Ghost shirts, which are sacred to certain Indigenous communities, were thought to guard the wearer against bullets through spiritual power. This precious heirloom is at the center of Tony Tost’s directorial debut film at SXSW, Americana. This western dramedy has some tricks up its sleeve, thanks to the brilliant writing and the script’s comedic timing. It boasts a big cast of actors including Sydney Sweeney, Halsey, Paul Walter Hauser, Zahn McClarnon, Simon Rex, Eric Dane and Gavin Maddox Bergman.
Cal (Bergman) loves to watch black-and-white, cowboys-and-Indians films. While he’s enthralled with what he sees on the television, Joan Jett lookalike Mandy (Halsey) and local thug Dillian (Dane) argue about why Cal, her brother, is so weird. Maybe it’s because he’s a white kid who claims to be the reincarnation of Lakota ancestor Sitting Bull. To get them away from Dillian’s abusive household, Mandy knocks him unconscious and grabs the keys to his car to escape, but her brother wants to stay because “his people need him.” She has no choice but to leave, claiming to return to him when things are financially stable. Finally waking up, Dillion grabs a gun to pursue his former girlfriend but finds her gone and Cal armed with a bow and arrow. He thinks this kid is joking when arrows start to fly, but he soon learns that this pretend Native American boy isn’t playing games.
Lefty Ledbetter (Hauser) recites his proposal speech for waitress Penny Jo Poplin (Sweeney) at the local diner. He plans to pop the question to his girlfriend of two weeks. The young woman tries to offer advice, but she struggles due to a stammer. From behind the counter, she notices a young man on a call writing something on a napkin and leaves the restaurant. Penny rushes over to read what it says — “Friday diner 4pm” with four dollar signs at the bottom. After meeting Lefty at a bar the same night, she convinces him to come to her job on the day of this meeting to eavesdrop to see what all the fuss is about. What they uncover is a heist plot among Dillion, Fun Dave (Joe Adler) and Roy Lee Dean (Rex) to steal a ghost shirt and sell it on the black market. With this new information, the duo strike a plot somehow to get the shirt and keep the money for themselves. However, that doesn’t go so smoothly once Ghost Eye (McClarnon) and the Indigenous community get involved. Trust me, this is all connected.
Americana is told out of order, but I didn’t realize that until the second act. Tost cleverly weaves this aspect into the story without making the tone feel disjointed. There are a lot of moving parts here. Mandy wants money for her family, Penny and Lefty want the money for themselves, Roy wants to keep the shirt as a collector’s item, and Ghost Eye wants to give it back to the people. Tost has painted an intricate picture full of twists, turns and intrigue that strikes the perfect mix of action, comedy and narrative that serves the western genre, as well as deconstructing it.
Cowboys are not the heroes of Americana; in fact, their society is condemned by the Indigenous and those overlooked by the world at large. There also is commentary regarding cultural appropriation and addressed by specific character actions and dialogue that proves Tost understood where to draw the line in his script to avoid being offensive for gags and laughs. He didn’t have to do that but found a smart way around it. I also was worried about the film committing the sin of “white saviorism,” like most western films do, but the script pulls the characters back from that, causing them to look at themselves and their actions. That’s what building good characterization is all about.
Tost’s direction manages to avoid the common pitfalls first-time directors encounter by overcomplicating things, but the director keeps it simple by letting characters work within their frame. All the dialogue and emotions come through clearly to the audience because people are the focus. This movie wouldn’t be what it is without its rich and enjoyable cast — with Halsey and McClarnon being the standouts — of individuals who are determined, intelligent, uproarious and have different ideas of success and how to achieve it. It’s a microcosmic snapshot of Americana life.
Title: Americana Festival: SXSW, Narrative Spotlight Director-Screenwriter: Tony Tost Cast: Sydney Sweeney, Paul Walter Hauser, Halsey, Eric Dane, Zahn McClarnon, Gavin Maddox Bergman, Simon Rex, Derek Hinkey, Toby Huss, Harriet Sansom Harris Running time: 1 hr 50 min
In what can only be described as a match made in horror heaven, a legendary rock ‘n’ roller, the world’s greatest horror magazine and a cutting-edge media distributor have marshaled their considerable talents to create BeserkerGang, a genre film production outfit dedicated to “edge-of-your-seat horror.”
Comprised of Guns N’ Roses ax man Slash; Rodrigo Gudiño, filmmaker and RUE MORGUE founder; horror genre specialists Michael Paszt, James Fler, and Andrew T. Hunt of distribution house Raven Banner; and Pasha Patriki of Raven Banner’s in-house production wing, Hangar 18 Media, BeserkerGang was born in the wake of Gudiño’s movie The Breach. Last year, the RUE MORGUE publisher partnered with Slash and Raven Banner for the film based on Nick Cutter’s 2021 novel of the same name, planting the seeds of what is sure to be a fruitful (and frightening) company.
For lifelong genre devotee Slash, who served as executive producer and composed the score for The Breach, horror is as comfortable as a tophat, shades and a well-worn Les Paul.
“I’ve always been a huge horror fan, especially going back to the days when horror movies actually scared the hell out of you,” the GNR guitar hero says. “I want to get into the heart of the producing business, so I can try and make movies that I’d like to see.”
Doubling down on Slash’s intent to produce uncompromising horror, Gudiño adds, “The company slogan is ‘Films Forged in Fury,’ if that’s any indication of where we plan on venturing.”
BeserkerGang aims to be a benchmark of quality in genre film. To that end, the collective steadfastly refuses to crank out subpar quickies. Love and respect for horror are paramount to the team.
“The aim of BerserkerGang will be quality over quantity,” says Raven Banner’s Andrew T. Hunt. “We will be selectively choosing projects that we collectively feel best represent the brand.”
“Our goal is to develop projects with filmmakers and writers who are just as passionate about genre films as we are,” continues Michael Paszt.
BeserkerGang will announce its oncoming onslaught of horror films at this year’s Cannes Film Market. Keep an on RUE MORGUE for more details and announcements coming soon!
The actor, recognized for his varied TV roles in The Wire, Fringe, Bosch, Lost and the HBO series Oz, has died of natural causes at the age of 60, Reddick’s rep Mia Hansen confirmed to The Hollywood Reporter Friday.
In addition to television, Reddick has also served as a voice actor on projects including The Vindicators, DuckTales, Rick and Morty and Castlevania and next reprised his role as hotel concierge Charon in the latest installment in the John Wick franchise, JohnWick: Chapter 4.
Reddick was also among the SAG-nominated ensemble of Regina King’s One Night in Miami and worked on Netflix’s Resident Evil series, Comedy Central’s Corporate and FX’s American Horror Story.
Following news of his death, a myriad of Hollywood figures took to social media to pay tribute the late actor.
John Wick filmmaker Chad Stahelski and star Keanu Reeves shared a joint statement to THR remembering the late actor: “We are deeply saddened and heartbroken at the loss of our beloved friend and colleague Lance Reddick. He was the consummate professional and a joy to work with. Our love and prayers are with his wife Stephanie, his children, family and friends. We dedicate the film to his loving memory. We will miss him dearly.”
Ian McShane, Reddick’s co-star in John Wick, said in a statement, “Total shock and disbelief. Lance was a wonderful human being and a wonderful colleague. My deepest condolences, peace and love to his wife, Stephanie, and all his family.”
The Wire creator David Simon said in a statement sent to THR, “A consummate professional, a devoted collaborator, a lovely soul and a friend. This is just gutting and way, way, way too soon for any of us who knew and loved him to contemplate.”
Reddick’s The Wire co-star Wendell Pierce remembered Reddick on Twitter as “a man of great strength and grace. As talented a musician as he was an actor. The epitome of class. An 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. RIP.”
The Wire star Isiah Whitlock Jr. also paid tribute. writing on Twitter, “Shocked and saddened by the news that Lance Reddick has passed away. Truly heartbreaking. R.I.P. My friend. You will be missed.”
Kirk Acevedo, who starred alongside Reddick on Oz and Fringetweeted, “You’ll be terribly missed.” Acevedo also shared the last exchange he had with Reddick after Oz star Granville Adams passed away.
“Lance has been part of the HBO family for over 20 years, starring in several projects including iconic roles in Oz and The Wire,” an HBO spokesperson shared in a statement. “He is held in the highest regard by all who knew and worked with him and we are proud to be part of his legacy. He will be missed dearly.”
Ben Stiller described Reddick as a “beautiful and compelling actor” as well as a “beautiful person.” “He worked with my mom Anne Meara in her play Afterplay, playing Raziel, the waiter slash angel of death. He was exquisite in that and all he did. Nothing is lost,” Stiller tweeted.
DC Studios co-chief James Gunn also took to Twitter to remember Reddick, describing the late actor as “an incredibly nice guy” and “incredibly talented actor.” “This is heartbreaking. My love goes out to all his family, friends, and collaborators,” Gunn wrote.
Questlove shared a photo of Reddick on his Instagram, writing, “I can’t take it no more. rip Lance Reddick.”
Below are more tributes.
A man of great strength and grace. As talented a musician as he was an actor. The epitome of class. An 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. RIP pic.twitter.com/Xy0pl5c4NR
Lance Reddick was an beautiful and compelling actor. And a beautiful person. He worked with my mom Anne Meara in her play “Afterplay”, playing Raziel, the waiter slash angel of death. He was exquisite in that and all he did.
Lance Reddick was an incredibly nice guy, and an incredibly talented actor. This is heartbreaking. My love goes out to all his family, friends, and collaborators.
I’m so saddened to hear that the incredible actor Lance Reddick has passed. I LOVED working with Lance on the series Intelligence. Such a powerful & honest actor, & lovely human. A huge loss in the acting community. My thoughts are with his family. ? pic.twitter.com/AijlgWdd5A
RIP to one of my favorite actors the incomparable Lance Reddick … may his memory be a blessing to all his friends and family pic.twitter.com/lDINyraEm0
Lance Reddick has been part of the HBO family for over 20 years, starring in several projects including iconic roles in Oz and The Wire. He is held in the highest regard by all who knew and worked with him and we are proud to be part of his legacy. He will be missed dearly. pic.twitter.com/hofBbkY5P8
Halfway through re-watching THE WIRE comes the news that Lance Reddick has died at the horribly unfair age of 60. Wonderful actor; wonderful man. This is sad news.
I only worked with him one day – in Berlin – but I had known of him and admired his work for years. Lance Reddick was smart, talented, elegant, and gracious. My condolences to all who knew him and loved him.
So sad to hear about Lance Reddick. What a wonderful human. He was a frequent guest and supporter of TGA, even recorded promo VOs one year for us. An amazing actor who gave so much to games, gone far too soon. pic.twitter.com/rn0jXnJ8z3
Joaquina Kalukango (Lovecraft Country), Lonnie Chavis (This is Us), Rob Morgan (Mudbound), Ryan O’Nan (Queen of the South) and Justin Hurtt-Dunkley (Mare of Easttown) have been tapped for key recurring roles opposite David Oyelowo and Dennis Quaid in Bass Reeves, from Yellowstone co-creator/showrunner Taylor Sheridan.
Kalukango will play Esme, a former enslaved woman who is as good as family with the Reeves’ and also has some different ideas about the future.
Chavis will play Arthur Mayberry, a sweet young boy with eyes for the Reeves’ daughter Sally.
Morgan will play Ramsey, a once-strong man who has been broken by time.
O’Nan will play Darrell Dolliver, one of the two Dolliver outlaws Bass is tasked with tracking down and bringing to justice.
Hurtt-Dunkley will play Ike, a deputy U.S. marshal.
EXCLUSIVE: Jesús I. Valles’ play Bathhouse.pptx has been awarded the prestigious 2023 Yale Drama Series Prize, with the honor’s judge Jeremy O. Harris calling the new work an exploration of “a queer history that is quickly being erased.”
The prize for emerging playwrights, now in its 16th year, was selected from more than 1,500 entries. As is the prize’s custom, Harris, the author of Slave Play and a Yale alum, was the selection process’ presiding playwright, or sole judge. Previous judges have included Edward Albee, David Hare, John Guare, Marsha Norman, Nicholas Wright, Ayad Akhtar and Paula Vogel.
“This is one of the most exciting speculative fictions I’ve encountered in years,” Harris said, “using a unique dramaturgy to explore a queer history that is quickly being erased. It brought to mind the works of many heroes like Samuel Delaney, Martin Crimp, and Kathy Acker.”
Winning playwright Valles said, “This work is a group project for perverts. Somewhere between lecture, re-enactment, and cruising ground, an informative presentation on the history of cleanliness and bathing starts to burst at the seams with the ghosts of a bathhouse at the end of the world.”
Valles will receive the David Charles Horn Prize of $10,000, as well as publication of the winning play by Yale University Press. A Mexican immigrant, educator, storyteller, performer, and poet from Cuidad Juarez, Valles has received awards and support from OUTsider Festival, Teatro Vivo, The VORETEX, The Kennedy Center, New York Theatre Workshop and The Flea. They are currently an MFA playwrighting student at Brown University.
In a new aspect of the prize, the 2023 winner and short-listed entrants will take part in a month-long residency called Substratum, lead by Harris, in collaboration with Gucci and hotel Monteverdi Tuscany, in which fellows will stay at the luxury boutique hotel in the medieval village of Castiglioncello del Trinoro, where their plays to receive public showcases. The fellows and their plays are Asa Haynes, Racism: an unfocused theatre essay; DJ Mills, Trunk Brief Jock Thong; Chloe Myerso, Class; and Rianna Simons, White Girls Gang. Also among the fellows is emerging screenwriter Raffi Donatich.
Today’s announcement was made jointly by Harris and Francine Horn of the David Charles Horn Foundation, the sole funding organization of the annual prize.
“I am delighted by the evolution of this Prize,” Horn said. “Edward Albee launched us by giving his support and name to a new competition more than 15 years ago. David Hare then confirmed our international reach and gave us the opportunity to have the winning playwright’s work celebrated and read at The National Theatre. John Guare brought us to Lincoln Center, and Ms. Norman, Mr. Wright, Mr. Akhtar and Ms. Vogel all added their specific voices to the selection of our winners over the years. And now, true to his word, Jeremy O. Harris has expanded the opportunities for our winners by establishing this new residency. Substratum is a wonderful companion of the Yale Drama Series, and I am thrilled for this first class of playwrights to be celebrated at Substratum.”
Substratum fellows will also receive financial assistance throughout the stay and have on-site mentorship opportunities with such creatives as rapper Kevin Abstract, filmmaker Janicza Bravo, documentarian Alexander Nanau, playwrights and writers Jordan Tannahill, Eliza Hittman and Jasmine Lee-Jones, among others.
Last year when he was named the prize’s Presiding Playwright, Harris said, “If only the entire theater world was as democratic, meritocratic, and pluralistic as the Yale Drama Prize. There is an entire generation of playwrights who have been fighting to be heard – especially in light of the pause button pushed by the pandemic, and this is our opportunity to thrust a chosen few directly into the global cultural conversation. These are the next artists who will change the way we think and, when given the chance, move the world into a new era. I can’t wait to start devouring their work.”
It’s rare to see a family go through as much as Jonas Brothers have. That’s not even including the fact that the three brothers played in a band together for decades.
For those of us who love and adore the Jonas Brothers, this year has felt like a pipe dream. The band released its first album in 2006 and since then, the trio has captured the hearts of millions. I’m sure my fellow fans all remember the first song we heard or going to buy their first album.
Regardless of how long you’ve been a fan, I’m sure none of us imagined the Jonas Brothers how we do in 2023. In 2013, this idea seemed like such a faraway fantasy. We were looking at a band we had grown up with and loved to say they were done. No doubt we can all remember that day with finality.
However in 2019, the Jonas Brothers came back together and since then, it really does feel like the brothers and us as fans have come full circle together.
The Jonas Brothers have truly come full circle for themselves and their fans.
If you’re a Jonas Brothers fan such as myself, you’re probably counting down the days until The Album drops and we see the band’s latest venture. In a way though, it does feel like this album is the closing of a chapter while opening another. This comes after the band’s appearance on TODAY and among the band’s short Broadway residency.
In the article shared by TODAY, there was one quote shared from Kevin Jonas that really spoke to me: “I do think we put a lot of pressure on ourselves when we were younger to get it all right…I think now we just kind of do what we need to do to have fun and continue making music that we love, and I think that’s why it’s working.” In a lot of ways, this feels spot-on to those of us who have been fans for almost two decades.
If you’ve been around in the band’s heyday, especially between 2006-2008, the Jonas Brothers were pumping out albums, going on tour, and eventually, being in the spotlight nonstop which is how a lot of us were introduced to them. Due to all of that, the band eventually got burnt out, resulting in the subsequent breakup and then an eventual reconnection.
In a lot of ways, it feels similar to how we are as fans of the band. The Jonas Brothers were such a huge part of our lives growing up and shaped so much of who we are as people. It’s only right that we’d see them crash and burn as we have in our lives, too. I remember loving and being obsessed with the band as a teenager.
Now though, I do still love and respect the band, but I’m not obsessed. In a way, it must feel the same for the brothers, too. They’re still making music but they’ve slowly but surely grown with their fans. It’s clear in the release of the band’s latest single, “Wings.” It’s not exactly the poppy sound we’re used to but a lot of us are loving it and praising the band for it.
That’s not to say the Jonas Brothers are forgetting their previous works or are completely leaving everything behind. If anything, the band is paying homage to their previous eras and their fans via their Broadway residence stint, Vegas shows, and tour setlists.
All in all, it seems like The Album is going to be something completely different for the band and for us as their fans. While it might not be exactly what we envisioned, there’s nothing more exciting than watching your favorite band evolve into what they’ve always wanted to be.
The Albumby the Jonas Brothers is set for release on May 12th, 2023.
Do you think the Jonas Brothers have come full circle as a band? How long have you been a fan? Share with us in the comments!
Don’t expect to see Roger Stone at the CPH:DOX premiere of “A Storm Foretold.”
In the documentary, directed by Danish filmmaker Christoffer Guldbrandsen, Stone’s efforts to aid former President Donald Trump’s attempt to overturn the 2020 election are captured.
“(Roger) has threatened us with a $25 million lawsuit, and he’s called me fat,” says Guldbrandsen. “Right now, we are communicating through our lawyers.”
“A Storm Foretold” along with “Praying for Armageddon” and “Victim/Suspect” are three films screening at CPH:DOX that explore America’s political, legal and cultural underbelly.
Guldbrandsen and cinematographer Frederik Marbell began filming Stone, Trump’s former advisor, in 2018. They followed the Republican kingmaker in the final months of the Trump administration, which culminated in the storming of Congress on Jan. 6, 2021.
(In 2022, the House committee investigation into the assault on the Capitol subpoenaed footage from Guldbrandsen and Marbell. Ultimately, the committee received approximately 10 minutes out of 170 hours that the crew had shot over the course of three years.)
While Guldbrandsen was given incredible behind-the-scenes access to Stone, he explains that “A Storm Foretold” was never intended to be solely about the longtime Republican’s questionable antics or tirades. Instead, the director says that the docu is about the political revolution unfolding in America and how an established political party turned into an anti-democratic movement.
“I think that people in all modern democracies are concerned about whether we are next in line to experience something similar to what is happening in the U.S.,” says Guldbrandsen. “So, the film was an ambition to try and understand a movement that I found really difficult to make sense of.”
“Praying for Armageddon” investigates the power and influence that Evangelical Christians have over U.S. politics
Norwegian film director Tonje Hessen Schei also traveled to the U.S. to get a better understanding of the country’s political upheaval. In her docu “Praying for Armageddon,” Schei and co-director Michael Rowley investigate the power and influence that American fundamentalist Evangelical Christians have over U.S. politics. The film explains how the infiltration of fundamentalist Evangelicals into America’s political system has not only become a threat to the country’s democracy, but also U.S. foreign policy and the volatile situation in the Middle East.
