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Top Chef is heading across the pond for an all-star season with plenty of international flavor.

The Bravo cooking competition has revealed the cast for its upcoming Season 20, aka World All-Stars, with 16 former cheftestants from 11 different Top Chef editions across the globe. Among the returning all-stars are four from the American Top Chef: Season 16 finalist Sara Bradley, Season 18 finalist Dawn Burrell, Season 19 winner Buddha Lo and Season 13 finalist Amar Santana.

We have a premiere date as well: Top Chef will return Thursday, March 6 at 9/8c, with episodes available to stream the next day on Peacock. (Press PLAY above to get a sneak peek.) Host Padma Lakshmi, head judge Tom Colicchio and judge Gail Simmons all return for the international edition, which will take place in London before moving to Paris for the grand finale.

“With national pride and the title of World All-Stars on the line, the chefs are at the top of their game as they compete on a global stage,” per the official description. “They have access to the finest UK ingredients as they showcase their culinary skills, diverse roots and international influences in a series of high-pressure challenges.”

Read on to get the full menu of Season 20 cheftestants, and tell us in the comments: Who are you rooting for?

* Samuel Albert (winner, Top Chef France Season 10)
* Luciana Berry (winner, Top Chef Brazil Season 2
* Sara Bradley (finalist, Top Chef Season 16)
* Dawn Burrell (finalist, Top Chef Season 18)
* Ali Ghzawi (winner, Top Chef Middle East & North Africa Season 3)
* Tom Goetter (finalist, Top Chef Germany Season 1)
* Nicole Gomes (winner, Top Chef Canada Season 5: All-Stars)
* Victoire Gouloubi (finalist, Top Chef Italy Season 2)
* Charbel Hayek (winner, Top Chef Middle East & North Africa Season 5)
* Buddha Lo (winner, Top Chef Season 19)
* Dale McKay (winner, Top Chef Canada Season 1)
* May Phattanant Thongthong (finalist, Top Chef Thailand Season 1)
* Begoña Rodrigo (winner, Top Chef Spain Season 1)
* Gabriel Rodriguez (winner, Top Chef Mexico Season 2)
* Amar Santana (finalist, Top Chef Season 13)
* Sylwia Stachyra (winner, Top Chef Poland Season 7)

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Top Chef is heading across the pond

Women filmmakers are taking the reins of their destinies in Hollywood, with many stepping behind the camera and creating stories universal to the human condition. But it has been a slow-moving machine to see these talents recognized at the Oscars, especially in the best director category.

In the 95-year history of the Academy Awards, there have been 591 films nominated for the top prize for best picture. Eighteen of those films were helmed by a woman director. While grotesque in its mere statistic, we see an uptick in female-led stories being told and gaining notoriety.

For the 2023 Oscars, the highlights for women include: 

The best picture nod for “Women Talking” represents the seventh for Dede Gardner (and the sixth for Jeremy Kleiner). Together, they won the award for “12 Years a Slave” (2013) and “Moonlight” (2016), and shared noms for “Selma” (2014), “The Big Short” (2015) and “Vice” (2018). Gardner was also previously nominated for “The Tree of Life” (2011). Also a producer, Frances McDormand received her second nom for best picture, previously winning for “Nomadland” (2020).

Although not directed by a woman, “Elvis” producer Catherine Martin becomes the seventh woman with nominations in three or more award categories following Jane Campion, Sofia Coppola, Emerald Fennell, Barbra Streisand, Fran Walsh and Chloé Zhao (4). Martin is also nominated for production design and costume design. Mandy Walker, the D.P. of “Elvis,” is the third woman nominated for cinematography after Rachel Morrison (“Mudbound”) and Ari Wegner (“The Power of the Dog”).

The late Lina Wertmüller, who became the first woman Oscar-nominated for directing with “Seven Beauties” (1975), was a trailblazer for the category in what is arguably one of the strongest film years in the Academy. However, her film didn’t ultimately land one of the five coveted spots for best picture, in favor of eventual winners “Rocky,” “All the President’s Men,” “Bound for Glory,” “Network,” and “Taxi Driver.” The first movie wouldn’t come until Randa Haines’ “Children of a Lesser God” (1986).

Below, find all 19 women-directed films nominated for best picture.

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Women filmmakers are taking the reins of

It’s no secret that movies are expensive to make. Today’s blockbuster hits routinely exceed the $100 million mark. If you’re an independent filmmaker, your spending plan is likely far from that. 

Indie filmmakers need to get creative and be resourceful with their financing. Every dollar matters when creating the next “Blair Witch Project” or “Paranormal Activity.” 

Use these six ways to fund your next indie film successfully.

1. Investors

The first way to find funding for an independent film is to search for private investors. This method is complex because they consider movies to be high-risk. In their minds, the odds are low for profit-making. It’s critical to create a compelling and worthwhile script so people have a reason to believe in you and your production.

Exhaust every option possible for funding when searching for investors. In the best-case scenario, filmmakers find people passionate about movies who want to see newcomers succeed in the industry. Other stakeholders may use your film as a way to diversify their portfolio. Think about any relatives or connections you have who can finance your film dreams.

2. Grants

Another strategy to secure financing is to look for grants. These funds are ideal because filmmakers can accept them without the burden of paying somebody back. It’s best to think about grants like a donation. They are an excellent way to start your production but may require you to fulfill particular criteria.

One resource you can use is Film Independent. This nonprofit organization awards nearly $1 million in grants annually for filmmakers to advance their projects. Film Independent has various fellowships funded by donors who award money based on certain requirements. For example, the Alfred P. Sloan Foundation awards filmmakers who create real stories about science and technology. The Cayton-Goldrich Family Foundation Fellowship donates funds to Jewish filmmakers.

3. Tax Credits 

The next approach for funding an indie film is to research tax credits. Filmmakers in the United States, Canada and other nations can take advantage of incentives for filming in particular locations. These tax breaks aim to stimulate economies and boost tourism in various places, especially during the offseason when there are fewer tourists.

 Most states have a tax incentive program for filmmakers, but it’s essential to research the requirements before beginning production. There may be a minimum threshold to qualify. For example, an independent film in California has to spend at least $1 million to receive the transferable tax credit. Neighboring Arizona has no minimum spending requirement.

4. Personal Finance 

You may need to resort to a personal loan if a gap in funding exists. This option is tricky because you’ll risk your money and credit. However, it’ll be worth it if your production is as successful as you plan. You could also use money from your pocket to get the show started. Financing the film by yourself is risky but has its advantages. You’ll start the project sooner and worry less about outside forces influencing your movie.

There are a few things to consider if you elect to take out a loan. First, filmmakers should assess their current debts and pay off some of them before taking on more. Start by paying off high-interest loans, such as a car note. Absolving yourself from this debt can raise your credit score and improve your standing with the banks.

Paying off the high-interest loan first falls under the debt avalanche strategy. Followers of this method organize a list of their debts and make minimum monthly payments for each. Then they allocate extra funds to pay them off by interest rate. The avalanche continues until all the debt is gone.

5. Crowdfunding

Another option for funding an independent film is crowdfunding. This method is commonplace among filmmakers who need financial assistance for their movies. Modern crowdfunding apps like GoFundMe, Patreon and Indiegogo make it much easier to source funds for any projects in media. Donors may only contribute a few dollars at a time, but these donations add up quickly.

Filmmakers should heavily utilize social media like Twitter, Tik Tok, Reddit and more to share their crowdfunding links. Going on YouTube can help you reach a broad audience. A smartly targeted campaign can make a crowdfunding link go viral with a plethora of donors. One way to incentivize small donors is by giving them a cut of profits, making them small investors. However, filmmakers should be wary if they’re on a tight budget.

6. Product Placement

Product placement is a creative way to garner funds for an indie film. These subtle advertisements are widespread in the industry, and filmmakers can use them to accrue money without interfering too much with production. Some product placements are more evident than others and lead to an association between them and the movie. For example, seeing an Aston Martin makes many people think about the James Bond films.

Sometimes, movies center on a particular product and feel like a two-hour advertisement. For example, the Lego and Transformer films are ads for their respective toys. However, some product placements like the DeLorean in “Back to the Future” don’t turn out well for different reasons.

Financing the Next Breakout Indie Film 

Up-and-coming filmmakers are critical for the movie industry. They provide fresh ideas and can produce some of the best productions on the lowest budgets. They’re rare, but some films like “Tarnation” or “Paranormal Activity” have meager budgets but garner exceptional box office revenue.

If you want to create the next big hit, you’ll need funds. Use these six ways to secure financing for your production.

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It’s no secret that movies are expensive

THE US has agreed to send 31 battle tanks to Ukraine just hours after Russia threatened nuclear strikes on the West.

President Joe Biden announced today the US will be sending 31 advanced M1 Abrams tanks worth over £300 million, as part of the western effort to support Kyiv.

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The US agreed to send 31 M1 Abrams tanks to UkraineCredit: EPA
Germany will send 14 Leopard 2 tanks

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Germany will send 14 Leopard 2 tanksCredit: AP

Biden said the battle tanks are to help Ukrainian fighters “improve their ability to manoeuvre in open terrain.”

The Ukrainian leader Volodymyr Zelensky thanked the US for the “powerful decision” and tweeted: “It’s an important step on the path to victory.”

The US move follows Germany’s decision to send 14 Leopard 2 A6 tanks to war-torn Ukraine.

Bowing to international pressure, and calls from President  Zelensky, German chancellor Olaf Scholz said will send the tanks to Ukraine, plus spare parts and ammo, and lift a ban on other countries sending theirs.

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The head of Ukraine’s presidential administration Andriy Yermak hailed the tank announcements as a “historic day” and wrote on Telegram: “One of those days that will determine our future victory.”

But the move sparked fury among Russian propagandists who issued a chilling nuclear warning to Germany.

A high-profile Putin mouthpiece demanded Berlin’s Bundestag parliament should be reduced to radioactive ash in retaliation.

While Moscow TV pundit Yevgeny Satanovsky said warheads should be launched at the centre of German democracy.

The goal is for Germany and its allies to provide Ukraine with 88 of the German-made Leopards, ahead of a possible spring counter-offensive.

“This is the result of intensive consultations, once again, with our allies and international partners,” Chancellor Scholz said in an address to German lawmakers.

Scholz spoke on the phone with US President Biden, French President Emmanuel Macron, British Prime Minister Rishi Sunak and Italian Prime Minister Giorgia Meloni and agreed to continue military support to Ukraine, the German chancellery said in a statement.

Meanwhile, Norway will also join other European countries and will send Leopard 2 battle tanks to Ukraine as part of Western aid, its defence minister announced Wednesday.

Speaking in an interview with Norwegian public television NRK the country’s defence minister Bjorn Arild Gram said: “Norway and the government support the donation of battle tanks to Ukraine. Norway will take part.”

The UK is already sending 14 Challenger 2s, answering Zelenksy’s plea for more modern weaponry.

Altogether, France, the UK, the US, Poland, Germany, the Netherlands and Sweden will send hundreds of tanks and heavily armoured vehicles to support Ukraine.

Germany’s Leopards, fielded by armies across Europe, are widely seen as the best option as they are available in large numbers and easy to deploy and maintain.

Around 2,000 Leopard 2 tanks are in use by Ukraine’s allies.

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Other countries that use Leopards include Canada, Sweden and the Netherlands, which have all sent weapons to Ukraine.

Tank maker Rheinmetall said it could offer 51 Leopard 2 and 88 older Leopard 1 tanks over the next 12 months.

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THE US has agreed to send 31

Atlantic Records has revealed the first single and album tracklist from “Daisy Jones & the Six,” the upcoming Amazon Prime Video series about a fictional ’70s band of the same name, along with its official teaser trailer.

Based on Taylor Jenkins Reid’s 2019 novel, “Daisy Jones & the Six” follows “the rise and precipitous fall of a renowned rock band,” according to the show’s official logline. Now, fans of the book will get to listen to the band’s music for the first time through lead single “Regret Me,” a dreamy duet between Jones (Riley Keough) and Billy Dunne (Sam Claflin). Keough and Claflin’s voices blend together breezily over an instrumental that evokes the prime of ’70s rock ‘n roll, singing: “You regret me and I regret you/ You couldn’t handle your liquor and you can’t see the truth.”

“Regret Me” is featured in the limited series’ official teaser trailer, which also debuted on Wednesday. The clip shows glimpses of the band on tour and recording together, highlighting the tumultuous relationship between Keough and Claflin’s characters, as well as a look at the series’ documentary style. “Look, I know that I said that I would tell you everything,” Daisy Jones says during an interview scene. “But how much of everything do you really want to know?”

The release of “Regret Me” also comes with the announcement of “Aurora,” the band’s 11-song debut album that arrives with the show’s premiere on March 3. Along with Keough and Claflin, “Daisy Jones & the Six” stars Suki Waterhouse, Will Harrison, Josh Whitehouse and Sebastian Chacon, who became a band both on-screen and off.

The production of “Aurora” was helmed by Grammy-winning songwriter, producer and multi-instrumentalist Blake Mills at L.A.’s iconic Sound City Studios, with co-writing credits from Marcus Mumford, Phoebe Bridgers and Jackson Browne. Frequent Bridgers collaborator Tony Berg provided additional production, and the album features instrumentalists from Rilo Kiley, the Who, Nine Inch Nails, Pearl Jam, David Bowie, Elton John, Jeff Beck and the Wallflowers.

“Creating the library of music for ‘Daisy Jones and the Six’ was an experience I’ll never forget,” Mills said in a statement. “I am grateful that, among other things, it afforded me an opportunity to collaborate with so many of my peers, and also some of my heroes.”

Jenkins Reid added, “We finally have ‘Aurora.’ A stunning, nostalgic, timeless album that captures the drama, pathos and yearning of the band’s zenith and nadir all in one. A snapshot of time, intoxicating and dangerous. That delicious moment that you know can’t last… Daisy Jones and the Six are real. And they are better than my wildest dreams.”

Atlantic Records

From Amazon Studios and Hello Sunshine, “Daisy Jones & the Six” is executive produced by Reese Witherspoon and Lauren Neustadter for Hello Sunshine and Brad Mendelsohn for Circle of Confusion. Scott Neustadter and Michael H. Weber created the series based on the novel by Jenkins Reid, who also produces. Scott Neustadter is executive producing and co-showrunning with Will Graham, who also serves as an executive producer.

“Daisy Jones and the Six” premieres March 3 on Amazon Prime Video, with new episodes every Friday through March 24.

See the full tracklist for “Aurora” below.

  1. “Aurora”
  2. “Let Me Down Easy”
  3. “Kill You to Try”
  4. “Two Against Three”
  5. “Look at Us Now (Honeycomb)”
  6. “Regret Me”
  7. “You Were Gone”
  8. “More Fun to Miss”
  9. “Please”
  10. “The River”
  11. “No Words”

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Atlantic Records has revealed the first single

Critical Role, a media company behind the acclaimed animated series “The Legend of Vox Machina,” has scored a multiyear exclusive overall television and first-look film deal with Amazon Studios.

Under the agreement, Critical Role will produce an animated television series based on its highly successful livestream campaign “Mighty Nein,” which follows a group of criminals and misfits who are the only ones who can prevent the kingdom from plunging into chaos when an arcane artifact capable of reshaping reality falls into the wrong hands. Watch a teaser trailer for the show above.

“Mighty Nein” will be executive produced by Tasha Huo, Sam Riegel and Travis Willingham alongside Metapigeon and Amazon Studios. Chris Prynoski (“The Legend of Vox Machina”), Shannon Prynoski (“Fairfax”), Antonio Canobbio (“Arlo the Alligator Boy”), and Ben Kalina (“Big Mouth”) at Titmouse will also executive produce.

The series, which will soon begin production, is slated to premiere on Prime Video in more than 240 countries and territories worldwide.

Additionally, Critical Role will develop its own original television shows, films and content under its Metapigeon production banner while continuing to partner on a new slate of projects both in and outside the Critical Role Universe.

“Expanding these iconic franchises for our global Prime Video customers continues to be an ambitious and rewarding journey and we are eager to see where this new series takes us,” Amazon Studios head of global television Vernon Sanders said in a statement.

“The Legend of Vox Machina,” which is produced in partnership by Metapigeon and animation production company Titmouse, aired in January 2022 exclusively on Prime Video. Season 2 premiered on Jan. 20 and Season 3 was officially announced at New York Comic Con and is currently in production.

“Seeing the stories and characters from our first campaign come to life in The Legend of Vox Machina was a dream realized, and we are absolutely buzzing with excitement to do it again with Mighty Nein,” Critical Role co-founder and CEO Travis Willingham said in a statement. “With today’s announcement, we’re confident that the stories we tell will keep expanding into realms of entertainment beyond what we can even imagine.”

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Critical Role, a media company behind the

As Mike Pence became the third present or former White House official to be caught mishandling classified documents this week, “The Late Late Show With James Corden” host James Corden couldn’t help but wonder who else out there might be taking high-level secrets home with them when leaving the White House.

“Even more classified documents have been found. This time, it was at the Indiana home of former vice president Mike Pence. Honestly, I’m starting to wonder if I have classified documents in my house!” Corden said. “What is happening?”

News broke Tuesday that about a dozen documents containing confidential information were found at Pence’s home. According to two letters Pence’s counsel sent to the National Archives, a “small number” of classified documents were discovered on Jan. 16 at the former vice president’s home. Two days later, his team notified the National Archives, who then notified the Justice Department. FBI agents retrieved the documents from Pence, and his team turned over additional boxes to the National Archives, as well.

“Is everyone just handed a box when they leave the White House? Like, ‘Thanks for coming, here’s some state secrets,’” Corden continued, incredulously.

The “Late Late Show” host then joked that he wouldn’t be surprised with every politician in our nation’s capitol is gifted with some classified documents to bring home with them. But his thesis came with one hilarious exception: Vermont senator and former presidential candidate Bernie Sanders.

“At this point, there are so many people, I just assume every politician has top secret documents in their house, right?” Corden said. “Except for Bernie Sanders, who left his at the park under the watchful eye of a few pigeons.”

