The time has finally come! WWE Wrestlemania 39 is kicking off Night 1, complete with seven scheduled matches, the return of the legendary John Cena, and the showdown between WWE Smackdown Women’s Champion Charlotte Flair and 2023 Women’s Royal Rumble winner Rhea Ripley.
GameSpot is inside SoFi Stadium for this year’s Wrestlemania, bringing you results and a review of the big show live, as it happens, mere feet from the ring. Unless you’re in attendance, the only way to catch Wrestlemania is on Peacock (or through traditional pay-per-view). While Peacock has a free tier, you will not be able to watch the WWE event through that. You’ll need a Premium ($5 a month, with ads) or Premium Plus Peacock ($10 a month, no ads) account. Regardless of which tier you choose, there will be a few WWE-related ads throughout the show.
There are multiple ways to watch Peacock. Aside from watching it on mobile devices and on the PC, you can stream the service on Amazon Fire devices, Android TV, Apple TV, LG Smart TVs, PlayStation 4, PlayStation 5, Roku, Samsung Smart TVs, Xbox One, Xbox Series X, Xbox Series S, Xfinity, and more. As for when you can watch (and should tune into our live review, check out the times for Wrestlemania below.
Start time:
8 PM ET
7 PM CT
5 PM PT
1 AM BST (April 1, April 2)
10 AM AEST (April 1, April 2)
At current, there are 7 matches scheduled for Night 1 of Wrestlemania 39. Austin Theory’s defense of the WWE United States Championship against John Cena is expected to be the main event. Take a look at the night’s full card below.
Night 1 Match card:
Austin Theory (c) vs. John Cena (WWE United States Championship)
Seth “Freakin” Rollins vs. Logan Paul
Trish Stratus, Lita, and Becky Lynch vs. Damage CTRL (Bayley, Dakota Kai, and Iyo Sky)
Braun Strowman and Ricochet vs. The Street Profits (Angelo Dawkins and Montez Ford) vs. Alpha Academy (Chad Gable and Otis) vs. The Viking Raiders (Erik and Ivar) in a Fatal Four-Way Tag Team Match
The Usos (Jey Uso and Jimmy Uso) (c) vs. Kevin Owens and Sami Zayn (Undisputed WWE Tag Team Championships)
Charlotte Flair (c) vs. Rhea Ripley (WWE SmackDown Women’s Championship)
Rey Mysterio vs. Dominik Mysterio
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Hitchcock’s monster mayhem has never been so glorious.
Released in 1963, Alfred Hitchcock‘sThe Birds has been hailed as a classic of the horror genre, and it continues to captivate audiences with its innovative special effects, psychological suspense, and thought-provoking themes. Now, at sixty years old, we’re still unpacking what made this movie so glorious.
Let’s explore what makes The Birds such a special film, and why it has endured as a cinematic masterpiece for six decades.
The Birds is considered one of Alfred Hitchcock’s most innovative and unique films for several reasons. First and foremost, it is one of the earliest examples of a horror film that used natural phenomena, such as birds, to create terror. Unlike many other horror films of the time, The Birds did not rely on supernatural monsters or villains. Instead, it used the everyday creatures we see around us to create an atmosphere of suspense and horror.
Hitchcock used a combination of mechanical birds, live birds, and rear projection to create the illusion of birds attacking humans. This was a groundbreaking approach to special effects, and it had never been seen before in a film. The result was a truly terrifying portrayal of nature gone awry.
Throughout the film, he builds tension and fear in the audience through the use of music, editing, and pacing. The film’s soundtrack, composed by Bernard Herrmann, is a masterpiece in its own right with its haunting bird calls and ominous orchestration. Hitchcock also uses his trademark camera techniques, such as long takes and tracking shots, to create a sense of unease and disorientation.
The Birds also contains social commentary on the unpredictability of nature and the dangers of man’s interference with the natural world. The film can be interpreted as a warning against the hubris of humanity and a call for greater respect for the environment.
Alfred Hitchcock bts in ‘The Birds’Credit: Universal Pictures
Why Do We Still Care About The Birds?
Whether or not you think birds are government spy cameras or real living organisms, you have to admit that The Birds has solidified its place in cinema history. Although we never find out why the titular birds are attacking Bodega Bay, Hitchcock’s The Birds is a classic horror film is considered special for several reasons:
Innovative Use of Special Effects: Hitchcock used special effects in a unique way that had never been seen before. He combined mechanical birds, live birds, and rear projection to create the illusion of birds attacking humans.
Psychological Suspense: Hitchcock was a master of psychological suspense, and The Birds is a prime example of his talent. Throughout the film, he builds tension and fear in the audience through the use of music, editing, and pacing.
Non-Traditional Horror Film: Instead of relying on supernatural monsters or serial killers, Hitchcock uses birds, a common and seemingly harmless creature, to create terror. Scary events are shot in daylight with creatures building in number before swarming.
Social Commentary: Hitchcock was known for using his films to comment on society, and The Birds is no exception. The film can be interpreted as a commentary on the unpredictability of nature and the dangers of man’s interference with the natural world.
Cinematic Artistry:The Birds is a visually stunning film. Hitchcock uses innovative camera techniques, such as long takes and tracking shots, to create a sense of unease and disorientation.
The Birdsremains a testament to the brilliance of Alfred Hitchcock and his contribution to the art of cinema. Through its innovative use of special effects, psychological suspense, and social commentary, this film has stood the test of time and continues to captivate audiences today. Whether you are a fan of horror films or simply appreciate great filmmaking, the movie is a must-see for anyone who loves cinema.
Sarah Polley, Sarah Polley’s rightfully (?) won OscarPhoto: Axelle/Bauer-Griffin/FilmMagic (Getty Images)
Today is April 1, the one day out of every year where the standards of rigorous fact-checking on the internet are relaxed, and we all have a little fun telling some funny lies—sometimes labeled “pranks”—for the simple delights of others. Whereas every other day of our existence is a stolid and honest exploration of sincerity and the simple standards of basic human truths, April Fools Day is the one day out of every year where people loosen up a little and feel comfortable Just Making Up Shit on the internet.
Gold Standard: Oscars edition – Best Actor
But we kid our own fracturing senses of consensus reality: The fact is, April Fool’s Day 2023 has been a pretty quiet one, at least so far. In an environment where most things have become grimly believable, there doesn’t seem to be a lot of room for inaccurate japery, and so a “holiday” that used to be fraught with rampant misinformation is now mostly playing host to…a depressingly normal amount of rampant misinformation.
But! But: There is a silver lining to our gloom, and that silver lining is the handful of actually good jokes that have managed to crop up here and there Like, for instance, the DND Memes sub-reddit deciding to dedicate itself wholly to memes about Oliver Darkshire’s Potato, a one-page tabletop game that is entirely about being a hobbit trying to eat some damn potatoes. Or Sega releasing a free visual novel about investigating the murder of Sonic The Hedgehog. Or the simple joy of Oscar The Grouch flipping reality on its head:
Incredible visuals This smart TV has access to a wide array of streaming services, all of which are easier to navigate, has 4K visuals for a stunning picture, and comes with an Alexa Voice Remote too.
If we had to pick a winner of April Fools Day 2023, though, it’s not an especially hard competition: It’s gotta be Women Talkingwriter-director Sarah Polley’s 11-year-old kid, who apparently presented their mother today with a letter, “signed” by now-former Academy president David Rubin, informing her that she had been given her recently won Oscar for Best Adapted Screenplay in error, and now needed to give it back.
You can read the letter yourself, so we won’t belabor every lovely little joke included, but we do appreciate that the “Academy” wanted to avoid another “Year of the Moonlight,” as well as the concise explanation of why it’s a total coincidence that Polley might be getting this letter on April 1.
Anyway, congratulations to All Quiet On The Western Front for your Oscar win, and to Sarah Polley’s kid for winning this stupid day.
The incredibly talented and humble star tackled two of the most complex roles of his career, roughly around the same time, as YOU‘s Rhys Montrose and Star Trek: Picard‘s Jack Crusher.
To say he has wholly embodied these roles and left fans talking is an understatement. With his incredible work on both series, we’re confident that his next fantastic role is just around the corner, even if the charming but modest star sometimes fears the well of opportunity can dry up at any moment.
This star to watch has been on the move and incredibly busy, which makes him feel lucky.
Still, he was gracious enough to hop on the phone with TV Fanatic to chat about landing two massive roles on series with huge fan followings, his love for and approach to his craft, cast camaraderie, and more. Check out our discussion below!
Did you realize, heading into the season of YOU, how significant your role would be to the series and the impact you’d have? Did you feel any pressure from that? Rhys is probably the most important role in the series presently outside of Joe at this point.
I don’t really know what the impact is or has been. I feel that I was given a very clear outline of my character’s role in the show and the importance to the narrative that he had.
But you feel pressure when you go into any job, and it’s not just the weight of joining something with such a huge fan base that people meticulously dissect, but it’s just you want to do a good job essentially, don’t you?
So I always feel that pressure going into anything. And it all comes down to just making sure that I can perform to the best of my ability to give what I believe is the best account of the character.
Well, for one, you did. It was an amazing performance.
Thank you very much.
You were unfettered in the second part of the season versus the first. It was apparent you had more fun with the unhinged Rhys… Did you have to approach the role differently since you were playing two characters in a way?
Well, in terms of playing the real versus the non-real Rhys, I only had to play the real Rhys a few times.
Even the person in the first half is predominantly who we see in the second, but he is certainly more measured and calculated. But that’s because he is trying to do everything he can to try and get Joe on his side, to charm him—his determination and ability to manipulate and mold Joe as to how he wants him to be.
But yeah, certainly, in the second half, I did have a lot of fun because the shackles were taken off. I suppose I was allowed this broad freedom to have fun and explore.
The dialogue lent itself to performing in that way. I’ve always felt that the dialogue that I had was very sort of muscular. I believe I was able to throw quite a physical performance behind it in a way that I hadn’t on other parts. Even the way he speaks enhances how he moves, allowing for these great opportunities to play.
You had a nice balance. It’s incredibly dark material in some ways, but it was also very humorous. So did you find it challenging to walk that line between darkness and humor?
Yes, of course. And I think the thing is you don’t play menacing, and you don’t play humorous. It all comes down to the truth.
And because the scripts were so tight and the character was so well thought out on the page, a lot of my work was taken care of for me. I had to just throw myself into that.
But yeah, I did relish it. It was also really important to me not to come across as like the pantomime villain, which is another line to tread because you want the humor to come across and be playful. You almost want the character to be winking and nodding at the audience, but he’s not quite there.
It is a difficult line-toed, but Rhys and Joe’s dynamic is set up in such a way that they are trying to form some sort of friendship, even if it may be shrouded in toxic masculinity or however we want to view it.
We feel that there is a desire for both of them to form some bond or connection. And when you boil that down and concentrate on those things, the surrounding elements of humor or menace will operate around that essentially.
You and Penn were great together. You guys have such great chemistry. It was like you two had to work in tandem with each other. Did that approach and chemistry come naturally to you?
Yeah. We struck up an excellent rapport early on. He is a wonderful human, but a wonderful guy to work with because he’s got an amazing ethos towards the work, but he’s very calm, and he’s very measured and quite a cerebral individual. But that allows a great space for both of us to explore.
He’s happy to talk through various beats in every scene every time we went together. Trust is vital when you’re acting with someone in such close proximity for such a long time. And I think that he and I had that in abundance.
We trusted in each other’s opinions of the work and, as a result, allowed each other to be free to explore the text and capture as much as possible. I had a great time working with him.
In that second half, there were some very intense scenes between the pair of us, and I would love to, whether it be on something like this or something else; I would love the chance to work with him again.
The season finale potentially left an opening for you to make a return for the fifth season.
The way it’s ended certainly does allow the door to be opened, but I’ve not heard anything, and I don’t even know how that would manifest itself. It’s quite a difficult thing, isn’t it? I don’t know if he could exist for another ten episodes again; that would be quite relentless. That might be too much Rhys.
I don’t think there’s such a thing as “too much Rhys,” personally.
[Laughs] Oh, I like that.
I must commend you because you’re probably living an actor’s dream playing two such game-changing roles in massive series at the same time. What has that been like for you between YOU and Star Trek: Picard?
It’s been incredibly fortuitous, and I feel humbled and very lucky.
I’m so grateful that the stars aligned and that these jobs have been released at the same time. They’re two pieces of work that I’m very proud of.
I’m proud that I was given the opportunity and that I was allowed to play such complex individuals. It makes it very difficult to know what on earth I should do next because I feel very spoiled by both playing Jack Crusher and Rhys.
Were you a Trekkie when you booked the part, and did you find the history, canon, and fan following intimidating?
There is an intimidation to joining something that is 60 years of history on television, one of the most iconic TV shows ever. Of course, some trepidation goes in. But I believe that as long as you do your homework properly, you can tackle it.
I was assisted by incredible people who have been a part of that world for many years, including our showrunner, Terry Matalas, who I owe a lot for giving me a chance in the first place and wanting to write such detail for Jack…
I have nostalgic memories of Star Trek, but I went tooth and nail understanding it for this process because of the fandom, canon, and all those reasons.
I was given a long list of episodes to watch and some films that Terry felt were pertinent to both the part and the story we would be driving for this particular season.
I devoured them. And I feel that Star Trek has a very special place in my soul now. It’s very important to my family and me. I didn’t want to stop filming that one because I was having the time of my life, like charging around with phasers.
Crusher also has moments of humor, and he’s got moments of darkness. Playing these multifaceted individuals drive me the most when it comes to acting.
Stephanie [Czajkowski] told TV Fanatic that you are one of the kindest, funniest people she’s ever worked with.
Oh, really?
Yes, she did. She mentioned it in another interview with one of my colleagues. I sense great camaraderie among the cast. Did you feel that with them, specifically the next-gen members?
It really was. We had a big family unit, and that’s what I loved about it more than anything is that the scale of something like Star Trek and what you’re trying to put together and the amount of people and bodies and money that is involved in keeping a show like that together is colossal.
However, at the heart of it, which is also at the heart of the story, is this great family just trying to make each other laugh. Each day, we go to work trying to get the best out of one another so that we can all hopefully create some memorable television or something that Star Trek fans will treasure for a long time to come.
We had a wonderful group of people across the board.
Crusher has exhibited some superpowers that are yet to be explained on the show, but did you add any new special skills to your toolbox? You’re not flying on dragons, but what else have you been up to?
No, I’m not doing all that again. [Laughs]
I wouldn’t say specifically new ones, but Guy Fernandez and Matt Mullins, the stunt coordinator and fight coordinator — I learned a lot from them in how to approach fighting and look at stunts in a new way. And I think I went a bit deeper there. I learned new skills on how to approach work.
That’s the thing about it. You learn every time you go on a job; you’re learning something. Even if it’s the smallest thing — a tiny technical thing, you’ve never explored before, in relation to cameras or certain actors you work with, or how to approach a character or find something that wasn’t working for you before.
Delving a bit deeper into the stunt world was something I learned more about, but I learned a lot about myself and how to approach my work in both parts. It was a long preparation process for me in Star Trek before stepping onto the set. I went through the personal ringer on how to bring him to life.
That’s amazing when you find fulfillment in the work that you’re doing.
Yeah, I’m incredibly lucky. I’ve been fortunate for a long time to be able to work the one job I’ve always wanted to have since I was a very small child. And to still be able to do it is great, but to be able to do it now in a creatively rewarding sphere and pushing me in ways that I haven’t been pushed before is wonderful.
I hope I find some way to keep it going and push it a bit further each time.
Now that’s the big question mark. It’s hard to do that and not get complacent and not rest on your laurels and not think you are bigger than you are. I hope to keep working on the small things to better myself and working with lovely people who create good atmospheres.
I trust you’ll be able to do that because it’s great watching you on the screen.
I hope so. I don’t know. You just have no idea.
This could be my last phone interview, and then that could be it. The doors could shut. That could be, “We don’t want you anymore, pal.” That’s it; you just don’t know. But hopefully not.
Now you’re being too humble. I doubt that’ll ever be the case!
We’ll see!
***This interview was edited for length and clarity***
You can catch Ed Speleers when you stream YOU on Netflix and Star Trek: Picard on Paramount+. Don’t forget to check out our Star Trek Picard Reviews.
Jasmine Blu is a senior staff writer for TV Fanatic. She is an insomniac who spends late nights and early mornings binge-watching way too many shows and binge-drinking way too much tea. Her eclectic taste makes her an unpredictable viewer with an appreciation for complex characters, diverse representation, dynamic duos, compelling stories, and guilty pleasures. You’ll definitely find her obsessively live-tweeting, waxing poetic, and chatting up fellow Fanatics and readers. Follow her on Twitter.
Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony Awards ceremonies, curated by Variety senior awards editor Clayton Davis. The prediction pages reflect the current standings in the race and do not reflect personal preferences for any individual contender. As other formal (and informal) polls suggest, competitions are fluid and subject to change based on buzz and events. Predictions are updated every Thursday.
Visit the prediction pages for the respective ceremonies via the links below:
2023 Emmy Predictions: Outstanding Lead Actor in a Comedy Series
Jason Segel in “Shrinking”
Apple TV+
Weekly Commentary: Jeremy Allen White’s turn as former high-end New York restaurant chef Carmen in FX’s critically acclaimed series “The Bear” has swept the circuit since its debut last summer. Walking away with the Golden Globe, Critics Choice and Screen Actors Guild Awards, White, 32, seems to be the undisputed favorite in these early days of the season.
However, two-time consecutive Emmy winner Jason Sudeikis of Apple’s “Ted Lasso” has never lost an award he was up for. This third season could continue the sweep and stop Allen in his tracks. In addition, his Apple counterpart Jason Segel of the freshman series “Shrinking” delivers an awe-inspiring performance full of laughs and tears. He could be a threat to the two men when ballots go out to voters in June.
Bill Hader’s final season of HBO’s “Barry” could also mix things up, and you can never count out the double trouble of veterans Steve Martin and Martin Short from Hulu’s “Only Murders in the Building.”
Emmy Nominations voting runs from June 15-26. The Primetime Emmy nominations will be announced on July 12. Check back every Thursday for the latest updates. All information is preliminary and is subject to change.
