A forum for directors and producers has launched in the U.K. Founded by directors body Directors U.K., producers body Pact, ITV Studios and BBC Studios, the joint working group will have its inaugural meeting on Dec. 13. It will meet bi-annually after that.
The forum has been established to discuss industry developments, the state of the sector and production matters, among other items. Among the most pressing matters on the agenda are challenges facing the industry from skills training to inflation.
“The purpose of the Directors and Producers Forum is to create a much needed platform, away from the day-to- day pressures of production, for directors and producers to work collaboratively and openly,” said Andy Harrower, CEO of Directors U.K. “In looking at the bigger picture together, we can jointly deal with some of the challenges we face.”
Max Rumney, deputy CEO of Pact, said: “Pact is pleased to be part of this new forum which brings with it a more formal structure for directors and producers to meet and discuss production developments and current issues.”
ANIMATION
Former DreamWorks and Netflix exec Bruce Daitch has joined the advisory board of production company God’s Gang led by Nimrod Avraham May.
Daitch will be tasked with facilitating new funding, production and broadcasting partnerships for the studio’s eponymous animation “God’s Gang.”
Written by Rob Kutner (“Ben 10”) and directed by Ehud Landsberg (“Transformers: Cyberverse”), the show brings together four heroes from different faiths to introduce audiences aged 9-10 to Hinduism, Islam, Christianity and Judaism. It was created by May, a former marketing exec at Disney.
“I am beyond proud to join a team that is so committed to changing the world, one martial arts superhero at a time,” said Daitch. “The God’s Gang team have nailed it, and I am excited to work with them.”
Guardians of the Galaxy Vol 3. was one of the few bright spots in a tumultuous year for Marvel Studios.
The film not only gave a satisfying end to the Guardians trilogy but also dived into the tragic backstory of the caustic Rocket Raccoon.
Photo: Marvel
In the film, audiences learn that Rocket was experimented on by a mad scientist named the High Evolutionary, who sought to enhance and anthropomorphize animal lifeforms to create an ideal society.
After befriending his fellow “batch 89” test subjects — Lylla (an otter), Teefs (a walrus), and Floor (a rabbit), Rocket is devastated when The High Evolutionary kills Lylla. In the ensuing battle, both Teefs and Floor also die. Though Rocket escapes the High Evolutionary on a spaceship, he is never really able to get away from his past.
Photo: Marvel
As it turns out, Guardians of the Galaxy Vol. 3 was not only emotional for audiences but also for the cast themselves.
Bradley Cooper Cried When Voicing Rocket
In a recent interview on The Howard Stern Show, Bradley Cooper, who voices Rocket Raccoon, revealed how he approached the film’s dramatic moments.
“This last one, I’m not sure if you’ve watched it, but I actually cried like crazy. There’s a scene where he loses his friend and the sound Rocket makes is something I could only relate to, is the sound my own voice when my dad passed away,” Cooper said. “When we did it on the sound stage, I think everybody knew there was some deep truth to the sound that came out of my mouth and I think that’s why that moment in the movie is really like, ‘Holy [crap].’”
Guardians of the Galaxy Vol.3 ends with Rocket being named the new leader of the intergalactic superhero team after the other members go their separate ways.
Grateful For ‘Guardians 3’
While this may spell the end of the Guardians as we knew them, Cooper was grateful for the series’ last installment.
“Honestly, it was very emotional to play him,” Cooper said. “You really get a chance to understand how he came to be,” Cooper said. “Rocket went through a lot.”
Photo: Marvel
Guardians of the Galaxy Vol. 3 is streaming on Disney+.
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2023 has no doubt been, Taylor Swift’s year. So of course it came as no surprise when TIME announced the Person Of The Year for 2023, it was Taylor Swift.
“Picking one person who represents the eight billion people on the planet is no easy task. We picked a choice that represents joy. Someone who’s bringing light to the world,” said Sam Jacobs, TIME magazine’s editor in chief, on NBC’s “Today” program
There were 7 other finalists in the running including King Charles III, Barbie, Hollywood Strikers, Xi Jinping, Jerome Powell, Sam Altman, Trump Prosecuters and Vladimir Putin.
Swift was also named Person of The Year alongside 3 other in 2017 as one of the Silence Breakers who inspired women to speak out about sexual misconduct. This year she made history as this achievement marks the first time a person was selected because of her achievement in the arts. She is also the fourth individual selection who was born in the last 50 years and the first woman to be recognized more than once. This puts her alongside a small group of repeat designees, alongside several U.S. presidents and world leaders.
“Swift’s accomplishments as an artist — culturally, critically, and commercially — are so legion that to recount them seems almost beside the point.” TIME Wrote
Photograph by Inez and Vinoodh for TIME
Photograph by Inez and Vinoodh for TIME
Photograph by Inez and Vinoodh for TIME
What Taylor managed to accomplish this year goes far beyond grabbing headlines, ticket sales, box office numbers, and broken records. Taylor Swift has contributed to the economy of different countries across the world in multiple ways. “Analysts talked about the “Taylor effect,” as politicians from Thailand, Hungary, and Chile implored her to play their countries. Cities, stadiums, and streets were renamed for her. Every time she came to a new place, a mini economic boom took place as hotels and restaurants saw a surge of visitors.”
When it came to her film The Eras Tour Movie, Taylor chose to bypass studios and streaming sites and instead enter an exclusive agreement with AMC theatres. She ended up breaking the record for the Highest Grossing Concert Film domestically and internationally, as well as the Best Concert Movie Opening.
This year Taylor also released the re recorded version of her iconic pop album 1989. Which soon became the top-selling album in America for 2023 in under one week. It topped the Billboard 200, along with the vinyl albums and streaming albums charts, with over 1.6 million units sold in the U.S. and over 3.5 million globally. The achievement makes her the first artist to score six No. 1 album debuts with over 1 million units sold in history. This year Taylor officialy became a Billionaire.
Of course you can’t mention Taylor Swift’s 2023 without mentioning Travis Kelce. Swift managed to take somethingthat was already insanely famous and make it even more so, football.
Taylor also became the subject of academic interest as Universities started announcing they will now offer courses on the star. Harvard will offer a course titled “Taylor Swift and Her World”, Stanford has invoked the Swift song “All Too Well (Ten Minute Version)” with a course planned for next year titled “All Too Well (Ten Week Version),” and Arizona State University has offered a psychology class on Swift’s work. Next year, the University of California, Berkeley plans to offer “Artistry and Entrepreneurship: Taylor’s Version.” Gannett, the largest newspaper chain in the United States, appointed a special reporter to cover nothing but Swift.
Photograph by Inez and Vinoodh for TIME
Photograph by Inez and Vinoodh for TIME
Photograph by Inez and Vinoodh for TIME
“I’ve been raised up and down the flagpole of public opinion so many times in the last 20 years, I’ve been given a tiara, then had it taken away. It feels like the breakthrough moment of my career, happening at 33, and for the first time in my life, I was mentally tough enough to take what comes with that.” – Taylor Swift
Time awards this title to “the individual, group, or concept that has had the most influence on the world throughout the previous 12 months”. Now look back and think “How many conversations did you have about Taylor Swift this year? How many times did you see a photo of her while scrolling on your phone? Were you one of the people who made a pilgrimage to a city where she played? Did you buy a ticket to her concert film? Did you double-tap an Instagram post, or laugh at a tweet, or click on a headline about her? Did you find yourself humming “Cruel Summer” while waiting in line at the grocery store? Did a friend confess that they watched clips of the Eras Tour night after night on TikTok? Or did you?” TIME writes.
The influence she had has spread far beyond her music and her film to billions across the world. The impact of Swift’s cultural and economic influence resonated globally, from her groundbreaking achievements in music and film to her contribution to various countries’ economies. However, her influence transcends mere statistics; it’s about the conversations she ignited, the people she brought together, the way she drew crowds, the academia she inspired and and the media empire she created. Yes she broke multiple records this years, many that were set by herself, but it was about more than the accolades; it was about redefining the way we perceive artistry, entrepreneurship, and resilience. As TIME crowns her the Person of the Year, it’s a testament to her enduring impact that reached far beyond the confines of her industry.
Director Zack Snyder has confirmed that he will not be pursuing the DC franchise in any way in the future, putting an end to the hopes of fans who wanted to see more of his vision realized.
