‘Jackie the Wolf,’ About Right-to-Die Activist, Debuts Trailer, Deckert Boards as Sales Agent

“Jackie the Wolf,” which will have its world premiere at Hot Docs in the World Showcase program, has debuted its trailer with Variety (below). Deckert Distribution has boarded the film as its world sales agent.

The film is a personal exploration of the life and eventual death of right-to-die activist Jacqueline Jencquel, directed through the lens of her son, filmmaker Tuki Jencquel.

“In 2018, my mother announced her assisted suicide plans to the world through a controversial interview with Konbini news, which went on to be seen over 18 million times. I had already been filming my mother on and off for many years, but this interview triggered something urgent in me,” Tuki Jencquel said.

“As a right-to-die activist in France, her personal declaration made her even more visible, which in turn reinforced her convictions. As a filmmaker and as her son, this film has come to mean more to me than I anticipated at the start. I look forward to sharing my mother’s life and legacy with the Hot Docs audiences.”

Jacqueline Jencquel, at the age of 74, lives a comfortable life in a splendid apartment in Saint-Germain. Apart from a few age-related ailments, she’s in good health. And yet Jackie has decided to die. A mother, grandmother and dedicated right-to-die activist, she sparks a media frenzy by announcing that she will end her life in January 2020.

As the clock ticks, she faces the camera of one of her three sons, Tuki. Taboos are broken in an honest exchange about death, love, desire and motherhood. Though determined to go ahead, she postpones her final act, in order to enjoy one last spring, one last summer. But when Jackie learns of the imminent birth of a grandchild, she begins to waver and she pushes back “the date” yet again. Seizing on this grace period, Jackie’s son records a series of increasingly meaningful encounters with his mother as he struggles to accept her decision and to learn to let go.

Tuki Jencquel, who was born in Caracas, Venezuela, has a degree in film from NYU’s Tisch School of the Arts, and a Master of Business Administration from IESA, Venezuela. He founded Orinokia Filmproduktion in 2018, when he moved to Germany. As a director and cameraman he has worked with Deutsche Welle and for Chinese artist Ai Wei Wei.

His first feature-length documentary, “Está Todo Bien,” gives a rare voice to the victims of Venezuela’s public health system collapse. It was shown in the Best of Fests section at IDFA 2018 and won numerous international awards. “Jackie the Wolf” is his second documentary feature. He is a member of the German documentary association AG-Dok and a Eurodoc 21 alumni.

“Jackie the Wolf” is produced by Andy Cohen (AC Films, U.S.), Estelle Robin You (Point du Jour – Les Films du Balibari, France) and Jencquel (Orinokia Filmproduktion, Germany).

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March 28, 2023

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“Jackie the Wolf,” which will have its

Global

Kelowna, B.C. mayor calls for playgrounds to be exempt from drug decriminalization

Kelowna, B.C.’s mayor is hoping to see changes to the rules for drug decriminalization in B.C.

Since the end of January, adults in the province have been able to carry up to 2.5 grams of opioids, cocaine, meth and ecstasy without fear of criminal penalty.

Now, Mayor Tom Dyas is seeking modifications to further protect kids.

He wants to add playgrounds and areas of parks frequented by kids to the list of locations where drug possession is still banned.

“There are areas that were already put into place [where drugs remain criminalized] with regards to elementary schools and daycares and airports,” said Dyas.

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“All we are doing is just broadening the scope a little bit of areas that we feel like could potentially put children at risk or young families at risk.”

For Dyas it’s a safety issue.

“There [are] concerns with respect to community areas where syringes or foils or things can still be left on the ground which could potentially hurt members of our community,” said Dyas.

“It is safety for some of our most vulnerable which are the children within our community.”

Dyas said he doesn’t want to address the issue through a city bylaw as he wants to the rules to be the same province-wide to prevent the uncertainly created if each municipality makes its own regulation.

Interior Health did not have anyone available Tuesday to speak directly to the Kelowna mayor’s proposed changes.

However, the health authority has previously argued that bylaws prohibiting public drug use and fining people could undermine decriminalization by reinforcing stigma.

“Remember that people who use drugs are not inherently dangerous,” said Medical Health Officer Dr. Carol Fenton in a March 10 interview.

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“If people are concerned about visible drug use or drug paraphernalia it is really important to check in and say does my community have a safe place for drug users to go and do their drugs?”

Kelowna does have overdose prevention sites.

In a statement, the provincial Ministry of Mental Health and Addiction said it is working “to support municipalities in adopting a public health approach to substance use,” which suggests the province may not be considering expanding the list of sites where drugs are still criminalized.

“The Government of BC is mindful that aggressive enforcement activities such as ticketing may drive people to use drugs alone. With the increasingly toxic drug supply, using alone can be fatal,” the provincial statement said.

Meanwhile, as the mayor argues for more limits on public drug use, the city is also investigating the possibility of allowing alcohol consumption on beaches.

“What we want to make sure that we don’t do is look at taking our average citizens who decide that they would…potentially like to just sit down and watch a sun set and have a beverage and have them fined, said Dyas.

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Fenton has argued that enforcement around rules about alcohol use in public can have similar negative impacts to drug enforcement.

“From a public health perspective we definitely do not want to encourage visible alcohol consumption on any public space, but at the same time we recognize the harms from the enforcement of those types of policies. They usually disproportionally impact our vulnerable community members and don’t actually solve the underlying reasons or problems which are usually a lack of a better or safer place to do that,” said Fenton.

2:00
Interior Health expresses concerns about proposed park drug use ban

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Tech

Apple just patched a load of iOS and iPadOS security flaws, so update now

Apple has released iOS 16.4 and is urging iPhone users, particularly those with older devices, to update immediately to benefit from some important security fixes

Despite the seemingly unassuming update number (16.x, rather than 16.x.x), this update has patched 32 known security flaws (opens in new tab) that have been plaguing iOS 16 users for some time, making it a vital update even if you’re not chasing the latest features.

Among the patched vulnerabilites is a fix for a WebKit type confusion issue that hackers could use trigger OS crashes and gain code execution on compromised iOS and iPadOS devices.

iOS 16.4 security update

If successful, anyone utilizing the flaw could then be able to execute arbitrary code, most likely by tricking the victims into opening malicious web pages.

“Processing maliciously crafted web content may lead to arbitrary code execution. Apple is aware of a report that this issue may have been actively exploited,” Apple describes the zero-day. “Apple is aware of a report that this issue may have been actively exploited.”

Older iPhone devices are particularly susceptible, with the list of impacted devices including iPhone 6s (all models), iPhone 7 (all models), iPhone SE (1st generation), iPad Air 2, iPad mini (4th generation), and iPod touch (7th generation) devices.

Elsewhere, iOS 16.4 also amends a worrying Calendar fault that could have seen malicious invitations leaking user information, as well as further fixes including the Photos app’s Hidden Photos Album which has allowed access without authentication via Visual Lookup, a handful of Safari and WebKit flaws including one that saw some user information be trackable, and a number of kernel-related issues.

More broadly, macOS 13.3 fixes issues relating to trackpad gestures and accessibility features, while iOS 16.4 has also added support for home screen web apps by third-party browsers, a new order tracking widget for Apple Pay purchases as part of the Wallet app, voice isolation for cellular calls (as well as video and VoIP calls as before), and other UI tweaks.

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Apple has released iOS 16.4 and is

Video

NPR prioritizes radio over podcasts with steep cuts

This is Hot Pod, The Verge’s newsletter about podcasting and the audio industry. Sign up here for more.

It’s a busy news day, so I won’t waste time: Adnan Syed’s murder conviction has been reinstated, NPR cancels some of its standalone podcasts, and Slate takes its podcasts to YouTube.

NPR cuts result in the cancellation of four podcasts

Last week, NPR enacted its deepest layoffs since the Great Recession in order to make up for a $30 million shortfall. Ten percent of the staff — more than 100 people — were laid off, and all but one job vacancy was removed from the network’s careers site. The cuts touched all sectors of the organization, including the business side and radio production, but podcasting appears to have been hardest hit.

None of NPR’s radio shows were canceled as a result of the cuts, but the same cannot be said for the network’s podcasts. Seasonal podcasts including Invisibilia, Louder Than a Riot, and Rough Translation have stopped production, as has Wait Wait… Don’t Tell Me! spinoff Everyone & Their Mom. Additionally, the staff of daily science podcast Short Wave announced that they will have to scale back to three days a week.

Nobody was going to be happy with the cuts no matter how they came down, but it was surprising how swiftly NPR deprioritized its podcast-only lineup. And as many observers noted, the cut shows represented some of the network’s most significant attempts at diversifying its stories and talent. If you haven’t yet, I recommend reading Nick Quah’s latest piece for Vulture on why the cuts are bad news for the future of NPR:

The media and podcast world rapidly changed around NPR, and for several years, it seemed like the public-radio institution was similarly changing in response in terms of how it thinks about operations, diversity, how it sounds, who it serves. But moments of deep crises tend to bring out fundamental identities, both in people and in institutions. NPR losing so many of its people is already such a horrible thing. What’s additionally distressing about this moment is what it portends for the possibilities of NPR’s future — and what it reveals, perhaps, about how NPR has always thought of itself.

The network says it is not giving up on narrative storytelling, despite the cuts. “These projects include some of the best work NPR has ever done. We are exploring ways this work can continue in other forms. We are losing some amazing people,” said NPR spokesperson Isabel Lara. “Our narrative journalism efforts will continue with Embedded and Up First Sunday, which will showcase the best longform journalism projects from NPR and across the public radio system.”

Adnan Syed’s murder conviction is reinstated over a procedural issue

Adnan Syed, the main subject of the 2014 podcast megahit Serial, made headlines again last year when his 2000 murder conviction was overturned. Now, that conviction has been reinstated by a Maryland appeals court.

The court sided with an appeal brought forth by the family of Hae Min Lee, Syed’s ex-girlfriend and the victim of a 1999 murder. The family argued that they were not given enough notice to attend the September hearing that led to Syed’s release.

Syed’s conviction was overturned after state prosecutors turned up new DNA evidence that did not implicate Syed. The decision that came out today does not change that fact, but it does mean that another hearing will need to be held to reaffirm his release.

Slate takes its podcasts to YouTube

The lure of YouTube is inescapable. Slate is making its lineup of podcasts, including Slow Burn, Political Gabfest, and Amicus With Dahlia Lithwick, available on the streamer. Slate is following the lead of legacy podcast outlets like Freakonomics Radio Network and NPR in bringing audio-only shows to YouTube, which has become the most-used podcast platform for listeners, according to recent surveys.

“Discoverability has become one of the biggest challenges across the podcast industry, and we see this as a real opportunity to build scale and reach a new, untapped audience on YouTube, which has become the world’s most-used podcast platform.” Charlie Kammerer, Slate’s president and chief revenue officer, said in a statement.

The timing makes sense. YouTube recently rolled out its podcast creation tools in YouTube Studio and is preparing for the launch of podcasts on YouTube Music. While audio-only podcasts are still pretty clunky on the main platform, podcast leaders at the company promise a more elegant audio experience within YouTube Music.

Apple Podcasts adds channels tab to library, brings more episodes into Up Next queues

Apple has rolled out some podcast updates the company first announced in February. Now, Apple Podcasts users will be able to browse shows in their libraries using the channels tab, which lumps in shows from the same publisher in one place. Plus, CarPlay will now feature standard Apple Podcasts functions, like Browse and Up Next.

Additionally, the app has adjusted which episodes appear in listeners’ Up Next queues. Before, it was limited to new episodes from shows that listeners already follow. Now, the lineup will also incorporate episodes from shows that users do not follow but have saved to their library or have started playing. It definitely seems like an improvement to the Up Next experience (not everybody follows shows they listen to) and could be useful in building listening habits.

Amy Poehler partners with Cadence13 for new scripted comedy podcast

While Cadence13’s parent company organizes a stock split to stay on the New York Stock Exchange (more on that later this week for Insiders), the studio has brought on another Saturday Night Live legend to beef up its comedy offerings. Cadence13 is working with Amy Poehler’s Paper Kite Productions to produce a three-season show that parodies different podcast genres. The first season, Say More with Dr? Sheila, starring Poehler herself as the titular therapist, will publish later this year.

The Podcast Show London is two months away

The Podcast Show London is returning for its second year on May 24th and 25th, with two days of programming and a huge lineup of speakers including Crime Junkie’s Ashley Flowers and Sex Actually’s Alice Levine. If you’re interested in attending, we’ve partnered with the team over there to get you all a discount: follow this link and use code “HOTPOD” at checkout for 10 percent off standard one- and two-day passes. P.S. ticket prices go up on Wednesday next week (April 5th), so you’ll save more if you grab tickets soon.

That’s all for now! I’ll see you next week.

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March 28, 2023

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Entertaintment

Queen Camilla to Omit the Famous Koh-I-Noor From Her Crown in Fear of “Diplomatic Rows”

King Charles’s coronation is just 40 days away and the preparations for the same could not have been more intense. With every other royal fiasco going on, the monarchy has been carrying on the crowning ceremony’s preparation with all pomp and show. Apart from the grandeur of decoration and aesthetics, royal attire will also play a vital role in the ceremony. Hence, there could be no compromises with the same. However, Queen Camilla will have to give up something, for obvious reasons.

Following Queen Mary, who wore the Koh-i-noor-clad crown for the first time and continued at every momentous royal event, various rulers have been the rightful owner of the same. The priceless diamond has come down to generations till being mounted on the late Queen’s pieces of jewelry. However, the Queen Consort of King Charles will not be opting for the same.

#Camilla, wife of Britain’s King Charles, will wear the crown of Queen Mary for her coronation in May, Buckingham Palace said, avoiding the use of a crown featuring the 105-carat #Kohinoor diamond which India has demanded be returned.

Read: https://t.co/EKz5FiZ6sJ pic.twitter.com/YNPWLAuORA

— The Times Of India (@timesofindia) February 15, 2023

Owing to its roots in the Indian subcontinent, there seems to be some legal row about the ownership of the diamond. As reported by Telegraph, India’s ruling party in the year 2022 issued a critical heads-up for the Kingdom to keep in mind. The ordinance wrote that Queen Camilla wearing it for her coronation will bring back “painful memories of the colonial past.” Hence, plans to mount it on the already controversial Queen were “reconsidered amid fears of a diplomatic row.”

