Sydney Sweeney‘s boyfriend Scooter Braun’s thoughts about her sexually charged scenes in Euphoria has been revealed.
The music producer, 44, is showing his full support for the 28-year-old actress and ‘respects’ how passionate and dedicated she is to her career.
‘Scooter has absolutely no issue with Sydney’s more provocative scenes in Euphoria or any of the work she does as an actress,’ an insider recently remarked about Sweeney’s relationship with Braun, per Page Six.
‘He fully understands that it’s part of her job and respects how dedicated she is to her craft,’ the source added.
The source assured that their relationship remains strong and Braun is supportive of her nearly nude and risqué scenes in the hit HBO series.
Sydney Sweeney’s boyfriend Scooter Braun is supportive of her sexually charged scenes in Euphoria; pictured in October 2025
The music producer, 44, is showing his full support for the 28-year-old actress and has ‘absolutely no issue’ with the ‘more provocative’ Euphoria scenes
‘Their relationship is very secure, and there’s a strong level of trust between them,’ the insider insisted.
‘Scooter isn’t the type to feel threatened by her work or try to control what roles she takes on.’
The source continued: ‘He’s incredibly supportive of her career and proud of everything she’s accomplished.’
The insider added that the couple are ‘both very happy together and things between them have been going really well.’
Since season three premiered in mid-April, there has been rampant discourse about the increasingly explicit and raunchy scenes mostly featuring Sweeney.
An insider close to the couple said he ‘fully understands that it’s part of her job and respects how dedicated she is to her craft’
This comes shortly after Sunday’s episode showed Sweeney’s character almost completely nude and wrestling with a yellow python
Earlier this month, Sweeney and Braun made their romance Instagram official when she shared a series of loved-up snapshots from a weekend at Stagecoach Music Festival in April
Sweeney has portrayed Cassie Howard since the first season of Euphoria premiered on HBO in 2019
The insider also said Braun is ‘incredibly supportive of her career and proud of everything she’s accomplished’
Beginning in September 2025, she was spotted on a number of dates with Braun out in Los Angeles.
Earlier this month, Sweeney and Braun made their romance Instagram official.
On May 1, the actress shared a series of loved-up snapshots from a weekend at Stagecoach Music Festival in April.
They were seen cozying up to each other in couple’s photos as well as group shots from the music festival.
I’m David Frankel. I’m the director of “The Devil Wears Prada 2.” In this scene, Andy Sachs, played by Annie Hathaway, is sitting in on her first Runway staff meeting chaired by Miranda Priestly, played, of course, by Meryl Streep. “…I was.” “So the intention was dull and listless.” “I wouldn’t say that was the goal.” This is the first of three conference room scenes in the new movie. All of these views of New York are actually created by visual effects. This scene was shot on a very large set on our stages in Queens. Two important things are happening in this scene. One, we’re seeing that Andy still desperately craves Miranda’s approval, and the second is that Miranda’s treatment of her staff has been changed over the years. She now has an assistant, Amari, played by Simone Ashley, who keeps her from violating various H.R. rules. “…you choose a hiking shoe and a bum bag.” “A bum bag! May my suicide be brief and painless.” [Clears throat] “No, no.” “What? What do you mean, no, no? I am not talking about killing other people. Yet.” Some of the other actors who speak in this scene are Bria Condon. And at the end of the table is George C. Wolfe, who appeared in the first movie. He’s an illustrious stage and screen director. Andy finally interrupts the meeting and Miranda criticizes her. “Right. But did anyone read the piece? I don’t know. Nigel, how are the metrics on that one?” “Mm mm.” “Mm mm?” “See, you are here to write and edit features that people read. And when that happens, yes, you may interrupt a meeting…” Here at the end of the scene, we were looking for some kind of button and Meryl ad libbed this moment. “Let’s talk about rodeo bow ties. This one’s cute.”
Francesco Caballero has been juggling a lot — quite literally.
When he’s not tending to his online studies at the California Virtual Academies, the 13-year-old can be found in the circus ring — hurling bowling pins, straw hats, hollow rings and rubber balls high up in the air, all in one harmonious cycle.
But the bright-eyed teen is also balancing something far greater: a legacy. The rookie showman is proving his mettle as part of the Caballero Circus, a five-generation family of performers, by enchanting audiences with his charismatic stage presence and sharp coordination.
“My family is a circus family. That’s what they did when they were kids and it just passed on to me,” said Francesco, hours before a Wednesday night performance in Santa Ana.
Though Francesco is only a month into his journey as a traveling cast member, he pranced about the ring Wednesday with the confidence of a seasoned ringmaster. For his act, the teen juggled up to five objects at a time; as a couple of stray balls fell to his side, he swiftly picked them up and tossed them into the air, as if it were part of the script all along.
And, once the thrill wore off, Francesco marched into center stage with a small motorbike — enclosing himself in a chamber known as the “Globe of Death”: a mesh sphere where riders ramp their bikes using the power of centripetal force to loop around the Globe. He also played the trumpet.
“In order to grow as a performer and to be better, you really have to be patient,” said Caballero. “It’s not something that’s easy, that you’ll be better in like a week.”
Francesco Caballero, 13, poses for a portrait at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana.
As boldly charismatic as Caballero appeared on stage, his path to performing in the family circus was hardly clear-cut.
At the age of 3, he was diagnosed with leukemia: a cancer that causes the body to produce too many abnormal white blood cells. This made it difficult for his body to fight infections, carry oxygen and stop bleeding. He was in treatment for four years, until he finally beat cancer by age 7.
This is why his mother, Liliana, a former flying trapeze artist, felt overprotective of him when he began showing interest in the performing world — which began with a small role in the Cirque du Soleil show “The Beatles Love,” in which he played one of the Fab Four in childhood.
At first, Liliana would watch closely to make sure Francesco didn’t get tired or bruised. Yet doctors eventually assured her that physical activity for a recovering pediatric leukemia patient would be beneficial to his quality of life.
“I was against it [at first], but he was so spoiled,” said Liliana. She joked that her son, the youngest of her three children, was “mimado” — a term in Spanish used to describe someone who receives excess attention. Back in the ring, as Francesco prepared his juggling act for another night of play, she stood farther back in the stands, being an ever-observant coach.
“When he told me that he wanted to be like my family, like his grandparents, it was a great satisfaction for me,” said Liliana. “After everything we’ve been through, and still my son dreams of being in the circus, it was a huge blessing for me.”
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The Cartoon Poodles perform at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana. (Kayla Bartkowski / Los Angeles Times)
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Chicharron performs at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana. (Kayla Bartkowski / Los Angeles Times)
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Francesco Caballero, 13, juggles pins during his performance at Caballero Circus on Wednesday, May 13, 2026, in Santa Ana. (Kayla Bartkowski / Los Angeles Times)
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Nicole Caballero, 15, second from left, Gianna Rios, 8, Francesco Caballero, 13, Judith Caballero, 15, and Chicharron perform at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana. (Kayla Bartkowski / Los Angeles Times)
The Caballero circus dynasty dates back to the turn of the 20th century in Guadalajara, with Adelaida Caballero was the first in the family to practice the joyous spectacle. Her daughter, Isabel, would be the first of the Caballeros to open her own circus, as a way to earn income during the Mexican Revolution. (They allegedly entertained Pancho Villa, a well-known circus-lover, in 1916.)
During this time, circus families blossomed all over Mexico, aided by the appearance of the steamship and railway systems, as the circus historian Julio Revolledo Cárdenas would detail in a 2018 article for the Fédération Mondiale du Cirque.
However, much of the Caballero family’s performance lore begins with Isabel’s son, 82-year-old Rubén: an apparatus connoisseur well-versed in the high wire, trapeze and hand balancing. Around 1981, Rubén would bring the entire Caballero family to the United States; all eight of his children performed for the esteemed Ringling Bros. and Barnum & Bailey circuses, with the flying trapeze as their specialty act.
Two members of the Caballero family, Rubén Sr. and Rubén Jr., are also recognized for being the first to execute the quadruple somersault under the big top tent in 1985. It requires extreme faith in the opposite catcher, as much as it does for the individual flipping multiple times over — they even recorded the groundbreaking stunt for posterity’s sake, along with other home videos.
In 1995, this risky act helped the family secure the esteemed Payaso de Oro: the top prize at the International Circus Festival of Monte-Carlo, an award comparable to soccer’s Ballon d’Or or music’s Grammy. Some of the Rubén’s direct descendants would win the award once again 30 years later.
By 2000, Rubén would open his own white-and-purple tent circus, Caballero Circus, where Liliana now oversees the concession stand. Her sisters Maria and Judith manage the circus and supervise show details, respectively.
“My father’s American dream was always to run his own circus,” said Liliana.
Rubén Sr., who continues to be the patriarch of the Caballero family, is teaching his youngest grandson everything he knows. “He wants me to be better,” said Francesco.
Nicole Caballero, 15, from left in the front row, Melody Caballero, 22, Francesco Caballero, 13, and Judith Caballero, 15, at the end of the show at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana.
Now carrying the family’s torch is the fifth generation of tumbling acrobats skilled in the art of balance and flexibility. Liliana’s 15-year-old daughter, Nicole, specializes in the Globe of Death, where she gets in the locked cage with her cousin Judith, also 15; together they maneuver the motorbikes around the globe at opposing-intersecting paths. This is a skill set she takes pride in, since many in the audience assume there are men underneath the protective gear.
“Once we come out, we take our helmets out and they see girls can do it too,” said Nicole before her Wednesday performance.
Melody, host of the bilingual show, competed as a contortionist on Season 8 of “America’s Got Talent,” which aired in 2013. “ We could have the worst day of our lives, but when we step on stage, we have to have the biggest smile in the world,” said Melody.
Two of Rubén’s older sons, who married Russian acrobats during international stints, broke off and founded their own troupe as Circus Caballero. They have their own touring show stationed in Bell through May 25.
Francesco Caballero, 13, gets ready in a mirror inside a trailer at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana.
Some of the Caballero family members also compete internationally as the Flying Caballero — something the youngest Caballero member, Francesco, hopes he can work his way up to.
“ I’ve been told that they’ve been to France, to Italy, Germany, everywhere,” he said. “My primos just went to one of the most prestigious festivals in Monaco and they won first place. I wanna be like my cousins and do what they’re doing.”
Francesco might still be learning the ropes of the circus world — but before he can compete on the glamorous world stage, he must first conquer his school’s virtual talent show. On June 8, he will participate in a nationwide competition by the virtual academy K12, which will showcase student talent from across the country.
Thankfully, he will have plenty of time to practice. The Caballero Circus will station itself in Lakewood between May 22 to June 7.
“Not a lot of kids do what I do,” said Francesco. “It teaches us to connect with the public, to connect with other people.”
We have a shakeup at Marvel Comics, as longtime head Dan Buckley is departing the division.
Buckley is a longtime Marvel veteran who previously served as publisher before becoming president of Marvel Entertainment. His most recent title made him head of Marvel Comics and franchises.
Photo: Marvel
“From events like Civil War, Secret Wars, X-Men: Age of Krakoa, and the soon-to-be-released Marvel Midnight imprint, to the expansion into video games, television, animation and more, Marvel’s influence on popular culture expanded under Dan’s leadership, bringing our characters and stories to new fans around the world,” said Marvel Studios head Kevin Feige.
Photo: Marvel Cinematic Universe WIki
“Dan has left a lasting mark on Marvel’s legacy and on the comics industry, and I’m deeply grateful to him and pleased we will have his full support through this transition.”
Brad Winderbaum Is Taking Over Publishing
Replacing Buckley atop Marvel Comics will be Brad Winderbaum, who already serves as head of Marvel Television and Marvel Animation.
Photo: The Hollywood Reporter
In his new position as Marvel’s head of television, animation, comics, and franchises, Winderbaum will oversee the creative direction of Marvel Comics and lead global brand and franchise efforts.
Marvel Comics editor-in-chief C.B. Cebulski will report to Winderbaum.
Photo: The Wrap
“Brad’s exceptional creative leadership and David’s deep experience in operations and digital innovation will be a powerful pairing as we begin building out the next 90 years of Marvel’s comic book legacy,” said Feige.
Source: Complex.com
“Brad brings a proven ability to lead creative teams and craft ongoing, episodic narratives that resonate with our fans around the world, while David offers a strong track record of operational excellence and strategic growth. I’m excited for what they’ll be able to do together.”
David Abdo Is Also Joining Marvel Comics
Also joining Marvel Comics is David Abdo, who will move over from Disney Music Group.
Photo: X
In that capacity, he was tasked with the day-to-day management of the global music division.
Why the Change?
Today’s Marvel Comics shakeup comes three years after Kevin Feige added Marvel’s publishing division to his purview.
Source: Kevin Feige | Photo: Also Axelle/Bauer-Griffin/FilmMagic
In the last year, Marvel has ceded market share to DC, which also dominated the recent Eisner Awards. Clearly, Feige felt that a change was in order.
The DCU’s upcoming Lanterns series is building some renewed excitement following a brand-new teaser trailer. Overall, the series still looks fairly grounded with major True Detective inspirations. However, the newly released footage features additional cosmic elements, Nathan Fillion’s Guy Gardner, Kyle Chandler’s Hal Jordan suited up, and more green in general compared to the first teaser.
However, one of the most intriguing inclusions is our first look at Laura Linney’s new DCU character in Lanterns. Shown speaking with Aaron Pierre’s John Stewart, it’s currently unknown who she’s set to play. Currently, Linney is one of the only actors listed on IMDb whose character is unconfirmed. As such, DC Studios is likely keeping her character’s identity a secret for a big reveal in the series itself.
That being said, there are a few clues teasing who Laura Linney might be playing in James Gunn’s new DC Universe. Between her brief dialogue and implications regarding her authority and knowledge of the Green Lantern Corps, Linney might secretly be playing one of the more important figures in the entire Green Lantern mythos from the original comics.
Laura Linney’s DCU Role In Lanterns Is Still A Major Mystery
The mystery surrounding Laura Linney’s character is particularly interesting because most of the show’s other major cast members have already been identified. Kyle Chandler is playing Hal Jordan, Pierre is playing John Stewart, and Nathan Fillion is officially appearing as Guy Gardner following his debut in 2025’s Superman. Likewise, Kelly MacDonald is playing Sheriff Kerry, while Garret Dillahunt is set to play William Macon (whom many believe will be revealed as the major Green Lantern villain Black Hand). It’s even known that Ulrich Thomsen is set to play Sinestro, Hal Jordan’s classic mentor-turned-rival.
Meanwhile, Laura Linney is still a complete wildcard, though one can imagine her role will be pretty sizable in the upcoming DCU series. Case in point, the second Lanterns teaser sees Linney’s character sitting down with John Stewart, who stresses to her that he was “raised fearless,” promising to wield the ring better than Hal Jordan has ever done before. In response, Linney’s character calmly orders him to “go and get it, John Stewart.“
From this single scene alone, it can be deduced that Laura Linney’s character knows about the Green Lantern Corps and John’s role as he attempts to inherit the ring from Jordan. Likewise, her formal use of John’s full name also seems to imply that she might be in a position of authority over Stewart. With that in mind, I do have a pretty exciting idea that Laura Linney might be playing one of the Guardians of Oa in the DCU.
Laura Linney Could Be Playing One Of The Guardians of Oa (Hear Me Out)
The Guardians of OA, creators of DC’s Green Lanterns, say “we have failed”
As wild as it might initially sound, I genuinely think Laura Linney could be playing one of the Guardians of the Universe, the ancient beings living on the planet Oa who created and typically oversee the Green Lantern Corps and their mission to protect the universe. In the comics, the Guardians are usually depicted as small, elderly, blue-skinned beings.
Nevertheless, I could easily see a series as grounded as Lanterns initially featuring one of the Guardians via a “human form” to meet with John on Earth. This would be not unlike Kurt Russell’s human form as Ego in James Gunn’s Guardians of the Galaxy Vol. 2, or Captain Marvel’s Supreme Intelligence taking the humanoid form of the MCU’s Mar-Vell (played by Annette Bening).
Sector 2814 · Ring Active How Well Do You Know Lanterns? “In brightest day, in blackest night…”
💍The RingPowered by will
🔦The Corps3,600 sectors
🌌OaThe Guardians
👮Earth BeatSector 2814
⚠Yellow PerilThe fear entity
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Lanterns is one of the tentpole TV series launching James Gunn and Peter Safran’s rebooted DC Universe. On which streaming platform does it air?
✓ Correct! HBO Max — Warner Bros. Discovery’s flagship streamer and the natural home for DCU prestige TV alongside Peacemaker and The Penguin. Lanterns is positioned as the DCU’s high-end serialised drama counterpart to Gunn’s theatrical Superman relaunch, sharing canon with the films. Disney+ runs Marvel; Netflix and Apple are rival streamers.
✗ Ring malfunction! The answer is HBO Max. Netflix has had various superhero shows but not DCU. Disney+ is Marvel’s home. Apple TV+ doesn’t house DC. HBO Max is Warner Bros. Discovery’s streamer and the TV home of the Gunn/Safran DCU — Lanterns joins Peacemaker and upcoming DCU series there.
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Unlike most Green Lantern adaptations, Lanterns pairs two Earth-based ring-bearers in a buddy-cop framework — a weathered veteran and a newer recruit partnered together on Sector 2814 duty. Which two Lanterns lead the show?
✓ Correct! Hal Jordan and John Stewart — two of the most beloved Earth-assigned Lanterns — are paired as the show’s central duo. Hal is the hot-shot test-pilot veteran, John the disciplined ex-Marine architect with a sharper sense of justice. The pairing draws heavily from the Geoff Johns comics era and lets the show explore two very different philosophies of what a Green Lantern should be.
✗ Ring malfunction! The answer is Hal Jordan and John Stewart. Guy Gardner (played by Nathan Fillion) is a separate DCU character who appears in the 2025 Superman film. Kyle Rayner is a beloved Lantern but not part of this show. The Lanterns duo is the Hal/John pairing — a pointedly contrasting veteran and recruit on Sector 2814 duty together.
03
The role of Hal Jordan — the weathered, test-pilot-turned-space-cop original Earth Lantern — went to a veteran actor best known as Coach Eric Taylor on Friday Night Lights and for leading Bloodline. Who plays Hal?
✓ Correct! Kyle Chandler — Emmy winner for Friday Night Lights, star of Bloodline, and part of the Monsterverse (Godzilla: King of the Monsters) — plays an older, weathered Hal Jordan. James Gunn wanted a seasoned, grounded presence rather than a rookie. Ryan Reynolds played Hal in 2011’s widely-mocked Green Lantern film (a different continuity); Nathan Fillion plays Guy Gardner in the 2025 Superman film.
