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After Apple issued several copyright claims, YouTube took down an archival channel containing hundreds of decades-old videos from past Apple Worldwide Developer Conferences (WWDC). Brendan Shanks, the owner of the Apple WWDC Videos channel, says his account’s been permanently disabled after receiving well over three copyright strikes — the maximum number of violations you can incur before YouTube removes your account.

In screenshots of emails shared by Shanks, Apple issued a number of takedown requests against his videos, some of which dated back to the early 2000s. Shanks says he still has all the original video files and descriptions, and is currently trying to get the content over to the Internet Archive. Apple didn’t immediately respond to The Verge’s request for comment.

The now-defunct website contained a massive trove of old Apple ads, WWDC sessions, internal training videos, and much more. Gold was quickly flooded with DMCA notices after the site’s launch, resulting in its content and the videos uploaded to Vimeo getting taken down. (You can still view an archived version of the website here.)

And yes, while this archived content is Apple’s intellectual property, the company doesn’t exactly do the best job of making its history readily available to fans. It seems like the closest thing we’ll get to an official archive related to the company is the small, but growing Steve Jobs Archive, which contains emails, videos, and voice clips highlighting snippets of Jobs’ life. The site was launched in September by Jobs’ friends and family — not by Apple.

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After Apple issued several copyright claims, YouTube

Last Updated: November 20, 2022, 16:23 IST

Manasvi Vashist comes out in support of Sumbul Touqeer.

Manasvi Vashist, who worked with Sumbul Touqeer in Imlie, has alleged that everyone in Bigg Boss 16 house is attacking the actress.

In the recent episode of Bigg Boss 16, Salman Khan confronted Sumbul Touqeer Khan for her alleged obsession with Shalin Bhanot. However, looks like this has left Sumbul’s former co-star Manasvi Vashist disappointed and upset. On Sunday afternoon, Manasvi, who worked with Sumbul in Imlie, took to his Instagram stories and penned down a long note in support of his former co-star. The actor slammed Sumbul’s ‘character assassination’ and alleged that all other Bigg Boss 16 housemates are attacking her. He even lashed out at them for not taking a stand for Sumbul.

“I am deeply saddened to see the character assassination of a simple girl on national television. I have worked with Sumbul and she is a very sensible and honest girl. I am watching this season of Bigg Boss and it’s extremely frustrating to see how everybody is brutally attacking her character and not even a single person is taking a stand for her. This is disgusting,” Manasvi wrote.

“You tell the world that if a woman says ‘no’ then it is a no. Then why are you putting allegations on a woman that she is ‘obsessed’ and ‘in love’ with a man when she hasn’t said that herself? Why would you do that to her? Just because you think she is vulnerable? This is pathetic,” the actor added.

Manasvi Vashist comes out in support of Sumbul Touqeer.

For the unversed, Salman Khan confronted Sumbul Touqeer Khan for her alleged obsession with Shalin Bhanot during Saturday’s episode. While the former Imlie actress denied the same, Salman questioned her for not letting Tina Datta talk to Bhanot for even five minutes. Salman even asked other housemates about their opinion on Sumbul and Shalin’s equation. While Sajid Khan mentioned that Sumbul has a ‘childhood crush’ on Bhanot, even Nimrit Kaur Ahluwalia agreed but added that she has stopped to intervene in Sumbul’s matter. Shiv Thakare also mentioned that Shalin and Sumbul have ‘dosti se thoda upar ka relation’.

Read all the Latest Movies News here

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Last Updated: November 20, 2022, 16:23 ISTManasvi

One season ago, the Omicron surge of COVID forced the Academy’s Governors Awards to be postponed until the Friday before Oscars Sunday, outside of the pre-Oscar nomination voting window in which it traditionally is held, and virtually nobody but the honorees and their table guests were in attendance.

The ceremony at which special Oscars are presented returned to that window on Saturday night for its 13th edition, and — surprise, surprise! — just about every person who has a prayer of landing a nom found their way to the Fairmont Century Plaza’s ballroom — to celebrate honorees Michael J. Fox, Diane Warren, Peter Weir and Euzhan Palcy, to be sure, but not incidentally to pose for photos beside the Oscar logo on the red carpet and to rub shoulders with Academy members and awards press inside.

Studios pay a pretty penny to procure tables at the Governors Awards so that they can then offer seats at them to their ponies in the Oscar derby, and they clearly had no problem filling them this year. Indeed, I have been covering this Hollywood award ceremonies for many years now, and I have rarely seen a room as star-studded. One couldn’t turn around without bumping into, say, Adam Sandler (Hustle) or Jennifer Lawrence (Causeway) or Tom Hanks (Elvis) or Cate Blanchett (Tár).

Some big names were there to play an official role in the proceedings. Thirteen-time best original song Oscar bridesmaid Warren was not only a guest of honor, but is also a contender for a 14th nom for “Applause” from Tell It Like a Woman. Plus, Woody Harrelson (Triangle of Sadness) presented to Fox. Viola Davis (The Woman King) presented to Palcy and was seated at her table, as was Ruth E. Carter (Academy governor and costume designer of Black Panther: Wakanda Forever) and both Keke Palmer and Jordan Peele (Nope). And Laura Dern (The Son) and Whoopi Goldberg (Till) are also Academy governors.

But most were not.

And I think that attendance was surely boosted by the fact that this year’s picture and acting categories still seem so wide open. Everyone is still in the game, so to speak — even people from projects that might not seem like traditional Oscar bait, such as a cannibal movie (e.g. Bones and All’s lead actress Taylor Russell), an R-rated comedy (e.g. Bros’s co-writer/star Billy Eichner) and non-English-language blockbusters (RRR’s co-writer/director S.S. Rajamouli) — so it was worth it to show up, even if one couldn’t stay in town for long.

For instance, Ana de Armas (Blonde) told me that she’s shooting a movie in Europe and won’t be able to return to L.A. until February, but she made sure to be in town for this. Florence Pugh (Wonder) has also been abroad shooting Dune: Part Two, but she was in the room hanging with Emma Corrin (Lady Chatterley’s Lover). And Eddie Redmayne (The Good Nurse) jetted in from London. And that’s just talent from Netflix projects!

It certainly doesn’t discourage attendance that many high-profile media opportunities — THR’s acting roundtables, Variety’s Actors on Actors, Deadline’s Contenders, etc., not to mention guild Q&As and the like — are now scheduled around Governors Awards weekend.

Many of this year’s attendees were first-timers who were genuinely excited to be there. For instance, earlier on Saturday, I was chatting about the event with best actor candidates Austin Butler (Elvis), Colin Farrell (The Banshees of Inisherin), Brendan Fraser (The Whale), Jeremy Pope (The Inspection) and Ke Huy Quan (Everything Everywhere All at Once), who made plans with Sandler (a past attendee for Uncut Gems) to meet up for a drink once there.

As the Governors Awards enters its teens, it has become one of the cooler stops on the campaign trail — and, yes, even more star-studded than the Oscars itself.

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One season ago, the Omicron surge of

(RasulovS/DepositPhotos)

Like it or not, network TV series typically live and die by their Nielsen ratings (live, delayed, or streaming). Since most fans do not live in Nielsen households, the average person’s preferences aren’t taken into account, and that is frustrating. While we can’t change the system, we want to give you an outlet for your opinions, so we invite you to vote for your favorite 2022-23 network TV shows here. Which programs are the best or the worst? If it were up to you, which TV series would be cancelled and renewed?

ABC TV series this season (so far):  Abbott Elementary, Alaska Daily, America’s Funniest Home Videos, Bachelor in Paradise, Big Sky, Celebrity Jeopardy!, Celebrity Wheel of Fortune, The Conners, The Goldbergs, Grey’s Anatomy, Home Economics, The Rookie, The Rookie: Feds, Shark Tank, and Station 19.

CBS TV series this season (so far):  The Amazing Race, Bob ♥ Abishola, Blue Bloods, CSI: Vegas, East New York, The Equalizer, FBI, FBI: International, FBI: Most Wanted, Fire Country, Ghosts, NCIS, NCIS: Hawai’i, NCIS: Los Angeles, The Neighborhood, So Help Me Todd, Survivor, SWAT, and Young Sheldon.

The CW TV series this season (so far): All American, All American: Homecoming, Coroner, Criss Angel’s Magic with the Stars, DC’s Stargirl,Family Law, Kung Fu, Penn & Teller: Fool Us, Professionals, Walker, Walker Independence, Whose Line Is It Anyway?, The Winchesters and World’s Funniest Animals.

FOX TV series that have premiered (so far): 9-1-1, Bob’s Burgers, Call Me Kat, The Cleaning Lady, Family Guy, The Great North, Hell’s Kitchen, LEGO Masters, The Masked Singer, Monarch, The Resident, The Simpsons, and Welcome to Flatch.

NBC TV series this season (so far): Capital One College Bowl, Chicago Fire, Chicago Med, Chicago PD, La Brea, Law & Order, Law & Order: Organized Crime, Law & Order: Special Victims Unit, Lopez vs. Lopez, New Amsterdam, Quantum Leap, The Voice, and Young Rock.

What do you think? Which network TV shows do you rate as wonderful, terrible, or somewhere between? If it were your call, which TV series would be cancelled or renewed for another season?

Check out our status sheets to track new TV series pickups, renewals, and cancellations. You can find lists of cancelled shows here.

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Published: November 19, 2022(RasulovS/DepositPhotos) Like it or not,

The Disney+ special, which was filmed simultaneously with “Guardians of the Galaxy Vol. 3,” begins streaming on November 25.

“Guardians of the Galaxy Vol. 3” will be James Gunn’s final Marvel Cinematic Universe film before he turns his attention to running DC Studios, but he has one more treat for fans before he departs the MCU.

Next week, Gunn’s longtime passion project “The Guardians of the Galaxy Holiday Special” will begin streaming on Disney+. The one-off event is an homage to the infamous “Star Wars Holiday Special” as well as many of the more warmly received specials that families watch each Christmas.

In a new interview with The Hollywood Reporter, Gunn opened up about his creative process behind the holiday special. As it turns out, his passion for the subject matter and familiarity with the cast and characters made it an extremely easy script to write.

“I’ll be honest, I wrote the screenplay in a few hours, so it just kind of spilled out of me. It was very easy,” Gunn said. “Everything about shooting it was easy. Everything about getting the performances out of people was easy, whereas ‘Vol. 3’ was torture in every way.”

Gunn explained that he was able to achieve higher production value than would normally be feasible for a Christmas TV special because he shot it on the same sets as next year’s feature film. In addition to saving money, it also allowed him to create more narrative synergy between the two projects.

“I shot them simultaneously,” he said. “One of the great benefits of the special was being able to introduce elements into the movie that I don’t have to then explain at the beginning of the movie, such as Cosmo the Spacedog [Maria Bakalova] or the fact that they live in the Head of Knowhere, their new residence, or introducing their spaceship, the Bowie, which, in real life, is this four-story set. It’s the most amazing set I’ve ever been on, and so we were able to utilize those sets that we had the money to build for ‘Vol. 3,’ in the special. We otherwise wouldn’t have had that type of money to build these million-dollar sets.”

“The Guardians of the Galaxy Holiday Special” begins streaming on Disney+ on Friday, November 25. 

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The Disney+ special, which was filmed simultaneously

In honor of the 2022 FIFA World Cup in Qatar, which kicks off Nov. 20, Billboard has reached out to Latin artists who are big fútbol fans to ask what the sport means to them. For our second installment, we spoke to Ecuadorian pop singer Johann Vera, who is a self-declared soccer aficionado and is ready to support La Selección Ecuatoriana during the tournament. Below, read Vera’s “What Fútbol Means to Me,” as told to Billboard.

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My first memory with soccer, now that I’m thinking about it, was in Guayaquil in my house. I liked playing it in my backyard. I have to be honest, I’m not the biggest soccer fan but I understand the euphoria it causes and I’ve lived it, and I think that the feeling doesn’t compare to anything else. I remember that for Ecuador’s first World Cup in 2002, I was about six years old, and remember hearing the entire city screaming “goal” and celebrating. That emotion of seeing an entire country united is not produced by anything else. The country could be facing a bad situation but that goal changes everything.

I’ve always wanted to do a song for my country and I thought it was very important to bring that patriotic feeling. I feel that being an Ecuadorian artist living in the exterior, you realize how important and magical your country is. Ever since I began my career, I had my country and flag very present in everything I do. I worked on “Donde Nací” by myself — it’s a gift that I wanted to give to my country. This song, and the World Cup, bring positivity and joy to my country. 

Once the song was done, I wanted to send it to the Ecuadorian Football Federation to see different ways I can promote it. Everyone loved the song but it was too late, and that’s when I changed the song’s chorus to: “They tell me no, I say yes, that’s how we are where I was born.” I believe that I owe this spirit of perseverance 100% to my country. I released the song only on social media, and a lot of people in my country began reacting to it and creating content with it, and I felt, at that moment, that I already won.

I’m a fan of la tri, of my team, because they represent my country. I feel that living in the exterior, your flag weighs more. I may not be the biggest soccer fan in the world but if la tri is playing, I’m there.

I’m confident that this will be the best World Cup for Ecuador. Winning the entire tournament may seem so unreachable, but why not? We have an incredible team. If Ecuador were to win the World Cup, it will signify so much. Going beyond fútbol, I think it will change the situation in our country and will mark a rebirth.

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In honor of the 2022 FIFA World Cup in

Elon Musk reinstated Donald Trump’s account on Twitter on Saturday, reversing a ban that has kept the former president off the social media site since a pro-Trump mob attacked the U.S. Capitol on Jan. 6, 2021, as Congress was poised to certify Joe Biden’s election victory.

Musk made the announcement in the evening after holding a poll that asked Twitter users to click “yes” or “no” on whether Trump’s account should be restored. The “yes” vote won, with 51.2 percent.

“The people have spoken. Trump will be reinstated. Vox Populi, Vox Dei,” Musk tweeted, using a Latin phrase meaning “the voice of the people, the voice of God.”

Shortly afterward Trump’s account, which had earlier appeared as suspended, reappeared on the platform complete with his former tweets, more than 59,000 of them. However his followers were gone, at least initially.

It is not clear whether Trump would actually return to Twitter. An irrepressible tweeter before he was banned, Trump has said in the past that he would not rejoin even if his account was reinstated. He has been relying on his own, much smaller social media site, Truth Social, which he launched after being blocked from Twitter.

And on Saturday, during a video speech to a Republican Jewish group meeting in Las Vegas, Trump said that he was aware of Musk’s poll but that he saw “a lot of problems at Twitter,” according to Bloomberg.

“I hear we’re getting a big vote to also go back on Twitter. I don’t see it because I don’t see any reason for it,” Trump was quoted as saying by Bloomberg. “It may make it, it may not make it,” he added, apparently referring to Twitter’s recent internal upheavals.

The prospect of restoring Trump’s presence to the platform follows Musk’s purchase last month of Twitter — an acquisition that has fanned widespread concern that the billionaire owner will allow purveyors of lies and misinformation to flourish on the site. Musk has frequently expressed his belief that Twitter had become too restrictive of freewheeling speech.

His efforts to reshape the site have been both swift and chaotic. Musk has fired many of the company’s 7,500 full-time workers and an untold number of contractors who are responsible for content moderation and other crucial responsibilities. His demand that remaining employees pledge to “extremely hardcore” work triggered a wave of resignations, including hundreds of software engineers.

Users have reported seeing increased spam and scams on their feeds and in their direct messages, among other glitches, in the aftermath of the mass layoffs and worker exodus. Some programmers who were fired or resigned this week warned that Twitter may soon fray so badly it could actually crash.

Musk’s online survey, which ran for 24 hours before ending Saturday evening, concluded with 51.2% of more than 15 million votes favoring the restoration of Trump’s Twitter’ account. It comes four days after Trump announced his candidacy for the presidency in 2024.

Trump lost his access to Twitter two days after his supporters stormed the Capitol, soon after the former president had exhorted them to “fight like hell.” Twitter dropped his account after Trump wrote a pair of tweets that the company said cast further doubts on the legitimacy of the presidential election and raised risks for the Biden presidential inauguration.

After the Jan. 6 attack, Trump was also kicked off Facebook and Instagram, which are owned by Meta Platforms, and Snapchat. His ability to post videos to his YouTube channel was also suspended. Facebook is set to reconsider Trump’s account suspension in January.

