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.”
If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission.
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.
In today’s Daily Fix: Starfield has been delayed yet again, this time to September 2023. While we finally have a release date for Starfield, is it actually solid this time? One thing you don’t have to wait on anymore is Discord’s voice chat capabilities on PS5 that’s available today! And finally, Sea of Thieves is getting a board game by the same company who is making the Elden Ring board game. Stella has all of the details on these stories for you in today’s Daily Fix.
The first-ever SWANA Film Festival, presented by Arts & Cultural Exchange (ACE) Parramatta, is a 3-day festival of Southwest Asian and North African cinema screening at Riverside Theatre, Parramatta across the weekend – 28 – 30 April 2023!
ACE Executive Director Anne Loxley said, “ACE is thrilled to bring the first-ever SWANA Film Festival to Western Sydney. The Festival is an important community-led project that showcases the diverse and important perspectives of Southwest Asian and North African voices.”
The SWANA Film Festival promises to be an exciting event for film lovers, artists, and cultural enthusiasts offering 20 unique films across the program, from Iraq, Turkey, Egypt, Lebanon, Morocco, Armenia, and Syria.
SWANA Film Festival Director Hajer Al-Awsi said, “the Festival aims to connect diasporic audiences to films from the region, and promises to be incredibly inclusive, featuring two LGBTQIA+ films as well as representing over five different languages.”
“SWANA audiences can be the first to see two Australian feature film premieres – the opening night film Baghdad in My Shadow by Swiss-Iraqi filmmaker Samir (Iraqi Odyssey) – this special night also includes delicious food, and DJ set by Nelya (Fri 28 April, 7pm). The second premiere is Love, Spells and All That, from Turkey, by Ümit Ünal (Sat 29 April, 7pm),” she said.
Highlights include: an all-Australian-made lineup of SWANA short films, followed by a Q&A with the filmmakers themselves (Sat 29 April, 2pm); a selection of outstanding shorts from Syria to Morocco (Sun 30 April, 1pm); award-winning director, Eliane Raheb’s Miguel’s War, and the Festival closing night – starting with shorts spanning Iraq, Egypt, the Emirates and Syria, and a coming-of-age comedy-romance- tragedy feature from Egypt, Ayten Amin’s Souad (Sun 30 April, 6:30pm).
Audiences can grab an “all-access pass” for $80, which includes entry to Sobhiya morning feast (SWANA brunch) and screenings at ACE from Melbourne-based artist Sammaneh Pourshafighi, and Andari’s Stove intimate exploration of life in a rural village in Mount Lebanon, followed by a panel discussion featuring Refugee Art Project (Sun 30 April, 11am).
Arts & Cultural Exchange has a strong history of supporting community-led events and festivals, having hosted Arab Film Festival Australia (AFFA) from 2001 to 2018. AFFA showcased Arab cinema from the region and diaspora to western Sydney audiences, and in 2023, ACE continues its support of such events through SWANA Film Festival – bringing the next generation of filmmakers, curators and storytellers to the community.
SWANA Film Festival is a project of Arts & Cultural Exchange (ACE), supported by Screen NSW, City of Parramatta and Arab Theatre Studio.
EVENT DETAILS Dates: 28 – 30 April 2023 Age: For mature audiences only Venue: Riverside Theatre, corner of Market St & Church St, Parramatta NSW 2150 Getting there is easy, for more info visit HERE Tickets: All Access Passes for $80.00 3-Session Passes for $60.00 Single Session Passes for $28.50
Established in 1984, Arts & Cultural Exchange is a Western Sydney-based community arts organisation with five program pillars: First Nations, Youth Engagement, Multicultural Women, Artists with Disability and People in Aged Care, and Screen. We have a longstanding reputation for three things: we are committed to social justice, we use creativity to reverse disadvantage and we produce ground-breaking interdisciplinary, intergenerational collaborative projects co-devised with the communities with whom we work.
ACE’s hard-won funding comes through grants from government departments and foundations, venue and equipment hire and donations. ACE is an ACNC-registered charity with Deductible Gift Recipient status. Any donation over $2.00 is tax deductible. By supporting ACE, you are investing in the creative empowerment and sustainability of some of Western Sydney’s most under-represented communities.
The “Frozen” and “Beauty and the Beast” star slammed the “pathetic” backlash.
Updated, March 17: The dislike counter is not publicly accessible and was removed by the platform in 2021. The alleged numbers are inaccurate.
Published, March 16: Josh Gad doesn’t want to be part of a world that allows racism.
Gad took to Twitter to slam the “pathetic” trolls who disliked the new live-action “Little Mermaid” trailer starring Halle Bailey as Ariel. “Imagine being so broken and pathetic in life that your chief concern is the skin color of…a make-believe singing mermaid,” Gad captioned a retweet of Democratic organization Call to Activism’s post citing that “The Little Mermaid” has been mass-disliked on YouTube.
Per Call to Activism, the teaser received 3 million down votes and the new trailer currently has at more than 600,000 dislikes. Disney debuted the trailer as part of the 95th Academy Awards March 12 in a segment that cost the studio $10 million.
Rob Marshall directs “The Little Mermaid,” with Melissa McCarthy, Javier Bardem, Jonah Hauer-King, Daveed Diggs, Awkwafina, Jacob Tremblay, Noma Dumezweni, and Art Malik rounding out the ensemble cast.
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Marshall previously admitted that he “wasn’t anticipating” the public social media response to seeing Bailey as Ariel. “I felt like we’ve moved so far past that kind of thing,” Marshall said of the color-blind casting process. “But then you realize, in a way we haven’t. It was very moving to me to see how important this kind of casting is for the world.”
Marshall added that there was “no agenda” to casting Bailey as Ariel, other than the fact that she had a stellar singing voice and a “great deal of fire and joy” as a performer.
“We just were looking for the best actor for the role, period. The end,” Marshall said. “We saw everybody and every ethnicity.”
Bailey already received racist backlash when the clip of her singing “Part of Your World” received 1.5 million “dislikes” on YouTube before the rating feature was disabled. When Bailey was cast as Ariel in 2019, a racist #NotMyAriel Twitter campaign ensued. Late night host and comedian Trevor Noah spoke out on the controversy in September 2022.
