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The good news keeps continuing for HBO’s new hit show The Last of Us. HBO has just announced today that the show has been renewed for a second season! It was almost a guarantee with a 97% critic score on Rotten Tomatoes and marking HBO’s second largest debut, behind only House of the Dragon. Episode 1 has now surpassed 22 million viewers domestically, up nearly 5x from its premiere night audience. Episode 2 of the series tallied 5.7 million viewers across HBO Max and linear telecasts in the U.S. Sunday night, based on Nielsen and first party data, adding more than 1 million new viewers vs. the series premiere. This 22% jump marks the largest week two audience growth for any HBO Original Drama Series in the history of the network.

Here is the announcement made on the official The Last of Us twitter account below:

The show was also a hit on social media, with it trending #1 both in the U.S. and worldwide on Twitter during its series debut. To date, season one teasers and trailers have amassed more than 100 million views globally. Additionally, the first episode of the series’ companion podcast hit #1 on the Apple Podcast US charts across all genres within 48 hours of its release.

Courtesy of HBO/HBO Max

It is based on the critically acclaimed video game of the same name developed by Naughty Dog for the PlayStation platforms. Being written and executive produced by Craig Mazin (Emmy Award-winning creator of HBO’s “Chernobyl”) and Neil Druckmann (creator and writer of the award-winning “The Last of Us” franchise and Naughty Dog Co-President). The series is a co-production with Sony Pictures Television and is executive produced by Carolyn Strauss, Evan Wells, Asad Qizilbash, Carter Swan, and Rose Lam. Production companies: PlayStation Productions, Word Games, The Mighty Mint, and Naughty Dog.

“Craig and Neil, alongside EP Carolyn Strauss, and the rest of our phenomenal cast and crew, have defined a genre with their masterful debut season of ‘The Last of Us,’” said Francesca Orsi, Executive Vice President, HBO Programming, Head of HBO Drama Series and Films. “After pulling off this unforgettable first season, I can’t wait to watch this team outshine themselves again with season two.”

Courtesy of HBO/HBO Max

“I’m humbled, honored, and frankly overwhelmed that so many people have tuned in and connected with our retelling of Joel and Ellie’s journey. The collaboration with Craig Mazin, our incredible cast & crew, and HBO exceeded my already high expectations,” said executive producer Neil Druckmann. “Now we have the absolute pleasure of being able to do it again with season two! On behalf of everyone at Naughty Dog & PlayStation, thank you!”

“I’m so grateful to Neil Druckmann and HBO for our partnership, and I’m even more grateful to the millions of people who have joined us on this journey,” said executive producer Craig Mazin. “The audience has given us the chance to continue, and as a fan of the characters and world Neil and Naughty Dog created, I couldn’t be more ready to dive back in.”

Courtesy of HBO/HBO Max

Season one takes place 20 years after modern civilization has been destroyed. Joel (Pedro Pascal), a hardened survivor, is hired to smuggle Ellie (Bella Ramsey), a 14-year-old girl, out of an oppressive quarantine zone. What starts as a small job soon becomes a brutal and heartbreaking journey as they both must traverse the U.S. and depend on each other for survival.

Season one stars Pedro Pascal as Joel, Bella Ramsey as Ellie, Gabriel Luna as Tommy, Anna Torv as Tess, Nico Parker as Sarah, Murray Bartlett as Frank, Nick Offerman as Bill, Melanie Lynskey as Kathleen, Storm Reid as Riley, Merle Dandridge as Marlene, Jeffrey Pierce as Perry, Lamar Johnson as Henry, Keivonn Woodard as Sam, Graham Greene as Marlon, and Elaine Miles as Florence. Ashley Johnson and Troy Baker also star.

 

New episodes of the series debut Sundays at 9:00 p.m. ET/PT on HBO and are available to stream on HBO Max, leading up to the finale on March 12. Starting today, the first episode of The Last of Us will be made available for free on here. Fans can also tune in to The Last of Us Podcast, the series’ official companion podcast where host Troy Baker, who plays Joel in the video game, sits down with series creators Craig Mazin and Neil Druckmann for a scene-by-scene deep dive of each episode.

Stay tuned here for more cast announcements for Season 2 and more to come on this new hit series.

The good news keeps continuing for HBO's

Hollywood’s studios and labor unions have renewed the COVID-19 safety protocols with some testing requirements for workers not in the immediate film production area removed.

Part I of the COVID-19 Safety Agreement remains unchanged, continuing to require the strictest protocols be implemented on productions occurring in any metropolitan area or county with 14 or more COVID-19 hospital admissions per 100,000 people. Most major production hubs in the United States, including Los Angeles, currently have hospitalization rates below this threshold.

Most productions are currently working under Part II of the agreement, which allows for looser testing requirements on sets in areas with lower hospitalization rates. Under the new changes, pre-employment testing is no longer required for workers in zones B and C, areas of productions that are distanced from Zone A, where shooting directly takes place and actors perform in front of the camera without a mask.

Additionally, weekly testing is no longer required for employees in Zone B, though producers are required to make tests available for employees who have come into close contact with someone who tested positive for COVID-19 if so requested. The agreement also grants a bank of five additional sick days and no longer requires the COVID compliance supervisor to be physically present on set as long as a member of the compliance team is accessible at all times during shooting hours.

The COVID-19 safety protocols were introduced in September 2020 after months of discussions between SAG-AFTRA, the Directors Guild of America, Teamsters Local 399, IATSE, and the Alliance of Motion Picture and Television Producers. The unions and AMPTP regularly meet to make modifications to the protocols depending on COVID-19 infection rates and to extend the period of enforcement.

The current protocol extension will last until April 1.

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Hollywood’s studios and labor unions have renewed

MTV Documentary Films has acquired worldwide rights to “The Eternal Memory,” Maite Alberdi’s follow-up to her Oscar-nominated feature “The Mole Agent.” Sources say that the film sold for nearly $3 million.

The doc premiered at the Sundance Film Festival in January, and will have its international premiere at the Berlin Film Festival next month as part of the “Panorama” section.

The film was produced by Alberdi, Juan De Dios Larraín, Pablo Larraín and Rocío Jadue. It is executive produced by Marcela Santibañez, Daniela Sandoval, Nicholas Hooper, Julie Goldman, Christopher Clements, Chandra Jessee and Rebecca Lichtenfeld.

MTV Documentary Films was set up in 2019 by legendary HBO Documentary Films boss Sheila Nevins, and Paramount Global executives Liza Burnett Fefferman and Nina L. Diaz. Nevins was at HBO for 38 years and won 34 Emmys in that period. Her credits include “Citizenfour,” “Going Clear: Scientology and the Prison of Belief” and “Paradise Lost.”

In “The Eternal Memory,” Augusto and Paulina have been together and in love for 25 years. Eight years ago, he was diagnosed with Alzheimer’s disease, and his wife has since become his caretaker. As one of Chile’s most prominent cultural commentators and television presenters, Augusto is no stranger to building an archive of memory, having been responsible for that herculean task following the Pinochet dictatorship and its systematic erasure of collective consciousness.

But now, he turns that work to his own life, trying to hold on to his identity with the help of his partner. Day by day, the couple faces this challenge head-on, adapting to the disruptions brought on by Augusto’s disease while relying on the affection and sense of humor shared between them.

Alberdi said: “I am so happy that ‘The Eternal Memory’ has found its home at MTV Documentary Films, which in recent years, has believed in the artistic innovation of documentaries and has released documentaries that I greatly admire. Working with Sheila Nevins is an honor, and I admire what she has built in the documentary industry.”

Nevins added: “The gift of love that lasts is revealed in ‘The Eternal Memory.’ One cannot be cynical in Maite’s verité film – a remarkable achievement that allows us to observe what remains as memory fades. We reconsider the value of a long life lived and consider in our own lives the eternal reach of comfort and caring to an otherwise merciless end.”

Nina L. Diaz and Liza Burnett Fefferman, co-heads of MTV Documentary Films, said: “An extraordinary and sublime love story, we simply couldn’t take our eyes off the screen. ‘The Eternal Memory’ left us so deeply moved and devoted to Augusto and Pauli – we can’t stop thinking/talking and marveling about the beautiful work Maite has done and how elated we are to bring this film out into the world.”

“The Eternal Memory” is a Micromundo and Fabula production. Submarine and United Talent Agency Independent Film Group brokered the deal with MTV Documentary Films on behalf of the filmmakers. UTA also represents Alberdi.

VIP+ Analysis: Clues for Specialty Films in Buzzy Sundance Buys

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MTV Documentary Films has acquired worldwide rights

The city of Memphis plans to release video Friday showing Tyre Nichols being tased, pepper-sprayed, beaten and restrained for three minutes by police officers in a case that is being closely watched across the country.

The video will be released after 4 p.m. Pacific time, Shelby County Dist. Atty. Steven Mulroy said Thursday.

Here is what we know about the beating, which put Nichols in the hospital, where he ultimately died:

What happened in the police encounter?

Nichols was pulled over Jan. 7 and arrested on suspicion of reckless driving, according to Memphis police. Nichols’ families’ attorneys say they believe he was stopped for driving the wrong way on a one-way street.

Officers and Nichols were just 100 yards from the home of Nichols’ parents during the encounter, according to Jennifer McGuffin, the chief spokesperson for Romanucci & Blandon, the law firm representing the family.

When officers approached Nichols’ car, a confrontation occurred, and Nichols ran off, police said.

Attorney Antonio Romanucci — who has seen portions of the police body-camera video — said Nichols asked why he was being pulled over during the initial stop. Officers quickly used pepper spray on him, and he fled from his car, Romanucci said.

The police officers pursued Nichols, and another, more violent, confrontation took place, leading to Nichols’ arrest and subsequent hospitalization, police said.

Romanucci said that although only five police officers were charged, there were more police on scene. He estimated 10 to 12 officers were in the video. Nichols can be heard in the video screaming, “What did I do?” and calling for his mother, he said.

What happened to the officers?

All five were fired less than two weeks after the encounter with Nichols.

On Thursday, the officers — Tadarrius Bean, Demetrius Haley, Emmitt Martin III, Desmond Mills Jr. and Justin Smith, all of whom are Black — were each charged with one count of second-degree murder, two counts of official misconduct, one count of official oppression, one count of aggravated assault while acting in concert, and two counts of aggravated kidnapping in the death of Nichols.

The five were part of the Memphis Police Department’s Scorpion Unit, a 40-person team dedicated to fighting violent crime in hot spots in the city. “Scorpion” stands for Street Crimes Operation to Restore Peace in Our Neighborhoods.

The unit identifies high-crime areas using data and then sends teams to those locations. It was not immediately clear why Scorpion officers were the ones who pulled Nichols over. But the unit has come under fire from activists who say it has not brought down crime and mostly targets low-income residents.

What do we know about Nichols?

Nichols, a California native and father of a 4-year-old son, grew up in Sacramento and had recently moved to Memphis to work for FedEx. He loved to skateboard and practiced photography, according to family.

Nichols’ aunt, Kandi Green, said in an interview with The Times that he had a bright smile and warm personality.

“He just had one of those spirits, one of those personalities that would draw you to him,” Green said. “He was a sweetheart. Every time you seen him, he had a smile on his face. … Never had a criminal record. Never been in any type of trouble. All-around good kid.”

Asked about the charges against the officers, she added: “I’m excited. It shows that justice is being served. It doesn’t matter the color of the officers. The fact is, the officers did what they did, and it was unnecessary.”

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The city of Memphis plans to release

Sydney Sweeney’s Go-To Laneige Hyaluronic Serum is On Sale Now to Help Combat Dry Skin This Winter | Entertainment Tonight
































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Written by Kenya Barris and Jonah Hill, “You People” takes a look at what happens when two very different families — one Black and one white — come together. Hill and Lauren London play a new couple whose relatives find themselves examining modern love and family dynamics amidst clashing cultures, societal expectations and generational differences.

“You People” also marks Barris’ directorial debut.

When Does “You People” Come Out?

“You People” was released in select theaters on Jan. 20, 2023.

Is “You People” Streaming?

“You People” will begin streaming Jan. 27 on Netflix.

Who Is in the “You People” Cast?

Jonah Hill plays Ezra Cohen and Lauren London plays Amira Mohammed, his girlfriend.

Julia Louis-Dreyfus and David Duchovny play Ezra’s parents Shelley and Arnold.

Nia Long and Eddie Murphy play Amira’s parents, Akbar and Fatima Mohammed.

Sam Jay, Elliott Gould, Travis Bennett, Molly Gordon, Rhea Perlman, Deon Cole, Andrea Savage, Mike Epps, Emily Arlook, Alani La La Anthony, and Bryan Greenberg also star.

Watch the “You People” Trailer

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Written by Kenya Barris and Jonah Hill,

Avery Jones, better known by the stage name Kota the Friend, returned to his former “stomping grounds” in the latest episode of “Live From My Den,” fondly reflecting on how growing up in Clinton Hill, Brooklyn bore heavy influence on his songwriting process.

The New York native explained how two of his greatest musical mentors — Biggie Smalls and Jay-Z —lived just blocks away from his childhood home. When Kota started producing his own music, he began drawing inspiration from his favorite artists to mold his signature lo-fi, hip-hop sound.

“I studied Jay-Z and his lyricism. And I studied Biggie and his wit. And I studied Bob Dylan,” Kota said. “[Dylan] writes it in a way that you understand. It’s simple enough, but it’s complex enough where you can say it without saying it. And these artists taught me writing. They taught me how to say my words in a way that the audience can feel it.”

To the extent of his more recent discography, Kota credits musicians like Jay-Z, The Notorious B.I.G. and Bob Dylan with having a pervasive effect on the music he produces: “If you listen to my music now, you can hear those notes,” he said.

The “Colorado” singer’s latest album, “Lyrics to GO, Vol. 4” debuted Jan. 18 and features 10 tracks. But the 30-year-old rapper isn’t planning to slow down production anytime soon; he revealed he’s already completed another project, which is set to release in the early months of 2023. Kota also said he hopes to create an album with a “similar vibe” to his song “Red Lights,” which he produced alongside frequent collaborator Hello O’shay. The 2022 single came to fruition after Kota spontaneously began sampling beats on an Instagram Live.

“I’m not trying to make an album full of songs that sound like ‘Red Lights,’” Kota clarified. “I’m just trying to make a whole bunch of songs that I enjoy creating… It’s a very free process right now, and I’m loving it. And that’s exactly how ‘Red Lights’ happened.”

Just a year after the release of Kota’s introspective album “Memo,” the songwriter said he’s currently focused on keeping his music light-hearted and experimenting with new genres — a notable shift from his prior rap discography, which he described as “really close and spiritual.”

“I remember the first time I made something that was similar to a house song, I was scared to perform it because I didn’t know how that is going to transfer over to a live stage. I’m used to doing raps,” Kota said. “But when you start singing and getting into that groovy house, it’s just different. And really, it’s just practice. You have to practice. And you see how the crowd reacts and everything, and it works at some point. But it just takes practice.”

Watch the full episode above.

This season of Live from My Den is made possible by Hard Rock and in partnership with Fujifilm X Series US.

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Avery Jones, better known by the stage

EXCLUSIVE: Nicole Kidman is back at HBO with another high-profile limited series based on a novel, The Perfect Nanny. Kidman and Pen15 co-creator and co-lead Maya Erskine are set to star in the project, which HBO landed in a very competitive situation. Erskine is the creator and writer of the limited series, based on the book of the same name by Leïla Slimani. Legendary Entertainment is the co-studio with HBO.

In The Perfect Nanny, a seemingly perfect nanny goes to work for a couple with two young children, but her helpful personality eventually deteriorates into something sinister.

Kidman and Per Saari executive produce for Kidman’s Blossom Films; Erskine also executive produces alongside Pascal Caucheteux for Why Not Productions, and Philippe Godeau for Pan-Européenne.

Kidman previously starred and executive produced HBO’s Big Little Lies, which originated as a limited series and earned her an acting and producing Emmy award, and The Undoing.

The actor, who also is an Oscar, Golden Globe and SAG Award winner, will next be seen in Lulu Wang’s drama series Expats for Amazon Prime, which Kidman stars in and executive produces. She also stars in the Netflix romantic comedy A Family Affair opposite Zac Efron and Joey King, set for a Nov 2023 release. She is currently in production on Lioness, a Paramount+ original series she executive produces and appears in opposite Zoe Saldana. Kidman will also star in and executive produce Amazon Studios thriller Holland, Michigan, set to start production in 2023.

Erskine is a co-creator, co-lead and executive producer of Hulu’s Emmy-nominated comedy series, Pen15, which ran for two seasons. She is currently filming the Prime Video’s high-profile Mr. and Mrs. Smith series reboot, playing the co-lead opposite Donald Glover.

The Perfect Nanny, which was inspired by the gruesome 2012 Krim children murder, was originally published by Gallimard in France in 2016, with translation rights sold in a bidding war in 40 territories, making it an international bestseller. The novel, which has been praised for its exploration of race and class divisions against the background of every parent’s worst fear, the death of their children, was awarded France’s highest literary prize, the Prix Goncourt. Its 2018 American edition made The New York Times Book Review’s 10 Best Books of the Year list. In the UK, The Perfect Nanny, titled Lullaby, won Debut of the Year at the British Book Awards 2019.

Kidman is repped by CAA, Media Talent Group and Jackoway Tyerman. Erskine is repped by Gersh, Mosaic, and lawyer Melissa Fox. Slimani is repped by Frédérique Massart of Gallimard.

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EXCLUSIVE: Nicole Kidman is back at HBO

Last Updated: January 27, 2023, 23:33 IST

Anil Kapoor enters the house, calls Priyanka Chahar Choudhary day manager and Shiv Thakare night manager.

Bigg Boss 16’s Weekend Ka Vaar episode saw host Farah Khan welcoming Anil Kapoor into the house. He plays a task and dubs Priyanka Choudhary day manager and calls Shiv Thakare the night manager.