Throughout his tenure as president, Trump’s use of social media posed a significant challenge to major social media platforms that sought to balance the public’s interest in hearing from public officials with worries about misinformation, bigotry, harassment and incitement of violence.

But in a speech at an auto conference in May, Musk asserted that Twitter’s ban of Trump was a “morally bad decision” and “foolish in the extreme.”

Earlier this month, Musk, who completed the $44 billion takeover of Twitter in late October, declared that the company wouldn’t let anyone who had been kicked off the site return until Twitter had established procedures on how to do so, including forming a “content moderation council.”

On Friday, Musk tweeted that the suspended Twitter accounts for the comedian Kathy Griffin, the Canadian psychologist Jordan Peterson and the conservative Christian news satire website Babylon Bee had been reinstated. He added that a decision on Trump had not yet been made. He also responded “no” when someone on Twitter asked him to reinstate the conspiracy theorist Alex Jones’ account.

In a tweet Friday, the Tesla CEO described the company’s new content policy as “freedom of speech, but not freedom of reach.”

He explained that a tweet deemed to be “negative” or to include “hate” would be allowed on the site but would be visible only to users who specifically searched for it. Such tweets also would be “demonetized, so no ads or other revenue to Twitter,” Musk said.

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Elon Musk reinstated Donald Trump’s account on

Adele fans know she says “Hello” in a spectacular way, but now, judging by opening night at her Caesars Palace residency in Las Vegas, she has proven that she also says “goodbye” in a breathtaking way.

The 15-time Grammy winner irked fans and broke a few hearts when she postponed her Vegas residency earlier this year. But if the rave reviews she received weren’t enough to pick up spirits, the singer-songwriter closed out her performance with what can only be described as a magic trick.

Following her grand finale “Love Is a Game,” an enormous vertical column of pink confetti cascaded down, completely obscuring her body. Seconds later, after the confetti cleared, she appeared to have vanished into thin air.

At the end of a clip posted by Adele’s official fan page, someone can be heard yelling “What the f–?” That more or less captured the mood on social media as astonished fans scrambled to figure out how she’d pulled it off.

“When Adele disappeared into the burst of heart confetti I cried a bit. You really did that babes!!! SOOPGODDESS wrote on Twitter user. “Singing your ass off AND a magic show as the finale??? You’re taking it!!!”

“The singer Adele suffer a mild concussion after 20 pounds of confetti falls on top of her at her Las Vegas Residency,” another user jokingly captioned a video of the moment labeled “I now need to leave rooms like this.”

“Not Adele doing the disappearing act in Vegas,” a third fan remarked.

“Weekends With Adele” at The Colosseum at Caesars Palace in Las Vegas will run for 32 dates until March 25, 2023. Read below for more reactions:

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Adele fans know she says “Hello” in

Zombies had a good run. Vampires had their day in the sun. Now, it seems to be cannibals’ turn for their bite at the apple.

Luca Guadagnino’s “Bones and All” gives them that, and more, in casting Taylor Russell and Timothée Chalamet as a pair of young cannibals in a 1980s-set road movie that’s more tenderly lyrical than most conventional romances. You know, the ones without all the flesh eating.

Guadagnino, the Italian director, is one of our most lushly sensual filmmakers. He makes feasts as much as he makes films. So it’s both a hearty recommendation and a warning to say that he brings as much passion and zeal to the lives of the cannibals of “Bones and All” as he did to the ravenous eroticism of “I Am Love” and the lustful awakenings of “Call Me By Your Name.” If you’ve seen what Guadagnino can do with a peach, it should no doubt concern you what he might manage with a forearm.

But while there is certainly gore in “Bones and All,” there is also beguiling poetry. Guadagnino’s darkly dreamy film, which opens in select theaters Friday, has some of the spirit of iconic love-on-the-run films like Arthur Penn’s “Bonnie and Clyde,“ Terrence Malick’s “Badlands” and Nicholas Ray’s “They Live By Night” — movies that as open-road odysseys double as portraits of America. Like the couples of those films, Maren (Russell) and Lee (Chalamet), as cannibals, are technically law-breakers. But their relationship to society is different. They aren’t fighting it. They aren’t outsiders by choice.

“Bones and All” official trailer starring Timothée Chalamet

And though “Bones and All,“ adapted by Guadagnino and David Kajganich from Camilla DeAngelis’ novel, is about their relationship, it’s more striking as Maren’s coming of age. Particularly in its vivid, unforgettable early scenes, “Bones and All” digs into her dawning awareness of her cravings — who she is, how she got this way, what it will cost her to be herself. There are, no doubt, powerful metaphors here of growing up queer. But the film isn’t a neatly drawn parable. In Maren’s self-discovery there’s something elemental about alienation and self-acceptance — and how devouring another might save you from devouring yourself.

“Bones and All” can be both brutal and beautiful. You have the sense of seeing a movie that in shape and style reminds you of countless others. But, well, cannibalism just has a way of throwing things off balance. The result is something that feels both archetypal and otherworldly. When, in the opening scenes, Maren sneaks out of bed to visit friends having a sleepover, it’s an extremely familiar set-up — right up until Maren’s languorous kiss of another girl’s finger turns into a crunching bite.

Chaos ensues, Maren flees and when she gets home, her father’s rapid response makes it clear this isn’t their first time rushing to uproot. Her father, Frank, is played by André Holland, an actor of such soulful presence I remain befuddled why he’s not in everything. They go from Virginia to Maryland, where, one morning, Maren wakes up to find him gone. On the table are an envelope with some cash, her birth certificate, and a tape recording of Frank recounting her first eating (a babysitter). Maren is 18. She’s never known her mother. And the sense of abandonment is piercing. Seeking her mother, she buys a bus ticket and heads to Ohio.

Power lines and nuclear power plants loom in the frame early in “Bones and All.” On television and the radio, we get snippets of Rudy Giuliani and Ronald Reagan. These are reminders, I think, of power dynamics in the 1980s for all those who lived outside a narrow, heterosexual spectrum.

On a stopover at night, Maren learns there are others like her. A mysterious man (Mark Rylance) beneath a streetlight introduces himself as Sully, and explains he could smell her blocks away. “You can smell lots of things if you know how,” Sully says. Rylance, with a drawl, a feather in his hat and gothic panache, plays one of the creepier movie characters of recent years. Leading her back to a nearby house, he explains the ways of being an Eater. “Whatever you and I got, it’s gotta be fed,“ he says. Soon, he’s bent over a body in his underwear, with blood smeared across his face.

In an Indiana grocery store, Maren encounters Lee. Chalamet, reuniting with Guadagnino, is again in fine form. Sporting a mullet, a fedora and an unbuttoned shirt, his charismatic cannibal seems to be channeling James Dean. He certainly catches Maren’s eye, who eagerly joins him in a stolen pick-up truck. Drawing closer to Lee has an added layer of danger. Will he kiss her or swallow her?

His fraught family history ropes in other struggles of young adulthood. “Bones and All” can ramble a little, but Lee and Maren’s companionship together is as sweet as it is inevitably tragic. In a cruel world full of fearsome characters more rapacious than they are — Michael Stulhbarg and David Gordon Green play a pair of particularly ghoulish hicks — they try to forge a love. The movie, overwhelmingly, is in the eyes of Maren. It’s a brilliant breakthrough for Russell, who made a startling impression in 2019’s “Waves.” Her Maren is such a sensitive, curious creature — hungry less for flesh than for affection, acceptance and a home.

Stulhbarg, you might remember, had a pivotal role as the father in “Call Me By Your Name.“ His role here couldn’t be any more different. But his words from that earlier film speak to much of “Bones and All.“ Both films wrestle with what we inherit from our parents and what we sacrifice for the sake of conformity. “Our hearts and our bodies are given to us only once,” he said in “Call Me By Your Name.” “Bones and All,” too, yearns for a free, full-body existence.

“Bones and All,” an MGM release, is rated R by the Motion Picture Association for strong, bloody and disturbing violent content, language throughout, some sexual content and brief graphic nudity. Running time: 121 minutes. Three and a half stars out of four.

___

Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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Zombies had a good run. Vampires had

Ryan Reynolds is talking about the Deadpool Christmas-themed movie he had in mind that was ultimately scrapped after the Disney and Fox merger.

“I would love to see a song and dance number in a Deadpool movie. Four years ago [Deadpool co-writers] Rhett Reese, Paul Wernick and I wrote a Christmas movie starring Deadpool. But it got lost in the shuffle of Disney acquiring Fox and it never got made,” Reynolds told Big Issue. “Maybe one day we’ll get to make that movie. It’s not a musical, but it’s a full Deadpool Christmas movie. So one day.”

Reynolds has starred in two Deadpool movies, one in 2016 and the sequel in 2018. A third installment of the film franchise is being worked on right now with Hugh Jackman joining the Marvel Cinematic Universe reprising his role as Wolverine from X-Men.

Reynolds revealed that he had been courting Jackman to make an appearance in Deadpool “for six straight years.”

“It was ultimately Hugh that said, ‘I think I am ready to come back,’” Reynolds told Entertainment Tonight. “All we had to do was sell it to [producer] Kevin Feige, which didn’t take long, and the next thing you knew here we are.”

In the same interview, Reynolds addressed rumors that Taylor Swift would be joining Deadpool 3 after fans of the singer noticed that Jackman and Reynold’s announcement was filmed at the same house Swift’s All Too Well: The Short Film was shot.

“If we shoot the next Deadpool film in our house, then that would be that location,” Reynolds said about the the fan theory.

Reynolds added that he would love to have Swift in the movie saying, “I would do anything for that woman. She’s a genius.”

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Ryan Reynolds is talking about the Deadpool

Panels featured artists who worked on “Thirteen Lives,” “Black Panther: Wakanda Forever,” “Louis Armstrong’s Black & Blues,” “Causeway,” “Glass Onion: A Knives Out Mystery,” and “Bardo, False Chronicle of a Handful of Truths.”

IndieWire’s Consider This FYC Brunch returned on Friday, celebrating six of the films you’ll be hearing about during the 2022-2023 awards season. Above and below the line talent from “Thirteen Lives,” “Black Panther: Wakanda Forever,” “Louis Armstrong’s Black & Blues,” “Causeway,” “Glass Onion: A Knives Out Mystery,” and “Bardo, False Chronicle of a Handful of Truths” all participated in panels moderated by IndieWire editors to discuss what went into the dazzling images audiences see on the screen.

“Elevating artisans and craftspeople is, if you don’t mind me saying so, one of the things that IndieWire does best,” IndieWire editor-in-chief Dana Harris-Brisdon said in her opening remarks.

Throughout the day, these artists opened up about the labor intensive process of making great cinema. In their quest to achieve that special creative edge that separates them from the competition, every detail counts. Panelists from all six films emphasized that the real work began with meticulous research.

The team behind “Black Panther: Wakanda Forever” knew that topping the technical success of the original movie would be a difficult task. Legendary costume designer Ruth E. Carter won an Oscar for her Afrofuturism-influenced work on the 2018 film. But once director Ryan Coogler got the band back together to start talking about a sequel, everyone agreed that the success of the first film could not be an excuse to rest on their laurels. In a panel moderated by IndieWire’s Marcus Jones, Carter and producer Nate Moore described how they used other superhero movies as motivation to go bigger.

“Ryan said that every time he sees a Batman movie, the Batman costume is elevated,” Carter said. “It’s different, it’s more exciting.”

In addition to improving the existing costumes and gadgets used by the nation of Wakanda, the team was also tasked with bringing an entirely new (to the MCU, at least) civilization to life. The film’s villain, Namor, hails from Talokan, an underwater nation that also has access to Vibranium. When the decision to include Talokan was made, Coogler and his team knew that they needed to devote just as much creative energy to it as they did to Wakanda.

“Ryan is a filmmaker who wants things to feel tangible and real. He wanted to find cultural reference points that were as alive as the reference points we used to build Wakanda,” Carter said. “And he was still interested in themes of colonization.”

One key reference point that emerged was Mayan culture. Like Wakanda, Talokan is a Vibranium-fueled civilization that was able to remain untouched by colonial influences. By drawing from Mayan history, the film had an opportunity to incorporate Indigenous Mesoamerican culture in the same way that the franchise had honored African art.

Carter was certainly up for the challenge. The Oscar winner dove head first into researching Mayan aesthetics and ended up finding plenty of motifs that enriched her vision for the underwater civilization.

“There were little things that I loved: the jades, the ear spools. You’ll see these characters with these ear spools that they wear,” Carter said. “The beautiful aesthetics you see from the Mayan culture.”

Ron Howard found himself in a similar predicament when he signed on to direct “Thirteen Lives.” Like most people, he was familiar with the 2018 Thai cave rescue that saw an entire youth soccer team and its coach successfully evacuated from the Tham Luang Nang cave after being trapped by flooding. But making a movie that was not only set in Thailand, but attempted to tell the story of one of the most significant national events in the country’s recent history, required a far deeper knowledge of Thai culture than he entered the project with.

“It was exciting because of the Thai culture for me,” Howard said in a panel moderated by IndieWire’s Jim Hemphill. “A huge challenge that I took seriously, but an exciting personal experience.”

Howard always knew that his take on the material would have to be an inherently Thai story, incorporating specific elements of local cultures and religion. He consulted with a variety of translators and other experts, and hired Thai cinematographer Sayombhu Mukdeeprom, who told him that “I will be your angel” when it comes to understanding Thai culture.

The team was determined to get even the smallest details right. One early discussion involved the different accents used in southern and northern Thailand. Translators told Howard that Thai films and television shows seldom attempt to portray those different accents, but the director knew that it was an essential part of telling an accurate story.

“They said ‘we usually ignore that on TV,’ and I said ‘I don’t think we can,’” Howard said. “Because these boys were from the north, this story is happening in the north.”

When Sacha Jenkins began working on “Louis Armstrong’s Black & Blues,” he wasn’t as familiar with the intricacies of the jazz legend’s life as he was with some of his previous documentary subjects. But he embraced the challenge, diving into an extensive research process that saw him going through Armstrong’s sprawling diaries and personal records. While Armstrong’s musical prowess was well-documented, Jenkins was more interested in the details he uncovered about the trumpet player’s personal life and daily habits. That allowed him to document Armstrong’s life in a cinematic way that enhanced his perception of the music.

“There’s lot of journalism on the technical abilities of Armstrong,” Jenkins said on a panel moderated by IndieWire’s Christian Blauvelt. “But we wanted to give you a real portrait of who he was as a man. Because I believe to understand the music, no matter how technical it was, you have to understand the man.”

When it was time to shoot “Causeway,” director Lila Neugebauer was constantly thinking about authenticity. Her film, which stars Jennifer Lawrence as a disabled veteran who struggles to rebuild her life after being forced to return to her hometown of New Orleans, has earned rave reviews for its thoughtful portrayal of sensitive subject matter. On a panel moderated by IndieWire’s Marcus Jones, Neugebauer detailed her commitment to ensuring that Lawrence and co-star Brian Tyree Henry had the most accurate possible information on which to base their characters.

“I was able to have transformative encounters with veterans, and we consulted with a prosthetics expert down there,” Neugebauer said. “I think those conversations were instrumental in their work. But I would also add that both Jen and Brian, while both doing their homework, were both personalizing at the level of the soul.”

The whodunnit genre is all about crafting an intricate puzzle that will stump audiences until the very last second. Rian Johnson delighted audiences by doing that with “Knives Out,” but knew that the pressure was even higher for his followup, “Glass Onion: A Knives Out Mystery.”

On a panel moderated by IndieWire’s Eric Kohn, the film’s composer Nathan Johnson, editor Bob Ducsay, and producer Ram Bergman spoke about the importance of endlessly studying Johnson’s script to find new ways to insert Easter eggs that could add to the mystery.

“Often a composer will get brought in at the very end of the process to kind of quickly do the score. But coming on this early means we have the freedom to go down the rabbit hole,” Johnson said. “As a composer, I’m trying to tap into the subtext of what the actors are delivering. I get to kind of go in and play that subtext and leave little breadcrumbs and hints and trails.”

