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Ellie Goulding kept it chic while leaving “Good Morning America” in New York City.
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Ellie Goulding kept it chic while leaving
Ellie Goulding kept it chic while leaving “Good Morning America” in New York City.
Ellie Goulding kept it chic while leaving
Former President Donald Trump is allowed back on YouTube.
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.
Former President Donald Trump is allowed back
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.
YouTube has lifted restrictions on former President
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.
Read all the Latest Movies News here
Upendra, Shriya Saran, Kiccha Sudeep, and Shiv
Mixed reactions to Sello Sebotsane’s ‘Scandal!’ casting following GBV allegations
Mixed reactions to Sello Sebotsane’s ‘Scandal!’ casting
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.
You can train Leo to read your biopharma feeds and prioritize articles related to IL33.
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.
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.
You can combine topics with +AND and +OR and create even more targeted priorities for Leo.
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.
See how Feedly for Biopharma can help you and your team dig deeper into the genes you’re researching.
Drug development is a highly competitive space
201
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.
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).
DC Pride 2023 #1 Main Cover by Mateus Manhanini
DC Pride 2023 #1 Spot Foil Variant Cover by Jen Bartel
The DC Pride 2023 creative teams and the characters they are developing stories for include:
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:
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
201 DC’s annual Pride anthology, DC Pride 2023,
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.
In other news, Levi recently made headlines over his comments about COVID-19 vaccine-maker Pfizer, prompting a response from DC boss James Gunn. Fury of the Gods, which opened in theaters on March 17, is not expected to make as much money as the first movie over its first weekend in the US.
The products discussed here were independently chosen by our editors.
GameSpot may get a share of the revenue if you buy anything featured on our site.
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.
Deadites are everywhere in Lee Cronin’s newest
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.
Other highlights
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?).
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!
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.
Everything Everywhere All at Once just
To a lot of people, Patrick Fabian is most well known these days for playing Howard Hamlin in the Breaking Bad spinoff Better Call Saul, which concluded with its sixth and final season last year. However, 2022 also saw Fabian receiving attention for a much different reason. The actor shot a Cameo video that referenced the anime One Piece, and now the actor has shared with CinemaBlend what he thought about the video going viral online.
For those who want the entire history of The One Piece is Real meme, I’ll direct you to Know Your Meme for the full breakdown. Basically, what you need to know is that this was already a popular meme revolving around a character from the One Piece anime named Edward Newgate, a.k.a. Whitebeard. Before dying, Whitebeard exclaimed to the world that the title location where Gold Roger’s treasure resides along the Grand Line, which protagonist Monkey D. Luffy and so many pirates in that world have spent years searching for, did, in fact, exist. Cut to last August, a Reddit user named DeanDealsMang shared a Cameo video he had made for someone called “Kid named Finger” where he got Patrick Fabian to say “The One Piece is real!” in his own unique way. Check it out:
@nv_haha (opens in new tab)
♬ The one piece is real Howard Hamlin – NV (opens in new tab)
Not only did the original Reddit post get a lot of upvotes, but it in turn led to people taking Patrick Fabian’s audio and mashing it with the original The One Piece is Real meme, and there were even some fans who even combined the meme with Better Call Saul material. So while speaking with Fabian about his performance as Harvey Dent in the animated DC movie Batman: The Doom That Came to Gotham, I asked the actor how he felt about his One Piece video going viral, and he responded:
It’s so funny, talk about unintended consequences, right? I clearly, clearly had no idea what that was, and I thought it would just be fun. ‘Cause somebody thought it would be fun, and I thought I was doing an inside joke for somebody. And then it became what it became, then I found out what it was. It was extraordinary to watch it go. And it was also extraordinary to watch it go one way, and then I guess somebody referred to me as ‘this guy,’ and then the Better Call Saul fandom came back and they said, ‘This guy? That’s Howard Hamlin!’ And then people started doing all these Howard Hamlin memes. I mean, honestly, I’m a father of two, two dogs, I have a Toyota Highlander, I live in the Valley in Los Angeles, you know what I mean? And all of a sudden this thing is swirling around me. This really reminded me of the power of the internet, and thankfully, it was just sort of a fun, crazy car ride for a little bit. But it did remind again of like, ‘Man oh man, things can get out of hand pretty quick on the internet, can’t they?’
Patrick Fabian gained a lot of fans for his time as Howard Hamlin on Better Call Saul, and he’s even been recognized for starring in Saved by the Bell: The College Years (albeit as the wrong character), but now there’s a section of the internet that chiefly knows him as The One Piece is Real guy. After I brought up how I wasn’t aware of the meme until I saw the footage from his Cameo video, which exemplified how popular it was, Fabian said:
I mean, just nuts… Guess what? When I die, hopefully they’ll mention Better Call Saul, but I can guarantee you they’re gonna mention the One Piece.
Although Patrick Fabian does have other projects coming up besides Batman: The Doom That Came to Gotham, including The Other Zoey, The Way We Speak and The Hereafter, with Better Call Saul over, The One Piece is Real meme could indeed be the main way online chatter about him is generated for the foreseeable future. Looking to the One Piece anime, if you’re interested in streaming seasons of the long-running show, you can do so with a Hulu subscription or Netflix subscription, as well as on the Crunchyroll and Funimation platforms. Netflix is also home to the upcoming live-action One Piece series adaptation, which boasts a sprawling cast.
As for Patrick Fabian, you can hear him voicing a 1920s version of Harvey Dent when Batman: The Doom That Came to Gotham is released on Digital, 4K Ultra HD Blu-ray Combo Pack and Blu-ray on March 28. HBO Max subscribers can also view Fabian’s previous animated DC outings as Hank Henshaw/Cyborg Superman in the movies The Death of Superman and Reign of the Supermen, which were part of the DC Animated Movie Universe timeline.
To a lot of people, Patrick Fabian
“This time last year, all I was hoping for was just a job.” That’s how Ke Huy Quan opened a tearful acceptance speech at the Gotham Awards in November, when the possibility that the Vietnam-born, Chinese-American actor might be nominated for — and even win — an Oscar for his performance in Everything Everywhere All at Once was starting to crystallize.
Quan would go on to help drive a wildly successful Oscar night for Everything Everywhere All at Once’s indie producer and distributor, A24, which became the first studio in history to sweep the top six awards — picture, director and all four acting prizes — in a single year. The studio’s stunning Oscar haul, which also included Brendan Fraser’s win for The Whale, owes a lot to the appeal of its actors, and to the deft deployment of their charm at screenings, events and on social media.
Winners Michelle Yeoh, Jamie Lee Curtis, Quan and Fraser are all industry veterans who have ridden out career lows. “They focused rightly on the cast,” says a strategist at another studio. “And their actors are so lovable that you wanted good things for them.” Says an executive at another competing studio: “Their comeback narratives – Ke’s particularly — really resonated with voters.”
Some of the events and social media use in support of the film fell into a gray area when it comes to Academy rules, however, prompting some competitors to complain to the Academy. After Oscar nominations are announced, and until the final polls close, film companies are not permitted to invite Academy members to attend any parties or other non-screening events that promote nominated films. A24 itself followed those rules, according to multiple sources connected with the studio, but friends of the actors hosted their own gatherings. Academy members including Jodie Foster, Jake Gyllenhaal and Melanie Griffith threw Jamie Lee Curtis a party in Marina del Rey on Feb. 15, and the Mandarin Oriental Hotel in Beverly Hills hosted a dinner for Michelle Yeoh on Feb. 12 that was attended by Academy members including producers Jerry Bruckheimer and Jon Landau and directors Michael Mann and Oliver Stone. Yeoh also shared — and then deleted — a Vogue story on her Instagram that noted that Cate Blanchett has “already won two Oscars.” The Academy forbids social media that singles out the competition.
Some competitors say that after the Academy declined to take any punitive action against the people behind the unconventional best actress campaign for Andrea Riseborough, the events for Curtis and Yeoh didn’t surprise them. “It’s the Wild Wild West out here now,” says a strategist for another studio. “You can only expect folks to use all avenues that are available to them. If the Academy isn’t willing to set the tone in a way where there are repercussions when those rules aren’t followed, what do you expect?” Says the executive at the competing studio: “I don’t begrudge them pushing the envelope. They won it in the end and that’s all anyone’s gonna remember.” The Academy is expected to review its campaigning rules this summer.
Part of what makes A24’s Oscar wins so remarkable is that they mostly came on the back of a quirky, genre-straddling sci-fi comedy that opened in theaters well outside the traditional awards movie launching window. Everything Everywhere All at Once premiered not at Telluride or Cannes, but at SXSW, which is traditionally better known for its breakfast tacos than for its awards imprimatur. After opening March 25, the film became a box office phenomenon, eventually collecting more than $100 million worldwide.
Much of the A24’s campaigns for both Everything Everywhere All at Once and for Fraser relied on traditional tools, such as cast Q&As with guilds and media coverage. Strategists at Cinetic Marketing and Divergent PR coordinated those efforts, which benefited from a growing and fervent fan base for the film and actors with great chemistry. Some guild audiences would return for multiple viewings and those audiences in turn helped recruit skeptical awards voters. “It was a polarizing film,” says the executive at a competing studio. “But its fans were so passionate that they were converting members who were not into it the first time they tried to watch it. People said, ‘OK, this movie has made $80 million and gotten so many nominations. I know I tried to watch it and didn’t get it, but I’m going to try again.’”
Some competing strategists looked with envy at how well A24’s actors used their own social media accounts, particularly Curtis, who has 5 million followers, and Yeoh, who has 1.8 million. As she did in awards shows and press, Curtis served as an enthusiastic wing woman for Yeoh, which had the effect of reflecting well on her. “Jamie Lee Curtis used social to her advantage in ways a lot of other nominees don’t have the skill or the personality to do,” says one competing strategist. “This season and the results speak in such a big way about how things are changing. Social is just so important, which is what A24 does so well. It’s the best way to reach people now.”
“This time last year, all I was
Katie Holmes surprised us back in September with the sleek sideswept baby bangs she wore to a Tom Ford fashion show. It was a marked departure from literally any hairstyle we’ve seen on the star, and we’re not going to lie; we were really into the edgy baby fringe. It seems to be an era of change in the hairstyling department for Holmes because in early March she was spotted in the streets of New York City with her naturally wavy hair texture.
We don’t often get to see Holmes’s tousled waves, so this instance felt like a treat—and trust, we are admiring every inch of this textured look. The Dawso’s Creek actor was walking through the New York City streets in a butter yellow two-piece suit with a white mesh shirt and her waves flowing around her. The ends of her tousled brunette waves cascaded past her collarbones into a medium-length style. Her hair looked like to have been left unstyled and was loosely swept over one shoulder—the textbook definition of flawless bedhead. Katie, if you’re reading this, please let us know what, if anything, you used to accomplish these gorgeous waves.
Katie Holmes surprised us back in September
SXSW FILM FESTIVAL 2023 REVIEW! Mental Health and its related diseases and conditions are a rich seam to mine for film. In writer-director Dillon Tucker’s Pure O, we encounter pure obsessive-compulsive disorder. With the “pure” version of obsessive-compulsive disorder, you see none of the ritualistic behaviors, and the patient suffers all the anxiety. Thus we find our protagonist Cooper (Daniel Dorr) in his car working through his anxiety nightmare that he’ll kill his fiancee Emily (Hope Lauren) with a butcher’s knife.
The damning thing about such anxiety is it probably won’t manifest itself until a deeply inopportune moment. So Cooper, realizing the harm that could be done if it’s not addressed, seeks help. Initially, he and Emily believe this is depression. However, therapist Penelope (Theresa Hayes) directly identifies it as obsessive-compulsive disorder. So he’s referred to Nora (Candice Renee), who runs a group therapy for people with pure obsessive-compulsive disorder.
Were it just the group therapy sessions, Pure O would have been intriguing. By blending those sessions with sequences at the rehab clinic Cooper works for, and the intimate space of Emily and Cooper’s relationship, we have a deep dive into the life of a man determined to work through his issue. Cooper is a poster child for therapy. As we watch him put in the time and the hours, which is contrasted by the addicts he is counseling.
“…runs a group therapy for people with pure obsessive-compulsive disorder.”
One addict in particular, Brandon (effectively portrayed by Jeffrey A. Baker), is a really hard case. He’s been in and out of therapy for a long time, giving in to the bottle every time life gets hard. He also is very standoffish and doesn’t want to participate in the therapy he views as useless. For Brandon, the clinic is his safe space where he can hide from the outside world.
To complicate matters further, Emily’s father, Steve (Timothy Landfield), has developed stage 4 cancer and can tell the end is nigh. Watching Cooper interact with Steve in such a soft and caring way is wonderful. A great balm to the spirit is to realize no matter how bad your situation feels, someone out there has it worse and needs your assistance.
Pure O possesses a very strong acting ensemble. Everyone on display is giving it their all. You watch as Dorr portrays Cooper’s misgivings, setbacks, and progress with a gentle and smooth approach. Everyone else seems to work with the copious energy the lead actor provides. Dorr is a natural leading man, and I look forward to seeing him in more speaking roles.
Tucker wrote, directed, and edited a fine film in Pure O. It is beautifully shot and features some really great California set locations. The film possesses a warm, understanding vibe to it. I found the film to be a sweet experience and a marked change of pace from standard cinematic fare these days. Truly, it’s independent film where you find the titles worth championing. Seek this out if you need a film that will serve as a warm hug.
Pure O screened at the 2023 SXSW Film Festival.
SXSW FILM FESTIVAL 2023 REVIEW! Mental Health
Almost two years after the Taliban’s takeover of Afghanistan, the jihadists who transitioned from the battlefields to paper-pushing government jobs in the city are ready to quiet quit.