“All of my films look at power systems in the U.S. that sort of shape our world,” explains Schei.
In 2014, Schei and Rowley began following American Evangelicals including Doomsday preachers, politicians and motorcycle-riding warriors of God all hoping to fulfill the Armageddon prophecy.
“(Fundamentalist Evangelicals’) political power in America today is unprecedented,” says Schei. “In the film, we show that they have really built this architecture in the Washington D.C. political system, and they make up the backbone of the Republican party. They are also considered to be king makers of presidential candidates. I don’t think that people around the world or even in U.S. really understand what their hidden agenda is.”
Filmmaker Nancy Schwartzman didn’t have to travel abroad to expose the American judicial system’s predisposition to distrust victims of rape. In “Victim/Suspect,” the Los Angeles-based director follows Rae de Leon, a reporter working at The Center for Investigative Reporting, as she uncovers an astonishing number of legal cases nationwide that involve women reporting sexual assault to the police, only to be accused of fabricating their allegations. The docu reveals that in spite of the #MeToo movement, which gained worldwide attention in 2017, in the U.S. the roles of rape perpetrator and rape victim can easily be erroneously reversed.
“Victim/Suspect” reveals that in the U.S. the roles of rape perpetrator and rape victim can easily be erroneously reversed
“The film lets people know that unfortunately it’s very risky (to report a rape) in this country and here is why,” says Schwartzman. “Law enforcement can lie to you. Law enforcement can turn you into a suspect. These things can happen. We don’t want to believe they can happen. We want to believe there’s a safe place we can turn to.”
“Victim/Suspect” focuses on the problem of police practices and the institutional biases that exist within police units and the American legal system.
“We’ve all seen in the past several years this kind of reckoning with our systems that are in place,” says Schwartzman. “Who do they serve? It is not a victim-centered process when you go to report a (sexual abuse) crime to the police. It is not victim-centered and it’s not trauma informed. With this documentary what I really wanted to do was harness people’s anger and outrage because we don’t want to be defeated. I want people to ask – ‘What can we do?’ Here is this fixable problem. Where do we start?”
Winnipeg police are looking for a suspect after a woman was assaulted outside the Law Courts Building early Friday morning.
Police say the 20-year-old woman was walking from St. Mary Avenue and Kennedy Street to the courthouse at around 5:45 a.m. when an unknown man began to follow her.
As the woman reached the entrance to the building on Kennedy Street, the suspect approached the victim, leading to a struggle.
The woman fell, and the suspect touched her on the lower body, before fleeing. The victim was taken to hospital in stable condition.
The Sex Crimes Unit has taken over the investigation.
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Police say the man is between 20-30 years old, around 5’9″ with a larger build and long dark hair. He was wearing a black jacket.
Anyone with information or surveillance footage is asked to call Sex Crimes investigators at 204-986-6245 or Crime Stoppers at 204-786-TIPS.
Taylor Swift kicked off her Eras Tour in Glendale, Arizona on March 17.
Fans at the show gave live updates of the setlist as she took the stage.
Taylor will continue the U.S. leg of the tour until the beginning of August.
The Eras Tour began in Glendale, Arizona on March 17! Taylor Swift has been hard at work for months putting together this show for her fans. It is the singer’s first time touring since 2018, and expectations going into the tour were high. Since Taylor’s last tour, she’s released four albums, as well as two re-recorded versions of old albums. Speculation about which tracks would actually make the show’s setlist had been rampant amongst fans since Taylor announced the tour in November 2022.
On opening night, Taylor proved that she would be taking the crowd throughout her entire catalog of music on this tour. She started out with the Lover era, and continued on from there. Find out everything we know about the setlist and tour below:
Taylor performing during a TV special. (Michael Zorn/Shutterstock)
Taylor Swift Eras Tour Setlist
Taylor did her best to keep everything about this show under wraps until night one, but fans outside the stadium have got to hear SOME of the songs that she she would be playing beforehand. However, nothing prepared anyone for what Taylor brought out on night one. Setlist updating live below:
“Miss Americana & The Heartbreak Prince”
“Cruel Summer”
“The Man”
“You Need To Calm Down”
“Lover”
“The Archer”
“Fearless”
“You Belong With Me”
“Love Story”
“Tis The Damn Season”
“Willow”
“Marjorie”
The 33-year-old had hundreds of songs and ten albums to choose from when it came to curating this setlist. Since her last tour, she released the albums Lover, Folklore, Evermore and Midnights, as well as re-records of Fearless and Red. The re-records feature several new songs themselves, with additional tracks added that didn’t make the album cuts the first time around. One of those songs is the fan-favorite “All Too Well (10 Minute Version),” which won a Grammy award and various other accolades.
It’s also unclear whether or not Taylor will have the same exact setlist every single night, or if she’ll change things up each show. During the Reputation Tour, Taylor had one slot in the setlist where she played a different song from her vast catalog each night. This allowed fans to see her play tracks that she hadn’t sung live in years. Plus, Taylor is known to bring special guests onstage for her shows, so there’s always the possibility of different musical artists joining her to sing their own songs, as well.
Taylor Swift Eras Tour Dates
When Taylor first announced her Eras tour, she confirmed that the first leg would include 27 dates in the United States throughout spring and summer 2023. Of course, demand for the tickets was extremely high, so she doubled the amount of shows. As of March 2023, there are now 52 dates on the Eras tour (see below).
Plus, there’s sure to be more to come. In Taylor’s announcement post on Instagram, she made it clear that this was just the tour’s first leg. Plus, back in October 2022, the UK Store on Taylor’s website confirmed that dates in England were coming. Fans who preordered Taylor’s album Midnights in the store were given a “special presale code access for forthcoming and yet-to-be-announced UK show dates.” Subsequent legs of the tour have not been confirmed.
Taylor performing at 2019 AMAs. (Chelsea Lauren/Shutterstock)
For the first leg of the tour, Taylor enlisted various opening acts. Two opening acts from the list will play at each show. The openers are: HAIM, Paramore, Phoebe Bridgers, Gracie Abrams, GAYLE, Beabadoobee, Girl In Red, MUNA, and Owenn. See the US tour dates below:
March 17 & 18, 2023 — State Farm Stadium in Glendale, Arizona March 24 & 25, 2023 — Allegiant Stadium in Paradise, Nevada March 31, April 1 & 2, 2023 — AT&T Stadium in Arlington, Texas April 13, 14 & 15, 2023 — Raymond James Stadium in Tampa, Florida April 21, 22 & 23, 2023 — NRG Stadium in Houston, Texas April 28, 29 & 30, 2023 — Mercedes-Benz Stadium in Atanta, Georgia May 5, 6 & 7, 2023 — Nissan Stadium in Nashville, Tennessee May 12, 13 & 14, 2023 — Lincoln Financial Field in Philadelphia, Pennsylvania May 19, 20 & 21, 2023 — Gillette Stadium in Foxborough, Massachusetts May 26, 27 & 28, 2023 — MetLife Stadium in East Rutherford, New Jersey June 2, 3 & 4, 2023 — Soldier Field in Chicago, Illinois June 9 & 10, 2023 — Ford Field in Detroit, Michigan June 16 & 17, 2023 — Acrisure Stadium in Pittsburgh, Pennsylvania June 23 & 24, 2023 — U.S. Bank Stadium in Minneapolis, Minnesota June 30 & July 1, 2023 — Paycor Stadium in Cincinnati, Ohio July 7 & 8, 2023 — Arrowhead Stadium in Kansas City, Missouri July 14 & 15, 2023 — Mile High Stadium in Denver, Colorado July 22 & 23, 2023 — Lumen Field in Seattle, Washington July 28 & 29, 2023 — Levi’s Stadium in Santa Clara, California August 3, 4, 5, 8 & 9, 2023 — SoFi Stadium in Inglewood, California
Taylor Swift Ticketmaster Controversy
When tickets for the Eras Tour went on sale, there was an unprecedented demand. Before the on-sale date, fans were able to sign up for a “verified fan” code, which was Ticketmaster’s attempt at eliminating bots from purchasing tickets. A lottery-style drawing was done, giving only a select number of fans pre-sale codes to purchase tickets.
Despite hundreds of thousands of fans not receiving codes and being put on a “waitlist,” Ticketmaster still crashed when hoards of Swifties flocked to the site on the Nov. 15 pre-sale date. Millions of people attempted to log into the sale at the same time, causing the site to crash. The chairman of Live Nation later revealed that 14 million fans were attempting to sign on at once, despite Ticketmaster only expecting 1.5 million based on the codes that had been given out.
Ticketmaster was forced to cancel the regular on-sale for the concert, due to lack of tickets remaining. Thousands of fans were not able to get tickets to the tour, leading to outrage and backlash against Ticketmaster. On Nov. 18, Taylor took to her Instagram Story to address the situation. She specifically called out Ticketmaster for not being able to handle the demand of the situation, despite assuring her that it would be covered.
“It goes without saying that I’m extremely protective of my fans,” Taylor wrote. “We’ve been doing this for decades together and over the years, I’ve brought so many elements of my career in house. I’ve done this SPECIFICALLY to improve the quality of my fans’ experience by doing it myself with my team who care as much about my fans as I do. It’s really difficult for me to trust an outside entity with these relationships and loyalties, and excruciating for me to just watch mistakes happen with no recourse. There are a multitude of reasons why people had such a hard time trying to get tickets and I’m trying to figure out how this situation can be improved moving forward. I’m not going to make excuses for anyone because we asked them, multiple times, if they could handle this kind of demand and we were assured they could. It’s truly amazing that 2.4 million people got tickets, but it really pisses me off that a lot of them feel like they went through several bear attacks to get them. And to those who didn’t get tickets, all I can say is that my hope is to provide more opportunities for us all to get together and sing these songs. Thank you for wanting to be there. You have no idea how much that means.”
Taylor onstage with her dancers. (Chelsea Lauren/Shutterstock)
That same day, Ticketmaster apologized for the fiasco in a statement on its website. The company apologized specifically to Taylor and her fans, while also attempting to explain how things got so out of control. Ticketmaster included statistics to show just how many people were coming to the site to purchase tickets, and explained how this astronomical number was different than what they’ve experienced in the past. “Historically, around 40% of [verified] fans [with presale codes] actually show up and most purchase an average of 3 tickets,” the post explained. “Around 1.5 million [of 3.5 million who signed up] people were sent codes to join the on-sale for all 52 dates.”
The post continued, “This time, the staggering number of bot attacks, as well as fans who didn’t have codes, drove unprecedented traffic on our site, resulting in 3.5 BILLION total system requests.” The company also assured fans that they were “always working to improve the ticket buying experience.”
In Jan. 2023, Ticketmaster/Live Nation faced a Senate hearing about whether or not its monopoly on the ticket-buying industry is what led to this controversy. During the hearing, the CEO of Live Nation once again apologized to Taylor and her fans. “We need to do better and will do better,” he insisted, per Associated Press. The Ticketmaster higher-ups were grilled by the Senate during the hearing, and many Senators even pulled out Taylor Swift song lyrics to make their points. It remains to be seen whether or not this hearing will have any effect on the company in the future.
Google’s Pixel Fold is set to be priced competitively compared to Samsung’s Galaxy Z Fold series, according to a new leak. This follows earlier rumors that claimed the Pixel Fold would be priced at around $1,700 when it’s announced in May at Google I/O 2023.
The same leaker also suggests that the Pixel 7a is likely to be the same price as the Pixel 6a (or a little higher.)
The latest rumors come from Yogesh Brar (opens in new tab), a notable tipster who’s proven fairly reliable over the years. Brar says the Pixel Fold will cost between $1,300 and $1,500 (so roughly £1,100 to £1,200 or AU$1,900 to AU$2,200), while the Pixel 7a will cost between $450 and $500 (that’s about £370 to £410 or AU$670 to AU$745).
The Pixel 6a launched at $450 / £399 / AU$749 (though you can find it for much cheaper now with some great deals), so the rumored price is in line with what we’d expect. That upper $500 limit would also make a bit of sense, as elsewhere we’ve heard that Google plans to improve the materials used in the phone, as well as upgrade the chip to the Tensor G2, and slotting in new camera sensors.
The Pixel Fold price rumor is a lot more interesting. Though that price is certainly well north of a grand in both the US and UK, if we take this rumor at face value, it suggests the Fold’s price is being positioned to lower the prohibitive entry cost of foldables – in the US and Europe, at least, especially vertically-folding larger folding phones.
Lowering the barrier to entry
While some clamshell foldables – think Samsung’s Galaxy Z Flip 4 or Oppo’s Flip N2 Flip – have cost around $1,000 / £800 or even less, Galaxy Fold-style foldables have been pitched closer to $2,000 / £1,700, although that price has been edging lower and lower as more companies enter the market.
The Honor Magic Vs costs $1,700, £1,400 / AU$2,500, according to quick Google conversions, while the Tecno Phantom V Fold will set you back around $1,100 / £900 / AU$1600. If Brar is on the mark, the Pixel Fold will fall somewhere in the middle of that range.
Foldables as a category have been getting stronger year over year, with Google’s Android 12L and Android 13 improvements going a long way toward enhancing the foldable user experience. As Google prepares Android 14, to further improve on the OS’s foldable support, with tools for developers to build or improve existing apps to work better on foldables, the Pixel Fold will mark the company’s fully enthusiastic embrace of this form factor – and an accessible price point would be the icing on the cake.
Logline: A collection of stories from the other side of consciousness. A modern mindbender for a new generation, Shatter Belt dives head first into the deep end of questions about our relationship to reality.
Panelists: James Ward Byrkit, Patton Oswalt
Premiered: March 14, 2023
Key quotes: Byrkit: “I’ve always loved the short form and I was inspired by how Rod Serling was pumping out these scripts every week and how classic they became and I realized you don’t have to be so precious and take two years to write the perfect screenplay.”
Oswalt: “Also to brush up against the cosmic and fantastical, with actually very little special effects… It’s very practical and subtle, and sometimes the subtle can feel so much more cataclysmic than the giant spectacle.”
The Deadline Studio at SXSW runs March 10-13, where the cast and creatives behind the best and buzziest titles in this year’s lineup sit down with Deadline’s festival team to discuss their movies and the paths they took to get to Austin, Texas.
“The cameras haven’t stopped rolling since Wednesday night. It’s not an understatement to say this will be the most explosive season of Vanderpump Rules ever,” a source exclusively told Usfollowing the TomTom co-owner and Ariana’s breakup.
In response to the cheating drama, Sandoval issued a public apology to his now-ex-girlfriend after only addressing the backlash his Los Angeles business received when he initially broke his silence.
“I want to first and foremost apologize to everyone I’ve hurt through this process. Most of all, I want to apologize to Ariana,” the Missouri native wrote via Instagram in March 2023. “I made mistakes, I was selfish and made reckless decisions that hurt somebody I love. No one deserves to feel that pain so traumatically and publicly.”
He added: “I can only imagine how devastating this has been for Ariana and everyone around us. I feel really horrible about that. My biggest regret is that I dishonored Ariana. I never meant to disappoint so many people, including our loving families and friends.”
Raquel, for her part, also reflected on the drama in her own statement. “I want to apologize for my actions and my choices foremost to Ariana, and to my friends and the fans so invested in our relationships. There is no excuse, I am not a victim and I must own my actions and I deeply regret hurting Ariana,” she wrote via Instagram.
In her lengthy message, Raquel noted that she was planning to speak to “a counselor” about her issues. “I have sought emotional validation through intimate connections that are not healthy without regard for my own well-being, sometimes negatively affecting others and often prioritizing the intimate connection over my friendships,” she added. “I am taking steps to understand my behavior and make healthier choices.”
“I have seen Ariana and I have [filmed] with her. It’s an integral part of the story now. I would say the word I would use [to describe her] is devastated,” the Real Housewives of Beverly Hills alum said before filming the reunion.
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Scroll down for everything to know about the Vanderpump Rules season 10 reunion:
Deepika Padukone returned to Mumbai after presenting the Naatu Naatu live performance on the prestigious stage of Oscars.
Oscars 2023 were special for India in different ways. While Naatu Naatu from SS Rajamouli’s RRR achieved what it set out to achieve by winning the 95th Academy Awards under the Best Song category, The Elephant Whisperers also grabbed the Best Documentary Short Film award. What also made Oscars 2023 special was Deepika Padukone, who presented the live performance of Naatu Naatu on the prestigious dais and won everyone’s heart with her charm and glamour. Now, Deepika is back in the bay town as she was recently captured by the paparazzi.
On Saturday, the Pathaan actress’ was snapped by the paparazzi as she stepped out of the Mumbai airport. She was seen dressed in a black sweatshirt and glossy pants of the same colour. Deepika also accessorized her look by sporting black sunglasses and her hair tied in a bun. She was all smiles as she posed for the paparazzi while proceeding to her car. Needless to say, the diva looked gorgeous as ever.
Soon after the video of the same was shared online, fans took to the comment section to welcome their favouritr actress. One of the fans wrote, “Welcome back Deepika (with red heart emojis)”. Another one commented, “Love the edit!! Queen is back”. Someone else said, “Wow she is so stunning! Beauty of Bollywood!!” Another fan stated, “Let others shout! You earned huge respect!” “I love her clothes when she travels!!” another comment read.
Meanwhile, on the work front, Deepika Padukone will soon be joining Hrithik Roshan for an important schedule of Fighter. A source close to PinkVilla earlier reported, “Hrithik and Deepika will shoot for one of the most important schedules of the film starting from March 19. It would be a wrap on this schedule by April end. The dates of shoot have been strategically clustered to shoot and prep simultaneously. The shoot will be done at real locations in Mumbai from March 19 to 24, followed by a week of prep work.” Talat Aziz too is a part of this schedule and he plays the role of Hrithik’s father.
Besides Fighter, Deepika also has the Hindi remake of The Intern with Amitabh Bachchan and Project K with Prabhas in her pipeline.
Yatamanyu is a multi-disciplinary Journalist & Photographer who dabbles in Films, Poetry, Music, Politics, Pop-Culture and everything in between. …Read More
Eric Masterson clashes with the Thor when the God of Thunder returns in the THOR EPIC COLLECTION: THE FINAL GAUNTLET!
Adam Chapman joins Eric Anthony for another Book of the Month Club. This time, they jump into some overlooked ’90s stories featuring two Thors, with the wrap up of the DeFalco/Frenz run and the introduction of th Ron Marz/Bruce Zick creative team. How did the transition work out and is this Epic Collection worth picking up?
Romantic love: a universal feeling that people want to experience at least once in their lifetime. The one feeling that has inspired individuals to soften, to bear out their feelings through actions, songs, movies, and art. The feeling that has changed the lives of many, for the better or the worse. One thing for sure is that we do not always fall in love with the right person for us, nor do we always control who we fall in love with. Love takes two to tango; it takes two to make it work out in the long run. Romance has been the subject of many movies over the years because people see themselves through the screen. They elicit strong emotions in the viewer and offer vulnerability, warmth, and swoon-worthy scenes in two hours.
However, with a myriad of movies with a lack of development in the plot, happy endings, and unrealistic scenes and messages that set unrealistic expectations, romantic movies are often far from reality yet many people use them as a reference. While it is good to know, romantic movies are a wonderful way to depict the beauty of this feeling, their formula is not always the healthiest for those who are truly looking to find and keep love in their lives. Yet, there are still a good number of movies that aim to speak about love realistically.