✗ Ring malfunction! The answer is Kyle Chandler. Ryan Reynolds’ Hal was the 2011 film (a separate, mostly-disowned continuity). Nathan Fillion plays Guy Gardner in the 2025 Superman film — not Hal. Chris Pine isn’t in the DCU. Chandler’s weathered, Friday-Night-Lights gravitas is exactly the mature Hal energy Gunn wanted for the show.
04
John Stewart — ex-Marine sniper, architect, and one of DC’s most iconic Black heroes — is played by a British actor who broke out in Barry Jenkins’ The Underground Railroad and Jeremy Saulnier’s Rebel Ridge. Who is he?
✓ Correct! Aaron Pierre — the British actor who earned raves as Caesar in The Underground Railroad (2021) and carried Netflix’s Rebel Ridge (2024) with a performance frequently compared to early Denzel Washington. Gunn called his casting “a no-brainer.” Winston Duke, Sterling K. Brown and John Boyega are all great actors but not in the role.
✗ Ring malfunction! The answer is Aaron Pierre. Winston Duke is M’Baku in the Marvel universe. Sterling K. Brown (This Is Us, American Fiction) is Marvel-adjacent too. John Boyega famously played Finn in Star Wars. Pierre’s Rebel Ridge performance — playing a disciplined ex-Marine — is essentially his audition for John Stewart, and Gunn’s team cast him off it.
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James Gunn has repeatedly pitched Lanterns as a grounded, small-town murder-mystery thriller — where the space-cop rings are secondary to a detective case on Earth. Which acclaimed HBO series is his go-to tonal comparison?
✓ Correct! Gunn has explicitly called Lanterns his “True Detective in the DCU” — a slow-burn, atmospheric, character-driven case with superhero elements layered over a grounded murder mystery. Showrunner Chris Mundy actually did True Detective: Night Country duties, bringing that DNA directly. Watchmen (Damon Lindelof) was also cited, and Lindelof has consulting writer credits, but True Detective is the primary comp.
✗ Ring malfunction! The answer is True Detective. Gunn has named it as the explicit tonal blueprint — a slow-burn, character-driven murder mystery with superhero elements layered over it. Chris Mundy, the show’s runner, worked on True Detective: Night Country, bringing the DNA directly. Watchmen was a secondary comp (Damon Lindelof consults), but True Detective is the primary pitch.
06
When James Gunn and Peter Safran took over as DC Studios co-CEOs in 2022, they announced a rebooted slate of interconnected films and TV shows — with Lanterns among the launch titles. What is this first DCU phase officially called?
✓ Correct! Chapter 1: Gods and Monsters — announced in January 2023 as the Gunn/Safran DCU’s opening slate. It includes Superman (2025), The Authority, Supergirl, The Brave and the Bold, Paradise Lost, Waller, Creature Commandos, and of course Lanterns. Crisis on Infinite Earths is a comics event; Flashpoint and Dark Knights are other DC storylines, not the chapter branding.
✗ Ring malfunction! The answer is Chapter 1: Gods and Monsters. Crisis on Infinite Earths is a famous DC comics crossover event (and Arrowverse crossover) but not a DCU chapter label. Flashpoint was referenced in The Flash (2023) from the now-defunct DCEU. The Gunn/Safran era officially named its launch phase Gods and Monsters — Superman 2025, Lanterns, and related titles.
07
Green Lanterns serve the Guardians of the Universe, an ancient race who created the Corps’ 3,600-sector peacekeeping force and charge the Lantern rings from a central Power Battery on their home planet. What is the Guardians’ homeworld called?
✓ Correct! Oa — the small blue-skinned Guardians’ home at the centre of the universe. It houses the Central Power Battery from which all Green Lantern rings draw their energy, and serves as the Corps’ academy and operational base. Krypton is Superman’s destroyed homeworld; Themyscira is Wonder Woman’s hidden Amazon island; Apokolips is Darkseid’s hellscape.
✗ Ring malfunction! The answer is Oa. Krypton is Superman’s homeworld. Themyscira is Paradise Island where Wonder Woman was raised. Apokolips is Darkseid’s grim world in the Fourth World mythos. Oa is specifically the Guardians of the Universe’s planet — home to the Central Power Battery that fuels every Green Lantern ring in all 3,600 sectors.
08
Every Green Lantern recites the same oath when charging their ring — a four-line rhyming incantation that’s become one of the most famous pieces of verse in comic-book history. How does it famously begin?
✓ Correct! “In brightest day, in blackest night / No evil shall escape my sight / Let those who worship evil’s might / Beware my power — Green Lantern’s light!” The oath dates back to 1940’s All-American Comics #16, was refined through the Silver Age, and is considered one of DC’s most sacred bits of verse. Every canonical adaptation includes some version of it.
✗ Ring malfunction! The answer is “In brightest day, in blackest night…” The full oath: “No evil shall escape my sight / Let those who worship evil’s might / Beware my power — Green Lantern’s light!” It’s been canon since 1940 and remains one of comics’ most instantly recognisable pieces of verse — recited in every major Green Lantern adaptation.
Ring Depowered · Report to Oa Your Corps Rank
💍
/ 8
Honor Guard veteran — or still in Corps training?
Going further, the fact that Linney’s character is shown encouraging and motivating John Stewart to claim the ring could mean that she could be specifically portraying a re-imagined version of the Guardian known as Ganthet from the comics, a more unique member of the Guardians who showed more care and emotion toward the officers of the Green Lantern Corps (particularly its human members).
If this theory proves true, it would be a pretty cool role for Linney, who would no doubt serve as a key bridge as Lanterns no doubt evolves from being a more grounded series into something much more cosmic in nature.
Lanterns is set to begin streaming August 16th on HBO Max from DC Studios.
Square-Enix’s line of HD-2D role-playing games have been hailed for how they balance nostalgic appeal with modern-day visuals, and next month, The Adventures of Elliot: The Millennium Tales joins that growing library. A new demo for the game is also available right now, giving you an early slice of the next title from the creators behind Octopath Traveler and Bravely Default.
An action-RPG with real-time combat, The Adventures of Elliot: The Millennium Tales follows the adventurer Elliot and his fairy sidekick Faie on their journey to complete a thousand-year mission. As part of their mission to lift the curse placed on Princess Heuria of Huther, Elliot and Faie will explore different periods in history, from humanity’s strife-filled Age of Reconstruction to the height of prosperity in the Age of Magic. Every era has a looming threat that Elliot and Fae must deal with, and like previous Square-Enix games, the entire experience looks like an homage to Super NES-era JRPGs.
“The Adventures of Elliot: The Millennium Tales has some elements to overcome–a chatty companion character and, let’s be honest, a clunky title,” Steve Watts wrote in his preview. “But it also showed that HD-2D can be applied to other genres that we remember fondly from decades ago. And more than just empty nostalgia or homage, it looks to build on those elements.”
In Netflix’s first major deal out of the 2026 Cannes Film Festival, the streamer has picked up global rights outside of France to breakout Critics Week opener “In Waves,” an adaptation of AJ Dungo’s 2019 graphic memoir.
The animated romance directed by Phuong Mai Nguyen boasts a voice cast led by Oscar-nominated Stephanie Hsu and BAFTA winner Will Sharpe.
The movie, which opened Critics’ Week to rave reviews, has quickly emerged as one of the breakout titles of Cannes’ parallel sections. In its review, Variety described the film as “an elegantly animated adaptation,’” praising the emotional depth of Nguyen’s coming-of-age love story.
Netflix won the buzzy project in a highly competitive bidding war, after multiple worldwide offers. The deal, which is rumored to be in the mid-seven figure range, was negotiated by Anonymous Content, CAA Media Finance and Charades on behalf of the filmmakers.
Produced by Silex Films, distributed in France by Diaphana and sold internationally by Charades, “In Waves” is directed by Phuong Mai Nguyen and written by Fanny Burdino and Samuel Doux, based on the acclaimed graphic novel by Dungo.
Set in Los Angeles, the film follows AJ, a shy teenager who loves skateboarding and drawing, and Kristen, a passionate surfer. The pair fall deeply in love and envision a future together until Kristen is struck by a sudden illness. Together, they navigate adversity through the strength of their relationship, the support of their friends and a shared connection to surfing and the ocean.
The film is produced by Priscilla Bertin and Judith Nora. Executive producers include David Levine, Yohann Comte, Carole Baraton, Pierre Mazars, Sharpe, Hsu, Nick Shumaker and David Levine on behalf of Anonymous Content.
“From the very start, we were energized by Mai’s unmistakable talent and the ability of AJ’s story to deeply move audiences,” said David Levine and Nick Shumaker of Anonymous Content. “This exciting partnership with Netflix will ensure that our romantic, coming-of-age story reaches people all over the world.”
Priscilla Bertin of Silex Films said: “I am very happy about this partnership with Netflix and their enthusiasm for ‘In Waves,’ which gives us the opportunity to reach the broadest possible audience and share this deeply moving true love story with the world.”
We’ve all been there. You go to shave for smooth skin, but instead you’re stuck wondering how to get rid of razor bumps. Here’s the thing: proper care and quality razors can really make a difference in preventing these painful bumps.
“What people refer to as razor bumps is most often a condition called pseudofolliculitis barbae, which typically looks like small red bumps or white-headed pimples,” says Deanne Robinson, MD, a board-certified dermatologist in Westport, Connecticut. Razor bumps can range from ingrown hairs to folliculitis, which occurs when the hair follicle becomes inflamed. And it’s important to care for it before a superficial infection develops.
So how to address razor bumps in the first place? Ahead, we’re sharing what you can take to treat current bumps and how to prevent them from happening in the first place.
What causes razor bumps?
According to Hope Mitchell, MD, a board-certified dermatologist at Mitchell Dermatology, razor bumps happen when hair grows back into the skin instead of outward, leading to inflammation. “I see this most often in people with coarse or curly hair, and it’s usually triggered by very close shaving or shaving against the direction of hair growth,” she says. There are also factors within your skin care routine that can cause razor bumps, from using a dull blade to not exfoliating correctly beforehand.
How to get rid of razor bumps
Step 1: Choose the right razor
Choosing the right razor is the first step in mitigating bumps and itchy razor burn. “Shaving with a dull blade pulls and twists the hair follicle, triggering irritation and inflammation,” says Dr. Robinson. Plus, “a dull blade means that the razor has likely been sitting in your shower for a while, which is a bacteria’s ideal environment to thrive in: wet and warm. If your razor is harboring bacteria or fungus, you will most certainly see folliculitis.” What this means: change out your razor often, and use a sharp, clean blade every time you shave. Rachel Nazarian, M.D, a dermatologist at Schweiger Dermatology Group in New York City, recommends replacing your blades after a few uses. “Toss them out by the fourth shave, or even earlier if you see buildup of dirt or dead skin on the blades,” she says.
Pro tip: Shave toward the grain of where your hair grows.
EXCLUSIVE:WME has signed actor, comedian, producer, and writer Josh Gad for representation in all areas.
Perhaps most widely known as the voice of Olaf in Disney’s blockbuster Frozen franchise, Gad has appeared in more than two dozen film and television projects, both live-action and animated, over the last two decades and change.
On stage, Gad originated the role of Elder Cunningham in the Tony-winning musical The Book of Mormon, earning nominations from the Tony Awards, Drama League, and Astaire Awards, and winning the Outer Critics Circle Award.
Most recently, Gad lent his voice to Disney’s Zootopia 2, which grossed over $1 billion worldwide and was nominated for the Best Animated Feature Oscar. Coming up, he’ll be seen in Amazon MGM’s anticipated sequel Spaceballs: The New One, which he co-wrote and produced alongside Mel Brooks, and is slated for release on April 23, 2027.
Gad is also known for co-creating Apple TV’s animated musical comedy Central Park, alongside Loren Bouchard and Nora Smith, and stars in the series opposite Leslie Odom Jr. and Daveed Diggs.
Additional film and television credits include HBO’s Avenue 5, Sony’s The Angry Birds Movie franchise, Peacock’s A Wolf Like Me, Disney’s Beauty and the Beast, Fox’s New Girl and Sony’s The Wedding Ringer.
Gad continues to be repped by Range Media Partners and Johnson Shapiro Slewett & Kole.
Los Angeles mayoral candidate and businessman Adam Miller unveiled his plan to bring film and television production back to the city, which includes a Deputy Mayor of Entertainment, a singular film office and plans to eliminate permitting requirements.
The founder and CEO of Cornerstone OnDemand, a global leader in workforce development, told TheWrap that his experience in business makes him uniquely suited to lead L.A. through its production crisis and revive the city’s economy.
“It was because of a lack of leadership and a lack of this operational excellence that caused us to be in this circumstance, and the only way we’re going to turn it around is when somebody that knows how to manage people and processes and budgets and get things done,” he said. “I’m the only candidate that has that experience. Period.”
The entertainment industry criticized Mayor Karen Bass for not appointing a film liaison until three years into her four-year term. She appointed president of the L.A. board of public works, Steve Kang, last fall.
Miller said he would appoint a Deputy Mayor for Entertainment & the Creative Economy and create a new “Made in LA” entertainment office on his first day in office if elected.
The proposed film office would streamline approvals and coordinate directly with FilmLA, LADOT, Recreation & Parks, LAPD, DWP, Public Works and other city departments involved in the production process.
His three-pronged plan to bring production back is to make it faster, cheaper, and easier to shoot. He believes if the city can do that business can return to Los Angeles.
The businessman also stated that his plan to revive production in L.A. would be to bring back indie film and commercial production. He stated that in aggregate the small to mid-range productions generate more revenue, local business and job stability than a handful of mainstream productions.
“The small and medium productions are the bread and butter of the city and the entertainment business, and it’s what keeps people employed all throughout the year,” he said. “But we have focused almost exclusively on the big productions, and we’ve let all these problems persist for all the smaller up and coming producers.”
As for the city’s permitting system that has been knocked for its red tape and difficult bureaucratic hurdles, Miller told TheWrap he would overhaul the system and start from scratch. He specifically said he would eliminate fees on city owned property and provide concierge service that the big studios are getting for smaller production companies.
Miller also supports an uncapped tax credit program and sees it as an investment in production, generating more money in return for the city and preventing an exodus of top talent both above and below-the-line.
“At the end of the day, entertainment, while a creative endeavor, is also a business,” he said. “You need somebody that understands business to understand what incentives matter and what things work. We have to be competitive at all levels, and only a business person understands that fundamentally.”
The co-founder and CEO of nonprofit Better Angels also has plans for the live event side of the entertainment industry. He told TheWrap that he met with the organizers of LA28 recently, and that the city is far behind from a planning perspective to support the international sporting spectacle.
“We don’t just have the Olympics, we have the World Cup and the Super Bowl also. We are not ready for it, and we have to get our act together,” he said. “There’s a thousand things that need to be planned out and operationalized.”
“We have these global events that everybody’s going to be watching and have a huge impact on the future of the city, on tourism, on people caring about L.A., and so we have one chance to get it right,” he added. “Right now we’re not on our way to do that.”
The primary election for the Los Angeles mayoral election will take place Tuesday June 2. Miller will run against incumbent Mayor Bass, Councilwoman Nithya Raman, former reality TV star Spencer Pratt and Rev. Rae Huang, among others.
The third and final lineup for this year’s All Things Go festival has landed at New York’s Forest Hills Stadium on Sept. 25-27, with Brandi Carlile, Zara Larsson, MUNA, Lola Young and Carly Rae Jepsen near the top. Click here for tickets.
The festival’s expansive, all-female lineup also features Sienna Spiro, the Beaches, Rebecca Black, Cara Delevingne, CMAT, Jensen McRae, Hemlocke Springs and a new twist this with comedian/musician Meg Stalter adding humor to the music-focused experience.
“All Things Go, we have unfinished business,” says Young, who collapsed onstage at the Sept. 2025 New York edition and stepped away from the road for several months afterwards. “I feel blessed and ready to take it to the next level. Thank you for having me back.”
Adds MUNA, “extremely stoked to be headlining one of our favorite festivals to play in a city that means so much to this band. We can’t wait to see you, NYC! Let’s go, lesbians!”
The Washington, D.C.-area version of All Things Go will be held the same weekend as the New York fest, with many of the same artists playing both. As previously reported, the Toronto stop will kick things off on June 6-7 at RBC Amphitheatre with headliners Lorde, Kesha, the Beaches and Wet Leg.
Stephen Colbert’s time with “The Late Show” won’t end when the final episode tapes at the Ed Sullivan Theater in New York City on Thursday. Sources tell me that he’s hosting an after-party following the taping at a nearby event space.
The invitation is topped with the show’s red, white and blue logo tweaked to say “The LAST SHOW with Stephen Colbert” followed by “that’s a WRAP! (PARTY).” The dress code reads, “Fired & Festive!”
Colbert’s final show will tape on May 21 and air later the same night on CBS. The network announced in July that it was ending “The Late Show With Stephen Colbert” after 11 seasons, insisting it was a purely financial decision.
Following the cancellation announcement, Colbert took CBS to task for his firing as well as President Donald Trump, who celebrated his pink slip on Truth Social. “Go fuck yourself,” Colbert said to the President on camera during his opening monologue on July 21. “Folks, I’m gonna go ahead and say it: Cancel culture has gone too far,” Colbert said. “Over the weekend, it sunk in that they’re killing off our show. But they made one mistake: They left me alive. And now, for the next 10 months, the gloves are off. I can finally speak unvarnished truth to power and say what I really think about Donald Trump, starting right now.”
Guests for Colbert’s final show have not been announced. I’m told that many celebrities, besides the ones invited to the series finale, have been invited to the after-party.
Jimmy Kimmel and Jimmy Fallon have announced that their programs will go dark on Thursday to honor Colbert, meaning ABC and NBC will air reruns of their shows instead of new episodes.
Up next for Colbert is co-writing a “Lord of the Rings” movie. Peter Jackson recently told Variety that Colbert pitched the script before “The Late Show” was cancelled.
Euphoria star Jacob Elordi is one of Hollywood’s most famous hunks! And in keeping with that status, he’s dated some of the entertainment industry’s most stunning actresses. The Australia-born actor began his career as an extra on the set of 2017’s Pirates of the Caribbean: Dead Men Tell No Tales and quickly rose the ranks to star in Netflix hit The Kissing Booth in 2018. He solidified his status as a leading romantic interest in The Kissing Booth 2 in 2019 and the third installment in 2021. Finally, he appeared alongside Ben Affleck and Ana de Armas in Hulu’s erotic thriller Deep Water in 2022.
Now, the actor is ubiquitous due to his role as toxic jock Nate Jacobs in HBO’s surreal drama Euphoria. Here’s his glamorous dating history, from Joey King to his most recent flame, Olivia Jade.