“Really, people — we’re doing this again?” Noah said. “Once again, a bunch of internet racists are upset that a fictional character is being played by a Black person. This is so ridiculous.”
Diverse TV series like “She-Hulk” and “The Lord of the Rings: The Rings of Power” were also review-bombed on Rotten Tomatoes.
Imagine being so broken and pathetic in life that your chief concern is the skin color of… a make-believe singing mermaid. https://t.co/7F6F8LT2b9
Since starting their podcast Drama Queens in 2021, former One Tree Hillstars Hilarie Burton, Bethany Joy Lenz, and Sophia Bush have not only recapped the 2000’s teen series, but opened up about the toxic environment all three experienced behind the scenes. On the recent episode covering “It Gets Worse At Night,” Burton discussed a series of assaults that allegedly led to cast mate Chad Michael Murray defending her against series creator Mark Schwahn.
Back in 2017, Schwahn was accused by 18 cast and crew members who worked on One Tree Hill of sexual harassment, with Burton included on the list of accusers. The open letter was released after former show writer Audrey Wauchope made allegations against Schwann of inappropriate behavior while working on the set of the teen drama.
During the podcast episode, Burton detailed the alarming experiences she had while filming the Season 4 episode to her other co-hosts. While traveling back from a surprise announcement in Honey Grove, Texas, Burton says the unnamed “boss” allegedly assaulted her multiple times while the two were alone.
“The flight back from that is when he assaulted me,” alleged Burton. “He assaulted me again in the car on the drive from Raleigh to Wilmington. He went straight to set and he told Danneel [Ackles] that he and I made out the whole time, and it was fun, and he was trying to make her jealous. So, she confronted me about it and was like, ‘What are you doing?’ And I’m like, ‘What are you talking about?’”
She continued, “So, then we had to go on this trip with him. And this was really, like, the last three months where my blood was boiling. I didn’t know how to process it anymore and you can see it in the episode. You can see that I’m not there… I look like shit, I’m not connecting in any way.”
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After going into conversation about the confines of their contracts and the issues they faced when wanting to confront the alleged harassment, Lenz asked Burton why she never reported Schwahn at the time.
“Oh, I did. I told all sorts of people. Honey, I told everybody,” replied Burton. “Chad [Michael Murray] walked up and goes, ‘What are you doing?’ He said that to our boss in the bar. He watched our boss grab me in front of a lot of people, and you know, Chad didn’t have anything to lose because he knew our boss hated him anyway. A lot of people had a lot to lose, so you don’t speak up when you have a lot to lose. But [our boss] felt so comfortable that that was not something that he had a problem with. [He thought], ‘I can do whatever I want to her in public with her boyfriend standing there.’”
Though, as Bush pointed out Murray was “protected” due to his name being at the top of the call sheet. “He had the most power, so he could come up and shove our boss off you and get in a fight. And I’m glad that he did. I want everybody to follow that lead,” she said.
Following the open letter in 2017, Schwahn was fired from E!’s monarchy-centric soap The Royals. He has never responded to the allegations, according to Variety.
(L to R) Jamie Lee Curtis as Deirdre Beaubeirdre, and Michelle Yeoh as Evelyn Quan Wang in A24’s ‘Everything Everywhere All at Once.’
Watch out MCU! There’s a different kind of multiverse in town, complete with hot dog fingers.
‘Everything Everywhere All At Once’ has taken this awards season by storm. The A24 movie won big at the Critics’ Choice Movie Awards including Best Picture, Best Director, Best Supporting Actor, Best Original Screenplay, and Best Editing. The film’s leading stars Michelle Yeoh and Ke Huy Quan won the Golden Globes for Best Actress and Best Supporting Actor respectively, and co-star Jamie Lee Curtis took home the award for Best Supporting Actress. The movie swept at the Screen Actors Guild Awards with Michelle Yeoh and Ke Huy Quan being the first Asian actors to win in the film category.
All (googly) eyes were on ‘Everything Everywhere All At Once’ as the 95th Academy Awards drew near. The film was nominated for 11 awards including Best Picture, Best Director, Best Actress, Best Supporting Actor, Best Original Screenplay, Best Original Score, Best Original Song, Best Costume Design, and Best Film Editing. The film won in 7 categories including Best Actress (Michelle Yeoh), Best Supporting Actor (Ke Huy Quan), Best Supporting Actress (Jamie Lee Curtis), Best Original Screenplay, Best Film Editing, Best Director, and Best Picture.
In the wild trailer for ‘Everything Everywhere All At Once’, we see Michelle Yeoh (‘Shang-Chi And The Legend Of Ten Rings‘) not just as an exhausted immigrant mother Evelyn Wang, but also as a movie star, a martial artist, and many other variants from different universes.
The film is written and directed by Daniel Kwan and Daniel Scheinert, collectively known as “The Daniels” and it is described as “a big-hearted sci-fi adventure about an exhausted Chinese American woman (Michelle Yeoh) who can’t seem to finish her taxes”. And this is just in one universe. Throughout the movie, we meet many variants of the characters from parallel universes as every life choice creates a new alternative universe. Evelyn must work with the Alpha-verse variant Waymond to save the multiverse from Jobu Tupaki, a variant of Evelyn’s daughter, Joy.
Michelle Yeoh at the 95th Oscars on Sunday, March 12, 2023. The 95th Oscars will be held on Sunday, March 12, 2023, at the Dolby Theatre at Ovation Hollywood and will be televised live on ABC at 8 p.m. EDT/5 p.m. PDT.
Michelle Yeoh Making History
We have long enjoyed seeing Michelle Yeoh’s incredible work on the big screen. From executing death-defying stunts in ‘Supercop’ to the poised and formidable Eleanor Young in ‘Crazy Rich Asians’, Yeoh has over 60 movie and television credits under her belt. Playing Evelyn Wang in ‘Everything Everywhere All At Once’ gave Yeoh a chance to show off her incredible range. In an interview with the LA Times, she speaks about being approached by The Daniels for the role:
“The first thing is you feel like, ‘Finally, thank you. You guys see me, you guys really see, and you’re giving me the opportunity to show that I’m capable of doing all this.’ As an actor, you need the opportunity. You need the role that will help you showcase what you are capable to do.”