Credits: Imago

It has been an age-old custom of the Kingdom’s Sovereigns to wear the Koh-i-Noor-clad coronation crown at the time of accession to the throne. Ever since the 1700s, British monarchs, especially the women rulers of their reign, have been closely following this prestigious custom, but not anymore.

ALSO READ: Are Prince Harry and Meghan Markle On Their Way to Become The Next Edward VIII and Wallis Simpson?

Why is the Koh-i-noor so controversial for Queen Camilla?

For those unversed, the diamond first came from India during the great Imperialism period of the world, with world wars going on at all fronts. Speaking of the colonial rule of Great Britain, the Koh-i-noor was forcibly taken away from the land to which it actually belonged. A notorious Iranian ruler, Nader Shah, first looted India of the diamond before it finally landed at the royal threshold of the United Kingdom.

Credits: Imago

No sooner did the British East India company get hold of Punjab after its annexation to the throne. The then-ruler Queen Mary became the supposed owner of the same. Ever since the game of thrones for power and prestige had begun with this diamond. Hence, to keep controversies at bay, Camilla Queen Consort is to maintain a tight lip and agree with him.

What is your take on the matter? Let us know if Queen Camilla decided the right thing to do in the comments below.

The post Queen Camilla to Omit the Famous Koh-I-Noor From Her Crown in Fear of “Diplomatic Rows” appeared first on Netflix Junkie.

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After his arrest, Jonathan Majors’ Hollywood future looks uncertain.

Movies

Will Jonathan Majors’ assault charges impact his career?

Last week, Jonathan Majors was being anointed as one of Hollywood’s next big stars.

Major was both a box office hit and a critic’s darling, starring in blockbusters like the Rocky sequel “Creed III” and indie film “Magazine Dreams,” which premiered to raves at Sundance. His casting as a new Marvel supervillain, Kang the Conqueror, both pushed the franchise forward in terms of representation and delighted critics and fans. Earlier this month, Majors even presented at the Oscars alongside his “Creed” director Michael B. Jordan. If Majors got coverage for anything other than his good looks and great talent, it was his long-running habit of carrying his own personal ceramic cup as a kind of safety blanket.

On Saturday, that meteoric rise came crashing down to earth.

According to police, Majors was charged with strangulation, assault and harassment following an alleged domestic dispute with a 30-year-old woman at an apartment in New York. An NYPD spokesperson said that officers responded to a 911 call around 11 a.m., and that the woman “informed police she was assaulted.” The woman sustained minor injuries to her head and neck and was taken to a hospital in stable condition, said the spokesperson. A 33-year-old male — identified as Majors — was arrested “without incident.” He was released later that day.

In a statement, Majors’ lawyer, Priya Chaudhry said that Majors is “completely innocent, and provably the victim of an altercation with a woman he knows.” The Los Angeles Times reported that Chaudhry said her team have two written statements from his accuser, recanting the accusations.

Reactions to the allegations against Majors have been swift.

On Sunday afternoon, the U.S. army, who were running a campaign starring Majors, announced it was pausing the ads. “While Mr. Majors is innocent until proven guilty, prudence dictates that we pull our ads until the investigation into these allegations is complete,” a spokesperson said.

On social media, two separate directors seemed to indicate that the accusations were part of a larger pattern of alleged bad behaviour from Majors.

In February, A.B. Allen, a filmmaker and cinematographer, posted a cryptic message to Twitter about a “relatively new on the scene actor who Twitter has fallen violently fallen head over heels for” but who is actually “a vicious, cruel, abusive human being, both professionally and in his personal life.” (It’s not immediately clear how Allen knows Majors.)

When news about Majors’ arrest broke, a Twitter user screenshotted that tweet, commenting: “Now we know who this tweet was about.” With a now-deleted retweet, Allen wrote: “DingDingDingDing.”

(Allen later apologized for being “overly flippant,” and said that he had not realized the “brutal” nature of the allegations. “Everything I’ve known about has not been physical,” Allen, whose profile is now private, wrote.)

Another director, Broadway veteran Tim Nicolai also spoke out on Twitter. “Folks at Yale and the broader NYC community have known about (Majors) for years,” he wrote, in part. “He’s a sociopath and abuser and that is how virtually everyone speaks about him.” (Nicolai’s profile is now private.)

The allegations against Majors are extremely serious, but it’s impossible to ignore the multimillion-dollar elephant in the box office: Hollywood, and Marvel Studios, have bet big on their star.

After a string of superhero flops, Majors is supposed to be the flag-bearer for the next wave of the Marvel Cinematic Universe (MCU).

His Kang the Conqueror villain, seen in “Ant-Man and the Wasp: Quantumania,” is billed as the new “big bad” — the equivalent to Thanos in “The Avengers” movies with a multi-movie arc. There must be some very tense boardroom conversations happening right now at Walt Disney Corporation, which owns Marvel Studios.

Hollywood has bet its future on superhero franchises — and now they’re finding out what happens when its “superheroes” prove to be all too human.

Majors and Marvel are the most recent example, but DC Studios recently faced a similar situation with Ezra Miller, the star of its forthcoming, much-hyped “The Flash.”

Ezra Miller, star of the forthcoming "The Flash," in 2018.

Miller has faced a series of controversies, including allegations of physical assault, grooming minors and emotional abuse. In March 2022, Miller was arrested for disorderly conduct and harassment; the following month, Miller was arrested for second-degree assault after allegedly throwing a chair at a woman. In August 2022, Miller issued an apology to anyone who had been “upset” by their behaviour, stating they were receiving treatment for “complex mental health issues.” (Miller identifies as non-binary and uses they/them pronouns.)

At times, it looked like “The Flash” was destined to live in movie limbo; its original release date was Novemer 2022. So far, however, the studio has stood by Miller, and the film — which had an estimated budget of USD $200 million — is scheduled for a June 2023 release. This may be a testament to the studio’s faith in the project — or it’s an indication of the size of their bet, and the corner it has painted them into.

To further delay, or not release, the film may simply not be a financially viable option, given the state of the movie business: 2022 marked the worst year at the box office since 1998 — and that’s with the success of “Top Gun: Maverick.”

Since Charlie Chaplin first twirled his cane, Hollywood has built tent-pole film franchises around the box-office draw of its actors.

What’s different now is that the tent is increasingly fragile, and the winds of scandal can be enough to bring it down. Consider “Emancipation,” Apple’s 2022 Will Smith movie. Pre-slap, Apple had aspirations of Oscars glory; post-slap, the film disappeared.

An alleged incident like Majors’ has the potential for a blockbuster-sized disaster. Rather than embark on an expensive recasting process, a studio is more likely to invest further in a public-relations campaign to rehabilitate a star’s image — particularly if the allegations are dropped.

While allegations against Major have yet to be proven in court, and Marvel’s plans remain unclear, one thing is certain: Hollywood’s happy ending has never been more uncertain.

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Last week, Jonathan Majors was being anointed

Ryan Coogler to Develop ‘X-Files’ Reboot, Chris Carter Says

Ryan Coogler is developing a new take on “The X-Files.”

Original series creator Chris Carter made the revelation during an interview with “On The Coast with Gloria Macarenko” to celebrate the 30th anniversary of “The X-Files.” During the interview, Carter said, “I just spoke to a young man, Ryan Coogler, who is going to remount ‘The X-Files’ with a diverse cast. So he’s got his work cut out for him, because we covered so much territory.”

Reps for Coogler did not immediately respond to Variety‘s request for comment. 20th Television, the studio behind the original series, declined to comment.

As the project is in its very early stages, there is no word on what network or platform on which it would air. More than likely, though, it would air on Hulu rather than “The X-Files’” original network home, Fox, as Fox and 20th TV are no longer part of the same company following Disney’s acquisition of 21st Century Fox. To that point, there are currently revivals of the Fox shows “Futurama” and “King of the Hill” set up at Hulu.

“The X-Files” originally aired on Fox from 1993-2001 before being revived at the network for two more seasons in 2016 and 2018.

Coogler would be developing the project under his five-year overall deal with Walt Disney Television, of with 20th TV is a part. Coogler is best known for writing and directing the two “Black Panther” films for Marvel as well as for his work on the three “Creed” films with Michael B. Jordan. Coogler also wrote and directed the critically-acclaimed feature “Fruitvale Station,” which also starred Jordan. As a producer, his credits include “Judas and the Black Messiah” and “Space Jam: A New Legacy.”

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Ryan Coogler is developing a new take

MCU

Kingpin Will Reportedly Have an Overarching Story in the Marvel Cinematic Universe

With Daredevil: Born Again on the horizon, Marvel may be on the brink of a new release spanning story.

According to reports in the upcoming show, Vincent D’Onofrio’s Wilson Fisk (aka Kingpin) will return and attempt to become the mayor of New York City.

Photo: Marvel

Kingpin’s Return

First reappearing as Kingpin in the Disney+ series Hawkeye, D’Onofrio is set to reprise his role in the upcoming Daredevil reboot; however, that may not be his next appearance.

Reports state that Fisk’s quest to become mayor will actually begin in Echo, which will see Alaqua Cox reprising her role as Maya Lopez from Hawkeye.

Photo: Marvel

After Echo, Fisk could appear again in other non-Daredevil MCU projects, including Armor Wars, Captain America: New World Order, Thunderbolts, and Ms. Marvel.

Jumping to the MCU

D’Onofrio originally portrayed Kingpin in the now non-cannon Daredevil series on Netflix. The character then reemerged in Hawkeye, where the mobster seemed to meet his end off-screen. With a slew of upcoming appearances on the docket, however, it appears as if Kingpin may be alive and well.

Photo: Marvel

Since the original Daredevil series, not only has Kingpin been incorporated into the MCU, but his nemesis Matt Murdock/Daredevil has also made the jump. Charlie Cox first reprised his role as Matt Murdock in Spider-Man: No Way Home. He then guest starred in two episodes of She-Hulk: Attorney at Law.

Daredevil: Born Again will see Kingpin and Daredevil butting heads once again in an 18-episode revival of the original series. As of now, the show is expected to debut in early 2024.

Photo: Marvel

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

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With Daredevil: Born

DCU

Review: Sandman Universe: Dead Boy Detectives #4

156

Dead Boy Detectives #4

Writer: Pornsak Pichetshote
Artists: Javier Rodríguez, Jeff Stokely, Craig Taillefer
Color Artist: Miquel Muerto
Letterer: Hassan Otsmane-Elhaou

Reviewed By Steve J. Ray

Summary

Ghosts, maggots, amulets, floating heads, and cubism (ish). All of these and more can be found on the pages of Sandman Universe: Dead Boy Detectives #4.

Positives

Oh, wow! This issue’s absolutely brilliant! The action ramps up, the mystery deepens, and we get answers… plus even more questions.

We left Charles, Edwin, Jai, Tanya, and Melvin on the search for who could possibly summon Thai spirits in America, and an amulet of power. Let’s just say that even ghosts should be careful about what they wish for. Oh… and poor old Charles has been cursed for falling in love with Tanya.

This series raises so many fascinating questions. If ghosts are already dead, how can ghost flesh rot? How do ghosts have feelings if they don’t have bodies, nerve endings, or hormones? Can a ghost, a being that’s already dead, be killed? Pornsak Pichetshote’s writing one hell of a tale, not just because of the haunted goings on, but also because of all the wonderful semi-autobiographical touches he adds, due to being a Thai-American. Honestly, this series is great.

This isn’t just a horror story either, as we get some amazing social commentary here too. Shootings in schools, bullying, racism; all these topics are handled in this issue. The best thing is Pichetshote’s not smacking us around the head with politics, he’s doing what all the best writers do by using fiction to hold a cautionary mirror over fact. Why is it only children that seem to be capable of learning and wanting change? Have all adults truly just given up?

We have a guest artist drawing all but the final page this month, too. (Jeff Stokely fans, worry not, as the regular team handles the final page, which will blow your minds!) The art in Sandman Universe: Dead Boy Detectives #4 is handled by the brilliant Javier Rodríguez. I’ve been following this artist’s work since the late 90s when he worked for the publisher Ediciones La Cúpula. He was one of many artists working on the wild and whacky title El Víbora, published in our native country of Spain between 1979 and 2005. American comics fans may primarily know him as a color artist, from titles such as Batgirl: Year One for DC, but this guy can draw! His work on this issue’s lovely, and I would dearly love to see even more of his art across DC in months and years to come.

Miquel Muerto and Hassan Otsmane-Elhaou continue to delight with their colors and letters, with pages 23 and 24 being real standouts for both artists.

Negatives

Again, I’m just nit-picking… where’s Thessaly?!?

Verdict

Gun crime, the problems faced by immigrants, the struggle to be heard, and the loss of innocence. All of these and more can be found on the pages of Sandman Universe: Dead Boy Detectives #4.

If you’re not picking this series up, then you’re seriously missing out.

Images Courtesy of DC Entertainment

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March 28, 2023

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156 Dead Boy Detectives #4 Writer: Pornsak PichetshoteArtists: Javier Rodríguez,

Comics

Apex Legends Pro Player RamBeau Retires from Competitive Scene

RamBeau, one of the major contenders in Apex Legends’ competitive scene, has announced his retirement from professional play. RamBeau stated that the competitive scene no longer makes him happy and that he’s chosen to pursue other opportunities.

Apex Legends Pro Player RamBeau Retires from Competitive Scene

RamBeau began his career in Apex Legends in 2020 and quickly cemented himself as a strong player, despite his commitment to using an Xbox controller. In those three years, he secured significant victories, taking 3^rd in the ALGS: 2022 Split 1 Pro League – North America, 5^th in ALGS: 2022 Championship, and 1^st in several domestic tournaments. However, the past few months of his career have been marked by upheaval.

In late February, The Guard suffered massive layoffs, which RamBeau and the rest of his competitive scene survived. However, RamBeau opted to leave the Guard on March 10 and join Sentinels. With the Sentinels, RamBeau began competing in the ALGS Split 2 but has decided to retire before the tournament ends. Sentinels have not yet announced who will replace RamBeau on April 16, when the next game starts.