Joey King and Jacob Elordi at a screening in Los Angeles on Aug 8, 2018. (Blair Raughley/Invision/AP/Shutterstock)
The daughter of model Jaime King had great chemistry with Jacob when they started filming The Kissing Booth in early 2017. But Joey King later told Bello in 2018 that it wasn’t necessarily love at first sight. “Well, I thought he was very cute when we first met, but it started as a friendship,” she said. “Right away, we were talking about gross things with each other. But before long, I started to realize, ‘Hey, I think I kind of like this person!’ It was such an interesting experience meeting your boyfriend on-set because you spend so much time together and become so close so fast. We were spending 17 hours a day together, and all of us would hang out after work and watch movies together and stuff. It was great.”
The relationship had run its course by late 2018, which possibly made filming for The Kissing Booth sequels 2 and 3 awkward, at best. Still, the duo are consummate professionals, and the follow-up films contained all the charm and chemistry of the original.
Cari Flowers in Los Angeles on March 27, 2022, for an Academy Awards viewing party. (David Buchan/Shutterstock)
Model Cari Flowers and Jacob reportedly only dated casually during the summer of 2019. Elite Daily reported that eagle-eyed fans lost it when Cari posted a beautiful portrait of herself on May 28, 2019 — and tagged Jacob! “Lines still on my face from the nap i apparently took,” she wrote in the caption. People assumed the handsome actor took the pic, especially when he later showed up in a post cozying up and kissing her, and in another series of pics, he was seen shirtless.
But Cari reportedly later yanked all the pics off her account and untagged Jacob. Neither Cari nor Jacob have commented on the possible relationship.
Zendaya and Jacob Elordi on Mar 8, 2020. (Snorlax / MEGA)
Fashion icon Zendaya and Jacob met on the set of Euphoria, which commenced filming in 2018. But it wasn’t until August 2019 that they were seen together in Greece, and later in October seeing a movie in Sherman Oaks, California, per StyleCaster. Jacob told GQ in December 2019 that she was like a “sister,” despite taking her to Australia a month earlier to spend time with his family during Thanksgiving.
They continued to be seen looking cozy in public until their last known appearance together in March 2020, when photogs snapped them browsing at a flea market in Los Angeles.
Kaia Gerber and Jacob Elordi in Los Feliz, California, on April 7, 2021. (MEGA)
The daughter of ’90s supermodel Cindy Crawford was first linked to the actor in September 2020. Kaia Gerber and Jacob were photographed on a date night to hotspot Nobu in New York. A source told E! News at the time that it wasn’t anything series, although, “Jacob makes Kaia laugh, and her family adores him.”
By Valentine’s Day of 2021, Jacob and his model girlfriend were definitely an item, as Kaia took to Instagram stories to share a photo of flowers he sent her for the romantic holiday. “Lust is touching other people or wanting them, but love is really seeing someone,” she told Vogue of the relationship in May 2021.
E! News reported that the couple was on the outs by November of 2021. “They split and it is amicable,” a source told the outlet, while another source told Life & Stylethat their schedules caused the breakup. “Their schedules conflicted, they weren’t spending much time together,” the source told the magazine.
Olivia Jade Giannulli appears at an event on March 23, 2022, in Hollywood. (Image Press Agency/NurPhoto/Shutterstock)
Jacob’s most recent leading lady Olivia Jade Giannulli daughter of Lori Loughlin, were first seen together in Los Angeles getting coffee in December 2021. At the time, a source for Us Weekly said they were taking it slow. They were officially an item by May of 2022.
However, the pair called it quits by January 2024, according to the publication’s January 17 report. It’s unclear why Olivia and Jacob reportedly broke up, but this wasn’t the first time that they had split during their on and off relationship.
Still, other reports claimed on January 18 that the relationship is still very much alive. “They are not broken up,” a source reportedly told E! News in a terse comment.
Kendall Jenner
(Photo by Karwai Tang/WireImage)
In April 2026, rumors about a budding romance between Jacob and The Kardashians star Kendall Jenner circulated. It all started when gossip account DeuxMoi reported that the duo was spotted kissing at a Coachella after-party.
Later that month, People reported that Kendall and Jacob had “been hanging out and getting to know each other the last couple months.”
In May 2026, Kendall and Jacob were spotted together at a hotel in Hawaii.
If you’re dying for a new cozy murder mystery series, Brooke Shields has you covered with “You’re Killing Me,” premiering Monday on Acorn TV.
“I love a good mystery. I love not really knowing who did it. I don’t like a lot of blood — I’ve got other shows that I watch for blood and violence; I have that guilty pleasure,” the star and executive producer told TheWrap. “But with regards to just kind of bringing my blood pressure down, I love ‘Only Murders in the Building,’ ‘Murder, She Wrote,’ ‘Matlock.’ I love that genre of entertainment.”
The six-episode series from creator Robin Bernheim also stars Amalia Williamson and Tom Cavanagh. “Set in a quaint New England town, the mystery follows bestselling novelist, Allie (Shields), who forms an unlikely alliance with an aspiring writer and podcaster Andi (Williamson), to find the killer of a close friend,” per the logline.
“Robin gets me. I started working with Robin on ‘Quantum Leap’ years ago; she’s always understood my humor, she’s understood my physical comedy. She’s also a very smart writer and you just don’t find that a lot. After ‘Mother of the Bride,’ I was like, let’s find something that we can do together. You get so tired of sitting with your hand up, going, ‘Pick me, pick me,’ in this industry. So I said, let’s create something and see if we can make it happen,” Shields said. “This genre of mystery is very appealing to people, especially because it’s escapism. We came up with these two characters in a generational divide. Wouldn’t that be interesting? And I have young girls as daughters, so there’s a lot of humor to be mined there.”
“I’ve had an EP credit before, but I’ve never really been exercised so much. This is the first time a streaming service/network, whatever we call it now, has really been interested in my opinion. I just feel respected. Director, actor, DP, location — all of those things I now have a say in,” she continued. “Again, I’m not just trying to be in a position of power, I’m trying to make the most unique show that we can, so being an EP on this one has been 24/7.”
Brooke Shields and Amalia Williamson in “You’re Killing Me” (Mike Tompkins/Acorn TV)
Of course, this is far from the Actors’ Equity Association president’s first starring role since gaining international recognition at such a young age.
“If I could go back to the ‘Suddenly Susan’ days, I would go back yesterday. ‘Lipstick Jungle,’ that was one of my favorite jobs ever. What’s really changed is production and the dissemination of information about the shows. You used to do a gallery shoot, now you are doing TikToks and gallery shoots and behind-the-scenes and selfie videos — all this stuff that is just mind-boggling to me,” she explained. “Junkets are different. You used to spend all day in a hotel and now we’re on Zoom. The good news is, we’re still able to produce quality storytelling … That hasn’t changed. The desire and the need for good storytelling I don’t think will ever go away.”
Outside of scripted television, Shields recently popped up in the trailer for Season 2 of “Next Gen NYC” on Bravo, as her daughter Rowan Henchy joins the cast.
“The whole world made me want to cry, because it’s so foreign. I probably, in my own way, lived in my own reality show since the time I was 11,” she recalled. “I had to navigate all that while carving out my real life, so I come at it from a different perspective. What I have known about reality TV has not been positive, so when my daughter approached me, my first reaction was Hell no.”
“I basically said, understand Bravo, Peacock, understand the production, who you are working for and if you want to be in entertainment as an entertainment news person, which is her dream … If you can harness that and you can turn this into an opportunity, well, then I would be happy. I can’t tell you not to do it or to do it,” Shields added. “Excuse my expression, but don’t be the f–k up. Don’t be the person throwing up, be the person holding the girl’s hair back. Be a voice that you will be proud of if you had children.”
“They asked me to do an episode. One episode. Of course, it’s in the trailer, obviously. And I was like, ‘They’re gonna use me in the trailer,’ and she was like, ‘No, Mom, they won’t.’ I was like, just watch. And they did,” she concluded. “But they were lovely to work with. Those of the cast who I met, they were really sweet. I was relieved.”
Nicolas Winding Refn has historically turned down offers for notable Hollywood films, but if he got the shot to do a DC movie, “I would love to do Batgirl” he tells Deadline. DC Studio chiefs, James Gunn and Peter Safran, take note.
“Because Wonder Woman is done, that one I thought was super heavy,” says Refn.
But Batgirl may be hard: soon after the current Warner Bros motion picture administration arrived, they shelved an unfinished cut of the movie in August 2022 from filmmakers Adil El Arbi and Bilall Fallah which was destined for streaming service HBO Max; this was much to the upset of the filmmakers. The movie, had it been released, would have reportedly spoiled a storyline that was being played out Andy Muschietti’s 2023 movie The Flash. The David Zaslav run Warner Bros Discovery took a tax writedown on the $70M+ production.
Why Batgirl? Refn says “The costumes, I love the aesthetics. A lot of Her Private Hell is my obsession with dolls, objects and how to move people around in space and time. I loved the objectification of objects, and superheroes and comic-books and that whole sub-culture. It’s where I come from. I collect Japanese toys, I play with Legos…”
However, Refn, prefers to be original. “I don’t know if I’ll make an actual IP,” not to mention, like Elia Kazan, a director he always looked up to; the Copenhagen, Denmark native has always preferred to make movies his way.
But if Refn had a crack at Spider-Man, what would it be like?
Quips Her Private Hell star Rose Havana Liu, “the slowest swing.”
Refn’s Her Private Hell makes its world premiere out of competition at the Grand Theatre Lumiere tonight in Cannes. The Neon theatrical release comes out July 24.
The Deadline Studio at Cannes is sponsored by SCAD.
It’s hard to imagine someone like Rihanna doing something as pedestrian as exercise. Hasn’t she basically transcended the mortal coil? Surely she doesn’t need food and cardio like us mere humans. And yet, on May 17, the “Umbrella” singer stepped out in New York City in a perfect gym outfit. What a world!
Now, she’s still Rihanna, so she wasn’t in ratty sweats or a basic matching set. No, in the typical Rihanna way she was completely and perfectly understated yet extra. A Miu Miu hat. A hoodie I’m sure is from a streetwear brand so cool it doesn’t have a name. Gold jewelry likely so expensive it would make me gasp. Designer sunglasses and a luxe quilted shoulder bag. Bike shorts (it is Princess Diana weather). Crisp white sneakers. Just a hint of makeup.
But the detail I can’t get over? The burgundy brim of her hat matches the burgundy of her lip which matches the burgundy of her bag…which matches the burgundy of her Gatorade. Only Rihanna is thinking on this level. She is living in 3026.
Jason Howard/Bauer-Griffin
But you dont really need a Rihanna-size budget to recreate this look for yourself. I’m sure you’ve already got bike shorts and a gray hoodie or half-zip. Add ballet sneakers, then coordinate your hat, bag, and lipstick to your water bottle or Gatorade for the same effect. Casual, yes, but clearly with some thought put into it.
R: What was it like to meet the Disney princesses? (What was Tiana like? I love Tiana.)
Sofia: I still can’t believe I’ve gotten to meet so many princesses. They are all so kind and brave. When I met Tiana, she really helped me and even sang a song to me. She showed me that the best gifts come from the heart, just like her cooking! I’ve also met Rapunzel, Ariel, Cinderella, Belle, Aurora, Mulan, Jasmine, Snow White and Merida. I’m hoping one day soon, I’ll get to meet Moana, too!
Husband-and-wife filmmaking duo Joshua and Rebecca Tickell were jointly awarded the Golden Globes Prize for Documentary in Partnership With Artemis Rising Foundation during the 79th edition of the Cannes Film Festival.
Their film “Groundswell” follows experts, Indigenous leaders and farmers across five continents, demonstrating how regenerative farming can restore soil health, draw carbon from the atmosphere and fight climate change. The jury also recognized the Tickells for their “longstanding contributions to documentary storytelling and distinctive artistic voice.”
Actor and producer Kelvin Harrison Jr. presented the prize at an event held today during the Cannes Film Festival. Supported by Think-Film Impact Production, the evening included a panel discussion, award presentation, and reception celebrating documentary filmmaking. The Tickells received a Euros 10,000 cash award from Artemis Rising Foundation in recognition of their contributions to the documentary field.
The jury said in a joint statement: “In a world where hope feels audacious, Joshua and Rebecca Tickell shine out for their dedication to telling stories that draw audiences in and inspire us with real solutions. Their films consistently match an artist’s vision with a passionate heart for the next generations. Their impressive track record of creative work connects us more deeply to the world around us, and points consistently to the urgent questions shaping our collective future.”
Accepting the award, Joshua Tickell said: “Documentary is a genre with incredible staying power, and one that is accelerating. It is such an honor to receive this award – this is an exceptional moment where as the world gets worse, people are more interested in solving the environmental crisis.”
Rebecca Tickell added: “This is the most important issue of our time. Stabilizing the climate needs to be our number one agenda, and storytelling for us is the way to do that – because storytelling shapes our lives. We are leaving the age of extraction and entering the age of regeneration. It was such a privilege in making this film to see people in the most gruelling places regenerating their environments. This film is not just a story, it is a mission. The future belongs to the next generation, we made this film for them.”
Joshua and Rebecca’s daughter, Athena Tickell, also shared, “We all got Typhoid, but it was worth it.”
The prize jury includes Golden Globes president, Helen Hoehne; Academy Award-winning producer and founder of Artemis Rising Foundation, Regina K. Scully; Academy Award-winning producer and co-founder of Impact Partners, Geralyn White Dreyfous; founder and CEO of Think-Film Impact Production, Danielle Turkov Wilson; and actor and producer Kelvin Harrison Jr. Mariam Fakhroo of Doha Film Institute served as jury observer.
Photo above (left-right): Geralyn White Dreyfous, Regina K. Scully, Rebecca Tickell, Joshua Tickell, Helen Hoehne, Danielle Turkov Wilson, Kelvin Harrison Jr.
Daredevil: Born Again Season 3 is adapting an iconic storyline that places the Man Without Fear and Punisher’s reunion on the cards. Sadly, Jon Bernthal’s Frank Castle sat out the last chapter of Born Again‘s Kingpin clash, seemingly due to the actor’s already busy MCU schedule, filming Disney+’s The Punisher: One Last Kill specialand a supporting role in this summer’s Spider-Man: Brand New Day.
Warning – This article contains spoilers for Daredevil: Born Again Season 2.
But the show must go on, and Frank Castle missed out on mayhem, culminating in Charlie Cox’s Matt Murdock outing himself as Daredevil in court. Unfortunately for the Man Without Fear, actions have consequences, and he was promptly arrested for Daredevil’s crimes, setting up an adaptation of The Devil In Cell Block D.
In the 2006 storyline by Ed Brubaker, the Punisher learned of the chaos erupting behind bars at Ryker’s Island following Matt Murdock’s imprisonment and decided to join him, getting himself arrested by violently murdering a pimp.
Marvel
The crime-fighting kinda-sorta-maybe buddies met in the prison cafeteria, where Frank told Matt that he wanted to see for himself “what it looks like when [he] turns into [him],” which eventually leads to a valuable lesson.
Before continuing, some important context is necessary: at this time in Daredevil comics, like the MCU, Matt’s best friend, Foggy Nelson, had recently been killed. However, unlike Disney+’s Born Again, the legal eagle’s killer was still at large, and Matt was determined to find the killer, leading to much of the chaos at Ryker’s.
Marvel
Fueled by justice and revenge, Murdock decided that he must break out of prison to uncover the truth behind Foggy’s death (which ended up being that Vanessa Fisk had faked his murder and had him placed with witness protection).
The blind lawyer’s plan to escape Ryker’s Island involved capitalizing on a massive prison riot, taking down Bullseye and Kingpin behind bars, and getting some help. The Punisher aided in Murdock’s escape by pretending to take him hostage at gunpoint and stealing a helicopter to get off the island.
Marvel
Before they parted ways, Frank Castle had one lesson to impart, telling Murdock that he “needed to remember” that he “[doesn’t] want to be [him]:”
“You’re hurtin’ a lot right now, Richard, with good reason. But you don’t want to be me. You needed to remember that.”
It’s tough to imagine the MCU’s Punisher getting himself arrested just to teach Daredevil a life lesson or bust him out of prison. Still, the MCU has been known to more loosely adapt storylines, so Daredevil and Punisher could still reunite behind bars, but for a vastly different reason, such as Castle getting himself arrested to deal with the AVTF officers, who co-opted his symbol, in a more permanent way.
Interestingly, Born Again showrunner Dario Scardapane recently declared on the series’ official podcast that “Bullseye vs. Punisher has to be done, someday.” A face-off between Disney+’s two most violent anti-heroes may still be a stretch for Season 3, but there is every chance that it becomes a reality down the line.
Marvel Television
Provided Frank Castle escapes Spider-Man: Brand New Day unscathed, the chances seem high that the Punisher will return in Daredevil: Born Again‘s future, even if it doesn’t happen exactly like The Devil In Cell Block D. That said, after starring in three MCU projects in quick succession, it would be hard to blame Jon Bernthal for wanting a break to tackle other non-Punisher projects first.
In the meantime, fans will get another taste of Castle goodness when The Punisher: One Last Kill hits Disney+ on Tuesday, May 12, before the vigilante returns, for the first time in theaters, in Spider-Man: Brand New Day on July 31.
How Else Will Daredevil: Born Again Adapt Devil In Cell Block D?
Set photos from Born Again‘s third outing confirmed that all four of the Defenders will be returning in major roles, making it only right for the Punisher to return as the fifth and final lead of the Netflix era. Furthermore, Bernthal’s schedule currently appears open to join the Marvel Television production that will continue until July.
Speaking of returning Defenders Saga heroes, Frank Castle isn’t the only one with an important role to play in The Devil In Cell Block D. While Murdock is in prison for Daredevil’s crimes, it was Danny Rand who picked up the Devil’s Cowl, which may explain why Finn Jones’ Iron Fist is coming back in Born Again Season 3.
As part of The Devil in Cell Block-D, Murdock was incarcerated with two major villains, Kingpin and Bullseye. However, after Born Again‘s latest outing, Bullseye is overseas working for Mr. Charles, and Kingpin has left New York for some tropical paradise, although set photos confirmed he will return to the Big Apple.
Unless something drastically changes early in Born Again Season 3, it seems Murdock won’t be contending with his oldest, most brutal foes behind bars. But that’s not to say he won’t have enemies in prison, as Connor Powell and the rest of Wilson Fisk’s tyrannical Anti-Vigilante Task Force are also locked away for now.
The new DC Universe is off to a strong start. In 2025, DC Studios officially launched its cinematic universe with the release of Superman, written and directed by the studio’s co-chairman, James Gunn. The movie received rave reviews and had a commendable performance at the box office, making a sequel inevitable. It was then announced last September that a new Superman film, titled Man of Tomorrow, is scheduled to release in theaters on Jul. 9, 2027. The highly anticipated sequel revolves around a “team-up” between Superman (David Corenswet) and Lex Luthor (Nicholas Hoult).