Watch Corden’s full opening “Late Late Show” monologue in the video above.

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As Mike Pence became the third present

The Ark looks like a throwback to the good old days of sci-fi series on Syfy.

The cable network released the first five minutes of the new drama, and we’re convinced.

We pick up with a catastrophic event that awakens Lt. Sharon Garnet (Christie Burke) from her slumber.

Unfortunately, the event could lead to a loss of life, and Sharon is ready to go to any lengths necessary to save as many people as possible.

It’s a high-stakes situation and one that requires a lot of attention.

There are tears as some of her colleagues lose loved ones, but Sharon has to think about the needs of the many as she battles to make the spaceship liveable, even for a short time.

Created by Dean Devlin, The Ark takes place 100 years in the future when planetary colonization missions have begun as a necessity to help secure the survival of the human race.

The first of these missions on a spacecraft known as Ark One encounters a catastrophic event causing massive destruction and loss of life.

With more than a year left to go before reaching their target planet, a lack of life-sustaining supplies, and loss of leadership, the remaining crew must become the best versions of themselves to stay on course and survive.

The cast of The Ark also includes Richard Fleeshman, Reece Ritchie, Stacey Read, and Ryan Adams.

Dean Devlin (Independence Day, Stargate) and Jonathan Glassner (Stargate SG-1) are co-showrunners and executive producers alongside Marc Roskin and Rachel Olschan-Wilson of Electric Entertainment.

Jonathan English of Balkanic Media and Steve Lee serve as producers.

Check out the five-minute sneak peek below.

What are your thoughts on the first five minutes?

Will you be watching the show when it premieres?

The Ark premieres on February 1, only on Syfy.

Return to TV Fanatic for full reviews as the episodes air.

Paul Dailly is the Associate Editor for TV Fanatic. Follow him on Twitter.

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The Ark looks like a throwback to

Last Updated: January 25, 2023, 22:36 IST

Sonam Kapoor and Anand Ahuja are proud parents to Vayu.

Anand Ahuja is missing his wife Sonam Kapoor and their little one Vayu. He recently shared an unseen photo of them.

Sonam Kapoor welcomed a baby boy last year with her husband Ahuja. Time and again, the proud parents often share glimpses of their little one, without revealing his face. Today, Anand shared an unseen photo of the mother-son duo. Sharing the photo, he captioned with Kahlil Gibran’s verses on children. The verses read, “Your children are not your children. They are the sons and daughters of Life’s longing for itself…They come through you but not from you,..And though they are with you yet they belong not to you….You may give them your love but not your thoughts, For they have their own thoughts….You may house their bodies but not their souls, For their souls dwell in the house of tomorrow, which you cannot visit, not even in your dreams…”.

Take a look:

“You may strive to be like them, but seek not to make them like you…For life goes not backward nor tarries with yesterday…You are the bows from which your children as living arrows are sent forth…The archer sees the mark upon the path of the infinite, and He bends you with His might that His arrows may go swift and far. Let your bending in the archer’s hand be for gladness; For even as He loves the arrow that flies, so He loves also the bow that is stable.” #KhalilGibran #OnChildren..”

On a closing note he shared, “I read this years ago and have always remembered it. Saved it so I could always refer to it and now so grateful to put it into practice w @sonamkapoor … missing you both too much. #VayusParents #EverydayPhenomenal ”.

Sonam looked cute in striped pyjamas as she hugged her son with all the love and affection. On seeing the photo, she took to the comments section and wrote, “Love you so much #everydayphenomenal”. Meanwhile, Sonam’s sister Rhea Kapoor wrote, “Happiest boy ❤️”

Sonam welcomed Vayu last year with Anand. The actress often shares adorable family photos and drops glimpses of the little one. Earlier, the actress took to her Instagram handle to send out New Year wishes to fans with a cute photo of Vayu and Anand. She wrote, “My two Leos. My whole . Last year was so special for us. A late wish to everyone but a very happy new year. Life is just getting better everyday. Thank you god , universe .. I’m forever grateful for my life and for everything that has been given to me. Everyday is truly phenomenal. #eveydayphenomenal #vayusparents #godsblessings #parentsblessings #2023.”

Meanwhile on the work front, Sonam Kapoor will soon be seen in ‘Blind’. According to reports, “Blind,” is a Bollywood remake of the 2011 Korean action thriller which also goes by the same name. The movie will also star Purab Kohli and Vinay Pathak as pivotal characters. The story revolves around a woman who loses her sight after a car accident, only to find her other senses develop, which enable her to team with the police in an ongoing investigation. The film has opted for a direct-to-OTT release this year.

Read all the Latest Movies News here

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Last Updated: January 25, 2023, 22:36 ISTSonam

S.S. Rajamouli found himself in awe that James Cameron loved and analyzed his work when he had a very warm conversation with him.

One of Netflix’s runaway hits of the year was the Bollywood action epic RRR. Chances are, even if you haven’t seen it, you have likely seen people’s reactions to it and even clips being shared from an insane animal unleashing scene. The film caught on like fire with American audiences and has even been nominated for Best Original Song for this year’s Academy Awards. Director S. S. Rajamouli is flying high with the attention, especially when someone like James Cameron loves your work and praises you for it, which is what happened, according to ComingSoon.

A video clip is currently making the rounds that is showcasing the Avatar: The Way of Water director giving a very warm reception to Rajamouli as the two meet at the 2022 Critics Choice Awards. Like many film buffs, Rajamouli cites Terminator as a favorite of his and names that, along with Titanic and Avatar, as inspirations to him. Cameron would then go on to gush about his favorite aspects of RRR.

Rajamouli, in turn, gushes about Cameron’s praise. He can be heard in the video clip exclaiming, “These words from you are more than an award for me. I mean, I can’t believe that you saw the film, and you’re analyzing my film. Oh my god.” Cameron adds how much he loved the score for the film, composed by M.M. Keeravani, calling it amazing and said it even made him want to stand up at certain moments. “I like the music to kind of stay out of the way and kind of come in and support when the audience is already feeling something, so it builds the theme. But you’re using the music very differently. He opens his eyes, boom! And you go with it, it’s like you feel like standing up. There are moments in that film where I just had to get up. I’m talking about watching it at home, I’m standing up!”

ComingSoon caps off the encounter with Cameron “congratulating them on how it must feel to have captured the praise of the entire world and telling Rajamouli that if he ever wanted to make a film in the United States, they could talk.”

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S.S. Rajamouli found himself in awe that

Netflix has defended freezing cold conditions on an outdoor U.K. set where its real-life Squid Game unscripted series saw contestants sustain injuries while competing as winter temperatures plunged below zero.

On Wednesday, the streamer and its co-producers pushed back on claims in The Sun tabloid newspaper that players had been severely injured during production on a former air force base near Bedford, in England’s eastern region, during a rare cold snap.

“We care deeply about the health and safety of our cast and crew, and invested in all the appropriate safety procedures. While it was very cold on set — and participants were prepared for that — any claims of serious injury are untrue,” Netflix and Studio Lambert, which is co-producing Squid Game: The Challenge along with The Garden, said in a statement to The Hollywood Reporter.

The unspecified freezing weather injuries on set took place during filming of the memorable Red Light, Green Light game, which appeared in the first episode of the original Squid Game series. Netflix defended the on-set conditions, with producers insisting no one was stretchered off, as The Sun claimed in its original report.

The reality TV version of Squid Game, the original popular Netflix survival series out of South Korea, has 456 players from around the world competing in a series of games for the chance to win $4.65 million. Netflix casted contestants from around the world who speak English to ensure they can follow gameplay directions issued on set via a loud-speaker, similar to the series.

The original Squid Game series told the story of a divorced father and gambler (Lee Jung-jae) who enters a secret competition where 456 players compete in a series of playground games such as tug of war. The losers of each round are executed until just one victor remains. The series was a global hit and has been renewed for a second season at Netflix.

Squid Game: The Challenge is a co-production between Studio Lambert (The Circle) and The Garden (24 Hours in A&E), part of ITV Studios, and is being filmed in the U.K. Stephen Lambert, Tim Harcourt and Toni Ireland from Studio Lambert; and John Hay, Nicola Hill and Nicola Brown from The Garden are executive producers.

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Netflix has defended freezing cold conditions on

Episode two packed in quite the punch on Sunday night. It rallied in more than 5.7 million viewers, which was up 22% from the series debut last week. Giving it the title of the largest 2 week audience growth for an original drama series for HBO/HBO Max in its history. Last week set the tone for the series perfectly and the opening sequence this time did not disappoint. Let’s dive right in.

Spoilers below… stop reading if you haven’t seen the episode.


The Point of No Return

Courtesy of HBO/HBO Max

We are taken back in time again to Jakarta, Indonesia, September 24, 2003. Where we are at the beginning of the outbreak and meet Ibu Ratna (Christine Hakim), who is a professor of mycology at the University of Indonesia. She is taken from a café by the police officers and this is when the dread sets in knowing these officers took her for a reason. We see her taken into a private facility where she is told to inspect something under a microscope. There she discovers through her years of knowledge and experience that this in fact Ophiocordyceps. A fungus that at that point in time can only infect insects, not humans. She is perplexed and then goes in with protective gear to examine an unknown woman’s body, who has a bullet hole in her head and bite mark on her leg. The bite mark looks unusual to her so she further inspects and sticks some tongs into her throat where she pulls out tendrils looking to curl their way onto anything with a pulse.

She drops the tongs in fear and amazement knowing at this exact moment that this human got infected with this particular fungus. After we see her sit down with the officer who brought her in. He explains to her that this happened at a flour and grain factory outside  the city. Let’s take it back to the first episode where we saw Sarah and her neighbor making cookies. This is how we learn how this became worldwide and everything becomes full circle. The flour from that factory went worldwide infecting everyone.

He gets into detail explaining to her that one woman became violent all of sudden and started attacking people. We know now how easily one virus can travel between people from our very own COVID 19 pandemic. She then asks how many workers are missing in hope that maybe they will be able to contain this. He says 14 and that they brought in a few for observation, but them were put down due to their violent nature.

It is in the perfect pin drop moment that she knows that there is no hope left to save us. She tells the officer with shaking hands that there is no cure or medicine. That they need to bomb the city with everyone in it to stop the spread, killing millions. They are at the point of no return and need to prepare for the worst. In this final moment that perfectly spans into our time we see how she finally accepts the imminent future for us and asked the officer to drive her home to be with her family. The sense of  lost hope and potential collapse of civilization can be felt here and the acting was top tier.

The World We Live In Now

Courtesy of HBO/HBO Max

We are brought now into our present time. We see Ellie (Bella Ramsey) be interrogated by Joel (Pedro Pascal) and Tess (Anna Torv). They want to know how she is infected and not turning. She explains it to them but Joel seems to not believe it. Tess wants to know why she is so important to the Fireflies. She tries to scare Ellie telling her that Joel and her are not good people. Finally Ellie says that there is a Firefly camp out West working with with scientists for a vaccine and what they found in her is the cure that they need to end this. Joel says its all nonsense but Tess seems to believe her. Tess finally makes Joel accept that this can actually be real.

They finally go outside and you can see in the daylight the complete destruction of the city. We also see from the advice of Dr. Ratna that that the governments bombed all the major cities to stop the outbreak from spreading. It clearly did not work and we are left with giant craters where Ellie explains that “it looks like a fucked up moon”. Kudos to the cinematographer Ksenia Sereda, production designer John Paino for giving us this beautiful yet devastating world and putting it all together straight out of the game. We are then met with screams where we learn that this is the injected.

They start to walk through this city to meet up with the remaining Fireflies as promised by Marlene at the Capital Building. They are blocked by every turn due to the toppled over skyscrapers and collapsed buildings. Everything that is overrun with vines and fungus and that we built in ruin. The trio then enters a completely run down grand hotel which is semi-submerged in water. They trek through muddy green waters and Ellie tells them like in the game, that she doesn’t know to swim. She finally realizes she can walk through it. They make it to the tenth floor but are blocked by debris and falling walls. Tess decides to go through to find a way out. While she is gone Ellie tries to bond with Joel but he is reluctant and guarded. Tess finally comes back with a way out for them. They then come to the balcony, looking down at a a big group of injected swarming around. It is then Ellie realizes that they are all connected.

Fear of the Unknown

Courtesy of HBO/HBO Max

Tess then explains to them that they are indeed connected and that the fungus grows underground miles and miles long through a network of fungal threads. You can step on one and they all know where to find you. That horrifying fact paralyzes them from a second. The gravity hits Ellie like a freight truck. All of them then decide to head into the museum as a shortcut to the Capital Building. We see fungus all throughout the vines and grass. Joel says its bone dry so they think they are indeed safe. Tess however warns Ellie to stand guard anyway because she even knows what lies beyond in the dark. They make their way inside the museum and fans of the game already know what to expect. However the jump scare comes pretty quickly when we hear that horrifying clicking sound nearby.

They come across a dead man who has been torn apart and Joel then finally realizes that the clickers did this. He tells everyone to keep quiet and they make there way through the museum. Trying to be as silent as possible but failing when falling debris comes crashing down on them. The anticipation and fear sets in when we hear the dreaded clicking sounds of the nearby clickers. These are no ordinary clickers that we have seen and are blind but have extremely sensitive hearing. Due to the falling debris they become aware that humans are near them. The trio start to fight the incoming injected but Ellie gets bitten. She says  “well, if it had to happen to one of us,” knowing of her immunity.

The Kiss of Death

They get outside and Tess starts to act strange with Joel telling him that for once “take the good news and that we can actually win”. They finally get out and make their way over a wooden bridge to the Capital Building where they are then met with dread. All over we can see dead firefly solders.  The feeling of hopelessness returns because they were supposed to be done and deliver Ellie to them. Joel decides they are done and going back to QZ, but Tess fights with him and tells him that “their luck had to run out sometime”. With that realization Ellie knows that Tess is infected from the last fight. Defeated Tess shows them the bite mark right between her shoulder and neck. Tess pleads with him to take Ellie to Bill and Franks to convince them that this real. To give a humanity a fighting chance. One of the dead soldiers wakes up and Joel shoots him which then activates the fungus on the ground. With that horrifying realization Joel says they only have a minute before then swarm in. Tess starts to throw gas on the floor, tells them that she is going to sacrifice herself and tells Joel to “save what you can save”.

Joel then takes Ellie running off who screams not to leave her.  In one of the most tragic and horrifying last scenes we see Tess try to light the gas, when suddenly injected start to swarm in. One sees her and gets close to her, Horrified she sees the fungus come out of his mouth coming towards her. He then kisses her while when she finally lights the gas creating an explosion and engulfing everyone in flames. Outside we see Joel and Tess watch in horror of what is happening and the outcome of what they need to do.

Here is a preview that HBO/HBO Max has provided us with below:

Cast includes 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 in the series.

Brace yourselves because we are going to be in for quite a ride. New episodes of HBO’s The Last of Us will be airing on Sunday at 9:00 PM EST, running up to the Season 1 finale on March 12, 2023.

 

Episode two packed in quite the punch

The 95th Academy Award Nominees are here, and this year like most, the frontrunners for the Oscars are very clear, but what about those who didn’t get their chance? Let’s take a look at some of the biggest snubs for the 2023 Oscars.

“Everything Everywhere All at Once” leads the nominees with 11 nominations, “All Quiet on the Western Front” and “Banshees of Inisherin received 9”, “Elvis” 8 and “The Fabelmans” 7, but where were the nominations for films like “The Woman King”, “Till”, “Hustle”, “The Menu”, “Where the Crawdads Sing” and “Devotion”? They all deserved a nod, maybe not in best picture but each were worthy of oscar nominations. This year’s Oscars seemed to focus mainly on blockbusters and mass market movies unlike previous years.

Female Directors Overlooked
One of this year’s biggest snubs seem to br Female Directors. The Best Director category doesn’t include any films helmed by female directors. Although the film “Women Talking” received a Best Picture nomination, director Sarah Polley did not receive a Best Director nod. “Aftersun” director Charlotte Wells, “The Woman King”‘s Prince-Bythewood, “Till”’s Chinonye Chukwu and “She Said”‘s Maria Shrader also did not receive any nominations including Best Director.

Viola Davis Snubbed
Despite receiving and BAFTA nominations for her performance in The Woman King, incredibly talented Oscar Winning Actress Viola Davis did not receive a Best Actress nomination despite a brilliant performance in “The Woman King”.

Olivia Colman Snubbed
Oscar Winner Olivia Colman was not able to pick up an Oscar nomination this year despite receiving a Golden Globe nomination for her role in Empire of Light.

Tom Cruise Doesn’t Land A Nomination
“Top Gun: Maverick” landed Best Picture and Best Adapted Screenplay nominations, but was snubbed for Best Cinematograph, and Tom Cruise himself who starred and produced the highflying sequel sadly did not receive any nods for Best Actor despite delivering a stellar performance in the film.

Taylor Swift Breaks Up with The Academy
Fans were just giddy with the thought of seeing Lady Gaga, Rhianna and Taylor Swift perform at the 2023 Oscars, if all 3 landed nominations. Although Gaga and Rhianna have been nominated for their songs in “Top Gun: Maverick” and “Wakanda Forever” respectively, Taylor’s song “Carolina” from “Where the Crawdads Sing” was Snubbed despite receiving nominations from the Golden Globes and Critics Choice Awards. Another snub for Taylor that was previously announced when the Oscars shortlist was released is for her short film “All Too Well: The Short Film”, despite receiving a Hollywood Critics Association nomination and 5 wins at the VMAs she was denied a nomination for Best Short Film.

No Best Picture Nom For Marvel
“Black Panther: Wakanda Forever” is nominated for 5 Oscars, including a well deserved Supporting Actress nomination for Angela Basset, a Best song nomination for Rihanna’s “Lift Me Up” and nominations for visual effects, make up and costume design. However the Marvel hit was denied a spot at the Best Picture table and Director Ryan Coogler was snubbed for Best Director.

