty (Christina Ricci), who can’t come to terms with the fact that Natalie gives no sign of her existence. After all, the last time everything was so good. Was she just ignoring her? She wants to get to the truth and goes to the hotel where Natalie is staying. And, of course, she manages to get into her room (after all, Misty always gets everything she wants). After making sure that Natalie is not there, she is ready for an insidious revenge plan. But then she notices that there is a new lock on the door and cameras. Then she understands everything and decides to follow the trail further. And what will she discover?
AND WHAT’S NEXT?
COURTESY OF SHOWTIME
Considering that the series ended at a very unexpected moment, then the audience should prepare for the fact that in each episode the mystery of the Yellowjackets will be revealed more and more. What really happened there? How did they survive in this forest? In fact, we understand perfectly well that they had to eat something.
So they fought for life in the old way — the strongest survives. And the first bell to these bloody events had already rung when Shauna tasted this “delicacy” and she liked it. But what will happen next? Will our main characters be able to emerge victorious from this battle? We will find out the answers to all these questions in the next series.
If you still haven’t watched this series, but want to know what happened in the first season, you need to view the recap of season one here.
Love is on the menu in director Shawn Backstrom and screenwriter Compañía Delirio’s short mystery, Delirium in Restaurant “Romance” (Delirio en el Restaurante “El Romance”).
For a beautiful evening of romance, lovers Marcelo and Serena find themselves in the Blue Forest at the doorstep of el Restaurante “El Romance.” Our pair is soon seated by their eccentric host, and their meal is delivered course by course, starting with wine. As the couple discusses their plans for their future together, Marcelo becomes transfixed by the image of a beautiful artist in the background. When Serena excuses herself to the restroom, Marcelo takes this opportunity to prepare his proposal. But again, he is drawn to the artist in the background. When their hands touch, the artist comes alive, and the two dance… only to be disrupted by Serena’s return.
Delirium in Restaurant “Romance” is a short film based on the play of the same name as performed and conceived by the performance troupe Compañía Delirio. At the outset, their story seems like an almost romantic version of Rocky Horror Picture Show, as the restaurant takes on a mysterious and surreal lair of love filled with an eclectic cast of characters. The troupe explores themes of self-discovery, acceptance, and the transformative power of love and romance.
“…hands touch, the artist comes alive, and the two dance… only to be disrupted by Serena’s return.”
At its core, thisis a performance dance piece by Compañía Delirio. The company of performers includes Daniel Adamo, Gisela Viera, Manuela Cid, Toluz Chediex, Crisol Quirós Vasquez, Teddy Boussengui, Marta Alzate Arsuaga, Dorien Keymis, and Rocío Badoza Menduiña. Interpretive dance and movement are not necessarily for the masses, and as such, this is going to appeal to a very narrow audience. However, if you’re familiar with performance art, you will probably embrace the elements that make up this filmmore than viewers without that orientation.
As a film, Delirium in Restaurant “Romance” does a lot of things right though it lacks in other areas. The plot is well-defined, and the time Compañía Delirio spent performing it worldwide comes across in the short. However, I did get a sense that, at some moments, the cast may have been thrown off by the cameras as opposed to the comfortable feel one gets from performing live on stage. However, the costumes and production values are spot on and visually help bring audiences into the story.
In reading how Delirium in Restaurant “Romance” came to be easy to see what the filmmakers describe as a celebration of “the spirit of independent art and cultural exchange.” Despite some flaws, it is a beautiful and tastefully erotic exploration of romance.
EXCLUSIVE: Canadian post-production and VFX outfit Elemental Post has opened a new post-production studio in Vancouver.
The studio is located in Vancouver’s Railtown district and features a 4K theatre with laser projection, three color suites, two sound stages, and extra suites for finishing, titling, and dailies.
The boutique label is headed by Post Supervisor and Sound Designer Matt Drake and Senior Colourist Dave Tomiak. Some of the company’s recent credits include Canadian filmmaker Anthony Shim’s Toronto Film Critic Award-winning feature Riceboy Sleeps and the ESPN 30 for 30 doc I’m Just Here for the Riot from filmmakers Asia Youngman and Kat Jayme, which centers on the 2011 Vancouver Stanley Cup riot.
Upcoming projects in post at Elemental include Cocaine Bear writer Jimmy Warden’s directorial debut Borderline, which is being produced by Margot Robbie’s production company LuckyChap Entertainment, and Cold Copy starring Tracee Ellis Ross, Bel Powely, and Jacob Tremblay.
“Dave and I worked as freelancers for many years and wanted to come together to create something unique. We have been very fortunate to work with some incredible filmmakers that trust in the vision that Dave and I are creating with Elemental,” Drake said. “It’s important for us to form and maintain strong relationships with filmmakers, which is why we are dedicated to a creative-driven business. Although what we do is considered by most as largely technical, the creative aspect of what we do is a big part of the overall vision and contributes to what audiences see on screen.”
Tomiak added: “Localizing everything under one roof gives filmmakers the opportunity to feel at home here through the final stages of post-production. So much love and care go into making these projects, and we want filmmakers to be able to explore creative ideas and work through the process of both sound and color in a seamless way. Ultimately we are film lovers, so the care we put into our work and our relationships is a big part of our offering at Elemental.”
Tech fans in Italy have been increasingly downloading the best VPN services as a means to circumvent a block on the popular AI software ChatGPT.
The country’s data protection watchdog, known as the Garante, banned the advanced chatbot on April 1, citing privacy concerns. This makes Italy the first Western democracy to block the service, alongside notorious censor governments such as Russia, China, Iran and North Korea.
According to AtlasVPN data, there’s been a staggering 400% increase in VPN traffic coming from Italy since the ban has been enforced. Google Trends registered a similar spike, with Italians looking for the word ‘VPN’ 600 times more.
Italy’s ChatGPT block
“Such a surge in VPN usage is a clear example of how technology users respond to restrictions placed on their access to online services and the measures they take to maintain access to them,” AtlasVPN wrote in a blog post (opens in new tab).
The decision to block ChatGPT comes as the Garante found OpenAI responsible of improperly collecting and storing Italians’ dataand, consequently,breaching GDPR regulations. The data protection body also warned of the lack of effective age verification procedures, fearing that this could expose minors to inappropriate content.
The Garante is an independent organization, among the first to formally raise concerns over the potential privacy risks of China-owned TikTok. The video-sharing app is currently under growing scrutiny worldwide, risking itself to be banned in the US under the RESTRICT Act (opens in new tab).
While OpenAI ensures its commitment to protect users privacy by training its AI systems in reducing personal data collection – the BBC reported (opens in new tab) – the US-based firm has now 20 days to address such concerns and avoid being fined up to 4% of its annual revenues.
More than 100 million users worldwide have been using ChatGPT since its launch in November last year. At the time of writing, the company is enforcing a basic geoblock to limit ChatGPT access in Italy.
That’s exactly where a secure VPN software comes in. By connecting to one of its international servers based where ChatGPT is not banned, users in Italy can keep accessing the popular AI system within seconds.
There’s also a possibility that ChatGPT accounts registered in Italy might no longer be available. This means that people in Italy would need to spoof their real IP address location before creating a new profile.
In the meantime, OpenAI has announced a refund for all its Italian users who had already subscribed to its premium plan while halting subscription renewals in the country.
Despite critics to Italy’s ChatGPT ban – including the country’s Deputy Prime Minister Matteo Salvini who tweeted its disapproval (opens in new tab) the day after the block was enforced – France, Germany and Ireland are also investigating (opens in new tab) the matter.
If other EU countries would decide to follow Italy’s footsteps, further VPN usage spikes might be coming soon. A trend that AtlasVPN said to have seen across other nations as a reaction to bans or other online restrictions.
“The ChatGPT geoblock in Italy and the subsequent surge in VPN usage highlight that people will try to access the online services they need, despite internet restrictions. This is a powerful reminder of the importance of internet freedom and the role that tools like VPNs can play in ensuring access to information and communication.”
The Mandalorian season 3 episode 6, directed by Bryce Dallas Howard is one very eventful episode that plays out like a detective story and one plentiful of cameos from start to finish. It is well known among fans that when Bryce Dallas Howard directs an episode, we are in for something very special, after this episode she has now directed three episodes of The Mandalorian, Chapter 4: Sanctuary, Chapter 11: The Heiress, and now Chapter 22: Guns for Hire. As well as one episode of The Book of Boba Fett, Chapter 5: Return of the Mandalorian. She never fails to deliver incredible episodes, and this one was no exception.
In the previous episode we saw The Armorer (Emily Swallow) proclaim that Bo-Katan (Katee Sackhoff) would bring back other exciled Mandalorians to join them, this episode, Chapter 22 titled “Guns for Hire” sees Bo-Katan, Din Djarin (Pedro Pascal) and Grogu set out for the planet idyllic Plazir-15, where Bo-Katan’s former army, now led by Axe Woves (Simon Kassianides), have set themselves up as mercenaries. Before they can meet them, they are involuntarily diverted by the planet’s rulers, Captain Bombardier and the Duchess, who ask for their help in neutralizing several repurposed but malfunctioning Imperial and Separatist droids. After stopping a rogue droid, Bo-Katan and Din Djarin follow its trail to The Resistor, a droid bar, and convince its bartender and clientele to help them.
Here are the famous faces we saw and heard in the episode, in the order they appeared.
Christine Adams and Harry Holland
Courtesy of Lucasfilm/ Disney
In the opening scene of the episode, we see a Quarren ship being targeted by what looks like an imperial ship, only it turns out to be piloted by a group of Mandalorian mercenaries looking to bring in the Mon Calamari Prince – voiced by Harry Holland, Spider-Man actor Tom Holland’s youngest brother, who the Quarren Captain, Captain Sheegoth – played by Black Lightning star Christine Adams had snuck onboard as the two were in love, and chosen to run away together. This was soon cut short when the Mandalorians took in the prince to fullfill their bounty.
Lizzo and Jack Black
Lucasfilm/ Disney
I think Grogu has a new friend. One of the best and well most shocking (in the best way) moments of the episode was when Mando and Bo-Katan are summoned by the The Dutchess and Captain Bombardier of Plazir-15, and the two end up being Lizzo and Jack Black. The two play a wealthy married couple who rule over the independent planet of Plazir-15 as part monarchy, part democracy. Bombardier is a former Imperial officer who participated in the New Republic’s amnesty program after the war. He fell in love with the Duchess after visiting Plazir-15. The two ask for their help in getting rid of battle droids, which had been repurposed. Grogu soon takes a liking to the Duchess and she to him. We even get to see the duchess declare Grogu a knight! With a sword and everything.
Christopher Lloyd
I would not be surprised if someone yelled “Great Scott!” when they saw the legendary Christopher Lloyd from Back to The Future in the Star Wars Universe. Lloyd plays Head of Security Commissioner Helgait, who becomes a crucial part of the investigation. When Din Djarin and Bo-Katan go check out the security footage of the malfunctioning droids, they run into Doc, I mean Helgait. That it not the last we see of him though, because 84-year-old Christopher Lloyd had a very important part to play later on in the episode.
Seth Gabel
Lastly actor and Fringe vet Seth Gabel, and husband to Bryce Dallas Howard, makes a cameo in the episode, he voices the bartender droid in the droid bar where Din Djarin and Bo-Katan sought answers about a “recertified” battle droid they had encountered. Seth is known for a number of different roles, having appeared in Netflix’s The Watcher, American Horror Story, The Da Vinci Code and most recently Big Sky season 3.
Toward the end of the episode Din Djarin and Bo-Katan find out that the droids were sabotaged through nanodroids in the bar’s maintenance fluid, which were covertly imported by Commissioner Helgait, head of the planetary Security Office. Confronted, Helgait reveals himself as a Separatist before Bo-Katan knocks him out, and he is exiled. Granted an audience with the Mandalorian privateers, Bo-Katan challenges Woves for leadership and defeats him. To help her ascendance, Djarin admits his capture by the cyborg in the mines of Mandalore and his rescue by Bo-Katan, which rightfully bestows the Darksaber back to her.
The Mandalorian season 3 episodes are now streaming on Disney Plus.
The cast of “The Marvelous Mrs. Maisel” celebrated their final season on the closing night of PaleyFest Tuesday – but not before lightly ribbing the ensemble of “Yellowstone” for ditching their scheduled festival appearance last-minute.
The Emmy-winning Prime Video comedy series starring Rachel Brosnahan and Alex Borstein was celebrated with a closing night screening and Q&A, marking the last event of the 40th William S. Paley Television Festival at the Dolby Theatre in Hollywood. After screening a sizzle reel of the beloved Prime Video show, several members of the cast and the creative duo behind the comedy — creator, writer, director and EP Amy Sherman-Palladino and writer, director and EP Daniel Palladino — appeared onstage for the Q&A, moderated by Stacey Wilson Hunt of The Hollywood Reporter.