Fans of the Snyderverse are now rallying for Warner Bros. to sell the franchise to Netflix so that Snyder can continue his work with the support of the streaming platform.
While Snyder may not be involved anymore, Warner Bros. has recently agreed to license titles from the DCEU to Netflix, with several DC movies set to become available for streaming on the platform. However, this collection will not include Snyder’s version of Justice League.
Fans of Zack Snyder’s DC Universe are some of the most undeterred in the world. However, it seems that even they cannot continue their annual quest to revive the Snyderverse, as the director himself has declared that his former playground of heroes and villains is over. While that is the director’s stance right now, it seems that Netflix’s head of film, Scott Stuber, is still hoping to be able to bring Snyder’s whole DC world to Netflix in some way.
Speaking recently to The Hollywood Reporter, Stuber noted that it would be “tricky” to consider developing anything new within the Snyderverse, but could license the rest of Snyder’s movies.
“Obviously we would like to license it at some point. We’d love to have it on so that fans can experience more Zack. The more Zack we have the better we are.”
Of course, with various rumors of Warner Bros. Pictures potentially being sold off again circulating, anything is possible in the future. For now, though, Snyder has been clear that his priorities lie elsewhere.
Responding to a post on Vero (via @DCU_Updates), Snyder gave a simple two-word reaction to a YouTube reaction video link shared online, which suggested that Snyder had confirmed he will not be pursuing the DC franchise in any way in the future. His reply read, “That’s true.”
And with those words, the saga of the Synderverse appears to have reached a definite conclusion in Snyder’s eyes, no matter what some fans had hoped for the franchise.
After overcoming the odds to help instigate the director’s cut of Justice League, the dedicated fan base, who wanted to see more of Snyder’s vision realized, still have not accepted that the franchise as it was is dead at Warner Bros. Having spent so many years petitioning for the release of the Snyder Cut of Justice League, the rallying calls subsequently changed to demanding Warner Bros. should sell the franchise to Netflix for Snyder to retake the wheel.
There are clear reasons for fans choosing Netflix as their location of choice for the Snyderverse to have found a new home, as Zack Snyder already has a strong relationship and deal in place with the streamer. Having delivered the first two movies in his Army of The Dead franchise, and being set to release Rebel Moon, fans clearly feel like it would have made sense for him to then be given the chance to bring the old DC franchise back to life with Netflix’s help.
While it is now clear that Snyder will not be providing any new input to his old DC stomping ground, Warner Bros. recently came to an agreement to license titles from the DCEU to Netflix.
This December, Man of Steel, The Suicide Squad, Batman vs Superman: Dawn of Justice and Wonder Woman are among the 12 DC titles that will be available to stream via Netflix. The collection will also include the original Joss Whedon cut of Justice League, but not the Snyder Cut of the movie.
The remaining movies heading to Netflix this winter are Wonder Woman: 1984, Shazam!, Birds of Prey, Suicide Squad, Dc League of Super-Pets, The Batman and this year’s Shazam! Fury of the Gods.
Although not arriving yet, it is expected that recent movies Black Adam, The Flash, and Aquaman and the Lost Kingdom will all appear on the platform at some point in the future.
Diablo 4‘s new endgame event, Abattoir of Zir, is live now in game, daring players to take on the brutal dungeon in order to unlock and upgrade the powerful Tears of Blood Glyph. The first level of the Abattoir of Zir is around the same difficulty as a level 100 Nightmare Dungeon, and each of its 25 levels only get more difficult from there.
The Abattoir of Zir requires players to have completed all of the chapters of the Season of Blood, after which they’ll unlock a recipe for the Bloodforged Sigil, which grants access to the new dungeon. In the Abattoir, players will have just 10 minutes to kill enough enemies to summon the dungeon bosses, which then have to be defeated to clear the level.
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Each tier successfully cleared will unlock the recipe for the next tier’s Bloodforged Sigil. Defeating the first tier will also unlock the Tears of Blood Glyph, which requires higher amounts of Paragon Glyph experience to level up–which, luckily, will be rewarded in spades by progressing through the higher tiers of the Abattoir.
As well as the new event, Diablo 4’s Patch 1.2.3 comes with a few tweaks and bug fixes. Notably, Blizzard has bumped up Glyph experience for Nightmare Tiers from level 18 up, saying that it wanted to incentivise players to keep pushing to higher levels. The full patch notes for the update can be found below.
Diablo IV Patch 1.2.3a (PC)
BUG FIXES
Fixed an issue where the resource draining effect from Melted Heart of Selig could cause performance issues in PvP.
Developer’s Note: The effect will no longer count as spending resource in PvP contexts to alleviate these performance issues.
Fixed an issue where the Tooltip for the Tears of Blood Glyph indicated that the damage bonus was additive when it was instead multiplicative.
Fixed an issue where Paragon glyph experience increased, which resulted in active glyphs to lose levels.
Fixed an issue where Tier 7 and Tier 8 Bloodforged Sigils had incorrect sigil dust rewards when being salvaged.
Diablo IV Patch 1.2.3 (All Platforms)
GAMEPLAY UPDATES
Starting on December 5, battle legions of Zir’s minions and race against time in a new endgame pinnacle dungeon, Abattoir of Zir. For more information, visit this article.
A full list of possible affixes can now be previewed in the Enchantment menu using the new View Possible Affixes button.
Earned Glyph experience from most Nightmare Tiers was increased.
Tiers 1-17: No Change.
By Tiers 30: From 66 to 79.
By Tier 50: From 106 to 139.
By Tier 75: From 156 to 239.
By Tier 100: From 206 to 339.
Developer’s Note: After reviewing gameplay data and player feedback, we recognized that completing higher Nightmare Tiers was not as rewarding as we initially hoped for, with many players stopping their journey after reaching Tier 50. The experience increase to Glyphs at higher Tiers was made with the intent of incentivizing players to push their builds, making their arrival at Tier 100 feel that much more fulfilling. We will monitor how this change in experience pans out for players and encourage you to provide us with any feedback you have around this system.
Introduced further support for NVIDIA Reflex technology. Visit the in-game settings to enable this feature.
BUG FIXES
Accessibility
Fixed an issue where the Screen Reader didn’t announce the required pacts for Vampiric Powers.
Fixed an issue that made the Screen Reader malfunction on the Steam Deck.
Dungeons
Fixed an issue where the Mechanical Box wouldn’t respawn if the player was killed by the boss in the Bastion of Faith.
Fixed an issue in the Fallen Temple dungeon where the objective to destroy the Idol of the Fallen Temple could not be completed properly if the Idol was destroyed instantly.
Fixed an issue where the debuff effects in the Fallen Temple could be avoided when leaving and re-entering the Dungeon.
Fixed an issue where enemies from the Sole Survivor event could spawn behind locked doors in the Hallowed Ossuary, blocking event mastery completion.
Fixed an issue where Nightmare Dungeons wouldn’t properly reset after all revives were exhausted when playing local co-op.
Fixed an issue where enemies spawned by Animus-carrying monsters with the Summoner affix unexpectedly carried Animus.
Fixed an issue where bonus Elemental Damage affixes of Nightmare Dungeons scaled their damage too low or too high for their respective Tier.
Gameplay
Fixed an issue where some attacks made by Echo of Lilith would not properly trigger if the player in the Party that started the encounter died.
Fixed an issue where the first Death from Above cast by Echo of Lilith had irregular timing and didn’t display an incoming projectile indicator.
Fixed an issue where Frostburn and Mother’s Embrace could drop as Sacred and not Ancestral from Tormented Echo of Varshan in World Tier IV.
Fixed an issue where Gems could still drop from some sources, such as Avarice’s chest or Whisper Caches, instead of Gem Fragments.
Fixed an issue where Rabies cast by Werewolf companions from the Of the Alpha legendary aspect could miss.
Fixed an issue where Druids could continuously run into a wall if Trample was used to move towards a nearby wall.
Fixed an issue where Treasure Goblins would sometimes become invincible and run away if the player mounted or unmounted near them. (Treasure Goblins have had enough of your bullying, wanderer.)
Season of Blood
Fixed an issue where Blood Harvesters could quickly disappear after spawning.
