2023 Latin American Music Awards: See the Full List of Nominations
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As the global streaming business underwent a surprise, secular reassessment last year, Sony’s anime service Crunchyroll found the whole industry suddenly contemplating the same strategies it had been prioritizing for years. Out was the gusher approach to content spending in pursuit of limitless subscriber growth. In were financial discipline, multi-tiered subscription options and a more diversified approach to revenue generation.
The Crunchyroll of today is actually a merged service comprised of two former U.S.-based entities: Funimation, an anime platform founded by industry pioneer Gen Fukunaga in 1994, which Sony snapped up for $143 million in 2017; and Crunchyroll, the then-second-largest dedicated anime service, which the Japanese entertainment giant bought from AT&T in 2020 in a deal valued at $1.18 billion. Sony once was thought to be paying a steep premium in the latter acquisition, but given the success and opportunity the company has created for itself in consolidating the anime niche, many analysts would now argue it was a bargain.
“A couple of themes have emerged in the latest iteration of the disruption that streaming has brought to the entertainment space — the focus on profitability and the flywheel effect, or having a mix of mutually compounding revenue streams,” says Rahul Purini, a Funimation veteran since 2015 who was appointed as Crunchyroll’s president last year. “And these are the things we’ve always been focused on — not that we knew this was coming, but simply because Crunchyroll and Funimation spent many years as startups that needed to grow profitability to survive, and because a 360-degree flywheel approach is how the anime community actually wants to be served.”
Anime fans are a uniquely passionate community and Crunchyroll has long described its business as meeting its audience wherever they might be. At the core of the service is a streaming platform boasting the largest online library of new and catalog anime content, with subscription options ranging from a free, ad-supported tier to three paid tiers (from $7.99 to $14.99) offering ad-free viewing and varying degrees of perks. Cruncyroll reported earlier this year that it had 10 million paying subscribers and Purini says the streaming operation is “solidly profitable” (although Sony doesn’t break out details). The company is also the leading theatrical distributor of anime movies in North America, where it has released ten of the top 20 all-time highest-grossing titles in the category (more on this later). It also hosts a growing number of regular live events — mostly in the U.S., including anime fan conventions, expos and an awards show — and is expanding its merchandising operations, catering to anime fandom’s penchant for collecting (in August, Crunchyroll acquired Right Stuf, the top online retailer of anime goods and manga in North America). Nascent mobile gaming and an anime music streaming service are also gaining momentum on the service — business lines that will only benefit from further integration with Sony. The perks that come with the priciest Crunchyroll subscription span all these categories (special access to Crunchyroll events, screenings, merch, etc.).
But this solidly diversified business ecosystem would mean far less to Sony if anime culture weren’t undergoing a global explosion of popularity — and it most certainly is.
“We have made internal estimates of how big the anime market will be, and we’ve underestimated its growth every year,” says Purini.
In 2020, the Association of Japanese Animators reported that the international market for Japanese anime surpassed the domestic Japanese market for the very first time (about $11.5 billion vs $11 billion). The growth is most readily visible in the outsized sums anime titles have been earning at the box office, even in the pandemic era. In 2020, Crunchyroll released Demon Slayer the Movie: Mugen Train (2020), earning $50 million in the North America out of the film’s $453 million worldwide total. Other successes have included 2021’s Jujutsu Kaisen 0 ($34.5 million in NA, $166.7 million worldwide) and last year’s Dragon Ball Super: Super Hero ($38 million/$48.5 million). Crunchyroll’s next major theaterical outing will be anime hitmaker Makoto Shinkai’s Suzume, which has already earned $103 million in Japan. It opens stateside and in Europe on April 14.
Crunchyroll says its internal research shows that about 300 million people around the world watched Japanese anime in some form or another in 2022 — which is double 2020’s total viewership. The company also says that its user base — primarily centered in the U.S., followed by Western Europe, Mexico, Brazil and Australia, with plans to expand in Southeast Asia — is growing meaningfully across all age groups, but it’s exploding in the 13-17 and 18-25 age segments.
“If it’s a niche, it’s a pretty huge niche nowadays,” Purini adds.
At this point, the trajectory anime is tracing is probably most similar to hip hop, an art form and encompassing lifestyle that emerged from very specific cultural and geographic origins to become a mainstream category of universal global appeal. But much like hip hop, anime’s currency remains its authenticity and connection to the source — in this case the singular sensibilities of Tokyo’s anime artists and studios.
But the corporate interest in those sensibilities has never been greater either. Observing the same trends as Crunchyroll, and also keen to grow their services within the large Japan market, the major streamers — Netflix, Amazon, Dinsey, et al — have been spending aggressively on rights to top anime titles. Research firm Media Partners Asia reports that anime currently comprises 12 percent of all premium subscription video viewing hours in the Asia-Pacific region — the one part of the world where the streamers are still adding subs at a significant rate. Netflix launched 40 anime titles on its service just last year, while Disney inked a deal last November with Japanese publishing powerhouse Kodansha to boost its anime originals output. The cost of licensing exclusive anime content has climbed accordingly.
Cruncyroll’s executives believe they have a few advantages over the major streamers that will help them maintain their steady flow of desirable titles from the source, Japan. Their deals often span relationships across streaming, theatrical, merchandising and gaming, offering anime creators — among the scene’s most diehard fans themselves — multiple touchpoints with their audience. Their deals also entail back-end revenue and data-sharing agreements, ensuring that the biggest hits on the Crunchyroll service are shared wins (something Netflix, notoriously, never does). And the company also happens to be owned and supported by one of Japan’s most esteemed corporate brands, a relationship that opens doors and carries myriad cultural benefits in Tokyo.
Whether Crunchyroll can come to occupy more than just a niche within Sony Corp.’s sprawling global business portfolio remains to be seen, analysts say. The conglomerate’s bold bet over the last past half decade to consolidate the anime category outside Japan now looks just as prescient as its parallel decision to be an “arms dealer” in the streaming wars, rather than shelling out the billions that would have been required to launch a general entertainment platform of their own.
Adds Vivek Couto, executive director of Media Partners Asia: “Sony’s strategy of owning and operating anime IP is clearly playing out very well. Can they now scale the Crunchyroll service on a meaningful global basis — without breaking the bank? That’s the next significant challenge.”
This story appears in the March 16 issue of The Hollywood Reporter magazine. Click here to subscribe.
As the global streaming business underwent a
GOING VARSITY IN MARIACHI
Section: Festival Favorites
Directors: Alejandra Vasquez, Sam Osborn
Logline: In the competitive world of high school mariachi, the musicians from the South Texas borderlands reign supreme. Under the guidance of Coach Abel Acuña, the teenage captains of Edinburg North High School’s acclaimed team must turn a shoestring budget and diverse crew of inexperienced musicians into state champions.
Panelists: Alejandra Vasquez (director), Sam Osborn (director), Julia Pontecorvo (producer), Abby Garcia (subject/mariachi musician)
Sales Agent: Ariel Richter, Fifth Season
Premiered: Sunday, March 12; Next screening Wednesday, March 15 5:30 p.m. CT at the Stateside Theatre
Key Quotes: Alejandra Vasquez: “Going Varsity in Mariachi follows a year in the life of a competitive high school mariachi team in South Texas. We follow Edinburg North High School and feature a couple of other schools, but it’s really a sports film that’s kind of also a coming of age story about growing up along the border.”
Julia Pontecorvo: “I didn’t know how rich the culture was, how nuanced the music was, how diverse the music is as well.”
Abby Garcia: “Mariachi comforts me and whatever emotion I’m feeling, like if I’m sad or happy, there’s a song for it. So, there’s always a song you can relate to. It’s a comfort, it’s home because I grew up around it and especially in high school, it was my safe place. So, it’s really special to me… I used to be really shy and it was getting out of my shell, because you have to perform. It’s like you have to put on this persona when you put on the traje [suit] when you go perform… If you’re singing, you have to act out the song.”
Sam Osborn: “We knew we had to be here [at SXSW]. I mean, we were really hoping we would get in because it’s perfect for the audiences [here]. We’ve been saying if there’s any audience that really gets this movie, it’s gonna be the South by Southwest audience.”
GOING VARSITY IN MARIACHI Section: Festival Favorites Directors: Alejandra Vasquez, Sam
BBC employees will stage their biggest strike in 13 years today as they walk out in protest over job losses and changes to local content.
Around 1,000 National Union of Journalists (NUJ) members are expected to down tools for 24 hours from 11AM local time and the BBC has acknowledged that it will be a difficult day.
In an email to staff obtained by Deadline, Jason Horton, the BBC’s Director of Production for local services, said it would be a “hard moment for everyone” and urged people to treat each other with “kindness and respect.”
The strike is expected to disrupt the BBC’s coverage of the government’s Budget, a setpiece moment in the UK political calendar in which ministers are expected to maintain support for energy bills and potentially introduce free childcare.
The BBC walkout comes on a day of widespread industrial action in the UK, with teachers, doctors, London Underground, and university workers set to go on strike.
BBC employees are protesting against plans to make nearly 50 roles redundant across local services. Radio shows are being cut, while the BBC has axed We Are England, a regional documentary TV show.
The BBC has argued that funding for local content is being maintained, but it is reprioritizing £19M ($23M) of resources from traditional broadcast services to online and multimedia production.
Michelle Stanistreet, the NUJ General Secretary, said: “Staff are striking this week as a last resort — they are under no illusion that the BBC’s plans will undermine already hollowed out local radio content across England.”
Some 83% of NUJ members voted in favor of a strike in a postal ballot, with the remaining 17% not supporting a walkout. The turnout was 69%, which was higher than some were expecting.
BBC staff have not staged a major strike since 2010, when there was a 48-hour walkout over a pensions dispute. Flagship shows, including Newsnight and Breakfast, fell off air as star presenters including Fiona Bruce joined the protest.
The International Federation of Journalists, the global union for journalists, voiced its support for the BBC strike.
BBC employees will stage their biggest strike
These scandalous comedies had you laughing and
The Walt Disney Co.’s Star Distribution has taken Latin American distribution rights to Argentine writer-director Pablo Solarz’s coming-of-age film “Desperté con un sueño” (“I Woke Up with a Dream”)
An Argentina-Uruguay co-production, teaming Buenos Aires-based Pampa Films and Aramos Cine with Montevideo’s Mutante Cine and Bocacha Films, “I Woke Up with a Dream” screened March 14 at the Málaga Film Festival’s main competition.
Top Argentine producer Pablo Bossi’s Madrid-based company Gloriamundi is handling “I Woke Up with a Dream” rights outside Latin America.
Pablo Solarz is a hugely popular mid-brow comedy scribe (“Un novio para mi mujer,” “Me casé con un boludo” ) turned director of wider ranging fare with titles such as “El último traje,” which snagged the audience award at the 2018 Miami Film Festival.
“I Wake Up with a Dream,” his third feature, premiered at February’s Berlin Film Festival edition as part of youth-focused sidebar, Generation 14plus.
The film is a personal tale of self realization set in Montevideo’ neighborhood of La Paloma and following Felipe, a young teen who dreams of becoming an actor and takes classes, though hides his ambition from his mother.
When the opportunity arises to attend an audition, Felipe escapes by bus for the day. But when he finds himself in need of extending his stay, his lies rebound, out of control.
The Walt Disney Co.’s Star Distribution has
Additionally, Friend addressed the evolution of Oscar Award nominee Angela Bassett’s look as Queen Ramonda from Black Panther to Black Panther: Wakanda Forever. “I mean, Angela Bassett. What can you say? She’s a queen. She’s really a queen. Even when you meet her, she’s so royal. She’s an actress I had never worked with before Wakanda and was really somebody who I wanted to work with. So I really went through and I looked at all her looks and I was like, ‘What can I do that she hasn’t done?'” she explained.
“So, in the beginning on the first one, in talking to Ryan, we really talked about, ‘How about if she had locs?’ I met his mother and Ryan Coogler’s mother has beautiful long locs, and I was like, ‘How about if we create locs for her? Like really long, beautiful, but keep them in light tones, keep them silver, keep them platinum, keep them blond. Really make her look like the goddess she is,'” she continued. “So I went and I pitched it to Angie, and she was kind of like, ‘Huh…’ I was like, ‘Yup! I have this idea! I want to do these long locs.’ And I showed her pictures and, once we started talking about it, she goes, ‘I think that would really be cool, Camille.'”
“So we talked about it, but for the camera test, we didn’t have the wig built yet, because the wig is a big build. It takes a long time. These are handmade locs. So we just had this horrible, horrible loc wig,” she recalled. “Basically, the front of it was kind of gray, and she was like, ‘This is ugly, this color.’ So literally, I was like, ‘Okay, the back of it is lighter.’ We turn the wig around. This is for the camera test. We turn the wig around, we put the light part forward, and I was like, ‘I need a wrap or a scarf.’ So I just pinned it all up. We put the wrap around it and that’s how we got it approved. Then, after that, I built the wig for it. So that’s how the beginning of it started, just to give you a little back history on the beginning of it.”
“Of course, in the opening scene [of Black Panther: Wakanda Forever], she has on the original wig from the first Black Panther. But how we got to her look in this one is, talking to Ryan, he really wanted Shuri and Ramonda to have—like, in West African culture, how people are in mourning and they shave their heads. So we’re looking at, ‘How would they look a year after they had shaved their heads?’ So that’s how we landed on the look that we had,” she said. “So I wanted to keep her in the same color family, but I wanted to make her hair shorter. But I was like, ‘What kind of style?’ So I started looking at the pictures of [costume designer] Ruth Carter, what she does with the hat. I was like, ‘If I keep her hair the same original color, but make her hair like a crown, I think it was something that would look really beautiful.’ And that’s what we did, and here we are.”
Additionally, Friend addressed the evolution of Oscar
285
Review: Batgirls #16
[Editor’s Note: This review may contain spoilers]
Writers: Becky Cloonan and Michael W. Conrad
Art: Neil Googe with Geraldo Borges (Finishes p. 16-22 )
Colors: Rico Renzi
Letters: Becca Carey
Reviewed by: Matthew B. Lloyd
The Batgirls are invited to a tea party, and as you might imagine these things never turn out well in Gotham. A big “change” comes over Steph courtesy the Mad Hatter’s use of Kirk Langstrom‘s infamous formula.
After about half-way through Batgirls #16, it becomes apparent that this comic feels different from the average issue on the stands today. This is a good thing, and it’s not necessarily the same thing that has made this such a great series. (Although, that’s there , too. We’ll get to that shortly!) Back in the Bronze Age, storytelling was different. Single issues contained much more content. A LOT could happen in one 32-page comic. There was often an emphasis on the adventure and comic booky-ness. What I mean by that is the sort of strange sci-fi/ fantasy elements that are unique to comics. Batgirls #16 does this extremely well. Cass and Steph get right to it in this issue as they have to respond to this invitation by the Mad Hatter. The plot sizzles along as the duo have to figure out what Tetch’s trap is? You knew it was a trap right?
The story is paced quickly, but it doesn’t feel like it’s a disappointingly quick read. Once the trap is sprung, Cassandra has to figure out how to not only save Stephanie, but also find Tetch and take him in. And this where the aforementioned “thing” that has made this series so great comes in. Batgirls has focused a lot on character to great effect. Character and the relationships between the characters is what drives this series. This issue doesn’t rely on it to move the story forward, but rather uses it to affect the outcome. Conrad and Cloonan have just spent the last story arc demonstrating the depth of Cass and Steph’s friendship. In Batgirls #16, they uses this efficiently, without having to overwork it, because we already know from what’s come before. Normally, one might expect a sub-plot to payoff, but here we have characterization/ relationship exploration pay off. So, while we get the adventure and excitement on top, we get this quick shot of emotion underneath that’s the true payoff. It’s executed brilliantly and the perfect use of a “set up.”
There are some other details that work well and that are just plain fun. Firstly, Babs running the mission always conjures up thoughts of the excellent Birds of Prey comics of the past. While this series isn’t BoP, it’s a sibling , a welcome sibling at that! The very mention of “Kirk Langstrom” in the story also brings up another set of associations. Langstrom’s legacy takes us back to the Bronze Age is part of the wild sci-fi/ fantasy element that are representative of the comic book medium. These nostalgic aspects dovetail with the storytelling style perfectly.
Maybe, maybe the theme of Steph in danger so soon is too soon? I can see that, but the issue is executed so well it just doesn’t feel that way.
Batgirls #16 strikes the perfect balance between action, plot, character, nostalgia and emotion. We shouldn’t be surprised that it’s yet another great issue in this series. Inductive reasoning should tell us that! We didn’t even get to mention the fun use of all the expected Alice in Wonderland motifs one would expect in a Mad Hatter story!
285 Review: Batgirls #16[Editor’s Note: This review may contain
Bought a new PSVR 2 and looking to increase that Trophy collection? These are the PSVR 2 Trophies for The Dark Pictures: Switchback VR
Bought a new PSVR 2 and looking
Spanish SVOD platform Movistar+ wowed viewers at the Málaga Film Festival on Tuesday with the first episode of “La Unidad Kabul,” the third season of its special police unit thriller.
The latest instalment is set in Afghanistan, where Spanish agents are on a new mission to meet an infiltrator with information about a possible attack in Europe.
The elite unit is in the war-torn country as the U.S. ends its 20-year occupation, leaving Kabul to be taken by the Taliban. As Spanish authorities begin the evacuation of civilians and collaborators, the agents get caught up in clashes between the Taliban, Mujahideen and Islamic State-Khorasan Province (ISIS-K) forces.
Speaking in Málaga, Dani de la Torre, who created the show with Alberto Marini, said it was important for the creative team to focus specifically on Afghanistan this season. “It was not that long ago – in 2021 that the West abandoned Afghanistan and the Taliban took control of the country.
Because “La Unidad” has focused on terrorism in Europe since its inception, de la Torre said it was also important to look at the origins of terrorism, where it comes from and how it develops.
He noted that Spanish authorities were able to bring many humanitarian aid workers, former police officers and refugees to Spain. Putting the focus on Afghanistan can help explain some of the problems in Europe that have their roots in distant lands.
“A lot of times the problems that come here have their origins in other countries, in other cultures. … It’s also very important to know where the problems come from in order to solve them. Likewise, it’s important to look at how the Taliban took power, how they are violating the rights of people in Afghanistan, particularly women.”
Having the series set in Afghanistan also allows viewers to see everything that is happening in the country, he added.
While the first two seasons dealt with terrorism coming to Europe, Season 3 takes the viewer to its place of origin. “Why do these things happen? When they arrive here, they come as refugees, they are utilized politically and in the end they are also victims of conflicts. And why are these conflicts produced? We went there to see how the conflicts begin. They have nothing there – it’s a terrible situation. They lose their rights and sometimes their lives. And sometimes they come here and they have nothing to lose and have nothing to do.”
De la Torre pointed out that the West was also responsible for the situation, stressing that the U.S.’ 20-year occupation allowed Western corporations to exploit Afghanistan, from pharmaceutical companies harvesting opium to mining companies taking valuable minerals. “When they are interested, they are there. When they lose interest, they leave.”
“Syria, Afghanistan, Iraq – we have so many examples of countries that have been ravaged with our participation. Those errors come back to haunt us. It’s happened here in Spain.”
“La Unidad Kabul” features series mainstays Nathalie Poza, Marian Álvarez, Michel Noher and Fariba Sheikhan and new cast members Mehdi Regragui, Shabnam Rahimi and Reyhane Noori.
Sold internationally by Beta Film, “La Unidad” is available on HBO and was acquired by Warner Bros. Discovery for Latin America and TV3 Group Baltics.
Spanish SVOD platform Movistar+ wowed viewers at
This year’s South by Southwest Film & TV Festival has officially unveiled the 2023 winners list.
With buzzy titles such as “Bottoms,” “Beef,” “Swarm,” and “Air” debuting at the festival, the 2023 conference in Austin, Texas proved to be a memorable time. “What an extraordinary week of film and TV premieres here at SXSW, and there is more to come through Saturday,” Claudette Godfrey, VP, Flm & TV, said. “Our theaters have been brimming with enthusiastic audiences celebrating the exceptional and diverse work in our lineup, and we’re so excited to celebrate this year’s jury and special award winners!”