MOVIEWEB VIDEO OF THE DAY
9 Definitely, Maybe (2008)
Scene From Definitely, Maybe by Universal Pictures
Definitely, Maybe is a movie directed by Adam Brooks starring Ryan Reynolds, Abigail Breslin, Isla Fisher, Elizabeth Banks, and Rachel Weisz. It follows the life of a political consultant, Will Hayes, who is trying to explain to his daughter Maya why he and her mother are divorcing in a tale that involves all the women he loved. He tells his story in flashbacks starting with his first serious girlfriend until his current situation and through his dissection and analysis of his love life, he and his daughter can draw some life-changing conclusions.
Definitely, Maybe takes a mature approach to love, one that is honest and nowhere near perfect. The truth is, love isn’t always perfect; it isn’t always simple, and it doesn’t always work out. Sometimes you have to date the wrong people to get to the right one. Sometimes, love alone is not enough, and you need to share compatibility, life goals, and ethics. Sometimes people miss chances or don’t communicate what they feel. They mess up or miss a chance.
Yet, what makes Definitely, Maybe truly refreshing is that it shows you all the reasons why your relationship with someone might not make it. It shows you that there might not necessarily always be one person for you, but that there is always perhaps a chance with someone. It doesn’t promise anything; it just candidly portrays the life of a man who took a few chances on love and how the meaning of love changed for him over time.
This romantic comedy does feel light, but its charm and rawness are truly memorable. On top of that it has an excellent cast that brings each character to life, which adds so much depth and heart to the movie.
8 500 Days of Summer (2009)
Summer and Tom picture by Fox Searchlight Pcitures
500 Days of Summer is a movie directed by Marc Webb. It handles the topic of love quite differently than most. It features Zooey Deschanel as Summer and Joseph Gordon-Levitt as Tom, who embarks on a romance that starts off sweetly, but that ends in a way Tom does not expect. After a terrible break-up that Tom didn’t see coming, he is forced to face his notions of love and romanticism, which opens his eyes to a new approach and understanding of love. 500 Days of Summer doesn’t offer the perfect happy ending formula. It is an introspective movie that explores the idea of soul mates, compatibility, and how one can not be on the same page with their partner.
It shows a genuine mental discourse from someone who thought they had made it in love and had that completely shattered, but it is also a narrative that invites growth and is a movie that many will relate to, especially when it comes to failed romances. This movie takes you on a journey that will make you feel all kinds of things as it highlights the pre-romance, the romance, and post-breakup with all the feelings that they encompass.
7 Pride and Prejudice (2005)
StudioCanal
This swoon-worthy and Oscar-nominated movie is a classic romance movie everyone should at least watch once. Pride and Prejudiceis based on the novel written by Jane Austen in 1813 and directed by Joe Wright. Not only is this movie full of gorgeous cinematography and costume design and a very well-written dialog, but it also explores love from themes such as pride and prejudice. These two themes are ever-present in everyone’s daily life and are one that keeps surprising and humbling all those who dare to think they know anything all too well.
Stars Keira Knightley and Mathew MacFadyen, who together have stunning chemistry on screen, make this movie such a delicate and heart-touching experience to watch. Set in the English countryside, in the late 18th century, the Bennet family set out to find wealthy suitors from the Bingley family for their own daughters.
However, their daughter doesn’t get on too well with Mr. Darcy, who comes from the Bingley family. This movie beautifully depicts a build-up of two people softening and opening their hearts to each other. Though, the journey isn’t easy and is full of issues revolving around misunderstandings and biases that they have to work through. Much like in real life, love is often damaged by wounded egos, and fickle ways of handling this powerful emotion. This movie highlights the vulnerability, courage, and openness it takes to experience romantic love in its purest form.
Before We Go is a film directed by and starring Chris Evans and Alice Eve in a graceful union that helps two individuals develop a soulful connection that is full of emotional intimacy. Part of why this movie is very special is that it has well-written dialogue that will pull at your heartstrings. The two main protagonists meet in Manhattan, where they are stuck for the night and end up encountering one of the most honest, emotionally-wrenching nights of their lives. This movie explores the idea of what makes someone connect with someone so profoundly.
It explores the in-betweens and what-ifs, the past, future and present. Nick and Brook, the two protagonists, slowly confide in each other through an enchanting walk through New York City. Each with emotional baggage of their own, and romantic relationships they have to deal with, this movie is such a beautiful depiction of hope and sadness at the same time. It is thought-provoking as it explores the idea of commitment, the inability to get over someone, and the true rarity of finding true lasting love that is both mentally, physically, and emotionally satisfying. Yet, it is a beautiful tease into making profound choices when it comes to love and life and that love can be experienced in different ways, and different timelines even if it doesn’t last a lifetime.
5 Our Souls At Night (2017)
Netflix
Our Souls At Night is a romance-drama based on the novel written by Kent Haruf, starring Jane Fonda as Addie Moore and Robert Redford as Louis Waters, and was directed by Ritesh Batra. It tells the story of two widowed neighbors who have been living across from each other for years. When Addie makes a proposal to Robert, their lives start to take an uplifting turn that soothes both their existence and looming loneliness. Our Souls At Night takes a hard look at older individuals who have lost their partners and who have had their kids grow up; leading separate lives. Having a family that is slowly fizzling out or that does not have the lively shape it once had can be heartbreaking and hard to swallow. However, in this poignant movie, Addie tries to fight off her loneliness by offering Robert to sleep next to her each night to keep her company and to converse about life so that they get a healthy dose of daily interactions.
This beautiful movie isn’t a full-blown romance with outstanding gestures; it is rather simple. It highlights how two people can make it work by putting in the effort, and by taking an interest in each other despite their complete differences, and that it could be a slow but fulfilling process if you choose to accept it for what it is. This movie doesn’t play on the idea of soulmates, or flying romantic sparks, or unfathomable attraction. It is rather a sweet portrayal of people who choose to enjoy each other’s company and see the value of what that brings. It also doesn’t shy away from showing the hiccups, awkwardness, and discomfort that comes with trying to get close to someone but rather focuses on choice and effort to build a beautiful foundation with someone over time.
4 No Strings Attached (2011)
Paramount Pictures
No Strings Attached is a romantic comedy starring Natalie Portman and Ashton Kutcher as Emma and Adam and was directed by Ivan Reitman. The movie’s premise sees the two long-term friends who decide that they will have a physical relationship without any strings attached. They will sleep together and have no expectations from each other to keep their friendship from getting messy. However, things do still get messy when emotions get involved.
Even though the movie’s plot plays out exactly as you expect them to, it does tackle a very important aspect in relationships, which is the difficulty of keeping things platonic when physicalities get introduced. A relationship usually consists of a solid emotional and physical connection and so when both are present, it is very hard to not fall in love. Though, in real life, many jump head first when being involved with someone, overestimating their capacity not to catch feelings. This movie is a good reminder that while being physical with someone might not always lead you to falling in love, you might definitely be playing with fire. At the end, the movie is an enjoyable romance; however, at its core, it will have you moving with caution.
3 Eternal Sunshine of the Spotless Mind (2004)
Focus Features
Eternal Sunshine of the Spotless Mind is a movie with a unique and refreshing plot that will leave you thinking for days. Starring Jim Carrey and Kate Winslet, and directed by Michel Gondry, this movie is a dance with the concept of memory. After a terrible breakup, Clementine erases Joel from her memory in an attempt to move on from the painful memories that haunt her, aiming to reestablish a clean slate of her life. Feeling better, Joel also goes to erase the memory of Clementine, but in the process he finds himself struggling to erase her despite the pain.
This movie takes you on a trip down memory lane with all its sourness, sweetness and nostalgia and what it means for the narrative of your life. It makes you question whether we should render something as horrible just because it ended badly, or rather cherish it for all that it was. In this thought-provoking movie, we are reminded that all we have are memories, memories that are worth rescuing or memories that we want to erase, and either way they change everything. With beautiful cinematography, and a stellar performance by Carrey and Kate Winslet, and a plot twist at the end, anyone who has had a harsh breakup with someone they once loved will relate to the concept.
2 Silver Lining’s Playbook (2012)
Scene From Silver Linings Playbook
This Oscar-winning film is based on a book written by Mathew Quick. It was directed by David. O. Russel. It tells the story of Pat (Bradley Cooper), who suffered from bipolar disorder that has made him quite aggressive, resulting in him being sent to a health institution to get treatment. However, when he gets out, he moves in with his parents, and aims to get back to his wife. However, when he meets Tiffany (Jennifer Lawrence), a woman with psychological problems of her own, they set out to help one another achieve their goal. This union makes them develop an intense connection that’s filled with difficult, uncomfortable feelings, yet tender and caring ones, too. Silver Linings Playbook looks at the personalities of people with mental illnesses, and the way they handle themselves, as well as their difficulty in being accepted for who they are.
This movie is essentially a dark film about people trying to repair their lives and find their silver lining. This film does a good job of portraying people’s flaws and the cost that comes with saying to someone you love them wholeheartedly if you truly intend to be there for them. Silver Linings Playbook explores real problems and the testing times anyone has living with a mental illness, as well as the strength and patience it takes to understand someone who has it. It’s a reminder that the people we love are a package, a package full of beauty and imperfections; that we have to be able to see them for who they truly are and to wholeheartedly accept them so that a loving relationship can begin to blossom. However, what sets lovers apart is their inability to make it work, to see eye to eye and to accept each other, which is a great reminder that you have to choose who you want to struggle with.
Hope Springstells the story of Kay and Arnold, played by Meryl Streep and Tommy Lee Jones respectively, and was directed by David Frankel. A couple who has been married for 30 years tries to rekindle their spark and romance through counseling sessions. Long-term commitment takes effort and compassion, and over time people can find themselves drifting apart. In the case of Kay and Arnold, their marriage was loveless and lacked meaningful interactions. However, much to Kay’s insistence to save their marriage through couples therapy, they are able to understand where things went stale between them. This movie looks at what realistically happens to some relationships over time if neglected. However, it shows that things can be turned around if a couple is willing to try to approach things differently. It’s a reminder not to always give up on your relationship, that it takes thoughtfulness and that while your love might not always be a blazing romance all the time, it doesn’t mean that it has been doomed for good.
With that being said, romantic light-hearted comedies that have you swooning do have their own charm where they help you escape to warm world for a while. It’s just important to get the bigger picture and not use a blockbuster movie as a complete reference for how things are supposed to look like when it comes to love because it is never as simple as that.
Trombone Champ is a blast to watch, but a beast to play even compared to some other rhythm games — you try nailing a slide during the “William Tell Overture.” Thankfully, developer Holy Wow Studios is putting the game within reach of more players. It’s introducing an “Autotoot” option that takes away the need to press buttons. If you have hand-mobility issues, you’ll have a better chance of squonking your way to an S rank. Your score is halved to prevent leaderboard cheating, but you can advance the story.
The update is also more streamer-friendly, with icons warning when a tune might be muted on services like Twitch. It’s faster to restart a track when your performance goes askew, and you’ll see your character in the points screen.
Trombone Champ quickly became a viral sensation after its debut last September. Anyone who’s familiar with Guitar Hero or Rock Band will grasp the basic mechanics, but the laugh-’til-you-cry hilarity of playing trombone over classic pieces can’t be overstated — this is one of those precious games where messing up is almost more entertaining than a perfect score. And that’s before you throw in unofficial songs that put brass where it clearly doesn’t belong.
Autotoot is also part of a larger trend of improving accessibility in games. Titles like The Last of Us now make accommodations for a wide range of mobility, hearing and vision abilities. Input devices like Microsoft’s Xbox Adaptive Controller and Sony’s Project Leonardo are also making many games viable for people who can’t use conventional gamepads.
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Two days after ”Everything Everywhere All at Once“ won seven Oscars, including best picture, the SXSW Film Festival, where Daniel Kwan and Daniel Scheinert’s movie launched last year, has announced its own awards. To be clear, “EEAAO” was a studio-backed opening night premiere (not one of the smaller movies launched in competition at the indie-focused fest), but you can still feel the excitement in Austin around the landmark Oscar win. After all, SXSW was the first festival to take Daniels seriously, awarding them top prize for their Battles music video (“My Machines”) in 2012.
Will any of the movies or directors screening here this year go on to change film history?
With five days still to go at SXSW, the juries convened (after viewing and deliberating remotely, out of COVID precautions) to present the winners.
Narrative feature honors went to writer-director Paris Zarcilla’s “Raging Grace.” On the surface, the tense story of an undocumented Filipina house cleaner and her young daughter might appear to echo 2022 Sundance winner “Nanny,” though the film “subverts expectations on its way to a stirring conclusion,” in the jury’s words.
“In cleverly employing genre tropes to explore vast socio political matters, Zarcilla has crafted a resonant, urgent work about labor, legacy and diaspora,” explained the jury of three — Helena Andrews-Dyer, Tomris Laffly and Richard Lawson — who also awarded special jury recognitions for performance to “Parachute” star Courtney Eaton and cinematography to “Story Ave” DP Eric Branco.
The documentary jury — consisting of Mae Abdulbaki, Joel Anderson and Allegra Frank — described top winner “Angel Applicant” as “a revelation,“ complimenting director Ken August Meyer’s exploration of artist Paul Klee, with whom he shares the condition of scleroderma.
“The result is a yearslong undertaking that is stunning, powerful, and unforgettable,” the jury said. The nonfiction special jury award went to “Another Body,” which uses deep-fake techniques to illustrate how the unsettling innovation compromised the life of a college student.
See the complete list of winners below.
Feature Film Grand Jury Awards
NARRATIVE FEATURE COMPETITION Presented by Panavision
Winner: “Raging Grace” directed by Paris Zarcilla
Special Jury Recognition for Performance: Courtney Eaton, “Parachute”
Special Jury Recognition for Cinematography: Eric Branco, “Story Ave”
DOCUMENTARY FEATURE COMPETITION Presented by ACE91
Winner: “Angel Applicant” directed by Ken August Meyer
Special Jury Recognition for Innovation in Storytelling: “Another Body” directed by Sophie Compton, Reuben Hamlyn
Short Film Grand Jury Awards Presented by IMDbPro
NARRATIVE SHORTS
Winner: “It Turns Blue” directed by Shadi Karamroudi
Special Jury Award: “Flores del Otro Patio” directed by Jorge Cadena
DOCUMENTARY SHORTS
Winner: “Nǎi Nai & Wài Pó” directed by Sean Wang
Special Jury Award: “Suddenly TV” directed by Roopa Gogineni
MIDNIGHT SHORTS
Winner: “The Flute” directed by Nick Roney
Special Jury Recognition for Powerful “Short Trip”: “Pennies from Heaven” directed by Sandy Honig
ANIMATED SHORTS
Winner: “The Debutante” directed by Elizabeth Hobbs
Special Jury Recognition for Animation Directing: Tom CJ Brown, “Christopher at Sea”
MUSIC VIDEOS
Winner: Amanda Sum – “Different Than Before” directed by Mayumi Yoshida
Special Jury Recognition: Residente – “This Is Not America ft. Ibeyi” directed by Grégory Ohrel
TEXAS SHORTS
Winner: “Breaking Silence” directed by Amy Bench, Annie Silverstein
Special Jury Award: “When You Left Me on That Boulevard” directed by Kayla Abuda Galang
TV Pilot Competition
Winner: “Grown” directed by Jocko Sims
Special Jury Award for Outstanding Performance: “Harbor Island” directed by Josh Fadem
SXSW Film Design Awards Presented by Adobe
POSTER DESIGN COMPETITION
Winner: “Eyestring” designed by Javier Devitt
Special Jury Award: “Riders of the Storm” designed by Casey Moore
XR Experience Competition
Winner: “Consensus Gentium” directed by Karen Palmer
Special Jury Award: “Body of Mine” directed by Cameron Kostopoulos
SXSW Special Awards
Janet Pierson Champion Award presented by Indiewire: Lizzie Shapiro
Fandor New Voices Award: “What We Leave Behind” directed by Iliana Sosa
Louis Black “Lone Star” Award: “The Lady Bird Diaries” directed by Dawn Porter
Special Jury Award: “The Herricanes”
Thunderbird Rising Award: Paris Zarcilla, “Raging Grace”
Thunderbird Rising Special Award: Brittany Snow, “Parachute”
The Hope Award Winner: “Still: A Michael J. Fox Movie”
The Hope Special Award: “Confessions of a Good Samaritan”
Adam Yauch Hörnblowér Award: “Chronicles of a Wandering Saint” directed by Tomas Gomez Bustillo
This week’s release of the full trailer for Disney’s live-action “The Little Mermaid” generated more than 108 million global views in its first 24 hours.
That makes it the biggest trailer debut for a Disney live-action title since “The Lion King” in early 2019 drew 130 million views.
It’s also one of the most watched trailers for any title in Disney’s library of live-action re-imaginings says the studio, beating out “Aladdin” with 106.5 million views along with “Cruella,” “Mulan” and “Maleficent: Mistress of Evil”.
The number of views is inclusive of broadcast TV audience and digital. The trailer itself was released on March 12th during the Academy Award ceremony.
Directed by Rob Marshall, the film will include four new songs original to the remake alongside many of its most iconic numbers including “Part of Your World” and “Under the Sea”.
Halle Bailey, Melissa McCarthy, Javier Bardem, Awkwafina, Jacob Tremblay and Jonah Hauer-King co-star in the film which hopes to join the other late 80s/early 90s Disney titles like “Beauty and the Beast,” “Aladdin” and “The Lion King” that made the jump to live-action and managed to clear $1 billion globally each.
“The Little Mermaid” in its live-action form will hit cinemas in time for the Memorial Day weekend in late May.
Unless the Rock & Roll Hall of Fame can find a way to be more inclusive, it can “go to hell in a handbag,” according to rocker Courtney Love.
While there’s an annual debate over nominees and inductions, who is nominated and inducted is far from a silly matter. The Hall has a real economic impact on its chosen artists, Love claimed in a blistering op-ed in The Guardian.
Love said the Hall’s voting process hasn’t done enough to honor some important figures in music. “So few women are being inducted into the Rock Hall, then the nominating committee is broken. If so few Black artists, so few women of colour, are being inducted, then the voting process needs to be overhauled.”
She added, “Shame on HBO for propping up this farce.”
While Love acknowledged that this year included more women nominees than ever before, the Hall still made such icons as Kate Bush cool their heels, waiting for a chance. Artists can be nominated 25 years after their first record release. Bush was eligible as of 2004, but didn’t make the ballot until 2018, and is still not inducted.
In fact, just 8% of Rock & Roll Hall of Famers are women. There’s a reason, Love pointed out.
Black artists fared no better. Chaka Khan’s talent was hailed by Love, but even that dynamic force has yet to be recognized. “The Beastie Boys were inducted in 2012 ahead of most of the Black hip-hop artists they learned to rhyme from,” Love noted.
The reason why induction matters is that the Hall certifies greatness, thereby increasing revenue opportunities. Performance guarantees, the quality of reissue campaigns, and other benefits accrue.
“These opportunities are life-changing – the difference between touring secondary-market casinos opening for a second-rate comedian, or headlining respected festivals,” Love wrote. A Rock Hall induction “directly affects the living they are able to make. It is one of the only ways, and certainly the most visible, for these women to have their legacy and impact honoured with immediate material effect.”
She concluded, “If the Rock Hall is not willing to look at the ways it is replicating the violence of structural racism and sexism that artists face in the music industry, if it cannot properly honour what visionary women artists have created, innovated, revolutionised and contributed to popular music – well, then let it go to hell in a handbag.”
David managed to escape Kirigan’s grasp and turn himself over to the Crown and Alina, with important information on Kirigan’s army and state of being.
Genya and Bahgra also moved to escape from Kirigan’s shackles, literally.
Kaz and the Crows took on Kaz’s number-one rival for the first half of the season, Pekka Rollins.