Few films released in 2022 are bolder than Alejandro González Iñárritu’s “Bardo (or a False Chronicle of a Handful of Truths).” The sprawling, surreal exploration of Mexican identity and Iñárritu’s conflicted feelings is the kind of dreamlike work that only a master filmmaker could produce.

In a panel moderated by IndieWire’s Eric Kohn, star Daniel Gimenez Cacho explained that the cast knew that they were creating something magical. He felt comfortable leaving things in the hands of his very capable director, and opted to focus on looking inward to bring as many personal contributions as he could to Iñárritu’s vision.

“It very much became my own life in a very magical way,” Cacho said. “What you see in the movie is my life. It is the closest character I have every played to me. How do you feel today? That is the way the character is going to be. It was just a matter of being present and just let it flow. This was very magical. So many things happen to me during the shooting that connected me with the deepest things of me. I must say, this was a unique journey.”

At the end of the day, everybody stressed that the extensive homework was a small price to pay for the privilege of telling stories with authenticity. Research-driven craftsmanship is an essential step towards making cinema that allows people to see themselves and their aspirations on the big screen, whether in biopics, documentaries, or the Marvel Cinematic Universe.

“This is why you do these stories,” Ron Howard said. “It’s because they’re outlier examples of what is possible.”

The full panel conversations from the IndieWire FYC Consider This Brunch will appear on IndieWire in the days ahead.

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Panels featured artists who worked on "Thirteen

Another fun week of podcasts, and today’s podcast guest Katrina Badowski from Peter’s season, has a much more interesting story off-show than she did on show. She got eliminated the first night on Peter’s season but there’s so much more to her that I wanted to share. Have followed Katrina on social media since her season and have always been interested in the stuff she’s posted. Whether it was speaking out against the franchise, or her dancing videos, or her work with the Special Olympics, there’s so much more to her than her hairless…pussy…cat, which was her limo entrance on Peter’s season talking about her cat Jasmine. We get into that and much, much more in today’s podcast. I want to thank Katrina again for coming on and I hope you all enjoy it.

You can listen to today’s podcast on a number of platforms, but you can also tune in by clicking the player below:


Subscribe:
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Music written by Jimmer Podrasky
(B’Jingo Songs/Machia Music/Bug Music BMI)

(SPOILERS) I start by briefly going over some Bachelor Nation news and more from BIP’s Tuesday episode. Then Katrina joins me (13:05) to talk about her short journey on Peter’s season, but moreso about her life post-show: being a dancer in the NFL and NBA, her work with the Special Olympics, speaking out against the franchise, and what she’s up to now.

Instagram – @katrinabadowski

(SPOILERS) Today’s Daily Roundup covers more from BIP Tuesday night, an add on to the Aaron story, Survivor’s two blindsides, the Challenge, and TSwift is taking over my TikTok feed.

You can listen to that podcast on a number of platforms, but you can also tune in here:


Subscribe: Apple Podcasts,RSS, Stitcher, Spotify
Music written by Jimmer Podrasky
(B’Jingo Songs/Machia Music/Bug Music BMI)

Send all links and emails to: steve@realitysteve.com. To follow me on Twitter, it’s: www.twitter.com/RealitySteve. Instagram name is RealitySteve, or join my Reality Steve Facebook Fan Page. Talk to you tomorrow.






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Share Tweet Share Share Email Another fun week of podcasts, and today’s

Chris Hemsworth went public with the discovery that he is at an increased risk of developing Alzheimer’s disease so he could encourage others to take care of themselves.

In an episode of “Limitless,” his National Geographic docuseries about resisting the effects of time and aging, Hemsworth submitted to a series of genetic tests. They revealed that he belongs to the 2-3% of the population that carries two copies of the gene APOE4, which has been associated with a heightened risk of the disease.

The “Thor: Love and Thunder” star told Vanity Fair that he was supposed to receive the test results live and on-camera, but the weight of the information changed that.

“Peter Attia, who is the longevity doctor in that episode [‘Memory’], and overseeing a lot of the show, called [show creator] Darren [Aronofsky] and said, ‘I don’t want to tell him this on camera. We need to have an off-side conversation and see if he even wants this to be in the show,’” Hemsworth recalled. “It was pretty shocking because he called me up and he told me.”

Hemsworth said he “didn’t know what to think” when he heard the news: “I was like, ‘Am I supposed to be worried? Is this concerning?’”

Although he admitted that there was an “intensity to navigating it,” the 39-year-old said he’s ultimately thankful to know what he knows now.

“For me, the positive of it was like, ‘Right, if I didn’t know this [Alzheimer’s] information, I wouldn’t have made the changes I made.”

“If you look at Alzheimer’s prevention, the benefit of preventative steps is that it affects the rest of your life,” he continued. “When you have preposition to cardiovascular heart disease, cancer, anything—it’s all about sleep management, stress management, nutrition, movement, fitness. It’s all kind of the same tools that need to be applied in a consistent way.”

That was also Hemsworth’s motivation for including the information in the show’s fifth episode, titled “Memory.” He was offered a version of the episode “where we didn’t talk about it” and decided to turn it down.

“… I thought, ‘No, look, if this is a motivator for people to take better care of themselves and also understand that there are steps you can take—then fantastic,’” Hemsworth explained. “My concern was I just didn’t want to manipulate it and overdramatize it, and make it into some sort of hokey grab at empathy or whatever for entertainment.”

According to the Mayo Clinic, “Alzheimer’s disease is a progressive neurologic disorder that causes the brain to shrink (atrophy) and brain cells to die. Alzheimer’s disease is the most common cause of dementia — a continuous decline in thinking, behavioral and social skills that affects a person’s ability to function independently.”

All episodes of “Limitless” are now available on Disney+.

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Chris Hemsworth went public with the discovery

Rebecca Halpern’s latest documentary “Love, Charlie: The Rise and Fall of Chef Charlie” examines iconic Chicago chef Charlie Trotter, who developed micro-greens and helped make vegetarianism mainstream. The chef, who died in 2013, was also known for his cookbooks, which featured groundbreaking food photography, which earned him the title “godfather of food porn.” Trotter’s first namesake restaurant, located in a Lincoln Park townhouse on Chicago’s North Side, opened its doors in 1987 and remained a famed establishment for 25 years. While considered a trailblazing chef whose restaurants helped transform American fine dining, Trotter was also known for his temper and controlling behavior. 

“He was the puppeteer,” Grant Achatz, a chef who worked for Trotter and went on to open his own restaurants says in the film. “He figured out a way to get what he wanted from all of us.” 

In the first few moments of Halpern’s docu, Trotter states, “My philosophy has always been if it weren’t for the employees and if it weren’t for the customers, the restaurant business would  be the greatest business in the world.”

The film is comprised of sit-down interviews with Trotter’s family, friends, and celebrated chefs, including Wolfgang Puck and Emeril Lagasse, along with personal archival material (including 8mm home movies and hundreds of pieces of personal correspondence). “Love Charlie” will be released by Greenwich Entertainment on Nov.18 in theaters and on video on demand.

Variety spoke with Halpern about her docu being a cautionary tale and not a film about cuisine.

What made you want to make a film about Charlie Trotter?

Having grown up in Chicago (my mom was a food writer there), I only knew Charlie through the media’s caricature of him as an obsessive, tyrannical perfectionist, and I wanted to go deeper — to get to the heart of who he really was. Because he was in his prime before social media, his legacy now stands to be lost to time. For all the groundbreaking innovations he pioneered that we feature in the film (and there are many more where those came from), people should know who he is. 

You said that the thesis of this film has nothing to do with food. Can you explain what you mean by that?

Charlie Trotter’s story is a cautionary tale about what happens when a person’s identity becomes consumed by their work. Before he opened the restaurant, everyone called him “Chuck,” and we get this incredible glimpse into Chuck’s psyche through the letters and postcards he wrote when he was a young chef. But the minute he named the restaurant Charlie Trotter’s, Chuck knew instinctively that he’d have to take on a new persona and, in a way, play the role of Chef Charlie Trotter. He played that role for 25 years, and when the restaurant closed in 2012, the movie ended, and there was no role left to play. He died a year later.

You interviewed many famous chefs, including Wolfgang Puck, Emeril Lagasse and Grant Achatz as well as Charlie’s immediate family. Did they all immediately agree to participate, or did it take convincing? If so, what ultimately convinced them to be part of the film?

Charlie was a polarizing figure — people either loved him or loathed him, particularly if they worked for him. We were lucky to have the participation of so many family members, friends, and former employees, but there were a handful of people who either didn’t want to relive their experience or felt some sort of obligation to protect Charlie’s legacy, and they chose not to participate. That said, once Charlie’s family agreed to come on board, all the pieces fell into place.

Was there anyone that you wanted to interview that you couldn’t? If so, why?

It’s less about who we didn’t interview and more about the archival footage that didn’t exist of Chef Trotter in the kitchen. Charlie was very performative and always knew when the cameras were on him, and I wish we’d had more candid verite — particularly in his more “tyrannical” moments — where the audience could just be a fly on the wall at the restaurant. In some respects, how he behaved in front of the cameras reinforced this idea that Chef Charlie Trotter was a role he was playing to support his business.

Grant Achatz, who has been named best chef in the United States by the James Beard Foundation, was very candid in the docu. Did that surprise you?

Yes. One hundred percent. Though he’d spoken openly about his experience working for Charlie in series like “Chef’s Table,” this was the first time to my knowledge that he spoke about the full timeline and where his relationship with Charlie ultimately ended up, and how he now finds himself acting like Charlie all the time. Charlie and Grant’s stories are mirrors of each other, and it was surprising to hear Grant admit that. That, to me, is the real story here — this cyclical nature of legacy — of being a wunderkind who explodes onto the scene, who knocks the top dog off his pedestal, then reigns until the next guy comes along, and then is faced with that dreaded “now what?” question… 

Do you consider this film a homage to Chicago?

I’m originally from Chicago, my father was in construction, and he built many of the buildings that have come to define Chicago’s skyline, and my mom was a food writer there — so from a personal perspective, it’s totally an homage. Charlie Trotter put Chicago on the map for food, just as Oprah did for TV talk shows and Michael Jordan did for basketball. Chicago was in its heyday in the 90s — it felt like it was the center of the universe, and rightfully so. 

What do you hope audiences talk about after watching this doc?

I hope the film will spark conversations around excellence. What does it mean to be excellent? How can people be more excellent in their own lives? And where does the relentless pursuit of excellence ultimately lead?

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Rebecca Halpern’s latest documentary “Love, Charlie: The

Elusive British street artist Banksy may have been ‘caught’ painting a mural on a destroyed building in Ukraine. 

CCTV footage doing the rounds on Ukrainian TikTok shows a mask-wearing man sneaking up to a wall in the city of Irpin, near Kyiv, before ‘painting’ on it. 

While the footage appears to be a heavily staged spoof, it is possible it still shows Banksy – whose true identity has never been revealed.

The Irpin artwork, which shows a ballerina in a neck-brace, has been confirmed as a genuine Banksy and is one of seven he has painted in Ukraine in recent days.

The idea of spoofing a video of himself being ‘caught’ is in keeping with Banksy’s mischievous sense of humour.

Staged CCTV footage doing the rounds on Ukrainian TikTok shows a man sneaking up to a wall in the city of Irpin before ‘painting’ a Banksy on it

While the footage is heavily staged and the painting is obviously not happening live, it is still possible the British street artist spoofed it himself - in keeping with his sense of humour

While the footage is heavily staged and the painting is obviously not happening live, it is still possible the British street artist spoofed it himself – in keeping with his sense of humour

The Irpin artwork - showing a ballerina in a neck-brace - has been confirmed as a genuine Banksy and is one of seven painted in Ukraine in recent days

The Irpin artwork – showing a ballerina in a neck-brace – has been confirmed as a genuine Banksy and is one of seven painted in Ukraine in recent days

Other works painted by Banksy in Ukraine include a man in a bathtub – who bears a passing resemblance to Charles Darwin – painted inside a destroyed apartment in Horenka, a village five miles north-east of Irpin.

Another painted on the walls of a destroyed school in the town of Borodyanka, west of Irpin, shows a child flipping an adult man on to his back in a judo match.

The male figure appears to be Vladimir Putin – who holds a judo back belt.

More works include a mobile missile launcher that incorporates a crude drawing of a penis where the rocket should be, children playing on a tank trap as if it were a see-saw, and a woman in hair curlers and a gas mask holding a fire extinguisher.

Banksy confirmed their authenticity in a video released on his Instagram account, entitled ‘in solidarity with the people of Ukraine’.

Included in the footage is a woman and her daughter outside the bombed-out school, after the judo mural had been painted.

She says: ‘It was a bomb here and many people died.

‘My child used to go to this kindergarten. Don’t cry honey, we already cried so much, we don’t have any tears left.’

An artwork confirmed to be by Banksy on a street in Kyiv shows a Russian missile launcher with a crudely drawn penis in place of the rocket

An artwork confirmed to be by Banksy on a street in Kyiv shows a Russian missile launcher with a crudely drawn penis in place of the rocket

Another of Banksy's Ukraine artworks shows a woman with hair curlers and a robe on, wearing a gas mask and holding a fire extinguisher near a burned-out building

Another of Banksy’s Ukraine artworks shows a woman with hair curlers and a robe on, wearing a gas mask and holding a fire extinguisher near a burned-out building

Painted on the wall of a nursery destroyed by a Russian bomb, this Banksy shows a child throwing a man who resembles Putin in a judo match - a sport in which he has a black belt

Painted on the wall of a nursery destroyed by a Russian bomb, this Banksy shows a child throwing a man who resembles Putin in a judo match – a sport in which he has a black belt

Banksy began his unconventional artistic career as a graffiti artist in Bristol in the 1990s, and came to prominence painting satirical, political murals on buildings.

His signature style became black and white portraits painted using stencils, often showing human or animal figures performing an action or interacting with the world around them.

Some of his most well known works oppose conflict, including a portrait of a man hurling a bouquet of flowers – painted on the West Bank Wall which separates Jerusalem from Israel.

He is also known for playing with the idea of fake vs real.

During a residency in New York in 2013 he set up what appeared to be a tourist-trap stall in Central Park selling what seemed like replicas of his work for $60 a piece.

Except that the stall was real, and the artworks were genuine. 

Despite being in place for a full day, just one customer bought two prints which later raised in excess of $100,000 when sold at auction.

Another piece that toyed with a similar idea and the worth of art was a print of ‘Girl With Balloon’ that partially shredded itself while being auctioned.

The half-destroyed artwork later went back on auction, and sold for many times its initial guide price. 

Another of Banksy's new artworks in Ukraine shows a man who bears a passing resemblance to Charles Darwin having a bath in a destroyed house

Another of Banksy’s new artworks in Ukraine shows a man who bears a passing resemblance to Charles Darwin having a bath in a destroyed house

A dancer also features in this piece by Banksy, painted in the town of Borodyanka, which shows the female figure balancing on top of rubble

A dancer also features in this piece by Banksy, painted in the town of Borodyanka, which shows the female figure balancing on top of rubble

Two children appear to be playing on a tank trap as if on a see-saw in this Banksy work, which appeared in downtown Kyiv

Two children appear to be playing on a tank trap as if on a see-saw in this Banksy work, which appeared in downtown Kyiv

Banksy’s Ukraine artworks appeared in cities and towns devastated by Russia’s nine-month long war in Ukraine.

Irpin, where the ballerina with the neck brace appeared, was the site of some of the worst atrocities committed by Putin’s troops.

Hundreds of civilians were massacred during a months-long occupation after Russian forces were stopped there while trying to advance on Kyiv.

When Putin’s troops retreated they left behind evidence of their war crimes, including mass graves, torture chambers, and civilian bodies lying in the streets.

Ukraine is continuing to drive back the Kremlin’s troops on the battlefield, with recent retreats coming in the south and north-east.

Russian forces fled from the area around Kharkiv, Ukraine’s second-largest city, in September and recently withdrew from the city of Kherson.

Around half of the territory occupied by Moscow’s armies at the peak of the invasion has now been recaptured, with Kyiv asking for more weapons to get the job done.

At the top of the list is anti-aircraft batteries to protect against increased Russia air strikes, but Ukraine also wants attack jets and tanks to help with its offensives. 

 Who IS Banksy? Theories of who the mystery artist could be…and why he has never been spotted

By Olivia Devereux-Evans for MailOnline 

The identity of Banksy, a street artist from Bristol, whose career began in the 90s, has never been known or announced but numerous theories have been suggested about who he might be.

