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There’s a lot going on in this troubled-girl-on-a-journey story, which recalls the late-’90s proliferation of books like Elizabeth Wurtzel’s Prozac Nation and Susanna Kaysen’s Girl, Interrupted. Brittany Snow’s directing debut doesn’t so much add to that canon as dust it down a bit for a new generation, and its success is mostly attributable to its empathetic star Courtney Eaton — the deserving winner of a SXSW Special Jury Recognition for Performance — whose low-key work anchors a needlessly busy film that never quite settles down.

A lot is packed into the opening salvo, from the moment we see Riley (Eaton) sitting on the curb outside a forbiddingly nondescript building, scrolling through pages and pages of narcissistic Instagram influencers. It will come as no surprise when we find out, shortly after that, that she’s been in for a fairly serious disorder she’ll describe variously as “an eating thing” and “body stuff”, but that doesn’t stop her best friend from insisting they go out for a mutual’s party night. This is where Riley meets the scruffy, non-threatening Ethan (Thomas Mann), a music A&R man who used to be in a hipster band called (of course!) Neon Porches. “2017 Brooklyn gold!” enthuses Riley, who turns out to be a fan.

Can Riley get over her ex, deal with her body-image anxiety and go steady with Ethan, who is just out of stir himself following a brief custodial sentence for vandalism? The program she’s on says that she’s not to date anyone for a year, but Riley throws all caution to the wind and sort-of dates Ethan on a friends-with-benefits basis.

Things seem to improve for her when she gets a job with a murder-mystery dinner theatre company that is run by Bryce (played by Dave Bautista, who pops up in a cameo that is by no means the most unexpected thing to happen in this movie). But instead, things just get more complicated, as Riley suddenly starts dating a bartender at work (one of several moments where a scene or two seems to be missing), Ethan has issues both with his ex and his alcoholic father, and, right on cue, Riley’s no-longer-absent mother arrives, a piece of work direct from Central Casting. Instead of de-escalating things, however, what happens after that simply adds to the bedlam. But to be fair, what emerges from this increasingly over-dramatic drama is unusual for the genre: when the harsh light of reality shines in Riley’s face after a long, dark night of the soul, she finally gets the wake-up call she needs.

Surprisingly, the point you might expect to be labored — her issue with body image — is delicately handled, and these are the better moments, either when Riley is alone with her thoughts, mulling over the real-life nightmares of the past, or in sessions with her therapist. Disappointingly, there’s a lot of extraneous commotion all around it that, rather like its main character, makes Parachute kind of hard to warm to.

Title: Parachute
Festival: SXSW, Narrative Feature Competition
Director: Brittany Snow
Screenwriter: Brittany Snow, Becca Gleason
Cast: Courtney Eaton, Thomas Mann, Francesca Reale
Running time: 1hr 37

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There’s a lot going on in this

“It’s not a history of Nike,” Affleck said of his new film. “There’s interviews and books about that.”

Early reviews for Ben Affleck’s “Air” suggest that the “Argo” director has another hit on his hands. After spending years devoting the bulk of his time to working on DC movies, fans and critics alike seem thrilled to see Affleck focusing on adult-oriented films again. But while “Air” is based on the true story of Nike executives trying to sign Michael Jordan to an endorsement deal, it’s not exactly an authorized biopic.

Speaking to The Hollywood Reporter, Affleck explained that the prevalence of books and documentaries about Nike meant that he didn’t feel obligated to involve the company in his film.

“I did not have a conversation with Nike because I didn’t feel the same sense of personal responsibility [as I did to Michael Jordan] because it’s not a history of Nike,” Affleck said. “There’s interviews and books about that.”

That said, Affleck went out of his way to consult with Jordan about the film’s accuracy.

“Jordan is — he’s a hero to me,” Affleck said. “And I know how important and meaningful a figure he is, in particular in the African American community. If you’re going to fuck around with talking about Michael Jordan, do it respectfully. Nobody’s asking you to do a hagiography, but get it fucking right. I’ve never known anybody with that kind of charisma and power who walks into a room and it just reverberates. And is it him or is it the way people treat him? Is it your memories of him? I don’t know, but it’s powerful. I said, ‘Please, can I come out?’ And he was great. ‘Yeah, no problem. Come to the golf course.’”

While Affleck emphasized that his film was not designed as a definitive Michael Jordan biopic with the NBA legend’s full participation, he still says that his conversation with Jordan helped him find the direction of the movie.

“I have to be very clear, this is not the authorized Michael Jordan story,” he said. “This was me saying, ‘Mike, I’m not going to make the movie if you’re not cool with something about it. I just won’t do it. I want to know what’s important to you.’ He was very clear. He was the one who told me about [Nike executive] Howard White, who wasn’t in the original script, who’s played by Chris Tucker. And I said, ‘Any anecdotes about your dad?’ And without going into any more detail, he actually talked about his mom, who wasn’t really in the script. That’s when I understood what the movie was. Talking to him about his mom was incredibly moving, and I realized, ‘Oh, this isn’t about Nike.’”

“Air” opens in theaters on Friday, April 5.

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"It’s not a history of Nike," Affleck

Candace Cameron Bure and Dave Coulier Spill on How ‘Full House’ Cast ‘Bickers’ Like a Real Family (Exclusive) | Entertainment Tonight
































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Everything came down to Alina, with the help of her close allies.


The final battle ensued between darkness and light on Shadow and Bone Season 2 Episode 8, with one prevailing over the other.


Alina made a difficult choice, and the resulting action managed to end the fight once and for all.


Mal started dying. There was no avoiding that fate, but Alina had a difficult decision.


Would she kill her best friend, Male, the final amplifier, before he died from Kirigan’s wounds?


If Mal succumbed to the wounds that Kirigan left him, then Mal’s amplifier ability may have gone to Kirigan instead of Alina.


Mal handed Alina a dagger, and she finally decided to do the right thing: she decided to stab him in the heart.


It’s weird to say that stabbing her best friend and love interest through the heart was the right thing to do, but in the heat of the moment, it was the only thing she could do.


She needed the power boost from the firebird’s amplifier to take down the fold and potentially even to take down Kirigan (although his sickness seemed to worsen).


Once Mal died, the power went from Mal’s body into Alina’s. Alina cried out in anguish, which let out a massive stretch of light that engulfed the fold, bringing it down.


Once she calmed down, her power dissipated, and shadow no longer surrounded her by only shadow but typical blue skies.


Kirigan was impressed but also didn’t die from the blast. Alina still had to deal with the menacing man trying to manipulate her.


She attacked, but while his sickness weakened his strength, his shadow monster’s strength was as strong as ever, and they retaliated against Alina’s hostility.


Just as Alina started to succumb to the Shadow monster’s attack, Inej saved her with the Neshyenyer, killing the shadow creature.


Alina got enough of an opening to hit Kirigan with a fatal blow, and he died staring up at her and the skies beyond.


That’s it., right? Alina took down the fold, and she killed Kirigan.


They depicted this battle quickly, with the rest of the episode featuring the emotional aftermath, including Alina’s efforts to revive Mal.


Alina and Nina tried their hand at reviving Mal, but even Nina wasn’t strong enough to bring him back, which prompted Alina to use the one thing she promised Baghra she wouldn’t use: the Merzost.


The Merzost was the same magic that Kirigan used to create his shadow monsters, and the price he paid was his sickness.


Baghra warned her about the costs of using the Merzost, but it didn’t stop her from using it to revive Mal: which she succeeded in doing.


Mal burst back to life, with Nina confused about how it happened. Alina ignored all the questions, just happy that her best friend lived.


But what was the cost? The cost didn’t get revealed until the final scene when Kaz told the Crows (Nina, Jesper, and Wylan) about a new drug that could amplify Grisha to max power.


As he told them this, Nikolai’s coronation took place with an unwelcomed guest, who took a drug, then killed many of the members in attendance.


Alina managed to stop the woman by using the cut, but it wasn’t what Alina had become accustomed to.


When Alina sent out the powerful spell, it produced Shadow instead of Light.


Alina seemed to have gained Kirigan’s shadow powers, which we assumed was the price for using the Merzost.


Alina’s usage of the shadow ability didn’t seem to bother her, but the credits rolled before we could gauge her actual reaction.


In the novels, Alina did gain some use of shadow, but it only got hinted at through Alina controlling dancing shadows on the wall.


Introducing the jurda parem drug would lead directly into the Six of Crows duology.


Hopefully, Netflix will give Shadow and Bone another season or continues its story through a Six Of Crows series.


The Grishaverse is fast, and even though this may seem like a definitive end for the Darkling and the current civil war, the story could continue.


By diverting from the end of Ruin and Rising (Shadow and Bone’s final novel in the trilogy), Alina could still be a significant player in seasons to come.


She, Genya, and Zoya all agreed to take the lead of Grisha in the palace, which, in the novels, Alina appointed Genya, Zoya, and David.


David may have died during the finale after saving Genya, but with nobody, there’s a chance David lived. With multiple forms of powerful magic at work, there’s always hope.


Mal took over for Nikolai as Sturmhond, which opens his character up to more story.


The finale also showcased a piece of the story that wasn’t revealed until Leigh Bardugo’s second duology set after the initial Trilogy, King of Scars, featuring Nikolai as king.


Nikolai got affected by the shadow creature that attacked him. He doesn’t know how, but he saw himself as a shadow creature in a mirror as he prepared for the coronation.


All major plot threads from the past two seasons closed, but the writers introduced these new enticing hints at their plans for a new season.


We hope Netflix grants us a third season (or any continuation), but with the way Netflix has been handling their fan-favorite shows, we will be waiting on the edge of our seats.


Would you watch more if Netflix decided to go ahead with another season? We know we would!


So Grisha fanatics, what did you think of the season finale of Shadow and Bone Season 2?


Are you as hopeful as we are for a third season or at least a Six of Crow’s continuation?


Let us know in the comments below. The second season of Shadow and Bone is now streaming on Netflix.

Michael Stack is a staff writer for TV Fanatic. Follow him on Twitter.

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Everything came down to Alina, with the

Disney+ brought back the infamous Sanderson sisters to great success with “Hocus Pocus 2,” but the kids who defeated them in the original 1993 cult classic didn’t return with them. The actors who played them just revealed why.

Saturday at 90s Con in Hartford, Connecticut, original “Hocus Pocus” stars Omri Katz, Thora Birch, Vinessa Shaw and Jason Marsden appeared on a panel and discussed the absence of their characters. In the original film, Katz and Birch played Max and Dani Dennison, two siblings whom alongside Max’s classmate crush Allison (Shaw) accidentally revive the Sanderson witches. The three kids must find a way to defeat the coven with the help of Thackery Binx (Marsden), a teen boy who was transformed into an immortal cat by the Sandersons 300 years prior.

Birch said that there had been ideas about ways to bring Max, Dani, Allison and Binx back in a sequel to “Hocus Pocus” as far back as 10 years ago. “But then there were numbers of different writers that came on board and different directors, and so the story and the concept and the direction in which they wanted to take, too, kept evolving and changing and growing,” she said.