Kaz hit the man where he knew it would hurt. Kaz threatened the safety of Pekka’s son to gain leverage over the man.
He convinced Pekka to sign confessions to the murders that lost Kaz’s rights to the Crow club and to sign the freedom papers for Inej, but Inej wasn’t near the scene.
Inej found some women (and a baby) being trafficked and saved them instead of being nearby, which was Kaz’s plan.
Inej, thankfully, wasn’t needed, but the fact that she wasn’t there may have cost her her spot in the Crow club.
Kaz rattled on about how he needed to trust everyone in his crew and that they needed to stick to the plan no matter what, and Inej broke that trust.
Inej was baffled, and Kaz took it a step further. He handed over the papers he got signed for her freedom and all but kicked her out of the group.
We don’t know how Jesper, or the two newest members, Nina and Wylan, will feel about this, but we quickly became PISSED at Kaz. How could he do that to Inej?
If the confrontation with Pekka went awry, he would have needed Inej there to help bail Kaz and Nina out. But losing all trust in her over one mission?
We hope the two can make up quickly, as things are most likely starting to get back to normal for the Crows, and a new romance has even blossomed.
Jesper and Wylan, after constantly alluding to their past hookup, finally shared a kiss and opted to try out dating.
Fans of the book rejoice! Wesper, the couple teased at from the start of the series, is finally coming to fruition. We are excited to see their relationship grow on screen.
Something that doesn’t count as a romance also occurred on screen: Alina agreed to become engaged to Nikolai.
Much to the surprise and dismay of his family, Nikolai announced their engagement and rejoiced in the work that he and Alina would complete.
His older brother proved the most vindictive about it and took Mal to face a court-martial.
Alina continued to hone in on her heightened powers while getting visits from Kirigan due to the bond she refused to believe existed.
She was unaware of Mal’s disappearance, and as she started to get curious about his whereabouts, Visily, Nikolai’s brother, started a toast to his brother he never finished.
He never finished the toast because the shadow monsters, controlled by General Kirigan himself, attacked the party and killed Visily (which, we aren’t too mad about, he was an asshole).
Kirigan’s monsters attacked the whole party, and Alina, Nadia, and Tamar tried to escape, but Kirigan got inside the Sun Summoner’s head again, leading her astray.
They played a game of cat and mouse, which led to Kirigan showing himself to her and the Grisha she tried escaping with.
Kirigan tried to convince Alina to return to his side (because what else was new), but she held firm against his coercion.
Kirigan launched an attack against Alina and her accompanying Grisha, and she fought him off for as long as she could, letting the other escape.
Luckily, she managed to use her boosted powers to send a shot of magic through the shadow creatures (that are relatively unaffected anyway) and hit Kirigan.
Alina managed to get away relatively unscathed, but she’s now on the run again, but without Mal.
Whatever happens next for Alina, the power of the sea whip, plus Tamar and Nadia’s Heartrending ability, may help her survive.
Speaking of people escaping Kirigan’s grasp, Baghra finally saw an opportunity to make her move to escape. She broke her wrists to get out of the shackles.
Thankfully, she broke Genya out of her shackles, and Genya took the time to destroy all the medicinal products in the room before leaving to hinder Kirigan’s healing process.
We are delighted Genya got released from her chains, and hopefully, she can reunite with the already-escaped David.
David made his way to Alina, but Alina did not trust him entirely and sent him to a holding cell.
Hopefully, Genya can also reach Alina and prove David’s innocence.
Matthias is the final person who needs to escape their change, and Nina is still trying to help him.
KAz agreed to continuously pay off the guards to keep him from the fights in Hellgate, but he’s still stuck in Hellgate.
While we aren’t entirely sure what Nina will do, we hope she, and potentially the Crows, can save Matthias from Hellgate. Maybe that’s their next mission!
This episode brought out the best in all the performers and the plot. The story was gripping, tense, and yet still personal when relating to the leads.
We hope the season continues with this quality and this top-notch storytelling.
So Fanatics, what do you think is next for Alina, the Crows, and Kirigan?
Do you think Kaz and Inej will make up? How exciting is it finally see Wesper (Wylan + Jesper) on screen?
Let us know in the comments below! Shadow and Bone’s second season is now streaming on Netflix.
Michael Stack is a staff writer for TV Fanatic. Follow him on Twitter.
What better way to officially close the door on an exhausting awards season than to look ahead –blindly — to what studios and production companies could bring to the screen in 2023.
As Variety‘s awards coverage transitions into the Emmy season, this annual tradition (albeit highly inaccurate due to release shifts and other varying factors) creates some fun and wonder as Cannes looms two months away.
One first impression is that the streamers are back with a vengeance with an arsenal of big names and titles aiming to take the trophy from reigning best-picture champ A24 with “Everything Everywhere All at Once.”
Apple Original Films has a duo of master auteurs on deck. First up is Martin Scorsese, whose “Killers of the Flower Moon” be revealed at the Cannes Film Festival with Leonardo DiCaprio, Jesse Plemons and Lily Gladstone in tow. In addition, the still Oscar-less Ridley Scott will helm “Napoleon” (formerly called “Kitbag”), which stars Joaquin Phoenix and Vanessa Kirby.
Netflix, as expected, is brimming with awards-bait projects. Many cinephiles and music lovers are excited about Bradley Cooper’s sophomore directorial effort “Maestro,” about Leonard Bernstein, in which Cooper stars with Carey Mulligan. Excitement is also mounting for David Fincher’s thriller “The Killer” with Michael Fassbender and George C. Wolfe’s biopic “Rustin” with Colman Domingo. Still undated, tentative titles could include the next adaptation of an August Wilson play, “The Piano Lesson,” with Samuel L. Jackson and John David Washington rumored to be starring.
Between Amazon Studios and the acquisition of MGM, the streaming giant will steer “Promising Young Woman” Oscar-winning writer Emerald Fennell’s next project “Saltburn” and the directorial debut of Rachel Morrison, the first woman to be nominated for best cinematography, with her drama “Flint Strong,” which stars Brian Tyree Henry, and is written by “Moonlight” helmer Barry Jenkins.
Courtesy Warner Bros.
Warner Bros, celebrating its 100th year, has undergone multiple changes over the past few years. Still, the studio could have tentpole moneymakers on their hands with Greta Gerwig’s “Barbie,” Denis Villeneuve’s sci-fi sequel “Dune: Part Two” and Blitz Bazawule’s musical adaptation of “The Color Purple.”
Also hitting 100 this year, Walt Disney Pictures and its subsidiaries (20th Century Studios, Marvel Studios, Pixar, Searchlight Pictures) have some promising titles on. tap
Continuing the messaging of animation deserving more respect, it’s been over a decade since Pixar’s “Toy Story 3” (2011) made the best picture lineup. Enter “Elemental,” which will likely tug at the heartstrings. The animation studio will also drop “Wish,” its 62nd feature, from “Frozen” director Chris Buck around the Thanksgiving holiday.
On the Searchlight front, the long-awaited “Next Goal Wins” from Taika Waititi will finally release featuring Fassbender in the lead role. At the same time, Yorgos Lanthimos’ “Poor Things” sounds like another mouthwatering period piece/sci-fi hybrid with Emma Stone (who also produces), Willem Dafoe and Mark Ruffalo. Searchlight already seems to have a potential best actor contender with Jonathan Majors in “Magazine Dreams” after picking it up at Sundance.
Angela Bassett made history for the MCU with “Black Panther: Wakanda Forever” nabbing an acting nom. Marvel will forge forward with the (final?) installment of “Guardians of the Galaxy Vol. 3” and the hotly anticipated “The Marvels” with Brie Larson and Teyonah Parris.
Speaking of superhero movies, Sony’s animated sequel “Spider-Man: Across the Spider-Verse” is on the agenda under the guidance of genius writers and producers Phil Lord and Chris Miller. To say “I can’t wait” would be a gross understatement.
Universal Pictures will steer “The Super Mario Bros. Movie” to what we can expect will be an obscene amount of box office receipts. Under the DreamWorks banner, another “Troll” movie is also on the horizon, which could be a revitalization like the Oscar-nominated “Puss in Boots: The Last Wish” this season.
In addition to animation, Universal will juggle Christopher Nolan’s star-studded period piece “Oppenheimer,” which could finally bring some overdue recognition to the talented Cillian Murphy, plus the final installment of “Fast X.”
Paramount Pictures will maneuver through another Tom Cruise vehicle, “Mission: Impossible – Dead Reckoning Part One” and the still-untitled Bob Marley biopic from “King Richard” helmer Reinaldo Marcus Green. The latter is dated for early January 2024, but a qualifying run could be in order if it has the goods.
Independent studios will surely be in the mix.
Coming off “Triangle of Sadness” nabbing three Oscar noms, including best picture, we’ll surely hear of some acquisitions from distributor Neon. I’ll be keeping a close eye on Duke Johnson’s “The Actor,” an adaptation of the Donald E. Westlake novel that follows a New York actor who loses his memory after an attack in 1950s Ohio. The under-appreciated André Holland will play the pivotal role. Among Neon’s other potential entries are the thriller “Mothers’ Instinct” with Jessica Chastain and “Longlegs” with Nicolas Cage.
Focus Features came up short with Cate Blanchett for “Tár,” but has some interesting features on the horizon, notably Wes Anderson’s new joint “Asteroid City” and a mini “Sideways” (2004) reunion with director Alexander Payne and actor Paul Giamatti in “The Holdovers.”
Courtesy of Sundance Institute
Sony Pictures Classics could have any number of movies that could hit such as “A Little Prayer” with David Strathairn, which could go the way of “Living” star Bill Nighy after debuting at Sundance. In addition, the indie division picked up the Cate Blanchett-produced “Shadya” with Zar Amir Ebrahimi and will hopefully release “Freud’s Last Session” with Anthony Hopkins playing Sigmund Freud.
Fresh off the sweep of all major Oscar categories, A24 has conceivable entrants such as Celine Song’s “Past Lives,” which received raves at Sundance. The studio will also bring another Elvis Presley story to the forefront, this time through his wife’s eyes, with “Priscilla” starring Cailee Spaeny.
Bleecker Street may have something with “Golda” with Helen Mirren, but I’m most interested in seeing the still-untitled new movie from Mike Leigh.
IFC Films is fielding the critical hits “R.M.N.” from Cristian Mungiu and “Monica” from Andrea Pallaoro, which both played the fall festival circuit but are releasing this year.
Then there are the movies still seeking distribution, such as Ava DuVernay’s “Caste,” an adaptation of the book “Caste: The Origins of Our Discontents” by Isabel Wilkerson that stars “King Richard” nominated actress Aunjanue Ellis.
Know this when looking at the predictions below: Nobody knows anything. We haven’t seen any of these movies and won’t return to this page until well into the summer.
So for now, watch movies and look forward to another great year of cinema.
** Release dates, studios and credits are not final and are subject to change.
Best Picture
Image Credit: Netflix
“The Book of Clarence” (Sony Pictures) Jay-Z, James Lassiter, Tendo Nagenda, Jeymes Samuel “The Color Purple” (Warner Bros.) Quincy Jones, Scott Sanders, Steven Spielberg, Oprah Winfrey “Freud’s Last Session” (Sony Pictures Classics) Alan Greisman, Hannah Leader, Tristan Lynch, Rick Nicita, Robert Stillman, Meg Thomson “The Holdovers” (Focus Features) Mark Johnson, Bill Block, David Hemingson “Killers of the Flower Moon” (Apple Original Films) Dan Friedkin, Martin Scorsese, Bradley Thomas, Daniel Lupi “Maestro” (Netflix) *** Fred Berner, Bradley Cooper, Amy Durning, Emma Tillinger Koskoff, Kristie Macosko Krieger, Todd Phillips, Martin Scorsese, Steven Spielberg “Past Lives” (A24) David Hinojosa, Christine Vachon, Pamela Koffler “Oppenheimer” (Universal Pictures) Emma Thomas, Charles Roven, Christopher Nolan “Saltburn” (Amazon Studios) Emerald Fennell, Josey McNamara, Tom Ackerley, Margot Robbie “Spider-Man: Across the Spider-Verse” (Sony Pictures) Avi Arad, Phil Lord, Christopher Miller, Amy Pascal, Christina Steinberg
Alternates: “Dumb Money” (Sony Pictures) — Craig Gillespie, Aaron Ryder, Teddy Schwarzman; “Dune: Part Two” (Warner Bros.) – Cale Boyter, Tanya Lapointe, Patrick McCormick, Mary Parent, Denis Villeneuve; “Elemental” (Pixar) — Denise Ream; “Ferrari” (STX Films) — Monika Bacardi, Thomas Hayslip, Andrea Iervolino, John Lesher, Michael Mann, Thorsten Schumacher, Lars Sylvest, P.J. van Sandwijk; “Poor Things” (Searchlight Pictures) — Yorgos Lanthimos, Emma Stone, Ed Guiney, Andrew Lowe
Oscars category page with rankings>>> coming later in 2023
Director
Image Credit: Zoe McConnell for Variety
Blitz Bazawule “The Color Purple” (Warner Bros.) Bradley Cooper *** “Maestro” (Netflix) Emerald Fennell “Saltburn” (Amazon Studios) Jeymes Samuel “The Book of Clarence” (Sony Pictures) Celine Song “Past Lives” (A24)
Alternates: Michael Mann, “Ferrari” (STX Films); Christopher Nolan, “Oppenheimer” (Universal Pictures); Rachel Morrison, “Flint Strong” (Amazon/MGM); Alexander Payne, “The Holdovers” (Focus Features); Martin Scorsese, “Killers of the Flower Moon” (Apple Original Films)
Oscars category page with rankings>>> coming later in 2023
Actor in a Leading Role
Image Credit: Courtesy of Sundance Institute
Paul Giamatti “The Holdovers” (Focus Features) André Holland *** “The Actor” (Neon) Jonathan Majors “Magazine Dreams” (Searchlight Pictures) Lakeith Stanfield “The Book of Clarence” (Sony Pictures) David Strathairn “A Little Prayer” (Sony Pictures Classics)
Alternates: Bradley Cooper, “Maestro” (Netflix); Leonardo DiCaprio, “Killers of the Flower Moon” (Apple Original Films); Colman Domingo, “Rustin” (Netflix); Anthony Hopkins, “Freud’s Last Session” (Sony Pictures Classics); Cillian Murphy, “Oppenheimer” (Universal Pictures)
Oscars category page with rankings>>> coming later in 2023
Actress in a Leading Role
Image Credit: Courtesy of Sundance Institute
Fantasia Barrino *** “The Color Purple” (Warner Bros.) Annette Bening “Nyad” (Netflix) Greta Lee “Past Lives” (A24) Carey Mulligan “Maestro” (Netflix) Emma Stone “Poor Things” (Searchlight Pictures)
Alternates: Emily Blunt, “Pain Hustlers” (Netflix), Ryan Destiny, “Flint Strong” (Amazon/MGM); Sandra Hüller, “The Zone of Interest” (A24); Margot Robbie, “Barbie” (Warner Bros.); Cailee Spaeny, “Priscilla” (A24);
Oscars category page with rankings>>> coming later in 2023
Actor in a Supporting Role
Image Credit: Alexi Lubomirski for Variety
Colman Domingo “The Color Purple” (Warner Bros.) Samuel L. Jackson *** “The Piano Lesson” (Netflix) Brian Tyree Henry “Flint Strong” (Amazon/MGM) Wagner Moura “Civil War” (A24) Jesse Plemons “Killers of the Flower Moon” (Apple Original Films)
Alternates: Willem Dafoe, “Poor Things” (Searchlight Pictures); Matthew Goode, “Freud’s Last Session” (Sony Pictures Classics); Corey Hawkins, “The Color Purple” (Warner Bros.); Ryan Gosling, “Barbie” (Warner Bros.); Barry Keoghan, “Saltburn” (Amazon Studios)
Oscars category page with rankings>>> coming later in 2023
Actress in a Supporting Role
Image Credit: ABC/Sami Drasin
Danielle Brooks “The Color Purple” (Warner Bros.) America Ferrera “Dumb Money” (Sony Pictures) Lily Gladstone *** “Killers of the Flower Moon” (Apple Original Films) Taraji P. Henson “The Color Purple” (Warner Bros.) Da’Vine Joy Randolph “The Holdovers” (Focus Features)
Oscars category page with rankings>>> coming later in 2023
Original Screenplay
Image Credit: Courtesy of the Sundance Institute
“Elemental” (Pixar) Brenda Hsueh “The Holdovers” (Focus Features) David Hemingson “Maestro” (Netflix) *** Bradley Cooper, Josh Singer “Past Lives” (A24) Celine Song “Saltburn” (Amazon Studios) Emerald Fennell
Alternates: “Asteroid City” (Focus Features) — Wes Anderson, Roman Coppola; “Fair Play” (Netflix) — Chloe Domont; “The Iron Claw” (A24) — Sean Durkin; “Magazine Dreams” (Searchlight Pictures) — Elijah Bynum; “Trans Los Angeles” (No U.S. Distribution) — Kase Peña
Oscars category page with rankings>>> coming later in 2023
Adapted Screenplay
Image Credit: Courtesy of Apple
“Dumb Money” (Sony Pictures) Rebecca Angelo, Lauren Schuker Blum (based on the book by Ben Mezrich) “Flint Strong” (Amazon/MGM) Barry Jenkins (based on “T-Rex” by Zackary Canepari, Drea Cooper) “Freud’s Last Session” (Sony Pictures Classics) Mark St. Germain (based on the play by Germain) “Killers of the Flower Moon” (Apple Original Films) *** Eric Roth, Martin Scorsese (based on the book by David Grann) “Spider-Man: Across the Spider-Verse” (Sony Pictures) Phil Lord, Chris Miller, Dave Callaham (based on characters created by Stan Lee)
Alternates: “Ferrari” (STX Films) — Michael Mann, Troy Kennedy Martin (based on “Enzo Ferrari – The Man and the Machine” by Brock Yates); “Oppenheimer” (Universal Pictures) — Christopher Nolan (based on “American Prometheus” by Kai Bird, Martin J. Sherwin); “Poor Things” (Searchlight Pictures) — Tony McNamara (based on “Poor Things” by Alasdair Gray); “Strangers” (Searchlight Pictures) – Andrew Haigh (adapted from the novel “Strangers” by Taichi Yamada); “The Supremes at Earl’s All-You-Can-Eat” (Searchlight Pictures) – Tina Mabry, Gina Prince-Bythewood (based on the novel by Edward Kelsey Moore);
Oscars category page with rankings>>> coming later in 2023
Animated Feature
Image Credit: Sony
“Elemental” (Pixar) Peter Sohn, Denise Ream “How Do You Live?” (GKids) Hayao Miyazaki, Toshio Suzuki “The Super Mario Bros. Movie” (Illumination/Universal Pictures) Aaron Horvath, Michael Jelenic, Chris Meledandri, Shigeru Miyamoto “Spider-Man: Across the Spider-Verse” (Sony Pictures) *** Joaquin Dos Santos, Kemp Powers, Justin K. Thompson, Avi Arad, Phil Lord, Christopher Miller, Amy Pascal, Christina Steinberg “Wish” (Walt Disney Pictures) Chris Buck, Fawn Veerasunthorn
Alternates: “Chicken Run: Dawn of the Nugget” (Netflix); “Escape from Hat” (Netflix); “Nimona” (Netflix); “Ruby Gillman: Teenage Kraken” (DreamWorks Animation); “Spellbound” (Apple Original Films); “Teenage Mutant Ninja Turtles: Mutant Mayhem” (Paramount Pictures)
Oscars category page with rankings>>> coming later in 2023
Production Design
Image Credit: Universal Pictures
“Barbie” (Warner Bros.) Sarah Greenwood (production designer), Katie Spencer (set decorator) “The Color Purple” (Warner Bros.) Paul D. Austerberry (production designer), Larry Dias (set decorator) “Dune: Part Two” (Warner Bros.) Patrice Vermette (production designer), Shane Vieau (set decorator) “Maestro” (Netflix) *** Kevin Thompson (production designer), Rena DeAngelo (set decorator) “Oppenheimer” (Universal Pictures) Ruth De Jong (production designer), Claire Kaufman (set decorator)
Alternates: “The Book of Clarence” (Sony Pictures); “Freud’s Last Session” (Sony Pictures Classics); “Ferrari” (STX Films); “Spider-Man: Across the Spider-Verse” (Sony Pictures); “Poor Things” (Searchlight Pictures)
Oscars category page with rankings>>> coming later in 2023
Cinematography
Image Credit: British Cinematographers
“The Book of Clarence” (Sony Pictures) Rob Hardy “Dune: Part Two” (Warner Bros.) Greig Fraser “Flint Strong” (Amazon/MGM) Ring Yang “Killers of the Flower Moon” (Apple Original Films) *** Rodrigo Prieto “Oppenheimer” (Universal Pictures) Hoyte van Hoytema
Alternates: “The Color Purple” (Warner Bros.) — Dan Laustsen; “The Killer” (Netflix) — Erik Messerschmidt; “Maestro” (Netflix) — Matthew Libatique; “Poor Things” (Searchlight Pictures) — Robbie Ryan; “Saltburn” (Amazon Studios) — Linus Sandgren
Oscars category page with rankings>>> coming later in 2023
Costume Design
Image Credit: Warner Bros.