Fixed an issue where the Norvaic enemy could spawn repeatedly in certain co-op situations.
Fixed an issue where Seeds of Hatred extracted by being Hatred’s Chosen did not count towards a Season Journey objective’s progress.
Fixed an issue which made Potent Blood dropped from a Blood Well inaccessible.
Developer’s Note: A previous Hotfix allowed players to walk through Blood Wells to access Potent Blood. This change reverts the ability to walk through Blood Wells, but in exchange, Potent Blood will no longer spawn in the middle of Blood Wells so it can be easily picked up.
Fixed an issue where Duriel wouldn’t spawn when the player re-entered the boss arena after respawning.
User Interface and User Experience
Fixed an issue where map overlays for Helltide and Blood Harvest wouldn’t display properly when entering a region covered by fog of war.
Fixed an issue where the tooltip displayed while hovering over certain items could blink periodically.
Fixed an issue where the text describing how to unlock Mounts was inaccurate for players who skipped the Campaign.
Developer’s Note: If they choose to play through the Campaign, players that haven’t yet unlocked Mounts must complete the Donan’s Favor quest to unlock them. If the campaign is skipped, you must reach Level 25 before unlocking Mounts. The tooltip previously mentioned Quest completion only, which is irrelevant when skipping the Campaign.
Fixed an issue where navigating to the Season Journey from a Seasonal Aspect wouldn’t open the correct chapter.
Navigating the Seasonal Stash with a controller will now be more consistent.
Miscellaneous
Fixed an issue where visual effects on armor would remain fully visible while using Concealment. (Lilith sees all, foolish wanderer.)
Various visual, performance, and stability improvements.
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Neo’s directorial short debut “Happily Ever After” (2015) screened at the 26th SGIFF and was nominated for best screenplay at the National Youth Film Awards 2016. “My Endless Numbered Days” follows Mitsue who returns to Japan after the disillusionment of a work opportunity in Singapore. Resuming her past life, she treads between friendships with a former lover and a new co-worker, while finding her footing despite being constantly on the move. A sense of alienation follows her from city to city as the young urbanite looks for novelty and adventure, but struggles to find a place to call home.
The cast includes Banzai Mitsue, Yanagi Elisa and Toritani Hiroyuki.
“The choice of subject for my feature debut was immensely personal. The project started with my personal life as inspiration for what transpires in the final film. I was 28 years old when this film started its principal photography and I think I was mainly concerned about the lack of personal tangible success, relative to my counterparts in Singapore,” Neo told Variety. “It was a really strange situation because I left Singapore for Japan to make films and I did participate in a lot of independent (by standards on this side of the world) projects. It helped me develop myself and find myself as a filmmaker by distancing myself from commercial projects but that naturally meant just getting by in life financially.
“On top of that, I have parents who are unable to understand what I do for a living. It made me doubt and question myself if this is at all a viable way of living life, especially in Singapore. Just by being in Singapore, you would naturally be complicated into this whirlwind of prioritizing making money and tangible successes as defined by society. And so, this film was my internal discourse of what is important in our lives and how we move forward as young adults.”
Urban alienation is an increasing common phenomenon across the world and Neo is keenly aware of this.
“I think urban alienation exists because we are human, flawed and broken. It fascinates me because there is nothing we can do about it. Urban alienation is very much the feeling of loneliness even though we are not alone, right? The solution might seem to be having to try to fix how were are when we are when we are in the company of others, but the solution is probably deep within ourselves,” Neo said. “As Andrei Tarkovsky says in his famous video ‘A Message to Young People,’ ‘I think I’d like to say only that they should learn to be alone and try to spend as much time as possible by themselves.
“I think one of the faults of young people today is that they try to come together around events that are noisy, and almost aggressive at times. This desire to be together in order to not feel alone is an unfortunate symptom, in my opinion. Every person needs to learn from childhood how to spend time with oneself. That doesn’t mean he should be lonely, but that he shouldn’t grow bored with himself because people who grow bored in their own company seem to me in danger, from a self-esteem point of view.”
“So I think the problem is when we do not know who we are and we allow others to come and define us on our behalf,” Neo added.
The film is produced by Nishida Miyuki and Tetsuhide Mitsumine. “The passion he [Neo] has for filmmaking is not only being a cinematographer that I was curious about him when I met at the first time. Furthermore, there was also a personal interest in his filmmaking technique of having no scripts but only some clues of the direction for actors,” Tetsuhide told Variety.
Tetsuhide is planning the film’s Asia release, including in Japan and is also working on co-production features with some Asian countries including China and Malaysia.
Neo, who is also a cinematographer, is attending Terre Di Cinema in Italy next year to experience shooting on 35mm film.
We’ve had genies of the playful, wish-granting “Thief of Baghdad” type, and more recently quite a number of evil djinn in horror movies. But it’s hard to recall a prior screen portrait of the same malleable Arabic mythological creatures quite like “HWJN,” which takes the cuddlesome, anthropomorphic “They’re just like us, only magical!” view of Pixar animations and such in depicting modern-day jinn (the term’s more accurate translation) who invisibly live alongside humans.
Yasir Alyasiri’s visually appealing fantasy, which kicked off the Red Sea Film Fest, is at times too innocuous in tone and pedestrian in story ideas. But it’s nonetheless a slick, pleasant diversion that should attract viewers eager for an approximation of CGI-heavy western family entertainments, albeit with up-front Arabic cultural and Muslim religious emphases. The Saudi Arabia-United Arab Emirates coproduction opens commercially in S.A. on Jan. 4.
Drawn from sci-fi author Ibraheem Abbas’ popular (if sporadically banned) series of novels, which began publishing a decade ago, this amiable whimsy starts off its world-building immediately in the most straightforward terms. Our narrating protagonist Hawjan (Baraa Alem) is introduced watching a traditional “evil genie” film in a cinema. He protests such stereotypes, insisting that real jinn “have jobs, families and family drama,” just like the humans they co-exist with. Only the humans don’t know it, because “God separated our worlds for a reason of which He knows best,” rendering jinn capable of seeing humans but not vice versa. Interaction between the two is difficult, and forbidden by the “jinn creed,” anyway.
Nonetheless, it becomes hard to maintain that detachment once the abandoned home that young doctor Hawjan (at 92, he looks 20) shares with his mother and grandfather on Jeddah’s outskirts is refurbished, then inhabited by the well-off Abdulraheems. Only daughter Sawsan (Nour Alkhadra), a med school student herself, senses the presence of the preexisting supernatural residents even faintly. Our hero is quickly smitten, so he works assiduously to create a communication bridge with her — which takes the form of a shameless plug for iPads. But their inter-dimensional relationship is problematic, to say the least. For one thing, she’s already got a nice, safely human beau in classmate Eyad (Mohsen Mansour). For another, she has a brain tumor that may render any romantic or marital prospects moot.
But worse still is that fatheress Hawjan, whose paternal background (and reasons for being “trapped” living alongside people) have been kept from him, is in fact jinn royalty sought for nefarious purposes by minions of the wicked King Hayaf. Chief among them is chrome-domed Master Xanaam (Naif Al Daferi), a cousin who to save his own neck must persuade our hero to marry his sister, the beauteous Jumara (Alanoud Saud). In order to do so, he and his flunkies cast a spell on Sawsan, using her already vulnerable health as an instrument of blackmail. To save her life, and fulfill his own destiny, Hawjan must journey to the fantastical lands of two warring jinn tribes.
Even if these desert realms recall the various versions of “Dune” in their tawny look, it is in sequences set there that “HWJN” is most enjoyable. Indeed, these flights of visual fancy — handsomely realized by production designer Khaled Amin, costumer Hassan Mustafa and DP Nemanja Veselinovic’s frequently amber-hued cinematography — prevent the rather banal Earth-bound conflicts from dragging “HWJN” into tearjerking melodrama.
The pacing sometimes plods a bit, but likewise is juiced enough by regular infusions of eye candy to maintain interest. Even human interiors are granted a colorfully inviting warmth, and some spectacular desert exteriors were shot in Egypt. Less distinctive is Khaled Alkamaar’s original score, which is a little too squarely faithful to the John Williams school of triumphal, fully orchestrated western mall-flick soundtrack themes.