“I do know that there were, along the way, some concepts and some ideas about ways to bring us back. And for whatever reason, it just didn’t work,” Birch continued. “Some of us were going to be on, some of us weren’t. And then it just was such a roller coaster ride.”

Marsden said that he had spoken with David Kirschner, producer of the original “Hocus Pocus,” and found out that he had pushed for Max, Dani and Allison to return as adults in a sequel.

“He said he did try to fight to get you three especially,” Marsden said. “But there’s a committee. It’s a team. It’s an IP now — intellectual property. It’s close to your hearts, but it belongs to a committee now. And so it’s left up to them to make the right decisions.”

In the end, Bette Midler, Sarah Jessica Parker and Kathy Najimy came back to play the Sandersons in “Hocus Pocus 2,” resurrected once again nearly 30 years after their encounter with the Dennisons, facing off against a new trio of teenagers who accidentally resurrect them. The film set a new viewing record for Disney+ in terms of total hours viewed on its first weekend of release, passing the record set by Pixar’s “Turning Red” seven months prior.

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Disney+ brought back the infamous Sanderson sisters

In 2021, the Weeknd was sued for copyright infringement over his 2018 My Dear Melancholy, song “Call Out My Name.” Producers Suniel Fox and Henry Strange claimed the Weeknd and co-defendants Nicolás Jaar and Frank Dukes had infringed on their song “Vibeking.” The lawsuit claimed that the two songs were “strikingly and/or substantially similar, if not identical” and cited multiple alleged similarities. 

On March 17, Fox and Strange’s attorneys filed in court that the two sides have reached a settlement. Pitchfork has reached out to the Weeknd’s representatives and the producers’ attorneys for comment.

When the lawsuit was first filed, Jaar clarified that he didn’t have a hand in the creation of “Call Out My Name”—just that the song featured an interpolation of his song from 2016’s Sirens, “Killing Time.” 

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In 2021, the Weeknd was sued for

Monday marks the 20th anniversary of the U.S.-led invasion of Iraq. CPH:DOX will reflect on the repercussions of the war, which ousted Saddam Hussein, but never led to the discovery of weapons of mass destruction, by screening two documentaries: Greta Stocklassa’s “Blix Not Bombs” and Karrar Al-Azzawi’s “Baghdad on Fire.”

“(The invasion) was an event that has shaped international politics over the course of the last two decades in unpredictable and often devastating ways,” says CPH:DOX head of program Mads Mikkelsen. “Not least inside Iraq itself. (‘Blix Not Bombs’ and ‘Baghdad on Fire’) provide two different takes – a shot and reverse shot – on the course of events back in 2003 and on the current situation in Iraq as seen from the inside and through the eyes of the young.”

“Blix Not Bombs” follows Hans Blix, the former head of the U.N. Monitoring, Verification and Inspection Commission, who was sent to Iraq in 2002 to determine whether U.S. suspicions that the country was manufacturing weapons of mass destruction were founded. Though the final report found no evidence of an Iraqi weapons program under Hussein, the U.S. and a coalition of allies nevertheless decided to invade the country. Now in the final stretch of his life, Blix questions whether he did enough to prevent a war whose impact is felt to this day.

“Blix Not Bombs”

“To me, Hans’s story is not only an intriguing behind-the-scenes of one of the most important events in modern history, but it’s also the story of the limits of diplomacy, moral dilemmas, and personal responsibility in shaping the world,” Stocklassa told Variety while working on the film in 2021.

Meanwhile, “Baghdad on Fire” follows 19-year-old activist leader Tiba and her friends from the pro-democracy movement around Baghdad’s Tahrir Square. In the docu, Tiba and her fellow activists discuss and plan how to bring freedom, democracy and change to Iraq. They are done with militias, corrupt politicians and foreign troops defining the country. Together with friends Khader and Yousif, Tiba starts a medical team that helps young protesters when they have been bathed in tear gas.

“Both Tiba and I wanted to show the world what is really going on in the country,” says Al-Azzawi, who fled Iraq in 2016 after being a vocal advocate for democracy. In October 2019 when protests erupted in Baghdad, the director knew it was time to make a film. So, he found a production manager and two cinematographers.

“My dream main character was a strong Iraqi woman,” Al-Azzawi says. “A brave, Iraqi woman, who is fighting for freedom, justice, and equality and her country.” The helmer’s dream came true when he met Tiba.
 
“Tiba and I both want to show that Iraqi women are not living the life the (international) media portrays,” says Al-Azzawi. “They are always portrayed as controlled by society or their husbands. This is always the narrative. I think that Tiba, who left a marriage she was forced into at age 14, is an example of an Iraqi woman who is not a victim. This was important to show because Iraqi women are not victims. They are resilient and can lead and be in control.”

Both docus will be making their world premieres at CPH:DOX on Monday. “Blix Not Bombs” will be followed by a live video discussion with Blix and Stocklassa. Following “Baghdad on Fire,” Al-Azzawi, will take part in a live discussion with Aida Al-Kaisy, co-founder of Iraqi media outfit Jummar, and journalist Waleed Safi. Both Q&As will be moderated by Politiken international editor Michael Jarlner.

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Monday marks the 20th anniversary of the

A 39-year-old man was sent to hospital with serious injuries after a shooting Saturday night in Nanaimo, B.C.

Police said the shooting took place around 8 p.m. near the Coast Bastion Hotel.

Read more:

Nanaimo, B.C. man charged after people threatened with toy bow and arrow with needle attached

“The incident was initially reported by Community Safety Officers, who were on patrol when they were flagged down by the victim who was bleeding heavily from a facial injury,” Const. Gary O’Brien said.

“The man told the officers that he had been shot.”

The area was closed off to the public as investigators looked for forensic evidence, but no arrests have been made and no firearm has been located, according to police.

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Read more:

RCMP seek missing Nanaimo, B.C. woman out of touch with family for months

Police did not provide any details regarding a suspect or motive at this time.

Mounties in Nanaimo are looking for potential witnesses and video from the area to further their investigation.

Anyone with information is asked to contact the RCMP at 250-754-2345.


Click to play video: 'Nanaimo rallies for community safety action'


Nanaimo rallies for community safety action


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

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Google’s upcoming Pixel 8 series may have a new feature allowing the phones to boost the visual quality of videos, similar to Photo Unblur on the Pixel 7 Pro.

It’s called Video Unblur and it was first discovered by the team over at 9to5Google (opens in new tab) who dug through the APK file (Android Package Kit) of the latest version of Google Photos. They were able to forcibly enable the user interface for Video Unblur on the app. However, the team couldn’t get it to work. According to the report, the tool currently doesn’t have any “noticeable effect on videos” as it’s probably still in development. But once it does launch, 9to5Google states the tool should work just like Photo Unblur by utilizing machine learning to spruce up videos shot on a Pixel 8 phone – probably.

The report adds that there’s nothing in the APK’s code directly tying Video Blur to Pixel phones. But if history repeats itself, the software could follow the same trajectory as Photo Unblur by staying exclusive to Google’s phones. And speaking of app history, 9to5Google points out this update is following the same pattern as the HDR effect on Google Photos, as that feature supported images first before moving on to video.

Besides Video Unblur, the team also discovered a series of filters users can apply to videos to add a bit of creativity. Those filters will have their home in the new Overlays tab on Google Photos which will appear whenever you begin editing. Currently, there are 14 visual effects including the VHS filter, which is probably based on the old video format,  and B&W which is most likely a simple black-and-white effect.  

Still in the works

As interesting as all this may sound, don’t get too attached to the idea of them. As 9to5Google notes, there’s no guarantee either Video Blur or the filters will release in their current state or if at all. All we know for sure is Google is working on something with the chance the final product may look completely different.

The big question is what will the hardware powering Video Unblur look like, assuming the feature is exclusive to the Pixel 8. There have been some reports Google’s upcoming flagship phone will come with a Tensor G3 chipset slated to be more powerful and efficient than Tensor G2 on the Google Pixel 7. 

The launch date of the Pixel 8 line is currently unknown. Although if history repeats itself (and it probably will), we expect the release to be sometime around October 2023.

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Google’s upcoming Pixel 8 series may have

In 1967 French thinker Guy Debord published an influential philosophical treatise, La Société du Spectacle (The Society of the Spectacle), which argued that we had become a society of images, in which representation had replaced authentic experience and interaction. He argued that this development fetishized consumption, serving the purposes of capitalism.

In the 55+ years since the book’s publication, media saturation has increased exponentially, reaching a level of “self-commodification” with social media and selfie culture. The time is ripe, then, to reexamine Debord’s work for our contemporary age, which is exactly what directors Roxy Farhat and Göran Hugo Olsson do in their documentary The Society of the Spectacle, making its world premiere at the prestigious CPH:DOX festival in Copenhagen. We have your first glimpse at the film in the tease above.

“We live in a continuous sensory bombardment of distractions that keep us in the role of passive consumers – a condition that has not exactly improved since the revolutionary ’60s,” CPH:DOX programmers write in a description of the film. “What to do? And how do you film a notoriously complicated theory that attacks the very image itself? Artist Roxy Farhat and filmmaker Göran Hugo Olsson (Black Power Mixtape 1967-1975) bring Guy Debord’s ideas into the 21st century.”

The festival adds, “In 27 episodes, Farhat unfolds his theses through conversations with situationism expert Mikkel Bolt, Andreas Malm (How to Blow Up a Pipeline), critic Valerie Kyeyune Backström and professor of film Jyoti Mistryothers, among others. Guy Debord’s own (anti)films are given a modern counterpoint by satirical interventions in a visual work that is not afraid to criticize neither itself nor the cult around Debord and situationism.”

The Society of the Spectacle premieres on Thursday (March 23), with an additional screening set for Saturday (March 26). The documentary is in competition for the New:Vision Award.

“Guy Debord’s text offers us a way of understanding the pacifying forces of capital, consumption and images,” Farhat and Olsson note. “The spectacle is the bad dream of a modern society in chains and ultimately expresses nothing more than its wish for sleep. The spectacle is the guardian of that sleep. We often ask ourselves, what can I do as an individual? The answer came to us in this film: Stop being an individual. Join a collective, and work from there. It’s a neoliberal myth that change comes through our individual consumer choices, recycling our garbage and voting. We are fooled to believe that being disappointed and complaining about our elected politicians is a part of ‘the dialogue,’ when in reality the participatory element of democracy is drowned by the Spectacle. So, organize!”

The Society of the Spectacle is produced by Tobias Janson and Melissa Lindgren for Swedish production company Story AB in co-production with Film i Väst and SVT and with support by The Swedish Film Institute.

Watch the teaser above.

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In 1967 French thinker Guy Debord published

DC and New Line Cinema’s Shazam! Fury of the Gods is a superhero pic scorned.

The movie opened to a dismal $30.5 million domestically from 4,071 theaters, well behind the $53.5 million domestic opening of the first Shazam! in 2019, not adjusted for inflation.