The Afghanistan Analysts Network, a non-profit policy research organization working to increase the understanding of life in Afghanistan, released a report last month examining how the jihadists who took over Kabul—many of whom arrived in the capital for the first time—were finding city life and their new roles.
Researcher Sabawoon Samim interviewed five jihadists who had spent several years of their lives fighting for the Taliban. “They ranged in age from 24 to 32 and had spent between six and 11 years in the Taliban, at different ranks: a Taliban commander, a sniper, a deputy commander and two fighters,” Samim wrote in his report. “Broadly speaking, all of our interviewees preferred their time as fighters in what they considered a jihad.” Now, the men find themselves shackled with the bureaucracy of running a country as they work civilian jobs and security positions, spend too much time in traffic and on Twitter, and yearn for the tranquility of village life.
“The shift to working within government structures has forced them to adhere to official rules and laws they never faced before. They find ‘clocking in’ for office work tedious and almost unbearable, although some said they were now getting used to the routine,” the report states.
“We couldn’t destroy the Taliban, but office work destroyed the Taliban,” said one Tiktoker, reviewing articles and quotes from the report. Here are the various reasons the interviewees are fed up with a 9-to-5:
The former fighters found themselves missing the freedom of the front-lines as they adjusted to the mundane nature of office work. Huzaifa, a 24 year-old former sniper, said, “The Taliban used to be free of restrictions, but now we sit in one place, behind a desk and a computer 24 hours a day, seven days a week. Life’s become so wearisome; you do the same things every day.”
“In our ministry, there’s little work for me to do,” said Abdul Nafi, 25. “Therefore, I spend most of my time on Twitter. We’re connected to speedy Wi-Fi and Internet. Many mujahedin, including me, are addicted to the Internet, especially Twitter.”
And with a 9-to-5 comes the dreaded commute—and actually having to show up for the job in order to get paid. “What I don’t like about Kabul is its ever-increasing traffic holdups.” Omar Mansur, 32, said. ”These days, you have to go to the office before 8 AM and stay there till 4 PM. If you don’t go, you’re considered absent, and [the wage for] that day is cut from your salary. We’re now used to that, but it was especially difficult in the first two or three months.”
A Taliban fighter watches as Afghan women hold placards during a demonstration demanding better rights for women in front of the former Ministry of Women Affairs in Kabul on Sept. 19, 2021.
Bulent Kilic—AFP/Getty Images
Government work has come with pressures and responsibilities the men did not prepare for– or particularly want. “In the time of jihad, life was very simple. All we had to deal with was making plans for ta’aruz [attacks] against the enemy and for retreating,” said Huzaifa. “People didn’t expect much from us, and we had little responsibility towards them, whereas now if someone is hungry, he deems us directly responsible for that.”
Abdul Salam, 26, says, “Whatever happens in Afghanistan, people blame us. Even a minor misdeed by us makes it to the media that the Taleban are doing this and that. It’s like the cameras of the entire world are watching us.”
Work has heavily cut into their social lives too. “Those in Kabul, like me, work from 8 AM to 4 PM. So, most of the week, we don’t get any time to meet each other” said Mansur.
The camaraderie amongst fighters has dwindled, the jihadists say, as previously non-existent hierarchies are now far more apparent, and many around them get swept up in the pursuit of money. “I sometimes miss the jihad life for all the good things it had,” said Nafi. “During jihad, you couldn’t have known the difference between a commander and a foot soldier like me.”
Kamran, a 27 year-old deputy group commander, longs for the simple life. “Now, when someone’s nominated for a government job, he first asks whether that position has a car or not. We used to live among the people. Many of us have now caged ourselves in our offices and palaces.”
During the insurgency, Samim notes that the men did not need to earn money to support their families, as the movement covered their expenses. “The jihad, a religious duty which exempted them from such everyday concerns, is over: they now have to work for the survival of their families like everyone else.”
The high cost of rent and his relative low pay have been a barrier for Mansur, who is not earning enough money to move his family to the city. Salam echoed the high cost of living in Kabul, and said that he missed the freedom of the jihad, with little supervision and a clear purpose.
“There is a proverb in our area that money is like a shackle,” says Salam. “Now, if we complain, or don’t come to work, or disobey the rules, they cut our salary.”
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There’s a reason they call him The Darkling. Ben Barnes‘ General Kirigan is on a downward spiral in Season 2 of Netflix‘s Shadow and Bone as he seeks to expand The Fold and reign over Ravka.
While in Season 1, the then-leader of Ravka’s Grisha army was a respected and charismatic Shadow Summoner, Kirigan has done away with the facade for Season 2. After surviving a Volcra attack that led everyone to believe he’d died, Kirigan has returned — very much alive and with a literal shadow army at his disposal that he’s using to stoke enough fear in the remainder of the Grisha army that they will help him defeat Alina Starkov (Jessie Mei Li), who has set out to find the supposedly mythical creatures that can amplify her powers enough to destroy The Fold.
“[Kirigan] was always on the wrong side. He’s always the villain. But in this season, it’s unleashed a little bit and he doesn’t have an army to rely on. He doesn’t have these masks of charm to rely on,” Barnes told Deadline, adding that the shift “felt quite freeing actually, just to be able to walk into the scene and say, ‘This is what I’m trying to do. And if you don’t help me, I’m going to kill you.’”
With the facade peeled back and Kirigan only getting stronger, Barnes added that he was adamant about making sure the character had a weakness. Not only are his shadow monsters poisoning him from the inside, but he’s losing supporters by the day — stoking a fear inside him that he may spend another 400 years alone.
“I think it’s much more interesting if there is mortality to this character and awareness of it because when time runs short, that’s when you make decisions that feel important,” Barnes said.
The actor spoke with Deadline more about diving into this deeply complicated character for Season 2 of Shadow and Bone in the interview below.
DEADLINE: For most of Season 1, General Kirigan is pretty well respected and well liked. In Season 2, he’s feared more than anything else. How was it to be able to tap into the much darker side of Kirigan for this season?
BEN BARNES: When I took on the role initially, I knew there would be this catalytic moment for playing him about halfway through the first season when we would see him turn from this man who leads with authority but also with charm — I like it as an audience member when you’re just like half a step ahead of what you’re being shown. I think my intention was to show just enough of the manipulation just before the moment of it being explained to you so you don’t feel patronized. That’s really fun for me to look at those curves and those arcs and to chart them through. I purposefully asked to put in some moments of vulnerability, potentially that almost felt romantic, right before the moment of the turn because as the characters feel betrayed, I think the viewer should feel a little bit betrayed by what you’ve done. When coming into the second season, this is a man who is no longer toying with masks of charm that he’s built up in his arsenal. He’s a more raw version of himself, but…he finds himself now in slightly unsteady territory. He’s always been alone, but now I think he feels lonely in a different way, and he really doesn’t have anyone to get advice from, to get solace from, comfort from. He also doesn’t have his position to anchor him. He doesn’t have the status anymore. Like you said, he’s not really revered. He’s just feared and he’s so much more powerful. I think even he’s a little scared of himself. The wonderful thing about fantasy is you can make analogies so very clear, and he literally has his demons, his own shadows, inside of him. He’s carrying it around with him, and it is weighing pretty heavily and it starts to even betray him a little bit. But at the same time, he has to take ownership of this sort of villainy and his toxicity at this point. I think he begins to wrestle with and understand that. Like a lot of those villains that you’re on the fence about, his agenda is to safeguard his people and to protect the people that he cares about, and his ‘family,’ which feels like a noble thing. But if you do it at the expense of other people, then you become this dictator, like these figureheads that we have in the world today that strongly believe that every move they make is the right one and to everybody else they feel like borderline fascist dictators. [Kirigan] was always on the wrong side. He’s always the villain. But in this season, it’s unleashed a little bit and he doesn’t have an army to rely on. He doesn’t have these masks of charm to rely on. He’s unleashed into this slightly more raw territory, and that felt quite freeing actually, just to be able to walk into the scene and say, ‘This is what I’m trying to do. And if you don’t help me, I’m going to kill you.’ I think that was an interesting counterbalance to the first season. But then what was important to me, and the thing that we worked on really hard was to add something that’s not really in the books, which was my issue when talking about the second season initially, was that there aren’t really stakes for him as a character because he’s all powerful and fears nothing. So we worked very closely with our showrunners on having something for him to be afraid of. Spending another eternity alone is very scary for him but also he’s being poisoned by his own demons. I think it’s much more interesting if there is mortality to this character and awareness of it because when time runs short, that’s when you make decisions that feel important.
DEADLINE: I’m glad you brought up the shadow monsters being a metaphor. I think that comes to a head when they attack Alina and he can’t stop them. You see that he’s just as scared of them as everyone else is.
BARNES: We have a taste of it with his mother as well, which is a relationship that’s obviously built up much more in this season. You realize that even though he’s kept this person hostage, and resents her very much — like that [Philip Larkin] poem ‘They f*ck you up, your mum and dad. They may not mean to, but they do.’ She takes responsibility for it as well. She says to Alina, ‘I’m not your salvation. I was not a good person.’ I liked that about the villains in our story. The shadow has an awareness of itself, which I think makes the characters a bit more three dimensional and thoughtful. So we have a little taste of it when the monsters attack his mother, and it sort of takes him by surprise. When he’s responsible for his mother’s death, he blames Alina and then he goes pretty dark on her in the sixth episode. But then the results of how that conflict play out and the more he sees what she’s capable of, and what she really is when she’s in the fold and how powerful she really is — that actually maybe there’s a way that she could do this. She could play out his agenda without even needing him, and maybe he was wrong about it. There’s questioning in these moments where he realizes how mortal he is. The boy in him, the hopeful person in him is reignited, and you see these little cracks of vulnerability but it’s just too late.
DEADLINE: It’s interesting to hear you talk about his motivations, because he is so self aware that it makes it harder to empathize with him at times. He says to Alina that Ravka doesn’t need another saint, it needs a monster. How do you at all rationalize what he’s doing when he knows what he’s doing is terrible?
BARNES: Absolutely. I think there’s one thing he has going for him, which is consistency, because in the first season he talks to her about how he’s lived all these lifetimes and he’s tried it other ways. We even see in the flashbacks. And in the seventh episode, we’ve seen him trying to protect a different way without employing fear. And I think we see world leaders even now we flip flop between trying to lead by example and then trying to utilize threat. My agenda in the first season, even in talking about it in the press, was you have to align yourself with a character’s ideology in order to be able to have conviction in playing it. If I don’t understand them, then there’s absolutely no chance they come across as authentic. But that doesn’t mean I have to make them explicit. It can be for other people to define as they watch. I think what I like about this show and this character is that there is a little bit of mystery left and a little bit of confusion in him. I think he’s confused a lot of the time. He feels overwhelmed by this power because it does feel so dark, even for him. He’s left very much alone. He doesn’t have the mother that always supported him. Then he started to clearly have these feelings for Alina, who’s then moved past them. He doesn’t have his army anymore, doesn’t have his palace anymore, doesn’t have any of these things, and it brews into this storm. At least I don’t have to defend him anymore. I think in the first season talking about it, I felt the compulsion to be like, ‘Well, there’s a world in which this works.’ Because that’s what he believes. I think now it’s very much obvious that he’s gone off.
DEADLINE: You and Jessie have some very intense scenes together this season. How did the two of you work together to be able to carry those scenes, where you clearly feel these deep rooted, confusing feelings toward each other?
BARNES: Well, in the books there’s more clues [about their conflict]. She’s got all this attention. She doesn’t want it and it doesn’t seem to be getting her anywhere. There’s sort of a political infighting. And she’s like, ‘Well, if I could just use my power and just make everything how I wanted it…’ Then she realizes that’s what he’s been preaching this whole time. So we don’t really get into a lot of that in this season, because it’s thick, and we’ve got stuff to get on with. I think that we try as best we can to kind of sow that in still, but she has less conflict about him in the show. I think it’s a good thing, because it’s not an example we need to be putting out into the world. But yeah, we kind of fit our roles a bit better in the first season where I’m coming at this with 20 years of experience and Jessie’s fresher to this kind of experience. That naivety comes across beautifully in her performance in the first season. She has this wide-eyed wonder, and she has just a general joy about her which is so clear. It busts through the screen. By now, she is a little bit more experienced and has a power to her. She doesn’t suffer fools. I think she begins to realize she can manipulate [people] herself. She almost actually takes on a little bit of what his role was. At some point, she talks about ‘Well I can put on a mask too.’ But Kirigan is not an easy person to manipulate. So it doesn’t really work. He’s forced into this position of just confronting her and literally putting his hand over her mouth and shoving her up against the wall and silencing her and saying,’It will be this way.’ I think because we built up through the first season, this lovely friendship that we have, and we played these other elements of the characters, it was nice to explore the ones that we hadn’t. The gloves come off toward the end and then it’s interesting to navigate together what the history was between them and what the depth of feeling was. It’s not underlined. It’s left for people to decide who had feelings for who, and if so, what were they? We make those decisions very clearly ourselves, but not to spoon feed it. You have to build up trust to play romantic scenes, where you throw someone on a table and kiss them, but you also have to build up trust if you’re going to sneak up behind someone and grab them and be threatening and have your hand around their neck. You have to keep checking in with somebody and looking after them. It’s just as important in a fight scene as it is in a love scene. We’ve always had really good communication.
There’s a reason they call him The
Content generated by artificial intelligence – including AI writers like ChatGPT and image-generating tools like DALL-E 2 – can now be copyrighted if they meet certain criteria, according to the US Copyright Office.