Of course, it takes a big villain to get two archenemies to team up. For Man of Tomorrow, that will come in the form of Brainiac. For a role as big as this, Gunn went in an interesting direction, casting theater actor Lars Eidinger. After small supporting roles in various movies and television projects, Brainiac is undoubtedly his biggest one yet. Despite the large-scale production, the actor said in an interview with The Hollywood Reporter that he believes how these comic book adaptations are made isn’t so different from theater, comparing the iconography to that of Shakespeare:
“Last week I was on set during rehearsals and asked if I could watch some of the filming, which had already started. And I saw an actor in the Superman costume, suspended on wires in front of a blue screen. I looked at that image and thought: This is the essence of fiction. It’s as significant an image as Hamlet holding the skull: Superman, in that Superman pose, hanging from wires in front of a blue screen.”
BrainiacDC Comics
Eidinger also discussed the villains he’s played in the past, and how the character-driven work of his independent productions might contrast with something like a blockbuster comic book movie. However, for the Man of Tomorrow actor, it was less about scale and more about his fundamental understanding of the characters and the subtext that can be found in the larger-than-life struggles of good versus evil:
“It’s not as different as you might think. Even if it seems surprising at first, these films have a serious philosophical ambition. They carry great allegorical weight for me. Take just the word ‘super’ — it’s used as a superlative, for something excellent, wonderful. But ‘super’ really only means ‘over’ or “above.’ So Superman is the Übermensch. You have the Super Ego. There’s already a deep psychological dimension built in.”
With these quotes, it seems that Gunn isn’t straying too far from his work in the MCU, in which he cast another theater actor, Chukwudi Iwuji, as cosmic supervillain The High Evolutionary in Guardians of the Galaxy Vol. 3. Bringing actors who have a flair for the dramatic as these alien god-like beings helps make the story feel that much more intense. Though Eidinger never imagined himself in a major production like Man of Tomorrow, it still felt right to him: “Being in the Superman universe wasn’t a dream or burning desire for me. But now that it’s happening, I can see a certain inevitability in it, something almost fated.”
Take-Two CEO Strauss Zelnick has said that GTA 6’s current release date puts it 18 months behind when it was supposed to launch originally.
Speaking to David Serna, Zelnick briefly discussed the upcoming game, which is expected to enjoy the largest media launch in history when it is eventually released.
“I think we’re about 18 months behind the original date,” Zelnick said. “Not much more than that.”
When GTA 6 was first revealed, the game’s initial trailer finished by slating the game for 2025. While no window was set, Zelnick’s comments suggest the game was originally planned for the Spring of that year. Take-Two later said the game was planned for the Fall of 2025, but the game was later delayed to May 26, 2026. In November 2025, the game was then delayed until November 2026.
As blockbuster video games continue to become more expensive to make, securities stock analyst Omar Dessouky argues that selling the much-anticipated GTA sequel for the now-standard $70 price point could negatively impact other games looking to raise their own prices to become more sustainable.
Last year, analyst Matthew Ball of Epyllion also claimed that there was “hope” among figures in the games industry that GTA 6 could cost up to $100, so that other companies could raise their default prices as well, amid global inflation and swelling triple-A development costs.
Spring isn’t just for Award Season recovery. Film Independent Presents has stayed busy with a calendar chocked-full of exciting indie releases. We’re featuring a few you might have missed here, including a Tim Heidecker fever-dream, a indie horror with a scary good self-distribution story, a deft and heroic take on a difficult subject, and some unique voices in TV featuring Riz Ahmed and Lili Reinhart.
Oh, and by the way, if you’re a Letterboxd user, we’ve logged all these films and everything else we’ve been screening over on the Film Independent Letterboxd page. Give us a follow!
PERFUMANIA (FKA Fior Di Latte)
Featuring: Writer/director Charlotte Ercoli, co-producer/actor Marta Pozzan and actor Tim Heidecker
Logline: Mark, a frustrated playwright, becomes addicted to huffing perfume to conjure up memories from his Italian summertime vacation. Mark becomes so consumed with chasing this high from the past, he completely neglects the present.
In The Interview: Moderated by On Cinema co-host Gregg Turkington, the Perfumania team talk about creating a uniquely vile character for Tim Heidecker, the magic of Kevin Kline’s musical number, and writer/director Charlotte Ercoli’s personal connections with the perfume industry.
OUR HERO, BALTHAZAR
Featuring: Co-writer/director Oscar Boyson, co-writer Ricky Camilleri, and actors Jaeden Martell and Asa Butterfield, moderated by Scott Mantz (KTLA).
Where to Watch: Theaters
Logline: A headlong race through a world where success can be measured in engagement and tragedy has become content, Our Hero, Balthazar follows two neglected teens thrown together by a chance online encounter. Privileged yet lonely New Yorker Balthy (Jaeden Martell) Malone dreams of becoming a hero, while struggling Texan Solomon Jackson (Asa Butterfield) seeks recognition by posting violent threats. When Balthy, in an act of misguided heroism, travels to Texas in an attempt to befriend Solomon and avert a possible tragedy, he is drawn into a dangerous and thrilling new world. Despite their differences, both find refuge from their crushing loneliness in each other’s company, but for all Balthy’s good intentions, his decisions are driving them close to the precipice of disaster.
In The Interview:Director Oscar Boyson and co-writer Ricky Camilleri talk about finding their way into making a film about the tragedy of school shootings, and actors Jaeden Martell and Asa Butterfield discuss finding the humanity in such difficult characters.
BAIT
Featuring: Creator/Co-Showrunner/Executive Producer/Actor Riz Ahmed, moderated by Tyler Coates (journalist)
Where to Watch: Amazon Prime
Logline: From Oscar and Emmy winner Riz Ahmed comes Bait, a comedy about Shah Latif, a struggling actor. His last chance to hit it big comes in the form of an audition of a lifetime. We follow him over the course of four wild days as his life spirals out of control and his family, ex-lover and the entire world weigh in on whether he is the right man for the job.
In The Interview: Riz Ahmed talks about being known more for drama, and showing his comedic side to a US audience, and wrestles with authenticity and the vulnerability of writing a (heightened) autobiographical series.
HUNTING MATTHEW NICHOLS
Featuring: Director/actor Markian Tarasiuk, writer/producer SeanHarris Oliver and actor Miranda MacDougall, moderated by Monse (Horror Creator).
Where to Watch: Theaters
Logline: Two decades after her brother’s mysterious disappearance on Vancouver Island, aspiring documentary filmmaker, Tara Nichols, sets out to solve his missing person’s case. When an unsettling piece of evidence is revealed, Tara and her film crew investigate the disturbing circumstances surrounding the case to discover the truth about what happened to her brother.
In The Interview: The creative team break down how they got a Canadian indie in theaters across the US, by reaching out directly to the big theater chains.
HAL & HARPER
Featuring: Writer/director/actor Cooper Raiff and actor Lili Reinhart, moderated by Kevin McCarthy (Entertainment Journalist and Podcast Host, On Film… with Kevin McCarthy).
Where to Watch: MUBI
Logline: From Cooper Raiff (Cha Cha Real Smooth) comes Hal & Harper, a wry and heartfelt eight-episode series about two siblings whose closeness is both their comfort and their curse. Hal (Raiff) and Harper (Lili Reinhart) have built their adult lives side by side in Los Angeles, tethered by a lifetime of inside jokes and shared pain. When their father (Mark Ruffalo) announces he’s having a baby with his girlfriend, Kate (Betty Gilpin), it forces the siblings to reexamine their past and reckon with the versions of themselves they’ve carried into adulthood. As the lines blur between closeness and codependence, memory and reality, the series explores how a bond formed in childhood can shape every relationship that comes after – for better or worse.
In The Interview: Lili Reinhart talks about moving on, from her past TV projects, and from home, both in the series, and in real life.
Film Independent Artist Development promotes unique independent voices by helping filmmakers create and advance new work. To support our work with a donation, pleaseclick here. Become a Member of Film Independent here.
Few directors shoot their debut movie, land it in a big fest, and find themselves at the center of a bidding war. It’s the sort of thing that could mess with your head, especially if you’re in your twenties and your biggest successes to date have been posting shorts to YouTube.
But Jason Blum says that Curry Barker seemed surprisingly calm when they met in person for the first time, a day after the filmmaker’s Obsession screened at Toronto International Film Festival to a rapturous response. The $750,000 film would go on to sell to Focus Features for around $15 million in the following days.
“A lot of times, someone in that position is in shock and off their game,” says Blum. Not so with Barker, who was 25 during September’s TIFF. “He was so grateful and modest, but not falsely modest. He was very clear about what he wanted to do next, and this wasn’t going to change his mind.”
Written and directed by Barker, Obsession tells the story of Bear (Michael Johnston), who uses a mysterious novelty item called “One Wish Willow” to wish that his longtime crush Nikki (Inde Navarrette) would love him more than anyone in the fucking world. His wish comes true to horrifying results that have won over critics, who gave it a 94 percent rating on Rotten Tomatoes. It dramatically over-performed this weekend, where it grossed $17.2 million domestically, up from projections in the $10 million range. Its word of mouth has been strong, with the film declining just 11 percent from Saturday to Sunday, a hold rarely seen.
Barker has already shot his follow-up film, the horror-comedy Anything But Ghosts, based on a spec he wrote and stars in with his creative partner, Cooper Tomlinson. As positive buzz about Obsession swirled before TIFF, Blum and fellow horror titan Roy Lee both wanted in on Ghosts. But in an unusual move, rather than try to outbid each other, they decided to team up for the first time in their history to acquire the package together.
And as Obsession hit theaters last week, Barker closed his deal to write, direct and produce his take on The Texas Chainsaw Massacrefor A24, a movie he landed without having to jump through hoops, thanks to the TIFF halo around Obsession. His deal grants him an extraordinary amount of creative control, especially for a young director on a big IP project.
It’s all part of a wild, nine-month period that has seen Barker go from relative obscurity to the most in-demand 20-something director in Hollywood.
For Lee, who produces both Anything But Ghosts and Texas Chainsaw, Barker reminds him of another protégé, Barbarian and Weapons filmmaker Zach Cregger.
“Some people just have that ability: What they create is cinematic,” says Lee, who was instrumental in Barker getting the Chainsaw job. “He’s going to be following in the footsteps of Zach, just a few years behind.”
As much as things have changed for Barker, many key things have stayed the same. Those close to the filmmaker describe him as both impressively productive and single-minded in his focus, disappearing into whatever project he’s working on. “Obsessed” might be the right word.
Barker confirms this, and one of the first things he says when hopping on a Zoom with The Hollywood Reporter is he’s really itching to get into the edit on Anything But Ghosts, as soon as this week. (In addition to directing and writing, he serves as editor on his movies.)
He plans on editing Ghosts — a horror comedy about two scammy paranormal investigators who are caught up in real ghostly activity — in his bedroom in the apartment he shares with creative partner Tomlinson. It’s the same place where he also served as the editor of Obsession.
Unlike what you might expect from a 20-something who is the toast of Hollywood, you are unlikely to find Barker hitting Los Angeles hotspots late at night. Case in point: A childhood friend from Barker’s native Alabama attended May 11’s Obsession premiere and wanted to go out after, but it wasn’t in the cards for the filmmaker, who had a day of press and other duties ahead of him.
“I’m always letting down my friends that love to go out and hit the town, because I go to bed at 10 p.m.,” he says with a laugh. (To be fair, that’s not always true. THR left the Obsession party after 10 p.m., and Barker was still there, posing for photos with Tomlinson and friends.)
Barker came to Los Angeles from Alabama for film school, where he met Tomlinson and quickly dropped out to build their sketch channel, That’s a Bad Idea. The duo wrote Anything But Ghosts the same way they write their sketches, which take simple concepts to extreme places.
“We hook our laptop up to our TV, and we let the story unfold and see where things take us,” says Tomlinson. “Curry doesn’t like to be constrained to an outline. That puts you in a box. We like to see where the story goes, and so many fun things come out of it.”
Barker’s The Chair, a 2023 horror short about a young man (Anthony Pavone) who takes home an antique chair he finds on the side of the road — and, in Barker fashion, it wrecks his life — got him on the radar of 47 Meters Down producer James Harris of Tea Shop Productions.
“You can go on TikTok and you can find 8,000 filmmakers making kind of cool shit, right? But some of it, you’re like, ‘Oh, that looks like you made it in your house and you just used some filters,’” says Harris. Barker’s stuff was different. It looked like a real movie. Harris recalls thinking, “I can feel you have the cinematic language — and if we just give you more money and get you to do the same thing, that’s actually really interesting.”
Barker pitched Harris a few concepts, and the producer chose Obsession, lining up financing for a 20-day shoot while Barker wrote (and rewrote) the script.
Collaborators say that Barker knows what he wants and often goes with his gut feeling. Casting director Skyler Zurn, who cast Obsession and Anything But Ghosts, recalls having many conversations about how Barker wanted the actors to make him feel — that’s what he cares about, more than if a performer is famous.
“Curry provided a freedom to discover that was really refreshing,” says Zurn. “So we really could search for the feeling. We were waiting to be moved by each person, and that’s what led our casting decisions.”
Inde Navarrette and Michael Johnston in Obsession.
Focus Features/Courtesy Everett Collection
Barker built his career by playing moneyball, finding ways to stretch a dollar and enlisting strong collaborators who weren’t yet too expensive. Now, Barker will have more options than ever. If he wanted to hire a seasoned, name-brand cinematographer for Texas Chainsaw, he could, for example.
But as he gets bigger, he does not feel the need to rethink who his partners are; he seems to have already found his creative soulmates, using cinematographer Taylor Clemons as an example when asked about having the resources to hire so-called bigger names in the field.
“Taylor is going to be a name in the space,” says Barker. “Taylor is a genius, and I actually think that he’s going to be one of the greats.”
Just as Barker represents a new generation of filmmakers who came up on YouTube, the team he has assembled behind the scenes is next gen as well. The oldest member on his UTA team is 35. His manager at Underground is in his early 30s. These are people who perhaps have a different understanding of the business than their more established peers.
And, of course, he is taking in advice from the elder statesmen of the horror genre, like Blum and Lee, melding it all together. Blum paraphrases a passage from Lena Dunham’s memoir to describe Barker’s approach.
“Judd Apatow says to her, ‘You should listen to people a lot more,’ and Noah Baumbach says to her, ‘Don’t listen to anybody,’” Blum says with a laugh. “And the thing is, both are true. The challenge when you’re young is figuring out how much to do of each one. It’s really, really hard to do — and I think Curry has done that incredibly well.”
Lee Barker up with Cregger, to talk over the things he will have to navigate now that he is becoming a name brand director. The two bonded over screenwriting, and Cregger gave him some advice after reading Anything But Ghosts: cut down the page count.
“Here’s me being stubborn because I was like, ‘No, I’m not gonna do that.’ It’s funny because looking back at it, I’m like, ‘Damn, Zach Cregger was right, because it was so stressful,’” Barker says with a laugh. (Cregger was worried Barker was biting off more than he could chew in the number of days he had to film, but it all worked out.)
Barker re-iterates he is stubborn when it comes to his vision, and his collaborators recall multiple Obsession moments he fought that others others doubted. But collaborators also recall people throwing out ideas on set that he incorporated into the movie.
“You’re guiding the ship. You know what the voice of the movie is, you know what you’re chasing and you should know the story better than anyone else,” Barker says. “But any person can come up with a good idea and being open to that — I think it’s really important.”
Moving forward, he could see Obsession becoming some sort of anthology series, where it’s a different wish for every episode. And he could also see himself launching a horror banner, ala Jordan Peele’s Monkeypaw.
But for now, he’s really ready to get into his bedroom and edit Anything But Ghosts. He says he has ADHD, and while for some creatives, that means multitasking, for him it manifests in becoming obsessed with one thing at a time. But he’s already scribbling out ideas for Texas Chainsaw, something he hopes will feel like an original movie rather than simply an IP extension.
Says the filmmaker: “I like to create worlds that have an iconicness to it. I’m always thinking, ‘What’s the Halloween costume?’”
SPOILER ALERT: This article contains spoilers for “Obsession,” now playing in theaters.
The best movie villains inspire empathy or understanding in an audience: Maybe they profoundly believe what they’re doing is right, or have been so damaged by their past that retribution seems like the only way out.
Judging by trailers and posters alone, “Obsession” is about a young man named Bear (Michael Johnston) who accidentally creates a monster when he is granted a magical wish to have his crush, Nikki (Inde Navarrette), love him more than anyone else. Unfortunately, it’s a real “be careful what you wish for” situation, and Nikki’s obsession with Bear becomes more and more extreme.
What’s fascinating is that, very quickly, it’s clear that Nikki’s monstrous impulses are beyond her control, as the “real” Nikki lives buried just below the surface, able to occasionally burst out of a body she is unable to manage. It’s a rarity that the monster in a horror film pivots to be the object of empathy, but Navarrette is an expert at pulling off this unique balance, and her performance is one that should be remembered (and, more importantly, actually considered) come award season.
Navarrette’s strength shows early as Nikki is introduced as Bear’s BFF, who is kind to him but sets unspoken boundaries that it’s a friend zone. Her girl-next-door energy feels perfect for what the audience sees in Bear, and as we begin to see how head-over-heels he is for her, we’re hoping for a connection.
But once Bear makes the fateful wish for her love on his “One Wish Willow,” things abruptly change. At first, Nikki pivots to infatuated partner, suddenly realizing she adores Bear. Their relationship quickly blooms into constant PDA — which grosses out and confuses their buddies — but, except for the occasional maniacal laugh, Nikki appears happy and normal.
From there, things get dark. The key to Navarrette’s performance emerges once it’s clear that she is no longer in control of her body at all, but rather it’s being driven by a created desire to do anything for Bear, often in the worst way possible. Navarrette is brilliant at contorting her face, drawing eerie smiles, massive frowns or any series of off-kilter expressions that read as childlike expressions of love and disappointment. That plays off of her expressive eyes, which often feel like they belong to a trapped Nikki, peeking out at the world but unable to make her path through it.
Some of the film’s most shocking moments are Nikki’s rare moments of lucidity, when she’s able to break free of the spell the “One Wish Willow” has over her. She’ll briefly come crashing down to earth, screaming and raging against her lack of agency, until the feeling is neutralized and her waking self is trapped again in the purgatory to which she’s been banished.
What makes this mix so compelling is that Navarrette is able to play countless conflicting emotions all at the same time, a woman only occasionally in charge of her own body and agency. When her actions get frightening, it’s always compounded by her haunting expressions: frozen in a smile as she waits all day for Bear, maniacal as she’s running around at night or frenzied while attacking a romantic rival. Each moment feels organic and fresh, holding on to different levels of herself as she’s infiltrated by the cosmic hell she’s trapped in. It’s the movement of something inhuman trying on her skin, struggling to remain poised during every challenge posed along the way.