Yeoh’s win for outstanding performance by a female actor in a leading role at the Screen Actor’s Guild made her the first Asian woman to win in the film category. She is also the first woman to be identified as Asian to be nominated and win for Best Actress at the 95th Academy Awards.
Ke Huy Quan poses backstage with the Oscar® for Actor in a Supporting Role during the live ABC telecast of the 95th Oscars® at Dolby® Theatre at Ovation Hollywood on Sunday, March 12, 2023.
Many will recognize Ke Huy Quan from his role in the 1984 film ‘Indiana Jones And The Temple Of Doom’ as Indy’s young companion Short Round. Quan also starred in the 1985 cult classic ‘The Goonies’ as the aspiring inventor Data. So why did Quan stop acting? In an interview with People magazine, the actor said he never intended to stop acting but there weren’t any roles for him.
“I was waiting for the phone to ring, and it rarely did.”
With little to no opportunities, Quan made the difficult decision to step away from acting. Instead, he focused on being behind the camera and became an assistant director and stunt coordinator. After seeing ‘Crazy Rich Asians’ he passion for acting reignited and he auditioned for ‘Everything Everywhere All At Once’. Not only did he land the leading role, he also performed his own stunts in the iconic fight scene in the movie armed with only his fanny pack.
With his triumphant return and a shiny Oscar statuette, Ke Huy Quan is landing roles left and right, including upcoming Disney+ series ‘Loki’ season two and ‘American Born Chinese’ (alongside EEAAO cast mates Michelle Yeoh and Stephanie Hsu), executive produced by Shang-Chi’s Destin Daniel Cretton.
(L to R) Stephanie Hsu, Michelle Yeoh, and Ke Huy Quan in ‘Everything Everywhere All at Once.’ Photo Credit: Allyson Riggs.
Where Can I Watch ‘Everything Everywhere All At Once?
The film premiere on March 11, 2022 at SXSW and had a limited release on March 25, 2022. It released nationwide on April 8, 2022 and has earned $106.7 million worldwide. You can still see the sci-fi action in theaters and it is worth seeing on the big screen. ‘Everything Everywhere All At Once’ has a total runtime of 2 hours and 20 minutes.
Watch the official trailer for ‘Everything Everywhere All At Once’ below:
When Will It Be Available To Stream Online?
The movie is available for Showtime subscriber. The subscription starts at $11 a month. Alternatively, you can purchase the digital copy for $19.99 on other platforms.
Michelle Yeoh in ‘Everything Everywhere All at Once.’ Photo Credit: Courtesy of A24.
Other Films That Explore The Multiverse
‘Everything Everywhere All At Once’ is more than a multiverse-jumping sci-fi action movie. It also touches on family, relationships, the daily struggle and pressure of running a business. Complete with stunning visions and incredible fight choreography.
Check out the following films that explore an alternate universe:
See Michelle Yeoh In Action In These Titles
Whether she’s gliding effortlessly over the top of trees in ‘Crouching Tiger, Hidden Dragon’ or jumping universes in ‘Everything Everywhere All At Once’, Michelle Yeoh has been in an extensive and impressive list of movies that is worth checking out:
Michelle Yeoh in ‘Everything Everywhere All at Once.’ Photo Credit: Courtesy of A24.
Note: The following discusses major spoilers for “You” Season 4, Part 2.
After narrowly escaping the grasp of Joe’s psychotic break, Tati Gabrielle would “definitely love” to return as Marienne in a potential “You” Season 5 and take care of some unresolved business.
“Marienne’s story feels still feels unfinished, and [it] still feels like she has something else that she needs to see through,” Gabrielle told TheWrap. “I don’t think that Marianne is a vengeful person, so I think that she would want justice not necessarily revenge.”
By the end of Season 4, Joe (Penn Badgley) is convinced Marienne is dead after she fakes an overdose by taking pills to slow her heartbeat. The pills were provided by Nadia (Amy Leigh Hickman), Joe’s perceptive and ambitious student, who discovered Marienne’s imprisonment after connecting the dots of Joe’s suspicious identity.
After finding Marienne seemingly lifeless body on the floor of the cage, Joe dumps her body onto a London park bench, giving Marienne the perfect escape.
Now that Marienne has “the best alibi,” Gabrielle says Marienne’s first mission in Season 5 would be getting Nadia out of jail after Joe framed her for the death of Eddie, another one of his students who shared a close relationship with Nadia.
As for Joe’s fate, Gabrielle says Marienne wouldn’t resume her mission to kill Joe, saying that plan, which was originally built out of neccessity “is already out the window.” Instead, Marienne would turn her attention to getting Joe incarcerated.
“Death is too easy of an escape, I think, for Joe,” Gabrielle said, adding that an expedited peril wouldn’t be “fair.” “He already tried to kill himself — that’s what he wants for him — I think that locking him away in a cage and making him sit with his thoughts and guilt for the rest of his life is a much much more fitting punishment.”
Under the guise of invisibility, Gabrielle suggests Marienne could gather evidence for a case against Joe that suddenly pops into the woodwork à la Netflix’s revenge series “The Glory,” also teasing that she would love to see Joe and Love’s abandoned son, Henry, involved in the demise of his father.
While Love warned Marienne of Joe’s wicked ways in Season 4, Gabrielle says Marienne wouldn’t quite take the same approach in cautioning Kate about Joe’s past because, similar to the other wealthy suburban mothers in Madre Linda who iced her out, Marienne wouldn’t trust Kate to do the right thing with the information.
“I don’t think that Marienne would try to come to Kate for any solidarity or allyship,” Gabrielle said, adding that Marienne would quickly put together that Kate’s money and connections worked to erase Joe’s exploits in the dazzling magazine story.
“Despite Kate being on a on a trajectory for herself of wanting to do better, I just think that that Marianne would be like, ‘Oh, you’re already with the guy, you obviously know something …there’s no way that you don’t know anything at this point,’” Gabrielle said.
NOW ON VOD! When I look out into your eyes out there, when I look out into your faces, you know what I see? I see a little bit of Elvis in each and every one of you out there… Take a moment and revel in the opening line of Mojo Nixon’s most famous song, Elvis is Everywhere. It took MTV by storm in 1987, when MTV was a music video channel and still culturally relevant.