All Eligible Performers (Alphabetized by Network)**
**This list is not yet complete and is subject to change.
2022 category winner: Jason Sudeikis, “Ted Lasso” (Apple TV+)
Emmy Awards Predictions Categories
DRAMA SERIES | COMEDY SERIES | LIMITED OR ANTHOLOGY SERIES | TV MOVIE | LEAD ACTOR (DRAMA) | LEAD ACTOR (COMEDY) | LEAD ACTOR (LIMITED/TV MOVIE) | LEAD ACTRESS (DRAMA) | LEAD ACTRESS (COMEDY) | LEAD ACTRESS (LIMITED/TV MOVIE) | SUPPORTING ACTOR (DRAMA) | SUPPORTING ACTOR (COMEDY) | SUPPORTING ACTOR (LIMITED/TV MOVIE) | SUPPORTING ACTRESS (DRAMA) | SUPPORTING ACTRESS (COMEDY) | SUPPORTING ACTRESS (LIMITED/TV MOVIE) | TALK SERIES | SCRIPTED VARIETY SERIES | GAME SHOW | DIRECTING (DRAMA, COMEDY, LIMITED/TV MOVIE) | WRITING (DRAMA, COMEDY, LIMITED/TV MOVIE) | VARIETY SKETCH, SERIES, SPECIALS |
Creative Arts and Other Emmy Categories
GUEST ACTING, VOICE-OVER | SHORT FORM | DOCUMENTARY | MUSIC | ANIMATED |
About the Primetime Emmy Awards
The Primetime Emmy Awards, better known as the Emmys, are given out by the Academy of Television Arts & Sciences (ATAS). Since 1949, the awards have recognized excellence in American primetime television programming. They are divided into three classes – Primetime Emmy Awards, the Primetime Creative Arts Emmy Awards (honors artisan achievements), and the Primetime Engineering Emmy Awards (recognizes significant engineering and technological contributions). The typical eligibility period is between June 1 and May 31 of any given year. The Television Academy comprises over 25,000 members, representing 30 professional peer groups, including performers, directors, producers, art directors, artisans, and executives.
Ketch Secor helped found the Episcopal School of Nashville, where his two young children are currently students. It’s a small, private Christian institution that has much in common with the Covenant School of Nashville, which was the site of a grisly mass shooting earlier this week that claimed the lives of three children and three adults.
Those similarities and the safety of his children were surely on the Old Crow Medicine Show leader’s mind when he hopped on Instagram and let loose with an intense, viscerally raw plea for change in this country. “Fuck your assault rifle,” he said, calling out everyone still clinging to their right to bear such high-powered arms.
A few days later, Secor is 700 miles away from home in Dallas, Texas, where he and the rest of Old Crow Medicine Show are set to play the newly reopened Longhorn Ballroom this evening. Sitting on a riverbank behind the venue, Secor has his mind on Nashville and his family — tears are in his eyes, and when he speaks, his tone veers between frustration, confusion, sadness, and anger.
“Monday morning, my kid was made aware that his school was no longer a safe place, as every child in Nashville, Tennessee, was made aware of the same information,” Secor says. “We’re talking about it a ton. Both my kids and I, and kids that I’m in community with through my school. But now, the genie is out of the bottle.”
Rolling Stone spoke with Secor before the group’s show in Dallas, where he was still processing the tragedy as well as steeling his resolve to bring about change.
This tragic incident at Covenant School has hit you on so many levels, both personally and professionally. Yeah. I feel like I’ve been in a full body cast since Monday morning at 10:15. No part of me feels untouched by it — I just want it to change.
How are your kids doing? Do they understand? My children started their active shooter training this week. My 11-year-old said, with kind of a half-smile on her face, “Well, I was number four, so I still had a little bit of my body exposed on the other side of the desk that we all climbed behind, so they probably would’ve shot me.” And this as a reality leads me to ask the question — is this Goma? Is this Bukavu? Are we in Crimea right now? No, man. Isn’t this where the kids are supposed to feel the safest on earth?
Editor’s picks
Beyond the fact that gun violence has become such a tragic part of our everyday culture now, it probably hits home even more since it happened in your backyard of Nashville. I think it’s important that it’s happened in Nashville, because I have begun to think that perhaps — of any of the places — that Nashville has the right kind of culture and climate to be a place where the last nail could be driven into this coffin. We’re a capital. We’re a blue dot in a red sea. We’re a place where the agents of change gather routinely. We live in a state where those types of powers that be also dwell. And we as the music community, so many of us [are] sick and tired of it.
When John Lewis came to Nashville, Tennessee, he came because, along with the architects of the Civil Rights movement, they knew that in Nashville they wouldn’t get hung. They wouldn’t get murdered in their sleep and they wouldn’t get firebombed in their dorm rooms. They also knew that in Alabama and Mississippi they would be murdered, hung and bombed out. But, they came to Nashville as a proving ground for non-violent demonstration, and it worked.
And so, here we are again. We are going to make this change. It’s going to happen in my children’s lifetime. And I was worried that it maybe wouldn’t happen in mine, and my kids could be the ones to fix it. Because I believe it’s going to be fixed.
What about the music industry? Nashville and country music folks have such big platforms and yet remain silent either out of fear or solidarity. Silence is complicity. And thoughts and prayers are just flags flying at half-mast. I’ve seen flags at half-mast for [almost] 25 years now.
Related
Since Columbine. Yep. Thoughts and prayers? They’re not active enough. This is the kind of situation where there has to be a front line and you need to put the flower into the gun barrel. And the thing is, we’ve seen this before, literally. And we can do it again.
Do you own guns? I don’t own guns, but I have owned guns in the past. And I wouldn’t mind owning guns that were [for] hunting. I respect the rights of Americans to own weapons. I’ve shot lots of rounds for clay sporting pigeons and done target shooting. I never really got into handguns, but my band started up in East Tennessee where everybody had guns and we shoot ‘em just for fun.
But, with the gun reform debate, we’re talking about AR-15s and military grade ammunition, which is a whole other ballgame. That we are even debating whether owning military grade weaponry, the type being used for war, whether that’s part of the Second Amendment for everyday Americans, to me, is just a bitter joke.
It can often feel like you’re yelling at a brick wall to get somebody to listen. Are you optimistic? Oh yeah. I’m ready. Let’s go. I feel very optimistic that this could be the last bullet casing that we pick up, the last [bullet casing] they pick up with their rubber gloves for the forensics teams to find out which child this killed.
That this could be in the hallway of Covenant School in Nashville, Tennessee? I demand that our elected officials make this the last casing that a forensic squad picks up with a rubber glove to figure out which child it entered the body of.
American culture gets in this loop where, one week from now, there will be something else the news focuses on. I feel like you’re not going to let people forget anytime soon. I’m not. This is where the buck stops. I’m not going to stop writing. This is how things change, man. It’s talking one-to-one. We can stop it as long as we stop it together. You’ve got to talk to your neighbor. We have to make a sacrifice for our children. And some of us think that that’s not a hard sacrifice to make. I think the gun rights activist crowd needs to be able to see, needs to have a renewed sense of clarity about why it is imperative that they make the sacrifice.
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I see this in three parts. There are three crises in America. The first one is that it’s a crisis about gun control. The second part is that it’s a crisis about mental health. And the third part is that it’s a crisis about the American political factionalism that has driven us apart from one another, and has allowed the other two crises to contribute to the normalization of school shootings.
I want to sit down with [Tennessee] Governor Lee. I want to sit down with Senator [Marsha] Blackburn and Senator [Bill] Hagerty. And I want to just be able to talk. I’m not upset with those people. I’m upset with the circumstances of the America that I’m bringing my children up in. And even though I didn’t vote for those guys, they are the leaders of my state, and of my state in the nation. I need them to know that I want to peaceably demonstrate how unacceptable the new terms of being a parent in Nashville, Tennessee, are. But I’m not doing it with vitriol. I’m doing it because I demand action from my elected officials on this subject. And I don’t care if Republicans lead it or Democrats lead it. I don’t care about that at all. All I care is that I can feel safe as a parent to drop my kid off at school — is that so much to ask?
Star Jaime Andrews makes her screenwriting debut with the dramatic thriller Division. Directed by Jason Winn, the film is about an actress, Andi James (Andrews), who had a brush with fame a while back on a beloved show. She and her fiance, Zach (Curt Bonnem), have recently moved to Atlanta from Los Angeles. However, COVID hits and stunts their ability to get out and know the city. With Zach busy in his basement studio recording audio books, Andi decides to start vlogging. Her following is small but loyal.
The most loyal of Andi’s fans is Mason (Joshua Payne), an Army veteran. He and his hot-headed roommate, Mark (David Lee Garver), are getting riled up as the 2020 election is coming up soon. Frustrated that the pandemic made him lose his job, Mason’s only solace comes from commenting on Andi’s vlogs. So one day, he convinces her to chat with him on the phone. With Zach seemingly aloof and desperate for any human interaction (though her dog is adorable), Andi agrees. The two have a nice chat and eventually decide to meet in person. But soon enough, it is discovered that Andi and Mason fall on diametrically opposed sides, politically speaking. Can the two bridge the division U.S. politics causes, or is that a bridge too far?
Division is flawless, a daunting character study that ends on the perfect note, tragic though it is. Andrews has written a realistic, relatable drama with three-dimensional characters, each with foibles and strengths. Understanding what Zach and Andi get from each other takes a good chunk of the speedy 100-minute runtime. He gets easily annoyed at her and only occasionally shows his fiance affection. But, in the second-best scene of the film, Zach informs Andi of something he just learned on the news. This causes the duo to laugh it up together, reveling in schadenfreude. Here it becomes readily apparent that Zach’s terse actions are just how he’s dealing with the lockdown and are never meant to be aimed at Andi personally.
“…Andi and Mason fall on diametrically opposed sides, politically speaking. Can the two bridge the division U.S. politics causes…”
The screenplay also brilliantly adds layers to the two leads. Mason buys and delivers his mom’s groceries weekly and gets offended when anybody speaks ill of her. Andi’s podcasting friend, Delany (K.D. O’Hair), and neighbor Aya (Corrye Harden), allow the character to relax, presenting a new side to her. The way politics are weaved in makes its use more than just some convenient plot device. It truly is at the heart of the film’s themes. And again, the stunning conclusion conveys this message clearly without copping out or backing down.
Winn keeps the pace tight, allowing each scene room to breathe without overstaying their welcome. But, it is the cast of Division who adds that extra bit of movie magic. Andrews is terrific in a complicated role. At one point, she has the audience (almost) rooting for her to cheat on her fiance. Payne plays his part with both a sweet side and a seething amount of anger. He is most compelling. Bonnem walks that line between unduly icy versus affable with grace. Harden is hilarious as the neighbor, while O’Hair makes the most of her brief scenes.
Division will probably make some people mad. Such folks refuse to acknowledge reality anyways, so let them be misguided, misinformed, and raging for all the wrong reasons. Winn directs with supreme confidence, balancing the tone and pacing effortlessly. Andrews turns in a one-of-a-kind performance, while her script uses a political backdrop to explore relatable and real characters. Any and all cinephiles, no matter their political leanings, need to check out this independently produced masterpiece as soon as possible.
Sharon Acker, best known as Lee Marvin’s unfaithful wife in the 1967 film Point Blank, died March 16 in a Toronto residential home. She was 87 and her death was confirmed by daughter Kim Everest, a casting director.
Acker had a long and varied resume in film, television, and the stage. In 1956, she played the teacher Mrs. Stacey on a CBC adaptation of Anne of Green Gables. She then joined the Stratford Shakespeare Festival company, starring as Anne Page opposite future Star Trek costar William Shatner in a production of The Merry Wives of Windsor.
In addition to Point Blank, her film credits include Lucky Jim (1957). Acker also was in Don’t Let the Angels Fall (1969), which played in competition at Cannes. She was selected by the Motion Picture Exhibitors of Canada as their Film Star of Tomorrow that year,
Her memorable TV roles included a 1976-77 CBS adaptation of Executive Suite, playing the wife of Mitchell Ryan‘s Dan Walling. She later appeared in the 1973 reboot of Perry Mason, which lasted 15 episodes.
She also appeared on the CBC series Festival, and in 1961 portrayed Lady MacDuff on an adaptation of Macbeth.
Rounding out her TV career, she was on episodes of The Wild Wild West, Get Smart, It Takes a Thief, Lancer, Alias Smith and Jones, Gunsmoke, Mission: Impossible, Mod Squad, Marcus Welby, M.D., Cannon, Barnaby Jones, The Streets of San Francisco, The Rockford Files, Police Story and Quincy, M.E.
She was last seen in the horror film Happy Birthday to Me (1981), and her final TV appearance came on The Young and the Restless in 1992. She retired from acting in 1994.
Survivors include her children, Kim and Gillian; granddaughter Alexis; great-granddaughter Berkeley; and stepchildren Kim and Caitlin.
Leave it to Elon Musk to choose April Fool’s Day to begin Twitter’s version of the Purge.
Beginning on Saturday, users with legacy verification badges — notable accounts who were verified under Twitter’s previous leadership — are expected to lose their blue check, as the social media company has been hinting at for months but announced in a tweet on March 23.
The verification purge is part of Twitter’s effort to boost subscriptions to its $8 a month (or $84 a year) Twitter Blue product that, among other features, gives individual users with a verified phone number the blue verification badge that has in the past been reserved for notable celebrities, politicians and journalists as a means to help mitigate against imposter accounts.
Other Twitter Blue features expected to roll out soon are a reduction in ads and a prioritization in replies, mentions and search, in addition to an edit feature and the ability to tweet longer videos.
Business accounts, which include governmental accounts, are also being asked to subscribe to Twitter’s verified organizations service, which costs $1,000 a month and an additional $50 per month for each affiliated account, calling into question whether businesses would be willing to pay a minimum of $12,000 a year to maintain a verification badge on a single one of their business accounts and have the ability to add affiliate accounts with separate affiliate badges.
In a tweet promoting the verified organizations subscription, Musk said it was “important to establish whether someone actually belongs to an organization or not so as to avoid impersonation,” though it’s not clear how that would be achieved through a separate $1,000 monthly subscription when the $8 monthly Twitter Blue subscription offers to verify users as well, albeit with an additional “affiliate badge.”
Ahead of Saturday’s expected verification removal, stars like LeBron James and Dionne Warwick already noted they wouldn’t be willing to fork over the subscription fee to keep their verification badges.
“Welp guess my blue ✔️ will be gone soon cause if you know me I ain’t paying the 5,” the NBA star tweeted on Friday.
“I am not paying for a blue check. That money could (and will) be going towards my extra hot lattes,” Warwick said.
The purge comes as Twitter struggles to grow its revenue across advertising and subscriptions. According to data from the analytics firm Sensor Tower, advertisers spent $7.6 million on Twitter ads in the past two months, compared to the $71 million spent on ads last September and October, prior to Musk’s Twitter takeover.
Speaking at a Morgan Stanley investor conference in early March, Musk said Twitter would have fallen into bankruptcy “in four months” after his acquisition but believes the social media platform “has a shot” at turning the corner and becoming cashflow positive next quarter thanks to major cuts, which have included multiple rounds of mass layoffs that have gutted entire teams at Twitter.
Bill Maher turned up the volume on his “disbelief that God exists” on Friday night’s “Real Time” on HBO by poking fun at the religions that do and calling for a yearly 3-day weekend for atheists “to observable reality.”
As we head into a holy week for Christians and Passover for Jews, Maher said in his “New Rules” segment that the country needs to stop talking about diversity, equity and inclusion unless it also includes atheists.
“Atheists: we’re approaching a third of the population now, [and] I shouldn’t have to beg for this, for God’s sake! It’s outrageous that there are this many of us and there is still zero representation in government. Congress has 535 members and only a handful will even sheepishly admit their ‘religiously unaffiliated,” he joked. “No one has been able to admit their shameful secret: ‘I don’t believe in ghosts.’”
Next Sunday, as many of you know, is Easter, the day Christians commemorate the resurrection of Jesus. “Enjoy,” Maher said. “If that’s your thing: bunny rabbits that s—t eggs to celebrate the son of God, whatever floats your ark. But it’s not fair that people who belong to one of the big religions–,” he stopped midsentence. “They all get this cosmic personal day where the world revolves around them. I mean, here we are in the middle of the great egg shortage, and yet next Sunday we’re gonna take the few eggs we have and hide them in the yard?”
Although there is a movement for schools to officially recognize Ramadan –the Muslim month of fasting – Maher pointed out that while approximately 3 million Americans celebrate Ramadan, 100 million say they have no religion at all.
“So where’s our day?” he asked. “Is that really so much to ask, that this many people get one day a year when we recommit ourselves to observable reality? One day with no atonement, no corpse reanimation, no fasting, no tree in your house, no big rock to circle, no dirt on your forehead, no candles to light and please, God, no fruit cakes. Just a yearly three-day weekend to celebrate your deeply held belief that with Monday off you can drink on Sunday night and get you sleep in.”
Watch Maher’s entire “New Rules” segment at the top.
You’ll have to forgive Natasha Lyonne if she’s irritable today. She just quit smoking, which is no small feat for someone who’s so synonymous with the habit that there’s an Instagram account dedicated to the coolness of her taking a drag.
“I’ve been putting it off for so long,” she tells me, pointing to the small Nicorette pack on the coffee table in her East Village apartment. “I’m naturally wired for self-destructive crutches. I fucking love a vice.”
Though she admits there are “immense” consequences of raging nicotine withdrawal, the health benefits far outweigh the discomfort (at least, that’s what she’s telling herself).
Celeste Sloman for Variety
“It might be a symptom of being in a pretty decent place,” she offers of her reason for quitting. “In a way, I want to meet that artistically and emotionally. I want to return the favor and say, ‘OK, maybe I’ll sign up for life for a little bit longer.’”
“A pretty decent place” is underselling Lyonne’s career renaissance.
The 43-year-old actress has always been a crackling presence on-screen, but her early days in Hollywood were marked by star turns in underseen indies such as 1998’s “Slums of Beverly Hills” and 1999’s “But I’m a Cheerleader.” And, of course, she played the wisecracking teenager Jessica in “American Pie,” but she was overshadowed by main cast members (Jason Biggs, Tara Reid, Seann William Scott, Alyson Hannigan, and Chris Klein).
Pop culture didn’t really catch up to Lyonne’s unorthodox charms until recently, and that’s partly because she finally put herself in the driver’s seat. She co-created the hit 2019 Netflix show “Russian Doll,” an existential time-loop comedy that landed Lyonne Emmy nominations for acting and writing. As jaded New Yorker Nadia Vulvokov, who begins the series by reliving her 36th birthday, “Groundhog Day” fashion, Lyonne got the platform to showcase her spectacular range — with the ability to dole out pithy one-liners in one breath and plumb the depths of her character’s intergenerational trauma in the next.
“People have suddenly become receptive to my eccentricity and idiosyncrasy,” she says, slouched on her couch in a T-shirt and rainbow-pinstripe pants. “It’s a real curiosity that when I turned 40, people were like, ‘We’re down for this.’”
Even after her series took off, she says, creators weren’t falling over themselves to work with her. She thinks she knows why: When men write, direct and executive produce a piece of zeitgeist-tapping entertainment, she suggests, “everybody comes out of the woodwork to be like, ‘How many new roles can we give you?’”