Courtesy of Universal Pictures

The Academy Denied Pal Dano, Again
The Fabelmans received a slew of nominations, among them a Best Supporting Actor nomination for Judd Hirsch, despite him not being a main cast member, and yet Paul Dano was denied a nomination, Dano delivered an emotional performance in the film. This is not the first time the Academy has overlooked Dano, both in “There Will Be Blood” in 2008 and in 2016’s “Love & Mercy”, he was denied a nomination from the Academy. His role as Spielberg’s father in “The Fabelmans” should have earned him an Oscar nomination this time.

The Academy looks away from Till 

It seems like the Academy completely forgot about the 2022 movie Till, The harrowing true story of Mamie Till-Mobley’s relentless pursuit of justice for her 14-year-old son, Emmett Till, who was brutally lynched in 1955 while visiting his cousins in Mississippi. Aside from director Chinonye Chukwu being another female director who was snubbed for best director, and the film being snubbed for best adapted screenplay, the film’s star Danielle Deadwyler delivered a powerful performance, it seems the Academy did not think it earned her a nomination for Best Actress.

The Whale Snubbed for Best Picture 

Surely everyone is thrilled that Brendan Fraser is nominated for Best Actor. On top of that Hong Chau received a nomination for best actress in a supporting role. However despite how great the film was, despite it’s 6 minute standing Ovation at Venice Film Festival and how much both critics and audiences raved about it, the Whale was snubbed for Best Picture and Best Adapted Screenplay.

Baz Luhrmann Snubbed for Best Director
The Elvis autobiography directed by Baz Luhrmann has received 8 nominations, including Best Picture and Best Actor for Golden Globe winner Austin Butler and somehow, Luhrman has not been included in the race for Best Director? The Director behind “Moulin Rouge”, “The Great Gatsby” and now “Elvis”. How could they snub him?

Margot Robbie Snubbed
The incredibly talented Margot Robbie has been nominated for 2 Oscars in the past, for “I, Tonya” in 2018 and “Bombshell” in 2020. She recently received a Golden Globe and Critics Choice Awards nomination for her role in Babylon, but was left out of the Best Actress ballot by The Academy voters.

Courtesy of Mark Fellman

No Best Director for James Cameron?!
Last but certainly not least, a snub that surprised us all. James Cameron, the only Director to have 3 movies reach 2 Billion at the Global Box Office, a directing legend and 1998 Best Director winner who has helped redefine cinema. The director of “Avatar: The Way of Water” delivered a groundbreaking sequel that has received a Best Picture nomination along with 3 others. So how is it possible that the driving force behind this film, the same director behind “The Titanic”, “The Terminator” and “Aliens” is being Snubbed for Best Director?

It’s disheartening to see that there’s still a ways to go in terms of diversity at The Oscars, the main acting categories this year have no actors of colour nominated, however the number of Asian actors nominated is at the most it’s ever been since 2004 with four nominations. it’s been 8 years since the hashing #OscarsSoWhite started trending and the diversity of the show and the Academy was really called into question. In the last few years it looked like things may have improved down the line, but this year feels like somewhat of a step back. There’s still a long way to go.

A lot of this year’s acting nominees are more experienced actors and first time nominees, proving once and for all that no matter where you are in your career in Hollywood, there’s always time to work towards that nomination.

The 95th Academy Awards will air Sunday, March 12, at 8 p.m. ET/5 p.m. PT on ABC. See the full list of 2023 Oscar nominations here.

 

 

The 95th Academy Award Nominees are here,

My Dad the Bounty Hunter

My Dad the Bounty Hunter is an animated action-comedy series following close-knit siblings Lisa and Sean, who stow away on their dad’s latest work trip, hoping to finally get some quality time together. Little do they know Dad’s been keeping a secret from them — he’s actually the toughest bounty hunter in the galaxy! Launched into the surprise space adventure of a lifetime, Lisa and Sean discover that their seemingly average dad’s job is anything but boring. Dodging dangerous aliens, robots, and laser fights galore, family bonding time becomes much more than they bargained for as they try to help their dad in pursuit of his toughest fugitive yet. With his kids along for the ride, Dad must show up for them when they need it most — and they’d better make it home before Mom finds out!

From Creators and Executive Producers Everett Downing and Patrick Harpin, My Dad the Bounty Hunter is a warp-speed adventure across the constellation of ups, downs and moments in between that shape family life.

To learn more about My Dad the Bounty Hunter, head to Netflix!

Cast and Crew

This family-friendly animated series is directed by Everett Downing Jr., co-director of the Oscar-winning short film Hair Love. If you’ve seen the most recent season of Stranger Things, you might recognize the voice of Lisa, Terry’s daughter— Priah Ferguson played Erica Sinclair in Stranger Things, as well as Sydney Gordon in The Curse of Bridge Hollow.

Sean is voiced by Jecobi Swain, who is known for his performance as Ray-Ray in the Amazon feature film Troop Zero and his viral dancing videos.

Laz Alonso from The Boys provides the voice for Terry, the bounty hunter and father of Lisa and Sean. He is known for his portrayal of Tsu’tey in 2009’s Avatar and was named one of Variety’s “Top Ten Actors to Watch.” He also appeared in L.A.’s Finest.

Courtesy of Netflix

 

Premieres: February 9, 2023
Episodes: 10 episodes x 22 minutes
Format: CG Animation
Created by: Everett Downing and Patrick Harpin
Executive Producers: Everett Downing and Patrick Harpin
Key Cast: Laz Alonso, Yvonne Orji, Priah Ferguson, Yvette Nicole Brown, JeCobi Swain, Leslie Uggams, Rob Riggle, Jim Rash and Jamie Chung

My Dad the Bounty Hunter My Dad the

Exclusive: Rian Johnson executive produced the erotic corporate thriller starring Phoebe Dynevor and Alden Ehrenreich.

Director Chloe Domont is eyeing a theatrical release for erotic thriller “Fair Play” following the film landing at Netflix in a whopping $20 million deal out of Sundance.

“Bridgerton” breakout Phoebe Dynevor, already an established Netflix star, leads the drama opposite Alden Ehrenreich about two investment firm coworkers who are secretly hedging their own bets in bed. “Knives Out” director Rian Johnson executive produced the film along with Ram Bergman from T-Street. Of course, Johnson’s deal with the streamer might have had a little something to do with “Fair Play” landing at Netflix.

“I’m sure it didn’t hurt,” Domont exclusively told IndieWire’s Eric Kohn.

The “Billions,” “Suits,” and “Ballers” episodic helmer received the pitch from Netflix before the deal was closed. Netflix scooping up “Fair Play” marked the first major distribution deal of the 2023 festival.

“It’s been a wild few days,” Domont said. “It’s also the audience’s reaction to the movie and the way people are talking about the film, how it’s really stirring up conversation and debate. Honestly, just talking to women coming up to me saying, ‘I’ve never felt this seen before.’ To me, that’s why I make movies.”

Domont continued of partnering with Netflix, “I think one of the most important things was who really understands the movie the most, who was really, really passionate about it. And then who has the weight to be able to get it out there and push it the right way. Those were all factors that I think were very, very important.”

And just because “Fair Play” landed at a streamer doesn’t mean Domont isn’t still looking for a theatrical release, noting she’s “working on” confirming a deal.

“Given the audience reactions to this movie and how people audibly respond to this film, it’s looking like everyone wants to have a theatrical run, so we’re working on that element,” Domont said. “It really depends on the film and the kinds of reactions the audience have coming out the film that determines that.”

IndieWire’s Ryan Lattanzio praised the film for going “off like a bomb laced with the explosive and dually depraved chemistry of the two leads.” Comparing the drama to if Adrian Lyne directed “Industry,” Lattanzio wrote that audiences will be “more than happy to merrily go to hell” with the twisted seduction of the film’s leading characters.

“Fair Play” executive producer Johnson’s “Glass Onion: A Knives Out Mystery” debuted in select theaters for one week a month prior to the film’s Netflix release. Johnson was vocal about his determination for “Glass Onion” to mark a precedent for Netflix partnering with leading theater chains like AMC and Regal.

“We were very interested in how it did,” Johnson said in December 2022. “We wanted it to do incredibly well for a lot of reasons. I guess for me, because I really want to show that this can happen and this can be a huge success. And that when it hits the service, people will still turn up and it will be huge on the service. That those two things can complement each other. Because I want more next time. I want more theaters. I want it for longer.”

Johnson concluded, “Once it’s on the service it will be available to theaters and we’re exploring what form that can take. I’ll take as much as I can possibly get. But a lot of that has to do with what the theaters are willing to do, what makes sense.”

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Exclusive: Rian Johnson executive produced the erotic

Clockwise from Top Left: The Lion King, Walt Disney (Photo: Screen Archives/Getty Images), Snow White and the Seven Dwarfs, 101 Dalmatians, Dumbo (all screenshots: Walt Disney Studios/YouTube)
Graphic: The A.V. Club

As Disney celebrates its 100th anniversary this year, The A.V. Club marks the occasion with a series of lists, essays, and more.


Like a lot of kids raised in the early 1900s, Walt Disney grew up in a world where corporal punishment was an accepted form of parental discipline. Both he and his brother Roy suffered at the hands of their remote and taciturn father Elias, whose favorite tool of enforcement was a “switch”: a thin, green, tree branch, moist enough to be flexible and whiplike, and used by Elias to punish the Disney boys for transgressions both real and imagined.

Walt Disney professed in later life that he became a bedwetter under the stress, and according to one biographer, Disney often wondered aloud how that cruel old man could be his father, or why his mother didn’t step in to stop the abuse. No wonder when Disney became the crown prince of Hollywood make-believe, he so often fantasized about killing and imprisoning parents.

Because don’t kid yourself about those beloved Disney animated classics like Snow White, Pinocchio and Dumbo. Oh sure, they’re riddled with heart-warming lessons about true love, and how you should learn to love yourself even if you’re different, and wholesome messaging jazz like that. But that’s all window-dressing on a cheerful technicolor surface. Inside, the seminal Disney features have parricide in their hearts.

Snow White and the Seven Dwarfs (1937)

Snow White and the Seven Dwarfs (1937)
Screenshot: Walt Disney Productions

Take Snow White herself. She’s an orphan, being oppressed by a maniacal stepmom who wants her dead. No mother, no father—no one to care for her or tuck her in at night. There’s even a fan theory that the Evil Queen is a serial killer, and that Snow White’s deceased folks cameo as the skeletons who appear in the background when Queenie sets out to whack Snow White with a poisoned apple.

Pinocchio’s Geppetto is a single father who gets off comparatively easy. He winds up imprisoned inside the belly of a whale. Then there’s Bambi, a delightful and nature loving idyll about an innocent fawn coming of age in a lush forest—until a gaggle of hunters shoot his mom dead. Picture if you will the bright-eyed and anthropomorphic Bambi foraging in earliest springtime. “New spring grass!” Mom says joyfully, as mother and child break the winter fast and start to eat. Suddenly, Mom’s head jerks upright. She hears something. “Bambi! Quick! The thicket!” Gunfire erupts as they race toward a treeline only one of them will reach.

It’s a murder scene worthy of Hitchcock. In a children’s movie.

Dumbo delivers the terror

Spiking the trauma-meter even higher is Dumbo, where the whimsy of a parent imprisoned in a whale’s belly is replaced by putting Dumbo’s mom in leg irons. Mom sings the weeping baby elephant a lullaby—through the barred window of a cage car with the words “Mad Elephant” posted on it. In a previous scene, she beat up a kid for pulling on Dumbo’s ears, and tried to kill some circus roustabouts when they attempted to stop her.

If you’re sensing a pattern, that’s because there is one. Those are central plot devices in the first four Disney animated features if you don’t count Fantasia, which is mostly story-less. It’s hard to say exactly why Walt Disney was so drawn to mayhem around the parent/child relationship. Maybe it was just a shortcut to making his child-like protagonists the centers of their worlds. Maybe Walt was a time traveler who managed to read the Atonement With The Father chapter of Joseph Campbell’s The Hero With A Thousand Faces 10 years before it was published.

Or maybe Disney figured out early that he could rivet kids and parents to their chairs by enacting their most primal fear in cartoon form: that their bond could be severed at any moment by violent means.

Walt Disney

Walt Disney
Photo: Hulton-Deutsch Collection/CORBIS (Getty Images)

It worked, so Walt kept doing it. Cinderella is another unloved orphan tormented by a stepmonster. Sleeping Beauty gets banished to escape a curse. Mowgli of The Jungle Book is yet one more orphan—his parents were eaten by a tiger. And 99 out of the 101 Dalmations are violently separated from their parents by a madwoman who wants to butcher them for a fur coat.

Then Walt Disney died, and the company he gave his name to seized the opportunity to create a kinder, gentler brand identity, of compassion-based storytelling, where common problems of daily living would be solved with nuance and warmth. Nah. Just kidding. Disney’s successors at Disney Animation doubled down on kiddie carnage, and even pioneered new terrain.

And that’s why it’s called The Black Cauldron

Case in point: The Black Cauldron, released in 1985. After some lost post-Walt years, Cauldron was the first attempt by the Disney organization to recapture the old magic. It was handsomely animated, and it was “edgy,” in a misguided attempt at a more contemporary tone.

An unwritten rule of the Walt years was that the cute characters couldn’t die. You could shoot Bambi’s mom, but you couldn’t shoot Bambi. So imagine the general surprise when Cauldron’s plush toy fuzzball Gurgi didn’t just die—he committed suicide onscreen. In the way of these things, it was the only available method to stop Absolute Evil from taking over the Whole World. A weeping Gurgi tosses himself from a great height into the titular cauldron, and that, as they say, is that.

Back in the day, at a screening in Worcester, Massachusetts, there was a poor little girl of about 6 who watched Gurgi go from fuzzball to fireball in a nanosecond—and just to twist the knife, his final words before offing himself are “Gurgi has no friends.” Her parents could not stop this child as she screamed and screamed and screamed, as if to say: good luck with all my therapy bills in later life.

Even when Gurgi was revived in fulfillment of the Disney resurrection trope, that little girl couldn’t stop crying. Instead, she laughed and cried simultaneously—the very soundtrack of a psychological break.

The Lion King (1994)

The Lion King (1994)
Screenshot: Walt Disney Productions

The carnage comes down to us now as a Grand Old Storytelling Tradition. Mustafa the Lion is trampled to death by wildebeests in The Lion King without even Bambi’s discreet cutaways, leaving little cub Simba to blame himself for his father’s death. Death comes in brackets in Tarzan: Tarzan’s biological parents are murdered by a leopard in the opening montage; his surrogate father the Great Ape dies of a gunshot wound after he acknowledges Tarzan as his son. Kenai in Brother Bear kills his best friend’s mom. And of course, the doting parents of Anna and Elsa in Frozen are drowned before minute 20.

So as we raise our glass in this centennial year of Disney Animation and salute all those great innovations in art, storytelling, cross-marketing and theme park-ery, let us not forget what may be Disney Animation’s most enduring cultural contribution. Uncle Walt, and the studio named for him, gave more children nightmares than any storytellers in history. If Walt Disney is to be recalled as an animation pioneer, let him also be lionized for his less heralded but equally enduring addition to genre filmmaking:

He invented the horror movie for kids.

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Clockwise from Top Left: The Lion King,

SUNDANCE FILM FESTIVAL 2023 REVIEW! “Do you want a friend who will lie to you?” This ordinary question, posed as a statement, underlines the extraordinary war at the heart of Bad Press, written and directed by Rebecca Landsberry-Baker and Joe Peeler. And like so many modern wars, cold as they are, this one focuses on society’s ramifications of transparency of information, or the lack thereof. It is an unassuming documentary that makes excellent use of editing to deliver a compelling narrative experience.

The film revolves around Angel Ellis, a reporter living in Okmulgee, Oklahoma, a town about as small as one can imagine. For years she has worked for Mvskoke Media, the voice of the Muscogee (Creek) Nation. But when the town’s Free Press Act is dissolved, the necessary transparency for functioning journalism is all but destroyed. We then follow the ensuing fallout throughout the community, particularly the subject’s fight to redeem journalistic integrity, as well as those in power using the lack of it to their advantage.

Landsberry-Baker and Joe Peeler take great care in dissecting the matter at hand. They elevate the movie beyond the small-town trappings of its story. A lesser documentary would jump at easy talking points, such as racism, but the strength of Bad Press is how little interest it has in connecting trite dots. Of course, the notions of race are considered, but only just, and these threads are held up against the greater tapestry of deception by the Muskogee elders themselves. The film draws important distinctions, not about the color of the people’s skin, but about the honesty of their character.

Angel in Archives appears in Bad Press by Rebecca Landsberry-Baker and Joe Peeler, an official selection of the U.S. Documentary Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute | photo by Tyler Graim

“…when the town’s Free Press Act is dissolved, the necessary transparency for functioning journalism is all but destroyed.”

As a film, all these ideas are raised with a skillful eye. When the Freedom of Press Act is revoked, rather than indulging in a cascade of shots of heartbroken people, the viewer is shown a verdant field filled with cows. In the foreground are three rusted and broken-down cars. They’re talismans of the erosion of moral obligation amidst the tribe, but also a visual indicator that the issue of corruption is commonplace and has been for generations. There is a flow to the documentary that gives the viewer an informed perspective without sacrificing emotional truth.

The only issue not considered, and one that is necessary for any documentary of this type, is the question of how these situations are allowed to repeat themselves. For example, at one point in Bad Press, a lady in her mid-forties says that she has registered to vote for the very first time. Against the backdrop of corrupt elected officials, ideas like these are critical, but the film leaves something unsaid. This is especially egregious when the filmmakers are trying to elucidate on how easily people can be deceived into everyday action that encourages political breakdown.

Still, Bad Press is a resounding documentary because of its quietness. It considers all the topics of the day — misinformation, government overreach, election scandals, and the list goes on. The filmmakers do so by showing that even the smallest, quietest town matters and that moral decay is always allowed to fester in the little places first.

Bad Press screened at the 2023 Sundance Film Festival.

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SUNDANCE FILM FESTIVAL 2023 REVIEW! “Do you

Mark Clattenburg has left his job as the head of Egypt‘s refereeing committee over safety concerns, after reportedly receiving threats from a set of supporters and personal attacks from club officials.