Freedom Records & Films’ documentary about Mojo Nixon started production in 2012, and, at the time, it was scheduled to release a couple of years later. There’s no indication why it took so long, but the fruit of director Matt Eskey’s labors, The Mojo Manifesto: The Life and Times of Mojo Nixon, is well worth the long wait.
Maybe you don’t know Mojo… that’s been a long time. If that’s the case, then here’s your Mojo Moment of revelation. MTV in the post-punk days was a crazed cauldron of New Wave, early electronic music, and bubblegum pop, which all blended into the beauty of Darkwave and some other musical genre spin-offs. One of the more intense styles to emerge was called Psychobilly, a noisy fusion of roots blues, country, and rock with a punk edge. Punk plus Rockabilly is Psychobilly.
“…Mojo Nixon: a primitive blues-inspired musician. Adding pure hyperactive insanity and extemporaneous rants to his songs…”
Nobody was more psycho or hillbilly-punk than wild-eyed, carnival-barker-talking Mojo Nixon. His music is unfiltered Americana satire. After Elvis is Everywhere, he had a semi-hit with the controversial Debbie Gibson is Pregnant with My Two-Headed Love Child, which didn’t do as well after MTV refused to air it. His legend grew, however, with a shout-out in The Dead Milkmen’s hit Punk Rock Girl. He continued through many albums with irreverent, satirical cultural commentary in Don Henley Must Die, Stuffin’ Martha’s Muffin, Are you Drinkin’ with me Jesus? and more. Typically his songs include a long unstructured bridge where Mojo indulges in hillbilly freestyle rants. This is where he shines.
The film introduces young Neill Kirby McMillan Jr. growing up in Danville, VA, under the influence of music from his father’s soul radio station. While on a bicycle trip across the U.S., partying in New Orleans, he has an epiphany he refers to as “The Mojo Revelation.” It leads the young man to his stage persona as Mojo Nixon: a primitive blues-inspired musician. Adding pure hyperactive insanity and extemporaneous rants to his songs, he sets off for the wilderness to perform his wild music.
Eskey tracks Mojo teaming up with instrumentalist Skid Roper, usually seen playing a washboard, and they go on to perform anywhere that will have them. They land a record deal, get college radio airplay, and then get famous during the glory days of MTV. During his long career, Mojo is shown in moments with Indie music luminaries. When his time with Skid Roper was done, he hung out with Jello Biafra and Country Dick Montana.
The infraction occurred late in the third period of Florida’s 9-5 win over Montreal on Thursday. Suzuki was assessed a major penalty and game misconduct for cross-checking.
In a statement Friday, the Google-owned video platform said that Trump’s decision to run for president again impacted its decision to allow him and his campaign back on.
“Starting today, the Donald J. Trump channel is no longer restricted and can upload new content,” the statement said. “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.”
The statement added that “this channel will continue to be subject to our policies, just like any other channel on YouTube.” In other words, if he posts new content that violates YouTube’s policies, it may be suspended again.
YouTube initially restricted Trump’s channel on a temporary basis in January 2021, shortly after the Jan. 6 riot at the Capitol, and subsequently extended it. ““After review, and in light of concerns about the ongoing potential for violence, we removed new content uploaded to Donald J. Trump’s channel for violating our policies,” it said at the time.
YouTube in many respects was following its fellow platforms in 2021, with both Twitter and Facebook suspending Trump in the wake of Jan. 6. And this year it is once again following those other social networks. Twitter, under owner Elon Musk, reinstated Trump’s account last year, while Facebook allowed Trump back in January.
However, Trump has not actually used any of these platforms. He has a social platform of his own, Truth Social, and has still limited his posts to that app.
YouTube has lifted restrictions on former President Donald Trump’s YouTube account. YouTube announced on Twitter that the channel is no longer restricted and can upload new material. “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,” it said via the YouTubeInsider account. “This channel will continue to be subject to our policies, just like any other channel on YouTube.”
Trump was suspended from YouTube after the January 6th, 2021, riot at the US Capitol. The site removed a video that it said violated its policies against inciting violence, and it banned Trump from uploading new content — first for a one-week period and then indefinitely. However, YouTube remained equivocal about whether the ban would be permanent. In May of that year, CEO Susan Wojcicki said the ban would be lifted after the risk of further violent incitement abated.
YouTube’s tweet alludes to the fact that Trump is now an official candidate for the 2024 Republican primary, a role that will put him in the spotlight after years of (very) relative reclusiveness. Its decision comes well after Facebook, Instagram, and Twitter all lifted their suspensions on the account. It’s still unclear how and when Trump will make use of his newfound access, however — he’s stuck in recent months to Truth Social, where he signed a social media exclusivity deal that he’s reportedly trying to wind down.
Former pro surfer Blake Johnston surfed 40 hours, smashing the previous record for the world’s longest surf session on Friday … and it was all for a great cause!
The Australian surfing coach entered the water during the early morning hours Thursday (around 1 AM) and surfed over 600 waves, before leaving the H20 around 5 PM, easily passing the prior record of 30 hours and 11 minutes.
Johnston didn’t just shred for nearly 2 days straight for fun, he raised money to support the mental health of the youth in Australia. It’s a cause near and dear to the surfer’s heart … he lost his father to suicide 10 years ago. In an effort to bring in as much as possible, Blake teamed up with the Chumpy Pullin Foundation.
Blake was able to continue surfing when the sun set thanks to the help of some spotlights. Medics, who monitored Blake’s health, were also on standby in the event he needed medical assistance.
Hundreds of spectators showed up to witness the historic moment, and Johnston admitted he was “pretty cooked” after breaking the record.
“Thanks, everyone, you’re the best,” Blake said after leaving the ocean. “Everyone deserves to feel awesome, deserves to take care of yourselves. Good on you.”
Upendra, Shriya Saran, Kiccha Sudeep, and Shiv Rajkumar starrer period action thriller Kabzaa, known as Underworld Ka Kabzaa in Hindi, maybe the next big thing to come out from Kannada cinema after KGF and KGF 2. R. Chandru’s film might be a raucous affair when it comes to cinematic liberties but it surely has the pace and momentum right. From the first frame to the last, Kabzaa cements its place in the commercial pan-India genre with its sensational but derivative storyline, over-the-top action sequences, and sporadic drama supported through power-fuelled dialogues, occasional blood, gore, and a whole lot of swag oozing from its orifices.