The Narrative Feature Competition, presented by Panavision, bestowed the top honor to “Raging Grace,” written and directed by Paris Zarcilla.
“‘Raging Grace”s heady blend of horror, history, and midnight humor announces the arrival of an exciting new filmmaking talent in writer-director Paris Zarcilla,” the official statement reads. “The story of a Filipina house cleaner and her young daughter confronting Britain’s racial and class divides, ‘Raging Grace’ is both frank and elusive, a film that subverts expectations on its way to a stirring conclusion. In cleverly employing genre tropes to explore vast socio political matters, Zarcilla has crafted a resonant, urgent work about labor, legacy, and diaspora.”
“Raging Grace” also was honored with the Thunderbird Rising Award Winner, along with “Parachute” for Brittany Snow’s Thunderbird Rising Special Award performance.
The Special Jury Award for Cinematography was given to “Story Ave” director of photography Eric Branco. “Parachute” actress Courtney Eaton, who also plays Lottie in “Yellowjackets,” was honored with a Special Jury Award for Performance.
“Courtney Eaton’s fearless portrayal of Riley, a young woman struggling to manage her addictions, ensured that ‘Parachute’ succeeded as a nuanced take on what holds us back and what lets us fly,” the SXSW press announcement stated. “The actress is at points hopeful and devastated, quiet and vicious, delivering a remarkable performance.”
Both “Story Ave” and “Parachute” are produced by Lizzie Shapiro, who received the SXSW special Janet Pierson Champion Award presented by IndieWire. Shapiro also produced “Shiva Baby” and “Mickey and the Bear,” both of which previously played at past respective SXSW festivals. IndieWire’s Janet Pierson Champion Award is to honor Pierson, the Director Emeritus of the SXSW Film & TV Festival, after 15 years of leadership. The 2023 festival marks the debut of the award as part of IndieWire’s dedication to elevating Film & TV creators.
“Angel Applicant” won the Documentary Feature Competition award, presented by ACE91.
“Written, directed, edited, and narrated by Kenneth August Meyer, ‘Angel Applicant’ is a revelation,” SXSW stated. “It is a film that lives dual lives: a gripping, autobiographical story about illness and an incisive work of art history. ‘Angel Applicant’ illustrates both Meyer’s and artist Paul Klee’s experiences with scleroderma in intimate, thoughtful, highly considered detail — engrossingly so for a viewer unfamiliar with either the creators or the disease. The result is a yearslong undertaking that is stunning, powerful, and unforgettable.”
For the TV Pilot Competition, Jocko Sims’ “Grown” was recognized along with a Special Jury Award for Outstanding Performance given to Josh Fadem from “Harbor Island.”
The 2023 SXSW Film Festival Juries consisted of journalists Tomris Laffy, Helena Andrews-Dyer, Richard Lawson, Mae Abdulbaki, Joel Anderson, Allegra Frank, David Fear, Mimi Swartz, Eric Webb, and more across the multiple awards categories.
The 2023 Film & TV program included 110 features including 75 World Premieres, 3 International Premieres, 9 North American Premieres, six U.S. Premieres, 16 Texas Premieres and 63 Short films, 20 Music Videos, 12 TV Premieres, three TV Spotlight, seven Independent TV Pilots, and 35 XR Experience projects.
All 2023 film categories will be eligible for category-specific Audience Awards that will be certified by the accounting firm of Maxwell Locke & Ritter. Audience Award Voting will conclude on Sunday, March 19. Winners will be announced via sxsw.com that week.
Click here to see the full list of 2023 SXSW award winners.
Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
The SXSW 2023 Film & TV Festival
Spanish SVOD platform Movistar+ wowed viewers at the Málaga Film Festival on Tuesday with the first episode of “La Unidad Kabul,” the third season of its special police unit thriller.
The latest instalment is set in Afghanistan, where Spanish agents are on a new mission to meet an infiltrator with information about a possible attack in Europe.
The elite unit is in the war-torn country as the U.S. ends its 20-year occupation, leaving Kabul to be taken by the Taliban. As Spanish authorities begin the evacuation of civilians and collaborators, the agents get caught up in clashes between the Taliban, Mujahideen and Islamic State-Khorasan Province (ISIS-K) forces.
Speaking in Málaga, Dani de la Torre, who created the show with Alberto Marini, said it was important for the creative team to focus specifically on Afghanistan this season. “It was not that long ago – in 2021 that the West abandoned Afghanistan and the Taliban took control of the country.
Because “La Unidad” has focused on terrorism in Europe since its inception, de la Torre said it was also important to look at the origins of terrorism, where it comes from and how it develops.
He noted that Spanish authorities were able to bring many humanitarian aid workers, former police officers and refugees to Spain. Putting the focus on Afghanistan can help explain some of the problems in Europe that have their roots in distant lands.
“A lot of times the problems that come here have their origins in other countries, in other cultures. … It’s also very important to know where the problems come from in order to solve them. Likewise, it’s important to look at how the Taliban took power, how they are violating the rights of people in Afghanistan, particularly women.”
Having the series set in Afghanistan also allows viewers to see everything that is happening in the country, he added.
While the first two seasons dealt with terrorism coming to Europe, Season 3 takes the viewer to its place of origin. “Why do these things happen? When they arrive here, they come as refugees, they are utilized politically and in the end they are also victims of conflicts. And why are these conflicts produced? We went there to see how the conflicts begin. They have nothing there – it’s a terrible situation. They lose their rights and sometimes their lives. And sometimes they come here and they have nothing to lose and have nothing to do.”
De la Torre pointed out that the West was also responsible for the situation, stressing that the U.S.’ 20-year occupation allowed Western corporations to exploit Afghanistan, from pharmaceutical companies harvesting opium to mining companies taking valuable minerals. “When they are interested, they are there. When they lose interest, they leave.”
“Syria, Afghanistan, Iraq – we have so many examples of countries that have been ravaged with our participation. Those errors come back to haunt us. It’s happened here in Spain.”
“La Unidad Kabul” features series mainstays Nathalie Poza, Marian Álvarez, Michel Noher and Fariba Sheikhan and new cast members Mehdi Regragui, Shabnam Rahimi and Reyhane Noori.
Sold internationally by Beta Film, “La Unidad” is available on HBO and was acquired by Warner Bros. Discovery for Latin America and TV3 Group Baltics.
Spanish SVOD platform Movistar+ wowed viewers at
Video game adaptations require big changes to fit the needs of a more passive medium. Craig Mazin and Neil Druckmann handled this move quite well in HBO’s The Last of Us and were able to graft the game’s strengths to the show while also adding to the world to make it more than a simple retelling. Not all changes are created equal, though, as some made the show excel where the game didn’t and vice versa. And while both are fantastic in their own right, here’s how each episode stacks up to its counterpart in the game.
The Last of Us has an unforgettable intro, yet the show comes out on top because of its ability to flesh out that world before the outbreak. This gives viewers more time to bond with Sarah and care for her more dearly. Naughty Dog did something similar by letting players control her in the beginning, which took advantage of the medium’s interactivity, but that shortcut obviously can’t be used the same in television. The scene of the neighbor’s infection is also significantly creepier, as an old woman unnaturally slinking around is a bit scarier than Mr. Cooper crashing through the glass door.
The post-Outbreak Day sections are also more thoughtfully introduced. Viewers get to see how Robert screwed Tess over instead of just being told about it. The battery Joel wants as payment also has more story significance than just the nebulous weapons he was promised in the game since he wants the battery to go see Tommy. All of this cuts down on chasing Robert and the tutorial sections, too, which are the weakest parts of that game. Setting everything up takes time in video games, and that’s not always beneficial in an interactive medium. However, taking more time for initial worldbuilding can work better in the realm of TV and this debut, from its unexpected talk show intro to radio tease at the very end, shows exactly why.
This one is a close match, but the TV show takes it mostly because the game is still somewhat in tutorial mode at this point. The slower segments that the game needs to introduce the player to its systems are more apt for a television show since they’re almost exclusively focused on dialogue and worldbuilding and not concerned with slowly laying out how to swing a melee weapon or throw a bottle.
The added dialogue in the show further sells the rift between Joel and Ellie, as he’s more consistently vocal about his displeasure surrounding the deal, which also then contrasts nicely with Ellie’s array of well-delivered jokes. Their awkward exchange when Tess is maneuvering to open up a path is a clear example of this and not something the game takes its time to do. This steady buildup gives Tess’ pleas to Joel to finish the deal even more weight since it’s more obvious that he isn’t happy with this arrangement.
When Joel upgrades his shotgun at any of the workbenches in The Last of Us Part I, he meticulously scrubs…
Thanks to some clever framing in the show and overly narrow level design in the game, the scenes with the infected are also stronger in the show. Seeing the Clickers through the glass and how the infected communicate is more engaging than having to take down infected in the museum’s cramped halls.
The incredible cold open in Jakarta is the biggest differentiator, as it lays out the grimness of the outbreak while also giving a more global view of it. The games tend to focus on the more local effects of how the world ended, which works, but broadening it out like this does open up the universe a bit more.
Bill’s Town is where the game truly begins since it’s where Naughty Dog takes off the training wheels and starts giving players more weapons and tougher encounters. It’s even full of incredible moments, like when Joel hangs upside down and has to defend Ellie and the Bloater fight in the high school gym. Bill and Ellie’s catty banter is also hilarious since it shows how kooky Bill is while also demonstrating Ellie’s ferocity.
But even though Bill’s Town is a highlight in the game, “Long, Long Time” is just a sublime short film. Watching Bill and Frank’s relationship play out is the biggest swerve from the games and tells a similar story from the opposite angle. In the game, Bill shows Joel what he’d be like if he had no one to care for: a shut-in lunatic who mutters to himself because he’s pushed away everyone who doesn’t have a mushroom for a face. In the show, Bill shows Joel that finding someone to care for has value is a key to happiness, a shift that makes him a role model instead of a cautionary tale. This more optimistic angle beautifully flips the lesson on its head and tells a touching love story where survival isn’t just the key; it’s about making the most out of the time that is left.
Pittsburgh is even more gameplay-oriented than Bill’s Town and is full of significantly more complex combat arenas. That itself is thrilling since its tense encounters are always so dynamic and replayable due to the game’s unpredictable A.I. Clearing out the hotel, skulking through its creepy basement, and wiping out the bandits in the bookstore and financial district make for some of the best battles in the game since they’re all open and never play out the same way twice. The team also leans a little away from cutscenes and more toward environmental storytelling, which keeps up the pacing.
And while it is satisfying to play, the show’s portrayal of this section gives it the slightest edge. Humanizing the bandits echoes what Naughty Dog did with The Last of Us Part II, as the bad guys are no longer faceless goons and have somewhat justifiable motivations. Applying this lesson from that sequel was smart since it allows for more nuanced characters on both sides. Kathleen is ruthless, but her anger is sound, which is more thoroughly explained in the following episode.
And that more thorough explanation is why “Endure and Survive” is a slightly more memorable episode than The Suburbs section. Kathleen’s anger toward Henry more effectively colors him with shades of gray. He does abandon Joel in the game, but ratting out someone to the hostile F.E.D.R.A. forces in exchange for medicine is significantly more cruel. Making Sam deaf was also a creative artistic flourish that more clearly makes him codependent on his brother.
Both also have excellent sniper sequences and for different reasons. The chaos of the show with the massive fight between the infected and Kathleen’s army is wild and the show’s most bombastic set piece. In the game, sneaking down that long corridor while also fighting bandits is a stressful fight that pushes players to be more clever about how they use cover and advance. They’re slightly different takes, but fantastic nonetheless, making this one of the tougher comparisons.
“Kin” is a special case because it blends Tommy’s Dam and The University into one tight episode. And since one is better in the show and the other is better in the game, it’s hard to pick a winner here.
“Kin” excels as an episode because it actually takes viewers inside of Jackson, which Naughty Dog didn’t have time to fully implement, according to a recent interview with Druckmann. It’s why players only visit the dam in that section of the game. But being able to tour the place, see how people live, and the life Joel could have is more effective than being told about its qualities while fighting off raiders in a dilapidated dam.
Showing off Joel’s anxiety was also a great new wrinkle since the game doesn’t as clearly show that side of his mind. His emotional moments with Tommy are the payoff to that setup since his vulnerability communicates how distraught he’d feel about letting down another young daughter-like figure. And while the game handles Ellie’s attempted escape a little better since it is more reckless and dramatic for her to jet off in anger (and it’s not that clear how she hears Joel and Tommy talk in the show), this whole section’s focus on character is more compelling in the TV series.
However, almost completely skipping past the university is unfortunate since that level excels in environmental storytelling and building Joel and Ellie’s bond. Having Joel explain football and seeing how the students dealt with a deadly pandemic make for great little pieces of worldbuilding. The scene where Joel gets impaled is the highlight, though, because the struggle to take down enemies in a hobbled state is a chaotic set piece, as Ellie is shooting wildly and Joel is fading in and out of consciousness. It’s another area where being behind the sticks heightens the appeal that allows the player to feel more for the character.
People have called on Naughty Dog to incorporate Left Behind into the game’s core campaign in its subsequent releases, but the TV series demonstrates why it’s better as a separate story. Watching Ellie draw on her past to help Joel in the present makes for an excellent dual story where players get to see how a key moment defined her life in one storyline and how that compels her to save Joel’s life in the other. The lengths she goes to procure medical supplies and protect him as David’s goons try to hack his head off gives players her perspective on their relationship, too, since playing only as Joel for the other parts of the game tends to frame their bond more from his point of view.
Nonchalantly rummaging around one mall, while stressfully stalking infected and thugs in the other also makes for an engaging and well-paced gameplay loop that yields story and gameplay in equal parts. There’s a reason it’s one of the best expansions in the entire medium.
Taking away that second half of the story by having Ellie just find the supplies she needed in the same house she was taking refuge in is a little underwhelming by comparison. Her trip with Riley is still charming and heartwarming, as noted by their matches in Mortal Kombat II and dancing scene, but the cuts that were necessary to make it a digestible episode of TV diminish some of the biggest takeaways from the expansion.
Lakeside Resort’s superiority is also a byproduct of slotting Left Behind into the main storyline. The steady realization that you’re playing as Ellie after the hard cut from Joel’s injury to the snowy landscape is such a well-orchestrated sequence. The switch initially implies that Joel is dead and Ellie has to make her own way to the Fireflies, which is a lot to take in. But it’s not unrealistic because of how something vaguely similar happens in Cormac McCarthy’s The Road, a book and film that The Last of Us takes heavy inspiration from.
Understanding that you’re playing as Ellie has much more impact than shifting the focus to her in the show. It’s where the interactivity benefits the storyline since empathy is felt more strongly through the controller. The gameplay sections also help players learn about David and have some level of fondness for him, as allying with him to blast Clickers strengthens the temporary bond players have with him, which then makes his descent into madness even more shocking. His turn is not strung out quite as carefully in the abbreviated runtime of the show.
The intercutting between Joel and Ellie’s perspectives is also a powerful tool the game uses to build up tension. Watching Joel’s paternal instincts (and dose of penicillin) reawaken him from his grave is made even more exciting because it’s being pitted against Ellie’s struggle to survive in a town that wants her dead. They both build wonderfully and in unison, further showing their bond through gameplay. The TV series mirrors a lot of these scenes almost exactly and is extremely effective because of it, but it’s just another aspect where the controller and extra time play to the game’s advantage.
The season finale moves at a breakneck pace, which Druckmann says was deliberate, and it does hit the big beats: Ellie’s initial somber tone, the giraffe, the hospital slaughter, the lie, the unforgettable ending. All of which are still effective here, but, once again, the interactivity of the game adds some more nuance to some of these beats.
Joel trying to boost Ellie up to get the ladder and her not responding is a seemingly minuscule choice, but it’s the repetitive nature of the game that points out how out of it Ellie is. Time after time, players go to a high ledge and press the Triangle button, and Ellie always responds. But the one time she doesn’t highlights how traumatized she is in a way relevant to gameplay. It snaps the player out of their routine and completely turns a simple gamey system on its head.
The hospital scene is also very gamey in the show, as Joel goes on a massacre like he’s got a five-star wanted level. It’s unhinged, yet playing through that long and arduous level elongates that feeling and truly hammers it home how far gone Joel is. Having to deftly weave in and out of cover to take out the many well-armed Firefly forces is also the ultimate final test from a gameplay and story perspective.
These two are once again intertwined by the simple addition of the assault rifle. This weapon finally lets players loose and realize Joel’s rage in a way that the game’s array of more deliberate semi-automatic weapons just can’t do. Players still have to hunt intelligently, but this tool of war evens the odds just a bit more.
As is the case with other episodes, this finale surpasses the game in one area where it’s able to add to the fiction. Seeing Ellie’s mom, Anna, go through her last moments is a powerful scene, especially as Ashley Johnson, who plays Ellie in the games, gives such an intense performance. Fighting off an infected being while giving birth both shows how Ellie was born into violence and provides a solid theory explaining her immunity, both of which thoughtfully inform her character.
This also makes the decision Marlene makes later on even more powerful since it shows how long she’s been with Ellie and gives a glimpse at her friendship with Anna. It’s a shame that the plan for this spin-off didn’t get made into a game, but this opening was still an incredible distillation of that storyline.
Video game adaptations require big changes to
New York Film Academy is rebranding to reflect its evolution into a global institution that teaches beyond the film arts over its three decades as an educational institution.
That rebranding includes a new emphasis on its often-used acronym, NYFA, a new logo and a newly redesigned website that collectively put less emphasis on “New York” and “film” in the school’s original name. Beyond filmmaking, NYFA offers classes in acting, musical theater, photography, 3D animation and VFX, game design, broadcast journalism and more.
“The new look features a refreshed color scheme — retaining its original black and white branding, we now see the former red accent replaced with accents of magenta, cyan and yellow for each area of study,” the school’s press release on the rebranding states.
Beyond its original New York City campus, NYFA awards graduate and undergraduate degrees and one and two-year certificate programs at its campuses in Miami, Los Angeles, Australia and Italy, as well as its satellite locations and online. It also offers short-term intensive workshops and camps for teens and kids.
“Words cannot express how thrilled we all are to celebrate 30 years since NYFA’s inception… Looking back, it’s unbelievable how quickly we’ve grown and how much we’ve diversified as a school,” NYFA’s president, Michael J. Young, said in a statement. “This new image reflects NYFA’s evolution and commitment to educating the next generation of film, media and performing artists.”
Ranked No. 44 on TheWrap’s top 50 film schools list last year, NYFA was founded in 1992 by producer Jerry Sherlock (“The Hunt for Red October”) with the original goal of offering students a short-term immersive filmmaking program taught by industry professionals. Its alumni include “The White Lotus” and “Parks and Recreation” actress Aubrey Plaza and “Barry” star and former “SNL” cast member Bill Hader.
New York Film Academy is rebranding to
The singer and late-night host drove around Los Angeles to some of his most popular hits
Bad Bunny appeared on a segment of “Carpool Karaoke” on The Late Late Show with host James Corden on Tuesday. It was the first time the artist performed with Corden, who has carpooled with Adele, One Direction, Lady Gaga, Bruno Mars, Britney Spears, Selena Gomez, and more in the past.
During the ride through Los Angeles traffic, Bad Bunny and Corden jammed to “Dakiti,” “I Like It” (2018’s reigning song of the summer), and dembow-trap hybrid “Tití Me Preguntó.” The pair also attempted to belt out Ariana Grande’s “Break Free,” resulting in an off-key and endearing rendition, and “As It Was” by Harry Styles.
The artist also shared that he’s loved wrestling since he was a kid, and recalled that the best day of his life may have been when WWE invited him to the squared circle. Bad Bunny and the late-night host then made a pit shop at a wresting ring, where professional wrestler Rey Mysterio helped transform Corden into a purple-clad pro.
Last year, Corden that he would be leaving the The Late Late Show in early 2023. The English host replaced comedian Craig Ferguson in 2015, and was often maligned by critics. But his candid interviewing style and viral-ready segments with celebrities, including “Carpool Karaoke,” have since made him a hit with audiences.