Farah Khan takes over the hosting duties from Salman Khan for the week. The filmmaker seems super excited to take over the duties and she also extended Republic Day greetings to the fans. Farah welcomes Mika Singh who has been visiting the show’s many seasons as guest. The singer enters the house to lighten up the inmates’ mood and also makes them groove to his tunes. He also plays a fun task with the contestants in which contestants choose their enemies and give them shock, through a watch. We also see Anil Kapoor entering the house for the promotions of his show The Night Manager.

Archana Gautam gives shock to Shalin Bhanot. Sumbul chooses Priyanka Chahar Choudhary, and reasons that she led downs the other person. She also says that the Udaariyaan actress often taunts Sumbul for shedding tears. At the same time, Mika Singh song with a guitar. Next, Mika calls MC Stan, who points out Archana. The rapper says that she ‘flies’ a lot. Mika then asks Archana to sing a song while she receives shock from the watch. The actress sings Lag Ja Gale, and then declines to sing as she gets shocked by the watch. Next, Shiv also targets Archana. When Shalin is called on the stage, he names Priyanka Chahar Choudhary for blowing things out of proportion, at the same time, Shalin sings Chura Liya Hai Tumne while Priyanka shouts while getting shocked by watch. Next, we see Mika Singh wishing everyone the best and bid adeiu to the inmates.

Next, we see Farah Khan entering the house and meeting the housemates. Next, we see Anil Kapoor making a smashing entry for promoting his show ‘The Night Manager’ also starring Aditya Roy Kapoor. Anil Kapoor then complements MC Stan for his language. He even learns his lingo and repeats after the rapper, and leaves everyone in splits. Anil even calls MC Stan ‘Dhakkan’ and teaches Majnu Bhai’s dialogue ‘ Jab bhi main brush utha ta hu, gun nahi utha ta.” and he nails it.

Next, Anil calls Shalin Bhanot to enact himself, and Farah laughs out loud. Next, we see Anil Kapoor talking to Archana Gautam and he asks her to create Shayari for him. She blushes a lot post which the Nayak actor calls him ‘Archu.’ As she closes her eyes to recite to say the shayari, Anil Kapoor comes close to her and hugs her from the back. She gets extremely delighted after meeting him, Anil also gifts her a portrait of a rose. Next, he invites Sumbul to dance, and she leaves everyone stunned as she grooves to Besharam Rang.

Anil Kapoor then plays a task with housemates, and asks housemates to give the tag of a manager to housemates. Archana gives the tag to Shiv and says that he manages his mandali. Priyanka also takes Shiv Thakare’s name and calls him a manager. Shalin names Priyanka. MC Stan takes Priyanka’s name for managing Tina. Sumbul points out Priyanka and says Archana is being managed by her. Shiv chooses Priyanka. Nimrit too targets the Udaariyaan actress. In the end, Anil Kapoor calls Shiv Thakare day manager and Priyanaka night manager. He then bids farewell to the contestants.

Read all the Latest Movies News here

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Last Updated: January 27, 2023, 23:33 ISTAnil

SPOILER WARNING: From this point on, there will be spoilers regarding storylines in Teen Wolf: The Movie.

When fans learned that Stiles Stilinski would not return to Beacon Hills, viewers worried about how Teen Wolf: The Movie would pan out. While Allison Argent’s resurrection was certainly enough to draw attention to the project, given Allison’s tragic death in season three, did the revival film deliver a solid return?

While Teen Wolf: The Movie behaves just like any other series episode in terms of story and crazy adventures, where the revival falls apart is its wish to return to the days of season 3B rather than address the fallout from the show’s series finale, or tell a completely new story.

Granted, it makes sense that if Teen Wolf: The Movie wanted to center one of its most significant plot points around Allison’s resurrection, it brought back the Nogitsune and the Oni, the villains responsible for her death. However, Stiles and Kira’s absences are even more noticeable due to the Nogitsune’s return, even if Stiles is only referenced a handful of times and Kira never at all.

Leaving out two of the most prominent characters with a direct connection to the returning villain also leaves plenty of confusion about the returning characters with a history with the Nogitsune. For example, Scott and Lydia, who had a vast history with the Nogitsune, would likely have been far more concerned given its previous possession of Stiles.

In the series finale, Dylan O’Brien reprises Void Stiles when the Anuk-Ite tries to get in Scott’s head to acknowledge the Nogitsune’s possession of Stiles as one of Scott’s greatest fears. Even Stilinski, Derek, and Melissa had some background recalling the Nogitsune’s possession.

But, the film takes pleasure in having the characters remind each other of things of massive significance, which they should remember even if it has been years. Why do Melissa, Argent, and Peter need to directly specify what the Nemeton is? It seems more for the audience’s benefit and exposition since the characters should remember these events and facts about their past.

The movie also seems to forget that Liam and Mason, who barely blink an eye at the Nogitsune and Oni, were not present in season 3B when that storyline took place, even if they heard stories about it.

Yet, none of that seems to matter. Even Liam’s appearance in the movie is basically a glorified cameo more than a substantial part, even with how important he was in the show.

Liam and Mason’s friendship does not get the screen time it needs, and it is noticeable that the film is missing the easy and fun camaraderie from the Scott and Stiles friendship.

Teen Wolf: The Movie should have devoted more time to explaining the aftermath of the series finale, considering how the show’s final moments found the McCall Pack dealing with the war against Monroe and a growing number of supernatural hunters.

Instead, the movie skips over that and any acknowledgment that such a brewing war happened at all. Rather than tell that story, Teen Wolf: The Movie is a bigger excuse to focus on Scott and Allison’s relationship and introduce Derek’s teenage son, Eli.

Somehow, Eli is considered more critical than Liam, with far more screen time, as a member of the Hale family who has yet to embrace his werewolf side. His character even gains a complete arc compared to long-time series regular Lydia Martin, whose big reveal that she may or may not have had a dangerous premonition about Stiles never gets a sense of closure.

Lydia’s explanation seems to be more of an excuse to give an answer about Stiles’ absence than a sense of how things would have played out for them. Stiles’ absence from Beacon Hills never gets a definite answer, either.

While Jackson’s return shows that he and Lydia continued to stay friends over time, his involvement does not amount to anything other than giving Lydia someone to bounce off of. However, Jackson’s relationship with Ethan gets a reference as well.

The revival even skips over an explanation for Scott and Malia’s failed romance and why both seem slightly awkward when they see each other.

Malia does not get a full definitive story arc ending either, and the film does not even end on a similar open-ended conclusion that the original series delivered.

Teen Wolf: The Movie relies on the Nogitsune as its central villain without the chaos and emotional depth that made season 3B so important to fans.

While the film throws in plenty of easter eggs toward the show, it is not enough to justify the direction the story chose or the bizarre plot twist the movie throws in later.

Although it may be fun to see the McCall Pack back together, Teen Wolf: The Movie does not quite hold the charisma and heart of the show.

Teen Wolf: The Movie is available to stream on Paramount+.

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SPOILER WARNING: From this point on,

Some of the best movies and TV shows trace back to a stellar book or novel series, and that continues to be the norm in Hollywood. There has been a slew of popular movies in recent years that have their source material in books, and 2023 is no exception. And with the year just starting, there are so many books that are getting the on-screen treatment in the months and the following year to follow which means there’s time to read the stories before seeing them on screen.

SCREENRANT VIDEO OF THE DAY

From classic adventure novels to contemporary romantic comedies, all sorts of stories are on their way to the screen in the form of Netflix, Peacock, and even traditional movie theaters. Some old and some new, these are the latest adaptations that bookworms and cinephiles should look out for.


The Last Thing He Told Me By Laura Dave – 2023

Published in 2021, fans of thrillers devoured The Last Thing He Told Me over the year following its release. The popularity of the novel caught the interest of Reese Witherspoon, who ended up snapping up the screen rights with her production company Hello Sunshine. The novel is being adapted for a limited series on Apple TV+ with Jennifer Garner in the lead role, which is sure to bring a lot of eyeballs to the series.

RELATED: 10 Young Adult Series That Should Be Adapted Into Movies

The story itself follows a woman and her daughter who reevaluate what they know about their family life when her husband suddenly disappears. She finds herself wondering if she ever really knew him at all.

Wolf Pack By Edo van Belkom – January 26, 2023

The four teens of the Paramount Plus series Wolf Pack stand together in the woods

When Wolf Pack was first announced for Paramount Plus, the announcement coincided with the news of a Teen Wolf movie sequel to MTV’s television series. As a result, the assumption was made by a lot of fans and the media that Wolf Pack was a spinoff of the popular series. That, however, is not the case. Instead, it’s inspired by a 2004 novel from Canadian author Edo van Belkom.

The novel follows a group of teens with shape shifting abilities in California. It’s a supernatural coming-of-age story that sees the teens wonder how far they can push themselves before they turn to the dark side when they have to save themselves from being experimented on by scientists. The series is said to be tied to stories surrounding California wildfires, so just how close the show will be to the source material remains to be seen. Wolf Pack will, however, feature the genre queen Sarah Michelle Gellar, and has been developed for television by Teen Wolf show runner Jeff Davis.

Lockwood & Company Series By Jonathan Stroud – January 27, 2023

Three of the teens in Lockwood and Company holding swords while they look behind them in a Netflix promotional image

A five book young adult series, Lockwood & Co. features a supernatural premise: teens have psychic abilities that allow them to hunt ghosts. In fact, in this world, it’s only young people who have the ability to see spirits, so there’s fierce competition among teens for work.

Netflix picked up the concept for a new series, which will drop on the streamer on January 27, 2023. This is the project that actually saw Ruby Stokes leave Netflix’s successful Bridgerton adaptation. The role of younger Bridgerton Francesca was recast when she landed one of the leads in Lockwood. Netflix likely expects to see similar success with it as they have with the Enola Holmes movies.

The Cabin At The End Of The World By Paul Tremblay – February 3, 2023

Knock at the Cabin with Dave Bautista

There hasn’t been much acknowledgment of the fact that M. Night Shyamalan’s upcoming thriller Knock At The Cabin is actually inspired by a novel. In the book, a vacation to a remote cabin turns into a terrifying time for a family when their daughter befriends a stranger and the family is taken hostage after their meeting.

The movie stars Dave Bautista and Jonathan Groff and has been sparking interest in horror fans since the first trailer released. It’s a more psychological thriller though as it asks the question of whether a family chooses to save themselves from a bad situation or make the ultimate sacrifice to help the rest of the world.

Daisy Jones & The Six By Taylor Jenkins Reid – March 3, 2023

The band mugs for the camera in Daisy Jones and the Six

When a popular band breaks up, everyone wants to know why. What happened to cause the group to go their separate ways? Daisy Jones & The Six asks that very question as it chronicles just what happens to a popular 1970s rock group in a fictional account of a familiar story.

RELATED: The Best Movies About Fictional Musicians

Developed by Amazon Prime, the show is set to have a stellar cast with Sam Claflin, Suki Waterhouse, and Riley Keough as lead singer Daisy Jones. Reid’s novels have been popular for streamers lately as Malibu Rising is also in development at Hulu and The Seven Husbands Of Evelyn Hugo is also in development at Netflix.

Are You There God? It’s Me, Margaret By Judy Blume – April 28, 2023

Margaret and her best friend in a drug store in Are You There God? Its Me, Margaret

Judy Blume is one of the most popular children and young adult authors in the 1970s. And yet, she hasn’t had one of her stories aimed at children adapted for the screen until this year. First published in 1970, Blume’s young adult novel Are You There God? It’s Me, Margaret is hitting the big screen.

Abby Ryder Fortson (who Marvel fans will know as Scott Lang’s daughter in the Ant-Man movies) will play the title role of Margaret Simon, a 6th grader who has just moved to a new state with her family. The story follows Margaret as she begins to question her religion since her parents are of two different faiths. The movie is being distributed by Lionsgate and, after a few delays, is set to hit theaters on April 28.

American Prometheus: The Triumph And Tragedy Of J. Robert Oppenheimer By Kai Bird And Martin J. Sherwin – July 21, 2023

A nuclear explosion in Oppenheimer

While most of the stories being adapted for the screen right now come from novels as their source material, Oppenheimer comes from a nonfiction account instead. Christopher Nolan is bringing the story of the father of the atomic bomb to the screen, but he’s using a 700+ page nonfiction book as his starting part.

Cillian Murphy takes on the titular role for Nolan, and the movie itself is filled with an impressive supporting cast. With Nolan at the helm, and Murphy in the lead, there’s also Emily Blunt, Matt Damon, Robert Downey Jr., and Florence Pugh. There’s already early awards show talk for the cast.

The Ballad Of Songbirds & Snakes By Suzanne Collins – November 17, 2023

Lucy and Snow together in the grass in The Ballad of Songbirds and Snakes

There’s no question that the Hunger Games franchise has become a hugely successful one. Beyond the movies themselves, the original books have fascinated teens and adults alike with their take on the trajectory of society. The social commentary surrounding a society that has teenagers fight for the sacrifices made by the previous generation is just as relevant today as it was when the Hunger Games was first published.

RELATED: 10 Darkest Hunger Games Fan Theories

Suzanne Collins, understanding that there’s more story to tell since her original stories focused on a single chapter in the world she created, wrote a prequel novel which was fairly immediately optioned for the screen. The novel will focus on the villain of her original trilogy, Coriolanus Snow, in what are only the 10th Hunger Games. While he’s not the character most fans might have been clamoring to learn more about, his story will help flesh out the expansive world already fresh in fans’ minds.

Red, White, And Royal Blue By Casey McQuiston – 2023

Book cover of Red, White, And Royal Blue By Casey McQuiston

Red, White, and Royal Blue by Casey McQuiston was first published in May 2019 and became an overnight sensation. It debuted on the New York Times Bestseller List in June and continued to take off from there, winning several fan-voted book awards like 2019’s Goodreads Choice Awards for Best Romance and Best Debut.

Prior to the release of the novel, Amazon Studios won the film rights in a highly competitive option. The movie which is set to release sometime this year is being produced by Berlanti Productions with Matthew Lopez being tasked with bringing the epic love story between the First Son of the United States and the Prince of Wales to screen.

The Kiss Quotient By Helen Hoang – 2023

The book cover to The Kiss Quotient By Helen Hoang

First published in June 2018, The Kiss Quotient by Helen Hoang became a hit earning Hoang her first New York Times Best Seller title. The book centers on Stella Lane, an autistic econometrician who is tired of being bad at love. To get better at intimacy and relationships, Stella hires Michael, a professional escort, who is tasked with fake dating her to show her relationships aren’t as scary as they seem.

Lionsgate quickly acquired the movie rights to the book and put the story into development. Savion Einstein has been tapped to write the adaptation with fans hoping they’ll see this steamy romance on the big screen sometime next year.

NEXT: 10 Best Romantic Movies Based On Books

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To say most “Teen Wolf ” fans are disappointed with the movie, is an understatement. It seems as though the highly anticipated film, although entertaining, has upset a lot of fans because of its plot. There were two main aspects of the movie in particular that have fans enraged at the show’s creator and movie’s executive producer, Jeff Davis. Here’s how fans have reacted to “Teen Wolf: The Movie”.

For some fans, it’s the entire plot of the film they seem to take issue with.

Well when you put it like that….

You cant help but agree with the fact that this movie basically swaps out one main character for another.

 

Before its release, there was a leak that the show’s favorite couple Stiles and Lydia had broken up, and this had fans of the original series in a panicked state. Now, after having watched the film things are much worse. In the movie it is revealed that Lydia has left Stiles in order to protect him from a vision she had of his death. After years of character and relationship development on “Teen Wolf” and finally seeing the two get together in season 6, this was one of the biggest let downs in the movie.

Neither do I.

No, they really did not.

It was already clear who was not going to be in the “Teen Wolf” movie, and sadly that includes fan favorite Stiles Stilinski played by Dylan O’Brien and Kira Yukimura played by Arden Cho. We also didnt get to see Isaac played by Daniel Sharman and Braedan played by Meagan Tandy.

They definitely were missed.

Some fans were half expecting Dylan O’Brien to show up right at the very end, but although there were cameos in this movie, O’Brien was not one of them.

The most painful part of the “Teen Wolf” movie that understandably fans are irate and heartbroken about, is the fact that beloved character Derek Hale played by Tyler Hoechlin was killed off at the end of the movie, as Davis wanted to add a big death scene to the movie.

In season 1 we find out that the Hale family had burned in a house fire set by Kate Argent, so to have things come full circle with Derek going up in flames as well was a pretty bold move.

There are some pretty mixed emotions about the movie, some fans seem to have enjoyed it, while others are more happy about certain parts in particular, and others of course are heartbroken and angry which is a bad combination.

This was something that almost everyone couldn’t help but feel happy to see. When Allison died in season 3, we never imagined we would get a moment like this, but here we are, Scott and Allison planning a future together after 15 years.

When Allison was killed in season 3, Lydia couldn’t make it to her best friend on time, and she had to hear her die, this time she got to save her, which makes this moment so satisfying.

I think it’s pretty safe to say that everyone fell in love with Eli Hale, Derek’s son in the “Teen Wolf” movie.

Thanks to the emotional distress this movie has inflicted, some fans are choosing to wipe clean the events of the “Teen Wolf movie” and pretend as though things ended with season 6.

That was a great ending though.

The official synopsis for the movie reads A terrifying new evil has emerged in Beacon Hills calling for the return of Alpha Werewolf Scott McCall (Tyler Posey), to once again reunite the Banshees, Were-coyotes, Hellhounds, Kitsunes, and other shapeshifters of the night. With new allies and trusted friends like Derek Hale (Tyler Hoechlin), Lydia Martin (Holland Roden), Jackson Whittemore (Colton Haynes), Malia Tate (Shelley Hennig), and the return of a long lost love, Allison Argent (Crystal Reed), Scott and his pack just might stand a chance.”

Watch the trailer here:

 

Read my Review of “Teen Wolf: The Movie” here and see for yourself if its a stream or a miss. “Teen Wolf: The Movie” is now streaming on Paramount+

To say most "Teen Wolf " fans

Kazuo Ishiguro, the guest on this episode of The Hollywood Reporter’s Awards Chatter podcast, is one of the world’s greatest living novelists — and a newly Oscar-nominated screenwriter, as well, for his adaptation of Akira Kurosawa’s 1952 film Ikiru into the script for Oliver Hermanus’ 2022 film Living.