The story takes place in pre-independence India when a king is murdered and his wife and two sons have to flee and take refuge in a place called Amarpura in South India. As time goes by, one of her sons, Arkeshwara (played by Upendra), grows up to become an air force pilot and far more meek, calm, and composed than his brother who finds himself on the right side of the moral compass. But as fate would have it, Arkeshwara’s brother gets killed for doing a righteous act and it compels Arkeshwara to tread the path of revenge soaked in blood and severed heads buried across the length and breadth of the Orwellian landscape. It’s a story about a commoner and the obstacles he endures that changes him into a dreadful gangster.
For some, it might take some time to get used to the brooding atmosphere of the film, especially if they haven’t watched KGF and KGF 2. But once the narrative takes off and solidifies an outline around the characters, it’s easier to get immersed in the motives of the characters and how they blend with their surroundings. Kabzaa comes with a lot of punch and employs similar audio-visual elements from the Yash starrer KGF series. A burgeoning convoy of cars, blazing guns, whimsical hand-to-hand combat, explosions, massy dialogues, and much more forms the staple of K. Chandru’s period gangster flick. It is hyperbolized with a mushy romantic track between Arkeshwara and Madhumathi Bahadur (played by Shriya Saran). Towards the climax, the same merges with the major crux of Kabzaa and shells out a blank canvas for the sequel.
The film is technically brilliant. The gritty and noir-esque cinematography establishes the tone of the plot which is superimposed by the ominous shades of grey. The background score and sound, though overtly loud in some segments, usher weight to the movie. That gravitas can further be witnessed through its cool editing style of blacking out and coming back, one which was a consistent template in KGF films.
In terms of the concept, Kabzaa is an individual film but technically as well as narrative wise-the film borrows blatantly from KGF, a glaring flaw that invalidates the soul of the film. Regardless, AJ Shetty for cinematography, Mahesh S Reddy for editing, and Ravi Basrur for music deserve due credit for their excellent work. Ravi Basrur’s discography for the film has a soulful number Namaami Namaami crooned by the dulcet Aishwarya Rangarajan.
Speaking about the screenplay, Kabzaa remains unapologetically merciless in giving sinister character arcs to its protagonist and letting him lose in a treacherous and somber world of plotting and gang factions that are involved in the struggle to gain power. The Hindi dialogues seemed diluted and a lot was lost in the translation. However, it still keeps you hooked to the premise with other intriguing cinematic elements that hugely retain the entertainment factor of Kabzaa.
Upendra as Arkeshwara makes for a befitting anti-hero, wielding the theatrics of a mass hero. Shriya Saran is a pleasant addition and her chemistry with Upendra is palpable. Kiccha Sudeepa is more of a cameo but delivers a convincing performance as Bhargava Bakshi. It would be interesting to see him take the centre stage in the sequel. Murali Sharma as Veer Bahadur channels the amalgamation of all his previous roles into one concrete and concise character vying for power. Shiva Rajkumar is another actor to look forward to in Kabzaa 2. Besides them, Nawab Shah, Sudha, Kota Srinivasa Rao, Kabir Duhan Singh, and others maintained consistency as supporting actors.
To sum it up, Kabzaa is the right film for you if you are craving to see an anti-hero like Rocky Bhai wreak havoc on the enemies in a full-fledged commercial set-up weaved with the help of adrenaline-pumping action sequences, edge-of-the-seat thrill, and larger than life characters. You’re bound to enjoy the twists and turns and the climax will leave you wanting for more.
Yatamanyu is a multi-disciplinary Journalist & Photographer who dabbles in Films, Poetry, Music, Politics, Pop-Culture and everything in between. …Read More
Drug development is a highly competitive space and the information about gene innovations is scattered across multiples sources, which makes the gene scouting process time consuming and tedious.
We are excited to announce that you can now prioritize genes with Leo, your AI research assistant.
Let’s walk through an example of how you could use Leo to prioritize a gene. Imagine you lead a research program about immuno-oncology at a biotech startup and you want to track any updates about IL33.
Cut through the noise
You can train Leo to read your biopharma feeds and prioritize articles related to IL33.
Leo prioritizes IL33 in your biopharma feeds
Leo continuously reads the thousands of articles published in your feeds. It’s an efficient way to cut through the noise and keep up with the latest news about methodologies and clinical trials.
You’re in control
We’ve trained Leo to understand 42,000 genes and 185,000 aliases from the NCBI database. This database belongs to the US National Library of Medicine and is used by leading websites such as PubMed and ClinicalTrials.gov.
Asking Leo to prioritize “IL33” in any of your biopharma feeds is as simple as creating a new Topic priority and selecting “IL33” as the topic.
When you create an “IL33” priority, Leo will be looking for all the aliases of “IL33“. What’s best is that these aliases were all disambiguated, which means Leo knows which aliases refer to genes, and which refer to unrelated topics, so you can be sure you’re prioritizing the right content.
Leo will be looking for IL33 and its 11 aliases as classified by NCBI
Leo is smart. He continuously learns from your feedback. When Leo is wrong, you can use the ‘Less Like This’ down arrow button to let him know that an article he’s prioritized isn’t about cardiovascular diseases.
Downvote an article to tell Leo when he’s wrong
See how Feedly for Biopharma can help you and your team dig deeper into the genes you’re researching.
DC’s annual Pride anthology, DC Pride 2023, is coming soon, and we are getting a peek at the many wonderful covers for the book. Fans will also be able to pick up a new DC character encyclopedia called The DC Book of Pride, as well as a new special edition book called DC Pride: Through The Years, which will include a brand new story about the Golden Age Green Lantern Alan Scott.
You can check out the full press release, along with all the amazing covers, below.