After introducing the cast members who attended, including Brosnahan, Borstein, Tony Shalhoub, Michael Zegen and Caroline Aaron, Hunt also listed the names of other members of the cast who were not able to attend. Palladino added a punchline to the moderator’s statement when he referenced “Kevin Costner” as one of the missing cast members, which was met with an uproar of laughter and wows from the audience and the others on the stage.
“I have a theory that they all went for ‘Yellowjackets’ and couldn’t turn back,” Palladino joked while others on the stage contributed their own zingers, and the audience howled and cheered. Hunt added that the cast of the Paramount Network drama series missed out on a fun opportunity by ducking out of the festival engagement, complimenting the audience’s enthusiasm and support for the shows featured on this year’s lineup.
The “Maisel” celebration event was hosted just three days after “Yellowstone” creator Taylor Sheridan, star Kevin Costner and other main cast members from the popular show skipped their appearance at the festival at the last minute, leaving fans in attendance in shock and demanding refunds.
The event on Saturday was set to include Costner, Sheridan, Kelly Reilly, Cole Hauser, Luke Grimes, Kelsey Asbille, Wes Betley, Gil Birmingham and Jacki Weaver, alongside executive producer David Glasser and additional guests. Instead, the lineup was swapped to include four cast members — Josh Lucas, Wendy Moniz, Mo Brings Plenty and Dawn Olivieri — as well as Keith Cox, President of Scripted at MTV Entertainment Studios. Press were notified of the change ahead of the red carpet, but fans didn’t find out until the event began.
Representatives for PaleyFest and Paramount did not respond to TheWrap’s request for comment on Saturday’s event.
“The Marvelous Mrs. Maisel” cast members Tony Shalhoub (left), Alex Borstein, Rachel Brosnahan, Caroline Aaron and Michael Zegen attend PaleyFest LA 2023 at the Dolby Theatre Tuesday, April 4, in Hollywood.
“The Marvelous Mrs. Maisel” panel on Tuesday provided some emotional whiplash of its own, feeling like a support group for soon-to-be-grieving super-fans. The lauded comedy series is set to premiere its fifth and final season on April 14.
Sherman-Palladino did not mince her words when describing her feelings about the show coming to an end, admitting, “I’ve never been more devastated in my life,” and joking she’ll need a lot of “therapy and Prozac” when reality sets in about the show wrapping up.
The series chronicles the life and rise of fictional aspiring standup comedian Miriam “Midge” Maisel (Brosnahan), starting from the moment her husband leaves her after having an affair in 1950s Manhattan and how she turns her pain into a promising career in show business.
When reflecting on her journey as a performer on the show, Brosnahan said that “the thing I learned the most from Midge was to be a little braver.” She thanked the Palladinos for taking a “great leap of faith” casting her in the lead role despite not having previous experience in comedy.
Borstein, who plays Midge’s manager and close friend, Susie Myerson, admitted she also hasn’t processed the fact that “Maisel” is ending. She joked that she still dresses like her character in the mornings and admitted it likely won’t sink in until the show is out and its ongoing press tour is over.
When asked what made her the most proud of creating the series, Sherman-Palladino said that focusing the show on a female friendship centered around ambition, camaraderie and “not talking about men all the time” was the best part. She also mused about how the show examines what can happen when women support each other as unconditionally as Susie and Midge do while chasing their dreams.
“It’s good to have someone to tell you you haven’t completely lost your mind,” she told the crowd to more applause.
“The Marvelous Mrs. Maisel” Season 5 premieres April 14 on Amazon’s Prime Video.
Jonah Hill, in the process of the building a thriving filmmaking career, and Keanu Reeves, riding high thanks to the ultra-popular John Wick: Chapter 4, are teaming up for a dark Hollywood story.
Apple Original Films has picked up Outcome, a dark comedy that Hill will direct and has co-written with Ezra Woods.
Reeves is in negotiations to topline the feature, which will also star Hill.
Outcome will star Reeves as Reef, a damaged Hollywood star who must dive into the dark depths of his past to confront his demons and make amends after he is extorted with a mysterious video clip from his past.
Hill, clearly no underachiever, will also produce Outcome with Matt Dines, his partner at their Strong Baby banner. The project will be an Apple Studios production.
The deal finds a home for Outcome, which hit the town as a hot package back in November. The project was picked up in a competitive situation but the length of time closing a deal shows how tight the current market is for high priced packages, even ones with high-list talent. Filmmakers, stars, and their agencies are finding out that the buyers are being more choosy, and more stringent, when it comes to buying.
It does help that Reeves is now enjoying a career zenith. Wick 4 opened to a franchise best $73.5 million at the domestic box office and it’s also one of Reeves’ career-best openings. The movie now has over a $247 million global tally after just 12 days of release.
Outcome keeps Apple in the Hill business as it continues to stack its movie portfolio with some of the biggest stars in Hollywood.
Hill and Apple Original Films are developing a Grateful Dead biopic with Martin Scorsese’s Sikelia Productions, which will be directed by Scorsese, with Hill starring and producing with Dines under Strong Baby.
Strong Baby most recently produced the Netflix comedy You People starring Hill, Julia Louis Dreyfus, Eddie Murphy and Lauren London. Hill, best known for his comedies and his Oscar-nominated performance in Scorsese’s The Wolf of Wall Street, made his feature directorial debut with 2018s well-received coming of age drama Mid90s. He followed that up with Stutz, 2022’s critically acclaimed documentary that tackled mental health issues.
Apple, which last year became the first streamer to win a best picture with its drama, CODA, has two major entries due to debut this year. In October, it will release Scorsese’s Killers of the Flower Moon, starring Leonardo DiCaprio and Robert De Niro, as well as newcomer Lily Gladstone. In November, it will release Napoleon, Ridley Scott’s historical epic starring Joaquin Phoenix. Both are getting theatrical releases before hitting the Apple platform. Also in post is high-concept romantic action adventure movie Ghosted, starring Chris Evans and Ana de Armas.
Hill and Strong Baby are repped by WME, LBI, and Yorn Levine. Reeves is repped by WME, SUGAR23 and Ziffren.
One of the first things you notice about Aidan Park is the joyfully buoyant “hahas!” punctuating his speech. As a stand-up comedian, Park often laughs at his own jokes with the same fervor on stage, to the point where he can disarm a crowd that may not know what to make of him at first. But the instinct to laugh at himself is often contagious in a room full of strangers that has them busting up by the end.
“I think humor makes things OK,” he says. “Like, I played Montana last month. It was all straight, white people. There were 150 of them and I asked if there were any gay people in the audience and there was silence.
“I said, ‘I’m HIV positive; don’t worry, you can’t get it from jokes’ … and then I talked about my suicidal ideation,” Park says.
“A couple of people came up to me [after the show] and said, ‘Hey, I’m a veteran, and I’ve had suicidal ideation as well,” he said. “I’m trying to work with the VA through my foundation to teach comedy and wellness to that group. I think humor is like a bridge, you wouldn’t expect a gay Asian guy and these veterans from Montana connecting in that way.”
Sharing that connection through comedy is what Park wants to accomplish with his Yay! Foundation, a nonprofit he launched last fall. The foundation’s stated goal is to “bring hope and strength to young adults ages 14-24 in underserved and disenfranchised communities,” and accomplishes this by developing comedy-based workshops and curriculum tailored to each group.
It’s a long way from where Park found himself several years ago, mid-panic attack while out of town for a stand-up gig. He had thrown himself into work to deal with the recent loss of his partner, Michael James, to cancer. As he was doubled over vomiting, a stranger approached, asking to pray for him.
A big part of Aidan Park’s work with his Yay! Foundation is motivational workshops that help people to uncover their shame, recognize their emotional needs and work to take action, he said,
(Jay L. Clendenin/Los Angeles Times)
“He put his hand on my back and raised his hands to the sky,” Park says during a recent Zoom interview. “And I looked up and … the guy looked just like Nickelback [singer Chad Kroeger]. And I was like ‘Nickelback is praying for me in rural Washington.’ … That didn’t work.”
This is one of the many personal stories he wrote about in his 2020 memoir “The Art of Being Yay!” (forward written by Margaret Cho). Full of hilarious-meets-heartbreaking stories, Park sees the humor in his most painful life moments that he has often used to connect with others.
“The problem that I see in the world is loneliness,” Park says. “And loneliness brought on by shame.” A big part of his work with Yay! Foundation is motivational workshops that help people uncover their shame, recognize their emotional needs and work to take action, he said. Sharing the most raw parts of his life allows people to feel safe sharing their own turmoil. “I realized that emotional pain means you feel separated from an emotional need that you want.”
Despite his positive energy, the loss of James, his soulmate, at times felt unbearable. “It was like I stopped caring about anything,” Park says. “I just wanted to die. I ended up in the emergency room, I had panic attacks … so I said if I’m not going to kill myself, I’m going to commit to life.”
Park began to see a shift in his grief as he honed tools acquired over the years studying self-empowerment. Only this time, he aimed not toward career advancement but to address his paralyzing emotions and loneliness.
“Whenever I would miss Michael, I would ask myself, what is the emotional payoff he would give me? And in different moments it was different things. I can’t bring Michael back from the dead, but let’s go for security and groundedness. You think thoughts that trigger security and groundedness and you take action.”
The change he experienced by applying this principle to his own life was transformative, leading him to develop the Art of Being Yay! program a precursor to his foundation. One of his first clients was the Special Olympics, for which he created “Eight Days of Yay,” a mental wellness program for athletes stuck at home during the COVID shutdown.
Comedian Aidan Park discovered in high school that being on stage gave him confidence that otherwise eluded him.
(Jay L. Clendenin/Los Angeles Times)
He developed fun characters for them to relate to, like Eckhart Tol-yay, Richie Yay Simmons, and Pat Yayjack, and taught them how to regulate their emotions through breathing exercises and by playing games.
“We had to stop all of our in-person gatherings,” says Brandon Tanner, assistant vice president of development for the Special Olympics of Southern California. “The neat thing about Aidan is he makes it fun. He took the time to talk to our athletes who have intellectual disabilities. He was so patient.”
People also relate to the incredible odds Park surmounted. Immigrating to the U.S. from South Korea as a child, he was shocked when applying for college to discover he was, in fact, undocumented (Park has since become a citizen). At age 19, he found out he was HIV positive. It took someone believing in him, in his case a mentor, and a lot of self-determination to move beyond that early despair.
As he pulled himself together, Park started getting TV and commercial work and snapped up musical theater roles. Tired of of typecasting — nine productions of “Miss Saigon” will do that to you — he transitioned to stand-up comedy, booking shows across the country performing regularly at the Laugh Factory, the Comedy Store and Hollywood Improv.
“He’s a really genuine person who wants to help people, and that’s not something you always encounter in Hollywood,” says fellow comedian Rosie Tran, one of the foundation’s five board members. “Comedy can reach people who might not feel otherwise reachable.”
In a way, performing has always been his salvation. After deciding on a whim to audition with Madonna’s “Holiday” for his high school, Park discovered being on stage gave him confidence that otherwise eluded him.
“I had found something that I had a spark of interest in. This spark gave me a reason to live and being a part of the play made me feel I belonged somewhere,” Park said. While recently developing a virtual “happiness” program for Alicia Keys’ charity Keep a Child Alive, he witnessed that same spark of interest in a young girl who shared with him her dreams of becoming a lawyer.
The joy and belonging he received in performing continues to influence every aspect of his work, including his fundraising efforts.
On April 7 and 8, Park will be performing in “Scream, an Unauthorized Parody Musical.” Written by Park and his co-writer, Ryan Davis, the campy, ’90s musical is led by an all-volunteer cast.
Proceeds from the show will support the Yay! Foundation’s upcoming work with Keep a Child Alive, creating a comedy and wellness program for veterans in Montana as well as empowerment training for high school students and LGBTQ youth.
“I love parodies and I love horror,” he says. It’s got this kind of punk rock, anything goes kind of energy to all our shows. It’s a lot of fun.”
DTLA Artnight, the Urge LA and Happening in DTLA are sponsors for the one-weekend-only performances, where masks signed by original “Scream” villain Skeet Ulrich will be raffled off with proceeds going to the Yay! Foundation. You can also donate directly to the foundation’s spring fundraising campaign.
When asked what his late partner might think of his work, Park says he thinks James would appreciate all he’s done under his own banner of Yay. “Before he died, I was always working for other people and lining up with what other people believed, and [Michael] said ‘Baby, you gotta do your own thing.’ I built a career around my own values and I think he would be damn proud.”
I think its safe to say that Marvel is having a tougher time in a post Avengers: Endgame world.
Whether that be because the films are becoming too formulaic, the VFX teams behind the MCU are being stretched too thin, or the advent of Disney + has created too much content, the fact remains that Marvel is in a pivotal moment.