The former Premier League referee took up the role last August, where he was tasked with boosting the performance of officials in Egypt.

But Clattenburg has been heavily criticised by Mortada Mansour, the president of Zamalek Sporting Club, the 14-time record winners of the Egyptian Premier League.

Former Premier League referee Mark Clattenburg has fled Egypt over safety concerns

The Egyptian FA confirmed Clattenburg's resignation but played down any safety concerns

The Egyptian FA confirmed Clattenburg’s resignation but played down any safety concerns

Mansour criticised Clattenburg’s role within Egyptian football, according to The Sun. In one TV appearance, Mansour called out the Englishman for corruption while holding a similar role in Saud Arabia, decribing him as a ‘bribed man’ and suggesting that he gave certain referees certain matches in order to ensure the matches finished early. The claims are entirely baseless.

Clattenburg, who is understood to be estranged from his wife Claire, has also faced allegations from Mansour about his personal life.

It has incorrectly been claimed he had left his wife to start a gay relationship.

Mortada Mansour, the president of Zamalek Sporting Club, has criticised Clattenburg on TV

Mortada Mansour, the president of Zamalek Sporting Club, has criticised Clattenburg on TV

Although same-sex sexual activity is not explicitly criminalised in Egypt, LGBT people have been prosecuted on the charge of ‘debauchery’ in the past and there is little public acceptance of homosexuality.

Khaled Abu Bakr, a prominent laywer in Egypt, has called for urgent government intervention to address the accusations of corruption against Clattenburg, warning that the situation could do untold danger to the country’s international reputation in sport.

The 47-year-old has also reportedly faced threats from Zamalek supporters, prompting his departure.

Clattenburg also had concerns his refereeing appointments were being changed by the league, while he struggled to persuade foreign officials to travel to the nation to oversee big matches.

The former referee had reportedly not been paid two months of his £32,000-a-month salary.

Clattenburg, pictured at a refereeing course in September 2022, was the subject of threats

Clattenburg, pictured at a refereeing course in September 2022, was the subject of threats 

Zamalek's President incorrectly claimed Clattenburg (pictured with his estranged wife Claire at the 2015 Abu Dhabi Grand Prix) had begun a gay relationship

Zamalek’s President incorrectly claimed Clattenburg (pictured with his estranged wife Claire at the 2015 Abu Dhabi Grand Prix) had begun a gay relationship

The Egyptian Football Association confirmed Clattenburg has resigned from his post, but the organisation says his exit still needs to be ratified.

‘England’s Mark Clattenburg, head of the Referees Committee of the Egyptian Football Association, resigned from his post on Tuesday evening,’ a statement read.

‘The Board of Directors of the Egyptian Football Association will hold an emergency meeting on Wednesday, to decide on Clattenburg’s resignation.

Egyptian newspaper Al-Ahram reported that the Egyptian FA were ‘surprised’ by Clattenburg’s resignation.

The organisation denied refereeing appointments had been changed and said it would ‘support his return’.

The FA also claimed concerns over his safety were ‘an exaggeration’, labelling the country as the ‘safest in the world’.

Clattenburg oversaw the 2016 Champions League final as one of Europe's leading officials

Clattenburg oversaw the 2016 Champions League final as one of Europe’s leading officials

Clattenburg has held multiple roles abroad since stepping down as a Premier League referee in 2017.

He initially took over as head of refereeing in Saudi Arabia, a role previously held by fellow former Premier League official Howard Webb.

Clattenburg has since worked in China and Greece, before taking up the position in Egypt.

The former referee had been viewed as one of Europe’s top officials during his career, reflected in him overseeing the Champions League and European Championship finals in 2016.

Clattenburg commemorated the achievements with a pair of tattoos, including having the Champions League trophy etched on to his left wrist with the words Final Milano 2016 written beneath.

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Mark Clattenburg has left his job as

EXCLUSIVE: Saudi feelgood comedy-drama Sattar, which has enjoyed a record-breaking theatrical run at home, will hit U.K. cinemas next month in a release spearheaded by MENA region distributor Front Row Filmed Entertainment.

Sattar, which is set in the world of freestyle wrestling, will be only the second Saudi Arabian film to be released theatrically in the U.K. after Haifa al-Mansour’s ground-breaking 2012 international breakout Wadjda.

The film will launch on around 10 U.K. screens in London and other major U.K. cities, including Manchester, Liverpool, Cardiff, Edinburgh, Birmingham and Leeds, on February 10.

Front Row, which has struck a direct distribution, revenue-sharing deal with Odeon Cinemas, is aiming to catch the wave of the film’s success in Saudi Arabia.

The target audience is Saudi Arabian and Gulf citizens living in the U.K. but Front Row expects it to appeal to a wider Arabic-speaking audience as well as local spectators without MENA ties.

Sattar was released in Saudi Arabia on December 29, after a premiere at the Red Sea International Film Festival, and then expanded in the rest of the Arabia Gulf on January 19.

The film has topped the Saudi box office for close to a month, drawing more spectators than Avatar: The Way Of Life in the territory.

To date, it has clocked up more than 370,000 admissions, for a box office of $5M, against 302,000 spectators and a $4.8M gross for Avatar across its six-week run. This result represents 37% of the total Saudi Arabian box office for 2023 to date.

The feel-good comedy-drama is directed by Kuwaiti director Abdullah Al Arak and stars popular Saudi Arabian actor and stand-up comedian Ibrahim Al Hajjaj, whose other credits include the action series Rashash and Netflix’s Six Windows in the Desert.

Al Hajjaj plays a depressed man, with a string of failures in his professional and personal life, who decides to pursue his childhood dream of becoming a freestyle wrestler. After a rocky start, he sees a staggering change in fortunes when a top Pakistani coach takes him under his wing.

The feature is among a raft of Saudi Arabian dramas and comedies to have come to fruition as the local film industry continues to scale up in the wake of the lifting in at the end of 2017 of the country’s 35-year cinema ban.

Front Row CEO Gianluca Chakra described the film’s run in Saudi Arabia as “incredible” and explained that the success was groundbreaking.

“In general, Saudi titles have struggled to theatrically compete with Egyptian titles, which are considered the Hollywood of the Middle East, mainly due to the obsession of westernising these,” he said.

“However, the creative team behind Sattar headed by Ibraheem Al Khairallah and Ayman Wattar made sure to stay authentic to Saudi culture making it a lot more relatable to the local audience while touching on an underground phenomenon that not many knew about: underground wrestling. It’s no coincidence that PIF is rumored to have bid over $6B to acquire WWE.” 

The film is produced by AlShimaisi Films, Telfaz11 and Muvi Studios and distributed by Front Row Filmed Entertainment, and Front Row Arabia (KSA).

Front Row said further international releases will be announced in the future.

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EXCLUSIVE: Saudi feelgood comedy-drama Sattar, which has

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Pre-pandemic, white-collar workers felt meeting exhaustion. Then came Zoom fatigue. Now, they’re experiencing a bit of both, sometimes at the same time.

In this new stage of work, during which some people are back in the office, others are hybrid and some are permanently remote, many workers are being bombarded by an onslaught of meetings. And a lot of those meetings are now on video services like Zoom, Microsoft Teams and Google Meet. But back-to-back meetings often breed exhaustion, a feeling of decreased productivity and sometimes even dread, leaving many to wonder how to escape death by meeting.

“We’re in uncharted water,” said Steven Rogelberg, who teaches organizational science, management and psychology at the University of North Carolina at Charlotte. “We just don’t know what the world of meetings looks like.”

The reliance on video meetings, which rapidly grew when workers were locked down during the pandemic, has continued despite many white-collar workers returning to the office. Microsoft recently reported that in the spring of 2022, the number of video-enabled Teams meetings per week more than doubled globally for the average user since the start of the pandemic. And there was no evidence of a reversal the following six months, the company said.

Some companies are taking drastic measures to respond to meeting overload. Shopify recently encouraged employees to decline meetings, implemented no-meeting Wednesdays and purged all meetings with more than three people, encouraging a temporary pause before anyone could add them back. And TechSmith, a Michigan-based tech firm, recently said it boosted productivity by piloting a month without meetings.

So how should workers think about their future video meetings? Can you push back on them? And if the boss is asking for these meetings, what can a worker do?

Here’s what you can do to make video meetings more effective, decrease fatigue and improve collaboration.

Have a question about tech at your workplace? Shoot us a note.

The beginning of the year is a good time audit your meetings, work experts say.

Review all recurring meetings on your calendar. Consider which are necessary and effective, and make changes as needed, Rogelberg said. This is more effective than canceling all meetings or implementing arbitrary no-meeting times, he added. Those rules often lead to violations and an overwhelming number of meetings on the days they are allowed.

“It’s trying to be a quick fix … and doesn’t provide the promised relief,” he said. “But doing [a meeting audit] as a collective team is the best approach.”

But getting rid of all meetings may be a good start for an audit, said Leslie Perlow, a professor of leadership at Harvard Business School. That forces workers to consciously consider which to add back.

Understand the meeting’s purpose

Before scheduling a meeting, make sure you even need one.

Rogelberg boils this down to three questions: Is there a compelling purpose to bring people together? Does the content of the meeting require engagement and interaction? And is there no alternative communication method that would be just as effective? A meeting should only be scheduled if the answers to all three questions are yes.

Otherwise, consider writing an email, sending an instant message to the group or recording a podcast to convey information. An alternate form of collaboration includes using a shared document for cross time zone feedback or brainstorming.

Raffaella Sadun, a professor of business administration at Harvard Business School, said you also should be able to answer how the meeting contributes to the team’s objectives. Meetings also may increase accountability as participants make verbal commitments to tasks and deadlines in a group setting, she added.

“If a meeting does not involve these broader and specific objectives, it’s probably superfluous,” Sadun said.

Consider framing the meeting as a set of questions to understand what you’re trying to achieve, Rogelberg said. It may be easier to gauge a meeting’s success based on the questions answered. They will also help identify who to invite.

“I’ve always wanted to make managers have to pay for every person who has to be at the meeting so they’re forced to think about who should and shouldn’t be there,” Perlow said.

Workers may find they are regularly invited to meetings that feel like a time suck. So can they just say no?

“Declining meetings sounds good in theory. But in practice, that’s a terrible position to put someone in,” Rogelberg said.

Instead, Rogelberg suggested that meeting hosts create a culture that is sensitive to participants’ time by allowing people to only attend the parts relevant to them.

Invitees may have less power as they wrestle with the potential repercussions of declining a meeting. Asking a trusted supervisor whether their attendance is necessary may be a way out, Rogelberg said.

It’s all in the delivery of the message, Sadun said.

“Learn how to say no, using evidence and explaining why that time is needed,” she said. “Be very mindful of how precious your time is.”

Often times, meetings are just too long. Shortening them could give people time back, reduce fatigue and increase effectiveness.

Hosts often set a meeting for pre-filled time slots provided by calendar or video applications. Instead, hosts should think about how much time is really needed.

“Everything stretches to the [preset] time,” Perlow said. “If we have less time, hopefully that makes us more strategic.”

Perlow suggested adding breaks between meetings. Instead of scheduling an hour-long meeting, make it 45 minutes.

“Speedy meetings and huddles can be effective,” Rogelberg said. “It serves a great purpose without the tax.”

Years of back-to-back video meetings have revealed what makes the experience so exhausting.

But Jeremy Bailenson, the director of Stanford University’s Virtual Human Interaction Lab, said workers can reduce video-call fatigue with some small tweaks.

First, hide the self-view to refocus attention from yourself to the actual meeting. Research shows that when we see ourselves, we are naturally drawn to judge every move, appearance and gesture, which increases stress, Bailenson said.

He also suggested reducing the size of the video window to more accurately reflect the distance between you and other people. This helps reduce the fatigue associated with nonverbal cues.

“If you leave the default size, it forces an intimacy we don’t have in the real world,” he said.

Ensure your setup is comfortable by adjusting the lighting, seating, and placement of the keyboard or camera. To reduce pressure, consider meetings that require cameras to be off. This is especially helpful for parents and caregivers, Bailenson said.

“Does someone need to do an hour of grooming to be seen for 15 minutes?” he said. “Forcing people to be on camera may have downstream effects you haven’t thought of.”

Support in facilitation and participation

To aid with effectiveness, attendees can serve as model participants by helping facilitate the meeting or being effective listeners and talkers by keeping their points short and concise, Rogelberg said.

Sadun said attendees can also suggest an agenda and have clear follow-ups.

Ultimately, efficient meetings come down to execution and respect for people’s time.

Consider how much time people need to do deep thinking vs. interacting, Perlow suggested. Leverage the days people are physically together for meetings.

“It would be better if people were more intentional about when they met and what they did when they were together,” she said.

Research shows that brainstorming in silence yields more and better ideas, Rogelberg said, something meeting hosts should keep in mind. Setting up a shared document so people don’t have to work synchronously may allow everyone to work better together and come up with ideas.

“Be a part of the solution versus the problem,” Rogelberg said.

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The Deadline Studio at Sundance Film Festival runs January 20-23 at Hotel Park City, where the cast and creatives behind the best and buzziest titles in this year’s lineup sit down with Deadline’s festival team to discuss their movies and the paths they took to get to Park City.

“They were very ambitious, and they didn’t think there was a limit to what was possible both financially and in terms of artistic possibilities and ideas,” says Anton Corbijn of Squaring the Circle (The Story of Hipgnosis) featured designers Storm Thorgerson and Aubrey Powell, and their archetypal rock album covers.

“It’s astounding what they did to the album sleeve, that raised the bar,” the Joy Division, U2 and Depeche Mode photographer added at the Sundance Film Festival this week — as you can see in the video above.

Michael Buckner for Deadline

As the documentary depicts, back in the ’70s, the now-deceased Thorgerson and Powell were on every stadium band’s must-have list as the duo crafted the covers of Pink Floyd’s instantly recognizable Dark Side of the Moon and Led Zeppelin’s Houses of the Holy. While both album covers have seen more recent brewhas in today’s very different and politically divisive era, the process behind their creation and the creators themselves proves fascinating. Toss in more than a few rock legends, and record companies with money to burn back in the day, and you have a portrait of an era as much as Hipgnosis’ Thorgerson and Powell.

Cranking that rock legend star power, the Corbijn helmed docu is full of icons like Paul McCarney, Led Zep’s Robert Plant and Jimmy Page, Roger Waters and estranged former Pink Floyd bandmates David Gilmour and Nick Mason, and ex-Oasis chief Noel Gallagher, as well as acclaimed Factory Records art director Peter Saville.

In terms of the time of the latter, who designed Joy Division’s Closer album cover and the front of New Order’s Blue Monday 12-inch single, Corbijn also chatted in the Deadline Sundance about the post-punk world, his own work, and the digital environment of today. “The importance of album sleeves have very much changed,” the Control and A Most Wanted Man director said. “So, the informative side of album sleeves is gone …it’s just an aesthetic element now,” he lamented.

Having first debuted at Telluride back in September, picked up by Utopia earlier this year and premiered at SFF on January 21, Squaring the Circle is produced by Raindog Films’ Ged Doherty, Trish D Chetty and Oscar winner Colin Firth.

Now with many films like Squaring The Circle, online as well as screening in-person in Park City and Salt Lake City, the 2023 Sundance Film Festival runs until January 29.

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The Deadline Studio at Sundance Film Festival

About The Author

Barry Walsh is editor-in-chief and content director for Realscreen, and has served as editor of the publication since 2009. With a career in entertainment media that spans two decades, prior to Realscreen, he held the associate editor post for now defunct sister publication Boards, which focused on the advertising and commercial production industries. Before Boards, he served as editor of Canadian Music Network, a weekly music industry trade, and as music editor for HMV.com. As content director, he also oversees the development of content for the brand’s market-leading events, the Realscreen Summit and Realscreen West, as well as new content initiatives.

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Ezra Cohen and Amira Mohammed don’t exactly meet cute. He jumps into the backseat of her red Mini Cooper, mistaking it for his Uber and she starts punching him, thinking he’s an intruder. “Help I’m being attacked!” she screams. He apologizes and offers to guide her out of the concrete maze of Century City.

That initial awkward struggle gives the audience a taste of what’s ahead in Netflix’s “You People,” which gleefully pokes at the nation’s racial, religious, gender and generational wounds even as it gingerly tries to navigate a way forward.

Ezra and Amira are going to have to constantly fight for their love. There’s the fact that he’s white and she’s Black. But there’s also a religious divide — she’s Muslim, he’s Jewish. Then, there are the in-laws, both sets suspicious and deeply uncool.

“I don’t know if it’s supposed to be this hard,” says the bride-to-be, a superb Lauren London. Says the groom-to-be, Jonah Hill, digging into his soulful side. “I don’t think love is enough.“

Hill and “black-ish” creator Kenya Barris have written a rom-com with teeth, a film not afraid to air long-simmering cultural grievances. A dinner with the lovers and both sets of parents quickly — much too quickly — turns to the topics of Holocaust and slavery. It’s a “Guess Who’s Coming to Dinner” for 2023.

“So do you hang out in the ‘hood all the time or do you just come up here for our food and women?” Amira’s dad, a wonderfully spikey Eddie Murphy, pointedly asks Ezra. The older man first appears wearing a “Fred Hampton Was Murdered” hoodie and is introduced with the James Brown song “The Payback.” (His wife is played by an imperial Nia Long).

That Ezra, raised on hip-hop and embracing Black culture, would find it hard to win over Amira’s parents makes the struggle that more tragic. “If you like something, you like it,“ he says, rather naively. ”I don’t think anybody should be put in a box, ever.”

The Cohen parents are less overtly aggressive but no less obnoxious. Mother Julia Louis-Dreyfus and dad David Duchovny — both absolutely screamingly excellent as superficial progressives — are fountains of micro-aggressions, mispronouncing Amira’s name or instantly wanting to talk to her about Earvin “Magic” Johnson.