His works are world famous and have been seen all over the globe, including New York, Paris and Bethlehem. At auction, his popular works sell for huge profits. 

He uses his art to make statements on societal issues and politics. When he began to make graffiti art, he worked across his hometown, spraying his tag. 

Banksy evolved with the times, beginning to make more sophisticated works. He then became the elusive street artist that we know him as today.  

One of his earliest works is the The Mild Mild West. The large mural was painted in 1999 in Bristol’s Stokes Croft and shows a teddy bear throwing a Molotov cocktail at three riot police.

It was painted by the artist over three days in broad daylight and is still in the city today, among some of his other works.

One of his earliest works is the The Mild Mild West. The large mural was painted in 1999 in Bristol's Stokes Croft and shows a teddy bear throwing a Molotov cocktail at three riot police

One of his earliest works is the The Mild Mild West. The large mural was painted in 1999 in Bristol’s Stokes Croft and shows a teddy bear throwing a Molotov cocktail at three riot police

Other works he has designed include the Balloon Girl (2002), pictured, Kissing Coppers (2004), Love is in the Bin (2006) and Devolved Parliament (2009)

Other works he has designed include the Balloon Girl (2002), pictured, Kissing Coppers (2004), Love is in the Bin (2006) and Devolved Parliament (2009)

Other works he has designed include the Balloon Girl (2002), Kissing Coppers (2004), Love is in the Bin (2006) and Devolved Parliament (2009).

Also during his career, he opened the Walled Off Hotel in Bethlehem in 2017. The hotel faces the eight-metre high concrete wall that was built by Israel to separate the Palestinian territories.   

Reported ‘sightings’ of Banksy over the years  

2020- One recent sighting was apparently of the street artist wearing PPE while on the London Underground. 

2018- A passerby allegedly saw him near one of his works in Hull.

2017- A woman filmed an artist working in an Israeli mall. It was around the same time that Banksy had opened an exhibition in Bethlehem. The man being filmed seemed concerned and covered his face when he realised he was on camera. 

 2017- British artist James Ame was caught with a Banksy stencil and a spray can.

2016- An artist was furious to be filmed on the way back from the club in Melbourne- it sparked rumours that he was Banksy.

 

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And in the same year, he opened the Dismaland Bemusement Park in Weston-super-Mare, a theme park interspersed with his artworks.   

Theories on who he might be are rife. One suggestion, which is one of the more popular, suggests that the artist is Robin Gunningham.

The artist was born just outside of Bristol in 1973. Their former school mates have said they think he is Banksy, as he was a talented illustrator who drew cartoons. Their suggestion seems to be possible as the artist has previously said he first liked drawing when he was at school.

Rumours swirled that Gunningham could be Banksy after an image of him went viral. He was clutching a spray can and stencils.  

It is a supported theory which has become increasingly popular. Some seem to believe Gunningham is Banksy. 

One person who seemed convinced bought a piece by the relatively unknown artist for £4,000 in 2018. It was an album sleeve for the Bristol-based ska band Mother Samosa’s Oh My God It’s Cheeky Clown. The album sleeve has similarities to Banksy’s style.

Eager researchers tried to link Banksy to Gunningham in 2016, finally solving the mystery once and for all. The criminologists at Queen Mary University were set to use geographic profiling usually reserved for linking criminals to crimes to work out if they were the same man.

But that research was delayed as the mysterious artist’s lawyers voiced concerns about press coverage of the study to the university. It was set to be called Tagging Banksy. 

It has never been confirmed or denied by Gunningham or his representatives if he is Banksy.   

Theories have been floated of other potential figures who could be Banksy, including Massive Attack’s Robert Del Naja.

He is a graffiti artist who has done work in Bristol under the name of 3D. Banksy has named 3D of one of his early inspirations.   

The assumption that Robert could be Banksy was first discussed after DJ Goldie reportedly said his name on a podcast while talking about him.  He said: ‘No disrespect to Rob, I think he is a brilliant artist. I think he has flipped the world of art over.’

Fans have also claimed to have spotted Banksy artworks in the same cities as where Massive Attack played-twice. But Robert has denied the claims publicly.  

Theories have been floated of other potential figures who could be Banksy, including Massive Attack's Robert Del Naja. Fans have also claimed to have spotted Banksy artworks in the same cities as where Massive Attack played-twice. But Robert, pictured, has denied the claims publicly

Theories have been floated of other potential figures who could be Banksy, including Massive Attack’s Robert Del Naja. Fans have also claimed to have spotted Banksy artworks in the same cities as where Massive Attack played-twice. But Robert, pictured, has denied the claims publicly

It has also been suggested that Jamie Hewlett, who founded the Gorillaz, could be Banksy. This was because an anonymous forensic expert allegedly linked him to every company associated with the street artist. 

Also, Banksy has designed work used in the Gorillaz music videos in the past. But it has been denied by his publicist. 

And another theory that Banksy is popular television artist Neil Buchanan, who fronted children’s show Art Attack in the 1990s has also been suggested before.

The claim gained traction on social media because a fan noticed that Banksy’s art was popping up in locations where Neil had performed his music but his representatives denied it.

People have also alleged that they have caught a glimpse of Banksy numerous times over the years but nothing has ever been proved due to the mystery shrouding his identity. 

Nothing has ever been discovered about how his works are designed either- whether he does them alone or has a team.

And another theory that Banksy is popular television artist Neil Buchanan, pictured, who fronted children's show Art Attack in the 1990s has also been suggested before. The claim gained traction on social media because a fan noticed that Banksy's art was popping up in locations where Neil had performed his music but his representatives denied it

And another theory that Banksy is popular television artist Neil Buchanan, pictured, who fronted children’s show Art Attack in the 1990s has also been suggested before. The claim gained traction on social media because a fan noticed that Banksy’s art was popping up in locations where Neil had performed his music but his representatives denied it

One recent sighting was apparently of the street artist wearing PPE while on the London Underground. 

And in 2018, it was claimed that a passerby had seen him near one of his works in Hull. 

Meanwhile, in April 2017, a woman saw an artist in an Israeli mall who was working. The artist had recently opened an exhibition in Bethlehem. She filmed the man, who seemed concerned and covered his face when he realised he was on camera. 

In October 2016, an artist furious he was being filmed was captured on camera on the way home from the club in Melbourne- it sparked rumours that he was Banksy. 

He usually paints at night and without permission and his work is often classified as criminal damage because of this. He will later say that the art is his online. 

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Elusive British street artist Banksy may have

The opening minutes of “Wednesday” should ring true to anyone even glancingly familiar with the creepy, kooky, mysterious, spooky, ooky Addams Family. The new Netflix series begins with Wednesday (now a teen played by Jenna Ortega) marching through the brightly colored halls of Nancy Reagan High School to exact bloody revenge on sneering jocks. Following in the footsteps of Christina Ricci’s version in Barry Sonnenfeld’s 1991 and 1993 films, Ortega’s grim Wednesday is just as magnetic. As her dastardly plan unfolds, she allows her otherwise determined stoicism to break with a thrill of satisfaction, and it’s impossible not to feel the same as Ortega absolutely nails it.

At this point, it’s not hard to see the connective tissue between this show and Addams Family adaptations past, and why none other than Tim Burton came to television in order to direct Wednesday’s new chapter. But when Wednesday’s parents, Gomez (Luiz Guzman) and Morticia (Catherine Zeta-Jones), decide to send her to the mysterious Nevermore Academy, the Netflix-ification of her and her family’s story takes over in all too typical ways.

From co-creators Alfred Gough and Miles Millar (once of “Smallville”), the ensuing eight episodes of “Wednesday” ditch Sonnenfeld’s fish-out-of-water approach by throwing Wednesday into an environment that should in theory suit her perfectly. As formidable principal Weems (a perfectly cast Gwendoline Christie) explains, Nevermore Academy is meant to act as a second home for self-proclaimed “outcasts” like Wednesday’s peppy werewolf roommate Enid (Emma Myers) and Siren queen bee Bianca (Joy Sunday). Yes, she refuses to wear the school’s indigo uniform, and her burgeoning psychic visions seem to be one of a kind. But Wednesday nonetheless makes more sense at Nevermore — where she can eat lunch with Gorgons and take classes on carnivorous plants (taught by a “normie” played by none other than Ricci) — than she ever would at Nancy Reagan High. And yet, as Weems and her court-appointed therapist (Riki Lindhome) constantly remind Wednesday, her penchant for flouting authority and indulging everything morbid is unwelcome even at this school for the chronically misunderstood. She can’t even roll her eyes at the local town’s “Pilgrim World” without risking Weems’ wrath. In trying to cast Wednesday as such a unique figure even at Nevermore, the show keeps losing its own grip on what the point of Nevermore is at all.

So much of how Gough and Millar approach “Wednesday” makes sense on paper as it checks off enough Addams Family boxes to keep the series of a piece with its source material. Gomez and Morticia are as deliriously obsessed with each other as ever; Wednesday is enthralled by the macabre and disdainful of American whitewashing such as Pilgrim World. (Casting Ortega, thus making Wednesday Addams more explicitly Latina, is one of the show’s smartest moves.) But in presenting her as a teenager who’s just as embarrassed by her family as any other, the series also distances itself from a crucial component of what made Sonnenfeld’s “Addams Family” so singular.

Gomez and Morticia’s mutual passion now makes their daughter “nauseous, and not in the good way.” (Re-creating Anjelica Huston and Raul Julia’s spark would have been asking a lot of Guzman and Zeta-Jones, but nowhere in their two episodes do they come remotely close.) What’s more, Wednesday’s reluctant to go to Nevermore specifically because it’s her parents’ alma mater, with Morticia’s sterling reputation in particular looming too large for her to stomach. The legacy of “The Addams Family” has long hinged on the fierce loyalty every family member has to one another above all else. The series doesn’t entirely shun that aspect, especially as Wednesday comes to rely on the Addams’ trusty disembodied hand, Thing (one of the show’s most defined characters despite being a disembodied hand, and an unequivocal highlight for it). But the more I watched “Wednesday,” the more I realized that its fealty lies less with translating the nuances of the Addams Family than with reimagining the Addams Family for a young and/or nostalgic Netflix audience.

Nevermore, with its boarding school drama and Gothic bent, feels like a lab-made cross between “Harry Potter” and “Chilling Adventures of Sabrina.” Wednesday, now an aspiring crime fiction writer, spends her days solving predictable mysteries alongside the town’s surly sheriff (Jamie McShane) and navigating the competing affections of brooding classmate Xavier (Percy Hynes White) and shy townie Tyler (Hunter Doohan). Love triangles indeed become a recurring theme, between her ping-ponging among those unremarkable boys, Bianca stewing over Xavier’s interest in Wednesday, and a truly weird flashback to Gomez and Morticia’s Nevermore days that struck fear into my cold dead heart that a “Young Gomez and Morticia” show might also be on its way.

The thing is, despite Ortega’s fantastic performance and Burton’s active involvement, “Wednesday” as a whole never really captures what made “The Addams Family” so viscerally strange (nor is it half as visually striking). It does, however, get what makes a teen Netflix show tick. In fact, if this were just a series about a disaffected psychic teen exploring her peculiar new school, I’d probably like it a lot better. But as more and more networks and shows do now, “Wednesday” uses the specter of its IP to lure people in and stand out among the rest. The former should prove easy enough — the latter, not so much.

“Wednesday” premieres Wednesday, Nov. 23 on Netflix.

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The opening minutes of “Wednesday” should ring

We’re expecting the Samsung Galaxy S23 phones to bring a host of upgrades with them, from the cameras to the processors, but there is apparently one key spec that won’t see an improvement: the fingerprint sensor.

Reliable leaker Ice Universe (opens in new tab) seems to have got hold of a layer of protective glass for the Galaxy S23 Ultra model, and it reveals a spot where the fingerprint sensor will be located – a spot that’s the same size as it is on the Samsung Galaxy S22 handsets.

There’s nothing particularly wrong with the fingerprint sensor on the Galaxy S22, but as Notebookcheck (opens in new tab) points out, it had been hoped that the sensor on the Galaxy S23 would be bigger and better. Now that looks unlikely to be the case.

Same old same old

Specifically, the Galaxy S22 is fitted with the capable Qualcomm 3D Sonic Sensor Gen 2, whereas it was thought that the Galaxy S23 would carry the Qualcomm 3D Sonic Max – a sensor that’s more accurate, more secure, and can scan two fingers at once.

Perhaps Samsung has decided that it wants to stick with the same fingerprint sensor to keep costs down, or perhaps the original rumor about a fingerprint sensor upgrade was off the mark right from the beginning – but this is one upgrade that’s now looking unlikely.

You can argue that fingerprint sensors aren’t the most important component on a smartphone, but bearing in mind how often we unlock our phones every day, they can have a significant impact on the user experience.


Analysis: fingerprint sensor upgrades

Head over to the official website of the Qualcomm 3D Sonic Max (opens in new tab) and you’ll see there are improvements in a whole host of areas. It’s the largest ultrasonic in-display fingerprint sensor to appear so far, using soundwaves to scan fingerprints at a rapid pace and at an incredibly fine resolution.

It’s much harder to spoof a fingerprint with this technology compared with standard optical fingerprint sensors, Qualcomm says. It’ll scan fingerprints faster when they’re wet, and because of the acoustic scanning deployed, it’s more reliable when your fingers aren’t perfectly clean as well.

The larger surface area makes it possible for two fingers to be scanned at once, and the sensor has a 1 in 250,000 error rate, according to its manufacturer. However, based on the leaked protective glass that we’ve seen appear online, we’re going to have to wait until 2024 at least to see it in a Galaxy S flagship phone from Samsung.

It’s not all bad news though, because the Galaxy S23 is going to bring with it several improvements over the phone that came before it. Already this week we’ve heard that the handset is going to carry a custom version of the Qualcomm Snapdragon 8 Gen 2 chipset that provides even greater performance.

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We're expecting the Samsung Galaxy S23 phones

EXCLUSIVE: We have your first look at Branson, HBO’s upcoming four-part documentary series on highflying tycoon Richard Branson, who built an empire around the Virgin brand.

Award-winning filmmaker Chris Smith directed the series, which premieres on HBO on Thursday, December 1, with new episodes debuting each of the following three Thursdays. The series will also be available to stream on HBO Max.

“Smith… takes us on an expansive and intimate 70-year journey, from Branson’s upbringing as the son of a spirited, tough-love mother in Britain, to his pursuits of extreme, personal daredevilry that serve both to grow his businesses’ brands and feed his insatiable, lifelong thirst for high-stakes adventure,” HBO said in a statement. “Branson reveals the ups and downs of a man driven by risk taking in both his business and personal life, reflecting on the costs and rewards of his lifelong, relentless optimism and boundary-pushing.”

The key interview for the series took place 16 days before Branson blasted off on a suborbital flight aboard a Virgin Galactic rocket, making him the “first passenger to reach space in his own spacecraft.” Branson beat Jeff Bezos to the punch, who reached the boundary of outer space on a Blue Origin rocket nine days after Branson’s mission (Bezos’s rocket propelled him to a somewhat higher altitude than Branson reached).

Branson’s outsized business achievements are explored in the series, as is his upbringing in a family that encouraged risk-taking.

“He thrives on jeopardy. It’s a continuation of his childhood,” Branson’s wife Joan notes in the trailer. Branson himself says, “Having suffered from dyslexia, having left school at 15, I had a lot to prove.”

It didn’t take him long to prove himself. He became “a millionaire by the age of 22 with the booming success of Virgin Records,” HBO commented. “His launch of the airline Virgin Atlantic soon followed, along with a myriad of other Virgin branded businesses with varying levels of success, culminating in the launch of Virgin Galactic, his commercial spaceflight company in 2004.”

Smith has become one of the most successful directors in documentary film, and he’s got an Oscar contender this year in Sr., his film about actor-director Robert Downey Sr. and his relationship with his son, Robert Downey Jr. Earlier in the year, Smith released the Netflix documentary series Bad Vegan, about a New York restaurant owner whose business collapsed after she got involved with a mystery man who claimed he could grant her dog immortality. Additional credits include the 2021 HBO documentary series 100 Foot Wave, about big wave surfer Garrett McNamara; 2018’s Fyre, about the Caribbean music event that turned into a fiasco; 2017’s Jim & Andy: The Great Beyond, about Jim Carrey’s star turn as comedian Andy Kaufman, and the 1999 documentary classic American Movie.

