Singer Alex Ligertwood, best known for providing lead vocals for Santana over several decades, has died. He was 79.
Ligertwood’s wife and agent, Shawn Brogan, announced in a Saturday evening Facebook post that the vocalist died at his Santa Monica home.
“It’s with great sadness and heartache to announce the passing of my sweet dear Alex Ligertwood, my husband of 25 years, we knew each other for 36 years,” Brogan wrote. “Alex passed peacefully in his sleep with his doggy Bobo by his side yesterday.”
Ligertwood’s cause of death was not revealed.
Alex Ligertwood, left, and Jorge Santana of the band Santana perform Oct. 9, 1993, at Shoreline Amphitheater in Mountain View, Calif.
(Tim Mosenfelder / Getty Images)
“Alex was loved by so many. If you knew him, you loved him. He touched so many with his extraordinary voice. He was all heart and soul,” Brogan’s statement continued. “His favorite thing in life was to make music, sing and to share his gift with us. He performed his last show just two weeks ago. I’m grateful for that. He did it his way, on his terms, till the end.”
The singer had five separate stints as Santana’s lead vocalist between 1979 and 1994.
He famously served as the group’s singer when it performed at Live Aid in 1985. His voice was notably featured on the tracks “You Know That I Love You,” “Winning,” “All I Ever Wanted” and “Hold On.”
Ligertwood also co-wrote such songs as “Somewhere in Heaven” and “Make Somebody Happy,” among others.
Aside from his contributions to Santana, Ligertwood played alongside guitar legend Jeff Beck as part of the Jeff Beck Group in the early ‘70s. He also played in jazz-rock keyboardist Brian Auger’s band Oblivion Express.
Auger, who has played with Rod Stewart and Jimi Hendrix, paid tribute to Ligertwood in a Facebook post Saturday evening.
“To me, Alex aka ‘Wee Eck’ was simply the best singer to ever do it. In all my years of music, I never heard anyone who possessed that kind of range or that effortless, carefree ability to soar through a melody. He didn’t just sing songs; he lived them,” Auger wrote. “The world feels much quieter today without his voice, and I will miss my friend more than words can say. The big band in the sky just got infinitely better with Alex’s arrival.”
The singer also appeared on records with French jazz group Troc in the 1970s, American rock band the Dregs in the 1980s, and the Grateful Dead spinoff project Go Ahead in the late 1980s.
Ligertwood was born in Glasgow, Scotland, on Dec. 18, 1946.
He grew up in a musical household as his father was an amateur drummer. His earliest musical influences were the swooning Motown singers of the ‘50s and ‘60s, including Otis Redding, Sam Cooke and Marvin Gaye. He first performed as a vocalist as part of his school’s choir and at family events.
Unpacking the recent news about tariffs and understanding the potential impacts on your business seems like an impossible task. The narratives seem to change daily and sheer amount of coverage is overwhelming to already time poor analysts. However staying ahead on the news remains as critical as ever, as a missed update could mean overlooking cost fluctuations, disrupted supplier relationships, or emerging opportunities in alternative markets.
Luckily, with Feedly Ask AI, you can track tariff changes in real time, so that you can provide strategic insights that help businesses mitigate risks, optimize sourcing decisions, and plan for an ever-changing political landscape.
In this article, we’ll feature a prompt that you can run on Feedly Ask AI to streamline tariff analysis, making it easier to extract relevant information from a single article, or multiple articles at a time.
Ask AI Prompt
Generate a report on recent news about U.S Tariffs
-Include an overview of the situation.
- A table of proposed tariffs including: the parties involved, the amount, and the industries impacted.
- The outlook going forward.
- A conclusion
Ask AI Response – On a single article
We ran this prompt on a single article discussing the recent tariff news for the US. The output generated a report, detailing an overview of the situation, a table of proposed tariffs, an analysis on the outlook going forward and a summary. This prompt can be saved in the prompt library and reused.
Ask AI Response – On multiple articles
Running the same prompt on a saved board (or AI Feed), rather than individual articles, provides a more extensive dataset from which the LLM can extract insights from. This bigger dataset enables you to explore diverse perspectives and significantly expand the volume and quality of insights. Ultimately, it gives you a broader scope of information.
For this example, we applied the same prompt to a curated board of relevant US Tariff news. We selected twenty-three articles and reports to run the Ask AI prompt. As you can see in the visual below, in-line citations link your output to the original articles for transparent verification and traceability.
Running Ask AI on multiple vs single articles
Tailor your analysis based on your needs—focus on a single article for in-depth insights from a trusted source or analyze multiple articles to uncover broader patterns, validate details, and track emerging trends across sources.
By running Ask AI on an AI Feed, or board, market intelligence analysts can move beyond fragmented news sources and generate a comprehensive tariff analysis with greater depth, accuracy, and traceability.
Try Ask AI
AI-powered market intelligence designed for speed, accuracy, and transparency.
It can be difficult to separate the art from the artist, and sometimes people behind the scenes do something that just does not sit right. I have always contended that if I see a film that has a profound effect on me, I am not going to betray that experience over one person’s actions in a large crew. However, if I learn of misconduct beforehand, I want nothing to do with seeing it.
The other side is tragedies on set, which can be a bit more complex, but also fall under a similar territory of moral ambiguity. Though behind-the-scenes drama or accidents have also made some of these movies infamous. Regardless of whether you like and still watch these films, there is no denying that the real-life drama or tragedy surrounding them makes them difficult to enjoy fully.
‘The Shining’ (1980)
Mistreatment of Shelley Duvall
Shelley Duvall as Wendy Torrance in The ShiningWarner Bros.
Stanley Kubrick’s The Shining is undoubtedly a masterpiece, and a highly influential one at that. The film would become so engrossed in pop culture, give Jack Nicholson one of the best performances of his career, and show how cinematography could be just as menacing a force as any other form of horror. Still, while Nicholson is often highlighted, Shelly Duvall’s performance is just as integral to the movie, making her treatment behind the scenes all the harder to approach.
To get the performance from Duvall, Kubrick deliberately isolated the actor while keeping her in a purposeful state of distress throughout. The shooting was also arduous for her, with Kubrick getting her to do the baseball bat scene around 127 times. Reportedly, Duvall was constantly crying on the set and was losing hair. Looking at her struggles with mental health later in life, it seems likely that her career in Hollywood put a lot of pressure on her, with The Shining being exemplary of why SAG and AFTRA have become stricter with their rules.
Confession time, I have never watched The Twilight Zone: The Movie despite being a decades-long horror fan and knowing it is one of the best anthologies ever made. The reason was an on-set accident that resulted in the death of Vic Morrow and two child actors, Myca Dinh Le (age 7) and Renee Shin-Yi Chen (age 6), both of whom were hired illegally for the shot (brought in at 2 AM for a grueling sequence).
This was for John Landis’s segment, in a scene in which Morrow carried the two actors to safety through water, with a helicopter flying overhead. The helicopter got too close to the pyrotechnics, and the plane crashed on top of the three. Landis was ultimately charged with involuntary manslaughter and was later acquitted. The truth remains murky as to who was at fault, but it marks one of the most tragic onset accidents in history.
‘Jeepers Creepers’ (2001)
Director Charged with SA of a Minor
MGM
This caveat can easily be applied to any of director Victor Salva’s works, but for many, Jeepers Creepers was a smash hit that launched a franchise. While his film Powder was a hit as well, this is easily the most famous of his films. However, when you learn about Salva’s background, it is hard to reminisce about how big and talked about this one was on release, rather than trying to forget it ever existed.
Via The Independent, Salva, on the set of his first film, Clownhouse, in 1988, was convicted of sexually abusing a 12-year-old star when he was 30. He also recorded the abuse, which also brought with it the charge of owning CSAM. Salva pleaded no contest and, remarkably, served only three years in prison before returning to the Jeepers Creepers franchise. Some mistakes deserve redemption, but abuse of innocence never does. Jeepers Creepersand its sequels are forever tainted.
‘The Flash’ (2023)
Ezra Miller Behavior Behind the Scenes
Warner Bros. Pictures
DC has a history of behind-the-scenes issues, from Amber Heard being nixed from Aquaman, to Joss Whedon and Cyborg actor Ray Fisher’s conflicts, and the onset of ‘Zack Snyder syndrome’ after his work on the Justice League. But the biggest, arguably, what killed the entire DCU, resulting in James Gunn taking over and rebooting it, is Ezra Miller as the Flash. The Flash was supposed to be integral to the larger direction of the iconic heroes going forward, but leading up to its release, so much news about the actor’s unstable behavior came out.
Between 2020 and 2022, Miller was involved in an alarming number of events, including two assault charges in different countries resulting in a restraining order, footage emerged of him choking a fan, and allegations of grooming. Perhaps the biggest concern was seeing how far the star fell through when authorities discovered that Miller was harboring a mother with three children at a Vermont farm with weapons and drugs loosely lying about. At the moment, Miller seems to have landed himself in the position of persona non grata for his actions, but the actor has hinted he may try to rebuild his career after some reflection. Though scenes like his arrest are likely to stay burned in fans’ memories for some time.
‘Last Tango in Paris’ (1972)
Non-Consensual Sex Scene
Everett Collection
Honestly, The Last Tango in Paris belongs in the garbage, as viewers see an actual sexual assault on screen, though this truth was not brought up till much later. Bernardo Bertolucci’s highly controversial film, starring Marlon Brando and Maria Schneider, brought much of its shock value from a single scene where Brando’s character uses a stick of butter before having sex with Schneider’s character.
Via the CBC, Bertolucci and Brando devised the scene the morning of the shoot and deliberately withheld it from Schneider in an attempt to get an authentic reaction; an experience that left the actor feeling humiliated and permanently traumatized. Bertolucci, in an interview, would go on to say she wanted to see her “as a girl, not as an actress.” The 19-year-old actor was given little warning before the then-48-year-old Brando and Bertolucci shot the scene. Now that you know, avoid this one like the plague.
‘The Crow’ (1994)
Brandon Lee’s Death
Brandon Lee in The Crow wearing his all black outfitMiramax Films
1994’s The Crow is a cult classic, and one which fans have revisited time and time again, the perfect blend of romance, tragedy, horror, and heroism. The Crow is still a film that can be enjoyed, but that does not make the death of lead actor Brandon Lee a hard pill to swallow when revisiting it.
By now, the story is pretty well known: the son of legendary martial artist and actor Bruce Lee, Brandon Lee, was on the rise as a star, seen as having the same potential as his father, only to have it cut short. Lee, who would die in surgery on March 31, 1993, at age 28, was shot on set when a prop gun launched a fragment from a misfire earlier into his abdomen. This accident makes the scenes of Lee’s death in the film an emotional affair.
‘Fitzcarraldo’ (1982)
Disastrous Production With Injuries, Deaths, and Tribal Raids
Filmverlag der Autoren
Fitzcarraldo is certainly a film worthy of its acclaim, with director Werner Herzog creating one of the biggest set pieces ever and an unforgettable performance from icon Klaus Kinski. The film follows a man (Kinski) who wants to haul a steamship over a mountain in the Amazon. Instead of using a miniature, Herzog wanted authenticity. So, indigenous people were hired to help bring his vision to life.
Herzog is a director who, while controversial, can be easy to love, with his eccentric persona, view on life, and clear artistic vision, but here it is hard not to argue that he went too far. Take this with a grain of salt, as some of these incidents are unverified, but include one worker drowning, another contracting a deadly disease in abysmal work conditions, and a tribal raid that resulted in one person being shot by an arrow. The documentary Herzog made about the film, Burden of Dreams, is a fascinating watch in itself, but the grueling conditions, injuries, and deaths make it hard to fully embrace Fitzcarraldo despite its masterpiece status.
‘Roar’ (1981)
A Passion Project That Led to Multiple Injuries
Filmways Pictures
For cinephiles, there is an argument to be made to watch Roar, at least once, as it is an utter cinematic spectacle that should have never been made, and will never be made again. The premise alone spells trouble, as this 10-year passion project saw Tippi Hedren and her husband, Noel Marshall, living with over 150 untrained big cats to shoot a family-friendly drama.
While the film flopped hard, decades later, people came back to it and slowly began to realize what an absolute s***-show and bad idea the production was, while also delivering some jaw-dropping sequences. Sadly, 14 lions and tigers died as a result of contracting airborne illnesses in the environment, while an accident on set that caused a flood led to the injury of others. The tag of “No Animals Were Hurt” in the trailer is misleading.
There were over 70 reported injuries among the cast and crew, including a young Melanie Griffith, who required facial reconstructive surgery after an attack. Director Noel Marshall had multiple hospital visits due to recurring infections from scratches and bites. The movie became controversial due to the sheer amount of neglect that was reported, with studios coming on and off to keep the project going. Oddly, the movie is a family-friendly affair, though if you know about the accidents, you can determine when they happened before the camera cut.
‘Don’t Worry Darling’
Behind the Scenes Fighting Got Dirty
Olivia Wilde in Don’t Worry DarlingWarner Bros.
This was one mess in the build-up to a release that won’t soon be forgotten. There was so much going on here, with lead actress Florence Pugh being visibly absent from most of the film’s promotion, speculated to be due to fallout with director Olivia Wilde. Wilde’s relationship with co-star Harry Styles seemed to complicate matters further. While Shia LaBeouf exited and claimed that Olivia fired him for safety reasons, it became a public spat between the two. Then there was the ‘Spitgate’ controversy, in which people were convinced that Harry Styles spat on co-star Chris Pine at the Venice Film Festival premiere.
The film was a flop because many people just did not want to approach it amid all the infighting and speculation behind the scenes. Moreover, it is unlikely that cinema fans will want to revisit this one, even with all the drama behind it, as the film itself was not well-received, with a weak script being the major critique.
There are many movies out there that become hard to enjoy once a few key details are known, which is why directors like Woody Allen and Roman Polanski have remained contentious throughout their careers. We gave some concrete examples of how actions surrounding a production can leave a sour taste, butlet us know which movies were ruined for you, or which ones you avoid.
If you or someone you know needs help related to sexual assault, you can call the Rape, Abuse & Incest National Network hotline at 1-800-656-4673 or chat with someone on the RAINN website.
Halo Studios is “actively developing” remakes of Halo 2 and Halo 3, in addition to this year’s Unreal Engine 5-powered version of Combat Evolved, it’s claimed.
That’s according to Rebs Gaming, which claims to have received proof from sources that the entire original Halo trilogy is receiving the remake treatment.
“One of my new sources sent me proof to verify themself and confirm that the Halo 2 and Halo 3 remakes are definitely happening,” they said. “Active development is underway; they are in early development.”
According to the sources, Halo: Combat Evolved’s remake will even include content from the other two Halo entries, such as Brutes, as nods to those games in its new prequel missions.
Brutes may even make an appearance in the original Combat Evolved missions via a planned new Skull modifier, it’s claimed.
It’s believed that Halo Studios is also working on a new multiplayer project and the next mainline Halo game, in addition to the remakes.
Back in October 2024, Halo Studios announced that it was working on multiple Halo games that were being developed within Unreal Engine 5. The first of those, Halo: Campaign Evolved, was announced for Xbox, PS5, and PC last year, and is set for a 2026 release.
Halo: Campaign Evolved is a full remake of the campaign portion of the series’ first game, Halo: Combat Evolved. While no specific release date has announced, Microsoft has confirmed the game will launch this year on Xbox Series X/S, PlayStation 5 and PC.
It’s unclear what ailment led Giuliani to the hospital, nor when he was transported.
His spokesman, Ted Goodman, said in an online statement: “Mayor Rudy Giuliani is currently in the hospital, where he remains in critical but stable condition. Mayor Giuliani is a fighter who has faced every challenge in his life with unwavering strength, and he’s fighting with that same level of strength as we speak. We do ask that you join us in prayer for America’s Mayor Rudy Giuliani.”
Last year, The Masked Singer contestant was involved in a car accident, for which he was also hospitalized. Though he sustained serious injuries in the New Hampshire crash, his security spokesperson noted at the time he was “in good spirits and recovering tremendously.”
The accident occurred while Giuliani’s vehicle was struck from the back at high speed while traveling on the highway. “He was transported to a nearby trauma center, where he was diagnosed with a fractured thoracic vertebrae, multiple lacerations and contusions, as well as injuries to his left arm and lower leg,” the statement read.
Last September, during a 9/11 memorial tribute, Giuliani was seen in a wheelchair.
The former advisor and personal lawyer to president Donald Trump has kept a relatively low profile over the years, facing both legal and financial issues. In 2024, he was disbarred in New York following a state appeals court ruling that he repeatedly made false statements about Trump’s 2020 election loss.
In a Truth Social post, Trump took the opportunity to further spread debunked stolen election claims, “Our fabulous Rudy Giuliani, a True Warrior, and the Best Mayor in the History of New York City, BY FAR, has been hospitalized, and is in critical condition. What a tragedy that he was treated so badly by the Radical Left Lunatics, Democrats ALL — AND HE WAS RIGHT ABOUT EVERYTHING! They cheated on the Elections, fabricated hundreds of stories, did anything possible to destroy our Nation, and now, look at Rudy. So sad!”
Aside from The Masked Singer, Giuliani has appeared as himself in Anger Management, Law & Order, Cosby and Seinfeld. His life was depicted in a 2003 TV movie for USA Network starring James Woods, which was panned by critics and audiences.
SPOILER ALERT: This story contains spoilers for “Kitty Likes to Dance,” Season 3 Episode 4 of “Euphoria,” now streaming on HBO Max.
Three episodes in, and this season of “Euphoria” has already been a doozy. Just last week, Cassie (Sydney Sweeney) and Nate (Jacob Elordi) had their wedding, which ended in the groom violently losing a little piggy; we learned more about Jules (Hunter Schafer) and her sugar-daddy situation; and a gun-running Rue (Zendaya) got stopped by the DEA. Let’s dive into this week’s chaos.
Wow, Rue seems screwed!
She’s trying to play it cool during the DEA interrogation, but the minute Laurie (Martha Kelly) came up, things got terrible, and Rue was facing decades in prison very quickly. Of course, now she’s going to rat out Laurie and Alamo (Adewale Akinnuoye-Agbaje) for the feds…how stressful!