A Japanese-born Brit, Ishiguro has written eight novels over the last 41 years which have collectively sold more than 2.5 million copies in the U.S alone, most notably 1989’s The Remains of the Day, which was awarded the prestigious Booker Prize, and 2005’s Never Let Me Go, which Time chose as one of the 100 greatest English-language novels since 1923 and the Los Angeles Times described as “probably, thus far, the most important English-language novel of the new century.” (Both were adapted, by others, into highly acclaimed films.)

In recognition of Ishiguro’s collective body of work, he was chosen as the recipient of the Nobel Prize in Literature in 2017 — just a year after one of his heroes, Bob Dylan, was tapped for the same honor — making him only its 29th recipient for work in the English language. His Nobel citation declared that he, “in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world.” The New York Times has called him “a blue-chip literary stock,” “one of the most acclaimed and influential British writers of his generation” and “a writer who takes enormous gambles, then uses his superior gifts to manage the risk as tightly as possible,” while heralding “his pared-down, Pinteresque prose, his masterful narrative control [and] his virtuosic use of understatement and elision.” And the Los Angeles Times has described him as “that rarest of creatures — a literary craftsman who also sells books,” while asserting that “few writers who’ve ever lived have been able to create moods of transience, loss and existential self-doubt as Ishiguro has.”

A contemporary of Martin Amis, Ian McEwan and Salman Rushdie who is the favorite working writer of many of his peers, including Haruki Murakami, Ishiguro was also the recipient of the Order of the British Empire in 1990, the French Order of Arts and Letters in 1998, the Library Lion Medal from the New York Public Library in 2014 and a British knighthood for services to literature in 2018.

Over the course of this episode, the 68-year-old reflects on his journeys from Japan to England and from songwriting to fiction writing; what inspired his best known novels, and why he thinks he has often written characters who deceive themselves and repress their emotions, from the butler Stevens in The Remains of the Day through bureaucrat Williams in Living; why he was so impacted by Ikiru as a boy and so excited to adapt it as a man and why he now says he’s “as proud of this as anything I’ve ever done”; plus much more.

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Kazuo Ishiguro, the guest on this episode

Netflix has announced the renewal of its brand new series “The Recruit” starring Noah Centineo for a second season.

The series hails from Entertainment One (eOne). From Creator, Showrunner and Executive Producer Alexi Hawley, as told Tudum.com: “I’m thrilled to dive back into the fun, funny, action-packed world of The Recruit. Seeing how invested our audience became in the show’s adventurous take on the spy world and Noah’s turn as Owen has been incredibly rewarding, and I can’t wait to turn it all up to “11” in Season Two.”

Centineo will return as Executive Producer and reprise his role as Owen Hendricks. “I know I speak for our entire cast and executive team at eOne and Netflix when I say that we are thrilled to be returning to The Recruit for a second season. I’m looking forward to seeing what Alexi Hawley has in store for us all.”

Hawley will return as Showrunner with Hypnotic’s Doug Liman, Gene Klein and David Bartis; Adam Ciralsky (P3 Media) and Charlie Ebersol also returning as Executive Producers.

The Recruit debuted on December 16, 2022 and spent five weeks on the Netflix TV Global Top 10 (English), reaching the Top 10 in 88 countries.

The series centers around Owen Hendricks (Centineo), a young CIA lawyer whose first week on the job turns upside down when he discovers a threatening letter by former asset Max Meladze (Laura Haddock), who plans to expose the agency unless they exonerate her of a serious crime. Owen quickly becomes entangled in a dangerous and often absurd world of power politics and mischievous players, as he travels the world in hopes of completing his assignment and making a mark at the CIA. The series also starred Fivel Stewart, Vondie Curtis Hall, Kristian Bruun, Aarti Mann, Colton Dunn and Daniel Quincy Annoh.

Watch the trailer for season 1 here:

Season 2 will pick up from last season’s cliffhanger ending that found Owen and Max captured with their lives endangered.

Netflix has announced the renewal of its

Taylor Swift in “Lavender Haze”
Screenshot: Taylor Swift/YouTube

In the “Anti-Hero” music video, Taylor Swift poked fun at her fans for looking for Easter eggs everywhere (and at herself for leaving them). In the “Bejeweled” video, she crammed every scene full of them. The new “Lavender Haze” video falls somewhere in the middle, mostly existing behind a purple smokescreen in one of her most seductive visuals yet.

“The Lavender Haze video is out now. There is lots of lavender. There is lots of haze. There is my incredible costar [Laith Ashley] who I absolutely adored working with,” Swift shared on social media at the time of the video’s release. “This was the first video I wrote out of the 3 that have been released, and this one really helped me conceptualize the world and mood of Midnights, like a sultry sleepless 70’s fever dream. Hope you like it.”

Taylor Swift – Lavender Haze (Official Music Video)

The video is characterized by some classic Swiftian heavy-handed visual metaphor (a literal gray cloud hangs over her head while she sings how her lover doesn’t “really read into my melancholia”). She puffs a cloud of lavender smoke in the shape of a clock striking midnight; she bathes alluringly in a lavender pool; she enjoys her cosmic love bubble while partygoers gossip and dance around her.

A certain subset of fans will point out, quite fairly, that lavender has had a longtime association with queerness, though aside from her trans co-star, this video has far fewer nods to the LGBTQ+ community than the bonanza that was “You Need To Calm Down.” (Swift previously said she lifted the term “lavender haze” from Mad Men.) Other fans are on the watch for signs pointing to Speak Now (Taylor’s Version) being Swift’s next release. The koi fish gliding through space, for instance, may point to a guitar she played on the Speak Now tour, and even the color purple has an association with her third album.

More than anything else, this video’s Easter eggs refer back to the Midnights album itself. There’s an incense stick for “Maroon” and a vinyl record emblazoned with “Mastermind” (the constellations on the cover correspond with Sagittarius and Pisces, apparently the star signs of Swift and her longtime boyfriend Joe Alwyn). The weather report may be a subtle reference to “Midnight Rain,” while the video’s love interest appears as the TV meteorologist recalls the lyric “Karma is the guy on the screen coming straight home to me” from “Karma.”

It’s the continuation of Swift’s work becoming a closed loop wherein everything is a reference to itself. Though for an artist whose visuals tend towards romance and whimsy, “sultry” is indeed a departure from the norm. Perhaps a new evolution of Taylor Swift is on the horizon.

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Taylor Swift in “Lavender Haze”Screenshot: Taylor Swift/YouTubeIn

Agnes was 11 when she was pushed onto an old cattle cart bound for Auschwitz with 87 other Jews, the chained door sliding shut behind them.

Over a traumatic four days, this little girl watched many of the Jews die in front of her from dehydration and was unable to move away from them as they were all cramped so tightly together in the dark cart.

‘The thing that was worse than the dead people was the few who went mad, they’d flail their arms around, shout and scream,’ Agnes Kaposi, now 90, tells MailOnline as the world marks Holocaust Memorial Day today. 

The smell was horrific in the small cart – they were forced to use an oil drum as a toilet and Agnes recalls them using her grandmother’s ladle to empty it through a small gap in the sliding door of the train.

Agnes and her family had no idea that their train from a Hungarian ghetto was bound for Auschwitz – or that it was diverted away to Strasshof transit camp in Austria at the last minute in a move that would end up saving their lives.

Agnes was 11 when she was pushed onto an old cattle cart bound for Auschwitz with 87 other Jews, the chained door sliding shut behind them. Over a traumatic four days, this little girl watched many of the Jews die in front of her from dehydration and was unable to move away from them as they were all cramped so tightly together in the dark cart

'The thing that was worse than the dead people was the few who went mad, they'd flail their arms around, shout and scream,' Agnes Kaposi, now 90, tells MailOnline as the world marks Holocaust Memorial Day today

‘The thing that was worse than the dead people was the few who went mad, they’d flail their arms around, shout and scream,’ Agnes Kaposi, now 90, tells MailOnline as the world marks Holocaust Memorial Day today

The smell was horrific in the small cart - they were forced to use an oil drum as a toilet and Agnes recalls them using her grandmother's ladle to empty it through a small gap in the sliding door of the train. Pictured: A train wagon that would have been like the one Agnes and her family travelled in

The smell was horrific in the small cart – they were forced to use an oil drum as a toilet and Agnes recalls them using her grandmother’s ladle to empty it through a small gap in the sliding door of the train. Pictured: A train wagon that would have been like the one Agnes and her family travelled in 

In the year that followed, they were forced to work as a slave labourer at a farm and then later a factory manufacturing anti-aircraft guns for the Nazis before returning to Strasshof. 

When Soviet soldiers finally liberated their transit camp, the initial joy of finally being free was quickly replaced with terror. 

The Russian soldiers brought a fresh horror as they dragged the Jewish women away and raped them. Agnes says her grandmother hid her every night so the soldiers wouldn’t rape her.

‘The women would be taken away by the soldiers and came back bruised,’ Agnes says. ‘I didn’t understand what had happened because I was 12, but I now know they raped scores of Jewish women there.’

Across the border in Hungary, Tomi Komoly spent his early childhood hiding from German soldiers and living in a ‘safe house’ set up by an embassy with his mother and 35 other people. 

Tomi and his mother escaped from the ‘safe house’ as German soldiers closed in on them and fled to a protestant family’s home in the suburbs of Budapest. Tomi, now 86, recalls spending weeks hiding in the family’s cellar in the winter of 1944.

‘We could only come up late at night when nobody would see us,’ Tomi tells MailOnline. ‘If any of the neighbours got hold of the idea that we were there, they would report us and we would be taken away. It was tough. 

‘First of all, it was cold and secondly, it was cold. We didn’t see daylight for a while.’ 

Tomi, whose father was arrested by the Nazis and never seen again, says the Holocaust was ‘devastating’ for his family. He says he ‘lost his childhood’ as he was never able to play with children his age.

‘I only knew knew one male member of the family who survived the war on both my mother’s and on my father’s side. Everyone else perished,’ Tomi says.

Across the border in Hungary, Tomi Komoly (pictured as a young boy top left with his family) spent his early childhood hiding from German soldiers and living in a 'safe house' set up by an embassy with his mother and 35 other people

Across the border in Hungary, Tomi Komoly (pictured as a young boy top left with his family) spent his early childhood hiding from German soldiers and living in a ‘safe house’ set up by an embassy with his mother and 35 other people

Tomi, whose father was arrested by the Nazis and never seen again, says the Holocaust was 'devastating' for his family

Tomi, whose father was arrested by the Nazis and never seen again, says the Holocaust was ‘devastating’ for his family

In Slovakia, Uri Winterstein was a month old when his parents put him in the care of a non-Jewish woman as they realised it was impossible to keep him quiet when they went into hiding. 

Uri’s sister and parents were captured by the Nazis and deported to Terezin concentration camp in what is today the Czech Republic – and when the Russian army was approaching Bratislava the woman who was caring for Uri gave him to a local peasant woman who was unable to properly care for him.

Uri, now 79 and living in Chiswick, England, with his wife, said when his family found him after being freed from Terezin camp nearly two years later, he could not speak or walk.

‘I couldn’t walk at all, I didn’t speak a single word and the only thing I ate was a roll dipped in coffee,’ Uri says. ‘But the bottom line is, this woman risked her life in looking after me.’

Uri, whose first word was ‘coffee’, learned later that nine of his close family members, including his aunt and uncle and his nine-year-old cousin Miriam, were killed in Auschwitz concentration camp. Many of them were sent to the gas chambers immediately after arriving there.

In Slovakia, Uri Winterstein (pictured with his parents and sister after the war) was a month old when his parents put him in the care of a non-Jewish woman as they realised it was impossible to keep him quiet when they went into hiding

In Slovakia, Uri Winterstein (pictured with his parents and sister after the war) was a month old when his parents put him in the care of a non-Jewish woman as they realised it was impossible to keep him quiet when they went into hiding

Uri (pictured), now 79 and living in Chiswick, England, with his wife, said when his family found him after being freed from Terezin camp nearly two years later, he could not speak or walk

Uri (pictured), now 79 and living in Chiswick, England, with his wife, said when his family found him after being freed from Terezin camp nearly two years later, he could not speak or walk

Agnes, Tomi and Uri are telling their stories of survival – and the horrors they witnessed and endured – as the world marks International Holocaust Remembrance Day and honours the six million Jews who were murdered by the Nazis. 

The survivors, who teach children across the UK about Holocaust through the Holocaust Educational Trust’s Outreach Programme, have warned that the same horrors could happen again.

‘I am speaking about the past, but I’m really speaking to you about the future. This is what happens in a society if it allows its prejudices to harden and the hatred and extreme ideologies to flourish,’ Uri, whose family fled to Brazil after the war, says. 

‘We are not born with knowledge. Each generation has to learn anew. Genocide doesn’t happen in a day. It starts with language where a certain group in society are called vermin. That’s the start of a potentially slippery slope.’ 

Tomi and Agnes say that that the prejudices against Jews continued after their families returned to their homes in Hungary. Hungarian soldiers had fought alongside the Nazis and for years before the Holocaust, Jews had faced anti-semitic laws.

‘We were all aware, even as children, that the Hungarian people were deeply in everything that happened to us,’ Tomi says. ‘So you wouldn’t talk to anyone about being Jewish.’

Tomi says he didn’t tell anyone he was Jewish for 20 years. He only began speaking about his past when he moved to England to live with his wife in 1966.

When Agnes returned to Budapest with her family, after walking for a month from Strasshof transit camp in Austria, on 1 May, 1945, she was not met with joy.

Instead, Hungarian soldiers told them: ‘Couldn’t you have stayed where you were? Hitler should have finished the job instead of you coming here to spoil the air.’ 

Agnes was also bullied at school by the students and one teacher, a Nazi, would ruin the young girl’s artwork and make her do it again and again. 

Uri, whose first word was 'coffee', learned later that nine of his close family members, including his aunt and uncle and his nine-year-old cousin Miriam, were killed in Auschwitz concentration camp. Pictured: Children are imprisoned in Auschwitz

Uri, whose first word was ‘coffee’, learned later that nine of his close family members, including his aunt and uncle and his nine-year-old cousin Miriam, were killed in Auschwitz concentration camp. Pictured: Children are imprisoned in Auschwitz 

Agnes later learned that 27 men in her family had been killed fighting as forced labourers for the Hungarian army. She says she only survived the Holocaust because the train she was on, which was bound for Auschwitz, was diverted to the Strasshof transit camp.

‘It means that every time I look at my grandchildren, I am aware of their miraculous existence. Never mind me, but if I wouldn’t be here, they wouldn’t be here and they are an absolute wonderful bunch of five.

‘And how good is it for the world that they are here and the tragedy it would have been if they wouldn’t have existed. These young, talented people wouldn’t exist.’

On their return, Agnes, Tomi and Uri’s family’s rarely spoke about what happened to them.

‘Everyone tried to push what had happened out of their minds,’ Tomi says. He recalls going to a family gathering and his mother telling him that if he saw a woman with numbers on her arm, he was not allowed – under any circumstances – to ask her what it was about.’

Uri says his parents and sister rarely spoke of what happened to them in Terezin concentration camp. He remembers being eight-years-old when his mother told him a little about what happened to the family. ‘But then there was silence,’ he says.

His sister only told him about a ‘magical puppet show’ at the camp. Uri learned later that this puppet show was put on as a charade to fool an international Red Cross Committee that was visiting. The Nazis used Terezina as a ‘show camp’ for the outside world to try and hide the horrors they were committing against millions of people.

Uri says his parents and sister rarely spoke of what happened to them in Terezin concentration camp (pictured together)

Uri says his parents and sister rarely spoke of what happened to them in Terezin concentration camp (pictured together) 

Uri says that now, 78 years after Auschwitz was liberated, he worries about the rise in hate speech.

‘It felt like our world was getting better and yet suddenly, in the last few years, it has felt like it’s slipped away again. 

‘In America there’s the Trump movement and these movements thrive on hate. People saw his rhetoric as permission to show and act on their prejudices,’ Uri says, point to the Capitol Hill riots.

‘People thought, the President of the United States can talk like that to people, why can’t I?’ 

He adds: ‘We need to talk about the need for tolerance. The things we share in common are so much greater than the things that separate us. But prejudice has a way of concentrating on that difference and making it much bigger.’

Karen Pollock, Chief Executive of the Holocaust Educational Trust, says it’s incredibly important for Holocaust survivors to continue to share their experiences.

Pollok tells MailOnline: ‘On Holocaust Memorial Day we also pay tribute to the incredible survivors, many of whom still share their testimony day in and day out to ensure that future generations never forget the horrors of the past. 

‘This year, tens of thousands of people from across the country will hear from a survivor as part of their commemorations. 

‘In hearing a witness, they will become a witness, invested with a powerful responsibility to share what they have learnt and to speak out against the antisemitism and hatred that allowed the Holocaust to happen.’

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Agnes was 11 when she was pushed

DATES

Project Brazen and PRX released their new podcast, “The Sound: Mystery of Havana Syndrome Podcast” with international journalist, Nicky Woolf, on Jan. 23. The eight part investigative narrative podcast will peek behind the curtain, and uncover the unsettling global medical mystery affecting American diplomats and spies. “The Sound” will transport listeners to Havana, Cuba in December 2016, when a U.S. official went to the embassy medical center with a debilitating illness, that would later impact dozens of U.S. and Canadian diplomats. Audiences will listen as Woolf discovers various theories and learn how U.S. agencies neglected to try to uncover the cause of the modern medical mystery. The podcast is a collaboration between Woolf, Project Brazen and PRX.