The singer and late-night host drove around
Casino movies have long been a popular source of entertainment for movie lovers worldwide. They give us a peek into the exciting gambling universe, full of glitz, glamour, and high-stakes drama. However, these movies offer more than just entertainment. They provide valuable insights into the betting world and offer tips that you can apply to virtual gaming.
In this article, we will explore the top 5 helpful lessons from casino gambling movies that increase the winning chances of bettors in Australia.
Knowing the game is one of the most crucial aspects of gambling, whether virtual or in-person. Understanding the rules and strategies of your game is required to succeed as a gambler. In the film Rounders, we see the importance of this when Mike McDermott loses all his money by underestimating his opponent’s skills. Similarly, in The Cincinnati Kid, the protagonist, Eric Stoner, studies his opponent’s every move and uses that knowledge to win the game.
In virtual gambling, knowing the game is even more crucial. With hundreds of online casino games available, getting overwhelmed is easy. However, learning the rules and strategies of the games you’re interested in playing makes all the difference. There are plenty of resources available to help you with this. Take advantage of tutorials, guides, and forums to improve your skills and increase your chances of winning.
Casino bonuses are incentives offered by online casinos to attract and retain players. They come in various forms: free spins, deposit match bonuses, no deposit bonuses, cash back, and loyalty rewards. Casinos offer these incentives to encourage new players to sign up and try out their games and reward existing players for their loyalty. A team of experts did serious research, collected and posted useful data on the site list of free offers at aussiebestcasinos.com to find bonuses that suit your preference. They are important for newcomers as they allow them to try out no deposit games without risking their own money and to get a feel for the casino’s atmosphere. Bonuses also allow newcomers to increase their chances of winning by providing additional funds to play with.
Many casinos provide no-deposit casino bonus games, a great way to practice, get acquainted with the game, and hone your skills before betting real money. For starters, play free no deposit bonus casino Australia to learn the ropes. Also, an ideal casino offers new bettors low wagering requirements and bonuses.
Bankroll management is another crucial aspect of successful gambling. The concept of bankroll management is simple: bet what you are ready to afford to lose. In The Gambler, the consequences of poor bankroll management come into the picture when the protagonist, Jim Bennett, loses all his money and spirals into debt. In contrast, “Casino” showed the value of good bankroll management. The protagonist, Sam Rothstein, advises his friend to bet small to avoid losing everything.
When it comes to virtual gambling, bankroll management is even more critical. With easy access to online casinos and the ability to bet from the comfort of your home, it’s common to get carried away. Setting limits on your bets and sticking to them will help you avoid financial ruin and keep gambling fun and enjoyable.
Reading other players is another valuable tip from casino movies that you can apply to blackjack, roulette, and online slots. Understanding other players’ body language and behavior gives you an edge in the game. Many wonders is Molly’s game a real story with the film’s strategic moves. Likewise, In Ocean’s Eleven, Danny Ocean read his opponent’s behavior to win the game. Similarly, in The Sting, the protagonists use their knowledge of human behavior to pull off a successful con.
While reading other players may be more challenging in online gambling, it’s still possible. Paying attention to how long it takes other players to make their moves, how often they bet, and how they respond to certain situations can give you valuable insights into their gameplay. Additionally, the best casino options have live dealer games. There, you’ll interact with other players, making reading their behavior easier.
Emotions significantly impact your decision-making and overall success in gambling. In “21”, Ben Campbell often loses his cool and makes poor decisions, ultimately leading to his downfall. In contrast, in Casino Royale, we see how James Bond stays calm and rational, allowing him to make better decisions and win the game.
Things are easier on the best casino sites no wagering requirements, where the casino offers low wagering conditions. When lucky gamblers play in a casinos that doesn’t have requirements to claim no-wagering bonuses, they do so with more composure. It’s easy to get caught up in the excitement of the game and make impulsive decisions. The feeling is different when something is at stake, compared to a no wagering casino. However, staying calm and rational is essential to make the best decisions. Taking breaks, setting limits, and practicing relaxation techniques help you stay focused and make better gambling decisions.
Knowing when to walk away is the most important betting tip from casino movies. Setting limits on your bets and knowing when to quit will help you avoid significant losses. In the casino movie The Cooler, we see how Bernie Lootz’s luck turns when he decides to stay in the game too long. On the other hand, In The Color of Money, Eddie Felson teaches his protege the importance of walking away.
Setting limits on your bets and knowing when to quit is essential. Getting caught up in the game is easy, but remember that gambling should be fun, not a source of stress or financial ruin. Setting time and money limits help you stay in control.
Casino films offer valuable insights into gambling and help novice players improve their skills. By following these top five tips, players increase their chances of winning and avoid making costly mistakes. Knowing the game, managing your bankroll effectively, reading other players, keeping a cool head, and knowing when to walk away are all crucial skills that any successful gambler should have. So the next time you watch a movie about poker, pay close attention to the characters’ behaviors and strategies and see if you can learn something to make gaming more fun and enjoyable. Always play responsibly and never bet more than what your budget allows.
Casino movies have long been a popular
Extraordinary footage has revealed the breathless intensity of trench warfare in eastern Ukraine, with Ukrainian soldiers firing at Russian troops just yards away from them.
Footage shows the Ukrainian soldiers stalking through a Russian trench in the Donetsk region and shooting dead one of Vladimir Putin‘s men.
Video captured on helmet cameras also shows Ukrainian soldiers firing at Russian soldiers from their small bunkers amidst warped tree roots blackened by artillery fire.
In the clip, Ukrainian soldiers fire their automatic weapons from their positions at Russian soldiers, while a tank provides support to the troops.
The Ukrainian troops were then seen in drone footage running across a no man’s land reminiscent of a desolate First World War battlefield and storming a trench before capturing the Russian position.
One Ukrainian soldier is seen edging his way down the narrow trench and throwing a grenade towards where he believed enemy soldiers were hiding in the suspenseful footage. As soon as he spots a Russian soldier, he quickly opens fire and shoots him dead.
Video captured on helmet cameras also shows Ukrainian soldiers firing at Russian soldiers from their small bunkers amidst warped tree roots blackened by artillery fire
Extraordinary footage has revealed the breathless intensity of trench warfare in eastern Ukraine, with Ukrainian soldiers firing at Russian troops just yards away from them
The Ukrainian troops were then seen in drone footage running across a no man’s land reminiscent of a desolate First World War battlefield and storming a Russian trench before capturing it
One Ukrainian soldier is seen edging his way down the narrow trench and throwing a grenade towards where he believed enemy soldiers were hiding in the suspenseful footage.
As soon as he spots a Russian soldier, he quickly opens fire and shoots him dead.
The six-minute footage showed Ukrainian soldiers in an intense battle and firing at the Russian soldiers before there was a pause in hostilities while they reloaded their weapons and smoked cigarettes to calm their nerves.
The footage then shows a Ukrainian soldier being handed ammunition magazines before the sound of gunfire can be heard breaking out in the distance.
The incredible raw footage was obtained from the K2 Combat Group of the 54th Separate Mechanized Brigade of the Armed Forces of Ukraine on Monday.
The battalion shared the video and said: ‘An ordinary six and a half minutes of ordinary fighters of the ordinary mechanised battalion K2 Combat Group of the 54th Separate Mechanized Brigade.
‘No editing, no filters, no decorations. With blood, sweat, and smoke. This is how we bring victory closer.’
They also said that the images were filmed in the Donetsk region of eastern Ukraine.
It comes as President Volodymyr Zelensky and his top military command agreed today to continue to defend Bakhmut in eastern Ukraine.
Following a meeting involving the president, top government officials and military commanders, Zelensky’s office said in a statement: ‘After considering the defensive operation in the Bakhmut direction, all members … expressed a common position to continue holding and defending the city of Bakhmut.’
Earlier, Ukrainian soldiers said Russian troops keep coming in waves along the frontline in eastern Ukraine – a sign of no letup in Russia’s winter offensive despite Moscow having failed to secure any big victories so far.
In the clip, Ukrainian soldiers fire their automatic weapons from their positions at Russian soldiers, while a tank provides support to the troops
Ukrainian service members fire a howitzer M119 at a front line near the city of Bakhmut, Ukraine, on March 10
Russia and Ukraine are locked in the bloodiest infantry battle in Europe since the Second World War, after Moscow launched a winter offensive with hundreds of thousands of freshly called up reservists and mercenaries. Frontlines have barely budged in more than four months despite huge losses on both sides.
With assaults elsewhere on the front having failed, Russia appears determined to secure the ruins of the small city of Bakhmut in what would be its first victory since mid-2022.
In an overnight video address, President Volodymyr Zelenskiy said Ukraine’s ‘future is being decided’ in battles in the east, including Bakhmut, where Ukrainian commanders say they are killing enough Russian attackers to justify staying and fighting for a ruined city that has nearly been surrounded.
‘It is very tough in the east – very painful,’ Zelenskiy said. ‘We have to destroy the enemy’s military power. And we shall destroy it.’
Further north on the frontline near Kreminna, Oleksandr, 50, commander of a unit in Ukraine’s 110th battalion, said Russian assaults were still relentless despite having claimed little ground there. The Russians are trying to edge back towards Lyman, a major transit hub Ukraine recaptured last year.
‘They are pushing hard. They are lobbing mortar bombs at us,’ Oleksandr told Reuters, describing Russian units advancing in three-man fire teams, with another wave behind them sent to replace them when they are killed.
‘At night they always attack on foot and we sit, looking through our thermal goggles, and shooting them.’
The Kremlin, for its part, said it was committed to using force to achieve its war aims, and Kyiv must accept ‘new realities’ – its shorthand for Russia’s claim to have annexed nearly a fifth of Ukraine, which it invaded a year ago.
‘We have to achieve our goals. Right now this is only possible by military means due to the current position of the Kyiv regime,’ Russian state news agencies quoted Kremlin spokesman Dmitry Peskov as saying.
Russian President Vladimir Putin said on Tuesday that what was at stake in Ukraine was Russia’s very existence.
After recapturing swathes of territory in the second half of 2022, Kyiv has kept mainly to the defensive over the past four months, while Moscow has launched its big winter offensive using its freshly mobilised reservists and convicts recruited from jail as mercenaries.
Ukrainian officials say they are preparing their own counter-offensive for later this year, once muddy ground dries up and hundreds of Western tanks and armoured vehicles arrive.
Soldiers of the Ukrainian Volunteer Army hold their positions at the front line near Bakhmut, Donetsk region, on March 11
A soldier of the Ukrainian Volunteer Army prepares ammunition to fire at Russian front line positions near Bakhmut, on March 11
But the outcome of those campaigns could depend on which side emerges stronger after Russia’s winter assault, with both sides taking huge casualties in fighting they describe as a meat grinder.
Britain’s Ministry of Defence said on Tuesday that Moscow was running short of ammunition, ‘to the extent that extremely punitive shell-rationing is in force on many parts of the front’.
‘This has almost certainly been a key reason why no Russian formation has recently been able to generate operationally significant offensive action,’ it said in a daily intelligence update.
But Ukraine is also facing shortages of shells, and ultimately has a smaller population to commit to a battle of attrition. Some military experts say Bakhmut is unfavourable ground for Kyiv to fight on, against Russian forces that have advanced far enough around the city to hit Ukrainian supply lines in the rear.
‘We could lose here everything we wanted to use for those counter-offensives,’ Ukrainian military analyst Oleh Zhdanov said of the battle for Bakhmut.
Extraordinary footage has revealed the breathless intensity
Christina Ricci celebrated her DuJour Spring cover at Lavo in New York City.
Christina Ricci celebrated her DuJour Spring cover
Just a couple months before the I/O 2023 event, new images and specs have leaked for Google’s first foldable phone: the aptly named Pixel Fold.
This information comes from notable leaker Roland Quandt who put everything together for German tech news site WinFuture although there isn’t much. According to the report (opens in new tab), the Pixel Fold will come with 256GB of storage, sport a three-lens camera on an island, plus it’ll be available in Carbon and Porcelain which are basically black and white. The phone is set to launch mid-June for around 1,700 Euros (over $1,800 USD, about £1,500, and over AU$2,700). A second report from 9to5Google (opens in new tab) reveals a bit more. It states there will be a second Pixel Fold model with 512GB of storage, but only in Carbon. Google is also apparently working on official cases for the device in various colors: Haze Midtone, Porcelain, and Sky; presumably beige, white, and blue.
Additionally, the WinFuture report gives some new details on the mid-range Pixel 7a phone. It’ll be available with 128GB of storage and in three colors: Arctic Blue, Carbon, and Cotton white with a potential Jade as the fourth. The Pixel 7a is also set to launch mid-June for about 500 Euros (over $500 USD, about £440 pounds, and around AU$800).
That’s pretty much all we know from this round of leaks with nothing on the hardware, the size of the phones, or their capabilities; apart from what we already know. A previously discovered benchmark suggests the Pixel Fold will sport the same Tensor G2 chipset as the Pixel 7 Pro, so we can expect a pretty fast phone, but it may not be as powerful as the Galaxy Z Fold 4. The Fold 4 carries a Snapdragon 8 Plus Gen 1 CPU allowing users to record videos up to 8K resolution at 60FPS. The Pixel 7 Pro cannot do this so it stands to reason that neither can the Pixel Fold, and at $1,800, Google’s latest phone may be a tough sell. If it was cheaper, it would be a different story.
It’s worth mentioning the launch date is another point of contention. Some reports ping it for May while others say the late summer (opens in new tab) putting it close to the launch of Android 14. Ultimately, we’ll just have to wait for the I/O 2023 event to know the full story.
Be sure to check out our list of the best foldable phones for 2023 if you’re looking to replace your old device.
Just a couple months before the I/O
Stephen Colbert and the great folks at “The Late Show” couldn’t hold back after Pope Francis indicated he would review the Roman Catholic Church’s rule of priestly celibacy.
Francis was originally against the idea but said in a recent interview celibacy is an individual “discipline” instead of a “contradiction” to the church. This change of course led to Colbert’s fake news alert team imagining what an online dating site called “eHomily” would look like for priests who are on the prowl.
“Have you sworn a life to celibacy? But now Pope Francis says, ‘It’s OK to date.’ Introducing ‘ehomily,’ the dating site where you can find a her for your him,” a voiceover for a fake commercial said after a news reader breaking down the development started the segment off. “The dating site where you can find a her for your hymn.”
The commercial continued showing a couple talking about going out for dinner.
“We love romantic dinners. Of course, he never pays,” the woman said.
“I took a vow to poverty,” the priest replied.
“He does have a nice car though,” the woman added.
“It turns out a thousand years of tradition was only a temporary prescription. So now clergymen, it’s time to live it up,” the voiceover added.
Another couple appears and confesses their love to one another, as the commercial for “eHomily” continues.
“I love him,” the woman said.
“And, I love him,” the priest responded as he pointed up towards the sky.
The parody commercial ends with the voiceover saying, “So what are you waiting for? Because this is the church. This is the steeple, and this is the website to meet single people.”
To see the full video, click the video above.
Stephen Colbert and the great folks at
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Thappad
Cast: Taapsee Pannu, Pavail Gulati, Dia Mirza
Director: Anubhav Sinha
Thappad, as the film’s title so unambiguously suggests, is about a slap. A slap that an otherwise amiable, good-natured man lands on his wife’s face in a moment of misdirected anger. In his defense, it is the first time he has raised his hand on her. In his defense, he has just found out that the professional goal he had nurtured, toiled hard for, and achieved, has been unfairly snatched away from him. In his defense, it happened in the heat of the moment. For his wife, no defense can justify the slap. It changes everything. It practically dismantles her life.
In setting up this premise, director Anubhav Sinha, who has co-written the film with Mrunmayee Lagoo Waikul, asks us repeatedly to consider whether Amrita (Taapsee Pannu) should, like everyone around her suggests, let it go and move on. It shouldn’t have happened, but “ab ho gaya na?” her husband Vikram (Pavail Gulati) laments. Her mother-in-law (Tanvi Azmi), with whom she has a loving relationship, says: “Thoda bardaasht karna seekhna chahiye auraton ko.”
Her own mother (Ratna Pathak Shah) is distraught that she is considering divorce. Her brother describes it as “one small episode”, and thinks “it’s silly” that she’s taking it so far. Her neighbor, a widow (Dia Mirza), delivers that ultimate guilt trap: “Rishte banane mein utni effort nahin lagti jitna nibhane mein lagti hai.” Even her lawyer (Maya Sarao) advises her to go back and make it work.
The film, and the slap at the centre of it, is not about domestic violence. It’s about entitlement. It’s about decades of conditioning. It’s about flawed social structures and outdated gender expectations. In Robert Altman-esque fashion, the film opens with a charming sequence in which an orange ice lolly is used as a motif to introduce several characters, before we learn how each fits into the protagonist’s orbit. Patriarchy and entitlement run deep; Amrita is hardly the only victim.
There is the poor domestic help who suffers beatings from her husband routinely. There is the older woman, resentful that her loving husband never encouraged her to pursue her love for singing after marriage. There is the soon-to-be-married young couple, seemingly equal in their relationship until a tense interaction reveals otherwise. There is also the accomplished professional whose husband repeatedly credits her success to his family’s powerful connections.
When Vikram slaps Amrita, every one of these relationships unravels.
Shrewdly the very premise of the film and Amrita’s escalating reaction to the slap is plotted in such a way that you’re frequently compelled to ask: “Isn’t she taking it too far?” or “Surely she doesn’t need to make such a big deal of it?”
The answer to those questions may be found in Vikram’s unmistakably selfish handling of the situation.
But the thing is – and this is key – there are no easy answers here. The husband is no villain. Vikram is selfish, entitled, conditioned to put himself and his own pride before his wife, but he’s not a bad guy. He’s just every other Indian man. Knowing that, you’re confronted with the same question again: “Isn’t she overdoing it?” Don’t be embarrassed if you’re leaning dangerously close to answering yes; it’s exactly the position Sinha wants you to take. In fact, in a scripting masterstroke he raises the stakes at the halfway mark, putting the couple in such a situation that now you’re thinking: “Okay, this is too much. She must let it go.”
But Thappad isn’t a film about a wife teaching her husband not to take her for granted. It’s about a woman rediscovering her sense of self, contemplating what is fair and what isn’t. It’s about no longer disregarding the deep-rooted sexism and selfishness, and the casual insensitivity that women contend with everyday. If any of this sounds like activism or social-message disguised to look like a movie, it’s honestly not. You’re very much invested in Amrita’s story. She is the fulcrum of Vikram’s uppercrust home in Delhi; she’s a supportive wife and a caring daughter-in-law.
In one bristling moment she points out that the sacrifice of every woman who chooses to be a homemaker can be understood from the simple fact that no little girl when asked what she wants to grow up to be says ‘housewife’.
In a film so well-made, minor quibbles stand out. The second hour feels stretched. The estrangement of Vikram and his mother from his uber rich father and brother is confusing. But these are minor quibbles. Sinha pulls off a complex story and extracts remarkable performances from his ensemble, justifying even those in tiny roles like Ram Kapoor and Manav Kaul.
Of the main cast, Maya Sarao brings a sharp edge to the role of Amrita’s conflicted lawyer, and Geetika Vidya Ohlyan is terrific as her garrulous househelp. Dia Mirza is nicely understated as her neighbor, and both Ratna Pathak Shah and Tanvi Azmi are expectedly in fine form. Kumud Mishra stands out as Amrita’s supportive father, hitting all the right notes, and aided by some of the film’s most loaded lines. Pavail Gulati, in the difficult role of the husband, effectively plays him as clueless to his own shortcomings; it’s a competent performance in a nuanced role.
Which brings us to the film’s axis, Taapsee Pannu. In a refreshing change of image, her Amrita is not the fierce, woman-on-the-warpath that she frequently tends to play. She’s a woman torn, she has both strength and fragility; it’s a beautifully realized performance. The script gives her some great moments to shine, and she seizes them. I was a mess by the time Amrita has that honest, wounding conversation with her mother-in-law towards the end of the film.