The performance also reverberates long after the story ends. After a darkly comedic moment ends the film, you’re haunted by the idea of what will happen next to this poor woman, who has suffered endlessly due to no fault of her own. It also comes with a sobering realization that Bear, our initial entrance into the world of “Obsession,” was the villain all along.
Navarrette’s work also turbocharges the key theme. “Obsession” is a film about consent, a story where even a normal-seeming nice guy is eager to take what he wants, even if it leaves the woman screaming in protest. It’s not a preachy tale by any means, foregrounding atmosphere and big scares above anything else. But it’s impossible to leave the theater not aching for Nikki and what she’s been through.
In a year after we saw Oscar wins for horror performances like Michael B. Jordan in “Sinners” and Amy Madigan in “Weapons,” it seems award nods (in some fashion) could be possible for Navarrette. Yet there’s plenty working against it: Beyond decades and decades of awards bodies ignoring horror, “Obsession” might not read as thematically rich as “Sinners” or “Weapons,” or feel too niche and brash for mainstream attention. But “Obsession” is proving to be a wide crowdpleaser, with a Rotten Tomatoes score sitting at 94% for both critics and audiences, as well as an A- Cinemascore — all of which are very high metrics for horror. Additionally, social media is filled with reactions praising Navarrette’s role as the key to the film’s success.
Her work is singularly brave and brilliant, standing alongside rich horror performances in recent years like Lupita Nyong’o in “Us” and Toni Collette in “Hereditary.” Voters, don’t make the same mistake you did by ignoring those lauded women.
While Navarrette was best known for her television work on “Superman & Lois” and “13 Reasons Why,” it’s inevitable that her film career is about to take off. Hopefully, she’ll be offered roles as meaty and challenging as Nikki. If so, her Oscar won’t take too long to arrive.
The doors of Grey Sloan Memorial are opening once again for Netflix subscribers. Following its dramatic, action-packed finale on ABC, the complete 22nd season of Shonda Rhimes’s record-breaking medical drama Grey’s Anatomy is officially heading to Netflix US this summer.
We can confirm that all 18 episodes of Grey’s Anatomy Season 22 will be available to stream on Netflix US starting Saturday, June 6th, 2026.
When will Season 22 hit Netflix Canada and Internationally?
As per the traditional broadcast-to-streaming pipeline, Netflix US receives new seasons of Grey’s Anatomy shortly after the season finale airs on ABC (the Season 22 finale wrapped up on May 7th). However, this timeline varies greatly depending on where you live.
Netflix Canada: Canadian subscribers always have a slightly longer wait. New episode drops don’t arrive as fast as the US, with new seasons typically dropping in the Fall. You can expect Season 22 to arrive on Netflix Canada around September or October 2026.
International Regions: If you’re outside the US or Canada (such as the UK, Australia, or Latin America), you won’t be seeing Season 22 on Netflix. As we covered extensively back in 2021, Disney pulled the international rights to the show, and it officially departed Netflix in those regions in January 2022. It now streams exclusively on Disney+ globally.
A Quick Note on US Rights: If you’re confused about where Grey’s lives these days, you’re not alone. In early 2024, Disney and Netflix struck a massive new licensing agreement. While Netflix still receives the brand new seasons every summer, it now shares the back-catalog of 400+ episodes with Hulu and Disney+.
Despite the show only being on Netflix in just two regions, the series, thanks to that massive back catalog, still pulls in ridiculous viewing hours for Netflix. In fact, between 2023 and 2025, the series has pulled in 3.629B viewing hours equating to 235.2M views.
The Lowdown: What to Expect from Season 22
If you missed the live broadcasts on ABC, you’re in for a wild ride. Season 22 consists of 18 episodes and picks up immediately after the somber cliffhanger of Season 21.
The premiere, titled “Only the Strong Survive,” deals with the terrifying aftermath of the catastrophic hospital explosion, forcing the staff to make impossible surgical decisions while grappling with their own emotional trauma. The season ramps up the intensity from there, culminating in Episode 18’s massive “bridge collapse” disaster.
Saying Goodbye to Two Fan Favorites
Season 22 is a pivotal chapter for the series, serving as the swan song for two long-time cast members. It has been officially confirmed that Kevin McKidd (who has played Dr. Owen Hunt since Season 5) and Kim Raver (Dr. Teddy Altman) will be departing the series at the end of this season.
Fans will also see Ellen Pompeo (Dr. Meredith Grey) continue in her recurring capacity, appearing in a select number of episodes while retaining her duties as the show’s iconic narrator.
Is ‘Grey’s Anatomy’ Renewed for Season 23?
Yes! The medical drama shows no signs of flatlining. Ahead of the Season 22 finale, ABC officially renewed the series for a 23rd season, ensuring it remains the longest-running American primetime medical drama in television history.
Are you ready to binge the latest emergencies at Grey Sloan Memorial? Let us know if you’ll be watching Season 22 on June 6th in the comments below!
The young actress who plays Ginny Weasley in HBO‘s Harry Potter series is leaving the show after its first season.
Gracie Cochrane, who was cast as the youngest of the Weasley children last year, will not return for the recently ordered second season. Season two will be based on on Harry Potter and the Chamber of Secrets, the second book in the Harry Potter series.
“Due to unforeseen circumstances, Gracie has made the challenging decision to step away from her role as Ginny Weasley in the HBO Harry Potter series after season one,” Cochrane and her family said in a statement. “Her time as part of the Harry Potter world has been truly wonderful, and she is deeply grateful to [showrunner] Lucy Bevan and the entire production team for creating such an unforgettable experience. Gracie is very excited about the opportunities her future holds.”
HBO said in its own statement, “We support Gracie Cochrane and her family’s decision not to return for the next season of HBO’s Harry Potter series, and we are grateful for her work on season one of the show. We wish Gracie and her family the best.”
Ginny has a fairly small presence in Harry Potter and the Philosopher’s Stone, the first book, but her role grows throughout the series. In The Chamber of Secrets, the character unwittingly opens the chamber while being controlled by Tom Riddle’s spirit, and later in the series she eventually (spoiler alert) becomes Harry’s girlfriend and wife. Bonnie Wright played the character in the Harry Potter film series.
Ella Langley adds her latest week of chart history as “Choosin’ Texas” tallies a 10th week at No. 1 on the Billboard Hot 100. Only 4% of all leaders over the survey’s 67-year archives have reached the milestone — and the achievement is even rarer among country hits.
The song, which tops multimetric Hot Country Songs chart for a 25th week, is one of just four songs to have ruled the Hot 100 for 10 or more weeks and made the Hot Country Songs top five; notably, three have done so in the last three-plus years. Shaboozey’s “A Bar Song (Tipsy)” led the lists for 19 and 45 weeks, respectively, in 2024-25, following Morgan Wallen’s “Last Night” (16 and 25 weeks in 2023). Debby Boone’s “You Light Up My Life” became the first song ever to dominate the Hot 100 for double-digit weeks (10) and hit No. 4 on Hot Country Songs in 1977.
(Honorable mention: Dolly Parton wrote “ I Will Always Love You,” which Whitney Houston took to No. 1 on the Hot 100 for 14 weeks in 1992-93. Parton sent two versions of the beloved ballad to the top of Hot Country Songs, in 1974 and 1982.)
Langley sets another mark on the latest Hot 100: “Be Her” holds at its No. 2 high, making her the first artist known for primarily recording country music ever to claim chart’s the top two spots simultaneously for multiple weeks. Among all core-country acts, she passes Wallen, who doubled up for a week last year.
Among other highlights in the Hot 100’s top 10, Bruno Mars hits a new career radio high with “I Just Might” and Olivia Dean becomes the first British woman ever to chart her first two top five hits in the region together — a feat that among all artists was first earned by The Beatles.
Read on for details of the entire top 10 on this week’s Hot 100.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data, the lattermost metric reflecting purchases of physical singles and digital tracks from full-service digital music retailers; digital singles sales from direct-to-consumer (D2C) sites are excluded from chart calculations. All charts dated May 23, 2026, will update on Billboard.com tomorrow, May 19. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram. Plus, for all chart rules and explanations, click here.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
‘Choosin’ Texas’ Streams, Airplay & Sales
“Choosin’ Texas,” on SAWGOD/Columbia Records, with Triple Tigers promoting it to country radio, totaled 27.8 million official streams (up 4% week over week), 48.1 million radio airplay audience impressions (up 1%) and 7,000 sold (down 11%) in the United States May 8-14.
The single, which became Langley’s first Hot 100 No. 1 in mid-February, logs an 11th week atop the Streaming Songs chart; rises a spot to a new No. 5 best on Radio Songs; and holds for a seventh week atop Digital Song Sales.
Two-Steppin,’ Two Times
Thanks to “Choosin’ Texas” and “Be Her,” Langley becomes the 20th act to hold Nos. 1 and 2 on the Hot 100 simultaneously. Only four solo women are in the exclusive club, with she and Taylor Swift the only ones to do so as lead artists on both of their respective hits.
Here’s a recap of all the acts that have taken over the Hot 100’s top two, ranked by most occurrences:
10 weeks: The Beatles
8 weeks: OutKast
7 weeks: Drake
6 weeks: Justin Bieber, T.I.
5 weeks: Ashanti, Iggy Azalea, Bee Gees, Taylor Swift, Pharrell Williams
4 weeks: The Black Eyed Peas, Diddy, Nelly
3 weeks: 50 Cent, Ja Rule, Kendrick Lamar, Usher
2 weeks: Akon, DaBaby, Ella Langley
Dean Meets The Beatles
Image Credit: Lola Mansell
Olivia Dean charts her first two Hot 100 top 10s in the top five for the first time: “Man I Need” rebounds 4-3, after reaching No. 2, and “So Easy (To Fall in Love)” ascends a place to a new No. 5 high.
Dean, from London, becomes the first British woman to place her first two top five Hot 100 hits in the bracket simultaneously. Among all Englishwomen at any career point, she’s the first to manage the accomplishment since Adele with “Easy on Me” and “Oh My God” (the most recent of her six top five hits) in December 2021.
The only British acts overall to each chart their first two top five titles, or more, on the Hot 100 in that range simultaneously? Dean, Herman’s Hermits (for one week in 1965) and The Beatles (eight weeks, 1964). The Peter Noone-fronted Herman’s Hermits did so with “Can’t You Hear My Heartbeat” and “Silhouettes” after the Fab Four initiated the stat with the iconic “I Want To Hold Your Hand” and “She Loves You.”
Bruno’s Best at Radio
Bruno Mars’ “I Just Might” lifts 5-4 after three weeks atop the Hot 100 between January and March. It leads Radio Songs for a 13th week, with 72.6 million in audience (down 5%), while topping the multimetric Hot R&B/Hip-Hop Songs and Hot R&B Songs charts for an 18th week each. Mars extends his longest career command atop Hot R&B/Hip-Hop Songs and rewrites his longest reign on Radio Songs, surpassing his featured turn on Mark Ronson’s “Uptown Funk!” in 2015.
Mars also returns to the Hot 100’s top 10 with “Risk It All” (15-8), which debuted at its No. 4 peak in March. Following the May 8 release of its Spanish version, it’s up 19% to 11.2 million streams, 11% to 38.8 million in radio reach and 70% to 2,000 sold.
Rest of Top 10: ‘Ordinary’ & More
Alongside Langley, Dean and Mars each infusing the Hot 100’s top 10 with two hits, Alex Warren’s “Ordinary” rises 7-6 after 10 weeks at No. 1 last June-August.
Olivia Rodrigo’s “Drop Dead” dips 3-7 on the Hot 100, three weeks after it debuted at No. 1.
Kehlani’s “Folded” holds at No. 9 after reaching No. 6 on the Hot 100.
Rounding out the Hot 100’s top 10, Tame Impala and JENNIE’s “Dracula” repeats at its No. 10 high, as it leads the multimetric Hot Dance/Electronic Songs chart for a 19th week and Hot Rock & Alternative Songs for a third week.
34TH RAINDANCE FILM FESTIVAL: Some Films Can’t Wait Connor Storrie in April X and authorized doc Eddie Cochran: Don’t Forget Me bookend 10 days of crucial cinema 34th Raindance Film Festival: 17 – 26 June at host cinema Vue Piccadilly
In an increasingly divisive and polarised world, the power of storytelling has never been more crucial. The UK’s leading indie film festival, Raindance is privileged to be a platform for sharing stories from emerging filmmakers: the new voices in cinema who won’t wait for big-time producers or major studios to greenlight their projects, because some films can’t wait. That urgency might be to share important truths about headline-making topics ranging from Ukraine to AI, fracking to deforestation, refugees to bride slavery. It may be to celebrate and contemplate heroes past and present, including music icon Eddie Cochran and Oscar winner and activist Jane Fonda. Or it may simply be to provide much-needed escapism with thrilling new sci-fi and horror genre films crafted with an indie sensibility.
Running 17 – 26 June, the 34TH RAINDANCE FILM FESTIVAL delivers all of this and more, with a programme comprising 85 narrative and documentary features, including 48 films by emerging first-time filmmakers (i.e. 56% of the feature programme). The programme also includes 112 short films. Raindance’s vanguard XR strand, the 11th Raindance Immersive comprises 27 projects across the in- person Immersive Showcase (23 – 25 June) and the online festival in VRChat (12 – 25 June). Vue Piccadilly will once again host Raindance exclusively and entirely for the festival’s full duration, complemented by the opening gala at Vue West End in Leicester Square and opening party at the Waldorf Hilton’s grand Palm Court. Thanks to the return of main sponsor Canon Europe, the festival will take over not only Vue Piccadilly but also One Ninetyfour. Located right under the BAFTA building on Piccadilly, it will once again be utilised by filmmakers and guests as Raindance’s industry hub, the Canon Lounge. Industry highlights include a Cinematography Masterclass presented by Canon. “Some films can’t wait,” says Raindance founder Elliot Grove, “and we at Raindance can’t wait to share this year’s selection of must-see indie films. With the return of our main sponsor Canon Europe, Raindance has an even greater capacity to champion emerging filmmakers along with under-the-radar films that other festivals may overlook. So don’t wait on the sidelines, come join our celebration of indie cinema in the heart of London.”
MAIN SPONSOR: CANON EUROPE
The 34th Raindance Film Festival welcomes Canon Europe returning as Main Sponsor. As Main Sponsor, Canon’s presence will once again be central to many aspects of the festival. This year’s industry hub will occupy One Ninetyfour: located under the BAFTA building at 194 Piccadilly, this space will be re-branded the Canon Lounge, a film-focused place created to inspire a new and upcoming generation of indie filmmakers. Within the Canon Lounge will be a dedicated area where filmmakers can interact with Canon experts throughout the festival, alongside showcase elements that demonstrate the full scope and potential of Canon products.
Raindance’s industry programme will feature a cinematography masterclass presented by Canon, with guest speakers and brand ambassadors highlighting Canon’s wide-ranging product lines. The festival trailer was shot by the filmmakers behind Srishti (winner of Raindance’s 2025 Discovery Award for Best Debut Feature) using Canon equipment, and Canon cameras will be utilised by Raindance’s production and marketing/social media teams throughout the festival.
IN COMPETITION: AWARDS AND JURY
The 34th Raindance Film Festival jury awards honour features in eleven categories: Best International Feature, Best Documentary Feature, Discovery Award for Debut Feature, Best Debut Director, Best Performance in a Debut Feature, Best UK Feature, Best Director of a UK Feature, Best Performance in a UK Feature, Best UK Cinematography, Spirit of Raindance Award & new for 2026 is Best Horror Feature. Raindance further honours shorts in four categories: Best UK Short, Best Live Action Short, Best Animation Short, Best Documentary Short.
This year’s jury includes: Aimee-Ffion Edwards (Slow Horses, Believe Me, Peaky Blinders, Luther), Charlotte Hope (Evil Dead Wrath, The Spanish Princess), David Ajala (The Woman in Cabin 10, Nine Bodies In A Mexican Morgue, Law And Order), Jacob Anderson (Interview with the Vampire, Bad Apples, Game of Thrones), Jonathan Rhys Meyers (Edge of the World, The 12th Man, Match Point), Sope Dirisu (My Father’s Shadow, Gangs of London, His House, Slow Horses), Anthony Andrews (founder: We Are Parable), Ashanti Omkar (film critic and broadcaster), Fiona Lamptey (producer and former Head of UK Features at Netflix), Hayder Hoozeer (filmmaker: BAFTA-winning short film Rock, Paper, Scissors), Lee Knight (filmmaker: Oscar® nominated short film A Friend Of Dorothy), Rita Osei (producer and talent executive). More tbc.
The Trump administration said Monday that it is creating a US$1.7 billion fund to compensate prosecuted allies of the Republican president after he moved to drop his lawsuit against the Internal Revenue Service.
The “Anti-Weaponization Fund” was announced by the Justice Department as part of a deal to resolve President Donald Trump’s case over the leak of his tax returns.
Democrats and government watchdogs immediately pledged to fight what they called a “corrupt” and unprecedented resolution, warning that the arrangement would unjustly enrich people close to the president with taxpayer dollars and open the door to meritless claims of political persecution.
Trump’s lawyers disclosed the dismissal of the case in a filing Monday in federal court in Florida, where the president sued earlier this year. The filing did not disclose the terms of any resolution, but ABC News first reported last week that Trump was prepared to drop his lawsuit as part of a deal that would create a $1.7 billion fund to pay allies of the president who believe they were mistreated by the Biden administration Justice Department.
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If established, the fund would represent not only a highly unorthodox resolution but also a further demonstration of the administration’s eagerness to reward allies who before Trump came to power were investigated and in some cases charged and convicted. Most notably, the president on his first day back in office pardoned or commuted the sentences of supporters who rioted at the
U.S. Capitol on Jan. 6, 2021. His Justice Department since then has approved payouts to supporters entangled in the Trump-Russia investigation and investigated and prosecuted some of his perceived adversaries.
“This case is nothing but a racket designed to take $1.7 billion of taxpayer dollars out of the Treasury and pour it into a huge slush fund for Trump at DOJ to hand out to his private militia of insurrectionists, rioters, and white supremacists, including those who brutally beat police officers on January 6, 2021, and sycophant accomplices to his election stealing schemes,” Rep. Jamie Raskin, the top Democrat on the House Judiciary Committee, said in a statement.
Trump’s attorneys suggested in their court filing seeking to dismiss the case that the resolution would not be reviewable by a judge. But a group of 93 members of Congress filed a brief teeing up a challenge.
House of Representatives panel sues Treasury Department, IRS over Trump’s tax returns
Trump has long raised ‘weaponization’ claims
It was not immediately clear who precisely will stand to benefit from the reported fund but its creation reflects Trump’s long-running claims that the Justice Department during the Biden administration was weaponized against him.
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He has cited as proof the since-dismissed criminal charges he faced between his first and second terms of conspiring to overturn the results of the 2020 presidential election he lost and of retaining classified documents at his Mar-a-Lago estate in Florida. Several aides of his were also prosecuted, as were hundreds of Trump supporters who stormed the U.S. Capitol in an effort to halt the certification of election results on Jan. 6, 2021.