RamBeau’s dissatisfaction with the competitive scene is something that he’s remarked about previously. In an interview with Esports.gg on February 23, he stated that the current meta felt stale. “[I]t’s very very mid. I kind of preferred Wattson, Wraith, Pathfinder back in the day. Something kind of like that. Or even back in the old old days there was Octane Bloodhound and Gibby was a really good meta. And that was a lot of fun because that was still a lot of gunfighting, it was still a lot more methodical.”

RamBeau went on to state that if Apex ended tomorrow, he’d be happy to return to his own life. “Yeah, I always said that if Apex would end tomorrow, I’d just go back to doing what I kind of was. That’s fine with me. My quality of life before Apex was really good.”

Wherever he goes, it’s likely that RamBeau will bring his trademark charisma, energy, and hair with him. Fans needn’t worry about this being a final goodbye, as the Apex pro player has promised to continue to stream on Twitch.

While it’s sad to say farewell to a fan favorite and fantastic player, here’s one thing that might cheer you up: Apex Legends Gives Players What They Want: Swimsuit Loba.

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March 28, 2023

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RamBeau, one of the major contenders in

Festivals

How ‘Supercell’ Composer Corey Wallace Created an “Extremely Visceral” Disaster Score

When critics compare films in the same genre to each other, it’s not always a good thing.

In the case of Saban Films’ Supercell being compared to the 1996 hit, Twister, that is one comparison director Herbert James Winterstern gladly welcomes. The budget for Supercell was significantly smaller than that of Twister, so the imagery that Winterstern was able to pull off was quite impressive.

Supercell follows William Brody (Daniel Diemer), the son of a legendary storm-chaser who was killed by one, trying to save his family’s business that now belongs to the reckless Zane Rogers (Alec Baldwin), who sees storms as tourist attractions rather than the deadly forces of nature that they are. When his destiny arrives in the form of one of the most powerful storms on record, William leaves his mom (Anne Heche) and home behind to team up with his father’s ex-partner, Roy Cameron (Skeet Ulrich), barely surviving a tornado yet determined to chase one of nature’s most terrifying creations: “the bear’s cage.”

There is also no shortage of star power in Supercell, Alec Baldwin, Skeet Ulrich, the late Anne Heche, and Daniel Diemer all appear in the storm-chasing thriller. What makes this film stand out in this oversaturated genre is the orchestral score by composer Corey Wallace.

Wallace spent years collaborating with the director before the script was even finished, finalizing the main theme two years before cameras started rolling. The end result is thematic music that is introduced pensively in a solo flute and grows throughout the film into a grand adventure during a climactic action scene.

Wallace spoke with No Film School about composing the score for SupercellI, and his advice for composers looking to make scores highlights the beauty and intensity of a film.

No Film School: How would you describe your score to Supercell?

Corey Wallace: For Supercell, we aimed for a return to classic, orchestral film scores that have memorable, hummable themes. Director Jamie Winterstern and I grew up on the movies of the ’80s and ’90s, so we really wanted to return to that aesthetic. The goal is to sweep audiences away with emotions of wonder, love, death, and adventure, and leave audiences humming a tune as they leave the theater. We drew stylistic inspiration from greats like John Williams, Alan Silvestri, and James Horner (and we’re not shy about it), but we worked extensively to make sure the themes are unique and specific to our story.

NFS: As a composer, how do you get across your musical ideas to filmmakers who, more often than not, don’t have musical backgrounds?

Wallace: We make “mockups” using what’s called “instrument samples” to simulate the sound and feel of a real orchestra. To put it in comparable terms, mockups are like pre-visualizations (previz). They have all the same movements and shapes of the real thing, but they don’t feel real, lacking definition, depth, humanity, and emotion. Before my time, composers would play their ideas for directors at the piano and describe how the full orchestra would sound (similar to a storyboard or animatic). The director would not truly know the sound of the score until hearing it on the scoring stage. But now, mockups give a director and composer much more control over the scoring process. Orchestra samples are becoming increasingly sophisticated, so they can come pretty close to mimicking the real thing. That said, the real movie magic doesn’t happen until hitting record on a live orchestra.

Corey Wallace scoring ‘Supercell’Credit: Corey Wallace

NFS: You worked with director Herbert James Winterstern on the NBC series Siberia ten years ago. Did he reach out to you because of Siberia, or was it just a coincidence that you would work together again?

Wallace: It’s not a coincidence. Jamie and I have been friends and collaborators for the past 15 years since we met at USC. In between Siberia and Supercell, he co-launched the production company SwipeMarket which also does video marketing, so we continued to work together in that space. When Jamie developed his idea for Supercell, he reached out to me right away because he knew how important music was going to be for him and the movie. We started working on musical themes in between other projects before there was even a finished script. Two years before cameras started rolling, we had finalized our “Main Theme” which was a huge advantage when we started to score the picture.

NFS: How do you think you have changed as a composer in the last ten years? If at all.

Wallace: With experience I’ve become much more well-rounded stylistically, as I’ve had opportunities to work in so many different types of media and genres. The scoring style of Supercell has not been the industry norm over the last 10 years. Even though I had always imagined writing scores with big orchestras and melodies (the reason I got into film scoring in the first place), I’ve had to learn many other modern techniques and styles. These days, I’m also doing music with electronics, sampling, and audio manipulation that I never dreamed of 10 years ago.

Corey Wallace on creating the 'Supercell' score — ‘Supercell’Credit: Saban Films

NFS: Supercell is your first natural disaster film. Was the scoring process different from other films you have worked on?

Wallace: Yes, but not because it’s a weather-film. Most scoring jobs are unique in their own right depending on the story, the schedule, the budget, and most importantly, the director. Working with Jamie is a unique experience, and our process is not quite like any other I’ve had in my career. He’s very hands-on and specific, but at the same time not controlling.

A unique part of the Supercell score is how much we worked on it in pre-production. I’m used to starting a score around the time a fine edit is completed, and my brain has been wired to come up with ideas in response to a picture (how it looks, feels, how it makes me feel). Working on musical themes based on general ideas and concepts was a different experience, but ultimately valuable.

NFS: Sound design plays a big part in natural disaster films. How closely did you interact with the sound designer on the film?

Wallace: First, I’d like to give a big hand to Nathan Ruyle and his team at This is Sound Design Studios. They absolutely did their part in bringing this story to life. We didn’t have too much interaction because I started working on the film so much earlier than the sound team. When they started, I had already scored about 90% of the film. That said, we did spot the film all together early on, so we had a sense of where sound would take over and where music would shine. There are several important scenes without music because we knew it would be more important to hear all the details of the sound. Score often plays sub-text, but there’s nothing sub-textural about being trapped in a van and being pounded by gorilla-hail. That’s extremely visceral, and it’s the sound that immerses the viewer in that experience.

NFS: When creating the Supercell score, did you face any challenges?

Wallace: One of the downsides to working on a score before picture is that the film that gets shot might not quite be the film the director had imagined. Beforehand, we discussed a lighter, more adventurous score, but Jamie thought the film turned out lighter than expected, so he wanted the score to highlight the darker, brooding aspects of the characters and story. It took some time to get my head wrapped around the new score concept.

The same went for themes. In pre-production, we had three themes solidified, but only one, the Main Theme, made it into the final score. The first theme Jamie fell in love with was written for the character Zane, but the tone was based on him being more of an antagonist. Perhaps it’s how Alec Baldwin played the part or how the edit turned out, but he was a different character than I had thought when reading the script.

NFS: Can you talk about the equipment or programs that you use frequently that you would recommend?

Wallace: For my DAW (Digital Audio Workstation), I use Logic, Cubase, and Pro Tools depending on the nature of the scoring work. For Supercell and other primarily orchestral projects, I love working in Cubase. The orchestral samples I used in the mockups and to sweeten the final mixes are largely from Spitfire Audio. Halfway through scoring the film, Spitfire released a line of samples recorded at Abbey Road in London, which is something I have been eagerly awaiting for a long time. There is a magic to the sound of that recording space. I also love Spitfire’s Appassionata Strings, which are my new favorites for lush, soaring melodies. Those samples really elevated the sound of the score in places we didn’t have the budget to record with a live orchestra.

NFS: What would you say makes a good film composer?

Wallace: A good film composer is a good storyteller at the core. Everybody involved in the making of a film is trying to serve the story in the best way possible, we’re all just using our own sets of tools. Putting ego aside, being a team player, and putting the needs of others first is paramount.

I’d also say it’s a plus to have a healthy balance of confidence and ignorance. Confidence helps you sell yourself to get the job and can be a great ally when staring at a blank page (or computer monitor). Even though that’s terrifying, knowing you’ve done it before and can do it again is helpful. To finish something under a deadline, you have to have confidence in your abilities and ideas, and also be a bit ignorant of your own shortcomings so that you don’t second-guess yourself to death. Ten years ago, if I knew then just how much I didn’t know, I would never have been able to function, but I worked within my abilities and grew from there.

Ignorance also opens the door to possibilities. Not thinking that there’s one exact solution can lead to new ideas and innovation. Making something truly original requires a lot of trial and error experimentation, and a willingness to ask yourself “what if?” and see what happens. By not knowing exactly where you’re going, you can wind up in a place you never expected.

NFS: In your early days as a composer, you assisted Christopher Young. What was one of the lessons you learned from him?

Wallace: After being Chris’ student at USC and his assistant for part of 6 years, the list of lessons is quite long. Chris gave me the “starter kit” of tools to help me get going in this industry until I became experienced enough to have my own.

Everything from how to talk to directors during a spotting session to developing score concepts to compositional techniques for many scoring situations. It was a huge advantage to be able to tell a director that I knew exactly how to score a certain type of scene (even if I’d never done it before) because Chris had given me a set of techniques that I could start from.

The best lesson, though, was the importance of film score melodies, how to use them, and what makes them work well. Chris is a huge proponent of melody in film scores, and as his assistant, I spent hours analyzing and writing about melodies.

Even though I learned a lot on a technical level, he also taught me that composing needs to come from your heart, not your head. There’s a time and a place for using analytical tools to craft, refine, and polish, but that initial creative moment needs to come from a different place inside.

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March 28, 2023

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When critics compare films in the

Film

Priyanka Chopra Talks Quitting Bollywood for America, Landing Quantico – The Hollywood Reporter

Priyanka Chopra Jonas has opened up about why she left a thriving movie career in Bollywood for a risky move to Hollywood, where she eventually landed starring roles on Quantico and the new spy series Citadel.

“I was being pushed into a corner in the industry. I had people not casting me for reasons. I had a beef with people. Again, I’m not good at playing that game. I was tired of the politics,” Chopra Jonas told Dax Shepard’s Armchair Expert podcast in the March 27 episode.

Chopra Jonas discussed winning the Miss World beauty pageant in 2000 and being a top star in Bollywood during the ensuing decade before finally heading to Los Angeles in 2015. Chopra Jonas said she faced pay disparity in India with her male colleagues, and that her situation has changed in the current streaming era as top actresses can market a title as co-leads with men.

“Movies are sold on the guy and the girl now. Change was demanded by the new generation coming in and saying, ‘Great, make a Bollywood blockbuster, but with me too,’” she recounted.

Another difference with Hollywood is, for its own star system, it pales next to that of Bollywood. “I don’t think you guys have seen that stardom. I don’t think Tom Cruise has seen that. I’m not that, but we have actors with that allegiance and love,” Chopra Jonas said of glory and success for top Indian A-list stars.

And yet, Chopra Jonas gave that up for Hollywood, a risky transition, and one dependent first on a pop music career in Los Angeles thanks to a deal with Interscope Records. Chopra Jonas worked with Pitbull, will.i.am, Pharrell and Mathew Koma, and had dinner with Bruce Springsteen, Jay-Z and Beyonce.

“I got completely caught up in this thing: ‘I’m a pop star now!’” Chopra Jonas recalled. She then decided to segue back into movies, this time in Hollywood, as that had been her day job in India. She signed with CAA — as the first Indian movie star to join the Hollywood talent agency — and her Los Angeles career was launched, and eventually cemented with a talent holding deal signed with ABC Studios, which cast her as a lead in Quantico.

“So with every job that I have gotten from smaller roles in features that I did, which I needed to build my English language filmography, I had a lot of people who knew me from my Indian film days, questioning why I went to Hollywood to do small parts and B-grade movies, is what they would say,” Chopra Jonas added as she summed up her jump from Bollywood to Hollywood.

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March 28, 2023

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Priyanka Chopra Jonas has opened up about

Strange New Worlds and Lower Decks Renewed at Paramount+

The Star Trek Universe continues to expand with Paramount+ announcing the renewal of its live-action “Strange New Worlds” through Season 3 and its animated “Lower Decks” through Season 5.

The third season of “Strange New Worlds” and the fifth season of “Lower Decks” will be comprised of 10 episodes each, but no air dates have been announced. But the streamer announced Tuesday that the second season of “Strange New Worlds” will premiere on July 15, 2023, and the third season of “Lower Decks” will premiere in “late summer.”

Season 2 of “Strange New Worlds” will feature a special crossover episode between the two series featuring both live-action and animation. It’ll be directed by longtime “Trek” actor and director Jonathan Frakes (Will Riker).

The critically acclaimed original animated kids’ series “Star Trek: Prodigy” is slated to return in winter 2023 for its second season.

Finally, as previously announced, flagship series “Star Trek: Discovery” will return for its fifth and final season in 2024.

Also ending is the currently airing “Star Trek: Picard,” touted as the final adventure of Jean-Luc Picard and the crew of the U.S.S. Enterprise D.

“Strange New Worlds” is based on the years Captain Christopher Pike manned the helm of the U.S.S. Enterprise. The series features fan favorites Anson Mount as Cap. Christopher Pike, Rebecca Romijn as Number One and Ethan Peck as Science Officer Spock. It follows Pike, Spock and Number One in the years before Captain Kirk boarded the U.S.S. Enterprise, as they explore new worlds around the galaxy.