“Barbie” (Warner Bros.) Jacqueline Durran “The Book of Clarence” (Sony Pictures) Antoinette Messam “The Color Purple” (Warner Bros.) *** Francine Jamison-Tanchuck “Dune: Part Two” (Warner Bros.) Jacqueline West “Maestro” (Netflix) Mark Bridges
Alternates: “Ferrari” (STX Films) — Massimo Cantini Parrini;“A Haunting in Venice” (20th Century Studios) — Sammy Sheldon; “The Hunger Games: The Ballad of Songbirds and Snakes” (Lionsgate) — Trish Summerville; “Napoleon” (Apple Original Films) — Janty Yates; “Poor Things” (Searchlight Pictures) — Holly Waddington
Oscars category page with rankings>>> coming later in 2023
Film Editing
“The Color Purple” (Warner Bros.) Jon Poll “Dune: Part Two” (Warner Bros.) Joe Walker “Killers of the Flower Moon” (Apple Original Films) Thelma Schoonmaker “Maestro” (Netflix) *** Michelle Tesoro “Saltburn” (Amazon Studios) Victoria Boydell
Alternates: “The Holdovers” (Focus Features) — Kevin Tent; “Oppenheimer” (Universal Pictures) — Jennifer Lame; “Past Lives” (A24) — Keith Fraase; “Spider-Man: Across the Spiderverse” (Sony Pictures) — Mike Andrews; “Poor Things” (Searchlight Pictures) — Yorgos Mavropsaridis
Makeup and Hairstyling
Image Credit: Getty / Legendary Pictures
“Barbie” (Warner Bros.) “The Color Purple” (Warner Bros.) “Dune: Part Two” (Warner Bros.) “The Hunger Games: The Ballad of Songbirds and Snakes” (Lionsgate) “Maestro” (Netflix) ***
Alternates: “Ferrari” (STX Films); “Guardians of the Galaxy Vol. 3” (Marvel Studios); “The Marvels” (Marvel Studios); “Napoleon” (Apple Original Films); “Poor Things” (Searchlight Pictures)
Sound
Image Credit: Universal
“The Color Purple” (Warner Bros.) *** “Dune: Part Two” (Warner Bros.) “Fast X” (Universal Pictures) “Oppenheimer” (Warner Bros.) “Spider-Man: Across the Spider-Verse” (Sony Pictures)
Alternates: “The Book of Clarence” (Sony Pictures); “Elemental” (Pixar); “John Wick Chapter 4” (Lionsgate); “Killers of the Flower Moon” (Apple Original Films); “Maestro” (Netflix); “Mission: Impossible – Dead Reckoning Part One” (Paramount Pictures)
Visual Effects
Image Credit: Netflix
“Cocaine Bear” (Universal Pictures) “Dune: Part Two” (Warner Bros.)*** “The Little Mermaid” (Walt Disney Pictures) “The Marvels” (Marvel Studios) “Rebel Moon” (Netflix)
Alternates: “Guardians of the Galaxy Vol. 3” (Marvel Studios); “The Hunger Games: The Ballad of Songbirds and Snakes” (Lionsgate); “John Wick: Chapter 4” (Lionsgate); “Kraven the Hunter” (Sony Pictures); “Mission: Impossible – Dead Reckoning Part One” (Paramount Pictures)
Oscars category page with rankings>>> coming later in 2023
Original Score
Image Credit: PIXAR
“Asteroid City” (Focus Features) Alexandre Desplat “Elemental” (Pixar) *** Thomas Newman “Oppenheimer” (Universal Pictures) Ludwig Göransson “Spellbound” (Apple Original Films) Alan Menken “Spider-Man: Across the Spider-Verse” (Sony Pictures) Daniel Pemberton
Alternates: “Chevalier” (Searchlight Pictures) — Kris Bowers; “Dune: Part Two” (Warner Bros.) — Hans Zimmer; “The Holdovers” (Focus Features) — Mark Orton; “Killers of the Flower Moon” (Apple Original Films) — Robbie Robertson; “Next Goal Wins” (Searchlight Pictures) — Michael Giacchino
Original Song
Image Credit: Mekael A. Dawson
“The Color Purple” (Warner Bros.) — To be announced “The Hunger Games: The Ballad of Songbirds and Snakes” (Lionsgate) — To be announced “Spellbound” (Apple Original Films) — To be announced “Trolls Band Together” (DreamWorks Animation) — To be announced “Untitled Diane Warren Documentary Project” (No U.S. Distribution) — To be announced ***
(Possible) Alternates: “The Book of Clarence” (Sony Pictures); “Elemental” (Pixar); “Maestro” (Netflix); “Saltburn” (Amazon Studios); “Spider-Man: Across the Spider-Verse” (Sony Pictures)
Oscars category page with rankings>>> coming later in 2023
Documentary Feature
Image Credit: Courtesy of Sundance Institute
“The Eternal Memory” (MTV Documentary Films) *** Maite Alberdi, Rocío Jadue, Juan de Dios Larraín, Pablo Larraín “Going to Mars: The Nikki Giovanni Project” (Confluential Films) Joe Brewster, Tommy Oliver, Michèle Stephenson “Little Richard: I Am Everything” (Magnolia Pictures) Lisa Cortes, Caryn Capotosto, Robert Friedman, Liz Yale Marsh “Still: A Michael J. Fox Movie” (Apple Original Films) Davis Guggenheim, Will Cohen, Jonathan King, Annetta Marion “Yellow Door: Looking for Director Bong’s Unreleased Short Film” (Netflix) Lee Hyuk-rae
Alternates: “20 Days in Mariupol” (No U.S. Distribution); “The Disappearance of Shere Hite” (NBC News Studios); “Stamped from the Beginning” (Netflix); “The Deepest Breath” (Netflix); “Untitled UEFA Euro 2020 final documentary” (Netflix)
Oscars category page with rankings>>> coming later in 2023
The editorial team that keeps Saturday Night Liverunning on pre-taped material will not be going on strike next month, it appears, as THR reports that the team has reached a tentative deal with management. This comes courtesy of a statement from the Motion Picture Editors Guild, which represents the editors for the live sketch series, most of whom work on the postproduction side of the series’ production. The deal still needs to be ratified by members of the bargaining unit, who were threatening to go on strike on April 1 as they negotiated their first union contract with the series.
Saturday Night Live has always had a reliance on pre-taped material, dating back to early days of commercial parodies and short films by Albert Brooks. But they’ve become an increasingly vital part of the show’s identity, and its profits, over the years, with videos from The Lonely Island and Please Don’t Destroy often garnering massive views for the series in the internet era. And all of those videos require editors, making them an increasingly prominent part of the show’s production staff.
Per THR, the new contract is apparently set for three years, and will see the editors getting pay bumps of up to 60 percent over the period. It’ll also offer paid meals, housing, and transportation to employees working long hours with very short breaks between the end of one shift and the beginning of the next. The bargaining unit is apparently made up of “12-20 postproduction workers” who focus their efforts on pre-taped material, and was initially recognized by management back in October of 2022.
Saturday Night Live’s next new episode airs on April 1, which would have coincided with the strike deadline. Abbott Elementary’s Quinta Brunson is set to host.
It’s not hard to step outside and see how we as a society are becoming more and more attached to our devices. Xingyu “Harry” Chen and John Thompson delve into this phenomenon in their horror short Attached.
Theo is a college student struggling to attend his classes because he’s consumed with his cell phone. He’s either chatting with friends or playing online games. Then one day, he notices his finger becomes stuck to the screen to the point that he has to rip it off, taking the tip of his finger with it. Not even the excruciating of a missing fingertip will stop Theo from being on this phone, and that’s when his “attachment” to his phone takes on a whole new meaning.
“…he notices his finger becomes stuck to the screen to the point that he has to rip it off…”
First, let’s address that Attached is a low-budget indie film made by emerging filmmakers Xingyu “Harry” Chen and John Thompson. The quality of the film and acting is good but a bit rough around the edges, as indicative of most new filmmakers. The film’s inherent weaknesses come in its lack of resources in high-quality cameras and professional lighting, sound gear, and really expensive make-up effects. Yes, more money would have helped, but Chen makes the most of what’s available.
Where Attached shines is its simple story. In their brief ten-minute short, Chen and Thompson takes the inarguable fact that we spend too much time on our phone and slowly morphs it into a body horror short. This short film is all about this progression showing how we are becoming one with our devices while bringing body horror into the mix.
Saying goodbye to a bright star. Lance Reddick‘s Hollywood colleagues sang his praises as both an actor and a human being after the Wire alum died at 60 on Friday, March 17.
“Acclaimed actor Lance Reddick passed away suddenly this morning from natural causes,” the actor’s rep said in a statement to Us Weekly on Friday. “He is survived by his wife Stephanie Reddick and children Yvonne Nicole Reddick and Christopher Reddick. Donations in his memory can be made to momcares.org in Baltimore, his hometown. Lance will be greatly missed. Please respect his family’s privacy at this time.”
Among the first to pay tribute to the Maryland native was Wendell Pierce, who starred alongside Lance on the HBO crime drama The Wire.
“A man of great strength and grace,” Pierce, 59, wrote via Twitter on Friday. “As talented a musician as he was an actor. The epitome of class. 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. RIP.”
Guardians of the Galaxy director James Gunn chimed in, “Lance Reddick was an incredibly nice guy and an incredibly talented actor. This is heartbreaking. My love goes out to all his family, friends and collaborators.”
Lance was in the midst of a press tour for John Wick: Chapter 4 at the time of his death, with an appearance on The Kelly Clarkson Show scheduled for next week. His last social media post was a carousel of Instagram photos of him and his dogs promoting a “full line of @johnwickmovie dog swag.”
The Fringe alum, who married Stephanie in 2011, will appear posthumously in Ballerina, Percy Jackson and the Olympians and White Men Can’t Jump.
“Lance Reddick was a beautiful and compelling actor. And a beautiful person. He worked with my mom, Anne Meara, in her play Afterplay, playing Raziel —the waiter slash angel of death. He was exquisite in that and all he did,” the Zoolander star, 57, wrote via Twitter, adding, “nothing is lost” alongside a heart emoji.
“Shazam! Fury of the Gods,” the sequel to the better-than-it-had-any-right-to-be “Shazam!” (from 2019) is here. It once again stars Zachary Levi as the adult superhero version of pint-sized Billy Batson (Asher Angel), whose powers were bestowed upon him by a dying wizard. (That wizard, played by Djimon Hounsou, returns for some reason). This time around, Shazam and his super-powered family (including Adam Brody, Meagan Good, D. J. Cotrona and Grace Fulton) are going up against villainous gods played by Helen Mirren, Lucy Lui and Rachel Zegler, in her first big movie role since “West Side Story.”
But Shazam is also facing something far more challenging than wooden dragons and wrathful gods – he’s staring down the barrel of an uncertain future for DC-related properties. Amidst a failed spinoff, a highly publicized regime change at Warner Bros. Discovery and a nearly complete reset of everything that has come before it in the DC Universe, “Shazam! Fury of the Gods” sits precipitously on the edge of a very deep ravine.
We’re going to go deep on “Shazam! Fury of the Gods,” including diving into the legacy cameos, what direction the post-credits scenes point for the future of the series and more.
That said, this will be very spoiler-heavy. Fair warning!
Is “Shazam! Fury of the Gods” Part of the Old or New DC Universe?
Considering how publicized the installation of James Gunn and Peter Safran as the heads of the newly formed DC Films has been, it’s fair to wonder what DC Universe “Shazam! Fury of the Gods” exists in. Is it this new DC Universe, as outlined by Gunn and Safran? Or this still a part of the so-called DC Extended Universe (regularly referred to as the Snyderverse, thanks to the foundational films by director Zack Snyder that formed the bedrock of the universe).
“Shazam! Fury of the Gods” very much exists in the older timeline; the one where Henry Cavill was still employed as Superman, Ben Affleck is Batman and Gal Gadot is Wonder Woman (more on that in a minute). Just like in the first “Shazam,” the character is awed by the characters from the original DCEU, even talking about how the original line-up of heroes are so much more impressive than he is – Flash, Aquaman and Batman.
While Shazam didn’t appear in either version of DC’s splashy team-up movie “Justice League,” the coda of “Shazam!” featured Superman joining his friend Freddy Freeman (Jack Dylan Grazer) in the school cafeteria. Tellingly, you don’t see Henry Cavill’s face, but it’s the same suit that was seen in “Man of Steel,” “Batman v. Superman” and “Justice League” (you know, when he comes back from the dead).
Is Black Adam in “Shazam 2?”
Perhaps the most glaring omission from “Shazam! Fury of the Gods” is Black Adam, the Shazam villain who got his own spin-off movie last year starring Dwayne Johnson. A Johnson passion project, development on the “Black Adam” movie actually predates “Shazam!,” to the point that, on the first movie, Johnson and his producing partner have an executive producer credit.
Clearly it was assumed that there would be a crossover of some kind, given how linked the characters are in comic book lore, but when “Black Adam” underperformed at the box office, plans for Johnson’s character were discarded, including potential team-up (or face-off) movies with Shazam or Cavill’s Superman, who makes an appearance in the closing moments of “Black Adam.” Gunn and Safran also didn’t mention him in their big press conference for the first phase of the new DC Universe.
While there is no indication that Johnson shot anything for “Shazam! Fury of the Gods,” director David Sandberg has stated that one of the post-credits scenes was altered to be more in line with the current direction of the DC Universe. And while he didn’t confirm that Black Adam was involved, it would be fitting to show off that character … even if they do the thing from the first movie and don’t show his face.
That Wonder Woman Cameo
One secret appearance from a former DCEU character is the worst kept secret imaginable, as Warner Bros. has started airing TV spots that include the character but, in case you missed all of this, Wonder Woman (Gal Gadot) is very much in “Shazam! Fury of the Gods.”
At first, her appearance seems to be an elaborate joke, continuing the “you don’t see his face” gag from the end of the first movie, with young Billy having a dream about Wonder Woman where they’re on a romantic date in Paris but when she turns around, it’s the Wizard instead. It’s a funny-enough moment in a funny-enough movie, but at the end of “Shazam! Fury of the Gods” (and here’s where we should remind you of that spoiler warning up top) Shazam/Billy is killed and buried in the land of the Gods.
The surviving heroes bemoan the fact that only a god could bring him back, but there are no gods left. “There is one,” an off-screen voice says. Cue Hans Zimmer’s absolutely iconic, shredding “Wonder Woman” theme music from “Batman v. Superman: Dawn of Justice” (you know the one). Diana is, of course, a god, and uses her powers to revive Shazam/Billy. He crawls out of the crave and is returned. And of course the first thing he does is try to flirt with Wonder Woman (hey, he is a teenage boy in real life). “Stick to saving the world, kid,” Wonder Woman says as she walks off, past camera, and potentially out of the DC Universe forever?
A third Patty Jenkins-directed “Wonder Woman” movie with Gal Gadot back as the character was planned but Jenkins’ version was scuttled. And while she could come back for a cameo in “The Flash,” which opens up unlimited possibilities due to the movie’s plot relying on a multiverse mechanic (hence Michael Keaton’s Batman returning to the fold alongside Ben Affleck’s version of the character), there won’t be a standalone, Gadot-led “Wonder Woman” movie in the foreseeable future. This is a shame, as her two movies were bright spots in the otherwise very dour first round of DC movies (yes, we will go to bat for “Wonder Woman 1984” – it’s clever and charming and fun).
Post-Credits Pandemonium
Alright, we’ve talked around them enough. Let’s talk about the post-credits scenes. The first post-credits scene is relatively Shazam-light and the second one doesn’t feature him at all.
The first sequence actually stars two characters that you are probably familiar with if you saw Gunn’s “The Suicide Squad” and his follow-up, the HBO Max series “Peacemaker” – Emilia Harcourt (Jennifer Holland) and John Economos (Steve Agee).
They are tromping through the backwoods of wherever, Economos is complaining about his feet hurting, Harcourt is clapping back (but still PG-13). And they finally come upon Shazam, who is shooting bottles using his lightning powers. Harcourt asks him if he wants to join the Justice – but before she can finish he says “Yes!” She then says something about the Justice Society, which is as close as you’ll get to a reference to “Black Adam.”
Shazam says that he thought she meant the Justice League (he wants to be on the one with Wonder Woman). He asks why there would be two groups with the word Justice in the title and she says “Because that’s the way words work.” Shazam starts googling synonyms and comes up with different names. At the end he says “The Avengers Society – why do I like that one so much?” And looks into the camera. End scene!
This sequence seems to be the one that was changed to avoid Black Adam (and “Black Adam”). It’s a charming enough scene and, crucially, allows for the possibility that Shazam could continue in the new DC Universe, since Economos and Harcourt are confirmed to remain (there will be more episodes of “Peacemaker” as well as a spin-off featuring Viola Davis’ character Amanda Waller). Given the way the movie is tracking, we’re pretty sure this is the end of the “Shazam!” series too. But you never know …
The second scene involves Mark Strong’s villainous character Dr. Thaddeus Sivana, who is locked away in some otherworldly jail, just like he was at the end of the last movie (now he has a bushy beard and is looking even more deranged). And just like at the end of the last movie, he is visited by a tiny worm with a robotic voice (provided by director Sandberg) named Mister Mind, who promises big things for him. Sivana says that he’s been waiting for the worm to return for two years (meaning he’s literally been waiting since the last movie’s post-credits scene). The worm says that it takes him a long time to move around because he’s just crawling all over the place. (This is pretty funny.) “Just one more thing,” the worm says, and then slithers out of Strong’s cell, leaving him utterly frustrated.
Obviously nothing will come from the second post-credits scene but it’s maybe the smartest, funniest moment in the entire movie and a lovely bit of commentary on the post-credits scene crazy. If they are meant to promise something to come, then this sequence reminds us that they’re really just for LOLs and shouldn’t be taken seriously at all. And that is sort of beautiful.
Michelle Yeoh and Ke Huy Quan also got a big bump from the Academy Awards, but they weren’t alone
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Brendan Fraser, the winner of Oscars’ Best Actor award for “The Whale,” had almost off-the-charts buzz after his win with nearly 150 times more demand than the average talent after winning the award, according to Parrot Analytics data, which takes into account consumer research, streaming, downloads and social media, among other engagement.