James Gunn Weighs In
Now, Guardians of the Galaxy director, and current head of the DC Universe, James Gunn has weighed in on Marvel’s problem.
“I really want Marvel to keep making good movies. I think it’s really hard in the wake of the Blip. There’s this worldwide, universe-wide event that happened. And in truth, everybody would be stark raving mad at this point. So it’s hard to write stories in the wake of that. Which is why the Guardians movies have been easier, because they’re set outside of that a little bit.” The director noted.
Photo: Marvel
A Lasting Impact
While much attention has been paid to Marvel’s struggles since the advent of the multiverse, or the loss of Captain America and Iron Man, Gunn brings up an interesting point.
Photo: Marvel
The Blip has permeated everything that has happened since Endgame. Whether that by Yelena’s misguided vengeance against Hawkeye, or Monica Rambeau’s journey in WandaVision.
Nevertheless, the days of the grounded, “real world” Marvel movies are over. And perhaps, the universe has passed the point of no return.
Photo:Marvel
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Hold onto your hats, kids. Ti West’s Pearl hasn’t even fully released in theaters yet, but already, there’s more to come from the director and his X series of movies. Yes, A24 has officially greenlit MaXXXine, the third movie in the bonkers horror franchise from the director. And even more bonkers, you can already watch a teaser trailer for MaXXXine below. The X horror movie delight never stops.
According to a release, Ti West will write and direct MaXXXine. And Mia Goth will return to reprise one of her two roles in X. A synopsis for MaXXXine shares:
The film follows Maxine (Goth), after the events of X, as the sole survivor who continues her journey towards fame setting out to make it as an actress in 1980s Los Angeles.
We love a sole survivor, that’s for sure. And we love Ti West’s horror movies even more. Although MaXXXine‘s trailer doesn’t reveal much to us, we do know that it’s “coming soon.” Well, we guess now we won’t have to wave goodbye to the franchise indefinitely after we watch Pearl.
As for the rest of MaXXXine‘s cast, it is finally coming together. Per Deadline, Elizabeth Debicki, Moses Sumney, Michelle Monaghan, Bobby Cannavale, Lily Collins, Halsey, Giancarlo Esposito, and Kevin Bacon have come aboard the film. Their roles have not yet been revealed.
A24
For now, the second movie in the X franchise, Pearl, is available to watch “It is a prequel set decades before the grisly events of X, Mia Goth returns as the future psycho-biddy Pearl, here a starry-eyed farm girl with a short fuse and a deadly ambition.” As you get excited by the prospect of MaXXXine, don’t forget to check out our review of Pearl, here. And our review of X, here. It is a Mia Goth-full autumn, and we absolutely love it.
We can’t wait to see what X‘s third movie has in stock for us. If we had to guess, we’d say… something bloody, chaotic, but absolutely incredible. After all, what’s bloodier than an actress trying to make it in LA? Here’s to you MaXXXine.
The Super Mario Bros. Movie is finally here, performing for you in your local theater. When word spread of the DK Rap being included in the film, the song’s composer Grant Kirkhope knew the words, so he was excited to join in too. He saw the film, put his hands together since he wanted to clap, but then quickly realized he didn’t receive credit for his monkey rap.
Kirkhope lamented his lack of credit via a post on Twitter, in which he called the decision “depressing” and that he was “really looking forward to see my name in the credits.” As one of the replies to Kirkhope’s tweet shows, the song itself is indeed credited, but Kirkhope’s name is nowhere to be found.
I was really looking forward to see my name in the credits for the DK Rap, but alas as expected it’s not there …….. fml
The song was revealed to be part of the feature film last week, when Seth Rogen called it “one of the worst rap songs of all time” in a video promoting the film. Kirkhope received that news very well, saying “If you’d told me in ’97, when I wrote the worst rap track in the history of rap tracks, that it would go on to be in a Mario Bros. movie I [sic] would’ve burst with excitement.”
The DK Rap first appeared as the intro theme for Donkey Kong 64, where it became a fan favorite. It has subsequently appeared in multiple games since then–most notably as stage music in multiple Super Smash Bros. games–and Kirkhope was credited as the original composer in every other use.
The Super Mario Bros. Movie is out now in theaters worldwide. GameSpot’s The Super Mario Bros. Movie review praised the film, saying it “never feels reverent of the Mario IP, but it’s also never disrespectful. It’s a spot that might not have worked if the film weren’t so well put together–fortunately for us, though, The Super Mario Bros., could end up being one of the best big-budget action flicks of the year.”
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Considered a mandatory festival event for innovative and provocative documentaries, the annual Doc Fortnight was presented again from February 22 to March 7 this year by the Museum of Modern Art. The program included 15 feature and 8 short films. As in past editions, the festival included U.S. and international films reflecting current socio-political changes and ruptures, embracing new production approaches, and the visual analysis of themes not covered before. Many selections premiered in the USA and were new to the MoMA audience. CHANEL has been the lead sponsor of film at MoMA since 2020 and provided principal support for DOC Fortnight 2023.
Among the striking films in the 2023 program was RED AFRICA (Krasnaya Africa), an innovative 2022 Russia Portugal co-production scripted and directed by Alexander Markov. Markov presents African and some USSR work of Soviet filmmakers from 1957 – 1990 in a rare and comprehensive assembly that exposes audiences to their visual perspectives. Western colonial powers were leaving Africa and opened gates to the influence, ideology, and official positive self-image of the Soviet Union. Behind the perspective of Soviet filmmakers was the shared conviction of officials in communist countries that visual media has a powerful impact on the audience, guided by the agitation and propaganda (agitprop) policy. The segments from documentaries and newsreels which Markov chose were shown to the Russian audiences and transmitted in African countries. The agitprop carried only messages supporting the Soviet Union and its achievements. The range of themes covered Soviet agricultural, industrial, and consumer products, as well as Soviet fashion and culture. Much of the footage was devoted to encounters between high ranking African and Soviet officials and the demonstration of how knowledge and technical expertise acquired by students from African and other third world countries could be applied by them at home. There is virtually no footage about the turmoil experienced in the USSR over 30 + years, except for brief sequences from 1990 about demonstrations for autonomy from former Soviet republics.
While the agitprop films hide Soviet colonial aspirations under the claim of a humanistic development services, the documentary LA BONGA provides a persuasive account of lasting attachment to the homes people were forced to leave 20 years earlier in Columbia. Directors Sebastián Pinzón Silva and Canela Reyes documentary excels in its quiet and unhurried approach. Reyes’ training in anthropology and literature is on display. LA BONGA focuses on the forced dispossession of an indigenous Afro-Colombian farming community located in the jungle. This dislocation mirrored the destruction of many similar communities in other central and Latin American countries which was often carried out with the backing of governmental agencies. LA BONGA does not elaborate at length on the process of neo-colonialism but instead focuses on the long arduous march of the survivors and descendants of the La Bonga settlements to their old home; and on the stories they shared of their past experience. Over 20 years the jungle had recuperated the land they once cultivated and few relics remained. After arrival, they restored a small area to have space for celebrating their Bonga culture with guests. What is striking is the persistence of memory and the power of oral traditions outlasting speculators and prospective settlers.
Whether it’s espionage or fending off an amphetamine-happy bear, Keri Russell has a certain affinity for playing the tough who get going when the going gets tough. But the first trailer for Netflix’s The Diplomat places Russell in a setting that finally makes her break a sweat: international relations.
Kid Rock triggered by beer, trans people
In the series, Keri Russell plays Kate Wyler, a new US Ambassador to the United Kingdom who finds herself immediately inundated with putting out political and personal fires. Although Kate has experience in crisis and war zones, she’s much greener when it comes to navigating parliament and rubbing elbows with the Prime Minister (Rory Kinnear). Plus, as one of Kate’s embassy confidantes (Ato Essandoh) tells her: the house is already on fire.
The teaser also finds the weather looking stormy on the home front: although Kate’s husband Hal Wyler (Rufus Sewell) has left his ambassador days behind to cultivate his political rising star, he’s not exactly ready to relinquish his area of expertise. “I’m not doing this the way you would,” Kate tells Hal.
“That’s fine,” he responds. “Just don’t do it wrong.”
What Kate seems most uninterested in is what she calls the “whole Cinderella thing:” Unlike a certain luminous SUNY Purchase grad, Kate isn’t interested in playing Princess Diana (as her uncomfortable grin-and-wave during a photo shoot in a literal horse and carriage indicates).
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Showrunner Deborah Cahn, whose previous credits include both The West Wing and Homeland, clearly knows her way around a political drama. Cahn also serves as an executive producer on the series, alongside Russell and Janice Williams (Pieces of Her, The Magicians).
In her own tease, Cahn previously described The Diplomat “as a show about the transcendence and torture of long-term relationships.” If it’s capturing the long-term distress onscreen Cahn is after, she seems primed to deliver: the first trailer fits in roughly two dozen tortured glances in just two minutes.
The Diplomat arrives on Netflix Thursday, April 20.
Late last week, Hulu started rolling out a redesign for its TV apps, which changes how you navigate through the interface. The previous version (which some people still have) had the search, Home, TV, Movies, News, My Stuff, and Hubs buttons across the top of the screen. Now, those navigational buttons will live on the left.
Hulu’s top-bar design has always stood out from the crowd in a bad way. Even my wife, who isn’t that into tech and doesn’t generally comment on UIs, has complained about it. The problem with the old UI is that, in general, using a streaming app these days involves scrolling up and down through a massive list of content, realizing you don’t want to watch any of it, and then jumping to another section.
Unfortunately, Hulu’s categories living at the top of the screen made it seem like you had to scroll back through everything you’d just looked through to do that. You didn’t actually have to, at least not in the Apple TV version of the app that I’ve used; pressing the back button would jump you up to the top. But if you didn’t realize that, it could be frustrating to use. The redesign, however, makes it easy to figure out: scroll to the left (or press the back button), and the menu pops up.
Yes, this redesign does make the Hulu app look more like almost every other streaming app; HBO Max, Netflix, YouTube, and even Disney Plus, which is owned by the same company as Hulu, all use a sidebar design. But sometimes it’s good to have conventions; with the redesign, you won’t have to think about how to navigate when you switch from another streaming app to Hulu.
According to a splash screen alerting users to the upcoming change, the new interface will be rolling out over the next few weeks. According to TechCrunch, it’ll be coming to smart TV interfaces like Android TV, LG smart TVs, Samsung smart TVs, and Vizio SmartCast TVs, as well as streaming boxes like Fire TV, Apple TV, Roku, and Chromecast.
NBC’s “Today Show” has earned an Institutional Award from Peabody, the org announced Wednesday. The 71-year-old morning news program was selected by the Peabody Board of Jurors for this year’s honor, which “recognizes institutions and organizations, as well as series and programs, for their enduring body of work and their iconic impact on both the media landscape and the public imagination.”
“For nearly three quarters of a century, ‘Today’ has been a morning staple for millions of Americans and a consistent cultural touchstone for deeply moving human stories, groundbreaking news, and daily joy,” Peabody executive director Jeffrey Jones said in a statement. “We’re thrilled to recognize the program, not only for their decades of stellar reporting and storytelling, but also for their undeniable impact on culture and an informed public.”
Past winners of the Institutional Award include “Fresh Air with Terry Gross,” Array, “The Simpsons,” “60 Minutes,” “Sesame Street,” “The Daily Show with Jon Stewart,” Kartemquin Films, “Frontline” and ITVS.
The 2023 Peabody award nominees will be announced on April 11 and April 13, and the org’s Trailblazer Award and Career Achievement Award winners will be announced on April 20. As previously announced, the Peabody Awards move to Los Angeles this year for the first time; the 83rd annual event will take place on June 11.
In selecting “Today” for the Institutional Award, Peabody cited its “immediate coverage of such news events as the devastating earthquake in Haiti, Hurricane Katrina and its aftermath, the tsunami that wreaked havoc in a dozen Asian nations, and the September 11 terrorist attacks.
“The show is also a staple in people’s homes as viewers busy themselves with morning routines, providing a charismatic and affable team of on-screen personalities who engage viewers with an array of topics, including parenting, fashion, cooking, relationships, homemaking, health, travel, personal finance and musical performances.”
Matt Damon is the quiet icon. We get why Kevin Costner became a contemporary John Wayne 40 years ago, or how Tom Cruise willed himself into becoming our era’s Clark Gable. But Damon is less eager for our love than Costner or Cruise. From Will Hunting to Mark Whitacre to Jason Bourne, Damon’s gallery of quirks and eccentrics presents him as a laureate of male worry. He’s Gary Cooper—master of subtlety—and he steers himself toward an empty space in the heart of American masculinity rarely visited in our cinema of victors, a fraught terrain where losing at life remains a real possibility.