Cassie is going to let Maddy (Alexa Demie) blow up her OnlyFans.
Cassie is so sick of the $1 million (!) that Nate owes that she’s now determined to make money fast using the internet. She even consented to a makeover to take her from “the suburbs to the city” — complete with a celebratory “Welcome to Hollywood” montage!
Lexi (Maude Apatow) commissioned Jules to paint for the background of her show, but it was filled with 14 penises.
Sorry, Jules — this isn’t HBO! Can’t do that on network television. Kudos to Patricia (Sharon Stone) for being honest with Lexi about how much it screwed up the production.
Cringe at a NSFW scene in the champagne room with Kitty (Anna Van Patten), set to … “Ave Maria.”
A classic indulgent “Euphoria” moment, intercut with Cassie working the room (and eventually bedroom) at the party of influencer Brandon Fontaine (Jeff Wahlberg).
Saved by the robbery!
Things were getting tense with Rue almost getting compromised in her argument at the strip club with Big Eddy (Kadeem Hardison) and Magick (Rosalía), when seemingly random thieves in Obama masks took over the back of the club. The distraction could ultimately be her way out of suspicion — but in one last twist, Rue identifies the getaway driver as Faye (Chloe Cherry), working on behalf of Laurie. Those lips don’t lie!
Former New York Mayor Rudy Giuliani is in “critical condition” at a hospital, his spokesman said Sunday.
“Mayor Rudy Giuliani is currently in the hospital, where he remains in critical but stable condition,” Ted Goodman posted on X. “Mayor Giuliani is a fighter who has faced every challenge in his life with unwavering strength, and he’s fighting with that same level of strength as we speak. We do ask that you join us in prayer for America’s Mayor Rudy Giuliani.”
Additional details were not immediately available.
On Friday night, Giuliani reportedly hosted his online show America’s Mayor Live from Palm Beach, Florida. “My voice is a little under the weather, so I won’t be able to speak as loudly as I usually do, but I’ll get closer to the microphone,” he said on the show.
Giuliani, 81, was involved in car crash last summer, resulting in a fractured vertebra. In September, he was seen in a wheelchair and wearing a chest brace at a 9/11 memorial service
He became mayor of New York in 1994, serving through 2001, including during the Sept. 11 terrorist attacks, leading the city through the tragedy.
Giuliani later served as a personal lawyer to President Donald Trump, during which time he became involved in several investigations. He also supported Trump’s claim that the latter won the 2020 presidential election, not Joe Biden, and he was later indicted and sued over those claims. He has since been disbarred.
Also prior to that election, Giuliani became the subject of controversy over an appearance in Borat 2. In a bedroom scene from the movie, he was allegedly caught in a compromising situation with his hand down his pants.
In 2022, he appeared as a contestant on The Masked Singer. When he revealed his identity on-air, judge Ken Jeong stormed offstage, saying, “I’m done.”
He spoke at a Trump campaign rally in October 24 on a bill that also included Hulk Hogan, Dr. Phil and Elon Musk.
The Rookie ends its eighth season with an unforgettable finale this week! In “The Bandit,” the LAPD-FBI task force bands together for its biggest mission yet.
Dialogue Teases:
“Do not call me unless there is a fire. Literally.”
“Uh. Funny story…”
“You really aren’t the glass half full kind of guy, are you?”
Do you have any theories for “The Bandit”? What are you most excited about? Who’s saying the teased lines? Comment below all your thoughts about The Rookie!
Be sure to catch The Rookie live on ABC at 10PM on Mondays or catch up on Hulu the next day!
Few premises are as eternal or as durable than a group of friends solving mysteries: Hanna-Barbera practically made an entire genre of it in the ’70s, taking the premise of the classic “Scooby-Doo” and xeroxing it for a dozen other shows. And yet, that type of storytelling is in frustratingly short supply, at least on TV: Scooby-Doo hasn’t had a real kids’ show since 2021, while the options for children’s entertainment nowadays tend to lean more towards the infantile and episodic like “Paw Patrol” than anything parents can enjoy alongside their kids.
So that makes a rare gem like “My Brother The Minotaur,” which premiered on Apple TV last week, all the more satisfying. One of the best recent children’s offerings from the streamer, which quietly has arguably the best library of quality family programming, “My Brother, The Minotaur” marries its gentle, charming comedy with a genuinely compelling serialized mystery. It’s the type of show you can pace out from day to day, or gleefully binge in one go.
The show opens with main character Lorcan (Ely Solan) waking up and screaming in horror at the sight that awaits him in the mirror: an acne breakout. His horns and fur aren’t a particularly surprising sight: Lorcan is a Minotaur, living on the Irish island Bryony as just another kid for as long as he can remember. Adopted by a human family, Lorcan is occasionally the target of some bullying, but otherwise spends most of his days as just another kid, attending school with his adopted brother Charlie (Billy Jenkins) and their two best friends Dana (Billie Boulet) and Harper (Luciana Akpobaro).
When the show picks up, Lorcan is experiencing a strange series of nightmares centered around a terrifying rabbit-faced man, a creature pulled from Celtic mythology known as a Pooka. When the dreams start bleeding into real life, Charlie — who fancies himself an amateur detective — convinces his brother and friends to investigate Lorcan’s mysterious origins, a thread that soon unravels an entire secret fantasy world kept under wraps by the elders of the island.
“My Brother the Minotaur” is a co-production of Irish animation studios Dog Ears and Cartoon Saloon, the latter of which is best known for its stunning Oscar animated features “The Secret of Kells” and “Wolfwalkers;” creator Donal Managan has worked on several of the studio’s films.
The difference between a movie and TV budget is clear from watching “My Brother the Minotaur,” but the series is still a stunner, mixing blocky thick-lined characters that wouldn’t look out of place on Cartoon Network in the early aughts with lush, rustic backdrops that draw inspiration from the studio’s Irish roots. In set-pieces involving the Pooka, dark lighting and strong use of shadow results in some scenes that can give younger viewers a genuine fright. The pedigree of the studio also shows in some of the vocal talent involved, which includes a hammy Michael Sheen as a scheming hotel owner and Brian Cox as Lorcan and Charlie’s kindly grandfather.
The quality of the animation remains consistent across the shows 10 episodes, which range from 22 to 28 minutes long with a finale that stretches up to 40. Each episode title is formatted like a reference to “Dungeons & Dragons” — from “Gateways & Gatherings” to “Labyrinths & Lies” — nodding to the show’s sense of joyous discovery. Each episode clips along at a steady, smart pace, unveiling new revelations about the secrets of Bryony without ever feeling like it’s stretching the story out or spinning it in place.
It helps that the characters are so charming, with development that proves genuinely meaty for the show’s light and optimistic tone. Dana and Harper occasionally feel extraneous, there to fill out the group rather than carry out their own narrative arcs, but the bond between Charlie and Lorcan, and Lorcan’s search for his place in the world, is a solid emotional core the show never loses sight of.
“My Brother the Minotaur” goes to strange, fantastic places, and by its end has some rousing action setpieces. But its well-sketched setting and realistic depictions of the kids means its deeper conflicts are very of this world, tackling questions of identity and displacement that people of all ages can relate to. The season ends on a cliffhanger promising another adventure for the gang: here’s hoping the show gets a chance to peel its mysteries back even further.
You could never accuse Goldie of lacking ambition. In 1998, just three years after the British producer’s debut album, Timeless, brought new levels of sophistication to the nascent jungle sound, Goldie opted to kick off his second LP with “Mother,” a gut-wrenching, hour-long cry for help. “It’s like looking at your mum’s vagina and knowing: ‘I know this is going to be a very difficult life but it’s the one life you need to make count,’” Goldie later said, neatly summing up the brazen lack of self-consciousness that would make “Mother” one of the most notorious songs of the decade.
Goldie, born Clifford Price in Walsall, England, in 1965, had a complicated childhood. His father disappeared soon after Goldie was born and his mother put her son into care at the age of three, where he remained for the next 15 years. Goldie grew up fiercely driven. After making his name as a graffiti artist in the 1980s, he threw himself headlong into raving and in 1994 became the first jungle artist to sign to a major when he inked a deal with London Records’ dance imprint, FFRR.
Timeless, released a year later, made him a genuine star, reaching no. 7 in the UK album charts at a time when it looked like jungle might take over the world. Everyone wanted to work with Goldie, from Madonna to David Bowie, and FFRR gave him carte blanche to do what he wanted. For his second album, Saturnz Return, he squirrelled himself away in the studio with a seemingly unlimited budget and no label interference.
What Goldie was cooking up, however, was far from what anyone expected. “This was at the peak of my career with drum’n’bass music and I chose to make an album which no one was gonna understand,” Goldie said when the album was re-released in 2019. “It was like a Greek tragedy: the story of a boy with trauma who just wanted his mother.”
Standing at the forefront of this tragedy—disc one, side one—was “Mother,” 60 minutes of wild musical adventure and psychic pain that tracked Goldie’s traumatic childhood using four cellists, eight viola players, 16 violinists, Goldie’s own raw but emotive vocals, and a filthily twisted beat that was sharpened to a point by Optical, then emerging as one of the brightest minds in drum’n’bass.
The song’s scope is jaw-dropping. The first seven minutes are a beatless drift of gas-canister hiss, intended to symbolize the sound of a baby emerging into the world. As the orchestra swells, a voice slowly surfaces. It sounds like a child chorister, classically trained and pure, but it is actually Goldie and vocal foil Diane Charlemagne, in one of the most atypical performances of either artist’s career. The lyrics suggest a child reaching out to his mother from within the womb, vulnerable and uncertain.
As the song ticks past the 20-minute mark, Goldie’s voice gets increasingly desperate and the music darkens. A cymbal taps into life, but the beat is in no hurry to build. Noises emerge, faded and indistinct, the ghostly spinbacks and ectoplasmic synth traces of rave’s haunted past; then a string riff drops, a jungle bassline in the Vienna Musikverein. After a 26-minute tease, the bass drum kicks in, and “Mother” briefly turns into a classic drum’n’bass roller, albeit one with a wildly charismatic man in his 30s periodically screaming over the top about his feelings of abandonment.
Derwin Dalida’s Church of Phil takes an absurd premise—an average man accidentally becomes a cult leader—and uses it to explore the fine line between devotion and delusion. Phil (Patrick McGrath) is the maintenance guy at a movie theater. He fixes projectors, seats, and whatever breaks. One day, his co-worker Lily (Desiree Manly) is prepping the theater for the evening crowd, and they start talking—really talking. They discuss important subjects like what’s better—The Shining or The Exorcist. While Lily is a slacker in life, Phil is a dreamer and has his heart set on moving to the Shire…more New Zealand. Meanwhile, Phil’s taking prescription meds for insomnia called Eclypto. But to Phil, he’s not sure if the pill is curing his problem or simply creating new ones.
There are other crazy characters in Phil’s world. His roommate, Trey (Phillip Bahnam), and Trey’s buddy, Lonnie (Alex Kravitz), are stoner regulars at the theater, splitting their time between toking at either the movies or the strip club. Phil also has his almost-mentor, Mr. Kemp (Ray Buffer), who encourages him to take some initiative in his life and, Matrix-style, choose which pill he’ll take when it comes to love. When Lily invites him to a party, Phil goes and immediately regrets it. He doesn’t know anyone. His anxiety levels go through the roof. Whether it’s the Eclypto or something else, Lily sees Phil arguing with himself, with demons that don’t exist except in his own head.
That night, Phil had a dream of being pursued by Lily in a purple robe, as only a cult member would wear. He also finds himself face-to-face with the devil. Thank God, it was only a dream…or was it? In fact, the next morning, Phil finds Lily kneeling before an altar…an altar to him. She’s in a cult, and somehow, in this hazy in-between state of waking and sleeping and medicated numbness, Phil comes to learn that he is the cult’s messiah of sorts. Phil is caught between dream and reality, between what Eclypto showed him and what actually happened. The cult is real. When Phil rejects it—when he says he’s done, he’s leaving, he’s getting out—Lily comes to his apartment and sacrifices herself to him.
Phil is surrounded by cult members during a worship scene in Church of Phil.
“In fact, the next morning, Phil finds Lily kneeling before an altar…an altar to him.”
This is only the end of the first act, when Church of Phil flies off the rails. Next, Phil and Lonnie have to figure out what to do with Lily’s body. In fact, Lonnie takes it upon himself to let the cult know what happened to her to disastrous results…for Phil. Then there are even more psychotic cult members than Lily. Speaking of Lily, her twin sister turns out to be a federal agent.
First, Church of Phil will find a particular place in the hearts of film fans. The love affair between Phil and Lily is all based on film and the agreements and disagreements that keep us in the theaters and talking long after the last reel has run. Then I love how it takes a deeply dark turn, inspired by The Life of Brian, with Phil becoming a cult’s reluctant figure. After learning what danger the cult is bringing to his community, Phil is forced to end the cult once and for all.
Writer, director, and everything else. Derwin Dalida has a firm grasp on the vision and tone of his story. He knows when to be sweet, funny, and downright dark. All this to say, he keeps his delicate story held together without falling apart. Church of Phil may become a cult comedy about cults. As an indie film, it feels like a community project from Camarillo, California. I’ve had the fortune to spend some time in this small community, and Dalida captures the film’s rural backdrop beautifully. Without overhyping the film, the feeling I had from the beginning was “let’s go nuts.”
Known as “speed running,” participants have entered the church’s Hollywood, Calif., locations and raced through hallways while attempting to avoid security guards and see how far they can get before being escorted out.
In Vancouver, police attended the city’s Church of Scientology location on Saturday at about 3 p.m. after being made aware of a group of about 250 to 300 people gathering.
“We received information that some of them were trying to get in, so we deployed police officers that were at other protests in the area,” said Sgt. Adam Donaldson with the Vancouver police. “At the rear there was some young people that managed to break a gate … but our members were able to prevent them from entering.”
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Police used tactics to move the crown away from the church, he said, but at about 5 p.m. the group returned.
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A 16-year-old male was arrested for a breach of the peace. He was later released into the custody of his parents and no charges were laid. Donaldson said the teen was arrested for pushing a police officer.
Dominic Tomkowicz, who came to the location to see if he could film what was taking place, said it was a “huge” turn out of people.
“This is just another TikTok and social media trend that will eventually fade out in time,” Tomkowicz said, adding he had no plans to go in the building, filming outside only. “Nobody gets harmed, I don’t see any harm in that. As long as … they don’t come back again and they follow the law, that’s perfectly fine.”
However, Donaldson told Global News there are criminal aspects, and potential charges, depending the actions people are taking to join the trend.
“If you are attempting to gain entry to a building, that is break and enter. If you are damaging property, that is mischief,” he said. “I saw the social media videos. I saw a lot of young people in the crowd masked up, and if you are making choices like that, you could potentially catch a criminal charge and it would affect the rest of your life.”
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The term ‘speed running’ is part of video game culture and refers to playing through a game as quickly as possible during a “speedrun” often to avoid glitches and to minimize completion time.
In a statement to the Los Angeles Times, officials with the Church of Scientology have condemned the viral trend, accusing those who take part in it of “hate crimes.”
“These incidents are not ‘speed running.’ They are organized trespasses into religious and public information facilities for social media attention,” Scientology spokesman David Bloomberg said.
Global News reached out to the Church’s Vancouver location and its U.S. headquarters, but has not received a response from either location.
Former Boy Meets Worldproducer David Kendall has died. He was 68.
“To say that David Kendall was instrumental in the creation of Boy Meets World would be an understatement,” a statement shared via the official “Pod Meets World” Instagram account read on Saturday, May 2. “He directed, wrote and executive produced our show, but also helped mold some of TV’s most memorable sitcoms, from Growing Pains to Hannah Montana.”
The statement noted that Kendall helped “develop” the “young creative voices” of the “Pod Meets World” cohostsDanielle Fishel, Will Friedle and Rider Strong, both as a co-worker and later as a mentor, while also working with stars like Austin Butler, Zendaya, Miley Cyrus and the Jonas brothers “in the early stages of their careers.”
“We are devastated to lose such an important person in our lives, both professionally and personally,” the statement read. “We all kept in touch with David over the past 30 years, and are honored that we were able to share his incredible personality with our ‘Pod Meets World’ listeners. We have lost a vital piece of our family — but we ask that the next time you watch the show, especially Seasons 2 & 3 (when he served as Showrunner), you think of our beloved Kendall.”
Boy Meets World became a family sitcom phenomenon during its seven-season run on ABC from 1993 to 2000. Created by Michael Jacobs, the show followed the life and life lessons of Cory Matthews (Ben Savage) from home with parents Alan (William Russ) and mother Amy (Betsy Randle) to school with neighbor and forever-teacher George Feeny […]
The post, which included a photo of Kendall smiling, concluded, “We love you, David. Rest in peace. No notes.”
A cause of death was yet to be publicly shared at the time of publication. Users paid tribute to Kendall in the comments section of the post.
“Oh my gosh guys…I’m so sorry to hear of this loss. I’m so happy you got to have him on the show and be able to keep in contact over the years with him,” one user wrote, while another added, “Hearing you talk of him and seeing his impact on the episodes he directed, it makes this loss feel more personal to me. Condolences to everyone who actually worked with him.”
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A third wrote, “Thank you, @podmeetsworldshow, for putting a spotlight on the many other wonderful and talented people who make BMW possible. Such a pleasure to feel like we knew a piece of him. We’re so sorry for your loss – thank you for sharing him with us. 💔.”
The Boy Meets World cast found their respective matches after appearing in the hit sitcom. William Daniels, who took on the role of Mr. Feeny, set an example of a lasting Hollywood romance when he married Bonnie Bartlett in 1951. After meeting as students at Northwestern University, the couple took the next step and eventually […]
Kendall joined Boy Meets World as an executive producer in season 2, a role which he held until the 2000 series finale. After writing an episode of Boy Meets World in 1994, Kendall directed 13 episodes of the series from 1995 to 1999.