I’m going with four out of five for Thappad. It’s a hard subject to pull off, but Anubhav Sinha achieves it with first-rate storytelling. The best films inspire dialogue, they set you thinking; they can even lead to change. This one made me uncomfortable; it made me question myself and I think it will make you too. It’s essential viewing.
Rating: 4/5
Thappad Cast: Taapsee Pannu, Pavail Gulati, Dia Mirza Director:
Zahara said ‘yes’ to her bae after six months of dating
Zahara said ‘yes’ to her bae after
Where do you go when you’re hungry for curated insights in a specific industry? Newsletters!
Newsletters are the best place to get curated insights and in-depth analysis from experts. You get the best industry-specific news, without having to slog through social media to find insights on trends and competitors.
Plus, now that you can get newsletters delivered to Feedly, we want to help you find quality industry newsletters that you can add to your feeds. We’re sharing 5 major industry newsletters with quality content and deep analysis, so you can find your next great read.
Unclog your inbox and read without distractions. Now available to all users in our Pro+ plan.
“Your daily dose of financial news: The 3-minute newsletter with fresh takes on the financial news you need to start your day.”
Robinhood Snacks is a mix of financial, business, and market news with a smart, punny tone.
Each piece of news includes an in-depth story and a key takeaway that helps you get the highlights. We especially appreciate how the plentiful emojis, GIFs, and snack puns make the newsletter easy to scan and keep things light in an industry that’s not always considered “fun.”
Petr, Customer Success Manager at Feedly, says “Robinhood Snacks helps me get the bigger picture about what to invest in. The other day, I liked how they analyzed the strategies behind two up-and-coming startups and gave a valuable takeaway.”
“Keep up with health care politics, policy and business, by health care reporter Caitlin Owens.”
The daily Axios Vitals newsletter starts with “1 big thing” that goes deep on a timely piece of health care news. The rest of the newsletter includes a variety of topics that intersect with different sub-sectors in health care: the impact of the economic environment on people’s health, scientific research, and drug discovery. You’ll find background knowledge and analysis so you can take away plenty of talking points.
Especially during the overwhelming news cycle of the pandemic, Axios Vitals is a great place to look for quality coronavirus-related news.
“Atlantic Media’s weekly newsletter on the business of media.”
Settle in with a cup of coffee and (or tea): this is a long one. Written by Atlantic Media’s strategy research team, Idea 57 covers a wide range of areas in the media and entertainment industry, including digital media, publishers, social media, traditional media.
Each story includes a well-researched explanation and snapshots for easy consumption. You’ll find plenty of links to external content and videos so you can fall down a rabbit hole on a specific topic.
“Stay up to date on the retail industry. All the news and insights retail pros need to know, all in one newsletter.”
“There’s so much happening in retail, but there isn’t a single source that curates retail news with a sense of humor.” said journalist Halie LeSavage to MediaPost when Retail Brew launched earlier in 2020.
Retail Brew now gives readers direct access to retail news—with a dose of humor. It was created by the team behind the popular Morning Brew newsletter.
Every Monday, Wednesday, and Friday, LeSavage writes stories that are both entertaining and informative for a variety of readers: from grocers to direct-to-consumer companies and small businesses. Stories are about everything from Black Friday and Cyber Monday news to pet subscription boxes.
“Airline Economics is the leading and largest finance & leasing global publication for the aviation sector, reaching industry professionals from lessors, investors, banks, airlines, law firms & MROs.”
The daily Airline Economics newsletter gets granular. In a time when airline news is moving so fast, it’s the place to keep up with everything from financials and acquisition news to regulatory news and changes in airline leadership. You’ll find deep analysis on new routes, schedule changes, and airport plans, and innovation trends, like General Motors’ recent investment in flying cars.
There are so many quality newsletters out there. There’s also a lot of noise. To help you find even more newsletters where you can keep up with the topics and trends in your industry, check out 15 Newsletters That Will Make You Smarter and More Successful in 2020.
For tech newsletters, we like CodeinWP’s list of 12 of the Best Tech Newsletters to Subscribe to in 2020.
You can now get your favorite industry newsletters in Feedly so you can read without distractions. Now available to all users in our Pro+ plan.
Where do you go when you’re hungry
The long-troubled solo outing for The Flash was almost a “ground-level” superhero story as opposed to the multiversal madness that it became, according to one-time Flash directors Jonathan Goldstein and John Francis Daley. Speaking with Variety, the directing duo revealed what their plan for The Flash was when they were attached to the DC outing back in 2018.
“We pitched this idea of a ground-level superhero where it isn’t entirely end-of-the-world stakes. He’s just learning his powers and is also somewhat dysfunctional with his life. The more imperfect we can make a superhero, the better, because that’s the inherent challenge: How do you give imperfection to someone that is, you know, physically perfect?”
A solo The Flash movie has been in the works for years, dating back to at least 2013 (or even the 1980s if you want to go back that far), with all manner of production issues and director dropouts delaying the comic book movie. Goldstein and Daley have now shed some light on why they decided to walk away from The Flash, with Goldstein saying that “it became clear” that the studio “didn’t want to quite do the same thing as we did.”
“It was a number of creative differences that caused us at a certain point to decide that it was time to go. If we feel like the powers-that-be aren’t excited about making the same movie as we are, we’re not going to win that battle. And so it’s better to cut your losses and get out of there.”
No doubt there will be many fans of The Flash disappointed to hear that we almost got a much more grounded story focussed on Barry Allen, rather than the multiverse-hopping adventure featuring multiple versions of Batman.
Rather than ground-level, The Flash will be the exact opposite of what Goldstein and Daley had in mind. Directed by Andy Muschietti from a screenplay by Christina Hodson, The Flash will take major inspiration from the DC comic book arc, Flashpoint and sees the multiverse collapse after Barry Allen travels back in time in an attempt to prevent his mother’s murder.
But fear not, as Goldstein and Daley have seen The Flash, and while much has changed since their involvement, they heaped praise on what they call a “very fun and emotional movie.”
“They took what we had started and really ran with it and made it a very fun and emotional movie. We’re really happy with how it all turned out.”
The Flash finds Zack Snyder’s Justice League star Ezra Miller reprising the role of Barry Allen, aka The Flash, alongside Sasha Calle as Supergirl and Michael Shannon as General Zod, as well as Ron Livingston, Maribel Verdú, Kiersey Clemons, and Antje Traue. The Flash will also feature two versions of The Dark Knight, with Batman V Superman: Dawn of Justice star Ben Affleck due to reprise his role as Bruce Wayne, aka Batman, alongside Michael Keaton, who will once again don the cape and cowl after more than three decades.
The Flash is now scheduled to have its world premiere at CinemaCon on April 25, 2023, before being released theatrically on June 16, 2023. Goldstein and Daley meanwhile will next bring the world of Dungeons & Dragons to the big screen in Dungeons & Dragons: Honor Among Thieves, which is scheduled to be released in on March 31, by Paramount Pictures.
The long-troubled solo outing for The Flash
NASA has shared an image from the James Webb Space Telescope that could help astronomers one day answer longstanding questions about our universe. The capture you see above shows WR 124, a star located in the constellation Sagittarius, approximately 15,000 light years away from Earth. When the JWST first sighted WR 124 in June 2022, it captured the star undergoing a Wolf-Rayet phase. According to NASA, only some massive stars go through such a transition before they eventually explode. Those that do are among the largest and most luminous celestial bodies in the night sky. In the case of WR 124, NASA estimates the star is 30 times the mass of the Sun and has so far shed about 10 Suns worth of material. Over time, the gas Wolf-Rayet stars expel will cool and form cosmic dust.
There is beauty in transience. ?
Webb’s stunning image of a super bright, massive Wolf-Rayet star calls forth the ephemeral nature of cherry blossoms. The Wolf-Rayet phase is a fleeting stage that only some stars go through, soon before they explode: https://t.co/ZOAmKgtshI pic.twitter.com/fC0tL24iUe
— NASA Webb Telescope (@NASAWebb) March 14, 2023
Cosmic dust is something astronomers are keen to study for a few reasons. The material is an essential building block of the universe. As NASA notes, it shelters coalescing stars and can even come together to form planets. At the moment, however, there’s no theory that explains the amount of cosmic dust there is in the universe. The JWST could help astronomers tackle that mystery. “Before Webb, dust-loving astronomers simply did not have enough detailed information to explore questions of dust production in environments like WR 124, and whether the dust grains were large and bountiful enough to survive the supernova and become a significant contribution to the overall dust budget,” NASA said. “Now those questions can be investigated with real data.”
NASA has shared an image from the
In this episode, we talk about…
Tackling prevalent problems in indigenous communities
How Erica and Miciana met and what it was like writing the script together
Applying storytelling into different genres, platforms, and formats
Sharing breakthrough moments in complicated scenes
Realizing that one still directs in post-production
Successfully pulling off a big set piece using ingenuity and networking
Having the right people behind the scenes, who really wanted to support the project
Learning how to be a more considerate writer
Subscribe to the No Film School Podcast on:
Get your question answered on the podcast by emailing editor@nofilmschool.com!
In this episode, No Film School’s GG
Some authors simply transcend time and one author who comes to mind is Judy Blume. She’s the author of multiple iconic series and masterminded books we’ve read and devoured. One of her novels is even being adapted this year.
Recently, the trailer for a documentary entitled Judy Blume Forever was released, and judging from that, it’s a love letter to the author. The documentary focuses on Judy’s life as a kid and her eventual rise to fame as a beloved author.
As evidenced by the trailer, the film also features some incredible authors, actresses, and celebrities of all kinds. Obviously, Judy is also a part of the documentary as we see in the clips featured amidst the trailer which will be featured below.
In honor of the trailer for Judy Blume Forever being released, it’s only right to pay homage to one of the literary queens of the 20th century.
As you can see from the trailer, there is a lot more to Judy Blume than some of us might have imagined. I know that most people reading this have had the pleasure of reading at least one of her novels. In the clips, there are some current students who are picking up, reading, and loving her books.
If those clips weren’t enough to prove how timeless she is, I don’t know what else will but if you need some reasons, let’s just get into a few. Her books focus on issues and topics that kids and teens are still dealing with today. Whether it’s parents, siblings, periods, sex, or even, fighting with friends, there’s a Judy Blume book featuring those types of issues.
Additionally, Blume has written in a wide variety of age groups and genres. She’s written picture books, middle-grade stories, young adult stories, and even, a few adult titles. No matter what stage of life you’re in, there’s something of hers to pick up. Even if you aren’t in that age demographic, I feel like you can’t go wrong with what you pick.
In one of the clips from the trailer, Blume even stated: “I could be fearless in my writing in a way that maybe I wasn’t always in my life.” To me, that’s something incredibly relatable and something I’m sure a lot of my fellow readers discovered amongst her books. She wrote about topics some authors won’t even think about now and that’s pretty amazing to think about as those books were published at least 30 years ago now.
While the trailer gives us a glimpse of what Judy Blume Forever will be about, I feel like the documentary will be a love letter to the author. She’s written so many books and changed the course of literature for readers and authors alike. Despite being 85 years old, Judy Blume has and always will remain timeless, especially for those who read and love her books.
Judy Blume Forever premieres on April 21st on Amazon Prime Video.
Will you be watching Judy Blume Forever? What’s your favorite Judy Blume book? Share in the comments!
Some authors simply transcend time and
Everyone’s favorite mustachioed American coach is finally back. Ted Lasso charmed audiences, critics, and Emmy voters with its near perfect second season after announcing itself as the great comfort watch of 2020, making us all fall for what was originally an absurd, years-old Jason Sudeikis sketch.
With its emphasis on radical (almost cloying) positivity and a frank approach toward mental health—all laced through a comedic sensibility that was equal parts folksy and sophisticated, Ted Lasso truly felt like the natural extension of kindcore shows like The Good Place and Schitt’s Creek. Kindness is king here, yes. It’s not just something to be but something to aspire to. But where such a premise might have made many of us squirm with its brazen earnestness, it won even the more cynical ones among us. Yes, I’m speaking of myself. I tried hard to resist Lasso but gosh darnit not even I am immune to his charm.
I am happy to report that with its season three opener, “Smells Like Mean Spirit,” Apple TV+’s Emmy juggernaut has lost none of its luster. If anything, it’s doubled (tripled?) down on its commitment to finding the funny in preaching against those who’d take pleasure in mean-spirited humor. This is what structures the episode, with Ted’s classy, self-deprecating (dad!) jokes shining over and against Nate’s needless digs. Last season had already set up the coming rivalry between Nate (Nick Mohammed) leading West Ham and Ted’s continued work with Richmond; this episode goes further, framing their dueling approaches to coaching as indicative of what they each stand for.
Ted is yet again the underdog, hoping he can prove Paddington bear wrong and not come in 20th place now that Richmond is playing in the Premier League. Meanwhile, Nate has to overcome the thought of being an underdog who’s been tasked with maintaining West Ham’s winning streak. But where Ted continues to put his team’s wellbeing above all else (with, arguably queasy-sounding sewer metaphors and field trips), Nate is clearly going to run his team with a mean streak that may or may not pay off. This is someone who bellows about “dumb dumb lines” and who relishes cutting Ted down to size at a press conference. But, just as we’ve seen in previous episodes, Nate’s own insecurities are driving this: just look at how crestfallen he appears once he sees mean memes posted at his expense and how disappointed he feels when a text from his mom reminds him that nothing he does will ever fully please his father.
Season two initially looked like an origin story of sorts for “mean Nate.” And there is still a bit of that here. But there’s still a welcome humanity in Nate—even if the way he drives off in his new car at the end of the episode suggests he may well be further recruited into the dark side Rupert (Anthony Head) shrouds his entire soccer team in.
For yes, Ted Lasso season three may pit Nate against Ted, but in another way, we’re just yet again caught up in a continued Rebecca (Hannah Wadingham) vs. Rupert feud. And try as Head might in getting us to relish rooting against stuck-up Rupert, you don’t need much convincing in wanting Rebecca to win. That’s because Waddingham, whether comforting Keeley (Juno Temple), shouting at Ted, or freaking out next to Higgins (Jeremy Swift), is the kind of performer who just demands your attention in all the right ways. You can’t help but want Rebecca to succeed. (And maybe to sing. Really, with someone as talented as Waddingham, you’d think the Ted Lasso team would be cooking up quirky storylines that would require such showboating on any given episode.)
At least we got to see Waddingham volley with Juno Temple, easily one of the best pairings in a series full of ’em. Rebecca’s friendship with Keeley was a fantastic move by Ted Lasso’s writers. I worried that now that Keeley was off on her own running her own PR agency (with a great CFO to boot) we’d lose their crackling chemistry. I didn’t have to fret all that much, thank god. Also, as per usual, Keeley served as the voice of reason: While Rebecca would’ve rather thrown fuel into the West Ham/Richmond feud, Keeley was right to celebrate the way her friend had (inadvertently) “let Ted be Ted.”
Which is to say: In a world of Nates, the character and show alike want you to be a Ted. Humor at someone else’s expense is easy. Cheap, even. Humor at one’s own expense? Well, that can be both liberating and equally as cutting. Can it be corny? I mean, yes, obviously. (Ted runs a “How dumb am I?” call and response, for crying out loud.) But there’s a willingness to use such lowly humor to posit a world and a vision of it that moves swiftly against seeing meanness as a marker of strength and which imagines humility as a welcome shield against below-the-belt shots—no matter where they come from. It’s a lesson Ted models for Rebecca, for Nate (who’s only more incensed about it all), and for all of us, something made all the more admirable given how much pain he’s still in. Who knew Thanos’ Infinity Gauntlet could be the melancholy kicker this season opener needed?
Everyone’s favorite mustachioed American coach is finally
Find out where you can catch the thrilling new show, Swarm, that explores a young woman’s fandom turned dangerous obsession.
We’ve all seen first-hand the power of fandom. From “Beliebers,” to “Directioners,” to “Swifties,” there is no shortage of passionate fans who have deep love and appreciation for their favorite celebrities. Swarm shows this passion and dedication in the form of fandom, only taken to a whole new level.
Swarm is a limited series created by Donald Glover and Janine Nabers. The show is centered around a woman named Dre who is obsessed with a fictional pop star, who notably bears quite a bit of resemblance to Beyoncé. This obsession goes way beyond what anyone would consider normal fan behavior, as Dre is willing to do anything necessary in defense of her idol — even kill.
There’s nothing quite like juicy, celebrity drama. If you’re in the mood to watch a fictional show that dives deep into the ins and outs of a celebrity’s life, specifically their dealing with crazed fans, Swarm is a must-watch. You can tune into the show on Amazon Prime.
Watch Swarm on Amazon Prime Video
Dre seems like your normal young woman. Obsessed with a celebrity, yes, but who isn’t? She considers herself a mega-stan of mega popstar Ni’Jah. Many people have drawn ties to Beyoncé, starting from the title of the show. Beyoncé’s fans refer to themselves as the “BeyHive” and the title, Swarm, seems to be a reference to bees.
While it has not been stated by the creators that this show is at all supposed to represent Beyoncé or her fans, it is clear that there was some inspiration from the events of her life. Nabers explained that “In April 2016 when a certain visual album dropped there was a rumor that a girl named Marissa Jackson killed herself because she realized that a certain pop star was being cheated on by her husband… for two days we thought this was a real event — until it was dispelled later… So when Donald pitched this idea about a Black woman who’s obsessed with a pop star, I said ‘I know what the pilot is’ and ran with it.”
To decode this, in 2016, a story went around that the then 31-year-old Marissa Jackson had committed suicide in her Houston apartment after discovering that Jay-Z cheated on Beyoncé through the Lemonade documentary. The Daily Mail picked up the story, and it continued to gain traction as people discussed the alleged tragedy and the implications of such intense fandom. No records of Jackson’s death were ever reported by the Houston Police Department or any public records. However, the story continues to be told and seems to be the inspiration for this twisted tale explored in Swarm.
The people behind Swarm are truly fantastic and are ones you may not expect to see on this project. Chloe Bailey plays Dre’s sister in the show, Marissa. If you’re not familiar with Bailey, she is actually Beyoncé’s Beyoncé’s mentee. She and her sister, Halle, are both signed to Beyoncé’s label and have been under Beyoncé’s wing for years.
Damon Idris plays Marissa’s boyfriend Khalid. He has worked on major projects such as Outside the Wire, Farming, and The Commuter. He was nominated for a BET Award for Best Actor, as well as an NAACP Image Award for Outstanding Actor in a Drama Series.
Dominique Fishback breathes life into the main character, Dre. She is no stranger to the acting game, having been in The Hate U Give, Modern Love, and Transformers: Rise of the Beasts. Fishback recognizes the challenges of playing Dre, but also the reward. She explains that she “wanted the opportunity as an actor to stretch myself and see what I was capable of.” She goes on to explain that “the most challenging thing for me was to get out of my own way and my own fears of perception. I’m used to playing characters that are “easy” to love, or easy to like at least. They are often light, loved and considered the heart of something and that’s my forte and that’s where I Like to live, but I wanted to stretch myself as an actor and not be imprisoned by my own fears of own artistry.”
There are familiar faces both on-screen and off when it comes to this project. You may have heard of a young woman named Malia Obama. That’s right, the daughter of former president Barack Obama. Former First Daughter, Malia Obama, is a part of the very talented writing staff for this project.
If you’re interested in watching fandom-turned-obsession come to life on the small screen, Swarm should definitely be on your stream list. It is available to stream exclusively on Amazon Prime beginning on March 16. You’re sure to become a fan of this addicting show — just don’t let the obsession go too far.
Watch Swarm on Amazon Prime Video
Find out where you can catch the
Eagle-eyed Banshees of Inisherin fans might have wondered if the donkey Jimmy Kimmel brought onstage during the 2023 Oscars was indeed Jenny, the miniature donkey, from the Academy Award-nominated Searchlight film.
While a Searchlight source confirmed to The Hollywood Reporter Sunday night that the animal was not the fan-favorite creature from the Banshees of Inisherin, the identity of Kimmel’s emotional support animal initially remained unknown.
On Monday’s Jimmy Kimmel Live!, the host confirmed that the animal “wasn’t Jenny.”