DC’S ANNUAL PRIDE COMIC BOOK ANTHOLOGY HIGHLIGHTS THE PUBLISHER’S ONGOING LEGACY OF LGBTQIA+ CHARACTERS
100+ pages of original content, an introduction by Phil Jimenez, and more! EXPLORE A NEW DC CHARACTER ENCYCLOPEDIA, THE DC BOOK OF PRIDE BY JADZIA AXELROD Discover the rich history of DC’s LGBTQIA+ Super Heroes in this inspiring hardcover from publisher DK featuring detailed character profiles and comic book artwork! DC TO PUBLISH DC PRIDE: THROUGH THE YEARS WITH A NEW ALAN SCOTT GREEN LANTERN STORY Includes three history-making out-of-print comics, now collected in a special-edition release!
Clockwise from top left: DC’s Harley Quinn, Circuit Breaker, Apollo, Nubia, Dreamer, and Connor Hawke are featured on Oscar Vega’s DC Pride 2023 #1 cardstock variant cover
DC’S ANNUAL PRIDE COMIC BOOK ANTHOLOGY HIGHLIGHTS THE PUBLISHER’S AWARD-WINNING LGBTQIA+ LEGACY
DC Pride is back again with a brave, bold, and all-new collection of stories starring DC’s stable of fan-favorite LGBTQIA+ characters—many of whom will find themselves in thrilling team-ups the likes of which you’ve never seen before!
DC’s 2023 Pride collection of books and comics will be available at your local comic book shop, bookstore, library, and beyond, delivering bold stories, brave characters, and more pride than ever. DC Pride 2023 #1, DC’s annual anthology containing all-new stories spotlighting LGBTQIA+ fan favorites, will be published on May 30. The 104-page Prestige format comic will feature an introduction by Phil Jimenez, a main cover by Mateus Manhanini, and open-to-order variant covers by Gabriel Picolo (wraparound), Jen Bartel (spot foil), and Oscar Vega (cardstock).
The DC Pride 2023 creative teams and the characters they are developing stories for include:
Tim Drake and Connor Hawke by Nadia Shammas and Bruka Jones
Circuit Breaker and the Flash of Earth-11 by A.L. Kaplan
Midnighter, Apollo and Alan Scott Green Lantern by Josh Trujillo and Don Aguillo
Ghost-Maker and Catman vs. Cannon and Saber by Rex Ogle and Stephen Sadowski
Jon Kent and John Constantine by Christopher Cantwell and Skylar Patridge
Natasha Irons and Nubia by Mildred Louis
Harley Quinn, Poison Ivy, and Crush by Leah Williams and Paulina Ganucheau
Multiversity by Grant Morrison and Hayden Sherman
and more!
DC Pride 2023 #1 wraparound variant cover by Gabriel Picolo
Harley Quinn and Poison Ivy go to extreme measures to get a little alone time…but there’s nowhere on the planet Crush can’t crash. Jon Kent gets a comprehensive course in dark magic when John Constantine sics a golem on him. Tim Drake and Connor Hawke learn that there is nothing more awkward than reuniting with an old friend after you’ve both come out and one of you was indoctrinated by the League of Shadows for a while. Circuit Breaker struggles to stifle his powers after the Flash of Earth-11 leaps out of the time stream and knocks them both into another dimension. Just how far would Flashlight go to honor his lost love? Discover all these stories and many more in DC Pride 2023!
DC’s Pride anthology comic will also include a five-page preview of an upcoming Dreamer story by Nicole Maines and Rye Hickman. Pinup pages in DC Pride 2023 will feature artwork by Maria Llovet, Ro Stein and Ted Brandt, Travis Moore, Noah Dao, Claire Roe, Babs Tarr, and more. With over 100 pages of original stories and content, DC Pride 2023 celebrates the boldest and bravest of DC’s Super Heroes!
EXPLORE A NEW DC CHARACTER ENCYCLOPEDIA, THE DC BOOK OF PRIDE BY JADZIA AXELROD
The DC Book of Pride cover by Paulina Ganucheau
An official collaboration between DK and Warner Bros. Discovery Global Consumer Products, The DC Book of Pride is an inspiring illustrated hardcover that profiles more than 50 LGBTQIA+ characters in detail, including Harley Quinn, Jon Kent, Nubia, Tim Drake, Batwoman, Aquaman, Dreamer, new character Circuit Breaker, and many more. Authored by Galaxy: The Prettiest Star writer Jadzia Axelrod, it illustrates the rich histories, fascinating origins, amazing superpowers, and key storylines of DC’s leading queer Super Heroes and Super-Villains. With stunning interior artwork and an exclusive cover by renowned illustrator Paulina Ganucheau, this DK book is a wonderful guide for DC fans that arrives just in time for Pride Month on May 16.
DC TO PUBLISH A CELEBRATORY NEW SPECIAL-EDITION PRIDE COMIC BOOK
DC will also be publishing a special-edition comic book, DC Pride: Through the Years #1, collecting three out-of-print comics in an oversize new release. Take a journey through over 30 years of fan-favorite LGBTQIA+ characters in the DC Universe with this collection that not only remembers and celebrates landmark issues of days past but also teases exciting new stories yet to come!
DC Pride: Through the Years #1 cover by Derek Charm
DC Pride: Through the Years (80 pages), with a cover by Derek Charm, will publish on June 13 and contains reprints of The Flash #53 by William Messner-Loebs and Greg LaRocque, in which villain turned hero Pied Piper comes out to his friend the Flash and helps thwart a dastardly villain; Detective Comics #854 by Greg Rucka and J.H. Williams, featuring the thrilling beginning of Batwoman’s first solo series, which launched her into stardom; and Supergirl #19 by Steve Orlando, Vita Ayala, and Jamal Campbell, which tells the story of Lee Serrano, a nonbinary teenager who befriends the Girl of Steel. It also includes an all-new story by Tim Sheridan and Cian Tormey featuring Alan Scott as Green Lantern, teasing exciting new stories that will light the way for Alan’s next great adventure.