Well-cast performers ably fulfill the demands of their fairly one-note roles, from our puppyish protagonist to various concerned parental figures and an assortment of comical or sinister grotesques. Unsurprisingly, the door is left wide open for sequels, with supervillain Hayaf — his ghoulish countenance glimpsed only at the fadeout — not about to take everybody else’s happy endings like a good sport.
Comcast is $8.61 billion richer thanks to Walt Disney acquiring the cable giant’s 33% stake in the streaming service Hulu, but more is expected to come.
The “check is cleared, it’s in the account,” said Comcast President Mike Cavanagh, who spoke at the UBS investor conference on Monday morning, as reported by Next TV. “We expect, and certainly hope to get more than that once the process ends. But it’s really just the beginning.”
On November 1, Disney confirmed that it would acquire Comcast’s remaining stake in Hulu, taking full control of the streaming service. The $8.61 billion payment represents the value of the stake based on an older valuation of $27.5 billion. But the two companies hired investment banks to assess the current value of Hulu, expected to be higher, meaning Disney still needs to cut another check to Comcast.
Comcast CEO Brian Roberts previously said Hulu is worth far more than the original valuation set five years ago. Disney is hoping the increase isn’t that signficant. The two companies expect the appraisal process to be completed next year, meaning there’s still time before Disney needs to make its final payment.
In the meantime, Disney has essentially taken full control of Hulu. That’s important because it’s about to offer a beta version of an app that merges Hulu content with Disney+, something it plans to more formally launch early next year.
Comcast, meanwhile, will need those funds as it continues to invest in its own Peacock streaming service, which lost $565 million in the third quarter despite adding 4 million new customers. With 28 million subscribers in total, it remains one of the smaller players despite a large library.
A rush of adrenaline, a passionate romance, a thrilling series of events, characters to root for and despise, brilliant performances and much more await you in Hulu’s new Australian series “The Artful Dodger”, an inspired new take on the story of Charles Dickens’ infamous “prince of thieves”, now turned surgeon, “Dodger”.
Starring Thomas Brodie-Sangster (Game of Thrones. The Maze Runner) as the Artful Dodger, Jack Dawkins, David Thewlis (Harry Potter and The Prisoner of Azkaban) as Norbert Fagin and Maia Mitchell (Good Trouble) as Lady Belle Fox. With an ensemble cast that includes Damon Herriman, Miranda Tapsell, Susie Porter, Damien Garvey, Andrea Demetriades, Jessica De Gouw, Kym Gyngell, Luke Carroll and Tim Minchin. Created by James McNamara, Andrew Knight, Vivienne Walshe, and Dan Knight.
The series is set in 1850s Australia, Jack Dawkins, formerly a navy surgeon, establishes himself as a respected young surgeon in the colony. However, an old acquaintance, Fagin, resurfaces, forcing Jack, once a London-based pickpocket known as Artful Dodger, back into a life of crime. Jack forms an attachment to the governor’s daughter Lady Belle, who aspires to be a surgeon. As Jack’s past intersects with the present and external forces jeopardize his goals, the narrative unfolds, raising questions about whether he can genuinely reshape his life in the colony as he had envisioned. The series includes characters from the classic Charles Dickens novel Oliver Twist (1838) as it is set 15 years after the end of the novel. However rather than a sequel or a remake it is more of a re-imagining.
The show is engaging, fun and is enough to have you on edge, from start to finish. Once again we see a show that has successfully managed to mix genres, as “The Artful Dodger” highlights a little bit of every aspect of the show. Of course you have the dramatic aspect which is kept fresh and exciting with the show’s fast paced storyline, the comedic aspect which is mainly delivered by Fagin, the crime aspect which Jack is pulled back into and of course the forbidden romance. Not to mention the show is a period piece.
Although it does have one significant plot behind it, each episode introduces something new to the fold, be it a new enemy, a new job, or in general just a mess that Dodge and his team have to find their way out of. What’s great about the series is how invested it gets you, be it in a heist to steal gold or whale organs, in a character or a couple. In a world before x-rays, modern medicine and anesthesia we see Jack and Belle navigate their way through advancements in medicine and the struggles of a romance between their classes.
The drama in the show is greatly heightened by the incredible performances of the cast. Sangster and Thewlis in particular deliver absolutely spectacular performances. Thewlis as always is a powerhouse, he is completely lost and
Courtesy of Hulu
unrecognizable in the role of Fagin. As for Sangster, I say this is definitely his finest performance yet, even better than”Game of Thrones”, “Godless” and “The Maze Runner” series in which he was also at the top of his game. Sangster will make you fall in love with the talented and charming Doctor Dawkins, the best surgeon in Port Victory with his commanding performance. From the smallest change in his facial expression to a sudden shift in his physicality, despite being only 8 episodes long we see a great amount of character development from Jack in the way that he went from a somewhat arrogant Doctor and masterful thief who was only out for himself to someone who sacrificed everything for the one her loves. Sangster has truly carried this show, with the help of Thewlis that is.
Sangster and Thewlis skillfully balance both humor, hatred and affection. Their chemistry was undeniable as their characters spent most of their time together, their encounters are hilarious. The two brought the mischievous duo to life so well, you could really tell that their performances were heightened by the others. Not to be forgotten is Maia Mitchelle who shines as the stubborn but incredibly intelligent Lady Belle without whom, let’s face it, Jack would be lost. What’s great about Thewlis and Mitchell’s characters is that their story does not solely revolve around Jack’s orbit, rather they are given their own individual plots to follow.
Speaking of chemistry, what’s a series without a couple to root for? From the very first episode viewers will
Courtesy of Hulu
be invested in Jack and Lady Belle, and as anyone who watches a lot of TV would know, those two would eventually end up together. But it was not that simple. This was not just your average love story. However Thomas Sangster and Maia Mitchelle’s beautiful and genuine performances, particularly in the sweetest and most intimate moments between them made you fall in love with these characters and root for them to be together that much more. Their onscreen chemistry is so pure and alluring. During their complicated courtship shall we say, we do get to witness some witty banter between them, and who doesn’t love that. Now like I said, this was no ordinary love story, because how many times do you have to operate on the one you love with no assurance that it will work?
In a world of public surgeries and public hangings, life is all a series of high stakes and high energy for Jack, making this show highly entertaining! With a fast paced story that consists of widely funny escapades as Jack constantly finds himself in trouble and crosses paths with the law, and continuously evades them. The show is fast paced and there is never a dull moment or episode. The vibrant collection of characters is enough to keep anyone interested. This delightful new Dikensian show should be a must watch on your list.
Considering the success of period pieces in recent years like Brigerton, Reign and Medici it would not be a bad idea to keep this show going for a bit longer. If the show gains a bigger audience, perhaps Hulu will consider picking it up for a second season. After that ending, you will definitely be left wanting more.
Watch the trailer below:
This may just be one of the best new series I’ve seen in 2023. Something so bold, fresh, unique, savage and sexy. This show has something for everyone. “The Artful Dodger” is now streaming on Hulu and Disney+.
Oscar winning actress Emma Stone, who is a huge fan of Saturday Night Live herself has officially joined the exclusive SNL Five Timers Club!
Stone who is known for her range onscreen, particularly her comedic talent in films such as “Easy A”, “Crazy, Stupid, Love”, “La, La, Land and more is a known favourite amongst SNL fans, always making sure to deliver memorable sketches and epic laughs, when she hosts.
Stone made her hosting debut on October 23, 2010, the fourth episode of Season 36 with musical guests Kings of Leon. She also hosted in November 12, 2011, December 3, 2016, April 13, 2019 and finally her latest hosting gig was on Saturday December 2, 2023. Which officially made Emma the 24th member to join the SNL Five Timers Club, joining the ranks of fellow SNL hosts such as Alec Baldwin, Steve Martin, Tom Hanks, Tina Fey, Scarlett Johansson and many more.
Season 49 of SNL has seen a star studded line up of hosts, including Timothée Chalamet, Pete Davidson, Jason Momoa with Adam Driver and Kate McKinnon returning to SNL to host in December as well.
In her monologue Emma mentions “It has always been my favorite show [SNL] and since I started hosting its also become just a huge part of my life, and I’ve made so many memories here, so many friends.”