Mom loves to use air quotes and blurts out that, in her opinion, she’s fed up with the way police act toward Black people. Dad blurts out he loved “Pimp My Ride.” There’s also some physical humor that will make everyone cringe.

Barris, who also directs, spaces the film out into a series of set-pieces interspliced like a TV show with visual breaks. The soundtrack includes “Chitty Bang” by Leikeli47, “Stay High” by Brittany Howard and Childish Gambino, Ice-T’s “6 ‘N the Mornin’“ and Andra Day’s “Rise Up.”

One of the film’s highlights is Sam Jay, who plays Ezra’s straight-talking, hysterical best friend. (They have a debate over Drake’s various career chapters that will have you laughing out loud). She also delivers one of the film’s most devastating lines, comparing Black people to women who have been cheated on: “No matter how bad we want to, we can’t forget what y’all did and what y’all are still doing.”

The stress starts to crack the couple, as if they’re internalizing the weirdness from both sides. Ezra comments in private that Amira’s dad is intense, which leads her to push back against any notion of the so-called angry Black man. They fight over whether to have a rabbi or an imam oversee their wedding. “Want me to face the bed towards Mecca?” he taunts her.

Can these star-crossed lovers survive? You almost want to leave them in their cute blanket tent in the living room, forever sealed away from all the anger, misunderstanding and fear.

“You People,” a Netflix release that starts streaming Friday, is rated R for “language throughout, some sexual material and drug content.” Running time: 118 minutes. Three stars out of four.

___

MPAA definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.

___

Online: https://www.netflix.com/title/81194505

___

Mark Kennedy is at http://twitter.com/KennedyTwits

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‘Magic Mike’s Last Dance’: Behind the Scenes With Channing Tatum and Salma Hayek (Exclusive) | Entertainment Tonight

































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Disney+ has handed a second season order to – the superhero series from up-and-coming writer Emma Moran and Killing Eve producer Sid Gentle – two days prior to first season launch.

The news was announced at the Extraordinary launch last night in London by Disney VP Scripted Content Johanna Devereaux.

Extraordinary launches later this week and follows Jen, a painfully self-aware 25-year-old woman who doesn’t have a superpower in a world where everyone else does. Adrift in a big, confusing world and armed with nothing but a bit of hope, Jen begins her journey to find her maybe-superpower. 

Up-and-comer Máiréad Tyers leads alongside a cast including Sofia Oxenham, Bilal Hasna, Luke Rollason, Siobhán McSweeney and Patricia Allison.

The show is testament to the way in which Disney+ international originals mix younger talent with established names. Moran is an up-and-comer with a show on a slate featuring the likes of Sally Wainwright, who has penned The Ballad of Renegade Nell.

Killing Eve indie Sid Gentle is Extraordinary producer. Sally Woodward Gentle, Lee Morris and Charles Dawson are executive producers.

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Disney+ has handed a second season order


The things we do for those we love…


Some of the best installments are when they lean heavily into the dynamics and how this wonderful group of characters has become a family.


And there were so many Family Feels in The Rookie Season 5 Episode 13 that it made you smile.


Celina is one of those characters who has been on the polarizing side. She’s what you’d confidently call an “acquired taste,” with her quirks and unorthodox way of doing things.


But the more time we spend with her, the better they have managed to round her out. It’s even better when they switch up the people she gets to interact with and introduce new dynamics that bring out different sides of her.


Celina and Grey paired up were one of the highlights of the installment, although the Celina and Tim interactions were endearing as well.


Grey is such a dad and a mentor. He’s gotten so much softer than in the early days when he came across as a hardass.


It may have made her and Nolan nervous when they learned she’d be spending the day with him, but in reality, he wanted to see what she was like in the field and help her work on some of her weaknesses.


And Grey was 100% right when he called Celina out on her inability to ask for help. She’s new to the gang, so it’s understandable that she’s still trying to find her footing and place.


But if she hadn’t learned already, she’s gotten the message; they’re all a family, and she’s part of that, too. It’s no shame in letting people in, seeking them out, and asking for help.


Bringing up her background again and introducing us to her mother was a lovely way of peeling back those layers to her character, reminding us of what Celina has endured and what inspired her to be there in the first place.


Celina’s quirks are great for a few laughs or an annoyance to some. However, it’s better when we set some of that aside and focus on the more vulnerable aspects of her character and job competence.


Because Celina is a good cop, she’s already grown so much. It was a great installment to check in with her character and showcase that well.


Nolan is a safe space for her to bask in her astrology and other such things unapologetically, and that’s great. She and Nolan have developed a sweet bond, which he comes across as paternal.

Grey: You’ve endured unimaginable loss, and you’ve carried that weight alone, but now you have a new family of brothers and sisters. Remember that.
Celina: Copy that, sir. Next time I need help with something, I won’t keep it to myself.


But when she doesn’t get wrapped up in things like that, we get to see how her hunches and instincts are strong. She captured those looters well and made some excellent calls when Grey put her in command at the scene.


But her heroic moment of the hour was rescuing that girl from the drug den and nearly losing her life in the process. While there wasn’t a fear that they would kill off this new character so quickly, her moments of unconsciousness after falling victim to those fumes were nerve-wracking.


You could feel the fear and worry from Nolan, Grey, and Thorsen, especially Nolan. He was beside himself with worry.


It hit home how close he’s become to Celina and how much he genuinely loves and cares for her. He feels responsible for her, and this is why T.O. suits Nolan so well.

Celina: Hand.
Nolan: What’d you say?
Celina: You’re crushing my hand.


He’s in this for all the right reasons and genuinely cares. As his first rookie, Celina will always have a special place in his heart. They’ve done well building up the bond between those two since Celina’s arrival.


Celina is a brave soul, but it makes you wonder how long she can go on downplaying what she does and misleading her mother.


The poor woman lost one daughter, constantly fears she’ll lose another, and is so afraid of the outside that she won’t step foot away from her home.


Celina has quite a story and a complicated background and relationship with her mother, and it was nice that we got to explore that again more seriously. She also got to merge her new family with the one she has now.


You could see how touching it was for her that Tim not only ensured that she got to do a wellness check on her mother, but he knew how to handle her mother and help her there.


So, with installments like this, when we get to see this side of Celina more, is she more tolerable for those of you who have issues with her? Inquiring minds want to know, and hopefully, you’ll hit the comments with your thoughts on the matter.


The theme of family is carried out in other ways too. It was hilarious and precious that everyone showed up at Nolan’s house because he was the only one with power.


The whole lot of them barging in with kids and equipment, making their place their own, was what you’d expect from family members.


They even had a whole group chat going. Nolan couldn’t have denied them if he wanted to, and it provided more than a few great scenes and moments.


It was particularly hilarious when Tim showed up there and wondered why Nolan behaved so strangely, and everyone else was there and hadn’t told them.


Lucy enlisting the help of Harper and everyone else to get Tim a better position was the cutest. You can never say she won’t do anything for the man, and it’s even better that she managed to orchestrate all of this without taking any credit for it.


Harper was the best person she could approach for advice on the matter because she knew the inner workings of every department and how to get around things well.

Nyla: Did you check your text?
Nolan: I didn’t.
Nyla: Our power is out, and it is too hot for Leah to sleep.


The clear board of how to move people around like chess pieces for what suits their own interest, as well as Lucy’s and Tim’s, was, frankly, the best. And here I thought they would be playing some couples game or something.


Metro is a better fit for Tim than the court liaison, even if he’s great at his job there. It gives him the type of action he loves, keeps him active, and allows him to work with the other characters frequently.


The metro introduction was cool, and the woman in charge was interesting. I wonder if she’ll be around more, and that’s who Tim will have to work with often.


We should definitely get more action for Tim with this new assignment, and the cases will likely be intense, too. We got a taste of that with the one Angela was working.

Smitty: I’ll admit, I’ve been lax about cleaning it.
Lucy: How lax?
Smitty: Either Clinton or Bush was the president.
Lucy: Which Bush?


Angela will always be a badass, and she handled herself so damn well while going undercover at the pharmacy. She kicked all sorts of ass, too. When isn’t Angela the absolute best?


It’s still concerning that she’s pregnant and has a job that constantly puts her in jeopardy like this, but all we can hope is that nothing terrible happens.


The hour was a great way of showcasing the strong cast and the dynamic among the characters. Most of the cases felt like they took a backseat to that, with Lucy’s freezer body and other bits falling away as the installment progressed.


The opener with the garage band was fun, and I’ll be humming Daddy Cop for the foreseeable future because it was way too catchy.


Angela and Wesley arranged something of value with Knuckles, prompting that bust was great.


But overall, the personal elements of the hour shined through best. And any installment with some fun Smitty antics is worth appreciating, too.


Lucy requiring a hazmat suit to clean his trailer was a fun way to end the hour. Godspeed, poor woman!


Over to you, Rookie Fanatics.


Did you love the theme of family with this installment? Are you happy Tim is joining Metro? How much did you enjoy Celina in this episode? Sound off below.


You can watch The Rookie online here via TV Fanatic.

Jasmine Blu is a senior staff writer for TV Fanatic. Follow her on Twitter.

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Nearly 2 years after filing a lawsuit against shock rocker Marilyn Manson accusing him of rape and sexual battery, ‘Game of Thrones’ Actress Esmé Bianco has reached an out of court settlement with Manson.

The details of the settlement with Manson, whose real name is Brian Warner, have not been made public. In a public statement Bianco’s attorney said in a statement, “Ms. Bianco has agreed to resolve her claims against Brian Warner and Marilyn Manson Records, Inc. in order to move on with her life and career.”

Rolling Stone first reported the settlement. Representatives for Manson and Bianco didn’t immediately respond to a request for further comment from TheWrap.

Filed in April 2021 against Manson and his former manager Tony Ciulla, Bianco’s lawsuit accused the pair of violating human trafficking laws by bringing her from London to the U.S. by enticing her for a Manson music video and a film role that never materialized.

Her lawsuit also accused Manson of giving her drugs, depriving her of sleep and food, and performing sexual acts on her when she was unconscious or unable to consent in several incidents in 2011.

Manson denied any wrongdoing at the time, as he did with multiple other accusations of sexual assault made against him around the same period of time.

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Nearly 2 years after filing a lawsuit

Actress Esmé Bianco and Marilyn Manson have reached an out-of-court settlement for the sexual assault lawsuit she filed against him and his business, Marilyn Manson Records, Inc., in 2021. The actress, who appeared on Game of Thrones, alleged the singer, whose real name is Brian Warner, had raped and battered her sexually; she also claimed he had violated California human trafficking laws. The terms of the agreement are unknown.

“Ms. Bianco has agreed to resolve her claims against Brian Warner and Marilyn Manson Records, Inc. in order to move on with her life and career,” her lawyer, Jay Ellwanger, tells Rolling Stone.

“Ms. Bianco has agreed to resolve her claims against Brian Warner and Marilyn Manson Records, Inc.,” Warner’s attorney, Howard King, tells Rolling Stone.

Bianco was one of more than a dozen women to come forward with allegations of sexual abuse against Warner after actress Evan Rachel Wood claimed on Instagram that Warner had abused her in Feb. 2021. Bianco — who, with Wood, co-created the Phoenix Act, which expands the rights for survivors of domestic violence — was the first woman to file a lawsuit against him. “Mr. Warner used drugs, force, and threats of force to coerce sexual acts from Ms. Bianco on multiple occasions,” the filing said. “Mr. Warner raped Ms. Bianco in or around May 2011.” 

The complaint also alleged that Warner had sexually assaulted her while she was unconscious and unable to consent. It also detailed more ways in which he had allegedly abused her: “These acts include spanking, biting, cutting, and whipping Ms. Bianco’s buttocks, breasts, and genitals for Mr. Warner’s sexual gratification — all without the consent of Plaintiff.”

The actress had been living in London when she met the singer, and Warner, she claimed, enticed her to move to Los Angeles to star in a music video that never came out and to act in a movie that never materialized. “By inserting himself in Ms. Bianco’s visa process, Mr. Warner was able to control Ms. Bianco by threatening to withdraw support if she displeased him,” the suit said. She also claimed that at one point, he locked her in a bedroom to prevent her from fleeing. She alleged he also made her work for free, making him food, cleaning his apartment, and singing on an album — all of which violated the state’s trafficking laws. The suit originally named Warner’s former manager, Tony Ciulla, as a defendant, but his name was later removed.

Warner has denied claims of abuse over the years through his lawyer, including those in Bianco’s lawsuit. “These claims are provably false,” Warner’s attorney, King, said in 2021. “To be clear, this suit was only filed after my client refused to be shaken down by Ms. Bianco and her lawyer and give in to their outrageous financial demands based on conduct that simply never occurred. We will vigorously contest these allegations in court and are confident that we will prevail.”

Bianco expounded on her claims against Warner in Rolling Stone’s article investigating the allegations against Warner. “Victims of his felt completely ashamed that they still didn’t realize what was happening to them until it was way too late,” she said. “He told the whole world and nobody tried to stop him.”

Several other women, including Warner’s former personal assistant, Ashley Walters, and model Ashley Morgan Smithline filed similar lawsuits against Warner. Each woman alleged similar patterns of abuse that included grooming, and sexual and physical abuse. Walters’ suit was dismissed over the statute of limitations; Smithline’s was dismissed when she missed a deadline. A similar lawsuit filed by an anonymous woman, identified as Jane Doe, still stands.

Meanwhile, Warner has filed a lawsuit against Wood and her friend, Illma Gore, alleging defamation, emotional distress, and “impersonation over the internet,” among other charges. The filing arrived just before Phoenix Rising, a documentary about Wood and the abuse she claims to have suffered at Warner’s hands, premiered on HBO. In the doc, she described how she felt Warner manipulated her and claimed he “essentially raped” her on the set of one of his music videos.

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Shortly after Wood posted her allegations on Instagram, the Los Angeles County Sheriff’s Department confirmed it was investigating criminal sexual assault claims against Warner. The police turned over their findings to the Los Angeles D.A., which has not yet commented on whether or not it will pursue charges against Warner.

During an appearance on The View last spring, Wood fielded a question about Warner’s lawsuit against her. “I am very confident that I have the truth on my side and that the truth will come out,” she said. “This is clearly timed before the documentary. … I’m not doing this [film] to clear my name. I’m doing this to protect people. I’m doing this to sound the alarm that there is a dangerous person out there and I don’t want anybody getting near him. So people can think whatever they want about me. I have to let the legal process run its course, and I’m steady as a rock.”

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Actress Esmé Bianco and Marilyn Manson

In this guest post, 2021 Film Independent Episodic Lab Fellow Marissa Díaz shares her experiences as a participant of the program. The non-Member deadline to apply for the 2023 Lab is February 10. The Member deadline is February 24. Are you developing an original TV/streaming series as a writer or creator? This Lab’s for you.

***

Big fish in small ponds are in for a rude awakening… or perhaps that’s just what I tell myself so I can sleep at night. This little brown girl with a big dream came of age in South Texas. I had the unfortunate pleasure of finding inordinate success, terribly young. At a year, I entered an Easter coloring competition at CVS and won an oversized bunny. In elementary school, I bested summer reading challenges at the local library. At nine, I won the MF spelling bee–can you use “garter” in a sentence?

I went to a magnet school for high school, where I found filmmaking and a community of artsy weirdos who “got” me. We watched the classics, wrote and shot experimental films, and dreamed of being the next Martin Scorsese. I was a shining star destined for greatness! The world just didn’t know it… yet.

In college, all of that changed. I went to NYU’s Tisch School of the Arts and majored in Film & Television Production. The fantasy: I’d spend four years bopping around New York City like Carrie Bradshaw… but, like, with an Arri Alexa 16mm in tow. The reality: Tisch was up to its gills with film bros who loved 2001: A Space Odyssey and would ask me questions like, “Is a fajita a taco or a burrito?”

They didn’t understand me, nor my desire to tell stories embedded in indigenous mythology and Mexican folklore. My pitches–along with my heart–sank. I came to the conclusion that, maybe I wasn’t a special snowfake. I carried that sentiment with me for years. It pushed me away from writing and into the throes of producing. I got my MFA from the University of Southern California’s Peter Stark Producing Program. After graduate school, I grinded as a Hollywood assistant and then became a development executive and a producer on Generation (HBO Max) and Orgasm Inc: The Story of Onetaste (Netfix).

The pandemic hit and left me with a preposterous amount of free time. The years had gotten away from me, but I couldn’t shake the feeling that I was meant to write. I decided it was time to write… furiously. If I was stuck at home, I would make the most of it. I would create. I came across the Film Independent Episodic Lab and used its submission deadline as an anchor in my writing schedule. I submitted my application and pushed a Shonda Rhimes manifestation out into the universe–“Pick me. Choose me. Love me!”

Months later, I learned I was accepted into the Lab’s first all-female cohort.

It was the greatest honor I could imagine. Film Independent is a tastemaker. An institution at the forefront of discovering and fostering new, noisy, diverse voices that reimagine the landscape of storytelling. Ahead of the Lab, I read each Fellows’ pilot. As a development executive, I’d read hundreds of pilots a year and still, I was staggered by their raw talent. The scripts were varied in genre, subject matter and vision, and they were also sharp, funny and heartwarming. Did my inclusion in the Lab mean that my work rose to the occasion? Could I be… a special snowfake?

The Lab was a thrilling rush of fast friendships, story development and inspiring–sometimes horrifying!–tales of Hollywood. The week began with a “Welcome Zoom” featuring previous Episodic Lab fellows and Netfix development executives. We learned about the executives’ work, and the Fellows shared their experiences since the Lab; some found representation, others had projects premiere at Sundance or were shortlisted for an Academy Award. Another landed an overall deal. The Fellows shared the same piece of advice: stay in touch with your cohort. Nurture the relationships. Watch them grow.

The hot seat.

In the two weeks of the Lab, we did just that. In our “Morning Mingles,” my cohort of six became an inseparable sisterhood born from a love of storytelling. We are a coven that built a circle of trust and respect that carried us through the Lab, through obstacles small and large, and notes, groundbreaking and devastating. Glen Mazzara lent his time to the Lab and shared his approach to story.