The A.V. Club’s weekly film round up
Flop sweat issues from every pore of Sonny Vaccaro, the real-life Nike executive Damon portrays in Ben Affleck’s latest directorial effort, Air. It’s the mid-1980s, and Sonny is tasked by would-be New Age robber baron Phil Knight (Affleck) with vitalizing Nike’s athletic sneaker division by landing a celebrity endorsement from the world of basketball. Nike can’t afford to pay for an established star, so Vaccaro has to predict the future. He settles on a rookie named Michael Jordan, but has to out-compete more successful companies like Adidas for Jordan’s endorsement. The rest is mass-market history.
Affleck and his screenwriter Alex Convery think the well-known outcome of Air needs to be bolstered by the mechanics of a suspense narrative, crossed with a Rocky plot trajectory. And for a few scenes, Air feels like a gently satirical movie about corporate skullduggery. But it’s really a sports picture, where outcomes are determined by dedication, and a purity of purpose no one else can match. Damon’s Sonny is the scrappy and unlikely contender, whose love of the game gives him heart.
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Chris Tucker is on hand as Howard White, a real Nike executive whose job appears to have been to tell Sonny Vaccaro how much he believes in him, again and again. If Tucker has 10 minutes of screen time, that is two minutes more than register for the viewer. It’s tempting to say Viola Davis is “wasted” in the small but pivotal role of Jordan’s mother Deloris, but Airproves it’s impossible to waste Viola Davis, because her fierce gift always eats the screen. For a masterclass in turning throwaway schtick into truth, watch Davis suppress a laugh when a meeting with the Teutonic directors of Adidas plays out as Vaccaro told her it would. We need to see Deloris’ bemusement, even if the Adidas suits can’t. Davis manifests the moment effortlessly.
The most comical epitome of Air’s own version of flop sweat is the way it shows Michael Jordan. Because it doesn’t—or rather it shows him only from behind, as a shoulder, or as an outstretched hand. Because really, how do you cameo Michael Jordan in his own story, without the audience noticing the movie they’re watching ought to be about him? You can’t. So you cut away to a bizarre montage of the real Michael Jordan enduring the horrors of contemporary celebrity in the space where Matt Damon is forced to address Jordan directly, appropriating the real Jordan’s pain in collage form to paper over a pothole, just because your camera is looking the wrong way.
Another nagging issue with Air is that it’s ultimately about a room full of white guys competing for a prize embodied by a symbol of human greatness who is also a symbol of Black greatness. As if in the world proposed by this film—and films like Driving Miss Daisy, Green Book, and Hidden Figures—racism is suspended by a shared endeavor.
AIR | Official Trailer
Otherwise, as Affleck has shown before, he is a marvelous director of actors—even great performers outdo themselves here, in material that could hardly be called emotive. As Nike’s marketing director, Jason Bateman gets to utter a line somebody thought would be on the poster: “A shoe is just a shoe until somebody puts their foot into it,” words repeated like writ two or three more times. Bateman is as rumpled and sleek as a small-town realtor, beautifully assaying an even less effectual version of middle-aged maleness than Sonny Vaccaro’s. Damon and Viola Davis are so good together that their phone conversations play like the emotional climaxes of the movie.
Air will do well for Amazon, not only because it’s well-done, but because it’s selling a “true story” a lot of people want to hear, even if, to paraphrase Jason Bateman, a true story isn’t true until you put the truth into it. Ultimately, Air is about the battle for ownership of Michael Jordan’s likeness rights—one of the great business success stories of all time—and it’s told in an entertaining light, even if it’s not quite a layup.
The writer-director Nicole de Meneses’ comedy short, Queer Science, asks where has queer science taken us?
Max (Irene Tu) is awakened by her girlfriend Dani’s (Jennifer Koman) unattended alarm. When Max investigates, she finds the workaholic Dani in her lab working on her latest experiment. Max is upset that Dani would rather experiment than take a quick vacation at Max’s next resort stand-up comedy appearance. Before you know it, Max is struck by Dani’s experiment to hilarious results.
Queer Science is a fairly straightforward comedic sketch from filmmaker Nicole de Meneses. The setup is Dani’s science experiment. The humor comes as the result of Max laying victim to the experience. The punchline comes in the final aftermath. Tu and Koman give excellent performances as Max and Dani, though the overly science-y dialogue is hard to get out at times.
“Max is upset that Dani would rather experiment than take a quick vacation…”
I have a few other nitpicky quibbles. The first is to invest in some lighting and sound recording equipment. This will elevate your next film significantly. The other is the title. I get that this is an homage to Weird Science based on the basic plot and 1980s techno soundtrack. But seeing the title, Queer Science, I was expecting more than just two leads being in a same-sex relationship. Maybe this theme would carry itself somehow in the actual experiment. Again, nitpicky for an otherwise good comedy sketch.
As we tell all emerging filmmakers, make your movie. Nicole de Meneses made a film with a solid though offbeat plot. Queer Science employs many well-placed special effects that look pretty good for a cast and crew starting out in this heartless industry. This is a great start for the writer-director. Now send us your next film.
The forecast was right — south-central and southeastern Manitoba is waking up to a fresh coat of snow.
The first few hours of a springtime Colorado low has resulted in around six centimetres of snow measured at Winnipeg’s airport, while preliminary numbers from Environment Canada say areas to the east, like Steinbach, are dealing with around 15 cm.
Snow is expected to continue falling throughout the day, accompanied by winds gusting up to 60 km/h.
Environment Canada meteorologist Rose Carlsen told 680 CJOB’s The Start that there’s a plus side to the significant winds — they’ll help push the storm along.
“It’s going to be pretty steady — it’s not going to be a hard jump up. It’s going to be a pretty even increase of the winds,” she said.
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“We do have a system of high pressure building in through tomorrow. As the system pulls out, it should be clearing up fairly quickly throughout tomorrow.”
Carlsen said there’s a significant pattern change ahead, although it’s too early to say definitively whether the post-storm temperatures will be as warm — in the mid-teens — as initially predicted.
“Sometimes when you get far into the long range you have a significant event like this that’s maybe a little bit more outside the normal realm of possibility, you can get some numbers in the long range that are not maybe representative of what’s actually going to happen,” she said.
“We are expecting a warm-up, but it might not be quite up to the 14-15 (degrees) that’s in the forecast”
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Winnipeg is expected to see a high of -5 C Wednesday while the city — and most of southern Manitoba in the eastern half of the province — remains under a winter storm warning.
It’s officially Movie Night on The Masked Singer. The masked celebs will perform iconic songs from hit Warner Bros. films to celebrate 100 years of movie magic. In this EXCLUSIVE preview of the April 5 episode, Jenny McCarthy attempts to figure out the celebrity behind Mantis.
Mantis during Movie Night on ‘The Masked Singer.’ (FOX)
“You guys watch Yellowstone? Okay, so I feel like I’m getting like a Rip from him,” Jenny says. Robin Thicke points out that she’s talking about Cole Hauser. He adds, “I don’t think Cole Hauser dances like that.”
Jenny has another guess ready. “Okay, what about Kevin Bacon?” Nicole Scherzinger is intrigued by Jenny’s guess. “He was dancing like that in Footloose,” she says.
Jenny also points out, “And he plays the guitar, and he’s got a little band.” Robin says that Kevin is a “rock star in real life.” Nicole tells Jenny, “That’s a good guess.” Maybe Jenny’s right on the money!
Mantis will be taking the stage along with fellow new competitor Dandelion. Doll is returning to defend her place in the competition. By the end of the night, one celebrity will be unmasked.
Jenny McCarthy thinks Kevin Bacon may be under the Mantis costume. (Anthony Harvey/Shutterstock)
The Masked Singer has had some incredible talent so far since the start of the season. There have also been several themed nights throughout season 9, including ABBA Night, New York Night, DC Superheroes Night, Sesame Street Night, and Country Night. The season 9 contestants have a combined 28 Emmy nominations, 6 Grammy wins, 10 Gold albums, 4 Golden Globe nominations, 5 medals, 26 books, 2 Tony Award nominations, 5 Lifetime Achievement awards, 4 stars on the Hollywood Walk of Fame, and a combined 95,231,000 records sold.
It was a picture perfect day in New York City, according to Stephen Colbert. “70 degrees. 70 degrees and sunny with a chance of jail,” he said.
Obviously he was referring to the historic arraignment of former president Donald Trump earlier in the day, which according to Colbert happened “about 4 miles south” of “The Late Show” studio. Trump was of course arraigned on 34 charges of felony business fraud, related to the hush money payment of $130,000 he gave to porn actress Stormy Daniels, from his presidential campaign funds, in 2016.
Colbert recapped some of the greatest hits from the day’s news, including the fact that Trump was late to the arraignment, and his actual arrival. After footage of CNN’s Anderson Cooper saying “Donald J. Trump is now under arrest,” Colbert paused to his audience could cheer.
“I know, I know,” he finally said. “It feels good, but remember he is innocent until proven so, so guilty.”
“At that point,” Colbert continued, “he was read his Miranda rights. Then he claimed Miranda wasn’t even his type, asked her to sign an NDA and got indicted again.”
Colbert then made fun of how cable news filled the time in between actual news with analysis of a photo taken of Trump during the hearing. Someone on CNN said Trump “looks almost pensive,” which provoked an incredulous response from Colbert.
“Pensive? You know ‘pensive’ means ‘thinking,’ right? What are you talking, this is what he always looks like. There’s no way of knowing what’s going on in his head there,” Colbert said before asking “Jim” (his fictitious stage manager) to zoom in on the photo of Trump. At this point Trump’s head opened and he appeared to be thinking about a chicken breast doing a lap dance to “YMCA” by The Village People.
Colbert also poked fun at the courtroom sketch of Trump that was released to the public: “There it is, here’s the former president being indicted for stealing all of Whoville’s Christmas presents.”
Colbert took great amusement from a moment, captured by news cameras, when Trump entered the courtroom. An officer of the court entering just before Trump didn’t hold the door for him, prompting Colbert to joke “It’s not often you see a door hitting an ass on the way in.”
Later in the monologue, Colbert noted how contrary to defiant predictions from Trump supporters, very few people showed up to protest the arraignment. “It’s never a good sign when there are fewer people at your current rally than are in prison for your last one,” Colbert said.
There’s a whole lot more of course. Watch the whole monologue at the top of the page.
Music industry vet Pete Nash, the talent agent behind acts like Kings of Leon and Regina Spektor, has joined Primary Talent International as a partner, CEO and managing partner Matt Bates announced Tuesday.
“Pete’s joining the Primary family is tremendous news for the agency as a whole,” Bates said in a statement. “He brings with him a huge amount of experience as a leading international music agent. In his new role as a Primary Talent partner, he will be a wellspring of guidance and support to our expanding roster of agents and clients.”
Nash has worked closely with Primary Talent, one of the U.K.’s leading music talent agencies, since joining former parent company ICM in 2020.
“ICM’s acquisition of Primary Talent in March 2020 was the major factor in my decision to join ICM later that same year,” he said. “Working alongside the exceptional Primary team during the pandemic and the challenging relaunch of the live music industry turned out to be greatly beneficial to my clients. I am delighted to be working with them again and joining their leadership team.”
As of March of this year, Primary Talent went back to its roots as an independent entity, following its separation from CAA through a management led buyout – which itself was preceded by CAA’s acquisition of ICM in June 2022 for $750 million.
Also included on Nash’s roster are Pet Shop Boys, Steve Winwood and Travis. He joins Primary Talent as its eighth partner since regaining independence last month.
Featured elsewhere on Primary Talent International’s roster are nearly 460 clients spanning all genres, including The 1975, The Cure, Lana Del Rey, Noel Gallagher, Jack Harlow, alt-J, Dropkick Murphys, and Patti Smith.
EXCLUSIVE: Actor and social media influencer Tamera “Tee” Kissen (White Men Can’t Jump, House Party) has signed on to lead the vampire horror flick Fanged for indies Empyrean Pictures and Rebel Maverick.
The pic is written and directed by the filmmaking duo George Watson and Kapers Williams. The cast is rounded out by Selena Anduze (WandaVision), Tyler Abron (Lace), Pauline Brown, Mataya Sweeting, Ravyn Rochelle (Good Intentions), Ashley Nocera (King Bachelor’s Pad), and Kylie Jordan (The Things We Survive: Amber Brown).
Watson and Williams are also producers, with Matt Nicholas and Nastassja Kayln serving as executive producers. The film has wrapped shooting in Atlanta, Georgia, and marks the feature debut of Watson and Williams as a directing team, following a series of music videos.
Empyrean Pictures and Rebel Maverick.
The film’s plot follows a group of young vampires celebrating the “Blood Day” of one of their own, Jasmine. After feasting on a local party’s favor during the celebrations, they find themselves in a deadly situation: They are trapped by an invisible barrier that forms out of nowhere and burns them every time they try to escape. Trying their best not to panic, they ration the remaining blood they have collected. But it becomes clear that if they do not feed soon, they will all perish. As the days wear on and their chances of escape diminish, the vampires unleash the true monsters inside them all.