Lava for Good Podcasts premiered its first season of its latest podcast, “The War on Drugs,” on Wednesday, Jan. 25 — kicking off with the release of the first two episodes. The new podcast, hosted by Clayton English and Greg Glod, will feature 10 episodes examining the true cost of the failed “War on Drugs.” The first episode features English and Glod with guest Johann Hari, to discuss how the head of the Federal Bureau of Narcotics, Harry Anslinger became the “mastermind” behind the War on Drugs. The premiere season will also include diverse subject matter experts who will unveil how the War on Drugs exacerbated addiction, fueled over-incarceration and interfered with economic progress. Produced and directed by C13 Originals and Jon Meacham’s Shining City Audio podcast studio.

Cadence13 has teamed up with investigative filmmaker Jeremy Corbell and investigative journalist George Knapp to launch the “Weaponized” podcast. “Weaponized” premiered on Jan. 24 — available everywhere podcasts are available, and on Corbell’s YouTube channel. The new series will release new episodes on Tuesdays, and each week the hosts will discuss UFOs, the paranormal, cutting-edge science, conspiracies and cover-ups. The weekly series will feature government whistleblowers, spies, scientists, celebrities and military officials. The premiere season will break news, share never-before-seen footage, unveil previously-suppressed documents, original recordings, and hard evidence related to this phenomenon. Produced by Corbell, Knapp, Cadence13 Studios and Dark Horse Entertainment. 

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DATES Project Brazen and PRX released their new

“When a movie is really bad, it’s so much worse,” Kendrick said of realizing “how the sausage gets made.”

Anna Kendrick had to get acclimated to learning how the sausage gets made in Hollywood.

The Oscar-nominated actress said while on the First We Feast series “Hot Ones” that movies were “kind of ruined” for her as an audience member after first starting out in the film industry. Kendrick made her film debut in 2003 and went on to star in “Twilight,” “Scott Pilgrim vs. The World,” and “Pitch Perfect,” while landing an Oscar nomination for “Up in the Air.”

“I think that when you start making movies, there’s a period where they’re kind of ruined for you, because you’re just thinking of behind-the-scenes and how the sausage gets made of it all,” Kendrick said. “And now, I feel like it’s just sort of second nature that’s a running script in the back of my head.”

The “A Simple Favor” star continued, “So when a movie is really bad, it’s so much worse, because I can see like, ‘Why that choice? It would have been so easy to do this or whatever.’ And when it’s good, the running script is not just like, ‘I’m immersed and it’s great.’ There’s a running thing in the background like, ‘Oh my god, every department just nailed it.’ I kind of get this bonus appreciation for all these people who came together and made this thing.

“Alice, Darling” actress-producer Kendrick recently told IndieWire that she was warned about being typecast early in her career.

“Somebody said something to me right after ‘Up in the Air’ came out that was like, ‘Everything you’re about to get offered is going to be the exact performance you just gave.’ Because for an industry that’s supposedly so creative, people have very short memories and they want to take the easy route a lot,” Kendrick said. “So you’ll basically be offered a bunch of things that are exactly the same thing you just did, and then you’ll finally do something different and you’ll just get offered that thing.”

Kendrick continued, “And that person was like, ‘I happen to know that happens to everyone, including Meryl Streep, so it has nothing to do with you. It’s just that people only think about the last thing they remember you from, and it’s going to be an uphill battle your whole career,’” she said. “I really think it was a gift to hear that at the beginning of my career because I just sort of expected that and I don’t take it very personally. I just go, ‘Oh, this is going to be the thing I’m swimming against my whole career, even a decade from now.’”

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"When a movie is really bad, it's

Nadine Dorries, a polarizing former culture secretary for Britain, is set to host a new Friday night talk show on conservative channel TalkTV.

Debuting on Feb. 3, Dorries, who is still a member of parliament (MP), will kick off her show with an exclusive one-on-one interview with former prime minister Boris Johnson, who resigned last July after a string of scandals.

Dorries was an ardent supporter of Johnson’s, and stuck by his side when most of the PM’s former ministers had condemned his actions around “partygate” — a series of parties held at Downing Street during Britain’s lockdowns.

The weekly, hour-long show will be called “Friday Night with Nadine,” and is billed as an “irreverent look at the week’s news and a lively mix of topical chat with guests from the world of politics, culture and sport.”

Dorries’ time as culture secretary was fraught with a series of gaffes. In 2021, in a government select committee hearing, Dorries — who had supported the bid to privatize “It’s a Sin” broadcaster Channel 4 — appeared not to know how the U.K. broadcaster is funded, stating that it was “in receipt of public money,” when in fact Channel 4 is publicly owned but funded by advertising.

The politician is also known in the U.K. for a controversial 12-day stint on ITV’s reality juggernaut “I’m a Celebrity…Get Me Out of Here!” in 2012.

Dorries said: “As someone who’s never been afraid to speak their mind, I’m delighted to be joining the team at TalkTV for ‘Friday Night with Nadine,’ where I’ll be putting my 23-year political career and experiences at the despatch box to good use. Boris Johnson continues to dominate so much of the political narrative since his departure from No.10. Now’s the time to find out what he really thinks about a whole range of pressing issues.”

Richard Wallace, head of TV for News Broadcasting, added: “Nadine has a unique voice in British politics and will bring that unique voice to our air. She has had a seat at the top table of British politics during extraordinary times; knows all the key players and has true insight into how the corridors of power actually work. And, as a former nurse, she’s one of very few politicians to have held down a proper job and worried about paying the bills, so our audience will relish her take.”

Backed by Rupert Murdoch’s News UK, TalkTV launched in April 2022 as a “bold new voice in news, current affairs, debate and opinion.” The channel’s presenters include Piers Morgan, Jeremy Kyle, Vanessa Feltz, Sharon Osbourne, Tom Newton Dunn and Julia Hartley Brewer.

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Nadine Dorries, a polarizing former culture secretary

Maybe it was because of the hybrid nature of this year’s Sundance Film Festival, which wraps up Sunday, that I was drawn to movies featuring dual personalities and secret lives.

For the third year running, the annual independent film showcase in Utah had its offerings available online to journalists everywhere and, beginning in its second half, to public audiences in the U.S. But the post-pandemic fest also returned to in-person screenings at the Park City ski town that Sundance founder Robert Redford turned into a film lover’s destination.

FOMO was my constant companion as I screened the festival’s diverse offerings in the comfort of the Moon Cave Cinema, the name I give my basement home theatre. I didn’t miss Park City’s snowy, slushy streets, but I did yearn to be back among my fellow film buffs at Sundance.

I felt of two minds, as do many of the protagonists in my personal Top 10 list of Sundance favourites:

Eileen

There are shades of Patricia Highsmith novels and Hitchcock films in this icy suspenser by William Oldroyd (“Lady Macbeth”), set in 1960s Massachusetts in a town where the penitentiary is the most exciting place. Thomasin McKenzie’s meek title character toils there as a secretary, trying to forget her awful home life caring for her alcoholic and emotionally abusive father (Shea Whigham). Enter Anne Hathaway’s blond Rebecca, a Harvard-trained psychologist with agency, attitude and possibly an agenda. She befriends Eileen, who is eager for attention and Rebecca’s approval. Here’s where things start to get really interesting. McKenzie and Hathaway are superb as women subverting the prison of expectations — especially the viewer’s.

Rye Lane

The cool thing about Raine Allen Miller’s South London charmer is how it sends up rom-com tropes — would you believe a meet-cute in adjoining unisex toilet stalls? — while also celebrating them. There are affectionate nods to such date movie favourites as “Love Actually” and “Bridget Jones,” including an amusing star cameo. Yet the best thing about “Rye Lane” is the delightful pairing of David Jonsson and Vivian Oparah, whose random-encounter characters Dom and Yas go together like rye and ginger as they set out to right the wrongs of their previous relationships. The film is alive to the sights and sounds of London, which becomes a character unto itself. Bonus: the best rom-com karaoke scene ever.

The Longest Goodbye

For those of us who aren’t rocket scientists, it’s easy to assume that the biggest hurdle to sending people to Mars is vehicle propulsion. Ido Mizrahy’s riveting documentary, a Canada/Israel co-production, suggests the real issue is isolation: How will humans handle being locked inside a van-sized spacecraft, cut off from family and friends, for a three-year return journey? We meet Al Holland, a NASA psychologist tasked with solving loneliness. He employs coping techniques he contributed to the 2010 effort to rescue 33 Chilean miners, who were trapped underground for 69 days. We learn that future Mars travellers, as soon as a decade from now, might be put into hibernation before space travel and/or have AI companions to fly with.

In "The Longest Goodbye," Ido Mizrahy shows how the biggest hurdle to getting people to Mars isn't rocket propulsion but rather human isolation. Cady Coleman is shown.

Fair Play

A stronger term than “sharks” is needed for the corporate and courtship savagery in Chloe Domont’s arresting feature debut. Phoebe Dynevor and Alden Ehrenreich are brilliant as lovers and co-workers willing to slash Cupid’s throat for career advancement. It all starts sweetly enough: Dynevor’s Emily and Ehrenreich’s Luke, aflame with ardour and lust, decide to get secretly engaged, despite the no-office-romances rule of the cutthroat New York trust fund they both work at. Then Emily gets a promotion that Luke thought he deserved — she actually becomes his boss — and their ruse of platonic collegiality starts to unravel. British character actor Eddie Marsan viciously ups the ante as the fund’s overlord.

Alden Ehrenreich and Phoebe Dynevor play lovers and corporate co-workers willing to slash Cupid's throat for career advancement in Chloe Domont's savage drama "Fair Play."

You Hurt My Feelings

Sundance veteran Nicole Holofcener (“Enough Said”) makes a welcome return to the fest with a barbed comedy about human failings and the equally human tendency not to be truthful about them. Julia Louis-Dreyfus leads a terrific ensemble cast of neurotic New Yorkers as Beth, a writer and professor whose serene life with her therapist husband Don (Tobias Menzies) is about to shatter. Beth’s recent memoir failed to sell — if only there had been more family trauma! — and she’s having trouble getting her first novel published. She’s comforted by knowing she can count on Don for unfailing support, until she overhears him mildly dissing her work. An accidental truth snowballs into a mountain of antic excuses and dodges.

Sundance veteran Nicole Holofcener makes a welcome return with "You Hurt My Feelings," a barbed comedy about human failings and the equally human tendency not to be truthful about them starring Julia Louis-Dreyfus.

Cat Person

A cautionary and viral New Yorker story about dating in #MeToo times is brought to life and made all the more creepy in this whip-smart adaptation by “Booksmart” screenwriter Susanna Fogel. Emilia Jones (“CODA”) and Nicholas Braun (TV’s “Succession”) are the younger and jaded Margot and the older and nerdy Robert. They’re a decade or more apart in age and maturity (he lives for “Star Wars” movies and toys), but they bond over texts and move on to sex, which is great for him but not for her. Margot is reluctant to bail even as her maniac radar starts to ping as the film goes a final act further than the original tale. Sure to prompt many bad-date memories and post-screening debates, “Cat Person” adroitly balances goofy and scary, with possibly the worst screen kiss ever.

Emilia Jones and Nicholas Braun star in "Cat Person," a drama by Susanna Fogel based on a notorious New Yorker short story about dating.

Magazine Dreams

Jonathan Majors as a lonely bodybuilder in Elijah Bynum’s tightly wound drama, raging against flesh and failure, summons obvious comparisons to “Taxi Driver” and “Joker.” But this is very much its own beast, jerking us into the jumbled mindscape of why a steroidal obsessive would risk serious injury or death to pursue the dream of magazine-cover flexing. Majors played a mellow cat in Sundance 2019 hit “The Last Black Man in San Francisco,” but he’s a twitching muscle of ferocity here, alternately pitiable and terrifying as he fumbles at finding love and acceptance in a world that regards him as a freak. Majors is an actor of great range; I didn’t see a better performance at Sundance ’23.

Jonathan Majors plays a bodybuilder raging against flesh and failure in Elijah Bynum's tightly wound drama "Magazine Dreams."

The Persian Version

Maryam Keshavarz’s semi-autobiographical dramedy about a large Iranian-American immigrant family pinballs across decades and countries, not always to its benefit. But there’s no denying the charm of this brood, a New York family of eight older sons and one daughter. The latter is Leila, played as an adult by Layla Mohammadi, who also serves as the film’s narrator and the director’s alter ego. She’s the frequently amusing focus as the story shifts to reveal not only why the family left Iran but also the reason for tensions between the queer-identifying Leila and her strict but resourceful mother, Shirin (Niousha Noor). The film is a colourful blur of characters and incidents that somehow resolves into a satisfying dance of life, set to the improbable soundtrack rouser “Girls Just Wanna Have Fun.”

Maryam Keshavarz's semi-autobiographical dramedy "The Persian Version" is about the dreams and foibles of a large Iranian-American immigrant family.

Infinity Pool

Toronto’s Brandon Cronenberg (“Possessor”) delivers the shivers, and more than a few WTF moments, with a vacation inferno creeper that gnaws at the mind. It’s set in a luxury resort in a fictional fascist Eastern European country (it was filmed in Croatia and Hungary), where callous rich people party behind guarded gates while the hungry poor seethe outside. A calamitous encounter between the two groups lands Alexander Skarsgard’s shallow protagonist, blocked writer James, into a nightmare sci-fi realm of clones and consequences, where money can free your chains but not your conscience. Mia Goth’s mysterious Gabi steals the show as a psychedelic seductress who knows more than she tells.

"Infinity Pool" is a horror film by Toronto's Brandon Cronenberg, son of the famous David Cronenberg. It's about rich people doing very bad things in an unnamed Eastern European resort where money will let you get away with anything.

Little Richard: I Am Everything

He taught Paul McCartney how to scream, Mick Jagger how to strut and heard Elvis Presley declare him the real King of Rock, yet 1950s pop pioneer Little Richard was ultimately overshadowed by his imitators. Lisa Cortés delivers the definitive documentary on a complicated icon, a man of bisexual passions and partners, who praised God yet couldn’t stop singing the “devil’s music” of censor-baiting songs like “Tutti Frutti” and “Good Golly Miss Molly.” He was tragically considered almost a novelty act at the time of his death at 87 in 2020, but this engaging doc goes a long way toward justifying the man’s famous boast: “I am the originator. I am the emancipator. I am the architect of rock ’n’ roll.”

He taught Paul McCartney how to scream, Mick Jagger how to strut and heard Elvis declare him the real King of Rock, yet Little Richard was overshadowed by his imitators. Lisa Cortés delivers the definitive doc on a complicated icon.

Star contributor Peter Howell is a movie critic in Toronto. Twitter: @peterhowellfilm.

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Maybe it was because of the hybrid

You can see the moment she tossed the offending heels in a TikTok video, which has been viewed more than 2 million times. As one user commented, “You know what tho she did a good job [because] we’re all talking about the Valentino show.” All press is good press and all that.

In a cheeky nod to the viral moment, Kristen McMenamy later shared a stunning backstage photo on Instagram, which she captioned, “Before the Fall.” The image earned over 15,000 likes and kudos from designer Marc Jacobs, who replied, “Be still my heart. Breathtaking.”

Another fan replied, “It was refreshing to see someone be like ‘actually no, fuck this!’ on a catwalk ?.”

The comments section pretty much agreed that McMenamy displayed “queen behavior” on the runway. As one user wrote, “Queens fall, then get back up and throw away the shoes.”


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You can see the moment she tossed

Bowfinger Int’l Pictures, run by Spanish actor-director Santiago Segura and producing partner María Luisa Gutiérrez, and Beta Fiction Spain (BFS), the Spanish affiliate of Germany’s Beta Film, have teamed up to produce “Infiltrada” (“Infiltrated”) the true story of a young Spanish policewoman who infiltrated the Basque separatist group, ETA (Euskadi Ta Askatasuna, translated as Basque Homeland and Liberty).

To be directed by Bilbao-based helmer Arantxa Echevarría, the feature film based on true events follows the 20-year old policewoman, known only by her alias Aranzazu Berradre Marín, who managed to embed herself with members of the terrorist group, even sharing living quarters with them. 

Eventually, she helped lead to the dismantling of the infamous organization that used terrorist tactics in its campaign for an independent Basque state.

Based on extensive research that included the collaboration of journalists and interviews with people who were directly involved in the operation, “Infiltrada” will depict not only the events but will also be a psychological portrait of the woman who had to cut all ties with family and friends to take on the role of her lifetime. A screenwriter has yet to be announced.

Echevarría said: “When my producers told me about Aránzazu, my mind immediately went back to the ‘90s, to that Basque Country broken open, where the last breaths of an already meaningless conflict were still adding more and more innocent victims.”

“I saw that girl, an inexperienced policewoman, undercover in a world of murderers in which a single mistake could mean death. A young woman barely 20 years old, pretending to be someone else and with almost no help from the outside world,” she continued, adding: “Eight years of her life pretending to be an ETA terrorist. Those years in which you can travel, you start having your first serious relationships, you enjoy time with your friends, eight years that she decided to put her life on pause. Scared to death and at the same time being a hero.”

“Immediately I said that of course I wanted to direct the film. To remember our recent and painful past. To give thanks to Aránzazu, in whichever hidden place she is now,” she added.

Bowfinger’s Gutiérrez remarked: “We believe that audiences deserve to know the story of this anonymous woman who received no public recognition and carried out her duty with absolute dedication and with no fear of giving up her life in all senses. She sacrificed her past and her future to accomplish the mission’s goal and contributed to the dismantling of the terrorist group ETA and moreover, to national security.”

“We would like to transmit to the audience all the contradictions that this character had to live with for the eight years that she was undercover, her fears and her reasons to keep going,” she added.

Said Mercedes Gamero, CEO of BFS: “The film will be a cinematic story, told from the polyhedral perspective of a complex woman, which is not only going to be entertaining, but will also be a portrait of an era. For these reasons, we believe it will attract the interest of a multigenerational audience willing to enjoy big, epic stories at a cinema.”

BFS was launched in May 2022 as a film distributor and film, TV producer. The company is led by Gamero and Pablo Nogueroles, widely recognized executives in the audiovisual industry. In November, BFS released its first feature film in cinemas as a distributor, “13 Exorcismos.” Directed by Jacobo Martínez, the film has been one of the fifteen highest grossing Spanish films of the year with more than 160,000 admissions. In late December, BFS released “Pray for the Devil” directed by Daniel Stamm, which has lured more than 130,000 admissions so far.