Until now, the Copyright Office has only considered human-generated work for copyright applications, however, in a shocking turn of events it will now consider AI-generated content so long as a significant proportion of the work was also carried out by a human.
In a Statement of policy (opens in new tab) published earlier this month, the Office’s Director Shira Perlmutter wrote: “In the case of works containing AI-generated material, the Office will consider whether the AI contributions are the result of ‘mechanical reproduction’ or instead of an author’s ‘own original mental conception, to which [the author] gave visible form.’”
Perlmutter describes that the analysis would be on a “case-by-case” basis in order to assess whether the human is the true author of the content.
An example of a denied application would involve an AI writer receiving a prompt and generating new “complex written, visual, or musical” content. On the other hand, “sufficient human authorship” could result in the acceptance of a copyright application. This could involve the creative arrangement of AI-generated content or further editing whereby AI content is considered merely a template for further work.
The truth of the matter is that the world continues to battle logistically, legally, and ethically with AI as interest in the technology continues to surge, and it’s likely that processes like copyrighting will be continually monitored as further developments take place.
In order to help distinguish AI from human-generated content, there have been discussions of watermarking work created by machines, but so far that has proven troublesome.
Content generated by artificial intelligence - including
While Alfred Uhry and Jason Robert Brown’s “Parade” wasn’t ignored when it first opened in 1998 at Lincoln Center, its with its first Broadway revival, which opened Thursday at the Bernard B. Jacobs Theatre under the direction of Michael Arden, that it takes its place as one of the great American musicals.
While the hot-button period musical won the Tony Awards for best score and book 25 years ago, the prize for best musical went to the revue “Fosse.” By the time the annual awards ceremony came around, “Parade” had already closed after playing only a little over 100 performances.
Much has happened in the last quarter of a century since this historic story of a Jewish man framed for murdering a young girl in 1913 was set to music. Especially bracing today is Arden’s bold choice to feature prominently the Confederate flag in the show’s first big anthem, “The Dream of Atlanta.” At the preview I attended, a man was overheard during intermission outside the theater, announcing, “It’s the first time I’ve ever felt the breeze of a Confederate flag waving in my face! I wasn’t expecting that!” He happened to be sitting in the theater’s front row. Arden frames this bracing moment by having his Black actors stand apart and not sing, a nod to how director Bartlett Sher handled the theme of bigotry in his 2008 staging of “South Pacific” at Lincoln Center. There is also the rise of hate crimes in this century and, of course, the protest by neo-Nazis that greeted the first preview of this “Parade” only last month.
But great theater doesn’t rest on topicality alone. In the last quarter century, Broadway musicals – with a few exceptions – have grown louder and often crasser in their effects. “Parade” is a real throwback. While Brown delivers big arias and a couple of anthems, it is his smaller and more delicate moments of vocal writing that rivet our attention; that vocal beauty is what lingers longest after the last Memorial Day parade has passed.
It’s clear from the beginning that Leo Frank (Ben Platt) is innocent of the crime of which he’s accused, and his being Jewish only makes him an easy target in the Deep South. The beauty of Uhry’s book is that, once the trial for murder has begun, we begin to question Frank’s innocence ever so slightly. Key to that doubt is the gentle trio “The Factory Girls” (exquisitely sung by Emily Rose DeMartino, Ashlyn Maddox and Sophia Manicone), in which three young women in Frank’s employ at the pencil factory accuse him of making unwanted advances. Brown’s soft and dizzying score hypnotizes us into believing, for a moment, their version of events. That trial ends with Platt singing “Leo’s Statement,” in which he explains, “It’s hard to speak my heart.”
I saw Brent Carver in the original production of “Parade” and T.R. Knight in a 2009 production, directed by Rob Ashford, at L.A.’s Mark Taper Forum. I don’t recall either of those fine actors being quite as prickly and persnickety as the Leo Frank that Platt presents. He’s not a bad guy, but this man from Brooklyn has no interest in stooping to get along with the Southern yokels around. His blithe treatment of his wife, Lucille (the vocally splendid Micaela Diamond), can be described as aloof, and that would be a polite observation. Platt makes his character nebbish, but he doesn’t make him in any way likable. Until he sings “Leo’s Statement.”
Over an hour has passed before Platt sings that lament regarding Frank’s reticent personality. An hour plus is a long time to wait for the lead actor to grab our sympathy, but when the moment finally arrives, it is as revelatory as it is startling. And it is very, very quiet.
The musical’s second act unravels the lies told about Frank at the trial. Diamond makes the transition from doormat to headstrong to lead the charge to save her husband, and she and Sean Allan Krill in the role of the supportive Georgia governor carry the show to the end.
A couple of the villains in the piece might be overdrawn here, but that’s debatable. Otherwise, Arden’s direction of his cast is exemplary, and an especially poignant touch is the projection of historic photos that function to introduce their actor doppelgängers.
Above all, the fluid and often surreal staging of the Frank murder trial is an extended moment of brilliance in the theater that no musical aficionado should miss.
While Alfred Uhry and Jason Robert Brown’s
The makers of Everything Everywhere All at Once had a celebratory solution for the task of transporting everyone everywhere all at once on Oscar night: a fleet of party buses.
The best picture-winning team hit the town in supersized rides, traversing from the 95th Oscars to afterparties including Vanity Fair’s event at the Wallis Annenberg Center for Performing Arts in Beverly Hills and A24’s private bash at Soho House West Hollywood.
Days before the show, producer Jonathan Wang touched down on the blue carpet at the Spirit Awards (where the film dominated the show by winning seven of the eight awards it was nominated for), where he explained the decision to THR. “We’ve rented a party bus to get the whole cast and crew together so we could all show up together,” he noted, with an asterisk that “the legendary icons with big beautiful gowns” (aka, star Michelle Yeoh) would have to ride separately due to their ensembles.
Wang said the more the merrier for the big night, and what a night it turned out to be as the film earned seven Oscars including best picture, actress, director, editing, supporting actor, supporting actress and original screenplay. As the buses rolled through the city, the one with Wang and directors Daniel Kwan and Daniel Scheinert at one point blasted Queen’s “We Are the Champions.”
As for the party bus plan, Wang credited Kwan, one-half of the Daniels directing duo, for the idea. “One-hundred percent — Dan Kwan loves a party bus, who doesn’t?” Good point, but also worth pointing out that the idea has roots in their awards show past. “We took a party bus to the VMAs [in 2014] when we were nominated for [DJ Snake and Lil Jon’s] ‘Turn Down for What,’” he said in reference to the viral video that was directed by Daniels and won a trophy at MTV’s big show. “So this was a nice bookend from the VMAs to now.”
A version of this story first appeared in the March 16 issue of The Hollywood Reporter magazine. Click here to subscribe.
The makers of Everything Everywhere All at
Last Updated: March 17, 2023, 17:28 IST
Tom Hiddleston and Aditya Roy Kapur video called each other.
Aditya Roy Kapur has been receiving rave reviews for his latest web series The Night Manager. The show is an official adaptation of the 2016 thriller show which was released in the UK and also goes by the same name. While the remake starred Aditya Roy Kapur, the original show starred Tom Hiddleston in the same role. A month after the series was released, Aditya received a special call from none other than Tom himself.
The OG Night Manager Tom Hiddleston got on a video call with Aditya Roy Kapur and praised him for his version of the Night Manager. Aditya too took to his social media handle to share the same and wrote, “The OG Night Manager watched our show yesterday ! He had some kind words to say . Bas aur kya chahiye .”
Soon enough, fans thronged to the comments section and hoped that the two stars cross paths in Night Manager. “Omg i needed this crossover so badly,” a social media user said. “Manifesting a cameo from Tom in Aditya Roy Kapoor’s night manager,” added another. “OMG OMGG SO PROUD OF ADI ❤️❤️ Now want them in a show or a movie. Wanna see our Night Managers togther on screen,” a third comment read.
The Night Manager also marked Aditya’s web series debut. Earlier in an interview with Mid-day, the actor opened up filling Tom’s shoes in the show. “I loved the performances in the original. But you have to find your own way, and draw from what is in front of you on the paper because the language, characterisations, and certain situations change [when adapting]. So, you draw from that change. When I read the episodes, it became clear that Sandeep had rooted the story in the Indian sub-continent. While you can look at a great performance, you can never [replicate] what someone else has done because the essence is different [in a remake].”
The Indian version of The Night Manager is divided into two parts. While the first released last month, the second is slated to release in June.
Read all the Latest Movies News here
Last Updated: March 17, 2023, 17:28 ISTTom
Def Leppard drummer Rick Allen suffered a head injury after a 19-year-old spring breaker allegedly attacked him outside his Florida hotel over the weekend.
Max Edward Hartley — an Ohio resident vacationing in Fort Lauderdale — was hiding behind a pillar before he ran full speed toward the 59-year-old drummer, according to a Fort Lauderdale police report cited by the Daily Mail. Allen has only one arm due to a New Year’s Eve car accident in 1984.
Allen was standing near the valet area of the Four Seasons Hotel, smoking a cigarette, when he suffered the blow. He was knocked to the ground, and his head hit the cement, “causing injury,” the police report said.
A woman came running from the hotel to help the musician, but then Hartley allegedly turned on her, attacking her as she attempted to run back inside. According to police, Hartley “continued to batter her” while she was on the ground. He then grabbed her by the hair and dragged her from the lobby to the sidewalk before he fled the area, the report said.
Hartley was allegedly watching the musician before he assaulted him. The 19-year-old was arrested shortly after the attack near the Conrad hotel, where he damaged several vehicles in the parking garage. Allen provided a statement to police and requested prosecution.
Hartley was charged with two counts of battery, four counts of criminal mischief, and a count of abusing an elderly or disabled adult.
Allen was staying in the Fort Lauderdale area to perform at Seminole Hard Rock Hotel & Casino Hollywood on Sunday. Def Leppard and Mötley Crüe are in the midst of their World Tour 2023, which began last month and will conclude in August.
Def Leppard drummer Rick Allen suffered a
The long-awaited third installment of the Guardians of the Galaxy franchise is less than two months away, and so far, it seems the film is receiving positive feedback overall.
Guardians of the Galaxy Vol. 3 will be coming exactly six years to the date after the second Guardians film, on May 5. With it will come somewhat of an end to the Guardians’ story as a team, inevitably increasing the anticipation fans have for the film.
The galactic threequel will give fans glimpses into Rocket‘s backstory, make sense of what Gamora has been up to, introduce a new villain in the High Evolutionary, and tie up any remaining loose ends as the franchise draws to a close of sorts.
As such, expectations for the film are high, and the pressure is on for it to do well not only financially, but also, and arguably more impertinently, emotionally.
Speaking on The Hot Mic podcast, industry insider Jeff Sneider revealed Guardians of the Galaxy Vol. 3 is doing very well in test screenings, indicating good things for the film as a whole.
Sneider revealed he has “heard Loki [Season 2] is great and that Guardians of the Galaxy 3 is great.” This sentiment was then echoed by The GWW’s KC Walsh, but the scooper reminded fans to “never put a ton of stock in opinions via tests” as they don’t always represent the general audience’s reaction.
The film and franchise’s director James Gunn himself said in an interview with Entertainment Weekly that he “feel[s] very good” about the movie and that he “did everything that [he] possibly could to make this trilogy as good as it can possibly be:”
“Once I started doing the first Guardians movie, I felt drawn to it. I felt called to it, if that makes any sense. So I feel very good [about Vol. 3] because I feel like I did everything that I possibly could to make this trilogy as good as it can possibly be. And I feel incredibly blessed and fortunate that I had all these people around me making it. It’s the biggest blessing of my life.”
While Walsh emphasized that fans should “never put a ton of stock in opinions via tests,” those opinions can have some merit as it pertains to fan reception if nothing else. Although Ant-Man 3 was similarly said to be testing well before release, and yet was quickly panned by fans and critics.
The people seeing these screenings are often people close to the project, though not always. They worked on the film and want to see these characters and stories done right. As such, that means their approval is worth something.
It seems likely that fans will react more positively than negatively to Guardians of the Galaxy Vol. 3, a welcome reaction following the majority of negative reviews of Ant-Man and The Wasp: Quantumania.
Guardians of the Galaxy Vol. 3 hits theaters on May 5.
165
Review: Superman: Lost #1
[Editor’s Note: This review may contain spoilers]
Plot & Script: Priest
Plot & Art: Carlo Pagulayan
Inks: Jason Paz
Colors: Jeromy Cox
Letters: Willie Schubert
Reviewed by: Joshua Raynor
SUPERMAN’S ODYSSEY OF SOLITUDE! After Superman is called away on a routine Justice League mission, Lois Lane awakens to find a complete stranger standing in her living room. The Man of Steel, home much sooner than expected, reveals he has, in fact, been lost in space for 20 years. Nothing and no one seem familiar to him anymore, and the timeless bond between them has been severed…or has it? Can love conquer all?
I came into this book not reading the summary first, so I had no idea what to expect, and it went in a totally different direction from anything I would have considered. The idea of Superman disappearing for twenty years, only for those he loves to not even realize it, as he’s only been gone a few hours for them, is wild and fascinating.
Superman: Lost #1 is just a starting point for this much bigger mystery, so it made sense that the majority of the issue was spent as a flashback, setting up his disappearance during a mission alongside the Justice League. But, even as a starting point, this served as a very compelling piece of what I’m hoping will be an amazing story.
Priest did a great job laying out who these versions of Clark Kent and Lois Lane are and what their relationship is to one another. Within the first five pages, you get a great understanding of how they interact — their snarky banter, corny humor, and even their sense of love. They feel a bit more like a typical, down to Earth couple than many other iterations, and I think that will really help to keep fans engaged and will make Superman’s apparent disconnect even more heartbreaking.