But for a woman, “I think it’s the inverse. When women are doing a lot of those jobs, that can feel intimidating,” she says. “With all the excitement of ‘Russian Doll’ Season 1, Rian was the only person who came to me saying, ‘I really want to come up with something for us to do together’ — and then he followed through.”
Lyonne is referring to “Poker Face,” a case-of-the-week murder mystery series from Rian Johnson, the writer-director of “Knives Out” and “Glass Onion.” Though she’s surrounded by scene-stealing guest stars in the Peacock series — including Nick Nolte, Chloë Sevigny, Joseph Gordon-Levitt and Hong Chau — “Poker Face” exists as a vehicle to spotlight Lyonne’s on-screen magnetism.
She stars as Charlie Cale, whose abilities as a veritable human lie-detector put her on the run and into the orbit of a curious number of violent deaths. Viewership is not guaranteed in the age of peak TV, even when high-wattage talent is attached, but “Poker Face” has managed to break through — it’s already been renewed for a second season.
“I had the idea of doing something ‘Rockford Files’ or ‘Columbo’-esque, and I realized those shows always have a charismatic personality at the heart,” Johnson says. “When I saw Natasha in ‘Russian Doll,’ I couldn’t take my eyes off her.”
Lyonne radiates an effortlessly cool vibe, so it’s somewhat surprising when she says her Hollywood persona doesn’t line up with her real self. She’s actually intensely calculated about her craft. She even works with an acting coach, recommended by Sam Rockwell, to make sure Charlie doesn’t blur with Nadia on “Russian Doll” or her other breakout TV role as Nicky Nichols on “Orange Is the New Black.”
“Because I have big, curly hair and a New York accent, you would not think my OCD is quite as strong as it is,” she says. “But I am obsessive about precision. I don’t actually enjoy anything genuinely chaotic or confusing or muddy. I like things that are meticulous, almost mathematic.”
She glances around her living room. “There are books all over, and it seems like there’s no plan,” Lyonne says, gesturing to the shelf behind her. “But also, there’s no dirt in the apartment.”
Lyonne talks exhaustively during our interview, hardly stopping to breathe, and her thoughts take so many twists and turns that it’s hard to remember the question she’s answering. At one point, she stops mid-sentence to say: “Good luck editing it down to whatever this piece is supposed to be about.”
We barely settle into her living room when Lyonne suddenly sits up. “Do you want something to drink? Am I supposed to offer you water?” she asks me. “Don’t writers like La Croix?” I admit with embarrassment that I’m no fan of carbonated beverages. We walk over to her basically empty kitchen (“When people talk about multi-hyphenates, I would not put cooking in there for myself,” she cracks), and she opens the fridge. “What about something interesting? This is pineapple …” she trails off as she picks up a bottle. “No, you don’t want this.” Eventually, we settle on a glass of water.
Celeste Sloman for Variety
As we make our way back to the couch, Lyonne sips from a “Tonight Show” mug and picks up where she left off on her creative process. “I like to get really prepared — to be so meticulous that then all of a sudden you can be sloppy,” she says. “It’s through an obsessive work ethic that you can seem so casual and undone.”
Johnson took notice while filming “Poker Face.” “Natasha comes in thinking and overthinking every single detail,” he says. “And then she does a magic trick on set, where she understands to step in front of the camera and live in the moment.”
Lyonne spent much of her early career feeling misunderstood by Hollywood. During most of her 20s, she found herself in a darker frame of mind as she dealt with well-publicized struggles involving alcohol and drug abuse. One of the great comforts of reaching her 40s is that she no longer feels bound by anyone’s expectations.
“Being in your 40s is so much better than being in your fucking 20s and 30s. It’s so much cooler. It’s so much sexier,” she says. “My romantic life is more happening. Back then, I was waiting to be selected. Once you’re in your 40s, you’re like, ‘Who am I attracted to?’ We’re all going to die, right? So I better get my living in quick.”
She admits she doesn’t know how long the smoking cleanse will last, and she’ll forgive herself if she cracks. But right now, it’s been helpful to “raw dog” reality as she determines her next chapter.
“I’m taking this time to get very quiet. I’m dying to direct a feature, so I’ve been taking a lot of time to read books and see what’s worth adapting. I’m also working on my own scripts and rewriting scripts I’ve already written,” she says. “I don’t know what smoking is going to look like once I’m back interfacing on set with all the elements.”
Suddenly, Lyonne brings up the Beach Boys song “I Just Wasn’t Made for These Times.” She says her recent run of success counters the thesis of the rock band’s misfit manifesto. “In many ways, I feel like, ‘Oh, maybe I was meant for exactly these times’ — just the idea that a woman would be allowed to embody this quintessentially male role on ‘Poker Face.’ And it’s an unspoken thing we’re even doing it.”
Except for maybe the innocent, girly Megan Bloomfield in “But I’m a Cheerleader,” Lyonne’s film and TV personalities skew more “tough guy New York.” She’s now interested in expanding the idea of who or what she’d like to say as an actor.
“I’m curious what it would be like to soften, or to play women. I’ve been playing men this whole time. I’ve been stealing from De Niro my whole life,” Lyonne says, citing Al Pacino and Stanley Kubrick as other early influences. More recently, she’s asking herself, “What would it be like to let my voice register a bit higher? What would it be like to be a bit more vulnerable?”
An example of this is how she went out on a limb last May to host the Season 47 finale of “Saturday Night Live,” a show that she’s always adored. “The single greatest week of my life” is how she remembers it. “It’s so high octane. They literally, like, rip your clothes off and put on something else and then jam braces in your mouth, and you’re back out there. And I was like, ‘I’m fucking born for this thing!’”
Between sketches, Lyonne was remarkably calm as she caught up with long-time pals (Maya Rudolph, Seth Meyers) and even an old boyfriend (Fred Armisen). “SNL” producers came up to her saying, “You’re supposed to be all panicked!” She loved being invited because it felt like an opportunity to be part of something bigger than herself. Comedian John Mulaney emailed her suggestions to polish her monologue. Seth Meyers stopped by Studio 8H to offer well wishes. Tina Fey texted after the show to say “Congrats.” “Honestly, the only thing I care about is this family aspect to this business. My parents are dead. I’m not married with kids. They feel like my chosen family.”
OK, our time is up. I’m happy to be ending our conversation on such a hopeful note. Lyonne is grounded and centered — and I decide those nicotine cravings are no match for someone so resilient and, well, badass. I get up to leave with my empty water glass in my hand and, in a moment that will haunt me for the rest of my life, accidentally drop it.
Fuck, fuck, fuck, fuck, fuuuck. The glass lands, in slow motion, on the floor and shatters into 10 million pieces over the living room rug. There are shards everywhere — big enough to cut and small enough that not even a vacuum would pick them all up. I sheepishly bend over to clean up this catastrophic mess, but Lyonne insists that I leave it. “I’m going to have somebody come clean it professionally. Because I’m showbiz, baby!” As I race for the door, she sighs and says, “This is going to be the thing that makes me pick up a cigarette.”
Styling: Cristina Ehrlich/The Only Agency; Makeup: Dotti/Statement Artists; Hair: Ursula Stephen/A-Frame Agency; Manicure: Dawn Sterling; Look 1 (blue shirt): Full Look: Gucci; Look 2 (white suit): Full Look: Chanel
Suhana Khan was seen at the NMACC fashion gala with Gauri Khan and Aryan Khan. (Pic: Viral Bhayani)
Suhana Khan turned heads with her golden and black saree at the NMACC gala. The Archies star attended the event with Gauri Khan, and Aryan Khan.
She is yet to debut as an actress but Shah Rukh Khan’s daughter Suhana Khan is already making headlines with her fashion choices. The Archies star made her way to day 2 of the NMACC launch event, a fashion gala, wearing a stunning saree. The 22-year-old opted for a golden and black saree for the night and stole our hearts away. She styled the saree with a pair of statement earrings and was seen wearing a bindi as well.
Suhana made her way to the event with Gauri Khan and Aryan Khan. Like Friday, on Saturday too Shah Rukh Khan appeared to give the media a skip. Gauri, for the night, wore a stunning white saree while Aryan looked dapper in a black fit.
While we have no doubts that Suhana will meet her friends from teh industry at the gathering, we wonder if she will meet Zendaya and Tom Holland. The soon-to-debut actress had met Kendall Jenner a few weeks ago so we cannot rule out the possibility that she would pose for a picture of two with Zendaya and Tom.
Earlier in the day, a picture of Suhana with her family had gone viral on social media. In the picture, taken on the first day of the NMACC launch, Shah Rukh was seen standing between his children while Gauri stood beside Aryan. The picture gave a closer look at the family’s complete OOTD for the night.
Suhana will be making her debut with Zoya Akhtar’s The Archies. The film also stars Boney Kapoor’s younger daughter Khushi Kapoor, Amitabh Bachchan’s grandson Agastya Nanda, Mihir Ahuja, Dot, Yuvraj Menda, and Vedang Raina. In the pictures shared on Instagram, Zoya along with the cast of the movie was seen cutting a three-tier cake to celebrate the film’s wrap. The Archies is slated to release this year.
Dishya Sharma, Chief Sub Editor, is part of the entertainment team at News18. She eats, sleeps, and drinks entertainment. While Indian films have fuel…Read More
A roof collapse at the Apollo Theater in Belvidere, Ill. left at least one concertgoer dead and dozens more injured on Friday evening.
The Apollo Theater was hosting “The United States of Terror” tour, headlined by four heavy metal bands — Crypta, Revocation, Skeletal Remains and Morbid Angel. After Crypta’s set, the venue made an announcement that the show would need to take a brief pause before Morbid Angel took the stage, due to the ongoing extreme weather conditions. Minutes after the initial announcement, the full roof collapsed on top of the concertgoers, per the New York Times.
The venue was hosting roughly 260 patrons. More than 40 people were hospitalized, with five people suffering severe injuries. At least one person died in the incident. Belvidere Fire Chief Shawn Schadle reported that two of those impacted are suffering with life-threatening injuries.
Band members of Crypta and Morbid Angel have shared that members of both groups sustained no serious injuries.
According to the National Weather Service, the Apollo suffered “possible tornado damage.” A storm with 75 mph winds had been sweeping through the northern Illinois and southern Wisconsin region. Authorities believe concertgoers weren’t aware of the storm and tornado sirens due to the volume of music at the venue.
A series of tornadoes have ripped through the Midwest and Southern United States in recent days, killing at least nine people in Indiana, Mississippi and Arkansas. At least 30 people were injured in Little Rock, Ark. ahead of the Belvidere emergency. 16 million people from Texas to Michigan were put under tornado watches on Friday.
Soon after the incident, Illinois Gov. J.B Pritzker notified residents that his administration was “closely monitoring” the situation and would soon have resources for those impacted.
Robert Downey Jr. embraced the spirit of April Fool’s Day as he recently shared a hilarious Instagram post.
After his Marvel retirement, Downey has been pretty busy with other projects, such as being featured in a recently-released ad starring himself and returning to the big screen alongside Cillian Murphy in Christopher Nolan’s Oppenheimer.
While a potential Iron Man return is still unknown, the Marvel actor is keeping himself entertained by trolling fans.
Robert Downey Jr. Is an April Fool’s Fanatic
Iron Man star Robert Downey Jr. shared a new social media post trolling fans on April Fool’s Day about his “upcoming” movie starring himself, with a caption saying “Catch me at the local bakery…”
The MCU veteran unveiled a headline from “Breadline” (which is a knock-off of the official entertainment site, Deadline) about a biopic film that features him as its lead star and co-actor:
Robert Downey Jr.
Adding more comedic effect, the article was written by Pops The Pig today at 11:11 a.m. As a result, several fans made fun of Downey’s post.
thiscountrymouseplaced the icing on top by sharing that Downey himself directs the movie:
“Directed by Robert Downey Jr”
itsjustwags made a perfect description of Downey’s new film:
“Just a man playing a man, disguised as the same man”
instagangaram was channeling his inner Tony Stark with vivid confusion:
*confused Tony Stark face*
chen_lrc pointed out why Downey is “perfect” for the role:
“wait cause you’re perfect for this role you look exactly like him!”
When Will Robert Downey Jr. Return as Iron Man?
While it’s hilarious that Robert Downey Jr. is making jokes during April Fool’s Day, there is still a good chunk of fans who are waiting for a concrete update about his potential return to the Marvel Cinematic Universe as Tony Stark/Iron Man.
Given that the MCU is doing a deep dive into the Multiverse, the demand is valid since the actor can easily return as a Variant of Stark from a different Earth.
The iconic TSR role-playing game Dungeons & Dragons: Honor Among Thieves is now a live-action film, one delighting both audiences and critics. But forty years ago, D&D had its very first outside media adaptation, in the form of a popular CBS Saturday morning cartoon. The Dungeons & Dragons animated show featured a group of precocious teens from our world who get sucked into the magical realms of D&D through a theme park ride. Look, it was the ’80s. It was a weird time on Saturday Morning cartoons. But what would the animated D&D characters make of their modern, live-action successors? Watch the video down below to find out.
All the main characters from the cartoon in are in this video, observing Chris Pine and company on their adventures. There’s the wizard/guide known as the Dungeon Master, using his magic to conjure up our cinematic heroes. Right there with him are our teen heroes. There’s Hank the Ranger, Eric the Cavalier, Diana the Acrobat, Presto the Magician, Sheila the Thief, and Bobby the Barbarian. Of course, there was also Uni, their unicorn mascot. Every ’80s cartoon needed a cute animal sidekick, and the Dungeons & Dragons show was no different. At least Uni was cooler than Scrappy Doo.
Paramount Pictures/CBS
As fans of Stranger Things are well aware, back in the ’80s there was a whole hysteria surrounding Dungeons & Dragons. Parents freaked out about kids playing D&D and “learning black magic.” The cartoon was a way of making D&D more palatable to parents who didn’t know an Owlbear from a Wookie. And because of it, we’re able to have a live-action D&D film today. Should Honor Among Thieves get a sequel, maybe they can give those cartoon kids a role. Although we’d actually be ok with it if it was just Uni the Unicorn who shows up.
Earlier this month, French citizens took to the streets in defiance after President Emmanuel Macron pushed through legislation to raise the retirement age. This legislation would lift the retirement age by two years, from 64 to 66.
France Retirement Protests Have Stormed Their Way into Animal Crossing
The response was immediate. Transportation workers, teachers, the old and young all took to the street. The Interior Ministry of France estimated that over one million people joined the protests, while one of the main labor confederations, the CGT, which is at the heart of the strike, estimated that over three times that number took part.
French citizens and allies who want to show their support but can’t join the crowds have found an alternative way to protest: Animal Crossing: New Horizon.
On Reddit, user Majhinell posted a screenshot of their island, which displayed a crowd of protestors, cars, and even a small fire. The scene was as reminiscent as possible of the actual French street protests, albeit in ACNH’s bright and cheerful color scheme.
In their post, Majhinell urged others to gather in protest and unity in front of Tom Nook’s shop.
Tom Nook’s store is an excellent place to hold a protest. There’s no better representative of someone happy to exploit the working clan than Nook, as this Tanuki is infamous for saddling you with debt the moment you step into any Animal Crossing game. Macron similarly stated that the pension changes were needed to keep money circulating in France to stave off an increased deficit.
Protestors argue that forcing the oldest members of their country to work is not the answer to the deficit crisis. Instead, they’re pushing for higher taxes on the rich.
Those who wish to join the protests or start their own are urged to join the Discord. The Discord offers not only solidarity to the cause but codes that will grant you access to the CGT pattern, which can be used on both clothes and signs.
Animal Crossing isn’t the only game that’s gotten political. MSCHF, an American art collective, has created a game that’s a direct critique of Turbo Tax and corporate lobbying here: Let a Waifu File Your Taxes in This Anime Dating Sim.
The World Film Industry Conference (WFIC) is excited to announce the shortlist for the 36th Huading Awards on March 31, 2023, in Los Angeles, California at the Avalon Theater, 1735 Vine Street, Los Angeles, CA, 90028. The red carpet will be from 3:30-4:30 p.m. followed by the awards ceremony at 5-8 p.m.
In the film category, “All Quiet on the Western Front”, “Avatar: The Way of Water”, and “Everything Everywhere All at Once” are shortlisted for Best Global Film. Colin Farrell, Ricardo Darín and Austin Butler are among the finalists for Best Global Leading Actor, while Michelle Yeoh, Tang Wei and Cate Blanchett are among the finalists for Best Global Leading Actress.
The following includes the shortlist for all of the awards this week:
Best Global Picture
Everything Everywhere All at Once (US)
Argentina, 1985 (Argentina)
All Quiet on the Western Front (Germany & US)
Elvis (US)
Avatar: The Way of Water (US)
Best Global Director
Dan Kwan & Daniel Scheinert (US) – Everything Everywhere All at Once
Joseph Kosinski (US) – Top Gun: Maverick
Steven Spielberg (US) – The Fabelmans
Santiago Mitre (Argentina) – Argentina, 1985
Shô Miyake (Japan) – Small, Slow But Steady
Best Global Leading Actor
Colin Farrell (Ireland) – The Banshees of Inisherin
Denis Ménochet (France) – The Beasts
Austin Butler (US)- Elvis
Daniel Brühl (Germany & US) – All Quiet on the Western Front
Ricardo Darín (Argentina) – Argentina, 1985
Best Global Leading Actress
Cate Blanchett (Australia & US) – Tár
Tang Wei (China) – Decision to leave
Michelle Yeoh (Malaysia) – Everything Everywhere All at Once
Ana de Armas (Cuba) – Blonde
Michelle Williams (US) – The Fabelmans
Best Global Supporting Actor
Ke Huy Quan (US) – Everything Everywhere All at Once
Yo-Han Byun (Korea) – Hansan: Rising Dragon
Brendan Gleeson (Ireland) – The Banshees of Inisherin
Brian Tyree Henry (US – Causeway
Judd Hirsch (US) – The Fabelmans
Best Global Supporting Actress
Dolly De Leon (Philippines) – Triangle of Sadness
Stephanie Hsu (US) – Everything Everywhere All at Once
Angela Bassett (US) – Black Panther: Wakanda Forever
Jamie Lee Curtis (US) – Everything Everywhere All at Once
Sophie Kauer (UK) – Tár
Best Global Film Newcomer
Jalyn Hall (US) Till
Frankie Corio (US) Aftersun
Lina Arashi (Japan) My Small Land
Dong-hwi Kim (Korea) In Our Prime
Emma Mackey (France) Emily
Best Global Screenwriter
Martin McDonagh (UK) The Banshees of Inisherin
Steven Spielberg & Tony Kushner (US) The Fabelmans
Todd Field (US) Tár
Dan Kwan, Daniel Scheinert (US) Everything Everywhere All at
Santiago Mitre & Mariano Llinás (Argentina) Argentina, 1985
Best Global Film Producer
Ian Stokell, Daniel Brühl et al. (Germany & US) All Quiet on the Western Front
Axel Kuschevatzky (Argntina) Argentina, 1985
Anthony Russo, Joe Russo et al. (US) Everything Everywhere All at Once
Matsuoka Yuuhiro, Handa Masahiro, Kurihara
Tadayoshi, Hasegawa Haruhiko et al. (Japan) Small, Slow But Steady
Todd Field, Alexandra Milchan (US) – Tár
Best Global Cinematography
Claudio Miranda (US) Top Gun: Maverick
Russell Carpenter (US) Avatar: The Way of Water
James Friend (UK) All Quiet on the Western Front
Mandy Walker (AU) Elvis
Javier Juliá (Argentina) Argentina, 1985
Best Global Film Editing
Matt Villa & Jonathan Redmond (US) Elvis
Paul Rogers (US) Everything Everywhere All at Once
Eddie Hamilton (US) Top Gun: Maverick
Sven Budelmann ( Germany) All Quiet on the Western Front
Mikkel E.G. Nielsen (US – The Banshees of Inisherin
Best Global Visual Effects
Joe Letteri , Richard Baneham, Eric Saindon, Daniel Barrett (US) Avatar: The Way of Water
The Huading Awards were founded in 2007 by the Huading Awards Group. The awards aim to promote Asia’s thriving arts and cultural scene, spread Asian culture and help bridge the gap between the Asian and global entertainment industries. These awards are the highest honor given for celebrities’ reputations among global audiences, with award shows featuring different themes including public images, film, TV shows, music and fashion.