That’s one of the worst starts for a major Hollywood superhero film, as well as one of the worst for a title in the DC Cinematic Universe, including those released during the pandemic. Fury of the Gods cost at least $110 million to produce before marketing.

The news was just as bad overseas, where Fury of the Gods opened to just $35 million from 78 markets — including bombing in China with $4.4 million — for a worldwide start of $65.5 million.

In North America, prerelease tracking had suggested Shazam! Fury of the Gods would open to at least $35 million this weekend. Others believed it had a shot at $40 million.

Shazam 2‘s Rotten Tomatoes critics score is a ho-hum 54 percent. That compares to 90 percent for the 2019 movie. The sequel also received a more subdued B+ CinemaScore, compared to an A for the first.

Families — which played a key role in the first movie’s surprise success — remain a challenging moviegoing demo in the pandemic era. Parents and kids also turned out for the sequel.

Fury of the Gods is the 12th installment in the DC Extended Universe and the first to be released since Warner Bros. Discovery chief David Zaslav tapped James Gunn and Shazam! franchise producer Peter Safran to run DC Studios and engineer a complete overhaul.

Fury of the Gods also comes as the future of the DC characters and actors introduced before Gunn and Safran’s takeover hangs in the balance. Superman actor Henry Cavill, for instance, won’t be returning. Levi addressed his future at Tuesday’s Hollywood premiere, telling The Hollywood Reporter: “I’m very happy with this movie. … I hope it’s not my last.”

David F. Sandberg directed Shazam! Fury of the Gods from a script by Henry Gayden and Chris Morgan. Asher Angel and Zachary Levi return as Billy Bastson aka Shazam. Djimon Hounson, Helen Mirren, Lucy Liu and, in her first film since her breakout role in Spielberg’s West Side Story, Rachel Zegler, also star.

The weekend’s other new wide release was Roadside Attractions’ Jane Fonda and Lily Tomlin’s Moving On, which debuted to $798,000 million from 791 screens. The comedy relied on older adults, which, like families, are a challenged demo. Moving On came in No. 12.

Back in the top 10, Scream VI pulled in $17.5 million from 3,675 theaters for a domestic total of $76 million. The slasher pic fell 61 percent. Overseas, it earned another $11.3 million from 53 markets for a foreign tally of $40 million — a good showing for a horror pic — and $116 million globally against a budget of $33 million.

Creed III also remained a notable contender, earning $15.3 million from 3,477 locations in its third outing for a domestic cume of $127.6 million. The Michael B. Jordan pic added $12 million internationally from 75 markets for a foreign cume of $96.6 million and $224.3 million globally.

At the specialty box office, Focus Features’ Willem Defoe heist-thriller Inside came in No. 14, grossing $470,000 from 375 locations.

March 19, 7:45 a.m.: Updated with revised estimates.
March 19, 1:40 p.m.: A previous version of this story had an incorrect estimate for Moving On.

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DC and New Line Cinema’s Shazam! Fury

If you could be someone else for a day, who would it be?

This weekend, thousands of fans at Toronto Comicon answered that question by dressing up — also known as cosplaying — as characters from their favourite comics, video games, anime, shows and movies.

The Star dropped by a packed Metro Toronto Convention Centre on Saturday afternoon to chat with those sporting the most eye-catching costumes.

Meghan Krizus, 29, math and English tutor

Comicons attended: “20, at least.”

Character: Aayla Secura from “Star Wars”

Why: “She believes in using her strength to protect those who need protecting, and that really agreed with me. I also like that she’s blue. Blue’s my favourite colour.”

Andrew Saxon, 41, app developer and database administrator

Comicons attended: “Around the 40 mark.”

Character: Gandalf from “The Lord of the Rings”

Why: “One of the stars [of Peter Jackson’s adaption] is here: Andy Serkis,” who plays Gollum in the beloved trilogy. “I kinda came to meet with him.”

Most excited for: The community. “Coming out of winter, this is the first big ‘Con event. This is when you’re going to see a lot of the friends you’ve made in the past.”

Chelsea Telesford, 14

Comicons attended: 1

Character: Hu Tao from the video game “Genshin Impact”

Why: “Hu Tao’s my favourite character … She always loves playing pranks, she’s always trying to find ways to stir up business for her funeral parlour. And I just think that’s really cute.”

Justin Bumaleg, 25, robotics engineer

Comicons attended: 1

Character: Kure Raian from Japanese manga series “Kengan Ashura”

Why: “I’ve been practicing stunts and martial arts since I was a kid, and the premise of the show is all about martial arts. I just really gravitated toward those characters.”

Luke Donnelly, 50s, manager

Comicons attended: 100 (approximately)

Character: Wolverine

Why: “Many people tell me I look familiar, so I thought I might as well try it.”

Most excited for: “Just here to see good friends I haven’t seen in a while.”

Kaleb Acab, 13

Comicons attended: 3

Character: Chad and Raccacoonie from “Everything Everywhere All At Once”

Why: “I just like the movie. My dad made [the costume] for me for Halloween, and he made it for himself, too. So we thought, ‘What if we both go to Comicon as this?’”

Anthony Acab, 48, youth counsellor

Comicons attended: 3

Character: Chad and Raccacoonie from “Everything Everywhere All at Once”

Favourite part of Comicon: “Seeing everyone in their element and what people are really passionate about. Here’s this opportunity to celebrate, shine and just be all the freaks and misfits that we are.”

Philippe Darveau, 51, retired veteran

Comicons attended: 3

Character: Jack Skellington and his dog, Zero, from “The Nightmare Before Christmas”

Favourite part: “I have strong PTSD. Usually I’m afraid of big places with a lot of crowds. But Comiccons are the only exception — I’m not scared here. So it’s like doing my homework to heal myself — and have fun at the same time.”

John Peake, 26, coroner and aspiring construction diver

Comicons attended: 4

Character: Doomslayer from the video game franchise Doom

Why: “Doom Slayer was thrown into a sh — t situation by doing the right thing, and is merely driven by his rage and his ability to push forward through any situation, his ability to hunt demons. He’ll do that to avenge his pet rabbit and his family he lost along the way.”

Favourite part of Comicon: “I’m really here [to let] people take pictures, show off what I got, do a little advertising myself. I do a lot of props. You see that giant sword over there? That’s one of my creations.”

Susan Jamjekian, 45, army cook

Character: Harley Quinn from “The Suicide Squad”

Comicons attended: 1

Most excited for: “There’s a lot of really special people coming here, like Robbie Amell,” who plays Firestorm on the television series The Flash. “And tomorrow we’re dressing like Star Trek. So just everything — everything’s exciting.”

Garo Jamjekian, 45, professor

Character: The Joker from “Batman”

Comicons attended: 1

Why: “He’s got pizzazz. He’s got a great wardrobe. And I like this version of him from the video game and from the comics. I wanted to go with the frills. Feels good!”

Frederick Lao, 27, entrepreneur

Comicons attended: 1

Character: Zhongli from the video game “Genshin Impact”

Why: “He looks handsome. He looks cool.”

Lindsay Rysdale, 34, mother, receptionist and bartender

Comicons attended: 3

Character: Black Widow from the Marvel Comics

Why: “I love The Avengers. I love the MCU (Marvel Comic Universe) … And I had to do Marvel today because there’s a Marvel meetup with my friends.”

Serena Liu, 25

Comicons attended: 1

Character: Ningguang from the video game “Genshin Impact”

Favourite part: Meeting up with other fans cosplaying characters from “Genshin Impact.” “It’s so exciting to [meet] in the actual world” after playing with them online.

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Conversations are opinions of our readers and are subject to the Code of Conduct. The Star
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If you could be someone else for

Cyber attacks continue to wreak havoc around the world. The actors waging these wars don’t just care about fraud either. They’re part of criminal organisations. Foreign governments stealing data for defense or national interests. Even terrorists or activists driven to disrupt and cause harm. 

What’s more, they’re increasingly capable and sophisticated. It’s a growing threat that can strike anyone at any time.

When you learn about threat actors’ tactics and motivations, you can better prepare against them, saving you the costs and headaches that come with a breach or attack. 

But there’s so much content to wade through when investigating these threat actors. It’s like fishing blind in an ocean. You’ll never know what’s coming back on the hook. More time and stress is spent on finding information about the threat, rather than acting on it. You can be overwhelmed. 

We’re passionate about helping you refine and streamline your open-source intelligence. That’s why we’ve taught Feedly AI to recognize threat actor groups. It can find them in your Feedly security feeds, prioritizing articles related to the actors and sectors you care about.

Let’s imagine that you work in the telecommunications sector, and you’re researching the tactics and motivations of MuddyWater, an Iranian threat actor group.

Cut through the noise

You can train Feedly AI to read all your cybersecurity, foreign affairs, and cyber warfare sources, and prioritize articles related to MuddyWater.

Prioritize a threat actor

Feedly AI continuously reads the articles in your feeds and prioritizes the ones that mention MuddyWater (or any of its aliases). It’s a powerful and effective way to keep up with their latest techniques, tactics, and procedures.

You’re in control

Feedly AI has been trained to recognize all the threat actor groups referenced by the MITRE ATT&CK framework. This is a list of common names for hacking groups, as recognized by the global security community.

Asking Feedly AI to prioritize MuddyWater in your security feed is as simple as creating a new Topic priority and selecting ‘MuddyWater’ as the topic.

Enter a threat actor alias in the topic field

When you prioritize MuddyWater, Feedly AI will also look for other synonyms for that group like Seedworm and TEMP.Zagros.

You can combine topics with +AND and +OR to create even more targeted priorities for Feedly AI. For example, use +AND to combine an actor group with an attack vector or a sector. This narrows his focus further so you find exactly what you’re looking for.

Continuously learning and getting smarter

Because Feedly AI is integrated with the MITRE ATT&CK framework, it’s continuously learning and getting smarter. As new groups or aliases are identified, they’ll be automatically updated in your Feedly.

Feedly AI recognizes threat actor groups listed on the MITRE ATT&CK framework

Break down silos

As you search and discover new content, share insights with your research team. Together, you can create a Threat Intel Report Feedly Board and bookmark the most critical insights you discover. You can also add notes and highlights about why a threat is high-priority.

We’ve already seen security teams create tactical Boards, such as a Vulnerability Report, to share with their operations experts. You might also want to build a CISO Newsletter to keep your management updated. It’s all possible within Feedly.  

Articles bookmarked in a Board can be shared with the rest of the team via daily newsletters, Slack or Microsoft Teams notifications, or pushed to other apps using the Feedly Cybersecurity API.

Share the threat intelligence you collect in Feedly with other teams and apps

Streamline your open-source intelligence

We’re excited to see how your security team will declutter your feeds and dig deeper into the critical threats that matter to you. Sign up today and discover Feedly for Cybersecurity.

If you’re interested in learning more about Feedly AI’s roadmap, you can join the Feedly Community Slack channel. 2020 will be a thrilling year with new skills and bold experiments!