Aside from “Infiltrada”, the company is developing the feature film “Dolores,” based on the book “La Pasionaria: La vida inesperada de Dolores Ibarruri” with a screenplay by Michel Gaztambide and Alejandro Hernández. 

Moreover, the production company is developing a television series about the life of Spain’s Queen Sofía.

Gutiérrez has produced more than 35 films, many of them box office hits. These include family comedy “Father There is Only One” and “A todo tren.”

With headquarters in Madrid and the Basque Country, Bowfinger’s latest productions and co-productions include “Llegaron de noche,” directed by Imanol Uribe and “Sin ti no puedo” by Chus Gutiérrez.

Some of their upcoming releases include “Lobo Feroz” by Gustavo Hernández; “Me he hecho viral” by Jorge Coira; “Vacaciones de verano” by Segura and “El hombre del saco” by Ángel Gómez, among others.

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Bowfinger Int’l Pictures, run by Spanish actor-director

The end is near. Attack On Titan, one of the most colossal animated TV shows ever made, is reaching its final episodes this year, with a first group of them premiering in March and the rest later in the year. Eren Yeager and the Survey Corps struggle against the titans and the world that surrounds them is reaching its dramatic conclusion, and it promises to be a gut-wrenching and mind-blowing finale to one of the biggest odysseys to ever grace the silver screen.


Throughout its four seasons, the anime adaptation of Hajime Isayama’s manga has proven to be one of the most successful, critically acclaimed, and controversial anime shows in history. Over 400 million dollars in total media revenue, thousands of in-demand requests, and a loyal fandom are the results nearly a decade after its first episode. This dark fantasy about a post-apocalyptic world in which humans live behind walls to protect themselves from human-devouring (and human-like?) monsters called titans started out as a typical fantasy shonen and gradually became a complicated and mature look at the human race and its struggle to find peace and understanding. To this day, its probably one of the best cultural products to assimilate and incorporate the intricacies of human evolution and history. In honor of its final run, here’s a compilation of the story’s main characters.

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Eren Yeager

Muse Communication
Crunchyroll

Attack on Titan‘s protagonist is a strong-willed teenager that after witnessing his mother being devoured by a titan, vows to destroy every single one of them, and decides to join the Survey Corps, a military branch in charge of exploring outside the walls and exterminating the titans. In his first ever battle, right after his graduation, Eren is swallowed by one of the monsters, but soon reappeared as one of them and begins his fight against the invaders.

Throughout the many episodes of Attack on Titan, Eren has somehow simultaneously remained much the same, and also changed radically. His desire for freedom remains, but as time has passed, his methods towards achieving his goals become somewhat distorted from his comrades. The final act of the story finds him executing what he believes will be the course of action that will guarantee him and his loved ones their great emancipation from their long-lasting struggle.

Mikasa Ackerman

Mikasa in Attack on Titan
Muse Communication
Crunchyroll

After her parents are killed in front of her very eyes, Mikasa is saved by Eren, whose parents then take her in as one their own. From that moment on, she felt an enormous sense of gratitude towards the Yeager family, and became extremely overprotective of Eren. Ever since witnessing such traumatic event, she lost all of her innocence and understood the world as cruel place, also causing her to become quiet and withdrawn. Taking on the role of Eren’s caretaker, she follows him into the Survey Corps, where she graduated at the top of her class, regarded as an unprecedented talent.

Armin Arlert

Armin in Attack on Titan
Muse Communication
Crunchyroll

Armin is Eren’s and Mikasa’s childhood friend who joins them enlisting to the Survey Corps to help humanity and fulfill his dream of seeing the world beyond the walls. Armin knew of this because of an illegal book his grandfather possessed which contained information about the world outside the walls. Initially a very shy character dealing with an inferiority complex, due to his lack of physical strength and endurance, Armin proves his worth and courage in some of the most vital moments for humanity’s survival. His powerful intellectual and analytical capacity managed to save Eren from being killed after one of his first transformations, to identify the titan shifters that infiltrated the military, and subsequently defeat them in the key battle to retake their hometown.

Jean Kirstein

Jean in Attack on Titan
Muse Communication
Crunchyroll

Initially set on joining the Military Police to pursue a safe life within the inner wall, after seeing his comrades die at the hands of titans, he decides to join the Survey Corps. Jean is a hot-headed person, usually clashing with Eren but at the same time finding admiration in him, he eventually becomes a commanding officer in the Survey Corps and one of the most enduring characters in the show.

Connie Springer

Connie in Attack on Titan
Muse Communication
Crunchyroll

Outgoing and upbeat, Connie is one of the Survey Corps more optimistic members. Like Jean, he was initially keen on joining the Military Police, but is eventually persuaded to join the Survey Corps after hearing Eren’s passion and desire for freedom. His village is later on decimated, and his mother turned into a titan, which becomes an important concern for him later on the story. He develops a strong bond with Jean and Sasha.

Sasha Blouse

Sasha in Attack on Titan
Muse Communication
Crunchyroll

Sasha is a skilled hunter with exceptional instincts. Obsessed with food, this causes her troubles in her early days as a cadet, leading to her being called “Potato Girl.” Though she joined the Survey Corps reluctantly, eventually becomes one of its most important members. The final season reveals more to her personality than just the show’s comedic relief, and depicts her family in a more detailed way.

Historia Reiss

Historia in Attack on Titan
Muse Communication
Crunchyroll

Initially Krista Lenz, in the third season her true identity is revealed to be the unlawful daughter of the real king within the walls. Historia‘s traumatic childhood made her become someone reliable always looking to please others, hoping to some day die heroically after joining the Survey Corps. Her father eventually reaches out to her again in hopes she will take over his reign from the shadows.

Levi Ackerman

Levi in Attack on Titan
Muse Communication
Crunchyroll

The most powerful of all humans, Levi Ackerman is the small, agile, and incredibly strong head of an elite squad within the Survey Corps. Though he seems emotionally distant and unapproachable, he has a strong respect for structure and discipline. His intervention at Eren’s trial is what makes it possible for him to not be killed by the Military Police and be made a responsibility of the Corps.

Erwin Smith

Erwin in Attack on Titan
Muse Communication
Crunchyroll

Erwin is the 13th commander of the Survey Corps, a gambling man set on achieving his personal mission and knowing the truth about humanity’s history. Charismatic, bold, and mysterious, Erwin becomes “humanity’s greatest hope” as his plans manage to bring humans their first victories over titans.

Hange Zoë

Hange in Attack on Titan
Muse Communication
Crunchyroll

Hange Survey Corps veteran and scientist in charge of studying titans. These create in her an abundant sense of fascination, which made her knowing of Eren a moment of absolute joy. Her invention of gadgets towards fighting titans managed to move humanity forward and gain substantial advantages in combat.

Floch Forster

Floch in Attack on Titan
Muse Communication
Crunchyroll

Part of Eren’s recruit class, Floch joins the Survey Corps in the second half of the third season. After surviving the battle at the end of said season, and knowing the truth of the world, he becomes hateful and vindictive towards outsiders. He represents the ones who did not face the same adversities as the departed Survey Corps, thus being more insensitive towards violence.

Related: Is Attack on Titan Over, and Should it Be?

Reiner Braun

Reiner in Attack on Titan
Muse Communication
Crunchyroll

Reiner stood out from the original cadet class as a responsible and dedicated soldier, always looking out for all of his comrades. When his true identity is revealed, it’s a such a shocker that even him, is surprised and eventually deals with the consequences of living a double life. By the final season, Reiner has changed, his ardent and powerful personality has decayed into one of someone clearly scared by war, personal demons, and guilt.

Bertolt Hoover

Bertolt in Attack on Titan
Muse Communication
Crunchyroll

Quiet, reserved and analytical, Bertolt Hoover is one of the best cadets of his class. After joining the Survey Corps his identity along with Reiner’s one, is revealed in the second season. Though at times doubtful and weak, by the third season he has overcome his doubts and clinched on his decision to use his power as one of the strongest characters in the show.

Annie Leonhart

Annie in Attack on Titan
Muse Communication
Crunchyroll

Cold-hearted and distant, Annie Leonhart always seemed to be hiding something. Raised to fight and become a soldier, superb with swords and hand-to-hand combat, Annie is one of the most lethal characters in the series. After her true identity is revealed, she crystallizes herself in order to avoid capture.

Zeke Yeager

Zeke in Attack on Titan
Muse Communication
Crunchyroll

The War Chief of the invading forces has one of the most complicated and heart-breaking storylines of the saga. As the first son of Grisha Yeager, and Eren’s half-brother, Zeke‘s heart is divided, and his decisions are always filled with mystery and deceit.

Porco Galliard

Porco in Attack on Titan
Muse Communication
Crunchyroll

Porco is a stubborn and energetic warrior, carrier of the Jaw Titan. He was set to inherit the Armored Titan, but his brother praised Reiner instead of him to save him from becoming a weapon. He makes his first appearance in the fourth season where he becomes one of the leading characters of the Marley arc.

Pieck Finger

Pieck in Attack on Titan
Muse Communication
Crunchyroll

Surprisingly appearing at the end of the third season as the Cart Titan, saving Zeke and Reiner from being killed, Pieck is not seen in human form until the final season. A powerful warrior with a keen eye for detail, she is always ready to protect her comrades.

Related: Attack on Titan: The Final Season Part 3: Plot, Cast, Release Date, and Everything Else We Know

Gabi Braun

Gabi in Attack on Titan
Muse Communication
Crunchyroll

Gabi is a young warrior candidate aspiring to inherit the Armored Titan. She is dedicated to showing the world her race are not devils, and becoming accepted by society. Her attitude and energy reflect the one of Eren at the beginning of the story.

Falco Grice

Falco in Attack on Titan
Muse Communication
Crunchyroll

Falco is a kind-hearted boy and warrior candidate. He constantly trifles with Gabi while having a clear crush on her. His emotional maturity and openness to understanding others marks a significant difference with the rest of characters in the show.

Grisha Yeager

Grisha in Attack on Titan
Muse Communication
Crunchyroll

Grisha is Eren and Zeke’s father. A human from outside the walls who held in his basement the truth of the world, unknown to the people living within the walls. Initially a man of radical notions and nationalist ideals, as his life sinks into tragedy his heart changes and becomes a merciful and dedicated man, becoming kind parent to Eren. Most of the events happening in this story are set in motion by a decision made in his childhood.

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The end is near. Attack On Titan,

As Angela Bassett enjoys a serious awards-season run for her supporting role in Black Panther: Wakanda Forever, she’s about to dress up her trophy case even more. The current Oscar nominee and recent Golden Globe and Critics Choice Award winner will receive the Spotlight Award at the Costume Designers Guild’s gala next month.

She will be honored with the awards, which honors an actor whose talent and career personify an enduring commitment to excellence, including a special awareness of the role and importance of costume design, at the 25th CDGA on February 27 at the Fairmont Century Plaza in Los Angeles.

“The Costume Designers Guild could not be more honored to be celebrating the career of the incomparable Angela Bassett at our 25th anniversary celebration” said Terry Gordon, President of the Costume Designers Guild, IATSE Local 892. “Her collaborations with costume designers have captivated audiences around the globe for decades, making her the perfect fit for our Spotlight Award this year.”

Bassett is a two-time Oscar nominee — for Wakanda Forever and 1994’s What’s Love Got to Do with It — and has six career Emmy nominations. She shared a Ensemble SAG Award in 2019 for her Black Panther role as Ramonda, which she reprised for last year’s global-smash sequel. She has amassed more than 100 credits during a career that began in earnest in the mid-1980s, after appearing as a teenager on Ryan’s Hope in 1975.

Currently starring on Fox’s 9-1-1 since 2018, her TV career also includes American Horror Story, ER, miniseries The Jackson: An American Dream, the animated BoJack Horseman and dozens of guest roles on series ranging from Spenser: For Hire and The Cosby Show to 227, Thirtysomething and Master of None. Bassett also has featured in such feature films as Malcolm X, Waiting to Exhale, Boyz N the Hood, How Stella Got Her Groove Back, Olympus Has Fallen, London Has Fallen, Mission: Impossible – Fallout and Avengers: Endgame.

Past recipients of the guild’s Spotlight Awards include Andrew Garfield, Charlize Theron, Glenn Close, Kerry Washington, Cate Blanchett, Naomi Watts, Amy Adams, Anne Hathaway and Halle Berry.

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As Angela Bassett enjoys a serious awards-season

Rick Astley, whose 1987 hit song “Never Gonna Give You Up” is embedded in Americana and meme history, is suing rapper Yung Gravy for impersonating his voice, Billboard reports. Astley alleges that Gravy’s 2022 breakout hit, “Betty (Get Money),” imitated his voice without legal authorization.

The lawsuit was filed Thursday in Los Angeles, and claims that “Betty (Get Money)” imitated Astley’s distinct voice in his eighties classic.

“In an effort to capitalize off of the immense popularity and goodwill of Mr. Astley, defendants … conspired to include a deliberate and nearly indistinguishable imitation of Mr. Astley’s voice throughout the song,” Astley’s attorney alleged. “The public could not tell the difference. The imitation of Mr. Astley’s voice was so successful the public believed it was actually Mr. Astley singing.”

Representatives for Yung Gravy did not immediately return Rolling Stone’s request for comment.

During the making of “Betty,” Gravy and his team allegedly got the green light to use the instrumentals to “Give You Up,” but not Astley’s vocals. The filing states that Gravy did not have the rights to use the actual sound recording of Astley’s track, known as “sampling.”

In order to imitate the singer’s “signature voice,” the suit alleges that Gravy hired Nick “Popnick” Seeley, who, fun fact, wrote the beat for “Get Schwifty” on the animated series Rick & Morty. The lawsuit even quotes an Instagram video in which Popnick said he intends for the song to “sound identical” to Astley’s vocals.

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“A license to use the original underlying musical composition does not authorize the stealing of the artist’s voice in the original recording,” Astley’s legal team stated. “So, instead, they resorted to theft of Mr. Astley’s voice without a license and without agreement.”

“Never Gonna Give You Up” reached Number One in 25 countries. “Betty” reached gold status in the U.S. with the New York Times heralding it as “a real-life rickroll that functioned as a comedy song, a TikTok trend and a nostalgia trip all at once.”

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Rick Astley, whose 1987 hit song “Never

Animation has been a powerful tool in the world of advertising for decades. From the earliest days of hand-drawn commercials to the latest computer-generated masterpieces, animation has allowed advertisers to create visually stunning and memorable campaigns that capture the attention of audiences and leave a lasting impression. 

In this blog post, we will take a closer look at how animation has evolved over the years and how it has changed the way that businesses and organizations market their products and services. From the earliest days of stop-motion animation to the latest advancements in 3D technology, we will explore the many ways that animation has been used to create compelling and effective advertisements. 

So, whether you’re a marketing professional looking to create your next ad campaign or simply a curious observer of the advertising industry, this post will provide an in-depth look at how animation has changed advertising and how it continues to shape the way we see the world around us.

The Beginning of Advertising with Animation:

Animation has been a part of advertising since the early days of motion pictures. In the 1920s, animation techniques such as cel animation and stop-motion animation were used to create short commercials that were shown in movie theaters. These early animation ads were simple, often featuring hand-drawn illustrations and basic animation techniques. However, they were still able to capture the attention of audiences and leave a lasting impression.

One of the most iconic early animation ads is the “Fleischer Studios” series featuring the character “Koko the Clown.” These ads were produced by the Fleischer brothers, Max and Dave, and were some of the first animation ads to be shown in movie theaters. The ads featured the character of Koko the Clown, who would perform a short skit or song and then encourage audiences to visit the sponsor’s store. These ads were so popular that they ran for several years in movie theaters and even had their own series of short films.

As technology advanced, so did the animation techniques used in advertising. By the 1950s, animation had become a popular medium for TV commercials. The use of color, sound and movement made animation an ideal medium to create commercials that were both visually stunning and engaging. From the early days of animation, it has been a powerful tool that has allowed advertisers to create visually stunning and memorable campaigns that capture the attention of audiences and leave a lasting impression.

Advertising with Animation Today:

Animation in advertising has come a long way since the early days of hand-drawn illustrations and basic animation techniques. Today, animation is a highly sophisticated and versatile technique that is used to create commercials that are visually stunning, engaging, and memorable. With the advancements in technology, animation has become more accessible and cost-effective, making it a popular choice for advertisers of all sizes.

One of the most significant advancements in animation technology is the use of computer-generated imagery (CGI). This technology allows animators to create highly detailed and realistic animation that is almost indistinguishable from live-action footage. This has opened up a whole new world of possibilities for advertisers looking to create visually stunning commercials that capture the attention of audiences.

Another popular animation technique used in advertising today is motion graphics. This technique uses animation to create dynamic and engaging visuals that can convey information in an easy-to-understand and visually appealing manner. Motion graphics are often used in commercials for products and services that require a lot of explaining such as finance and technical products. 

Animation has also become a popular choice for social media advertising. With the rise of platforms like Instagram, TikTok and Snapchat, animation has become a powerful tool for advertisers looking to create short-form, engaging content that can be shared and viewed on social media.

In conclusion, animation has come a long way since its early days, and it continues to evolve and change the way that businesses and organizations market their products and services. Today, animation is a sophisticated and versatile medium that is used to create visually stunning and engaging commercials that capture the attention of audiences and leave a lasting impression.

Traditional Advertising vs Advertising with Animation:

Traditional advertising typically involves the use of print media, such as newspapers, magazines, and billboards, or broadcast media, such as television and radio. These methods of advertising are often static, with minimal movement or animation.

On the other hand, advertising with animation involves the use of animated visuals and motion graphics to create dynamic, visually engaging content. This type of advertising can be found on television, online, and in social media. It can be used to create commercials, explainer videos, and other forms of advertising content.