“Strange New Worlds” also stars Jess Bush as Nurse Christine Chapel, Christina Chong as La’an Noonien-Singh, Celia Rose Gooding as Cadet Nyota Uhura, Melissa Navia as Lt. Erica Ortegas and Babs Olusanmokun as Dr. M’Benga. Season 2 also features the return of special guest star Paul Wesley as James T. Kirk and new addition Carol Kane in a recurring role as Pelia. It is produced by CBS Studios, Secret Hideout and Roddenberry Entertainment. Akiva Goldsman and Henry Alonso Myers serve as co-showrunners. Goldsman, Alex Kurtzman and Jenny Lumet serve as executive producers in addition to Alonso Myers, Aaron Baiers, Heather Kadin, Frank Siracusa, John Weber, Rod Roddenberry and Trevor Roth.

‘Star Trek Picard’ Season 3: All the Easter Eggs, From the Fleet Museum to Daystrom Station

Season 4 of “Lower Decks” finds an unknown force is destroying starships and threatening galactic peace. Luckily, the crew of the U.S.S. Cerritos isn’t important enough for stuff like that! Instead, Ensigns Mariner, Boimler, Tendi, Rutherford and Provisional Ensign T’Lyn are keeping up with their Starfleet duties, avoiding malevolent computers and getting stuck in a couple caves — all while encountering new and classic aliens along the way.

The cast includes Ensign Beckett Mariner, voiced by Tawny Newsome; Ensign Brad Boimler, voiced by Jack Quaid; Ensign Tendi, voiced by Noël Wells; and Ensign Rutherford, voiced by Eugene Cordero. The Starfleet characters that comprise the U.S.S. Cerritos’ bridge crew include Cap. Carol Freeman, voiced by Dawnn Lewis; Cmdr. Jack Ransom, voiced by Jerry O’Connell; Lt. Shaxs, voiced by Fred Tatasciore; and Dr. T’Ana, voiced by Gillian Vigman. It is produced by CBS’ Eye Animation Productions, CBS Studios’ animation arm; Secret Hideout; and Roddenberry Entertainment. Secret Hideout’s Alex Kurtzman, Roddenberry Entertainment’s Rod Roddenberry and Trevor Roth and Katie Krentz (219 Productions) serve as executive producers alongside creator and showrunner Mike McMahan. Aaron Baiers (“Secret Hideout”), who brought McMahan to the project, also serves as an executive producer. Titmouse (“Big Mouth”), the Emmy Award-winning independent animation production company, serves as the animation studio for the series.

‘Star Trek: Picard': Everything We Know About Jack Crusher

The “Prodigy” voice cast includes Kate Mulgrew (Hologram Kathryn Janeway), Brett Gray (Dal), Ella Purnell (Gwyn), Rylee Alazraqui (Rok-Tahk), Angus Imrie (Zero), Jason Mantzoukas (Jankom Pog), Dee Bradley Baker (Murf) and John Noble (The Diviner).

Season 2 continues the rag-tag group of explorers aboard the commandeered Prodigy. The series is from CBS’ Eye Animation Productions, CBS Studios’ animation arm; Nickelodeon Animation, led by president of animation Ramsey Naito; Secret Hideout; and Roddenberry Entertainment. Alex Kurtzman, Heather Kadin, Aaron Baiers, Rod Roddenberry and Trevor Roth serve as executive producers, alongside co-showrunners Kevin and Dan Hageman. Ben Hibon directs, executive produces and serves as the creative lead of the animated series. Aaron Waltke and Patrick Krebs also currently serve as co-executive producers.

All “Trek” series are currently available to stream on Paramount+.

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March 28, 2023

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The Star Trek Universe continues to expand

New TV show ratings (cancel or renew?) 3

What to Watch

2022-23 Season Ratings for New TV Shows (week 27) – canceled + renewed TV shows

Published: March 28, 2023

The television networks introduce dozens of new TV shows each season, hoping each will be a big hit in the ratings. Unfortunately, most are cancelled after one season. How are the new 2022-23 TV series doing? Which have the best ratings and which have the worst? How many will survive to see a second season? Stay tuned.

Here are the final season average ratings of the new 2022-23 network TV shows — through the end of week 27 (Sunday, March 26, 2023).

New ABC shows (so far): Alaska Daily, Celebrity Jeopardy!, The Company You Keep, Not Dead Yet, The Parent Test, The Rookie: Feds, and Will Trent.

New CBS shows this season (so far): East New York, Fire Country, Lingo, The Real Love Boat, So Help Me Todd, and True Lies.

New CW shows this season (so far): Criss Angel’s Magic with the Stars, Family Law, Farmer Wants a Wife, Gotham Knights, Professionals, Walker: Independence, and The Winchesters.

New FOX shows this season (so far): Accused, Alert: Missing Persons Unit, Animal Control, Monarch, and Special Forces: World’s Toughest Test.

New NBC shows this season (so far): America’s Got Talent: All-Stars, Lopez vs. Lopez, Night Court, Quantum Leap, and The Wheel.

Note: If you’re not seeing the updated charts, please try reloading the page. You can also view them here.

The averages are based on the final national numbers (live plus same-day viewing). Keep in mind that the demo numbers are typically what’s most important to advertisers. Therefore, that’s how the networks measure success. Advertisers typically pay more for ad time on a show that has a higher demo rating. Because older viewers don’t count? No, it’s because younger viewers watch less traditional TV and are harder to reach. It’s also important to remember that ratings are designed to estimate how many people watch a show’s commercials — not the show itself. That’s what advertisers pay for.

Want more? You can check out other season listings here.

What do you think? Are you surprised by any of the ratings? Which shows should be doing better?

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March 28, 2023

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Published: March 28, 2023The television networks introduce

Awards

Primetime Emmy Awards: 2023 Calendar Dictates TV Awards Schedule

As FYC events commence, keep in mind these dates in order to track the 2023 Primetime Emmy Awards season.

Though we are months out from the 75th Primetime Emmy Awards, the Television Academy already has set the most important dates leading up to TV’s highest honors.

While FYC events are already underway, the ball really starts rolling on May 9, when programs must solidify what categories they will be in contention for. In addition to having premiered between June 1, 2022 and May 31, 2023, TV Academy rules now dictate the series must have the full season presented on a national platform as well, eliminating what was known as the hanging episode rule.

Once the 2022-2023 television season officially ends on May 31, there will be two more weeks of campaigning, and then voters will have from Thursday, June 15 till Monday, June 26 to vote for what they think should be nominated for the Primetime Emmys categories.

Nominations are not announced until July 12, giving everyone involved in the Emmys machine about a two-week break. After they are announced, though, the nominated parties have until July 26 to report any errors or omissions to the TV Academy for it to fix.

August will be the prime month for Emmys campaigning, with August 7 being the day voters can view videos that nominees have posted exhibiting their craft. Ten days after, on Thursday, August 17, the final round of voting begins. TV Academy members will have till the end of the day on Monday, August 28 to make their final choices for what artists and shows should win each category.

Finally, the 2023 Creative Arts Emmy Awards on Saturday, September 9 and Sunday, September 10 will be where most of the awards get handed out, with an edited telecast of the event set to air on FXX at a later date. Happening a little later than usual are the 75th Primetime Emmy Awards, which air live on FOX this year.

All dates remain subject to change. Read our predictions for all categories here.

Tuesday, May 9, 2023
Entry deadline for programs that identify as Primetime programming by virtue of genre and were originally presented on a national platform June 1, 2022 – May 31, 2023.

Upload deadline for all entry materials.

Wednesday, May 31, 2023
End of eligibility window for 2023 Emmy Awards.

Thursday, June 15, 2023
Nomination-round voting begins.

Monday, June 26, 2023
Nomination-round voting ends at 10 p.m. PT.

Wednesday, July 12, 2023
Nominations announced.

Wednesday, July 26, 2023
Deadline for errors and omissions to the nominations.

Week of August 7, 2023
Final-round videos available for viewing.

Thursday, August 17, 2023
Final-round voting begins.

Monday, August 28, 2023
Final-round voting ends at 10 p.m. PT.

Saturday, September 9 and Sunday, September 10, 2023
2023 Creative Arts Emmy Awards and Governors Gala

Monday, September 18, 2023
75th Emmy Awards FOX Telecast and Governors Gala

Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

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March 28, 2023

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As FYC events commence, keep in mind

Music

Chris Carter says Ryan Coogler is working on X-Files reboot

Ryan Coogler; David Duchovny and Gillian Anderson

Photo: Rebecca Sapp; FOX/Liaison (Getty Images)

Now here’s something we want to believe in: The X-Files may be coming back, and creator Chris Carter says he’s passing the baton to none other than Ryan Coogler to develop it. The last time the FBI’s spookiest division graced our screens was in 2018 during FOX’s two-season revival, wherein Mulder (David Duchovny) and Scully (Gillian Anderson) finally closed the chapter on the mystery of their long-lost son William. Now, Carter says a brand new version of his beloved sci-fi series is in the works.

What a pickle! Can the cast of Rugrats conquer our cartoon quiz?

Carter dropped this major bombshell during a podcast interview for On The Coast With Gloria Macarenko, commemorating 30 years since the series began filming in Vancouver, Canada. “We’re so steeped in conspiracies now. The X-Files dealt with a central conspiracy, but now the world is so full of conspiracies that I think it would be a different show,” he reflected about what the series might look like today. Then he casually broke the major news: “Actually, I just spoke to a young man, Ryan Coogler, who is going to remount The X-Files with a diverse cast. So he’s got his work cut out for him, because we covered so much territory.”

The truth of the matter is that, although the original series did cover a lot in its 11 seasons, the X-Files formula is truly timeless. We know this because it’s been repeated time and again in the years since. From Bones to Fringe to Supernatural, every skeptic-believer pairing and paranoid government conspiracy and monster-of-the-week procedural has a little bit of X-Files DNA. (This is to say nothing of the fact that the show’s writers’ room is still shaping television as we know it, including but not limited to the works of Vince Gilligan.) These homages have frequently been successful, so why shouldn’t it work again with the real thing?

A certain segment of the population is sure to read “diverse X-Files” as “woke X-Files” and wonder why the powers that be are changing the race of another redhead. Truthfully, though, the series lends itself perfectly to a brand-new revival. Rather than rebooting the series from scratch, a new generation of agents could be assigned to investigate X-Files, leaving the door open for Duchovny and Anderson to appear in whatever capacity they choose. Surely, the fact that the world is even further steeped in conspiracies makes the current era all the riper for X-Filing. One can only hope that the truth is still out there, somewhere.

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March 28, 2023

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Ryan Coogler; David Duchovny and Gillian AndersonPhoto:

Docs

Top Ways to Stand Out in Your Next Acting Audition

Acting auditions can be nerve-wracking experiences, even for the most seasoned actors. With countless individuals vying for the same role, standing out and making a lasting impression on casting directors can be challenging. However, there are a variety of techniques and strategies that can help you to shine in your next audition. Below are the top ways to stand out in your next acting audition.

Keep Time

Showing up late or rushing through your lines can make you feel unprepared and unprofessional. Aim to arrive at least 15 minutes early so that you have plenty of time to settle in and review your material before the audition begins. Make sure you know exactly where the audition is and plan your route so you don’t have to worry about getting lost or running late on the day. Time management is a skill that casting directors value in any actor, and it can help you to stand out from the competition.

Choose Your Monologue Wisely

Your monologue is often the first thing casting directors will hear from you, so choosing the right one is essential. Pick a monologue appropriate for the role you are auditioning for and will give casting directors an insight into your acting abilities.

Avoid choosing monologues that are too long or complex. Shorter, simpler actor monologues can make a stronger impression on casting directors. If you are new to acting, find a monologue easy enough to memorize and deliver confidently. It’s also important to challenge yourself and select a monologue that can help you stand out from the other actors in the room.

Show Your Emotions

When preparing for an audition, it’s essential to focus on the emotional side of your performance. Acting is not just about correctly delivering lines; it’s also about conveying powerful emotions and connecting with the audience. Try to memorize the tone and emotion associated with each line in your monologue to deliver a truly engaging performance. Feel free to dramatize your lines and add subtle movements or gestures to bring your characters to life.

Research the Role

You can only expect to impress casting directors if you have done your homework. Researching the role you are auditioning for will give you an advantage over other actors and help you to create a more authentic performance. Try to find out as much as possible about the character you are playing, from their backstory to their motivations and goals. This can help you to create a more multi-dimensional performance and make an impact on casting directors.

Make a Good First Impression

Your success as an actor depends on the first few seconds in the audition room. This can be just as important as your performance, so it’s important to make an excellent first impression. Ensure you have dressed appropriately for the role and have all your materials ready before the audition begins. Smile and make eye contact with casting directors when you enter the room, and remember to be polite, confident, and professional throughout your audition. This will show them you are serious about the role and demonstrate your enthusiasm for acting.

Making the cut at an acting audition can be challenging; however, with the right preparation and attitude, you can stand out from the crowd and increase your chances of success. Following these tips can give you an advantage over other actors and make a lasting impression on casting directors.

Abdullah Khan is the Head of the Digital Marketing Department at Guest Posting Solution. He helps clients grow their online businesses and occasionally writes blogs to share his experience with other professionals.

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March 28, 2023

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Acting auditions can be nerve-wracking experiences, even

Entertaintment, Film, Movies

The Anchor – A Journey Through Epilepsy

The following article will provide a personal review of a YouTube short film titled; The Anchor – A Journey Through Epilepsy.

While the film does not intend to offer its viewers any kind of road-map towards choosing one’s “anchor” it goes the distance in demonstrating that anyone who suffers from Epilepsy can add an anchor to their toolbox of techniques aimed at coping and managing their condition. This film provides for its viewers, a visceral, emotional perspective of what it means for any patient on the verge of an epileptic event, in particular;

It is very good at demonstrating the disorientation that is prevalent when a seizure is imminent.
It is also very effective at showing the viewer that not only could anything in a patient’s environment trigger an event, but it also communicates that the patient isn’t always aware of all their possible triggers.
It also demonstrates (superficially at least) what a support team (in this case, family) can do to manage an event.

The message of light at the end of this film focuses on a patient’s own ability to chose and utilize an anchor to navigate epilepsy, and grasp a level of control they wouldn’t otherwise have.