Watson is best known as the co-author of Sorcerority, a graphic novel currently being adapted into a feature film by Gabrielle Union’s I’ll Have Another Productions, Taraji P. Henson’s TPH Entertainment, and Effie T. Brown’s Gamechanger Films.
Kissen can be seen next in 20th Century Studios’remake of the 1992 comedy White Men Can’t Jump directed by Calmatic. While few details about her role have been disclosed, she’s part of an ensemble led by Jack Harlow, which also includes Sinqua Walls, Lance Reddick, Teyana Taylor, Laura Harrier, Myles Bullock, Vince Staples, and Zak Steiner.
Samantha Ruth Prabhu will next be seen in Shaakuntalam
In the post, Samantha Ruth Prabhu is seen casually sitting in a white buttoned kurta with rollers in her hair while her makeup artist fixes her look.
Samantha Ruth Prabhu’s Wednesday is all about glam and makeup. In the afternoon, the actress shared a behind-the-scenes photo of herself from what appears to be her vanity van. Donning a comfy attire, the Shaakuntalam actor relaxes as her makeup team completes her dolling-up process. But what stole the limelight was the inspiring message that she shared alongside her latest post. “Rise Up, Baby,” she wrote along with the picture.
In the post, Samantha is seen casually sitting in a white buttoned kurta and with rollers in her hair while her makeup artist fixes her look for the day. Along with her motivational caption, she added the song Flooded by Kaina in the background.
Within no time, her fans rushed to the comment section and filled it with compliments. One of them wrote, “Keep shining, Sam.” Another one said, “Wow, love you, Samantha, You inspire me.”
The actress was recently in Kochi to promote Shaakuntalam. During the media briefing, Samantha gushed over Malayalam performers and the film industry. She said that working with Malayalam actors is similar to attending acting classes with them. She added that they have an edge in acting, and they will surprise the audience with their adaptability to different roles. Samantha further stated that she would be willing to take on a significant role in a Malayalam movie. She works opposite Malayalam Dev Mohan in Saakuntalam.
Shaakuntalam is helmed by Gunasekhar and is a cinematic adaptation of the play Shakuntala by Kalidasa. The romantic drama, apart from Samantha also features Dev Mohan, Allu Arha, Sachin Khedekar, Kabir Bedi, Dr. M. Mohan Babu, and Prakash Raj in prominent roles. The film will release on April 14, in Telugu, Tamil, Kannada, Malayalam, and Hindi. The movie will also be available in 3D. It is a story based on the internationally acclaimed Kalidasa’s Sanskrit play ‘Abhijnana Shakuntalam’.
Previously, Samantha Ruth Prabhu starred in the sci-fi thriller movie Yashoda, which was well-received by the public. She will next be seen in the film Kushi, which also stars Vijay Deverakonda. The actress has also been signed for the Indian adaptation of Citadel and will be seen alongside Varun Dhawan in the action-thriller web series.
Srijita Sen is constantly curious about figuring out the meaning of films, music, life and everything in between. With a great love for 2000s Bollywoo…Read More
Paris’ NewImages Festival and parent organization Forum des Images have recently launched NewImages Hub, a support network offering XR professionals a set of complementary creative and mentoring programs throughout the year. Divided into three poles, the new lab will help immersive projects across development, production, and distribution, offering residencies and networking assistance at each phase.
Administered by Forum des Images – a non-profit cultural organization subsidized by the City of Paris – and supported by France’s CNC, NewImages Hub will oversee international writing residencies both in Paris and abroad, while developing additional workshops with partners in Taiwan, Chile and South Africa. The new lab will also administer existing programs in Rome, Ecuador and Taipei, while making industry analysis available to all.
“We want to help with questions of distribution at an earlier point,” says Forum des Images digital chief (and NewImages festival director) Michele Ziegler. “The big installations are becoming so expensive, so how does [an artist] break their project down into different versions? And how can we use our network to help that along?”
Looking to trans-disciplinary programs run by Montreal’s Phi Centre, London’s Victoria and Albert Museum, and Melbourne’s ACMI for inspiration and example, Ziegler hopes to offer “a service to the industry,” banking on her institution’s non-profit status as a beacon for all to join. “We’re Switzerland,” she says. “We’re neutral, and we want to remain in this neutral position while still shaking things up to get them moving. We have to be more agile.”
As with the annual NewImages Festival (which runs April 5 – 9 this year) Ziegler believes that Forum des Images’ advantageous position within Paris’ busiest hub can lend the new effort some youthful vigor. And so, beginning in September, the Forum des Images will offer spaces where digital artist can test out their development projects in public.
“We have teenagers coming through the Forum des Images [at all times],” says Ziegler. “So let them come test prototypes. [That way] artists can get feedback from real people while developing their projects.”
While this year’s NewImages Festival celebrates the art and artistry the Quebecois immersive industry, Ziegler hopes to eventually push beyond the constraints of a brief snapshot at an annual festival. “The idea is to have long-lasting connections between communities,” she says. “Rather than an annual focus on a specific country, I want to build long-lasting relationships with other continents, to replace an annual panorama with a more stable set of partnerships.”
Kraven is a villain fans have wanted to see on-screen for a long while.
At one point and time, back when Marvel Studios and Sony Pictures weren’t agreeing with one another, Tom Holland’s third solo outing could have featured the highly requested villain. But, obviously, that never happened.
Instead, Aaron Taylor Johnson was brought aboard to bring the villain to life in his own solo movie—one which will be darker than even its own stars thought.
Kraven’s Dark Hunt
Marvel
While speaking with Comic Book Resources, Kraven the Hunter star Russell Crowe spoke about the tone of the movie.
Crowe noted that while speaking with the film’s director, J.C. Chandor, the filmmaker told him that the movie focuses on “an unexpectedly, dark world:”
“I haven’t seen it. I haven’t seen it, but I know that we’re going through another round of shooting soon. I’ve got a scene to do in a couple of weeks. I’ve talked to J.C. Chandor, the director. He’s really excited about what he’s got in front of him and really excited about the way people will receive it. I think I can sort of pass on that one of the things he said that it’s just an unexpectedly dark world.”
In a recent interview, Crowe’s Kraven co-star, Alessandro Nivola, spoke about how the movie has a “complex psychology” to draw off of for his performance:
“It had a really interesting, complex psychology and personal history to draw on, and the movie has a time jump in it, so the character changes a lot from the way he is at the beginning of the film. It was as much of an acting opportunity as any other film I’ve done, and I didn’t have to contend with wearing a spandex outfit or anything like that. ”
Speaking to Comicbook.com last summer, Aaron Taylor-Johnson clarified some previous comments, stating how the main character is “a conservationist” and “a protector of the natural world:”
“I can’t confirm any details or anything. And also, I guess that was probably a little taken out of context and then run. I mean, I think you know what I meant what really stated was that he was a protector of the natural world I said and he’s a conservationist, which is probably more accurate, and then should have stopped there, full stop, shouldn’t have gone on beyond that..”
The actor went on to promise fans that the film would offer them the Kraven audiences so want to see:
“… You really got to understand, yeah, he is a hunter and from that world of hunting and there’s so many aspects. What I love about that character is that what is he humanizing is that he has flaws, right? Kraven is a beautiful character. Sergei Kravinov is a beautiful character because it’s someone who’s really understanding themselves and has flaws. This is a character that was built ages ago and it’s in a new time and era, but yeah, is he going to be the hunter that we all want to see? Yeah, absolutely. Absolutely.”
Dark Just as Kraven Should Be
When it comes to a solo project focusing on Kraven the Hunter, a darker tone is absolutely the right direction to go in. He’s not a happy-go-lucky guy, and neither are any of the stories he features in.
In theory, without having to juggle Spider-Man himself, Sony has even more room to explore the darker corners of Kraven’s life.
Hopefully, Aaron-Taylor Johnson’s film won’t prevent Marvel Studios from using the character in the MCU if they want to. Though, they’d likely have their own casting, so it would be a tricky situation.
The character could provide the perfect foil to Holland’s Peter Parker, especially where the character is on a personal level.
Taylor-Johnson previously teased all the “possibilities” when it comes to his big villain going up against the webhead, so the actor himself is very aware of audiences’ desire to see the duo faceoff.
1987’s Superman IV: The Quest for Peace is widely viewed as the worst Superman movie ever made, with a variety of factors contributing to its poor reputation. Christopher Reeve first brought the Man of Steel to life on the big screen in 1978’s Superman: The Movie, which stands as a timeless superhero movie landmark. Reeve returned in 1981’s Superman II, which some see as an equal if not superior film to its predecessor, but the Superman franchise began to get rockier with the release of Superman III in 1983.
The release of Superman IV: The Quest for Peace in 1987 would ultimately kill the Superman franchise on the big screen for years until Kal-El finally returned to cinema screens in 2006’s Superman Returns. In addition to being a box office disaster, the Reeve sequel has also long been regarded as Superman’s lowest point cinematically, with Christopher Reeve himself regretting making The Quest for Peace. While no single element is to blame for The Quest of Peace‘s negative reception and box office failure, several factors together were ultimately responsible for the movie’s sad state.
Per Superman IV‘s entry on the American Film Institute Catalog, Christopher Reeve initially had reservations about making another Superman movie after Superman III. The campy, silly tone of Superman III led to the movie having a far more mixed reception than its two predecessors, while Superman was pushed into a much more secondary role with Richard Pryor’s Gus Gorman dominating the story. Reeve ultimately agreed to come back with the Canon Film Group funding his passion project Street Smart and Reeve receiving a story credit on Superman IV: The Quest for Peace, with Reeve deciding the nuclear arms race would be the perfect topic for a Superman movie to explore his place in the world.
Unfortunately, the Canon Film Group, to whom Warner Bros. had optioned the Superman film rights at the time, was in dire financial straits. This led to the budget for The Quest for Peace being slashed from an intended $32 million to just $17 million against the wishes of Reeve and the production team. Sadly, this was just the first of the many problems that killed The Quest for Peace.
45 Minutes Was Cut Out (Which Hamstrung Superman IV)
Upon completing principal photography, the first cut of The Quest for Peace ran 134 minutes. However, Canon subsequently decided to remove 45 minutes of footage from the movie, reducing its runtime down to 89 minutes, the shortest of any Superman movie to date. On The Quest for Peace DVD commentary, screenwriter Mark Rosenthal says this decision rendered the movie “incomprehensible,” and indeed, removing such a large amount of footage from the movie greatly impacted its narrative flow.
Particularly effected was Nuclear Man, a Kryptonian clone created by Gene Hackman’s returning Lex Luthor. In the original cut, Lex first creates a prototype Nuclear Man (Clive Mantle), who ultimately fails before the creation of the second Nuclear Man (Mark Pillow). The loss of so much footage from The Quest for Peace also removed the genesis of Nuclear Man’s romantic feelings for Lacy Warfield (Mariel Hemingway), while also removing huge chunks from the third act that left huge holes in the story (i.e. Nuclear Man demanding “Where is the woman?!” from Superman, which has no real context in the theatrical cut). More problems would also befall The Quest for Peace on a technical level.
Because of Canon’s financial troubles during the production of The Quest for Peace, the movie’s visual effects were perhaps the greatest casualty of all in terms of technical elements. Compared to the groundbreaking flying effects of Superman: The Movie, the effects of The Quest for Peace are a poor reflection of the Man of Steel’s powers. Blue-screen backdrops are barely concealed, and specific shots of Superman and Nuclear Man flying directly to the camera are repeated throughout the movie. One shot of the two fighting in space also can’t even hide Reeve and Pillow clearly standing on a black backdrop.
Even the opening credits pale in comparison to those of the first two Superman films, which Rosenthal describes as “more like graffiti on a black screen” on the commentary track. Some individual effects in the film are more passable, such as the crackling radioactive lighting enveloping Nuclear Man’s body, but on the whole, The Quest for Peace’s effects are a big letdown. And Nuclear Man himself would not escape that fate either.
Nuclear Man Was A Lackluster Villain (But Had Potential)
Nuclear Man is widely viewed as the worst on-screen villain the Last Son of Krypton has ever battled, and indeed, his execution in The Quest for Peace undeniably falls flat. Nuclear Man’s voice and facial expressions are a particularly distracting issue on camera. The gimmick of Nuclear Man possessing Lex Luthor’s voice is undone by the bizarre choice of having Hackman record the lines ahead of time and Pillow lipsynching them on-camera. With that said, Nuclear Man is not a bad villain idea on paper.