Cartoon Movie fête ses 25 ans à Bordeaux avec 58 nouveaux longs métrages d’animation qui recherchent de nouveaux partenaires et veulent accélérer leur production et leur diffusion internationale. Les projets seront présentés, à différents stades de production, devant les 881 professionnels – producteurs, distributeurs, agents de vente, investisseurs, sociétés de jeux vidéo, éditeurs de livres, streamers et fonds cinématographiques – présents à l’événement. Cette année, Cartoon Movie met en lumière l’animation ukrainienne.
Avec 16 différents pays d’origine, les projets sélectionnés totalisent une durée totale de 81 heures et un budget total de 422,4 millions d’euros, tandis que le coût moyen par film s’élève à 7,3 millions d’euros. 20 projets sont déjà des coproductions entre deux pays européens ou plus, et 6 sont des coproductions impliquant des pays non membres de l’UE : Brésil, Canada, Chine, Israël, Tunisie et Royaume-Uni.
Avec 25 projets, la France arrive en tête, suivie de l’Allemagne avec 8 projets, de l’Espagne et de l’Italie avec 5 projets chacune, de la Belgique avec 3 et du Danemark avec 2. L’Arménie, la République tchèque, la Finlande, la Hongrie, l’Irlande, les Pays-Bas, la Norvège, la Pologne, la Slovaquie et l’Ukraine complètent la liste avec 1 projet chacune.
Parmi les sessions de pitch, 8 films seront présentés en « sneak preview » lors de l’événement, dont «Bim» de Tom Van Gestel (Belgique), «Linda veut du poulet !» de Chiara Malta & Sébastien Laudenbach (France), «Dragonkeeper» de Salvador Simó & Li Jiangping (Espagne), «Four Souls of Coyote» d’Áron Gauder (Hongrie), «Mars Express» de Jérémie Périn (France), «Richard the Stork 2» de Mette Tange & Benjamin Quabeck (Allemagne), «Rosa and the Stone Troll» de Karla Nor Holmbäck (Danemark) et «The Inseparables» de Jérémie Degruson (Belgique).
La Région Nouvelle-Aquitaine, qui accueille l’événement, participe avec 9 projets dont 7 soutenus par la Région : «Alpha Two’s Dreamed Journey», réalisateur à confirmer (produit par Olé Film- und Fernsehproduktion – Allemagne, coproduit par Godo Films – France), «Beausoleil» de Xabi Molia & Fanou Lefebvre (produit par Moteur S’il Vous Plaît), «Linda veut du poulet !» de Chiara Malta & Sébastien Laudenbach (produit par Dolce Vita Films), «Happy End» de Marie Amachoukeli & Vladimir Mavounia-Kouka (produit par Miyu Productions), «Jim Queen» de Marco Nguyen & Nicolas Athane (produit par Bobbypills), «Mars Express» de Jérémie Périn (produit par Everybody On Deck), et « L’Ours et l’Ermite» de Marine Blin (produit par Tant Mieux Prod). «Beausoleil» et «Mars Express» sont également soutenus par le Département Charente. Bordeaux Métropole et la Région Nouvelle-Aquitaine sont représentés par trois projets : «Betty’s Dream» de Liam Engels (produit par Sun Creature France), «Long Time a Girl : An Endless City Adventure» de Cédric Babouche (produit par Umanimation), et «L’Ours et l’Ermite» de Marine Blin (coproduit par Sun Creature France).
LES PRINCIPALES TENDANCES
La sélection de Cartoon Movie reflète la diversité des thèmes, des publics cibles et des styles graphiques de l’industrie européenne actuelle de l’animation. Les films d’aventure et de comédie dominent en termes de genre, dans une sélection qui comprend également des films fantastiques, des drames, des comédies musicales et des documentaires. Avec 15 projets basés sur des adaptations de livres et de bandes dessinées, la littérature reste une source d’inspiration majeure pour les longs métrages d’animation. Côté audience, les films familiaux restent en tête avec 59% de la sélection et 34 projets, tandis que les films destinés aux Jeunes adultes/Adultes arrivent en deuxième position avec 13 projets. Enfin, la sélection comprend 10 projets pour les enfants et 1 pour le public préscolaire.
Concernant les techniques d’animation, les films 3D arrivent en tête avec 28 projets (44,8%), suivis des films 2D (27,5%), tandis que les projets combinant les deux techniques atteignent 22,4%.
Le rôle actif de Cartoon dans le développement de l’animation européenne est éloquent : 6 des projets sélectionnés cette année ont déjà participé à Cartoon Movie aux stades de conception ou de développement, tandis que 2 autres ont été pitchés à Cartoon Springboard, un événement dédié aux jeunes talents.
Cartoon Movie mettra cette année l’accent sur l’animation ukrainienne, rendant ainsi hommage à tous les artistes, créateurs et producteurs de ce pays qui vivent et travaillent contre vents et marées pour protéger leur vie, leur art et leur industrie.
Avec une longue histoire de l’animation remontant à près d’un siècle, une délégation de l’industrie ukrainienne de l’animation sera à Bordeaux à la recherche de partenaires et coproducteurs internationaux. Pour la troisième fois dans l’histoire de Cartoon Movie, un projet ukrainien sera présenté : «Roxelana» d’Oleg Malamuzh, un film d’animation 3D pour public familial produit par Animagrad Studio – FILM.UA Group.
Le Spotlight de Cartoon Movie sur l’Ukraine est organisé avec le soutien de Ukrainian Association of Animation (UANIMA), de LINOLEUM Contemporary Animation and Media Art Festival et d’Animagrad Studio – FILM.UA Group
Sarah Polley woke up to a letter demanding she return her recently won Oscar, on Saturday. And then she realized she had been pranked by her own child for April Fools’ Day.
“My eleven-year-old swung low for April Fools’ Day this year,” the Canadian filmmaker wrote as caption to the note, which she posted on Twitter.
In March, Polley won the Best Adapted Screenplay award for “Women Talking,” but the joke letter requested she send the trophy back to Los Angeles, so it can be given to the rightful Best Adapted Screenplay, “All Quiet on the Western Front.”
“Dear Sarah Polley, we say this to you with deepest regrets: the Oscar you received was given by mistake – you must return it,” the opening line of the letter read. “We are giving you one more week to enjoy its presence in your home, but after that period of time you must mail it back to LA.”
Polley’s daughter cleverly joked that the powers that be knew the award was given in error, but they didn’t want another “Moonlight” and “La La Land” fiasco. The letter reassured this wasn’t a joke despite Saturday being April Fools’ Day.
“We feel it is wrong you get this on April 1 as you will probably think it is a joke, and we feel that is wrong, so another letter will be sent assuring you that this is not a joke,” the letter read. “This is much too cruel to be a joke, ergo we deeply apologize for any inconvenience we may have caused you.”
Those following Polley on Twitter played along. “Dear Sarah, to save on mailing costs as I live overseas the Academy has asked me to provide you with my address so you can ship the Oscar directly. I will follow up shortly. Ok with you? All best, Edward,” filmmaker Edward Berger tweeted.
“I think we just discovered a future Oscar winner for writing,” director Jon Cassar wrote.
“And to think that you spawned this level of snark…well done mama!!” another said.
Life is hard. But if there’s one thing I’ve learned from TV, it’s that “you take the good, you take the bad, you take them both” and then you’ve got The Facts ofLife – AKA, the unofficial 1980s rulebook to getting through it all. Set at the prestigious Eastland Boarding School for young women, The Facts of Life is a spin-off series of the 1970s smash hit Diff’rent Strokes that follows the Drummonds’ former housekeeper Edna Garrett as she takes a new position as the housemother in a girls’ dormitory. Though in Season 1 she oversees many young students, Mrs. Garrett’s supervisory focus quickly narrows to four main girls: the wealthy Blair, tomboy Joy, energetic Natalie, and chatterbox Tootie. As the girls go about their daily endeavors, from dating to working and stalking Jermaine Jackson (that’s you, Tootie), they discover that life is full of bumps and hurdles. Overcoming and accepting those difficulties, however, is the key to life; a lesson that we – even as adults – are still learning.
“The Mandalorian” is back for Season 3, while Emmy darlings “Succession,” “Barry,” and “The Marvelous Mrs. Maisel” end their runs.
Multiple heavyweight series return this spring, which will have a big impact on the 2023 Emmy craft races, particularly with the final seasons of “Succession,” “Barry,” “The Marvelous Mrs. Maisel,” “Star Trek: Picard,” and possibly “Ted Lasso.” Plus, “The Mandalorian” is back and should continue its craft domination, while there are opportunities for improvement for new seasons of “Yellowjackets,” “The Great,” “Schmigadoon!,” and “Perry Mason.”
Before looking ahead at potential opportunities, it’s worth noting past Emmy performances.
“The Mandalorian” has set a new standard of excellence as the “Star Wars” crown jewel of Disney+. Powered by ILM’s revolutionary StageCraft virtual production Volume platform, the sci-fi bounty hunter series starring Pedro Pascal, has amassed 14 craft wins in two seasons for cinematography, VFX, score, sound mixing, stunt coordination, production design, prosthetic makeup, and stunt performance.
“The Marvelous Mrs. Maisel” (Amazon Prime Video), the period comedy-drama about the titular stand-up (Rachel Brosnahan), has collected 10 craft Emmys in four seasons for music supervision, cinematography, costumes, makeup, hairstyling, editing, sound mixing. But it’s looking for a comeback after last season’s disappointing eight craft nominations and no wins.
“Barry” (HBO), the black comedy about the titular hit-man-turned-aspiring actor (star and co-creator Bill Hader), earned six craft Emmys in three seasons, including two apiece for sound editing and mixing, and one each for editing and stunt coordination.
Brian Cox in “Succession”
Courtesy of Macall B. Polay / HBO
“Ted Lasso” (Apple TV+), the comedy-drama (starring and co-created by Jason Sudeikis) as the American soccer coach in Britain, grabbed two craft wins in its first season (editing and sound mixing), but came home empty-handed out of six nominations for Season 2. However, “Succession” (HBO), the reigning winner for Outstanding Drama Series about the dysfunctional Roy media conglomerate clan, has only managed two craft Emmys, for its main title theme music and for editing.
Similarly, it was rough going the first time out for “Perry Mason” (HBO) and “Yellowjackets” (Showtime): The period legal thriller starring Matthew Rhys came away with only two craft nominations (cinematography and production design), while the cannibalistic thriller received none.
“The Mandalorian” Mixes It Up in Season 3
With a reunited Din Djarin/Mando (Pascal) and Grugu (Baby Yoda) taking on greater responsibility to protect the scattered and divided Mandalorians, creator Jon Favreau called for a larger visual scale, pushing production further beyond the limits of the StageCraft Volume. Seasons 1 and 2 were an ideal fit to pioneer the new technology, but, as Season 3 pushed the storyline to non-Volume friendly lighting environments, Favreau and the ILM team needed to do more traditional location and set-based shooting.
So, while the prospects look good once again for craft domination, the one area for improvement is production design, where it fell short last time. But thanks to the more complex and visually arresting environments — such as Din’s devastated desert planet, Mandalore — production designers Doug Chiang (also Lucasfilm’s executive creative director) and Andrew Jones, who built the physical sets, should be leading contenders.
“The Marvelous Mrs. Maisel” Gets Trippy in Season 5 Finale
After the disappointing Season 4, creator Amy Sherman-Palladino finishes Maisel’s story in wild, time-bending fashion: flashing back to the ’50s and jumping ahead to the ’70s and ’80s, while staying firmly planted in the ’60s. Which means more elaborate period visual and musical trappings for the Emmy-winning crafts team, which could end on a high note, especially for cinematographer M. David Mullen, music supervisor Robin Urdang, composers Thomas Mizer and Curtis Moore, costume designer Donna Zakowska (who hasn’t won since the second season), and production designer Bill Groom, who has been nominated four times without a win.
“Barry” Behind Bars in Season 4 Finale
The mask is off for Barry (Hader). Last season ended with him going to prison for his crimes as a hitman, and now he must try to put an end to his torment and find redemption. That’s a lot of emotional baggage for an aspiring actor to draw from. Obviously editing, sound editing and mixing, and stunt coordination are in play once again, but there’s one last chance to break out of another category. Maybe stunt coordination, given the prison setting? Or production design, given the juggling of all the locations, including those related to the Hollywood storyline.
“Ted Lasso” Faces a Reckoning in Potential Final Season
Whether official or not, this sure seems like the end of the line for Ted Lasso (Sudeikis). The easygoing, optimistic American football coach suddenly feels trapped in London because of his unresolved personal issues. Apparently, there was a lot of soul-searching during the two-year break between Seasons 2 and 3, and the result is this existential crisis that must now be resolved. Like “Mrs. Maisel,” “Ted Lasso” comes off of a disappointing Emmy season. But with more of the scrappy underdog dynamic that defined Season 1, there could be a return to form with another two wins for editing and sound mixing.
Jason Sudeikis in “Ted Lasso”
Courtesy of Colin Hutton / Apple TV+
Can “Succession” Generate More Craft Awards in Season 4?
It all comes to a head for the Roy family in this Shakespearean tragedy from creator Jesse Armstrong with billions at stake. As IndieWire’s Ben Travers writes, the season “is here to annihilate you.” And, in due course, we’re treated to the culmination of all the macro financial maneuvers and micro blood feuds. But, in terms of crafts, will the TV Academy do more to honor its most prestigious drama than merely Bill Henry’s editing? Nicholas Britell’s brilliantly experimental score as a combination of classical and hip-hop to evoke the precariousness of power is deserving. And, really, the production design of Stephen H. Carter and costume design of Michelle Matland should be in the mix as well, despite their low-key nature.
“Star Trek: Picard” Returns to the ’90s in Season 3
In its final season, “Picard” looks forward, not back, as IndieWire’s Christian Blauvelt observes. And yet showrunner Terry Matalas reunites Picard (Stewart) with his former Enterprise crew of “The Next Generation” in a very cohesive way. This meant stylistically finding continuity with the ’90s shows “The Next Generation,” “Deep Space Nine,” and “Voyager.” Thus, they brought back Denise & Michael Okuda, the production designers on those shows. Look for them to be in the craft mix for their work on the USS Titan. Also, the VFX has been unique in evolving elements from the ’90s shows. They’ve brought back the Changelings, who were villains on “Deep Space Nine.” Amanda Plummer plays Vadic However, and the morphing effect is much improved through a fusion of physical makeup and VFX.
“Schmigadoon!” Goes Fosse in Season 2
Season 2 of “Schmigadoon” picks up with Josh (Keegan-Michael Key) and Melissa (Cecily Strong) back in the modern world, but longing to return to their “Brigadoon”-like magical adventure. But now creators Cinco Paul and Ken Daurio conjure a “Schmicago” environment, partially inspired by Bob Fosse’s “Chicago.” Aside from being competitive once more with Outstanding Original Music And Lyrics, perhaps the team to can make headway with Bo Welch’s production design, Christopher Willis’ score, and Christopher Gattelli’s choreography.
Dove Cameron in “Schmigadoon!” Season 2
Courtesy of Apple
“The Great” Has Momentum for Season 3
After finally breaking through with a costume win in Season 2, “The Great” has greater craft opportunities in Season 3 for Sharon Long’s production design and Nathan Barr’s score. This season it’s all about the court, as Catherine (Fanning) and husband Peter III (Nicholas Hoult) try to make their marriage work in screwball fashion.
“Perry Mason” Hits its Stride in Season 2
The legal thriller returns to L.A. in the ’30s with a few tweaks in further exploring Mason’s (Rhys) new legal career and confronting the corrupt system. Jack Amiel and Michael Begler (“The Knick”) are the new showrunners, and while the show is still a gritty noir, it’s more accessible in its storytelling. That’s why it sports a different look with a new cinematographer (Darran Tiernan) and production designer (Keith Cunningham). Tiernan goes a little brighter and warmer and gets more subjective in his camera work, while Cunningham further conveys the contrasts between the haves and have-nots. This just might be a breakthrough Emmy season.
“Yellowjackets” Raises the Stakes in Season 2
The arrival of winter in the cannibal era for the soccer teens stranded in the wilderness provides a stark contrast to Season 1 of “Yellowjackets.” Creators Ashley Lyle and Bart Nickerson make it so that everything in the past is covered in snow, while the present offers a creepy cult/wellness compound for the adults to infiltrate. The problem of snow created quite a challenge for production designer Margot Ready. Maybe this extra dimension will lead to an Emmy craft nomination for Ready.
NOW IN THEATERS! I’ve never heard of Neil Bogart, but I’ve definitely listened to the majority of his Casablanca Records clients. In Spinning Gold, Timothy Scott Bogart tells the story of his infamous musical father. Neil (Jeremy Jordan) was a man who loved to entertain. However, early in his career, Neil knew he would not make it as an entertainer and shifted his focus to finding the potential in singers and musicians that the record industry naively passed over.
While living on the East Coast, Neil amassed his Buddah records crew, including Buck Reingold (Dan Fogler), Nancy Weiss (Peyton List), Cecil Holmes (Jay Pharoah), and Joyce Biawitz (Lyndsey Fonseca). His success at Buddah Records was fast and meteoric, putting the Isley Brothers (Doron Bell and Jason Derulo) on the map and wooing an unhappy Gladys Knight (Ledisi) into the fold with her hit song, Midnight Train to Georgia.