One of the main advantages of traditional advertising is its reach. Print and broadcast media have long been established, and they are still widely consumed by audiences. Traditional advertising also tends to be more cost-effective than animation, especially for small businesses. Traditional advertising can be less expensive to produce and can reach a large audience at once.

Advertising with animation, on the other hand, has many advantages over traditional advertising. One of the main benefits is that animation can capture the attention of audiences in a way that traditional advertising cannot. Animation is dynamic, visually engaging, and can be used to create a wide range of emotions and feelings. Animation is also well-suited for the digital age, where audiences are increasingly consuming video content online.

Conclusion:

In conclusion, animation has been a game-changer in the world of advertising. It has evolved from a simple, hand-drawn technique to a highly sophisticated and versatile medium that can be used to create visually stunning, engaging and memorable campaigns. 

From the early days of stop-motion animation to the latest advancements in 3D technology, animation has been used to create compelling and effective advertisements that capture the attention of audiences. The use of computer-generated imagery (CGI) and motion graphics techniques has expanded the possibilities for animation in advertising and has made it more accessible to businesses of all sizes. 

Animation has also become a popular choice for social media advertising, where short, visually engaging content is in high demand. Overall, animation has played a key role in shaping the way we see and interact with advertising and will continue to do so in the future.

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Animation has been a powerful tool in

Prepare yourself, Alberta — winter weather is returning.

After a relatively balmy start to 2023 and more recently, more than a week of above-zero temperatures, Old Man Winter is about to plunge the province back into a deep freeze.

A polar vortex is expanding from the Arctic and will bring a much colder air mass south, starting overnight Thursday into Friday and continuing into the weekend.

Read more:

Extreme cold one day, balmy the next: Alberta’s yo-yoing temperatures a literal headache for many

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“We have been above 0 C, for the past eight days in a row, but highs are expected to be over 20 C colder by the weekend as we drop well into the minus side double digits for nearly a week,” said Global Edmonton meteorologist Jesse Beyer.

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A polar vortex is a mass of freezing air that exists all year long and typically spins clockwise over the North Pole. When it weakens, the circulation can be disrupted and split — sending a section south to spread frigid temperatures over parts of North America.

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Polar vortex brings frigid weather to much of Canada — but relief is (almost) in sight

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After a cold December, the Edmonton area has been spoiled so far this year with only one day below average in the first 26 days of January.

On Thursday evening, parts of northern Alberta were already seeing minus double digits.

Beyer said the significant wind chills will be returning to the Edmonton area beginning overnight Thursday and into Friday. The change in weather will also bring with it some snow.

“We are also likely to pick up 2 to 5 centimetres of snow in our city as the cold air makes its migration south,” Beyer said.

Environment Canada said on Friday in Edmonton, the temperature will fall to around – 11 C in the afternoon. With the wind chill, it will feel like -7 in the morning and -19 in the afternoon.

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Overnight Friday into Saturday, the weather agency said the wind chill will make it feel close to -30 and there will be a risk of frostbite.

The cold air will also sweep across southern Alberta and the Calgary area.

“Saturday and Sunday is when that colder air will arrive with highs in the minus teens and wind chills in the minus 20s,” said Global Calgary meteorologist Danielle Savoni.

“Because of our current warm air mass, it will help regulate the polar air as it moves in.

“So it will cool down a lot, but cold temperatures we are used to seeing in Calgary in late January!”

Beyer said the cold snap will linger into next week, but temperatures could get closer to average by the end of next week.

Want your weather on the go? Download Global News’ Skytracker weather app for iPhone, iPad and Android.


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Alberta’s yo-yoing temperatures a literal headache for many


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Prepare yourself, Alberta — winter weather is

Pedro Pascal has been set as the host for the Feb. 4 episode of “Saturday Night Live,” with Coldplay performing as the musical guest.

This will mark the “SNL” debut for Pascal, who is currently leading “The Last of Us,” HBO’s adaptation of the PlayStation video games of the same name, which premiered on Jan. 15 and has already broken multiple viewership records. The series is set 20 years after the destruction of modern civilization and follows Joel (Pascal), a hardened survivor who is hired to smuggle 14-year-old Ellie (Bella Ramsey) out of an oppressive quarantine zone. What starts as a small job soon becomes a brutal, heartbreaking journey, as they both must traverse the U.S. and depend on each other for survival.

Pascal also plays the title character in “The Mandalorian,” the “Star Wars” series on Disney+ that will debut its third season in March. Among Pascal’s other prominent credits are “Game of Thrones,” “Narcos,” “The Equalizer 2,” “Wonder Woman 1984” and “The Unbearable Weight of Massive Talent.”

The Feb 4 episode will be Coldplay’s seventh time serving as the “Saturday Night Live” musical guest. Led by Chris Martin, the band first rose to prominence in 2000 with their album “Parachutes,” which included the single “Yellow.” Also among Coldplay’s nine albums are “A Rush of Blood to the Head,” “Viva la Vida or Death and All His Friends,” Mylo Xyloto” and “Music of the Spheres,” with best-known songs including “Vida la Vida,” “The Scientist,” “Clocks” and more. Coldplay is currently performing its “Music Of The Spheres” world tour.

“Saturday Night Live” is produced in association with Broadway Video. Lorne Michaels is creator and executive producer.

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Pedro Pascal has been set as the

BuzzFeed shares soared on Thursday after CEO Jonah Peretti said the company would embrace the application programming interface from OpenAI — the artificial intelligence company behind ChatGPT and DALL-E — to personalize content like quizzes for users.

Shares of BZFD closed at $2.09 on Thursday, with after-hours trading pushing the stock price up higher. The stock previously closed at $0.95 on Wednesday.

In a message to staff, Peretti said the “AI inspired content” would move from the research and development stage to becoming a “part of our core business” beginning next month.

“To be clear, we see the breakthroughs in AI opening up a new era of creativity that will allow humans to harness creativity in new ways with endless opportunities and applications for good,” he wrote. “In publishing, AI can benefit both content creators and audiences, inspiring new ideas and inviting audience members to co-create personalized content. When you see this work in action it is pretty amazing.”

During an all-hands meeting with staff, Peretti shared a preview of what the AI-powered quizzes would look like, with an example crafting a romantic comedy storyline for a user based on their responses to prompts and timed to Valentine’s Day.

BuzzFeed

BuzzFeed will not be using OpenAI’s API to write news articles, a company spokesperson clarified to The Hollywood Reporter.

Thursday’s stock performance also follows a Wednesday report from The Wall Street Journal that Meta, the parent company of Facebook and Instagram, struck a deal with BuzzFeed valued close to $10 million that will involve BuzzFeed making creator content for Meta’s platforms.

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YouTube is setting the record straight: “Me at the zoo” is still the oldest YouTube video.

“Me at the zoo,” uploaded on April 23rd, 2005 and featuring YouTube co-founder Jawed Karim standing in front of elephants at the San Diego Zoo, is an important piece of internet history, as it marks the oldest video on one of the most influential video services on the planet. But earlier on Thursday, a video started circulating that, somehow, had an even earlier upload date: April 5th, 2005.

Titled “Welcome to YouTube!!!”, the 48-second video definitely looks like something that could have been used to test out a mid-aughts video website. The video has just one image: a low-res graphic with a YouTube logo with the text “Welcome to YouTube!!!!” that’s attributed to Chad, Steve, and Jawed, a likely reference to co-founders Chad Hurley, Steve Chen, and Jawed Karim. The video is backed by Van Halen’s iconic song “Jump.”

But if you watch the (now unlisted) video on YouTube’s website, you’ll probably spot some suspicious red flags. You might notice, for example, the “Live chat is disabled for this Premiere” notice under the video. Premieres let people pre-schedule videos to play at a certain time with features like live chat, and they definitely were not a thing on 2005 YouTube. You might also spot that the video was uploaded by a mysterious account named enn who joined YouTube in September 2005, which is months after this supposed earliest video was posted to the site. The account claims that the join date was “reset during a database update.”

While I was writing this article, the description said that the video “premiered” on April 5th; for a video this old, there typically wouldn’t be a “premiered” descriptor ahead of the date. (The description also points to a Discord server that’s filled with sketchy-seeming links and posts with derogatory slurs, and I strongly recommend against visiting it.) But shortly before publishing, the video reverted to premiering 23 hours ago.

In a statement to The Verge, YouTube spokesperson Kimberly Taylor said that “we’re aware of an issue that allowed the upload date of this video to be changed, and are working on a fix. Rest assured, the oldest video on YouTube will always be ‘Me at the zoo’ which was uploaded on April 23, 2005 by one of our co-founders and helped kickstart more than 17 years of creativity on YouTube.”

We tried contacting the uploader on Discord for comment, but they aren’t accepting friend requests or DMs from people who aren’t already their friend.

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YouTube is setting the record straight: “Me




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Taylor Swift is busy rehearsing for her upcoming tour, but she’s still making sure to keep the content coming! At midnight on Jan. 27, she released the third music video from the Midnights album, which came out in October. The video was for the album’s opening track, “Lavender Haze,” and told the love story as sung by Taylor in the poppy song.

The video begins with Taylor laying in bed next to a hunky boyfriend. As she wakes and dances around in a t shirt and underwear, she conjures a cloud of purple haze around the 1970s style bedroom — complete with retro turntable and bedside flip clock. She then crawls through a living room covered in lavender flowers to step through a tube tv into….a galaxy of fish. And while it seems trippy, that’s because it’s meant to be — remember, we’re in a lavender haze.

The video’s most striking imagery, and one that may speak most to fans of Taylor’s striking style, is of the singer immersed in purple water — hair slicked back, lips deeply purple, and clothing-free body surrounded by lavender petals.

taylor swift
Taylor Swift performing in 2018. (Danny Payne/Shutterstock)

“Lavender Haze” is one of the many love songs for Joe Alwyn on Midnights. The album is a look back at some of the many sleepless nights throughout Taylor’s life, and some of those sleepless nights were inspired by falling in love with her current beau, who she’s been dating since 2016. Before Midnights came out, Taylor revealed that she heard the term “lavender haze” on an episode of Mad Men and was inspired to use it in a song.

“Lavender Haze” refers to the period when you’re falling deeply in love with someone. Taylor sings about what she went through with Joe when they first got together, which was during a time when she was receiving a lot of criticism in the public eye. “I’ve been under scrutiny, you handle it beautifully, all this s*** is new to me,” she sings in the first verse. In the chorus, Taylor sings about wanting to stay in the “lavender haze” period for as long as possible. In the second verse, she goes back to the idea that Joe was never fazed by what the public was saying about her. “I find it dizzying, they’re bringing up my history, but you weren’t even listening,” she croons.

Taylor previously released videos for two other Midnights tracks, “Anti-Hero” and “Bejeweled,” but it’s been three months of waiting for this next installment to come out. Meanwhile, she’ll be hitting the road for her Eras tour at the end of March, and has been hard at work rehearsing for the show.

When Taylor celebrated her 33rd birthday in December, she also teased that she was spending the day in the studio with her longtime collaborator, Jack Antonoff. While she didn’t specify what project she was working on, fans are anxiously waiting the release of four more re-recorded albums from Taylor. In the “Bejeweled” music video, she dropped several hints that Speak Now would be the next re-recorded album to drop, but Taylor has not confirmed a release date at this time.

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View gallery Image Credit: Danny Payne/Shutterstock Taylor Swift is

The limited series chronicled the three-year marriage between Pamela and Tommy Lee. In particular, the show focused heavily on the theft and illegal distribution of their infamous sex tape, which the couple privately recorded during their honeymoon.

Pam & Tommy went on to score countless awards nominations — including Outstanding Limited or Anthology Series, Outstanding Lead Actor, and Outstanding Lead Actress in a Limited or Anthology Series or Movie at the 2022 Emmy Awards.

There were many people who criticized why a series about Pamela and Tommy’s sex tape was even being made, especially when it was clear that Pamela did not want to be involved in the show. In fact, the creator reportedly didn’t even get permission from Pamela to make it.

While the show was airing, a source close to Pamela told Entertainment Weekly that she’ll “never, never watch” the show and that she hadn’t even seen the trailer when it dropped.

Now, almost a year after Pam & Tommy premiered, Pamela is opening up about how hurtful the series was and how she dealt with this horrible time in her life being replayed for people’s TV enjoyment.

“Assholes,” Pamela said in her recent cover story with Variety when asked about Pam & Tommy, referring in particular to the creator and people behind the scenes who developed the series.

She continued, “Salt on the wound. … You still owe me a public apology.”

Pamela also reiterated that she hasn’t watched a single minute of Pam & Tommy, but it was hard to escape the billboards promoting the Hulu limited series.

She described Lily and Sebastian dressed as herself and Tommy as looking like a “Halloween costume.”

With Pam & Tommy, Pamela was once again thrust into the public spotlight — a place she knows all too well, thanks to her record-setting number of Playboy covers and her time on Baywatch, during which she couldn’t travel anywhere without a security team.

“It was just shocking,” Pamela said of the show. “Tommy probably thought it was funny.”

She explained that Tommy reached out to her while Pam & Tommy was airing: “I remember Tommy writing me a note saying, ‘Don’t let this hurt you like it did the first time,’ because he had heard through the kids that I was kind of struggling with the idea of bringing this all up again.”

While Pamela still has an issue with Pam & Tommy, she was sure to let Variety know that she doesn’t blame Lily for playing her in the show.

“I think it’s hard to play somebody when you don’t know the whole picture. I’ve got nothing against Lily James. I think that she’s a beautiful girl and she was just doing the job,” Pamela explained. “But the idea of the whole thing happening was just really crushing for me.”


In fact, her upcoming Netflix doc may offer Pamela a chance to connect with Lily for the first time ever.

She told Variety, “I said to Netflix, ‘I’d love to invite Lily to the premiere of the movie.'”

In an interview with Net-a-Porter last year, Lily talked about reaching out to Pamela and not receiving an answer at the time. “I was really hopeful that she would be involved. I wish it had been different,” she said.


“I was very hopeful that we would be in touch right up until we started filming. … My sole intention was to take care of the story and to play Pamela authentically.”

Here’s hoping Pamela and Lily finally get to meet, and I’m loving that Pamela is taking back her own story and telling it in her own words, finally.

You can read Pamela’s entire cover story with Variety here.

Love, Pamela and Netflix’s Pamela, a Love Story will both be released Jan. 31.

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Told from the perspective of a young girl raised by her single gay father to be a woman who is “strong and tolerant and not afraid of this world,” Fairyland reveals the intensely personal nature of its origins in Alysia Abbott’s 2013 memoir at every step of the characters’ complicated evolution together. Like that sometimes strained relationship, this debut feature from photographer Andrew Durham often feels stuck, but eventually reaches its destination with clear-eyed compassion and an emotionally powerful reconciliation. Those qualities are captured with enormous sensitivity in the lead performances of Emilia Jones and Scoot McNairy.

With a producing team led by Sofia Coppola for American Zoetrope, this is a bittersweet drama about unconventional parenting and alternative families that will resonate loudest with LGBTQ audiences. But its surge of final-act feeling will speak to any audience that has ever experienced the startling reckoning that comes with grief.

Fairyland

The Bottom Line

Not always sure-footed but gets there in the end.

Venue: Sundance Film Festival (Premieres)
Cast: Emilia Jones, Scoot McNairy, Geena Davis, Cody Fern, Adam Lambert, Maria Bakalova, Nessa Dougherty, Ryan Thurston, Bella Murphy, Isabella Peregrina, Ben Attal, Cabe Thompson, Roman Gonzalez
Director-screenwriter: Andrew Durham, based on Alysia Abbott’s book Fairyland: A Memoir of My Father


1 hour 54 minutes

The film opens in 1974 with a middle-of-the-night phone call in which a stunned Steve (McNairy) learns that his wife has been killed in a head-on truck collision while driving with a patient she had been treating for suicidal depression. That detail will prove significant later on.

Steve’s 5-year-old daughter Alysia (Nessa Dougherty) is still struggling to comprehend her mother’s sudden absence when he packs them off from the Midwest to San Francisco in his beat-up orange VW bug. He rejects the suggestion of Alysia’s judgy maternal grandmother, nicknamed Munca (Geena Davis), that the girl would be better off being raised by her side of the family.

Alysia gets an eye-opening instant education when they move into a shared house with druggy den mother Paulette (Maria Bakalova), genderqueer Johnny (Ryan Thurston) and laid-back, guitar-strumming Southerner Eddie (Cody Fern), who occupies the couch but has a wife back in Jackson. That doesn’t stop him from falling into bed with Steve, a development Alysia appears to take on board with the same mix of curiosity and preternatural maturity that she brings to every magical discovery of the hard-partying Bohemian household.

In a funny phone conversation in which Munca grills her about life in San Francisco, Alysia talks enthusiastically of her new surrogate family, mentioning her closeness with Johnny, who wears dresses. “Does your father wear dresses too?” asks her grandmother, visibly stiffening. “Not anymore. He’s butch now,” Alysia replies cheerfully.

The choice to have cinematographer Greta Zozula shoot the early scenes in grainy 16mm adds to the vivid sense of time and place, rendered idyllic by frequent visits to Golden Gate Park, with its Dutch windmill and Victorian conservatory. Steve, Eddie and Alysia are seamlessly integrated into rousing archival footage of the Castro as a village teeming with gay men and early Pride parades, back when the event was called Gay Freedom Day.

Bringing a writer’s work to life with any kind of vitality can prove difficult even for seasoned filmmakers and Durham struggles a bit to make Steve’s development as a poet and essayist a dynamic part of the narrative.

Some of the cultural context also feels a bit clunky when it’s woven in via radio newscasts — the Proposition 6 ballot initiative that aimed to ban gays and lesbians from working in California’s public schools; the Harvey Milk assassination; Anita Bryant’s crusade against homosexuality, her role with the Florida Citrus Commission prompting Steve to yank the OJ off the breakfast table.

The movie is on steadier ground when its focus stays tight on the shifting relationship between Steve and Alysia, particularly as it moves into her high school years, when Jones steps into the role. While the young Alysia seems unfazed by the steady stream of her dad’s boyfriends following Eddie’s return to Mississippi — one of the longer-term fixtures, Charlie, is played with warmth and humor by Adam Lambert — the teenage Alysia begins to pull away.