For Branson, Smith not only spoke with the mogul, but those closest to him: “…[T]he series features his colleagues and employees, as well as insights from both business journalists and industry experts,” HBO said. “Also included are intimate interviews with his family, including revealing excerpts from conversations with Joan, his wife of 33 years, his sisters, his daughter Holly and son Sam, and an extensive personal archive of his late mother Eve, whose lively presence in Branson’s life continues to loom large.”

The film is directed by Smith and executive produced by Kate Noble. For HBO, executive producers are Nancy Abraham and Lisa Heller, and senior producer is Tina Nguyen.

Watch the trailer above.

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EXCLUSIVE: We have your first look at

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Chris Colfer reflected on what it was like being cast as Kurt Hummel, an openly gay character, on Glee — when he himself was not open about his sexuality at the time.

For context, the role of Kurt was created specifically for Chris, replacing a character named Rajeesh. Chris himself then came out as gay on a 2009 episode of Chelsea Lately, prompting GLAAD to write at the time, “At only 19-years-old, Colfer’s announcement makes him one of the youngest openly gay actors currently working in Hollywood.”

On a recent appearance on the And That’s What You REALLY Missed podcast, former co-star Jenna Ushkowitz asked Chris what it was like playing a gay character while he had yet to be openly gay himself. “My hometown has come very far in the last couple decades, but when I was growing up there it was dangerous to be out,” Chris said of Clovis, California.

“When I found out they had written this character for me I was thrilled. When I finally got the script is when I realized it was the gay character, and I was terrified,” he continued, recalling that one family member even told him, “You can’t play a gay character, that would ruin your life.”

As Chris’ previous auditions had gone poorly, he accepted the role, regardless. “I just wanted to get out and be a part of the industry so badly, I knew there was no option,” he said. “I also knew that it would probably force me to answer and ask questions about myself that I wasn’t quite ready to do, and I’m actually quite grateful for it in a way because it kind of pushed me into a path of honesty for myself.”

Noting that the creation of Kurt as a gay character felt like a “judgement,” Chris continued, “They just assumed. And they were right! I was much more effeminate back then…I was called a faggot every single day in high school. Every single day. I couldn’t hide it, I just wasn’t ready to have that conversation with myself or anyone I knew yet.”

Then, speaking on the Glee episode where Kurt comes out to his father, Chris said that, “there really wasn’t much support for young gay people back then” and called the moment a “lonely experience.”

Chris likened his experience to that of Kit Connor from Heartstopper, who had said that he felt forced to come out as bi. “That absolutely broke my heart because essentially the same thing happened to me but 15 years ago. We were the same age,” Chris said.

back for a minute. i’m bi. congrats for forcing an 18 year old to out himself. i think some of you missed the point of the show. bye


Twitter: @kit_connor

“I really wanted to tweet something in support of him, but I didn’t want to be the old guy trying to get attention, trying to take someone’s trauma and be like, ‘Oh, I remember when this happened to me.'”

While Chris said that he does “highly encourage everyone to come out when they are ready,” he noted that “for anyone to push someone into that, that is one of the cruelest things you could possibly do.”

“People were furious that it happened to [Kit] — I think that’s proof of how far the community had come. When it happened to me it was very much ‘I deserved it.’ It was crickets. It was obvious, so therefore I had no reason to be upset about it.”

“At the time, I wasn’t ashamed of it at all. I very much knew. I just wanted to be on a boat before I called myself a sailor,” he added. “Even during Glee I would get called a faggot at auditions…When I would tell people those stories they would say, ’What do you expect? You’re an openly gay actor in Hollywood.'”

You can listen to the full interview with Chris here.

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In filming “The Quiet Girl,” the evocative 80s-set story of a mysterious child sent to live with distant relatives for the summer in rural Ireland, cinematographer Kate McCullough says she found her way by keeping herself open to the natural elements of the setting.

“When you arrive on a location, there’s lots to inspire you,” says McCullough, who filmed writer/director Colm Bairéad’s feature debut, an adaptation of Claire Keegan’s acclaimed 2010 short story “Foster,” screening at the Camerimage International Film Festival in the directors’ debuts competition.

The Berlinale prize-winning film, praised for its own quiet qualities and storytelling through minute details, unfolds with the arrival of 9-year-old Cáit at the home of distant, childless relatives – a plan devised to offer relief to Cáit’s own household, where too few morsels are in the larder for too many children.

The destination is a mystery to the child just as she is to its residents. “The trees through the window, moving in a certain way, doors are creaking, floorboards, smells, it’s all very layered in,” says McCullough of the farmhouse location. “I find that really helpful in the process of prepping a film. You can start to build out from that and it’s kind of an anchor.”

The crew managed to find an atmospheric house from the era in which the story is set, says, McCullough, which signified a wealth of visual opportunities – if also challenges.

“The book is set in Waterford, which is down on the south coast. But we shot in Meath, about an hour north of Dublin, which is where I’m originally from. That was quite nice because I grew up on a farm. That milking parlor hasn’t changed, I’d say, since the 80s or 90s. It’s very hard to get access to those spaces now.”

Because the house had not been renovated, it offered authenticity in spades – but also forced McCullough to shoot around whatever angles she could find.

“I’m used to working on location,” she says. “I come from a documentary background so I’m used to tight corners. Also, the car was pretty tight – we didn’t have access to remote gear so I was in these weird contortions in the car.”

But the pain is worth it for the realism, she says. “I like locations – I’ve only shot in the studio maybe twice. It’s a bit of a novelty to me, dreaming up reality in a box.”

McCullough’s past work shows remarkable versatility, with dozens of shorts, music videos, TV, film, narrative and documentary projects, and she relishes new challenges.

“It’s about trying to rethink again and forget everything you know and be fresh to the material.”

The director, for his part, was also committed to finding targets of opportunity rather than going in with a detailed shoot plan, says McCullough. “We didn’t do any storyboards. It was a shot list, but in a way the shot list was developed just to be sure we got the story shot in the time we had.”

Under child labor laws, with a 9-year-old star such as Catherine Clinch – who turns in an arresting, naturalistic performance as Cáit – shoots with her were restricted to half days. With a total production time of five weeks, it meant the entire cast and crew had to be fully primed to go when Clinch’s day started.

“You have to sort of begin the scene without her, then bring her in, then take her out. There’s lots you can do with a double but it probably forced us to shoot a bit differently. If we wouldn’t have Catherine, how can we rethink this scene?”

The time limits also led to shots that would build dramatic tension, McCullough says: “Trying to hold back on revealing her, her character, also this kind of slow tilt down from the landscape to reveal her – things aren’t always as they seem.”

Filming a story from a child’s perspective was new to the cinematographer too, she says, but the Academy frame size used made sense for the perspective.

“I haven’t done a feature centered on a kid. Coming down to her level, the choice of aspect ratio was linked to that. You’re more focused on the verticality of things, the difference between the adults and Catherine.”

Working with a first-time child actor is taking a risk, certainly, she says. But in this case, it was a sound bet. “She sort of set the tone. This actor, from day one, was just very composed and focused and wanted to get it right.”

Clink’s manner is much like her character’s in some ways, says McCullough – though luckily that does not grow from a place of neglect, as Cáit’s does.

“She’s quite contained,” she says of the actress. “I’ve seen her smile and laugh much more since the film has come out.”

Clink was cast after a call went out to Irish-language schools throughout the country, and the film itself was funded in part through a Cine4 initiative to develop more such projects. When filming Irish-speaking subjects, McCullough adds, it’s important to allow for body language in the frame.

When filming children, most cinematographers would be nervous about using a locked-down camera and employing the long takes that make up “The Quiet Girl.” The thinking is often “Maybe we should go handheld so we won’t miss a thing,” says McCullough.

But not with Clink. “It was just allowing her space within the frame – she’s just incredible to look at. There’s always something going on. There’s an interior world. Even when we were doing camera tests, she’d never been on camera before but she was like, ‘I’m ready for this.’”

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In filming “The Quiet Girl,” the evocative

In January, Theranos founder Elizabeth Holmes was found guilty of wire fraud and deliberately misleading investors. Now, 10 months later, she has finally received her sentence: 11.25 years in prison and 3 years of supervised release, according to Law360 reporter Dorothy Atkins. Judge Edward Davila will schedule a follow-up hearing to determine what Holmes owes in restitution. 

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According to Atkins, Judge Davila calculated the sentence based on the defrauding of 10 investor victims—among them Rupert Murdoch and the family of former secretary of education Betsy DeVos—for a grand total of $385 million. Among the victims are Rupert Murdoch and the family of Betsy DeVos. Per NBC News reporter Scott Budman, Judge Davila said federal sentencing guidelines indicated that Holmes should serve 11 to 14 years in prison.

Ahead of today’s sentencing hearing, more than 140 people, including New Jersey senator Cory Booker, wrote letters to Judge Davila asking for leniency. Some of the letters were filed as late as last night, Judge Davila noted. Holmes, who arrived heavily pregnant to her hours-long hearing, remained stoic as attorneys on both sides attempted to sway the judge’s final decision. 

Holmes was once considered a  Silicon Valley wunderkind—a Stanford dropout with an idea big enough to save lives and change healthcare forever. Through her infamous start-up Theranos, Holmes set out to create an at-home testing device that could diagnose hundreds of diseases with a single drop of blood. The glaring problem, of course, is that the technology to achieve such a feat doesn’t exist. Even when the company was valued at $9 billion, the device—proudly named the Edison in an homage to the prolific inventor Thomas Edison—was medically useless. 

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In January, Theranos founder Elizabeth Holmes was

Disney Channel just gave us a Baxter family reunion 17 years in the making.

Friday’s episode of Raven’s Home welcomed T’Keyah Crystal Keymáh as Raven’s mother Tanya Baxter, marking the character’s first on-screen appearance since Season 3 of That’s So Raven back in 2005. (Keymáh left the show midway through its run to care for her grandmother, so Tanya was sent off to law school in London.)

Raven was thrilled to have her mother back on the right side of the pond for the first time in more than a decade, but Victor had a slightly more complicated reaction to his estranged wife’s unexpected return. Considering he never even told her about his heart attack, it’s fair to wonder how much the long-distance spouses speak to one another. His awkward inability to ask his own wife out to lunch was also troubling.

To make matters worse, Raven had a vision of Victor telling Tanya, “I can’t live like this anymore.” Traditional shenanigans ensued as Raven’s paranoia led her to crash her parents’ romantic sail boat ride. (“No one dumps my mama, not even my daddy!”)

Meanwhile, Booker and his associates tracked down the exact tree in which Victor and Tanya once carved their names — the perfect gift for Victor’s 60th birthday — but they fumbled the delivery. More specifically, they dropped the stump off the Golden Gate Bridge… and wouldn’t you know, it fell directly onto Victor and Tanya’s sailboat.

After being rescued by the coast guard and returning home, Victor finally told Tanya what Raven had been fearing. But here’s a shocker, if you can believe it — Raven misinterpreted her vision! “I just can’t live like this anymore,” Victor said. “We’ve been living apart for years. I thought I was fine with that, but I saw you today and I realized I’m not.” Instead of ending things with Tanya, however, Victor announced that he wants to move to London so they can finally be together.

Tanya was elated by this turn of events, even more so than Lazlo, who claimed Victor’s now-vacant bedroom as soon as he heard about the big move.

But fear not, Victor won’t be staying in London for long. Rondell Sheridan is expected back for the sixth season of Raven’s Home, which was announced at Disney’s D23 Expo in September.

Did you enjoy this long-overdue Baxter family reunion? Which other That’s So Raven characters are you still hoping to see on Raven’s Home? Drop a comment with your thoughts below.

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Disney Channel just gave us a Baxter

“Anyone who knows me knows how much I love an evening devoted entirely to me,” Ryan Reynolds joked when receiving his American Cinematheque Award in Los Angeles on Thursday night, and love it or not that’s exactly what he got. The actor was the 36th recipient of the prestigious honor and was celebrated with an evening highlighting his success across acting, producing and his many entrepreneurial ventures, by a roster of friends and colleagues including Will Ferrell, Hugh Jackman, Octavia Spencer, Helen Mirren, Salma Hayek, Shawn Levy and wife Blake Lively.

While the program showcased the many facets of Reynolds’ career via segments titled “The Comedian,” “The Sexy Man,” “The Serious Man” and “The Smart Ass” — and even featured a ballroom-wide singing of the Canadian national anthem (as Reynolds is the first Canadian to win the award) — Lively’s speech toward the end of the night proved to be the breakout.

With the couple’s two oldest daughters in attendance and currently pregnant with their fourth child, Lively noted how the star has always had something in him that has beckoned him home, starting from when he first moved to L.A. to pursue acting and would drive home to Canada every weekend.

“Now I am his home, and his girls are his home, and just like that 19-year-old boy he races home, whether it’s from across the globe or a meeting across the street; he is hardwired to get home,” Lively told the crowd in the Beverly Hilton ballroom. “If he came home from set not in his wardrobe we would be very concerned — soaked in mud, fake blood, real blood, prosthetic scars, superhero suits, tap shoes or clown makeup, Daddy always comes home.”

“That man races back to his real life like nothing I have ever seen, especially not by someone who is able to be so all-in in his work life,” she continued. “He’s able to somehow be everything to everyone all at once; he is the most present person you will ever meet. And yes he creates magic in his work, but man oh man does he create magic in his real life.”

Blake Lively and Ryan Reynolds

Emma McIntyre/Getty Images

Reynolds’ frequent collaborator Levy — who is reteaming with him for Deadpool 3 and teased that if the third one does not live up to the previous two, it will be the fault of Jackman, who is joining the project as Wolverine — also highlighted Lively in his speech as Reynolds’s superpower and his entire world, noting, “One of the most beautiful things is I don’t think a day has gone by in the four years we’ve been working together that he doesn’t acknowledge that and express gratitude for that.”

Levy, who was the night’s last speaker, jokingly also complained that no one told him he was “going to be fucking 17th, and everyone who goes before you are actual professional actors and comedians and leaders of nations. They’re going to fucking pillage every idea you had, so I have nothing original.” But Levy summed up Reynolds as “more than a great artist, he’s a great man.”

Ferrell, who costars with Reynolds in their new Apple TV+ musical Spirited, was Reynolds’ first presenter, commenting that past recipients of the American Cinematheque Award have included “Steven Spielberg, Ron Howard, Martin Scorsese, Jodie Foster and Sean Connery, just to name a few. And tonight you chose Mr. Ryan Reynolds. What were you thinking? What happened? Who fell through? He’s not even American, he’s Canadian!”

He also had some kind words, though, saying, “Ryan Rodney Reynolds, or Ry-Rod, as you are affectionately called by your fans, you are an incredibly talented actor, filmmaker, businessman, but more importantly you’re just a great guy and I’m lucky to be able to call you a friend.”

Will Ferrell

Emma McIntyre/Getty Images

Hayek, Mirren, Jackman, Jeff Bridges and Canadian Prime Minister Justin Trudeau sent in video messages, and Spencer, Nathan Fillion, Mary Steenburgen and Rob McElhenney served as in-person presenters. McElhenney purchased Welsh soccer club Wrexham A.F.C alongside Reynolds two years ago, and he said, “there’s a strong chance that we’re in this thing together for the rest of our lives. And I can honestly say that there’s no person on Earth that I would rather be doing this with than Ryan.”

When Reynolds finally took the stage to accept his award, he admitted “I’ve never really taken myself too seriously, as many of you know, and it creates a pretty confounding paradox when I’m celebrated by a very serious award show with prestigious company like this.” He recalled Bridges once gesturing to a room full of actors and producers and proclaiming, “This is our tribe, man,” which is something he didn’t relate to at the time.

“While I’ve been given the privilege to play in different fields and sandboxes, I’m mindful that I’m primarily known as a movie actor, and that is humbling because movies bring people together in ways both figurative and literal,” Reynolds said. “That togetherness feeling is, more than anything else, what I yearn for, what I yearn to create,” adding that so much of what he does is for his daughters.