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Merrick Garland, who served as attorney general during the Biden administration, has repeatedly denied allegations of politicization and has said his decisions followed facts, the evidence and the law. His Justice Department also investigated Biden for his handling of classified information and brought separate tax and gun prosecutions against Biden’s son Hunter.
Nonetheless, Trump’s current Justice Department has actively pursued the president’s retribution campaign and grievances, bringing criminal charges against some of his political opponents and initiating a wide-ranging investigation that aims to establish a years-long conspiracy between law enforcement and intelligence officials to destroy Trump’s political prospects and keep him power.
No charges have been brought in that investigation and it is not clear that any ever will be.
Trump’s lawsuit followed the leak of tax returns
Trump filed a lawsuit earlier this year in a Florida federal court, alleging that a previous leak of his and the Trump Organization’s confidential tax records caused “reputational and financial harm, public embarrassment, unfairly tarnished their business reputations, portrayed them in a false light, and negatively affected President Trump, and the other Plaintiffs’ public standing.”
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The president’s sons, Donald Trump Jr. and Eric Trump, are also named plaintiffs in the suit.
In 2024, former IRS contractor Charles Edward Littlejohn — who worked for Booz Allen Hamilton, a defence and national security tech firm — was sentenced to five years in prison after pleading guilty to leaking tax information about Trump and others to two news outlets between 2018 and 2020.
House Democrats give IRS April 23 deadline to share Donald Trump’s tax returns
The outlets were not named in the charging documents, but the description and time frame align with stories about Trump’s tax returns in The New York Times and reporting about wealthy Americans’ taxes in the nonprofit investigative journalism organization ProPublica. The 2020 New York Times report found Trump paid $750 in federal income tax the year he first entered the White House, and no income tax at all some years, thanks to reported colossal losses.
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In the first sign that a settlement was coming, lawyers for the president asked a federal judge last month to pause the case for 90 days while the two sides work to reach a settlement or resolution.
“This limited pause will neither prejudice the parties nor delay ultimate resolution,” the filing in April said. “Rather, the extension will promote judicial economy and allow the Parties to explore avenues that could narrow or resolve the issues efficiently.”
When asked in February how he would handle any potential damages from the case, Trump said, “I think what we’ll do is do something for charity.”
“We could make it a substantial amount,” he said at the time. “Nobody would care because it’s going to go to numerous very good charities.”
A group of lawyers wrote to the court this month, expressing concerns about whether the Justice Department was properly insulated from the president’s control of the case. Additionally, several ethics watchdog groups have filed friend-of-the-court briefs challenging the president’s lawsuit.
Skye Perryman, president and CEO of Democracy Forward, an advocacy group that filed an earlier brief, said in response to the dismissal: “This case was always a sham, and another ploy by the President to access taxpayer funds to line his pockets.”
Perryman vowed that her group would continue to fight the settlement.
Joseph Duggar is demanding to see his children after a no contact order was put in place following his child molestation arrest, Us Weekly can exclusively reveal.
Court records viewed by Us confirm that Duggar, 31, filed to amend the no contact order on Sunday, May 17, pleading that he be allowed to have contact with his own biological children.
The former 19 Kids and Counting alum was arrested in March on suspicion of lewd and lascivious behavior involving molestation of a victim less than 12 years old and lewd and lascivious behavior conducted by a person 18 years or older. A 14-year-old girl alleged that he molested her during a 2020 vacation in Panama City Beach, Florida, when she was 9 years old.
Duggar pleaded not guilty to child molestation following his arrest and was released on a $600,000 bond on March 31.
Courtesy of Kendra Duggar/Instagram
Part of his release conditions was that he’s not to have contact with the alleged victim or have any unsupervised visits with any minors under the age of 18, including the four children he shares with his wife, Kendra Duggar.
Us reached out to Joseph’s lawyer for comment.
The couple has been married since 2017 and had their son, Garrett David, in 2018, followed by their daughter, Addison Renee, in 2019. Their third child, daughter Brooklyn Praise, joined the family in 2021. While they have only publicly acknowledged their three kids, jail records showed that Joseph and Kendra, 27, actually welcomed a fourth child sometime before his arrest, according to People.
In the affidavit obtained by Us, Joseph’s alleged victim claimed that the former reality TV star touched her inappropriately on her thigh and over her underwear multiple times during a vacation. In an interview with a detective, the minor recalled feeling “confused” and “uncomfortable” during the alleged incidents. She further claimed that Joseph “apologized for his actions,” at which point the alleged abuse stopped.
Joseph Duggar’s release from jail has come with stipulations amid his child molestation case. Duggar, 31, has been ordered to have “no contact with the victim,” who accused him of sexually abusing her when she was 9 years old, according to online records viewed by Us Weekly on Wednesday, April 1. Additionally, he cannot have […]
Days after Joseph’s arrest, he was also charged with endangering the welfare of a minor and four counts of second-degree false imprisonment when Kendra was arrested on the same charges.
At the time, sources told Us that Kendra’s arrest had “nothing to do” with Joseph’s child sex abuse case in Florida.
“After his charge, they automatically do a home study if minors live there. They came to [Kendra’s] house,” the insider said. “Apparently, they had two rooms where the lock of the doorknob was on the outside instead of inside. They arrested her and took her kids for that, saying it’s evidence that she wrongly detains her kids.”
Kendra pleaded not guilty to the charges and was released on a $1,470 bond. She was initially ordered to have no contact with her alleged victims, but on April 17, a judge signed off on her lawyer’s request to have the order lifted.
Neither Joseph nor Kendra has publicly addressed the accusations against them, but their families have.
Joseph Duggar has entered a plea in his child endangerment case with wife Kendra Duggar one month after his arrest on child sex abuse charges. Joseph, 31, pleaded not guilty to endangering the welfare of a minor on Monday, April 27, according to court documents obtained by Us Weekly. The plea comes one month after […]
A spokesperson for Joseph’s parents, Jim Bob and Michelle Duggar, told Us that they were “heartbroken” over the allegations.
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“Right now, they are focused on loving their family and helping Kendra and her children during this difficult time. They are praying for the victim. They ask for privacy and appreciate the kind words and prayers offered by so many,” the statement from March 30 read.
Kendra’s family shared a similar sentiment.
“Our family is both troubled and heartbroken over the alleged actions committed by our son-in-law,” their post shared on Instagram read. “We are devastated for the young girl, a child who was courageous in every way to share her truth. We stand by her, both in support and prayer, and forever will.”
“Wheel of Fortune” is showing its patriotic side this summer with two weeks of USA-themed episodes in honor of America’s 250th birthday sponsored by Coca-Cola.
Titled “Drink In America Presented by Coca-Cola,” the themed episodes of the syndicated “Wheel of Fortune” will air nationwide the week of June 1 and again, “with added elements,” the week of June 29. The special editions of the Ryan Seacrest and Vanna White-hosted game show will invite “viewers to ‘drink in’ the spirit, sights, and stories of America through the lens of one of television’s most beloved shows.”
Per “Wheel of Fortune” producer Sony Pictures Television, the episodes will feature custom Coca-Cola integrations, like a branded wheel wedge that offers “iconic trips to beloved American cities,” including Los Angeles for July 4th celebrations, New York City for an exclusive Times Square ball drop, or Seacrest’s hometown (and Coca-Cola headquarters) in Atlanta.
As a bonus round prize, contestants will also have the chance to win a Jeep (another America250 sponsor).
At-home viewers can enter the “Drink in America Giveaway” for a chance to win a trip to an American National Park or to Universal Studios.
“’Wheel of Fortune’ has long been a staple of American viewing, and collaborating with Coca-Cola, one of the most globally recognizable brands, feels like a natural way to celebrate America250,” Sony Pictures Television game shows president Suzanne Prete. “Both brands have been part of the cultural fabric for generations, creating shared moments of joy and connection, and we’re honored to bring that spirit to life in a way that celebrates what makes this country so special.”
“Few brands are as deeply woven into American culture as Coca-Cola and ‘Wheel of Fortune,’” Coca-Cola trademark category vice president Stacy Jackson said. “As a signature partner of America250, we’re proud to celebrate this once in a generation moment by teaming up with ‘Wheel of Fortune’ to invite fans across the country to drink in the stories, places, and spirit that make America special. This collaboration is a celebration of that shared legacy—bringing America250 to life through pop culture, iconic destinations, and moments worth savoring together.”
The Coca-Cola and America250 integration for “Wheel of Fortune” was led by Sally Umsted, senior vice president of brand partnerships, licensing and experiences for Sony Pictures Television, game shows division.
Not since “It Follows” has there been a better PSA for sexual abstinence than Arthur Harari’s “The Unknown,” a disquieting body horror thriller where characters swap bodies after intercourse.
Of course, that comparison may make the film sound like it has more genre elements than it does, when Harari’s film, adapted from the graphic novel he wrote with his younger brother, “The Case of David Zimmerman,” is much more psychologically rattling, opting to leave you with dread burrowed so deep, the only way to be free is to self-flagellate.
Anchored by raw performances from Léa Seydoux and Niels Schneider, who play various permutations of open wounds, it thrives on its terror by committing so fully to its high-concept thrills. You may feel tempted to pinch your skin, to make sure you’re still in the right body.
Indeed, the film’s haunting staying power is in how Harari presents the story’s concept so plainly and without luster, as if our lives can become the very parable unfolding on screen. Through simple camera movements, Harari conveys the film’s themes without overstatement. We meet David (Schneider) in first-person POV as he drives and steps out of his mother’s car. Holding an old photograph, he’s dismayed to find that there’s a large apartment complex in place of where a house should be. He stares at the photo in his hand and the building in front of him, before driving away. It’s devilish foreplay for the dissonance to come, where discrepancy between the real and imagined, the past and the present, marinate in the same physical space.
He begrudgingly goes clubbing with his friends, and as he leaves, cinematographer Tom Harari’s camera zooms in on a negative photo of Seydoux’s character (we don’t know it at this point, but her name is Eva). It feels like our eyes are being pulled into her own, an apt sentiment for what follows. At the nightclub, David spots the same woman in his photo, and he follows her into the basement. The two have painful, protracted sex, which ends with them both wordlessly climaxing. When David wakes up, he finds himself trapped in Eva’s body. Horrified, he tries to track himself down while wrestling with the ramifications of this metamorphosis.
The prickly effectiveness of “The Unknown” is how it showcases how the rest of the world seems to be turned against you after you experience trauma. The familiar is rendered terrifying, and spaces of comfort seem pregnant with a violence we didn’t notice before. It’s that stripping away of familiarity, the transformation back into something strange, that makes the film so unsettling. Seydoux’s Eva, as David, sells this dazed cognizance. It’s easier to portray vociferous outrage than it is a stilted disbelief, and Seydoux’s face is piercing, calibrating her confusion accordingly once David realizes the extent of what’s happened to him.
There’s a sinister sense of discovery to these early body swap scenes as well, where David, in his new body, is in his apartment, as Harari often utilizes handheld cameras in a way that feels like we’re watching a documentary of a new species the camera has just discovered. Arthur Harari captures how swift and violent this swap is, and the madness that accompanies the realization of its permanence. Is it an entity à la David Robert Mitchell’s film? Is it a spiritual attack? A confirmation of simulation theory? David is as much in the dark about the theories as he is about the woman he’s swapped bodies with. He thinks that by locating his own body, he might get some answers, but the truth is far bleaker. Without spoiling too much, David discovers that he’s not a unique case, and that there are many walking this earth in the wrong body for far longer than him, and they’re no closer to finding answers.
With this new wrinkle, “The Unknown” switches to a more existential gear. Can we ever be assuaged of our pain, or is the best we can do in this life to find kindred spirits who empathize? Is it possible to have peace without acceptance? These questions are what make the film cut to the bone. As David said, being forced to interact with the world anew and become a stranger to his own body obliterates his sense of self. How much of who we are is tied to the corporeal?
When that’s lost, are we able to rebuild, or do we spend the rest of our days incomplete?
Where the film gets at its most devastating is when the sleuthing and investigations stop, and David and others who have had their bodies taken from them begin to wrestle with the fact that they may be stuck like this forever.
Early on in the film, David, in Eva’s body, cross-examines the various scenarios for what happened: wondering if it was all a dream or if it’s the result of a bad trip. One reading of the film’s drama is our collective inability to reckon with the senselessness and violence of life. David’s life was upended so quickly, and with no solution in sight, he’ll spend the rest of his life ruminating on that grief. How are we to live when we see ourselves become the passenger to our lives and not the driver, to see the world cruelly and unjustly spinning on, while you’ve experienced such a profound violation? As Harari explores, sometimes it’s more tempting to die than to face the unknown.
How to resurrect yourself and carry forward, head held aloft, after the biggest kill shot in hip-hop history? One way might be to hone a single, perfect statement—something narrow and vicious, a shiv to the ribs of the world that cheered your demise as your rival threw a Cheshire-Cat grin at you from the Super Bowl halftime show.
That might have been wise, but Drake has never been wise—or concise. Drake’s career has been predicated on the belief that there are endless ways to rephrase and restate the same two or three vague notions that have been swimming around like goldfish in his brainpan since before the iPhone was introduced: 1) Fame is hard, mostly because it indulges your worst tendencies, which you can always then blame on the heavy burdens of fame, and 2) Why do none of these conniving women and despicable hangers-on trust me?
No score yet, be the first to add.
So here comes two and a half hours of Drake music, spread across three distinct albums that trifurcate his persona: the aggrieved ICEMAN, the lovelorn HABIBTI, and the club-ready MAID OF HONOUR. There was probably no other way for Drake to blast himself out of purgatory: His ideal forum has always been the drunken voice note or the self-justifying Notes app screenshot. He never met an uncomfortable silence he couldn’t smother, and across his three new studio albums, he girds his loins for the longest filibuster of his existence.
Today, we’re only going to be looking at ICEMAN, both for the sake of honoring each distinct project and because we have limited breath to draw here on planet Earth. The cover invokes Michael Jackson’s iconic sequined glove—not usually a heartening sign of an artist readjusting his perspective and seeking firmer ground. But really, what would we do, as listeners, if the character Aubrey Drake Graham played in his music ever encountered “perspective”? He can’t. We count on him not to.
The problem is, all of this insight-free grousing used to be fun, and Drake’s music—his rap music, at least—hasn’t made prolonged contact with fun in a decade. Instead, every new Drake project is a buffet of humiliation, mortification, and self-serving delusion. On ICEMAN, we get a few teaspoons of nourishing hilarity, but mostly it’s a long platter of the cold, lumpy self-pity that made us push our chairs back in the first place.
On “Make Them Pay,” he’s still complaining about inflated streaming numbers. And on “Firm Friends.” And on “Dust.” He won’t leave the DSP stuff alone, and every time he mentions it, it invokes the same sinking feeling as when our in-laws won’t stop bringing up the same conspiracy theory at the dinner table. “I’m fightin’ the man, not suin’ the rapper,” Drake insists on “B’s on the Table,” referencing his dismissed lawsuit against UMG. This is an awkward position to take when he himself is facing multiple allegations of bot-farming and stream inflation.
The ghosts of Hollywood haunt the Cannes Film Festival, which kicked off Tuesday under a moody sky. That evening, when attendees streamed onto the world’s most famous red carpet for the opening ceremony, they did so under a looming billboard of the festival’s official poster. Every year, this star-struck event selects one or more cinematic icons to represent it, and for 2026 it chose Geena Davis and Susan Sarandon striking a pose in Ridley Scott’s 1991 feminist western, “Thelma & Louise.” The women look tough, resolute, sexy. They are also about to drive off a cliff.
As an emblem of the glory of cinema and Cannes itself, “Thelma & Louise” is certainly a doozy; it’s also a reminder of how inextricably connected to Hollywood the festival remains. That’s been true throughout the event’s history, no matter how many actual American movies of any kind are in the official selection. This year there are relatively few, which means that there aren’t many globally recognized stars to feed the needs of the ravenous media here. One splashy exception: At midnight on Wednesday, the festival held a 25th anniversary screening of “The Fast and the Furious,” the 2001 street-racing fantasia from Universal Pictures that revved up the franchise. Les stars came out that night or at least Vin Diesel did.
Despite the vroom-vroom of fast, furious engines, the festival has gotten off to a quiet start. Each year, it strategically spreads its offerings across 12 jammed days, often waiting a tick before unveiling the most hotly anticipated titles. That said, even when the movies don’t blow the roof off, their quality remains consistently above average. The low-key drama “Nagi Notes,” from the Japanese director Koji Fukada, centers on the emotionally complicated reunion of former sisters-in-law and is anchored by its appealing leads: Shizuka Ishibashi as an architect, Takako Matsu as a sculptor. The French drama “A Woman’s Life” is similarly low-key if less formally ambitious. Directed by Charline Bourgeois-Tacquet, it focuses on a middle-age surgeon who’s carved out a successful life that hasn’t been defined by children or romantic partners. It’s a perfectly pleasant movie — its star, Léa Drucker, is always worth watching — though it’s hard to believe that it would be in the main competition if it wasn’t French. Cannes is the most prestigious event of its kind, but it’s also an important showcase for French cinema and, as crucially, as a bulwark against Hollywood’s global domination.
There’s little quiet to be found in Jane Schoenbrun’s “Teenage Sex and Death at Camp Miasma,” a boisterous American comedy about sex and death, yes, as well as identity, bodies, flesh, fluid and the liberating ecstasies of cinema. Kris (a winning Hannah Einbinder, from the TV series “Hacks”) is a young filmmaker hired to revive a defunct slasher franchise. Hoping to crack the remake code, she seeks out one of original film’s stars, Billy (a vamping Gillian Anderson), a turban-wearing recluse who’s embalmed herself in her past like a Z-movie Norma Desmond. Stuffed with cinematic allusions and severed body parts, the movie is sweet, sincere and fitfully, goofily amusing.
The festival already has one incontestable competition standout in “Fatherland,” the latest from the Polish filmmaker Pawel Pawlikowski. Set in Germany shortly after the end of World War II, this perfectly cut jewel of a movie revisits an unexpectedly fraught trip that the writer Thomas Mann (Hanns Zischler) made to his ruined homeland in 1949. Pawlikowski has taken some fictional liberties; Mann made the journey with his wife, Katia, but here is accompanied by his attentive daughter Erika (the great Sandra Hüller). The power of the movie creeps up on you with its emotional restraint, the beauty of its black-and-white images and the delicacy with which Pawlikowski explores the devastations trembling under the faces of both father and daughter. You’ll be hearing a great deal more about “Fatherland” when it opens.