The message is one of hope and self reliance.

I hope you enjoy it’s message as much as I did.

For more information on Epilepsy visit:

The information contained in “The Anchor – A Journey Through Epilepsy” video, represents the views and opinions of the original creator(s) and does not necessarily represent the views or opinions of Time Warner Entertainment (TWE) or it’s affiliates. The video has been made available for educational purposes only, and is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your medical professionals with any questions you may have regarding this information or any medical condition you may have. TWE hereby disclaims any and all liability to any party for any direct, indirect, implied, punitive, special, incidental or other consequential damages arising directly or indirectly from any use of the video “The Anchor – A Journey Through Epilepsy” content, which is provided as is, and without warranties.

Furthermore the opinions expressed in this review article are solely the authors and do not reflect the opinions and beliefs of the website or its affiliates and in the interest of full transparency, the author and filmmaker are known to each other.

March 28, 2023

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The following article will provide a personal

Trending

Adnan Syed Conviction In ‘Serial’ Case Reinstated By Appellate Court – Deadline

The ever-surprising case of Adnan Syed, whose murder conviction was examined in a massively popular season of the podcast Serial, has taken another stunning turn: The 2022 vacation of his conviction has been overturned on appeal.

According to The Washington Post, a Maryland appellate court panel today reinstated Syed’s conviction in the 1999 murder of his high school girlfriend Hae Min Lee. Syed, 17 at the time of the murder, was convicted of the crime in 2000, but in a surprising twist last year Baltimore Circuit Court Judge Melissa Phinn vacated the conviction due to problems in how prosecutors had turned over evidence to defense attorneys before the original trial.

But today, in a 2-1 decision, the Maryland appellate court reinstated the convictions and prison sentence – at least for now – by ruling that the process by which the conviction was vacated violated the rights of Hae Min Lee’s brother Young Lee, who has argued that he was given less than one day’s notice prior to Syed’s release from prison. Prosecutors at the time stated that they would no longer pursue the case against Syed.

Young Lee had argued that the Baltimore city state’s attorney gave him less than one business day’s notice of the hearing at which Syed’s conviction was vacated, and that the short notice didn’t allow him time to prepare a response or to attend a hearing in the case.

Any further action in the case, apparently including Syed’s return to prison, will be on hold for 60 days to allow both sides time to plan their responses.

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March 28, 2023

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The ever-surprising case of Adnan Syed, whose

Tech

Emily Henry’s ‘Book Lovers’ Gets Feature Film by Tango

Tango, the film and television development financier and producer founded by Lia Buman and Tim Headington, announced Tuesday that it will adapte Emily Henry’s best-seller “Book Lovers” into a feature film.

Sarah Heyward, writer and producer on HBO’s Emmy-winning “Girls” will write the script, produced by Tango.

“Emily is a dominant force in the world of romantic comedy and we feel so lucky to bring to the screen a story that has already delighted so many on the page,” Buman said The irreverent and whip smart writing delivers on classic romcom tropes while avoiding cliches, making it perfect for a cozy and refreshing adaptation.”

Henry’s novel tells the story of Nora and Charlie. Nora demands the best for her clients as a go-getter literary agent, and Charlie works as a book editor. The two grudgingly respect one another, but their previous meet cutes have not led to anything past a formal business relationship. Nora’s sister persuades her to take a vacation to Sushine Falls, the location setting of one of her author’s most recent novels, but she even manages to run into Charlie there too, far away from New York City. Coincidences lead to conversation as the two book lovers get to know each other better than they thought they already did.

“I’m ecstatic to be teaming up with Sarah and Tango to bring ‘Book Lovers’ to life. My greatest hope for this project has always been to find a home for it among people who not only love, respect, and understand the romantic comedy genre, but also have that same love and respect for its audience,” Henry added. “The film couldn’t have landed in better hands. It’s going to be something special.”

“Book Lovers” is Henry’s most recent novel, published in 2022 by Berkley, an imprint of Penguin Random House. Her previous book “People We Meet on Vacation” is also getting adapted into a movie with Brett Haley attached to direct and Yulin Kuang writing the screenplay. Her next book, “Happy Place” will be published under Berkley in April. Henry’s “Beach Read” rounds out her three New York Times bestsellers in three years.

Emily Henry’s ‘People We Meet on Vacation’ Adaptation to Be Directed by Brett Haley

Heyward has also written on “Modern Love,” Amazon’s Emmy-nominated adaptation of the hit “New York Times” column as well as “SKAM Austin” on Facebook Watch. She has sold feature screenplays to Universal, Good Universe and Netflix. She currently has television and film projects in development at Netflix, HBO Max and Tristar Pictures.

Tango is behind “Aftersun,” from director Charlotte Wells and Oscar-nominated actor Paul Mescal. Their “Shortcomings” film, Randall Park’s directorial debut based off the graphic novel of the same name by Adrian Tomine, has been acquired by Sony Pictures Classics.

Heyward is represented by UTA. Henry is represented by UTA and Root Literary.

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March 28, 2023

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Tango, the film and television development financier

Video

Ana Navarro Drags The Daily Show for Not Hiring Enough Latinos

Ana Navarro switched up “The View” for “The Daily Show” to talk politics with guest host John Leguizamo Monday night — but not before dragging the Comedy Central series for taking 10 guest hosts before finally hiring a Latino.

“Let’s not f–k it up,” she quipped.

Leguizamo, most recently seen in hit feature films like “The Menu” and “Encanto” and next in “The Power” on Amazon’s Prime Video, began the interview by applauding the fact that “The Daily Show” was spotlighting a “Latina guest and a Latino host” side by side. He assured audiences, however, that they’re still watching “The Daily Show,” not Univision.

“Part of me wants you not to emphasize it because I’m afraid immigration might show up at any moment,” Navarro chimed in, jokingly. “And then again, and then I remember Donald Trump is no longer president. We ain’t getting deported!”

“I love that you start right at it, you go at it right out of the gate. I love that about you,” Leguizamo said. Navarro then continued coming in hot, targeting “The Daily Show” itself for needing more Latinos onscreen.

“Listen, it’s only taken 10 hosts for them to have a Latino host!” she said.

“Who’s counting?” Leguizamo said, laughing. “I wasn’t counting.” Prior to Leguizamo, “The Daily Show” indeed had nine guest hosts, including Chelsea Handler, Wanda Sykes, Leslie Jones, Hasan Minhaj, Sarah Silverman and former Democratic senator Al Franken.

“I’m really happy that you’re here and I’m always grateful to you because you are so consistent,” Navarro told Leguizamo. “You’ve been consistent your entire life and elevating voices that need to be elevated. So listen, it’s taken 10, let’s not f–k it up.”

Leguizamo responded, saying “there’s no way they can,” especially with the “great audience” they had live in the studio.

John Leguizamo Says George Santos Has ‘No Bottom’ After Stealing From Elderly: ‘Sees a Make-a-Wish Kid’ as ‘a Jackpot’ (Video)

The “Moulin Rouge!” and “Romeo + Juliet” actor then opened the discussion to ask Navarro about why “Republicans are so good at coming after Latinos” and igniting a fervor in the community, using “trigger words” like socialism and authoritarianism. “Why are the Democrats falling behind?” he asked. “Why are the Democrats not coming after us?”

Navarro said that she thinks the Democrats take the Latino community for granted, thinking that they won’t vote for Donald Trump and others.

“I think a lot of people thought, you know, ‘They’re not gonna vote for Donald Trump! That’s the alternative? Of course they’re gonna vote for the Democrats.’ And that’s not the way to do it,” Navarro said. “And also, people need to understand, and I don’t know how long we have to say this: You can’t show up six weeks before an election. You have to show up – this is the same for African Americans, for Latinos, for any group. Don’t show up at the last minute and expect to gain [support]. And they have to fight hard against this socialism, communism type of label.”

‘The View': Ana Navarro Says Oscars Were Prime Example of ‘How Immigrants Make America Great’

Navarro then recounted President Joe Biden being asked about those labels at a Town Hall. “He laughed and said, ‘Do I look like a socialist?’”

“Now, I get where he’s coming from,” she continued, but emphasized that he Democrats in power need to denounce it more explicitly. “You know what we need him to say? ‘Let me tell you what socialists do. They attack the free press. They attack political opponents. They attack private businesses,’” Navarro said. “Guess who’s doing that in America today?”

The interview rounded out with Navarro and Leguizamo saying that alliances between minority groups will be essential in the fight for progress for all.

Watch the full “Daily Show” interview win the video above.

John Leguizamo Says He Was ‘Used as a Pawn’ in ‘Spider-Man’ Negotiations With Michael Keaton for Vulture Role

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March 28, 2023

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Ana Navarro switched up “The View” for

New thoughts from ER: Emily Ratajkowski is trying to use her fame to make a positive change. The 31-year-old star spoke to the ELLE's April 2023 first-ever Impact Issue this week where she shared some of her viewpoints

Entertaintment

Emily Ratajkowski reveals she has become a Taylor Swift fan

Emily Ratajkowski is trying to use her fame to make a positive change.

The 31-year-old star spoke to the Elle’s April 2023 first-ever Impact Issue this week where she shared some of her viewpoints.

The issue was celebrating women who are making their mark on the world right now.

During the conversation, Emily – who said this week she wants a second child – mentioned two blonde superstars whom she feels have been treated unfairly.

One of them is Taylor Swift and the other is Pamela Anderson.

New thoughts from ER: Emily Ratajkowski is trying to use her fame to make a positive change. The 31-year-old star spoke to the ELLE’s April 2023 first-ever Impact Issue this week where she shared some of her viewpoints

The ladies she looks up to: Emily said she feels bad for Taylor Swift, left, and Pamela Anderson, right, who have had to deal with sexism

In the issue she revealed that she has become a Swift fan while adding that she would like to get Anderson as a guest on her podcast.

As far as Taylor, she said she was happy to call out a TikTok of a sexist Swift interview.

‘I recently became a Swiftie,’ began the Vogue model.

‘I loved her last album and I’ve seen her documentary, but I wasn’t following her career in the same way the last 10-plus years,’ she added.

When she saw the video, Emily was ‘so struck by how clear she’s being about what is making her uncomfortable.’

Ratajkowski added, ‘I think the lens that I would’ve viewed that interview from 10 years ago versus now has evolved so much, which is why it struck me. I was in bed falling asleep and commented on it, not because I thought it was going to make headlines at all.

‘She’s another example of a woman who has been faced with such blatant misogyny and sexism, and yet we don’t want to admit that, because she’s powerful and successful, and also she’s white.’

New fan: As far as Taylor, she said she was happy to call out a TikTok of a sexist Swift interview. When she saw the video, Emily was ‘so struck by how clear she’s being about what is making her uncomfortable’

She feels for Pam: She then transitioned to her dream podcast guest. It is Baywatch star Pamela Anderson. ‘The way that women have treated her is almost as shocking as the way men have treated her,’ she said of the Playboy model

Emily added Taylor was communicating very clearly about why she didn’t feel comfortable with what was happening.

‘And it was making everyone laugh. It actually upset me,’ she noted. ‘And I think that just even that speaks to a larger thing I’ve noticed, where people don’t listen to femme-presenting people.’

She then transitioned to her dream podcast guest.

It is Baywatch star Pamela Anderson who has recently come out with her memoir.

‘The way that women have treated her is almost as shocking as the way men have treated her,’ she said of the Playboy model.

‘And I’m just so curious where she is now with her perspective. I hope that she gets to have the opportunity to have control over her narrative,’ said Emily.

New life: Next she wants to try screenwriting. ‘To build out the media company that I founded around the podcast. I definitely would like to write future books. ‘To try my hand at fiction, even if it’s thinly veiled’

Next she wants to try screenwriting. ‘To build out the media company that I founded around the podcast. I definitely would like to write future books.

‘To try my hand at fiction, even if it’s thinly veiled, simply because I feel like the way that I exposed myself in My Body, I don’t know that I would ever want to do that again.’

For ELLE’s April 2023 first-ever Impact Issue, they are celebrating women who are making their mark on the world right now.

Included are first daughter Ashley Biden, actress, singer, and budding mogul Keke Palmer, Ukrainian First Lady Olena Zelenska, Michigan Governor Gretchen Whitmer, or climate activist Xiye Bastida.

For the Women of Impact portfolio, ELLE’s honorees tell their stories in interviews about the career moments that amaze them, what they wish they knew starting out, and their advice for the next generation of women following in their footsteps.

Women first: For ELLE’s April 2023 first-ever Impact Issue, they are celebrating women who are making their mark on the world right now

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March 28, 2023

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Emily Ratajkowski is trying to use her

Movies

Which Two Contestants From "Love Is Blind" Season 4 Are You Most Compatible With?

Self-proclaimed founder of the Brett and Tiffany fan club.

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March 28, 2023

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Self-proclaimed founder of the Brett and Tiffany

Zayn Malik wants to 'see where things go' with Selena Gomez: 'He thinks she's incredible!'

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March 28, 2023

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Zayn Malik wants to 'see where things

Guardians of the Galaxy 3, Star-Lord, Gamora, Guardians team in background

MCU

Release Date, Cast & Everything to Expect

Guardians of the Galaxy Vol. 3 will be the next movie and seemingly project as a whole to come from Marvel Studios, here’s everything fans need to know including the release date, cast, plot, and more burning questions.

When Does Guardians of the Galaxy 3 Release?

Marvel Studios

Guardians of the Galaxy Vol. 3 will release in most of the world on May 5, marking the first MCU movie since the pandemic to release with no delays.

Following the end of the Marvel movie ban in the country, Vol. 3 will also be coming to Chinese theaters on the same day as the US.

Those living in the UK or the Philippines will be lucky enough to catch the movie just a couple of days early as Guardians 3 recently moved from May 5 to May 3 in the two countries. This follows a pattern that was previously present during the Infinity Saga that saw MCU releases come to the UK two days before the US.

Which Actors Return in Guardians of the Galaxy 3?

Guardians of the Galaxy Vol. 3 has confirmed 17 new and returning cast members so far while a press release for the MCU threequel shed some light on the 11 of those who will be most important to the trilogy-completing story.