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Cyber attacks continue to wreak havoc around

The latest episode of The Mandalorian saw the return of not only Doctor Penn Pershing, but former communications officer, Lieutenant Elia Kane, as well. While pair have both completed their time in the Re-integration Institute, it appears Elia Kane hasn’t quite let go of the past. Hector takes a trip the galaxy far, far away to break down a theory as to who Elia could really be working for on today’s episode of Nerdist News! More Star Wars News: https://nerdist.com/topic/starwars/Opens in new tab Watch more Nerdist News: http://bit.ly/1qvVVhVOpens in new tab Follow Us:
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The latest episode of The Mandalorian saw

When Google began rolling out Android’s , the company addressed a “High” severity vulnerability involving the Pixel’s Markup screenshot tool. Over the weekend, and , the reverse engineers who discovered CVE-2023-21036, shared more information about the security flaw, revealing Pixel users are still at risk of their older images being compromised due to the nature of Google’s oversight.

In short, the “aCropalypse” flaw allowed someone to take a PNG screenshot cropped in Markup and undo at least some of the edits in the image. It’s easy to imagine scenarios where a bad actor could abuse that capability. For instance, if a Pixel owner used Markup to redact an image that included sensitive information about themselves, someone could exploit the flaw to reveal that information. You can find the technical details on .

According to Buchanan, the flaw has existed for about five years, coinciding with the release of Markup alongside . And therein lies the problem. While March’s security patch will prevent Markup from compromising future images, some screenshots Pixel users may have shared in the past are still at risk.

It’s hard to say how concerned Pixel users should be about the flaw. According to a forthcoming Aarons and Buchanan shared with and , some websites, including Twitter, process images in such a way that someone could not exploit the vulnerability to reverse edit a screenshot or image. Users on other platforms aren’t so lucky. Aarons and Buchanan specifically identify Discord, noting the chat app did not patch out the exploit until its recent January 17th update. At the moment, it’s unclear if images shared on other social media and chat apps were left similarly vulnerable.

Google did not immediately respond to Engadget’s request for comment and more information. The March security update is currently available on the Pixel 4a, 5a, 7 and 7 Pro, meaning Markup can still produce vulnerable images on some Pixel devices. It’s unclear when Google will push the patch to other Pixel devices. If you own a Pixel phone without the patch, avoid using Markup to share sensitive images.

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When Google began rolling out Android’s ,

Estíbaliz Urresola Solaguren’s celebrated Spanish feature “20,000 Species of Bees” and Kattia G. Zúñiga’s Panamanian drama “Sister & Sister” took the top prizes at the Malaga Film Festival, garnering the Golden Biznagas for Spanish and Latin American pictures respectively.  

“20,000 Species of Bees” also won best supporting actress for Patricia López Arnaiz and picked up the Spanish Cinematographic Informers Association’s Feroz Puerta Oscura award. The film’s success follows two awards in Berlin, including a Silver Bear for Sofía Otero for her portrayal of a young girl going through a gender crisis.

For Zúñiga, the Golden Biznaga is sure to help further propel “Sister & Sister,” an autobiographical story about two teenage sisters who travel from Costa Rica to Panama in search of their absent father. Pic drew upbeat reviews in Malaga following on its SXSW world premiere.

Also making waves at the Malaga Festival, which runs March 10-19, was Gerardo Herrero’s Spanish drama “Under Therapy,” an adaptation of Matías Del Federico’s stage play that follows three disparate couples as they attend an unconventional group therapy session. The film’s ensemble cast won the Silver Biznaga Special Jury Prize.

Matías Bize, meanwhile, won best director for his Chilean-Argentine drama-thriller “The Punishment,” about a lost child and the frantic search his parent’s undertake to find him.  

María Vázquez scooped the best actress prize for Álvaro Gago’s “Matria,” in which she plays a hard-working woman and mother in a Galician fishing village who begins to question her life.

Winning best actor was Alberto Ammann for another SXSW entry “Upon Entry” (“La llegada”), Alejandro Rojas and Juan Sebastián Vásquez’s story about the challenges immigrants face in the U.S. The film follows a Venezuelan-Spanish couple who, having acquired the necessary visas, move to the U.S. to start a new life only to be subjected to a psychologically grueling screening and interrogation process by two border agents at the Newark Airport.

Jorge Marrale nabbed best supporting actor for Marina Seresesky’s Argentine-Spanish drama “Empieza el Baile,” about a once world famous tango couple who recapture their lost passion while on an eventful road trip.

Cuban filmmaker Fernando Fraguela Fosado won the Silver Biznaga for Best Documentary for “El Matadero.” The work examines life in a community in the heavily sanctioned socialist country where people are forced to raise pigs to survive, transforming their neighborhood into a slaughterhouse.  

The best director award for documentary went to Sofía Paoli Thorne for “Guapo’y,” about an aging woman in Paraguay who remains haunted by the torture she suffered under the dictatorship of Alfredo Stroessner and who uses natural remedies to alleviate the pain that continues to afflict her.

Taking the top prizes in the ZonaZine sidebar were Omar Al Abdul Razzak’s Spanish title “Matar Cangrejos” and Leonardo Barbuy La Torre’s Peruvian drama “Diógenes” as the Latin American entry.

Barbuy also won best direction for “Diógenes,” a film which follows two siblings who are raised by their father in isolation in the Peruvian Andes and whose lives are transformed by unexpected events.

“Matar Cangrejos” likewise won best actress for Paula Campos, who stars as a 14-year-old girl living in 1990s Tenerife. As she and her little brother anxiously await the arrival of Michael Jackson on the island, she is also coming to terms with the fact that life might soon change as her mother has become pregnant by a foreigner.

Saturnino García took the best actor prize in ZonaZine for his role in Liz Lobato’s Spanish drama “Tierra de Nuestras Madres,” about an old woman living with her disabled son in a poor town in La Mancha. When the decision is made to sell the dilapidated town, however, the woman and her home in the center of town become obstacles to the plan. The film also nabbed the audience award.

MALAGA FILM FESTIVAL: THE WINNERS

Golden Biznaga, Spanish Picture

“20,000 Species of Bees” (Estíbaliz Urresola Solaguren)

Golden Biznaga, Latin American Picture

“Sister & Sister” (Kattia G. Zúñiga)

Silver Biznaga, Special Jury Prize

“Under Therapy” (Gerardo Herrero)

Silver Biznaga, Director

Matías Bize (“The Punishment”)

Silver Biznaga ‘Hotel AC Palace,’ Best Actress

María Vázquez (“Matria”)

Silver Biznaga, Best Actor

Alberto Ammann (“Upon Entry”)

Silver Biznaga, Supporting Actress

Patricia López Arnaiz (“20,000 Species of Bees)

Silver Biznaga, Supporting Actor

Jorge Marrale (“Empieza el Baile”)

Original Screenplay

Miguel Ibáñez and Elena Trapé (“Els Encantats”)

Silver Biznaga, Original Score

Pablo Mondragón (“Rebelión”)

Silver Biznaga, Cinematography

Serguei Saldívar Tanaka (“Zapatos Rojos”)

Silver Biznaga, Post Production

Haroldo Borges and Juliano Castro (“Saudade Fez Morada Aqui Dentro”)

Silver Biznaga, Critics Award

Pablo Solarz (“Desperté con un Sueño”)

Silver Biznaga, Audience Award “

“Empieza el Baile” (Marina Seresesky)

ZONAZINE AWARDS

Silver Biznaga, Best Spanish Picture

“Matar Cangrejos” (Omar Al Abdul Razzak)

Silver Biznaga, Best Ibero-American Picture

“Diógenes” (Leonardo Barbuy La Torre)

Silver Biznaga, Best Director

“Diógenes” (Leonardo Barbuy La Torre)

Silver Biznaga, Best Actress

Paula Campos (“Matar Cangrejos”)

Silver Biznaga, Best Actor

Saturnino García (“Tierra de Nuestras Madres”)

Silver Biznaga, Audience Award

“Tierra de Nuestras Madres” (Liz Lobato)

DOCUMENTAL AWARDS

Silver Biznaga, Documental Feature

“El Matadero” (Fernando Fraguela Fosado)

woman in Paraguay who remains haunted by the torture she suffered under the dictatorship of Alfredo Stroessner and who uses natural remedies to alleviate the pain that continues to afflict her.

Silver Biznaga, Best Documentary Direction

“Guapo’y” (Sofía Paoli Thorne)

MOSAICO PANORAMA INTERNATIONAL

Silver Biznaga, Audience Award

“En corps” (Cédric Klapisch)

SUPPORTING WOMEN RIGHTS – AWARDS

Silver Biznaga, Supporting Women’s Rights

“Por Magda” (Carla Larrea)

Silver Biznaga, Supporting Women’s Rights Jury Award

“Mujeres sin censura” (Eva Vizcarra Chamero)

Silver Biznaga, Supporting Women’s Rights Documentary

“Women in the Studio” (Marina Espinach)

Silver Biznaga, Supporting Women’s Rights Documentary Audience Award

“Insisten” (Elías Federico Domínguez)

Silver Biznaga, Supporting Women’s Rights Fiction Feature

“La Butaca de la Puta” (Mar Navarro)

Silver Biznaga, Supporting Women’s Rights Women on Scene,

Silver Biznaga, Supporting Women’s Rights Costume Design

Susana Guerrero Núñez, (“Los elegidos”)

Special Jury Mention“Nunca te dejaré sola,” (Mireia Noguera)

Silver Biznaga, Women on Scene, For Best Performance

Laura Ortiz (“La autoestima”)

Silver Biznaga, Women on Scene, For Best Documentary

“A las mujeres de España. María Lejárraga” (Laura Hojman)

Silver Biznaga, Women on Scene, Audience Award

“Pico Reja. La verdad que la tierra esconde” (Remedios Malvárez and Arturo Andújar)

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Estíbaliz Urresola Solaguren’s celebrated Spanish feature “20,000

One of my favorite movies of all time is Idiocracy, a cult favorite that has only become more prescient since its release in 2006.

It’s a tale of two very average Americans waking up 500 years into the future from a government experiment, only to find that humanity has dumbed itself down so much, it can barely function, and these two mediocre individuals are now considered geniuses. Idiocracy’s brilliantly hilarious—but also sad as it hits a little too close to the truth many times—from the great dark comedy mind of Mike Judge. Idiocracy illustrates a society where low-IQ people are only motivated by instant gratification and are full of extreme personalities.

One of those excessive characters is the awesomely named President Dwayne Elizondo Mountain Dew Herbert Camacho, brought to outrageous life by charismatic Terry Crews, a role that is much beloved and frankly one of the best characters ever created, IMO. Crews’ President of “Uhmerica” is a gun-toting, cursing, middle-finger saluting, a blunt, extreme leader who “gets sh*t done.”

So when I found out that he was running a mock campaign to “run for president some mo in 2020FO,” I dropped everything I was doing at SXSW to make his campaign rally at Banger’s Sausage House and Beer Garden in Austin. I planked myself at the front of the stage for his announcement and it was one of the most joyful experiences ever.