But Spinning Gold shows that Neil’s real drama came in his attempt to move to Los Angeles and start Casablanca Records. Neil banked everything on two specific acts, KISS and Donna Summer (Tayla Parx). You can also add George Clinton (Wiz Kalifa) and Parliament to the mix. Yes, we know them today, but then they couldn’t find an audience, and no one bought their records.
Neil pushed these acts so hard that he wound up over $7 million in debt, partially to the mobster Big Joey (Vincent Pastore). While in the deepest and worst debt, he got hooked on cocaine and engaged in a long-time affair with Joyce Biawitz leaving his wife Beth (Michelle Monagan) in the process. Then again, who wasn’t hooked on coke in the 1970s and 80s? Now add a large inventory of records no one wants, and Neil Bogart is in serious financial trouble.
“Neil banked everything on two specific acts, KISS and Donna Summer.”
Our musical references almost always come from our adolescent years, and the music of Casablanca records was what I listened to in my teens. I’m very familiar with Donna Summer, Kiss, and The Village People, to name a few. This fond nostalgia of mine is the inherent weakness of Spinning Gold. Putting my marketing hat on for a moment, this film will probably go over big for audiences in my age range. Yet, I’m not convinced it has much play outside of this demographic. Sure, Jeremy Jordan is popular among Millennials, but is he the draw the film needs?
The film is a hybrid musical/biopic. Yes, you’ve got the songs from the Casablanca catalog sung by the actors, and their renditions are exceptional, but not the real thing. There are some dreamlike musical numbers… so, if you like musicals. Also, Casey Likes and Sam Nelson Harris don’t do KISS justice. They are good but don’t capture Gene and Paul’s energy.
As a biopic, Spinning Gold is good and meets the genre standards. Yes, the lead breaks the fourth wall and speaks directly to the audience, reminiscing about his career and the past. We capture the high and low moments of Neil’s career and personal life. What comes across is his passion for music and his relentless optimism that almost bankrupted him and got him murdered. Meanwhile, Neil’s singular belief that he could put Casablanca records on the map adds some stakes.
I would surmise that this is a love letter to Neil Bogart, who passed away in 1982, from his sons Timothy, the writer and director, and Evan, the composer. By the way, the film’s soundtrack comes out on Atlanta Records. Neil’s story is fascinating, and his sons pay sweet homage to him, warts and all. The plot, about a man who followed his dream, just oozes optimism. If you grew up in this era, there’s a lot of nostalgia value here. Toe-tapping fun is how I’d describe my time with Spinning Gold. However, I’m not convinced the film has the legs to reach a broader audience.
The first official notice of Donald Trump’s indictment was released to the public on Friday night, March 31. The document was an order from Justice Juan Merchan allowing Manhattan District AttorneyAlvin Bragg to issue a statement that acknowledged the former President’s indictment and that Bragg’s office was negotiating Trump’s surrender, according to The Washington Post. Former New York Times journalist Frank G. Runyeon shared a photo (below) of the document to his Twitter, captioning it, “This is the first document showing the existence of the indictment of the former president.”
NEW: Order from Justice Merchan allowing @ManhattanDA to disclose the existence of the indictment of Donald Trump. @Law360
This is the first document showing the existence of the indictment of the former president. pic.twitter.com/ut7d7U95xH
The document is basically a blessing from the judge that Bragg needed in order to announce that there is an actual indictment over the alleged hush money payment to Stormy Daniels, per The Washington Post. It discloses that the grand jury has issued “a true bill” against the former reality star and allows the district attorney to reveal such. The charges against Trump are not discussed in the document, and the indictment itself will remain sealed until Trump’s arraignment, according to the news source.
The arraignment is expected to be held on Tuesday, according to NBC News, where the former Commander in Chief is expected to turn himself in to Bragg’s office. “This evening we contacted Mr. Trump’s attorney to coordinate his surrender to the Manhattan D.A.’s Office for arraignment on a [New York] Supreme Court indictment, which remains under seal,” a spokesperson for the D.A. said, per NBC. “Guidance will be provided when the arraignment date is selected.”
The first official notice of Trump’s indictment was released on March 30, 2023. (ERIK S LESSER/EPA-EFE/Shutterstock)
After news broke of Trump’s indictment on Thursday, the 76-year-old former steak club owner took to his own social media to react. “These Thugs and Radical Left Monsters have just INDICATED [sic] the 45th President of the United States of America, and the leading Republican candidate, by far, for the 2024 Nomination for President,” he wrote. “THIS IS AN ATTACK ON OUR COUNTRY THE LIKES OF WHICH HAS NEVER BEEN SEEN BEFORE. IT IS LIKEWISE A CONTINUING ATTACK ON OUR ONCE FREE AND FAIR ELECTIONS. THE USA IS NOW A THIRD WORLD NATION, A NATION IN SERIOUS DECLINE. SO SAD!”
Trump’s rant came almost two weeks after he claimed he expected to be arrested in anticipation of an indictment. Although he didn’t detail why he would be arrested at the time, the case involves the $130,000 payment Daniels received to try to prevent her from sharing her story about her alleged Trump affair during his 2016 campaign. Trump’s then-attorney Michael Cohenpaid the entertainer to try to silence her, with Trump’s promise that he would reimburse him. Cohen had claimed that he gave the money on Trump’s order, and because of the nature of the transaction, it could be considered an improper campaign donation, per The New York Times.
Up to this point we haven’t heard too much about the Samsung Galaxy S24, but a new leak points to a significant display upgrade coming next year: the Ultra model will apparently be fitted with displays that have a 144Hz refresh rate.
This comes from SamLover (opens in new tab) (via SamMobile (opens in new tab)), which isn’t a source we’ve heard a lot of tips from in the past, so adjust your anticipation levels accordingly. This might not come to pass, but it is also an upgrade that makes sense for Samsung and its top-tier phone.
Right now all three Samsung Galaxy S23 handsets boast screens with a 120Hz refresh rate, so this would be a significant step up in terms of the numbers – albeit not one that would be massively noticeable when you’re using the devices.
Let’s talk about specs
The refresh rate of a smartphone display quite simply affects how quickly it refreshes: the higher the number, the smoother all of your animations, videos, page scrolling and games are going to look. It’s a spec that distinguishes high-end handsets from budget phones.
We’ve got some other predicted specs from the same source as well, some of which we’ve heard before: the Galaxy S24 phones will apparently be powered by the Snapdragon 8 Gen 3 chipset, which matches up with a previous rumor.
The S24 Ultra will apparently stick with the same 200MP main camera sensor as the Samsung Galaxy S23 Ultra, though with “some improvements” added, while satellite connectivity (as on the iPhone 14) is also rumored to be on the cards.
Analysis: how Ultra will the Ultra be?
The Ultra model of the Samsung Galaxy S phones is always the most expensive and feature-packed one – and especially so since the Note line ended and Samsung handed the stylus over to the Galaxy S Ultra smartphone instead.
Taking a look at the Samsung Galaxy S23 Ultra launched in February, it has a bigger screen than the other two phones, it can be fitted with more RAM and more internal storage, and it has a superior rear camera setup.
We’ll have to wait and see just how Ultra the Samsung Galaxy S24 Ultra is, but it sounds as though this 144Hz refresh rate is going to be exclusive to the most expensive phone in the line up. It’ll most likely be the biggest phone in the series again as well.
This strategy of offering a high-end, high price phone is one that Apple is following as well of course: indeed, it might actually be doubling down on it, if we can believe the rumors around the introduction of an iPhone 15 Ultra later this year.
“The Power” has arrived on Prime Video, and it marks a somewhat rare occurrence on television: a show about and for women, directed almost entirely by women. Naturally, that was pretty appealing to the women in it — but also to some of the men.
The series, adapted from Naomi Alderman’s 2016 book of the same name, follows multiple women all around the world, as they all begin to develop a new organ in their body that allows them to not only control but expel electricity at will. It is powerful, it awakens in adolescence, and it is only found in women.
Naturally, the power dynamics of the world are immediately shifted. Young women feel emboldened, and truly safe for the first time in their existence. But, if you’re thinking this is a superhero-esque series, you’d be a bit off. In fact, that the series is not about superheroics is part of what drew series star Auli’i Cravalho’s eye.
“What I loved about ‘The Power’ was that it didn’t feel like a superpower,” Cravalho told TheWrap. “It felt like an organ that was inherited because women needed an internal strength and needed an outward presence of that strength.”
In reality, the “Moana” and “Crush” actress notes that the world as it is is pretty bleak for women, and “The Power” offered both fun escapism and an ideal alternate reality.
“Women teach women to be careful. And to put your keys between your fingers; if you’re walking alone at night, if that is your best defense, you have to do that,” Cravalho explained. “To ‘please text me when you get home safe,’ to only run with one earbud in because you always have to be aware of your surroundings.”
She continued, “And the power, the electricity coursing through every woman’s veins changes the weight that we carry on our shoulders. And that’s really what drew me to this project was the sci-fi realism of a world where Jos could grow up with that knowledge that she was safe walking into any room.”
Much the same could be said for Toni Collette, who plays Cravalho’s on-screen mother, and the mayor of Seattle in the series. For her, the show marked a milestone for young female audiences, and she simply wanted to be part of it.
“I knew I wanted to be a part of this story because, I mean, I didn’t have anyone to look at like this when I was growing up watching TV to be able to see all of these diverse characters” Collette told TheWrap. “These are amazing women and girls with different cultural backgrounds, coming into a sense of power. I think it’s so important for girls and women to see that, especially at this time when men are so scared, they’re trying to take it away from us.”
Of course, there are men in this series. One of them is Rob Lopez, played by John Leguizamo. And, as it turns out, a series by women and for women was a huge plus for him too.
“That was totally the draw for me! That was the draw, to play a vulnerable, sensitive, nurturing man. I mean, I think it’s a new masculinity,” Leguizamo told TheWrap. “And to play alongside Toni Collette, who is one of the great actors of our time, was so much fun.”
He continued, “And being on a set with women who are running things, who are the producers, the directors, the showrunners, the leads, it was such an incredible set. We laughed a lot. It was very collaborative. I never felt diminished. I felt empowered. It was just a great time had by everybody, especially me.”
Indeed, “The Power” is led by an all-female writers room. Showrunner Raelle Tucker is among them, and for her, the series was a stark contrast to her earliest days as a TV writer, on some of her first shows.
“When I was in that room, it was pretty normal to be the only woman, the only woman producer, the only woman writer on most rooms, in most meetings,” Tucker explained to TheWrap. “I had meetings on television shows where they’re like, ‘We’re meeting with you because we need to hire a woman. We’ve been told we have to.’ They literally told me that on a very prominent show.”
Naturally, Tucker didn’t want to name names there, and added that, with “The Power,” the demographic of those behind the scenes wasn’t some quiet mandate she and her team instituted. In fact, she makes a point to note that there were men like Leguizamo on the series, who were true “champions” for the show.
“Working with an all-female room, all-female directors, producing team — that wasn’t something that came from like, ‘I hate dudes, and I don’t want to work with them,’” she explained. “But it was really exciting to be in a place where I could be more raw, I could be more vulnerable, we all felt maybe that we could be a little bit more honest about some of the issues that we were discussing.”
She added, “We didn’t have to filter them through, you know, the lens of not wanting to offend or not wanting to be seen as weak or vulnerable, you know? So yeah, I think some really profound work came out that way.”
You can watch TheWrap’s interviews with Cravalho, Leguizamo and Collette in the video above.
The first three episodes of “The Power” are now streaming on Prime Video.
In April of 2021, Kourtney Kardashian and Travis Barker had a whirlwind wedding ceremony in Las Vegas, kicking off their spring of nuptials. They went on to have a legal ceremony in Santa Barbara and then an elaborate Italian ceremony a month later. That’s a lot of anniversaries, but the couple is up for the challenge.
A year into their marriage, Kardashian and Barker are still happy and in love according to an insider speaking with Entertainment Tonight, who stated that the pair are “enjoying their new life together.”
“It’s a new chapter, so Kourtney just wants to continue to keep it sacred,” the source continued. “Kourtney and Travis are doing fantastic and are over the moon in love. Things couldn’t be better between them and they’re growing even closer every day.”
This year wasn’t without challenges, however. The Kardashians star has spoken about their attempts to expand their family through IVF and needing to take a break from her fertility treatments. Both of them have children from previous relationships. Kardashian shares 13-year-old Mason, ten-year-old Penelope and eight-year-old Reign with her ex, Scott Disick. Barker and his ex, Shanna Moakler, share 19-year-old Landon and 17-year-old Alabama.
The source said that they are “taking things one day at a time when it comes to bringing a baby into their family.”
The insider added, “Things have been very seamless between their kids. Everyone has been getting along and hopes to keep it that way.”
Kardashian and Disick “are doing a lot better with co-parenting” as well, despite Disick’s rumored issues with Barker.
“Scott’s jealousy has subsided for the most part,” they said. “Those types of feelings have faded on his end. He will always have so much love for Kourtney, but he’s also focusing on himself.”
Aimée Lutkin is the weekend editor at ELLE.com. Her writing has appeared in Jezebel, Glamour, Marie Claire and more. Her first book, The Lonely Hunter, will be released by Dial Press in February 2022.
Pete Davidson shared his candid thoughts about jokes made about him during his time on SNL.
Pete joined SNL in 2014 when he was just 20, making him one of the youngest cast members in the show’s history. He left the sketch show after eight seasons, during which his personal life was frequently the subject of jokes.
“Suddenly you’re in this zeitgeist and that has nothing to do with the work,” he continued. “And that’s a really shitty feeling. I became more known before the work was there, but I was always working. I’m cool with the joke. I get the late-night jokes.”
Turning his attention to SNL, he explained, “When your own show [pokes fun at you]…I’d be sitting in the back watching the cold open and — the cold open [is] topical, political humor, whatever’s in the culture. And then, making fun of you. Then you’ve gotta walk out and do a sketch next and hit your mark and the show just made fun of you.”
“So, why are they gonna laugh at you? Like, they just dogged you in front of everyone,” he added. “And you’re like, ‘I’m a fucking loser, man.’”
“These are the people I’ve been with for almost a decade. I grew up in front of these people. They’ve watched me through the most difficult time in my life, and they’ve been there for me. And nobody ever showed more leeway and grace to me than Lorne Michaels, and I owe my life to that guy.”
“But it was fucking confusing ’cause the nature of entertainment is the nature of this business. At the end of the day, that’s what it is. This was a really difficult thing to do. You feel small. You feel super insecure,” he concluded.
It’s not the first time Pete has publicly taken issue with SNL’s depiction of him. “I personally think I should be done with that show because they make fun of me on it,” he said in 2020. “If I’m just fodder now, though, maybe I just shouldn’t be there. They think I’m fucking dumb, like I’m literally painted out to be this big dumb idiot.”
You can read more about what Pete had to say here.
While the streaming show is being dubbed as the first “crossover event series,” going bigger and “darker” than any MCU Disney+ project to date, it will also take a deeper look at some characters fans have come to know and love over the past fifteen years.
Despite its reported universe-altering narrative, a character study of the likes of Nick Fury will be at the center of this Marvel Studios tale, diving into never-before-seen aspects of the character’s life.
Nick Fury Hit Hard by Iron Man’s Death
Marvel Studios
While promoting the upcoming Secret Invasion Disney+ series, Samual L. Jackson revealed how Iron Man/Tony Stark’s MCU death changed his Nick Fury.
Speaking with Vanity Fair, the MCU star noted that when Secret Invasion starts, his character is still reeling from the death of his friends. He noted that “even Nick Fury can be shaken,” and the biggest reason Nick has been off-world ignoring the happenings of Earth since Avengers: Endgame is because he is just trying to “process what the f*** happened:”
“Even Nick Fury can be shaken, you know? He’s up there trying to process what the fuck happened, you know? And what his place in the world is.The death of Iron Man, the death of Black Widow, with that stuff going on he just kind of checked out.”
Vanity Fair
In the same interview, Jackson addressed why his Marvel hero seems to no longer be sporting his signature eyepatch in Secret Invasion. He noted that the patch was a “part of who the strong Nick Fury was” and the lack thereof is “part of his vulnerability now:”
“He just doesn’t wear the patch. The patch is part of who the strong Nick Fury was. It’s part of his vulnerability now. You can look at it and see he’s not this perfectly indestructible person. He doesn’t feel like that guy.”
Jackson’s Secret Invasion co-star Cobie Smulders chimed in on the subject as well, remarking that the upcoming streaming series is a little more grounded and that “there’s nobody here who’s glossy and ready for action in a spandex one-piece:”
“There’s nobody here who’s glossy and ready for action in a spandex one-piece. I mean, my wardrobe alone has changed so much since the original film. I was in platform knee-high boots, and a skintight leotard in the ‘Avengers’ movie. And I’m in a straight-up jeans and tee in this one.”
A Different MCU in Secret Invasion
From the sounds of it, Secret Invasion is going to shine a bit of a different light on the MCU. Not to say the franchise has never tackled deeper, darker content (i.e. see much of the Captain America franchise), but the upcoming streaming series looks like it is going to be much more introspective than anything from Marvel Studios to this point.
This ‘changed’ Nick Fury is a perfect example of that. Gone are the saturated colors and Avengers Initiative invites of Samuel L. Jackson’s early MCU performances, and in their place is a more nuanced story focused on a hero who has lost “his place in the world” after the loss of some close friends.
Despite how crazy it may sound, these two story elements actually could complement one another fairly well. This “checked out” Nick Fury is going to be paranoid, not knowing who he can trust anymore.
That theme of paranoia is something that will only be amplified when it is revealed that shape-shifting Skrulls have been hiding on Earth, possibly embodying some of the few remaining people Fury thought he could trust.
Warning: The following contains SPOILERS for The Flash season 9, episode 7, “Wildest Dreams.”Despite the Arrowverse seemingly coming to a close, The Flashseason 9 seems to be setting up a spinoff show for the superhero Dreamer. First introduced in Supergirl season 4 and played by Nicole Maines, Dreamer was the daughter of an alien immigrant to Earth from the planet Naltor and heir to a legacy of dream-related superpowers, including prophetic dreams and astral projection. She was also notable as the first transgender superhero in television history.
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Dreamer became a constant companion to Kara Danvers, both as a crime fighter and in the newsroom at CatCo Worldwide Media, where they both worked as reporters. The character was popular, and there was talk of Dreamer’s adventures continuing in a spinoff after Supergirl came to an end after six seasons. The Flash season 9 seemed to build upon this idea when Dreamer played a prominent guest role in the episode “Wildest Dreams.”