The full cast of actors and characters can be seen below – some actors’ roles and the actors playing certain characters remain unconfirmed at this time:

Chris Pratt – Peter Quill/Star-Lord
Zoe Saldana – Gamora
Dave Bautista – Drax
Bradley Cooper – Rocket Raccoon
Vin Diesel – Groot
Karen Gillan – Nebula
Pom Klementieff – Mantis
Sean Gunn – Kraglin
Chukwudi Iwuji – The High Evolutionary
Will Poulter – Adam Warlock
Maria Bakalova – Cosmo
??? – Lylla
Elizabeth Debicki – Ayesha
Sylvester Stallone – Stakar
Michael Rosenbaum – Martinex
Daniela Melchior – ???
Nico Santos – ???

What Is Guardians of the Galaxy 3 About?

Rocket Raccoon is believed to be the most important character in Guardians of the Galaxy Vol. 3, with the synopsis describing a plot centered around his “turbulent past” with the High Evolutionary and a mission to save his life – one that risks bringing an end to everybody’s favorite team of sci-fi misfits.

“Our beloved band of misfits are settling into life on Knowhere, but it isn’t long before their lives are upended by the echoes of Rocket’s turbulent past. Peter Quill, still reeling from the loss of Gamora, must rally his team around him on a dangerous mission to save Rocket’s life – a mission that, if not completed successfully, could quite possibly lead to the end of the Guardians as we know them.”

James Gunn has already warned viewers to be wary of spoilers on social media “starting at the end of April,” however, he made it very clear that he doesn’t think knowing the movie’s secrets will impact anyone’s enjoyment.

How Long Is Guardians of the Galaxy 3?

The surprisingly lengthy runtime for Guardians of the Galaxy Vol. 3 was revealed by a ticket seller to come in at 2 hours and 29 minutes, making it by far the longest movie of the trilogy and even the longest flick ever from director James Gunn.

The first Guardians movie clocked in at 2 hours and 2 minutes while the second jumped up to 2 hours and 17 minutes. Meanwhile, the recent Disney+ Holiday Special ran far shorter at around 42 minutes.

What Age Rating Is Guardians of the Galaxy 3?

As expected, Guardians of the Galaxy Vol. 3 was recently rated PG-13 by the MPAA (Motion Picture Association of America), much like every other movie in the MCU so far which famously targets the family audience.

The rating was given for “intense sequences of violence and action, strong language, suggestive/drug references, and thematic elements.”

Who Will Die in Guardians of the Galaxy 3?

James Gunn has subtly hinted at a major death coming in Guardians of the Galaxy Vol. 3, and with this seemingly being the end of the line for this bunch of heroes, most seem to agree at least one of the team won’t be making it out alive.

Star-Lord’s Chris Pratt, Drax’s Dave Bautista, and Gamora’s Zoe Saldana have already been open about their imminent MCU retirement. So, the question is less about who’s leaving the franchise, and more about who’s going to get a happy exit.

Well, one line in the trailer had some believing Drax’s death was being teased. Meanwhile, the story centering around Rocket’s past and a mission to save his life also has many worried for the beloved furry hero.

Is Adam Warlock a Villain in Guardians of the Galaxy 3?

Guardians of the Galaxy Vol. 2 saw Sovereign High Priestess Ayesha introduce her new creation “Adam” as the “next step in [their] evolution” who will be “more powerful” and “more capable of destroying” the Guardians. Clearly, this stinger sets him up to face-off with the Guardians, at least at first.

James Gunn has already confirmed Adam Warlock is “definitely not a good guy” when he debuts as he currently “does not understand life very well:

“But he’s definitely not a good guy. What we’re seeing is the infant form of Warlock, newly out of the cocoon, and he does not understand life very well. He’s basically a baby.”

However, in the comics, Adam Warlock tends to eventually find himself on the heroic path. Gunn already suggested he could become a “really important character” in the MCU, so perhaps Will Poulter’s Guardians character will be back.

So Who Is the Villain of Guardians of the Galaxy 3?

Guardians 3 High Evolutionary — Marvel Studios

So, if not Adam Warlock, who will be the main antagonist of Guardians of the Galaxy Vol. 3? That honor will go to the High Evolutionary, played by Peacemaker star Chukwudi Iwuji, a character with close ties to Rocket Raccoon’s past.

The “sociopathic” High Evolutionary has a long history of experimenting on living beings to create what he sees as the ultimate lifeform. Among his creations was the Guardians’ Rocket Raccoon himself.

How Is Gamora Alive in Guardians of the Galaxy 3?

As many will remember, Gamora met her demise in Avengers: Infinity War as her father Thanos sacrificed her to get his hands on the Soul Stone. So, how is she alive to play a major role in Guardians of the Galaxy Vol. 3?

Well, the original Gamora who has been featured in the MCU so far remains dead. However, the time travel antics of Avengers: Endgame saw 2014’s pre-Guardians Gamora pulled into the present-day where she remained at the end of the movie.

This version of Zoe Salanda’s MCU hero will be devoid of her history with Peter Quill and the Guardians, with her now off on her own leading the Ravagers.

Are Mantis and Star-Lord Siblings in the MCU?

Mantis Star Lord Guardians — Marvel Studios

Disney+’s The Guardians of the Galaxy Holiday Special revealed Chris Pratt’s Peter Quill, aka Star-Lord, and Pom Klementieff’s Mantis are half-siblings, with both being children of Kurt Russell’s Vol. 2 villain Ego the Living Planet.

The reveal originally came in a deleted scene from Guardians of the Galaxy Vol. 2, but only formally became canon in the Special Presentation – although the moment was actually spoiled by Marvel Studios themselves before release.

Their sibling connection was originally hidden from Quill until Mantis told him of their familial relationship in a heartfelt moment at the end of the Disney+ special.

When Will Guardians of the Galaxy 3 Release on Disney+?

Guardians 3 Disney Plus — Marvel Studios

The window between an MCU movie’s theatrical and Disney+ release has varied wildly throughout the Multiverse Saga from the low end of 47 days for Doctor Strange 2 to the frustratingly high end of 82 days for Black Panther 2.

This could leave the Guardians of the Galaxy Vol. 3 coming to Disney+ anywhere between late June and late July, with an exact date only likely to become clear at least a few weeks after its theatrical run gets underway.

Will There Be a Guardians of the Galaxy 4?

Guardians of the Galaxy Vol. 3 has been touted as the end of the line for this batch of galactic heroes. Several members of the cast have already addressed their imminent MCU retirement and the trailers have floated the line “one last time,” so all signs are pointing to this being the final installment in the franchise.

At one point Gunn was saying “never say never” to Vol. 4, despite seeing Vol. 3 as “the end of the Guardians’ story,” but that all came before his DC promotion. So, if there is a future for the Guardians, it will likely come with a different director as Gunn has said he “doesn’t care” about any potential new team.

At least for now, the blunt answer to whether there will be a Guardians of the Galaxy Vol. 4 is almost certainly a resounding no.

Watch: Guardians of the Galaxy Vol. 3 Trailers

Guardians of the Galaxy Vol. 3 has already debuted two trailers, the first of which came in December with a deeply emotional trailer to the sound of Spacehog’s “In The Meantime,” potentially revealing the threequel’s deeper meaning.

The second and final trailer followed in February with a brutal look at Rocket’s origin, a wild callback to Thanos himself, and even a peak at one of the High Evolutionary’s superpowers.

Guardians of the Galaxy Vol. 3 hits theaters on May 5.

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March 28, 2023

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DCU

Jason Momoa Addresses Aquaman’s Future in the DCU

We can be pretty certain that Jason Momoa will be a part of the DCU in one way or another, though it remains to be seen if that will see him continuing on in this new universe as Aquaman or perhaps playing a different character, such as the long-rumored Lobo. In any case, fans haven’t seen the last of Momoa’s run in the role of Arthur Curry just yet. After the smash success of Aquaman, Momoa is set to lead the cast of the sequel Aquaman and the Lost Kingdom. After undergoing multiple delays, the sequel is currently scheduled to be released in movie theaters on Dec. 25, 2023.

Aquaman 2 was in the can long before it was announced that Peter Safran and James Gunn would be scrapping the majority of the DCEU’s future plans. They will shift focus to their new DC universe, dubbed the DCU. Momoa has previously revealed he met with Safran and Gunn, teasing that they had big plans in store for him. However, he didn’t say precisely what those plans were, and it still remains a mystery how he’ll be involved in the DCU.

MOVIEWEB VIDEO OF THE DAYSCROLL TO CONTINUE WITH CONTENT

In any case, Momoa feels very confident that the Aquaman character will be a part of the DCU. He says as much in a new interview with Total Film, though he slyly avoids saying specifically that it will be his Aquaman, or another incarnation of the superhero. Maybe that depends upon how well Aquaman and the Lost Kingdom performs in theaters, as Momoa goes on to stress how much he wants fans to check out the film. From the interview:

“Peter [Safran]’s my producer [on Aquaman and the Lost Kingdom], and is a dear friend. I absolutely think Aquaman will be involved in the DCU. It’s on, bro – there’s no one bigger than Aquaman! But, also, I hope people are excited to see the new one. It’s fun. I really enjoy doing comedy. There’s some really funny stuff with Patrick Wilson. I really adore him. We had a great time working together. It’s like we’re brothers. There’s a lot of cool stuff happening in this one.”

Is Shazam! Fury of the Gods Bombing a Bad Sign for Aquaman 2?

Warner Bros.

While the first Aquaman was a big success at the box office, the sequel faces some major problems ahead of its arrival. One of its stars, Amber Heard, has had her reputation severely tarnished as a result of her legal battle with former husband Johnny Depp, resulting in a popular petition for her to be removed from the movie. Some filmgoers have said they refuse to watch the movie if she’s a part of it.

Meanwhile, Shazam! Fury of the Gods coming up short at theaters with its recent release could be seen as a sign of fans choosing to skip what’s left of the DCEU-set films that are still coming out, following Safran and Gunn taking over with the DCU. Some may see it as pointless to invest more time into those films knowing that any teases for sequels will likely go nowhere, as was the case with Black Adam setting up Henry Cavill’s Superman return.

There’s no way of knowing just how much these or other reasons will affect the theatrical performance of the sequel, but we’ll find out come this holiday season. Aquaman and the Lost Kingdom hits theaters on Dec. 25, 2023.

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March 28, 2023

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We can be pretty certain that Jason

Comics

Celebrating 27 years of Resident Evil

Resident Evil is celebrating its 27th anniversary. On March 22, 1996, the Raccoon City S.T.A.R.S. team was dispatched to investigate a strange incident at a secluded mansion, unaware of the horrors that they would find inside. That fateful mission would spawn one of the most successful video game series of all time, one which is still alive and well to this day.

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March 28, 2023

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Resident Evil is celebrating its 27th anniversary.

'Unruly' wins Dragon Award Best Nordic Film

Festivals

Visions du Réel has unveiled the official selection for its 54th edition (21 to 30 April 2023)

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Visions du Réel has unveiled the official selection for its 54th edition (21 to 30 April 2023)

Visions du Réel 2023: the 54th edition will run 21 to 30 April 2023.

It is a powerful and dazzling programme that showcases the strength of contemporary non-fiction filmmaking. In all, 163 films – including 82 world premieres, 11 international premieres, 2 European premieres and 26 Swiss premieres – offer a panorama that often challenges the boundaries between fiction and reality. 46 countries are represented in the selection, while 37 Swiss (co)productions are featured in all sections of the Festival, highlighting the fertile momentum of Swiss documentary production. The programme is complemented by three main guests: Argentinian filmmaker Lucrecia Martel (Guest of Honour) alongside Italian Director Alice Rohrwacher (Special Guest) and Swiss Director Jean-Stéphane Bron (Atelier). The programme features an equal number of films from female and male directors. The 54th edition will open its doors on Friday 21 April with the world premiere of Nightwatchers by Juliette de Marcillac, with Federal Councillor Elisabeth Baume Schneider, State Councillor Nuria Gorrite, and Daniel Rossellat, the Mayor of Nyon in attendance.

“We feel optimistic and enthusiastic about this edition. The format of Visions du Réel, which has changed enormously over recent years, proved to be a success with audiences in 2022. The Festival is now on a firm footing and moving with the times. We are of course well aware of the crises and difficulties that we are going through, and those that we will face. That is why we want to encourage greater cooperation, both with our partners – to constantly improve our offering – and with participants from the film industry through new collaborations. In this context we can for example cite the closer ties we are forming with foundations, particularly regarding cultural participation, but also with Swiss distributors to support getting films into cinemas,” says Raymond Loretan, Festival President.

The 2023 programme is rich, with a wonderfully wide range of formats, approaches and countries represented. The 131 films selected from the 3,000 entries – a figure that has remained stable over several years – bears witness to the great freedom that non-fiction filmmaking enjoys today. “I am thrilled to see that Visions du Réel is confirming both its role as a trailblazer – there are 24 first feature length films whilst 82 of the films screened are world premieres – and strong ties with filmmakers who return to the Festival this year, including important and established Swiss and international directors,” enthuses Emilie Bujès, Artistic Director. “In terms of the countries represented, the 2023 International Feature Film Competition is particularly interesting and open, with films coming notably from Venezuela, Burkina Faso, South Korea and Thailand, whilst in the Burning Lights International Competition there are films from Costa Rica, Iran and China, amongst other countries.” A total of 46 countries are represented. Documentary production is more flexible and does not worry about definitions, it freely borrows from the codes of fiction, cultivating a fertile hybridisation. “Visions du Réel aims to achieve a selection made up of personal and original films that are one of a kind, to go off the beaten track, but also to offer cinematographic colours and vocabularies that are as varied as possible, to embrace the world and filmmaking in all its diversity and complexity,” adds Emilie Bujès. Non-fiction film is also, finally, enjoying greater recognition, as illustrated by recent awards at the Berlin International Film Festival and the Venice Film Festival.