“I’m looking forward to bringing back the beloved character in Austin, where Idiocracy got its start. There’s not a day that goes by where people don’t ask me about the role and I had so much fun playing the part. I can’t wait to reprise his outrageous persona,” said Terry Crews in a press release from his production company, SUPER SERIOUS, billed as a “creative company focused on using creativity to make the world a more interesting place for everyone.”

The super fun Banger’s event on March 13 featured the hip-hop star Armani White, and the comedy singing duo Toasters ‘n’ Moose (a cult act from the mockumentary Chickens In The Shadows), who sang Comacho’s goofy election song while Terry Crews hilariously danced to it from the balcony. It was a fan’s dream with plenty of Brawndo (It’s got electrolytes! Water is for toilets after all), which I got to taste for the first time, election pins that said “back fo mo,” (I got one for each member of my family, LOL), a lucky few who got election t-shirts thrown by the man himself above in the balcony, and bumper stickers for his mock campaign (which I hope will confuse people when they drive past me).

“His royal highness” was introduced and Terry Crews appeared onstage and launched into a litany of complaints from the future that included “China owns the moon! Big Macs cost $80! The DMV bought HBO!” He also yelled at the audience for arguing over oat milk (“oats don’t even have t*tties!”) when we haven’t even accomplished a sequel to Snakes on a Plane (he’s got a point there)! He continued, “Tony Stark died for our sins!” And gave us the bad news that Waffle House and Walmart had combined (horrible retail combos are a running theme in Idiocracy, the comedy stuff of nightmares).

But Comacho’s a unifier at heart, as he brought everyone together with his song, “you think you red, you think you blue, one thing I know, you a dumb*ss too.”

I honestly could watch this character in anything! Let’s see him take on everyone.

Crews’ outlandish campaign stunt was followed up with an electrifying concert by the Grammy-winning artist Thundercat, proving that Pres. Comacho knows how to put on a great show for the people.

Terry Crews also made several appearances throughout SXSW in bandana-wearing glory. Friends of mine in line for the surprise screening of John Wick 4 saw Crews’ campaign truck go by with the actor motioning to the crowd.

His campaign flyers were everywhere, which described his stance on important matters, such as:

  • “Oil dependency: Cars should run on f*rts. F*rts are gas. F*rts are free.” (I think with the price of gas, we can all agree on this)
  • “Immigration: All are welcome! Except Australians.”
  • “Defense spending: Defense is for sissies. We gonna put it all into OFFENSE.”

Just to name a few.

The electrifying personality also gave a campaign rally earlier on at the fest.

So what does it all mean? Is an Idiocracy sequel happening? (word is that it might, nothing definitive though) Is Crews’ Dwayne Elizondo Mountain Dew Comacho really running in 2020FO to fix our problems? Is this a stunt?

You know what? I don’t care. I’m here for all of it! And let’s hope Terry Crews keeps crashing events. Because this is the kind of positive outrageousness we need right now!

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One of my favorite movies of

ABC’s Jon Karl put Mike Pence in the hot seat, asking the former vice president if he thought Donald Trump’s call for protest if he is arrested Tuesday “irresponsible” incitement.

Pence joined Karl on Sunday’s ABC’s “This Week” and, among other things, questioned about Trump’s post on Truth Social Saturday that he expects to be arrested on Tuesday, citing “illegal leaks from a corrupt and highly political Manhattan court district” as the source of his information. While there is no official word if it’s true or not that an indictment is coming, Trump called on his supporters to protest and “take our nation back.”

“The Manhattan DA has not said anything about it but he’s calling for people to protest … is that irresponsible?” Karl asked.

“I’m taken aback at the idea of indicting a former President of the United States at a time when there’s a crime wave in New York City,” Pence responded, adding that Trump’s potential arrest feels like a “politically charged prosecution.” “The fact that the Manhattan DA thinks that indicting President Trump is his top priority, I think it just tells you everything you need to know about the radical left in this country.”

Curving Pence’s attempt to tamper down concerns of past actions while pointing to record inflation and the war in Eastern Europe as major issues Americans are focusing on, Karl made the gravity of inciting another potential riot crystal clear. “He’s calling on people to protest — to come out and protest — take our nation back!” Karl said. “We know what happened the last time he said that.”

“Well, Jon, the American people have a constitutional right to peacefully assemble,” Pence said. Karl quickly shot back, “Absolutely, but to have a former president calling on people to protest a justice proceeding?”

While Pence justified that “frustration the American people feel about what they sense is a two-tiered justice system in this country” is “well-founded,” he made it clear that he did not believe potential protests would escalate beyond peaceful assembly.

“I believe that people understand that if they give voice to this — if this occurs on Tuesday — that they need to do so peacefully and in a lawful manner,” Pence said.

Pence, who also admitted in the interview that his potential support for Trump’s presidential bid is “yet to be seen,” also distanced Tuesday’s potential protests from the Jan. 6 attack on the Capitol. “That the violence that occurred on January 6th, the violence that occurred in cities throughout this country in the summer of 2020 was a disgrace,” Pence continued. “The American people won’t tolerate it, and those that engage in that kind of violence should be prosecuted to the fullest extent of the law.”

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ABC’s Jon Karl put Mike Pence in

Apple TV+’s Emmy-winning comedy Ted Lasso is back for its third (and potentially final) season, and if the four episodes available for review are any indication of what’s to come, we’re in for a treat that outshines even Ted’s best box of biscuits. With AFC Richmond projected to finish last in the Premier League, Ted (Jason Sudeikis), Rebecca (Hannah Waddingham), Coach Beard (Brendan Hunt), Roy (Brett Goldstein), and the team are laser-focused on improving their game in hopes of winning the whole fucking thing — or at least beating Rupert (Anthony Head) and Nate’s (Nick Mohmammed) West Ham United. Powerful performances push star players to new depths, as Season 3 introduces quirky new characters and welcomes back favorites like Trent Crimm (James Lance) and Sharon Fieldstone (Sarah Niles). Fresh narratives and challenging conflicts arise, but the show’s signature wit, warmth, and tender tone remain steadfast. Ted Lasso‘s irresistible charm, relentless heart, and contagious spirit are back in full force, leaving us no choice but to *believe* that rich, fulfilling stories lie ahead.

Photo: Apple TV+

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By Nicole Gallucci Apple TV+’s Emmy-winning comedy Ted Lasso

You could argue that no one has done more for cinema in Asia, and more for global cinema from Asia, than Sammo Hung.

There was proof of that on display at the Asian Film Awards on Sunday night (Hong Kong time) when the veteran filmmaker and martial arts master was handed a lifetime achievement award and a highlight reel traced his 200-plus film career back to the 1960s and showed the audience flashes of the genius that has driven Hung’s career ever since.

From child star to getting bashed by Bruce Lee in the opening scenes of Enter the Dragon; from an assistant to the great Hong Kong action director King Hu to the stunt director who help guide Jackie Chan and helped invent the action comedy genre and on to the star and director of a string of hits of his own, Hung has helped shape the action genre into what we see it today. That he’s still going strong is further testament to his talent – and, at 71 years of age, he’s just starred in another martial arts film that’s in post-production.

There was even more proof of Hung’s impact on display in L.A. Sunday night when Michelle Yeoh could be found waiting to see whether she’d be honored with the best actress Oscar for her role in Everything Everywhere All at Once. The Malaysia-born actress is just one among generations to have had their talent discovered, nurtured and then fully realized under Hung’s guidance. He gave Yeoh her first role – a tiny part in The Owl vs Bombo(1984) – quickly spotted her star power and gave her the lead in her very next film, Yes, Madam, the very next year.

Hung’s own origin story is worthy of cinematic treatment. Raised in Hong Kong under the guidance of his grandmother and martial arts master Chin Tsi-ang, Hung joined the prominent Chinese Drama Academy aged around nine, and he was trained in the arts of Peking opera alongside Chan, and other future action directors including Corey Yuen (X-Men). “The most important thing was that you learned very quickly because our Master would hit us!” laughed Hung as he recalled the discipline of those days, during a sitdown interview with The Hollywood Reporter in the lead-up to the Asian Film Awards.

From there Hung worked his way through the ranks of the massive Shaw Brothers studio, working on what are now martial arts classics, including Hu’s seminal Come Drink With Me (1966), before establishing himself a star in his own right, both behind and in front of the camera. Often playing his portly figure off against his dexterous, gravity defying martial arts skills, Hung mixed action and comedy and sometimes striking social drama into the films that followed across the decade. “If people are looking at my career I want them to say here was a man who never gave up,” says Hung.

In his chat with THR, the veteran filmmaker discussed his career and legacy, as well as discovering new talent.

Congratulations on the lifetime achievement award. Can you remember how you felt when this journey began, and were you always confident that your “lifetime” would be spent in film?

The cinema scene has been really quiet over the past three years, and for action films not many things have happened over the last five to six years. From 2020 it has felt so quiet for me as well, almost as though I am an outsider of the movie scene. So when I was told of the lifetime achievement award, I felt really surprised and happy because it felt as if people still know me – and it validates the work I have done in cinema. You know when I started out in film I never thought of a “lifetime achievement award.” I didn’t think of any awards. Every day in my work I just thought about doing the best I could do, and about how I could do really good things. That’s what I have done every day since I started.

In those early days who did you look for – in terms of inspiration and guidance?

King Hu was like an uncle, but more. It’s a really hard thing to explain just what I learned from him because there was so much. I would always go to his house and then I would talk to him about life, about philosophy, about society, about everything then at 5am he would shut down his home and we would go off and we would start making films.

What do you enjoy most about the creative process of bringing your ideas to the big screen?

Everything I have done has been important, whether it has been successful or not, because in everything I have done I have tried my best. I’ve always tried to give the audience new things to see. I learned that you have to keep thinking about your work, and about new ideas. Keep thinking all the time. I read a lot of comic books. I loved comic books. So I tried to capture that inspiration and try to make some variations on what I saw in comics but make it seem real on the screen. That was where the inspiration first came from.

You’re also known for your skill in identifying talent – what do you look for when choosing to work with other filmmakers?

I won’t talk about individuals but I can say that the most important thing with all of them is trust. You have to find people you can trust and who will trust you and the ideas that you want to involve them in. I’d like to say what I like most about making movies is being able to scold people and get away with it. But the truth is I am a happy dictator on set. I am in charge but I am authentic.

Can you share your thoughts on how you see the Hong Kong film scene today – what encourages you about it?

There is not much I can say other than I am happy. Box office is back, cinema is back. Since 2020 no one, not even me, was going to the cinema. So when Hong Kong audiences are supporting Hong Kong cinema it is a really good thing, for the industry and for the city. So hopefully we’re seeing more people go back to the cinema now.

Have you spent time in the lead up to this award reflecting on your journey and the impact you have made?