“Most importantly I get to spend my days working with my favorite collaborator of all, my wife Blake. You are the greatest ghostwriter in Hollywood history, you have literally authored me into this moment,” he continued, before wrapping up: “Here I am standing before you with this fancy and beautiful trophy, drenched in all of this privilege and luck and gratitude, and despite what I thought of Jeff Bridges’ comment years ago, I’m starting to suspect I may be part of a community.”

Jason Blum and his Blumhouse Productions were also honored as part of the evening, receiving the Power of Cinema Award from Hill Valley; Universal Pictures chairman Donna Langley presented to him, teasing to Blum, “I just have to warn you that your co-honoree this evening, Ryan, is very funny and makes very funny movies, so he has funny people introducing him. You make scary movies so you have this scary person introducing you.”

“He’s crazy, he’s bold, he’s fearless, he’s brave, and I have to say, Jason, your partnership and friendship have been invaluable,” Langley said. “I’m just so proud that you’ve chosen to make Universal your home for more than a decade.”

(L-R) Donna Langley and honoree Jason Blum pose in the press room during the 36th Annual American Cinematheque Award Ceremony honoring Ryan Reynolds at The Beverly Hilton on November 17, 2022 in Beverly Hills, California.

Donna Langley and Jason Blum

Alberto E. Rodriguez/Getty Images

Taking the stage, Blum noted, “It’s funny to be up here accepting an award because everyone in Hollywood says we don’t do it for the awards, which we know is not true, but in horror it kind of is actually true because the awards for horror are few and far between, so this is very, very cool.”

“For a long time at Blumhouse we’ve been kind of a group of misfit outsiders — we’re not allowed to think of ourselves like that anymore I suppose, especially here tonight that feels silly to say, but I still do feel that way, which I’m happy about actually — working in a genre that we love, with some of the most creative filmmakers in our business,” he continued, dedicating the award to all of the filmmakers his company has worked with — including James Wan, who Blum is in talks with to merge their two horror production companies. “I’m very, very excited for what might come when we all hopefully work together,” he said of that partnership, while also thanking “lunatic horror fans. There are millions and millions of misfits and outsiders who come to watch our Blumhouse films in theaters and have a shared experience of being scared together.”

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“Anyone who knows me knows how much

I’ve always considered Les Misérables—known affectionately as “Les Miz”—the perfect musical. And I’m happy to say that after seeing it decades later at the Providence Performing Arts Center, it really lived up to that proclamation.

There is just no fat in the production of Alain Boublil and Claude-Michel Schönberg’s Tony Award-winning musical. Based on the riveting novel by Victor Hugo (which I’ve read), the sensational story packs in powerhouse performances, enthralling characters, sweeping music, and iconic songs, all set against the dramatic backdrop of the historical French Revolution. The production weaves all these engrossing elements into a storytelling paradigm where every moment counts.

Almost every song in the production can be considered among the best Broadway songs to ever be belted out in a theater. You’ve heard the tunes before (“I Dreamed a Dream,” “Do You Hear the People Sing?” “One Day More”), but this in no way diminishes from the impact of hearing these iconic songs performed in their theatrical setting. Even though Cameron Macintosh’s production of Les Misérables was staged in the 1980s, the musical phenomenon stands the test of time and proves the timeless brilliance of the production’s constant relevance with themes of injustice, love, forgiveness, redemption, war, and hope.

In fact, I can’t think of any other musical with so many numbers that transcend the actual production. Is there another song like “I Dreamed a Dream” that encapsulates the youthful hope of life being crushed under the weight of harrowing circumstances? Or the cynicism of fraudulent landlords like the Thenardiers in “Master of the House?” “Red and Black” captures the spirit of the youthful exuberance of the French Revolution. And who wouldn’t be moved by those same youths cut down in their prime, whose spirits are paid tribute to in “Empty Chairs at Empty Tables,” (beautifully staged with candles representing each lost soldier and equally sung by Gregory Lee Rodriguez)? And Valjean’s line at the end, “to love another is to see the face of God” still packs an emotional punch all these years later. There were quite a few sniffles heard in the last moments, myself included.

The transition songs are almost as good as the hits, like “Lovely Ladies” and “Who am I?” which is what I mean about the production having no downtime: every minute counts. But a great Les Misérables rests on the shoulders of the two main leads, Jean Valjean (Nick Cartell) and Inspector Javert (Hayden Tee), both of whom hail from previous productions and reign supreme in this one. Cartell and Tee have a commanding presence in their roles, equally bringing down the house in their marquee numbers, with Cartell holding the audience enraptured with the lyrical “Bring Him Home.” Contrastingly, Tee embodies all the conflicting emotions that lead him to his awe-inspiringly staged end in “Soliloquy.” Additionally, the rest of the cast is excellent, with the Bishop (Randy Jeter) who inspires Valjean’s path of salvation, and Eponine (Christine Heesun Hwang) as particular standouts (her “On My Own” stunned).

The audience on opening night gave the production an instant standing ovation. You could hear notable gasps throughout as attendees were obviously thrilled to not only see such an iconic production but one that far exceeded their expectations. That also included my 14-year-old daughter. It’s always a gamble bringing a teenager to a performance that is over three decades old. Not only was she completely blown away by the production, but I’m happy to report that she is now embarking on reading the original novel by Hugo.

In other words, Les Misérables after all these years can still be considered the gold standard of musical theater. It’s playing at the Providence Performing Arts Center through Sunday, November 20. More information can be found at https://www.ppacri.org/. Les Misérables continues its tour throughout the nation. This is a bucket list must-see.

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I’ve always considered Les Misérables—known affectionately

Ten years ago when she was a student, Kathleen Cassidy discovered the power of couponing when shopping for food.

Nowadays, with high food prices taking a bite out of Canadians’ wallets, Cassidy has turned to social media to share her experiences in saving money at the grocery store.

“I normally save thousands of dollars a year,” said Cassidy, who is the founder of the Living on a Loonie social media blog.

“Depending on what you use and how brand loyal you are, you can definitely save a lot of money.”

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Canadians turning to couponing to save money amid high inflation rates

Couponing has been making headlines throughout the year as the Bank of Canada works to bring down the rate of inflation. According to a recent CIBC poll, many Canadians are employing savings strategies like couponing to save money on purchases. So how does it work?

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Coupons are often given by manufacturers and can be used for discounts on their products, said Sylvain Charlebois, director of the Agri-Food Analytics Lab at Dalhousie University.

Coupons incentivize the marketplace by offering consumers a discount in exchange for purchasing their product. Coupons are different than grocery flyers, which are a form of advertising managed by supermarkets, Charlebois said.

“Coupons will actually incentivize consumers to buy the product by offering a discount, so you have to take a physical action in order to save money, whereas a flyer there’s some vertical coordination between grocers and manufacturers, and so manufacturers will want grocers to promote their products as much as possible,” he said.

“Often, money incentives aren’t necessarily just for consumers, they’re for the grocer as well. So PepsiCo will say ‘If you actually put my chips on the front page, left corner this week, we’ll give you credits, we’ll give you some sort of dividend based on sales’ and things like that.”

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Click to play video: 'Tips to save money while shopping'


Tips to save money while shopping


Sometimes in a grocery flyer, coupons can be found and they can be cut out, Charlebois added. They’re a way for a food manufacturer to have a relationship with a customer.

“Normally, manufacturers don’t sell directly to consumers. That coupon creates that relationship with consumers. That’s the incentive for manufacturers,” he said.

“In return, you’ll give them some data at some point because you may actually have to mail in a coupon or you’re using it at the point of sale. If it’s used at the point (of sale) itself, it will be sent back, it will be recorded, and manufacturers will know when you bought their product and what other product you bought their product with. That’s very important market data.”

Where can coupons be found?

According to the Nov. 7 CIBC poll, which sampled 1,520 Canadians online Sept. 14-15, 37 per cent of respondents said they’re employing strategies such as couponing or looking for deals at the store.

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Coupons can be downloaded online from manufacturers’ websites or on savings websites, and they can also end up in the mail, said Cassidy.

“The other one would be when you are actually at the store, so when you’re in the store a lot of the times (paper coupons) are directly by the products in the aisle,” she said.

“So it’s just kind of keeping an eye open for those.”

Read more:

‘She’s a wealth of knowledge’: Nova Scotia ‘Coupon Nannie’ offsets inflation

While Cassidy said couponing has saved her thousands of dollars, when used with other tools like loyalty programs, the savings can add up even more, she said.

“How much money you’re going to save when couponing really depends on how much time and effort you want to put into things,” Cassidy added.

How can Canadians utilize these tools to save on food?

Before going to the grocery store, Canadians should consider a meal plan, Cassidy said. That involves thinking about what they’re having to eat each night, and what’s already in their fridge and freezer.

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“What items do you actually need to buy? That alone can help you kind of pinpoint what items you need to purchase that week, what proteins are on sale,” she said.

“It also helps you reduce waste because a lot of Canadians will go to the grocery store and pick up a bunch of stuff that they think they need, but they haven’t kind of thought through what their plan is. So by making a meal plan, even before you go to the grocery store, it can really help save in all those areas.”


Click to play video: 'Inflation rates hold steady in October as economists expect another rate hike'


Inflation rates hold steady in October as economists expect another rate hike


By spending some time online before going to the grocery store, Canadians can find out what the fair market value is of items on their grocery list, said Charlebois.

“Do your homework first, then when you show up at the grocery store, if that price doesn’t match the price that’s on your piece of paper or on your phone, just walk away,” he said.

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“Don’t go to the same store all the time, go to a different store every other week. You don’t have to go to two, three stores a week – just go to one store a week, but alternate, and you’ll find out that things are very different from one store to another, even if it’s owned and operated by the same owner.”

Read more:

Grocery shoppers using coupons to save money amid inflation

Cassidy agrees.

“A lot of stores are fighting for your money and for your attention … there’s going to be a lot of loyalty points offers,” she said.

“When you come to the store and you spend X amount of dollars, you’re going to get say, $25 back in points or something like that, so that can really help you then redeem your loyalty points to get that $25 off of your grocery bill or whatever the offer is in store.”

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Ten years ago when she was a

FIFA president Gianni Infantino has hit back at criticism of Qatar’s human rights record in an extraordinary press conference in Doha, the day before the World Cup kicks off in the Middle East. 

Infantino began with a singular expression of his support for the LGBTQ community and migrant workers. 

“Today I feel Qatari, today I feel Arab, today I feel African, today I feel gay, today I feel disabled, today I feel a migrant worker,” he said.

“I’m not Qatari, African, gay, disabled and I’m not really a migrant worker but I know what it means to be discriminated and bullied, as a foreign in a foreign country, as a child at school I was bullied because I had red hair and freckles. I was bullied for that.

“There are 1 billion disabled people in the world … and nobody cares.”

In a 90-minute conference, Infantino lashed out at what he called the “hypocrisy” of those criticising the Muslim country. 

“This moral lesson-giving – one-sided – is just hypocrisy,” the Swiss said.

“I don’t want to give you any lessons of life, but what is going on here is profoundly, profoundly unjust.

“For what we Europeans have been doing for the last 3000 years we should apologise for the next 3000 years before starting giving moral lessons to people.

If Europe really care about the destiny of these people, they can create legal channels – like Qatar did – where a number of these workers can come to Europe to work. Give them some future, some hope.

“I have difficulties understanding the criticism. We have to invest in helping these people, in education and to give them a better future and more hope. We should all educate ourselves, many things are not perfect but reform and change takes time.

“This one-sided moral lesson is just hypocrisy. I wonder why no-one recognises the progress made here since 2016.

“It is not easy to take the critics of a decision that was made 12 years ago. Qatar is ready, it will be the best World Cup ever.

“I don’t have to defend Qatar, they can defend themselves. I defend football. Qatar has made progress and I feel many other things as well.

“Of course I am not Qatari, Arab, African, gay, disabled or a migrant worker. But I feel like them because I know what it means to be discriminated and bullied as a foreigner in a foreign country.”

The tournament begins under a shadow of international condemnation of Qatar’s human rights record, including criticism of of its treatment of LGBTQ people and the plight of migrant workers – many of whom have built the stadia for the football in the weeks ahead. In February 2021, the Guardian said 6,500 migrant workers from India, Pakistan, Nepal, Bangladesh and Sri Lanka had died in Qatar since it won its World Cup bid – a figure that was disputed by the state, which said not all the deaths recorded were of people working on World Cup-related projects.

Qatar officials previously said international criticism amounted to “racism” and “double standards” when there are so many injustices in the world.

The World Cup begins on Sunday with host nation Qatar playing Ecuador in the opening match.

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FIFA president Gianni Infantino has hit back

What happens after the happily ever after? That’s the cheeky, and intriguing, question “Disenchanted” asks. The answers it comes up with, alas, aren’t quite the stuff dreams are made of.

Instead, this straight-to-streaming sequel seems to have been designed with another aim in mind: attracting as many festivity-fatigued families as possible. And in that, it’s likely to succeed. Because while “Disenchanted” is not entirely enchanting, it is a brightly energetic escape in the grand Disney tradition.

Unfortunately, there are other elements from the Disney tradition that should have been left behind. That, after all, was the point of 2007’s “Enchanted,” a disarmingly post-modern fairy tale that pulled Disney into the present with wit and charm.

Fifteen years later, we revisit Giselle (Amy Adams), the erstwhile almost-princess who was pushed from fairy tale animation into live-action adventure with the thoroughly-modern Robert (Patrick Dempsey). Their update is told as a bedtime story by Giselle’s chipmunk sidekick Pip (a grating Griffin Newman), whose children insist that “there is no after after happily ever after… you just get married, and then nothing ever happens to you again.”

It’s a smart start, and a promising one, except that director Adam Shankman (“Hairspray”) and writer Brigitte Hales (“Once Upon a Time”) seem to agree just a little too much. As stepmom to teenage Morgan (newcomer Gabriella Baldacchino) and mom to baby Sofia (Mila and Lara Jackson), Giselle has decided, against a furious Morgan’s wishes, to move the family out of Manhattan into the suburb of Monrovia. The filmmakers give us some mildly amusing observations about suburban life, from the McMansion-y turret of their new home to the commuter alienation into which Robert immediately sinks.

But the real focus is on the moms, who — in their nosy, competitive, air-headed unhappiness — put all their efforts into PTA preening.  Giselle, who has apparently abandoned the design business she began in the last film, soon realizes that she, too, is deeply unhappy in their new town. So when Sofia’s royal godparents Edward (James Marsden) and Nancy (Idina Menzel) gift Sofia with a magic wand, Giselle uses it to turn Monrovia into a fairy land like the one she left behind.

Obviously, using magic for unintended purposes is a rookie move. But Giselle is totally shocked when things take a swift turn for the worse. First of all, local alpha-mom Malvina (Maya Rudolph) is now the literal queen of the land — and a cheerfully evil one, at that. Worse, though, is the realization that Giselle herself is becoming malevolent as well. With each chime of the clock, she moves closer to being a stereotypical Wicked Stepmother, while Morgan is turning into a sweet, submissive Cinderella.

Regrettably for everyone, this brings us right back to old-Disney territory: the aging woman becomes the evil cliché, while the younger woman — who started as a typical, happily T-shirted teen — is given a full-on princess glow-up, complete with attitude adjustment, beautiful ball gown, and cinched-in waist.

The retrograde plot is especially baffling given that the movie already has a spectacular villain in Rudolph, who understands the assignment perfectly. It’s not that Adams can’t play the heavy; it’s that the daffily unique Giselle should never have been forced to become one. This is so evident that even the film seems ambivalent about it, leaving Adams caught between two underwritten roles without the freedom to fully inhabit either.

On the bright side, the women’s musical standoff is the undeniable highlight of a strong soundtrack written by Alan Menken and Stephen Schwartz. In fact, all the musical numbers are well-staged and high-spirited. But to see Rudolph and Adams pushed into what is, essentially, a mismatched catfight is a little dispiriting. When the delightfully devilish Malvina scorns Giselle by hissing, “You’re a garden snake, and I’m a big puff adder,” she’s not kidding.

In fact, Rudolph is really the only actor who seems to be having the sort of fun “Enchanted” elicited so easily. Marsden, who proves yet again that he gets this world better than anyone, is mysteriously elbowed out of sight when he should be embraced. Dempsey also feels like an afterthought, while Kolton Stewart is introduced as a potential prince for Morgan but never given a chance to shine. Malvina’s obsequious henchwomen, played by Yvette Nicole Brown and Jayma Mays, are underused and underserved by a script that dismisses them both.