The Flash Season 9 Sets Up A Dreamer Spinoff (& It Makes Sense)
The Flash season 9 episode 7, “Wildest Dreams,” opened with Dreamer exploring a surreal dreamscape, searching for a legendary source of Naltorian dream energy that might increase her powers. While there, Dreamer was attacked by a cloaked woman and had a vision of Iris West-Allen, who told her, “it’s all about control,” before dropping dead. This prompted Dreamer to seek out Iris West-Allen in the real world, where they both were drawn into the Dream Realm by the cloaked woman.
In the end, Dreamer and Iris both helped one another to work through their respective traumas. The cloaked woman was revealed as the first Naltorian woman to master the power of dreams, and she accepted Dreamer as an apprentice after Dreamer accepted the idea that she should relax and embrace her powers rather than strictly trying to regulate their use. Dreamer parted ways with Iris and Team Flash confident that “my potential is beyond my wildest dreams,” suggesting that she would go on to study with her new spirit guide.
This seemed like the start of a new chapter in Dreamer’s life and a fine start for a spinoff show. However, with The Flash season 9 building to a grand finale for the Arrowverse Earth-Prime setting, it seems incredibly odd that the series would devote one of its precious final episodes to continuing the story of a supporting character from Supergirl. And yet, it makes sense given how popular Dreamer has become as a character, not only in the Arrowverse setting but in other media.
Could A Dreamer Spinoff Actually Happen In The Arrowverse Now?
Since Supergirl season 6 ended, Dreamer has been introduced into the mainstream DC Comics Universe. The comic books featuring Nia Nul, many of them written by Nicole Maines, have been big sellers for DC Comics, and the character has been featured prominently in Lazarus Planet and Superman: Son of Kal-El. Given that, the previous excitement regarding a Dreamer spinoff show, and the fact that The CW is still moving forward with a Justice U series set in the Arrowverse focused on John Diggle training young superheroes, there is no reason why The Flash couldn’t kickstart a show focused upon the continuing adventures of Dreamer.
The Flash season 9 continues on Wednesdays on The CW.
As a designer, on every project, I look to facilitate stories about unique characters while growing my skill set. When I was approached by the showrunners, Janine Nabers and Donald Glover, about SWARM, I knewI would be exploring a world that was unseen in the media – that of a young, black, female serial killer.
Based on an amalgam of true stories about stan culture gone awry, we follow Andrea “Dre” Greene (Dominique Fishback), an emotionally stunted young woman whose neurodivergence has been exacerbated by years of trauma. Unable to form acceptable connections with people, she bonds deeply with individuals who she believes can speak for her and requires that devotion in return – whether or not they know she exists.
With TikTok and the Influencer Economy rising at a fever pitch, it felt especially timely to do a project about parasocial relationships gone awry. Being offered the task of developing the world of a ferocious, disturbing, and sympathetic woman was immediately exciting.
How We Designed Swarm
As we were developing the project, we spoke about films featuring people going over the edge – a favorite touchstone was The Piano Teacher. For the design of the spaces, I thought a lot about the films Gummo, Mandy, Monster, Madeline’s Madeline, and a personal favorite, JeanneDielman, 23 quai du Commerce, 1080 Bruxelles. I loved the play between design andcinematography in creating the interior worlds of the characters.
I also referenced the work of photographers Nailah Howze, Rania Matar, and Deena Lawson, who all capture women with great raw energy.
Each episode takes place in a new city, with Dre in a completely new environment. Determining a point of view for the visual landscape was critical to making the episodes feel cohesive. In the design, I worked to convey Dre’s disconnect from reality.
To that end, I worked with my team to create spaces that walk the line between worlds. In Dre’s apartment, I played with maturity and immaturity. In Khalid’s (Damson Idris), we made sure the space’s décor was just slightly asymmetrical. In episode four, we created a sleeping quarter in a beautiful home that is directly inspired by 1940s mental hospitals.
In other episodes, I worked with our DP, Drew Daniels, to build a color space that went toward clashing colors. For example, episode two sees Dre in a hotel room with walls painted what I can only call “Puke Green.” Nothing was aesthetically out of bounds, and I loved having such a rich palette to play with.
Dre’s hotel room with the “Puke Green” walls in ‘Swarm’Credit: Sara K. White
Given the wide scope of the show, our locations ran the gamut from disgusting hovels to McMansions, from strip clubs to wellness centers. Even with a fast schedule, my dedicated team was as inventive as the rest of the creative team.
For the art department, we really rose to the occasion creating the sweat lodge for episode four. It was originally scripted to take place in an outdoor environment, but we couldn’t find the right location, so we needed something new.
Together with Steven Glover and Ibra Ake, we came up with a space for Dre to experience trust and communion with the cult members: a glamped-out sweat lodge.
In only a few days, we built a structurally sound sweat lodge that offered beautiful light and intimacy, while subtly surrounding the characters with hides, skulls, and bones of long-dead creatures. Collaborating to freshly reimagine scenes is so rewarding, and I am so proud of how we pulled it off.
The glamped-out sweat lodge in ‘Swarm’Credit: Sara K. White
Designing my first thriller/horror/comedy was helped by years of experience on projects that had 10 percent similarity here, and 10 percent there. I pulled ideas about architecture, color, and tension from shows as disparate as Pariah, Stand Clear of the Closing Doors, and The Flight Attendant.
As a person deeply interested in what creates and maintains society, I pulled from years of thinking about how humans relate to each other. It fascinates me how that can go wrong, and how miraculous it is that it goes right so often. I also pulled from my own life experience. Especially as a child, entering a new space often had a profound impact on me.
I think we’ve all walked into a room and felt a shiver down our spine or some kind of raw discomfort. I’m glad for the time to think about and evoke that for the characters and the audience on Swarm.
The next few weeks bring series starring Kathryn Hahn, Jennifer Garner, Priyanka Chopra Jonas, Lizzy Caplan, Elizabeth Olsen, Zoe Lister-Jones, and Gillian Jacobs.
Colleen Hayes/Peacock
And just like that, spring has arrived in full force. We mentioned last month how March, in many ways, feels like the calm before the TV storm. Now, the annual onslaught of the season is firmly A Thing.
Usually when the volume of TV premieres hits critical mass, it’s on the strength of trend-chasing or riding a wave of similar adaptations. Like pretty much any month from the last half-decade, there’s a little bit of that this April. But there’s also a heartening amount of original series, too. We’ve got romantic multiverses and bureaucratic showdowns and turbo-charged road rage and trial-sized social experiments. Even the shows based on preexisting projects have plenty of promise. Secret spy organizations! Wine battles! Kathryn Hahn giving people advice! Film lovers also have some intriguing titles to keep an eye out for, as a pair of 1980s classics get the chance to live again with a fresh 2023 perspective.
Only a small number of these will break through to make noise in a more-crowded-than-ever Emmys field. Any of these shows would probably gladly settle for just being able to get some attention during a month dominated by the buzz from a trio of returning favorites: “Yellowjackets,” “Succession,” and “Barry.” (One of them has Michael Shannon. Having Michael Shannon in your show usually helps.)
As per normal, the shows in these roundups (like the ones we did for January,February, and March) traverse network and cable and streaming and all those confusing areas in the middle. If somehow, none of these pique your interest, there’s also our broader list of Anticipated 2023 TV, which includes shows that will come a tad bit later in the year.
“Royal Crackers” (April 2, Adult Swim)
Image Credit: Adult Swim
As one of the biggest dramas on TV comes to close, here’s another story of people scrambling to replace the head of a massive company. Here, that show is an animated comedy and its company is a Bakersfield-area cracker empire. Andrew Santino, Jessica St. Clair, David Gborie, and series creator Jason Ruiz star as the individuals caught up in the resulting power struggle.
“The Crossover” (April 4, Disney+)
Image Credit: Disney/Alyssa Moran
A pair of teenage basketball superstars in the making (Jalyn Hall and Amir O’Neil) learn to handle the expectations of their talent and their father (Derek Luke) in this adaptation of Kwame Alexander’s novel. Daveed Diggs also stars as an adult version of one of the brothers, narrating the story in flashback. Alexander is a co-showrunner alongside Damani Johnson and Kimberly A. Harrison, while LeBron James is also an executive producer.
“Beef” (April 6, Netflix)
Image Credit: Netflix
Steven Yeun and Ali Wong star as two people who unwittingly become locked in an escalating feud. What starts out as a dangerous dueling road rage incident gradually becomes a battle of wits that draws in family members, business partners, and an increasing number of innocent bystanders. The A24-produced series comes from “Tuca & Bertie” and “Dave” vet Lee Sung Jin and co-stars Joseph Lee, Young Mazino, David Choe, Patti Yasutake, Maria Bello, Ashley Park, and Justin H. Min.
“Grease: Rise of the Pink Ladies” (April 6, Paramount+)
Image Credit: Eduardo Araquel/Paramount+
If you’ve ever experienced any form of “Grease” (movie, regional theater production, competition show to cast the Broadway revival) and wondered what happened before everything that made those stories memorable, here’s a ten-episode season that may just answer a few questions. Set in 1954, when Sandy and Danny still could only dream of freshman year of high school, a renegade group of teenagers at Rydell High started to push back against authority and pave the way for the Pink Ladies yet to come. Series creator Annabel Oakes also serves as showrunner, while this is the first of two new shows this month to have Alethea Jones as a director.
“Boom! Boom! The World vs. Boris Becker” (April 7, Apple TV+)
Image Credit: Apple TV+
Prolific doc director Alex Gibney heads up this two-part look at the life and career of Boris Becker, ’80s world tennis champion and iconoclast. In charting Becker’s meteoric rise and sustained success on the international sports stage, Gibney and the team behind this documentary conducted years of interviews with Becker himself as well as associates and former rivals. “Boom! Boom!” looks to address Becker’s on-court career, off-court missteps, and the path that eventually led to his recent legal trouble.
“Jury Duty” (April 7, Freevee)
Image Credit: Freevee
The latest in a growing list of doc-comedy hybrids, this new show follows the day-to-day workings of an LA-area trial. The one catch? Everyone except for one juror is an actor. An elaborate experiment, including fake judges, fake witnesses, fake bailiffs, and an as-himself James Marsden, the eight-episode season goes through every stage of the trial process, beginning with a memorable jury selection. “The Office” vets Lee Eisenberg and Gene Stupnitsky are creators on the series, with Cody Heller and Jake Szymanski fulfilling showrunning and directing duties, respectively.
“Tiny Beautiful Things” (April 7, Hulu)
Image Credit: Elizabeth Morris/Hulu
Based on the writings of bestselling author Cheryl Strayed, this limited series tracks the life of an advice columnist who has to overcome significant problems in her life while offering written help to others. Kathryn Hahn stars as Clare, who’s dealing with a crumbling marriage and a fraught relationship with her daughter when a professional opportunity comes along that might just help everyone. Creator and showrunner Liz Tigelaar is staying in the Hulu family, after serving in the same roles on “Little Fires Everywhere” and being a “Casual” alum. The eight-episode season also has an impressive directing trio in Rachel Goldenberg, Desiree Akhavan, and Stacie Passon.
“Transatlantic” (April 7, Netflix)
Image Credit: Netflix
After exploring the present day in “Unorthodox” and digging into the Cold War in the “Deutschland 83” series, co-creator Anna Winger, along with Daniel Hendler, explores a vital part of World War II history. In the early months of the 1940s, a dedicated group of expats and local activists set up a clandestine system to help Jewish refugees escape the dangers of Nazi aggression. Emergency Rescue Committee members Mary Jayne Gold (Gillian Jacobs), Varian Fry (Cory Michael Smith), and Albert Hirschman (Lucas Englander) are just a handful of real-life figures chronicled in Julie Orringer’s book “The Flight Portfolio” that form the foundation of the series.
“Am I Being Unreasonable?” (April 11, Hulu)
Image Credit: James Pardon/BBC Studios/Boffola Pictures
Daisy May Cooper’s busy spring stateside continues after the premiere of “Rain Dogs” last month. Here, she stars alongside fellow co-creator/co-writer Selin Hizli as two women who find solace in each other after one of them experiences a devastating personal loss. The series picked up a handful of BAFTA TV nominations including ones for the series and for performances from Cooper and Lenny Rush. The rest of the show’s ensemble includes Jessica Hynes, Dustin Demri-Burns, Amanda Wilkin, David Fynn, Juliet Cowan, Ruben Catt, and Karla Crome.
“Yonder” (April 11, Paramount+)
Image Credit: CJ ENM/Doodoong Pictures/Paramount+
Shin Ha-kyun and Han Ji-min star in this drama about a husband and wife reunited in a dreamworld after her untimely death. It marks the first major Korean co-production for the streaming service, and comes as part of a launch of a bigger collection: five additional seasons of Korean TV across the series “Signal,” “Voice” and “Save Me.” “Bargain,” an additional series from this partnership with Korean company CJ ENM will debut on Paramount+ sometime over the summer.
“Rennervations” (April 12, Disney+)
Image Credit: Disney+
Filmed before the devastating accident he suffered a few months ago, this series is Jeremy Renner’s take on the inspirational renovation show. Instead of souping up homes for unsuspecting families, this four-part show finds Renner and assorted famous friends and coworkers (Anthony Mackie, Anil Kapoor, Vanessa Hudgens) fixing up vehicles for brand new uses, ranging from water treatment facilities to traveling arts centers.
“Florida Man” (April 13, Netflix)
Image Credit: Jackson Lee Davis/Netflix
Don’t you just hate it when you’re an ex-cop and you get hired to go back to Florida (where you’re from) and track down the girlfriend of a dangerous Philadelphia-area gangster but then things just get out of control? Perhaps this Édgar Ramírez-led show is for you. Showrunner Donald Todd also created the seven-episode series and wrote the Miguel Arteta-directed pilot.
“The Last Thing He Told Me” (April 14, Apple TV+)
Image Credit: Erin Simkin
In this limited series based on Laura Dave’s book, an unlikely pair go looking for answers after a man disappears suddenly and mysteriously. His new wife (Jennifer Garner) and daughter (Angourie Rice) must put aside their differences to help figure out the truth behind what led to his departure. Dave adapts the series along with her husband/”Spotlight” screenwriter Josh Singer, who team up to write three of the series’ seven episodes.
“Waco: The Aftermath” (April 16, Showtime)
Image Credit: Ursula Coyote/Courtesy of Showtime
It’s not exactly “OJ: Made in America” vs. “American Crime Story” but just weeks after a new Waco-focused doc series landed on the Netflix Top 10, here’s this dramatization of the aftermath. It also serves as a five-years-later sequel to “Waco,” the limited series that starred Taylor Kitsch as Branch Davidians leader David Koresh. Michael Shannon again takes center stage as FBI agent Gary Noesner in this series which focuses on both the resulting trial and the radicalization of domestic terrorist Timothy McVeigh. Among those also making the return trip to the screen after also appearing in the original “Waco” series are Shea Whigham, John Leguizamo, and Annika Marks.
“The Diplomat” (April 20, Netflix)
Image Credit: Alex Bailey/Netflix
Keri Russell makes a return to playing a government employee, only this time for a much different purpose. Here, she’s playing a London-based ambassador wrestling with her past experiences in a war zone and her contentious relationship with her fellow diplomat husband (Rufus Sewell). “Homeland” and “The West Wing” alum Debora Cahn is the creator/showrunner, heading up a series that also co-stars David Gyasi, Ali Ahn, Rory Kinnear, Ato Essandoh, Michael McKean, and T’Nia Miller.
“Mrs. Davis” (April 20, Peacock)
Image Credit: Sophie Kohler/Peacock
Imagine, if you will, a reality where pretty much everything is driven by AI. Into this world steps a rebellious nun (Betty Gilpin) who’s determined to do everything she can to return society to an analog, person-to-person world. It’s a faith vs. science showdown that will take both sides to….unexpected places. (This is one where the less you know about the show going in, the better.) “The Big Bang Theory” vet Tara Hernandez is the showrunner on the series, with Damon Lindelof as a co-writer and co-creator.
“Dead Ringers” (April 21, Prime Video)
Image Credit: Courtesy of Prime Video
Get in, weirdos. We’re updating Cronenberg classics. The 1988 favorite gets a more modern interpretation, this time starring Rachel Weisz as twin sisters connected by more than just their genetics. With their personal and professional lives intertwined, they look to push the limits of their medical practice and what they do in their off hours. Recent breakouts Poppy Liu and Michael Chernus join Jennifer Ehle in the show’s cast, Sean Durkin and Karyn Kusama are among the series’ directors, while Alice Birch and “Succession” vet Susan Soon He Stanton are among the show’s writers.
“Drops of God” (April 21, Apple TV+)
Image Credit: Jean-Philippe Baltel
Tadashi Agi’s hit manga forms the basis for this high-stakes drama in the world of wine. After the death of one of the world’s foremost oeneologists, control of his empire is left to a showdown between his estranged daughter (Fleur Geffrier) and the young man (Tomohisa Yamashita) who was the late expert’s closest pupil. Ready your palettes. Showrunner Quoc Dong Tran has been a writer on some of the best French series of the past few years, including the comedy hit “Call My Agent!” and the artfully eerie horror series “Marianne.”
“Slip” (April 21, The Roku Channel)
Image Credit: Courtesy of Roku
Zoe Lister-Jones brings her multihyphenate approach to TV by writing, directing, and starring in this seven-episode comedy series. Another addition to the ever-growing list of multiverse-adjacent stories, this features Lister-Jones as a woman who escapes her frustratingly functional marriage by escaping into other versions of herself. Emily Hampshire, Whitmer Thomas, Tymika Tafari, and Amar Chadha-Patel co-star in the show, which premiered at SXSW last month.
“Saint X” (April 26, Hulu)
Image Credit: Paloma Alegria/Hulu
Praise for Alexis Schaitkin’s novel of the same name highlighted an ability to subvert reductive true crime expectations. This eight-episode screen version will look to do the same thing, showing the aftermath of a young girl’s disappearance while on a trip to the Caribbean. Through multiple perspectives, the show looks at how that mystery affects both her family and the fabric of the local community. Alycia Debnam-Carey, Josh Bonzie, West Duchovny, Jayden Elijah, Bre Francis, Kenlee Anaya Townsend, Betsy Brandt and Michael Park star in the series, with Leila Gerstein leading the adaptation efforts.
“Love & Death” (April 27, HBO Max)
Image Credit: Jake Giles Netter/HBO Max
Roughly a year after the Hulu series “Candy” dramatized the same small Texas town saga, Elizabeth Olsen and Lily Rabe step into the roles of an unassuming Wylie housewife and the friend accused of brutally murdering her. It’s a story of faith and betrayal and tragedy that also happens to be written this time by David E. Kelley. Veteran director Lesli Linka Glatter steps in for five of the seven episodes, which feature an ensemble with Jesse Plemons, Patrick Fugit, Elizabeth Marvel, Krysten Ritter, Keir Gilchrist, Brian d’Arcy James, Tom Pelphrey, and Bruce McGill.