If there was one word I could use for my career it would be ‘good’. This is a small word but it can mean a lot. When I was young I made good choices – and I followed those good choices until now.  When a man is “good,” it means that he has the determination and persistence to pursue the role he has chosen – and he didn’t give up. I have always kept the two parts of my life separate. Film is not necessarily related to real life. As you can see, these days there are a lot of people experiencing really bad things, really sad things in their lives. Film for them is entertainment. It can make you escape the realities of your life, but it can give you some new hope.

Can you share a message for the young filmmakers who look to you and your work for inspiration?

The first thing is you have to be hard-working. The second thing is don’t give up easily. And the third thing is if you see anything – any idea, any inspiration – please grab it.

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You could argue that no one has

Jimin‘s new solo song “Set Me Free, Pt. 2” has topped this week’s new music poll.

Music fans voted in a poll published Friday (March 17) on Billboard, choosing the BTS member’s defiant hip-hop influenced track as their favorite new music release of the past week.

“Set Me Free, Pt. 2” brought in 89% of the vote, beating out new music from Melanie Martinez (“DEATH”); Taylor Swift (“If This Was a Movie,” “Safe and Sound” and “Eyes Open” (Taylor’s Version), “All of the Girls You Loved Before”); Kx5 (Kx5); Hozier (Eat Your Young EP); and others.

Jimin is the latest BTS member to go solo, and South Korean singer gave fans a taste of his forthcoming album, FACE, with the release of the set’s lead single “Set Me Free, Pt. 2.” Loaded with snapping hip-hop beats and Auto-Tuned vocals, the track is accompanied with an appropriately flashy music video.

FACE is scheduled for release on March 24. On the same day, Jimin will also share the music video for second single “Like Crazy,” which was co-written by his BTS bandmate RM.

Earlier this year, Jimin scored his first solo entry on the Billboard Hot 100 by joining Taeyang for the BIGBANG member’s new single “Vibe.” Jimin has also released solo songs “Lie” and “Serendipity,” as well as “With You,” from the soundtrack to the TV drama Our Blues.

Trailing behind Jimin on the fan-voted poll was Martinez’s new song “DEATH,” with 4% of the vote. On the track, the singer says a farewell to her Crybaby persona, embracing a rebirth — and electronic, synth-driven sound — for her Portals album cycle, which promises to be one of her most ambitious yet.

See the final results of this week’s new music release poll below.

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Jimin‘s new solo song “Set Me Free,

Making a low budget movie is the key to launching a film career. That’s why the Raindance weekend masterclass, Lo-To-No Budget Filmmaking has proven so fundamental to so many film careers.

There are many examples of successful low budget films that have achieved critical acclaim and commercial success. Here are a few examples:

The Blair Witch Project (1999)

“The Blair Witch Project” is a 1999 found-footage horror movie directed by Daniel Myrick and Eduardo Sanchez.
This horror film was made on a budget of just $60,000 and went on to gross over $248 million worldwide.
*premiered at Raindance

The film follows three film students who venture into the woods to make a documentary about a local legend known as the Blair Witch. As they continue their project, strange and terrifying events occur, leading to their disappearance.

The movie was shot on a low budget, and the filmmakers utilized a handheld camera to capture the footage, giving the movie a documentary-style feel. The actors were also largely improvising their dialogue, which adds to the realism of the film.

The Blair Witch Project was a groundbreaking film that redefined the horror genre. It was innovative and effective in its use of the found-footage style and helped to popularize the genre. The movie was praised for its ability to create suspense and tension, and its ambiguous ending left audiences feeling haunted and disturbed.

However, some viewers may find the movie slow-paced and dull, as there is a lack of action and traditional horror movie elements. The shaky camera work may also cause some viewers to experience motion sickness.

Overall, “The Blair Witch Project” is a must-watch for fans of horror and found-footage movies. Its impact on the genre cannot be overstated, and it remains a classic and influential horror movie to this day.

Clerks (1994)

“Clerks” is a 1994 black-and-white independent comedy film written and directed by Kevin Smith and made for less than $30,000. The film stars Brian O’Halloran and Jeff Anderson as two friends, Dante Hicks and Randal Graves, who work in a convenience store and a video store, respectively, in New Jersey. The film follows their mundane day-to-day lives and conversations, which range from pop culture references to personal and philosophical musings.

The film’s low-budget, amateurish feel and its witty, irreverent dialogue were praised by critics and audiences alike upon its release. Many saw it as a fresh and original take on the coming-of-age genre, and a humorous exploration of the ennui and frustrations of early adulthood.

What makes “Clerks” stand out is its unapologetic honesty and relatable characters. Dante and Randal are flawed and imperfect, but also endearing and funny in their own ways. The film’s dialogue is sharp and often hilarious, with many quotable lines that have become cult favorites.

That being said, “Clerks” is not a film for everyone. Its crude humor, profanity, and lack of plot may turn off some viewers. However, for those who appreciate indie cinema and irreverent humor, “Clerks” is a must-see film that paved the way for many other successful independent comedies.

El Mariachi (1992)

“El Mariachi” is a 1992 independent action movie written, directed, and produced by Robert Rodriguez. The film tells the story of a traveling musician, El Mariachi (played by Carlos Gallardo), who arrives in a small Mexican town looking for work but is mistaken for a hitman who carries a guitar case full of weapons.

Shot on a shoestring budget of only $7,000, “El Mariachi” is a remarkable achievement in filmmaking. Despite its low budget, the film is visually impressive, and the action sequences are well-choreographed and exciting. Rodriguez uses creative camera angles and editing techniques to maximize the impact of the action scenes.

One of the most impressive aspects of “El Mariachi” is its tight and suspenseful plot. The film is a fast-paced, adrenaline-fueled ride that keeps viewers engaged from start to finish. The characters are well-written, and the performances are solid, especially considering that most of the actors were amateurs.

While “El Mariachi” may not have the big-budget production values of a Hollywood action movie, it more than makes up for it with its energy, creativity, and sheer entertainment value. The film launched Rodriguez’s career and earned him critical acclaim, paving the way for him to make bigger and more ambitious films in the years to come.

In conclusion, “El Mariachi” is a classic action movie that is a testament to what can be achieved with limited resources and a lot of talent and creativity. It’s a must-watch for fans of action movies, independent cinema, and anyone who loves a good underdog story.

Pi (1998)

“Pi” is a 1998 psychological thriller directed by Darren Aronofsky made for $60,000. The movie centers around Max Cohen (played by Sean Gullette), a reclusive mathematician who becomes obsessed with finding a mathematical formula that can explain the patterns behind the stock market. As Max delves deeper into his obsession, he begins to experience hallucinations and paranoia, leading to a dangerous and suspenseful climax.

Overall, “Pi” is a well-crafted and thought-provoking movie that explores the themes of obsession, madness, and the dangers of pursuing knowledge to the point of self-destruction. The use of black and white cinematography, rapid editing, and a haunting soundtrack creates a tense and eerie atmosphere throughout the film, perfectly capturing Max’s deteriorating mental state.

Sean Gullette’s performance as Max is outstanding, portraying the character’s increasing desperation and anxiety with convincing intensity. The supporting cast is also impressive, particularly Mark Margolis as Max’s mentor and Ben Shenkman as a rival mathematician.

While “Pi” may not be for everyone, particularly those who are not interested in mathematics or unconventional filmmaking techniques, it is a unique and thought-provoking film that rewards viewers who are willing to engage with its challenging themes and artistic style. Overall, “Pi” is a must-watch for fans of psychological thrillers and those interested in exploring the darker side of human obsession.

Mad Max(1979)

“Mad Max,” the 1979 dystopian action movie directed by George Miller. The film is set in a post-apocalyptic world where gangs of violent criminals roam the desolate Australian outback. The movie follows a police officer named Max Rockatansky (played by Mel Gibson) as he seeks revenge against a gang of bikers who killed his family.

“Mad Max” is a landmark film in the action genre, and it helped to launch Mel Gibson’s career. The movie is known for its intense and graphic action sequences, which are brutal and visceral. The car chases are particularly impressive, and they have been influential in many action movies that followed.

The film’s dystopian setting is also notable, and it helped to establish the post-apocalyptic genre in movies and popular culture. The production design is gritty and realistic, and it effectively conveys the sense of a world that has been devastated by an unknown catastrophe.

While the film’s storytelling and character development may not be as strong as its action sequences and world-building, “Mad Max” is still an influential and entertaining movie that has stood the test of time. It remains a cult classic and a must-watch for fans of action movies and dystopian fiction.

In conclusion, “Mad Max” is a groundbreaking and influential film that helped to redefine the action genre. It was made on a budget of $350,000 and became a cult classic. It is a thrilling and intense ride that is a must-watch for fans of action movies and post-apocalyptic fiction.

Following(1998)

*premiered at Raindance
“The Following” is the name of a 1998 independent thriller film directed by Christopher Nolan. The movie follows a struggling writer named Bill (played by Jeremy Theobald) who becomes obsessed with following strangers in the streets of London. His behavior becomes increasingly erratic as he becomes involved with a burglar named Cobb (played by Alex Haw) and his dangerous criminal activities.

The film is shot in black and white, which gives it a gritty and moody atmosphere. The cinematography is impressive, and the use of tight close-ups and creative camera angles add to the tension and suspense. Nolan’s direction is masterful, and he shows a great understanding of how to manipulate an audience’s emotions.

The performances are strong, especially considering that the actors were largely unknown at the time. Jeremy Theobald gives a compelling portrayal of Bill, who is both sympathetic and unsettling. Alex Haw is equally impressive as the enigmatic and unpredictable Cobb.

Overall, “The Following” is a thought-provoking and intense thriller that is a testament to Nolan’s talent as a director. It is a must-watch for fans of his later work, such as “Memento” and “Inception.” The film showcases Nolan’s ability to tell complex and layered stories with limited resources, and it is a great example of how to make a low budget movie on $6,000 that feels like a big-budget production.

Moonlight (2016)

“Moonlight” is a 2016 drama film directed by Barry Jenkins and tells the story of Chiron, a young black man growing up in Miami, Florida. The film follows Chiron through three stages of his life as he struggles with his sexuality, his relationship with his drug-addicted mother, and his place in the world.

The film is a powerful and emotional exploration of identity, masculinity, and the African-American experience. The cinematography is stunning, with beautiful shots of Miami’s beaches and urban landscapes, and the music perfectly complements the mood of each scene.

The performances in “Moonlight” are outstanding, particularly those of the three actors who play Chiron at different stages of his life (Alex R. Hibbert, Ashton Sanders, and Trevante Rhodes). Their performances are nuanced and subtle, conveying the character’s pain, confusion, and vulnerability with great sensitivity.

The supporting cast is also excellent, including Naomie Harris as Chiron’s mother, who delivers a raw and powerful performance as a woman struggling with addiction, and Mahershala Ali as Juan, a drug dealer who becomes a father figure to Chiron.

Overall, “Moonlight” is a beautiful and emotionally resonant film that deserves its critical acclaim and recognition. It is a poignant and powerful exploration of race, sexuality, and identity that is both timely and timeless.