As a kind of riff on Bizarro, Nuclear Man had real potential to be a force to be reckoned with, possessing strength and other powers commensurate with Superman’s, along with additional, nuclear-based abilities. Sadly, the look and execution given to Nuclear Man did not set him up for success, and it would not be until 2018 that the character had another shot, being worked into Brian Michael Bendis’s Superman comic book run in 2018. Nuclear Man appearing on Superman & Lois could even hopefully give him a shot at redemption
As with many ill-received superhero movies, The Quest for Peace was made with very earnest ambitions, only to be undone by a perfect storm of bad circumstances and behind-the-scenes issues snowballing into an unfortunate disaster, and canceling prospective plans for Superman V. While Christopher Reeve’s tenure as Superman did conclude in a less than ideal way with The Quest for Peace, his performance as the Last Son of Krypton will forever stand the test of time. Still, it remains an unfortunate reality that Superman IV: The Quest for Peace‘s genuinely great ideas of Superman trying to guide humanity to a better future will always be overshadowed by its unrealized potential and reception as the nadir of Superman movies.
ARK Survival Evolved developers Studio Wildcard have finally responded to the harsh criticisms dished out by the community following the recent announcement of an Unreal Engine 5 remake of the original and beloved ARK Survival Evolved.
Wildcard shocked the community by announcing that the UE5 remake (ARK Survival: Ascended) will now cost $40 on PS5 and $50 on PC and Xbox. Previously, the remake was announced as a free addition when purchasing the highly-anticipated ARK 2.
Here’s Wildcard’s official response to this backlash:
“We have been really excited to deliver an incredible ARK UE5 experience. Admittedly back in January we got ahead of ourselves at that time, as the scope of the project increased, we hadn’t yet realized the full time, development resources, & costs needed to produce a complete next-generation remaster.“
Studio Wildcard
Understandably, the community is quite upset about having to pay for the UE5 remaster after being told it would be free.
ARK Survival Ascended and ARK 2 Release Dates, ARK Respawned Bundle, and More
Fans of the series may find themselves confused about release dates, how to purchase, and more important info due to the erratic nature of the announcements.
First of all, ARK Survival: Ascended is currently scheduled to release in August 2023, and ARK 2 was recently delayed to late 2024.
Furthermore, you can only obtain ARK Survival Ascended by purchasing the ARK Respawned Bundle. This bundle includes BOTH ARK Survival Ascended and ARK 2 when they release, costs $50, and is only available for PC and Xbox consoles.
Although ARK 2 is an Xbox and PC exclusive, PS5 users will be able to purchase ARK Survival: Ascended as a standalone game for $40 when it launches.
The UE5 remake will also be receiving the DLCs from the original game. However, they will have to be purchased and will be released throughout 2023 and 2024.
To me, an ARK UE5 remaster is something I would certainly pay $50 for, especially because it includes ARK 2 as well. However, I do understand that the “broken promise” from Wildcard is rubbing some people the wrong way.
To close, I will be reserving my judgments until we see if the ARK Survival: Ascended launch is a success or not!
Norwegian animation “Pesta,” directed by Hanne Berkaak, will head to the Frontières Platform in May. Directed at genre film professionals, the event is organized by the Fantasia International Film Festival with the Cannes’ Marché du Film.
The film, set in 1349 during the outbreak of the Black Plague, will see two teenagers, Astrid and Eilev, fighting for their forbidden love among the apocalypse as Astrid, a nobleman’s daughter, struggles with her growing desire for “the outcast heathen.”
Granted development funding from the Norwegian Film Institute, “Pesta” is produced by Mikrofilm’s Tonje Skar Reiersen and Lise Fearnley. It’s also named after a shadowy figure from Norwegian folklore, a personification of the plague itself.
“She was depicted as an old woman travelling from farm to farm, carrying a rake and a broom. Where she used her rake, some would survive. Where she swept her broom, everyone would die. Dark stuff,” said producer Tonje Skar Reiersen.
“Theodor Kittelsen [one of the most popular artists in Norway] has drawn and painted some really uncanny pictures of her that scared the life out of generations of Norwegian children.”
Despite its historical setting, the film is bound to hit differently after the world’s struggles with COVID.
“I actually got this idea during the pandemic. Today, young people are fearing the end of the world once again, because of climate change and the war. Still, I want to encourage them to seek beauty and love,” said Berkaak.
“It’s very important for it to feel fresh and contemporary, with a Nordic fingerprint reflected in music, color palette and cinematic language. But I am also a history nerd, so even if we take liberties, it’s all inspired by myths and research.”
Pesta
Courtesy of Mikrofilm AS
Nordic folktales are known for their “extremely grim and violent nature,” she observed, as is the time she depicts, the Black Plague claimed 75 million-200 million victims, according to different estimates.
“The Black Death is one of the darkest periods in European history. Not only because of the brutality of the illness itself, but also because it led to the collapse of the society. In Norway, the plague and its repercussions wiped out 60% of the population.”
Which is why “Pesta” will be directed at a more mature audience, although its portrayal of a young couple falling in love is bound to add some levity too.
“So far, we have defined the main target audience as young adults (aged 16-26) with an interest in fantasy and genre, both live-action and animated. We definitely want the film to travel beyond the festival circuit and get distribution in cinemas and/or on a streaming platform,” added Reiersen.
“Since it’s an animated feature, we have the liberty to be graphic without making it unbearable to watch for a wider audience. However, we will not shy away from portraying the gory effects of the plague,” observes Berkaak.
While the film will have a 2D look, the team will make use of 3D tools to ensure a “dynamic” visual language and make it feel relevant, Berkaak assured, recalling the directors who have inspired her over the years, starting with Yuri Norstein, Jan Švankmajer and Zlatko Grgić.
“Later, when I moved to New York to study animation [at Parsons School of Design] I was introduced to the works of Satoshi Kon, Katsuhiro Otomo and Ralph Bakshi. Ghibli and Disney also made a big impact, especially ‘Princess Mononoke,’ as well as Tim Burton.”
Berkaak also names Mati Diop’s Cannes breakout “Atlantics” among recent discoveries, or the works of Karyn Kusama, Jordan Peele and Robert Eggers, viewing her film’s historical background as the perfect setting for horror.
“It was a time of magic and superstition: People believed in everything from God to trolls. The Christianization of Norway took place gradually, with Catholicism coexisting alongside pagan traditions and beliefs in the Norse gods. Although strict laws tried to prevent blood sacrifice and devil worship, in desperate times, people turned to any available deity.”
But the end of the world can also mark a brand new beginning, she says.
“In Norway, the Black Death wiped out big parts of clergy and nobility, clearing the path for a more equal society. The poor got access to free land, women improved their position and took back some of the power they had during the Viking era. For a while, people were more accepting. I find that truly inspiring.”
Nicole Neece (X-Files Fanfic Exchange) and Adam Silva (The X-Files: Virtual Season 12 FanFic) both bring closure to the innumerable monsters of the week, supernatural serial killers, Cigarette Smoking Man’s many traitorous associates and other shady yet hard to explain antagonists in the on-going scifi-horror-mystery-adventure saga (which is still rather addicting to this very day!). 🙂
When it comes to some of the latest and greatest movies, you can’t get much better than Air. The new film, starring Matt Damon, Ben Affleck, Viola Davis and so many more, tells the story of how Nike created the famous sneaker brand, Air Jordans, because of the legendary basketball player, Michael Jordan, before he was even the big star he’d eventually become.
The film is loaded with stars, and I’m sure you’ve seen at least one or two of them in something other than this film. Let’s get into the Air cast, and where you might have seen them before.
(Image credit: Amazon Studios)
Matt Damon (Sonny Vaccaro)
First up on the list is the main man himself, Matt Damon, who plays Sonny Vaccaro in Air. Damon has been in Hollywood for some time, and has appeared in many films that have truly made him become a huge star. One of his breakout roles was in Good Will Hunting, alongside Robin Williams and Ben Affleck, where he also co-wrote the script with Affleck and won an Academy Award for it, but he’s been in many other roles besides that as well.
These include the Julia Roberts-led rom-com, Mystic Pizza, the Jason Bourne franchise, the Ocean’s trilogy, The Departed, Syriana, The Talented Mr. Ripley, The Last Duel, Saving Private Ryan, True Grit, Ford v. Ferrari, and many more. He was also the lead of The Martian cast, where he truly shined and even earned an Academy Award nomination for the role.
Damon has also had some time in television as well, guest-starring on the popular show, 30 Rock, as well as a critically acclaimed role in Behind the Candelabra.
(Image credit: Warner Bros.)
Ben Affleck (Phil Knight)
Next up is Ben Affleck, who plays Rich Knight. Affleck is actually also the director of Air, but it’s always awesome to see him take on a role in a movie that he is directing, like what he did with Argo.
Affleck has been in many movies, including Good Will Hunting, but some of his other big roles are in films that include Dazed and Confused, Armageddon, The Sum of All Fears, Hollywoodland, Gone Baby Gone, The Way Back, The Tender Bar, and more. He also portrayed Batman in the DCEU for several movies, and was also recently in Ridley Scott’s The Last Duel.
(Image credit: Amazon Studios)
Jason Bateman (Rob Strasser)
Jason Bateman has been in the business for some time, and he’s playing Rob Strasser in Air. Bateman has had a big career on television, with his career being revitalized by Arrested Development, and he gained even more acclaim for his main role in the Netflix series, Ozark. Besides this, he’s also appeared in many films.
Some of his best include Teen Wolf Two, Necessary Roughness, Hancock, the coming of age comedy Juno, Game Night, the great Zootopia (which is getting a sequel from Disney), This Is Where I Leave You, Office Christmas Party, and more. Truly, so awesome to see him in a role such as this.
(Image credit: Amazon Studios)
Chris Messina (David Falk)
Chris Messina plays David Falk in the film, and the actor has been around in movies and on TV for some time. Primarily, many know him from the sitcom, The Mindy Project, but he’s also been in many other famous television shows such as the HBO series, Six Feet Under, Damages, The Newsroom, The Sinner, and Gaslit. He was also part of the main cast of Sharp Objects.
Besides this, Messina was also in movies such as Julie & Julia, Ruby Sparks, Devil, I Care A Lot, Celeste and Jesse Forever, and Birds of Prey, among many others.
(Image credit: Amazon Studios)
Matthew Maher (Peter Moore)
Playing Peter Moore is Matthew Maher, who is primarily known for his smaller roles in movies and television shows, but he’s had a few bigger ones that you might recognize him from. In terms of movies, he’s appeared in Four Letter Word, The Killer Inside Me, Live by Night, The Outside Story, Captain Marvel, Funny Pages and others.
On television, he has a main role on the hilarious HBO comedy, Our Flag Means Death, had a recurring role in Outer Range, and also appeared in a recurring role in Mozart in the Jungle.
(Image credit: Amazon Studios)
Marlon Wayans (George Raveling)
Moving on, we have Marlon Wayans, a famous comedic actor who is taking on the role of George Raveling in Air. Wayans has had experience in a dramatic role before, where he had a main part in Requiem for a Dream back in the early 2000s, but he’s mainly known for his hilarious comedies.
These include many of the Scary Movie movies, Don’t Be a Menace to South Central While Drinking Your Juice in the Hood, The Heat, Norbit, A Haunted House and its sequel, and On the Rocks on Apple TV, as well as others.
He was the star of the popular television show The Wayans Bros. alongside Shawn Wayans, and was also the star of his own short-lived sitcom on NBC, Marlon. He recently had his own comedy special, Marlon Wayans: God Loves Me, on HBO Max.
(Image credit: Amazon Studios)
Julius Tennon (James Jordan)
Next up on the list is Julius Tennon, who portrays James Jordan,Michael Jordan’s father. Tennon is actually married to Viola Davis (another one of the stars) in real-life, so it’s cool to see them play a husband and wife together in this film.
Tennon has appeared in a variety of films prior to this, including The Woman King, Lila & Eve, Get On Up, the 2009 version of Fame, and more. For television, he appeared in many small guest roles, including How To Get Away With Murder, ER, The Jersey, The Closer, Criminal Minds, 7th Heaven, Walker, Texas Ranger and more.
(Image credit: Amazon Studios)
Chris Tucker (Howard White)
Chris Tucker, a famous actor and comedian, plays Howard White in Air, and the actor has been around for some time in the movie industry. He acted in all the Friday films, as well as had parts in movies such as The Fifth Element, Silver Linings Playbook, Jackie Brown and Money Talks. He became even more well-known when he starred in the Rush Hour films alongside Jackie Chan.
Tucker has also had success in television with his stand-up comedy specials.
(Image credit: Amazon Studios)
Viola Davis (Deloris Jordan)
Last but not least, we have Viola Davis, who plays Deloris Jordan in Air, Michael Jordan’s mother. Davis is a prominent figure in the acting world and has been in many movies for a long time. In 2022, she was the lead in The Woman King cast – with many people feeling she deserved an Academy Award nomination for it.
Some of her other major roles that she has been in include The Help, Fences, both Suicide Squad movies, Get On Up, State of Play, The Unforgiveable, Ma Rainey’s Black Bottom, Life is Not A Fairytale, and more.
She was also the lead of the popular TV drama, How to Get Away with Murder, and portrayed Michelle Obama in The First Lady.