She was also joined by Tina Fey and Candice Bergen, who welcome her into the women’s section of the Five Timers Club. “You’re part of SNL HERstory” says Bergen. The three also do not hesitate to make hilarious jabs at John Mulaney and Woodey Harrelson. Fellow Five Timers.
A highlight of her episode was her sketch titled “Make Your Own Kind of Music”. In which we see Stone play a music producer who convinces singer Mama Cass played by Chloe Troast that her song will be used in epic moments in films in the future. A classic jab at how much Hollywood has used this song in different montages and climactic scenes. Stone really outdid herself when it came to her comedic performance in this episode.
Stone will next be seen in Yorgos Lanthimos’ film “Poor Things” alongside Mark Ruffalo and Willem Dafoe. She is already being eyed as a contender for the Oscars best actress category.
Peacock has hit 30 million paying subscribers, and Comcast thinks it will only continue to get bigger.
At the UBS Global Media and Communications conference Monday morning, Comcast president Mike Cavanagh revealed the new subscribers number, adding that the average ARPU (average revenue per user) is $10 per month.
“Remember we started cold three years ago because of the change in ownership of Hulu,” Cavanagh said, adding that the company was pleased with Peacock’s growth, and is focused on growing it domestically.
Peacock, he added, is NBCUniversal‘s gateway to streaming.
“We’re still very significant in distribution — as much as anybody in the traditional linear world — nothing’s going to change the gravity that that side of the business is feeling, but the infrastructure that we have as we bring it to life, in the form of Peacock, is a great is a great way to think about the game we’re trying to play,” he said.
Cavanagh added that “we collected eight and a half billion dollar check on Friday” from Disney as an initial payment for Comcast’s stake in Hulu. The companies are now beginning the process to figure out how much more Disney will need to pay. The check (or more likely the wire transfer) has cleared, Cavanagh added.
But the executive also talked about the current state of media, and framed NBCUniversal as a more creator-friendly studio for filmmakers and talent, a subtle jab perhaps at competitors like Disney which focus on franchises exclusively, or at Warner Bros. Discovery, which has made headlines for shelving projects with little warning.
“Really what’s most important is I think in the market you know, we’ve got such good leadership and such good relationships in Hollywood,” Cavanagh said. “Our reliance rather than being based on formulaic series has been more around originality and creativity. So the partnerships we have with creators like a Steven Spielberg, Christopher Nolan with Oppenheimer, Chris Meledandri and illumination, Jason Blum on the horror side. Jordan Peele, you know, I think we’re a place where creators want to bring original ideas, and we’re known to be a good partner in creating that. And that feels a little bit like what the moment calls for in Hollywood.”
He did, however, note that Disney is NBCUniversal’s only real competitor in the theme parks business, and added that the company is taking a slightly different strategy when it comes to incorporating IP into its theme parks.
“There is nobody at the caliber and scale other than ourselves and Disney,” Cavanagh said. “Interestingly Disney typically — I mean never say never — but they’re capitalizing on their own IP, which puts us in a very interesting position to be able to take our own IP but also others, as you see with Harry Potter and now Nintendo, and be a partner that can take advantage of all the cool IP out there.”
As for whether NBCUniversal could ever be involved in M&A, Cavanagh noted Comcast’s strong balance sheet, and added that the “bar is very high” for a deal.
“I think I think our job always to look at things but I all I can say is the bar is really high because I really like the organic hand we have,” he said. “We don’t need to do anything inorganic acquisition-wise to make any of what I described happen, so therefore the bar has to be really high on that on that front.”
I expected Renaissance: A Film by Beyoncé to be amazing. I saw clips of the Renaissance tour on TikTok, and Beyoncé has about 26 years in the music industry; it’s a guarantee she is going to give an amazing performance. I wasn’t one of the fortunate souls who were able to see her live in concert and I was feeling grateful that I could at least see the full concert in a theater with other Beyoncé fans. What I didn’t expect was to leave the theater feeling renewed, but also exhausted because I felt like I was in the stadium with the concertgoers I saw on the screen.
A debate I had in my mind was whether I should be a good movie-goer with decorum and remain silent in my seat. In the theater, the other movie-goers had that same idea in mind, but as we went through each song it was harder to keep this up. First, you could see feet wiggling in their recliner seats, then singing along, and finally, some joy screaming at the screen as if Beyoncé could hear us. Some people even leaped out of their seats and started dancing.
This is the effect of the Renaissance experience; you can’t help but exclaim and join the fun. That’s what Beyoncé’s goal was. The Renaissance album, tour, and now this film is a collection of works that represents an escapist world that Beyoncé created. A world where you are free to be Black and/or gay and be loud and proud of it, you can be a sex kitten and a boss, or a mother and a musician. You can say who you are and people will honor you and respect you. The Renaissance world is where hard-working people get the acknowledgment and the flowers they deserve, and we spread joy wherever we go. This world is represented in the music and the behind-the-scenes stories of Renaissance.
Uncle Jonny, House Music, and Ballroom
The Renaissance album is inspired by house music, the music that was the soundtrack of Beyoncé’s life with her Uncle Jonny. House music is from Black queer culture and Uncle Jonny introduced Beyoncé to it. In the Renaissance album, Beyoncé includes icons from the scene on the tracks. She includes samples of underground drag legends Kevin Aviance and Moi Renee and has appearances by Ts Madison and Big Freedia. To introduce the topic of her Uncle, we see her wearing the dress he made her for prom. Uncle Jonny grew up with his aunt Tina Knowles, Beyoncé’s fashion-designing mother, with a shared love of fashion. They created clothes together and when Ms. Tina had Beyoncé and Solange, Uncle Jonny helped raise the girls and he was playing house music while doing it. Ms. Tina during this part of the documentary said, “I think fashion saved my family’s life.” Fashion served as a place for Uncle Jonny to express himself during a time when it was even harder to be a Black gay man.
Beyoncé also pays homage to a legend in the ballroom scene, Kevin JZ Prodigy. Kevin’s distinct voice is well known in the ballroom space and Beyoncé asked him to be “the heartbeat” of the show, to be a commentator/narrator. Kevin’s introduction to the concert “Welcome to Mother’s Mind,” perfectly captures that the show is going to transport the audience into this new world. This was Kevin’s first time being in the mainstream. Many of Beyoncés’ dancers also come from the world of ballroom and voguing, and Beyoncé gave them space to showcase their talent to a larger audience. Being that Beyoncé isn’t queer herself, it’s meaningful when someone of her status takes the time in her tour and film to give the ballroom scene and Black gay culture the acknowledgment that has been long awaited.
Beyonce is a Boss, Mother, Performer, and Sexy Woman
(Photo by Kevin Mazur/WireImage for Parkwood)
Towards the beginning of the show, Beyoncé acknowledges the work of her crew members on the tour. She said it took several years to build the set and in the film, we can see a construction crew building a complicated set. Beyoncé wanted the crew members who are moving things throughout the show to wear reflective gear, so the audience could see them. She finds the process of making the tour happen fascinating and wants her fans to see the other people involved.
During this section of the show, we also see Beyoncé being a hardworking boss, which requires her to put her foot down and talk to men on the tech side who don’t expect her to know things. Beyoncé talked about feeling that as a Black woman, someone is always trying to challenge her and make things difficult for her. Beyoncé is knowledgeable about lighting design and there are several clips in the film where she is describing how she wants the lights to look on stage. There is even a scene where one of the lighting designers was telling her the light she wanted didn’t exist, but she googled it and found that it does. It’s quite empowering to see a woman take control like that, even if it is a celebrity who seems so unfamiliar to the average woman.
Beyoncé also shows us her being softer with her kids, friends, and family, while also expressing the sexual side of herself in her performance. She says she is not responsible for who appears onstage, she lets herself be free and express it all. All sides are a part of who she is and she embraces them all.
Beyoncé Uplifting People
A huge element of the Renaissance world that Beyoncé evokes is how she uplifts the people around her. Beyoncés trumpeter Crystal Torres found out she was pregnant while they were prepping for the tour, and Beyoncé supported her in staying on. If you see Crystal in every show, you can see Crystal’s baby bump start to grow.