Yeoh, this year’s winner of the Best Actress award, also saw a leap after winning.
And it’s not just the winners — many of the nominees will feel the impact of the ceremony for months to come. With their talent highlighted for the world to see, it’s common for studios to scoop up actors for big projects after the awards. Some examples are Alicia Vikander, who got cast for “Tomb Raider” after winning best supporting actress in 2015, and Brie Larson, who got the lead in “Captain Marvel” after winning Best Actress in 2016.
With our data, we can track demand for Oscar nominees before and after the ceremony. In the days leading to the ceremony, Fraser, Yeoh, Austin Butler and Ana de Armas were the most in-demand talent, with a considerable gap between them and the other nominees.
Renowned actor Colin Farrell, nominated for the top role in “The Banshees of Inisherin,” also experienced a huge demand spike after Sunday, surpassing Cate Blanchett and Michelle Williams and becoming the fifth most in-demand nominee. His demand score tripled from the three weeks before the Academy Awards to the period after it.
Post-awards ceremony demand, Feb. 21-March 13, 2023, U.S. (Parrot Analytics
Other less well-known talents saw even higher demand growth after the awards, starting from a lower base. One example is Andrea Riseborough, the talent with the greatest growth in demand over that same period. The demand for the “To Leslie” actress grew by 432.6% after the ceremony. Paul Mescal (up 244.2%) and Bill Nighy (up 158%) also saw impressive growth.
If we include talents nominated for Best Actor and Actress in a Supporting Role, the growth of demand for Ke Huy Quan stands out. The Best Supporting Actor winner saw demand grow by 416.1% after the ceremony, which may be a turning point in his career. After going behind the camera for almost 20 years, the “Everything Everywhere All at Once” actor is set to become the next great comeback story in Hollywood.
Growth in demand after the 2023 Academy Awards, U.S. (Parrot Analytics)
The Oscars are also an opportunity for niche talent to get in front of the broader public. Most of the supporting role nominees had a demand spike of more than 150% after the Academy Awards. Kerry Condon, Brian Tyree Henry, Stephanie Hsu and Judd Hirsch saw demand more than triple following the big night, making them prime candidates to cast in a new project.
Daniel Quinaud is a senior data analyst at Parrot Analytics, a WrapPRO partner. For more from Parrot Analytics, visit the Data and Analysis Hub.
It’s important for Hollywood to get accounting right not only for the sake of the profession, but also for the audience. Movies have a significant influence on popular culture, and inaccurate depictions can lead to a lack of understanding and misinformation about accounting. By accurately portraying the profession, movies can help to educate the public about the role that accountants play in businesses and society.
Inaccurate depictions of accounting can also have a negative impact on the financial industry as a whole. Movies that depict accountants as untrustworthy or manipulative can lead to a lack of trust in the financial industry, which can have far-reaching consequences. For example, it can lead to a decrease in investment and lending, which can hurt businesses and the economy as a whole.
The Importance of Diversity in Accounting
Another area where Hollywood could do better when it comes to accounting is in the representation of diversity in the profession. Movies often depict accountants as white men in suits, which does not accurately reflect the diversity of the profession. In reality, the accounting profession is made up of individuals from a wide range of backgrounds and identities.
By accurately depicting the diversity of the accounting profession, Hollywood can help to attract more diverse talent to the field. This is important because diversity in accounting can lead to better decision-making and more innovation in the profession.
Why Does It Matters?
The accounting mistakes that Hollywood makes may seem harmless, but they can have real-world consequences. For example, inaccurate financial information can lead to poor decision-making and lost opportunities, while misrepresentations of the profession can deter talented individuals from pursuing careers in accounting. Additionally, perpetuating negative stereotypes about accountants can have a damaging impact on the profession’s reputation.
Conclusion
In conclusion, Hollywood’s accounting mistakes may seem trivial, but they have real-world implications. By perpetuating negative stereotypes and misrepresenting the profession, movies can do a disservice to the hardworking men and women who make up the accounting profession. It’s time for Hollywood to start getting it right and portraying accounting for what it really is: a complex, challenging, and rewarding profession.
The 2023 Academy Awards has come to an end — and without a ton of drama unlike last year.
But there were still a few iconic moments at the Oscars, including the “Everything Everywhere All At Once” awards sweep, Lady Gaga’s heroic deed, and special guest Jenny the Donkey’s surprise appearance.
The Star has compiled the top Oscars moments according to Twitter:
Ke Huy Quan’s speech
Ke Huy Quan delivered an emotional speech after he snatched a golden statue for best supporting actor. Quan was a popular child actor in the ’80s, known for his roles in “Indiana Jones and the Temple of Doom” and “Goonies.” His involvement in “Everything Everywhere All At Once” was his first time acting in almost 20 years.
“Mom, I just won an Oscar!” said Quan, “This is the American dream.”
“Everything Everywhere All At Once” won seven of its 11 nominations.
Lady Gaga rescues photographer
A photographer at the red carpet had an awkward encounter with Lady Gaga as she stopped to help him after he fell.
The whole ordeal happened in a matter of seconds. In the video, Gaga is seen rushing to help him get back on his feet. She extends her arms and props him up, checking if he is OK. The photographer proceeds to tap her twice on the waist, still looking disoriented, and Gaga looks down confused and wanders away.
Gaga later ditched the glamorous red carpet dress and performed “Hold My Hand” at the ceremony in sneakers, jeans and a T-shirt.
Pedro Pascal being Pedro Pascal
The star of “The Last of Us” and “The Mandalorian,” also known as the internet’s “Daddy,” stole the internet’s heart once again with his charm at the Oscars.
Pascal presented the award for best documentary short alongside Elizabeth Olsen.
The “Last of Us” season one finale was streamed on Sunday.
Jenny the Donkey
Jimmy Kimmel brought Jenny the Donkey, sidekick of Colin Farrell’s character in best picture nominee “The Banshees of Inisherin,” to the stage and Farrell’s reaction was priceless:
“Find yourself a man who looks at you like Colin Farrell looks at his donkey,” a fan said in a tweet.
Ana Pereira is a breaking news reporter, working out of the Star’s radio room in Toronto. Follow her on Twitter: @anabpereiraa
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Colleagues in the “John Wick” universe remembered Lance Reddick, who died Friday at age 60, as an actor with “unparalleled depth” in his role of concierge Charon.
“We are deeply saddened and heartbroken at the loss of our beloved friend and colleague Lance Reddick. He was the consummate professional and a joy to work with. Our love and prayers are with his wife Stephanie, his children, family and friends. We dedicate the film to his loving memory. We will miss him dearly,” co-star Keanu Reeves and director Chad Stahelski said in a statement to The Times.
“The world of Wick would not be what it is without Lance Reddick and the unparalleled depth he brought to Charon’s humanity and unflappable charisma,” Lionsgate said in a separate statement.
“Lance leaves behind an indelible legacy and hugely impressive body of work, but we will remember him as our lovely, joyful friend and Concierge,” the statement continued. “We’re stunned and heartbroken, and our deepest condolences go to his beloved family and his fans all around the world.”
“I had never seen a hit-man revenge script done like this before. We’ve seen that idea so many times, but the way Derek Kolstad wrote that script was incredibly creative, incredibly tight and such a character piece. Because it was under the radar for the studio at the time, they kind of left us alone,” the actor said.
“I just wanted to do it because it was a cool world and I feel like I got in at the right moment. I didn’t know it was going to turn into such a phenomenon.”
The film will be released in theaters March 24. Reddick reportedly skipped the New York premiere of “John Wick: Chapter 4” this week.
Times staff writers Josh Rottenberg and Christie D’Zurilla contributed to this post.
Marvel is cracking down on a growing problem in the industry. The company knows that somebody has leaked several recent MCU scripts.
Now, Disney has released the lawyers and sent them on a search-and-destroy mission.
Yes, after years of complaining about piracy, Marvel faces a new foe, one more dangerous.
Batroc teaches Gwenpool to fight. Photo: Marvel Comics
Let’s talk about Marvel’s decision to fight back against online leaks.
Disney Goes to War on Spoilers
Photo: Reddit
Marvel has a mole, and Kevin Feige has decided to treat the matter just like an Agent of S.H.I.E.L.D. He’s gonna find the Hydra member and bring them to justice.
I’ve been covering the entertainment industry for a quarter-century now. It’s been a running joke this entire time that you never mess with Disney lawyers.
Sure, Mickey Mouse may look cute and seem friendly, but his lawyers will rip your face off and staple it to the wall.
Source: Marvel Studios
I’m not saying this randomly, either.
Marvel just declared war on an entire subsection of the internet, and we’re only now witnessing the ramifications.
What’s the problem here? Marvel spoilers have evolved into bloodsport on the internet. It’s like the movie, The Departed, but it’s Marvel and would-be insiders rather than cops and robbers.
Photo: SyFy Wire
Some people have bragged that they took jobs with Marvel specifically to learn upcoming spoilers about MCU movies and television series.
For more than a decade now, people who know where to look have had access to a wealth of knowledge regarding upcoming Marvel storylines.
Some of the most shadowy places on the internet embrace some of the worst behaviors in society…and they also post Marvel spoilers.
Everyone loves Marvel, even unethical criminals. So, we’ve witnessed a cottage industry rise wherein people scoop Marvel on its own titles.
The most infamous example occurred during the pandemic, when the script for Eternals leaked more than a year before the movie’s debut.
This leak transpired due to the film’s extra year of delays. Somebody got tired of waiting and posted giant segments of the shooting script.
NDA Stands for NON-Disclosure Agreement
Source: Marvel Studios
While that leak wasn’t the first time a giant Marvel scoop occurred without Disney’s knowledge, insiders felt it hurt the bottom line.
Disney executives felt that too many people knew the plot. Since Eternals employed a divisive plot twist anyway, the lack of surprise could have impacted the box office.
Personally, I doubt that. Fans go watch a better movie anyway. Even if Disney felt the theatrical release suffered from the spoiler, the argument falls apart in a different way.
Image: Marvel
When Eternals debuted on Disney+, it did…okay. However, the film quickly dropped in terms of viewer minutes, a sign that audiences held little love for the title.
That fact isn’t on the script any more than Ant-Man and the Wasp: Quantumania has suffered due to its leaks. But that brings us to sunny point number two.
Some of the same Disney executives feel Quantumania’s struggles stem from plot leaks and other irritations.
Source: Marvel Studios
These folks perceive the title’s box office struggles to originate from numerous stories about the troubled production, especially the virtual effects.
In other words, Marvel and Disney don’t like the stories that people like me have written to keep you informed about all the latest ongoings behind the scenes.
Now, Marvel is cracking down in two ways. First, you’ll read stories like this one from The Hollywood Reporter. It details Marvel’s attempts to uncover leakers.
Image: Marvel
In Marvel’s defense, it employs Non-Disclosure Agreements to protect its secrets. So, some spoilers you read come from people who have violated NDAs.
Marvel can take and IS taking legal action against these violators. A serious industry crackdown is underway. And that brings us to sunny point number three…
Shooting the Messengers
Source: Marvel Studios
Disney and Marvel are scorching the earth and salting the land in their search for the leakers. That’s not accidental, either.
The companies want the message out there that if you spoil upcoming Marvel stories, you face potentially serious ramifications.
Disney has promised legal action against whomever they discover is the source.
Source: Marvel Studios
This person will probably owe tens of thousands of dollars and possibly even face jail time. However, that’s merely the tip of the iceberg for Marvel.
The idea here involves sending a threatening message to other would-be leakers. Many alleged “insiders” are friends of people working at Marvel.
Others live in the same areas where Marvel projects perform much of their principal photography.
Source: Marvel Studios
Some enterprising folks will find out where the production crew hangs out, buy them a beer, and listen as they recount stories about their projects.
Sharing represents part of human nature, but it comes in direct conflict with Marvel’s goal here.
Celebrity cast members joke about the hoops they must jump through to read a script. And Marvel’s security system has reached mythical proportions.
Source: Marvel Studios
The season finale of She-Hulk even joked about the herculean steps required to speak with an insider.
That someone may reveal those same secrets for a beer and pretzel is simultaneously hysterical and alarming.
Marvel wants these headlines that show it’s serious about finding and prosecuting anyone who violates their NDA.
The Fallout Has Already Begun
Source: Marvel Studios
The steps the company has taken are worrisome, too. Are you familiar with the MarvelStudioSpoilers subreddit? Here’s what it looks like right now:
Former moderators from that forum have indicated elsewhere that they’re facing legal threats from Disney.
Reddit could feasibly close the subreddit to protect its own legal interests. As things stand, a mod reportedly posted this:
Source: Marvel Studios
“If someone wants to step up and takeover the subreddit…including all the legal ramifications (potentially), message this account.”
That sounds like someone very much frightened that they cannot defend themselves in court.
In fact, a federal judge in California has directed Reddit and Google to name the users who provided the leaks.
Source: Marvel Studios
Ms. Marvel, Iman Vellani, has stated her enthusiastic support and usage of this subreddit, which means Marvel should have been aware of it long ago.
Similarly, the social media mavens who claim to be Marvel insiders claim tens, if not hundreds, of thousands of followers. They should be easy to find, too.
Marvel has only targeted this subreddit thus far, which leads to my speculation that Disney doesn’t mind the buzz, just the NDA violations.
Source: Marvel Studios
I suspect that’ll be the fallout here. But Marvel wants would-be scoopers to sweat more, which will cause some (but not all) to reconsider certain stories.
Now, we live in a society where some relish doing the illicit. Those are the ones Marvel really needs to crack down on, which means this story is far from over.
Michael Keaton as Vulture in Spider-Man: Homecoming. Photo: Marvel Studios
We’ll likely witness an evolution in Marvel scoops, though. Few of the people put under pressure here can afford a legal defense, much less against Disney’s legal team.
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Lance Reddick, best known for his roles on HBO’s Oz and The Wire, as well as the Continental Hotel’s concierge Charon in the John Wick franchise, has died unexpectedly at the age of 60. He is survived by his wife, Stephanie Reddick, and his children, Yvonne Nicole and Christopher.
Born on June 7, 1962 in Baltimore, Charon was just one of the many memorable roles Reddick played during his long career on screen, which began in 1996. Most notably he also starred as the undercover cop-turned-killer John Basil on Oz. His most famous role also took place on HBO which brought him back to his hometown. Reddick excelled as the wise, incorruptible police officer Cedric Daniels on The Wire.
Reddick also played Irvin Irving for 68 episodes on Bosch. His guest starring cameos are too many to list. But it includes hits such as Lost, Fringe, The Blacklist, Rick and Morty, and Castlevania. In addition to his well-known dramatic acting chops, Reddick also got to show just how talented he was as Christian DeVille on the sitcom Corporate.
Reddick’s place in both television and movie history are secure. And not just because fans will always remember and celebrate him for his most famous roles. He could express more meaning with just a stoic look than many performers can with entire monologues. It’s why he made every film and television show he ever appeared on better.
Lance Reddick, the actor known in the gaming world for his roles in Destiny 2, Horizon Forbidden West, and Quantum Break, has died aged 60.
According to TMZ, the actor, who shot to fame in roles on HBO’s The Wire and the John Wick franchise, was found dead at his Studio City home Friday morning around 9:30 AM local time.
“His cause of death is currently unclear, but our law enforcement sources say it appears to be natural,” according to TMZ.
Reddick had been due to appear on The Kelly Clarkson show to promote his role in John Wick 4.
Reddick was best known in the gaming world for his role as Commander Zavala in the Destiny franchise. The actor played a central role in Destiny 2 since its release and featured heavily in several of its expansions, including most recently, Lightfall.
Reddick is also known for his role as Sylens in the Horizon series of games, where he provided both the voice and facial capture for the character.
Aside from John Wick 4, Reddick was due to play Zeus in the upcoming Disney + series Percy Jackson and the Olympians.
SXSW is one of the most fun festivals of the year.
The 30th SXSW Film & TV Festival has announced its 2023 Jury and Special Award winners, including categories such as Narrative Feature, Documentary Feature, Shorts, Design, XR Experience, and Louis Black “Lone Star” Award, among others.
The festival also added a new category in honor of Janet Pierson, Director Emeritus, called the Janet Pierson Champion Award. All film categories will be eligible for category-specific Audience Awards that will be announced via sxsw.com that week.
The festival celebrated filmmaking duo Daniels, who first brought their work to SXSW 11 years ago and won the Music Video Competition.
The VP of Film & TV, Claudette Godfrey, expressed her excitement for the diverse work in the festival’s lineup and the success of the festival’s past winners at the ceremony.
Let’s take a look at the juries and this year’s winners.
‘Angel Applicant’Credit: Jason Roark
The 2023 SXSW Film Festival Juries:
Narrative Feature Competition: Helena Andrews-Dyer, The Washington Post; Tomris Laffy, film writer and critic; Richard Lawson, Vanity Fair Documentary Feature Competition: Mae Abdulbaki, Movie Reviews Editor, Screen Rant; Joel Anderson, Slate; Allegra Frank, The Daily Beast Louis Black “Lone Star”: David Fear, Rolling Stone; Mimi Swartz, Texas Monthly; Eric Webb, Austin American-Statesman Narrative Shorts Program: Greta Talia Fuentes, VP of Film Production and Development, MACRO; Jamal Watson, Senior VP of Development and Production, Monkeypaw; Ash Hoyle, Sundance Film Festival Documentary Shorts: Hayley Nenadal, Festival Director, EarthX Film; Greg Rhem, writer, director, producer and creative consultant, MTV Documentary Films; Ina Pira, Vimeo Animated Shorts: Justine Baillargeon, Cannes Film Festival Market; Danny Madden, filmmaker, ORNANA; Steph Swope, co-founder, studio partner, and producer, Minnow Mountain; Midnight Shorts: Laura Moss, filmmaker; Pip Ngo, SVP of Sales and Acquisitions, XYZ Films; Arbi Pedrossian, VP of Development, 20th Digital Studio; Music Videos: Michelle An, Executive VP and Head of Visual Content, Interscope Records; Luiza Baffa, AKQA Sao Paulo; Owen Brown, director and creative director, CTRL5 Texas Shorts: Amy Miskovsky, Festival Director, Hill Country Film Festival; Angie Reza Tures, Executive Director, Femme Frontera; Iliana Sosa, filmmaker TV Pilot Competition: Jen Chaney, Vulture, New York Magazine; Stacey Rice, casting director; Caleb Ward, VP of Acquisitions and Development, Highland Film Group Excellence in Poster Design: Tony Industry; Phoebe Joynt, artist, designer, muralist; Kevin Tong, freelance graphic designer XR Experience Jury: Jessica Brillhart; Amy Dotson, Director, Center for an Untold Tomorrow; Charlie Fink, Forbes
‘Raging Grace’Credit: Courtesy of SXSW
Who Won SXSW?