By that point, Alysia is a Brit pop-loving hipster into Depeche Mode and OMD, rocking assymetrical hair and outsize jackets. (Jones is lovely in these scenes, recalling a young Winona Ryder.) But Alysia becomes a little less cool about her father’s sexuality, just as the first murmurs about a “gay cancer” begin circulating. When she’s out hitting the clubs or the thrift stores with her best friends Yayne (Bella Murphy) and punky Skid (Isabella Peregrina), Alysia says nothing about the latter’s constant homophobic jokes and keeps them both at a distance from Steve.

The real conflict between them, however, is less about Steve being gay than him not being enough of a parent. He romanticizes the poverty of the artist while his daughter wants more comforts. And although he’s convinced that making her self-reliant from a young age would help Alysia figure out who she is, she comes to resent having been given too much independence and not enough parental attention. She’s also angered by him sharing private details of their lives in poetry readings, including things about her mother that Alysia was too young to understand at the time.

No doubt taking his cue from Abbott’s memoir, Durham deserves credit for refusing to idealize Alysia’s countercultural upbringing as a perfect balance. But there are poignant moments in which Steve defends himself, telling her she has different freedoms to what he had at her age, when he had to pretend to be someone else.

Their relationship becomes somewhat more distant when Alysia goes off to college at NYU, and then to study in Paris for a year, where she falls into her first serious relationship with sweet-natured Frenchman Theo (Ben Attal). But on visits back to San Francisco, she witnesses the ravages of AIDS at a time when the Reagan government is doing nothing about it. The reality of it becomes especially confronting when she meets JD (Cabe Thompson), an ailing young man being cared for by her dad in a neighborhood hospice.

A lot of the storytelling tends to amble along without much edge, viewed through the haze of nostalgia and graced with appropriate needle drops. But deeper feeling kicks in once Alysia gets the inevitable phone call summoning her home from France to care for her father.

The pathos and intimacy of that final section no doubt is strengthened by the close parallels between Abbott’s experience and that of writer-director Durham, who also grew up in San Francisco during the same period with a gay father, moving in to care for him through the final months of his life.

A quietly searing scene between Jones and Bakalova, when Paulette has left her partying days behind and settled into work as a pharmacist, fully opens Alysia’s eyes to the heartrending reality of living in a close-knit community where friends are constantly dying. And in a rare outing to the park where so much of their early time together was spent, Steve forces himself to shake off the pain and confusion of advanced illness long enough to explain to Alysia that he had no idea how to be a single parent. He infers that his stalled life as a gay man means that in a sense he was coming of age at the same time as his daughter.

It’s a beautiful scene, played with piercing sincerity and tenderness by McNairy, and it makes this overlong, sometimes underpowered film ultimately rewarding.

Full credits

Venue: Sundance Film Festival (Premieres)
Production companies: American Zoetrope, in association with Artemis, Black Magic, Ourboros Entertainment, Safe Space Pictures
Cast: Emilia Jones, Scoot McNairy, Geena Davis, Cody Fern, Adam Lambert, Maria Bakalova, Nessa Dougherty, Ryan Thurston, Bella Murphy, Isabella Peregrina, Ben Attal, Cabe Thompson, Roman Gonzalez
Director-screenwriter: Andrew Durham, based on Alysia Abbott’s book Fairyland: A Memoir of My Father
Producers: Sofia Coppola, Megan Carlson, Siena Oberman, Greg Lauritano, Laure Sudreau
Executive producers: Roman Coppola, Michael Musante, Alysia Abbott, Elena Baranova, Susan Landau Finch, Rebecca Gang, Gary Hamilton, Ryan Hamilton, Anton Lessine, Jesse Ozeri, Brooks Price, Karen Salveson, Sasha Shapiro, Nicole Alexandra Shipley, Jeffrey Sobrato, Eileen Spitalny, Mike Spitalny, Ying Ye
Director of photography: Greta Zozula
Production designer: Olivia Kanz
Costume designer: Maggie Whitaker
Music: Michael Penn
Editors: Peter Cabadahagan, Lawrence Klein
Casting: Nina Henninger, Sarah Kliban

1 hour 54 minutes

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Photo: Rodin Eckenroth/ (Getty Images)

Willem Dafoe and Robert Eggers are currently two films into what’s been a very profitable creative partnership so far, with Dafoe serving as one of the lobster-shillings leads of Eggers’ claustrophobic The Lighthouse in 2019, before adding a little “weird dog shaman” energy to the directors’ recent Hamlet riff The Northman. Now, Deadline reports, Dafoe and Eggers are looking into whether the third time will be the sanguine charm, as Dafoe is reportedly in talks to co-star in the director’s upcoming adaptation of classic vampire story Nosferatu.

Dafoe is not, of course, unfamiliar with the potency of that particular cinematic bloodsucker; he picked up one of his many Oscar nominations for his role as Nosferatu star Max Schreck in 2000’s Shadow Of The Vampire. Eggers’ version of the story doesn’t sound like it’s directly based on F.W. Murnau’s, though—which was, itself, at least partly an attempt by the film’s producers to avoid having to pay Bram Stoker’s family for the film rights to the novel Dracula.

Eggers has been building up an impressive cast for the movie; Bill Skarsgård is set to play the role of the film’s vampire, while Lily Rose-Depp will play the object of his undead hungers. Nicholas Hoult, who’s get a very vampire-heavy slate right now between this and Renfield, is also set to star.

It’s not clear yet what role Dafoe would play in the movie; there’d be a fitting symmetry to him playing a Van Helsing type (although the original Nosferatu skips the “wise old man who knows about vampires” bit of Stoker’s book). The film is set to be both written and directed by Eggers; it’s set up at Focus Features, which also produced The Northman.

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Photo: Rodin Eckenroth/ (Getty Images)Willem Dafoe and

Netflix subscription is required to watch on Netflix

 

Great news! “An Action Hero” is available to watch on Netflix USA!

 

Date Added: 26th January 2023

Want to keep forever? Try looking for ‘An Action Hero’ on Amazon (paid link)

 

Description:

A murder accusation turns a movie star’s own life into an eccentric action thriller as he flees the country, with a vengeful politician hot on his heels.

 

Certificate: TV-MA
For Mature Audiences.

 

Year: 2022

Duration: 2hr 8m

Audio: Hindi [Original]

Subtitles: German, English, Spanish, French, Hindi, Italian, Simplified Chinese, Traditional Chinese

 

Cast and Crew

Director: Anirudh Iyer

 

Cast: Ayushmann Khurrana, Jaideep Ahlawat, Neeraj Madhav, Harsh Chhaya, Gautum Joglekar, Vaquar Shaikh, Sumit Singh, Jitendra Hooda

 

Production & Box Office Details:

“An Action Hero” was produced by T-Series and Colour Yellow Productions and was originally released on December 2nd 2022.

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Available on Netflix USA!

Netflix subscription is required to watch on Netflix

Where else can you watch ‘An Action Hero’ on Netflix?


Want to keep forever? Why not rent or buy ‘An Action Hero’ from one of the online services below?


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An awards ceremony the public can get excited about? That’s a concept Oscar producers can drive home over the next seven weeks.

From the robust showing of popcorn movies to the recognition of some of the most respected stars of the past four decades to the embrace of new faces, this year’s nominations offer something for everyone.

Here are five highlights from the Oscar-nom announcements.

Show Us the Money!

The domestic box office average of the 10 best picture nominees stands at $157 million and counting — the fourth highest of any slate in the past 25 years. That’s an encouraging sign for the exhibition business as it tries to rebound from the pandemic. With record-breaking grossers like Paramount’s “Top Gun: Maverick” and 20th Century Studios’ “Avatar: The Way of Water” receiving nods, along with populist hits like A24’s “Everything Everywhere All at Once” and Warner Bros.’ “Elvis,” audiences will be more familiar with the lineup than in previous years. That could yield higher broadcast ratings, which the Oscars desperately seek.

Look at the top box office average for movies nominated for best picture since 1997.

Ain’t Nothing but a Number

As “The White Lotus” star Jennifer Coolidge said during her Critics Choice acceptance speech this month: “It’s not over till you’re dead.” Indeed, a theme of legacy and admiration emerges from a survey of the Oscar nominees across all 23 categories. The comeback stories of Brendan Fraser (“The Whale”) and Ke Huy Quan (“Everything Everywhere”) — nominated for best actor and supporting actor, respectively — have tapped into the cultural zeitgeist, creating some of the season’s most touching moments. Angela Bassett, 64, made a triumphant return to the Oscars in supporting actress with “Black Panther: Wakanda Forever,” 29 years after playing Tina Turner in “What’s Love Got to Do With It.” Similarly, Jamie Lee Curtis’ first nom for “Everything Everywhere” caps an astonishing career marked by roles in a range of genre movies — which the Academy traditionally snubs. Composer John Williams, 90, is the oldest nominee in any competitive awards category for his work on “The Fabelmans,” while supporting actor nom Judd Hirsch, 87, is the second oldest in his category’s history. Hirsch’s bid arrives 42 years after his first for “Ordinary People” (1980), surpassing Henry Fonda’s record of 41 years between acting noms.

Paul Mescal from “Aftersun” (A24)
Courtesy Everett Collection

The First-Timers Club

The Actors Branch is more welcoming than ever, as signaled by the 16 first-time nominees across the four acting categories. For the first time since 1934, the best actor lineup consists solely of newcomers: Austin Butler (“Elvis”), Colin Farrell (“The Banshees of Inisherin”), Fraser, Paul Mescal (“Aftersun”) and Bill Nighy (“Living”).

The hugely effective grassroots campaign for surprise best actress nominee Andrea Riseborough for “To Leslie” should inspire other underseen performers to go for the gold, even when their studios don’t have the financial means to do so. And then there are the Daniels, the dynamic filmmaking duo of “Everything Everywhere,” who augur a bright future for cinema in the same category where maestro Steven Spielberg is nominated.

Can’t Stop the Music

With stellar original song nominees from some of the year’s best movies, Oscar producers can create a telecast to keep viewers engaged. An eclectic mix of genres and vocalists are represented, so multiple generations have something to grab on to.

I recommend kicking off with the ultimate dance number, “Naatu Naatu” from “RRR,” and closing with Super Bowl headliner Rihanna delivering the soaring “Lift Me Up” from “Wakanda Forever.” TikTok users will be hooked on Sofia Carson singing “Applause” from “Tell It Like a Woman.” Older demographics will groove to David Byrne jamming barefoot out on “This Is the Life” from “Everything Everywhere.” And every living “monster” will surrender to the magic of Oscar winner Lady Gaga’s “Hold My Hand” from “Top Gun: Maverick.”

Danielle Deadwyler as Mamie Till-Mobley in Chinonye Chukwu’s “Till”
©United Artists/Courtesy Everett Collection

The Fight for Diversity, Equity and Inclusion is Ongoing

Not without the Academy’s fair share of shortcomings, there were some disappointing omissions throughout its nomination spread.

The shutout of women in best director (i.e., Sarah Polley and Gina Prince-Bythewood) and Black women in lead actress (i.e., Viola Davis and Danielle Deadwyler) were particularly unacceptable given the swath of talent available to recognize. Of 591 movies nominated for best picture in history, women directed 19.

I’ve long believed the Academy’s been used as a scapegoat for the systemic issues of inequality in the entertainment industry. However, the organization has done valuable work over the years, such as diversifying its membership and the Aperture 2025 initiative, which includes representation and inclusion standards in the best picture category. Noteworthy, since the initiative’s announcement in 2020, no film nominated for best picture since 1990 would be disqualified under the proposed measures, including this year’s slate.

It serves as a friendly reminder that we still have a lot of work to do in Hollywood regarding equality and representation and have to hold studios to account each and every year.

To see the current rankings for each individual category, visit Variety’s Oscars Hub. Make sure to bookmark the 2022-2023 Awards Season calendar for all key dates and timelines for the season.

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An awards ceremony the public can get

SUNDANCE FILM FESTIVAL 2023 REVIEW! Sophie Barthes’ science-fiction feature, The Pod Generation, takes place in a not-too-distant utopian future. Then the writer-director screws around with the very idea of life and where it comes from. Emilia Clarke plays Rachel, a rising executive for the large A.I. tech firm Pegazus. Rachel feels the maternal urge to start a family, but pregnancy would stall her corporate growth in the company. Fortunately, one of Pegazus’ subsidiaries is The Womb Center which presents an interesting opportunity. Rachel and her husband, Alvy (Chiwetel Ejiofor), could produce an embryo at the lab and have it grow in a plastic birthing pod provided by The Womb Center.

The lab would monitor every vital and health stat of the baby, provide the perfect nutrition cartridges, and Pegazus will help Rachel with the down payment. But Rachel needs to convince Alvy, a botanist, who has concerns about the world around him going completely synthetic. Meals are produced on 3D printers. Therapists are replaced with A.I. avatars. Of course, the natural birthing process has been replaced by The Womb Center in the most unobtrusive and sterile environment imaginable. As the film states, “The uterus is a political issue. We are finally not victims of our biology.”

Alvy’s job at the university is in danger as there is no longer any need for further research dollars going to nature thanks to nature pods. So during an unsanctioned field trip, Alvy takes his student to the greenhouse to taste real fruit. Yet, in vain, he tries to convince his students and colleagues not to give up on nature.

The Pod Generation has everything I want in science fiction. It explores an aspect of science and takes it to its logical conclusion, exposing something about humanity. Challenged is the idea of the natural versus the synthetic. Can science and technology become superior to nature and God (the god part is not addressed)?

“…could produce an embryo at the lab and have it grow in a plastic birthing pod…”

Does the synthetic food you create provide the taste, texture, and nutrition of the real thing? Likewise, if you can grow a baby in a pod in the most perfect environment, will that baby have the same benefits and outcomes as if developed in a mother’s womb? Is there something to be said about that biological connection between mother and child?

There are also political and corporate implications. For example, now that we no longer need women to have children, is this the new future of human reproduction? At one point, The Womb Center decides that Rachel and Alvy can no longer care for the pod at home and demands it back until their baby is ready to be born.

The Pod Generation is much more of a fable than a sci-fi thriller. In other words, no one dies, and there are no laser gun fights. Instead, Barthes’ story sets up this futuristic world and asks questions. The biggest question is whether pursuing a synthetic world is the right path for us as a species.

As you can see, this review is mainly about the questions asked. The plot is the real star here. That said, Emilia Clarke and Chiwetel Ejiofor are perfect as our leads. They are the hyper-attractive everywoman and everyman. It’s easy to see ourselves in Rachel and Alvy. The story simply plays around with its central premise, ideas of gender roles, and the connection we lost with nature and natural living in urban cities.

The Pod Generation is a science-fiction film with something to say and forces us to confront our future by asking questions. Just because we can screw around with biology, should we? Sophie Barthes’ futuristic tale is worth watching just for the conversation that’s bound to happen afterward.

The Pod Generation screened at the 2023 Sundance Film Festival.

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SUNDANCE FILM FESTIVAL 2023 REVIEW! Sophie Barthes’

Anyone who has traveled to seaside resort areas around the world will recognize them, the obvious foreigners who spend their days approaching tourists with assorted trinkets to sell and are most often ignored or shooed away by Westerners. Precious few films have put such figures centerstage, but Drift does that and quite a bit more as it examines a young woman whose currently forlorn position in the world masks the very different sort of life to which she was once accustomed.

Tragedy and bereavement are dealt with an exceptionally acute and insightful manner in Drift. Working from a 2013 novel by Alexander Maksik, the full title of which is A Marker to Measure Drift, the author and his co-writer Susanne Farrell tackled a challenging narrative that many filmgoers would readily avoid, a personal tragedy of staggering magnitude. But not only has Singapore director Anthony Chen set himself a tough task in this ambitious adaptation, he has also notably succeeded in making viewers see the world through very different eyes.

The film, which world premiered in the Premieres section at the Sundance Film Festival, operates in observational mode for the first half-hour or so as we behold the curious movements of a young woman one assumes is a refugee from Africa as she moves through the crowds of tourists along a beautiful coastal resort stretch of Greece. Jacqueline (Cynthia Erivo) gives a massage here, earns a tip there, and you soon get the feeling that if she could make herself invisible, she would readily do so.

But there’s something about this woman that sets her apart from the other refugees working the beach, the first giveaway being her tony British accent, even if she speaks as few words as possible. You get the feeling that, despite her effort to remain inconspicuous, she is afraid of being exposed or somehow found out.

This sense of intrigue has been sustained just long enough when another young woman, Callie (the ever-welcome Alia Shawkat), a legit and gregarious tour guide who leads groups around the gorgeous and rugged seaside area, makes a connection with her, or at least attempts to; Jacqueline is as withdrawn and close-mouthed as she could be.

RELATED: Sundance Film Festival: Deadline’s Complete Coverage

At first unobtrusively, then forcefully, Jacqueline’s deep tragic secret is revealed. In the meantime, the two women engage in a somewhat tentative but eventually meaningful relationship that ultimately draws out the reason for Jacqueline’s self-exile from life. Her story emerges in fits and starts until some intense flashbacks provide the full story. Shawkat’s natural openness and the joy she takes in talking ideally contrasts with the unrelieved darkness of Jacqueline’s lot in life.

Once the dreaded secret is revealed, you begin to appreciate all the more the quiet and restrained way Chen and the writers have structured their telling of this tragic tale. The circumstances and their aftermath might have induced more crude and obvious filmmakers to crank up the melodramatic nature of the payoff, but the proportion and slightly underplayed approach feels just right given the mystery embedded in the more subtle approach taken.

This admirably achieved storytelling would appeal to what, once upon a time, was called the arthouse audience. To what extent that even exists anymore is open to question, but discerning viewers wherever they are will well appreciate the skill with which this slow-burning drama has been prepared.

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Anyone who has traveled to seaside resort

A critical flaw in Windows-powered datacenters and applications, which Microsoft fixed in mid-2022, remains unpatched in almost all vulnerable endpoints, putting countless users at risk of different malware, or even ransomware, attacks.