“Citadel” (April 28, Prime Video)
Image Credit: Courtesy of Prime Video
Maybe the biggest Prime Video series in years that doesn’t involve Tolkien (that we know of) is this Russo Brothers-produced international action spy thriller. It centers around the aftermath of the crumbling of a covert, independent intelligence agency. Years after their cover was blown and their mind wiped, a pair of agents (Richard Madden and Priyanka Chopra Jonas) are forced to help each other recover their memories and keep their former enemies from doing even more damage. “Hunters” and “Invasion” creator David Weil serves as showrunner here, overseeing a cast that also includes Stanley Tucci and Lesley Manville.
“Fatal Attraction” (April 30, Paramount+)
Image Credit: Monty Brinton/Paramount+
The late-‘80s thriller gets an update in this new show from “Dirty John” creator and showrunner Alexandra Cunningham. It borrows the film’s same setup: High-powered lawyer Dan Gallagher (Joshua Jackson) blows up his seemingly perfect home life when his workplace flirtation with Alex Forrest (Lizzy Caplan) spirals out of control and eventually becomes something far more dangerous. As Cunningham has stated, this newer “Fatal Attraction” will consider more of Alex’s point of view than the film did. Silver Tree, who’s directed some of the best of “You,” will serve in the same role on the three episodes that will be available on premiere day.
“Tom Jones” (April 30, PBS)
Image Credit: Mammoth Screen and Masterpiece
Solly McLeod steps into the shoes of Henry Fielding’s 18th title character for this four-part romance. Sophie Wilde co-stars as Sophia, the well-to-do heiress and object of his affection despite his own social status. Pearl Mackie, James Fleet, Shirley Henderson, and Alun Armstrong are just a few more of the main folks in the massive, costumed ensemble, capped off by “Ted Lasso” star Hannah Waddingham as the memorable Lady Bellaston. This adaptation comes from Gwyneth Hughes, who last tackled a mammoth literary work for the 2018 Prime Video version of “Vanity Fair.”
The trailer for the film certainly did its job of putting the audience at unease as four strangers stroll up to the remote vacation cabin of Eric (Jonathan Groff), Andrew (Ben Aldridge), and Wen (Kristen Cui), holding them hostage while asking them to make an unthinkable and difficult decision in order to save the world from its end.
The official synopsis for ‘Knock At The Cabin’ is below:
“While vacationing at a remote cabin, a young girl and her parents are taken hostage by four armed strangers who demand that the family make an unthinkable choice to avert the apocalypse. With limited access to the outside world, the family must decide what they believe before all is lost.”
While The Rotten Tomatoes scores from both critics and audiences sit around 65% (67% from critics and 63% from the audience), the one thing everyone can agree on is the performance by Dave Bautista. The wrestler-turned-actor is known for portraying Drax The Destroyer in Marvel’s ‘Guardians of the Galaxy’ and can be seen been many titles such as ‘Spectre’, ‘Army of the Dead’, ‘Dune’, ‘Glass Onion’, and more. Bautista plays Leonard in the film, the leader of the group of strangers who arrives at Eric and Andrew’s remote cabin. Quite opposite from Drax, Leonard’s character is pensive and quiet, and Bautista’s captivating performance is definitely something to watch for in this film.
(R to L) Ben Aldridge, Kristen Cui, Jonathan Groff and Dave Bautista in ‘Knock at the Cabin,’ directed by M. Night Shyamalan.
Don’t Expect The Usual Shyamalan Twist In This Movie
Many Shyamalan thrillers have often ended with an unexpected twist that’ll get a huge reaction from audiences, becoming the hot topic in conversations for weeks after the film, such as ‘The Sixth Sense’ or ‘The Village.’ Now, it is almost expected from an M Night Shyamalan title. While the screen adaptation for ‘Knock At The Cabin’ diverted in parts from the novel, the end still plays out similarly. Therefore, don’t expect the signature Shyamalan twist in ‘Knock At The Cabin’
Where Can I Watch ‘Knock at the Cabin’?
The film premiered on February 3rd, 2023. It opened at $14.2 million and has grossed $35.3 million since. You can still experience the horror-thriller in theaters. Be sure to check your local listings and Moviefone for showtimes in your area. ‘Knock At The Cabin’ has a total runtime of 1 hour and 40 minutes.
Watch the official trailers for Knock At The Cabin’ below:
When Will It Be Available To Stream Online?
The movie became available for PVOD on February 2. You can rent the title for $19.99 or purchase the digital copy for $24.99 on platforms like Amazon Prime Video, Vudu, and Direct TV.
And great news for Peacock subscribers, who can stream the movie starting March 24th.
Prefer the own the physical copy? ‘Knock At The Cabin’ will be available to purchase on DVD and Blu-Ray on May 9th with over 40 minutes of bonus features, deleted scenes, and featurettes as listed below:
Chowblaster Infomercial – Enjoy an extended cut of the TV infomercial from the film that features an appearance by M. Night Shyamalan himself.
Choosing Wisely: Behind the Scenes of Knock at the Cabin – Examine what drew M. Night Shyamalan to adapt this terrifying story, and how the relationships between characters were unlike any this ensemble cast had ever played before.
Tools of the Apocalypse – Explore the creation of some of the film’s most terrifying props and learn why they play such an important role in the story
Drawing a Picture – See how M. Night Shyamalan envisions his shots in advance of ever turning on the camera, through his extensive use of storyboards.
Whether fighting alongside the ‘Guardians of the Galaxy’ as Drax the Destroyer or as the ever-intimidating Glossu “Beast” Rabban Harkonnen in the upcoming ‘Dune: Part Two’, Dave Bautista has proven that he is a multi-facet actor with a promising career:
(L to R) M. Night Shyamalan and Ben Aldridge on the set ‘Knock at the Cabin.’
This weekend “Dungeons & Dragons: Honor Among Thieves” opens nationwide. And with it, countless viewers who have never played the tabletop role-playing game, first published back in 1974, will be introduced to a fantastical world full of magical creatures, dangerous dungeons and daring wizards.
Chris Pine stars as a bard and former spy who gets together with some other thieves (among them: Michelle Rodriguez, Justice Smith and Sophia Lillis) to exact some delicious revenge on a former partner (Hugh Grant). The movie debuted at Austin’s South by Southwest Film Festival to a rapturous response and the reviews from critics since have been just as strong.
But the question remains: can someone who has never rolled a five-sided dice get as big a kick out of “Dungeons & Dragons: Honor Among Thieves” as a level-five mage? Read on to find out:
How dorky is “Dungeons & Dragons” anyway?
It’s pretty dorky. The movie has a lovable Renaissance Fair aesthetic and a smart script by Jonathan Goldstein and John Francis Daley and Michael Gilio; there are plenty of references to the original game and its litany of characters and lore, plus a ton of monsters (some created in the computer and others made with the rubbery charm of something like Jim Henson’s “Labyrinth”). In fact, the dialogue is laced with shoutouts that only the most advanced player will comprehend.
But is this an issue?
Actually, no.
Why?
The dialogue is delivered with an accessibly contemporary style and you get the sensation that, no matter how many items or spells the dialogue references, that it doesn’t totally matter. You can always track the action and the motivation of the main characters. The story never gets bogged down in unnecessary lore, knotty backstories or cumbersome mythology. Part of the fun is watching Chris Pine, who feels committed but also aloof, go through these outrageous, mythical scenarios, more annoyed by the supernatural occurrences than engaged by them. A close comparison would probably be Kurt Russell’s Jack Burton in “Big Trouble in Little China.” (Comparisons can also be drawn to “The Princess Bride.”) Sure, he’s swept up in this crazy nonsense. But he couldn’t be more put-out about it either. It’s a hoot.
Were you ever confused by what the characters were talking about?
Sure, from time to time. But it never slowed down my enjoyment of the movie, which moves like a runaway rocket.
Is the game aspect of “Dungeons & Dragons” ever brought up?
Not really. Although you’re not wrong to assume this. After all, Goldstein and Daley’s last movie as directors was 2018’s impeccable studio comedy “Game Night.” And using the framework of a board game makes sense, especially in our post-“Jumanji” world. But aside from some oblique references (including a great visual gag towards the end), there is never the idea that the characters in the movie are being controlled or commanded by unseen players. To do that would somehow minimize the adventure. And this adventure is big.
If you’re a non-gamer, would this compel you to pick up a board, grab your friends and begin your quest?
Not really. Which is probably for the best. You have enough hobbies already, don’t you?
What about longing for a sequel?
Oh definitely. While the references to other parts of “D&D” lore never slow down the storytelling or confuses the viewer, it does make you imagine that the world of “Dungeons & Dragons: Honor Among Thieves” is way bigger and more complicated than one movie could contain. With any luck, this movie becomes the springboard for a whole suite of movies and spinoffs. But as with any movie, its success or failure is a roll of the dice.
“Dungeons & Dragons: Honor Among Thieves” is in theaters now.
Disney has officially announced the casting of Jenna Ortega and Simu Liu in the upcoming live-action adaptation of the beloved classic Princess and the Frog. To bring this classic into the modern era, the film is set to be directed by Jon Favreau, who previously directed Disney’s The Lion King and The Jungle Book.
Jenna Ortega, known for her roles in Jane the Virgin and You, will be playing the lead role of Tiana, a young woman who dreams of opening her own restaurant in 1920s New Orleans. Simu Liu, who recently starred in Marvel’s Shang-Chi and the Legend of the Ten Rings, will be playing Prince Naveen, a charming but lazy prince from the fictional country of Maldonia.
“I am thrilled to be playing Tiana in the live-action adaptation of Princess and the Frog,” said Jenna Ortega. “Growing up, I didn’t see many characters on screen who looked like me or came from similar backgrounds, so it’s truly an honor to be part of a project that showcases the beauty and richness of different cultures and experiences.”
“…an honor to be part of a project that showcases the beauty and richness of different cultures and experiences.”
Simu Liu added, “I am honored to be joining this incredible cast and crew for ‘Princess and the Frog.’ This story is beloved by so many, and I am excited to help bring it to a new generation of fans. As an Asian actor, it’s not often that I get to see myself represented as a prince or a romantic lead on screen. So, being cast as Prince Naveen in Princess and the Frog is a dream come true. I hope that this film will inspire young people from all backgrounds to see themselves as heroes and heroines in their own stories.”
The live-action adaptation of Princess and the Frog will feature a mix of live-action and computer-generated imagery (CGI), and will include many of the classic songs from the original film, as well as new songs written by Lin-Manuel Miranda. He expressed his admiration for Newman’s musical talents and the impact that his music had on the film. In a 2018 interview with The Hollywood Reporter, Miranda called Newman “a living legend” and said that he had been a huge influence on him and his work.
“We are thrilled to have Jenna and Simu join the cast of Princess and the Frog,” said Disney Entertainment Co-Chairman Alan Bergman. “Both actors are incredibly talented and will bring their own unique energy to these beloved characters.”
The film is set to begin production in summer 2023, with a release date slated for summer 2024.
The Ontario NDP says it has removed Algoma-Manitoulin MPP Michael Mantha from its caucus over allegations of “misconduct” relating to an alleged inappropriate relationship with a staffer.
NDP Leader Marit Stiles announced in statement that the party has launched an independent third-party investigation into the allegations — the specifics of which were not revealed by the party — in an effort to “create a safe workplace.”
Senior party sources tell Global News the allegations first came to Stiles’s attention when she assumed leadership of the party earlier this year and immediately launched an investigation in the allegations of misconduct.
At the same time Manta, who was first elected as a New Democrat in 2011, was asked to take a leave from Queen’s Park and the NDP caucus while the allegations were being looked into.
Sources said Stiles received an interim summary of the allegations prompting the leader to take action.
“I have removed Michael Mantha from the Ontario NDP caucus, while an independent third-party investigation into alleged misconduct takes place,” Stiles said.
“In order to protect the privacy of the complainant and allow the investigation to run its course I cannot share further details at this time.”
I take my responsibility to create a safe workplace seriously.”
Global News has not received a response from Mantha.
Gotcha! For some celebrity couples, silly pranks are a lifestyle. Whether it’s April Fools’ Day or not, they love to show their love by joking around with one another.
Harington shared a clip of the April Fools’ Day prank on The Jonathan Ross Show, filming his unsuspecting wife opening the refrigerator to grab a pitcher of water. A moment later, she ran from the fridge screaming, falling to the floor to catch her breath.
In the refrigerator was what appeared to be a severed head that looked just like Harington. “She pretty much told me if I ever did it again, that would be it. And I think that’s marriage included,” the London native said.
Other celebrity couples are known to often document their pranks on social media, such as Ryan Reynoldsand Blake Lively. Reynolds is famous for his sense of humor, but the Gossip Girl alum has frequently excelled at one-upping her husband.
The wisecracking lovebirds, who married in 2012, often publicly joke with each other. In 2016, The Adam Project actor wished his wife a happy 29th birthday with a hilarious tweet: “Just want to wish Billy Ray Cyrus the most special, magical birthday ever. I love you with all my heart. Also, Happy Birthday to my wife.”
In 2021, Lively had some fun by posting a photo on her Instagram Story, sitting between him and Gigi Hadid for the supermodel’s birthday. “Happy birthday @gigihadid,” she wrote. “I think you and I make a much better couple.”
The A Simple Favor actress and Reynolds, who share four children, have been candid about why they enjoy playing practical jokes on one another.
“I dunno, she’s always kind of had that super acerbic aspect of her [and] we’ve always sort of had a relationship that’s predicated on kicking each other’s ass a little bit. We have fun with it,” the Proposal star said during a CBS Sunday Morning interview in January 2023. “It’s also an expression of safety too, in the relationship as well. You can kind of have fun with each other that way, chances are you guys are good friends. At the end of the day, that’s what works. I love her but I like her. Like, I really like her. So that’s what I think really helps us.”
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Bailey Bass won’t be continuing in the role of Claudia for Season 2 of AMC’s “Interview With a Vampire,” the network announced late Friday.
“Bailey Bass is a talented actor who did a remarkable job bringing the character of Claudia to life in Anne Rice’s ‘Interview With the Vampire.’ For a variety of reasons, Delainey Hayles will appear as Claudia in season two. We are grateful for Bailey’s unforgettable performance in season one and wish her nothing but the best,” the network said in a statement.
In her own statement, Bass said, “Playing Claudia has been a dream role and an incredible ride. I wish Delainey the best of luck in taking over. I cannot wait to watch. I’m extremely appreciative of AMC, the producers, Jacob, Sam, the crew and, of course, the wonderful fans.”
Hayles previously appeared in “The Lion, the Witch and the Wardrobe” in London’s West End, “Too Close” on ITV and “Holby City” on the BBC. She’s represented by James Beresford at The Artists Partnership.
She joins series regulars Jacob Anderson, who plays Louis de Pointe du Lac, and Sam Reid, who stars as Lestat de Lioncourt.
Production on the second season of the series, which is based on the works of Anne Rice, will begin filming next week in Prague and will also shoot in Paris and New Orleans.
Bass also stars as Tsireya in James Cameron’s blockbuster “Avatar: The Way of Water” and will reprise her role in future installments of the franchise.
On Friday, the biggest story in the country continued to be the historic indictment of disgraced former president Donald Trump. So naturally Jimmy Fallon spent some time talking about it during his “The Tonight Show” monologue that night.
But Fallon was able to find a silver lining for Trump amid all the legal problems: He could still hold political rallies even if he’s convicted, “because a lot of his supporters are also in prison.”
Fallon kicked off his monologue with a joke that the Gwyneth Paltrow was the real “trial of the century” before getting into the Donald Trump matter. After explaining the situation — Trump was being investigated in connection to a hush money payment of $130,000 made to Stormy Daniels in 2016 — he first mocked how Trump has generally reacted to the matter.
“Trump is like, ‘I didn’t do it. I didn’t do it. And if I did do it, I barely did it. My first witness is Stormy. Did I do it?’” Fallon Joked.
“Everyone is talking about Trump’s indictment. The news is so huge that even CNN is like, ‘We’re back, baby!’” Fallon continued. “Of course some people are worried that Trump’s arrest will create division in the country. Right. ‘Cause we were having a big old pizza party before this.”
Fallon noted the report that Trump and his legal team were surprised by the indictment, apparently because they didn’t expect anything like it for weeks. “Not great when everyone’s like, ‘we knew you’d go to jail. We just didn’t think it’d be so soon, you know?” Fallon said.
Fallon then had some fun with the typos Trump wrote in his Truth Social posts ranting about the indictment. Then he noted the speculation about how Trump might get out of the mess he’s in — Fallon joked it’s all explained in Trump’s new book, “The Art of the Plea Deal.”
Next up, Fallon noted the fascinating wrinkle in the story — that the Manhattan District Attorney is reportedly investigating a second hush money payment to a different woman. “Right now, Trump’s panicking. He’s like, ‘OMG, what if Stormy finds out I cheated on her,” Fallon joked.
Noting that Trump faces up to 4 years in prison, but that he could be out in 2 with good behavior — ‘so, 4 years,” Fallon quipped — he identified the silver lining.
“But here’s some good news for Trump. Even if he is convicted he can still run for president. And he can still hold rallies because a lot of his supporters are also in prison,” Fallon said, obviously referring to the number of Trump supporters arrested for participating in the deadly Jan. 6 attack.
There’s more of course; you can watch the entire monologue at the top of the page.
It is true, artists only need love and appreciation for their art. However, sometimes the amount and way of expressing affection become so brutal that they have to change their ways of communicating with their fans. Phoebe Bridgers recently shared a terrible incident she had with a fan and it led us to other celebrities who also had the similar kinds of experiences.
On January 3, Bridgers announced the death of her father and after around a week’s time, she appeared with a comedian named Bo Burnham. In her interview with Them magazine, the singer opened up about being bullied by her fans. She angrily acknowledged the fact that people who like her music bullied her on her way to her father’s funeral. Bridgers revealed she hated the act and blamed capitalism for spoiling kids. Those who claimed to be in support of the singer were the ones who dehumanized her and shamed her.
Apart from this, there have been other incidents of fans’ terrible behaviour with celebrities. For instance, Millie Bobby Brown got an uninvited fan when she was shooting for her film, Damsel, in London.
Apart from Phoebe Bridgers, these 7 celebrities fell prey to fans’ brutal behaviourFinn Wolfhard
When the Stranger Things star was just 14, a couple followed him to his home in Toronto just to get a picture with him. However, Wolfhard found it creepy and denied the request.
Credits: ImagoPete Davidson
When the comedian ended his relationship with the singer, Ariana Grande, fans bullied Davidson for a whole nine months. On his Instagram, he posted a message for the bullies. Pete Davidson mentioned keeping his mouth shut as he was trying to understand how something happened to a person, and the entire world goes down on him.