That there are no big studio movies in the main competition — the high-profile section in which titles vie for the Palme d’Or — has received much attention from the American trades, never mind that, like the Oscars, Cannes invariably mirrors the larger forces shaping the industry. In April, after the festival announced its lineup, The Hollywood Reporter asked if the absence of the big studios meant that they had a “growing fear” of festivals. Thierry Frémaux, the Cannes artistic director, tartly responded by suggesting the lack of studio movies was a loss for Hollywood: “When the studios are less present in Cannes, they are less present full stop.” In truth, the big American studios have long been leery of this event. “Cannes is the kiss of death,” a Paramount executive said in 1980. “It means that a film is artistic.”
There are sensible reasons that some companies skip Cannes, and avoiding potentially damaging negative notices is a significant one. I’m not the only critic who remembers the boos that hit Richard Kelly’s “Southland Tales” like a tidal wave when it showed here in 2006. At the same time, you can’t program something that doesn’t exist, and if there aren’t a lot of studio movies here, it’s partly because there aren’t all that many studio movies period. Last year’s release of “Sinners” and “One Battle After Another,” both critical and commercial hits from Warners, was a near-anomalous event in a mainstream sector now largely dedicated to recycling canned goods.
Among the American directors in attendance this year are Ira Sachs, an independent filmmaker whose “The Man I Love” stars Rami Malek as a gay performance artist in the New York of the late 1980s. It’s in the main competition as is “Paper Tiger,” another New York drama set in the 1980s, this one from the writer-director James Gray and starring Adam Driver, Scarlett Johansson and Miles Teller. Gray is a festival favorite — “Paper Tiger” is his sixth movie in the main competition — and tends to connect more with critics than with the public. He’s left an imprint on other filmmakers to judge from “Butterfly Jam,” a messy Gray-esque crime saga set in New Jersey from the Russian filmmaker Kantemir Balagov; it’s in Directors’ Fortnight, one of several separate programs that run during Cannes.
“Paper Tiger” will be released in the United States by Neon, an American movie company that has grown exponentially in size and international muscle in recent years. It released both “Anora” and “Parasite,” each of which won the Palme before going on to win the Oscar for best picture. Neon has nine movies at Cannes this year, including “All of a Sudden,” from the Japanese writer-director Ryusuke Hamaguchi, best known for “Drive My Car.” His new movie largely takes place in France, and while it hasn’t yet screened, word on it is already very strong. It will be up to the main jury — led this year by the South Korean filmmaker Park Chan-wook — to decide just how strong.
The ascension of Neon is another index of how the American movie industry — and that amorphous entity that we insist on calling Hollywood — has changed. The old studio model was committed to a profitable and popular diversity of entertainments (westerns, romances, comedies, war movies), some from directors who were deified as auteurs by French film critics. Today, by contrast, the American movie landscape can be roughly divided into two separate and unequal segments. On one side of the divide are the blockbusters that dominate the box office; on the other is everything else, from the negligible to the essential, from the trashiest genre flicks to the most ecstatically received art films.
Cannes has more or less adapted to these changes, but the rise of the Hollywood blockbuster means that the festival has needed to look beyond the major studios for new American auteurs. That it has continued to do so by showcasing filmmakers like Sean Baker, the writer-director of “Anora,” is a testament to the festival’s savvy as well as to the medium’s vitality and power of regeneration.
The emphasis at Cannes on old American movies can sometimes seem like dusty nostalgia, but it’s both commercially shrewd and fundamentally idealistic. The major studios aren’t what they once were, but — as the continuing commercial exploitation of dead stars like Marilyn Monroe prove — Hollywood and its ghosts continue to enthrall the world. If nothing else, Cannes knows that holding onto the past is one way to keep faith in the future.
The ACDC Duet Xchange – a riveting new platform for choreographic innovation – is set to light up the Mother City Theatre this weekend.
The bi-annual competition will be presented by the Anderson Carvalho Dance & Choreography (ACDC) at the Homecoming Centre’s Star Theatre on Friday, May 22 and Saturday, May 23.
This curated programme will focus on collaborative exchange as well as high-stakes competition, placing a new generation of choreographic voices alongside established creators.
This initiative has been established to improve the nation’s contemporary dance movement by placing choreographers, collaboration and new work in the spotlight.
The inaugural event received over 90 entries received this year, showcasing the depth of talent as well as the need for opportunities for original dance-making in South Africa.
ACDC Duet Xchange is determined to celebrate the art of the duet, which is a form that is intimate, immediate and deeply human.
The opening night, DXCHANGE 1, will unfold as a collaborative platform bringing together leading voices in contemporary dance. Audiences can expect contributions from Janine Booysens, Marlin Zoutman, Deborah McFadden and Anderson Carvalho, creating a shared creative space that celebrates artistic exchange and innovation between local and international practitioners.
DXCHANGE 2 will shift into a performance and competition platform, where shortlisted choreographers present newly created duet works before a live audience and judging panel. Finalists include Aaghier Isaacs, Nicolas Laubscher, Awonke Mtonjana, Michael Halim, Mbongeni Moyake and Lusindiso Dibela, alongside guest companies Gain Collective and Oorleef Dance Project. Winners of the ACDC Duet Xchange will receive a R30 000 Jury Award and the opportunity to stage a new work at ACDC Dance Intersect 2027, while the Audience Award winner will walk away with R15 000 – a significant investment into the future of choreographic development in South Africa.
Curated with intention, judged independently
While ACDC Duet Xchange is curated by Carvalho, final award decisions will be made by an independent jury. This is to ensure a fair and objective adjudication process.
In selecting the finalists from over 90 submissions, Carvalho was drawn to works that pushed beyond form into meaning.
“I was looking for a distinct movement language -something that moves beyond geometry into feeling,” he explained.
Carvalho added: “Work that is contemporary but grounded. Work that tells a story through the body – where imagery, diversity, and narrative are carried clearly through the movement. The duet demands honesty, and I was looking for artists who could hold that truth.”
Carvalho also believes that this is a platform for the future.“This is about creating space,” he said.
“We are building a platform where choreographers are empowered to take risks, collaborate meaningfully and be seen. The duet is one of the most honest forms in dance – it demands connection, vulnerability and precision.”
Spider-Man: Brand New Dayofficially revealed a third Spider-Man costume for Tom Holland’s Peter Parker, and it is inspired by a suit taken from Andrew Garfield’s version of the webslinger. Peter Parker is set to have a fresh start in Brand New Day as he rebuilds his life in a world that has completely forgotten he ever existed. Part of his new beginning is the creation of brand-new Spider suits, now that he has lost access to Tony Stark’s technology at the end of Spider-Man: No Way Home.
The “Home” trilogy of Holland’s Spider-Man featured eight distinct suits, including the homemade suit, the Stark Tech suit, and the iconic Iron Spider suit seen in Avengers: Infinity War and Avengers: Endgame. As part of the “Day” wave of movies, Spider-Man: Brand New Day is set to feature at least three Spider-Man suits, as shown in the official Practical Production featurette from Sony Pictures.
At the 0:07 mark of the featurette, Spider-Man: Brand New Day officially revealed Tom Holland’s Spider-Man wearing a winter-adapted outfit layered over the base suit.
Sony Pictures
Holland’s new winter variant suit in Brand New Day draws direct inspiration from the everyday-hero look Andrew Garfield’s Peter rocked during a montage sequence in The Amazing Spider-Man 2.
Garfield wore this during a memorable montage sequence where Peter was sick and under the weather. Garfield’s Spider-Man improvised a quick stop on a store burglar while clearly battling a bad cold.
Sony Pictures
Watch the official Spider-Man: Brand New Day featurette below:
Spider-Man: Brand New Day is set to premiere in theaters on July 31.
Spider-Man: Brand New Day Unleashes 3rd Confirmed Spider-Man Suit
While only briefly seen at the end of No Way Home, Peter built the final swing suit from scratch using a sewing machine, evoking a more grounded look with real fabric and a large black spider emblem on the chest.
The merch revealed that the final swing suit will be badly damaged at some point in the movie, indicating that Peter has used it numerous times to battle various villains and criminals. This suit would eventually evolve into Peter’s main costume for the film.
While the final swing suit appears to be more grounded, Brand New Day‘s main costume for Peter has an unexpected upgrade with the inclusion of an active heads-up display, a feature that became a fixture in his previous costumes in the “Home” trilogy due to Tony Stark’s technology.
Given that the MCU’s Peter is a genius, this upgrade is no surprise, and his resourcefulness may have come in handy with building more features for his lone wolf arc in Brand New Day.
Peter Parker’s Winter Spider-Man Suit
Sony Pictures
Peter Parker’s winter Spider-Man suit in Brand New Day is the third distinct costume of the MCU webslinger in the movie. The suit includes a puffer vest, beanie, and gloves layered over the Final Swing suit.
The layered winter variant gave fans a strong hint of Peter’s struggles without nanotechnology and other Stark Tech upgrades in his suit while battling the harsh New York winter conditions (on top of fighting criminals and other dangerous villains).
What makes this suit stand out from Andrew Garfield’s version is that Holland’s Peter will use this winter variant in outdoor scenes rather than being confined to contained locations. It reinforced the idea that Peter faces real-world struggles while serving as an anonymous hero in a city that has completely forgotten who Peter Parker is.
DC Studios’ Lanterns is setting the stage for James Gunn’s Man of Tomorrow, but not exactly how fans expected. This August’s HBO series will introduce two key Justice League superheroes, Kyle Chandler’s veteran space cop Hal Jordan and his rookie-in-training, Aaron Pierre’s John Stewart. The more youthful Green Lantern will officially return to the DCU next July in Man of Tomorrow, the Superman sequel that pits Earth’s heroes against Lars Eidinger’s Brainiac.
Entertainment Weekly had the exclusive scoop on DC Studios’ Lanterns and offered the surprising confirmation that “the story begins in 2016.” But the DCU series isn’t quite as simple as that, as Lanterns will balance the investigation of a shooting in 2016 with “something else” happening in 2026.
The report confirmed that Jordan will be investigating a shooting in a small rural Nebraska town, which he suspects is an “alien incident,” when he is forced to bring along Stewart, whom he “still reluctantly mentors two months in.”
Up until now, Lanterns was believed to take place in the modern-day DCU, aligning with projects like Superman, which are set in or near their respective release years. Assuming Man of Tomorrow is set after Lanterns‘ 2026 storyline, that means Stewart will have been a Green Lantern for over a decade by then, making him a highly experienced space cop, not the relative newbie that many were expecting.
It seems something is off about Stewart’s recruitment, as, while “the ring always chooses the Lantern,” he was uniquely selected by the Guardians of the Universe. The former Marine was chosen as a “backup” Lantern in the event that anything happens to Jordan (who was trained by the DC supervillain Sinestro).
Lanterns’ Timeline Placement Changes the DCU’s Justice League Dynamic
DC
Interestingly, the DCUestablished that David Corenswet’s Superman was active for three years before his 2025 blockbuster debut, placing his start around 2022. That means John Stewart had been a Green Lantern for roughly six years before Superman entered the heroic fray, making him the far more experienced hero.
Looking ahead to the DCU’s future, it seems Superman will have been one of the later additions to this universe, at least as far as the Justice League is concerned. Fans already know that Batman will have a full Bat-Family in The Brave and the Bold, suggesting he has also been active for at least 10 to 15 years.
Hal Jordan stated in Lanterns‘ teaser trailer that he is the “only human” member of the corps, sparking confusion, as fans already know that isn’t the case, since Nathan Fillion’s Guy Gardner was already a Green Lantern in Superman. However, it now seems likely that Gardner was simply recruited after Stewart, sometime after Lanterns‘ 2016 storyline, but before the events of Superman.
Stewart and Gardner will officially cross paths in Lanterns, while recent reports have indicated that both Green Lanterns will feature in Man of Tomorrow. Just as Lanterns is ensuring that Jordan and Stewart’s powers are distinct, James Gunn will seemingly have the same task next year with the latter and Gardner.
Keeping up with an endless pile of streaming subscriptions can feel almost like a second job–not to mention how expensive it gets to pay for them all. That’s why Crunchyroll’s limited-time subscription deal during its annual Ani-May event is such a steal. You can snag three months of ad-free access for less than $10 in total to access popular shows like Dr. Stone, Solo Leveling, Witch Hat Atelier, Jujutsu Kaisen, and more.
Crunchyroll’s deals include two of its tiers: Fan and Mega Fan. Fan, which normally costs $10 a month, is $1.99 for the first three months when you sign up before May 26. This tier includes no ads, streaming to one device, offline viewing, 5% off select items in the Crunchyroll store, and access to new episodes shortly after they air in Japan.
The Mega Fan tier is normally $14 a month, but you get this one for $3 per month for three months when you sign up during May. This tier gets you everything from the Fan tier and adds the ability to stream to three additional devices. It also bumps the discount at the Crunchyroll store up from 5% to 10%. But maybe most impressive of all, it grants access to Crunchyroll’s Game Vault, which features everything from shooters to visual novels, all playable on mobile devices.
I grew up thinking war movies were all these rah-rah escapades that glorified clean uniforms, flag-waving heroes, and clear-cut victories. And then I saw Oliver Stone’s Platoon.
That movie shook me to my core and showed me a war that had no heroes and a loss of life that felt like there could never be another victory.
Platoon was released in 1986 and wasn’t just another action flick. That’s sort of what I thought when I rented it as a young person, but I was very wrong; it was a seismic shift in how Hollywood handled war in general, and a total deconstruction of the hits I had already seen.
When the American Film Institute (AFI) updated its 100 Years… 100 Movies list, Platoon solidified its place in history at #86. To this day, it is one of the most visceral experiences ever put to celluloid.
Oliver Stone had firsthand experience in battle. He was a veteran of the Vietnam War himself, so Stone brought a level of “dirt-under-the-fingernails” authenticity that had been missing from the genre at the time.
Stone saw a lot of horrors at war and brought them home and turned them into this story. For filmmakers, this is the ultimate lesson in Point of View.
When you watch this movie, you can feel the intimacy in the direction.
Stone doesn’t look at the war from 30,000 feet; he keeps the camera low, in the mud and the rain, making the jungle feel less like a setting and more like an antagonist.
We’re right there with the soldiers trying to discern enemies and shadows.
And trying to figure out who on our own side will tear us apart.
Elias vs. Barnes
What sets this movie apart from all other war movies is that we have a central story of two Americas fighting each other.
Stone famously structured the film as a battle for the soul of the protagonist, Chris Taylor (Charlie Sheen).
On one side, you have Sergeant Elias (Willem Dafoe). He’s the “good father” who clings to his humanity. On the other hand, you have Sergeant Barnes (Tom Berenger), who’s the “scarred father” who has let the war turn him into a monster.
Chris has to choose between the two, and believe it or not, there are pros and cons to each side.
But he knows neither can really keep him safe from the enemy.
And yet…who’s more dangerous than the man next to you?
Platoon shows us that the most dangerous enemy isn’t the one in the bushes; it’s the one wearing the same uniform as you. It’s a masterclass in internal vs. external conflict that keeps the stakes sky-high even when no shots are being fired.
At the center of this movie is one of the most iconic shots of all time. It’s of Willem Dafoe running out of the jungle, falling on his hands and knees as bullets riddle his body.
It’s not just a cool shot; it’s a wordless encapsulation of the whole theme of the movie: loss and the death of innocence. By pairing Robert Richardson’s sweeping handheld work with the haunting “Adagio for Strings,” Stone used diegetic and non-diegetic sound to turn a combat scene into a religious experience.
We’re seeing a guy transported to heaven after going through hell. And all the rest of the soldiers watching see death as this release, and know they’re in the worst place imaginable.
As filmmakers, we often over-rely on dialogue to explain the stakes.
Platoon reminds us that a single, perfectly framed image can tell a whole movie’s worth of story in five seconds.
Why You Should Care
I think everyone should try to know about great movies. And if you haven’t seen everything on the AFI list…you should.
Oliver Stone was a pioneer who used his own trauma to redefine a genre. He moved away from the “John Wayne” style of heroism and leaned into the “Revisionist War Movie.”
I love the Roger Ebert review of the movie, where he talks about the depth and the actual anti-war stance we get here with no heroes.
Stone is confronting war crimes, internal rot, and the sheer randomness of death without offering the audience an easy way out.
So, if you’re looking to level up your storytelling or want to see why people are still talking about this movie, check it out.
Summing It All Up
What do you think? Does Platoon still hold the crown for the best Vietnam film, or has Full Metal Jacket or Apocalypse Now taken the lead in your book?
How do you reconcile the morality tale at the center of the movie?
Hargitay, as previously announced joins the production on Tuesday, May 26, after original star Daniel Radcliffe concludes his February 21 to May 24 run as the play’s sole scripted character.
Ross will perform in the Broadway play from Tuesday, July 7, through Sunday, August 9. That engagement marks the fourth extension of the show at the Hudson Theatre.
The casting and the extension were announced today by Second Half Productions, Seaview, and Gavin Kalin Productions.
Every Brilliant Thing is “an exhilarating and heartwarming play, in which its central character looks back at their life and the glimmers of hope that carried them through—all told through a list of every wonderful, beautiful, and delightful thing that makes life worth living. Written by Olivier Award nominee Duncan Macmillan (People, Places and Things) with Jonny Donahoe, and directed by Olivier & Tony Award nominee Jeremy Herrin (People, Places and Things; Wolf Hall), Every Brilliant Thing is a one-of-a-kind solo show that creates an electric, communal energy between performer and audience, no matter the venue.”
“I’ve been a fan of Tracee’s work for a long time and knew her quick-wit, intelligence and emotional depth would be the perfect fit for Every Brilliant Thing,” said Macmillan. “We are beyond thrilled that she has chosen to make her Broadway debut with us this summer. We can’t wait to welcome her to the Hudson Theatre, and for audiences to experience her unique take on the play.”
In the coming year or so, there’s going to be two prestige streaming series set during major international film festivals. As we learned fairly recently, season four of The White Lotus will take place during the Cannes Film Festival, with production of the season taking place during the actual festival and is expected to use the festival’s real red carpet as a filming location. On the other hand, The Studio and its Madonna-biopic-within-a-show are heading to Venice, though Seth Rogen’s show isn’t going to film at the actual festival given the Apple TV series’ propensity for oners.
“We recreated the entire festival ourselves,” Rogen tells Variety during, funnily enough, Cannes. Commenting on how the series is built around long, continuous shots, Rogen continues, “We need to literally control every element of everything that’s in the frame. Everyone in our shot, from background actors to supporting actors, have to be placed in very specific ways so we can reset and do it again.”
“We have a keen eye to make the show as cinematic and romantic as we can in this old Hollywood way,” says Rogen elsewhere in the interview. “Venice is one of the most beautiful cities in the world, and it’s a place I’ve longed to film. We scouted the festival last year, and we thought, ‘This would be a fun scene to dive into.’”