The art by Carlo Pagulayan is absolutely beautiful, leaning in a more realistic tone. Jason Paz’s ink shading gives a wonderful depth to these characters, and even manages to instantly make everything seem just a bit darker the moment Bruce enters the scene. It was such a flawless shift in tone and really pulled me in.
And if I’m going to talk about how the ink shading brought a much needed darkness to a dramatic scene, then it’s only right that I mention how Jeromy Cox’s vibrant colors served as a perfect deviation into the introduction of the Justice League, which is particularly evident in Superman’s outfit that goes from a noticeably duller blue and red on one page to being extremely vivid on the next. It’s incredible to look at.
And last, but certainly not least, is Willie Schubert’s letters. While this is something that tends to be overlooked in comic books, I’ve always been someone who takes special note of what a letterer is doing, because it can add so much to a scene without people even realizing. And Schubert does a masterful job of using subtle techniques to separate what’s happening so the reader doesn’t get confused. There are a few big, flashy lettering moments, which are all great, but it’s those smaller instances that really catch my eye and earn my respect. Well done.
The only nitpick I have is that there were a couple of moments where the dialogue felt a little clunky and not as natural as I would have hoped for, but other than that, I thought this was a great issue.
Overall, Superman: Lost #1 is a wonderful start to what very well may be a great sci-fi mystery story, and I for one am extremely excited to find out more!
165 Review: Superman: Lost #1 [Editor’s Note: This review
One year after its release, and with all of their extra content finally out, Jack and his crew are finally punching their way out of Epic Games. Stranger of Paradise Final Fantasy Origin will be available for Steam players starting April 6, and with a permanently discounted price too!
After a controversial, wacky release where the game was praised for everything but its overall performance (it has peak dialogue, and you can’t tell me otherwise), the game kept going on with more and more expansions. Now those who outright refused to get that game on Epic now have another option to experience Jack’s story.
With the announcement on Twitter, we’re also informed that the game will now have a permanently discounted price on every platform to accompany its re-release on Valve’s gaming service, including on Epic itself.
Related: Is the PC Port for Stranger of Paradise Good? – Answered
The price wasn’t updated yet, and the new values weren’t revealed either, but the best assumption is to expect the game to cost around $49,99 based on Crisis Core: Final Fantasy VII Reunion pricing on Steam itself. It might actually be lower, so we need to wait and see. There’s no official page for the game on Steam yet, and it might just be added when it’s finally out next month.
With three expansion packs available to the game (still sold separately, no info if they’re getting a price cut, too), it might be the best time to pick it up if you were one of those who attempted to play it on release but couldn’t bear the poor performance. Things are definitely better on PC (and all other platforms) after a whole year of patches and fixes, so why not give it a chance?
As a bonus, the game’s Soundtrack is also available on Spotify now! No Limp Bizkit here, but you can now make a flawless playlist that Jack is definitely listening to during the whole game. Those battle themes shouldn’t be allowed to go that hard.
One year after its release, and with
Paramount+ is launching its first-ever mobile-only streaming subscription plan in Mexico and Brazil.
Paramount+’s Basic Plan, described as “competitively priced,” will be available from April 18. It will allow subscribers to stream content on one mobile device or tablet at a time, uninterrupted and without ads.
“This new offering is part of our broader strategy to scale Paramount+,” said Marco Nobili, executive vice president and international general manager for Paramount+.
“With multi-tier pricing options, Paramount+ will reach even more subscribers by fitting diverse customer choices and grow our global direct-to-consumer distribution. With mobile entertainment consumption increasing around the world, a mobile-only option will make our slate of programming more accessible to our audiences in mobile-first countries.”
Paramount noted that content consumption habits were quickly evolving everywhere and that mobile in particular was growing in Latin America. Citing internal studies, the company said more than 50% of the online population in both Mexico and Brazil use smartphones to access streaming services for watching on-demand TV and movies.
Paramount+ offers exclusive originals, films and series from its parent company’s brands and production studios, including Paramount Pictures, CBS, Comedy Central, MTV, Nickelodeon and Showtime.
Paramount+ originals include the sci-fi hit “Halo”; “Yellowstone”; “1923”; “Tulsa King”; “Kamp Koral: SpongeBob’s Under Years” and the hit supernatural series “Wolf Pack.”
The service also boasts the new “Star Trek” series, including “Star Trek: Picard,” “Star Trek: Strange New Worlds” and Star Trek: Discovery,” “Star Trek: Lower Decks” and “Star Trek: Prodigy.”
Among its blockbuster films and original movies are “Top Gun: Maverick” and “Teen Wolf: The Movie,” “The in Between” and “Honor Society.”
In Latin America, the service also offers live sports content in select markets, including the English Premiere League in Mexico and Central America, Conmebol Libertadores and Conmebol Sudamericana in Brazil, which will also be available to stream through the mobile-only price tier.
The Basic Plan will launch in Brazil for 14.90 reais ($2.82) a month or 133.90 ($25.36) a year, and in Mexico for 79 pesos ($4.18 a month or 709 ($37.48) a year.
Paramount+ is launching its first-ever mobile-only streaming
No matter if you’re just getting into running or are a seasoned marathoner, you’ve almost certainly struggled with storing your stuff. The best running fanny packs not only hold everything you need (think phone, keys, and credit cards), but they also don’t bounce or chafe—and look relatively good with most workout clothes and sneakers too.
When looking for a belt bag to wear while running, there are a few things you should take into account: First, does it fit your phone? Unless you have a smartwatch that can make (and answer) calls, you probably want to run with your phone for both safety and convenience. Next, if you’re training for a half or full marathon—or logging distances that require on-the-go fueling—you’ll want to look for a style that has an easy-to-access storage area for gels.
Just like you would weigh the features in your running shoes, shorts, and sports bras, you’ll want to consider the overall fit and design of the fanny pack to find what’s most comfortable for you. Ask yourself if you prefer a belt bag that sits low on your waist or higher up by your belly button, or maybe you want one that can be strapped across the chest. Are you looking for a slim pocket attached to an elastic strap, or do you prefer the whole belt to essentially be one giant pouch? Finally, search out any small details that are important to you, like multiple zippers, inside pockets, or a reflective strip if you run early in the morning or at night.
Below, you’ll find the best running fanny packs for a variety of preferences and needs, many of which I have tried and worn myself as a seven-time marathoner.
All products featured on Glamour are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.
No matter if you’re just getting into
Note: The following discusses spoilers for “Good Trouble” Season 5 Episode 1.
The “Good Trouble” Season 5 premiere picks up right after the dramatic cliffhanger from last season, when a bullet collided with an unknown victim as Mariana (Cierra Ramirez), Joaquin (Bryan Craig) and Jenna (Maiara Walsh) attempt to escape a strange farming community that Joaquin believes has been holding his sister against her will.
In an unexpected turn of events, the Freeform series revealed that Mariana’s on-again-off-again boyfriend Evan (T.J. Linnard) was the victim of the shooting, after he’d joined Joaquin’s trip to the farm out of concern for her. Now his life hangs in the balance and Mariana’s been given the reins of his company while he recovers.
Ramirez teased that the twist leaves Mariana reeling with survivor’s guilt.
“She’s always had a soft spot for Evan, and for it to be him, or to be anyone, is difficult and horrible, but I think she’s gonna deal with a lot of survivor’s guilt moving forward,” Ramirez told TheWrap. “He was there when he shouldn’t have been, and she’s gonna have to deal with that moving forward and alongside him as he recovers, if he ever does.”
While Mariana struggles with the aftermath of the shooting, Ramirez hints that the character’s previous traumas come to the surface, leaving some potential Easter eggs for fans of “The Fosters.”
“Mariana has been through a lot of traumatic moments in her life and I don’t think she’s ever really dealt with it, so this was just another thing to add on,” Ramirez said. “It’s a lot deeper than we all think — I think she’s really gonna have to put everything aside and kind of look in towards herself.”
Though Mariana must do some work to confront her trauma, she didn’t have to do it all alone, as Callie (Maia Mitchell) returned to the Coterie in the wake of the tragedy and the sisters reunited in an emotional moment of support. This marked Mitchell’s first “Good Trouble” appearance since leaving the series at the beginning of Season 4.
“The first scene we filmed together was our reunion scene — Mariana runs into her arms and I swear, I just melted,” Ramirez recalled. “To have Callie there is just everything to her. She’s that older, wiser person in her life that can help her make those decisions … it’s the person she needed most and she showed up.
Keep reading to hear from Ramirez about what the tragedy means for Mariana and how it further complicates her feelings for Evan and Joaquin.
TheWrap: Mariana also faces a great deal of guilt as she reckons with Evan’s shooting. What’s going through her mind and why does she feel such guilt?
Cierra Ramirez: She didn’t have a lot of closure with their relationship. They’ve always kind of worked together very closely; he’s always been there. Everyone, I’m sure, can agree that you’ve kind of silently been rooting for them. It puts into perspective how much Evan means to her, and how much she means to him, because you’ll end up finding out that he legally has signed her as a proxy, so he obviously trusts her a lot. That just adds on to that guilt — oh my gosh, now I have all this pressure to make him proud and take over his company while he’s down.
She also seems to harbor some anger at Joaquin for bringing Evan with him. Can you walk us through those complicated feelings?
It all goes back to that survivor’s guilt — it’s her taking it out on Joaquin, but really she knows she made that decision to go to the farm, and he’s an easy person to place the blame on. It’s something that should have never happened — no one should have been in that situation. At the end of the day, it was her decision to go without telling anyone, so, of course, these people care about her, they’re gonna go and try and find her. But I think it’s just really easy to place all the blame on Joaquin, but really deep down, she’s feeling like it’s honestly her fault.
Why do you think Mariana decided not to tell anyone that she was going to the farm? Do you think she regrets that?
I think she definitely regrets it. I don’t think she thought it would get to where it is right now. I think she thought she’d be okay — meeting these girls at the farmers market, having a quick little dinner going to see Jenna. But then things really started to get real in the van ride over when her phone started to have no service, and she kind of started to get a feel for what the bee farm cult really was.
Why did Mariana feel this need to take matters into her own hands by going to the farm in the first place?
She really cares for Joaquin; they really have bonded — a big reason as to why they bonded was their strained relationships with their sisters, and they both have kind of helped mend those relationships. Mariana is very independent — I just don’t think she really knew what she was getting herself into …. He’s already got a restraining order against him — this is probably the end of the road for him as far as finding his sister goes — So I think I need to take matters into my own hands.
On top of all these complications, Mariana was also figuring out her romantic feelings for Joaquin and Evan. Where does she stand now?
That’s gonna be very interesting to unravel this season because it’s something that’s not really on her priority list, but it’s obviously there. She has a history with both guys, and I think navigating the aftermath of what happened is going to be interesting moving forward — you’ll see a change a little bit this season for sure.
She is also given the responsibility of being Evan’s proxy. What’s going through her mind when she’s told she’ll be the acting CEO of Speckulate?
It’s kind of triggering to go back to a place that she has such hard feelings about, where people don’t respect her, you know, the bro-hole energy over there. The last time she stepped foot in Speckulate was when she left and made a stand. We’ve all known there’s a leader in Mariana, but that means she’s gonna have to put Bulk Beauty on the back burner — I know she doesn’t want to do that with her girls.
She’s gonna feel a lot of pressure to run a company — she’s never done this before — but also trying to make decisions that she knows Evan would approve of, and she doesn’t have that opportunity to talk to him … She’s just hoping that everyday she can make the right decision.
Did she wish Evan discussed making her his proxy beforehand?
She’s definitely very blindsided by that. I don’t think they’ve ever had a conversation like that. I don’t think she ever imagined that he would give her that type of responsibility, and that he would trust her that much. It’s like, wow, what an honor, but also, why would you ever do this to me? It’s a lot of pressure on top of everything that she’s been through.
This interview has been edited for length and clarity.
New episodes of “Good Trouble” Season 5 premiere Thursdays on Freeform, and will stream the next day on Hulu.
Note: The following discusses spoilers for “Good
Resident Evil and Resident Evil 2 were from another time. Resident Evil 3 was anemic and disappointing yet deserving of a second chance. But Resident Evil 4 is the classic that reinvented a whole genre and revitalized a series with a gameplay loop so endlessly rewarding that it still warrants a replay every few years even almost two decades later. Those first three made cases for their remakes — ones rooted in their age — but Resident Evil 4 can’t claim to be geriatric when it still suplexes most of its competition into submission. The Resident Evil 4 remake, however, is a carefully considered reimagining that more than justifies its existence by keeping the skeleton of the original and thoughtfully improving it without sacrificing the brilliant Las Plagas-ridden heart at the center of it.
Resident Evil 4’s combat is one of its more persistent legacies and makes for an effective example of the type of smart changes Capcom has broadly made with this remake. The original revolutionized the series’ style of horror by injecting more adrenaline into the mix, which maintained the signature amount of tension but dialed up the action and pacing of it. Enemy and resource management were still crucial in Resident Evil 4, however, players just had to make decisions even faster and with more skill to overcome the stronger and greater hordes of foes.
The remake still has that general flow of hurriedly managing an incoming mob and that thrill can’t be understated. Fights are always frenetic, nail-biting affairs that test the player’s instinct and reaction times in the midst of all-encompassing chaos. Ever-present chaos comes from the resources that corpses drop dynamically, what Las Plagas forms pop out, what ammo is in stock, the enemy types that spawn in, and what parts of the arena the player gets funneled to. With a wide variety of foes, a constant supply of unique scenarios, and extensive weapon upgrade trees, encounters never lose their edge because there are so many different variables at play that delightfully balance player choice and the unpredictable bedlam that keeps it engaging. It’s an array of systems that are remarkable on their own and transcend when put together.