Boy Meets Worldcentered around Cory Matthews (Ben Savage) navigating adulthood while crossing paths with older brother Eric (Friedle), best friend Shawn Hunter (Strong), love interest Topanga Lawrence (Fishel) and more.
A new NYT Strands puzzle appears at midnight each day for your time zone – which means that some people are always playing ‘today’s game’ while others are playing ‘yesterday’s’. If you’re looking for Sunday’s puzzle instead then click here: NYT Strands hints and answers for Sunday, May 3 (game #791).
Strands is the NYT’s latest word game after the likes of Wordle, Spelling Bee and Connections – and it’s great fun. It can be difficult, though, so read on for my Strands hints.
Want more word-based fun? Then check out my NYT Connections today and Quordle today pages for hints and answers for those games, and Marc’s Wordle today page for the original viral word game.
SPOILER WARNING: Information about NYT Strands today is below, so don’t read on if you don’t want to know the answers.
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NYT Strands today (game #792) – hint #1 – today’s theme
What is the theme of today’s NYT Strands?
• Today’s NYT Strands theme is… May the forest be with you
NYT Strands today (game #792) – hint #2 – clue words
Play any of these words to unlock the in-game hints system.
STUB
CHASE
CHART
ESCAPE
HEAP
SHOUT
NYT Strands today (game #792) – hint #3 – spangram letters
How many letters are in today’s spangram?
• Spangram has 9 letters
NYT Strands today (game #792) – hint #4 – spangram position
What are two sides of the board that today’s spangram touches?
First side: bottom, 3rd column
Last side: top, 3rd column
Right, the answers are below, so DO NOT SCROLL ANY FURTHER IF YOU DON’T WANT TO SEE THEM.
NYT Strands today (game #792) – the answers
(Image credit: New York Times)
The answers to today’s Strands, game #792, are…
CEDAR
ASPEN
DOGWOOD
BIRCH
CYPRESS
EUCALYPTUS
SPANGRAM: BRANCHOUT
My rating: Hard
My score: Perfect
May 4th is, of course, “May the Fourth/Force be with you” day but “forest” seems to be stretching the pun a little too far, unless we are discussing the Forest Moon of Endor, Takodana, which we are patently not.
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Instead, this was a search for trees found in woods and forests, made more complex by some tricky twists and turns to connect the letters.
The longest word of the game, EUCALYPTUS, was my final find — not the most obvious of trees, so I’ll forgive myself for not seeing it sooner.
Yesterday’s NYT Strands answers (Sunday, May 3, game #791)
WEIRD
PECULIAR
STRANGE
UNUSUAL
BIZARRE
QUIRKY
SPANGRAM: THATSODD
What is NYT Strands?
Strands is the NYT’s not-so-new-any-more word game, following Wordle and Connections. It’s now a fully fledged member of the NYT’s games stable that has been running for a year and which can be played on the NYT Games site on desktop or mobile.
I’ve got a full guide to how to play NYT Strands, complete with tips for solving it, so check that out if you’re struggling to beat it each day.
Before Adam Scott booked Parks and Recreation and Severance, he was a working actor like anyone else — so much so that he auditioned for 2002’s Hellraiser VI: Hellseeker despite being killed off earlier in the franchise’s history.
The four-time Emmy-nominated actor and producer made his feature film debut in 1996’s Hellraiser IV: Bloodline, in which he played Jacques, the assistant to Mickey Cottrell’s Duc de L’Isle who is eventually killed by Angelique (Valentina Vargas).
“Things don’t go great. I think someone bites my face off,” he told Seth Meyers in a recent appearance on Late Night.
“My agent sent me an audition for Hellraiser VI, and I’m like, ‘Now, wait a second … I was in Hellraiser IV,” Scott recalled, noting that while his character “does not make it” he desperately needed a job. “So I’m like, ‘Screw it,’ and I go to the audition just thinking, ‘Maybe they won’t notice that I was in Hellraiser IV.”
The Hokum star remembered being in the waiting room and seeing a producer from the earlier film in the office, and “just holding my papers up, just like, ‘OK, if he doesn’t see me and they think I do a good job, maybe I’ll get in Hellraiser VI as well.’”
Scott didn’t end up booking the role, joking that the producers and casting department ended up not casting him due to his acting, not the continuity error. All’s well that ends well, as he returns to the horror genre with the Stephen King-esque Hokum, which released in theaters May 1.
Elsewhere during his late night appearance, Scott said he would soon be gearing up to film the anticipated third season for Apple TV’s Severance.
The Family Man Season 3 blends geopolitics, family fractures, North East conflict and espionage. Manoj Bajpayee and Jaideep Ahlawat anchor a gripping yet uneven spy thriller now.
The Family Man Season 3 pushes Srikant Tiwari into his most volatile mission yet, weaving North East politics, family fractures and a global conspiracy into an ambitious but uneven narrative.
The Family Man 3 Review: There are few shows in Indian streaming history that have carved an identity as distinctive and culturally defining as Raj & DK’s The Family Man. Across its first two seasons, the series dissolved the boundary between the domestic and the dangerous, making Srikant Tiwari both a national sentinel and a man stumbling through the ordinariness of middle-class existence. With Season 3, the duo attempt something even more audacious: to plunge their everyman hero into a conspiracy seeded not in foreign trenches, but in the sanctums of his own establishment. The result is a season that veers between the infernally predictable and the unexpectedly electrifying, the lucid and the labyrinthine, the grounded and the chaotic, yet somehow never ceases to enthral.
The new season unfolds a few years after Srikant’s brutal confrontation with Raji, the Sri Lankan Tamil rebel whose mission nearly dismantled national security. Life, at least on its surface, has progressed. Srikant, played with Manoj Bajpayee’s signature weary brilliance, now stands in a new home performing a housewarming pooja, a homemaker’s ritual that attempts to sanctify a life he barely has time to inhabit. His children have grown into more defined versions of themselves: Dhriti, blue-haired and socially aware, carrying her self-description of being “woke” like armour; and Atharv, still impish, still maddeningly articulate, and still the family’s resident philosopher-clown.
Despite outward calm, the cracks between Srikant and Suchitra are wider than ever. Their separate beds are an architectural metaphor for everything left unsaid between them. The façade of family harmony crumbles the moment one peers behind the door.
Meanwhile in the political heartlands of India, and far away in the delicate frontier of the North-East, an entirely different storm is gathering. PM Basu, portrayed by Seema Biswas, launches Project Sahakar to fortify India’s ties with the North-Eastern states in light of escalating Chinese and Pakistani manoeuvres. China’s covert “Guan Yu” project, planting phoenix villages along Myanmar and Nagaland, looms ominously in the background. But her diplomatic efforts are quickly sabotaged by a string of bomb blasts across Mizoram, Arunachal Pradesh, Assam, and Nagaland. The media bludgeons her, public opinion swings, and in a rapid acceleration of paranoia, she seeks a swift, decisive remedy to salvage her political standing.
And while India’s geopolitical fabric frays, somewhere across the world in London, we meet Meera Eston, played by Nimrat Kaur with an aristocratic flourish. Meera speaks like a woman raised in drawing rooms lined with crystal and entitlement, tossing around Britishisms like “chuffed” with the ease of someone who has never felt the weight of scrutiny. She works for Dwarkanath, a billionaire desperate to broker a defence deal between India and an international syndicate known simply as “the collective.” But PM Basu is in no mood to sign anything. Meera, sensing Dwarkanath’s desperation, suggests weaponising instability to accelerate the deal. She recruits Major Sameer, played by Darshan Kumar, the ghost from previous seasons, whose alliances are forged in shadows.
Back home, Srikant travels with his mentor Kulkarni, played by Dalip Tahil, to Nagaland. Their mission is simple in principle but monumental in practice: initiate peace talks among warring tribal groups. They meet David Khuzhou, the architect behind these unifications, but the peace is brittle. His own grandson, leader of an insurgent group called MCAS, vehemently rejects reconciliation. The confrontation between him, Srikant, and Kulkarni rips through the illusion of progress; the region remains a powder keg waiting for a match.
Enter Rukma. Jaideep Ahlawat’s antagonist is introduced with the kind of operatic brutality reserved for characters destined to be remembered. A drug lord with the temperament of a wounded animal and the emotional temperature of ice, he executes three people in a village square for stealing from him. It is a horrifying initiation, a declaration of his ruthlessness. And it is only a prelude. His path crosses Srikant’s on the day of the peace talks, when Rukma and his militia ambush the convoy in an attack so devastating that it alters the course of the season.
Srikant survives, but not unscarred. His injuries are physical, but the deeper wounds come from what follows: a conspiracy that coils around him and his family, painting him as a traitor and placing JK, played with effortless charm by Sharib Hashmi, in mortal jeopardy. As Srikant investigates, the net closes. There is a mole in TASC. There are secrets buried beneath layers of bureaucratic dust. And there is a conspiracy designed to fracture national security from within.
Raj & DK’s auteurial fingerprints are everywhere. The long, fluid single-take shots reminiscent of the earlier seasons return with flair. There are bursts of high-octane action. Conversations slip between comedy and poignancy with the ease of shifting weather. The familiar banter between Srikant and JK remains a breath of levity, even when the stakes are apocalyptic. And woven quietly into this fabric are unexpected cameo delights, including blink-and-you-miss moments featuring Vijay Sethupathi and Sundeep Kishan, whose presence, brief yet impactful, adds a jolt of star-charged thrill to the narrative.
One of the most charming scenes of the season involves Atharv patiently explaining queer terminologies to Srikant. Dhriti identifies as “they,” and Atharv becomes the bridge between generations. What could have been a clumsy insertion becomes, in Raj & DK’s hands, a warm, humorous exchange. Manoj Bajpayee’s bafflement is played not with mockery but with genuine curiosity.
Another standout achievement of this season is its portrayal of the North East. For once, the region isn’t treated as a cinematic prop but as a living, breathing cultural entity. The representation is not only fair but immersive. Independent musicians from the region are woven organically into the soundtrack, their voices becoming part of the narrative fabric. The socio-political complexities, the cultural nuances, and even the scenic landscapes are depicted with care and authenticity.
The musical landscape of The Family Man 3 is one of its quiet triumphs, shaped not by mainstream Bollywood composers but by an eclectic array of indie musicians and cultural voices from the North East. The season’s soundtrack becomes an extension of its geography, with songs emerging from the very soil the story inhabits. Tracks like the pulsating Oh Hei, composed by Augustine Shimray and licensed from Featherheads Haokui, set the tonal grit of the region, while Humsaya, composed by Mahesh Shankar and sung hauntingly by Adarsh Gourav and Smita Vallurupalli, adds a melancholic emotional core. The celebrated Tetseo Sisters bring their signature Naga soul to O Soneko, and Moko Koza amplifies the cultural resonance with tracks like Naga Manu, Made in Nagaland, the fierce Tribally Savage, and the biting Terror by Reble. Rounding off this exceptional mix is Aman Pant’s Dega Jaan (Nagamese version), featuring the ethereal vocals of Shreya Ghoshal interwoven with a rap verse by Moko Koza. Together, these artists create a soundtrack that is textured, rooted, and deeply reflective of North Eastern indie music’s vibrant, underrepresented brilliance.
However, Season 3 is far from flawless. Its flaws glare as brightly as its triumphs. The action sequences, though well-executed, are fewer and scattered unevenly across the episodes. Srikant is sidelined for longer stretches than expected, a disservice to a character who has been the heartbeat of the series. Some of the twists lack finesse and feel telegraphed. The predictability weakens the suspense, making it too easy to guess allegiances and motives. Subplots appear and then vanish into narrative limbo, disrupting the show’s momentum.
Perhaps the most jarring misstep is the portrayal of PM Basu. Her character is oddly one-dimensional, a leader whose decisions seem less influenced by political cunning and more by ego or the advice of others. It feels out of sync with the series’ otherwise textured writing.
The pacing oscillates wildly. The early episodes hold promise, the middle episodes meander, and the final episodes accelerate with such force that the climax feels rushed and disappointingly cliff-hanged.
But the performances rescue the limitations. Manoj Bajpayee, unsurprisingly, remains the soul of the show. His portrayal of Srikant—haunted, conflicted, exhausted yet relentless—anchors every frame. Priyamani shines as Suchi, even with limited narrative space. Sharib Hashmi is, as always, magnetic as JK, their partnership a masterclass in on-screen camaraderie.
Among the newcomers, Jaideep Ahlawat towers over the narrative. His Rukma is a menacing triumph, equal parts terrifying and enthralling. Nimrat Kaur’s Meera is icy, sharp, and calculating, a performance that gleams with aristocratic venom. The North Eastern ensemble—Paalin Kabak as Stephen Khuzou, Tenzing Dalha as Rabbit, Millo Sunka as Jesmina, Poonam Gurung as Ulupi, Ariensa Longchar as Bhaskar Khersa, Jason Tham as Colonel Zhulong, Nima Norbu Lama as Joseph, Tumken Sora, and others—form the backbone of the season’s geopolitical arc.
Shreya Dhanwanthary’s return as Zoya Ali injects emotional continuity. Vipin Sharma, Gul Panag, Ashlesha Thakur, Vedant Sinha, Darshan Kumaar, Dalip Tahil, and Seema Biswas round out a cast that feels rich and robust.
So, does Season 3 surpass its predecessors? In parts, yes. In intention, certainly. Raj & DK continue to construct a blueprint for how spy dramas in India should feel: grounded yet thrilling, humorous yet tragic, fictional yet frighteningly plausible. The hyper-realism remains intact, tinged with just enough masala to keep the Indian palate satisfied.
It entertains. It frustrates. It captivates. It meanders. It dazzles. It disappoints. It tries to be many things, and in that effort, it occasionally falters. Yet it never stops being watchable.
In the end, The Family Man Season 3 may not be perfect, but it is undeniably compelling. And if not for its uneven storytelling, then for Manoj Bajpayee and Jaideep Ahlawat alone, it deserves your time.
Yatamanyu Narain is a Sub-Editor at News18.com with a passion for all things entertainment. Whether he’s breaking the latest Bollywood news or chatting with rising stars in the OTT world, he’s always …Read More
First Published:
November 21, 2025, 07:35 IST
Newsmoviesweb-series The Family Man 3 Review: Manoj Bajpayee And Jaideep Ahlawat Power A Dense, Politically Charged Thriller
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“The Pitt” star Isa Briones took to social media on Saturday to call out fans who scream at her during her Broadway show. On “The Pitt,” Briones stars as second-year resident Dr. Trinity Santos, but on the stage, she’s currently playing Connie Francis in the jukebox musical “Just In Time.”
“Hey, hey, hey!” Briones wrote on her Instagram Story. “Once again, Broadway is not a circus. Do not yell whatever you want at the performers. Yelling ‘when are you going to finish your charts’ before I sing ‘Who’s Sorry Now?’ is fucking disrespectful to the performers onstage and your fellow audience members. Y’all are pissin’ me off.”
She added, “Love and light and please remember you are occupying shared spaces and watching art.”
After making her Broadway debut in 2024 as Eurydice in “Hadestown,” Briones joined “Just In Time” on April 1. The musical follows the life and career of American singer-songwriter Boby Darin. Jeremy Jordan, who took over for “Glee” star Matthew Morrison on April 21, stars as Darin. Other cast members include Joe Barbara, Emily Bergl, Carrie St. Louis, Debbie Gravitte, Lance Roberts and Caesar Samayoa.
After it premiered in 2025, “The Pitt” quickly became one of the most popular shows in HBO’s roster. Its first season was nominated for 13 Emmy Awards and took home five, including best drama series, best actor for Noah Wyle and best supporting actress for Katherine LaNasa. “The Pitt” Season 2 premiered on Jan. 8, and is expected to be a major frontrunner at this year’s Emmy Awards.
You can watch a 30-minute discussion about Wonder Man season one.
There’s also a brief tease for season two, which makes it a must-watch for fans of the show.
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Greta Gerwig’s long-awaited fantasy film, Narnia: The Magician’s Nephew, has been delayed. Variety reports that Netflix pushed the film back over two months, from its November 26 release date to February 12, 2027. It will then premiere on Netflix on April 2, giving the film almost two months on cinema screens. Sneak previews for the new film start on IMAX screens on February 10. Although some Netflix films get theatrical screenings, few, if any, get a theatrical window as long as this one. The film features an all-star cast that includes Carey Mulligan, Daniel Craig, Meryl Streep, and Emma Mackey.
Twentieth Century Studios
In Gerwig’s follow-up to her mega smash Barbie, she’s adapting C.S. Lewis’ prequel novel to The Lion, the Witch and the Wardrobe, which was his sixth Chronicles of Narnianovel overall. The story focuses on the creation of Narnia by Aslan the lion, voiced in this iteration by Meryl Streep. Two kids by the name Digory and Polly manage to discover the “Wood between the Worlds” after their uncle, played by Daniel Craig, gives the two friends a magical ring. Mackey will portray Jadis, a.k.a. the White Witch, once played by Tilda Swinton. So far, the young actors playing the leads in The Magician’s Nephew remain uncast.
Here’s what IMAX had to say about the upcoming release of Narnia: The Magician’s Nephew:
From the outset, we got involved with Narnia: The Magician’s Nephew to support Greta Gerwig and see her vision realized to the fullest in IMAX. The film’s delay until 2027 creates an opportunity to give Narnia an expanded, wide release with a full theatrical window; we support Greta and Netflix in pursuing that opportunity and are pleased Imax could help facilitate. We hope as many people in as many places as possible can experience what Greta is creating with this special film — particularly in its exclusive debut in Imax, as it was meant to be seen.
Could this indicate a bigger change to how Netflix rolls films into theaters? Or will this be a unique situation? The streaming giant now owns the franchise rights to the entire Narnia series, all seven C.S. Lewis novels. 20th Century Fox adapted the first three novels in the series in the 2000s. Although, only the first film was a big box office hit. With Gerwig in charge, could the Narnia novels find a whole new life? This deal is for both films and television series, so we might be in for more Narnia than ever in the next few years.