(For those wondering, the key to good television is: “Cool people doing cool shit every episode.”)

I was paired with Robbie Pickering as a Creative Mentor. He took the time to carefully read my script and in a live notes session with my cohort, provided meaningful, constructive feedback. One of his notes cracked my pilot wide open in a way I couldn’t have arrived at myself. During the Lab, we pitched our hearts out. We pitched to story experts, agents, writers and executives. Each day we reworked our pitch given industry feedback. By the end of the two-week Lab, we were pitching machines!

In the weeks after the Lab, I was paired with a Netfix executive as a mentor. Later, I spent a week shadowing in a Netfix writer’s room. Each writer was kind enough to meet with me individually and share their experience. Since the Lab, the coven has become a writing group that shares and workshops new work. We cheer each other on as we’ve gained representation, received awards, premiered plays and produced new work. I have Film Independent’s Episodic Lab to thank for my new family of artsy weirdos who get me.

Hey Special Snowfake, it’s your turn to apply!

About the author: Marissa Díaz is a Tejana writer, director and producer. She works across mediums including scripted and unscripted film, television and interactive media. Most recently, Marissa wrote and produced Orgasm Inc: The Story of Onetaste, a feature documentary for Net ix. She worked on HBO’s hit series Girls, produced queer teen series Generation for HBOMax and wrote Welcome to the Blumhouse Live, an interactive live event for Blumhouse and Amazon Studios.

Previously, she worked at Lena Dunham’s Good Thing Going, Fox Searchlight, MGM Studios, Bravo TV, Martin Scorsese’s Sikelia Productions and The Weinstein Company. Marissa is a Film Independent and Netfix Episodic Lab Fellow, a Film Independent x CNN Original Series Docuseries Fellow, and a Producers Guild of America x Google Create Fellow.

Marissa holds a BFA in Film & TV Production from New York University’s Tisch School of the Arts and an MFA from the Peter Stark Producing Program at the University of Southern California, where she was awarded the Stark Special Production Grant for writing and directing and the Robert S. Ferguson Marketing Award in Television.

 

Film Independent promotes unique independent voices by helping filmmakers create and advance new work. To become a Member of Film Independent, just click here. To support us with a donation, click here.

More Film Independent…

(Header: Marissa on set)

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Shoppers in north Calgary will lose two long-standing area grocery stores. Calgary Co-op is moving forward with plans to shut down a couple of its shops — a decision that will impact dozens of jobs at both the Village Square and Beddington locations.

Officials said the stores will be closing on March 8 due to economic reasons.

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In a statement to Global News, Calgary Co-op said the difficult decision was made with the best interest of members in mind.

“Unsustainable sales and increasingly difficult local economic and market conditions for these stores mean we need to re-allocate resources to other, more sustainable stores,” the statement read.

Global News spoke with customers on Tuesday, several of whom noted their concern for both their shopping convenience and the jobs of those who are currently employed at the soon-to-be-closed locations at 8220 Centre St N and 2520 52 St NE.

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“I’ve gotten my vaccines here, COVID and flu. It’s convenient, it’s across the street,” customer Amanda Murray said. “The people here are better and there are local products that the other grocers don’t carry”

“(The job losses) that part of it is hard. Unless you work in construction or something like that, there’s not a lot of job opportunities right now.”

Read more:

Calgary grocer seeks exemption to plastic ban for their compostable bags

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Children died from drinking unpasteurized raw milk at Saddle Lake residential school: advocacy group

No numbers are available yet on the amount of jobs that are expected to be lost with these closures, but the company said it’s trying to minimize the damage.

Co-op said leading up to the closing date, the stores will be working closely with employee unions to keep and re-allocate employees who would like to remain with the company.

Co-op currently operates 21 grocery stores in Calgary. The company noted the loss of the two locations will in turn mean re-allocating resources to the redevelopment of the Oak Ridge and North Hill stores and a new Co-op is also planned to be built in Marda Loop.

Liquor and cannabis outlets at the Beddington and Village Square locations will remain in business.

&copy 2023 Global News, a division of Corus Entertainment Inc.

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By Elissa Carpenter Global News Posted January 25, 2023




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Image Credit: Elizabeth Goodenough/Everett Collection

  • James Cameron is the director of massive movie hits including ‘Titanic’ and ‘Terminator.’
  • He is currently married to actress Suzy Amis.
  • The household name was previously married four times.
  • James just garnered a Best Picture Academy Award nomination for ‘Avatar: The Way of Water’

James Cameron, 68, is one of the most well-known directors in Hollywood. He’s been at the helm of many of the movie industry’s biggest hits throughout the years, including Titanic, True Lies, Aliens, Solaris, Terminator, Avatar, Alita: Battle Angel, and more. His list of awards and honors is even more impressive — he famously proclaimed himself the “king of the world” after nabbing the Best Picture and Best Director Oscars at the 1998 Academy Awards. The film wound up winning 9 more technical awards — and with its 11 total wins, James’ epic period drama historically tied with 1959’s Ben Hur and 2003’s The Lord of the Rings: The Return Of The King for the most Oscar wins ever.

Along his way to greatness, he has been married no fewer than 5 times. He met his current wife, actress Suzy Amis, on the set of the Leonardo DiCaprio and Kate Winslet-led movie, but she’s not the first actress he’s been married to. As James celebrates several 2023 Oscar nominations for Avatar: The Way Of Water, here’s what to know about the women James has loved in his life behind the scenes.

Suzy Amis

Suzy Amis and James Cameron
Suzy Amis and James Cameron (Elizabeth Goodenough/Everett Collection)

James met Oklahoma native Suzy, now 61, on the set of Titanic in the mid 1990’s, when she played Rose’s granddaughter Lizzy Calvert in the contemporary portions of the film.  But their relationship wasn’t to be for another few years — James married Terminator star Linda Hamilton in 1997, divorcing her two years later amid speculation that he was already in a relationship with the Titanic actress. Suzy and James finally married in 2000, and they’ve since welcomed daughters Claire and Elizabeth and son James Quinn (known as Quinn Cameron.)

The outspoken vegan, climate activist, and former Ford model was previously married to Sam Robards, the actor son of Jason Robards and screen legend Lauren Bacall. James once said that being attracted to “strong independent” women hadn’t previously worked out for him.

“Being attracted to strong independent women has the downside that they’re strong independent women — they inherently don’t need you,” James said, per PEOPLE, in Dec 2022. “Fortunately, I’m married now to a strong independent woman who does believe she needs me.”

Linda Hamilton

Linda Hamilton and James Cameron
Linda starred in the Cameron-directed ‘The Terminator’ in 1984 (BEI/Shutterstock)

James directed Linda in the 1984 film The Terminator and in 1991’s Terminator 2: Judgment Day. They moved in together in 1991, and welcomed a daughter, Josephine Archer Cameron, in 1993. They married in 1997, only to have it fall apart as James seemed to move on with Suzy — though Linda famously walked away from the union with a $50 million settlement.

In 2019, when the former couple teamed up for Terminator: Dark Fate (James produced, Linda returned as Sarah Connor). “That relationship was a mystery to all of us — even Jim and myself — because we are terribly mismatched,” she told The New York Times in a 2019 interview. “I used to say we fit together like a puzzle: Everywhere he’s convex, I’m concave.” But she also had a theory as to why he was attracted to her.

“I think what happened there is that he really fell in love with Sarah Connor,” she told the newspaper. “And I did, too.”

Kathryn Bigelow

Kathryn Bigelow and James Cameron
Kathryn Bigelow memorably trounced her ex husband when her film ‘The Hurt Locker’ won Best Picture and Best Director at the Oscars in 2010. (Matt Sayles/AP/Shutterstock)

What’s an Oscar winning director without…another Oscar winning director for a wife? James was married to acclaimed The Hurt Locker and Zero Dark Thirty director Kathryn Bigelow from 1989-1991. She was the first woman to win an Academy Award for Best Director for the former, earning the monumental, historical honor in 2010. And she went up directly against her ex-husband, who was nominated in the same category for Avatar, and for Best Picture. He lost both to her.

On the big night, he pantomimed strangling her, then hugged her. But he couldn’t resist suggesting a little “improvement” on her gritty masterpiece film. “I think [The Hurt Locker] would have been better in 3D,” he told Entertainment Weekly in a 2010 print interview per Collider. “Absolutely. It wouldn’t have been hugely better in 3D, but I’m talking a future where you don’t have to put ‘in 3D’ on the movie poster anymore, the same way you don’t put ‘in color’ on posters anymore.”

Gale Anne Hurd

James Cameron and Gale Anne Hurd
James and Gale Anne Hurd (Michael Germana/Everett Collection)

It’s no surprise that James would also be attracted to a prolific and powerful producer. Gale Anne Hurd was producer and screenwriter on 1984’s The Terminator, and executive producer for 1991’s Terminator 2: Judgment Day. However, she was only married to James from 1985-1989. She was a close collaborator on many of his films, including Aliens and The Abyss, as well.

After her divorce from James, she subsequently married Mission: Impossible director Brian De Palma from 1991-1993, welcoming daughter Lolita de Palma in 1991. She then married screenwriter and director Jonathan Hensleigh in 1995.

Sharon Williams

James was married to his first wife, Sharon Williams, from 1978-1984. Very little is known about Sharon and his first marriage, though it’s worth noting that it would last six years — three times longer than his marriages to Gale, Kathryn, and Linda, each of whom only lasted two years with the director. She is reportedly a former actress.

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View gallery Image Credit: Elizabeth Goodenough/Everett Collection James Cameron

Microsoft reported its slowest top-line growth in more than six years, with total revenue inching up 2% for the December 2022 quarter, and took an $800 million charge related to its layoff of 10,000 employees.

Last week the tech giant announced it was eliminating 10,000 positions, about 5% of its global workforce, amid signs of an economic slowdown. All told, Microsoft took a $1.17 billion charge for severance, “hardware-related impairment” and lease consolidation costs for the quarter ended Dec. 31, 2022.

Microsoft announced revenue of $52.7 billion, up 2% year over year, and adjusted earnings of $2.32 per share for the quarter, which is its Q2 of fiscal year 2023. Net income declined 12.5%, to $16.4 billion. Analysts on average expected the Redmond, Wash.-based company to post revenue of $52.96 billion and EPS of $2.29, according to financial data provider Refinitiv.

The bright spot for Microsoft’s quarter: Its Intelligent Cloud segment generated revenue of $21.51 billion, up 18%. On the EPS beat and the growth in the cloud business, shares of Microsoft were up 4% in after-hours trading.

Xbox content and services revenue decreased 12%, while Windows OEM and devices revenue both decreased 39% and Windows Commercial products and cloud services revenue declined 3%. Microsoft’s search and news ad revenue (excluding traffic acquisition costs) increased 10%.

Earlier this week, Microsoft announced plans to invest billions over several years in OpenAI — the company that created the buzzy artificial-intelligence chatbot ChatGPT — to “accelerate AI breakthroughs” and “ensure these benefits are broadly shared with the world.” Microsoft has committed to investing $10 billion overall in OpenAI, the New York Times reported, following its $1 billion investment in 2019 and another $2 billion in 2021. Under the deal, Microsoft’s Azure serves as OpenAI’s exclusive cloud provider.

“The next major wave of computing is being born, as the Microsoft Cloud turns the world’s most advanced AI models into a new computing platform,” Microsoft CEO Satya Nadella said in announcing the quarterly earnings. “We are committed to helping our customers use our platforms and tools to do more with less today and innovate for the future in the new era of AI.”

Meanwhile, Microsoft faces an antitrust lawsuit filed by the FTC in December seeking to block its $69 billion deal for Activision Blizzard. The agency alleged that acquiring Activision Blizzard would let Microsoft “suppress competitors” in the video-game sector.

Pictured above: Microsoft CEO Satya Nadella

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Microsoft reported its slowest top-line growth in

Sundance Institute Labs alumnus Vuk Lungulov-Klotz returned to his home turf to reflect on the Jan. 23 premiere of his directorial debut, “Mutt,” in a conversation with Variety Studio presented by Audible. The film’s stars — Lío Mehiel, Cole Doman and Mimi Ryder — joined Lungulov-Klotz to talk about redefining trans representation in film and television.

“I wrote this movie about six years ago when I was still young in my transition and understanding what trans was, and I wanted to write a movie about all of my fears,” Lungulov-Klotz reflected. “I tried to really make a story about empathy to showcase a trans identity in a 24-hour period. I wanted to subvert trans representation on-screen with having a character that wasn’t perfect — I just wanted to show a human being. I’m a little tired of taboos or sad stories, so I just wanted Feña, played by Lío, to just be able to exist and make mistakes.”

Nominated for a grand jury prize in the U.S. competition, the film follows Feña (Mehiel), a young transgender man living in New York City who grapples with the intersectionality of his gender identity and Latinx background. All the while, Feña seeks to reconcile with his estranged sister (Ryder), his father (Alejandro Goic) and even his ex-lover (Doman) as those around him come to terms with his transition.

“For the trans community that sees this film, I hope they see themselves maybe for the first time. Because there haven’t been very many films with trans-masculine protagonists, especially written by a trans-masculine person,” Mehiel said, simultaneously wrapping Lungulov-Klotz into a side embrace. “But then also for cis audiences to just recognize they have the same fears about, ‘Am I still loved by my family who I haven’t seen in a while? Am I still desired by someone who I haven’t seen in a long time?’”

In addition to writing and directing “Mutt,” Lungulov-Klotz also produced the film through Lucky 13 Productions alongside Alexander Stegmaier, Stephen Scott Scarpulla, Jennifer Kuczaj and Joel Michaely. The director’s passion for queer storytelling can also be seen through previous short films he’s penned and directed, such as “Still Liam” and “River Fork,” which are similarly centered around a transgender protagonist.

Watch the full conversation above.

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Sundance Institute Labs alumnus Vuk Lungulov-Klotz returned

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On the January 23, 2023 episode of /Film Daily, /Film editorial director Peter Sciretta is joined by /Film writer and box office analyst Ryan Scott to discuss the latest film and tv news, including Tron 3, Box Office and Netflix.

Opening Banter: 

In The News:

All the other stuff you need to know:

  • You can find more about all the stories we mentioned on today’s show at slashfilm.com, and linked inside the show notes.
  • /Film Daily is published every weekday, bringing you the most exciting news from the world of movies and television as well as deeper dives into the great features from slashfilm.com. 
  • You can subscribe to /Film Daily on Apple Podcasts, Google Podcasts, Overcast, Spotify and all the popular podcast apps (RSS). 
  • And please subscribe to our newsletter!
  • Send your feedback, questions, comments and concerns to us at peter@slashfilm.com. Please leave your name and general geographic location in case we mention the e-mail on the air.
  • Please rate and review the podcast on Apple Podcasts, tell your friends and spread the word! 
  • Thanks to Sam Hume for our logo.

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On the January 23, 2023

Julian Sands, best known for his starring roles in “A Room With a View” and “Warlock,” remains missing as the search for the English actor stretches to 11 days. On Tuesday, authorities provided an update on the effort to locate Sands, who had been hiking in the Baldy Bowl hiking area, located roughly 50 miles east of Los Angeles. Sands was reported missing on the evening of Jan. 13.

“The Sheriff’s Department is closing in on the second full week of the search for missing hiker, Julian Sands. Numerous ground and air search efforts have taken place. As of this time, Mr. Sands has not been found and no evidence of his current location has been discovered,” the San Bernardino County Sheriff’s Department said in a statement. “The search will continue, weather and ground conditions permitting.”

Authorities also shared that they had successfully located another missing hiker on Tuesday afternoon. The missing man had suffered “weather-related injuries” but was able to leave the area with help from officials. He has since been transferred to a hospital for treatment. The department also issued an additional precaution to avoid hiking in the area around Mt. Baldy due to harsh environmental conditions.

Sands’ brother, Nick Sands, has expressed fears that Julian will remain missing. In an article published Tuesday at Telegraph & Argus, Nick Sands spoke about his brother’s affection for the Mt. Baldy region and his doubts that he could survive such an extended amount of time in the region.

“He has not yet been declared missing, presumed dead, but I know in my heart that he has gone,” Nick Sands said. “However sibling rivalry being what it is, it would be just like him to walk out of there and prove me wrong… He has an army of friends, fans and admirers who have been fantastic in their support and will miss Jules dearly.”

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Julian Sands, best known for his starring

‘The Drop’

Dropping a baby on the concrete probably shouldn’t be funny, but in the new Hulu comedy The Drop, which began streaming on Friday, it most definitely is. Pen15′s Anna Konkle stars as a flighty woman who accidentally drops her best friend’s infant baby. Don’t worry, the baby is fine. The group of millennial friends, however—who are all… Read more

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‘The Drop’ By Anna Menta Dropping a baby on the

Till writer-director Chinonye Chukwu called out “unabashed misogyny towards Black women” after her film was notably left out of the 2023 Oscar nominations, with star Danielle Deadwyler missing out on the best actress nod many experts predicted she’d receive for her portrayal of Emmett Till’s mother, Mamie Till-Mobley.

“We live in a world and work in industries that are so aggressively committed to upholding whiteness and perpetuating an unabashed misogyny towards Black women,” Chukwu wrote in part on Instagram Tuesday.

Still, she tried to find her own happiness in the Oscar disappointment.

“I am forever in gratitude for the greatest lesson of my life – regardless of any challenges or obstacles, I will always have the power to cultivate my own joy, and it is this joy that will continue to be one of my greatest forms of resistance,” Chukwu wrote.

Her comments accompanied a picture of the director with civil rights activist Myrlie Evers-Williams, who is one of a number of real-life figures portrayed in the film about Till-Mobley’s quest for justice in the wake of her son’s abduction and murder.

Chukwu, who also saw her first film, Clemency, miss out on a best actress Oscar nod for star Alfre Woodard’s acclaimed performance, has been outspoken about Till not showing violence against Black bodies, partly in response to hesitation by some to see a film about such a brutal murder, and telling the story through Mamie Till-Mobley’s perspective.