Translating that from the original is no small task, yet Capcom was also able to go above and beyond by adding to that loop in this remake. The quick select feature — which has been a series staple since Resident Evil 5 — finally takes out the annoying menu-based weapon switching from the original. It’s not always as instantaneous as it should be since there is some animation prioritization, but it’s substantially less jarring than slowly pausing the game to whip out the shotgun. Being able to simultaneously move and shoot also makes Resident Evil 4 more fluid and hasn’t sucked out the suspense since it has only allowed for more frantic maneuvering and close shaves.
The new parry also helps with these close shaves, as Leon can counter almost any melee attack. While it initially seems limiting to tie parrying to the knife’s durability, it’s a wonderfully nuanced system that works in tandem with its aggressive nature while also yielding a more mechanically rewarding defensive option. Poorly executing a parry will still stop the attack (except on Professional), but perfectly timing it will stun the enemy and open them up for a swift boot to the face. There’s unfortunately no way to parry grabs and some foes are extremely handsy, but being able to do a quick counter stab to break free at the cost of a lot of durability is a decent compromise. It’s yet another skill-based option that naturally fits into Resident Evil 4’s intricately interwoven systems.
And while those combat changes accentuate what makes Resident Evil 4 Resident Evil 4, some of the other tweaks evoke other aspects of the series’ DNA. Despite some annoying exceptions that unexpectedly tie off earlier areas, it’s much more open than the original and has locked boxes and side missions that encourage players to backtrack and splinter from the main path.
Dead Space has drifted aimlessly in space since 2013 after Electronic Arts unceremoniously severed its umbilical cable. It died on…
As shown in the Dead Space remake, these additions reward those who want to explore with valuable resources, some unexpectedly challenging fights, and a more intimate sense of place. Passing through areas multiple times adds a feeling of familiarity that some of the best video game hubs have, like Resident Evil 2’s Raccoon Police Station and the USG Ishimura from the aforementioned Dead Space remake. Redesigned levels that neatly loop in on each other and the lack of loading screens also make backtracking a painless exercise. Combined with its more intuitive puzzles and new open-ended treasure combining mechanic, Resident Evil 4 is much closer to previous Resident Evil games while not forsaking its own identity as the action-oriented entry.
It’s an exceptional balancing act that also extends to the series’ horror roots, as the radical jump in technology allows it to use darkness to create eerier scenarios. Ashley’s reworked section benefits greatly from this visual makeover since Capcom uses this to create an anxiety-inducing key hunt with a unique mechanic at its center, one that takes full advantage of the enhanced lighting. By overhauling the entire segment and doubling down on horror, playing as Ashley is no longer a tedious diversion from the main star and is instead a stressful and welcome change of pace.
Capcom again heightens the horror elements with its Regeneradores by bathing the island lab they call home in faint, flickering lights and crafting intricate scenarios that test the player’s ability to act under pressure while shrouded in darkness. Figuring out where to go and having to snipe tiny Las Plagas parasites on a moving target with such narrow room for error is the type of intensity that succinctly sums up the game’s best features. While their unsettling elongated arms, red eyes, and ominous asthmatic wheezes were creepy in the original, they are downright terrifying in the remake because of how it is built to better highlight those frightening features.
This portion of the game is a triumph not only for its clever design but also because of how it diverts from the presumed path. Subverting expectations works wonderfully in the context of horror and why its scarier parts are so effective, but it’s also what keeps the game interesting as a whole.
Capcom has analyzed seemingly every inch of the original and come up with ways to bring out a section’s particular tone or implement wholly new ideas. Iconic enemy encounters have been astutely remixed, action set pieces are bigger and more bombastic, some sections have been slotted elsewhere, old enemies have new functions, its boss fights (which benefit greatly from the gameplay upgrades) have been streamlined across the board, and some filler stretches have been given compelling new mechanics or twists.
Even the story is significantly more coherent since the team added context and connective tissue that better links it all together. Ashley and Luis have gotten the most improvements, as they’re no longer grating dweebs, but capable characters with actual arcs and much more agency. Leon also has more emotional range and thankfully doesn’t just treat Ashley with contempt, yet he still retains his signature one-liners and acrobatic skills that are among his best. Ada, on the other hand, gives a surprisingly lifeless performance with stiff line reads that aim for effortlessly cool, but just come off as effortless. It’s confusing why Capcom brought back Ada’s actor from the maligned Resident Evil: Welcome to Raccoon City when the character was portrayed so well in the sublime Resident Evil 2 remake.
Aside from Ada’s inferior voice, just about every other adjustment in the Resident Evil 4 remake is a remarkable achievement that makes one of the best games of all time even better. It’s not even just about the quality of these changes, but also how many there are over the course of its beefy 20-hour campaign. Capcom fundamentally understood why Resident Evil 4 is a classic and used that knowledge to develop a scarier and more action-packed version of the game that also honors the puzzle-oriented nature of the other installments. The harmonious fusion of these pieces has made it the ultimate Resident Evil game, a top-tier remake, and an overall masterpiece.
As ComingSoon’s review policy explains, a score of 10 equates to “Masterpiece.” This is the rare release that transcends genre and must be experienced by all fans of the medium.
Disclosure: The publisher provided a PlayStation 5 copy for our Resident Evil 4 remake review. Reviewed on version 1.002.000.
Resident Evil and Resident Evil 2 were
Editor’s note: Deadline presents the 54th episode and season finale of its video series Take Two, in which Pete Hammond and Todd McCarthy tackle the artistry of films just opening in theaters every weekend. Each has reviewed and written about the craft for decades and built a remarkable breadth of knowledge of films past and present. What we hoped for when we asked them to do this was a concise, mature and thoughtful conversation comparable to what we saw from Roger Ebert and Gene Siskel.
AMPAS
RELATED: Oscar Best Picture Nominees: The Deadline Reviews
For Take Two’s season finale, we offer our last thoughts on the 95th annual Academy Awards, what they got right, what they got wrong, our upbeat assessment of the show itself, the parallels between this year and past Oscars, plus a look to the future and some possible nominees lining up for next season and our general wrap-up for now. As the next Oscar season, the Cannes Film Festival, the summer movie season and the fall festivals ramp up, you will be hearing from us again. Until then, just click on the link above for our conversation and finale.
Hammond has been Deadline’s Awards Columnist for the past decade, covering what seemingly has become the year-round Oscar and Emmy seasons. He also is Deadline’s Chief Film Critic, having previously reviewed films for MovieLine, Boxoffice magazine, Backstage, Hollywood.com and Maxim, as well as Leonard Maltin’s Movie Guide, for which he was a contributing editor. In addition to writing, Hammond also hosts KCET Cinema Series and the station’s weekly series Must See Movies.
McCarthy is a veteran trade publication film critic, columnist and reporter who has also written several acclaimed books and documentary films. He served two stints on the staffs of Variety and The Hollywood Reporter and extensively covered film festivals internationally for both publications. His film Visions of Light: The Art of Cinematography won the best documentary prizes from the New York Film Critics and National Society of Film Critics associations, and he won an Emmy for writing the documentary Preston Sturges: The Rise and Fall of an American Dreamer. He also directed the documentaries Man of Cinema: Pierre Rissient and Forever Hollywood.
Editor’s note: Deadline presents the 54th episode and
Esther Rose has called several places home—Columbiaville, Michigan; New Orleans; and now Santa Fe—and she seems to find comfort in the in-between, scattering vignettes of freedom on the open road throughout her music. On “Safe To Run,” the gentle and poignant title track from her upcoming album, the country-folk singer once again entertains fantasies of a nomadic life: “What if I left the city behind/Just dreaming in the trees, untie my mind,” she begins in a breezily wistful tone. But there’s darkness trailing this vision of untethered spontaneity, one that’s rooted in climate grief and the great big unknown. Joined by Hurray for the Riff Raff’s Alynda Segarra, Rose contemplates exactly where to escape when environmental ruin is happening everywhere. “Fire surrounds me, from here to there/And the waters’ rising, everywhere,” they sing, as pedal steel, mellotron and acoustic guitars gradually build alongside their intertwining voices. Ultimately, even if Rose takes the wheel, it’s fate that’s in control.
Esther Rose has called several places home—Columbiaville,
In 2015, Danish filmmaker Lin Alluna invited Aaju Peter out for a cup of coffee. Alluna didn’t know Peter but was “immediately captivated” by the Greenlandic Inuit lawyer and activist. “I was honored that she took time to meet with me, and those first hours I spent with Aaju were life-changing,” says Alluna. “She revealed hidden truths about myself and the history of my country that I knew I had to find a way to share.”
So, in 2017, Alluna began filming Peter as she fought to defend the human rights of Indigenous peoples of the Arctic and also bring her colonizers in both Canada and Denmark to justice. The result is “Twice Colonized,” a documentary about Peter’s fight for justice, her efforts to establish an Indigenous forum at the European Union and mend her own personal wounds.
Eight years after that cup of coffee, Alluna’s “Twice Colonized” is opening Copenhagen’s CPH:DOX. The 92-minute docu, which made its world premiere at the Sundance Film Festival in January, will play in CPH:DOX’s competition section, Next:Wave.
Alluna spoke with Variety about what motivated her to make “Twice Colonized,” her goals for the docu, and how Aaju helped shape the film.
Will Aaju be at the CPH:DOX premiere?
Yes. She says it’s the first time in her life that she’s looking forward to coming to Denmark.
During that cup of coffee you shared with Aaju in 2015 what did she say that made you want to make a doc?
That very first meeting was just an eye-opener for me in terms of the colonization of the Inuit in Greenland, how it was done and the systemic tools that were used. Realizing that the narrative that I was brought up with and the history that I learned in school was not true was shocking. As a Dane, I felt a responsibility to use my opportunity with this film to expose chapters of Denmark’s colonial history and portray some of the present day effects of colonization in both Europe and Canada – not only to my own countrymen, but to the world.
The docu is very personal but doesn’t always identify or explain who Aaju is interacting with or why. Was that a decision made in the edit room?
We knew from the beginning that we wanted it to be a personal film, and we wanted it to have this poetic layer. So, I didn’t want to explain everything because I felt like it took the audience out of the emotional journey, and for me, her emotional journey is the center of the film. So that’s what I wanted to keep in focus. But we were really debating whether or not to have (cards) explaining who the different people are that she meets. But when we tried it out, we felt like it created this unnatural hierarchy. At one point, we had one cut where everything was explained, and I just felt so bored. So, I took that all out because you have to be curious and wonder, and just be on her journey. It’s okay that you don’t understand everything as long as you feel it. That was our primary goal.
Aaju is so strong and determined, but in the doc her vulnerabilities are exposed. What was it like to shoot those intimate scenes with Aaju?
In the beginning of our relationship, I was shy, and there were situations where I felt like I couldn’t film. But she would tell me, ‘Pick up that camera. You have to film this because this is my life, and you can’t just film the successes. You have to film what I’m dealing with behind the scenes. The effects of colonization – that is my life.’ So, I wouldn’t have filmed all of that if she had been so insistent.
In addition to being the film’s protagonist, Aaju wrote, and executive produced this doc. How did her various roles show up when filming?
We would have discussions about what and when, and why to shoot. During the shoots, she would tell us if a scene felt right or wrong to her. We would develop ideas together about how to shoot a particular scene.
And how did the edit go?
When we had our first rough cut, she watched it, and from then on, she saw all the cuts and came with notes on scenes that she didn’t want in or scenes that she did want in. We did some extra shoots that she felt were missing from the film and added them. So (the film) was adjusted throughout with her notes and what felt right to her.
What do you want audiences to take away from this film?
No matter who you are, where you come from and what you’ve been through you can lead the way for future generations to thrive. You don’t have to be perfect to make a difference. Your story is your power.
In 2015, Danish filmmaker Lin Alluna invited
A mysterious disease that causes headaches and a fever has killed at least five people in Tanzania.
Health chiefs in the East African nation, which is just south of Kenya, have described the illness as ‘strange’.
Authorities have dispatched a team of doctors to diagnose the illness, with seven cases reported in the northwest region of Kagera.
Symptoms of the illness include a fever, headaches, fatigue and nosebleeds, the government’s chief medical officer Tumaini Nagu told the BBC.
‘The government formed a regional team of professionals under the Rapid Response Team who are investigating this unknown disease,’ Nagu said.
Authorities have now been dispatched a team of doctors to diagnose the illness, with seven cases reported in the northwest region of Kagera
Nagu said residents in the Kagera region must avoid contact with infected people and stay calm.
In July last year, three people with similar symptoms died following an outbreak in Tanzania’s southern region of Lindi. More than 20 cases were reported at the time.
Investigations later identified the disease as leptospirosis, also known as Weil’s disease.
Weil’s disease is a rare infection spread by the urine of animals including rats, mice, cows, pigs and dogs.
Symptoms include fever, headache, feeling and being sick, aching muscles and joints, red eyes, and a loss of appetite.
Serious cases of the infection can cause yellow skin and eyes, swollen ankles, feet or hands, chest pain, shortness of breath or coughing up blood.
The disease can be treated with antibiotics and may take between a few days and a few weeks to clear up.
But without treatment, the infection could take months to recover from, and could cause life-threatening kidney and liver failure.
Although 90 per cent of cases are mild, between five and 15 per cent progress to a severe form which can cause organ failure and even death. Between one and five per cent of cases are fatal.