With such a star-studded cast, it’s no wonder we have seen all of these stars somewhere before their time in Air, and I for one can’t wait to see what they do next.
Robert Horn shows off his TV pedigree (“Designing Women,” “Living Single”) by writing more puns, wordplays, and one-liners for his “Shucked” than you’ll find in all the other new Broadway musicals combined. Many of these hoary bons mots are of a scatological nature that wouldn’t make it by the network censor, and in the case of one gay character (Kevin Cahoon performs a shotgun wedding between Gomer Pyle and Barney Fife), there is an anal fixation that has him contemplating stuffing everything from a thermometer to a Christmas tree, and maybe even a crystal ball, up his butt. “Shucked,” that often funny and occasionally exhausting new musical, opened Tuesday at Broadway’s Nederlander Theatre.
Horn performed similar duties for his last Broadway outing, “Tootsie,” which won him the Tony for best book of a musical. On that show, he substituted a lot of the movie’s better dialogue with equally amusing new material. With “Shucked,” he goes further to deliver that most rare of stage animals: a new musical that features an original book.
How to describe the plot of “Shucked”?
Think of “The Music Man” if it were coupled with “Sex and the City 2,” the dreadful movie sequel that hinges on Carrie Bradshaw breaking her marriage vows to Big by kissing an old boyfriend, Aidan, in Abu Dhabi. Now, substitute Tampa, Florida, for the Middle East, and imagine Sarah Jessica Parker as a rube named Maisy who comes to the Big City to find an agriculturist (a word that is never mentioned in “Shucked”) who can save the blighted corn fields of her small town in Cobb County, USA. Maisy (Caroline Innerbichler, making an impressive Broadway debut) lets a podiatrist con artist (the amusingly oily John Behlman) kiss her despite having a fiancé (the sympathetically dim Andrew Durand) back home, and she returns to Cobb County to save the summer’s corn crop and possibly marry the foot doctor.
While the avalanche of jokes helps to goose up the slow-moving first act, Horn’s best accomplishment as a book writer is the character of Maisy. Like every other young female heroine of a new musical, she is spunky, outspoken and independent. Unlike the leading ladies of “Bad Cinderella,” “& Juliet” and “Some Like It Hot,” she is also dumber than the dirt in which corn grows, having mixed up the corns on your feet with the corn you eat. It’s a little flaw Maisy shares with nearly everyone else in Cobb County, and Innerbichler manages to make it the character’s most endearing quality.
Like the best of Oscar Hammerstein II’s books, Horn gives us not one but two love stories. Which brings us to Maisy’s very smart cousin, Lulu, the one person in town who can count to 10 without using her fingers.
How to describe Alex Newell in the role of Lulu?
She delivers the show-stopping anthem “Independently Owned,” about her corn whiskey distillery and her desire to remain a single woman. Decibel-wise, the song is reminiscent of “You Oughta Know” from “Jagged Little Pill” that won Lauren Patten a Tony Award but reminded me of the scene in “Alien” where the creature from outer space erupts from an astronaut’s stomach. “Independently Owned” could also be a Tony ticket for Newell, but it reminded me of the Flonase commercial where the people in a public park are terrorized by an allergy attack.
Jack O’Brien directs with a sure-hand, but even his vast stage expertise (three Tonys to his credit) can’t paste over a major gap between the book by Horn and the score by Brandy Clark and Shane McAnally. The two Grammy Award-winning songwriters have written some lovely country-western tunes, the best of them being “I’ll Be Okay,” sung with a twang in his heart by Durand. There’s a nice role-reversal here, since it’s the kind of tune that’s generally sung by the female lead who has been mistreated by some male sexist pig. What’s not communicated here or anywhere else in the many “Shucked” songs is Horn’s delight in jerking around the English language. Did he and the two songwriters ever meet to hear what the other was doing? The closest thing to a joke in any of the songs is the line “Yeah we love Jesus/But we drink a little” from the song “We Love Jesus.” At their most amusing, Clark and McAnally have more in common with the gentle humor of Meredith Willson than the far more rambunctious nonsense that Horn delivers. This constant switching of gears between the songs and the joke-filled dialogue slows down the narrative, making “Shucked” seem a lot longer than its two and twenty minutes with intermission. There’s also a pair of narrators (Grey Henson and Ashley D. Kelley) who are somewhat less adorable than they think they are.
Far more riveting is Scott Pask’s awesome set design, which places the entire show in a barn. It’s a skewed gravity-defying structure that inspires immediate awe and then real concern. When is this damned thing going to collapse?
Donald Glover began the song as a joke, intending to diss Drake, before deciding he should take it a little more seriously
Everyone’s favorite Canadian rapper was originally meant to be the subject of Childish Gambino’s Grammy Award-winning single “This is America.” In a recent interview with GQ, Donald Glover revealed that the song first began as a Drake diss track, built around the song’s beat and simple hook, “This is America.”
“I had that idea three years before,” Glover said of the record, which was released in 2018. “The idea for the song started as a joke, to be completely honest. ‘This is America,’ that was all we had – that line. And it started as a Drake diss, to be honest, as like a funny way of doing it. But then I was like, this shit sounds kind of hard, though.”
The track’s true evolution came by way of Glover’s collaborative work with filmmaker Hiro Murai, who directed the music video that has garnered over 870 million views since its release. “We studied [Michael Jackson’s] ‘Thriller’ for a long time,” he added. “I was like, how do you make people care anything anymore? There’s just so much shit. Well, you have to have a moment in real-time, which was SNL.”
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Glover credits uprisings and riots with inspiring his writing, and mentioned that he had been in sessions with Young Thug – who has a writing credit on the song – with the idea of “making a ‘We are the World’ for trap.”
“It needed to feel like a moment. I feel like the internet kind of robs moments,” he said. “That was really the work that we put in. It’s interesting that it worked. We were like, it probably wasn’t gonna work.” In addition to studying “Thriller,” Glover familiarized himself with Robbie Williams’s work to ensure he wasn’t doing the same moves. “You have to do a lot of things the first time, but ‘Thriller’ was a big, important part.”
SUN VALLEY FILM FESTIVAL 2023 REVIEW! If ever we needed inspiration in our current state of existence, let it be the founding of Nike’s Air Jordan. For a special final-day festival screening, the 2023 Sun Valley Film Festival provided its dedicated patrons a preview of Air with the film’s screenwriter Alex Convery and producer Michael Berman in attendance.
Directed by Ben Affleck, Air is the story behind how Michael Jordan and Nike revolutionized the global shoe market with the Air Jordan brand, which allowed a young, Black gifted athlete the ability to become one of the wealthiest and most successful athletes ever—an absolute gamechanger.
“…the story behind how Michael Jordan and Nike revolutionized the global shoe market with the Air Jordan brand…”
From the start, Air provides plenty of nostalgia to create an atmosphere of walking back to the early 1980s with references in every corner of the screen from decor, VHS tapes, and original Nike shoes to everyone’s wardrobe—beige is a big swatch of color—and several montages—remember Wendy’s “Where’s the beef?” and those first car phones? There are jokes aplenty (the Just Do It slogan is one of them) and a soundtrack to accompany each turning point of the story, which is also a bit of a dance party and a full spectrum of 1984 music, which keeps on giving with “I Want My MTV” to “Sister Christian” and Grandmaster Flash and the Furious Five’s “The Message,” and it doesn’t stop there.
At Nike headquarters in Beaverton, Oregon, it is 1984. Nike’s on-the-chopping-block basketball division needed an injection of success. So Nike’s shoe salesman Sonny Vaccaro (Matt Damon) has to produce a winning deal to stay on the playing field with Converse and Adidas. A gambling man literally, Sonny is dedicated to basketball and refuses to give up. Of course, we know the film’s outcome, but how the Air Jordan brand came to be is what Air is all about—the journey, not the sport. And there are the 10 Principles of Nike, originally laid out by its marketing director Rob Strasser (Jason Bateman) in 1977. Number nine, “It Won’t Be Pretty and number one, “Our Business is Change,” set a course of understanding which still maintains its hold. On a side note, the timing of Air’s release fits well with this year’s surprising NCAA tournament, especially with a nod to Gonzaga, which is not a vocational school.
Charles was under intense scrutiny as his mother Queen Elizabeth II’s heir apparent when he met Camilla (née Shand) in 1970. The pair dated before the prince served in the Royal Navy. When he returned home, she was engaged to Andrew Parker Bowles.
Camilla went on to marry Parker Bowles in 1973, and they welcomed two children: son Tom in 1974 and daughter Laura in 1978.
“It was horrid. It was a deeply unpleasant time and I wouldn’t want to put my worst enemy through it,” Camilla told the Daily Mail in May 2017. “I couldn’t have survived it without my family.”
The pair tied the knot in 2005, and she assumed her role as a working member of the royal family.
Charles and Camilla rarely gush over each other publicly, but they are not without their moments of affection. “You can imagine it is a real, real challenge,” he told CNN in 2015 of her work as a royal. “But she’s, I think, been brilliant in the way she’s tackled these things.”
Despite the pressures that come with their places within the institution, the Prince of Wales and the Duchess of Cornwall know how to keep things light. “It’s always marvelous to have somebody who, you know, you feel understands and wants to encourage,” he explained. “Although she certainly pokes fun if I get too serious about things. And all that helps.”
In February 2022, seven months before her death, Queen Elizabeth announced that Camilla would earn the title of Queen Consort when Charles ascends the throne.
“When, in the fullness of time, my son Charles becomes King, I know you will give him and his wife Camilla the same support that you have given me,” the monarch shared in a statement at the time. “And it is my sincere wish that, when that time comes, Camilla will be known as Queen Consort as she continues her own loyal service.”
Upon the queen’s passing in September 2022, both Charles and Camilla assumed their new titles.
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Scroll through the gallery below to revisit Charles and Camilla’s relationship through the years.
Trump was arraigned in New York and charged with 34 felony counts of falsifying business records, in connection with alleged hush-money payments to porn star Stormy Daniels, Playboy model Karen McDougal and a former Trump Tower doorman. The ex-president and TV personality pleaded not guilty to the charges.
Shortly before Trump’s arraignment in New York at the Manhattan Criminal Courthouse, the Trump campaign’s official online store listed a T-shirt for sale for $36 (not including shipping fees) showing what seems to be a mug shot of Trump above the words “Not Guilty.” The listing is labeled “Official Trump Mugshot White Cotton T-Shirt,” with no indication that it’s not in fact an actual mug shot taken by law enforcement officials. Below Trump’s name in the faked mug shot are “45-47,” a reference to his status as the 45th U.S. president and his interest in reoccupying the White House at the 47th.
In the days leading up to his arrest and arraignment, the Trump 2024 campaign had already been soliciting donations by trying to stir outrage over the situation. “The Radical Left – the enemy of the hard-working men and women of this country – have INDICTED me in a disgusting witch hunt,” says text on Trump’s reelection site, which urges supporters to contribute money to the campaign.
Meanwhile, other possible charges against Trump are pending, including an investigation into the former president’s involvement with the Jan. 6, 2021, insurrection. The investigation concluded in December 2022, with the January 6th Committee referring potential criminal charges to the Department of Justice.
Trump — who has repeatedly and falsely claimed he won the 2020 election — was kicked off major internet platforms in the wake of the Jan. 6 riot at the U.S. Capitol. Last fall Elon Musk reinstated Trump’s Twitter account. More recently Meta allowed him back on Facebook and Instagram. YouTube lifted its suspension of Trump’s channel last month, with the video platform saying “the chance for voters to hear equally from major national candidates in the run-up to an election” outweighed risks of real-world violence. Trump has claimed he will remain exclusively on Truth Social, the Twitter-copycat app launched a year ago by Trump Media & Technology Group.
Actress and writer Judy Farrell, who’s best known for her role as Nurse Able, on the long-running sitcom “M*A*S*H,” died Sunday, nine days after suffering a stroke. She was 84.
Her son, Michael, made the news public on Tuesday. He told TMZ Farrell was conscious and able to hold her loved ones’ hands but couldn’t speak due to the stroke.
In a statement to Entertainment Weekly, “M*A*S*H” co-star Loretta Switt said “Judy was a most beautiful woman — inside and out. We grew up together. She was family. This has been a painful loss, but we will always have the beauty of her memory. Rest in peace, Nurse Able.”
Farrell made her first appearance as Nurse Able in 1976 during the hit CBS show’s 5th season. The show, part dramedy and part antiwar satire, centered on a team of medical staff and doctors at a Mobile Army Surgical Hospital during the Korean War. It ran from 1972 to 1983.
Farrell’s acting career also included roles on “Fame” and “Quincy M.E.” She also appeared in the films “J.W. Coop,” “Chapter Two,” and “Long-Term Relationship.”
Born in 1938 in Quapaw Oklahoma, Farrell majored in theater at Oklahoma State University before moving to Los Angeles to attend UCLA. She taught high school English and drama and performed in local theater before becoming more active as an actress on television.