In November 2019, arguably the world’s most iconic new duo made their debut by way of the Disney+ show The Mandalorian: Din Djarin, played by the inimitable Pedro Pascal, and Grogu, who was nicknamed “Baby Yoda” before his real name was revealed in season two. The world lost its collective marbles over Grogu, filling Etsy with fan-made merch within days of the show’s premiere and making it obvious Disney had a major new star on its hands. Now, seven years later, there’s no shortage of Grogu merchandise on the market, but the new Ultimate Grogu from Hasbro is by far the most realistic yet. The life-size collectible animatronic not only looks like the adorable Force-sensitive character, but it also features more than 250 interactive movements and sounds. You will have to wait until the figure launches on April 1, 2027, to add him to your collection, but you can preorder the little guy now for $600 at Amazon, GameStop, and Hasbro..
Ultimate Grogu is a fully animatronic, life-size collectible that is by far the most realistic yet, featuring more than 250 animatronics and sounds. Preorders are available for $600 at Amazon, GameStop, and Hasbro.
The Ultimate Grogu figure offers three modes. Explore Mode shows off all his cool abilities, while if you plan to cosplay Mando and want Grogu to be less lively, you can switch him into Grab & Go Mode, where his responsiveness will be limited. There’s also Display Mode for when you just want him to hang out on a shelf and give him the occasional head pat (which he’ll respond to cutely, of course).
Grogu comes with a few play accessories, including his cookie, which will shake when he tries to use the Force to pull it closer. You also get the Grav Charge accessory, which he’ll have unique reactions to, so try it out to see what he does. If you want to take him on the go, he runs on four D batteries, but you can also plug him in at home if he’s just going to hang out on your display shelf.
Noah Kahan has scored his first No. 1 on the Billboard 200 chart with his fourth album “The Great Divide,” opening with 389,000 equivalent album units.
Kahan’s debut marks the biggest week for a rock album since the charts started measuring by units at the end of 2014. It also becomes the third-biggest week for an album in 2026 behind BTS’ “Arirang” (641,000 units) and Harry Styles’ “Kiss All the Time. Disco, Occasionally” (430,000 units), and has the largest streaming week of any album this year.
Additionally, “The Great Divide” had the biggest vinyl sales week for a rock album since electronic tracking began in 1991, with 118,000 units sold across nine vinyl variants.
Elsewhere on the chart, Ella Langley’s “Dandelion” drops from No. 1 to 2, while Morgan Wallen’s “I’m the Problem” bumps back from 2 to 3. Kehlani notches her fourth top 10 with her self-titled album, which bows at No. 4 with 69,000 equivalent album units. This marks the biggest debut for an R&B album from a female artist this year. BTS’ “Arirang” rounds out the top five, dipping one spot from its position last week.
Justin Bieber’s “Swag” also pushes back one spot to No. 6 following a substantial boost from his pair of Coachella headlining performances. Michael Jackson’s “Thriller” returns to the top 10 at No. 7 thanks to a boost from the film “Michael” hitting theaters, followed by Olivia Dean’s “The Art of Loving” at No. 8. Wallen’s “One Thing at a Time” and Kahan’s “Stick Season” round out the top 10 at Nos. 9 and 10, respectively.
Director Barbara Kopple, one of the leaders in the field of documentary filmmaking, has been on the frontlines recording the American labor movement since her groundbreaking 1976 feature debut Harlan County, U.S.A.Following the struggles of a coal miner’s strike in Kentucky, Kopple found a story of community solidarity and corporate cruelty––a struggle of David and Goliath proportions. About a decade later, she drove to Austin, Minnesota, to film a new strike at a Hormel meatpacking plant. Kopple found workers pushed to the brink, disagreements among labor leaders, and corporate interests that only focused on increasing profitability, not wages. The result would become 1990’s American Dream, a documentary just as relevant today as it was during its original release.
Now, American Dream is coming to theaters this Friday with a new 4K restoration for May Day, playing alongside Harlan County, U.S.A. The two Oscar-winning documentaries reflect the change in the American labor movement as support for unions fell and workers felt their paychecks shrink under Reaganomics, while still resonating with working conditions today. The A.V. Club spoke to Kopple about breaking into the documentary field, the importance for documentary filmmakers to embed themselves in the stories they want to tell, and her next movie about the labor movement.
The A.V. Club: Before making your own film, Harlan County, U.S.A., you started working with the Maysles brothers. What did you learn about documentary filmmaking from them?
Barbara Kopple: I had studied clinical psychology, and I saw Frederick Wiseman‘s Titicut Follies,and it was censored everywhere for a while. I was in Boston going to school, and I took a train to New York. It was playing at Cinema Village, and [when] I saw it, in a way, I knew this was my calling. This is what I wanted to do in my life. I came back to New York City, and I took a course at the New School on cinéma-vérité. Sitting next to me was this really wonderful woman named Angela, and she said, “The place I work as a receptionist, they need an intern. They’re called the Maysles brothers, and they’re really influential in documentary filmmaking. Would you be interested?” And I said, “Are you kidding? I would love it!” She brought me in, and I got interviewed by Albert and David [Maysles]. One of the things they said to me was, “Okay, we have a film called Salesman coming out, and we want you to get the mailing list from the Museum Of Modern Art.” I said, “Okay, I got it.” I did it, and they were shocked.
When they were editing, they would let us in as a group, interns and whoever else was working there, to look at the different cuts that Charlotte Zwerin and Susan Steinberg were making, and let us give our opinions. That made me feel like I counted, like people cared about what I thought about, and that gave me the confidence and the passion to want to tell stories like this myself.
AVC: How did you know you wanted to make your first movie about a miner’s strike in Kentucky?
BK: I heard on WNPR about what was happening in Harlan County. So, off I went for the Miners For Democracy in Harlan County. I got a $12,000 loan to go do it. It was an adventure. When you go out for a documentary, you feel like maybe there’s a kernel of a story, but you’re not sure till you get there, and you explore and things take you in totally different directions. That’s what makes it frightening, wonderful, and exhilarating. You get to meet a whole community of people that embrace you and have your back and take care of you. It’s wonderful.
AVC: After filming this story for years, how did you know it was time to stop and make the movie?
BK: Well, I didn’t. I just figured, okay, I have to go back now. I don’t have any more film to shoot. Sometimes, my parents would send me film, and we’d pick it up in Tennessee, and send them what we had already shot. All my friends and everybody, instead of giving me any little birthday party or gift, they would give me a little bit of money so I could keep going.
AVC: What was it like to revisit American Dream for this restoration?
BK: Well, [the restoration] goes to Criterion and Janus because they had the distribution of both Harlan County, U.S.A. and American Dream. They’re the ones that put their sweat, equity, and money in it. It was extraordinary [to revisit] because I felt like all this time had not really gone by, and memories of people came up, and how much I loved being in both those circumstances of Harlan County and American Dream, and the work that it entailed.
AVC: There’s so many interesting subjects in American Dream, like the Bergstrom brothers that fell on different sides of the picket line, and the personalities that would take on leadership roles in the various union organizations. How do you find the people you want to profile?
BK: Well, you’re living in a community, and for me, living in a community is really important. You can’t just go and stay a week or two weeks and expect to get a film. I’ve lived in these communities for one, two, three years––as long as it takes. I knew that RJ [Bergstrom] was really upset at his brother because RJ was P-9, which meant he went along with Jim Guyette and Ray Rogers. His brother, Ron, was P-10 that went along with the International Union, and they were having some friction. RJ just said to him, “If you go across a picket line, you’re not my brother anymore.” And Ron said back, “My family comes first. I’ve been taught all my life you do not cross a picket line, but my family has to come first and not my union.” There were just so many extraordinary moments like that that were pulling that community apart over different things that they had to do for their survival.
AVC: How did you first find out about the Hormel strike?
BK: I was in Worthington, Minnesota, and an armor plant was closing. I had wanted to look at what was happening under Reaganomics and the industrial situation out there because it was a lot different than with Harlan County. It was very anti-union, even more so on a larger scale. So, I went to Worthington, and I went there before it closed. I was sitting on the porch with this husband and wife, and they said, “We’re really sad. We’re going to have to leave, but at least we have a place to go to another armor plant,” because they had it in their union contract that if their plant closed, they could go to another plant. So, I’m talking with his wife and their phone rings. He comes out crying and says they’re closing all the armor plants and there’s nowhere we can go. People just started leaving, putting things in their trucks, and leaving almost like in The Grapes Of Wrath. It was so sad and depressing.
I heard on the radio these people in Austin, Minnesota, started screaming, “We’re not going to take it anymore. We’re not going to take it anymore.” So I immediately went to Austin and that’s where I stayed. I tried to fit the other material in, but it just was too much because American Dream has four different arcs, and to be able to weave them in, it’s P-9, P-10, the National Union, and the company. It was difficult.
AVC: In the decade between Harlan County and American Dream, it feels like there’s a fracturing of the labor movement. What was it like to tell that story?
BK: In American Dream, they all had different opinions, but they all had really great hearts and were really honest and really cared. For example, Lewie Anderson had to take care of 25 or 30 different meatpacking plants, and many of them were making $6.50 or $7.50 or $8.50 an hour doing the same exact work as the people in Austin, Minnesota. His strategy was to bring everybody up to the same level. You don’t get the people who are on top to keep going. Ray and Jim Gayette felt, “Why should we have to do this? We were making $8.69, our grandfathers and our fathers and all the people that we’ve known in our life have worked in this plant, and we’re working in this plant. [The company] cut our wages, and we want to have an American Dream like everybody else.” Their hearts were in it, and they really wanted to win. Of course, the company who had made over $200 million profit wanted to be competitive, and if there was anybody evil in [the movie], it was the company.
AVC: How did you balance those various opinions in the edit?
BK: It’s a monster. You sit in the editing room, and you try so many different things to see what connects, what works. With American Dream, it was harder than Harlan County because Harlan County was “you’re either for the union or against the union.” This had a lot of other things, but you wanted to learn, you wanted to see different people’s perspectives. It was so important for me as a filmmaker to let you make your own decisions on what you felt was right.
AVC: Was there a moment when making American Dream that you knew this conversation or scene had to be in the film?
BK: I think [about] these Minnesotan men who believed all their lives that you do not cross a picket line and had to make that decision over their family or their union. One of them just says, “My wife has a job. My son has a job, and what do I do? I sit home, and I play with the cat.” Then, he just puts his hands over his face and cries. In the next scene, you see him going to the picket line and crossing. I think that was very, very hard and very, very challenging for these guys who believed in unions all their lives and just had to give it up for their jobs.
AVC: You’re working on a new labor documentary. As you’ve documented the labor movement for decades, what is your impression of how things have changed since American Dream?
BK: I don’t think it’s changed too much. I think that it’s very, very similar. I’m doing a film on UPS, Amazon, the Teamsters, and the deliveristas––the people who deliver you your bagels or whatever you have [ordered]. Amazon, for example, uses independent workers. So Amazon never hires them, but Amazon can fire them. They’re on their own if they get hurt, or if anything happens. They’re gone. The deliveristas are from other countries. They have to buy their motorcycles or their bikes and their gloves, and they’re totally on their own in a different community. They have no health benefits, no nothing. If something happens to them, they’re responsible for it. And UPS and the Teamsters, even though they’ve had––I don’t know––the union for a hundred years, the company is still doing things that are not living up to the contract, so they have to continue to fight.
AVC: It feels like we’re in another Reagan era that’s anti-union and anti-arts funding. How do you maintain the energy to keep fighting and telling stories?
BK: Well, the energy is always there, because if you’re able to finish the films that you want to do, hopefully people will see them. You’ve done it and nobody can erase it. Funding for documentaries has always been hard. It’s never easy. I remember [making] Harlan County, they turned my electricity off at home, and I put candles around my bathtub and took a bath and was singing Bob Marley and feeling sorry for myself with tears coming down my eyes, but it’s always hard. It’s really hard now because the National Endowment For The Arts is not able to fund anything that is about social issues, and the National Endowment For The Humanities and other people, other foundations are afraid. It’s a difficult time, but you have to look, and you have to try to find people who will be donors. Even if they give you a little bit of money, it still encourages you to keep going, and that’s the way you have to do it. You have to be as creative about your fundraising as you are about making the film.
As Michael enjoys a busy second weekend at the box office, Spike Lee is singing the biopic’s praises amid controversy.
The 3x Oscar winner defended the Antoine Fuqua-helmed film for not including the 1993 child sexual abuse claims against Jackson as “it doesn’t work in the timeline of the film,” which follows his rise from the Jackson 5 to ‘King of Pop’ stardom in 1988.
“First of all, if you’re a movie critic, and you’re complaining about the stuff, all this other stuff—but the movie ends at ’88. The stuff you’re talking about, accusations, happen [later],” he told CNN. “So you’re critiquing the film on something that you want in, but it doesn’t work in the timeline of the film. But people showed up. Worldwide, people showed their love.”
Lee added, “I miss Mike. I miss Prince. I mean, these are my brothers. I worked with both of them. Both beautiful, beautiful people.”
Fuqua previously explained to Deadline that they “planted the seeds” to explore the allegations in a sequel. “The movie is called Michael so you have to focus on Michael,” he explained.
L-R: Jaafar Jackson as Michael Jackson and director Antoine Fuqua on the set of ‘Michael’
Glen Wilson/Lionsgate
“Unless you can truly take your time, let’s go back to the beginning and really show people who he was on the stage. He’s a superhero on the stage. Just like a human being, movies have the power of empathy to just say this is a human being. No one is perfect,” added Fuqua. “It was important to take the audience through a process of how do you get to wherever it’s going to go in a second movie; for people to get a bigger idea of his personality and what shaped him.”
Originally surpassing three and a half hours, the first cut of Michael reportedly ended with an accuser, whose settlement with the singer’s estate guaranteed they would never be dramatized. The Michael Jackson estate, when greenlighting the movie, overlooked this detail.
After Jackson was charged with seven counts of child molestation and two counts of intoxicating a minor in 2003, he denied the allegations and pleaded not guilty before being acquitted on all counts in 2005. Following Jackson’s death in 2009, other accusers have come forward.
In anticipation of the final season of Jersey Shore Family Vacation, which premieres on MTV next week, I have been giving a good ol’ rewatch to the show that not only made “Snooki” and “JWOWW” household names, but the show that turned “GTL,” “DTF,” and “Yeah buddy!” into common phrases. Jersey Shore, which aired for six seasons between 2009…
Spike Lee, who directed the music video for Michael Jackson’s “They Don’t Care About Us” and two documentaries about the pop superstar, understands why the 2026 film “Michael” didn’t include the allegations of sexual abuse. Lee told CNN’s Laura Coates he’s seen the movie twice and enjoyed it both times.
“First of all, if you’re a movie critic, and you’re complaining about the stuff— all this other stuff— but the movie ends at ‘88,” Lee said when asked about criticism levied at the film’s team. “The stuff you’re talking about, accusations, happen [later]. So you’re critiquing the film on something that you want in, but it doesn’t work in the timeline of the film. But people showed up. Worldwide, people showed their love.”
He continued, “I miss Mike. I miss Prince. I mean, these are my brothers. I worked with both of them. Both beautiful, beautiful people.”
The allegations against Jackson were originally meant to be part of the story. While speaking to the New Yorker in April, director Antoine Fuqua said, “I shot [Michael] being stripped naked, treated like an animal, a monster.”
He also said he “envisioned a film that might have read as a provocative defense of its subject” before an agreement with the family of one of Jackson’s alleged victims was discovered. The $23 million settlement included a clause that forebade the estate from taking part in depicting the events of the allegation.
Fuqua also told the New Yorker he is “not convinced that Jackson did what he is accused of doing.”
“When I hear things about us — Black people in particular, especially in a certain position — there’s always pause,” he said.
Jackson faced 10 charges in 2005 in relation to the alleged sexual abuse of a second 13-year-old. He denied those allegations and was acquitted on all counts.
Shakira performed a massive free show in Brazil last night at Rio de Janeiro’s Copacabana Beach. The performance featured some of the Colombian superstar’s most enduring hits, a few special guests, and, according to Mayor of Rio de Janeiro Eduardo Cavaliere, it drew an estimated crowd of two million people. Check out footage from the evening below.
The setlist featured a career-spanning collection of hits, including “Hips Don’t Lie,” “Waka Waka (This Time for Africa),” “La Tortura,” “Whenever, Wherever,” “Loca,” and “She Wolf.” She concluded the almost three-hour concert with a performance of her 2023 track with Bizarrap, “BZRP Music Sessions #53/66.” She was joined onstage by local legends Caetano Veloso, a tropicália pioneer, and his sister Maria Bethânia, one of the best-selling artists in Brazilian history. Anitta also joined Shakira onstage to perform their new song “Choka Choka,” which appears on the Brazilian star’s last album Equilibrivm.
The show was a part of an ongoing world tour in support of her 2024 album Las Mujeres Ya No Lloran, which was her first all-Spanish-language album in 19 years. It was also the most recent edition of Rio de Janeiro’s ever-expanding Todo Mundo no Rio concert series. Lady Gaga brought free shows to the waterfront as part of the festival in 2025, and Madonna did the same in 2024, performing for the largest live crowd of her career at the conclusion of her Celebration Tour.
During her show, Shakira also took plenty of opportunities to profess her love for the city, spelling out “I love you, Brazil” in Portuguese in skywriting and speaking about her personal connection to the city. “I arrived here when I was 18 years old, dreaming about singing for you,” Shakira told her audience after coming on stage, per the Associated Press. “And now look at this. Life is magical.”
Revisit Isabelia Herrera’s Sunday Review of Shakira’s Laundry Service.