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The drama just keeps on going! One day after Katie Maloney, 36, slammed her Vanderpump Rules co-star Raquel Leviss, 28, for her affair with Tom Sandoval, 39, their cast mate, Kristen Doute, 40, added fuel to the fire with a new podcast interview on Mar. 16. During her chat with The Bachelor alum Nick Viall, 42, on The Viall Files, she claimed that Tom told his now-ex, Ariana Madix, 37, he dated her out of “convenience.”
“He was just gaslighting her. The was no genuine apology,” she claimed about Tom and Ariana‘s break up, per Page Six. “He was saying how she never supports him, she doesn’t validate him. He was blaming her.” Interestingly, Kristen and Tom dated for seven years until they broke up in 2014. “Of course, it made her mad, but then when I filmed with her, she’s like, crying and holding up her phone going, ‘So, he’s saying our relationship is that of convenience and contentment,’ or something. Not love and romance,” Kristen went on.
The breakup is set to air during Season 10 of Vanderpump Rules, which Kristen called a “humiliation.” The 40-year-old went on to say, “And she’s immediately just flooding tears, looking at her phone going, ‘So, all of these memories, all of these wonderful trips we took, all of these videos I have, all these kissing photos, this was all bulls***?’” She also called Ariana’s ex-beau a “narcissist” and “self-centered”, adding that, she has “nothing nice” to say about him during this troubling time.
Seeing as the brunette beauty dated Tom in the past, she also admitted that his behavior wasn’t a total shock. “That’s Tom to a T,” she stated. In addition, the Bravo personality ridiculed Raquel for her apology statement shared via Entertainment Tonight on Mar. 8. “The ending was something along the lines of, ‘Tom and I aren’t defining our relationship right now’”, she explained. “Girl sit down!” Later, she backed her friend up while she continued to slam the 28-year-old. “Ariana has a backbone,” Kristen said. “Raquel does not. Raquel validates everything that Tom needs to be validated.”
The tell-all interview with Kristen comes amid Ariana’s official statement about the breakup, which she shared via Instagram on Mar. 15. “hi. where to begin? i want to express my most sincere gratitude for the outpouring of love and support i have received from friends, family, and people i’ve never even met in the last two weeks. when i have felt like i couldn’t even stand, you all have given me the strength to continue and seen me through my darkest hours,” her lengthy caption began.
“to say i have been devastated and broken is an understatement. however, i know that i am not in this alone. so many of my closest friends are also grieving this loss right now and reeling from this betrayal on so many levels. i am so f****** lucky to have the best support system in the world and i hope i can repay every single person for the love you have shown me. what doesn’t kill me better run. love, ariana,” the statement ended. Tom and Ariana dated from 2014 until they broke up earlier this month. Many of their co-stars have since reacted to the split, including Katie, who claimed Raquel “deserved” the backlash she’s gotten. Season 10’s sixth episode aired on Mar. 15, with the next set to air on Bravo next Wednesday.
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View gallery Image Credit: Chris Chew/UPI/Shutterstock The drama just
A school textbook publisher seeking approval from Florida state regulators removed all references to Rosa Parks’ race in materials submitted for review, just one of many tweaks and workarounds Studies Weekly made to secure a shot at Florida’s lucrative list of approved curriculum, the New York Times reported Thursday.
Studies Weekly’s existing lesson on Parks currently being taught to some Florida first graders states “The law said African Americans had to give up their seats on the bus if a white person wanted to sit down.” But the version recently submitted for Florida reviewers said “She was told to move to a different seat because of the color of her skin” – then updated a final time to say only “She was told to move to a different seat.”
Florida is one of about a dozen states that approve academic texts above the district level. One year after dozens of math books were infamously rejected in Florida, social studies books are now being scrutinized by a small army of academic experts, educators, political activists and parents. Among the things they’re flagging is violations of the law signed last year by Gov. Ron DeSantis prohibiting the teaching of critical race theory in public schools.
Studies Weekly publishes science and social studies materials used in 45,000 schools around the United States, including some Florida elementary classrooms. The publisher said it was “trying to follow Florida’s standards, including the Stop W.O.K.E. Act,” the Times reported.
The Florida Department of Education told the paper that Studies Weekly had “overreached,” adding that any book that “avoids the topic of race when teaching the Civil Rights movement, slavery, segregation, etc. would not be adhering to Florida law,” which requires instruction on Black history.
The Times said it also found that Studies Weekly had made similar changes to a fourth-grade lesson about segregation laws during Reconstruction. An initial submission that repeatedly mentioned how African Americans were affected by the laws was changed to say that “certain groups” of people were affected.
It was mostly for naught, however: The Florida Department of Education said it rejected Studies Weekly because of a bureaucratic snafu in its submissions.
A school textbook publisher seeking approval from
BROOKLYN 45
Section: Midnighters
Director: Ted Geoghegan
Screenwriter: Ted Geoghegan
Logline: Friday, December 27, 1945. Five military veterans gather in the ornate parlour of a Brooklyn brownstone. Best friends since childhood, they’ve reunited to support their troubled host – but when his invitation for cocktails turns into an impromptu séance, the metaphoric ghosts of their past become all-too-literal. Trapped in their host’s lounge, the Greatest Generation now finds themselves put to one final test… with their only route to freedom being more bloodshed.
Sales Agent: The Exchange, Nat McCormick
Panelists: Ted Geoghegan, Anne Ramsay, Jeremy Holm, Kristina Klebe, Larry Fessenden
Premiered: March 12, 2023
Key Quote: Geoghegan: “I started putting it together thanks to the assistance of my late father, Michael, who was a Vietnam veteran in the Air Force and he was a quadriplegic. He helped me form the script almost from day one… Even though he didn’t offer anything ‘creatively,’ he offered so much technical information… all this really wonderful know-how about his time in the military.”
“The question the film asks is – Are we the sum of everything we do over the course of our life, or should we be defined by just one thing that we do? All of the characters have troubled backgrounds, but also good backgrounds, and over the course of this evening they all do very good things and they all do very bad things. And when the film is over, it’s really a gray area of whether these characters are good or bad… and there is no right or wrong answers.”
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.
BROOKLYN 45 Section: Midnighters Director: Ted Geoghegan Screenwriter: Ted Geoghegan Logline: Friday, December 27, 1945.
Now that the noise has subsided, were there any helpful takeaways from the Oscars?
If you ask the leaders of A24, the distributor that swept six categories, their answer would be the same as it was six years ago when Moonlight was the surprise winner. “Can’t think of a thing to say,” is what they said.
A24 likes to surround its victories with the sounds of silence, as they made numbingly clear when last I had a sit-down with them (they resist sit-downs: more below).
But there were, in fact, some questions to be asked after this year’s Oscars. Would the field of contenders hopefully be emboldened next year? Not really, according to early evidence: Witness the odd absence of hype for future hits on the Oscar show, even on the pre-show.
Disney and its subsidiary ABC took advantage of the moment to hustle The Little Mermaid and Universal ran an ad for its nuclear movie Oppenheimer, but otherwise there seemed an odd quietude about next year.
Has the infusion of new (principally overseas) Oscar voters energized the Academy? Or affected its taste?
Not really, but improved ratings suggest that the show will be around through 2028. Ratings edged up 12% this year to 18.7 million. The all-time low was 10.5 million in 2021.
HBO scheduled the season finale of its zombie drama The Last of Us against the Oscars, a further reminder that awards shows are no longer scary competition. Ad prices are higher for the Super Bowl or postseason football.
A study of 4,400 filmgoers by the Wall Street Journal suggested that few viewers had even heard of the Oscar contenders this year, except for the Avatar/Top Gun/Black Panther “audience movies.” Contenders like Triangle of Sadness might score at Cannes but attract zero following among Academy voters.
Still, media coverage of the Oscar competition was surprisingly strong in a year when movies like Women Talking or Aftersun set records for empty seats. In years past the media buzz focused on Oscar campaigning – complaints about Harvey Weinstein’s tactical sniping or about the big party spends.
But the campaigns themselves weren’t news this year: Steven Spielberg’s presence seemed shadowy, and of course neither Tom Cruise nor James Cameron showed up at the Oscars.
Which brings us back to the mysteries of A24. While other indie chiefs are ubiquitous at festivals and premieres – witness the garrulous presence of Sony Classics’ Tom Bernard and Michael Barker – the founders of A24 cherish their invisibility.
After Moonlight’s success I suggested a meeting six years ago and was hastily turned down, only to be re-invited hours later but with new rules. All three partners would have to attend (Daniel Katz, David Frenkel and John Hodges) whose backgrounds were principally financial (Hodges has since left the company).
Fine by me, but when I arrived at the company’s grungy headquarters in Lower Manhattan, 20 other members of the A24 staff also crowded into the conference room (no, there was not enough coffee to go around). Katz made it clear in his introduction that I was not to ask questions but rather was there to answer them.
A24 was still formulating its management strategy, it seemed, and I was to explain the origins of certain films — projects that I had been held responsible for putting together: Being There, Rosemary’s Baby, The Godfather, Harold & Maude among them.
The questions were smart, but then when I started asking about some of A24’s unlikely successes the curtain came down. Movies like Spring Breakers (Harmony Korine), Ex Machina (Alex Garland) and Lady Bird (Greta Gerwig) were off the table for discussion. So were budgets and media strategy (“we prefer guerrilla marketing to ad buys,” mumbled Katz).
On the way out, there were profuse thank-yous and cordial comments about future get-togethers, which never occurred. “We’d like to tell you about our TV plans,” enthused one staff member, who was then shut down.
“This isn’t so much a company as a sort of indie mafia,” one A24 executive assured me. “We’re really nice people but public attention freaks us. Besides no one wants to know about success in the indie world. The indie world is just about failure. Ask anyone who’s been here.”
I tried asking but await a return invitation, perhaps after next year’s hits.
Now that the noise has subsided, were
The on-screen pairing of Jane Fonda and Lily Tomlin is not exactly a novelty at the moment. Seven seasons of “Grace and Frankie” and the movie “80 for Brady” has, perhaps, spoiled us a little lately. And, unfortunately, second-act movies with Hollywood legends have a very hit or miss track record (sorry “Queen Bees” and “Poms”).
But don’t let either of those facts dissuade you from trying out “ Moving On,” which was written and directed by Paul Weitz (“Grandma,” “About a Boy”) and opens in theaters this weekend. This is one of those rare films that balances a darkly comedic conceit with authentic, emotional resonance, allowing Fonda, Tomlin and co-stars Malcolm McDowell and Richard Roundtree to actually act rather than be demeaned by cheap caricatures of senior citizens.
#janefonda and #lilytomlin star as estranged friends who reunite to seek revenge on the petulant widower (Malcolm McDowell) of their recently deceased best friend. Along the way, Fonda’s character reunites with her great love (Richard Roundtree) as each woman learns to make peace with the past and each other.
It begins with a funeral. We never meet the deceased, but it brings the main characters back together again for the first time in a long time. Fonda is Claire, a devoted dog mom and grandmother to uninterested teens, who travels from Ohio to California to purportedly say goodbye to her college friend. But she has something else cooking. When she arrives and greets the new widower (McDowell), she doesn’t offer sympathies, but instead says, “Howard, I’m going to kill you. I’m going to do it this weekend.”
Something happened many years ago with Howard and Claire, while his wife was out of town. It’s not explicitly spelled out until an emotional scene near the end, but you know what it is long before then. She only ever told Evvie (Tomlin). The police, she knew, would have just wondered why she was alone with her best friend’s husband in his house. And she knew that telling her friend would have ruined her marriage and possibly her life. So, she did nothing.
Tomlin, as ever, spins gold out of every line — whether it’s cheesy, throwaway or well-written (and this pic has them all). Her entrance, more memorable, involves stumbling into the chapel, directly onto the stage where Howard is delivering a eulogy for his wife of 51 years.
“Everyone, this is Evelyn. Evelyn was Joyce’s college roommate, believe it or not,” he says.
“Why wouldn’t they believe it,” Tomlin deadpans.
Everyone is lying to themselves and each other a little bit and the death of someone they were close to has given way to ancient secrets and truths bubbling up to the surface. Evvie has her own confession to make, but maybe one that’s better saved for her to reveal. Regardless of what it is, everyone’s suppressed and repressed trauma is coming back with a vengeance.
There is a natural queasiness to any film that tries to mine laughs out of revenge murders but “Moving On” handles this better than many. It’s never too arch or silly and it is, ultimately, about an event that effectively ruined Claire’s life. Roundtree (a lovely presence) plays her ex-husband Ralph – the incident brought down their marriage, too.
Also, and perhaps this is a flaw, but you never really believe that Claire is going to do it even when she’s kind of doing it (there are several attempts). McDowell is great as this grouchy, unrepentant jerk who has deluded himself into thinking that none of these things that either Evelyn or Claire is telling him could possibly have any truth to them. It would be easy to play Howard as simply evil, but McDowell keeps his feet on the ground and allows for some humanity, in spite of everything.
“Moving On” is certainly not perfect, but it’s sincerely trying to be something more than your standard octogenarian farce. You might even be surprised by your own emotional investment in this rather trim film.
Hopefully performances like these will remind screenwriters, directors and those who make the decision about what gets made to give our living legends good roles while we still have them. The actors are still game, and hopefully audiences are too.
“Moving On,” a Roadside Attractions release, is rated R by the Motion Picture Association for “language.” Running time: 85 minutes. Two and a half stars out of four.
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MPA Definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.
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Follow AP Film Writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr.
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The on-screen pairing of Jane Fonda and
“Resident Evil 4” was first released on the Nintendo GameCube back in 2005. Since then, it’s been hailed as one of the best video games of all time. Its goofy dialogue and action-based gameplay made for an entertaining adventure with government agent Leon S. Kennedy as he rescues the president’s kidnapped daughter, Ashley, from a mysterious cult.