“It wasn’t even a female donkey,” he added. “The donkey’s name is Dominic. It was a male donkey.”
Beyond that, Kimmel revealed that his animal wasn’t even from Ireland, where Banshees was filmed and Jenny is said to be spending her early retirement. Instead, he was a local donkey.
“We didn’t think it was a good idea to fly a donkey over from Ireland, so we hired an L.A. donkey,” Kimmel said, before joking of the Hollywood animal. “Maybe you noticed the lip fillers and the implants.”
And he apologized for misleading the audience.
“To anybody who’s upset that they didn’t get to see the bonafide donkey, we’re very sorry,” Kimmel said. “I want to apologize on behalf of the Academy. It’ll never happen again, I promise you.”
Indeed, the real Jenny’s whereabouts, as THR recently discovered, are “a closely guarded secret.” After filming wrapped on Banshees, Martin McDonagh’s dark comedy starring Colin Farrell and Brendan Gleeson, which was nominated for, but lost, nine Oscars, producers paid for Jenny to have an early retirement, with McDonagh telling THR, “We just didn’t want her to be doing any shit films.”
Yet, as THR was unsuccessful in efforts to track her down, it seems Jenny is now being kept out of the spotlight
“We just want her to enjoy her retirement in peace,” an exec previously told THR.
Another animal mystery around the 2023 Oscars involved wondering who was in the suit of the Cocaine Bear who presented with Elizabeth Banks.
On Monday’s Jimmy Kimmel Live!, the host recapped some Twitter guesses: Gary Oldman, Jessica Chastain and Timothée Chalamet.
It was “none of those people,” he said.
“It was a celebrity, that is correct,” Kimmel said, amid a drumroll.
He then said, “That celebrity was DJ Jazzy Jeff,” sharing what looked like a Photoshopped image of Will Smith’s musical partner in a bear suit backstage.
He continued, as the audience laughed, “And that’s not a lie. That’s absolutely true and I would like everyone to report that.”
A rep for Jimmy Kimmel Live! has not yet responded to THR‘s request for comment on who was inside the bear suit.
Eagle-eyed Banshees of Inisherin fans might have
The 2023 edition of the Directors Close-Up series concluded March 1 with the much-anticipated annual panel “The Spirit of Independence” featuring a selection of Film Independent Spirit Award nominees for Best Director and Best Feature.
The live event, part of a four-night run at the Wallis Annenberg Center for the Performing Arts in Beverly Hills, welcomed Ellie Foumbi (Our Father, The Devil), “DANIELS” Kwan and Scheinert (Everything Everywhere All at Once), Sarah Polley (Women Talking) and Halina Reijn (Bodies Bodies Bodies) for a conversation moderated by Film Independent President Josh Welsh.
The filmmakers discussed the roots of their projects, how they approached casting their projects, the importance of creating a comfortable environment on set and how their past lives as actors shaped their process. Watch the full panel below and keep reading for highlights. The 2023 Spirit Awards were help March 4, 2023 on the beach in Santa Monica.
Welsh had everyone take it from the top, talking about the origins of their respective films. For eventual Spirit Award Best Feature winners DANIELS, the seed for Everything Everywhere All at Once was planted back in 2015, courtesy of an inspiring theatrical experience.
“This movie started when Dan went and saw a double feature of The Matrix and Fight Club and he was like ‘Man, it’d be so cool if we could make a movie like The Matrix.’ And I was like, duh,” Daniel Scheinert joked as he recounted how collaborator Daniel Kwan’s outing to Quentin Tarantino’s New Beverly Cinema would spark the duo to begin thinking seriously about a project of this type.
“I was reminded again of how bonkers movies were back then [in the ’90s]. Those were big budget movies, massive swings. I was like, we’ve got to bring that kind of filmmaking back. But for a tenth of the budget, because no one’s going to give us the money,” said Kwan.
Bodies Bodies Bodies, on the other hand, came together quite quickly for Halina Reijn. Powerhouse film distribution company A24 sent her the script one day–to her surprise–and production commenced shortly thereafter.
“I made my first film, Instinct, which was a very dark erotic thriller. And then they sent me the script, and I was like ‘no’ because I’m a complicated arthouse person and I cannot do this horror thing,” Reijn said, of her reluctance to accept the project that would throw her out of her comfort zone. She went on to admit that she didn’t even know who A24 was at the time, but ultimately decided to accept and embrace this change of pace for her career.
Welsh steered the discussion to casting, asking each filmmaker how they approached that crucial task. For veteran actor and Women Talking director Sarah Polley, casting runs in the family. Her brother John Buchan served as casting director for the film and her mother Diane Polley was also a casting director.
For this reason, she considers the 2023 Robert Altman Award the film won to be something that she shares with her mother. “I really grew up literally on the floor of a casting office listening to conversations about actors,” Polley said on her experiences early in life that shaped how she views the process. “Of anything that we could receive for this film, that was the most meaningful thing” she added on her elation about receiving the Altman Award.
Ellie Foumbi said her Our Father, The Devil lead actors Babetida Sadjo and Souleymane Sy Savane were both incredibly invested in the script, which was a great foundation for the film.
Interestingly, she explained how she decided to cast Sadjo solely based on the actress’s appearance in a trailer for a movie where she did not even have a speaking role. “She didn’t even have a scene. She was in a supermarket aisle, and she just turned to camera. I was like, I have to work with her. I knew it was her,” said Foumbi.
She would go on to talk about the fact that pandemic restrictions would prevent her from getting Sadjo in a room with her other actors, making the final chemistry of the cast she had hired a complete (and terrifying!) mystery.
The panelists went on to discuss different ways in which they make their cast and crew feel comfortable and ready to be at their best. DANIELS said they like to treat their set like a summer camp of sorts and recognize crewmembers who are rarely acknowledged.
One of the ways they do this includes giving out little trinkets as awards. “Let’s just say it was Smirnoff Ice in a diaper. It was the worst present. Here’s the Never Took a Break at Work Award for Joe,” Scheinert said when talking about how a seemingly minor gesture can mean a lot. This award brought a teamster on their set to tears.
Sarah Polley believes bringing her actors together as much as possible is the best way to foster a sense of community. “We had a greenroom. We didn’t have trailers. Everybody went from the hayloft to another hayloft. It became this community, and they really knew each other” she said about her philosophy on set.
One last topic the filmmakers, all with acting history apart from Kwan, touched on was why they decided to put acting on hold and step behind the camera. Two amusing anecdotes were shared. “My theater teacher was like, ‘Don’t pursue acting, you’re too opinionated! You roll your eyes, and you look so grumpy if you disagree with me,’’” Scheinert said on his enlightening experience with an acting teacher.
Halina Reijn said the rigors of theater acting and travel had weighed on her and at some point, she had had enough. She went on to liken her experience to that of a famous Russian dancer who announced his retirement onstage during a performance. “He said, ‘little horsey is tired’ and then he left the building and never came back” Reijn said on the highly relatable story. And with that, it was a wrap for the 2023 edition of the Directors Close-Up series!
Film Independent promotes unique independent voices by helping filmmakers create and advance new work. To become a Member of Film Independent, just click here. To support us with a donation, click here.
Michelle Banaag wanted to be a nurse ever since she was young.
She said she thought the profession was heroic and she wanted to help people.
“It’s kind of a more fulfilling, satisfying feeling when you have cared for another person,” she said.
She completed her degree and became an ICU nurse in the Philippines, treating patient after patient infected with COVID-19.
In January she moved to Vancouver, hoping to become a nurse in Canada.
Many provinces are relying on people like Banaag to help their overwhelmed health-care systems.
The Philippines has been a source of health-care workers for many countries for years, with Saskatchewan, Manitoba and British Columbia just some of the provinces that recently announced recruitment deals.
But a senior official with the Philippines Department of Health (DOH) warns the country is now running out of nurses.
Dr. Maria Rosia Vergeire told local broadcaster ABS-CBN News that the country needs more than 350,000 nurses to fill the demands of its own health-care system.
Global News asked Dr. Vergeire for an interview but she was unavailable.
In a statement, the DOH said the Filipino Human Resources for Health (HRH) ratio, a measure of health-care workers per every 10,000 people, is well below the World Health Organization (WHO) recommendation.
The Philippines’ HRH is 24.5 while the WHO recommends 44.5.
Read more:
Staffing issues still affecting care for sex, domestic assault victims in Winnipeg: nurse
Banaag said nurses in the Philippines ideally treat one or two patients. During the pandemic and with too few nurses, however, she said she and her colleagues were treating three or four.
Lisa Little, who is first vice-president of the International Council of Nurses (ICN), said the shortage is global and affects health care delivery around the world.
“(Recruiting foreign-educated nurses) is a quick fix solution in many governments’ eyes, but I don’t believe it’s an ethical one,” Little said.
Little, who is Canadian, spoke to Global News from New York.
The ICN represents many countries’ professional nursing bodies, including Canada and the Philippines.
Tracy Zambory with the Saskatchewan Union of Nurses told Global News that nurses are still struggling with treating patients with COVID-19, as well as with influenza and RSV. She said there are hundreds of unfilled nursing positions across the province.
Read more:
Almost 60% of Saskatchewan nurses considered leaving profession in past year, survey shows
“That puts pressure back on the emergency rooms,” she said, speaking from Regina.
“There’s units, facilities, agencies in every in every city, town, municipality that is profoundly affected by the nursing shortage in this province.
The website healthcareersinsask.ca, at time of writing, listed 607 available registered nurse (RN) jobs.
Jobs site Indeed showed nearly 800 available registered nurse positions in Manitoba.
There were also any hundreds of Licensed Practical Nurse (LPN) and Nurse Practitioner positions in both provinces in total.
Manitoba Nurses Union president Darlene Jackson told Global News nurses tell her every day they are counting down to retirement.
“Unfortunately, I think we’re going to see many, many more nurses leave our system,” she said, speaking from Winnipeg.
The Philippines Consul General in Alberta, Zaldy Patron, pushed back on Little’s comments, saying it is not unethical to recruit Filipino nurses.
He said the Philippines government sets the limit of how many nurses can be recruited abroad.
“We have a lot of nursing schools there, and then 7,000 of them are free to seek overseas employment,” he said, in Calgary.
“We have to balance our health care sector requirement as well as the rights of our health care professionals to seek greener pastures abroad.”
Patron said the limit only applies to nurses recruited by other countries (a process which involves the Philippines government) and that everyone has the ability and right to emigrate.
He pointed to the recruitment deal the Alberta government signed with the Philippines last year, which he says will help Filipino nurses get their Canadian credentials.
That process requires taking examinations, providing documentation and can involve taking new courses.
It also set up a recruitment portal, where Philippine universities help the provincial government recruit health care workers.
“Our national government is thinking of coming up with, I think, a law that will require better compensation for our Filipino nurses and better benefits for them,” he said, when asked what efforts the government was making to retain nurses.
Little, Zambory and Jackson also said Canadian health-care systems need to better retain nurses.
Global News requested an interview with the Philippines Nursing Association, but the president was unavailable.
The president of the Philippine Canadian Nursing Association, Lucy Reyes, said there are many Filipino health-care workers in Canada already who would like to work but can’t get their accreditation.
“They are working in positions other than health care. You will see a lot (working at) Tim Hortons and you’ll see (them working at) McDonalds,” she said, from Calgary.
Banaag currently works 20 hours a week as a care aide.
She said she had applied to receive her accreditation.
In B.C., that process requires applying to the Nursing Community Assessment Service, which verifies her English proficiency, education credentials and nursing skills.
Then an applicant applies to the BC College of Nurses and Midwives and staff there review the documents.
The College then decides if the applicant is eligible for registration. After that, the would-be nurse in Canada writes an exam.
Banaag said she’s willing to take whatever course or courses she needs, though she said she may need financial help if the courses are expensive.
She said she wished the process took less time.
“My number one reason in coming here (to) Canada is to earn more to help my family especially, and to enhance my skills,” she said.
The B.C. health ministry, in a statement, said the province is taking actions to support and train nurses, including internationally-educated nurses (IEN).
“With the BC College of Nurses and Midwives (BCNM), we are providing funding to develop a more efficient process that simultaneously assesses IENs for the (healthcare assistant), LPN, & RN designations. This new process helps determine where IENs best fit in B.C.’s health workforce and allows them to start work sooner as an HCA or LPN while upgrading their training to work as a Registered Nurse,” the statement read.
Among other measures, the statement said the ministry now covers the $3,700 application and assessment fee for IENs. It stated nurses previously needed to pay this fee themselves and would be partially reimbursed later.
The Saskatchewan government said in a statement it is committed to following ethical principles in Filipino employment in the health care sector and that it will fully assist and support Filipino health care professionals with credentials and training. It said it works with the Philippines government when recruiting health care workers.
A spokesperson for Manitoba health minister Audrey Gordon did not provide a statement and said the minister was not available.
Michelle Banaag wanted to be a nurse
SPOILER ALERT! This post contains details from the series premiere of The CW‘s Gotham Knights.
The CW’s Gotham Knights premiered Monday and, with it, Misha Collins made his return to the network, about three years after the end of his 12-season run on Supernatural.
In Gotham Knights, Collins plays Harvey Dent, Gotham’s charismatic, hard-charging District Attorney. With a rigid sense of right and wrong, Harvey’s idealism and single-minded quest for justice will ironically and tragically transform him into one of Gotham’s most feared supervillains, Two-Face.
The series picks up in the aftermath of Bruce Wayne’s murder, with his rebellious adopted son forging an unlikely alliance with the children of Batman’s enemies when they are all framed for killing the Caped Crusader. In the season premiere, Dent is still the straight-laced DA, who is desperately trying to solve Wayne’s murder and take care of his son.
“You can count on him to do the right thing, and he is uncompromised and he is really taking Batman’s adopted son now, who is a second-time orphan, under his wing. He’s trying to actually ferret out who killed that man, and you trust him and you like him,” Collins told Deadline.
Eventually, the tides will change for Dent as he evolves into Two-Face. “It’s a very complicated version of this villain, and because we explore the mechanisms by which he has his psychotic break, it also feels real,” Collins said.
The actor spoke with Deadline about taking on the role of one of DC’s most iconic supervillains, how this version of Harvey Dent/Two-Face differs from others that audiences may have seen, and whether fans might expect to see him appear in The CW’s Supernatural prequel The Winchesters.
DEADLINE: The CW brought you such a large and passionate fanbase with Supernatural. How did you feel about returning to the network, this time in a different yet very iconic role?
MISHA COLLINS: It’s funny because when I got that job, I went to an event where there were all of these executives from The CW, and folks that I had worked with for a decade or more, and I was like, ‘Oh, it’s so nice.’ It’s actually both The CW and Warner Brothers [Television], this production, so there are folks under both shingles that were involved in the project [that were also involved in Supernatural], but then there’s been a change in leadership at the CW since we started filming. The network was purchased by Nexstar. So we have said goodbye to some old faces that were a part of The CW for a long time, and now I’m getting to meet a new cast of characters there. This feels very familiar though, all in all, to be a part of the same network and the same studio. It’s cool to have that kind of lineage and legacy. It’s a little bit different because toward the end of our run on Supernatural, we were kind of guaranteed that we would have another season if we wanted it. And at the moment, because of all of the changes that are happening at The CW and frankly in television industry wide, we’re not finishing out the first season [of Gotham Knights] with the same kind of guarantees that we had on Supernatural. But we were spoiled by that. Let’s be honest, that kind of job security is very rare in this business.
DEADLINE: You’re playing Harvey Dent, and from what I understand the show will follow his journey as he becomes Two-Face. That’s a very well known character arc. Were there any nerves about being the latest to take it on?
COLLINS: Maybe foolishly, I wasn’t nervous about that. I was excited. And I guess they say nervousness and excitement are close kin in your emotional body. So, who knows? One of the things that really got me excited about this show at the outset was that in the very first meeting that I had with the producers and writers, they described the arc that they were envisioning for Harvey Dent in his evolution, or devolution, into becoming Two-Face. I was like, ‘Well, that sounds like something that any actor would be an idiot to pass up.’ It sounded like a once in a lifetime opportunity because what they wanted to do and what we ultimately ended up doing is starting with a character who really has it all together. He is basically the cornerstone of morality and righteousness at the outset of the show. You can count on him to do the right thing, and he is uncompromised, and he is really taking Batman’s adopted son now, who is a second-time orphan, under his wing. He’s trying to actually ferret out who killed that man, and you trust him and you like him. Then over time, you see that he’s fighting his own inner demons. He had a traumatic childhood. He has a family history of mental illness, and he’s starting to see cracks in his own psyche emerge. He’s starting to unravel, and he’s trying his hardest to hold it together. But you know, he’s good. You’re rooting for him, and yet you see this fracture happening, and it’s tragic. Ultimately, when he becomes Two-Face, because the audience has gotten to know him, you can’t help but still kind of root for him. So it’s a very complicated version of this villain, and because we explore the mechanisms by which he has his psychotic break, it also feels real. In the past, on screen, the versions that we’ve seen of Harvey Dent becoming Two-Face, it’s like, ‘Wait a minute. Would somebody make that 180-degree switch on a dime because of one traumatic incident? That doesn’t quite make sense.’ But here, it totally makes sense. And ultimately, you see Harvey painted into such a corner that you can’t imagine any other way out.
DEADLINE: We’re also seeing Gotham through the eyes of some of these characters’ children. How does it feel to be crafting this story with Bruce Wayne’s son and The Joker’s daughter at the forefront, rather than those characters themselves?
COLLINS: I think it’s cool, because there’s the opportunity to draw on this canon of lore. I mean, it’s a part of our collective consciousness, the Batman universe, the city of Gotham, we all kind of understand that vocabulary. We know what it’s about. But what we’re doing here is making it about the next generation. So we’re able to explore that world without rehashing the same characters that we’ve all seen on screen so many times. There are exceptions to that in our show, but the most notable exception is my character. I think we solved that problem by doing such a deep, dark dive with the character and getting to know him so well in a manner that we’ve never seen on screen before. That it ends up feeling like ‘Oh, well, this is the definitive Harvey Dent story.’ If we brought The Joker on or if we spent a lot of time with Batman, then there’s a lot of comparing and contrasting that goes on and it gets complicated. I think that Harvey Dent ends up helping to anchor it to the lineage of the Batman universe. It really ties everything in without hamstringing us into a certain version of narratives. All the other characters are free to explore the universe in a new way, which is from a narrative standpoint very freeing.
DEADLINE: In the first episode, Harvey says that Turner is like family to him. How is it going to impact him to see his pseudo-uncle turn into a villain?
COLLINS: For reasons that I can’t quite explain, the real emotional weight of Harvey’s transition to Two-Face falls on characters other than Turner. That’s a teaser, but it’s true.
DEADLINE: You’ve spoken a lot about how Harvey’s arc is going to unfold. What else can we expect from Season 1 of Gotham Knights?
COLLINS: Over the course of the season, what we’re ultimately seeing is that the enemy is a well organized, quasi-governmental network of bad operatives — the Court of Owls. The Court of Owls is this secret nefarious group that is thirsty for power. As the season evolves, we learn [they’re searching] for powers in the more superhero sense of the term, and that makes it an interesting nemesis for us because there are all of these different emissaries of the Court of Owls that we end up fighting. But the whole season, we’re actually not quite getting our hand on who’s running the Court of Owls. It’s this mysterious nefarious evil that feels impossible to penetrate. Ultimately, I can’t tell you what happens, but it’s satisfying.
DEADLINE: You previously expressed some interest in making a return to Castiel by appearing in The Winchesters. Were there any serious conversations about it, and is it something we might expect in a potential Season 2?
COLLINS: We did have conversations about Castiel rejoining the Supernatural universe for the end of this first season of The Winchesters but for various reasons, it didn’t work out. But Jensen [Ackles] and I are certainly open to it. We’ve had several conversations about it and would love to explore how to best do that in subsequent seasons of The Winchesters.
SPOILER ALERT! This post contains details from
“Gotham Knights” has arrived on The CW, but this time, there’s no Batman in Gotham.