Speaking on The Hollywood Reporter’s Writer Roundtable, Chukwu recalled her meeting with producers Whoopi Goldberg and Barbara Broccoli.

“When I told them that this had to be centered in Mamie’s emotional point of view, and she needed to be the protagonist and we needed to follow her specific journey, they said that’s what they wanted too, and we started from there,” Chukwu said.

And she and others connected with the project have spoken about how they felt it was important viewing.

“This is not the trauma porn film that some have said this would be,” writer-producer Keith Beauchamp told THR at the film’s New York Film Festival premiere. “We were very careful in crafting the story [of Mamie Till-Mobley] to make sure that this story is told with dignity and respect. And so for those who are hesitant to see it, I understand in some cases why, but it’s very important to understand that if we forget our past, history will repeat itself. And when Emmett Till’s mother made the decision to have an open casket funeral, so that the world could see her son, it was a pivotal moment that galvanized the American civil rights movement. When we talk about Till, we have to remember that Emmett was the catalyst that sparked the American civil rights movement.”

Sean Patrick Thomas, who plays Mamie’s future husband Gene Mobley in the film, said Till serves as important viewing.

“If we keep trying to turn our backs to the ugliness that there is in the world, we’re not going to fix it,” he told THR at the NY Film Festival premiere. “We have to confront what’s going on so that we can do something about it. I only ask that people find the strength, find the patience to really take the story in, so that we can do something about it.”

In addition to Deadwyler, Viola Davis was left out of the best actress field for her lead role in The Woman King.

Goldberg, who has been campaigning for the film that she’s been working on for more than a decade, merely said on Tuesday’s The View that “unfortunately” Till wasn’t nominated.

Since Till premiered at the New York Film Festival, Deadwyler has received awards buzz for her performance, with some saying early on that she could win the best actress Oscar. Despite the Oscar snub, Deadwyler has been nominated for BAFTA, Screen Actors Guild, NAACP Image and Critics Choice awards for her role in the film, winning the Gotham Award for outstanding lead performance and sharing the National Board of Review breakthrough performance award with The Fabelmans‘ Gabriel LaBelle.

See Chukwu’s Instagram post below.

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Till writer-director Chinonye Chukwu called out “unabashed

January 24, 2023 · 7:38 AM

Oscar nominations were announced this morning, including the documentaries listed below. Congratulations to all the nominees – particular the past Sundance Film Festival titles recognized – and good luck on Sunday, March 12.

Documentary Feature:

ALL THAT BREATHES
ALL THE BEAUTY AND THE BLOODSHED
FIRE OF LOVE
A HOUSE MADE OF SPLINTERS
NAVALNY

Documentary Short Subject:
The Elephant Whisperers
Haulout
How Do You Measure a Year?
The Martha Mitchell Effect
Stranger at the Gate

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January 24, 2023 · 7:38 AM Oscar nominations

The Ukrainian government unveiled a major shake-up of government leadership this week, in an apparent effort to root out corruption at the highest level.

Following several prominent corruption scandals, including two major investigations involving the embezzlement of funds, President Volodymyr Zelensky announced “personnel decisions” across different government ministries and within Ukrainian law enforcement, which he said will continue into Wednesday. Zelensky also announced that state officials would be banned from traveling internationally for non-government purposes following a report that a now-former top prosecutor vacationed in Spain despite a martial law that bans Ukrainian men ages 18 to 60 from leaving the country without permission.

While the effort appears to be in response to the recent reports of embezzlement—including accusations of stolen money intended for troops—fighting corruption has been a major focus of President Volodymyr Zelensky’s presidency. Corruption also plagued Ukrainian society long before the war; according to a 2016 report by watchdog group Transparency International, between 38% to 42% of Ukrainian households reported paying a bribe to access basic public services.

Here’s what to know:

What are the greater implications for Ukraine?

In the midst of the Russian invasion, fighting corruption—and the appearance of corruption—has taken on new resonance for Ukraine. As the country urges its allies to provide money and equipment to aid its defense, the government must prove that the funds won’t go to waste.

Fighting corruption is also crucial to Ukraine’s efforts to build an alliance with Europe as it seeks E.U. membership. In June, the European Commission recommended that Ukraine “further strengthen the fight against corruption, in particular at high level, through proactive and efficient investigations, and a credible track record of prosecutions and convictions.”

Who has resigned so far?

Anti-corruption officials announced on Jan. 22 that an investigation had found an “organized criminal group” embezzled funds that were intended “to restore critical infrastructure facilities and provide the population in the winter with light, heat and water” by arranging overpriced contracts. Oleksandr Kubrakov, the minister of infrastructure, announced the same day that deputy minister Vasyl Lozynsky was released from his post and had been arrested after receiving a $400,000 bribe. Kubrakov said he ordered his team to conduct an audit of ministry projects.

Zelensky did not name Lozynsky, but acknowledged that a cabinet minister had been let go in a Jan. 22 statement. “I want this to be our signal to all those whose actions or behavior violate the principle of justice,” he said. “Of course, now the main focus is on defense, foreign policy, and war. But this does not mean that I do not see or hear what is being said in society at different levels.”

Separately, after a report in Ukrainian publication the Weekly Mirror accused the Ministry of Defense of over-paying for food intended for soldiers, the ministry announced on Jan. 24 that it had accepted the resignation of deputy minister Viacheslav Shapovalov. The ministry said in a statement the accusations are “baseless,” but called Shapovalov’s decision to resign a “worthy act in the traditions of European and democratic politics.”

Additionally, the deputy head of Zelensky’s office, Kyrylo Tymoshenko, announced his resignation on Jan. 24 following reports that he had improperly used an SUV donated for humanitarian missions.

What is the history of corruption in Ukraine?

Ukraine inherited widespread corruption following the fall of the Soviet Union, including within its judiciary, health care, and education systems. Since its independence 30 years ago, corruption has posed a major threat to the country’s efforts to free itself from the influence of Russian oligarchs and establish a democratic political system.

In recent years, the Ukrainian government has implemented a number of reform efforts, most notably in the aftermath of the 2014 Revolution of Dignity, in which major protests led to the ouster of President Viktor Yanukovych, whose extravagant mansion became a symbol of embezzlement at the highest levels of power in Ukraine. These reforms included the establishment of the National Anti-Corruption Bureau of Ukraine (NABU), which investigates corruption cases and prepares them for prosecution.

Zelensky named “victory over corruption” as a cornerstone of his presidency upon election in 2019 and implemented reforms prior to the Russian invasion. However, political analysts say that his efforts have had mixed results, with some questioning Zelensky’s commitment to reform.

Zelensky’s efforts have seen highs, such as the passage of a law stripping lawmakers of immunity from prosecution, and lows, including a battle with Ukraine’s constitutional court over the validity of NABU. The existence of corruption in Ukraine has been used by Russian President Vladimir Putin to justify the war, accusing the government of subverting the interests of the Ukrainian people in a televised address three days before the invasion.

Controversy surrounding Zelensky’s approach to corruption has continued through the past year. In late 2022, for instance, Ukraine’s parliament garnered praise for liquidating a notoriously corrupt district court, while the same day it was criticized for implementing a reform that could enable political interference in its constitutional court.

More Must-Reads From TIME


Contact us at letters@time.com.

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More than friends? Vinny Guadagnino and Gabby Windey have sparked romance speculation with their flirty social media exchanges since meeting as contestants on season 31 of Dancing With the Stars — and the MTV star is giving Us Weekly an exclusive update.

“We have great chemistry,” Guadagnino, 35, told Us of Windey, 32, on Tuesday, January 24, while promoting the season 6 premiere of Jersey Shore: Family Vacation with Nicole “Snooki” Polizzi, Angelina Pivarnick, Deena Cortese and Jenni “JWoww” Farley.

He continued: “We’re both, like, comedians. So, that’s why we get along and that’s also why we flirt so much on Instagram because we have that same banter with each other.”

After Windey made it to the finale of the reality competition series in November 2022, Guadagnino congratulated her in an Instagram comment, referring to the Bachelorette alum as his “baby mama.” In turn, the ICU nurse called the Jersey Shore star her “main man.”

The pair reunited during the Dancing With the Stars Live Tour earlier this month. On Friday, January 20, Windey shared a carousel of Instagram photos from the experience, including a snap of her and the MTV personality sharing the stage.


Vinny Guadagnino at the MTV Movie & TV Awards: UNSCRIPTED, May 2021.
Chelsea Lauren/Shutterstock

“Dancing with your honey @vinnyguadagnino ❤️ can’t wait to double date in Nash ?,” the twosome’s former competitor Jessie James Decker commented on the post, hinting at a future group outing with her husband, Eric Decker.

Although some fans thought the comment confirmed a romance between Windey and the New York native, Guadagnino told Us that he’s not dating his fellow reality star.

“It takes a lot more for me than just, like, a couple Instagram comments to be dating someone,” he said. “But I would go on a double date with her and Jessie and her husband. I would actually go to dinner with Gabby. It’s just that we just met, you know what I mean? It’s not like anything serious.”

Windey’s playful back and forth with the Chippendales performer comes after her November 2022 split from ex-fiancé Erich Schwer. The pair met during season 19 of The Bachelorette and got engaged during the September 2022 finale.

“The end of our relationship happened because we weren’t completely in step and in sync with each other in our common goals or just the way we approach life,” the Colorado native told her DWTS partner Val Chmerkovskiy during a November 2022 episode of the Disney+ competition series. The comments marked her first time addressing the breakup after ditching her engagement ring for several previous tapings.

Schwer, 30, for his part, broke his silence via Instagram Stories one day later.

“A lot of you are reaching out with questions about me and Gabby. The reality is that we ultimately were not each other’s people — it’s hard when there isn’t one thing to put your finger on,” the real estate analyst wrote at the time. “We met in a very unique situation and in a very unique way and I’m grateful we did. I would never take it back.”

Season 6 of Jersey Shore: Family Vacation premieres Thursday, January 26, on MTV at 8 p.m. ET.

With reporting by Christina Garibaldi

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More than friends? Vinny Guadagnino and Gabby

Microsoft’s Xbox sales declined by 13 percent while the gaming system’s content and services saw a 12 percent drop in revenue, the company said on Tuesday as part of its quarterly earnings report for the three months ending on Dec. 31.

Total revenue for the gaming division dropped by 13 percent year over year.

In a presentation for analysts, the company said the drop in Xbox content and services revenue was due to the year-over-year comparison to a “strong prior year,” declines in first-party content and lower monetization of third-party content. Some of the revenue decreases were partially offset by a growing number of subscribers to the Xbox Game Pass, a subscription service that gives users access to Xbox games on consoles, PCs and mobile devices.

Hardware revenue for the gaming console also dropped during the quarter due to lower prices during the holiday season and an overall decline in the total number of devices sold.

Microsoft reported its earnings after announcing a major round of layoffs earlier this month that will impact roughly 10,000 employees. The cuts are expected to be finished by the third quarter of this year and follow similar layoffs at other tech companies like Amazon and Meta.

The tech company, led by CEO Satya Nadella, is also facing regulatory roadblocks to its $68.7 billion acquisition of gaming company Activision Blizzard. In December, the Federal Trade Commission sued to block the sale due to antitrust concerns.

During his prepared remarks, Nadella did not address the ongoing legal battle aside from noting that the company is still seeking to close the deal during this fiscal year.

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Microsoft’s Xbox sales declined by 13 percent

For several years now, an international film breaking into the Best Picture race has led to it winning the Best International Feature Oscar.

We will update these predictions throughout awards season, so keep checking IndieWire for all our 2023 Oscar picks. Final voting is March 2 through 7, 2023.  The 95th Oscars telecast will be broadcast on Sunday, March 12 and air live on ABC at 8:00 p.m. ET/ 5:00 p.m. PT.

Eric Kohn and Anne Thompson are collaborating on predictions updates for this category. See Thompson’s preliminary thoughts for what to expect at the 95th Academy Awards here and earlier predictions for this category here.

The State of the Race

It’s starting to become more common for the frontrunner in the Best International Feature Film category to crack Best Picture. From “Roma” to “Parasite” and “Drive My Car,” the support for a non-English language feature in both categories is a good indication that it’s at minimum a sure win for International. For this year’s evident frontrunner, the situation is more pronounced than usual, as director Edward Berger’s war epic “All Quiet on the Western Front” secured a commanding nine nominations this year, including several craft categories in addition to international and picture. With that obvious strength across several branches of the Academy, plus a robust Netflix awards campaign, it will be hard to beat.

Berger’s vivid and visceral adaptation of the 1929 novel — the first by a German director, but the third total cinematic effort — did not stand out as the evident frontrunner when it premiered at the Toronto International Film Festival last fall. Back then, a number of Cannes winners were already in the mix, including Park Chan-wook’s detective noir “Decision to Leave” (which had admirers, but some found it too long or slow), and Austrian period piece “Corsage” (a terrific showcase for Un Certain Regard Best Actress co-winner Vicky Krieps).

However, the two Cannes movies that did make the cut, the tragic Belgian coming-of-age drama “Close” and Polish donkey odyssey “EO,” had yet to fire up their campaigns. There was no obvious frontrunner from the festival or elsewhere. With Netflix sensing an opening after initially boosting Alejandro Gonzalez Iñarritu’s “Bardo,” “All Quiet” quickly entered the mix in the weeks following its festival run with high-profile Academy screenings that included one hosted by superfan Benedict Cumberbatch. As the rest of the season took shape, it became clear that the movie also benefited from the absence of any other traditional large-scale war epic of the sort that Hollywood loves to celebrate. Its old-school appeal works in its favor for voters with more traditional sensibilities.

However, it’s not the only one to fit that bill. Chilean director Santiago Mitre’s Golden Globe winner “Argentina 1985,” stars (and was produced by) the country’s most celebrated actor Ricardo Darín as eccentric lawyer Julio César Strassera, who risked his life to lead the so-called “Trial of the Juntas,” prosecuting the leaders of the country’s military dictatorship. The movie marks the third collaboration between Darín and Mitre, who worked together to create an engrossing recreation of the televised courtroom proceedings and shot most of them in the actual room where they took place.

“Argentina, 1985”

Amazon Studios

The Amazon Studios release premiered in Venice shortly after an attempted assassination of Argentina’s Vice President as the country faces another era of dangerous extremism and divisiveness, which gives it added topicality. The recent Golden Globe winner could appeal to Academy voters who prefer a more timely subject matter and may want to reward Darín, who previously starred in 2009 International Oscar winner “The Secrets in Their Eyes.” It’s also the sole Latin American contender in the category after Mexico’s “Bardo” failed to get in, landing a Best Cinematography nomination for Darius Khondji instead.

Also worth a mention: Argentineans rooting for the movie’s success have noted a possible historical parallel in their favor: The country won its first Oscar in 1986 for Luis Puenzo’s “The Official Story,” which was also the year it won the World Cup for the first time; last December was the second time. So if the past is prologue and there is a cosmic order to the universe…don’t count it out.

Meanwhile, A24 made the strategic decision to open “Close” theatrically in January, close to the end of the nomination deadline, which seems to have worked out in the movie’s favor. The sophomore effort from 31-year-old filmmaker Lukas Dhont overcame the backlash to his 2018 debut “Girl” (which wasn’t shortlisted after it angered some members of the trans community) with this tearjerker about a 13-year-old boy (Eden Dambrine) who has an intimate friendship with his peer Rémi that falls apart after schoolyard bullies complicate their relationship. The movie won the Grand Prix at Cannes and could win over Academy voters looking for a more intimate and universally emotional story beyond the bigger-budgeted offerings.

As for “EO,” which scored 84-year-old Polish auteur Jerzy Skolimowski the Prix du Jury at Cannes (which he shared with “The Eight Mountains”): This audacious, often wordless exploration of animal intelligence may be the most ambitious aesthetic undertaking in the category, though some voters uncomfortable with animal suffering may be reticent to give it a shot. However, the movie was shortlisted anyway, and “EO” has been steadily building buzz in theaters for months, much like distributor Sideshow’s “Drive My Car” last year. Unlike the Netflix behemoth in the lead, a vote for “EO” is essentially an endorsement of the platform arthouse release, which has become a dicey prospect in the streaming era.

The international category does often wind up with at least one surprise, like the 2020 “Lunana: A Yak in the Classroom,” which landed Bhutan its first-ever Oscar nomination after a minimal presence on the festival circuit. This year, that slot goes to another historic first, with “A Quiet Girl” landing Ireland its first-time nomination in the category. The movie, which premiered at the Berlinale almost a year ago in the Generation Kplus section, began to generate underdog momentum after Ireland was the first country to announce its Oscar submission early in the summer. Neon’s label Super Ltd gave it a qualifying run in December. The movie, an adaptation of Claire Keegan’s story, takes place in 1981 and follows a young woman (Catherine Clinch) who spends the summer in the countryside with her dysfunctional relatives. It may not be an obvious winner, but as voters survey the category, its low-key charms could build some momentum.

Nominees are listed in order of their likelihood to win.

Contenders:
“All Quiet on the Western Front” (Edward Berger, Germany)
“Argentina, 1985” (Santiago Mitre, Argentina)
“Close” (Lukas Dhont, Belgium)
“EO” (Jerzy Skolimowski, Poland)
“The Quiet Girl” (Colm Bairéad, Ireland)

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For several years now, an international film

PLEASE NOTE: This forecast, assembled by The Hollywood Reporter’s executive editor of awards, Scott Feinberg, reflects Feinberg’s best attempt to predict the behavior of the Academy of Motion Picture Arts and Sciences, not his personal preferences. He arrives at these standings by drawing upon consultations with voters and industry insiders, analysis of marketing and awards campaigns, results of awards ceremonies that precede the Oscars and the history of the Oscars ceremony itself.