Almost 20 years later, Capcom has now remade “Resident Evil 4” from the ground up. When it was first announced, I thought to myself, “This game holds up and it doesn’t need a remake.” I was dead wrong. This remake of “Resident Evil 4” is amazing as it manages to honor the original, but also sets itself apart from it.
The game follows Leon on a mission to a rural village in Spain. The villagers there are infected with a parasite called Las Plagas and attack him on sight. As he fights his way through the village, he must uncover the truth behind the parasite while also tracking Ashley.
It’s a very silly premise that works as a sort of B-movie aesthetic in the original game. However, the remake has a much darker and more serious tone. It’s reminiscent of games like “The Last of Us” and “A Plague Tale: Innocence,” where you’re on an escort mission with a companion.
The remake seems to take some cues from the more survival horror leanings of the “Resident Evil 2” and “Resident Evil 3” remakes. There are sections of the game in dark and enclosed areas with much dimmer lighting than in the original, invoking feelings of fear and dread. I became more methodical and careful about what might be hiding around the corner, rather than just going in guns blazing as I did in the original game. But the remake still retains some of the original’s levity by allowing Leon to melee wounded enemies with a roundhouse kick or suplex.
The game strikes the perfect balance between horror and action, whereas I felt that 2021’s “Resident Evil Village” was a very uneven experience — the action-packed Castle Dimitrescu was followed up by horrifying House Beneviento, which resulted in a whiplash pacing. In this “Resident Evil 4” remake, the combat sequences are exhilarating but afterward allow for moments of brevity in between. There are 16 total chapters and it certainly felt twice as long as the original. The game is so well-paced that I didn’t realize I spent about an hour on each chapter.
Another immediate difference I felt in the game was its controls. They feel much smoother than they ever did in the original “Resident Evil 4.” The original game played out in a stop-and-go motion, requiring Leon to stand still while he aimed his gun down at enemies. In this remake, Leon has much more flexibility and is able to perform motions such as backing up while also aiming down and shooting. It’s such a small change in gameplay detail that has massive ramifications on the game’s fast-paced shooting combat.
The PS5’s DualSense controller was implemented here nicely, too. Whenever Leon patches in a radio signal to speak with someone, you can hear it through the controller’s speakers. The haptic feedback from the trigger buttons also adds a touch of immersion as you can feel your weapon’s drawback and recoil.
The only complaint is that Leon sometimes feels like he runs too slowly and sluggishly. In order to do a melee attack on an enemy, you have to be up close. When shooting at a distance and seeing the enemy double over, that’s your cue to do melee them. However, Leon might not make it up to the enemy in time before they recover, leading to an awkward situation where now I have to try and back up to avoid being attacked.
Enemies will come at Leon in droves, but he has a huge arsenal of pistols, machine guns and shotguns to take them down. He can also find currency lying all around the village to buy various items, like first aid kits and weapon upgrades. So whether you like to go for precise headshots with a pistol, or mow down enemies with a submachine gun, you can tailor Leon’s weapons to your own play style. The game is also intensely replayable as there are multiple difficulty modes and special unlockable weapons for finishing a playthrough under certain conditions.
There are some other big gameplay changes to the game as well. When Ashley is accompanying Leon, you have the option to either have her stay close in order to run past enemies or give you space so you can safely shoot them down without her getting in the way. This is a welcome addition as it gives more options to protect Ashley. However, it still feels like you’re babysitting her, given that she doesn’t have any way to defend herself. This is really annoying considering how fast-paced the combat is — it’s easy to panic when someone is carrying her away and you still have to deal with numerous enemies trying to stab you.
The spinel jewels found in the original game were only meant to be sold for cash. However, in the remake, they can now be traded in for extra perks, such as a treasure map of the area Leon is currently in, or extra parts for guns, like a fancy new scope. The remake also adds side quests, which include small tasks like killing three rats in a building. While these sound mundane, it’s worth completing them as they reward you with spinel jewels to trade in.
These new features are smart touches that honor the foundation of the original game while also modernizing it for the current day. It’s clear that Capcom put quite a bit of thought into the “Resident Evil 4” remake in order for it to stand on its own merits. It doesn’t replace the original game at all; it’s merely a different and supplemental version of it.
Whether you’re a long-time fan of “Resident Evil 4” or a newcomer to it, this remake is an incredible game. Despite some small issues, I can’t overstate how much fun it is and how it honors the original’s legacy as one of the greatest video games of all time.
“Resident Evil 4” was first released on
The biopharma space has become more and more competitive. It’s tedious to scan through hundreds of articles every day to track your competitors or find potential partnerships.
We are excited to announce that you can now prioritize biopharma companies with Leo, your AI research assistant.
Let’s walk through an example of how you could use Leo to prioritize news about competitors. Imagine you do market and competitive intelligence at a pharma company and you want to track biopharma companies.
You can train Leo to read your biopharma feeds and prioritize articles related to biopharma companies.
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 partnerships, methodologies and clinical trials.
We’ve trained Leo to understand 230 biopharma companies that are categorized into four different types of organizations:
Asking Leo to prioritize Biopharma companies in any of your biopharma feeds is as simple as creating a new Topic priority and selecting ‘Biopharma companies’ as the topic.
You can look into the companies that belong to those list topics by following this link.
You can combine topics with +AND and +OR and create even more targeted priorities for Leo. For example, use +AND to focus on news related to breast cancer and biopharma companies.
If you find that a lot of the information you get about biopharma companies are noisy market reports, you can exclude market reports by using the +NOT in your Leo priority.
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 biopharma companies.
See how Feedly for Biopharma can help you and your team dig deeper into the competitors you’re tracking.
The biopharma space has become more and
When James Gunn took the helm of the DCU, one of his big statements was that he wanted Ben Affleck to direct a movie in the new DCU once the right project came around. It seems though that Ben Affleck has no interest in being one of James Gunn’s directors, and made his feelings very clear while speaking to The Hollywood Reporter ahead of the release of his new movie Air. According to Affleck, what he wants to do in the director’s chair doesn’t line up with what is being done at the DC Studios. He said:
“I would not direct something for the [James] Gunn DC. Absolutely not. I have nothing against James Gunn. Nice guy, sure he’s going to do a great job. I just wouldn’t want to go in and direct in the way they’re doing that. I’m not interested in that.”
It is clear that there is no animosity between Affleck and Gunn, but it seems that Affleck doesn’t intend being a part of something where he would have to conform to a set of rules that restricts his freedom as a filmmaker. Looking down his CV, it is not hard is see why he would want to continue to be in control of his own movies.
Although Ben Affleck is seemingly hanging up his cape as Batman this year, last year James Gunn gave Affleck fans the hope that the actor would still be part of the new DCU in some way, even if that was behind the camera. In December, Gunn wrote on his Twitter account that he had “Met with Ben yesterday precisely because he wants to direct & we want him to direct; we just have to find the right project.” What exactly has happened since that time, or whether Affleck’s desire to direct a DC was maybe not as strong as suggested.
Ben Affleck has more than proven himself behind the camera, but his movies have always been very different from the kind of movies that are going to inhabit the shared universe of the DCU. While Affleck was at one time expected to direct himself in a solo Batman movie, that never happened, and now it seems like his future lies away from any DC projects.
Affleck is currently focusing on the release of Air, his sports biopic drama which he directs and co-produces with Matt Damon, who also stars alongside him in the film. Affleck stars as Phil Knight, the head of Nike, while Damon plays shoe salesman Sonny Vaccaro who uncovers the key to putting their failing company back on the playing field. Air will be screened at SXSW on Saturday with stars of the movie making an appearance for the Q&A session that will accompany its premiere. The film will then debut in cinemas on April 5, and will late become available on Prime Video following the theatrical run.
When James Gunn took the helm of
The Resident Evil 4 remake is the series’ most relentlessly exciting adventure rebuilt, refined, and realised to the full extent of its enormous potential.
The Resident Evil 4 remake is the
This post is written by Sandra Torres Granovsky.
I was inspired to work on Scrambled from the moment I read the script. There were so many things that attracted me to the project. The dialogue was whip-smart and hilarious, and the story was full of heart and social commentary. Scrambled follows the ups and downs of Nellie Robinson (Leah McKendrick), a millennial woman in her 30s living in Los Angeles, CA, facing some pivotal life decisions when she discovers that her reproductive options are waning.
I couldn’t resist the astute, humorous observations of the culture and life in Los Angeles (my hometown) throughout the script. I was excited to immerse myself into the world of a millennial and the resulting opportunity to share a glimpse of that generation’s experience and perspective with others by being a part of the film.
Most of all, I connected with the themes of the social expectations and pressures that women at all stages of life experience around motherhood and life in general. I found the story so brilliant because although it was told through a female lens and experience, it was a thoughtful layered story that covered universal, existential themes of life and the fleeting nature of time that would resonate with everyone.
Once I met with Leah McKendrick, the film’s star and director, I was sold. I was already excited by the chance to work with a female director (an experience I have only had once before). I also learned that both of our mothers were originally from Nicaragua (another seldom occurrence). I looked forward to what our shared backgrounds would contribute to our dynamic, working relationship, and to the project.
Leah also had a very clear vision with an openness and enthusiasm to collaborate. I was excited about her vision and what I could bring to the table to execute it. I knew we would have lots of fun, and we did.
When my first day of dailies came in, I was excited to see that the footage looked wonderful, and the performances were amazingly strong. Leah was so much fun to edit. She reminded me of Lucille Ball and could deliver candid and vulnerable performances when the moment called for it.
The timing was incredibly important and delicate in this film because many emotional, dramatic moments were punctuated with comedy. We had many other nuanced moments throughout the film where the correct balance and timing of comedy and drama were crucial. It was also important to calibrate Nellie’s journey carefully throughout the film as a whole.
Although my experience both with comedy and drama was extremely useful, I had to approach these scenes purely with instinct and feel into them in order to get them right. I knew that these scenes were only complete once I felt something. They were magical when they worked.
Production wrapped, and Leah and I started editing together. We made great progress every day and had a blast. Along with comedic and dramatic elements, this film has many musical elements. Leah had a very strong vision for them, and they really came alive when she was in the cutting room.
These scenes were our most challenging and our most fun. We held ourselves to a very high standard, approached each frame with laser focus, and worked towards creating musical and visual precision with the goal of creating undeniably enjoyable experiences that enhanced and supported the story and Nellie’s emotional journey.
It’s probably surprising to know that humor helped us accomplish this. It enabled us to laugh our way through any creative challenges that came with holding ourselves to a remarkably high standard and making these scenes to sing. It also kept us honest and able to choose only the best footage to bring these moments and the film to life.
Before we knew it, we were through post-production and had a completed film that we were happy with. I was very pleased to hear Leah say that she felt that she was able to make the film she wanted. I knew it was important to her as it is to all directors and with the support of her producers and the studio, the ability to facilitate that vision was incredibly fulfilling for me. I completed this film very excited to send it off into the world because I knew that we had made something special.
How do you work well with
Rachel Zegler is getting candid about the real reason she joined the DC Universe and it’s quite relatable.
While talking with The Hollywood Reporter at the Shazam! Fury of the Gods premiere Tuesday, the West Side Story actress said she stepped into the role of Anthea because she “needed a job. I’m being so serious.”
“The reality is we’re in the middle of a pandemic and I was not working and I couldn’t get a job for the life of me, because West Side Story hadn’t come out yet,” she confessed. “It was really hard to book work for me.”
The David F. Sandberg-directed sequel follows Billy Batson (Asher Angel) and his fellow foster children as they continue to navigate being teens along with their adult superhero alter egos. Only this time, a vengeful trio of ancient gods, daughters of Atlas — Hespera (Helen Mirren), Kalypso (Lucy Liu), Anthea (Zegler), have come to earth to search for the magic that was previously stolen from them. Shazam (Zachary Levi), Billy’s adult superhero persona, must team up with his allies to save the world.
Zegler went on to explain how excited she was when she first learned about the role and then eventually landed the part. “I loved the first movie, and the fact that they even wanted me to come in for a callback and then a camera read and then everything in between, I’m so lucky that I got this job,” she added. “I made some of my best friends on this job. I just absolutely adore this movie too, so I’m excited.”
Shazam! Fury of the Gods hits theaters on March 17.
Rachel Zegler is getting candid about the
Nicholas Braun thought one of his first acting roles would be his last.
The former child star and “Succession” fan favorite revealed that during a cameo on “Law and Order: Special Victims Unit,” he thought he “did so badly” due to how co-star Christopher Meloni reacted during each take. Braun appeared in Season 3, Episode 17, titled “Surveillance,” which aired in 2002.
“It was a very exciting role. I played, I think, a character without a name, ‘Boy in Internet café’ because those existed at the time,” Braun said during the March 16 “Live With Kelly and Ryan” episode. “I was looking at a video of the woman who got murdered or sexually assaulted, because that’s the show. And then Chris Meloni and Ice-T, I think, come and sit down and are like, ‘Why are you watching this video?’”
Braun continued, “And actually it’s funny because Chris Meloni didn’t think I was getting scared enough by them as cops, so when he comes and sits down, he would pinch me in the ribs. Every take. At the end of the day, I thought I did so badly. I needed a pinch in order to…because he needed me to go, ‘Ahh,’ or I guess I was supposed to go, ‘Oh, cops!’ But instead I was like, ‘Oh ow!’”
The “Cat Person” actor added, “I was probably 11 or 12. That was my ‘SVU’ initiation.”
Braun recently reacted to the announcement that the upcoming fourth season of “Succession” is the series’ last.