In fact, the Bat is dead, and it’s unclear who killed him. But of course, plenty of people are going to put their minds to solving the case of Gotham’s most reclusive billionaire and dark knight. But it might just be some of the city’s youngest — and criminally active — residents that are able to piece it together.
“Gotham Knights” follows Turner Hayes (Oscar Morgan), Batman’s adopted son, as he teams up with the children of some of Batman’s most notable rogues to bring his father’s killer to justice. Also on the case is Gotham’s esteemed DA Harvey Dent (Misha Collins), but we all know how his story turns out…
So, here’s who’s who in this version of Gotham.
"Gotham Knights" has arrived on The CW,
EXCLUSIVE: Deadline has a new clip from the Indigenous family drama Fancy Dance, marking the narrative feature directorial debut of Erica Tremblay (Reservation Dogs), which last Friday headed to SXSW for its Texas premiere after world premiering to critical acclaim at Sundance.
The film tells the story of Jax (Billions‘ Lily Gladstone), a Native American hustler who, upon her sister’s disappearance, kidnaps her niece from the child’s white grandparents, setting out for the state powwow in hopes of keeping what is left of their family intact.
RELATED: SXSW 2023: All Of Deadline’s Movie Reviews
“In the clip, Jax feels like she’s the only one truly searching for her missing sister, Tawi,” Tremblay tells Deadline. “However, when she discovers that her brother JJ has betrayed her by withholding a crucial piece of information, Jax is pushed further into a spiral of alienation and doubt, fearing that she may never be reunited with her sister again.”
Fancy Dance also stars Isabel Deroy-Olson (Three Pines), Ryan Begay (Frybread Face and Me), Crystle Lightning (Three Pines), Audrey Wasilewski (Big Love) and Shea Whigham (Eileen).
While the film has established itself as a 2023 festival favorite, it’s still seeking distribution, with WME handling sales. Tremblay wrote the pic with Miciana Alise, also producing alongside Deidre Backs, Heather Rae, Nina Yang Bongiovi and Tommy Oliver. Exec producers on the project included Bird Runningwater, Charlotte Koh and Academy Award winner Forest Whitaker.
“This story was born from the yearning to see ourselves reflected on the screen,” says Tremblay of Fancy Dance. “To be Native American women with multi-dimensional identities means facing harsh realities in spaces that are virtually invisible. For centuries Native families have been fractured by corrupt systems, and yet a vibrant and beautiful community still withstands. FANCY DANCE is ultimately our love letter to that community and the women and queer folks who hold it together.”
Watch our clip from Fancy Dance by clicking above.
EXCLUSIVE: Deadline has a new clip from
While several of her castmates are currently embroiled in controversy, Lala Kent was able to celebrate some good news with a lucrative new deal under her belt.
DailyMail.com has learned the reality star has inked a five figure deal with fashion giant PrettyLittleThing.
Lala, 32, is the latest big name to work with the company – Kourtney Kardashian and Hailey Bieber both previously modeled for the company, while Love Island UK star Molly-Mae Hague currently serves as PLT’s creative director.
Lala looked like she meant business when she was spotted outside of PLT’s brick and mortar store in West Hollywood on Monday, glued to her phone.
She puckered up her lips for the camera as she posed outside of the store with her phone and tea in hand, reveling in her new business venture.
Sounds like success! Lala Kent has inked a five figure deal with fashion giant PrettyLittleThing, DailyMail.com has exclusively learned
Lala, who shares two-year-old daughter Ocean with ex Randall Emmett, also posted a photo of herself inside the pink shop, serving the camera a sassy pose.
The exciting news comes amid a bombshell scandal surrounding three of her Vanderpump Rules castmates.
Last week, it emerged that Tom Sandoval had been cheating on Ariana Madix, his girlfriend of nine years, with fellow VPR star Raquel Leviss for months.
On Friday, Lala took to Instagram Stories with a comment referencing the scandal, saying, ‘To certain men who have done dirty **** thinking I’ve forgotten about you since Scandoval … don’t get too comfortable. I’ve got enough laser beams for all of you. You know who you are.’
Kent last week chimed in on the scandal on her Amazon Live broadcast, as she updated fans on her friend Ariana Madix amid the ongoing fallout of her split with Tom after he cheated on her with Raquel.
‘Ariana is moving with the motion of the ocean, you know?’ Kent said. ‘She’s doing as well as can be expected.’
Kent said that while she hasn’t been ‘super-close’ with Madix ‘for a while,’ she understands that Madix has ‘a really great support team behind her’ amid the public breakup in her longtime relationship with Sandoval, 39.
Kent noted that the salacious scandal interrupted her weekend and brought out the smart aleck in her.
‘The scandal – the Scandoval – happened on a Thursday, which didn’t even give me a weekend,’ Kent said. ‘I’m tired because I turned into a troll, alright?
This is serious! Lala looked like she meant business when she was spotted outside of PLT’s brick and mortar store in West Hollywood on Tuesday, glued to her phone
A who’s who of stars! Lala is the latest big name working with the company – Kourtney Kardashian and Hailey Bieber both previously modeled for the company, while Love Island UK star Molly-Mae Hague currently serves as PLT’s creative director
‘My Instagram was definitely on fire. I couldn’t stop. The troll was activated, okay? So I’m a little exhausted.’
Kent, who has tangled with rapper 50 Cent on social media in the past, joked, ‘I do not know how 50 Cent does it.’
Kent said she hasn’t been in touch with Leviss as news of the scandal has dominated the headlines.
‘She obviously hasn’t reached out to me or anyone on my side, because I was never friends with her,’ she said. ‘I don’t know if she’s reached out to anyone else.’
She described Sandoval and Leviss as ‘two people who couldn’t be further from who they pretended to be,’ adding that she has ‘never liked either of them.’
Kent said she had to be cautious of ‘spilling too much tea’ on the upcoming season of the Bravo reality show.
Coffee break! Kent carried a small brew with her as she stepped out into the sunshine
Serving style! She rocked a grey jumpsuit and slicked back hair bun
Kent said that it felt good ‘to have everyone else feel the same way’ about Sandoval since his ‘mask fell’ in the ongoing scandal.
Asked if Sandoval ever made romantic advances toward her, Kent said ‘he would never do that.’
She added: ‘I would eat that guy up … it takes a very special person to put up with all this.’
In related news, Sandoval apologized for cheating on Madix in a statement, days after her name was omitted from his first public comment on the matter.
Sandoval took to Instagram with a detailed statement after receiving blowback in the wake of his affair coming to light.
Timing: The exciting news comes amid a bombshell scandal surrounding three of her Vanderpump Rules castmates
Serving some attitude! Kent struck a sassy pose inside the pink shop
‘I want to first and foremost apologize to everyone I’ve hurt through this process,’ he said. ‘Most of all, I want to apologize to Ariana. I made mistakes, I was selfish, and made reckless decisions that hurt somebody I loved. No one deserves to feel that pain so traumatically in publicly.’
He continued: ‘I can only imagine how devastating this has been for Ariana and everyone around us. I feel really horrible about that. My biggest regret is that I dishonored Ariana. I never meant to disappoint so many people, including our loving family and friends.’
Sandoval said his ‘love for Ariana was stronger than any camera could have ever captured’ and some of their ‘best times together were never filmed.’
He added: ‘The same goes for some of our biggest struggles. I wish things happened in a different order in our relationship was not severely tarnished, and that it ended with the same respect for her that begin with. I owed Ariana better.’
Sandoval wrapped up in saying, ‘I am beyond sad that it ended the way it did. The choices I made hurt so many people.
‘I acted in a way that clashes with who and how I want to be. I will continue to reflect and work on myself. I have work to do I always have and I always will.’
Walk this way! Lala was spotted departing her office with fellow co-star Katie Maloney in West Hollywood on Monday
Back on the market: Both Kent and Katie are single again after ending long-term partnerships
Hitting the road! Maloney opened her car door as she finished off her conversation with Lala
While several of her castmates are currently
Reported By: Suresh Rachamalla
Edited By: Bohni Bandyopadhyay
Last Updated: March 14, 2023, 23:28 IST
Singer Rahul Sipligunj (R) with Naatu Naatu composer MM Keeravani post Oscars.
Rahul Sipligunj became a world famous singer after Naatu Naatu, a popular song from the Telugu movie RRR won the Best Original Song Award in the recently held 95th Academy Awards in Los Angeles. But one will not consider his fame as one night wonder after going through his inspiring journey as the son of a barber from Old City in Hyderabad, Telangana to the Oscars stage, a dream of every person related to the film industry across the world.
Rahul Sipligunj was born and brought up in Mangalhat locality near Dhoolpet, a part of the Old City in Hyderabad, Telangana. His father Raj Kumar, barber by profession, ran a haircutting saloon for livelihood. Raj Kumar wanted his son’s life to be settled, with a good job. But Rahul was always fond of playing cricket and kabaddi in the gullies (narrow streets) and singing devotional songs at Ganesh pandals during Vinayaka Chavithi festival.
He didn’t show any interest towards pursuing education. Raj Kumar noticed the hidden talent of his son and encouraged him by enrolling him for singing classes. Rahul, on one hand, worked in his father’s saloon, and on the other hand, started singing songs during functions at his relatives’ houses in order to shed his stage fear.
In the meantime, he successfully finished his Intermediate education and decided not to study further. He started visiting film production offices to get an opportunity of playback singing, but continued to work at his father’s saloon.
With the small contacts he developed, he got a chance to lend his voice to the songs for the movies dubbed in to the Telugu language. Later, he became one among the singers who lent their voice in chorus and background songs composed by various music directors. But his efforts didn’t lead him to any popular front related to playback singing in films. Thus, he started making video albums and posting them on YouTube from 2013 onwards with amount received after mortgaging his mother’s jewellery and with the money borrowed by his father.
Destiny drove him in right track after he got an opportunity to sing a song in Naga Chaitanya starrer Josh in 2009. Then onwards, he got flooded with offers, including an opportunity to sing the song ‘Vaastu Bagunde’ composed by MM Keeravani in Dammu movie and a song in Rajamouli’s blockbuster movie Eega in 2012.
His association with music director MM Keeravani gave him a chance to lend his voice to Naatu Naatu in RRR, where he also sang Tamil, Kannada and Hindi versions apart from the original in Telugu. Now Rahul Sipligunj is testing the waters as an actor with famous Telugu director Krishna Vamsi’s upcoming movie ‘Ranga Marthanda’, where he played a key role.
Read all the Latest Movies News here
Reported By: Suresh RachamallaEdited By: Bohni
The special prosecutor for the closely watched “Rust” movie-set shooting case, Andrea Reeb, is stepping down.
The decision follows a motion filed by actor Alec Baldwin’s legal team demanding Reeb be removed due to her conflicting roles.
Baldwin was charged this year with involuntary manslaughter alongside armorer Hannah Gutierrez Reed in connection with the fatal accidental shooting of cinematographer Halyna Hutchins in October 2021 on the set of “Rust,” a western movie.
Baldwin’s attorneys had argued that the New Mexico Constitution prevents Reeb — a state legislator — from simultaneously holding a position in the judicial or executive branch of government.
“It has become clear that the best way I can ensure justice is served in this case is to step down so that the prosecution can focus on the evidence and the facts, which clearly show a complete disregard for basic safety protocols led to the death of Halyna Hutchins,” Reeb said in a statement. “I will not allow questions about my serving as a legislator and prosecutor to cloud the real issue at hand.”
The decision is the latest blow to the case brought by New Mexico against Baldwin for the shooting of Hutchins on a ranch near Santa Fe, N.M.
Documents confirming the resignation will be filed with the court, said Heather Brewer, spokesperson for Mary Carmack-Altwies, New Mexico’s 1st Judicial district attorney.
Last month, Baldwin’s attorneys successfully convinced the courts to downgrade charges brought against the actor. They argued a “firearm enhancement” penalty carrying a mandatory prison sentence was wrongfully charged.
Baldwin faces a possible 18 months in prison if convicted of the involuntary manslaughter charge.
Reeb, who is a former district attorney from eastern New Mexico, became a part of the “Rust” prosecution team last summer during her campaign for a seat in the New Mexico Legislature. The Republican was elected to her first term in November; she took up her role in the New Mexico Legislature on. Jan. 1.
Baldwin’s attorneys had argued that such a role could allow politics to influence the prosecution.
Times staff writer Meg James contributed to this report.
The special prosecutor for the closely watched
Mark Ruffalo‘s spotlight panel at Emerald City Comic-Con has gifted fans with a lot of exciting behind-the-scenes tidbits and stories, now including a way the actor connects with his MCU character, the Hulk.
Ruffalo discussed his experience in the MCU in depth at ECCC, from his exclusion in Thor: Love and Thunder to replacing Edward Norton, and even a defense of his character’s arc in Avengers: Infinity War.
Fans even got some unique insight into how Ruffalo relates to Bruce Banner as a man, comparing himself to his fictional counterpart.
At Emerald City Comic-Con, Mark Ruffalo discussed his own anger management issues that he’s made strides to fix, reminiscent of his MCU role as the Hulk.
A fan asked at a Q&A what Ruffalo relates to most with his character, to which the actor explained that being told to control his anger “was my whole childhood and much of my teens:”
Q: “With playing the Hulk for such a long time, is there anything you relate to in any version of the Hulk on a personal level?”
Ruffalo: “‘That’s my secret.’ (laughs) I think we all probably– Little kids really relate to the Hulk, because… everyone’s always telling them, ‘Don’t! Stop! Stop it! Don’t do that! You’ll break things! You’re out of control!’ That was my whole childhood and much of my teens. That anger, that unexpressed anger, as nice as I might seem, my kids would probably tell you I could be angry. That’s always been something that I’ve related to, especially when I was younger. I mean, I’m getting older and mellower.”
He then spoke about how when he was younger “there were holes in the wall from coffee mugs and fists from being rejected constantly, and just being angry:”
“But as a young actor, I told the story before, I had posters in the weirdest places in my apartment, because there were holes in the wall from coffee mugs and fists from being rejected constantly, and just being angry, and having to express that anger. So, I relate to that.”
Back in 2012, Ruffalo expressed something similar to NME, saying “I’m no stranger to that kind of anger and rage,” but emphasizing that he has grown and matured over time nonetheless.
“I’m no stranger to that kind of anger and rage, but over time, I’ve [become] like a rock that’s spent many times being tumbled around in the sea, I’ve sort of gotten the edges polished off of me. I’m not fighting the same fights that I was back then, the same demons.”
Speculation about Ruffalo’s next appearance as the Hulk — be it as the angry Hulk or the current Professor Hulk (officially Smart Hulk) version — is all over the place, from World War Hulk rumors to questions about a potential retirement.
Regardless, there are more Hulk-adjacent stories to come, with She-Hulk and Skaar now established in She-Hulk: Attorney at Law, where fans last saw Bruce Banner.
Hulk himself also has many other versions fans would be interested in seeing, from a gray Hulk like Joe Fixit to Maestro from the comics.
Either way, fans who want their Hulk fix don’t need to be angry, as She Hulk: Attorney at Law is currently streaming on Disney+. All of the Hulk’s other appearances outside of The Incredible Hulk are also streaming there as well.
A new video from the set of Todd Phillips’ Joker: Folie à Deux, shows Lady Gaga’s Harley Quinn committing a crime on the streets of Gotham City.
Back when Lady Gaga was first announced as the character, the news was rather surprising for audiences. The singer and actress would be tackling a beloved DC Comics character, who had previously been brought to life by Margot Robbie.
Not only that, but the musician’s participation was a purposeful one, as this sequel is set to have musical elements.
While the project is still in active production, fans have already seen photos of Gaga embodying the character thanks to an official image from the director. Additionally, some on-set photos showcased her in normal clothes while in the city.
Both of those instances didn’t include much of interest. However, a new clip gives fans the opportunity to see Gaga’s character truly in action.
Thanks to Twitter user @Buzznviral, fans can check out a new look at Lady Gaga’s Harley Quinn on the set of Joker: Folie à Deux.
The brief clip taken from the production filming on location shows Gaga picking up a trash can, throwing what’s inside onto a window, destroying the glass, and then stealing a TV inside the store.
The video can be seen below.
Instagram user @cosmicwonderofficial also offered a new up-close look at Gaga, which sees her character looking pretty tense while sporting a grey beanie.
So, why does Harley need a TV so badly? Furthermore, is a smash-and-grab the extent of Harley’s criminal record? Or are there darker deeds that audiences haven’t seen?
When it comes to this version of Joker’s demented lover, the movie is set to make a big change to the character. Instead of Joker being one of Harley’s patients, she’ll instead be one of Authur Fleck’s fellow inmates.
Perhaps this Harley became so obsessed with Arthur after his late-night talk show murder, that she purposefully looked to land herself in Arkham alongside the troublesome clown.
While this would be a drastic change to her usual origins, it’s unlikely that it’ll bother too many people. The first movie was already quite the departure from the source material, so Phillips has long since given himself plenty of space to play around in.
Joker: Folie à Deux is set to hit theaters on October 4, 2024.
Bandai Namco has published the latest Tekken 8 gameplay trailer.
Viewable below, the new trailer shows Marshall Law in action.
It follows recently released Paul Phoenix and Kazuya Mishima gameplay trailers.
Tekken 8 was officially announced in September 2022 during a PlayStation State of Play livestream.
While a release date hasn’t been confirmed, the game is planned for release on PS5, Xbox Series X/S and PC via Steam.
Bandai Namco recently streamed a 36-minute breakdown of the fighting sequel’s gameplay mechanics, including its heat system, rage system, and recovery gauge.
It plans to hold closed alpha tests for Tekken 8 across multiple locations globally to gather feedback on the new systems.
The first closed alpha test will be held at Evo Japan, which takes place from March 31 to April 2. To participate, players will need to apply via a special website.
Tekken 7 was released for arcades in 2015 before making it way to PS4, Xbox One, and PC via Steam in June 2017.
Last December, series director Katsuhiro Harada said Tekken 7 had topped 10 million sales, taking lifetime franchise sales to over 54 million units.
Bandai Namco has published the latest Tekken
The One-Of-A-Kind Film Festival Returns for 3 Days of Live Screenings, Panels, Workshops, & More
Female Voices Rock is excited to announce the return of Female Voices Rock Film Festival, taking place from May 5th-7th. Festival goers will once again return to theaters to discover this year’s most inspiring independent stories by women creators. In addition, in-person attendees will experience networking opportunities, workshops, industry talks, and parties during the festival, with more details to be announced. For more information, please visit: https://www.femalevoicesrock.com.
On this year’s festival, Female Voices Rock founder & executive director Catherine Delaloye shares, “Creating a safe and inspiring space for women to express themselves, share visionary stories and meet future collaborators is what Female Voices Rock is all about. Each year we thrive to do better and to increase diversity and inclusion by making sure women’s voices continue to be championed. I’m honored to share this year’s selection of visionary stories with distinct perspectives and unique voices from around the world. In addition, in-person attendees will get to experience networking opportunities, workshops, industry talks and parties during the festival, with more details to be announced.”
This year, the Female Voices Rock Film Festival will host industry panels aimed at educating and supporting filmmakers who have created short films. Produced by accomplished filmmaker Kira Leinonen, these panels will explore topics such as developing your first feature and career advancement with a short film. Past panelists include:
Using Your Short As A Stepping Stone Panel
In the long road of your filmmaking career, a short film can serve many purposes. For some, it is a worthy end in itself, a goal completed. For others, it may be a proof of concept to set the scene for a feature-length dream. Regardless of whether you’re hoping for film festival awards or studio opportunities, this panel will help guide you toward the next steps you can take with your short film to head in the direction you want to go.
Producing Your First Feature Film Panel
Whether you’re building off of a proof-of-concept short, spending your life savings to bring your script to life, or rallying the troops to pull together a story on a shoestring budget, this panel is for you. What does it take to bring your feature film from inspiration to delivery? And then what happens?