This coming-of-age low budget movie was made for just $1.5 million and won three Academy Awards, including Best Picture.

Paranormal Activity (2007)

“Paranormal Activity” is a 2007 found-footage horror film directed by Oren Peli. The movie follows a young couple, Katie (Katie Featherston) and Micah (Micah Sloat), who move into a suburban home and begin to experience supernatural occurrences. They set up cameras around the house to document the strange activity, and soon discover that they are being haunted by a malevolent entity.

The film’s unique found-footage style, which utilizes security cameras and hand-held video cameras to capture the action, adds to its realism and tension. The movie’s slow-building sense of dread and tension makes for a terrifying viewing experience, and the subtle scares and unexplained phenomena create an unsettling atmosphere.

The performances of the two leads are also noteworthy, as they convincingly portray a couple struggling to cope with the unexplainable events happening around them. The movie’s low budget only adds to its effectiveness, as it relies on mood, atmosphere, and storytelling to create scares rather than relying on expensive special effects.

“Paranormal Activity” was a surprise hit, grossing over $193 million worldwide on a budget of just $15,000. The movie spawned several sequels and is considered a modern classic in the found-footage horror subgenre.

In conclusion, “Paranormal Activity” is a chilling and effective horror movie that utilizes its found-footage style to create an immersive and unsettling experience. It’s a masterclass in slow-burn horror storytelling that builds tension and scares through its clever use of atmosphere and realism. If you’re a fan of horror movies or found-footage films, this movie is definitely worth a watch.

The Texas Chain Saw Massacre (1974)

“The Texas Chain Saw Massacre” is a horror film released in 1974 and directed by Tobe Hooper. The movie follows a group of young friends who are traveling through rural Texas and stumble upon a family of cannibalistic murderers, led by a chainsaw-wielding maniac named Leatherface (played by Gunnar Hansen). The group is hunted down and brutally killed one by one, as they try to escape from the sadistic family.

The film’s impact on the horror genre cannot be overstated. It is a chilling and brutal movie that is both terrifying and disturbing. The use of handheld cameras and low-budget special effects add to the movie’s gritty and raw feel, making it seem more like a documentary than a fictional story.

The character of Leatherface is one of the most iconic villains in horror cinema, and Gunnar Hansen’s portrayal of the chainsaw-wielding maniac is both terrifying and tragic. The rest of the cast also delivers strong performances, with Marilyn Burns giving a standout performance as the final girl, Sally.

While the movie’s violence and gore may be too much for some viewers, “The Texas Chain Saw Massacre” remains a landmark horror film that paved the way for many of the slasher movies that followed. It is a disturbing and terrifying film that still holds up today as a masterclass in horror filmmaking. If you’re a fan of the horror genre, this movie is a must-watch. This low budget movie was made for jus $140,000.

Napoleon Dynamite (2004)

“Napoleon Dynamite” is a 2004 comedy film directed by Jared Hess. The movie follows the daily life of an awkward and eccentric teenager named Napoleon Dynamite (played by Jon Heder) living in rural Idaho. The film’s plot revolves around Napoleon’s attempts to help his friend Pedro (Efren Ramirez) run for class president, while also dealing with his dysfunctional family and various social misadventures.

The film’s humor is derived from the deadpan performances of the cast, as well as the absurd situations that the characters find themselves in. Jon Heder’s portrayal of Napoleon is particularly memorable, as he perfectly captures the character’s quirky mannerisms and offbeat personality.

Despite its low budget and unpolished production values, “Napoleon Dynamite” became a surprise hit and a cultural phenomenon, spawning countless memes and catchphrases. The film’s quirky humor and relatable characters struck a chord with audiences, and it has since become a cult classic.

While the film may not be for everyone, its offbeat humor and eccentric characters have made it a beloved cult classic. It’s a charming and endearing film that captures the awkwardness and humor of adolescence. If you’re looking for a quirky and fun comedy that’s not afraid to be a little weird, “Napoleon Dynamite” is definitely worth a watch.

This low budget movie comedy was made for just $400,000 and became a surprise hit, grossing over $46 million worldwide.

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It’s a happy birthday to Bruce Willis, who turns 68 today. But while the occasion is joyous, his deteriorating condition from dementia has been hard on his family, Emma Willis Heming said in an Instagram message today.

Last month it was revealed that Willis has frontotemporal dementia (FTD), an increasingly debilitating form of the illness.  

To relieve some of the stress, Emma has been using her Instagram platform to keep fans updated on the Die Hard actor’s condition. But today she vented her own emotional state.

“So today is my husband’s birthday. I have started the morning by crying, as you can see by my swollen eyes and snotty nose.”

She admitted that putting on a brave face in the ensuing months since Willis’s diagnosis has been a strain.

“I just think it’s important that you see all sides of this,” she said. “I always get this message, or people always tell me that ‘Oh, you’re so strong, I don’t know how you do it.’ I’m not given a choice. I wish I was. But I’m also raising two kids in this, so sometimes in our lives, we have to put our big girl panties on and get to it, and that’s what I’m doing. But I do have times of sadness every day, grief every day, and I’m really feeling it today on his birthday.”

Emma said her emotions swelled while she was putting together an Instagram reel celebrating her husband’s birthday.

“I don’t know why I do that to myself because the videos are like a knife in my heart,” she admitted to fans. “But as much as I do it for myself, I do it for you because I know how much you love my husband — don’t cry, Emma — but it means so much to me, so thank you.”

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It’s a happy birthday to Bruce Willis,

Amid mixed word-of-mouth, DC sequel earns a worse launch than the 2020 Harley Quinn film ”Birds of Prey“

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Warner Bros./New Line/DC’s “Shazam!: Fury of the Gods” is shaping up to be this month’s box office misfire with a $30.5 million opening from 4,071 theaters, 44% down from the $53.5 million opening of the first “Shazam!” in 2019 as it adds $35 million overseas for a $65.5 million global launch.

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The launch of media mogul Jimmy Finkelstein’s The Messenger in May is going to run into money problems due to the “delusional” aspirations of the antiquated thinking of the executives behind it, industry insiders are saying.

Finkelstein, the former owner of The Hill which he sold in 2021 for $130 million, told The New York Times earlier this month that it planned to launch the politics/business/entertainment/sports news site in May with a minimum of 175 journalists stationed in New York, Washington and Los Angeles, and aspirations to have about 550 journalists in place within a year. And to makes that lofty ambition doable, he had amassed $50 million in investor money.

But media insiders told the New York Post in a report published Sunday that $50 million won’t be enough to launch a news site that will be able to reach 100 million monthly viewers. That benchmark was put forward by The Messenger’s No. 2 exec Richard Beckman, former president of The Hill, with a spokesperson saying that they are confident they can reach that goal by the end of 2024 along with $100 million in revenue through “a mix of direct advertising, programmatic and sponsorship revenue across multiple platforms.”

It’s a goal that one insider described as “delusional” to The Post.

“It’s wishful thinking,” the exec said. “They are a few ghosts from the past. If they were a public company, I wouldn’t invest in them.”

Another media critic snarked at the 74-year-old Finkelstein’s comments to the New York Times where he reminisced about the times when he and his family would “all watch ’60 Minutes’ together” and wait for the next issue of Vanity Fair. “Those days are over, and the fact is, I want to help bring those days back,” Finklestein said.

“Whenever a new website references an old magazine and TV show, you know they are not looking towards tomorrow,” the critic told the NY Post.

While The Messenger also has its top editors in place, it didn’t get everyone from their wishlist. Former Hollywood Reporter chief and current Ankler Media CEO Janice Min turned down an offer as did former Daily Beast editor John Avlon.

Those who are onboard include former People editor-in-chief Dan Wakeford, Politico senior editor Marty Kady and Entertainment Weekly editor Mary Margaret, though the Post says that Finkelstein has been “vague” on how The Messenger’s editorial staff will be structured.

TheWrap reached out to Finkelstein for comment.

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Jurassic Park star Sam Neill has tried to calm alarmed fans via Instagram following revelations that he’s been battling stage 3 blood cancer.

The struggle was detailed in his upcoming memoir, “Did I Ever Tell You This?”

The 75-year-old Neill was undergoing chemotherapy until he switched to a new drug, one he will need to take monthly for the rest of his life.

“I am alive and well and I have been in remission for 8 months, which feels really good,” he said in a video shared on Instagram Friday. “And I’m alive and kicking and I’m going to work.”

Neill is back working alongside Annette Bening in the limited series, “Apples Never Fall.”

Neill first noticed he had swollen glands while promoting Jurassic World Dominion last March. After consulting a physician, the actor was diagnosed with angioimmunoblastic T-cell lymphoma, a rare form of blood cancer.

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Why Taron Egerton Doesn’t Want To Be James Bond

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Lance Reddick’s wife, Stephanie Reddick, responded Saturday to the outpouring of tributes that followed the death of “The Wire” and “Fringe” actor.

On Instagram, Stephanie Reddick mourned the loss of her husband, “taken from us far too soon.” She posted a series of photos of Lance Reddick, who died Friday morning at his home in Los Angeles. He was 60.

“Thank you for all your overwhelming love, support and beautiful stories shared on these platforms over the last day,” Stephanie Reddick wrote in a message shared on her late husband’s Instagram page.

“I see your messages and can’t begin to express how grateful I am to have them.”

Stephanie Reddick, who married the “Bosch” and “John Wick” actor in 2011, also gave a shout-out to fans of the video game “Destiny,” which features Lance Reddick as the voice of Commander Zavala. According to Forbes, “Destiny” players have been holding virtual vigils and memorials for Reddick this weekend within the world of the game.

“To the thousands of Destiny players who played in special tribute to Lance, thank you,” Stephanie Reddick said. “Lance loved you as much as he loved the game.”

Stephanie Reddick concluded her statement by encouraging people to donate to momcares.org — based in his hometown of Baltimore — in the performer’s memory.

Since Friday, fans, friends and industry peers of Lance Reddick have saluted the prolific movie and TV star on social media and beyond.

In a joint statement to the Los Angeles Times, “John Wick” star Keanu Reeves and director Chad Stahelski hailed Lance Reddick as a “consummate professional and a joy to work with.” They dedicated the fourth “John Wick” film — which features Reddick’s Charon and opens in theaters Friday — “to his loving memory.”

Others who reacted to the news of Reddick’s death include Questlove, Ben Stiller, James Gunn, Stephen King, “Wick” cast member Ian McShane, who fondly remembered his co-star as “a wonderful human being,” and “The Wire” actor Wendell Pierce, who lauded him as “a man of great strength and grace.”

“The epitome of class,” Pierce tweeted, describing the death as a “sudden unexpected sharp painful grief for our artistic family. An unimaginable suffering for his personal family and loved ones. Godspeed my friend. You made your mark here.”

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Lance Reddick’s wife, Stephanie Reddick, responded Saturday

Cybersecurity is a game of foresight. It’s a chessboard on which attackers and defenders are constantly looking for checkmate. 