Shakira Todo Mundo no Rio 2026 Set List La Fuerte Girl Like Me Las de la intuición / Estoy Aquí Empire / Inevitable Te Felicito TQG Don’t Bother Acróstico Copa Vacía La Bicicleta La Tortura Hips Don’t Lie Chantaje Loca Soltera Choka Choka (with Anitta) Can’t Remember to Forget You Ojos Así Pies Descalzos, Sueños Blancos Antología O Leãozinho (with Caetano Veloso) O Que É, O Que É? (with Maria Bethânia) Objection (Tango) País Tropical (with Ivete Sangalo) Whenever, Wherever Waka Waka (This Time for Africa) She Wolf BZRP Music Sessions #53
In the juiciest speech in “The Devil Wears Prada,” Miranda Priestly, the frosty-haired, frosty-souled Runway magazine editrix played by Meryl Streep (in a performance that should have won her the Oscar), looks over Andy (Anne Hathaway), her dressed-down second assistant, and dresses her down all the more by explaining that Andy may think she has nothing to do with the fashion world, but she couldn’t be more wrong.
Using Andy’s lumpy cerulean blue sweater to illustrate the point, Miranda explains how fashion filters down into the world in a thousand ways no one realizes, and that we all obey its dictates. (The speech was parodied this week in the best “Saturday Night Live” promo I’ve ever seen, with the great James Austin Johnson playing Miranda; it’s astonishing that they didn’t save it for the show.) Miranda’s speech is Andy’s first big lesson, and it’s also the first sign that Miranda isn’t just a sadistic boss from hell, impossibly haughty and demanding, giving Andy seven tasks to do at once, mixing in personal errands, expecting her to know things as if she were reading Miranda’s mind. Miranda certainly is all that, but it’s because she has a vision — of fashion, of the larger world, of her rightful place in it.
The thing about that speech is that it’s directed at the audience as much as it is at Andy. “The Devil Wears Prada” was a luscious screwball office comedy that, its bitch-snap way, became an ideal hangout movie. But its secret weapon was how it invited us to know and love a fashion world that we, like Andy, may have started off thinking we had little or nothing to do with. By the end of the movie, when Miranda, in a car traveling through Paris, tells Andy, “Everybody wants this. Everybody wants to be us” (a line Streep insisted be changed from “Everybody wants to be me”), what she’s saying is that fashion, in its swirl of commerce and beauty, with its tastemakers who are slightly absurd in their grandeur, is actually a place of divine meaning. “The Devil Wears Prada” was a satire of the fashion world that wound up seducing us into seeing the soul of the fashion world.
“The Devil Wears Prada 2,” as everyone knows by now, is a very different movie from its predecessor. The original film teased and snapped, with Miranda almost never letting down her superior-to-thou hauteur; the wit was fast and furious. The new movie, by contrast, is set in a media world that’s melting down like the polar ice caps, and so the movie, by design, doesn’t sparkle with the same fizz. It’s almost a drama zhuzhed with jokes rather than a comedy with a bittersweet undertone.
As an unabashed fan of the new film, I actually think that was the right way to go — to look at the characters, 20 years later, from a noticeably different angle, and maybe a richer one. Miranda is still the scolding queen bee of Runway, but now she’s anxious and vulnerable, working overtime to keep herself on that pedestal. She can no longer say anything that flies into her head (lest it result in an HR violation), and there’s a luscious moment of comeuppance where she’s forced by company mandate to fly coach.
Some viewers, including friends of mine, have mourned the absence of the verbal-scalpel-wielding ice-princess dictator of the first film, and there’s a certain way that I agree with them. Where the filmmakers — director David Frankel and screenwriter Aline Brosh McKenna — could have had their poison tart and eaten it too is if they’d presented us with this newly humane, relatable, emotionally colored-in Miranda and still given her 25 more whip-cracking lines that sound like the kind of thing Jean Smart tosses off by the pound in “Hacks.” Some people are never funnier than when they’re in deep shit, and Miranda, trying to save her empire, seems a perfect candidate for that sort of biting-through-tears gallows humor.
But where “The Devil Wears Prada 2” takes a chance, aims for the unexpected, and hits a bull’s-eye that I think says much about where moviegoers are coming from today is the way that it asks the audience to identify with the faltering fortunes of Runway magazine in a media world that’s hanging on by its fingernails. At Oscar time, when there’s a movie up for awards that’s about moviemaking, like “The Artist” or “Once Upon a Time in Hollywood,” the standard line is that it will have a leg up with Hollywood insiders, who love seeing movies about themselves. Maybe so, but I think a great many ordinary people also love seeing movies about Hollywood — a real place that’s a myth of aspiration and dreams.
And the same dynamic may now be true of media. While it’s certainly true that media people love seeing movies about themselves, I think a lot of media wags have misjudged how all of that comes across in “The Devil Wears Prada 2.” Many have labeled the movie “dire” and “pessimistic,” because it touches such a raw nerve among media professionals who are anxious about their own livelihoods. But “The Devil Wears Prada 2” isn’t a handwringing downer; it’s actually a fable of hope and dreams set in the real world. Where the first film hinged on the glory of fashion, the new one is about saving the beauty and value of what the magazine world has been.
In the current media landscape, does that make the film a fairy tale? Perhaps. Yet there’s a meaning to it, and a crucial question: How much do we, as a society, care about the ideals of “old media” — beauty and reporting and experience, indelible images and writing, not just information but truth — and about whether those ideals live or die? “The Devil Wears Prada 2” uses the increasingly threatened fortunes of Runway magazine, and of Miranda herself, as a conduit to answering that question. Runway may be a glossy fashion product, but it’s conceived and executed like a work of art. The movie asks: Are we okay with all of that going away?
Early on, when Andy, now the serious journalist she always aspired to be, gets downsized from a boutique publication called Vanguard, only to land a position as Runway’s new features editor, she’s assigned to do a damage-control story about a company linked to Runway that had used a sweatshop. She succeeds, but the point is made that her story generates almost no traffic. A lesser movie would have made the piece a click-bait triumph. This one doesn’t pretend that winning eyeballs in 2026 is any easier than it is.
Yet the rest of the film rebels against the impulse of journalism by algorithm, arguing that only the human factor, curated and supported, can make a magazine like Runway — or, by implication, any great magazine — what it is. That’s the film’s drama. It’s what Miranda now stands for, as does Stanley Tucci’s Nigel, who has become such a velvet droll bitch-sage that he’s now the scene-stealer of the franchise. But that’s where “The Devil Wears Prada 2” isn’t just a movie about fashion or media. At heart it’s a light romp, yet by the end there’s something touching and transporting about it, because what Miranda and her people are battling, whether it’s the slashed budgets or the tech bros who want to control everything or the apathy bred by an unending tsunami of second-rate content, is what the world around us is becoming. What they’re fighting for is a place where the human touch can still reign.
Maritimers could see some heavy rain and even some snow as people finish up their weekends and head back into the work week.
Environment Canada has issued special weather statements for all of Nova Scotia, Prince Edward Island and parts of southern and eastern New Brunswick.
Cities like Moncton, Saint John and Grand Lake as well as eastern and southern counties are expected to see between 25 to 40 millimetres or rain starting Sunday and going into the night.
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The agency says there is some uncertainty as to where the highest amounts of rain will fall, but it adds “significant totals” are possible over some parts of the Fundy coast.
Similar rainfall amounts are expected for nearly all of Nova Scotia, with high winds of 60 to 80 kilometres-per-hour also expected Sunday. The rainfall and winds are expected to continue into Monday across the province. Cape Breton Island is not under the special weather statement, though a yellow warning – Les Suetes wind alert has been issued for Inverness County – Mabou and north. Maximum gusts of up to 100 km/h could be seen Sunday evening from Margaree Harbour to Bay St. Lawrence.
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Prince Edward Island is also expected to see the same rainfall amounts with northerly wind gusts of 70 to 80 km/h into Monday morning.
In all three provinces, Environment Canada says people can also expect to potentially see wet snow in higher elevations. P.E.I. could see the rain mix with or change into snow in some parts.
Residents are advised to clear leaves and debris from storm drains and gutters in advance of the rainfall. Patio sets, umbrellas and other loose objects should also be secured due to potential strong winds.
Here’s a look at what celebrities have been up to as of late!
Meryl Streep arrived at The Late Show with Stephen Colbert in New York City carrying DeMellier’s Hudson bag before appearing on the show in Mejuri’s silver Brioche Hoops. She also was out in New York City wearing Bared Footwear’s Mino Black Leather Hardware Heeled Boots, and again in DISSH’s Romy Cream Barrel Leg Tailored Pant. The actress also stepped out in Tokyo, Japan in Frank Darling’s Pear Gumdrop Earrings.
Taylor Swift wore the Audry Rose Pave Diamond Lock and the Three Diamond Lariat to dinner in New York City.
Lauren Conrad was out and about in New York City wearing Steve Madden’s Jypsey Sandal.
François Arnaud attended the David Yurman Noumenon event in New York City in the Bohol Crochet Top and Neo Pant by Cult Gaia.
Alexa Demie appeared on Season 3 of Euphoria in Simone Pérèle’s Scenario Sheer Demi Bra in black.
Emma Roberts attended The Paris Review Gala in Paris, France in the Alanna Halter Cowl Neck Midi Dress in black by ASTR the Label.
Jodie Comer walked her dog in London, England in MOTHER’s The Lil Goodie Ringer in Mother Moto.
Gabrielle Union attended the Blue Book launch soirée at the Park Avenue Armory in New York City in JustFab’s Emilia Stiletto Boot.
Anitta performed on Saturday Night Live! in New York City in a beaded PatBo gown.
Aubrey Plaza was out in New York City carrying The New York Shoulder bag by DeMellier. The actress also appeared on Late Night with Seth Meyers in New York City wearing the Betsey Johnson Jenii Heel and L’eggs 360 Degree Sheer Contour Shaping Tights.
Pamela Anderson posed on Instagram in the Larroudé Verona Ballet Flat in Peanut Suede.
Amy Adams and her husband Darren Le Gallo enjoyed a date night at Black Tap in The Venetian Resort Las Vegas in Las Vegas, Nevada, where they had burgers and a CrazyShake.
Beyoncé posed on Instagram with the Cult Gaia Pearl Bag.
Michael B. Jordan attended the Swapped premiere at the Netflix Tudum Theater in Los Angeles, California in the Bleusalt Classic T Lite.
Megan Thee Stallion was out in New York City wearing The Blare set from I.AM.GIA in black.
Dolly Parton teamed up with Good American to launch the Good American x Dolly Parton Dolly’s Joleans Spring ’26 collection.
Demi Lovato took the stage in Orlando, Florida for her It’s Not That Deep Tour wearing the cream Lucia Bolero from DUCIE and posed on Instagram in the same style in black. The singer also shared her love for CYKLAR’s Vanilla Verve Body Wash while speaking to Good Housekeeping.
Demi Lovato/Instagram
Zoë Saldaña celebrated the unveiling of RH Milan, The Gallery on Corso Venezia, in Milan, Italy in the L’eggs® 360° Contour™ Sheer Tights.
Kourtney Kardashian posed for Instagram photos in an archive Betsey Johnson dress.
Anne Hathaway was out in New York City carrying DeMellier’s The New York Shoulder bag in black small grain.
Jennifer Lawrence was out in New York City wearing DISSH’s Monica Ink Satin Pant.
Barbie Ferreira stepped out in New York City wearing the Addison Resin Hoop earrings from 8 Other Reasons and the Cheetah Tote Bag from the brand.
Kristen Doute appeared on Watch What Happens Live with Andy Cohen in New York City in the Sunrise Pump by Valentina Rangoni and the Palm Textured Cuff in gold by Alex + Ani.
Machine Gun Kelly performed in Melbourne, Australia in the Lanley LS Shirt Militant and Trooper Cargo Pant Militant by KSUBI and in Sydney, Australia in the Blackjack Maxx Aged Pant by KSUBI.
Lana Del Rey snapped a selfie for Instagram in the Montce Camo Jacelyn Ruffle One-Piece.
Elizabeth Banks attended a screening of The Miniature Wife at DGA Theater in Los Angeles, California in a SIMKHAI gown and the Jennifer Meyer Stick Earrings and Jennifer Meyer Small Leaf Ring.
Sabrina Carpenter released the music video for “House Tour”, where the singer, Margaret Qualley, and Madelyn Cline wore La Marquise jewelry, with Qualley also sporting an archive Betsey Johnson dress.
Milo Manheim enjoyed a stroll in Los Angeles, California in the Steve Madden Sanderson Dark Tan shoes.
Hailey Bieber shared a photo on Instagram of Jack Blues Bieber wearing a custom INKED by Dani.
Carl Radke and Lindsay Hubbard starred in a campaign for Uber Eats produced by Millennial Entertainment.
Meghan Trainor released the music video for her single “Get In Girl”, which features an Alfa Romeo Giulia.
Olivia Rodrigo appeared on The Tonight Show Starring Jimmy Fallon in New York City wearing a vintage white ruffled dress from Betsey Johnson.
Emily Blunt was out and about in New York City carrying VESTIRSI’s Vera Black Baguette Bag.
Getty Images Courtesy of VESTIRSI
Teresa Giudice taped an episode of Kai Stone’s Turning the Tables podcast.
Terry Dubrow appeared on IMPACT x Nightline: “LOOKSMAXXED”.
Heidi Montag appeared on Tay Lautner’s The Squeeze podcast.
Lisa Hochstein had dinner at Sofia in Miami, Florida with friends, where they enjoyed margaritas, burrata, gamberoni, spicy rigatoni, cacio e pepe, cavatelli bolognese, and zeppole for dessert.
Laura Marano appeared on NBC New York in the Classic Elegance Olive Satin Sleeveless Mock Neck Mini Dress.
Gia Giudice appeared on Hallie Batchelder’s Extra Dirty podcast
Lisa Ann Walter appeared on Sherri in New York City in the Alisha Black Dress by Nadine Merabi.
Salem Mitchell attended the Lakers Game 2 at Crypto.com Arena in Los Angeles, California with Shop The Sample to celebrate the shopping destination’s debut in West Hollywood, California.
Melissa Barrera hit the Titanique opening night red carpet in New York City in a Betsey Johnson archive dress and Betsey Johnson Cruze Nude shoes.
Paris Berelc attended the premiere of Roommates at The Egyptian Theatre Hollywood in Los Angeles, California wearing the Iconica Drop Earring and Iconica Ring by Za Zewelz.
Kat Velasco released her single, “You’re Drunk”.
Paige Lindgren celebrated the launch of her debut cookbook Sync & Savor with a community walk in Santa Monica, California.
Violet Witchel appeared as a panelist at Omnivore Books on Food in San Francisco, California.
Sophia Rose Wilson appeared on Season 3 of Euphoria wearing the Logen Dress by OUTCAST.
Jane Olivia launched the Jane Olivia smoothie to celebrate her collaboration with Kaleidoscope Juice.
Leandra Medine attended the Devil Wears Prada 2 premiere in New York City wearing a pair of Havaianas Brazil Flip Flops.
Getty Images
Sophie Saint restored a Ferrari F40.
Melinda Melrose was appointed as a Dolce&Gabbana Global Makeup Expert.
Susan Holmes McKagan cheered on her husband, Duff McKagan, at the Guns N’ Roses show at the Tecate Pa’l Norte festival in Monterrey, Mexico.
Miranda McKeon, Sarrah Strimel Bentley, and Kiley Durham Castricone joined the Breast Cancer Alliance for a conversation on diagnosis, treatment, and life beyond, in Old Greenwich, Connecticut.
Caroline Vazzana attended the Devil Wears Prada 2 premiere in New York City.
RAYE posed on Instagram in the Sienna Fur Jacket from DUCIE.
Donni Davy and Half Magic Beauty launched a Euphoria cosmetics collaboration.
Shelton Wilder of California Wilder Windows by Shelton Wilder Estates partnered with P.S. Arts in Los Angeles, California for the fifth year.
Jamie MoCrazy announced her Alive to Thrive event in Salt Lake City, Utah with the MoCrazy Strong Foundation.
Kail Lowry announced her Fatherless Behavior tour, which kicks off in June 2026.
Chase DeMoor appeared on Celebrity Ex on the Beach.
TJ Palma starred on season 2 of Love Island: Beyond the Villa.
Beauty expert Erika Vasco launched The Tan Edit’s Water Veil™, a sheer, buildable tanning mist designed to shift tanning from dramatic color change to natural skin tone enhancement and believable glow.
Simone Ashley enjoyed a stroll in New York City while carrying the VESTIRSI Ashley Leather Shoulder Bag in Black Leather.
Kristi Cook, a.k.a. Spill Spesh, celebrated an audio-video deal for her Weekly Teacap podcast with The Roost.
Levi’s launched its Levi’s® x Beastie Boys Tee Collection to celebrate the group’s formative years in New York City and their lasting influence on music, street culture, and self-expression.
Levi’s
Jeanee MoCrazy proposed to her fiancé Tariq Abou-Bakr at Lake Effect in Salt Lake City, Utah.
Strong Girl Society founder Holly Brooks hosted a two-day retreat in the U.K. to celebrate the launch of her second activewear collaboration with Myprotein.
RedHanded podcast co-hosts Hannah and Suruthi appeared on the What Went Wrong podcast.
Elyce Arons, Frances Valentine CEO and co-founder teamed up with Blair Eadie, Atlantic-Pacific founder, to launch a limited-edition capsule collection.
Celebrity makeup artist Carolina Gonzalez hosted a virtual masterclass with Armani beauty to reveal the artistry behind Sabrina Carpenter’s signature festival glam.
Alberto Toso Fei released Assouline’s latest Ultimate title, Venice, La Serenissima, which unveils across a thousand-plus years of Venetian history and culture.
Anna Sitar, Holly Mayland, Sharlize True Trujillo, and Juliet Schroder attended the Dolce Glow in the Desert event in Indio, California presented Tower 28, and Sunnee BAEskin.
Connie Nam celebrated the opening of Astrid & Miyu Abbot Kinney in Venice, California.
Weddings by PURR co-founders Madison Woolley and Kaitlyn Rodriguez attended New York Bridal Fashion Week in New York City.
Smashbox celebrated the next era of their Photo Finish Primers and the debut of the Photo Finish Invisible SPF 45 Primer at the Sheats-Goldstein Residence in Beverly Hills, California.
HigherDOSE teamed up with CorePower Yoga to host a C2 red light workout class to celebrate their collaboration rooted in movement, recovery, and wellness.