DC’S ONGOING COMIC BOOK SERIES CONTINUE DC PRIDE ALL YEAR
Throughout its line of monthly comic books, DC will highlight Pride-themed variant covers on series that feature queer characters in regular and lead roles. This year, look for DC Pride covers on Steelworks #1 (Joshua “Sway” Swaby), Spirit World #2 (Jessica Fong), Green Arrow #3 (Luciano Vecchio), Adventures of Superman: Jon Kent #4 (Stephen Byrne), Superman #5 (W. Scott Forbes), Batman Incorporated #9 (Rosi Kämpe), Tim Drake: Robin #10 (Travis Moore), Poison Ivy #13 and Harley Quinn #31 (connecting covers by Claire Roe), Nightwing #105 (Yoshi Yoshitani), Wonder Woman #800 (Ted Brandt and Ro Stein), and Detective Comics #1073 (Amy Reeder).
Harley Quinn #31 and Poison Ivy #13 (Claire Roe)
STOCK YOUR BOOKSHELVES WITH NEW DC BOOKS
DC’s Pride plans aren’t limited to June! In addition to DC Pride 2023, new DC books to add to your TBR piles, pull lists, Pride book clubs, or in-store Pride displays and to share with friends year-round include:
DC Pride: The New Generation hardcover (5/23)
Doom Patrol by Rachel Pollack Omnibus hardcover (3/14)—second printing
Harley Quinn Vol. 3: Verdict hardcover (3/21)
Multiversity: Teen Justice trade paperback (3/21)
Poison Ivy Vol. 1: The Virtuous Cycle hardcover (5/16)
The Authority Book One trade paperback (4/25)—2023 edition
Superman: Son of Kal-El Vol. 3: Battle for Gamorra hardcover (5/9)
Wonder Woman Historia: The Amazons hardcover (6/6)
and more!
DC’s award-winning and bestselling backlist titles featuring LGBTQIA+ characters are available everywhere books are sold, including:
and more!
Fans can also celebrate DC Pride and read comics featuring LGBTQIA+ characters online by visiting the DC Universe Pride hub page on DC Universe Infinite, DC’s premium digital comic book service. New titles are added every month, and a selection of free-to-read titles will be featured for registered users during Pride!
DC and Warner Bros. Discovery are proud to be working in partnership with LGBTQIA+ organizations such as Trans Lifeline, PFLAG National, The Trevor Project, Family Equality, Human Rights Campaign, and Athlete Ally, and more, to celebrate Pride in 2023. Warner Bros. Discovery and its brands have long-standing relationships with these nonprofit partners through the ongoing support of their work and year-round collaboration on social impact initiatives.
Through paneling, events, advertising, outreach, and more, these partnerships help to create a more inclusive and compassionate culture for all superhero fans and provide resources for readers looking to learn more about these nonprofit organizations.
Stay tuned for more Pride announcements from DC and Warner Bros. Discovery Global Consumer Products between now and June! #DCPride
Actor Zachary Levi stars in the DC superhero series Shazam, and in a new interview, he discussed how he landed the role after initially intending to take a break from acting to focus on therapy.
Appearing on The Tonight Show Starring Jimmy Fallon, Levi said he was “in kind of a dark place” in his life when DC was casting Shazam. He previously discussed his use of sex, drugs, and alcohol to distract and numb himself from the pain of his personal life.
Levi underwent “super intensive, life-saving therapy” where he said he learned how to love himself for what he said was the first time in his life. He had a breakthrough. He was getting to a better place in his life, but he still told his agents he wanted a break from acting during therapy to grow and heal further. But he auditioned for Shazam anyway, and he ended up landing the role.
“In the course of basically one week, I ended up going from auditioning for this whole other role to them saying, ‘Hey, we think you’re our Shazam,'” Levi said (via The Hollywood Reporter). Levi had another audition and was eventually given the role of Shazam. “It’s indicative of when we do the real work to heal ourselves, and help other people heal themselves, that’s where all the good stuff comes from. That’s where that blessing landed in my life,” he said.
In addition to Shazam, Levi is known for his starring role on the TV series Chuck and for voicing the Disney character Flynn Rider in the movie Tangled.
Shazam: Fury of the Gods releases in theaters on March 17. It brings back Levi and Asher Angel, alongside a trio of big-name additions, including Helen Mirren, Lucy Liu, and Rachel Zegler.
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Deadites are everywhere in Lee Cronin’s newest film Evil Dead Rise. Taking place in cosmopolitan Los Angeles, these wacky demons still cause high-rise havoc in the modern era. Also written by Cronin, a true fan of the franchise, the movie stars Alyssa Sutherland, Lilly Sullivan, Morgan Davies, Gabriele Echols and Nell Fisher. It is interesting seeing these stories shift from a male to female perspective, showing that women can also be heroes of the supernatural as well.
Evil Dead Rise starts with a sweeping shot along a creek. This is the typical way a Deadite approaches its next victim — but no, that’s just a drone used by Caleb (Richard Crouchley), who’s hanging out with Teresa (Mirabai Pease) on a lake dock. Rounding out the trio is Jessica (Anna-Maree Thomas), who is sick in bed and not up for activities. When Teresa checks on Jessica, she can see that her friend isn’t having a restful sleep. As she reads Wuthering Heights, Jessica pops up, falls to the floor, convulses and transforms into a Deadite demon. Her possession is connected to the events in L.A that happened the day before as the film cuts to an apartment where Ellie (Sutherland) and her children Danny (Davies), Bridget (Echols) and Kassie (Fisher) live. Her younger sister Beth (Sullivan) shows up after finishing a tour in Bangkok and needs a place to stay, while being simultaneously informed that her family has one month left in the building before it’s demolished.
Ellie sends her kids on a pizza run, but as soon as they return, a 5.5 earthquake hits the area, destroying the apartment and creating a deep hole in the parking garage where her kids are. Danny goes into the hole to explore and finds the Book of the Dead and a few vinyl records. Not knowing what the hell they have their hands on, she takes it home to investigate. Opening the book and playing the records delivers the incantation that gets the Deadite party going. But instead of possessing the person who started it, Ellie is the one who gets caught in the middle. Beth, her nieces and nephew must find a way to break the spell before they all are consumed by this curse of the damned.
The Deadites are one of the most comedic and charismatic of horror canon, causing its victims to act in strange ways while mocking itself and others. Cronin understood how to use these attributes and gives their actions and dialogue a modern flair. The director-writer also expounds on some the lore of this demonic force. Hearing this information lends credence to why a chainsaw will always be the Evil Dead universe’s most coveted weapon. Cronin also deploys familiar camera tricks and angles that are reminiscent of the original movies. However, it’s not a duplication of Sam Raimi’s work but an appreciation because the director uses these elements to build a one-off that is wholly his own.