There was a section all about Blue Ivy performing as well. Beyoncé was hesitant to let Blue Ivy dance on tour, she wasn’t sure if Blue was ready to perform in front of a huge stadium. Blue Ivy’s first performance got a lot of criticism, but she kept pushing and improving throughout every show. During the concert which showed the audience holding up blue balloons in support of the young star, we can see Blue Ivy getting emotional as she watched the audience scream in support of her. From that reaction, you can tell the criticism got to her. Beyoncé talked about how she was so proud of her daughter for staying strong and working hard to get to where she is.
Beyoncé also gave credit to Amari Marshall, her dance captain, for being there for Blue Ivy. She even said she couldn’t imagine a better person who could take her daughter under her wing. Amari is even nicknamed Blue Ivy’s “stage momma!” Let’s not forget how important it is to see a curvy, dark-skinned dancer killing every move, and being sexy and free while doing it.
Amari’s brother died while she was on tour, and Beyoncé and the crew supported her by having a moment of silence to pay tribute to her brother.
Summing it Up
If we look purely at the performance, Beyoncé’s out-of-this-world outfits, playful and sexy dancing, and amazing singing you can’t help but be transfixed by the moment. You’re not thinking of anything else. I forgot I was even in a movie theater!
Renaissance: A Film by Beyoncé sums up Beyoncé’s mission in trying to give her fans a look into this utopia she created on tour and making her album. There was so much joy, support, and being themselves whole-heartedly in the process. If you want art to inspire you and possibly change you, this is it. Get to the theaters now!
Are you going to see Renaissance: A Film by Beyoncé? What are your thoughts on her album? Did you get to see the concert? Let us know in the comments below.
Great editing is editing that’s hard to notice. While it seems contradictory, an audience can pick up on uneven audio, awkward transitions and CGI effects that seem wonky.
A seamless film is a telltale sign that the post-production team did a fantastic job. Plus, it’s an excellent bonus when someone says they enjoy the color grading or the background music is out of this world.
It’s every filmmaker’s dream to get such compliments. However, you must get to know the basics first before you fast-forward to receiving such accolades.
What Is Post-Production?
Making a movie involves pre-production, production and post-production. The post-production stage consists of cutting and arranging the footage from production, as well as adding effects to give the final concept life. It’s quite a time-consuming process that can take a year to complete, depending on the film’s length.
The genre can also affect a movie’s post-production timeline and budget. For instance, the Lara Croft: Tomb Raider movie from 2003 is an adventure film thathad $1,600,000 in its post-production budget — a little more modest than Terminator 3. The sci-fi franchise movie prepared $4,000,000 for this phase.
Does Post-Production Matter?
Beginner filmmakers may question whether post-production matters after seeing those numbers, but get one thing straight — Hollywood budgets are ridiculous. Be realistic about your post-production process and focus on what you want to impart to your audience outside of that price tag.
On top of that, post-production means more than just ensuring the final product is neat. It’s important to see this stage as an extension of your storytelling capabilities, and a step to make your film and its message more meaningful.
What Are the Elements of Post-Production?
Newfound hopes of using post-production as a part of your storytelling journey can spark questions about what you tinker with for the final cut. Here are the five key elements of post-production to touch on in editing.
1. Video Editing
Some movies have viewers watch hours and hours of unedited footage captured during production, but the standard film cuts and moves things around. The goal is to have the final product be as cohesive as possible.
Editing your video can also help build powerful film sequences. Shorten five years into two minutes with a montage, or simulate a fast-paced battle between the hero and villain on screen. The sky’s the limit when it comes to video editing — just ensure you have good-quality equipment for a smoother experience. It’s a good idea to review your options. Just know that having a custom-built computer with high specs is imperative for handling your editing software, as Final Cut Pro and Adobe Creative Cloud require a fast processor.
It’s also recommended to seek flexible storage options that can accommodate the size of your film’s file throughout the editing phase. Most popular database management systems utilize C++, whichenhances the speed and accessibility of your data.
2. Color Grading
Many people don’t realize color’s impact on a video until the movie’s finally over. For instance, La La Land is incredibly vivid, with bright colors throughout the film. It subconsciously makes viewers sadder when the dark and dreary dinner scene occurs between Emma Stone and Ryan Gosling’s character.
Color correcting is essential to the post-production process, as it can set the mood for the rest of the movie. Editors may have individual tastes and visions regarding this stage, but remember to keep things visible. There’s a difference between making a film spooky by adding some filters and making the scene too dark to see.
3. Sound Finishing
Dealing with sound is a complex process. Its presence can shift how viewers perceive a scene. Musical scoring, ambient noise, the level of dialogue and so much more can influence the mood. Eventhe absence of sound can amplify the emotions of a scene, as John Krasinki’s A Quiet Place showed.
Audio can seem like a quiet part of the industry, butapproximately 452,800 people are employed in motion picture and sound recording production. That just goes to show how much effort can go into what the audience hears when they’re at the cinema.
4. Visual Effects
Visual effects (VFX) is a short umbrella term for thevariety of on-screen imagery a post-production team can create. Using a green screen and compositing to put the actors into a post-apocalyptic dimension is VFX. Additionally, employing motion capture to move an actor’s face to the body of a sentient object is VFX.
Budding filmmakers may believe there’s no need to try out VFX, but this element is an option meant to enhance your film. It’s possible to skip, but you can try adding a visual element that might have not been available during your actual shoot, such as a full moon or a starry sky.
5. Motion Graphics
Motion graphics are an underrated part of post-production, but they are also one of the most necessary additions to make before letting a film out into the world. Here’s what they are and why:
Title: Who doesn’t love a good title card? It’s an iconic frame that marks the essence of a movie. When done well, it can leave quite an impression.
Credits: The rolling credits are always important to give recognition to all those who made the film possible. Plus, it’s a space to share some of what goes on behind the scenes, such as bloopers or inspirational art.
Closed Captions: Subtitles are a fantastic way to help the audience understand what your characters are saying. Other captions — such as audio descriptions — can also make your film more accessible.
Prep for What Comes After Production
Each element of post-production contributes to the final cut, so it’s vital to prepare for this step as best as you can. While there’s still marketing and submitting to do afterward, you can give yourself a pat on the back for doing a great job when all is said and done. Good luck in editing!
Oscar Collins is the editor-in-chief atModded. He’s passionate about films, filming techniques and the finer details of filmmaking. Follow him on Twitter@TModded for frequent updates on his work!
If you’re of a certain vintage, you’ll remember how inflexibly tribal music fans used to be. If you were, say, an alternative kid, you wouldn’t dream of listening to anything the rock kids were. It just wasn’t done.
Admitting you liked the odd Black Sabbath or Van Halen song risked jeopardizing your relationship with the other alt kids. And because you were already known as someone who preferred Joy Division over Judas Priest, the rockers would have nothing to do with you. Might as well go die on an iceberg somewhere.
There are still silos among music fans, but they’re nowhere near as rigidly peer-reviewed and enforced. In fact, I can’t remember ever seeing this much fluidity when it comes to music preferences.
I started to notice this several years ago when I did some guest lecturing on Canadian music history at Toronto’s Humber College. To get a better idea of who I was talking to, I asked all the 20-somethings in the class to recite the last five songs they played on their phones. It was illuminating.
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A typical playlist went like this: Drake, The Weeknd, AC/DC, Nicki Minaj, Led Zeppelin, Garth Brooks, Steve Aoki, the Beatles, Justin Bieber, The Cult, Arkells, Avicii. One male Humber student blew my mind when he said he was currently going through the discography of Billie Holiday — she died in 1959 — and the rest of the class nodded in approval.
When I betrayed my surprise with body language and a confused facial expression, the class wanted to know what was wrong. I tried to explain that in my day, we picked a lane and stuck with it. They looked at me like Bart regards Grandpa Simpson.
“Why compartmentalize music?” someone said. “If you do, you’re just limiting your options when it comes to finding your next favourite song.” I had to admit this kid had a point.
Since that day in class, I’ve been fascinated by the growing worthlessness of emphasizing musical genres. Speaking generally, the post-Napster streaming generation doesn’t want to be locked into one style of music or another. All they care about is great music, regardless of age, era, sound, scene or vintage. With a few pokes at their phones, they have access to more than 100 million songs for a price that can drop to free. Why wouldn’t they want to roam the musical universe?