Intimissimi hosted a pop-up to celebrate the Ultralight Cotton collection in Venice, California, where guests discovered the Natural Intimates collection, enjoyed a photobooth and custom embroidery, refreshments, and more.
Bollare hosted a Sunset Sessions event in Los Angeles, California, where guests explored spring and festival must-haves from Beginning Boutique, Havaianas, Summer Fridays, and TJ Swim after enjoying beauty touchups with Pixi, SexyHair, Urban Decay, and Lawless Beauty.
Blushington, known for its elevated approach to beauty services, celebrated the opening of its new location in Houston, Texas.
Westmore Beauty celebrated their new era of flawless skin with a party in Los Angeles, California.
RIXO launched a new collection made with Liberty Fabrics a part of the brand’s SS26 We Are One 10-year anniversary collection, which includes mirrored embellishments, ruffled hems, boho prints, and expressive colors.
RIXO
MARA Beauty hosted the Aura Cleanse Reset event in Los Angeles, California to celebrate the launch of the Aura Cleanse Foaming Gel Cleanser, a gel-serum that transforms into a foam to cleanse the skin with a formula made with marine and mineral actives to support clarity and resilience.
Benefit Cosmetics hosted the Benefit x Kopari poolside party at The Glaze and Glow Masion in Encino, California to celebrate the launch of Benefit’s Dream Sheen Brow Glaze, a new tinted brow gel designed to add sheen and definition to brows.
Oscar de la Renta hosted its Spring 2027 Bridal Trunk Show in New York City, where models prepped their complexions with Allies of Skin products.
G&B Digital Management partnered with College of Influence to launch the College Creator Micro-Grant ’26 to support emerging content creators currently enrolled at U.S. colleges.
CLD PR hosted the CLD Pre-Festival House 2026 in Beverly Hills, California, where guests stocked up on Osier products.
SHEIN launched the SHEIN x Gossip Girl collection inspired by the show and its characters with miniskirts, satin tops, elevated basics, and party dresses.
Edikted teamed up with Barbie to launch a fashion collection filled with 71 pieces across ready-to-wear and accessories spanning sunglasses, bags, and jewelry, available to shop on Thursday, May 7. To celebrate the launch, Edkited and Barbie are hosting a pop-up at The Grove in Los Angeles, California from Friday, May 8 through Sunday, May 10.
Too Faced launched a bronzing collection filled with multiple textures, finishes, and techniques to sculpt, define, and enhance, including a blurring matte bronzer, a radiant blonzer, a multi-use sculpting pencil, and a chocolate-hued tubing mascara.
Dancing launched the Rosé 2025, grown on a 12-acre estate in Sonoma, California and made from 100% Zinfandel grapes.
CATS: The Jellicle Ball opened on Broadway in New York City with Omari Wiles and Arturo Lyons as the co-choreographers.
Lee Jeans teamed up with Feng Chen Wang to launch the Lee x Feng Chen Wang collection filled with denim cowboy jackets, wide-leg and slouchy jeans, oversized tees, and layering pieces with prices ranging from $50–$120.
Beauty Pie launched the All Systems Grow H-Wave LED Hair and Scalp Treatment in an innovative and discreet baseball cap which harnesses 123 medical-grade LED lights and delivers 655nm of red-light therapy.
Medicube launched the full assortment of 13 SKUs available across Target stores nationwide and online at Target.com.
Emm Kuo debuted 10 statement-making bags on REVOLVE.
Typology launched the Targeted Expression Lines Mask Set + Silicone Patches A70 to visibly smooth fine lines and wrinkles in 10 minutes with a Peptide Complex (7%) paired with biomimetic fibrillin.
Gymshark launched its FORM collection made from the FeatherForm seamless fabrics to mold to your physique for light training and rest days.
Taco Bell launched the limited-time Diablo Dusted Crispy Chicken Nuggets, a spicy spin on the Crispy Chicken Nuggets, featuring all-white meat chicken nuggets coated in crunchy tortilla chip breading with a fiery layer of Diablo Dust. The food chain also launched Zab’s Chicken Ranch Nacho Fries, a limited-time collab with slow-roasted chicken, warm nacho cheese sauce, a three-cheese blend, pico de gallo, and topped with Zab’s Ranch. Taco Bell also brought back the Triple Double Crunchwrap for a limited time.
Meryl Streep shocked Jimmy Kimmel Thursday night when she gave him a taste of the character voices she does while she is reading books to her grandchildren.
“Do these kids get to hear you read to them?” Kimmel asked Streep during their conversation Thursday night, referring to her grandchildren. When Streep confirmed she does, the “Jimmy Kimmel Live!” host joked, “Oh, wow. They have no idea how good they have it.” He subsequently asked if Streep has been reading the “Harry Potter” books to any of the kids. (He is in the midst of reading the series to his own children.)
“Oh, sure. Yeah, I read that to [my daughter] Louisa, who’s now 34,” Streep replied, adding with a laugh, “Not recently. I read it when she was, you know, in like the third grade or something.” When Kimmel asked her if she does any voices for the books’ characters, Streep enthusiastically responded, “Of course!”
“I heard you do the characters, too,” she told Kimmel, who replied, “No, I do one character. I only do Hagrid. That is the only character that I do, and sometimes I accidentally do Hagrid when it’s other characters speaking… I’m not you. Let’s put it that way.”
Laughing, Streep said, “I’m just trying to imagine Snape as [Hagrid].” She proceeded to put on gruff voice and tell Kimmel, “I do Hagrid!” The late night host immediately replied, “Oh, that’s a good Hagrid. It’s better than my Hagrid.”
You can watch the moment yourself in the video below.
Earlier in the interview, Kimmel asked Streep, who has won three Oscars, what the ages of her grandchildren are. The actress and “Devil Wears Prada 2” star proceeded to recite the ages and then correct herself a few times, before ultimately settling on, “7-5-4-4-3-3-1.” In response, Kimmel joked, “Dial that number. I think you just accidentally gave out your social security number.”
“Are you a cool grandma?” Kimmel asked Streep.
“I don’t know. Hmm… I think I’m a little like Miranda Priestly as a grandma,” the Oscar winner confessed, referring to her tyrannical magazine editor in both “Devil Wears Prada” films. Her answer shocked Kimmel, who asked, “Oof. Really?”
“I like the rules, dear,” Streep explained. “I like the rules.” Kimmel jokingly then asked, “Have you fired any of the children?,” to which a laughing Streep sheepishly responded, “No, but you know…”
John Magaro wants a new definition of masculinity.
“I grew up in the Midwest, in Ohio, in Cleveland, during a time when jobs were going away, when the idea of masculinity for these blue-collar guys was being shaken to the core,” he told TheWrap. “I know how hard it is for them to reach out for help.”
This struggle drew Magaro to “Omaha,” a film directed by Cole Webley and written by Robert Machoian that opened in theaters on Friday after first premiering at the 2025 Sundance Film Festival. Magaro leads the film as a character simply known as “Dad,” who takes his two children (Ella and Charlie) and dog on a road trip across the Midwest after losing his home amid the 2008 economic crisis.
“I love that he’s just called Dad. I think that there’s something in that. It really shows this perspective, from Ella’s perspective,” he said. “I love that he’s kind soon through this child’s eyes as the mystery that often our parents are at that age. I think about when I was that age and so much I didn’t know about who my parents were because you just see them as survivors. Then when you see that shaken and that confidence sort of betrayed, it’s so world-shattering for a child.”
Magaro went through this experience himself around the age of 12. The actor, raised in Ohio as the son of teachers, saw his own father like most kids see their parents: a strong, unphasable, respected authority figure. It wasn’t until he grew up that Magaro would learn about the battles his father kept secret from him — particularly a battle with alcoholism.
“It was something that my mom would talk about, they ended up splitting up, but we didn’t really know it. This was a secret, and much like Dad in this film, he never asked for help. He was from a generation where you don’t ask, where you didn’t do that. You didn’t show weakness,” Magaro said. “Again, like it does with Dad in this, his problems over time caught up with him.”
“Now, obviously as a parent, I know that. I know how flawed I am as a person. But it really is world-shaking when you see your parent as anything other than this pillar for you, this iron pillar,” he continued. “He never was able to ask for that help he required.”
Living in the quiet
“Omaha,” distributed by Greenwich Entertainment, came to Magaro at an interesting time. Winding down from shooting “September 5” in Germany, the actor (who’s already starred in 20 films released this decade) wanted to take a break, take time away with his family. Once two of his friends insisted that he take a look at Machoian’s script, Magaro quickly put the idea of a break away.
“This is an amazing story. These are rich characters. This is something I haven’t done before. By the end, I was just left devastated and I knew I wanted to be a part of it,” he said. “Then I talked to Cole, and Cole’s just as cool as everyone says he is, and I had to do it.”
“Omaha” may be Webley’s first feature, but Magaro already loved Machoian’s “The Killing of Two Lovers,” a 2020 Sundance indie starring Clayne Crawford and Sepideh Moafi. The idea for “Omaha” rattled around in Machoian’s head all the way back in 2008, when the effects of the economic crisis at the film’s center were at their most profound.
Beyond the thematic center of “Omaha,” Magaro found himself drawn to its overwhelming quiet.
“I am just a believer in film where a lot lives in the silence. I came from a theater background, and in theater that’s really something you don’t get the opportunity to do. So much is in language,” “I think that’s what makes film so special, is that so much can live in what’s not said. Whenever I get to play those roles on film, I relish those opportunities.”
Magaro fills his filmography with the quiet. The actor has become a Kelly Reichardt regular, a frequent indie performer. The reason for this predilection, he said, is simple: those are his favorite kinds of movies.
“It allows for more complicated characters,” he said. “There’s nothing worse than realizing you’re kind of stuck playing the same note over and over again, so letting yourself be surprised by your character makes those couple of months shooting a lot more fun.”
Fathers and daughters
Magaro cited “Train Dreams” as his favorite film of 2025, a movie that intersects with both “Omaha” and his own life in interesting ways. Clint Bentley and Greg Kwedar’s Best Picture nominee stars Joel Edgerton as a man whose work takes him away from his family for long stretches of time. Each time he returns home, he laments that his daughter feels like a new person.
“My daughter changed my world,” Magaro said of himself. “I love nothing more than her. It’s so hard right now: I’m shooting in LA and every moment away from her is just devastating. She’s six now and she changes every time I get to go home and see her.”
These feelings are made manifest in “Omaha,” where Dad fights to create positive memories for his children as their lives lie on the edge of great change. Molly Belle Wright stars as Ella, the older sibling who begins to sense that there’s more going on with Dad than she or her brother can understand.
“I probably would’ve come at it more from Ella’s angle before I had a kid if I was reading it. Now, as a dad myself, I couldn’t help but just fall into that world,” Magaro said. “You just see all of these horrible things that you hope to never go through play out. Unfortunately, this is a true story. This was based on a true thing.”
When Magaro first saw the script for “Omaha,” he was a young father himself, placing him further in the shoes of Dad.
“It’s easy to let those tears well up … when you actually are a father. I would’ve been curious to read this script before I was a dad and how I would’ve reacted then. It certainly resonated with me in a very immediate way,” he said. “It’s just something that changes, and I think parents who watch this feel exactly that same way. Not that there isn’t something there for people that don’t have a kid: We’ve all been kids and we all have parents.”
A country in crisis
In “Omaha,” Magaro portrays a man lost.
As the effects of the 2008 financial crisis loom, Dad struggles to find the right path for his children. How can he take care of them without regular employment? Does a better life for them exist in Omaha? If it does, does he fit into it?
“He doesn’t (know what he’s going to do). He knows he has to get to Nebraska. It’s so haphazard, this planning. He knows he has to get there because there’s this out or whatever it is, but in each moment he doesn’t know what’s going to happen,” Magaro said. “What keeps the audience interested is that he doesn’t even know where he’s going, so it’s almost impossible for the audience to get ahead of it.”
It’s a story deeply rooted in the past, one that, despite releasing almost 20 years later, could not be removed from the 2008 setting it was conceived in. At the same time, the financial difficulties of this bygone era are far more familiar today than Magaro would like.
“We live in a mania of someone who just changes his mind and acts kind of like a drunken sailor at any moment,” Magaro said. “I don’t think we’re living in a world where finance and the way people are living are playing by the rules of rationality anymore because there is no rationality in leadership in America.”
“What I do think is we continue to see kids separated from parents and children being separated. Although it’s different in this modern incarnation, those core feelings I think are probably very much the same. People do things for their children seeking a better life only to be separated from their children.”
Magaro said he doesn’t like to think of films like morality plays or cautionary tales, stories with clear and easy lessons for audiences to take away. As times become tighter in America once again, however, he does hope that viewers can see a story like “Omaha” and realize, as his character does, the value in asking for help when you can.
“This is something else I like to address in characters that I play, this new perspective of masculinity and what it means to be a man in this modern world. I believe that asking for help is something that my generation and newer generations are less afraid of,” Magaro said. “It was something that (my father) was never able to do, and I have since been able to find.”
Movie theaters are en vogue again — at least based on the blockbuster turnout for “The Devil Wears Prada 2.”
Disney’s star-studded sequel has defied box office expectations with $77 million in its opening weekend. Those ticket sales tower above the original, which launched to $27.5 million domestically in 2006. They also rank as the fourth-best start of the year, behind “Michael” ($97.5 million), “The Super Mario Galaxy Movie” ($131 million) and “Project Hail Mary” ($80 million).
“Prada 2” racked up another $156.6 million at the international box office, bringing global ticket sales to $233.6 million for the weekend.
Disney’s 20th Century Studios spent lavishly on the sequel, which was produced for roughly $100 million, not including the worldwide marketing budget. To compare, the first film carried a price tag of around $40 million, not adjusted for inflation. Director David Frankel told the New York Times the sequel’s budget “mostly went to [the cast].” Already, the studio’s investment in more “Prada” is proving to be money well spent; the second film is poised to outgross the original’s lifetime haul in a matter of weeks.
“Very few dramedies do this kind of business once, let alone a second time that’s bigger,” says David A. Gross, who publishes the box office newsletter FranchiseRe. “Audiences, mostly female, can’t get enough.”
Lauren Weisberg’s 2003 novel, a roman à clef about working as an assistant to Vogue boss Anna Wintour, was the basis of the first film. The follow-up, which brought back the original director Frankel and screenwriter Aline Brosh McKenna, picks up two decades later as Anne Hathaway’s Andy Sachs returns to Runway magazine as a features editor under Meryl Streep’s powerful editor-in-chief, Miranda Priestly. Reviews were mixed, but audiences were more receptive and awarded it an “A-“ grade on CinemaScore exit polls.
“The Devil Wears Prada 2″ benefitted from nostalgia as well as the excitement of the original cast — Streep, Hathaway, Emily Blunt and Stanley Tucci — returning to their beloved roles after 20 years. The first film, a commercial success with $326 million globally, has remained a generation-spanning cultural touchstone. That’s thanks in part to endlessly quotable lines like “gird your loins!” and “by all means, move at a glacial pace” and one withering monologue about a cerulean-colored sweater.
“The Devil Wears Prada 2” was this weekend’s only major new release, so holdover titles rounded out the rest of the box office charts. Second place went to “Michael” with a massive $54 million in its second weekend, down just 44% from its debut. Lionsgate’s musical biopic about Michael Jackson has been a major draw with $183.8 million in North America and $423 million globally.
Universal’s animated “The Super Mario Galaxy Movie” landed in third place with $12.1 million. After four weekends of release, the family film has earned $402.67 million domestically and more than $900 million globally.
“Project Hail Mary” was No. 4 with $8.5 million, another solid hold for the space epic in its seventh weekend of release. So far, the Ryan Gosling-led blockbuster has generated $318 million in North America and $638.4 million worldwide.
Also new to theaters is Neon’s indie thriller “Hokum,” which debuted in fifth place with $6.4 million from 1,855 theaters. Adam Scott stars as a writer who travels to an Irish inn to spread the ashes of his parents, unaware that the estate is haunted by an ancient evil. The film earned a “B” grade on CinemaScore, which is strong for the horror genre.
“Audiences are generally in some state of agitation at the end of a horror movie,” Gross adds. “So a B score is excellent.”
”Animal Farm,” this weekend’s final newcomer, opened at No. 6 with $3.3 million. Angel Studios backed the animated Orwellian remake, which has been saddled with lousy reviews and a weak “C-“ grade on CinemaScore.
Akshara Singh opens up about finding love again after Pawan Singh breakup, her new relationship and why she is not rushing into marriage.
Akshara Singh has confirmed she is in love again after her breakup with Pawan Singh, but says she wants to keep the relationship private.
Bhojpuri actress Akshara Singh has opened up about moving on from her past relationship with actor-singer Pawan Singh and finding love again. In a recent interview, the actress spoke candidly about her personal life and said she no longer wishes to remain tied to painful memories from the past.
Akshara and Pawan were once among the most talked-about pairs in the Bhojpuri film industry. Their chemistry on screen was loved by fans, while their off-screen relationship also remained under constant public attention. However, the relationship eventually ended on a bitter note, with Akshara later making serious allegations against him.
Akshara Singh Says She Is In Love Again
Speaking about her current phase, Akshara revealed that someone special has entered her life. While she confirmed being in a relationship, she chose not to reveal the person’s identity.
Making it clear that she wants to focus on the present, Akshara reportedly said, “What happened in the past is in the past. Right now, I’ll focus on the present.”
The actress also explained why she prefers to keep her relationship away from public attention. She said, “I get affected by the evil eye very easily. What if I tell you the name and I get affected by it?”
She further added, “Buri nazron se darr lagta hai mujhe.”
Akshara Singh On Marriage Plans
When asked if marriage is on the cards, Akshara hinted that she is not in a hurry. The 32-year-old actress said she is still allowing the relationship to grow naturally.
She replied, “There’s still time. I’m just now reaching the point of love. Let the process happen a little.”
Her remarks suggest that while she is happy in her personal life, she wants to take things slowly and protect the relationship from unnecessary public scrutiny.
Akshara Singh And Pawan Singh’s Past Relationship
Akshara Singh and Pawan Singh reportedly began dating around 2010 while working together in films. Their relationship ended between 2018 and 2019. After the breakup, Akshara accused Pawan of threatening her, harassing her and damaging her career.