She was married twice; to ‘M*A*S*H’ star Mike Farrell from 1963 to 1983, and to Joe Bratcher from 1985 to her death. Along with Bratcher, she’s survived by her two children with Farrell, Michael and Erin.
After putting the finishing touches on chapters two and three of motion-capture VR experience “Jailbirds” earlier this year, writer/director Thomas Villepoux will next adapt his tale of freedom and confinement into a feature, Variety has learned.
Currently in development, the upcoming “Jailbirds” feature will nearly triple the runtime of a nearly finished short that Villepoux and producer Griselda Gentile will bring to Cannes’ Marché du Film next month. Deploying the same motion-capture techniques Villepoux honed on his three VR pieces, both iterations of the “Jailbird” saga will delve even deeper into the work of Belgian cartoonist Philippe Foerster, whose work in the cult comics mag “Fluide Glacial” inspired the recently completed VR series.
“Artistically speaking, the project already exists,” says Griselda Gentile, who produced the various iterations through her Be Revolutions banner. “We’ve already done the creative work on character design and decors. Now we’re just working on [building out] the narrative.”
“We’re going to follow the path that has worked very well thus far,” Gentile continues. “The first episode of ‘Jailbirds’ very quickly found success, and that allowed us to finance episodes two and three. Next we’ll release the short in a more traditional animated format, and we’ll use those 30 minutes to find financing for the 90-minute feature.”
‘Jailbirds’
Thomas Villepoux
Presented in competition at NewImages and Tribeca in 2021, the VR experience “Jailbirds: Bwa Kayiman” followed a pair of inmates, locked in a bleak and cheerless prison and lorded over by a spiteful warden. “Though the slight Booker (Elliot Delage) suffers from all the warden’s cruelties, the hulking Felix (Barry Johnson) lives in unexpected serenity, allowing his imagination to quite literally carry parts of himself far beyond the prison walls,”Variety wrote at the time.
Following a successful festival launch, both France Television and specialized distributor Astrea signed on as backers, allowing Villepoux to deliver the series’ next two acts in record time, to land Spanish star Victoria Abril for the closing chapter, and to world premiere those subsequent pieces at Austin’s SXSW last month. The Goya winning Abril will also return for the upcoming short.
“Working, as we did, with a real-time game engine allowed me to practically strap the [virtual] camera around my shoulder,” Villepoux says of his process. “I could shoot scenes in this virtual world as if on real set. And once we had the motion capture elements and assets locked in, we could shoot the short film in something close to real-time.”
April is the cruelest month, breeding lilacs out of the dead land, mixing memory and desire, stirring dull roots with spring rain. But it is also, if I check the clock, Mario Time.
“The Super Mario Bros. Movie,” with its vistas of primary colors, is here to brighten our dreary springs, T.S. Eliot be damned. That there is a swell of enthusiasm for a Mario Bros. movie is a once-unthinkable development. The last time Mario hit the big screen was in the little-remembered 1993 live-action film with Bob Hoskins as Mario, John Leguizamo as Luigi and Dennis Hopper(!) as Bowser. Hoskins called the experience “a f——— nightmare.”
But a lot has changed in the three decades since “Super Mario Bros,” the very first video-game adaptation. A once widely derided genre is now a cash cow. “The Last of Us” is a massive success on HBO. Pokémon and “Uncharted” are box-office hits. With Sonic the Hedgehog already two movies in, Mario is playing catch up.
And “The Super Mario Bros. Movie,” which opens in theaters Wednesday, is a spirited and sprightly attempt to race to the front of the pack. A collaboration between legendary video-game designer and Mario creator Shigeru Miyamoto and Illumination founder Chris Meledandri (both producers), it’s a drastically more sincere effort to capture the fun and spirit of the Nintendo game.
And visually, it’s a dream. Directors Aaron Horvath and Michael Jelenic and their animators have rendered the Mario universe with cartoony splendor, matching the game’s ingenious simplicity with a more robust and equally delightful day-glo palate. If part of the appeal of playing “Super Mario Bros.” and its many offshoots has always been to be immersed in such a sunny imaginary world — plus the bouncy earworm compositions of composer Koji Kondo — the movie has successfully mirrored that mushroom-stomping pleasure. It makes you … want to play Mario.
That’s because as nice as it is to look at “The Super Mario Bros. Movie,” it’s not anywhere near as fun as it would be to play it. It’s a-him, Mario, but it’s no a-masterpiece. The storyline is only a touch above the interstitial bits of plot you usually get between gameplay. With the exception of Jack Black’s grandly lovesick Bowser (he’s part Phantom of the Opera, part Meatloaf-styled balladeer), there’s nothing here that deepens these characters beyond their usual 2-D adventures. Mario may be a modern-day Mickey Mouse but his kingdom is on the console.
“The Super Mario Bros. Movie” begins much like Spike Lee’s “Do the Right Thing”: in a Brooklyn pizza parlor. There Mario (Chris Pratt, passable despite the outcry) and Luigi (Charlie Day) are struggling to get their plumbing business off the ground. There are a few moments of stereotypical Italian life — pasta and a big family dinner — before the brothers’ attempt to fix a water main break drops them through a portal and into the fantasy realm of the game. (In future Brooklyn-set sequels, Mario will presumably combat waves of strollers and hipsters.)
On the other side, Bowser lords over a Koopa Troop army in scenes that can feel like the most surreal imitation yet of “Triumph of the Will.” But while shrinking or enlarging are possible on this other side of the green pipe, there’s never any mention of the possibility of lives being lost as Mario makes his way through mushroom patches and question-mark boxes. His predicament is just as clear as in the game: He’s been separated from Luigi and he must help save Princess Peach (Anya Taylor-Joy) from being forced to wed Bowser.
Game logic often dictates Mario’s movements. The shells of the turtle-like Koopas can be slid around like ammo. And choosing a Mario Kart vehicle is just as difficult a decision. Sometimes, the overlap is less consistent. An invincibility star is the most sought-after item in this adventure, greatly exaggerating its typical usefulness. Those things last for like 10 seconds.
None of this is likely to be enough for anyone to exclaim “Oh, yeah!” while hopping up and down and doffing their cap. But it is an hour and a half’s worth of superlative marketing that will whet your appetite for more Mario back home on the couch. If anything, the — as Mario would say — “okey dokey” “Super Mario Bros. Movie” only reinforces the distance between two wholly different mediums. It may be game-on for video-game adaptations but the Mario main event is still back on Nintendo.
“The Super Mario Bros. Movie,” a Universal Pictures release, is rated PG by the Motion Picture Association for action and mild violence. Running time: 92 minutes. Two and a half stars out of four.
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In a recent report, Deadline revealed the truth and real numbers behind Thor: Love and Thunder‘s box office, but was it a success for Disney and Marvel?
Between earning $343.2 million domestically and $417.6 million internationally, Thor 4 had a worldwide box office total of $760.9 million. Disney’s take from the theatrical run once all was said and done ended up under half that total at $350 million.
The movie’s $760.9 million gross came as a $94 million drop from $855 million that Thor: Ragnarok pulled in. That can be justified by Love and Thunder missing out on the Chinese and Russian markets where Ragnarok grossed a total of $135.9 million.
In fact, putting the two Thor movies side-by-side, Love and Thunder actually grossed slightly more than Ragnarok in a number of locations, including the US, UK, France, Germany, Spain, Australia, New Zealand, and many more.
Additionally, Love and Thunder generated a further $140 million in revenue from home entertainment and $160 million from television and streaming deals.
This brings the total revenue generated from Thor: Love and Thunder to $650 million, but was that enough to turn a profit?
Well, between production ($250M), print and ads ($160M), video costs ($35M), residuals ($27M), interest and overheads ($45M), and participation ($30M), the MCU blockbuster’s total expenses came to $547 million.
Comparing the total revenue to the amassed expenses, an estimated $103 million profit was generated from Thor 4, making it far from a flop.
After actor Dwayne Johnson originally shared false financial figures, it was revealed last year Black Adam brought in $52 to $72 million profit. This leaves Love and Thunder having made as much as twice the profit of its DC rival.
This profit comes close to that of the 2022 horror hit Smile, which Deadline revealed turned over $101 million. Despite generating far less revenue than Love and Thunder at $208 million, its costs were also far lower at just $107 million.
But clearly, these figures make it apparent Thor 4 was not a flop, and if it wasn’t for the movie being banned in China and skipping out on Russia due to sanctions against the country because of its invasion of Ukraine, it probably would have made even more money than Ragnaork.
A Clayface movie could be Warner-Discovery’s next standalone film if filmmaker Mike Flanagan has his way.
The Doctor Sleep director foresees bringing Batman’s gelatinous shapeshifting foe to life in a horror film approach. To that end he and Intrepid Studios have pitched this concept to DC Studio heads James Gunn and Peter Safran. At this time, there is no confirmation of either approval or rejection of the idea.
Flanagan is also best known to Netflix binge watchers as the mind behind Midnight Mass, The Haunting of Hill House, and The Haunting of Bly Manor.
Other than Clayface, Flanagan reportedly tossed other pitches for such horror-associated properties as Constantine. Regardless, there is much speculation as to how this project will fit in to DC Studios. Some sources claim it may be connnected to Matt Reeves’s sequel to The Batman. Others, however, contradict this belief with the possibility of Clayface being part of Gunn’s and Safran’s DC Gods and Monsters: Chapter One. As to how he would tackle the project, as revealed in a podcast last January, it would be a standalone “horror/thriller/tragedy.”
As a shapeshifting, malformed mutated human whose real identity has been lost forever, all three of those boxes are easily checked off.
The Clayface persona has been inhabited by many antagonists since The Golden Age of Comics, and has thus established a lengthy history. Created in 1941 by Bill Finger and Bob Kane, the mantle of Clayface first belonged to Basil Karlo, modeled after silent film star Lon Chaney and Frankenstein actor Boris Karloff. This version merely disguised himself in his famous movie role of Clayface to seek revenge on both cast and crew remaking one of his old films without his involvement. The second Clayface was Matt Hagen, created in 1951 by Finger and Sheldon Moldoff. Hagen had been a treasure hunter who accidentally discovered a pool of plasma that made his skin malleable and granted him shapeshifting abilities whenever he bathed in it. After this version was killed in Crisis On Infinite Earth, Swamp Thing cocreator Len Wein and artist Marshall Rogers introduced a third Clayface. Instead of a shapeshifter like Hagen, Preston Payne was a scientist living with hyperpituitarism that sought to reverse-engineer Hagen’s plasma-fused blood and cure his deformity. Unfortunately he instead became deformed and in consistent physical pain that could only be stabilized through drawing out plasma from victims, reducing them to melted puddles. A fourth version was a woman named Sondra Fuller, who had a romantic relationship with Payne. In the 90s, things would come full circle as Karlo, the original Clayface, was reintroduced by injecting himself with blood samples from Payne and Fuller to become “the ultimate Clayface.” DC Rebirth saw a younger version of Karlo, whose path even saw him try to work alongside The Dark Knight and his team to redeem himself for his crimes.
Modern fans best remember the Matt Hagen version from his appearances in 1992’s Batman: The Animated Series, voiced by actor Ron Perlman. Instead of being a treasure hunter, however, elements of Karlo’s acting career were woven into his backstory. Disfigured in a car accident, Hagen is dependent upon a highly-addictive cream that enables him to reshape his face into not only his own, but others. When his luck runs out and he attempts to steal a large quantity from supplier Roland Dagget, Dagget’s men attempt to drown him with an overdose of the drug, transforming him into Clayface. A made-for-TV version appeared in 2004’s The Batman series as GCPD Detective Ethan Bennett, Bruce Wayne’s best friend from childhood, and yet pressured by his superiors to apprehend The Batman. Bennet is held hostage by The Joker, psychologically tortured, and accidentally inhales flakes of his volatile “Joker Putty.” This later turns his body grey and misshapen, but malleable at mental command. When Bennett eventually went on a redemptive path, that series also saw the mantle inhabited by down-and-out actor Basil Karlo, the first ever animated adaptation of the original. The Karlo version has also been featured prominently in Rocksteady Games’ Batman: Arkham series, voiced by Fred Tatasciore. The first live-action portrayal of Clayface was Cassius Payne – the son of Preston and Sondra in the comics – in the short-lived WB series Birds of Prey, played by Kirk Baltz. Though his backstory is not revealed, his relevance was that he was responsible for the murder of Selina Kyle at The Joker’s request. Another Clayface – this time Basil Karlo – appeared in the third season of the Fox TV Series Gotham. This incarnation, played by Brian McNanamon, was the result of Professor Hugo Strange’s Summerhill experiments, resurrected and empowered with shapeshifting powers through the properties of octopus DNA. Lastly, an original iteration of Clayface appears in Pennyworth, played by Lorraine Burroughs.