In 2023, the Festival is consolidating the developments of the latest editions. “After great changes last year, particularly in terms of the infrastructure and hosting amenities, this year we are building on what is in place with an aim of improvement that some audiences are bound to appreciate,” adds Mélanie Courvoisier, the Festival’s new Administrative Director. “This year, for example, we can offer the first signed Masterclass, with Jean-Stéphane Bron, which will make it possible to include people who are deaf and hearing impaired. Not to mention the prolongation of our online platform, which will be online throughout the Festival, including around fifty films from the official selection. Although this platform was created in a specific context in previous years, it has proven to be appropriate in the long term, offering access to a greater number of films to audiences that are prevented from seeing them in person for all kinds of reasons.”

The first guests of the 2023 edition

The 54th edition will play host to prestigious guests, presenting retrospectives of their work. The Guest of Honour for 2023 will be Argentinian filmmaker Lucrecia Martel, who will receive the Honorary Award, which will be presented by French director Céline Sciamma, before the screening of La ciénaga (Monday 24 April), her first fiction film which revealed her on the international scene. Lucrecia Martel will give a Masterclass on Tuesday 25 April (2 pm).

Emilie Bujès adds: “This year, audiences will have the opportunity to delve into three unique and bold styles of filmmaking. The Guest of Honour for 2023, Lucrecia Martel, who until recently had made a name for herself in fiction, represents our artistic positioning that enjoys investigating the porous nature of the boundaries between genres. It will also be wonderful to have Céline Sciamma here to present her with the Award. The same goes for Alice Rohrwacher, who we have been hoping to have at the Festival for years and who is sure to win over the audience with a filmography coloured by magical realism. Together, these three women clearly represent an exciting and enthusiastic vision of contemporary filmmaking. Finally, it is so relevant and exciting to welcome Swiss director Jean-Stéphane Bron, who is an essential figure in the Swiss film industry and international non-fiction making.”

This year’s Special Guest, Alice Rohrwacher, will also give a Masterclass on Saturday 22 April (2 pm). She will be joined for the occasion by her editor Nelly Quettier, another big name from the industry, who has worked with Claire Denis and Leos Carax. Jean-Stéphane Bron, will give his masterclass on Thursday 27 April (10 am). They will be joined in Nyon by prestigious jury members, including Brazilian filmmaker Kleber Mendonça Filho, the Senior Programmer for Film at the Lincoln Center Florence Almozini, and filmmakers such as Zeynep Gütel from Turkey, Elena Lopez Riera from Spain and Alaa Eddine Aljem from Morocco. Many delegations will be here to promote their films in the competitions throughout the Festival. The full guestlist for the official selection will be unveiled soon.

International Feature Film Competition

The Jury for the International Feature Film Competition is made up of Florence Almozini, Senior Programmer for Film at the Lincoln Center, Swiss Producer David Epiney and filmmaker Kleber Mendonça Filho, who will award the prizes amongst the 14 competing films, including 12 world premieres and 2 international premieres, with a number of Spanish entries for the first time and three Swiss (co)productions, alongside works from every continent.

The competition will be marked by the return of the great Swiss filmmaker Peter Mettler (Atelier 2020) with his filmed personal diary While the Green Grass Grows – from which he will present two of the seven parts – duo Piotr Pawlus and Tomasz Wolski (Special Mention VdR 2021) with their meticulous In Ukraine that delves into the new normal of a country under siege, and Mattia Colombo (VdR 2022) who teams up with Valentina Cicognia to powerfully tell the tale of one doctor’s fight for the rights of migrants to a proper grave in Pure Unknown. The selection also offers a series of vibrant first films that bear witness to the interest of the next generation in non-fiction filmmaking: the Swiss solar (co)production Antier Noche from Alberto Martín Menacho, which follows young people in the Extremadura region where the population is in decline; a story of migration and resilience with an infinite tenderness from Thai filmmaker Komtouch Napattaloong with Hours of Ours; and a stunning mystical tableaux from Pablo Lago Dantas in O Auto das Ánimas where ghosts from the past mix with the mists of the Galician coast.

Many of the films reveal the natural and close rapport between documentary and fiction, from the point of view of the formal grammar or the references they make. My Father’s Prison by Ivan Andrés Simonovis Pertíñez tells the extraordinary and impressive story of the filmmaker’s father, a former member of the Venezuelan special forces and a prisoner of war, whilst in The Bilbaos director Pedro Speroni sublimes the daily brutality experienced by an Argentinian family, lighting up the harshness of their social condition. Alongside them is the sensory exploration of Grasshopper Republic from North American Daniel McCabe, who builds an authentic dramaturgy around the ritual hunting of grasshoppers in Uganda; and the sharp framing and editing of Fauna from Pau Faus, which offers a quirky interweaving of the scientific and animal worlds during a pandemic.

There are family stories scattered throughout the competition, including Machtat by Sonia Ben Slama, which follows Fatma and her daughters during their traditional wedding music activities in Tunisia, which are simultaneously a source of emancipation, sisterhood and conflict; or the theatre of family quarrels in Al Djanat – The Original Paradise by Chloé Aïcha Boro, which paints a picture of the inner courtyard of her family home and bears witness to the great shifts in identity provoked by western modernism. The issue of identity also arises strongly in other films, such as Defectors by Hyun kyung Kim that uses a double narrative device to depict a portrait of defectors from North Korea and of the filmmaker, who left behind his loved ones to go to the USA; or even the striking saga of the Oubliés de la Belle Étoile by Clémence Davigo, an anthropological enquiry into abuse in a catholic children’s rehabilitation centre, which reveals the lasting stigma left by the violence on these now retired men.

Al Djanat – The Original Paradise by Chloé Aïcha Boro, France/Burkina Faso/Benin/Germany, 2023, 85’, International Premiere
Antier noche by Alberto Martín Menacho, Switzerland/Spain, 2023, 106’, World Premiere*
Defectors by Hyun kyung Kim, Republic of Korea (South Korea)/USA, 2023, 84’, World Premiere*
Fauna by Pau Faus, Spain, 2023, 74’, World Premiere*
Grasshopper Republic by Daniel McCabe, USA, 2023, 94’, World Premiere*
Hours of Ours by Komtouch Napattaloong, Thailand, 2023, 85’, World Premiere*
In Ukraine by Piotr Pawlus and Tomasz Wolski, Poland/Germany, 2023, 83’, International Premiere
Les Oubliés de la Belle Étoile de Clémence Davigo, France, 2023, 106’, World Premiere*
Machtat by Sonia Ben Slama, Lebanon/Tunisia/France/Qatar, 2023, 82’, World Premiere*
My Father’s Prison by Iván Andrés Simonovis Pertíñez, Venezuela, 2023, 81’, World Premiere*
O auto das ánimas by Pablo Lago Dantas, Spain, 2023, 73’, World Premiere*
Pure Unknown by Valentina Cicogna et Mattia Colombo, Italy/Switzerland/Sweden, 2023, 93’, World Premiere*
The Bilbaos by Pedro Speroni, Argentina, 2023, 74’, World Premiere*
While the Green Grass Grows by Peter Mettler, Switzerland/Canada,2023, 166’, World Premiere*

Burning Lights Competition

Burning Lights is an international competition for medium and feature length films, dedicated to free and contemporary forms and outlooks for film. This competition offers an innovative selection of audacious aesthetic mindsets and adventurous narratives through 15 films, including 13 world premieres and 2 international premieres. The 2023 Jury is made up of the Italian curator of the Fondazione In Between Art Film, Leonardo Bigazzi, programmer for the International Film Festival Rotterdam, Michelle Carey (who also worked on the Cannes Film Festival Directors’ Fortnight until 2022) and filmmaker Elena López Riera (whose first feature film El Agua, presented at Visions du Réel 2023, was a big hit with critics at Cannes 2022).

Emilie Bujès: “With family films, films shot entirely in a survivalist zone online, works made up of photographs or archives, ‘making-of’ films, portraits, explorations of real or invented lands, fragmented works, and films using technical devices to exacerbate their message, the Burning Lights Competition is made up of joyful and eclectic films that highlight the exuberance of modern non-fiction filmmaking.”

An Inhabited Volcano by David Pantaleón and Jose Víctor Fuentes, Spain, 2023, 66’, World Premiere*
An Owl, a Garden & the Writer by Sara Dolatabadi, Iran/France, 2023, 83’, World Premiere*
Apocryphal County by Geoffrey Lachassagne, France, 2023, 70’, World Premiere*
Astrakan 79 by Catarina Mourão, Portugal, 2023, 64’, World Premiere*
Caiti Blues by Justine Harbonnier, Canada/France, 2023, 84’, World Premiere*
Dreamers by Stéphanie Barbey and Luc Peter, Switzerland/Germany, 2023, 84’, World Premiere*
Filming by Samuel Moreno Alvarez, Colombia, 2023, 42’, World Premiere*
Guián by Nicole Chi Amén, Costa Rica, 2023, 75’, World Premiere*
Knit’s Island by Ekiem Barbier, Guilhem Causse and Quentin L’helgoualc’h, France, 2023, 95’, World Premiere*
Landshaft by Daniel Kötter, Germany/Armenia, 2023, 97’, World Premiere**
Má Sài Gòn (Mother Saigon) by Khoa Lê, Canada, 2023, 100’, World Premiere
Natalia by Elizabeth Mirzaei, USA, 2023, 75’, International Premiere
Still Film by James N. Kienitz Wilkins, USA, 2023, 72’, International Premiere
Taxibol by Tommaso Santambrogio, Italy, 2023, 50’, World Premiere*
This Woman by Alan Zhang, China, 2023, 91’, World Premiere*

National Competition

The National Competition is devoted to medium length and feature films (co)produced in Switzerland. The selection offers an overview of the abundant Swiss production, and underlines its diversity and ambition. Comprising Swiss programmer Anne Delseth – who now works at the Marrakesh International Film Festival after more than ten years spent working on the Directors’ Fortnight at Cannes – Italian filmmaker Francesca Mazzoleni (Grand Prix VdR 2020) and French producer Eugénie Michel-Villette – who has often presented films at the Festival in recent years – the jury will award the competition prizes amongst the 12 films, including 11 world premieres and 1 international premiere.

Emilie Bujès: “With a rich and impressive National Competition, Switzerland is cementing its excellence in documentary film, not only with the well-known names and/or those associated with Visions du Réel, but also younger filmmakers, including a lot of women. With 37 (co)productions across all sections of the Festival, Switzerland is a major player this year.”

Allo la France by Floriane Devigne, Switzerland/France, 2023, 78’, World Premiere*
Chagrin Valley by Nathalie Berger, Switzerland, 2023, 62’, World Premiere*
Chienne de rouge by Yamina Zoutat, Switzerland/France, 2023, 96’, International Premiere
Floating Islands by Nicolas Humbert and Simone Fürbringer, Switzerland/Germany, 2023, 95’, World Premiere*
Follow the Water by Pauline Julier and Clément Postec, Switzerland/France/Chile, 2023, 51’, World Premiere*
Full Tank by Benjamin Bucher and Julia Bünter, Switzerland, 2023, 63’, World Premiere*
Hawar, Our Banished Children by Pascale Bourgaux, Belgium/Switzerland, 2023, 74’, World Premiere*
La Maison by Sophie Ballmer, Switzerland, 2023, 40’, World Premiere*
Le Fils du chasseur by Juliette Riccaboni, 2023, 55’, World Premiere*
Para no olvidar by Laura Gabay, Switzerland/France/Uruguay, 2023, 62’, World Premiere*
Ruäch – A Journey into Yenish Europe by Andreas Müller and Simon Guy Fässler, Switzerland, 2023, 118’, World Premiere*
The Wonder Way by Emmanuelle Antille, Switzerland, 2023, 96’, World Premiere*

A new wave for non-fiction film, a homage to JLG and the Queen of disco

Alongside these three headline competitions, on top of the Grand Angle competition and the Highlights selection that have already been announced, the 54th edition also spotlights less conventional formats in the International Medium Length & Short Film Competition. A lively competition with 32 films, including 28 world premieres, with well-known names from contemporary filmmaking such as French filmmaker Guillaume Brac, Swiss-Portuguese director Basil Da Cunha, and Swedish director Jennifer Rainsford. As for the Opening Scenes section, it promotes promising newcomers from both Switzerland and abroad, with 15 films, including 14 international premieres.

Finally, there will be special screenings throughout the edition, including two previews in collaboration with Swiss distributors to support their arrival in theaters: Sur l’Adamant by Nicolas Philibert, winner of the Golden Bear in Berlin this year, which is playing at a free pre-opening screening on 20 April (release date: 26 April), and All the Beauty and the Bloodshed from Oscar-winning director Laura Poitras (release date 26 April). This year, the non-competitive section also offers the opportunity to support documentary production by Ukrainian filmmakers, one year after the Russian invasion, with a selection of short films, after the online discussion in 2022, and to pay homage to Jean-Luc Godard (with whom Visions du Réel produced the Livre d’image exhibition in 2020 that later travelled to Berlin during Berlinale 2022) and Alain Tanner, who recently passed away. To conclude, the Queen of disco will be here with the flamboyant documentary Love to Love You, Donna Summer presented as a Swiss premiere, whilst Matthieu Rytz, a filmmaker from Nyon, will present Deep Rising after its launch at Sundance.

The 2023 Festival offering

Visions du Réel will be held in Nyon and Gland from 21 to 30 April in person and online, with its streaming platform available from 24 to 30 April. Everyday, from Monday 24 April, a series of films from the official selection will be available online for a limited period. The VdR–Kids label offers all sorts of activities, screenings and events for families and children. Finally, the VdR–Industry programme, for professionals, has already been announced and will present over thirty projects at every stage of production. This programme is complemented by a vast range of discussions, panels and encounters for people with accreditation, which will be presented in greater detail at a later date.

You can find the synopsis of the films and the full programme in the presskit for the edition. Feel free to contact the Press Office for any information and to request interviews.

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March 28, 2023

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Film Independent Selects Six Fellows For Second Annual Amplifier Fellowship – Deadline

EXCLUSIVE: Film Independent announced today the six Fellows and their projects selected for its Amplifier Fellowship. The 2023 Film Independent Amplifier Fellowship is supported by Founding Sponsor Netflix’s Fund for Creative Equity, a dedicated effort to help build new opportunities for underrepresented communities within entertainment.