Female Voices Rock is excited to present the best new films by female filmmakers, including various screenings, special events, and cocktail parties. The official film festival lineup to be announced soon. All access and single day passes are available to purchase now, with screening and panel passes on sale April 3rd, 2023. Additional information on all access and single day passes can be found below:
All Access Pass
-Price: $125
–Access to the Opening Night Party, Awards Ceremony + Closing Party, Filmmaker Brunch, all five (5) screening blocks, every scheduled industry panel, RSVP and appetizers at all networking events. Includes one (1) drink ticket for Opening Night Party and one (1) drink ticket for Closing party, as well as red carpet access.
Single Day Pass – Saturday, May 6th
-Price: $40
–Access to all film screenings, industry panels and automatic RSVP to networking event on Saturday, May 6.
Single Day Pass – Sunday, May 7th
-Price: $50
–Access to all film screenings, industry panels and automatic RSVP to networking event on Sunday, May 7. Does not include access to the Awards Ceremony and Closing Night Party.
EVENT DETAILS
WHAT: Female Voices Rock Film Festival
WHEN: Fri. May 5th – Sun. May 7th, 2023
Friday, May 5th – 7pm – 10pm ET | Opening Night Party
Saturday, May 6th – Sunday, May 7th – 12pm – 8pm ET | Screenings, Networking Events, Filmmaker Welcome Brunch
Sunday, May 7th – 8pm – 10pm ET | Closing Night Party
WHERE: Wythe Hotel | 80 Wythe Ave, Brooklyn, NY
TICKETS: https://www.eventbrite.com/o/female-voices-rock-27219795067
For the latest on Female Voices Rock Festival, please visit:
Website: https://www.femalevoicesrock.com
Facebook: https://www.facebook.com/femalevoicesrock
Instagram: https://www.instagram.com/femalevoicesrock/
Twitter: https://twitter.com/FVRfilmfest
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ABOUT FEMALE VOICES ROCK: Female Voices Rock is dedicated to supporting diverse female storytellers in the entertainment industry. Our mission is to incite and inspire change that builds a foundation of equality and diversity, ensuring that every voice is heard and championed.
Female Voices Rock launched a one-of-a-kind film festival in 2019, when women comprised only 20% of all directors, writers, producers, editors, and cinematographers working on the top 250 US domestic grossing films, to spotlight women in the film industry and champion the inclusion of underrepresented storytellers and diverse voices.
BIPOC, LGBTQ+ voices, and other marginalized voices are not given equal space and have been left to fight for themselves for too long. We are using our platform to create space for the important stories that need to be told, the films that have not be seen, the creators who have not been given an opportunity, and we are here to support filmmakers to the fullest of our abilities through educational programming, workshops, webinars, and networking events. By uplifting those that have been left in the background, we are committed to increasing the diversity in the industry and revolutionizing the filmmaking space.
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The One-Of-A-Kind Film Festival Returns for 3
If your cuticles have seen better days, slathering on hand cream alone won’t make them any less painful—or unsightly. The best cuticle oils, on the other hand (pun intended), act as a restorative treatments. They’re often packed with vitamins (E, in particular, will nourish skin) and hydrating ingredients like fruit and nut oils (think almond, jojoba, and apricot oils) that specifically address nail concerns—whether it’s keeping the surrounding skin moisturized and hangnail-free, or strengthening brittle nails after the harsh removal of gels, dip powders, press-ons and acrylics.
“Very similar to skin care, your cuticles need a daily moisturizer,” says Amy Ling Lin, CEO and founder of nail polish and nail care brand Sundays. “Applying cuticle oil regularly to the cuticle on your hands and feet is a great way to keep them in the best condition.”
Of course, finding a cuticle oil that works for you is a lesson in trial and error, considering the vast number of options available on the market. Not all cuticle products provide the same lasting results—and we’ve experienced how some formulas only make the surrounding skin appear moisturized, but do nothing in the long-run.
That’s why we’ve combed through thousands of options to bring you the oils and cuticle creams that actually deliver—from heavy-duty formulas the pros swear by to fast-absorbing serums perfect for on-the-go care. Lin says the ingredient list will be your best friend. Avoid harsh chemicals that will do more harm than good, and look for plant-based when possible, because they’ll restore the natural moisture of your cuticles, and strengthen and nourishe your skin. “The ideal time to apply is before bed, because it’s the time when you are most still, so the oil has a chance to work its magic,” she says.
Whether you live for an Insta-worthy mani or simply want your nails to look civilized without having to visit a professional, shop 17 of the best cuticle oils below.
Best Overall Cuticle Oil: CND SolarOil Nail & Cuticle Conditioner, $10
Best Roll-On Cuticle Oil: Tenoverten The Rose Oil, $26
Best Serum Cuticle Oil: Olive & June Cuticle Serum, $23
Best Splurge Cuticle Oil: Dior Huile Abricot, $30
Best Drugstore Cuticle Oil: Sally Hansen Cuticle Massage Cream, $7
Best Multiuse Cuticle Oil: Lano The Original 101 Ointment Multipurpose Superbalm, $17
If your cuticles have seen better days,
Academy Award nominated actor Willem Dafoe is set to return to the big screen as an art thief named Nemo in the psychological thriller film Inside. In the veteran actor’s long and impressive career, he’s played everything, but this is the first time the actor will be doing a one-man show as he’s trapped inside a luxurious penthouse with no one else to help him.
With so many valuable art pieces around him, they were deemed useless as Dafoe’s character couldn’t use them for survival. The actor briefly summarized the film, he told EW, “He’s getting ready to leave, and the alarm system goes wacky and closes him in. After a little while, it’s clear no one’s coming; no one’s been alerted, the owner’s not coming back. There’s very little in the house. He’s trapped there.”
He continued, “He doesn’t know what to do. He’s got to find food; he’s got to find water. There’s not much there. Nobody’s been there for a while. There’s all this priceless art on the walls, and he has to figure out a way to survive, and he doesn’t quite know how long this will go on. So that’s the basic setup.”
The actor shares how he realistically depicted his character’s physical deterioration. He admitted, “I just kind of let myself go. I did wash! But let my hair go, let my beard go, didn’t do my normal physical exercise, so I started to get a little wasted. Because working 12 hours a day, when you’re the only guy in a dark room, it takes a toll on you.”
He added, “Doing physical things, dragging things, banging things, screaming. [Laughs] It will start to show after a while if you want it to.” The already slender actor even dropped a few pounds during the shoot. “I didn’t lose too much weight,” he says, “but I’d see a couple of shots toward the end, and I’d think, ‘Oh, boy, put on a little beef!”
The film was written by British writer-director Ben Hopkins and directed by Vasilis Katsoupis. It was based on the director’s idea that was conceptualized while he was visiting New York. Katsoupis shared, “I was looking at all these huge buildings. It came to me that what would be the situation if I get stuck in a top floor of these buildings.”
He added, “I started working to make it more of a survival film [like] Robinson Crusoe. I found it very interesting that my hero will be lonely in the middle of a metropolis. He can actually see life, the busy streets, people around him, but nobody can reach him, and nobody can help him.”
While the film exudes a terrifying premise, the filmmakers added some comical aspect to lessen the seriousness of the film. One of these moments was when the 90s hit song Macarena started playing when the door of a high-tech fridge was left open for long. Dafoe commented, “Everybody thought it was pretty funny.”
He added, “It’s goofy, but that was important too, to find the humor and not get too dour about what we were doing. Even when people are in a terrible situation, they find time to step back and try to have a good laugh about it.”
Inside will premiere in movie theaters on March 17.
Academy Award nominated actor Willem Dafoe is
Filmmakers and festival attendees will gather this year at the 37th edition of the 2023 SXSW Film & TV Festival to celebrate the convergence of the tech, film, and music industries across a variety of programming formats and special events from March 10-19 in Austin, TX and online.
Fest-goers can expect red carpet premieres, gala Film, TV, Documentary and Spotlight events with talent expected to participate across all platforms.
Related: SXSW Film Festival Narrative Feature Competition Winners Through The Years
Dungeons & Dragons: Honor Among Thieves, world premiered on opening night with cast members Chris Pine, Michelle Rodriguez, Justice Smith, Daisy Head, Sophia Lillis, Jeremy Latcham, and the directors John Francis Daley and Jonathan Goldstein at the Paramount Theater on Friday, March 10 in Austin, Texas. Other Screenings on opening night included Later Bloomers; Only The Good Survive; National Anthem; Swarm and the Sundance horror favorite Talk to Me.
Related: SXSW 2023: All Of Deadline’s Movie Reviews
Day 2 of SXSW on Saturday, March 11th, continued with screenings and world premieres from the films You Sing Loud, I Sing Louder starring Clara McGregor and Ewan McGregor; Lucky Hank; Bottoms directed by Emma Seligman; The Angry Black Girl and Her Monster; If You Were the Last; I’m A Virgo; Self Reliance directed by Jake Johnson; Love & Death; David West Read’s The Big Door Prize; Down Low directed by Rightor Doyle and Scrambled.
Robert Rodriguez’s film Work-In-Progress starring Ben Affleck, screened on Day 3 of the festival including Cora Bora directed by Hannah Pearl Utt, Blackberry and The Long Game.
Keanu Reeves and Chad Stahelski attended a special screening of John Wick: Chapter 4 at The Paramount Theater on March 13. The blockbuster franchise from Lionsgate continues as the hitman uncovers a path to defeating The High Table in order to earn his freedom. Wick must face off against a new enemy with powerful alliances across the globe and forces that turn old friends into foes. The film also stars Laurence Fishburne, Donnie Yen, Rina Sawayama and Bill Skarsgård. Other screenings and premieres included Problemista; Bloody Hell; Being Mary Tyler Moore and Monolith on Day 4.
Other Film & TV highlights include Americana directed by Tony Tost; Furies directed by Veronica Ngo; The New Americans: Gaming a Revolution directed by Ondi Timoner; It Lives Inside directed by Bishal Dutta; Zoe Lister Jones’ Slip; Tearrance Arvelle Chisholm’s Demascus; Tara Hernandez and Damon Lindelof’s Mrs. Davis and Kelvin Yu’s American Born Chinese.
The SXSW Conference is organized into 25 programming tracks presented in a variety of session formats. The tracks for 2023 include 2050, Advertising & Brand Experience, Cannabis, Civic Engagement, Climate Change, Creating Film & Episodics, Culture, Design, Energy, Film & TV Industry, Food, Game Industry, Health & MedTech, Markets & Economies, Media Industry, Music & Tech, Music Careers, Psychedelics, Sports, Startups, Tech Industry, Transportation, Travel & Leisure, Workplace Revolution and XR & Metaverse.
Check back for the latest photos from the red carpet premieres, speaker’s events, music, comedy showcases, exhibitions and more.
Tracy Pollan and Michael J. Fox attend STILL: A Michael J. Fox Movie – 2023 SXSW Conference and Festivals at The Paramount Theater on March 14
(L-R) Will Cohen, Director David Guggenheim, Tracy Pollan, Michael J. Fox, Annetta Marion and Nelle Fortenberry attend STILL: A Michael J. Fox Movie – 2023 SXSW Conference and Festivals at The Paramount Theater on March 14.
(L-R) Julie Zhan, J.J. Nolan, Elimu Nelson, Patton Oswalt, Writer & Director James Ward Byrkit, and Richard Follin attend the Shatter Belt world premiere during 2023 SXSW Conference and Festivals at Stateside Theater on March 14.
Julio Torres (L) and Tilda Swinton attend the Problemista world premiere during 2023 SXSW Conference and Festivals at The Paramount Theater on March 13.
James Scully, Julio Torres, RZA, Tilda Swinton, Greta Titelman,Larry Owens attend Problemista at the 2023 SXSW Conference and Festivals at The Paramount Theater on March 13.
Claudette Godfrey, Vp Film and TV for SXSW, Julio Torres, Greta Titelman, James Scully, Larry Owens
Catalina Saavedra, RZA, Tilda Swinton attend Problemista world premiere Q+A at the 2023 SXSW Conference and Festivals at The Paramount Theater on March 13.
(L-R) Benjamin Speed, Lucy Campbell, Matthew Vesely, Lilly Sullivan, and Michael Tessari attend the screening of Monolith during the 2023 SXSW Conference and Festivals at Alamo Drafthouse South Lamar on March 13.
(L-R) Natalia del Riego, Angela Sarafyan, Rosemary Rodriguez, and Karina Miller attend Hail Mary during the 2023 SXSW Conference and Festivals at Alamo Drafthouse South Lamar on March 13.
(L-R) Cast members, Angela Sarafyan, Benny Emmanuel, Natalia del Riego, Rosemary Rodriguez, and Karina Miller speak onstage at Hail Mary during the 2023 SXSW Conference and Festivals at Alamo Drafthouse South Lamar on March 13.
(L-R) Liane Cunje, Maddie Ziegler, Director Molly McGlynn and Jennifer Weiss attend the Bloody Hell world premiere during 2023 SXSW Conference and Festivals at Stateside Theater on March 13.
(L-R) Rishi Rajani, James Adolphus, Lena Waithe, Debra Martin Chase, Robert Levine and Ben Selkow attend Being Mary Tyler Moore during the 2023 SXSW Conference and Festivals at ZACH Theatre on March 13.
(L-R) Mariah Rehmet, Debra Martin Chase, Lena Waithe, and James Adolphus speak onstage at Being Mary Tyler Moore.
Keanu Reeves and Chad Stahelski attend a Special Screening of John Wick: Chapter 4 at the 2023 SXSW Conference and Festivals at The Paramount Theater on March 13.
Keanu Reeves, Claudette Godfrey, Vp Film and TV for SXSW, director Chad Stahelski attend a Special Screening of John Wick: Chapter 4.
Chad Stahelski and Keanu Reeves introduce a Special Screening of John Wick: Chapter 4 at the 2023 SXSW Conference and Festivals at The Paramount Theater on March 13.
(L-R) Olga Petsa, Sabrina Jalees, Caleb Hearon, Rachel Sennott, and Ally Pankiw speak at I Used To Be Funny.
(L-R) Jason Aita, Li-Wei Chu, Caleb Hearon, Rachel Sennott, Ally Pankiw, Olga Petsa, Sabrina Jalees, Ennis Esmer, and James Weyman attend I Used To Be Funny at Alamo Drafthouse South Lamar on March 13.
(L-R) Robert Upchurch, Jared Raad and Matthew Miller attend BlackBerry during the 2023 SXSW Conference and Festivals at ZACH Theatre on March 13.
Matt Johnson speaks onstage at BlackBerry.
Tilda Swinton delivers a keynote speech during the 2023 SXSW Conference and Festival – Day 4 at Austin Convention Center on March 13.
Eugene Hernandez (L) and Tilda Swinton speak onstage at a keynote during the 2023 SXSW Conference And Festival.
(L-R) McCaul Lombardi, Lance Larson, Luis Chavez on stage at the Q+A for the world premiere screening of “Deadland” at the 2023 SXSW Conference and Festivals at The Paramount Theater on March 13.
Chris Mulkey, Bob Bastarache, attend the world premiere screening of Deadland.
(L-R) Co-director Glenn Ficarra, Charles Dance, Meta Golding, Kiefer Sutherland, Rob Yang, co-director John Requa, Walt Klink and Enid Graham attend the Rabbit Hole world premiere during 2023 SXSW Conference and Festivals at Stateside Theater on March 12.
William Fichtner, Bonnie Discepolo, Robert Rodriguez, attend the Hypnotic at the Work-in-Progress screening during the 2023 SXSW Conference and Festivals at The Paramount Theater on March 12.
Jeff Fahey, Gareth West, Bonnie Discepolo, Robert Rodriguez, William Fichtner, Vahan Yepremyan, Robert Rodriguez, James Portolese, Maitreya Yasuda, Artur Galstian, attend Hypnotic (Work-in-Progress) screening during the 2023 SXSW Conference and Festivals at The Paramount Theater on March 12.
Robert Rodriguez, receives a cake on stage marking the 30th anniversary for his movie “El Mariachi” during the intro to Hypnotic (Work-in-Progress) screening.
(L-R) Djouliet Amara, D’Pharaoh Woon-A-Tai, Molly McGlynn, Emily Hampshire, Maddie Ziegler and Ki Griffin visit the IMDb Portrait Studio.
Chelsea Manning attends The Future of Privacy on the Net with Chelsea Manning during the 2023 SXSW Conference and Festivals at Hilton Austin on March 12.
(L-R) Harry Halpin and Chelsea Manning speak onstage at The Future of Privacy on the Net with Chelsea Manning.
Dennis Quaid, Laura Quaid.
Cast and producers attend The Long Game premiere Screening during the 2023 SXSW Conference and Festivals at The Paramount Theater on March 12.
(L-R) Stephen Asma, Patton Oswalt and Paul Giamatti visit the IMDb Portrait Studio.
(L-R) Rocío Giménez, Laura Christina Ortiz, Sandy Honig, Brandon Michael Hall, Kelly Marie Tran, Kiersey Clemons, Leon Bridges and Lukita Maxwell attend The Young Wife during the 2023 SXSW Conference and Festivals at Alamo Drafthouse Cinema South Lamar on March 12.
Megan Stalter visits the IMDb Portrait Studio.
(L-R) Jojo T. Gibbs, Mallory Schwartz, Chrissie Fit, Jeffrey Soros, Ayden Mayeri, Megan Stalter, Hannah Pearl Utt, Andre Hyland and Heather Morris attend the world premiere of Cora Bora during the 2023 SXSW Conference and Festival – Day 3 at the Stateside Theatre on March 12.
Megan Stalter
(L-R) Director Hannah Pearl Utt, Megan Stalter, writer Rhianon Jones, producer Mallory Schwartz, Jojo T. Gibbs and Ayden Mayeri take part in a Q&A following the Cora Bora world premiere.
(L-R) Ayo Edebiri, Emma Seligman, Havana Rose Liu, Ruby Cruz, Rachel Sennott and Miles Fowler visit the IMDb Portrait Studio,
(L-R) Engy Adham, Erik Ljung, Katie Schwartz, E.J. Enriquez, Rebecca Kent, Chad Ervin, Pete Davis, Christian Oliveira, Mark Lopez, Rebecca Davis, and Chad Cannon attend Join or Die during the 2023 SXSW Conference and Festivals at Alamo Drafthouse Cinema South Lamar on March 12.
Clara McGregor and Ewan McGregor attend You Sing Loud, I Sing Louder during the 2023 SXSW Conference and Festivals at ZACH Theatre on March 11.
Director Emma Westenberg
(L-R) Jake Weary, Clara McGregor, Vera Bulder, Emma Westenberg and Ewan McGregor.
(L-R) Cami Winikoff, Ewan McGregor, Clara McGregor, Jake Weary, Vera Bulder, Emma Westenberg, Mark Amin, Mason Plotts, Chris Ripley, Greg Lauritano and Ruby Caster.
(L-R) Ella Rumpf, Simon Manyonda, Hafsteinn Gunnar Sigurosson and Sverrir Gudnason visit the IMDb Portrait Studio.
(L-R) Anthony Mackie, Zoe Chao and Director Kristian Mercado attend the If You Were the Last world premiere during 2023 SXSW Conference and Festivals at Stateside Theater on March 11.
(L-R) Olivia Scott Welch, Sara Amini, Bob Odenkirk and Mireille Enos attend the Lucky Hank world premiere during 2023 SXSW Conference and Festivals at The State Theatre on March 11.
Bob Odenkirk attends the Lucky Hank world premiere during 2023 SXSW Conference and Festivals at The State Theatre on March 11.
Alex R. Hibbart (center) and guests attend the SXSW Premiere party for Story Ave held at the Cinema Center at Higbie’s on March 11, 2023 in Austin, Texas.
Jharrel Jerome (L) and Melvin Gregg attend the SXSW Premiere party for Story Ave.
Asante Blackk (L) and Alex R. Hibbart.
Coral Pena and guests dance at the SXSW Premiere party for Story Ave.
Rachel Sennott and Ayo Edebiri attend the Bottoms screening during the 2023 SXSW Conference and Festivals at The Paramount Theater on March 11.
Rachel Sennott
Havana Rose Liu
Ruby Cruz
Emma Seligman, Rachel Sennott, Ayo Edebir, Ruby Cruz, Havana Rose Liu on stage during the Q+A of Bottoms screening.
(L-R) Lukas Gage, Zachary Quinto and Rightor Doyle visit the IMDb Portrait Studio.