NARRATIVE FEATURE COMPETITION Presented by Panavision
Winner:Raging Grace Director/Screenwriter: Paris Zarcilla, Producer: Chi Thai
Special Jury Award for Performance: Courtney Eaton
Special Jury Award for Cinematography: Eric Branco, Story Ave
DOCUMENTARY FEATURE COMPETITION Presented by ACE91
Winner:Angel Applicant Director/Screenwriter: Ken August Meyer, Producers: Ken A. Meyer, Jason Roark
Special Jury Award for Innovation in Storytelling: Another Body Directors: Sophie Compton, Reuben Hamlyn, Producers: Elizabeth Woodward, Sophie Compton, Reuben Hamlyn, Screenwriters: Sophie Compton, Reuben Hamlyn, Isabel Freeman
SHORT FILM GRAND JURY AWARDSPresented by IMDbPro
NARRATIVE SHORT COMPETITION Winner: It Turns Blue Director/Screenwriter: Shadi Karamroudi, Producers: Shadi Karamroudi, Mehran Noori, Mina Dreki, Theodora Valentis
Special Jury Award: Flores del Otro Patio Director: Jorge Cadena, Screenwriters: Jorge Cadena, Li Aparicio Candama, Producers: Yan Decoppet, Gabriela Bussmann
DOCUMENTARY SHORT COMPETITION
Winner: Nǎi Nai & Wài Pó (Grandma & Grandma) Director: Sean Wang, Producers: Sean Wang, Sam Davis
Special Jury Award: Suddenly TV Director/Producer: Roopa Gogineni
MIDNIGHT SHORTS
Winner: The Flute Director: Nick Roney, Screenwriters: Nick Roney, Ed Leer, Producers: Brendan Garrett, Ryland Burns
Special Jury Award:Pennies from Heaven Director: Sandy Honig, Screenwriters: Sandy Honig, Annabel Meschke, Sabina Meschke, Producer: Jake Honig
ANIMATED SHORTS
Winner:The Debutante Director/Screenwriter: Elizabeth Hobbs, Producer: Abigail Addison
Special Jury Award for Animation Directing: Tom CJ Brown, Christopher at Sea
MUSIC VIDEOS
Winner: Amanda Sum – ‘Different Than Before’ Director/Screenwriter: Mayumi Yoshida
Special Jury Award: Residente – ‘This is Not America ft. Ibeyi’ Director: Grégory Ohrel
Special Jury Award: When You Left Me On That Boulevard Director/Screenwriter: Kayla Abuda Galang, Producers: Alifya Ali, Kayla Abuda Galang, David Oconer, Udoy Rahim, Samantha Skinner
TV PILOT COMPETITION
Winner: Grown Showrunner/Director/Screenwriter: Jocko Sims, Producers: Jocko Sims, Christopher Santiago, Chaz Hazlitt, Andrew Zolot
Special Jury Award for Outstanding Performance: Josh Fadem, Harbor Island
POSTER DESIGN COMPETITION
Winner: Eyestring Designer: Javier Devitt
Special Jury Award: Riders on the Storm Designer: Casey Moore Directors: Jason Motlagh, Mark Oltmanns
XR EXPERIENCE COMPETITION
Winner: Consensus Gentium Director/Screenwriter: Karen Palmer, Producers: Tom Millen, Thalia Mavros, Jackson Lapsley Scott, Tuyet Huynh
Special Jury Award:Body of Mine Director/Producer/Screenwriter: Cameron Kostopoulos
SXSW Special Awards
Janet Pierson Champion Award presented by Indiewire To honor Janet Pierson, Director Emeritus of the SXSW Film & TV Festival after 15 years of leadership, a prize was created in 2023 called the Janet Pierson Champion Award. As part of IndieWire’s dedication to elevating Film & TV creators, IndieWire is proud to present the Janet Pierson Champion Award rewarding innovation and excellence in the art of storytelling to TBD.
Janet Pierson Champion Award
Winner: Lizzie Shapiro Lizzie Shapiro is a producer based in Brooklyn, NY. She most recently produced Story Ave and Parachute in the 2023 SXSW Film & TV Festival. Previous credits include then feature films Shiva Baby (SXSW, TIFF) and Mickey and the Bear (SXSW, Cannes) that both premiered to critical acclaim and were distributed by Utopia Films. She has also produced several short films that have premiered at film festivals worldwide. Lizzie has participated in the Film Independent Producer’s Lab and IFP Week: No Borders. She is a founding member of the film collective Thick Media.
Louis Black “Lone Star” Award
Winner: The Lady Bird Diaries Director: Dawn Porter, Producers: Kim Reynolds, Dawn Porter
To honor SXSW co-founder/director Louis Black, a jury prize was created in 2011 called the Louis Black “Lone Star” Award, presented to a feature film world premiering at SXSW that was shot primarily in Texas or directed by a current resident of Texas. (Opt-in Award)
“The Lady Bird Diaries celebrates an iconic Texan and exalts her Texanhood. Dawn Porter uses only archival treasures to craft a film of visual magnetism and narrative momentum — a real feat. And yet, her film is no hagiography. Through Porter’s savvy direction, viewers are encouraged to sit with the fascinating contradictions of Lady Bird’s politics, passions and place in time. Documentary examinations of the Johnson era are thick on the ground, but the first lady’s intimate confessions open up a rare bloom.”
Special Jury Award: The Herricanes Director: Olivia Kuan, Producers: James Lee Hernandez, Brian Lazarte, Lisa France, James Short, Olivia Kuan, Justin Baldoni, Andrew Calof
“The Herricanes tackles a range of topics with passion, heart and verve, much like its subjects, who were members of the Houston team that was part of the first all female football tackle league in the US in the 1970s.”
Thunderbird Rising Award presented by Thunderbird Pictures
Born from a fusion of LA’s leading-edge artistry and Austin’s independent spirit, Thunderbird Pictures is a full-service Production and Distribution company committed to supporting the filmmaker’s vision from concept through creative marketing and transparent profit participation. The Thunderbird Rising Award is presented to new directors whose original storytelling both inspires and delights.
Thunderbird Rising Award Winner: Paris Zarcilla, Raging Grace
“Thunderbird Pictures celebrates a first-time feature director who demonstrated a level of excellence in all aspects of cinematic storytelling. This juxtaposition of thrilling suspense and evocative social commentary on the modern immigrant struggle was both unique and profound. The Thunderbird Rising Award Goes To Director Paris Zarcilla for his film Raging Grace.”
Thunderbird Rising Special Award: Brittany Snow, Parachute
Thunderbird Pictures acknowledges a first-time feature director and stellar ensemble cast for their brave exploration of a pressing modern issue. This lucid look at the heartbreak of body dysmorphia and its destructive impact on intimacy and connection was poignant and essential. The Thunderbird Rising Special Award Goes To Director Brittany Snow for her film Parachute.
The Hope Award presented by ACE91
ACE91 is honored to sponsor the Documentary Feature Competition category and the Hope Award. We celebrate these extraordinary films and the talented, compassionate, and diverse filmmakers who made them. Together we amplify the impact of their storytelling. The 2023 Hope Award is presented to a feature documentary that has inspired us to act for the betterment of our communities and the world.
The Hope Award Winner: Still: A Michael J. Fox Movie Director: Davis Guggenheim, Producers: Davis Guggenheim, Annetta Marion, Jonathan King, Will Cohen
“This very intimate exploration of a beloved artist and his incredible journey from young struggling actor to movie star and then to essential leader of a movement to cure Parkinson’s Disease, gave us tremendous hope that there can be a cure for the disease, if not in this lifetime, then in the lifetime of Michael’s children. While the documentary took us deeply into Michael’s life story and exposed his inner thinking, Director Davis Guggenheim made us feel we were with Michael on the journey, not voyeurs watching him. The film was wonderfully crafted through exceptional editing and a creative and unique use of Michael’s body of narrative work. It was hugely inspirational, providing hope against all odds, and reminding us that no matter what hand we are dealt, we each have a part to play in the world. In the face of great success and then in the face of his own mortality, Michael’s perseverance, and incredible bravery, along with the support of his loving family, all deftly shared in the film, was moving and profound.”
The Hope Special Award: Confessions of a Good Samaritan Director: Penny Lane, Producer: Gabriel Sedgwick
“Director and protagonist Penny Lane’s brave personal exploration of her experience as she donates a kidney to an anonymous person, is an incredibly raw and powerful portrayal of a rarely talked about but vital subject matter. From the initial decision to donate, to the emotional and physical ups and downs of her experience as she realizes her naïveté, to the successful outcome of her operation and donation, Penny’s openness in front of and behind-the-camera, and the style of her filmmaking gave us a powerful window into the various stages of her process and thinking. We went along with her for the ride and at the same time came away with an excellent and important awareness of the history of organ transplantation and the vital need to address this growing challenge. The film helps us realize that ordinary citizens can make a transformative life and death difference in other people’s lives. It was a powerful eye opener to the possibilities of live donor organ transplantation and how it can save lives.”
Adam Yauch Hörnblowér Award
Presented to:Chronicles of a Wandering Saint Director/Screenwriter: Tomas Gomez Bustillo, Producers: Gewan Brown, Amanda Freedman
In honor of a filmmaker whose work strives to be wholly its own, without regard for norms or desire to conform. The Adam Yauch Hörnblowér Award is presented to a filmmaker from our Visions screening category.
ZEISS Cine Lenses is honored to be returning this year to support the SXSW film community in the Cinematography category. We believe that by supporting the art within the frame, ZEISS helps filmmakers realize their creative vision.
“We are honored to present this year’s ZEISS Cinematography Award to Carolina Costa, AMC for her breathtaking work on Fancy Dance. The film creates an intense tone throughout as we are plunged into the gripping narrative of a young woman fighting to celebrate her culture while searching for a mother who may be lost to her forever. Carolina Costa, as Director of Photography for this film, masterfully creates a visual landscape for this emotional story to unfold with beautiful, naturalistic lighting and artful composition. Fancy Dance is a supreme example of cinematography that complements and elevates the storytelling of a film.
“Shazam! Fury of the Gods” boasts an ensemble of award-winning actors and fresh-faced newcomers.
The film continues the story of teenage Billy Batson who, upon reciting the magic word “SHAZAM!” is transformed into his adult Super Hero alter ego, Shazam.
Joining Billy are his foster brothers and sisters, who have Super Hero counterparts of their own.
They’ll face off against a triple threat known as The Daughters of Atlas. The trio of goddesses, played by Oscar winner Helen Mirren, Primetime Emmy nominee Lucy Liu, and Golden Globe winner Rachel Zegler, each have unique powers and motivations.
Click thru to find out who plays who in this DC superhero sequel.
Terry Crews will star in the CBS comedy pilot based on the “JumpStart” comic strip, Variety has learned.
The multi-cam pilot was originally ordered at CBS in February. The official logline states that the show “follows Joe (Crews), a cop, his wife Marcy, a nurse, and Joe’s partner Crunchy. Joe and Marcy are young, hip, urban parents with old school values who are willing to sacrifice for their kids and have some laughs while doing it!”
The character Joe is further described as “a devoted husband , son, father and Philadelphia police officer. He is also a proud Black man and often feels pressured to be flawless in each of his roles, especially in light of controversies surrounding cops. He is a charming and exuberant role model in his community. Joe loves his wife and family, but does come up short in hilarious and endearing ways that keep audiences cheering for him.”
The role would mark a return to playing a police officer for Crews, as he previously played Sgt. Terry Jeffords throughout the eight-season run of the NBC comedy “Brooklyn Nine-Nine.” He currently hosts the NBC competition series “America’s Got Talent.” His other TV acting roles include “Everybody Hates Chris,” and “Are We There Yet?,” while his film roles include the “Expendables” franchise as well as “Idicoracy,” “Sorry to Bother You,” and “White Chicks.”
He is repped by 3 Arts Entertainment, UTA, Jill Fritzo PR and Yorn Levine Barnes.
The pilot hails from writer and executive producer Wayne Conley. Aaron Kaplan and Melanie Frankel of Kapital Entertainment also executive produce along with Bridget McMeel of Andrews McMeel Entertainment and Wendi Trilling of TrillTV. Robb Armstrong, the creator of “JumpStart,” will co-executive produce. Phill Lewis will direct and executive produce the pilot. CBS Studios will produce.
A TV version of the comic has been in the works since at least 2014, when Kapital announced plans to develop a live-action version with 20th Century Fox. This new version of the show was first reported as being in development at CBS in June 2022.
Meanwhile, nobody got slapped, all the correct winners were announced, and rating were up. The most drama that took place involved a large white dress worn by the singer Tems, an awkward Hugh Grant interview on the champagne carpet, and the champagne carpet (OK, maybe it was beige).
In this week’s episode of Screen Talk, Eric Kohn and Anne Thompson discuss their experiences attending the show, why it was a satisfying program pretty much the whole way through, and some of the most significant wins of the night. They also touch on the dominance of “Everything Everywhere” distributor A24 and what they plan to focus on now that Oscar talk is finally behind them.
Watch the full episode above or listen to it below.
Screen Talk is produced by Azwan Badruzaman and available on Apple Podcasts, Stitcher, and Spotify, and hosted by Megaphone. Browse previous installments here, subscribe here, and be sure to let us know if you’d like to hear the hosts address specific issues in upcoming editions of Screen Talk.
Courtney Love is calling out the lack of female artists in the Rock and Roll Hall of Fame — as well as the lack of women on the institution’s nomination board and voting body — in a scathing new op-ed the Hole singer penned in the Guardian. “The Rock Hall’s canon-making doesn’t just reek of sexist gatekeeping, but also purposeful ignorance and hostility,” she wrote.
Love, herself now eligible for Rock Hall consideration, noted that of all of the inductees, just 8.48% are women, while adding that “the Rock Hall voters, among them musicians and industry elites, are 90% male.”
“The nominations for this year’s class, announced last month, offered the annual reminder of just how extraordinary a woman must be to make it into the ol’ boys club,” Love wrote.
“More women were nominated in one year than at any time in its 40-year history. There were the iconoclasts: Kate Bush, Cyndi Lauper, Missy Elliott; two women in era-defining bands: Meg White of the White Stripes and Gillian Gilbert of New Order; and a woman who subverted the boys club: Sheryl Crow.”
Love put special focus on Bush’s Rock Hall credentials and how the Rock Hall overlooked the one-of-a-kind artist for decades of eligibility before finally landing on the ballot in 2018; four inductions later, Bush still hasn’t received the honor.
“Never mind that she was the first woman in pop history to have written every track on a million-selling debut,” Love wrote of Bush. “A pioneer of synthesizers and music videos, she was discovered last year by a new generation of fans when ‘Running Up That Hill (A Deal With God)’ featured in the Netflix hit Stranger Things. She is still making albums. And yet there is no guarantee of her being a shoo-in this year.”
Love also pinpointed other inexcusable Rock Hall errors: “It took the Rock Hall 30-plus years to induct Nina Simone and Carole King. Linda Ronstadt released her debut in 1969 and became the first woman to headline stadiums, yet she was inducted alongside Nirvana in 2014. Most egregiously, Tina Turner was inducted as a solo artist three decades after making the grade alongside her abuser, Ike.”
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Love also wrote that the uphill battle for female artists to be inducted is even harder for Black artists like Chaka Khan, who has been eligible since 2003 and is widely regarded as one of the greatest singers of all time.
“For all her exceptional talent and accomplishments – and if there is one thing women in music must be, it is endlessly exceptional – Khan has not convinced the Rock Hall,” Love wrote. “Her credits, her Grammys, her longevity, her craft, her tenacity to survive being a young Black woman with a mind of her own in the 70s music business, the bridge to Close the Door – none of it merits canonization. Or so sayeth the Rock Hall.”
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Love added in conclusion, “If the Rock Hall is not willing to look at the ways it is replicating the violence of structural racism and sexism that artists face in the music industry, if it cannot properly honor what visionary women artists have created, innovated, revolutionized and contributed to popular music – well, then let it go to hell in a handbag.”
Hours after Love’s op-ed, the Pretenders’ Chrissie Hynde, who was inducted into the Rock Hall in 2005, was similarly critical of her own induction experience on social media. “I don’t even wanna be associated with it. It’s just more establishment backslapping,” Hynde wrote. “Other than Neil Young’s participation in the induction process, the whole thing was, and is, total bollocks. It’s absolutely nothing to do with rock ‘n’ roll and anyone who thinks it is is a fool.”
Documentary filmmaker Jialing Zhang, who was nominated for an Emmy for “One Child Nation,” spoke to Variety about her latest film, “Total Trust,” which is running in the main competition at CPH:DOX, the Copenhagen Intl. Documentary Festival.
It tells the chilling story of three women and their families fighting for their human rights in China, where state control is ubiquitous thanks to high technology surveillance, such as facial recognition, big data analysis and points systems that mean citizens gain or lose points depending on their behavior.
Zhang’s intimate footage offers unprecedented access to the impact of this all-controlling system on the protagonists’ everyday lives.
“We didn’t just want to do a film about surveillance but about the people living in this kind of society. We wanted to reach a certain emotional depth and complexity – to try to grasp the anger, the horror, but also the hope, through the resilience of our characters who continue to fight for human rights, freedom and safety, for themselves and their loved ones, and have actually been transformed by the situation they find themselves in,” she says.
Zhang, who is based in the U.S. and cannot return to China where she is on police records after co-directing “One Child Nation” with Nanfu Wang in 2016, directed the entire film remotely. She already gained experience working remotely due to travel restrictions when co-producing Wang’s “In the Same Breath” in 2020 about the COVID-19 outbreak in China.
For “Total Trust,” she worked with local activists on the ground. They were given remote training on how to shoot by Zhang and her team in the US. Strict communication protocols were put in place including the use of encrypted messages that disappeared after 24 hours, nicknames and SIM free phones that couldn’t be tracked.
Questioned about the impact of the film on the protagonists’ lives, Zhang said they had all decided it was their responsibility to take part to raise awareness both about their individual cases – the husband of one of the women is a human rights lawyer who has been in prison since early 2020, and another is a journalist who speaks out against Xi Jinping’s government – but also about a surveillance system which is not just a Chinese problem.
“That’s something we hope to get through with this film, too: it’s not just about China. We want the audience to look at their own countries. This film is about the potential danger of technology in the hands of unchecked power and corporations.
“It’s about how technology can be used for the suppression of human rights and for social control – and Western governments are increasingly using data to monitor their own citizens,” she says, citing recent concerns in the wake of the U.S. Supreme Court’s decision to overturn Roe vs. Wade that data collected from period-tracking apps could potentially be used to penalize women seeking an abortion.
The film doesn’t just address the question of state surveillance but of the silent threat of self-censorship as the result of generations of state control.
“The police lives in your mind,” says Zhang, “because this heightened surveillance is everywhere – on your phone, your computer, when you message your family. You always think twice before posting something on WeChat. Having your account blocked causes such inconvenience because you use it for everything – from communicating to making payments.”
“Total Trust” also features several clips from government propaganda films, which Zhang describes as increasingly well crafted. “The storytelling is so good, it’s not just black and white – a lot of the time, you are not aware you are being brainwashed, it is much more sophisticated and nuanced than before.”
The film’s title itself is directly inspired by a government official’s quote claiming that public trust for the government reached 98% at the height of the pandemic.
“98%, that’s almost total trust,” smiles Zhang. “What about the remaining 2%? It’s so ironic – it’s not true. Because of propaganda and censorship, we don’t hear their voices.
“In China, they don’t exist online – their existence is wiped out – they don’t appear in the media, but it doesn’t mean they don’t exist. There are a lot of young people with critical thinking, and who have access to information,” says Zhang.
“Total Trust” is produced by Germany’s Filmtank, in co-production with Witfilm, the Interactive Media Foundation, ZDF/ARTE and NTR, in association with BBC Storyville and SVT. It is funded by Eurimages, the MOIN Film Fund Hamburg Schleswig-Holstein, MFG Baden-Württemberg, the Netherlands Film Fund and the CoBo Fund, with the support of Chicken & Egg Pictures.
Cinephil is handling world sales.
The film will have its world premiere at CPH:DOX on March 21. The festival runs in Copenhagen until March 26.
Paris is being shaken by a second day of protests this evening as rioters clash with police during demonstrations against President Emmanuel Macron’s controversial pension reforms.
French Interior Minister Gérald Darmanin told radio station RTL on Friday that 310 people were arrested overnight, most of them in Paris, after protests on Thursday were marred by violence.