Menzel gets more screentime, but it feels as forced as much of the rest of the movie. The filmmakers clearly wanted to generate “Frozen”-style magic, to such a degree that Menzel’s big ballad, “Love Power” (which she knocks out of the park) includes the unironically-belted line “Let it glow.”

What’s most frustrating is how much potential has been wasted. “Disenchanted” has a new creative team behind it, with Shankman replacing “Enchanted” director Kevin Lima, and Hales (along with three others, including Richard LaGravenese, getting “story by” credits) taking over from original writer Bill Kelly. Perhaps as a result, there’s an enormous disconnect between the two films.

The original dared to push back, to think a little differently, to admit that it was time for Disney to evolve. Its follow-up goes in the other direction, searching for safety in easy familiarity. And it is easy entertainment: Well-paced, visually appealing, and musically engaging, it’s an obvious choice to keep kids occupied during the holiday season.

But “Enchanted” was built for the ages, offering real magic through genuine affection and respect for the audience, the characters and the actors alike. Though this too-well-titled sequel is an elaborate spectacle, it never casts a true spell.

“Disenchanted” premieres Nov. 18 on Disney+.

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What happens after the happily ever after? That’s the

Argentine rapper Trueno stopped by the Variety Studio, presented by DIRECTV, to talk about the rise of his country’s impact on Latin music, the role he has played in that movement along with the leap of faith he took in order to pursue his music career.

“I’m happy to be able to represent Argentina and be a face for young people as someone who sacrificed something in order to pursue what they want,” the 20-year-old artist said. “It was, ‘Okay, I’m going to throw 100% to the music, I don’t know what’s going to happen, I don’t know if people are going to like it.’ But we made the first record that talked about my beginnings, and that’s when I realized this was what I was meant to do with my career.”

Elaborating on Argentina’s growing presence in Latin music, Trueno credited fellow rappers like Duki in being positive representatives of their native country: “I believe that the urban genre in Argentina grew very fast and is very strong nowadays, there are a lot of references to different genres such as trap, rap, Reggaeton and others. Something that makes me happy is that all the younger artists representing, like Duki [and others], are really a strong image for Argentine music.”

Trueno remarked that he listens to a wide array of genres as a fan and to find inspiration for his own music, including Dembow, Reggaeton, Latin and American-language music as well. He said he hopes to travel more of Latin America in the future, as he wants to visit different countries to consume and learn about its distinct musical cultures.

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Argentine rapper Trueno stopped by the Variety Studio,

Shania Twain will receive the Music Icon award at the 2022 People’s Choice Awards, which are set to air on NBC and E! on Dec. 6 at 9 p.m. ET/PT from the Barker Hangar in Santa Monica, Calif. 

Christina Aguilera was the inaugural recipient of this honor last year. As previously announced, another top music star, Lizzo, is slated to receive this year’s People’s Champion Award, while Ryan Reynolds will receive the People’s Icon Award.

In addition to receiving the award, Twain will perform a medley of her greatest hits as well as her new song “Waking Up Dreaming” from her forthcoming sixth album Queen of Me, which is set for release on Feb. 3, 2023. This will mark her first appearance on the PCAs stage since 2005, when she took home the award for favorite country female singer.

“I’m so incredibly honored to be named ‘Music Icon,’” Twain says in a statement. “I have some of the greatest fans in the world. They have supported me since the early days, and it’s their love and passion that keeps me going. I’m thrilled to go back on tour and bring my new music and fan favorites to them, and what better way to start than at the People’s Choice Awards!”

Live from E!: The 2022 People’s Choice Awards will kick off the night with a red carpet special at 7 p.m. ET/PT on E!

The 2022 People’s Choice Awards and Live From E!: The 2022 People’s Choice Awards are both produced by Den of Thieves with executive producers Jesse Ignjatovic, Evan Prager and Barb Bialkowski.

A version of this story first appeared on Billboard.com.

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Shania Twain will receive the Music Icon award

Criminal Justice: Behind Closed Doors

Cast: Pankaj Tripathi, Anupriya Goenka, Kirti Kulhari, Khushboo Atre

Directors: Rohan Sippy and Arjun Mukerjee

Criminal Justice season 2 arrives with the promise of doubling up on the drama quotient from the first installment. However, it fails to measure up to its first outing in every way imaginable.

To say that the plot does not offer characters enough to play around with would be wrong as season one did pretty well with a straight forward set-up that is milked dry for pathos. This time around, the pace goes doubly slow with no real enjoyment stored for the latter half.

Filmmakers Rohan Sippy and Arjun Mukerjee are at the helm of affairs here. They are tasked with putting the viewers’ heads around faith in the justice system when Anuradha Chandra (Kirti Kulhari) stabs her husband (Jisshu Sengupta) while he tries to force himself onto her in bed one night. That he has been controlling her for quite sometime is evident though some initial inserts and her attempt to injure him for her safety is foreshadowed. What follows is her lawyer Madhav Mishra’s (Pankaj Tripathi) quest to unravel the circumstances that led her to this point.

Anuradha tends to bear the weight of the story for the first half but Kirti’s one-tone performance, where she displays her isolation and fragility at each moment by bursting into tears, gets too repetitive and dull after a point. Kirti is unable to evoke empathy for a victim of domestic abuse and what could have been the role of a lifetime for her becomes a burden that she has to shoulder throughout.

Meanwhile, Pankaj as Madhav tries to balance out the serious nature of the show with his street-smart ways and poker-face humour. But his performance does not measure up to what we have come to expect of the actor. Here, a feel good factor is introduced as Madhav’s wife Ratna Mishra (Khushboo Atre) comes to Mumbai to live with him. And honestly, her chirpy performance, even though it is a side track to the main story, keeps some interest alive. Otherwise, the series seems robbed off of emotion and real tension.

Seems like Criminal Justice franchise is not interested in sustaining itself beyond this season.

Rating: 1.5/5

Read all the Latest News, Breaking News and Coronavirus News here

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Criminal Justice: Behind Closed DoorsCast: Pankaj Tripathi,

Neve Campbell

Neve Campbell
Photo: Ernesto Distefano/Getty Images for ICONINK

Neve Campbell and David E. Kelley’s new crime drama Avalon won’t be showing up on ABC, as it turns out—even though the show had already been given a direct-to-series order by the Disney-owned network.

Instead, ABC has opted to use its option to pass on the show, based on a Michael Connelly short story, which will now be shopped out to other networks in its search for a potential home. Which is not exactly anything new for Kelley—his massive successes in TV, including hits like The Practice and Boston Legal for ABC itself, exist in tandem with a huge number of failed shots—but the whole “they ordered it, then said ‘Nah’” part feels like an especially bitter pill to swallow.

(It also brings to mind the last time ABC un-ordered a show to series after watching the pilot, i.e., that “What if Alec Baldwin and Kelsey Grammer played old-guy roommates?” sitcom from last year that we still find ourselves thinking about in idle moments of grim fascination.)

Avalon would have—and, admittedly, still might, if said shopping-around works out—starred Campbell as Detective Nicole Searcy, a sheriff’s department officer living and working on sunny tourist destination Catalina Island, off the coast of California. But, wouldn’t you know it: Murder in paradise, leading “Nic” to re-evaluate whether the nice place she lives is actually nice, on account of all that murder.

Campbell last appeared on TV screens in Kelley’s adaptation of The Lincoln Lawyer, which was, itself, a CBS crime series that got booted out at the pilot phase, only to get picked up by Netflix. She also recently appeared in this year’s Scream sequel, and then in a bunch of news stories about the people making Scream movies not being willing to pay her enough to come back for another one.

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Neve CampbellPhoto: Ernesto Distefano/Getty Images for ICONINKNeve

Today’s trailer roundup includes Hulu’s It’s a Wonderful Binge, Apple TV+’s Puppy Place: Season 2, Showtime’s Boys In Blue.

It’s a Wonderful Binge debuts December 9 on Hulu. Several years after their first Binge, best friends Hags, Andrew, Sarah and Kimi face the realities of young adulthood as the annual Binge Day is moved to Christmas Eve. Hags plans a proposal to Sarah while Andrew deals with his troubled relationships with his family and his girlfriend.

Puppy Place: Season 2 streams Dec. 9 on Apple TV+. Charles (Riley Looc) and Lizzie (Brooklynn MacKinzie), whose different approaches complement, inspire and occasionally confound one another, do whatever it takes to find a happy, loving home for each and every dog. Discovering what makes each puppy special offers a unique perspective that helps the pair overcome their own individual hurdles.

Boys In Blue comes to Showtime January 6, 2023. All four episodes will be released on-demand and streaming and episodes will air on the Showtime channel each Friday at 8 p.m. ET.

The four-part docuseries spotlights North High School’s Polars football team, where mostly Black student-athletes are coached and mentored by members of the Minneapolis Police Department. The series follows the team as they navigate life after the tragic police killing of Floyd, a milestone event in American history that set off a national movement for social justice and police reform. Despite their differences, the officers and students find common ground on the field and kinship in the drive to win a state championship, establishing what they believe is a safe harbor from the violence and civil unrest of their community.

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Today’s trailer roundup includes Hulu’s It’s a

Even though we were right in the heart of Beverly Hills for last night’s American Cinematheque Awards tribute to Ryan Reynolds, you would be forgiven if you thought somehow you had been transported from the Beverly Hilton International Ballroom to Canada. Judging from these proceedings, Reynolds just may be the hottest import ever to come across the border.

Numerous presenters and participants, notably Reynolds’ very pregnant wife Blake Lively (they have three daughters with another child on the way) made mention of the fact that the star of Deadpool, Free Guy, and other hits has never ventured far from where he really considers “home” and that is his native Canada, and she added he is the first Canadian recipient of the award in its 36 years of existence. I can’t remember the last time I sat at a Hollywood tribute like this one and felt compelled to stand and sing the entire Canadian National Anthem (they could have put the lyrics on the screen for us non-Canadians in the crowd). That closely followed enthusiastic taped remarks from Canadian Prime Minister Justin Trudeau, who lauded the actor. This guy is bigger than Hockey. At least that is the impression I got.

(Photo by Emma McIntyre/Getty Images for American Cinematheque)

Among those appearing in person to toast and roast — but surprisingly not too much — Reynolds were Mary Steenburgen (who played his mom in The Proposal), Nathan Fillion (yet another Canadian) who co-starred with him in the ABC sitcom Two Guys, A Girl, And A Pizza Place, and Octavia Spencer, who is a current co-star in the new Apple TV+ holiday movie Spirited. But as she noted, she first worked with Reynolds in a bit role as a crackhead credited only as “streetwalker/pedestrian” in The Nines. Another current Spirited co-star, Will Ferrell, was first to speak.

“This is an award given to an extraordinary artist in the entertainment industry,” said Ferrell, before wondering, “What happened? Who fell through?”

Fillion got laughs by noting he has a habit of pre-writing eulogies for his friends and then proceeded to read one he wrote for Reynolds. His current bromance with Welcome to Wrexham buddy and partner Rob McElhenney was on full display in remarks from the latter that bordered on a love letter.

Producer-director Shawn Levy, who has made Free Guy, The Adam Project and is doing the upcoming Deadpool 3 with Reynolds and Hugh Jackman — “if it doesn’t work we will blame Jackman,” laughed Levy — was very funny and sincere as he made the presentation to the star who seemed genuinely touched by all the attention.

“I’ve never taken myself too seriously. It creates a pretty astounding paradox that I am being celebrated by a very serious awards show,” Reynolds said modestly. “I was standing in this exact room eight years ago when Jeff Bridges wrapped his arms around me and looked around a room full of executives, movie stars, producers and proclaimed, ‘This is our tribe, man!’ ” Reynolds said he rejected that at first but has since come to realize the show business community is a “tribe” and he is proud to be part of it.

Among the video tributes, the hilarious one from Reynolds’ R.I.P.D co-star Bridges was a real highlight. Jackman, on stage in The Music Man, delivered one featuring his son as Deadpool, Salma Hayek, Helen Mirren, and Monica Baccarin also filmed tributes that were weaved in among numerous clip packages spotlighting different aspects of the tributee’s career that showed off the versatility that has turned him into a top star.

. (Photo by Emma McIntyre/Getty Images for American Cinematheque)

Before the main event Blumhouse founder and producer Jason Blum took the stage as both the company and its leader were the recipient of the American Cinematheque Power Of Cinema Award. The gong was presented by Universal’s Filmed Entertainment Group Chairman Donna Langley after a terrifying reel of Blum’s trademark horror films was shown. The studio head — who has counted on Blum as a key producer for the past decade of some very big Universal hits including the Oscar-winning Get Out, The Black Phone, The Purge franchise, the recent Halloween trilogy and so many more — admitted she is so frightened by horror films she couldn’t watch the reel, but nevertheless had nothing but praise for the prolific producer who in accepting the honor expressed his gratitude and noted that “awards for horror films are few and far between”.

The evening opened with remarks from American Cinematheque Chairman Rick Nicita and President Mark Badagliacca, along with Board member and Founder and CEO of Hill Valley, Eric Nebot. The Cinematheque is currently operating the Aero and Los Feliz theaters for their various film programs, and are restoring their other venue — with Netflix — the world famous Egyptian Theatre which will reopen next year with a celebration of its first 100 years.

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Even though we were right in the

Left: Jay Duplass (Photo: Jon Kopaloff/Getty Images), Right: Timothy Omundson (Photo: Jesse Grant/Getty Images for Alzheimer’s Association)

Left: Jay Duplass (Photo: Jon Kopaloff/Getty Images), Right: Timothy Omundson (Photo: Jesse Grant/Getty Images for Alzheimer’s Association)

Some fresh news from Olympus today, as Variety reports that two more actors have signed on for Disney+’s upcoming TV adaptation of Rick Riordan’s Percy Jackson books. Jay Duplass is taking on the role of Head Dead Guy Hades, and Timothy Omundson is making the move from TV royalty to literal TV deity as Hephaestus, god of blacksmiths.

Duplass works regularly on both sides of the camera; he currently appears on HBO’s Industry, and has had notable roles in recent years on Search Party, The Chair, and more. (In addition to all the films and TV he continues to make alongside his brother Mark.) As Hades, he’ll play a key role in Riordan’s story of the Greek gods in the modern world; the elder brother of Zeus, Hades is suspected, in Percy Jackson And The Lightning Thief, of being the one who pilfered the titular bolt.

Omundson has a far more cheerful role, meanwhile, with Hephaestus typically portrayed as one of the least dick-ish members of Riordan’s pantheon. A veteran TV actor best known for his long-time role on USA’s Psych, Omundson was forced to step away from acting after suffering a stroke in 2017. He’s since returned to the business, appearing in the Psych sequel movies, New Amsterdam, and the little running video of Galavant clips that cycles endlessly in our minds.

Duplass and Omundson join a stacked cast of immortal folks, including Walker Scobell as Percy himself, a regular kid who finds out he’s the son of Poseidon. Other additions to the cast include Virginia Kull, Glynn Turman, Jason Mantzoukas, Megan Mullally, Timm Sharp, Dior Goodjohn, Olivea Morton, Charlie Bushnell, Adam Copeland, Suzanne Cryer, Jessica Parker Kennedy, and Lin-Manuel Miranda. That’s a whole lotta gods.

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Left: Jay Duplass (Photo: Jon Kopaloff/Getty Images),

As Elliot Grove puts it, Celtx empowers storytellers to write great scripts that really stand out. 

Raindance is honoured to have been able to partner with Celtx for the 30th Raindance Film Festival, without whom, none of it would have been possible. 

Celtx is an industry leader in online scriptwriting and pre-production software that is trusted by creatives all around the world. Their tools transform how creators write, plan, and manage video and interactive media production. 

Through their services, Celtx provides access to important digital tools for filmmakers in all aspects of the industry. These include wonderful scriptwriting software, story development tools, pre-production planning tools and even some production tools. Celtx allows filmmakers to streamline their production, from page to screen. 