Following their split, Pawan Singh married Jyoti Singh in 2018. Their marriage later became the subject of public discussion due to disputes and allegations. Earlier, Jyoti had accused the actor-politician of harassment and adultery during an Instagram Live session. Pawan later denied the allegations in a detailed Hindi note and claimed that he was being used for political mileage.
Meanwhile, Pawan continues to remain in the spotlight through his music and screen appearances. He recently drew attention for his song Aayi Nai from Stree 2 and his participation in the reality show Rise and Fall.
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AUSTRALIAN/ US actress Nicole Kidman clearly had a pep in her step at Chanel’s cruise show in Biarritz, France, because she casually dropped a line that had A$AP Rocky laughing like he was not ready for it.
In a TikTok shared by “Vogue” from the same event, Rocky was first asked what he would do if he could swap lives with the “Babygirl” star.
He kept it playful, saying he would “definitely steal whatever the hell is in her closet” because he just knows she has “some s–t” in there.
Kidman has spent years serving red carpet looks that sit somewhere between elegant and slightly dangerous in the best way.
This is a woman who can go from classic Hollywood glamour to avant-garde runway energy without breaking a sweat. So yes, her closet is probably less “wardrobe” and more “private archive of iconic fashion moments”.
I mean, can you remember her 1997 Oscars chartreuse Dior gown? One of her most talked-about early fashion moments, a John Galliano for Dior chartreuse silk gown with floral embroidery.
It is often credited in fashion retrospectives as the moment she signalled herself as a serious red carpet presence.
I need that mustard yellow number in my closet. That single look alone explains why Rocky would happily raid her wardrobe.
Meanwhile, Kidman’s response took a sharp left turn in the best way.
“I’d get to kiss your wife,” she said, referring to Rihanna. And I mean, don’t we all?
Rocky did not miss a beat, reacting with laughter and instantly leaning into the moment, clearly caught off guard but fully entertained by the boldness of the comment.
Kidman and her hubby of 19 years, Keith Urban, divorced in January after splitting in September 2025.
The legal documents show that both stars waived alimony and child support, opting instead to focus on a co-parenting plan for their teenage daughters, Sunday Rose (17) and Faith Margaret (15).
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A villain who “scared the s**t” out of James Gunn is hinted to be making a comeback in the DCU’s Creature Commandos.
Season 1 of the animated series, which has a 95% score from critics on Rotten Tomatoes, was the first release in the DCU’s Chapter One: Gods and Monsters, coming out before Superman or Peacemaker season 2. The story sees Amanda Waller (Viola Davis) putting together a task force of monsters from Belle Reve Penitentiary that includes the Bride (Indira Varma), Doctor Phosphorus (Alan Tudyk), Nina Mazursky (Zoë Chao), G.I. Robot (Sean Gunn), and Weasel (Sean Gunn), with the team led by the human Rick Flag Sr. (Frank Grillo).
On Instagram, Creature Commandos showrunner and writer Dean Lorey posted an image from the title page of the script for season 2, episode 1, which is titled “Starry Night.” The episode title potentially hints at the return of Starro the Conqueror, a villain who last appeared in James Gunn’s DCEU movie The Suicide Squad. Check out the image below:
Starro is a gigantic, psychic, parasitic, alien starfish. During The Suicide Squad‘s press tour in 2021, Gunn shared that the villain “always scared the s**t out of me” (via ComicBook.com). He made Starro an antagonist in the DCEU film because he wanted someone who was terrifying and ridiculously over the top while still managing to work on “the gritty streets of Cologne, Panama.”
The Suicide Squad does kill Starro, but this doesn’t completely rule out the character’s ability to return. The movie is part of the DCEU, which is a different continuity from the DCU, although several characters and storylines from that film are still being used, especially in Creature Commandos and Peacemaker. There is also precedent in the comics for Starro to regenerate or evolve despite seemingly dying, which could be utilized to prevent any contradictions with the events of The Suicide Squad.
Bold Reimagining · Alternate DC Universe Test Your DC Comics Absolute Universe Knowledge
♆️SupermanReimagined
🦇BatmanNo billions
⚔️Wonder WomanReforged
⚡FlashSpeed
🌐UniverseAbsolute
01
DC’s Absolute Universe is a new line of comics launched in late 2024 that reimagines iconic DC heroes in a world without the legacy advantages they traditionally have. Which DC event/storyline set up the creation of the Absolute Universe?
✓ Correct! The Absolute Universe was born from Darkseid rewriting reality in the current DC continuity. This cosmic act of villainy created a parallel world where DC’s greatest heroes exist without the advantages and support systems they traditionally rely on.
✗ That answer didn’t make it through the Absolute reboot! The answer is Darkseid’s rewriting of the DC Multiverse. While Dark Crisis, Infinite Frontier, and Flashpoint Beyond are all significant DC events, it was Darkseid’s manipulation of reality that gave birth to the Absolute Universe.
02
In Absolute Superman, Kal-El’s origin is dramatically different from the main universe. Instead of being raised by the Kents in Smallville, how does Absolute Superman grow up?
✓ Correct! In the Absolute Universe, Kal-El lands not with the Kents but in an immigrant community, growing up without wealth or privilege. This reimagining strips away Superman’s traditional support system while keeping his core values of hope and justice intact.
✗ That answer didn’t make it through the Absolute reboot! The answer is that he’s raised in an immigrant community with no wealth or privilege. The Absolute line is built on the concept of heroes without their traditional advantages, and Superman’s new upbringing reflects this perfectly.
03
Absolute Batman reimagines Bruce Wayne without his billionaire status. In this version, Bruce Wayne has a very different civilian occupation. What is Absolute Batman’s day job?
✓ Correct! In the Absolute Universe, Bruce Wayne works as an engineer and construction worker. Without the Wayne fortune or Wayne Enterprises, this Bruce builds his gear and gadgets with his own hands and working-class ingenuity, making him a truly self-made Batman.
✗ That answer didn’t make it through the Absolute reboot! The answer is engineer / construction worker. Absolute Batman strips Bruce Wayne of his billionaire status entirely. This Bruce is a massive, imposing figure who uses his engineering skills and physical labor background to craft his own Batman arsenal.
04
Absolute Batman’s costume and physique are dramatically different from the traditional Batman. This version of Bruce Wayne is much larger and more imposing. Who is the writer of Absolute Batman?
✓ Correct! Scott Snyder, who previously wrote the acclaimed New 52 Batman run, is the writer of Absolute Batman. His bold reimagining of Bruce Wayne as a working-class hero without billions has been one of the breakout hits of the Absolute Universe line.
✗ That answer didn’t make it through the Absolute reboot! The answer is Scott Snyder. Known for his legendary Batman run featuring the Court of Owls and other iconic storylines, Snyder returned to the Dark Knight with Absolute Batman, completely reinventing Bruce Wayne for this new universe.
05
Absolute Wonder Woman reimagines Diana in a significantly different setting. In this version, the character’s mythology and origin pull from different cultural influences. Who is the writer of Absolute Wonder Woman?
✓ Correct! Kelly Thompson writes Absolute Wonder Woman, bringing a fresh take on Diana’s mythology and origin. This version reimagines Wonder Woman’s world with different cultural influences while maintaining the warrior spirit at the core of the character.
✗ That answer didn’t make it through the Absolute reboot! The answer is Kelly Thompson. While all four writers are acclaimed in the comics industry, it’s Thompson who helms Absolute Wonder Woman, crafting a bold new vision for Diana in the Absolute Universe.
06
The Absolute Universe was created as a result of Darkseid altering reality. A key difference is that in this universe, heroes don’t have the traditional advantages and support systems. What concept describes this — that these heroes exist without their usual “safety nets”?
✓ Correct! “Heroes without legacy” is the core concept of the Absolute Universe. These versions of DC’s iconic characters exist without the inherited advantages, mentors, wealth, and support networks that traditionally define them — forcing them to become heroes purely on their own terms.
✗ That answer didn’t make it through the Absolute reboot! The answer is “Heroes without legacy.” The Absolute Universe is built on the idea that Darkseid stripped these heroes of their legacies — Batman has no fortune, Superman has no Kents, Wonder Woman has no Themyscira as we know it.
07
Absolute Flash reimagines Wally West in the Absolute Universe. In this version, the Flash’s connection to the Speed Force is portrayed differently. Who is the writer of Absolute Flash?
✓ Correct! Jeff Lemire, known for his deeply human storytelling in titles like Sweet Tooth and Animal Man, writes Absolute Flash. His take on Wally West reimagines the speedster’s relationship with the Speed Force in the context of the Absolute Universe’s stripped-down heroic landscape.
✗ That answer didn’t make it through the Absolute reboot! The answer is Jeff Lemire. While Williamson, Waid, and Adams have all written excellent Flash stories in the main continuity, it’s Lemire who brings his unique storytelling vision to Absolute Flash.
08
Absolute Superman is written and drawn by a critically acclaimed creator who handles both the writing and art duties on the series. Who is this creator?
✓ Correct! Absolute Superman is written by Jason Aaron with art by Rafa Sandoval. Together they’ve crafted a powerful reimagining of Kal-El, placing him in an immigrant community without the Kent family’s support, creating one of the most compelling new takes on the character in years.
✗ That answer didn’t make it through the Absolute reboot! The answer is Jason Aaron (writer) with Rafa Sandoval (art). While Jim Lee, Grant Morrison, and Jorge Jiménez are all legendary DC creators, it’s the Aaron and Sandoval team that brings Absolute Superman to life.
Analysis Complete Your Absolute Knowledge
/ 8
Are you an Absolute expert — or still in the main continuity?
With or without Starro involved in the story, there is plenty to contend with after the Creature Commandos season 1 finale and the deaths of Nina and Princess Ilana Rostovic (Maria Bakalova). The Bride is now the leader of the task force and the team is teased to have several new members coming aboard, including King Shark. The post-credits scene also confirmed that Eric Frankenstein (David Harbour) is still alive and his obsessive pursuit of the Bride will surely continue.
While Gunn is still producing Creature Commandos season 2, he is not writing the episodes as he did for season 1. As seen in the image Lorey posted, he wrote episode 1, and is the leader of a writers’ room for the new season. Gunn is currently at work on filming Man of Tomorrow, the sequel to Supermanthat is coming to theaters on July 9, 2027. Rick Flag Sr. will be in the movie after his story continued in live action via Superman and Peacemaker season 2, the latter of which saw him entering an alliance with Lex Luthor (Nicholas Hoult).
There is no official release date yet for Creature Commandos‘ return. Other than the animated show and Man of Tomorrow, other upcoming DCU movies and shows include Supergirl, Lanterns, and Clayface.
“We know where we want to take the story over the next few years, but I don’t want to say it’s completely ‘locked in’ because it’s important to us that our players be able to help shape it,” he said, adding that putting player input into the narrative is “part of the magic of playing a live service game.”
According to Nardin, the backstory of what happened to Tau Ceti is “locked,” and Bungie plans to add more clues to the planet’s backstory as the game keeps “evolving in ways that are informed by its past and a future that excites our players.”
The director also emphasized the importance of new players being able to easily jump into the shooter, a problem Destiny suffered from, as it frequently ‘vaulted’ older game content, making the experience confusing for new players.
“It’s also important that players can jump into Marathon at any time,” he said. “They’ll always be able to uncover the mysteries of Tau Ceti’s past while experiencing its present. We want every season to be a new entry point, and for new players to be able to understand what’s going on regardless of how long we’ve all been running.”
Bungie says it’s aiming to release a steady stream of smaller updates for Marathon, instead of infrequent large ones, saying: “Our plan is to get improvements out as soon as we can, rather than wait to drop them all at the same time (even though this might make them less obvious).
Visual referencing has become a core part of production today, maybe even more than ever. As a creative assistant to the director, I spend hours pulling picture references and film stills from the internet for every scene in a 120-page script, then getting them approved. Sometimes, that’s my only job during pre-production. Every time I did referencing for a film, I wondered what it would have been like to do so much visual referencing without the internet.
If you guessed fine arts, you’re right. Before film, there were paints and brushstrokes to do their job. So it’s only natural for filmmakers to be inspired by them.
In this article, let’s look at movie frames that are inspired by paintings of great artists.
9 Film Frames That Mirror Famous Paintings
1. Guillermo del Toro’s Pan’s Labyrinth
Saturn Devouring His Son by Francisco Goya (1823)Credit: Museo Nacional del Prado
A part of Francisco Goya’s “Black Paintings,” Saturn Devouring his Son tells the story of a time when Saturn was frightened by a prophecy that said that he would be overthrown by one of his sons. In a desperate attempt to nullify the prophecy, he began devouring his sons.
Del Toro’s Pan’s Labyrinth is notable for blurring the lines between fantasy and reality; however, we all know that Ofelia’s magical world is as much literal as it is psychological.
Pan’s Labyrinth (2006)Credit: Warner Bros. Pictures
For her second task in proving her royalty as Princess Moana of the underworld, she comes face to face with the Pale Man, who eats little fairies. The visual of him devouring the fairies is directly inspired by this particular Black Painting, which was painted on one of the walls of Goya’s house, where he spent his last days.
Edward Hopper’s oil painting depicts a brightly lit late-night dinner on a deserted street corner of New York City. Considering that the painting was completed weeks after the Pearl Harbor attack, and the city was under siege with the fear of another attack, Hopper’s creation underscores bitter alienation and urban isolation amidst wartime anxieties.
The nightly visuals of Martin Scorsese’s Taxi Driver are deliberately focused on highlighting Travis Bickle’s loneliness in a big city, and that’s where Hopper’s painting comes into play. The inspiration is reflected more in the compositions than in the colors, while Scorsese maintains the fluorescence in his frames through neon lights.
‘Taxi Driver’Credit: Columbia Pictures
Scorsese’s Nighthawks-inspired visuals, especially in scenes where Bickle is all alone in public places such as diners, perfectly encapsulate what it means to be lonely even in a crowd, for a man being tormented by war memories.
The Kiss by Gustav Klimt (1907)Source: Belvedere Museum
The Kiss by Gustav Klimt marks the pinnacle of his “Golden Phase” and a departure from his earlier work, which typically featured nude female forms. The painting depicts a couple in a flowery meadow. Both are kneeling, with the man embracing the woman lovingly from behind as he kisses her cheek—both covered in a golden cloak.
While the painting underscores otherworldly romance through its lavish use of gold leaf for shimmer, inspired by Byzantine mosaics, Nolan subverts the context by using it in Shutter Island to signify unbearable grief.
In this scene, Teddy is hit with the harsh realization that his wife, Dolores, is dead. He shot her after he returned home one day from work to the floating bodies of his three children in the nearby lake, where his wife had drowned them.
4. Lars von Trier’s Melancholia
Ophelia by John Everett Millais (1851)Source: Tate Britain
Millais’ Ophelia depicts the tragic death of the titular fictional character from Shakespeare’s Hamlet, who commits suicide after being rejected by Hamlet in love and learning that he has killed her father.
MelancholiaCredit: Magnolia Pictures
Trier’s Melancholiaprologue is a montage of surreal images, one of which is Kristen Dunst’s character in a bride’s dress, floating in a slow-moving stream as she holds a bouquet close.
5. Peter Weir’s The Truman Show
Architecture Au Clair De Lune by René Magritte (1956)
Belgian surrealist artist René Magritte is notable for his illusionistic style that invites quiet contemplation. Architecture Au Clair De Lune’s dreamlike arrangement of geometric elements against the ethereal moonlight creates a calm yet uncanny atmosphere.
The Truman Show’s ending sees Truman walking up the stairs, choosing freedom over a perfect life under someone else’s control. Magritte’s painting inspires the climax.
6. Stanley Kubrick’s A Clockwork Orange
Prisoner’s Round by Vincent Van Gogh (1890)Source: Pushkin Museum
Van Gogh drew Prisoner’s Round during his stay at the Saint-Rémy asylum. At the time, the painter was suffering from acute depression, desperate to leave the asylum, for which he was not deemed fit. Therefore, his requests for dismissal were denied.
While the painting is a copy of an engraving by Gustave Doré titled Newgate Exercise Yard, it is believed to symbolize Van Gogh’s feelings of being trapped within the four walls.
‘A Clockwork Orange’ (1971)Source: Columbia Pictures, Warner Bros.
In A Clockwork Orange, during the minister’s visit to the prison, we see the inmates walking in circles in a courtyard-like area with high walls, much like in Van Gogh’s painting, waiting for the minister, who visits the cells and goes through their things.
6. Michael Mann’s Heat
Pacific by Alex Colville (1967)
The man in Alex Colville’s Pacific is Neil McCauley in all his spirits. The gun on the table, the isolated apartment overlooking the ocean, and him standing there all alone—it’s probably McCauley in an alternate reality in which he successfully evaded Detective Hanna to dodge his bullet, and began a new life by the sea.
‘Heat’ (1995)Credit: Warner Bros.
In Mann’s recreation of the painting in the film, we see McCauley before his last job, standing in his apartment all alone, overlooking the sea.
‘Heat’ (1995)Credit: Warner Bros.
In every reality, the painting reminds us of McCauley because it beautifully expresses his loneliness.
7. Alfred Hitchcock’s Psycho
House by the Railroad by Edward Hopper (1925)Source: Museum of Modern Art
Alfred Hitchcock created the Bates Motel in the spitting image of House by the Railroad. Other than the absence of the chimney and a few windows, and the addition of a flight of stairs, it’s pretty much the same house.
‘Psycho’ (1960)Credit: Paramount Pictures
8. Chris Columbus’ Home Alone
The Scream by Edvard Munch (1893)Source: National Museum (Nasjonalmuseet)
Edvard Munch painted The Scream to express his experience of a panic attack while he was out with his friends.
While the context is completely different in Home Alone, the shot’s resemblance to the painting is outright funny. Kevin McCallister is left behind at home by his family during a family vacation.
‘Home Alone’ (1990)Credit: 20th Century Fox
In this scene, he is taking a bath with all adult products, and it’s his first time applying an aftershave cream. The moment the solution touches his face, poor Kevin screams.