“We were expecting it while we were making the show, but you don’t believe it till Samantha Bergeson Jesse [Armstrong] says it,” Braun told Entertainment Tonight. “We’re all pretty bummed. I was sad as hell [on] my last day. I finished a couple of weeks ago, and it was a really tough day, you know, saying goodbye to everybody. It’s been the greatest working experience in my life. So, saying goodbye to those people is really tough.”
The fourth and final season of “Succession” marks an end to the battle between Logan Roy (Brian Cox) and his children, played by Jeremy Strong, Sarah Snook, Kieran Culkin, and Alan Ruck, over the reins of Waystar Royco. Alexander Skarsgård reprises his role of tech visionary and possible Royco buyer Lukas Matsson, while Braun’s Cousin Greg and Matthew McFayden’s Tom deepen their alliance. The series returns March 26.
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"I thought I did so badly," Braun
Rebecca Ferguson played opera singer Jenny Lind in The Greatest Showman, surprising viewers with The Greatest Showman “Never Enough” song, but that wasn’t her singing – here’s who it really was and why. Musical films have always been popular, more so when they feature well-known actors who may or may not have musical backgrounds. The Greatest Showman was a mix of both, with Hugh Jackman in the lead (who is no stranger to musicals), Zac Efron, and Zendaya, and others who aren’t exactly known for taking part in musical projects, such as Michelle Williams and Rebecca Ferguson.
The Greatest Showman tells the story of P.T. Barnum (Jackman), who becomes a worldwide sensation in show business thanks to his imagination and innovative ideas, even if he wasn’t always fully honest. Barnum meets Swedish opera singer Jenny Lind, and after attending her performance, he convinces her to perform in America with him as her manager. Lind falls for Barnum, who rejects her advances, prompting her to end their professional relationship. Lind has a big musical number in The Greatest Showman “Never Enough”, which became a big hit thanks to Lind’s powerful voice – and contrary to what many might think, it wasn’t Ferguson who did the singing.
Loren Allred comes from a family of musicians, and her big break came in 2012 when she joined The Voice season 3 and selected Adam Levine as her coach. After that, she became a member of the recording ensemble for a musical film developed by Benji Pasek and Justin Paul, and after working on a couple of demos, she was chosen as the singing voice of Rebecca Ferguson for The Greatest Showman “Never Enough” song. It went viral (along with other songs), with the film’s soundtrack going platinum and topping the Billboard albums chart in January 2018, thus marking Allred’s Billboard debut.
Although Rebecca Ferguson has a musical background, having studied various types of dance and attending the Adolf Fredrik’s Music School, she wasn’t fully confident she could pull off the singing voice. Ferguson hasn’t been shy about it, openly saying that if she messed it up, she would have been quite embarrassed. The voice in The Greatest Showman “Never Enough” song is that of Loren Allred, known for being on Adam Levine’s team in The Voice. Allred has also spoken about her experience in The Greatest Showman, telling DeseretNews that her collaboration with Ferguson was “a perfect match” as “no one could have played that role as well as Rebecca did”.
Loren Allred has had some other musical experience outside of singing The Greatest Showman “Never Enough” song. After appearing on The Voice, she also had a run on the popular show Britain’s Got Talent in 2022. She also lent her voice to several television specials, including the PBS 4th of July anniversary broadcast, A Capitol Fourth. Another major television special she appeared in was the 2018 Oscars, for which she sang in the choir for “This is Me.” Finally, Loren Allred sang in the ensemble choir for the movie Dear Evan Hansen back in 2021. Hopefully, audiences will continue to enjoy Allred’s extraordinary talent as she continues her singing career.
It’s not uncommon for musical films to use different actors to do the singing voices (a popular example is Zac Efron in the first High School Musical film, though he later worked on that and was able to do his own singing in the subsequent films and in The Greatest Showman), as not all have been musically trained, don’t have the skills, or simply aren’t confident they can pull it off. Horror movie actress Rebecca Ferguson has been quite honest about it and praised Loren Allred’s work, which speaks volumes about her and Allred as well.
The Greatest Showman “Never Enough” song wasn’t the only one sung by a professional singer, rather than the actor themselves. A young P.T. Barnum is played by actor Ellis Rubin (The Last O.G.), he and a young Charity, played by Skylar Dunn (Orange is the New Black), sing the song “A Million Dreams,” however, it isn’t Rubin singing. Rubin’s singing voice was provided by Ziv Zaifman. Zaifman is not only a singer, but he has a couple of acting credits to his name as well. Outside of lending his voice for The Greatest Showman soundtrack, he has credits in the cast of The Blacklist, To Dust, and Search Party.
Rebecca Ferguson played opera singer Jenny Lind
One year after the landmark success for Best Picture winner “CODA” at the Academy Awards, the 2023 Oscars presented the latest opportunity for Hollywood to show the world where it stands on inclusion and diversity.
On Oscars night, through a combination of memorable moments and inclusive components of the ceremony, the Academy of Motion Picture Arts and Sciences demonstrated its growing commitment to embracing inclusion and accessibility for all.
For the second time, a free ASL livestream was available on the Academy’s YouTube channel. The livestream was updated this year to enhance accessibility for viewers. On the red carpet, a team of ASL interpreters helped participants more effectively engage with fans and viewers at home, with members of the media receiving guidelines on how to make their pre-show coverage more accessible. Meanwhile, stage accessibility included not only ramp access but a stage wheelchair lift for the first time as well.
During the awards ceremony, “CODA’s” Troy Kotsur, who is deaf and made history by winning the 2022 Oscar for Best Supporting Actor, returned to present the same award this year.
Another particularly meaningful moment for inclusion occurred when actor with Down syndrome James Martin, who was on stage upon “An Irish Goodbye” winning the Oscar for Best Live Action Short Film, was serenaded by the audience for his 31st birthday. Much like how Zack Gottsagen became the first person with Down syndrome to present an award at the 2020 Oscars with “The Peanut Butter Falcon” co-star Shia LaBeouf, this was another example of authentic representation in film.
In fact, the Academy Awards ceremony has been becoming more inclusive with each year. Since 2021, the ceremony has featured an ASL interpreter in the event’s media room, in addition to various other inclusive components such as closed captioning, audio descriptions, and an accessible stage with a ramp.
The Academy’s commitment to a more inclusive experience reflects its partnership with the Ruderman Family Foundation, the organization that I lead. Our three-year, $1 million grant to the Academy Foundation helps champion new perspectives on filmmaking and film history as well as an accessible and equitable experience for audiences of all backgrounds. The grant funding supports content and accessibility services at the Academy Museum and helps fund Academy Gold Rising, an internship enhancement program for college-age students and emerging professionals from communities underrepresented in the film industry.
While we celebrate this multifaceted progress for inclusion in the entertainment industry, it is also important to remember that Hollywood’s work in this realm is far from done. This is particularly true when it comes to the practice of authentic representation — casting actors with disabilities to play characters with disabilities.
Despite the supporting actor award for “CODA’s” Kotsur, 56% of entertainment consumers who are deaf still believe that they “rarely” or “never” see their identity represented in film and television, according to a recent National Research Group study.
That is precisely why the Ruderman Family Foundation works behind the scenes to foster progress. Since 2019, we have awarded the Seal of Approval for Authentic Representation, a designation that has become an industry staple through its recognition of films and television series which demonstrate a commitment toward full inclusiveness in popular culture. The honor is awarded when productions meet two criteria: they feature actors with disabilities with a speaking role of at least five lines, and they are in or on the verge of general release. The Foundation announces the honor whenever a film or TV series meets those standards.
In the year since “CODA’s” success at the Academy Awards, the Foundation has awarded the Seal of Authentic Representation to 10 shows and films. By publicly recognizing these studio productions, we are affirming and reinforcing the practices of the changemakers who are moving the entertainment industry in the right direction, in hopes that others will follow their lead.
How can influencers who are working both inside and outside the entertainment industry ensure that the momentum continues on inclusion and authentic representation?
The actors themselves have an opportunity to effect change. Notably, past Oscar winner Marlee Matlin had refused to star in “CODA” unless other actors with hearing disabilities were cast. Her principled stand paid off, not just for the actors and the film, but for the industry as a whole.
More recently, this January, jurors for the Sundance Film Festival’s U.S. Dramatic Competition walked out of the premiere of “Magazine Dreams” over the festival’s failure to provide sufficient captioning for audience members who are deaf. Matlin was among the competition’s jurors.
Thirty-six years separated the 1986 Best Actress win for Matlin, who is deaf, and Kotsur’s 2022 Oscar for “CODA.” Even though this year’s Academy Awards did not bring a similar milestone, the Academy’s commitment to inclusion and today’s shifting landscape in Hollywood mean it is all but assured that we will not need to wait nearly as long to see the next Oscar for an actor with a disability.
Producers, directors, and casting directors also have a hand in making a difference. Not only they can (and should) insist that the roles written of characters with disabilities are played by actors with disabilities, they should also include people with disabilities in the various roles of production.
As proud advocates in the journey toward greater authentic representation, the Ruderman Family Foundation and our partners, along with other organizations dedicated to this issue, were gratified to witness yet another momentous night for inclusion at the 2023 Oscars. We are hopeful that both the entertainment industry and the general public will view such moments not as the climax of the authentic representation movement, but as another step along the ongoing road to enduring, systemic change.
Jay Ruderman is President of the Ruderman Family Foundation.
One year after the landmark success for
Top Gun: Maverick wins Best Action Movie and Mia Goth wins Best Villain, among others, at the 3rd Annual Critics Choice Super Awards. The Critics Choice Association (CCA) announced today the winners honoring the most popular, fan-obsessed genres across both movies and television, including Superhero, Science Fiction/Fantasy, Horror, and Action.
Everything Everywhere All at Once led the film winners this year, garnering three awards overall. The film was awarded Best Science Fiction/Fantasy Movie, while Ke Huy Quan took home Best Actor in a Science Fiction/Fantasy Movie, and Michelle Yeoh won Best Actress in a Science Fiction/Fantasy Movie.
The Boys garnered the most television series wins, also earning a total of three awards. It won Best Superhero Series, while Antony Starr was awarded for both Best Actor in a Superhero Series as well as Best Villain in a Series.
Top Gun: Maverick – Best Action Movie – Critic Choice Super Awards
BEST ACTION SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Cobra Kai
Acceptance Speech
BEST ACTOR IN AN ACTION SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Kevin Costner – Yellowstone
BEST ACTRESS IN AN ACTION SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Helen Mirren – 1923
BEST SUPERHERO SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
The Boys
Acceptance Speech
BEST ACTOR IN A SUPERHERO SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Antony Starr – The Boys
Acceptance Speech
BEST ACTRESS IN A SUPERHERO SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Tatiana Maslany – She-Hulk: Attorney at Law
Acceptance Speech
BEST HORROR SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Wednesday
Acceptance Speech
BEST ACTOR IN A HORROR SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Evan Peters – Dahmer – Monster: The Jeffrey Dahmer Story
BEST ACTRESS IN A HORROR SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Jenna Ortega – Wednesday
BEST SCIENCE FICTION/FANTASY SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE (Tie)
Andor
Acceptance Speech
BEST SCIENCE FICTION/FANTASY SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE (Tie)
Stranger Things
BEST ACTOR IN A SCIENCE FICTION/FANTASY SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Adam Scott – Severance
Acceptance Speech
BEST ACTRESS IN A SCIENCE FICTION/FANTASY SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Patricia Arquette – Severance
BEST VILLAIN IN A SERIES, LIMITED SERIES OR MADE-FOR-TV MOVIE
Antony Starr – The Boys
Acceptance Speech
The Batman – Best Superhero Movie – Critics Choice Super Awards
BEST ACTION MOVIE
Top Gun: Maverick
Acceptance Speech
BEST ACTOR IN AN ACTION MOVIE
Tom Cruise – Top Gun: Maverick
BEST ACTRESS IN AN ACTION MOVIE
Viola Davis – The Woman King
BEST SUPERHERO MOVIE
The Batman
BEST ACTOR IN A SUPERHERO MOVIE
Colin Farrell – The Batman
BEST ACTRESS IN A SUPERHERO MOVIE
Angela Bassett – Black Panther: Wakanda Forever
BEST HORROR MOVIE
Barbarian
Acceptance Speech
BEST ACTOR IN A HORROR MOVIE
Ralph Fiennes – The Menu
Mia Goth – Best Villain – Critics Choice Super Awards
BEST ACTRESS IN A HORROR MOVIE
Mia Goth – Pearl
BEST SCIENCE FICTION/FANTASY MOVIE
Everything Everywhere All at Once
BEST ACTOR IN A SCIENCE FICTION/FANTASY MOVIE
Ke Huy Quan – Everything Everywhere All at Once
Acceptance Speech
BEST ACTRESS IN A SCIENCE FICTION/FANTASY MOVIE
Michelle Yeoh – Everything Everywhere All at Once
BEST VILLAIN IN A MOVIE
Mia Goth – Pearl
Top Gun: Maverick wins Best Action Movie
The province’s police watch dog, The Independent Investigations Office (IIO) of B.C. is investigating after police in Prince George shot and killed a man Thursday.
The IIO says the incident happened on Highway 97 and Willowcale Road Thursday evening after recieving information from the RCMP.
“An interaction occurred between the man and police, and the man was shot. He was pronounced deceased a short time later,” according to a statement from the IIO.
The IIO says the investigation will work to confirm police accounts of the incident and the interaction which led to the man’s death.
The IIO is called in to investigate incidents where police action or inaction leads to the injury or death of a person.
More to come.
The province’s police watch dog, The Independent