Hackers launch a new ransomware attack every 14 seconds. They’re increasingly more capable and sophisticated. Learning how they plan attacks, what techniques they use, and who they’re targeting, can make you so much better prepared. You’ll save the cost and headache of a cyber assault too. This is especially important considering that the cost of ransomware attacks in the U.S. alone surpassed $7.5 billion in 2019.

But investigating malware threats is tedious. Hundreds of new articles and tweets need to be reviewed and triaged every day. Finding critical threats in that sea of information is time-consuming and overwhelming.

We want to help you streamline your tactical and operational open-source intelligence, so that you can better protect your environment.

That’s why we’ve taught Feedly AI, to recognize malware threats. You can ask it to read your security feeds and prioritize what’s relevant to you, your sector, and your environment.

Let’s imagine that you work in a threat intelligence team and are responsible for researching and analyzing the threat landscape. You’re particularly interested in evolving malware threats (including ransomware and malvertisement).

Cut through the noise

You can train Feedly AI to read your Security News feed and prioritize articles related to malware.

Feedly AI prioritizes malware articles in your Security News feed

Feedly AI continuously reads the thousands of articles published in those feeds. It’s an efficient way to cut through the noise and keep up with the evolving malware landscape without the overwhelm.

You’re in control

Feedly AI has been trained to understand broad topics like malware, as well as hundreds of specific malware types like malvertisement, ransomware, adware, bots, rootkits, spyware, etc.

Asking Feedly AI to prioritize malware in your Security News feed is as simple as creating a new Topic priority and selecting ‘malware’ as the topic.

Ask Leo to prioritize malware threats in your Security News feed

You can combine topics with +AND and +OR and create even more targeted priorities for Feedly AI. For example, use +AND to focus on malware related to Android or top companies in your sector.

Refine the priority to malware and Android

You can also ask Feedly AI to look for a specific type of malware like malvertisement or ransomware.

Prioritize ransomware threats

Continuously learning and getting smarter

Feedly AI is smart. It continuously learns from your feedback. When Feedly AI is wrong, you can use the ‘Less Like This’ down arrow button to let it know that an article it prioritized isn’t about malware.

Let Feedly AI know when it’s wrong

Break down silos

Bring your research team into the picture. They can create a Threat Intel Report Board and save the most critical insights they discover in their Feedly. Then everyone with the same Board can leave notes and highlight the biggest threats. 

We’ve seen teams create tactical and operational Boards. For instance, a Vulnerability Report can be built up with information for those that deal with security procedures, while strategic CISO Newsletters can keep management up to speed about malware and your planned response.

Articles bookmarked in a Board can be shared with the rest of the team via daily newsletters, Slack and Microsoft Teams notifications, or pushed to other apps using the Feedly Cybersecurity API.

Share the threat intelligence you collect in Feedly with other teams and apps

Streamline your open-source intelligence

We’re excited to see how your security team will declutter your feeds and dig deeper into the critical threats that matter to you. Sign up today and discover Feedly for Cybersecurity.

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James Gunn has big crossover hopes for the DC Universe’s recently announced Swamp Thing movie. One of DC’s strangest and most classic characters, the Swamp Thing is the avatar and protector of the Green, the elemental force connected to the world’s plant life. Appearing as a large hulking monster made of plants, Alec Holland has been a member of the Justice League Dark and represents one of Earth’s oldest and most powerful defenses. As such, seeing the mighty Swamp Thing joining forces with another of Earth’s heroes would be very exciting.

During their announcement day for the DC Universe and its first chapter Gods and Monsters, new DC Studios heads James Gunn and Peter Safran both shared their great excitement for Swamp Thing which is currently in development. While Safran noted that the film, “will investigate the dark origins of the creature” and will be more horror-focused, Gunn compared the crossover potential of Swamp Thing to the MCU’s Thor and his interactions with Rocket Raccoon in Avengers: Infinity War and Avengers: Endgame. Likewise, Gunn communicated the desire to “one-up” that approach with Swamp Thing. Keeping that in mind, here are five potential crossovers that would be very entertaining in the new DCU.

Related: All DC Movie News: 25 Reveals About The DC Universe


Batman

Having had both confrontations and team-ups with the Swamp Thing in the original DC Comics, a live-action Batman interacting with Alec Holland would be very exciting, especially given the intention behind the recently announced Batman: The Brave and the Bold to expand the Dark Knight’s family and mythology in Gotham. Most of Batman’s live-action depictions have been more grounded, tending to ignore the supernatural side of the Dark Knight’s crusade in Gotham. However, the comics’ Caped Crusader has never shied away from investigating crimes and figures surrounded by various magical and supernatural abilities he likely won’t ever understand.

A team-up between Batman and the Swamp Thing in the DC Universe could certainly benefit both franchises. The Swamp Thing would have a more recognizable (and reliable) ally while also depicting a more comics-accurate Dark Knight. Additionally, Batman could be pulled into an encounter with Swamp Thing through Poison Ivy, one of his classic Gotham villains who can also control plant life as a protector of The Green.

Superman

Official artwork for the DCU's Superman: Legacy featuring Clark Kent sat above the clouds of Metropolis

There’s an inherent level of entertainment that would come from putting Superman and Swamp Thing in the same space. The dichotomy of DC’s brightest hero and one of its darkest would be a lot of fun to explore on-screen (as has been done on the page). Superman saves Metropolis on a daily basis from Earthly foes like Lex Luthor to more extraterrestrial threats such as Brainiac. However, he has a much harder time taking on forces of the supernatural variety. This is because kryptonite isn’t the Man of Steel’s only weakness as he’s also susceptible to magic, creating the perfect opportunity for Swamp Thing to offer support.

Teaming up with the Swamp Thing would quickly put Superman out of his element, something that always improves any story about the Man of Tomorrow. Likewise, the two heroes joining forces would help prove different kinds of power exist in the DC Universe. After all, Superman isn’t necessarily the end-all or most powerful hero there is (though he’s undoubtedly one of them).

Related: DCU Slate Turns 5 Dreams Into A Reality… Finally

John Constantine

John Constantine holds fire in his hands in the comics

John Constantine is of DC’s most powerful magicians and also one of the most cunning. Existing as a magical detective/con man and protector against the occult, Constantine eventually joins with other supernatural heroes to become the Justice League Dark (as does Swamp Thing). To that end, Constantine having a role in Swamp Thing could have some major crossover potential beyond just the two of them.

Having met Alec Holland as far back as 1985 in the comics, Constantine quickly became one of Swamp Thing’s strongest and most frequent allies. He even helped the avatar of the Green control and amplify his powers. However, that’s not to say that they haven’t had their fair share of conflict as well. As such, seeing the two supernatural-powered begins working together would be very exciting, especially considering Keanu Reeves who will reprise his role as John Constantine in a confirmed sequel.

Booster Gold

booster gold in dcu chapter 1

Considering the fact that DC Studios also has plans for a Booster Gold series, there’d be no stranger (or more fun) pairing than a Swamp Thing/Booster Gold team-up. Coming from the 25th century, Booster Gold is a normal guy who steals advanced tech and time-travels to the present, hoping to gain fame and fortune as a superhero. However, Booster eventually becomes a hero in his own right despite his self-centered intentions.

An extremely goofy character who fails far more than he succeeds, Booster Gold and Swamp Thing couldn’t be more different. However, that’s what would be so fun about a potential crossover between the two. The chemistry to be found within their differences would undoubtedly be hilarious as they attempt to save the world.

Related: DC Theory: How Each Character Teased By James Gunn Fits Into Chapter 1

The Suicide Squad

The Suicide Squad promo art featuring the team on an explosive background.

In the aftermath of James Gunn’s The Suicide Squad, the surviving team members were Bloodsport, Harley Quinn, Ratcatcher II, and King Shark. However, Bloodsport was able to blackmail Amanda Waller which lead to the team’s release, though Peacemaker survived as well, still working for Waller with his own team as seen in his spin-off series. It stands to reason that a future Suicide Squad 3 could have a brand-new roster if Waller can’t find a way to bring the former members back under her control. Perhaps one such member could be the Swamp Thing himself.

With a Waller series in development as well as Peacemaker season 2, elements of The Suicide Squad’s legacy will be surviving into the new DCU era. As such, it would be exciting to see Swamp Thing being hunted by Waller who would naturally want to use his great power as a major asset. Additionally, it would also mirror a recent arc from the comics where Waller sends Peacemaker to capture the newest Swamp Thing host Levi Kamei, seeking to use Swamp Thing’s connection to the entire world’s plant life to form an organic surveillance network. Clearly, there’s some exciting groundwork there for Swamp Thing’s crossover potential in the DC Universe.

More: 8 Big Questions We Still Have After Gunn’s DCU Chapter 1 Announcement

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A player has purchased every single Wii U and 3DS eShop game, ahead of the closure of both stores.

Popular content creator Jirard ‘The Completionist’ Khalil claims the entire collection amounted to 866 Wii U games and 1547 3DS games.

This equated to 1.2 TB of Wii U games and 267 GBs of 3DS games, DsiWare and DLC. The entire collection cost Khalil $22,791/£18,715 and took almost an entire year to complete.

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From March 27, it will no longer be possible to purchase games on the Wii U or 3DS eShops. As revealed by VGC analysis, up to 1000 digital-only eShop games will effectively disappear for good once 3DS and Wii U eShop transactions end.

Last year Nintendo assured that even though no more transactions (including the downloading of free demos and content) will be possible after March 27 next year, the online service won’t shut down completely.

“Even after March 27, 2023, and for the foreseeable future, it will still be possible to redownload games and DLC, receive software updates, and enjoy online play on Wii U and the Nintendo 3DS family of systems,” it said.

Khalil used eShop credit cards to add funds to their account, as they had concerns that their bank would flag the huge number of transactions. This meant acquiring 464 eShop cards and redeeming them one by one onto each system.

However, the group ran into an issue wherein the eShop would only allow a single digital wallet to hold $250 at once, meaning they would have to continually buy games, then redeem cards, then repeat the process around 72 times. “This is why it’s stupid!” Khalil says jokingly throughout the video.

Some of the more notable Wii U download-only exclusives set to disappear forever when the stores close include Affordable Space Adventures, Amiibo Tap: Nintendo’s Greatest Bits, Chasing Aurora, Dr Luigi, The Letter, Mini Mario & Friends: Amiibo Challenge, Pokémon Rumble U, Pushmo World (Pullblox World in Europe) and Shut the Box.

On 3DS, the list of games set to disappear is even larger. These include 3D-enhanced re-releases of a number of classic games, including Nintendo’s 3D Classic range, which offered stereoscopic versions of games like Excitebike, Kid Icarus and Kirby’s Adventure.

Finally, the closure of the Wii U and 3DS eShops will also mean the termination of the final systems to support the Virtual Console service. Once this happens, the only retro games provided by Nintendo will be the ones available on Switch Online’s various apps.