It’s unclear when the second season of The Studio might actually debut on Apple TV; the season was filming at least as recently as last month, and Rogen has been pretty upfront about how the death of Catherine O’Hara in January required them to readjust their initial plans. Season one of The Studio premiered on Apple TV in March 2025.
Last season, Tracker remained the highest-rated scripted show in CBS. Will it continue to be a ratings winner this time around, as the show continues to lose supporting cast members? Will Tracker be cancelled or renewed for season four? Stay tuned.
An action drama series, the Tracker TV show stars Justin Hartley and Fiona Rene. Brent Sexton and Jensen Ackles recur. The story revolves around Colter Shaw (Hartley), a lone-wolf survivalist who roams the country with his Airstream camper. He uses his expert tracking skills to help private citizens and law enforcement solve all different kinds of mysteries for the rewards he receives. A lone wolf, Colter helps others while dealing with a family tragedy from his past that still affects his present. Colter is aided by Reenie Greene (Rene), a hotshot lawyer who helps keep her client out of trouble.
Nielsen Ratings The Nielsen ratings are typically the best indication of a show’s chances of staying on the air. The higher the ratings, the better the chances of survival. This chart is updated as new ratings data becomes available.
Note: If you’re not seeing the updated chart, please try reloading the page or view it here.
For comparisons:Season two of Tracker on CBS averaged a 0.49 rating in the 18-49 demographic and 8.00 million viewers.
Note: These are the final national ratings, including all live+same day viewing and DVR playback (through 3:00 AM). While these numbers don’t include further delayed or streaming viewing, they are a very good indicator of how a show is performing, especially when compared to others on the same channel. There can be other economic factors involved in a show’s fate, but typically the higher-rated series are renewed and the lower-rated ones are cancelled.
Your Ratings (aka Viewer Votes) Here’s your chance to rate episodes of Tracker yourself. You can see how this show compares to others here.
What do you think? Do you like the Tracker TV series on CBS? Are you glad it has been renewed for a fourth season?
Italy‘s MIA will this year include tracks on animation series and an international financing hub.
The Rome market and conference, held this year on October 19-23, unveiled its highlights today at a press conference at the Cannes Film Festival, where minister Lucia Borgonzoni was among those speaking to delegates and press.
New for this year’s event will be the Animation Series Gap Financing Market and the European Investment Hub, which will aim to facilitate access to international production financing. There will also be a focus on experiential networking, along with the regular conference talks and the annual Co-Production Market & Pitching Forum for film, docs and drama series. Various content showcases will also take place.
The Animation Series Gap Financing Market will seek to connect partners on projects, accelerate financing on animated series and stimulate production of animated content with international potential.
The European Investment Hub will be a two-day platform for talks around European and international financial instruments that support production. MIA said it would “offer European and international operators a clear and concrete view of the available instruments such as co-production funds and equity investors, and of the ways to access them.
A pair of industry bodies, ANICA (Association of Film, Audiovisual and Digital Industries) and APA (Audiovisual Producers Association), promote MIA, which is led by Gaia Tridente.
“We want MIA to be a place where all professionals can find ideas and opportunities to build relationships and international business that no other context offers in Italy and that is on a par with the few other major events worldwide,” said ANICA President Alessandro Usai.
“Our mission is to make the market increasingly aligned with the dynamics of a constantly transforming global context, guaranteeing the international stage our industry deserves,” added Chiara Sbarigia, APA’s chair.
An investigation released on Tuesday by the New York Times alleges that Israel has used the ongoing Eurovision song contest to “burnish the country’s flagging reputation and rally international support.” The findings come at a time when many countries enrolled in the competition have openly denounced Israel’s occupation of Gaza. Governments are not supposed to interfere with Eurovision voting, the campy singing contest organized annually by the European Broadcasting Union, but the Times discovered that Israel spent at least $1 million to promote its singer in the contest, in an effort to raise the opinion of the country during the current Palestinian genocide. Some of the aforementioned funds came out of Prime Minister Benjamin Netanyahu’s “hasbara” office, which deals in overseas government propaganda—and is in direct violation of Eurovision policy.
Concerns about the Israeli government’s involvement in Eurovision arose after last year’s contest, when the country pulled out a shocking second-place finish despite intense global disapproval of its actions in the Middle East. The country also took home silver in 2024, when records show they spent $800,000 on “vote promotion.” An analysis this week, also conducted by the Times, showed that just a few hundred individuals can swing some countries’ popular votes, meaning Israel’s guerrilla marketing campaign could have shaped the outcome. Buying ads is not illegal, but, per the Times’ analysis, no government has gone to as great or as controversial lengths as Israel, especially during a time when the country is so globally unpopular.
After Israeli performer Doron Medalie won in 2018, the country decided that Eurovision was a good investment and increased spending. Netanyahu himself got involved in 2025, encouraging Israelis to “vote 20 times!” for their singer Raphael—the maximum number of votes per individual allowed that year. Multiple European pro-Israel groups have shared his message. In response to the Times’ questioning of these tactics, Medalie stated, “Everybody is jealous and triggered because Israel is achieving great results.”
The results are legitimate, and there is no evidence that Israel used bots to manipulate the vote. However, scrutiny over the country’s involvement in the contest has grown in recent months, as Spain, Ireland, the Netherlands, and Slovenia all boycotted the event. After last year’s competition, some countries either demanded that voting data be revealed or called for an external investigation. A promised review by the EBU never emerged in full. This year, the Eurovision rules have been changed so that individuals can vote only 10 times for their preferred singer. Several musicians advocated for an outright boycott of the event, but as the competition is now in full swing—and Israel firmly entrenched in it—how the country’s influence campaign will fare remains up in the air.
If the Noble Prize winning writer William Faulkner had set out to write a picture about a deadly pair on man-panties, he would still have had to struggle to match the insane greatness of Killer Thong, the astounding Canadian WTF gimmick party movie directed by Reno Anatasio and written by Anastasio and Shawn Doucette. Two male strippers, Cashier (Shawn Doucette) and Old Timer (Junior Lirette), have been hired by Debbie (Jennifer Campbell) to deliver a birthday gram to Alex (Rebecca Ambrosino). The two show up, drop britches and wave their cheeks in front of the party for the girls. Debbie is grinning and snapping Polaroids, Julie (Cynthia Taylor) and Mandy (Lelesha Railsback) are also having a ball, but Alex is freaked to the point to where she passes out.
“The skulking man-panties float through the air, breathing heavy as it hunts its panty prey.”
In the aftermath of the party, the leopard print thong that Cashier stuffed and wiggled his s**t into comes to life and starts stalking Alex and her friends. The skulking man-panties float through the air, breathing heavy as it hunts its panty prey. Bolts of electricity ripple around the flying a*s floss, allowing it to hypnotize its victims with its disembodied bulge. Women are frozen in their tracks, locked in a scream while the thong flies into their open mouths and electrocutes them. Alex girds herself with a novelty sword and a sports helmet to fight the floating ball-hugging horror…
The next big internet challenge is to get really stoned while watching Killer Thong, as it will transform your fun gathering into a mind f**k blood orgy of happiness. It the kind of ultimate party movie that could only come screaming out of the indie sphere. By the end credits, every angle of your intoxication will be polished to a chrome gleam. It gets down to the brass panty tacks right away, fulfilling its homicidal banana hammock promise fully. But it gives you so much more on top of that. Right from the Dukes of Hazard polyphonic flip phone ringtone, Killer Thong revels in a turn-of-the-century analog landscape. All of this nostalgia chow will feed many folks’ beer-born sentimentality as they chug their way through. Those that are baked like a cake will delight in the drawn-out sequences with weird repetitions, similar to the best of Kids in the Hall and Tim & Eric.
The 64-year-old veteran actor revealed he had been having symptoms as far back as when COVID first hit, leading him to wonder if the pinched nerves and twitches he was experiencing may have been the result of a stroke.
Speaking out on “The Story Is with Elex Michaelson” alongside his fiancée, fellow actor Erica Tazel, Andres confirmed he was finally diagnosed in 2025.
“I am a person living with ALS,” he said. He added, “It’s been humbling but there’s… Elex, there’s also something in the fact that I walked into a family of very caring people I did not know a year ago — the cliché family, but they have not let us miss a step in terms of care, the attention, the awareness and the ability to get me here today.”
Tazel will step into the role of his caregiver.
ALS causes increasingly weakening muscles, slurred speech, and, in its final stages, near-total paralysis. There is no cure.
Some patients succumb to ALS very quickly, while many others live three to five years. There are cases of patients living for decades with the disease, including physicist Stephen Hawking.
ALS is often referred to as Lou Gehrig’s disease, after the baseball great who died of it in 1941.
Other famous names who have died of ALS include Eric Dane, Roberta Flack, “SpongeBob SquarePants” creator Stephen Hillenburg, and playwright Sam Shepard.
Family can be loving, annoying, complicated – and it can be all of the above, all at the same time. And it can leave you with trauma. French writer-director Christophe Honoré’s (Marcello Mio, The Beloved) new film, Orange-Flavoured Wedding (Mariage au goût d’orange), is taking us back in time to explore a French family in all its dimensions.
And it does so with an ensemble cast full of established and rising French names. Adèle Exarchopoulos, Malou Khebizi, Paul Kircher, Vincent Lacoste, Nadia Tereszkiewicz, Alban Lenoir, Myriem Akheddiou and Noée Abita are among the stars of the movie. The cast also includes Xavier Lacaille, Saadia Bentaïeb, Victoire Du Bois, Jules Sagot, Joann Brezot, Prune Bozo, Ji-Min Park and Andranic Manet.
“The Puig family has seven children. And today is the wedding of the youngest: Jacques. It is March 1978 in the suburbs of Nantes. The father is not attending the wedding; he has been banished from the family. The brothers and sisters, however, are all there, happy to be reunited. Jacques is marrying Martine. For the two of them, it’s a marriage of love. But can love heal the wounds of childhood?
Orange-Flavoured Wedding, for which THR can now debut an exclusive clip, world premieres in the Cannes Film Festival‘s Cannes Premiere program on Wednesday, May 20.
Honoré wrote and directed the film, with Jeanne Lapoirie in charge of the cinematography and Chantal Hymans doing the editing. Sales are being handled by Pyramide International.
“I feel as though I’ve known this film my whole life. Like a long-time friend whose face and voice are familiar to me. Even before shooting it, it was already there, diffused through every book I’ve written, every film I’ve made. I don’t feel like I directed it, but rather that I revealed it,” Honoré notes in a director’s statement. “Emotions pass from one person to another, shifting, transforming, connecting as much as they fracture.”
How autobiographical is the film? “It’s true that I know this family well. There isn’t a single character in this film whose date of birth I don’t know—and for some, whose date of death I don’t know either,” the auteur tells THR. “But I’m still hesitant to call this film autobiographical. First, because this film isn’t about me, but about a group of people about whom I don’t claim to know the whole truth. Second, because I wrote a screenplay that, for the course of a single day, allows these people to live a life that escapes my memories.”
Honoré had previously worked with Lacoste and Kircher and put together an ensemble cast full of rising, and known, talent. “That was one of the initial goals of this project: to assemble a troupe of young actors whom I would get to know,” he explains. “I sought to bring together a group of very different people who were, in a sense, united by the affection I felt for them. Before filming, we rehearsed a bit together. I told them the story of my family. I taught them ballroom dances: Paso Doble, Tango…”
Christophe Honoré
Courtesy of Leolo Victor Pujebet
But during the shoot, Honoré allowed them to follow their hearts and instincts. “On set, I let them live their own lives,” he tells THR. “I had decided that whatever they did, they now knew more about their characters than I did.”
Family is a recurring theme in the auteur’s films, and in convey a general idea, and in Orange-Flavoured Wedding, he looks to capture a mood and convey a broader idea. “I wanted the focus to be on how emotions flow between the members of a group – how the grief of one character is embraced by the entire group. The same goes for love and violence,” shares Honoré. “What interested me was constantly focusing on how the characters weave and reweave the bonds that unite them. This family is marked by tragedy. Their childhood foreshadows the catastrophes of their adult lives, but they persevere despite everything; they are valiant and courageous, together. It is when they are separated from one another that fate strikes them.”
In case you are wondering where the film title comes from, it is a reference to an American drink that makes a cameo in Orange-Flavoured Wedding and whose brand is still known today. Also mentioned in the film is the death of French singer Claude François. Both, the drink and the singer, are there for a reason.
“It so happened that on the afternoon of my uncle Jacques’s wedding, we heard the news of Claude François’ death,” Honoré tells THR. “Ever since then, whenever I hear one of his songs – or drink the orange-flavored beverage mentioned in the film – my entire childhood within that family comes flooding back. I didn’t realize it at the time, but that family was already on the verge of disappearing. Claude François’ songs are part of many French families’ lives; they represent a memory that is both intimate and universal. I hope they are, like this film, both comforting and a sign of a world that has vanished.”
With all that said, you will surely want a sneak preview of the movie and its characters to get a first visual and audio feel for this big family affair. So, go ahead and watch an exclusive clip for Orange-Flavoured Wedding below. Here comes Adèle Exarchopoulos. And here comes the bride!
Riley Keough says she “loved” working with Barry Keoghan in Kantemir Balagov’s Butterfly Jam. “I think we were very similar in a lot of ways, in the way we work,” she said at Deadline’s Cannes studio. “I found it very easy to to work with him and build that relationship. It came very naturally.”
The film opened Cannes Director’s Fortnight on Wednesday. Keough plays Zalya, sister to Barry Keoghan’s Azik, a chaotic chef working at Zalya’s cafe in New Jersey. As part of the local Circassian community, Azik and his son Pyteh (newcomer Talha Akdogan) navigate the latter’s ambitions as a wrestler, alongside Azik’s best friend Marat (Harry Melling). When disaster strikes, Pyteh finds himself becoming close with fellow wrestler Alika (Jaliyah Richards).
For Keough, the decision to join Kantemir’s film was inspired by seeing his 2019 feature. Beanpole. “It was just such a beautiful film,” she said. “And we just had a really a good chat, honestly, and I wanted to work with him. That was kind of it for me.”
Working in the Kabardian language spoken by the Circassian community was a challenge at times,” Keough said. “The dialect was tricky because we all kind of did our own thing a little bit, because we didn’t really have time together before we were shooting. It was sort of like a little bit of Jersey, a little bit of… I think it was a little different for everyone.”
‘Butterfly Jam’
Cannes Film Festival
As Marat, Melling had to explore some intense ups and downs. “His entrance into the movie, without giving too much away, is he’s in this weird kind of role-play situation. It is a very strange way of meeting a character, but at the same time, that’s what I found so fascinating about someone like Marat, someone who’s so uncomfortable in so many ways.”
Melling also had to work very closely with Keoghan in an especially harrowing scene that changes the course of the characters’ lives. “I think we did it with much care as we could,” Melling said. “Obviously, it’s very hard to talk about. Working with Barry is wonderful. He’s so free, and that’s a lovely place to start when you’re working with someone who’s so up for finding it in the moment, not really setting it too much, but really exploring what this could be. He’s always about keeping it loose and free, so I think that really helped us find different moments within it.”
To see the full conversation, click on the video above.
The Deadline Studio at Cannes is sponsored by SCAD.
Season 3 of Euphoria is expanding by bringing back Zendaya, Sydney Sweeney, Jacob Elordi and more OG stars — while also bringing in newcomers including Toby Wallace, Anna Van Patten and Rosalía.
Euphoria, which premiered in 2019, originally followed troubled high school student Rue (Zendaya) as she struggled to remain sober after rehab. The hit HBO series was quickly renewed for a second season after its premiere, but it took nearly three years for the next batch of episodes to air.
Season 3 was originally set to air on HBO in 2025 before facing several obstacles, including creator Sam Levinson’s commitment to his short-lived series The Idol. The dual WGA and SAG-AFTRA strikes, which took place in late 2023, also prolonged the delay.
Since season 2 concluded, the cast went through a loss when Angus Cloud died at age 25 in July 2023 following an accidental overdose. The show is expected to address the fate of his character, Fezco, while Eric Dane‘s Cal made an appearance in the trailer one month after the actor’s death following a battle with ALS. He was 53.
Eddy Chen/HBO The third season of Euphoria is officially come back after a major delay — but not every fan favorite is returning for more episodes of the show. Euphoria, which premiered in 2019, follows troubled high school student Rue (Zendaya) as she struggles to remain sober after rehab. The ensemble cast initially included Hunter […]
“Some people ask why it took so long between seasons 2 and 3. There were obvious factors — the strikes, trying to make a schedule work with our very in-demand cast, but the real time was in trying to figure out how to find a way to pay respect to those who we lost,” Levinson said in a speech at the season 3 premiere in April 2026.
He continued: “When Angus died, it was tough. I loved him deeply, and I fought hard to keep him clean. The year he died, in 2023, he was one of 73,000 people in America who died of a fentanyl overdose. I learned a whole lot that year, but what I realized more than anything is that death is what gives life meaning. You can’t be arrogant about existence. You’re forced to reckon with the fact that life itself is a wonder, a gift, a profound blessing.”
“There are a lot of scenes where people are either talking to him on the phone,” he told Varietyabout the decision for Fez to still be part of the story. “I thought that if I couldn’t keep him alive in life then maybe within this show that I can control and keep him alive there. I think the whole thing was to honor him and also I can’t wait for you to see the last few episodes. I think he would be cracking up at his story line. I think he would love it.”
Scroll down to see who is in the Euphoria season 3 cast:
Zendaya
It wouldn’t be Euphoria without Zendaya, who is back on the show.
Hunter Schafer
Hunter Schafer has not yet appeared on screen in season 3 but will be back.
Maude Apatow
Maude Apatow also returned in the season 3 premiere of Euphoria.
Eric Dane
Before his death, Eric Dane filmed scenes for Euphoria’s third season.
Alexa Demie
Alexa Demie is back on Euphoria as well.
Jacob Elordi
Jacob Elordi is back on the hit HBO series.
Sydney Sweeney
Sydney Sweeney reprised her role as Cassie in season 3.
Colman Domingo
Based on the season 3 premiere, Colman Domingo is back in a larger capacity in season 3.
Euphoria fans have watched the cast change on and off screen since the series first debuted. Based on the Israeli series of the same name, Euphoria follows troubled high school student Rue (Zendaya) as she struggled to remain sober after rehab. The series also explores topics including mental illness, toxic relationships, sexuality and more. After […]
Adewale Akinnuoye-Agbaje
Season 3 introduced Adewale Akinnuoye-Agbaje in a key role during the premiere.
Martha Kelly
Rue’s biggest challenge in season 3 has been the return of Laurie, who is played by Martha Kelly.
Chloe Cherry
Chloe Cherry returned as Faye in season 3 of the hit HBO series.
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Toby Wallace
The season 3 premiere introduced Toby Wallace as Faye’s love interest and drug dealer Wayne.
Jessica Treska
Jessica Treska had a scene-stealing role in the season 3 premiere of Euphoria.
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