Over the course of the nine-month program, the Amplifier Fellows will receive creative support to propel a selected project forward, both creatively and strategically, as well as customized mentorship pairings, including with a Netflix executive as an industry advisor and a board member from Film Independent. Each Fellow will also receive professional coaching in partnership with Renee Freedman & Co, and financial and business advisement and coaching in partnership with The Jill James. Each Fellow will receive a $30,000 unrestricted grant to provide sustainability and/or support their creative endeavors.

“The Amplifier Fellowship supports Black artists on the verge of career breakthrough with a bespoke program that includes impactful granting, mentorship and professional coaching that aims to build confidence both in their craft and in their capacity to build their business and brand” said Angela C. Lee, Director of Artist Development, Film Independent. “This year’s Amplifier Fellows bring an incredible passion to entertain and create change through their films. We are thrilled to support this incredibly talented group of storytellers and help them build a foundation for longevity and sustainability through their work.”

The 2023 Amplifier Fellows and their projects are:

Melissa Adeyemo, Producer
Melissa is a Nigerian American producer and the founder of U.S. production company, Ominira Studios. Her first feature, Eyimofe, premiered at the 2020 Berlinale. The film can be viewed on the Criterion Collection, HBO Max, and Amazon International. Eyimofe won five African Movie Academy Awards and was nominated for an NAACP Award. Dusty & Stones, her first documentary feature, premiered at Doc NYC 2022. Melissa’s career started with Spike Lee’s Inside Man and Steven Spielberg’s Munich. Melissa is a 2022 BAFTA Breakthrough fellow and 2023 EAVE Fellow. Melissa has an MBA from NYU Stern and a B.A. from Columbia University.

In My Father’s House
Fiction Feature in Development
Logline: In My Father’s House follows Anna (nee Anike), a disillusioned millennial quietly battling grief after the expected loss of her mother. She arrives in Lagos, Nigeria, from the United States to reconnect with her estranged father and unexpectedly discovers new life and purpose.

Sue-Ellen Chitunya, Producer
Sue-Ellen Chitunya is a filmmaker from Zimbabwe. She is a 2019 Georgia State University 40 under 40 honoree and a graduate of the UCLA professional producing program. She is a member of the Academy of Motion Pictures Arts and Sciences. An Ebert, Chitunya has participated in various artist development programs including: WIF Emerging Producer Program, Film Independent Producing Lab, and Industry Academy. Her shorts have screened at various festivals including Rotterdam, BFI London, and Tribeca. She recently produced the feature documentary, For Tomorrow, available on Amazon Prime, and the interactive rom-com Mr. Right, which is available on mobile app stores.

Accidental Hearts
Fiction Feature in Development
Logline: A closeted lesbian realizes she’s about to lose her best friend, the love of her life, so she devises a master plan to win her back before the upcoming Christmas wedding.

David Fortune, Writer/Director
A graduate of Morehouse College and LMU School of Film and Television, David Fortune finds purpose in capturing the themes of intimacy based in inner-city environments. As a result, he has collaborated with companies such as Netflix, Village Roadshow Entertainment Group, Hillman Grad, Indeed, and Options For All to develop empowering narratives focused on marginalized communities. In addition, David was named a winner of Netflix’s Content Creator Program for his film, Us and premiered his narrative short Shoebox at Tribeca Film Festival. Today, he works with non-profit organizations to raise awareness of individuals with Intellectual Developmental Disabilities through documentary films.

Color Book
Fiction Feature in Development
Logline: Following the passing of his wife, a devoted father learns to raise his son with Down syndrome as a single parent. Through their journey to a professional baseball game, he fights to keep his promise to his child while healing from the loss of his significant other.

Andre Lambertson, Director
Andre Lambertson is an Emmy-nominated filmmaker and photographer who works as a director and director of photography. Most recently he was a cinematographer on Dick Johnson is Dead, which premiered at the 2020 Sundance Film Festival. Andre filmed Charm City, which premiered at the 2018 Tribeca Film Festival and was shortlisted for the 2019 Academy Awards Best Documentary Feature. The film was broadcast on PBS Independent Lens. He also co-directed and shot The Whole Gritty City, which won the Christopher Award and was broadcast on CBS primetime 48 Hours.

Team Onyx
Nonfiction Feature in Pre-Production
Logline: Team Onyx is the first all-Black team to change the face of adventure sports. They are men and women in expedition racing – gay and straight – representing the best qualities in diversity.

Philiane Phang, Writer/Director
Philiane Phang is a writer and director based in New York. She was the recipient of the Ammon Foundation Fellowship and IFP’s Inaugural Phosphate Grant. Her debut short film, GUBAGUDE KO, starring Academy Award winner Mahershala Ali, was developed through AFI’s Directing Workshop for Women. Indigenous Media commissioned her to write and direct The Row. Her feature project, The Space Between, was chosen to participate in Sundance Screenwriters Intensive and Producing Labs, Film Independent Screenwriting and Directing Labs, Berlinale Talents and Co-Production Market, and IFP’s – No Borders Co-Production Market. Philiane graduated from Rutgers University with a Juris Doctorate.

Rosema
Fiction Feature in Development
Logline: Rosema is an undocumented father who returns to America in search of his missing eight-year-old daughter.

Angela Tucker, Director
Angela Tucker is an Emmy and Webby winning filmmaker working in scripted and unscripted film and television highlighting underrepresented communities in unconventional ways. Recent work includes Belly of the Beast (dir. Erika Cohn), a NY Times Critics Pick, The Trees Remember, a series for REI, and A New Orleans Noel, a Lifetime film starring Patti LaBelle. Films in production are The Inquisitor, about political icon Barbara Jordan, and Steam (working title) about a global alternative health treatment. She is a recipient of the 2023 Chicken and Egg Award and a member of the Academy of Motion Pictures Arts and Sciences.

The Inquisitor
Nonfiction Feature in Production
Logline: As the nation was reeling from the potential impeachment of Richard Nixon, a lesser-known figure emerged to repair the country’s broken trust. Barbara Jordan—the first Black woman elected to Congress from the South—was heralded a hero after an impassioned line of questioning and her instrumental role in the Voting Rights Act of 1975. Through the exploration of Jordan’s legacy, my feature length documentary, The Inquisitor asks: “What does it mean to be Black and patriotic in a divided America?”

Celebrating its 30th anniversary, Film Independent Artist Development programs promote independent voices by helping filmmakers create and advance new work through Project Involve; Filmmaker Labs (Directing, Documentary, Episodic, Producing and Screenwriting); Fast Track finance market and Fiscal Sponsorship, as well as through Grants and Awards, which provide over one million dollars annually to visual storytellers.

For more information on any of the Labs or the projects that have been developed through Artist Development, please contact artistdevelopment@filmindependent.org.

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March 28, 2023

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EXCLUSIVE: Film Independent announced today the six

Succession Season 4 Tom Matthew Macfadyen

Can Tom Win ‘Succession’? A Definitive Answer for The Final Season

Matthew Macfadyen’s Minnesotan may not be an “honorary kid,” but he’s playing family puppet master to start the final season.

Throughout the final season of “Succession,” IndieWire will take an extended look at the various power players in HBO’s drama to determine not only if they can win control of the Roy family business, but what they would actually gain in doing so — and what they may lose, simply by playing. After Episode 1, “The Munsters,” it’s time to vet: Tom Wambsgans.

At the end of “Succession’s” Season 4 premiere, it’s only fitting that Tom is the man in the middle. On one side, perched behind him like a certain smirking lion, is Logan (Brian Cox), eagerly awaiting word from the escalating negotiations over Pierce Global Media. On the other side — of the phone, of the country, of the negotiations, take your pick — is Shiv (Sarah Snook), his wife and current opposition. She and her brothers are attempting to pry Logan’s long-prized piece of liberal media out from between his fangs, and Tom is but a mere piece of gristle wedged warily between gnashing teeth.

Based on Tom’s stammered attempts to glean information (delivered with extraordinary obfuscation by Matthew Macfadyen), it would be easy to believe Tom doesn’t want to be here; that he’s trapped in a lose-lose scenario between his wife and father-in-law, between his career ambitions and his personal life, between a lion and a lioness.

But this is exactly where Tom has chosen to be, and it’s exactly where he needs to be — for now, at least, until the Roy family’s favorite people-pleaser decides there’s a more important person to please. Like the actor playing him, Tom thrives in middle. Never on top, never on the bottom, the man from Minnesota sees no separation between his business pursuits and familial obligations. Like any man married into a ~~mom-and-~~pop shop, he’s moved steadily upward, and in Season 4, he’s ascended to become Logan’s right-hand man. Tom calls his boss “Logue,” and “Logue,” in turn, calls him “Tommy.” It is a relationship built on the frailest of foundations — one that significantly weakens his good-standing at home — but these are the same creaky floorboards Tom has been fashioning into a staircase for years. One rail guides his business pursuits, the second his familial obligations, and both run parallel to either the heights of luxury or depths of desertion.

Can he step to the very top? Can he assemble an American capitalist’s stairway to heaven? Can Tom, of all people, actually win the tragic “game” at the heart of “Succession”? To answer that question — which, I promise, I will answer with as much clarity and certitude as anyone outside the show’s writers’ room can — first we must remember what kind of game he’s playing.

The inevitable tragedy of “Succession” is that everyone will lose. Most will not get what they want (i.e. the money and power Logan now controls), and even those that somehow “win” won’t be entirely happy with what they get. Creator Jesse Armstrong has shown, time and again, that each Roy family member is too flawed to achieve serenity — not by succession, anyway. Whether it’s tied to individualized foibles, societal circumstance, abuse inflicted by their family member, or all of the above, the Sisyphean task of scaling Mount Royco is destined to crush every climber’s ambition, soul, or both. Starting over at the bottom isn’t an option. No matter how the final season shakes out, it’s unlikely that the reigning king will feel truly victorious when the closing credits roll.

That goes double for Tom, who has long appeared doomed to be Logan or Shiv’s eternal punching bag. For years, it seemed like the latter was in control, as Tom sustained body blows for #TeamShiv in the fight for her father’s CEO seat. Whether it was true, twisted love or a long con he couldn’t escape, Tom’s only shot at victory hinged on his wife’s unexpected rise. But the pain in their marriage proved too much for Tom. Role play can only go so far, and Shiv should’ve known Tom’s safe word was “love” — as in, don’t tell your puppy dog husband to his face that you don’t love him.

So Tom betrays Shiv and, in doing so, doubles down on his loyalty to Logan, to the company, to the business of fucking people over. Perhaps his previous offer to serve as Royco’s sacrificial lamb paired with his willingness to throw Logan’s kids under the bus will make Tom an indispensable asset to the old guard. But a few months later, it doesn’t appear to have made much of a difference. Logan refuses to promise Tom anything. “If we’re good, we’re good,” Logan tells him, after Tom wonders what will happen if he and his boss’ daughter break up.

Matthew Macfadyen and Sarah Snook in “Succession”

Courtesy of Macall B. Polay / HBO

And a break up appears to be all but official. Later that night, Shiv refuses to even hear Tom out, passing on the chance at a “full accounting of all the pain in [their] marriage” and flat-out rejecting her hubby’s proposal of “saying and explaining” any past misunderstandings.

What does it all mean, one episode into the final season? For me, it’s long been clear that Tom cannot “win” the game of “Succession.” He would never be chosen to lead ATN (or whatever is left of Waystar Royco after GoJo seizes control), and it would be hard to believe he could leverage his current status for a comparable gig elsewhere. (His work history doesn’t exactly make him a desirable candidate for rival companies in need of their own big-wig.) At the same time, he finally seems to realize he’ll never be enough for Shiv. Even after he tips her off to Logan’s PMG pursuit, practically facilitating the sibs’ eventual steal, she still won’t talk to him. Instead, she’s selling their marriage on the open market and plowing ahead with the divorce.

Woe is Tom. He’s put himself in a situation where his floor and ceiling are less than half-a-Greg apart. He’s never going to be the CEO, and he’s always going to be belittled, belabored, and besieged on multiple fronts. But in a weird way, is this also his destiny? Wasn’t he always going to end up on the precipice of eradication by both of his lifelong pursuits? And maybe, just maybe, he wants to push himself to the edge of oblivion? Rather than a strategy — a kind of martyrdom that ends in an unlikely coronation — I sense a defense mechanism; his brain (or what’s left of his conscience) is driving him to destroy the parts of himself that are causing so much anguish so he can start anew, back in Minnesota or at least back to the version of himself before he became tied to the Roys. Perhaps losing is his only way to win.

No matter what you imagine the truth to be behind Tom’s actions, any resulting empathy is elicited by Macfadyen’s indelible performance. The British star has a way of inviting us in. He exposes such vulnerability in hushed moments and such unquenchable anger in bigger ones. Take the way Tom tells Shiv, “That makes me sad.” It’s a nothing line — the kind of stock emotional output you’d expect from a hardened gold digger or spat out by ChatGPT. But Macfadyen, with a flicker of a tear in his eye, imbues the words with Tom’s aforementioned pain, anger, and what reads as raw honesty. If Tom is lying here, he’s as good a liar as Macfadyen is an actor. Where Shiv is holding everything back, refusing to engage in the conversation or even consider having it, Tom is exposed without getting to say his piece. His openness allows the viewer to latch on to Tom in ways that are hard to shake.

Tied inextricably to Macfadyen’s award-winning work, perhaps the reason Tom engenders such a strong response is because he aligns less as a “Succession” power player and more as a “Succession” audience member. He watches the Roy family. He obsesses over them. He has a hand in how things unfold, but he has no shot at “winning,” whether that means ascending to the peak of Waystar Royco or escaping the Roy power struggle unscathed. He is primarily an observer, and a part-time meddler at best.

None of us, dear readers, will be named the CEO of a major corporation in the final episode of “Succession,” and all of us will be left scathed by seeing who succeeds. As viewers, we are hopelessly trapped between loathing the destruction wrought by the Roys and loving the hopeless souls buried deep within each of them. Armstrong asks us to laugh with glee at their poetic insults in the same breath he expects us to draw in out of shock for their heartless tenacity. We are stuck in the middle, and we all want to be here.

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March 28, 2023

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Matthew Macfadyen's Minnesotan may not be an