Police had used a water cannon to clear thousands from the Place de Concorde.
Protesters this evening gathered at the public square, with pictures emerging of them huddled around a fire with a cardboard effigy of the French President raised precariously above the flames to chants of ‘Macron, Resign!’ The cutout was later shown after it had been ignited.
Reuters TV broadcast images of tear gas being used by police to deal with crowd disorder at the Place de Concorde this evening. A water cannon vehicle was also pictured there as tensions over the reforms reach melting point.
A protester holds a cut-out depicting French President Emmanuel Macron near a fire during a demonstration on Place de la Concorde on March 17, 2023
A poster depicting French President Macron burns as protesters set fire to construction equipment at Concorde square on March 17, 2023
Police officers stand guard during a demonstration on Place de la Concorde on March 17, 2023
Police use water cannon towards a wooden cable reel drum during a demonstration on Place de la Concorde in Paris on March 17
An AFP image shows water being sprayed as protesters roll a large wooden cable reel beside a fire at the public square. Construction equipment had been burned there for the second day in a row, according to reports.
Lines of riot police could also be seen blocking the path leading from the Place de la Concorde to the National Assembly, home to the lower house of the bicameral French Parliament.
French opposition lawmakers have filed a no confidence motion against Macron’s government after the controversial bill to raise the retirement age was forced through parliament without a vote.
‘The motion will allow us to get out on top of a deep political crisis’, Bertrand Pancher, the head of a left-wing independent parliamentary group that co-signed the motion said.
Fury has quickly spread across the streets of Paris as angry protesters disrupted traffic and set cars and barricades ablaze following the bill being forced through parliament.
Demonstrators have also disrupted rubbish collection and university campuses as opponents of the change maintain their resolve to get the government to back down.
Several cars were torched in Paris and other French cities in the evening during demonstrations involving several thousand people. Trade unions mobilised workers to briefly block a Paris ring road.
Angry critics, political opponents and labor unions around France all blasted President Emmanuel Macron‘s for his decision to ram the bill raising the retirement age from 62 to 64 through the legislature.
The formal no confidence vote will likely take place early next week.
CGT unionists march with flares and banners on the ring road in Paris on March 17, 2023
A police water cannon vehicle is stationed along side police vehicles as people begin to gather for a demonstration on Place de la Concorde in Paris on March 17, 2023
Protesters gathered at the Place de la Concorde this evening. They were seen huddled around a fire
The capital is braced for a night of violence as tensions over the pension reforms reach melting point
A protester attends a demonstration on Place de la Concord on March 17, 2023
Riot police block the Pont de la Concorde leading from the Place de la Concorde to National Assembly, home to the lower house of the bicameral French Parliament, in Paris on March 17, 2023
Riot police vehicles at the Pont de la Concorde on the evening of March 17, 2023
A pedestrian walks past full waste bins in Paris’ 2nd district as rubbish collectors strike against pension reforms, leaving many streets in the capital piled with stinking waste on March 17, 2023
Macron ordered Borne on Thursday to wield a special constitutional power to push the highly unpopular pension bill through without a vote in the National Assembly, France’s lower house of parliament.
His calculated risk infuriated opposition lawmakers, many citizens and unions.
The French are deeply attached to keeping the official retirement age at 62, which is among the lowest in European countries.
More than eight out of 10 people are unhappy with the government’s decision to skip a vote in parliament, and 65 per cent want strikes and protests to continue, a Toluna Harris Interactive poll for RTL radio showed.
On Thursday, thousands gathered in protest Thursday at the Place de la Concorde, which faces the National Assembly building.
As night fell, police officers charged the demonstrators in waves to clear the Place.
Small groups then moved through nearby streets in the chic Champs-Elysees neighborhood, setting street fires.
Similar scenes repeated themselves in numerous other cities, from Rennes and Nantes in eastern France to Lyon and the southern port city of Marseille, where shop windows and bank fronts were smashed, local French media reported.
Fury has spread across the streets of Paris as police clash with protesters after a controversial bill to raise the retirement age was forced through parliament without a vote
Physical fights have broken out between protesters in the capital city
A barricade burns as protesters block the traffic on Paris’ peripheral boulevard in the morning hours to distribute flyers against the French government’s pension reform
Rubbish has piled up on the street in Paris’ 5th district, as rubbish collectors strike against pension reforms , leaving many streets in the capital piled with waste
People wave General Confederation of Labour unions (CGT) flags as they block the traffic on Paris’ peripheral boulevard
Firefighters intervene to stop the fire to start in full waste bins as rubbish collectors strike against pension reforms
A cyclist drives past full waste bins in Paris’ 2nd district as rubbish collectors strike against pension reforms leaving many streets in the capital piled with stinking waste
The Eiffel Tower is seen while protesters set fire as clashes take place with riot police during a demonstration against French government’s plan to raise the legal retirement age
Protesters set fire as clashes take place with riot police during a demonstration against plans to raise the retirement age
The trade unions that had organized strikes and marches against a higher retirement age said more rallies and protest marches would take place in the days ahead.
‘This retirement reform is brutal, unjust, unjustified for the world of workers,’ they declared.
Macron has made the proposed pension changes the key priority of his second term, arguing that reform is needed to make the French economy more competitive and to keep the pension system from diving into deficit. France, like many richer nations, faces lower birth rates and longer life expectancy.
Macron decided to invoke the special power during a Cabinet meeting a few minutes before a scheduled vote in the National Assembly, where the legislation had no guarantee of securing majority support. The Senate adopted the bill earlier Thursday.
Demonstration in Paris take place at Place de la Concorde, following the use of Article 49.3 to validate the government’s pension reform
Protestors chant against the French Government during demonstrations at Place de la Concorde
Clashes take place during a demonstration against French government’s plan to raise the legal retirement age in Paris
Protesters participate in a demonstration against French government’s plan to raise the legal retirement age
Protesters set fire as clashes take place with riot police during a demonstration
Riot police advance as clashes take place during a demonstration in Paris last night
CGT unionists light flares on the ring road as they block the traffic to protest
Opposition lawmakers demanded the government to step down. If the expected no confidence motion passes, which requires approval from more than half of the Assembly, it would be a first since 1962 and force the government to resign. It would also spell the end Macron’s retirement reform plan.
Macron could reappoint Borne if he chooses, and a new Cabinet would be named. If the motion does not succeed, the pension bill would be considered adopted.
Addressing the protests, hard-left leader Jean-Luc Melenchon said: ‘Something fundamental happened, and that is that, immediately, spontaneous mobilisations took place throughout the country.’
‘It goes without saying that I encourage them, I think that’s where it’s happening.’
Q&A: Protests over France’s pension reforms
What are France’s pension reforms?
The new retirement age will be 64, rising by two years from the current age of 62. But the change will be gradual at first. From September, the retirement age will increase by three months each year until 2030.
What about current pensioners?
Just 33 per cent of 60 to 64-year-olds are employed in France. This is significantly lower than in Germany at 61 per cent and Sweden at 69 per cent.
Through the new law, an additional €17.7 billion will be made in pension contributions (£15.5 billion) each year. The government says this will allow pensions for the poorest 30 per cent of the country to increase from 2.5 to five per cent.
What do critics of the new pension age say?
A number of France’s trade unions say only a small increase in contributions would be enough. They have called the new retirement age unfair – particularly to low-skilled workers in manual jobs who start their work earlier than someone with a degree would.
What do people think about the reforms?
Protests and demonstrations have been ongoing for months. On January 31, the biggest day of national protests, 1.27 million people are estimated to have taken to the street.
After more than two years, YouTube has lifted its suspension on Donald Trump, the twice-impeached former U.S. president who was booted from major internet platforms in the wake of the Jan. 6, 2021, riot at the U.S. Capitol.
“Starting today, the Donald J. Trump channel is no longer restricted and can upload new content,” YouTube said in a statement Friday. “We carefully evaluated the continued risk of real-world violence, while balancing the chance for voters to hear equally from major national candidates in the run-up to an election.”
YouTube added that Trump’s “channel will continue to be subject to our policies, just like any other channel on YouTube.” The channel currently has 2.64 million subscribers. The most recent videos uploaded to it (on Jan. 12, 2021) are clips from the far-right OANN (One America News Network) coverage a Trump press conference on the border wall in Texas.
Trump Media & Technology Group, parent company of Truth Social, is being investigated by the Justice Department and the SEC over financial deals related to TMTG’s plan to merge with special purpose acquisition company Digital World Acquisition Corp. Federal prosecutors reportedly looked at potential money laundering violations by TMTG in connection with $8 million in loans.
Logline: The story of a young woman grappling with the meaning of love in the face of an uncertain world, The Young Wife is a sunny day panic attack and a wholly new take on the wedding film following her over the course of her “non-wedding” day.
Sales Agent: FilmNation Entertainment
Panelists: Tayarisha Poe, Kiersey Clemons, Leon Bridges, Aida Osman
Premiered: March 12, 2023
Key Quote: Poe: “I feel like usually movies are about weddings as we expect the bride to feel that day, as opposed to how she may actually be feeling… I think it’s really in part a movie about how particularly for a young woman, there’s an expectation that the person you marry is the most important person in your world – your big love, your most important relationship – and I think in actuality that’s just setting yourself up for failure… I hope that part of what people take away from it is that you have a lot of great loves in your life and they’re not always romantic love. And they’re just as important as the romantic love that you have.”
The Deadline Studio at SXSW runs March 10-13, where the cast and creatives behind the best and buzziest titles in this year’s lineup sit down with Deadline’s festival team to discuss their movies and the paths they took to get to Austin, Texas.
Andrew Jeffrey joined Realscreen in 2021 as its news editor. Here, he helps to oversee assignment, reporting and editing for Realscreen’s daily newsletter. Prior to his work covering documentary and non-fiction film and TV, he worked as a reporter and associate producer for CBC Edmonton, and as a reporter for The Star Calgary, where he covered daily news on beats such as local and provincial politics, health care and harm reduction, sports and education. His work has appeared in other Canadian news outlets such as TVO, the Edmonton Journal and Avenue Magazine.
Makeup department head Rebecca Wachtel explained, “[The producers] just wanted to age them a little. So, I did subtle ager. I did some ager which changes the texture of the skin and adds wrinkles, but it’s very light.” She wanted to portray aging that felt believable for these characters.
“Some people age more than others, so I wanted to take that into account,” she added. “Daisy, she has little lines and deeper-set eyes, and she’s shifted her aesthetic, but she’s aged well. Warren, maybe it was a little rougher for him. And Graham always had a baby face — sometimes people just keep that aesthetic throughout their life, even though you can see gravity is taking control and things are starting to shift.”
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Coachella is almost here. The three-day music festival, which will celebrate its 24th anniversary this year, will return to its home at the Empire Polo Grounds in Indio, Calif., on the weekends of April 14-16 and April 21-23. Although tickets immediately sold out for Weekend 1 when they first went on sale in January, there are still several ways to snag passes elsewhere online.
In fact, tickets actually appear to be selling for significantly less money on resale sites compared to Coachella’s website (which currently has a waitlist for Weekend 1 and limited number of remaining tickets for Weekend 2). Vivid Seats is selling thee-day GA passes for $500, compared to $549 on Coachella’s website.
While resale sites almost always sell tickets at marked up prices, the same doesn’t tend to be the case with weekend events like Coachella, likely because festival-goers prefer to have their tickets secured weeks or months in advance. But people who live in the area, or are prone to spontaneity, can save a lot of money by buying tickets only a week or so before the festival.
Bad Bunny, Blackpink and Frank Ocean will headline both weekend’s of the Goldenvoice-produced fest. Ocean was originally scheduled to perform at the festival’s 2020 installment, which was announced in January of that year and ultimately postponed four times due to the pandemic.
The lineup reflects the international direction in which Coachella has leaned in recent years. In addition to Puerto Rican and South Korean representation in the headliners, other top-billed artists include Icelandic legend Bjork, Spain’s Rosalia, Nigeria’s Burna Boy and British-Indian singer Jai Paul.
If you aren’t able to attend the festival in person, you can stream performances online. YouTube returns this year as the exclusive livestream partner for both Coachella weekends on the festival’s official YouTube channel.
Travel back to Wakanda, where women are the backbone of the world’s most powerful nation. Okoye (Danai Gurira), Nakia (Lupita Nyong’o), Ayo (Florence Kasumba), and Shuri (Letitia Wright) are as unbreakable as vibranium, and this episode of MPower dives into their roots in the original comics, how the performances were influenced by the actors’ own lived experiences and how the spirit of Africa and black excellence shaped every aspect of the films.
MPOWER—CAPTAIN MARVEL
Journey with one of the MCU’s most powerful Super Heroes, Captain Marvel (Brie Larson)—seen through the eyes of those who helped bring her to life. Through animation and never-before-seen footage, viewers will gain a new sense of the transformation from Carol Danvers to Captain Marvel, the women who look up to her—Monica Rambeau (Teyonah Parris) and Kamala Khan (Iman Vellani)—and how the teams behind and in front of the camera helped bring it all together.
MPOWER—SCARLET WITCH
Celebrate Wanda Maximoff (Elizabeth Olsen), Agatha Harkness (Kathryn Hahn), and Darcy Lewis (Kat Dennings)—plus the creative forces behind the Scarlet Witch’s iconic journey. The hero with undeniable power and a tragic backstory has withstood insurmountable odds reaching back to her childhood in Sokovia, through her years flourishing as an Avenger, and of course, her ascension to self-realization as the Scarlet Witch.
MPOWER—GAMORA
Explore the evolution of the captivating character, Gamora (Zoë Saldaña), from her days as an assassin to life among the Guardians of the Galaxy. As the backbone of the team of misfits, Gamora is forced to reevaluate what family means to her and address her dysfunctional relationship with her sister, Nebula (Karen Gillan). Vets of the Guardians movies weigh in on the plight of Gamora and how she is brought to life in an emotional and dynamic way.
The series is directed by Quinn Wilson, and executive produced by Victoria Alonso, Mark Herzog, Andie Beckerman, Zoe Saldaña, Cisely Saldaña, Mariel Saldaña, Justin W. Hochberg, Lauren Moore Morden, Jeff Redmond, Sarah Girgis; Lauren Goralski serves as co-producer. The series comes from production companies Herzog & Co., Cinestar Pictures, and Just Entertainment.
WARNING: This post contains Shazam! Fury of the Gods SPOILERS!
Shazam: Fury of the Gods drops a subtle hint at an upcoming DC Universe movie, making it the first time a DCEU film sets up a DCU installment. Shazam: Fury of the Gods is one of the last releases from Warner Bros.’ original era of the DC Universe as the franchise gets ready to reboot and give way to the first chapter in James Gunn and Peter Safran’s DCU, “Gods and Monsters.” With the canon status of characters such as Zachary Levi’s Shazam and Jason Momoa’s Aquaman up in the air, any signs of a possible return to the DCU are helpful to understand the DC Universe’s future.
SCREENRANT VIDEO OF THE DAY
Shazam: Fury of the Gods focuses on being a standalone sequel to Shazam!. Yes, Gal Gadot’s Wonder Woman makes a cameo and brings Billy Batson back to life, but she doesn’t take away Billy’s role as the main hero of the story. Shazam: Fury of the Gods‘ self-contained story makes it easy for the next era of the DC Universe to incorporate him into the new continuity, and Billy Batson and his family are left eager to continue their heroic adventures in the future. Besides, the first Shazam: Fury of the Gods post-credits scene provides the first step towards the birth of the new DC Universe.
Shazam 2’s Credits Scene Sets Up 1 James Gunn DC Movie: The Authority
When Peacemaker stars Emilia Harcourt and John Economos ask Shazam to join the Justice Society, Shazam wonders if there’s a better name for the superhero team that would help them stand out from the Justice League lineup. Shazam googles synonyms for the word “society” and proposes the name “the Justice Authority.” In real-life dictionaries, “society” and “authority” are quite disconnected, but Shazam’s choice of words has a specific purpose: they’re a subtle nod at the DCU’s upcoming ensemble movie The Authority, which will be part of the first chapter of James Gunn and Peter Safran’s DCU franchise.
Shazam’s mention of “authority” sounds like a coincidence from his perspective, but if Amanda Waller’s team survives the DC Universe reboot brought on by The Flash, Emilia Harcourt and John Economos could know a thing or two about The Authority. After all, they are able to acquire intel on characters like Black Adam, Shazam, and the most obscure Suicide Squad members more easily than Batman himself. So far, however, the only reference to The Authority is this subtle nod in the first Shazam: Fury of the Gods post-credits scene.
Who Are The Authority In The DC Comics?
Like the Justice League and the Justice Society, the Authority is a team of DC superheroes who join forces to fight crime. But unlike DC’s most famous superhero teams, the members of the Authority are willing to resort to extreme methods and break the law in order to enforce their idea of justice. Composed of seven members and one living HQ, The Authority has made a name for itself as a highly efficient superhero team. They aren’t Earth’s first choice whenever a major threat arrives, but they have saved the world multiple times throughout the years.
Originally, The Authority used to be set in its own separate universe given that it belonged to WildStorm, a DC Comics subsidiary comic book print. However, DC’s “New 52” reboot caused by the 2011 Flashpoint event brought The Authority into the main DC continuity. Similarly, The Flash‘s multiversal events are expected to bring a franchise-wide reboot to the big-screen DC Universe, which will place them alongside characters like Batman, Superman, and Swamp Thing in the near future.
As of Shazam: Fury of the Gods‘ release, information about The Authority is limited. The Authority‘s live-action adaptation is part of “Gods and Monsters,” the first chapter in James Gunn and Peter Safran’s DC Universe. It will release alongside movies like the James-Gunn-directed Superman: Legacy, Batman’s first DCU appearance, The Brave and The Bold, Supergirl: Woman of Tomorrow, and Swamp Thing, as well as shows such as Creature Commandos, Waller, Lanterns, Paradise Lost, and Booster Gold. The Authority could also return after their film debut both in live-action and in animated form, following James Gunn’s promise of a multimedia franchise.
DC’s The Authority movie may follow James Gunn’s pattern of transforming lesser-known superhero teams from the comics into A-list blockbusters, which he did in 2014 with the MCU’s Guardians of the Galaxy and continued with DC’s The Suicide Squad. However, James Gunn is unlikely to direct it, as he will be too busy overseeing the entire DCU and both writing and directing Superman: Legacy. Still, Gunn’s input as producer guarantees a proper live-action translation of the characters, following a similar formula to Guardians of the Galaxy and The Suicide Squad but possibly adopting a unique tone and directorial style.
Will Shazam Appear In The Authority Movie?
Shazam hasn’t interacted with any member of The Authority in DC Comics yet, and the nod at the team in Shazam: Fury of the Gods‘ post-credits scene doesn’t create a strong connection between them to guarantee a future crossover. What this post-credits scene does suggest is Shazam’s possible crossover with DC’s Justice Society team, which could help Billy Batson and his family survive the DC Universe’s upcoming reboot. Allowing Shazam: Fury of the Gods‘ post-credits scenes to appear in theaters after confirming an imminent reboot suggests that their set-ups are still valid afterward.
Still, the possibility of a crossover between Shazam and The Authority is always possible. After all, Justice League teased a bigger team with Bruce Wayne’s suggestion of more spots in the Hall of Justice, but the Justice League never got the chance to extend an offer to new heroes like Shazam or Martian Manhunter. Likewise, Shazam could end up crossing paths with The Authority before he meets the Justice Society. It all depends on whether Shazam becomes part of James Gunn’s DC Universe officially after the events of Shazam: Fury of the Gods and The Flash.
Comprised of 
BeserkerGang aims to be a benchmark of quality in genre film. To that end, the collective steadfastly refuses to crank out subpar quickies. Love and respect for horror are paramount to the team.