Cast and crew attend The Angry Black Girl and Her Monster during the 2023 SXSW Conference and Festivals at Alamo Drafthouse South Lamar on March 11.
(L-R) Crystal Fox, Gabrielle Dennis, Chris O’Dowd, Djouliet Amara and David West Read attend the premiere for The Big Door Prize during 2023 SXSW Conference and Festivals at Stateside Theater on March 11.
(L-R) SXSW Programmer Peter Hall, David West Read and Chris O’Dowd introduce the premiere for The Big Door Prize.
L-R) Mark Johnson, Mireille Enos, Bob Odenkirk, Aaron Zelman, and Paul Lieberstein of Lucky Hank pose for a portrait at the 2023 SXSW Film Festival Portrait Studio.
(L-R) Lindsey Springer, Carver Karaszewski, Michael Ellenberg, Olivia Washington, Walton Goggins, Jharrel Jerome, Kara Young, Boots Riley, Allius Barnes, and Carmen Ejogo attend I’m A Virgo during the 2023 SXSW Conference and Festivals at ZACH Theatre on March 11.
(L-R) Zoe Chao, Kris Mercado and Anthony Mackie visit the IMDb Portrait Studio.
Jeff Kober, Hans Tester, Emily Hampshire, Jake Johnson, Annas Kendrick, Daryl Johnson , Eli Henry attend the Self Reliance screening during the 2023 SXSW Conference and Festivals at The Paramount Theater on March 11.
Jake Johnson
Emily Hampshire
Anna Kendrick
(L-R) Brett Gray, Kara Young, Walton Goggins, Jharrel Jerome, Allius Barnes, Olivia Washington, Boots Riley and Carmen Ejogo visit the IMDb Portrait Studio.
(L-R) Taylor Jenkins Reid, Lauren Neustadter, Sebastian Chacon, Nabiyah Be, Josh Whitehouse, Sam Claflin, Will Graham, Scott Neustadter and Brad Mendelsohn attend “Featured Session: Daisy Jones & the Six Cast and Creators Discuss Hit-Series” during the 2023 SXSW Conference and Festivals at Austin Convention Center on March 11, 2023 in Austin, Texas.
(L-R) Ally Maki, Josh Segarra, Chris O’Dowd, Gabrielle Dennis, Djouliet Amara, David West Read and Crystal Fox visit the IMDb Portrait Studio.
Eric André attends the Featured Session: Have a Good Trip: Psychedelics in Film and TV during the 2023 SXSW Conference and Festivals at Austin Convention Center on March 11.
(L-R) Eric André, Mike Rosenstein, Natalie Lyla Ginsberg, and Donick Cary.
(L-R) Donick Cary, Natalie Lyla Ginsberg, Eric André, and Mike Rosenstein.
AUSTIN, TEXAS – MARCH 11: (L-R) Patrick Fugit, Elizabeth Olsen, Lily Rabe, Lesli Linka Glatter and Jesse Plemons visit the IMDb Portrait Studio at SXSW 2023 on March 11, 2023 in Austin, Texas. (Photo by Corey Nickols/Getty Images for IMDb)
(L-R) Lukas Gage, Zachary Quinto, Rightor Doyle and Sebastian Arroyo attend Down Low during the 2023 SXSW Conference and Festivals at ZACH Theatre on March 11, 2023 in Austin, Texas,
Zachary Quinto
Lukas Gage
(L-R) Lukas Gage, Phoebe Fisher and Zachary Quinto.
(L-R) Gabrielle Dennis, Chris O’Dowd and Djouliet Amara visit the IMDb Portrait Studio.
(L-R) Grady Craig, Gillian Bohrer, Leah McKendrick, Mariah Owen, Brett Haley, and Amanda Mortimer attend Scrambled during the 2023 SXSW Conference and Festivals at Alamo Drafthouse Cinema South Lamar on March 11.
(L-R) Yvonne Strahovski and Leah McKendrick
Yvonne Strahovski
(L-R) John Francis Daley, Sophia Lillis, Daisy Head, Chris Pine, Michelle Rodriguez, Justice Smith, Rege-Jean Page and Jonathan Goldstein visit the IMDb Portrait Studio.
(L-R) Franklin Ritch, Britt McTammany, David Girard, Aaron B. Koontz, Tatum Matthews, Ashleigh Snead, Alex Cuervo, Jason Blankenship, and Peter Kuplowsky attend The Artifice Girl.
(L-R) Matt Angel, Lulu Wilson and Suzanne Coote visit the IMDb Portrait Studio.
June Diane Raphael visits the IMDb Portrait Studio.
(L-R) Tracy McMillan, Delroy Lindo, Kerry Washington, Faly Rakotohavana, Jordyn McIntosh and Marque Richardson attend the Featured Session: “Onyx Collective Presents UnPrisoned with Kerry Washington, Cast and Creators” during the 2023 SXSW Conference and Festivals at Austin Convention Center.
(L-R) Marque Richardson, Jordyn McIntosh, Faly Rakotohavana, Delroy Lindo, Kerry Washington, Tracy McMillan, and Valerie Complex speak onstage at the Featured Session: “Onyx Collective Presents UnPrisoned.
(L-R) Delroy Lindo and Kerry Washington
L-R) Brittany Snow, Courtney Eaton and Thomas Mann visit the IMDb Portrait Studio.
Elizabeth Olsen attends the Love & Death screening during the 2023 SXSW Conference and Festivals at The Paramount Theater on March 11, 2023 in Austin, Texas.
Lily Rabe
Per Saari
Patrick Fugit
David E. Kelley
(L-R) Matthew Tinker, David E. Kelley, Jesse Plemons.
Lily Rabe, Jesse Plemons and Elizabeth Olsen on stage at the Q+A for the Love & Death premiere.
(L-R) Michael Philippou, Sophie Wilde, Danny Philippou and Samantha Jennings attend Talk To Me.
Sophie Wilde
(L-R) Michael Philippou, Peter Hall, Danny Philippou and Sophie Wilde speak at Talk To Me.
(L-R) Danny Philippou and Sophie Wilde speak at Talk To Me.
Chloe Bailey, Dominique Fishback, Janine Nabers and Sam Sanders moderator attend the Swarm screening.
(L-R) Chloe Bailey, Dominique Fishback, attend the Swarm screening.
Chloe Bailey attends the Swarm screening.
Chloe Bailey meets fans at the Swarm screening.
(L-R) Rob Yang, Walt Klink, Enid Graham and Meta Golding attend The Lodge: A Paramount+ Experience at SXSW 2023 on March 11.
(L-R) Rob Yang, Walt Klink, Enid Graham and Meta Golding attend The Lodge: A Paramount+ Experience.
(L-R) Meta Golding, Enid Graham, Walt Klink and Rob Yang attend The Lodge: A Paramount+ Experience.
Audible Breakthrough Series Stars Sara Bareilles and Daveed Diggs, Executive Producer of Original Music-Storytelling at Audible Preston Copley, and AT WILL MEDIA Founder and CEO Will Malnati Showcase the Art of Song and Spoken word at Audible Panel at SXSW on March 10.
(L-R back row) Zackary Drucker, Rene Rosado, Eve Lindley, Robyn Lively, Mason Alexander Park, Director Luke Gilford, Pete Shilaimon, (L-R front row) Jacob Yakob, Charlie Plummer and Mickey Liddell attend the National Anthem world premiere.
(L-R) SXSW Programmer Lindsey Ashley moderates a a Q&A with Director Luke Gilford, Eve Lindley, Charlie Plummer, Mason Alexander Park, Robyn Lively, Rene Rosado and Zackary Drucker following the National Anthem world premiere.
(L-R) Lachlan Watson, Darius Fraser, Sidney Flanigan, Will Ropp, and Dutch Southern attend Only The Good Survive.
(L-R) James Morosini, Dutch Southern, D’Pharaoh Woon-A-Tai, Lachlan Watson, Will Ropp, Darius Fraser, and Sidney Flanigan speak onstage at Only The Good Survive.
Lena Waithe Attend the Coffeehouse at SXSW 2023 Powered by HBO Max’s Human By Orientation and Pa’lante! Multicultural Marketing Initiatives.
Gabriel Luna Attend the Coffeehouse at SXSW 2023 Powered by HBO Max’s Human By Orientation and Pa’lante! Multicultural Marketing Initiatives.
(L-R) Director Lisa Steen, Karen Gillan and Anna Greenfield attend Late Bloomers.
(L-R) Sam Bisbee, Lisa Steen, Karen Gillan, Anna Greenfield, Alexandra Barreto, and Taylor Feltner.
(L-R) Brett Warnke, James Bartol, Maddie Bucci, Kelley Lutter, and Tina O’Donnell.
(L-R) Lisa Steen, Karen Gillan and Anna Greenfield speak onstage at Late Bloomers.
(L-R) Kim Reynolds, Julia Sweig, Ben Zweig, Luci Johnson, Dawn Porter, and Jackie Glover attend The Lady Bird Diaries.
(L-R) Jackie Glover, Isabel Dorval, Camille Bernier-Green, Julia Sweig, Kim Reynolds, Dawn Porter, Ben Zweig, Beth Mullen, Victoria Thompson, Michelle Ngo, and Amanda Goscinski speak onstage during the Q&A at The Lady Bird Diaries.
(L-R) Julia Sweig, Kim Reynolds, and Dawn Porter of ‘The Lady Bird Diaries’ pose for a portrait at the 2023 SXSW Film Festival Portrait Studio.
(L-R) Claudette Godfrey, Jonathan Goldstein, John Francis Daley, Jeremy Latcham, Chris Pine, Michelle Rodriguez, Regé-Jean Page, Justice Smith and Daisy Head speak onstage during the World Premiere screening of Paramount Pictures and eOne’s Dungeons & Dragons: Honor Among Thieves at the 2023 SXSW Film Festival on March 10, 2023 in Austin, Texas.
(L-R) Sophia Lillis, Michelle Rodriguez, Chris Pine, Regé-Jean Page, Justice Smith and Daisy Head
(L-R back row) Sophia Lillis, Chris Pine, co-writers/directors Jonathan Goldstein and John Francis Daley, Regé-Jean Page, Justice Smith, Daisy Head, Nick Meyer, President and CEO of Paramount Pictures Brian Robbins, (L-R front row) Zev Forman, Michelle Rodriguez, Producer Jeremy Latcham, Michael Ireland and Marc Weinstock.
Chris Pine
Chris Pine attends Dungeons & Dragons: Honor Among Thieves at the 2023 SXSW Conference and Festivals at The Paramount Theater.
Michelle Rodriguez
Michelle Rodriguez attends Dungeons & Dragons: Honor Among Thieves at the 2023 SXSW Conference and Festivals.
Regé-Jean Page
Justice Smith
Daisy Head
Sophia Lillis
Jeremy Latcham
John Francis Daley and Jonathan Goldstein.
Pedestrians walk by the marquee during the world premiere of Dungeons & Dragons: Honor Among Thieves at The Paramount Theater on March 10, 2023 in Austin, Texas.
(L-R) Asante Blackk, Coral Peña, Aristotle Torres, Luis Guzman and Melvin Gregg visit the IMDb Portrait Studio at SXSW.
(L-R) Robyn Lively, Luke Gilford, Eve Lindley, Charlie Plummer, Mason Alexander Park and Rene Rosado visit the IMDb Portrait Studio at SXSW.
Former White House Press Secretary and current MSNBC political analyst Jen Psaki (L) and US actress and comedian Chelsea Handler (R) speak at the “Featured Session: Chelsea Handler and Jen Psaki during the 2023 SXSW Conference and Festivals at Austin Convention Center in Austin, Texas, on March 10, 2023.
(L-R) Cameron Cairnes, David Dastmalchian, and Colin Cairnes of Late Night With The Devil pose for a portrait at the 2023 SXSW Film Festival Portrait Studio.
(L-R) Tessa Flippin and Kathryn Finney speak onstage at “How to Build the Damn Thing Featured Session” during the 2023 SXSW Conference and Festivals at Austin Convention Center.
Leah McKendrick visits the IMDb Portrait Studio.
Simran Jeet Singh speaks onstage.
(L-R) Lisa Steen, Karen Gillan and Anna Greenfield visit the IMDb Portrait Studio.
Laurie Santos and Simran Jeet Singh speak onstage during the 2023 SXSW Conference and Festivals at Austin Convention Center on March 10, 2023 in Austin, Texas.
Filmmakers and festival attendees will gather this
Alicia Keys. Michael B. Jordan. Tracee Ellis Ross. Regé-Jean Page. What do all these people have in common? Besides having flawless skin, they’re all clients of makeup artist and groomer Tasha Reiko Brown.
Known for her skin-forward approach to makeup, Brown has mastered the art of luminous, clean, and hydrated skin—a signature style she likes to call “satin skin.” The secret? Lots of product layering but with an unexpected twist.
“One of my biggest tricks to satin skin is reversing the order of products,” she tells Glamour. “I will lay down your moisturizer first, and then put the serum on top of it. Typically when you layer, you put on a serum and then you lock it in with moisturizer. But if you do moisturizer first, followed by serum, you will always have this layer of hydration that’s floating on top of the skin. So when I put foundation on and then you powder it strategically, you always have this glow that breaks through. All of my clients tend to have the same satin skin texture because I use the same technique on everyone.”
Another beauty hot take? Brown sends her clients down the red carpet without a spritz of setting spray. “I don’t use a setting spray,” she says. “It’s the minimalist in me, but I know the makeup will hold without me adding any extra layers on the skin. Plus, setting spray dulls the skin too much sometimes.”
Minimalism is something Brown also extends to her own skin care routine. Fresh off working with Jordan for his Creed III promotional tour and, most recently, the Oscars, Brown is constantly on the go. “I’ve gone from Mexico to Paris to London, from London to Utah for a day, and then to New York,” she says. “I won’t cut corners with my routine, but I don’t have an overly complicated routine to begin with. If I add too many things, a lot of times it can tip over into reading greasy. That’s one of the reasons why I’m a minimalist. Skin should be clean and strategically moisturized.”
Ahead, Tasha Reiko Brown shares her favorite skin care products for Glamour‘s Drop the Routine.
I use the La Mousse Cleanser by Chanel. I love a cleanser. I travel a lot, so I can’t travel with something that’s too liquidy. This is a cream cleanser, so I can put it on and let it sit for a while to dissolve the makeup. Then I massage, massage, massage, before I wash it off. I love the creaminess of it and the ability to let it dissolve.
I go really natural and just use rose water. It smells great, and it’s been proven to work. It’s a staple that’s been around for so long. It’s historically proven to be fantastic.
Serums are key to my look because I float it over the moisturizer. I like the Chanel Hydra Beauty Micro Serum. If you told me I can only use two products to prep my face for the rest of my life, it would be the Hydra Beauty Serum and the Chanel Le Baume. Those two together give me satin skin every single time. I use the products to target things. Every product doesn’t need to hit every concern. So I like a serum that’s moisturizing and tightening with a beautiful glow.
The Chanel Sublimage Le Baume because I use straight Retin-A from the dermatologist, which is a little bit drying. A lot of times I’m using it probably a tad more than I should because sometimes my days get mixed up and my schedule’s hectic. I can’t quite pin down when it’s the last time I used it, so I’ll use it rather than not use it. When your skin is dry like that, I always tell clients to turn the moisturizer bottle upside down. If it begins to seep while upside, it’s probably too thin for somebody who is really, really dry. I love this moisturizer because it’s a balm that stays where you put it, so I can really press it into the skin. It doubles as eye cream too.
I like the Jillian Dempsey eye masks. The tray is very convenient because they’re multiple use. So sometimes I’ll use it and stick it back in the tray; it’s so emollient that, especially if I’m doing something in the morning and then in the evening, I’ll pick it right back up and I’ll sit it on my eyes for my evening routine as well.
Alicia Keys. Michael B. Jordan. Tracee Ellis
This came from a guy who produced a film with Steven Spielberg, the best-selling album of all time with Michael Jackson, an anthem called “We Are the World” that raised more than 63 million dollars for humanitarian aid, a Presidential Inauguration and a Hip Hop Summit, along with so many other landmark events.
In an interview, Oprah Winfrey said, “I think that Quincy on a bad day does more than most people do in a lifetime.”
So 22 years after making the film, as Quincy celebrates his 90th birthday, it seems like a good time to try to remember what I learned from him.
DIGITAL ARCHIVE
Interview with Quincy Jones Interview #1 from Quincy Jones: In The Pocket
Quincy is equally at home with royalty as he was on the south side of Chicago, where he grew up during the Great Depression. It was also in Chicago where Quincy lost his mother:
They took my mother away to a mental institution when we were very young kids. . . The kids used to tell us, ‘you’d better be careful ‘cause when your momma gets out, she’s gonna kill you.’ One time we saw when she was out, she yelled out to us, probably trying to see us. We screamed and just ran on down the street.
When I once asked Quincy, “What is music to you?” he said plainly, “My mother.”
At the age of 10, his father (a carpenter—to this day Quincy still keeps his old saw next to his piano) moved the family to Seattle.
We only had radio then . . . it stimulated our imagination, because we could imagine everything, that the Shadow and the Green Hornet and all those people were Black. . . When the big bands came through Seattle and I was 12 and 13, I saw this body of unified Black men playing in 16-piece bands, playing with this worldliness and dignity and pride and form. I turned from a thug to a musician.
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Quincy Jones biography, the story of an American musician
The moment of truth came after a night in which Quincy and his friends robbed some grocery stores and broke into an Armory, discovering a canteen stocked with lemon meringue pies and ice cream. After they ate all the ice cream and had a massive food fight, they broke into another room, which had an upright piano in the corner.
I touched that piano, and my life was different ever since. It was over. I knew then inside something happened electrically… That was what I wanted to do all my life.
Quincy learned trumpet, ran away with a band and recorded his first song at the age of 18. He was accepted to music school, dropped out, went to Paris in the early 60s and studied with the greatest music mentor of the 20th century, Nadia Boulanger—teacher of Igor Stravinsky, Aaron Copland and Leonard Bernstein. He learned to arrange music.
Of course, it makes sense to me that at the age of 22, Quincy would be recruited by Dizzy Gillespie to lead a band on a U.S. State Department “Jazz Ambassador” tour to the Middle East, where Quincy and his friends wrote arrangements for the national anthems of every country they visited, starting with Iran. Then Quincy conducts Count Basie’s Orchestra for Frank Sinatra (“Fly Me to the Moon”), becomes the first Black executive at a record company (Mercury), breaks into scoring Hollywood movies thanks to Henry Mancini and Sidney Lumet (who hired him for his first score on “The Pawnbroker,” produced by my late father-in-law, Ely Landau), earns 80 Grammy nominations and wins 28 of them, and brings out the best in people like Oprah Winfrey, Will Smith and musical genius Jacob Collier (whom he discovered on YouTube). His lesson to aspiring young talents is “be ready for the call,” but what stays with me is what the late great singer James Ingram said when I asked him for Quincy’s secret. He told me, “You gotta stay hungry.”
DIGITAL ARCHIVE
Interview with Herbie Hancock from Quincy Jones: In The Pocket
Early in his career, Frank Sinatra gave him a nickname, “Q,” and Quincy often invents his own affectionate nicknames for his colleagues. He called his buddy Ray Charles “Six-Nine”; songwriter Rod Temperton was called “Worms.”
When we created Quincy Jones: In the Pocket, he started calling me “Work Junkie.” From a man who does more on a bad day than most do in a lifetime, I took my nickname as a supreme compliment. When his autobiography came out, Quincy inscribed a copy to me with the following message:
I feel blessed to have you in my life & in my heart. Thank you for your profound & consummate “Junkie” professionalism- (it takes a junkie to know one!). Seriously Mike, I loved every minute in it with you & the frosting on the cake is our cherished friendship. I love you. Quincy ♡
Happy 90th Birthday, Quincy—I love you too, and hope your next 90 years are equally fulfilling.
In 2001, when I was producing and
Ohio Has Filed a Lawsuit Against Norfolk Southern
Ohio Has Filed a Lawsuit Against Norfolk