There’s another overlooked role of technology. An album like Nirvana’s Nevermind remains relevant more than 32 years after its release. Sure, we can talk about its evergreen punk rock and grunge aesthetics but focus on the age of the record and, if you can, try to remember what older music you were listening to then.
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Would you have been listening to songs that were 32 years old? That would mean listening to mono recordings of post-Elvis-in-the-army/pre-Beatles music. It sounded old in 1991 and sounds even older today. Yet Nevermind still sounds like it could have been released last week. Some might say this points to the stagnation and ossification of rock, but I have a different take.
Starting in about 1969, newly equipped eight- and 16-track recording studio technology started to become available. Music got more complicated because it could, thanks to the magic of multi-tracking, overdubs and ever more sophisticated outboard processing gear.
Mono records had but disappeared and we began to get full-frequency high-fidelity stereo albums and singles. A properly recorded album — think Abbey Road — sounds contemporary as far as audio quality goes. Here Comes the Sun has sonic attributes every bit as good as something recorded yesterday. Songs more than 50 years old don’t sound it.
New data reinforces this. This is the time for Spotify Wrapped, the annual report card given to subscribers that summarizes all the songs they listened to over the last year. The company reports that users are more ecumenical than ever when it comes to their music consumption.
Instead of driving young streamers toward specific musical silos, genre tags — and Spotify has more than 6,000 of them (and growing) — are merely signs above an all-you-can-eat buffet that tells you something about what you might choose to eat.
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Yes, yes, there are still musical tribes. We’ll never see the end of emo kids, goth followers and better-deal-than-mellow metal fans, but it wouldn’t surprise me to hear that even the current scenes with the strictest musical taste requirements offer far more latitude than what the original Lollapalooza generation had. (Speaking of which, have you seen the vast variety in Lollapalooza lineups over the last decade? I rest my case.)
And genres still matter. Music-based radio stations pick formats and carefully curate material from specific areas of music. For example, you’ll never hear Tool on a station that specializes in current pop. This is because a radio station makes a promise to its audience that every time they tune in, they will be rewarded with the type of music they expect from the station.
Want a different style of music? Hit the next preset. SiriusXM satellite radio is built on this pick-a-channel-for-specific-music approach. The difference is instead of bolting for a radio station operated by a rival company, SiriusXM can keep listeners in its very big sandbox by offering dozens of different music channels in one place.
The idea of radio formats has been in place for decades. This method of programming continues to work very well, but I believe there’s a large market for stations that cater to the tastes and musical whims of millennials and gen-Zers — which, come to think of it, would mean a return to an old-style Top 40. Those OG stations sampled from everywhere: pop, rock, R&B, country, dance — whatever the biggest songs on all the different charts. Maybe it’s time we returned to that.
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Hey, it seems to be working for the older demos and their classic hits stations. Tune in to a Jack, a Boom, a Bob, or a Fresh, and you’ll hear a wide selection of oldies (sorry, but that’s what they are) that might offer a segue from the Bee Gees’ Stayin’ Alive right into Livin’ on a Prayer from Bon Jovi.
Maybe it’s time we binned genres at least a little more. Like the kid in my class said, why limit yourself over labels? Respect all music, listen to what you want. Seems like the right thing to do, innit?
Cher, 77, was so impressed by her boyfriend Alexander Edwards‘ diamond-studded teeth when they first met, that it led to their romance. The singer opened up about the start of her unexpected relationship with the 37-year-old music executive, in a new interview with Daily Mail. She revealed they first met during Paris Fashion Week last year, when she was with a friend who encouraged her to approach him.
“My Turkish friend Nebie saw his teeth and said, ‘Cher, go ask him about them,’” she told the outlet, referring to the diamonds. “I said, ‘No, you ask, Nebie!’ [and he said,] ‘No, you ask him, Cher!’ I finally did and said, ‘Beautiful grill you’ve got.’”
Cher shares a laugh with Alexander during a previous outing. (Fati Sadou/ABACAPRESS.COM/Shutterstock)
“These are my real teeth,” Alexander quickly replied, to which Cher said, “Whoah – you’re committed to have them drilled!” Although the “Believe” crooner didn’t end up giving him her number herself, a mutual friend did.
“He got my number from a mutual friend after I left,” she shared. “Then I went to Germany for two weeks and he was texting me the whole time. I like the way he makes me feel. He has so many qualities – he’s intelligent, kind, funny and very talented.”
Cher poses at an event. (Marechal Aurore/ABACA/Shutterstock)
In addition to sharing how they met, Cher talked about the “normal” days that involve Alexander. “When I’m at home, I get up early, around 6 or 7am. If Alexander is over, we have a coffee together outside on the veranda,” she explained. “We talk and he entertains me because he’s so funny. Afterwards, I go downstairs and work out because that’s what I have always done. If it’s not a busy work day I go and see friends or invite them over, just regular stuff.”
This isn’t the first time Cher has gushed over Alexander. In an October interview, she admitted he’s a little more “shy” and “reserved” than her, but they make it work. “We have a great time together. We can talk music. We can talk about everything. He’s a got a great sense of humor,” she told Extra. “We just get each other.”
I’ve been to see Netflix’s Stranger Things prequel stage play – titled The First Shadow – on London’s West End and, if you’re a fan of the series who’s eagerly awaiting Stranger Things season 5, I promise you this is a must-see production.
In fact, even those among you who have yet to experience the Netflix phenomena should consider watching this play. Sure, some subtle nods will be lost on you, but the show holds up on its own and serves as a rock-solid jumping-off-point for you to begin your adventure in Hawkins and the Upside Down.
But before we get much further, I want to put you at ease – there are no spoilers for Stranger Things: The First Shadow in this piece. The only Stranger Things story details I’ll discuss are things fans will know before they step into the Phoenix Theatre in London, i.e. where the play is showing – those being, the Netflix series up to and including Stranger Things season 4, and that the play is a prequel – set in 1959 –that shows us Henry Creel before he became Vecna.
There’s a lot I desperately want to talk about and season 5 speculations I’d to share, but those are for another time – certainly not before the play officially opens on December 14. So, if you have a ticket already, or are thinking of trying to get one, you can safely read on.
A balancing act, perfectly performed
The First Shadow explains how Henry Creel became Vecna. (Image credit: Manuel Harlan)
I do not envy the task director Stephen Daldry – nor the writers Kate Trefry, Jack Thorne, and the Duffer brothers, or the show’s wider creative team – was set with. Indeed, The First Shadow has a razor-thin tightrope to walk with juxtaposing forces pulling and pushing to knock it off balance.
Heading to my preview screening, I knew to expect familiarity from the Stranger Things play. I wasn’t walking to The Ocean at the End of the Lane, The Woman in Black, or some other horror performance – yes, I wanted chills and chest-gripping tension, but also to see familiar faces and places, hear the Stranger Things music, and – most importantly – experience the series’ unique brand of fright.
Equally, I didn’t want The First Shadow to feel too familiar. If it’s simply a retelling of the story I already knew, then I – and you, dear reader, when you see it – would be left feeling like the visit to the theatre wasn’t worth the effort.
A cute lil’ Demogorgon and a program I picked up showing rehearsal images by Manuel Harlan. (Image credit: Manuel Harlan / Hamish Hector)
At the same time, the story can’t stray too far from what’s been told in one of the best Netflix shows. Hawkins can’t suddenly be too aware of Henry Creel’s abilities and the Upside Down, otherwise why would Joyce and Hopper be so ignorant of the supernatural in 1983, aka when the first season was set and the weird goings-on began in Hawkins?
That said, despite these potential pitfalls, Stranger Things: The First Shadow treads this tightrope expertly – even throwing in a few somersaults along the way for good measure. It was everything I wanted as a Stranger Things and theater fan and makes for an excellent addition to the Stranger Things mythos.
The first time Hawkins turned Upside Down
What does The First Shadow tell us about Henry Creel/Vecna that Stranger Things 4 didn’t? (Image credit: Netflix)
With all that housekeeping out of the way, what’s Stranger Things: The First Shadow really about? It’s a Vecna origin story; the Revenge of the Sith to the Netflix series’ Original Trilogy (seasons 1 through 3), if you will. As Henry Creel / Vecna, Louis McCartney is an imposing presence – a mixture of his performance and some impressive theater magic ensured I was always on edge while he was on stage (and a little concerned he might actually have supernatural abilities).