Cybersecurity researchers from Akamai published a proof-of-concept (PoC) for the flaw, and determined the high percentage of yet unfixed devices.

The vulnerability Akamai is referring to is CVE-2022-34689, a Windows CryptoAPI spoofing vulnerability that allows threat actors to authenticate, or sign code, as the targeted certificate. In other words, threat actors can use the flaw to pretend to be another app or OS and have those apps run without raising any alarms. 

Ignoring the patch

“We found that fewer than one percent of visible devices in data centers are patched, rendering the rest unprotected from exploitation of this vulnerability,” Akamai researchers said. 

Speaking to The Register, the researchers confirmed that 99% of endpoints were unpatched, but that doesn’t necessarily have to mean they’re vulnerable – there still needs to be a vulnerable app for the attackers to exploit. 

The flaw was given a 7.5 severity score, and labeled as “critical”. Microsoft released a patch in October 2022, but few users have applied it yet. 

“So far, we found that old versions of Chrome (v48 and earlier) and Chromium-based applications can be exploited,” the researchers said. “We believe there are more vulnerable targets in the wild and our research is still ongoing.”

When Microsoft originally patched the flaw, it said that there was no evidence of the vulnerability being exploited in the wild. However, now with the PoC publicly available, it’s safe to assume that different threat actors will start hunting for vulnerable endpoints (opens in new tab). After all, the methodology has been given to them on a silver platter, all they need to do is find a victim. 

Via: The Register (opens in new tab)

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A critical flaw in Windows-powered datacenters and

In the months following the end of World War II, the effort to prosecute the architects of the Holocaust also created our first and most searing collective visual/emotional perception of the Nazi era’s atrocities, because at the heart of what convicted the top Nazis at Nuremberg was the power of moving images and contextualized filmmaking.

Jean-Christophe Klotz’s fleet, gripping documentary “Filmmakers for the Prosecution” is the little-known story behind the original Holocaust documentary, the US-government-funded 1948 film “Nuremberg: Its Lesson for Today,” OSS officer Stuart Schulberg’s powerful summation of his and others’ work for the groundbreaking International Military Tribunal, which delivered an unprecedented judicial reckoning for the Third Reich’s war crimes. “Filmmakers” is also the strange, regrettable story of why that film – despite its hearts-and-minds importance as history—was shielded from post-war American audiences.

As World War II was ending, Hollywood scions and wartime soldiers Schulberg and his older brother Budd (he who would later write “On the Waterfront”) were tasked by John Ford, then head of the Film department at the Office of Strategic Services (OSS), to track down all the film and photographs they could find that would bolster the case to be made in Nuremberg in the fall of 1945.

Supreme Court justice Robert Jackson, America’s lead prosecutor, believed the strongest evidence to ensure conviction in this new realm of international justice was photographic and filmic, which intensified the pressure the Schulbergs were under, in only a few months’ time frame, to unearth what had never been seen before outside inner Nazi circles. Years of footage already edited and viewed in American newsreels, for instance, was deemed off-limits, because it could too easily form the basis for a tampering argument by the defense.

Klotz, with Stuart’s daughter Sandra as a producer (the film is adapted from her 2014 monograph), lays out a thrilling narrative of how the Schulberg brothers scrambled to chase leads and find that raw proof of conspiracy and criminality—film of rallies, meetings, pogroms, camps—before Nazi sympathizers could destroy it all first.

Sometimes they reached troves just after they’d been set aflame. In one memorable instance, recounted by Budd in an interview late in his life, they got lucky: racing to a Russian-seized German movie studio rumored to hold a mountain of footage, they discovered the Red Army captain in charge was, of all things, a stan of the Schulbergs’ Western-making, Oscar-winning, eyepatch-wearing boss, Ford. The power of movies, indeed. (And, John Ford, to be specific, whose cherished place in movie history can also be seen having an impact on a certain filmmaker as depicted in “The Fabelmans.”)

We also learn, from interviewed scholars (and English narration read by Jessica DiSalvo), how the Nuremberg courtroom was unprecedentedly set up to prioritize a film screen rather than a panel of judges, as well as to allow for simultaneous camera-and-sound recording of the hearings themselves. As courtroom dramas go, once the trial was underway, there may be no more powerful detail than the discernible impact Schulberg’s films—hours long assemblies called “Nazi Concentration Camps” and “The Nazi Plan”—had on the mostly unrepentant defendants’ demeanor. The evaporated smugness was one clue. The verdicts said it all.

But so has, in the years since, our collective understanding of scaled evil as people around the globe eventually saw the discovered film of book burnings, emaciated bodies, atrocities, and mass graves. What started as the Nazis’ sickly boastful record-keeping became, in the foresight of Jackson and the filmmaking diligence of the Schulbergs, the most shocking proof the world had ever seen of systemic inhumanity. According to DOJ lawyer Eli Rosenbaum, one of the film’s interviewees, the evidentiary principles Nuremberg forged are still guidelines today. (He’s now been tasked with prepping future accountability measures for the war in Ukraine.)

The power of film has one more twist, however, in “Filmmakers for the Prosecution” when it becomes a cautionary tale of how propaganda that was transformed into evidence, then into educational non-fiction, could be considered propaganda once more for a different reason. By the time Schulberg’s documentary retelling of that first trial was ready for wide release in 1948—with its riveting summary of historic accountability, including the starkest footage of Nazi evil the Schulbergs uncovered—the Cold War was in full swing. Any narrative that also presented, even truthfully, the Soviets as key allies was seen by the US government as sending the wrong message when Communists were now the enemy.

Effectively buried, only in the last decade has “Nuremberg: Its Lesson for Today”—thanks to Sandra Schulberg’s efforts—finally been released theatrically and made widely available. But that subtitle, now, thanks to Klotz’s sobering history, feels weightier than ever in this unsettling time for processing facts and manipulating the truth.

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In the months following the end of

Picture: MRC Film

Netflix has acquired Fair Play, a new movie that premiered during the Sundance Film Festival. The event is a great shopping opportunity for streamers and other studios to make acquisitions, and this is one of them. The movie in question is Fair Play, a drama starring Phoebe Dynevor and Alden Ehrenreich. 

The movie, written and directed by Chloe Domont (Ballers, Billions, Star Trek: Discovery), received many positive reviews from critics. One of them, from Variety said:

“Fair Play has much to say about the post-#MeToo world and has a lot of fun saying it. It’s one of the rare Sundance films that could totally break through in the real world,”

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Director Chloe Domont with stars Alden Ehrenreich and Phoebe Dynevor

Netflix’s Fair Play is produced by T-Street’s Leopold Hughes and Ben LeClaire, Star Thrower Entertainment’s Tim White, Trevor White and Allan Mandelbaum. T-Street’s Rian Johnson and Ram Bergman are the exec producers.

The movie has been one of two major acquisitions Netflix made at the Sundance Film Festival in 2023, with the other being Run Rabbit Run. They also debuted two upcoming documentaries at the festival. The movie was among the 99 scripted feature films that debuted at the Sundance Film Festival in 2023.

According to some sources, Fair Play reportedly cost Netflix $20 million, while others put it somewhere between $15 and $20 million. Fair Play shot in the first few months of 2022.

Here’s everything else we know about Netflix’s Fair Play:


What’s the Netflix release date for Fair Play?

Netflix hasn’t announced when they aim to release Fair Play on streaming just yet, but given prior Sundance pickups, it’ll be within the next 12 months.


What’s the plot of Fair Play?

Fair Play

A thriving New York couple Emily (Dynevor) and Luke (Ehrenreich) can’t get enough of each other. When a coveted promotion at a cutthroat financial firm arises, supportive exchanges between the lovers begin to sour into something more sinister. As the power dynamics irrevocably shift in their relationship, Luke and Emily must face the true price of success and the unnerving limits of ambition.

Here’s the official logline:

“An unexpected promotion at a cutthroat hedge fund pushes a young couple’s relationship to the brink, threatening to unravel far more than their recent engagement.”


Who is cast in Fair Play?

Fair Play 2

The cast in Netflix’s Fair Play consists of leads Phoebe Dynevor (Bridgerton), Alden Ehrenreich (Solo: A Star Wars Story), Eddie Marsan (Happy-Go-Lucky) and Rich Sommer (The Devil Wears Prada). Additional cast includes Geraldine Somerville, Jim Sturgeon, Sebastian de Souza, Sia Alipour, and more.


Are you looking forward to watching Fair Play on Netflix? Let us know in the comments down below.

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Picture: MRC Film Netflix has acquired Fair Play,

Last Updated: August 14, 2020, 20:35 IST

Dangerous

Cast: Karan Singh Grover, Bipasha Basu

Director: Bhushan Patel

Karan Singh Grover and Bipasha Basu’s web show Dangerous is described as a “psychological crime thriller” around the life of a “struggling” entrepreneur whose wife goes missing. His ex-girlfriend joins in to investigate the case and in the pursuit of truth, dangerous and hidden “secrets” are unveiled.

However, structure wise, there are many discrepancies in Dangerous, and the foremost of them is that the film doesn’t know what it wants to be. Despite being touted a thriller, it lacks slickness. Furthermore, the rough edges are left untouched.

The “struggling” entrepreneur, Aditya Dhanraj (Grover) is introduced to the audience as an Indian millionaire based in London. He lives in a posh bungalow called Dhanraj Estate, and is always dressed in sophisticated suits and expensive watches. You know, the typical rich person prototype used by Bollywood for years!

The film suffers from a convoluted narrative and relies too much on recycled-plots and the chemistry between the real life couple. While reteaming of the lead pair after Alone (2015) did create some buzz, they don’t really hit a common chord in Dangerous. Throughout the web show, they keep engaging in preachy conversations and discuss life in metaphors that don’t seem to have much impact on the narrative.

Dangerous doesn’t score well on the music front either, something that the makers are known for.

A bland and clichéd plot topped with forced sexual tension makes Dangerous a rather tedious watch.

Bipasha Basu talks about returning to acting after 5 years with husband Karan Singh Grover in the web series Dangerous. Posted by News18 on Thursday, August 13, 2020

The web show is streaming on MX Player.

Rating: 1/5

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Last Updated: August 14, 2020, 20:35 ISTDangerous Cast:

EXCLUSIVE: After playing one of the chefs behind a Chicago sandwich shopt in the FX series The Bear, Ayo Edebiri has found a new team to join as sources tell Deadline she has boarded Marvel Sudios’ Thunderbolts in a new secret role. Edebiri joins an ensemble that was announced during Disney’s D23 event this fall that includes Florence Pugh as Yelena Belova, Sebastian Stan as Winter Soldier, David Harbour as Red Guardian, Julia Louis-Dreyfus as Valentina Allegra de Fontaine, Wyatt Russell as US Agent, Hannah John-Kamen as Ghost and Olga Kurylenko as Taskmaster.

The film will bow on July 26, 2024. Marvel had no comment.

 Jake Schreier is set as director of the new Marvel tentpole. with Black Widow scribe Eric Pearson is penning the script with Marvel Studios President Kevin Feige producing. Not much is known about the plot of the film but in the comics, it revolves around a group of villains who are sent on missions commissioned by the government. 

The project marks Edebiri first major studio starring role following her critically-acclaimed role in The Bear. The role has earned her high-marks including a Critics Choice nomination and is expected to be a player in next years Emmy award season. Season 2 will premiere this summer on FX on Hulu.

On the film side, she recently appeared in Theater Camp opposite Ben Platt, which just had its premiere at the Sundance Film Festival. Following the premiere, the film became one of the bigger sales at the fest with Searchlight landing rights to distrib.

She is repped by CAA, Odenkirk Provissiero Entertainment and Range Media Partners.

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EXCLUSIVE: After playing one of the chefs

 

Great news! “18 Pages” is available to watch on Netflix UK!

 

Date Added: 26th January 2023

Known expiry dates are shown above as well as on the Last Chance page.

Want to keep forever? Try looking for ’18 Pages’ on Amazon (paid link)

 

Description:

When a heartbroken Siddhu stumbles upon a two-year-old diary, he finds himself drawn into the enigmatic world of a young woman named Nandini.

 

Certificate: Suitable for ages 12 and up

Year: 2022

Duration: 2hr 17m

Audio: Telugu [Original]

Subtitles: English

 

Cast and Crew

Director: Palnati Surya Pratap

 

Cast: Nikhil Siddharth, Anupama Parameswaran, Ajay, Sarayu Roy, Dinesh Tej, Brahmaji, Posani Krishna Murali

 

Production & Box Office Details:

“18 Pages” was produced by Sukumar Writings and GA2 Pictures and was originally released on December 23rd 2022.

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Watch the trailer for “18 Pages”

 

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After what has felt like a long 4 years, the Teen Wolf Pack is finally back. As “Teen Wolf: The Movie” is now streaming on Paramount+

As a writer who has been there since the show’s inception and is a big fan of the original series, of course finding out about a Teen Wolf Movie was music to my ears. But, the questions are, is it a good movie? Does it pay tribute to the series? Is it a good story? And does it finally give us closure. Let’s see.

“Teen Wolf: The Movie” takes place thirteen years after the events of the main show’s final season took place. Season 6 of the show was released in 2017, but the events depicted in the final season of Teen Wolf happened in 2013. At one point of the film Scott McCall (Tyler Posey) mentions it’s been 15 years since Allison Argent (Crystal Reed) died.

A terrifying new evil has emerged in Beacon Hills calling for the return of Alpha Werewolf Scott McCall, to once again reunite the Banshees, Were-coyotes, Hellhounds, Kitsunes, and other shapeshifters of the night. With new allies and trusted friends like Derek Hale (Tyler Hoechlin), Lydia Martin (Holland Roden), Jackson Whittemore (Colton Haynes), Malia Tate (Shelley Hennig), and the return of a long lost love, Scott and his pack just might stand a chance.” Unfortunately fan favorite Stiles Stilinski played by Dylan O’Brien and Kira Yukimura played by Arden Cho are missed.

Is it a good movie?

Courtesy of Paramount +

From the very beginning of the film you feel a sense of nostalgia as each character appears on the screen. You also feel a sense of nostalgia for the show itself, because just like with the show, the movie is full of entertaining and comedic moments, heartfelt and emotional scenes, and then we are thrust into the dark and gritty, action packed parts of the show. Each part balances each other out well in the movie just like in the series.

The movie has effortlessly pulled off a 15 year transition, smoothly continuing the story. We get to see each character 13 years later, Scott is stuck in a wistful state, at the same job running an Animal Shelter next to Deaton’s new veterinary clinic in LA.

Derek is dad now, and he’s got his own teenager to deal with, Eli Hale (Vince Mattis) Derek’s 15 year old son, Malia is dealing with commitment issues in her new secret relationship with a familiar face from the series, Deputy Parrish (Ryan Kelly) and Lydia is a successful girl boss working in a company that deals with sound energy, however one thing that fans are not going to be happy about, forget that, this Stydia (Stiles and Lydia) shipper is extremely disappointed in is that Lydia has left Stiles in order to protect him from a dream she had. This plot point is extremely dissapointing as the couple was built up over the past 6 seasons of Teen Wolf, and Davis chose to break them up for a completely ridiculous reason which partly might have something to do with the fact that O’Brien did not return for the movie.

Courtesy of Paramount +

Not to mention with an enhanced budget, the camerawork and CGI in the returning characters in the movie as well as the wolfing out scenes compared to the show has greatly improved. “When we did Teen Wolf, we tried to make every episode look like a movie, even on our limited budget. We didn’t have a Marvel movie sized budget for the movie either, so we were still pushing the boundaries of the budget.” Says the show’s creator and executive producer and writer Jeff Davis in an interview with Collider.

The movie sees some great stunts and intense action scenes especially between the werewolves. Crystal Reed in particular gets some exciting fight sequences, one in particular that takes place in a hospital. Allison was known for her skills with a bow and arrow and ring daggers, and we some well choreographed fight scenes from both her and the werewolves in the movie and sword fights.

With incredible performances from each of these actors, who step back into these roles as if never having left them.

Does it pay tribute to the series?

The movie’s plot is a great fan service in that it integrates many key aspects from previous seasons of Teen Wolf, and brings back almost all the show’s beloved characters for one final fight. We also get to see many callbacks and Easter eggs throughout the movie that fans of the series will enjoy. There’s quite a lot going on so as the story unfolds it takes time to put the pieces together, this way even someone who hasn’t watched the series can watch the show and enjoy it.

Davis spoke about his goal with the movie “One thing I wanted to do, that we did in the movie, was a lacrosse scene in a big stadium. We got our big stadium, and I was able to do that championship game. I also wanted to do really big life-or-death moments. And I wanted to just keep telling the story. One of the things that the movie allowed us to do was to tell a more compressed story. It’s fast-paced, even for 2 and a half hours. I’m really hoping the audience likes it.”

Is it a good story? — (***Spoilers if you click Read More**)

The ending brings a shocking and painful loss. One of the Teen Wolf fandoms favorite characters. This death honestly could have been avoided by the writers, who have clearly chosen a more dramatic angle. This is yet another move that fans are not going to be happy with, it is partly a very bold move and partly one that leaves me wishing I had stopped at season 6 when everything was simpler and Scott was being chased by hunters.

Seeing as though this movie is somewhat of a sequel to the series, it does do justice to the show and its beloved characters. While also introducing new ones, Eli in particular that we fall in love with. These characters are ones that we love and root for, and this movie has delivered a beautiful heart wrenching and intense story that Teen Wolf fans will love, and movies lovers will enjoy.

Does this movie give us closure?

I wouldn’t say this film completely delivers closure, some may prefer how things ended in season 6 after seeing this film, as we still don’t know what will happen with Stiles and Lydia, Malia and Parrish, who Eli’s mother is and how Allison coming back to life can even begin to be explained, but you do feel a sense of finality in the end, with the story of the of Teen Wolf pack finally wrapping up. It has it’s flaws but this was an interesting continuation and end, with the start of Eli’s story. and a new start to a new chapter in Beacon Hills.

After what has felt like a long