The above are just a few of the many film frames that take direct inspiration from paintings. So the next time, try researching paintings for visual references.
So frequently does New York-based independent filmmaker Simon (Tristan Turner) repeat the shaggy one-line pitch for the documentary he’s working on — it’s “a nostalgia-piece travelogue about past, present and future, a eulogy for lost history” — that he’s probably long stopped thinking about what it actually means. If, indeed, it means anything at all. Simon’s life, too, has taken on the same unexamined shapelessness, as the early-thirtysomething keeps waiting for some undefined break, breakthrough or eureka moment, while doing very little to make it happen for himself. An unassuming but perceptive debut feature from writer-directors Travis Wood and Alex Mallis, “The Travel Companion” observes an artist’s supposedly roving spirit critically at odds with his manchild dependencies.
Which isn’t to say it’s an unsympathetic portrait. Gradually rolling out across the U.S. in limited release following its premiere in last year’s Tribeca festival competition, “The Travel Companion” certainly knows its protagonist’s creative world: It opens and closes with the kind of unpolished post-screening Q&A session that Wood and Mallis have likely sat through several times over. The film is amusing as it satirizes the vagaries and hierarchies of the American indie-film rodeo (where a stated “1.5” budget is misunderstood by one dazzled, aspiring director as $150,000, not $1.5 million) but not cruelly so. Wood and Mallis show a poignant understanding of the desperation driving still-young filmmakers anxious that they’ve missed their moment, clinging to anyone carrying even a faint smell of success.
For Simon, that’s Beatrice (Naomi Asa), a plainly talented go-getter who initially takes kindly — perhaps too kindly — to his over-eagerness. At the works-in-progress showcase event that opens the film, she makes an impression on the audience, while time runs out before he even gets to answer a question. When they go for drinks afterwards, Simon is once more the third wheel, as she hits it off with his longtime bestie and roommate Bruce (Anthony Oberbeck).
Bruce, an airline worker, has hitherto handed off his plus-one flight privileges to Simon, who keenly exploits them to keep filming his globe-trotting doc. But the cracks are showing in this lopsided bromance. Bruce needs Simon considerably less than Simon needs Bruce — who, as he and Beatrice settle into a relationship, proves rather more ready to take a committed step into adulthood. “The Travel Companion” thus follows a long line of triangulated male-crisis comedies in which a woman disrupts an immature fraternal dynamic, but with the more interesting wrinkle that Beatrice (deftly played by Asa with warm self-possession and visibly fraying patience) is pretty much who Simon himself would like to be.
As envy, insecurity and imposter syndrome jostle for pole position in Simon’s narcissistic headspace, the film threatens a pivot into more intriguingly black-comic territory, or into a more metatextual send-up of indie-movie tropes and aesthetics. But even as it dabbles in toe-curling cringe comedy, “The Travel Companion” is ultimately too genial a work for such tonal extremes. It likes its characters — even Simon, whose increasingly aggravating behavior is counterbalanced by the hangdog earnestness of Turner’s performance — too much to punish or humiliate any of them too severely, while even Simon’s film improbably takes shape by the end.
There is, however, a pleasing recognition here that certain relationships and phases in life are finite. Shot with strolling ease and a casually burnished glow by DP Jason Chiu, “The Travel Companion” may find most of its characters at an early, transitional stage of their professional lives, but the cooling air of autumn around Simon and Bruce’s friendship — which, it seems, has lasted since childhood without ever rooting itself soul-deep — is palpable, and quite affecting. While people like Simon wait for big ideas to strike them, there are whole movies in these little everyday losses, and Wood and Mallis have made one.
Every month, Netflix adds movies and TV shows to its library. Here are our picks for some of May’s most promising new titles. (Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our Watching newsletter here.)
‘Lord of the Flies’
Starts streaming: May 4
William Golding’s classic 1954 novel gets the mini-series treatment from the screenwriter Jack Thorne and a cast of uncommonly gifted child actors. Thorne recently won an Emmy for co-writing “Adolescence,” a TV drama that explores similar themes of toxic masculinity among young boys. His “Lord of the Flies” mostly holds close to Golding’s text, telling the story of a group of British children — ranging in age from grade school to preteen — who survive a plane crash on a remote island. While waiting to be rescued, they try to stay disciplined and organized. They quickly fall victim to the common social dynamics of their age group, including a grudging deference to anyone who is strong, handsome, privileged or cruel.
‘Legends’ Season 1
Starts streaming: May 7
Based on a true story, this British crime series is set in the early 1990s, at a time when the Margaret Thatcher administration touted its war on drugs, aimed at the heroin trade. Steve Coogan plays Don, who recruits a group of bored, underutilized customs officers to go undercover, hoping the new agents’ ordinariness will make it easier for them to earn the dope dealers’ trust. Tom Burke plays Guy, who draws the toughest assignment, having to convince a Turkish kingpin that he is an experienced importer-exporter. “Legends” is a story about the sometimes intoxicating danger of undercover work, where quick thinking and keen observation can mean the difference between busting a criminal or ending up dead in an alley.
‘Marty, Life Is Short’
Starts streaming: May 12
The Canadian comedian Martin Short has had a life marked by tragedy. His father, mother and oldest brother all died before Short turned 20; and his wife of 30 years died of ovarian cancer in 2010. Lawrence Kasdan’s documentary “Marty, Life Is Short” covers all of that (the death in February of Short’s daughter, Katherine, is not included), but its story is more about how this man finds and spreads joy. Filled with clips from Short’s long career — from his early days on Canadian television to his breakout success on “Saturday Night Live” and beyond — Kasdan’s film is an appreciation of its subject’s upbeat energy and outsized performing style. Short’s friends (including Steve Martin, Eugene Levy, Andrea Martin, Tom Hanks and the late Catherine O’Hara) talk about what it’s like to be around him, and how his everyday zest has carried him through some of the toughest times imaginable.
‘Nemesis’ Season 1
Starts streaming: May 14
Courtney A. Kemp, the creator of Starz’s long-running “Power” franchise, is a co-creator of this “Heat”-like crime series, about an Los Angeles police detective obsessed with tracking down the elusive leader of a high-end heist crew. Matthew Law plays the cop, Detective Isiah Stiles, who jeopardizes his career and his marriage to chase a case his superiors think is too messy. Y’lan Noel plays Coltrane Wilder, a master criminal who plans his jobs meticulously to maximize profits and minimize exposure. As was the case with “Power,” “Nemesis” isn’t just about the criminal underworld. It’s also about how people who make a living from violence balance their work and their families — and how their loved ones pressure them to leave that life behind.
‘The Boroughs’ Season 1
Starts streaming: May 21
In this science fiction series, Alfred Molina plays Sam, a recent widow who has just moved — reluctantly — to a high end retirement community in the desert. There he finds a group of friendly, eccentric neighbors (played by Geena Davis, Bill Pullman and Alfre Woodard, among others) and a possible conspiracy, involving missing residents and shadowy monsters. Executive produced by the “Stranger Things” creators Matt and Ross Duffer, “The Boroughs” concerns a group of people who feel isolated and underestimated, put out to pasture prematurely by their families and society. When they discover the wonders and the terrors of their neighborhood, they get a chance to prove that they are still relevant.
Also arriving:
May 1 “The Breakfast Club” “Burn After Reading” “La Brea” Seasons 1-3 “My Dearest Señorita” “Schindler’s List” “Son-in-Law” “Starship Troopers” “Swapped” “Under the Skin”
May 4 “Dr. Seuss’s Horton!” Season 2
May 6 “Worst Ex Ever” Season 2
May 7 “The Chestnut Man” Season 2 “My Dearest Assassin” “USA 94: Brazil’s Return to Glory”
May 8 “My Royal Nemesis” “Remarkably Bright Creatures” “Thank You, Next” Season 3
May 11 “Pop Culture Jeopardy!” Season 2
May 12 “Devil May Cry” Season 2 “Untold UK: Jamie Vardy”
May 13 “The Bus: A French Football Mutiny” “Perfect Match” Season 4 “Roosters” Season 2
May 14 “Soul Mate” Season 1
May 15 “Berlin and the Lady With an Ermine” Season 1 “The Crash” “The WONDERfools” Season 1
May 16 “Black Phone 2”
May 18 “Nope”
May 19 “Untold UK: Liverpool’s Miracle of Istanbul” “Wanda Sykes: Legacy”
May 20 “Carizzma” Season 1
May 21 “James”
May 22 “Gabby’s Dollhouse: The Movie” “Ladies First” “Mating Season” Season 1
May 26 “Untold UK: Vinnie Jones”
May 27 “A Good Girl’s Guide to Murder” Season 2
May 28 “The Four Seasons” Season 2 “Murder Mindfully” Season 2
May 29 “Brazil ’70: The Third Star” “Calabasas Confidential” Season 1 “Rafa”
May 31 “The 51st A.F.I. Life Achievement Award: A Tribute to Eddie Murphy”
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After an unprecedented five-week break, Formula 1 is back with the Miami Grand Prix. Following Lando Norris’ May 2 sprint victory, the FIA confirmed an earlier start time for the race on Sunday, May 3, due to a severe weather forecast — 1 p.m. ET/10 a.m. PT instead of 4 p.m. ET/1 p.m. PT. Since the 2026 season marks the start of F1 and Apple TV’s five-year streaming deal, Apple TV serves as the exclusive U.S. home for every practice, qualifying, sprint and race, including this weekend’s Miami GP.
At a Glance: How to Watch 2026 Miami Grand Prix Race
Where to Watch F1 Miami Grand Prix 2026 Live Online
Following a weather-related time change, the Crypto.com Miami Grand Prix Race starts at 1 p.m. ET/10 a.m. PT on May 3. In addition to Sunday’s race, Apple TV is home to every practice, qualifying and sprint session, both live and on-demand. Following a seven-day free trial period for new subscribers, Apple TV is $12.99 per month.
For another U.S. streaming option, Formula 1 fans can use a VPN (ExpressVPN subscriptions start at $2.79 per month) and connect to a server in a country with free F1 broadcasting rights (i.e. Belgium’s RTBF streaming platform offers live coverage of every practice, qualifying session, sprint and Grand Prix at no cost). This is the most cost-effective option for watching F1 in the U.S.
On Middle of Nowhere, Kacey Musgraves doesn’t so much return to her roots as redraw the map entirely — one where solitude isn’t a pit stop between relationships but the destination itself. Written in the aftermath of a breakup and shaped by long stretches of intentional aloneness, her seventh LP and debut for Lost Highway finds her toggling between self-sufficiency, mischief and the occasional bout of well-earned chaos.
The opening title track sets the tone within seconds: sunlit acoustic strums, a low-end thump and Musgraves calmly declaring, “It’s just me and me and that’s all I need.” It’s both a mission statement and, as the record unfolds, a thesis she keeps testing. Because even in the wide-open emotional space she’s carved out, desire — and contradiction — creep in quickly.
Take “Dry Spell,” an LOL highlight that doubles as a 911 call for physical affection after “335 days” without it. The song revels in the double entendres and deadpan punchlines at which Musgraves has long excelled, delivered over a Western-tinged groove where you can practically hear the tumbleweeds (of romance) rolling by. That tension between independence and impulse runs deep: the woozy “Back on the Wagon” spins a possibly delusional yarn about a reformed drunken ex, while the four-to-the-floor “Loneliest Girl” insists everything’s fine just a little too convincingly. Still, Musgraves makes a strong case that rolling solo will always beat the wrong kind of company.
Musically, Middle of Nowhere leans into traditions shaped in small-town Texas dancehalls (pedal steel, Norteño accordion and other border-blurring textures) but rarely plays it straight. “Abilene” is a campfire tale with an effective twist, while “Everybody Wants To Be a Cowboy” pairs its barroom observations with a quietly pointed thesis about commitment in both love and life. Elsewhere, “Rhinestoned” gets giddy and high on a soft-focus, “Jive Talkin’”-style groove, and the nearly rapped verses of “Mexico Honey” swerve into something much more loose and horny.
The guest spots offer both texture and star power. Miranda Lambert shows up for the amusing “Horses and Divorces,” a natural pairing of two artists who’ve long thrived just outside Nashville orthodoxy (and who once had “grass-fed, grade-A” beef between them), while 93-year-old Willie Nelson drifts through “Uncertain, TX” like a knowing ghost (bonus: hearing him utter the priceless bon mot “dumb ass”).
Closer “Hell on Me” strips everything back to Musgraves’ beautiful voice, guitar and regret, landing on a note of quiet clarity rather than resolution. That’s the trick of Middle of Nowhere: it never rushes to define what comes next. Instead, Musgraves lingers in the in-between, finding humor, heartbreak and a surprising amount of peace along the way.
LOS ANGELES ASIAN PACIFIC FILM FESTIVAL 2026 REVIEW! Writer/director Andrew Acedo’s Good Filipino Kids asks a simple question: What does it mean to be a good Filipino kid? The answer, it turns out, is not what you’d expect it to be. Are Ashley (Anaïs Noveras) and Francis (Reden Magtira) good Filipino kids? Everyone thinks Francis is, but not so much Ashley. She is the outsider with a nose ring, a penchant for alcohol, and she refuses to tell anyone about what she does at night.
While at a lumpia luncheon at Francis’s home, the aunties and uncles gossip about Ashley. The aunties comment on her past, her lack of education, and her lack of understanding of Filipino tradition. The uncles talk about how she’s way out of Francis’s league and give her flirting glances. They don’t exactly like that Francis is dating her, but he seems happy.
“While at a lumpia luncheon at Francis’s home, the aunties and uncles gossip about Ashley.”
In a surprise move, Ashley tells Francis she’ll go to church with him for praise night. Leading worship is Rachel (Evyn Mirasol), who gives Ashley a disapproving glance. After the service, Rachel goes over to Ashley to talk about Ashley’s future education, Rachel’s salvation, and other things related to Rachel. She speaks in Christianese and is distracted by her other friends, which leaves a sour taste in Ashley’s mouth. Frustrated, she grabs Francis to lay it all out in an intense conversation in Francis’s car.
Good Filipino Kids is a sweet story of an unlikely pair, Ashley and Francis. Francis is the good kid in everyone’s eye… except that he is dating Ashley. Most of the story is about Ashley, who struggles not only to find validation from Francis’s friends, family, and culture (both Filipino and church culture), but also to question whether she wants that validation at all. It all builds to that unexpected ending.
I love that Good Filipino Kids has something to say and drags us deep down into its message. As a short film, the storytelling, acting, and production are all on point, nearly flawless in my humble opinion. It does what all good short films should do—engage its audience from the start, pull us into the main conflicts, and at the end, make us think about what we would do or how we should feel. Then it lingers with us long after the film.
R-J Barrett’s fortuitous winning shot with 1.2 seconds left in Friday’s overtime reminded Toronto basketball fans of similar glory days in the NBA playoffs.
Barrett’s three-pointer from the top of the key hit off the back rim and bounced high above the backboard before going through the net to give the Raptors a 112-110 victory and force tonight’s Game 7 in the opening-round series at Rocket Arena in Ohio.
For many fans, Barrett’s clutch shot brought back memories of Kawhi Leonard’s four-bounce buzzer-beating winner in Game 7 of the 2019 East semifinals against Philadelphia. The Raptors would go on to win the NBA championship.
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Barrett and his teammates said Friday’s victory was thrilling but noted the focus quickly shifted to tonight’s win or go home showdown.
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“Got one game to decide it all,” Barrett said. “We’ve fought through the toughest of tasks all year long. So going to Cleveland is going to be a tough task, but that’s what we’re built for.”
Forgotten in all the Game 6 excitement was the Raptors being outscored 23-12 in the final quarter and coming oh-so close to being ousted.
The physical Raptors are trying to become the first team since Dallas in the 2022 Western Conference semifinals to win a Game 7 on the road after the first six were won by the home team.
The experienced and battle-tested Cavaliers are looking to advance past the first round for the third straight year. They are 6-2 in Game 7s, including 4-0 at home. Toronto is 3-3 in Game 7s and is playing its first one on the road since the 2021 conference semifinals against Philadelphia, which it lost 88-87.
Both offences are averaging 111.5 points per game, the Raptors have shot slightly better (40.7 per cent to 39.8 per cent) and Toronto’s defence has had a slightly better rating than the Cavaliers.
Toronto forward Brandon Ingram remains questionable for tonight after missing Friday’s game because of right heel inflammation.
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This report by The Canadian Press was first published May 3, 2026.
OAKLAND, Calif. — Federal judge Yvonne Gonzalez Rogers had stern words for Tesla CEO Elon Musk as she prepared to open the trial in his case against ChatGPT-maker OpenAI and its chief executive Sam Altman. “How can we get things done without you making things worse outside the courtroom?” she asked Musk on Tuesday.
Pan’s Labyrinth (2006)Credit: Warner Bros. Pictures 
Nighthawks by Edward Hopper (1942)Source: 
‘Taxi Driver’Credit: Columbia Pictures 
The Kiss by Gustav Klimt (1907)Source: Belvedere Museum 
‘Shutter Island’Credit: Paramount Pictures, DreamWorks Pictures 
Ophelia by John Everett Millais (1851)Source: Tate Britain 
MelancholiaCredit: Magnolia Pictures 
Architecture Au Clair De Lune by René Magritte (1956) 
‘The Truman Show’ (1998)Credit: Paramount Pictures 
Prisoner’s Round by Vincent Van Gogh (1890)Source: Pushkin Museum 
‘A Clockwork Orange’ (1971)Source: Columbia Pictures, Warner Bros. 
Pacific by Alex Colville (1967) 
‘Heat’ (1995)Credit: Warner Bros. 
‘Heat’ (1995)Credit: Warner Bros. 
House by the Railroad by Edward Hopper (1925)Source: Museum of Modern Art 
‘Psycho’ (1960)Credit: Paramount Pictures 
The Scream by Edvard Munch (1893)Source: National Museum (Nasjonalmuseet) 
‘Home Alone’ (1990)Credit: 20th Century Fox 