*BEST PICTURE*

Projected Order of Finish
1. Everything Everywhere All at Once (Daniel Kwan, Daniel Scheinert & Jonathan Wang)
2. The Fabelmans (Kristie Macosko Krieger, Tony Kushner & Steven Spielberg) — podcast (Spielberg)
3. Top Gun: Maverick (Jerry Bruckheimer, Tom Cruise, David Ellison & Christopher McQuarrie) — podcast (Bruckheimer)
4. Elvis (Gail Berman, Baz Luhrmann, Catherine Martin, Pamela McCormick & Schuyler Weiss)
5. All Quiet on the Western Front (Male Grunert)
6. The Banshees of Inisherin (Graham Broadbent, Peter Czernin & Martin McDonagh)
7. Tár (Todd Field, Scott Lambert & Alexandra Milchan)
8. Avatar: The Way of Water (James Cameron & Jon Landau)
9. Triangle of Sadness (Philppe Bober & Erik Hemmendorff)
10. Women Talking (Dede Gardner, Jeremy Kleiner & Frances McDormand)

*BEST DIRECTOR*

1. Steven Spielberg (The Fabelmans) — podcast
2. Daniel Kwan & Daniel Scheinert (Everything Everywhere All at Once)
3. Martin McDonagh (The Banshees of Inisherin)
4. Todd Field (Tár)
5. Ruben Östlund (Triangle of Sadness)

*BEST ACTOR*

Projected Order of Finish
1. Austin Butler (Elvis)
2. Brendan Fraser (The Whale)
3. Colin Farrell (The Banshees of Inisherin)
4. Bill Nighy (Living)
5. Paul Mescal (Aftersun)

*BEST ACTRESS*

Projected Order of Finish
1. Michelle Yeoh (Everything Everywhere All at Once) — podcast
2. Cate Blanchett (Tár) — podcast
3. Michelle Williams (The Fabelmans) — podcast
4. Ana de Armas (Blonde)
5. Andrea Riseborough (To Leslie)

*BEST SUPPORTING ACTOR*

Projected Order of Finish
1. Ke Huy Quan (Everything Everywhere All at Once)
2. Brendan Gleeson (The Banshees of Inisherin)
3. Judd Hirsch (The Fabelmans)
4. Brian Tyree Henry (Causeway)
5. Barry Keoghan (The Banshees of Inisherin)

*BEST SUPPORTING ACTRESS*

Projected Order of Finish
1. Angela Bassett (Black Panther: Wakanda Forever)
2. Jamie Lee Curtis (Everything Everywhere All at Once)
3. Stephanie Hsu (Everything Everywhere All at Once) — podcast
4. Hong Chau (The Whale)
5. Kerry Condon (The Banshees of Inisherin)

*BEST ADAPTED SCREENPLAY*

Projected Order of Finish
1. All Quiet on the Western Front (Edward Berger, Lesley Paterson & Ian Stokell)
2. Women Talking (Sarah Polley)
3. Living (Kazuo Ishiguro) — podcast
4. Glass Onion: A Knives Out Mystery (Rian Johnson)
5. Top Gun: Maverick (Ehren Kruger, Christopher McQuarrie & Eric Warren Singer)

*BEST ORIGINAL SCREENPLAY*

Projected Order of Finish
1. Everything Everywhere All at Once (Daniel Kwan & Daniel Scheinert)
2. Triangle of Sadness (Ruben Östlund)
3. The Fabelmans (Tony Kushner & Steven Spielberg) — podcast (Spielberg)
4. The Banshees of Inisherin (Martin McDonagh)
5. Tár (Todd Field)

*BEST ANIMATED FEATURE*

Projected Order of Finish
1. Guillermo del Toro’s Pinocchio (Alex Bulkley, Guillermo del Toro, Mark Gustafson & Gary Ungar) — podcast 1 and 2 (del Toro)
2. Turning Red (Lindsey Collins & Domee Shi)
3. Marcel the Shell with Shoes On (Dean Fleischer Camp, Andrew Goldman, Elisabeth Holm, Caroline Kaplan & Paul Mezey)
4. Puss in Boots: The Last Wish (Joel Crawford & Mark Swift)
5. The Sea Beast (Jed Schlanger & Chris Williams)

*BEST DOCUMENTARY FEATURE*

Projected Order of Finish
1. Navalny (Diane Becker, Shane Boris, Melanie Miller, Odessa Rae & Daniel Roher)
2. All the Beauty and the Bloodshed (Howard Gertler, Nan Goldin, Yoni Golijov, John Lyons & Laura Poitras)
3. Fire of Love (Shane Boris, Sara Dosa & Ina Fichman)
4. All That Breathes (Teddy Leifer, Aman Mann & Shaunak Sen)
5. A House Made of Splinters (Monica Hellström & Simon Lereng Wilmont)

*BEST INTERNATIONAL FEATURE*

Projected Order of Finish
1. All Quiet on the Western Front (Germany) — Edward Berger
2. EO (Poland) — Jerzy Skolimowski
3. Argentina, 1985 (Argentina) — Santiago Mitre
4. Close (Belgium) — Lukas Dhont
5. The Quiet Girl (Ireland) — Colm Bairéad

*BEST CINEMATOGRAPHY*

Projected Order of Finish
1. Elvis (Mandy Walker)
2. All Quiet on the Western Front (James Friend)
3. Tár (Florian Hoffmeister)
4. Empire of Light (Roger Deakins)
5. Bardo, False Chronicle of a Handful of Truths (Darius Khondji)

*BEST COSTUME DESIGN*

Projected Order of Finish
1. Elvis (Catherine Martin)
2. Everything Everywhere All at Once (Shirley Kurata)
3. Black Panther: Wakanda Forever (Ruth E. Carter) — podcast
4. Babylon (Mary Zophres)
5. Mrs. Harris Goes to Paris (Jenny Beavan)

*BEST FILM EDITING*

Projected Order of Finish
1. Everything Everywhere All at Once (Paul Rogers)
2. Top Gun: Maverick (Eddie Hamilton)
3. Elvis (Matt Villa & Jonathan Redmond)
4. The Banshees of Inisherin (Mikkel E. G. Nielsen)
5. Tár (Monika Willi)

*BEST MAKEUP & HAIRSTYLING*

Projected Order of Finish
1. Elvis (Jason Baird, Mark Coulier & Aldo Signoretti)
2. The Whale (Anne Marie Bradley, Judy Chin & Adrien Morot)
3. All Quiet on the Western Front (Linda Eisenhamerová & Heike Merker)
4. Black Panther: Wakanda Forever (Camille Friend & Joel Harlow)
5. The Batman (Naomi Donne, Mike Fontaine & Mike Marino)

*BEST ORIGINAL SCORE*

Projected Order of Finish
1. Babylon (Justin Hurwitz)
2. The Fabelmans (John Williams)
3. Everything Everywhere All at Once (Son Lux)
4. All Quiet on the Western Front (Volker Bertelmann)
5. The Banshees of Inisherin (Carter Burwell)

*BEST ORIGINAL SONG*

Projected Order of Finish
1. “Naatu Naatu” (RRR) — Chandrabose & M.M. Keeravaani
2. “Lift Me Up” (Black Panther: Wakanda Forever) — Ryan Coogler, Ludwig Göransson, Rihanna & Tems
3. “Hold My Hand” (Top Gun: Maverick) — BloodPop & Lady Gaga — podcast 1 and 2 (Gaga)
4. “This Is a Life” (Everything Everywhere All at Once) — David Byrne, Ryan Lott & Mitski — podcast (Byrne)
5. “Applause” (Tell It Like a Woman) — Diane Warren — podcast 1, 2 and 3

*BEST PRODUCTION DESIGN*

Projected Order of Finish
1. Elvis (Bev Dunn, Catherine Martin & Karen Murphy)
2. All Quiet on the Western Front (Christian M. Goldbeck & Ernestine Hipper)
3. Babylon (Anthony Carlino & Florencia Martin)
4. The Fabelmans (Rick Carter & Karen O’Hara)
5. Avatar: The Way of Water (Dylan Cole, Vanessa Cole & Ben Procter)

*BEST SOUND*

Projected Order of Finish
1. Elvis (Michael Keller, David Lee, Andy Nelson & Wayne Pashley)
2. Top Gun: Maverick (Chris Burdon, James H. Mather, Al Nelson, Mark Taylor & Mark Weingarten)
3. All Quiet on the Western Front (Lars Ginzel, Stefan Korte, Frank Kruse, Viktor Prášil & Markus Stemler)
4. Avatar: The Way of Water (Dick Bernstein, Christopher Boyes, Michael Hedges, Julian Howarth, Gary Summers & Gwendolyn Yates Whittle)
5. The Batman (William Files, Douglas Murray, Andy Nelson & Mark Weingarten)

*BEST VISUAL EFFECTS*

Projected Order of Finish
1. Avatar: The Way of Water (Richard Baneham, Daniel Barrett, Joe Letteri & Eric Saindon)
2. Top Gun: Maverick (Scott R. Fisher, Seth Hill, Bryan Litson & Ryan Tudhope)
3. All Quiet on the Western Front (Markus Frank, Kamil Jafar, Viktor Müller & Frank Petzoid)
4. Black Panther: Wakanda Forever (Geoffrey Bauman, Craig Hammack, San Sudick & R. Christopher White)
5. The Batman (Russell Earl, Anders Langlands, Dan Lemmon & Dominic Tuohy)

*BEST ANIMATED SHORT*

Projected Order of Finish
1. The Boy, the Mole, the Fox and the Horse (Matthew Freud & Charlie Mackesy)
2. An Ostrich Told Me the World Is Fake and I Think I Believe It (Lachlan Pendragon)
3. My Year of Dicks (Sara Gunnarsdóttir & Pamela Ribbon)
4. The Flying Sailor (Amanda Forbis & Wendy Tilby)
5. Ice Merchants (Bruno Caetano & Joao Gonzalez)

*BEST DOCUMENTARY SHORT*

Projected Order of Finish
1. Stranger at the Gate (Conall Jones & Joshua Seftel)
2. The Martha Mitchell Effect (Anne Alvergue & Beth Levison)
3. How Do You Measure a Year? (Jay Rosenblatt)
4. The Elephant Whisperers (Kartiki Gonsalves & Guneet Monga)
5. Haulout (Maxim Arbugaev & Evgenia Arbugaeva)

*BEST LIVE-ACTION SHORT*

Projected Order of Finish
1. Le Pupille (Alfonso Cuarón & Alice Rohrwacher) — podcast 1 and 2 (Cuarón)
2. The Red Suitcase (Cyrus Neshvad)
3. An Irish Goodbye (Tom Berkely & Ross White)
4. Night Ride (Gaute Lid Larssen & Eirik Tveiten)
5. Ivalu (Rebecca Pruzan & Anders Walter)

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PLEASE NOTE: This forecast, assembled by The

Last Updated: August 15, 2020, 11:09 IST

‘Khuda Hafiz’ movie poster

There are a couple of scenes in the beginning where Vidyut Jammwal gives a glimpse of his latent potential, but Khuda Haafiz keeps oscillating between many emotions.

Khuda Haafiz

Cast: Vidyut Jammwal, Shivaleeka Oberoi, Annu Kapoor, Ahana Kumra, Shiv Pandit

Director: Faruk Kabir

Set during the global economic crisis of 2008 when millions lost their jobs and looked for stop gap arrangements, Khuda Hafiz features a Lucknow family that faces the most harrowing time for no fault of theirs.

Sameer (Vidyut Jammwal) and Nargis Choudhary (Shivaleeka Oberoi) are newly married but fate would take the wife to a country called Noman where she gets kidnapped. She, somehow, manages to make one last call to Sameer, who sets out in her pursuit.

As Jammwal fans would like, he readily begins throwing punches around without thinking much of the consequences. It’s not a bad decision on director Faruk Kabir’s part because Jammwal is really good at it. In fact, it’s tough to beat his energy in hand to hand combat scenes, like we have seen in the Commando series. However, Khuda Hafiz has enough stress on romance between the lead pair and that is where he is abandoned by his colleagues.

There are a couple of scenes in the beginning where Jammwal gives a glimpse of his latent potential, but Khuda Hafiz keeps oscillating between many emotions. For example, Jammwal’s scared self at the Indian embassy in Noman tries its best to set up the tone, but forced change of plots and faulty accents never let the film soar high.

Thankfully, Jammwal gets to kick some backs, otherwise it would have been really tedious to sympathise with this rescue mission.

Read: Raat Akeli Hai Movie Review

Read: Gunjan Saxena Movie Review

As a famous cricket commentator would put it, Khuda Hafiz is a serious case of ‘bits and pieces’ film. The focus is on Jammwal’s martial arts skills and there is nothing to look beyond that, even if he really puts his heart and soul into it.

I know it’s tough for Nargis in a foreign land, but it’s even tougher for us to bear Annu Kapoor’s put on accent. May she return safely, but I wouldn’t want us to pay for it.

Khuda Hafiz is streaming on Disney+ Hotstar now.

Rating: 1.5/5

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Last Updated: August 15, 2020, 11:09 IST'Khuda

It’s about college student Ingrid who hits it off with multi-millionaire Christian on a dating app, but must accept the bizarre relationship between him and Frank, a man who lives his life in a dog costume.

Good Boy was directed by Viljar Bøe and stars Gard Fartein Løkke Goli, Katrine Lovise Øpstad Fredriksen, Amalie Willoch Njaastad, Nicolai Narvesen Lied, Viljar Bøe, and Marie Waade Grønning.

I had the chance to check out Good Boy at Beyond Fest, and I was blown away! The movie has so many twists and turns I was never really sure what would happen next. The acting was great, and the whole film was well done. If you get the chance, definitely check it out!

The story revolves around Christian, a shy but charming loner, who meets Sigrid, a commitment-phobic student, on a dating app.

Sigrid and Christian hit it off immediately. They both feel a strong connection and are drawn to each other. After their first date, Christian asks Sigrid to spend the night, and she happily agrees.

Good Boy begins as a typical indie romantic comedy, with soapy dialogue and a slow-paced romance.

When Christian tells Ingrid he has a dog named Frank, she and the audience don’t think much of it. But the morning she spends the night with him, they realize that Frank is an exceptional dog. The person in the dog costume is not a dog but a grown man.

This is where writer/director Viljar Boe messes with our heads.

As Ingrid gradually acclimates to the strangeness of her new surroundings, Boe’s writing creates a sense that we are sharing her experience.

After the initial shock, we accepted Christian and Frank’s bizarre relationship. Christian assured Ingrid that his relationship with Frank, the ‘dog,’ was not sexual. Instead, he functions as part of their relationship because Frank has been his friend since childhood, and Frank chooses to live like this.

I understood what Frank was going through and why he felt the need to engage in ‘Puppy Play’. I accepted that he was doing it consensually and likely enjoyed it as an adult.

After getting used to the idea, I found myself caring for the non-human partner and emotionally invested in their love for each other – just as I did while watching Lars And The Real Girl.

The empathy we feel for Frank the ‘dog’ is eventually turned against us as a series of disturbing events unfolds for the strange trio.

The main themes of this story are coercively controlling relationships and the power struggles between partners. This can often be seen in relationships where one person is narcissistic, and the other is submissive.

Christian and Frank’s disturbing relationship initially repulse Ingrid, but she changes her heart after speaking with her flatmate Aurora.

A woman’s flatmate tells her that the man she is dating is a multi-millionaire and convinces her to pursue the relationship despite her concerns about his strange behavior.

We are groomed daily, whether advertisers try to get us to buy their beauty products, or our partners try to make us feel good about ourselves with gifts and compliments.

Ingrid is persuaded into beginning a possibly tricky relationship due to the appeal of a luxurious lifestyle.

Boe takes his time in building the domestic world of Christian, Frank, and Ingrid. We are given snippets of dialogue and a voyeur’s perspective of the blossoming relationship between the three of them.

Our leash is pulling us into unfamiliar territory.

There is subtext in this movie relating to the ongoing issue in a society where those who are wealthy always seem to be at the top, while those who are lower in the hierarchy are constantly struggling to achieve the same level of comfort.

Boe is playing with our preconceived notions and then subverts them, ensuring we’re constantly guessing what will happen next. This keeps us on our toes and ensures that we’re always entertained.

I suggest going into this film knowing as little as possible.

If you want to avoid spoilers and get the full effect of this story, don’t watch the trailer or read any critic reviews. The story’s genius is how it exceeds your expectations while drawing you into a dark world.

Worth Watching? 

This fairy tale only runs for seventy-five minutes, but it packs a punch with its shocking ending. If you’re looking for a dark and twisted story, this one is worth checking out.



Good Boy Review (2023) Worth Watching? – ALL HORROR


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Justin Roiland
Photo: Vivien Killilea/Getty Images for SiriusXM

Rick And Morty will live on, but it’ll do so without co-creator Justin Roiland. That was the announcement made today by Adult Swim, with the official Rick And Morty Twitter account also stating that Adult Swim has “ended its association” with Roiland and that the show will continue, noting that “the talented and dedicated crew are hard at work on season seven.”

The Hollywood Reporter says that the characters Roiland voiced on Rick And Morty—most notably Rick and Morty—will be re-cast, which means this is going to be a significantly larger change to the show than just removing him as the co-showrunner and eliminating whatever influence he had on the writing process. Roiland is credited as the co-creator, and still will be going forward, but that means it’s unclear how much actual writing he used to do from episode to episode. Either way, Dan Harmon will now be the sole showrunner on the series, though THR says Roiland will “always be credited as co-creator.”

This major shake-up to what is inarguably Adult Swim’s most enormous hit currently on the air (and possibly of all time) comes after a report came out earlier this year that Roiland had been charged with felony domestic battery and false imprisonment over a complaint filed against him in May of 2020 by a woman he was dating at the time. For the record, Roiland’s attorney has claimed that the media’s coverage of the case has been “inaccurate,” explaining that Roiland is not only “innocent” but that they “have every expectation that this matter is on course to be dismissed once the district attorney’s office has completed its methodical review of the evidence.”

Adult Swim ordered 70 new episodes of Rick And Morty back in 2018, a number that should carry it through 10 seasons. With Roiland now out, it will presumably continue on with that order as planned. Meanwhile, there’s no word on what will happen to Hulu’s Solar Opposites, which Roiland also co-created and does a voice on.

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Justin RoilandPhoto: Vivien Killilea/Getty Images for SiriusXMRick