Thanks to stunt coordinator Stuart Throp, the cast of Evil Dead Rise look strong and agile as their bodies shift and contort in various ways to show the demonic hold it has on the characters’ mind, body and spirit. Physical acting has been a hallmark of the franchise since the first film in 1981, and everyone is on board no matter how uncomfortable it might look. That and the practical effects and stunning makeup are the reasons why the Evil Dead movies are some of the most revered in the genre.
What bothers me about the film is the same thing that annoys me about all horror tropes and how they’re deployed. Why is everyone standing around doing nothing? Why are people voluntarily exploring weird locations and bringing back artifacts they aren’t familiar with? Why are they loud and making noise? Why, why, why? There has to be smart and innovative ways to execute these ideals without making the characters look like fools. These tropes are the worst way to move the narrative forward — though, to be fair, it’s not an Evil Dead movie without people bringing death upon themselves because of their nonsensical actions.
The 2013 Evil Dead pic was a bit more self-serious than the films before it. Maybe that was Raimi and Rob Tapert’s effort to shift things in a new direction, but it didn’t quite work. Although this premise takes place in the city, as opposed to the woods, Evil Dead Rise feels like a real return to form. It’s funny, absurd, gory, bleak and will keep viewers on edge — just how fans like it.
Everything Everywhere All at Once just tipped the balance sheet heading into the Oscars on March 12. The mind-bending sci-fi hit cleaned up at the Screen Actors Guild Awards (SAG) Sunday night, with four of the major wins, making it a record for the awards show.
The multiverse dramedy secured another Best Female Actor win for Michelle Yeoh, who paid tribute to close competition “titans,” Cate Blanchett (Tar) and Viola Davis (The Woman King). Yeoh was the favorite—and deservedly so—and gave a heartfelt, emotional speech, also cursing hilariously when she was overcome.
“This is not just for me, this is for every girl who looks like me,” she said, according to The Guardian. “Thank you for giving me a seat at the table.”
Continuing their awesome friendship award show moments, Yeoh and her Everything co-star, Jamie Lee Curtis, were ecstatic about each other’s wins.
Proud ‘nepo baby’ Curtis
Curtis also got her own award, for Best Supporting Female Actor, for her turn as the amusingly droll IRS agent-nemesis to Yeoh’s dry cleaning lady in Everything. She embraced the controversial “nepo baby” label being thrown about, but also shrugged it off, choosing to celebrate her big win as a 64-year-old woman.
“I know you look at me and you think ‘nepo baby’, and that’s why she’s there and I totally get it. But the truth of the matter is that I’m 64 years old and this is totally amazing,” said Curtis during her acceptance speech.
Wins for 60+ women in an ageist Hollywood have been quite a trend this awards season, one that we just can’t get enough of.
She also continued to own the nepo baby title during the “why I became an actor” segment. In fact, the “actor starts” anecdotes were a real highlight of the program and another example of the kind of positivity that the SAG Awards tapped into that made it a more joyful affair than say this year’s dismal Golden Globes.
Everything Everywhere All at Once party continues
Joining in the accolades was also Ke Huy Quan, who won Best Supporting Actor, and celebrated his historic win by shouting out to all his Asian peers. His beautiful enthusiasm has been a glorious journey all year long, and if you haven’t followed his highlights on Instagram, you really need to!
Both he and Michelle Yeoh made history as the first Asian actors to win the Best Actor statues. Quan said that the few opportunities for Asians in the industry contributed to him taking a long break from acting, but he noted that the “landscape looked so different now than before,” and celebrated the numerous Asian actors who were nominated this year.
The historic fourth award went to the entire ensemble of Everything Everywhere All at Once, where they handed the thespian statue to the film patriarch, 94-year-old James Hong, who got his SAG card 69 years ago! His speech is worth watching in its entirety and was the best moment of the night for me.
Michelle Yeoh and the EEAAO cast honoring the great James Hong during their SAG speech has me EMOTIONAL: “He just turned 94 years young, and it’s been 69 years in the making to get him to the stage. Our patriarch, our friend, our gung-gung: James Hong!” pic.twitter.com/PByqsvA5WM
He’s been the favorite all season long (for his incredible performance in The Whale), so no surprise that Brendan Fraser beat out stiff competition from Austin Butler (Elvis), continuing the comeback journey everyone is cheering for. His emotional speech was another endearing highlight.
Jennifer Coolidge won for Female Actor in a Drama Series, The White Lotus. Another 60+ actor (hurray!), she teared up thinking of her father and the time he snuck her out of school in the first grade so they could enjoy a Charlie Chaplin film festival (how cool is that?).
‘It was impossible for them to lie’ — Jennifer Coolidge credits the one time her dad lied for creating her love of acting while accepting the SAG award for Female Actor in a Drama Series for her performance in ‘The White Lotus’ pic.twitter.com/WZRp1CB8ct
Another favorite moment was courtesy of two dark comedy actors, Jenna Ortega (Wednesday) and Aubrey Plaza (White Lotus, but really, she’s like in everything!). Comedic gold. Also, someone needs to put these two in a project stat!
Jenna Ortega and Aubrey Plaza presenting together at the SAG Awards: “I don’t know why they paired us up… we have nothing in common.” pic.twitter.com/3tP7ihaF6F
As if Sally Field’s Lifetime Achievement Award wouldn’t be enough, this also gave us the feels for her Spiderman reunion with Andrew Garfield. These two just seem attached at the hip and also need another project together.
This also gave Austin Butler the opportunity to play gentlemen as he helped the 87-year-old legendary actor to the stage.
Not once, but twice.
And we also got an awesome Parks and Recreation reunion with Amy Poehler and Adam Scott (who was nominated for the excellent Severance).
Fellow co-star Plaza also joined in on the fun.
You can find the full list of winners here. And the lowdown on the fashion in The New York Times, including Zendaya’s amazing pink, rose dress and Austin Butler’s very cool burgundy tux.
The Academy Awards take place on March 12. You can bet that Everything Everywhere All at Once will be a big frontrunner.