During the festival, Celtx conducted a Script Breakdown Masterclass as part of Raindance’s industry sessions that were held at the Backyard Cinema at Genesis. The session focused on supporting filmmakers with the technical side of formatting in order to create professional industry standard scripts. Filmmakers were guided through the different features that Celtx offers both for screenwriting and scheduling and planning. The industry session was met with great attendance, as it also provided an avenue for filmmakers to connect and collaborate.

Celtx enables storytellers working in film & television, theatre, and interactive media to transform their great ideas into production-ready scripts. Go from concept to camera using Celtx’s multi-format script editors and powerful pre-production tools. Designed for creative collaboration, Celtx’s all-in-one virtual studio empowers you and your team to manage storyboards, break down scripts, organise shots, and keep cast and crew on the same page. Trusted by over 5 million creators in over 180 countries and available for desktop and mobile, you can create wherever your inspiration takes you with Celtx.

A big Raindance thank you once again to Celtx for their support and generosity throughout the 30th Raindance Film Festival.

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As Elliot Grove puts it, Celtx empowers

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UNITED NATIONS — A key U.N. committee took a first step Friday toward negotiating a treaty on crimes against humanity, which can be committed at any time, not just during conflicts.

The committee that deals with legal issues approved a resolution by consensus that would authorize its members to hold sessions in April 2023 and April 2024 to exchange views on draft articles for a treaty submitted by the International Law Commission, a U.N. expert body mandated to develop international law.TT

The legal committee would then take a decision on proposing a treaty during the General Assembly session beginning in September 2024, according to the draft.

The resolution’ now goes to the 193-member assembly where its approval is virtually assured before the end of the year.

Richard Dicker, senior legal adviser for advocacy at Human Rights Watch, said: “With rampant offenses amounting to crimes against humanity in recent months in countries such as Myanmar, Ukraine and Ethiopia, the movement towards negotiating a treaty to prevent these crimes is a positive though overdue step.”

While there are international treaties focusing on crimes of genocide, torture, apartheid and forced disappearances, Human Rights Watch said there is no international treaty specifically devoted to crimes against humanity.

Crimes against humanity have been defined by the International Criminal Court.

According to the rights group, they are acts of murder, rape, torture, apartheid, deportations, persecution and other offenses that are “committed as part of a widespread or systematic attack against a civilian population based on a government or organizational policy.”

The proposed treaty submitted by the Law Commission in 2019 would require all countries that ratify it to include the definition of these acts in their national laws and to take steps to prevent them and to punish those responsible for committing crimes against humanity in their national courts, the rights group said.

The draft resolution states that the General Assembly is “deeply disturbed by the persistence of crimes against humanity” and recognize “the need to prevent and punish such crimes, which are among the most serious crimes of concern to the international community as a whole.”

Human Rights Watch said the resolution was delayed for three years by a small number of countries including Russia and China, but a new effort was made this year on a resolution to take a first step and they agreed to the consensus after several weeks of intense negotiations.

“A treaty prohibiting crimes against humanity will provide more protection for civilians and today’s decision is an advance in extending the rule of law at a moment when that very concept is under intense assault,” the rights group’s Dicker said.

To reach that goal, he said, “it will be crucial for supportive governments to ensure that civil society will be able to fully contribute to the deliberations over the next two years.”

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Kylie Jenner quipped about getting married months before it was reported that her boyfriend, Travis Scott, had cheated on her with an Instagram model.

It feels very much like my wedding day. The reality star dropped the bombshell during the episode of Keeping Up With the Kardashians that aired on Hulu on Thursday. She remarked while trying on various Off-White dress possibilities in preparation for the 2022 Met Gala.

Her mother, Kris Jenner, appeared to be delighted by the off-the-cuff remark, and she then proceeded to ask Kylie, with a sly smile on her lips, “To who?” At the query posed by the momager, the 25-year-old CEO of Kylie Cosmetics chuckled and responded, “I have myself.”

When Kris, 66, answered Kylie’s question by making a joke that she didn’t know where the night could go, Kylie poked fun at the idea by responding, “You are right.” The beauty entrepreneur is known for her business acumen. Always be ready for the possibility of getting married.

Kylie admitted in a confessional that she wasn’t opposed to dressing up like a bride for the May 2 gala, even though she was concerned about looking like a bride at the event.

She told the audience, “When I initially tried this on, it was giving me wife, bridal feelings, so I feel a little scared that it was going to seem like I was getting married, but I also adore that.”

Gilded Glamour was the theme of the star-studded party in New York City, and Kylie ended up attending in what seemed like a lengthy wedding gown designed by Off-White and a baseball cap with a veil.

The former star of Life of Kylie expressed her gratitude to the late Off-White founder Virgil Abloh for the opportunity to model one of his designs at the time.

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SAN FRANCISCO — New owner Elon Musk struggled Friday to harness the chaos he’s unleashed at Twitter, summoning the remaining engineers to the San Francisco headquarters and issuing new edicts on content moderation.

Musk called employees who “actually write software” to the afternoon summit a day after the chaotic exodus of hundreds of employees who refused to sign a pledge to worker longer hours and sought to take him up on an offer of three months’ pay as severance. As they assembled, Musk tweeted that Twitter would stop amplifying hate speech and restore a few controversial accounts, though not that of former president Donald Trump.

The series of emails and tweets underscored the personal nature of Musk’s oversight of a social media platform that has 237 million daily users, many of whom had tweeted their concerns in the previous 24 hours that Twitter was about to collapse — something experts said was a likely eventuality, though not necessarily imminent.

Major companies have paused advertising on Twitter, adding to the financial pressure on the debt-laden enterprise, and an on-again, off-again relaunch of paid verification marks has spawned pranks and scams while confounding loyal users.

Musk’s emails to engineers, however, suggested a realization that the worst may yet to come. The emails even went out to staffers who’d walked out Thursday rather than sign the pledge.

Musk also asked all recipients to send him screenshots of their recent code and explain what it had accomplished. While the initial email included no instructions for remote employees, a subsequent one said Musk would try to speak via video to them — but that employees were only excused if they have a family emergency or “cannot physically get to Twitter HQ.”

In a third email eight minutes later, he asked employees to fly to San Francisco, saying he would be at the office until midnight on Friday and back again Saturday morning. Yet another missive an hour later said flying “would be appreciated, but is not essential.”

The requests to help him “better understand the Twitter tech stack” struck many engineers as absurdly late, given that he had fired about half of what had been more than 7,500 employees two weeks ago and then issued an ultimatum on Wednesday that prompted a subsequent wave of departures.

Several critical teams essential to keeping the site functioning were cut to a single engineer or none by the departures Thursday, leaving the company partially on autopilot and likely to crash sooner or later, engineers said.

While there were no widespread reports of outages on Friday, “Every mistake in code and operations is now deadly” said a former engineer who departed the company this week. Those left “are going to be overwhelmed, overworked and, because of that, more likely to make mistakes.”

The team that runs the service Gizmoduck, which powers and stores all information in user profiles across the site, was entirely gone, according to a recent department head who spoke on the condition of anonymity because he was not authorized to detail the departures.

Even without a mistake, the system can run only for so long with so little upkeep, tweeted Ramin Khatibi, a site reliability engineer who left Twitter in 2019: “The fact that Twitter continues to work is a testament to the 1000s of engineer years spent building that reliability. But as engineers, we know that failure is coming without continued investment to protect against the next thing.”

It wasn’t clear Friday who was still employed and for how long. Access to internal systems had not been cut for many who walked out, though several people who did not sign the pledge said Twitter locked them out of their corporate laptops on Friday, the first confirmation that they had effectively resigned. Employees estimated that roughly 1,000 refused to sign the pledge Thursday.

Half the trust and safety policy team resigned, including a majority of those who work on spotting misinformation, spam, fake accounts and impersonation, according to two employees familiar with the team. Many of those who chose to stay did so to keep their health insurance or because they would be subject to deportation without a job.

Meanwhile, Musk plowed ahead with moderation decisions, announcing on Twitter that the company had reinstated accounts including those of comedian Kathy Griffin, who had mocked him, conservative humor site Babylon Bee, and right-wing self help guru Jordan Peterson. The Bee and Peterson had been suspended for anti-transgender posts.

Musk previously had said banning and unbanning would wait until a moderation council had been appointed and had drafted rules that would allow for consistent decisions. But there was no announcement that such a council of outside advisers had been appointed, drawing criticism from some of the civil rights leaders that had met with Musk shortly after he took over the site.

Jessica J. González, the co-CEO of media advocacy group Free Press, said Musk appeared to be going back on his promise to the civil rights groups that there an open process for decisions about account reinstatements.

“He said there would be a transparent, an open process before anyone was reinstated,” she told The Post. “I have not seen an announcement of an open and transparent process.”

“Should we suppose his tweet is his notice and now we’re supposed to comment?” said González, who had attended the meeting with Musk. She said the advocacy group had not yet heard anything more from Twitter about the company’s plans to create a content moderation council.

Musk also tweeted that hateful or negative tweets would be barred from algorithmic boosting, even though the team working on ethical artificial intelligence had been laid off. “Negative/hate tweets will be max deboosted & demonetized, so no ads or other revenue to Twitter,” his tweet said. “You won’t find the tweet unless you specifically seek it out, which is no different from the rest of the Internet.”

In an opinion piece Friday in the New York Times, Twitter’s former head of trust and safety, Yoel Roth, said he had resigned recently because it was clear Musk’s capriciousness would continue, making already complex decisions about content unworkable.

“A Twitter whose policies are defined by unilateral edict has little need for a trust and safety function dedicated to its principled development,” Roth wrote.

Roth also warned that Apple’s and Google’s stores could boot Twitter’s app if they determined the company was not effectively filtering hate speech, pornography and other unwanted content.

Hate speech jumped after Musk’s takeover late last month, and civil rights groups complained in personal meetings with him afterward that the company was headed down a path that had led other social media companies to drastic reckonings and restoration of strong moderation policies.

As users and employees alike waited Friday to see how the resignations would play out on the platform, it wasn’t clear that there would be immediate technical failures because Twitter’s systems are so complex, said an employee who did not sign Musk’s pledge and spoke on the condition of anonymity to candidly discuss the state of the platform.

The systems could suffer during the World Cup, typically a time when Twitter use surges, the person said. Aware of such predictions, Musk tweeted: “First World Cup match on Sunday! Watch on Twitter for best coverage & real-time commentary.”

The systems could also slowly degrade over time, the person said. Or it could take longer to make fixes to routine problems that arise following the departures.

Most risky of all, this person and another former engineer said, will be when staff try to implement one of the many new things Musk wants.

“Complex systems such as Twitter are most in danger of breaking when engineers attempt to make live changes to add features,” the second person said. “Any change is inherently risky. Twitter is a global communications utility. Change at our scale means even the smallest issues have huge impact.”

Will Oremus, Naomi Nix and Faiz Siddiqui contributed to this report.

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Comment on this storyCommentSAN FRANCISCO — New

“I miss Gamora, but I don’t miss 3:30 a.m. calls and five-hour makeup sessions and trips to the dermatologist afterwards,” Saldaña said of her Marvel character.

Zoe Saldaña might be exiting the MCU.

After starring as Gamora across the Marvel franchise, “Guardians of the Galaxy Vol. 3” marks the final James Gunn installment in the space adventure franchise, co-starring Chris Pratt and Dave Bautista. Saldaña addressed her future in the MCU post-“Guardians.”

“I can never say no to anything, but that green makeup? I wouldn’t be upset if it didn’t happen again,” she told Variety. “I miss Gamora, but I don’t miss 3:30 a.m. calls and five-hour makeup sessions and trips to the dermatologist afterwards.”

Saldaña continued, “Every time that, you know, that 8-year-old or that dad and mom or those generational fans that remind me that what I did was special to them, it makes me not be cynical about Marvel. It makes me understand that younger audiences should stop being overlooked. They have feelings too and if something impacts them, just because we consider it stupid or immature or cheeky, doesn’t mean it’s not special.”

It remains to be seen if Saldaña will reprise her role of Gamora in the upcoming Disney+ special “The Guardians of the Galaxy Holiday Special,” which hinges on cheering up Star-Lord (Pratt). Writer-director Gunn, who is now overseeing the DC franchise at Warner Bros. Discovery, previously called the MCU holiday special “the greatest thing I’ve ever done in my life.”

“It’s totally ridiculous, and every day we can’t believe that we’re making it,” Gunn said earlier this year. “We all completely love it. It is unlike anything that anyone’s ever seen before. I can’t wait for people to see it. And it’s out pretty soon. You know, it’s out this Christmas.”

Similarly to Saldaña, “Thor” star Chris Hemsworth teased the possibility of hanging up his hammer.

“I feel like we’d probably have to close the book if I ever did it again, you know what I mean? I feel like it probably warrants that,” Hemsworth recently told Vanity Fair. “I feel like it’d probably be the finale, but that’s not based on anything anyone’s told me or any sort of plans.”

He added, “You have this birth of a hero, the journey of a hero, then the death of a hero, and I don’t know — am I at that stage? Who knows?”

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"I miss Gamora, but I don't miss

In a career where he is proving there isn’t a single movie genre he doesn’t have the ability to take to new levels, writer/director/producer Rian Johnson is riding a career high now with what is turning out to be not only a lucrative but also creatively acclaimed franchise with the Knives Out movies. The first in 2018 turned out to be one of the biggest hits of the year, and earned Johnson his first Oscar nomination for Original Screenplay. Bidding rights for the sequel soared and eventually Netflix beat out original distributor Lionsgate with a reported $450 million deal for two sequels. The first of those Glass Onion: A Knives Out Mystery was a huge success at its world premiere in Toronto earlier this year and now is getting the most unique release ever from a streamer in which the three major exhibition chains are all going to play the film (about 600 screens total) next week for a week before its late December debut on Netflix.

Johnson joins me on my Deadline video series, Behind The Lens this week to talk about this phenomenon, how long he would like to keep this franchise going, his partnership on it with star Daniel Craig, and how he was able to revive this genre. We also talk about his previous successes such as Brick, Looper, Star Wars VIII: The Last Jedi, and even those two classic episodes of Breaking Bad he directed. He also talks about how difficult it was to get started, and all those rejections from USC Cinema School before finally figuring out a way to get in. To listen to our conversation and go ‘behind the lens’ with Rian Johnson just click the link above.

Join me every Friday during Oscar Season for another episode of Behind The Lens.

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In a career where he is proving

Last Updated: November 18, 2022, 23:16 IST

Shalin Bhanot says he fears for his life inside Bigg Boss 16 house.

Shalin Bhanot has informed Bigg Boss that he feels unsafe in the show and therefore he wishes to take a voluntary exit.

In a big development, Shalin Bhanot has decided to take a voluntary exit from Bigg Boss 16. During Friday’s episode, the actor was called inside the confession room along with Tina Datta and MC Stan. While Bigg Boss explained that both, Stan and Shalin were wrong in the massive argument between the two, the Do Hanso Ka Joda actor refused to listen and shared that he wants to take a voluntary exit from the show.

Shalin told Bigg Boss that he feels unsafe and insecure inside the reality show. He then announced that he wishes to voluntarily exit the show. Following this, Bigg Boss reminded the actor of the complications and penalty which will be imposed due to voluntary exit. However, Shalin assured that the financial penalty of Rs 5.4 crore will be made. “Will take care of penalty,” he said. However, Shalin is still in the Bigg Boss house since a final decision will be taken by Salman Khan on Saturday.

Week 8 
Captain Sajid Khan
Nominations Soundarya Sharma, Gautam Vig, Tina Datta, Shalin Bhanot
Tasks None
Twists Shalin announces voluntary exit

Later in the episode, Priyanka Choudhary enquired Shalin about the details of the discussion which took place inside the confession room. While Shalin refused to share any detail, Bigg Boss himself announced that the actor has decided to take a voluntary exit.

For the unversed, Shalin Bhanot recently got into a massive fight with MC Stan inside the house. It all started after Stan asked Shalin not to touch Tina Datta’s feet while her leg was hurt. However, the Do Hanso Ka Joda actor asked Stan not to interfere. The two hurled abuses at each other and went on to make some personal comments as well. The argument escalated to a level where other housemates had to jump in to prevent Stan and Shalin from physically hurting each other. However, later, Tina also took a stand for MC Stan when she stated that the rapper was only concerned for her.

Read all the Latest Movies News here

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Last Updated: November 18, 2022, 23:16 ISTShalin