Credits: Imago
His ex-girlfriend, Ariana Grande, also posted in his support and urged fans to be supportive.
Cardi B
When the American singer’s then-estranged husband surprised her to ask if she would take him back, fans bashed him. Cardi B told her fans on an Instagram video not to harass the father of her children.
Cardi B revealed she did not like the bullying and would not want the father of her children to go through any trouble as no matter what; he was still the family to her.
Matt Smith
The Crown star once had an encounter with a fan who tried to kiss him. A female fan came with a poster of a hedgehog. She declared he looked like the hedgehog and then tried to kiss him. Though security picked her, she did not stop screaming the word hedgehog.
Niall Horan
The former One Direction singer, once had a fan who jumped up on his back during the concert to get his attention. Horan said she wanted a piggyback from the singer.
The Game of Thrones actress changed her mind about taking selfies with her fans after an incident. Once, she was having a panic attack and talking to her mother over the phone. During that time, a fan came to her and asked to take a picture with her. This surprised her so much that she decided to sign something for them but wouldn’t take a selfie with them.
Credits: ImagoEmma Watson
The Harry Potter star would not take a picture or wouldn’t allow anyone to take her picture and post it online for her own safety. She said she couldn’t allow people to track her everywhere.
Apart from these celebrities, there are others who have faced fans who have violated their privacy one way or the other. Do you also know any such incidents? Share them with us in the comment box below.
Bhandup Police SI Nitin Unawane visited Nitin Bane’s house as a fan.
Nikhil took to social media to post about police visiting his home and fans wanted to know what it was all about.
Marathi TV show Maharashtrachi Hasyajatra has gained immense popularity. Every participant of the show has become a household name and people have been cheering for all of them . One such name is actor-comedian Nikhil Bane who rose to fame from the show itself. He has created a loyalty for himself in the hearts of fans through his humorous pieces. Recently, he took to social media to post about police visiting his home. Fans wanted to know what it was all about.
Nikhil posted a couple of photographs and captioned it, “Senior Police Inspector (PI) of Bhandup Police Station Nitin Unawane visited my residence today. Happy moment for me and my family. He is a big fan of our program Maharashtrachi Hasyajatra”. The caption revealed that the police inspector made a friendly visit to his house as he is a huge fan of the show and Nikhil.
The post garnered a lot of social media attention. People showered their love for the comedy show in the comments section. Even though Nikhil is famous now, he lives in a chawl in Bhandup, Mumbai. This isn’t the first time he has shared photographs of his house. A visit from the SI of Bhandup Police made the photographs even more special.
One user commented, “Simply great dear Nikhil. It itself is an honor to your efforts as a part of… Maharashtrachi Hasyajatra… And all other great Artists of MHJ… Heartiest Congratulations buddy. Just keep it up.” Another user commented, “Nice Nikhil, keep making people laugh with your talent and don’t forget to smile either.”
Some complimented his house and others expressed their pride to see Nikhil doing so great.
Nikhil will be appearing alongside Dattu More, another comedian from Maharashtrachi Hasyajatra, in a prominent role in the show Boss Mazi Ladachi. The two are all set to entertain everyone with their acting and comedy in the new show.
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The ecosystem of indie wrestling shows running alongside WWE’s annual Wrestlemania has become a tradition. It’s a time rife with opportunities for wrestlers, with plenty of work to go around and the chance to connect with fans more directly — it’s even become protocol for countless wrestlers from overseas to book their American tours around Mania Weekend. As Los Angeles continues transforming into a worldwide showcase for the richness and diversity of wrestling, this year fittingly features a bevy of international talent, particularly for practitioners of Japanese wrestling.
One of this weekend’s major events involves a direct collaboration between American and Japanese promotions: Thursday night’s IMPACT and New Japan Pro Wrestling’s “Multiverse United” at the Globe Theater, which brought together major Japanese stars such as Hiroshi Tanahashi and KENTA, along with North American indie darlings such as “Speedball” Mike Bailey and Lio Rush. Prestige Wrestling’s “Nervous Breakdown,” on Friday night, which features legends such as Aja Kong — one of the most celebrated women to step foot inside the ring — and up-and-coming talent such as powerhouse bruiser Shigehiro Irie will also take the Globe stage.
Wrestler Aja Kong will be at Prestige Wrestling’s “Nervous Breakdown” event this weekend.
(Courtesy of EAW)
Kota Ibushi, one of the most decorated and acclaimed performers of his generation, took down Canadian phenom Bailey at Josh Barnett’s Bloodsport 9 Thursday night. It not only marked Ibushi’s first stateside appearance since the pandemic, but also his first match since declaring himself a free agent after a controversial departure from New Japan Pro Wrestling, where he’d worked as a main event contender for over a decade.
The former tag team partner of AEW star Kenny Omega, Ibushi is one of the few wrestlers who engages in comic antics in the ring — wrestling sex dolls, for example, or shooting fireworks out of his backside — without sacrificing any of his serious athletic credibility. Before he became a more recognizable star, Ibushi cut his teeth for Dramatic Dream Team (DDT), which found an international cult following thanks to its unique blend of Jackass-like stunts and serious grappling.
Since its emergence in the 2000s, DDT set the blueprint for Japanese indie wrestling to come, and its influence can be seen all over American wrestling as well — there’s a direct line from WWE’s Sami Zayn doing absurd stunts for DDT, like wrestling while paddling a canoe down a river, and his hijinks-heavy Rube Goldberg machine of a match with Johnny Knoxville at WrestleMania last year.
One of DDT’s breakout stars is MAO, a technically dazzling performer who mixes a punk rock energy and bold sense of humor with nimble grappling. He has already made several trips across the Pacific in 2023 and says that even if the audience’s love of wrestling is deep in both the United States and Japan, traveling internationally allows for different kinds of connections.
“I like foreign fans because I like hearing their chants,” MAO explains. “Japanese fans have a different style of cheering and call out our names, while American fans are very honest. If something is bad, they say it’s bad. If something is great, they say it’s great.”
Hiroshi Tanahashi poses for a photo in the ring at AEW Forbidden Door in June 2022.
(Courtesy of AEW)
This weekend presents a rare opportunity for American fans to receive the full DDT experience, with a full-blown takeover of the Ukrainian Cultural Center. In arguably one of the most intense matches of the weekend, AEW star and indie pioneer Eddie Kingston teamed up with Jun Akiyama, one of Kingston’s personal heroes and an indisputable legend of Japanese strong style, to take on the brooding, gothic Daisuke Sasaki and KANON.
On Friday night the DDT roster squares off against the outlaws of Game-Changer Wrestling (GCW), an American indie promotion that gained increasing momentum at the height of the pandemic. Matchups include Dark Sheik, the godmother of the Bay Area’s underground wrestling scene and the creative force behind the endlessly inventive DIY promotion Hoodslam, taking on pop idol Saki Akai. Meanwhile, Bay Area-based wunderkind Starboy Charlie stares down Kazusada Higuchi, a former sumo wrestler and decorated champion with an old school strongman look.
Tokyo Joshi Pro Wrestling (TJPW), DDT’s sister promotion, has exploded since its founding in 2012, and will make its American debut on March 31 as well. The dramatic growth of TJPW, from underground shows a decade ago to pay-per-view today, speaks to the rise of Japanese wrestling fandom in the United States as well as a greater respect for women’s wrestling. American performers on “TJPW Live in Los Angeles”include Trish Adora, Billie Starkz, and “The Nonbinary Nightmare” Max The Impaler, all of whom have been making waves on recent tours abroad in Japan, alongside TJPW stars like Miyu Yamashita and Yuka Sakazaki.
From MAO’s vantage point, DDT has found a growing worldwide audience not just because of its unique style, but also because of how devoted the talent is. “We do it all: comedy wrestling, lucha libre, hardcore,” he adds. “And we always give 100%.”
As a form long predicated on the exchange of talent between countries, wrestling was hit particularly hard by restrictions on intercontinental travel over the last few years. Now that pandemic-era guidelines have eased, there’s a mutual enthusiasm on the part of performers, who are eager to get out in front of crowds and introduce themselves to new audiences, and fans themselves, who are itching like never before to see wrestling live and in the flesh. But the influx of Japanese talent this Mania Weekend feels particularly unique to Los Angeles. Because of California’s relative proximity to Japan, the L.A. wrestling scene has a rich history of collaboration with Japanese promoters that goes back decades.
“In the 1960s, Los Angeles was a very important place for Japanese wrestlers,” explains Dave Meltzer, one of the foremost historians of professional wrestling and a longtime California resident. “Back then, all the major papers and magazines in Los Angeles covered wrestling and published match results, so if you were a Japanese wrestler who came to the United States to work, the press coverage and photographs could make you seem like a worldwide star back in Japan.”
At the time, wrestling in Japan was dominated by the Japan Pro Wrestling Alliance, founded in 1951 by national hero Rikidozan — for the first several years of its existence, the JWA collaborated and exchanged talent with the National Wrestling Alliance, the main governing body for pro wrestling in the United States. JWA eventually broke from the NWA to work with the new Los Angeles organization Worldwide Wrestling Associates, which had just split from NWA itself. In the 1960s, when the “world title” was spoken of in Japan, it wasn’t the more famous NWA Title but rather the world heavyweight title of the WWA. Said title was defended both abroad and in Los Angeles’ Olympic Auditorium — Japanese networks such as TV Asahi even broadcast title matches from the city’s fabled sports venue, which was the epicenter of Los Angeles wrestling for decades.
Los Angeles wrestling’s splashy news coverage went both ways: It helped anoint American wrestlers such as “Classy” Freddie Blassie and The Destroyer as bonafide pop culture icons in Japan. “If you were covered in those magazines, you were a star in Japan on Day 1, before you even arrived,” says Meltzer. Because of his tremendous box office success in Los Angeles and his frequent appearances in wrestling magazines, legendary Mexican luchador Mil Máscaras was poised for stardom overseas, and his distinctive mask and colorful cape gave Japanese audiences their first glimpse of lucha libre.
By the 1990s, a whole generation of Japanese performers such as The Great Sasuke and Último Dragón had grown up with luchadores Máscaras, Dos Caras, and Gran Hamada, and would blend hard-hitting Japanese athleticism with the acrobatics of lucha libre. The result is usually referred to as lucharesu: a term combining lucha libre and “puroresu,” the Japanese term for pro wrestling.
Lucharesu found its way back to Los Angeles around then, where it deeply influenced the high-flying antics of cult favorite Pro Wrestling Guerilla, the Reseda-based promotion that bred future superstars of AEW and WWE like The Young Bucks, Adam Cole, and Kevin Owens. Even after the demise of World Wrestling Associates in greater Los Angeles, Japanese superstars like Antonio Inoki and Atsushi Onita ran shows in the area in the 1990s, bringing together a distinctly multicultural audience of Mexican lucha libre fans, Japanese immigrants, and American wrestling enthusiasts.
The pro wrestling landscape may have changed drastically over the decades, but Los Angeles continues to inhabit a singular position as a cultural waypoint of wrestling culture, especially between Mexico, Japan and the United States. This year’s Mania Weekend is a testament not only to the city’s unique history as a wrestling epicenter, but also provides indelible evidence of wrestling’s inherent internationalism.
Marvel Studios officially revealed the identity of Secret Invasion‘s main Skrull villain played by Kingsley Ben-Adir.
Secret Invasion will be the next Disney+ project to come from Marvel Studios after the first “crossover event” series in its history. Based on the comics of the same name, Earth may be up against one of its biggest threats yet.
The comic book storyline saw the Skrulls infiltrate Earth, using their natural shape-shifting ability to replace people in positions of power to takeover the planet as their new home.
Up until now, the Skrulls have only ever been seen as friendly in the MCU, most notably in Captain Marvel. But soon, fans will be introduced to a whole new side of the iconic alien race as they infiltrate humanity in Secret Invasion.
Disney+’s Secret Invasion Reveals Its Skrull Villains
Vanity Fair published new details on Marvel Studios’ Secret Invasion, which included the first official confirmation and details of the Skrull villain Gravik behind the Disney+ series, played by One Night in Miami‘s Kingsley Ben-Adir.
Marvel Studios
Gravik leads a group of Skrull extremists who have broken away from the Talos-led peaceful shape-shifters introduced in Captain Marvel. The extremists, who were radicalized by Ben-Adir’s Skrull, are described as “tired of asking… [and] waiting.”
The reason behind Gravik’s parting from Talos’ faction is to “seize the resources they need,” initially with stealth and their shape-shifting powers, and later with violence.
Marvel Studios previously spoiled the identity of Ben-Adir’s villain with an image captioned “Rebel Skrull leader Gravik” that was released after D23 2022, showing off the shape-shifting antagonist in his true form.
Marvel Studios
The plot is said to have parallels to stories from across real history that have seen displaced groups become divided and reach a breaking point when patience and diplomacy eventually fail.
Talos actor Ben Mendelsohn explained how the tension between Skrull groups could in some way be said to mirror that of “the Cold War stuff:”
“I think any time that you get cultures that have significant tensions between groups of people, then you can find a corollary. The Cold War stuff is the big one that jumps out, but there is plenty of strife between groups of people that this addresses.”
Secret Invasion executive producer Jonathan Schwartz explained how Gravik has set up his bases in “decommissioned radioactive sites within Russia” – where much of the series takes place – due to Skrulls’ ability to withstand radioactivity:
“Skrulls are much more able to withstand radioactivity, and there are a ton of decommissioned radioactive sites within Russia. That’s where Gravik has set up his base of operations.”
Vanity Fair’s report also had some new details to offer regarding Olivia Colman’s character who “has a past with Nick Fury,” working both with and against him.
Marvel Studios
The actress will play “a high-ranking agent in the British Intelligence Service” called Special Agent Sonya Falsworth:
“She is a high-ranking agent in the British Intelligence Service who has a past with Nick Fury. Sometimes [she’s] working with Nick Fury, and sometimes working against him as their goals either align or collide.”
What Are the Skrulls Planning in Secret Invasion?
The Skrulls are renowned as a race of villains in Marvel Comics, so when they were introduced as peaceful, displaced people in the 90s-set Captain Marvel, many were taken aback. They even became close allies to Nick Fury over the years, filling in for him and Maria Hill in Spider-Man: Far From Home.
Fans are about to learn that, as is true for all peoples, how there are both good and bad Skrulls with Kingsley Ben-Adir’s character set to serve as the face of this new extremist faction. Just like the Secret Invasion comics, this group will seemingly infiltrate humanity, this time to gather certain resources, likely for their mystery underground device.
Going back to Marvel Comics, Secret Invasion revolved around the mystery of who was actually a Skrull imposter. That will undoubtedly be the case in the streaming series, too, as Gravik’s forces infiltrate Earth. Although, things will be quite different without the Avengers involved this time around – except for Don Cheadle’s War Machine.
The Skrulls’ goal within the comics was to take over Earth as their new home, and that may be the master plan for Kingsley Ben-Adir’s Gravik as well. However, whatever device the Skrulls are reportedly building seems to be at the heart of their plan, and they will likely replace people in positions of power to get the resources they need.
Of all the main characters confirmed for Secret Invasion, one obvious contender to be a Skrull imposter based on this storyline comes with Martin Freeman’s Everett Ross. After all, if it’s advanced resources the Skrulls are after, Ross’ connections to Wakanda may be able to help facilitate that.
Secret Invasion premieres on June 21, exclusively on Disney+.
Review: Stargirl: The Lost Children #5 [Editor’s Note: This review may contain spoilers]
Writer: Geoff Johns Art: Todd Nauck Colors: Matt Herms Letters: Rob Leigh
Reviewed by: Matthew B. Lloyd
Summary
Stargirl and the Lost Children identify the buyer who’s ready to take them all away from Childminder. It’s a surprise to Courtney and the plot thickens as the true nature of the buyer’s motivation remains hidden.
Positives
Throughout the first four issues of this mini-series, Todd Nauck has done a, dare I say it, “stellar” job, on the art. Last issue, it was the remarkable cover that stood out, and this issue it’s consistency that presents itself. Pages 2-3 feature a double page spread that not only depicts an action packed confrontation, but a full line up of all the Lost Children. With the newly added Courtney and Emiko, it’s a staggering 27 characters seeking escape from “Orphan Island.” It’s amazing, but now that this series is nearly completed there isn’t one of these that doesn’t provide some bit of excitement or interest.
Nauck uses a repetitive layout on a double page spread we’ve seen in each issue of this series. The outside edges of the double pages feature a character in profile on each side looking beyond the edge of the page. This issue, it’s Hourman and Judy “The Boom” Garrick. (see below fore more on Hourman), but it’s been other characters in previous issues. It’s a creative approach to the layout of the page allowing for closeups as well as smaller panels that move the story forward between the two heads. As Nauck has used it in each issue, it’s a storytelling motif that defines the look of this series.
Positives Cont’d
Geoff Johns continues to develop that elusive nostalgia factor into something new that incorporates the past while at the same time being new. In the case of Stargirl: The Lost Children #5, we not only see all of the Lost Children, but a second twist on the appearance of the android Hourman. He was revealed last issue, and apparently a villain this time around. However, the end of this issue when Courtney comes face to face with shows the reader that there’s yet more going on to be discovered. Recently, Johns projects have built on each other with characters and themes from Doomsday Clock resurfacing in Flashpoint Beyond and the snow globe from that series ending up in The New Golden Age and the concurrently running Justice Society of America. The question must be asked, “Will this series lead to something else or just dovetail into the aforementioned JSA series?
It doesn’t seem too far fetched to think that these Lost Children have been pulled out of time to be saved from a predator. As we’ve seen Helena Wayne in Justice Society of America, there is such a predator out there killing the Justice Society at different points in time. It’s not certain that this is Johns’ endgame, but it is plausible. That predator is Per Degaton, a time traveling villain, and the android Hourman in this series is a time traveler. Additionally, the Lost Children have been pulled out of time. It’s an intriguing prospect which could result in an extremely satisfying climax involving both series.
Negatives
Well, there just isn’t going to be anything significant found in these parts.
Verdict
As DC Comics advertises the “Dawn of DC” initiative in their comics this month, it feels incongruous with development of the world building in Stargirl: The Lost Children #5. “Dawn of DC” seems to be eschewing the foundations of character development in favor of “new” and “different” approaches. Johns’ corner of the DC Universe continues to embrace its past and legacy. Nightwing appears to fit more along these lines as it reinvigorates The Titans, and certainly Jeremy Adams’ soon-to-end run on The Flash goes right along with what Johns is doing. There’s a clear sense of connecting with the past in Stargirl and Justice Society of America which alone contributes to the sense of character growth and development as well as the exploration of the DC Universe.
Credits: ImagoPete Davidson
Credits: Imago
Credits: ImagoEmma Watson