He stars alongside Ella Karuna Williams, who plays the delightfully bubbly yet timid nerd Patty Newby (adoptive sister of Bob Newby). Together, the pair awaken moments of tenderness from this monster in the making, providing a fresh perspective on season 4’s revelations with their story providing deeper context on Henry and his eventual turn to the *ahem* Dark Side.
Thankfully, the play doesn’t go so far as to make Vecna a sympathetic villain – dodging a trend that feels a tad too played out in modern media. There are more layers and complexity to the character than season 4 led you to believe, but fundamentally the unrelenting evil we are exposed to in the TV series is still at Vecna’s core.
While the story primarily focuses on Henry Creel, we couldn’t return to 1959 Hawkins without seeing younger incarnations of Joyce, Hopper, and fan-favorite Bob, as well as the parents of the show’s D&D party (Dustin, Lucas, and Mike) and the villainous Doctor Brenner.
Some familiar faces show up, but not quite as we know them (Image credit: Manuel Harlan)
Channeling aspects of the older versions of the characters we know, and hints of Nancy, Steve, and the Byers boys (Jonathon and Will), Isabella Pappas, Oscar Lloyd, and Christopher Buckley as Nancy, Hopper, and Bob respectively have an onstage dynamic that is instantly recognizable as characters we know and love. It also leaves them room to show us new sides to this trio that expands on our understanding of their motivations both onstage and on the screen.
Through these familiar faces the play sprinkles in references and revelations, but does so deftly. We’re never bogged down in an Easter egg fest that ensures The First Shadow isn’t trapped in the, well, shadow of the Netflix series. Yes, the two are connected, but it’s also a standalone piece of theater with its own merits that doesn’t require you to have seen the show before, although I would still recommend it.
If you’re in London and have the chance to see Stranger Things: The First Shadow, take it. As I said, this is a must-see for those looking to satiate your Stranger Things fix while we wait for season 5. It’s a visual wonder with some truly spectacular set pieces that left me in awe.
As for recommendations on where I think you should sit in the Phoenix Theatre, I bought tickets for the Stalls, which brought some worthwhile immersion upgrades as, spoilers notwithstanding, there were a few moments where cast members walked through the audience. In short, then, I’d recommend looking at what seats are like on SeatPlan. I won’t say much but some action happens off the ground, and if you don’t have a clear view of the stage you may miss a few moments – SeatPlan shows you images of what the view looks like from different seats so you know if your view will be clear or not.
From being lost in New York to being cemented in Hollywood history. Macaulay Culkin was honored on Friday the 1st of December 2023 with a star on the Hollywood Walk of Fame. He received the 2,765th on the Hollywood Walk of Fame.
Culkin is best known for his cultural impact playing Kevin McCallister in the 1990s films “Home Alone” and “Home Alone 2: Lost In New York.” He also starred in “Uncle Buck,” ”My Girl,” “The Good Son,” Jacobs Ladder” and “Richie Rich.” Most recently he starred in FX’s “American Horror Story: Season 10” and HBO Max’s “The Righteous Gemstones.”
At the ceremony was his fiance Brenda song and their 2 children. He was honored by his movie mother Catherine O’Hara (who didn’t forget Kevin this time) in a speech that moved Culkin to tears.
“Home Alone was, is and always will be a beloved global sensation … the reason families all over the world can’t let a year go by without watching and loving Home Alone together is because of Macaulay Culkin.” She said
Courtesy of Getty images
As she concluded her speech se went on to say “Macaulay, congratulations. You so deserve your star on the Hollywood Walk of Fame. Thank you for including me, your fake mom who left you home alone — not once, but twice — to share in this happy occasion. I’m so proud of you.” Natasha Lyonne also spoke at the ceremony.
During Culkin’s speech he tearfully thanked O’Hara for her “kind words” and her stories. He then went on to say “You made my kids’ dad, their papa, look good. And the most important thing to me is also that their papa understands that he wasn’t always his papa; he used to be a kid too, you know?” He also thanked his agents for helping guide his career since he was a child star.
And lastly, he moved on to thank his fiance Brenda Song. The two have been together since 2017. He went on to say “I’d like to thank Brenda. You’re absolutely everything. You’re my champion, you’re the only person happier for me today than I am.
Courtesy of Getty Images
While getting emotional, Culkin went on to talk about how Song is the best person he’s ever known. “You’ve given me, just, all my purpose, you’ve given me family.” Emotions were high as Brenda Song had tears welling up in her eyes. “And after the birth of our two boys, you’ve become one of my three favorite people. You’re somewhere in there.”
In true Home Alone fashion, Macaulay Culkin ended his speech with the iconic line he said in his movie, “Merry Christmas ya filthy animals.”
Watch Macaulay Culkin’s Walk of fame ceremony here.
This week, two East Coast groups revealed their picks for the best films of the year: the Gothams and the New York Film Critics Circle. Both honored Lily Gladstone in top acting categories (Outstanding Lead Performance for “The Unknown Country” and Best Actress for “Killers of the Flower Moon,” respectively) and both went for up-and-comer Charles Melton (“May December”) in supporting slots. Expect these to repeat at events like the Film Independent Spirit Awards, who announce their nominees on December 5.
In this week’s episode of “Screen Talk,” Anne and Ryan recap the week that was, celebrating unexpected winners like Franz Rogowski, Best Actor for “Passages,” from the New York Film Critics Circle, who voted and named their honorees on Thursday, November 30. “Maestro” and “Poor Things” were no-shows among New York critics, and while they do set the tone ahead for what contenders get pushed, don’t count these out in the months ahead.
In this episode, we also share fiercely divided reactions to “Wonka,” whose embargo has lifted after screening for critics and voters over the last couple of weeks. Plus, we recommend some counter-programming amid your awards season catch-ups: Noah Hawley’s “Fargo,” now in its fifth season on FX/Hulu, and featuring a nipple-ringed Jon Hamm in what could just be his best role since “Mad Men.”
Watch the full episode above or listen to it below.
Screen Talk is produced by Azwan Badruzaman and available on Apple Podcasts, Stitcher, and Spotify, and hosted by Megaphone. Browse previous episodes here, subscribe here, and be sure to let us know if you’d like to hear the hosts address specific issues in upcoming editions of Screen Talk.
Julianna Margulies has apologized for offensive comments she made about Black and LGBTQ supporters of Palestine.
“I am horrified by the fact that statements I made on a recent podcast offended the Black and LGBTQIA+ communities, communities I truly love and respect,” she said in a statement. “I want to be 100% clear: Racism, homophobia, sexism, or any prejudice against anyone’s personal beliefs or identity are abhorrent to me, full stop. Throughout my career I have worked tirelessly to combat hate of all kind, end antisemitism, speak out against terrorist groups like Hamas, and forge a united front against discrimination. I did not intend for my words to sow further division, for which I am sincerely apologetic.”
While discussing the Israel-Hamas war in a Nov. 21 episode of Andy Ostroy’s podcast “The Back Room,” Margulies said, “the fact that the entire Black community isn’t standing with us to me says either they just don’t know, or they’ve been brainwashed to hate Jews.”
About people who use pronouns other than those assigned to them at birth, she said, “It’s those kids who are spewing this antisemitic hate that have no idea if they stepped foot in an Islamic country —these people who want us to call them they/them, or whatever they want us to call them — which I have respectfully really made a point of doing, like, be whoever you want to be — it’s those people that will be the first people beheaded and their heads played with like a soccer ball. Like a soccer ball on the field. And that’s who they’re supporting? Terrorists who don’t want women to have their rights? LGBTQ people get executed.”
Though the ballad-heavy prelude that opened Beyoncé’s Renaissance set list is trimmed, nearly every other song from the tour is included in the film. She even found room for “Thique” and “All Up in Your Mind,” a “Renaissance” double-header excised from many of her tour stops.
The only egregious omission in this two-hour-48-minute movie is a behind-the-scenes bit that goes by way too quickly: Beyoncé convenes a Destiny’s Child reunion in Houston that includes not just Kelly Rowland and Michelle Williams but also two of the girl group’s first members, LeToya Luckett and LaTavia Roberson, who were contentiously pushed out. “It was like a new birth for us, and a lot of healing,” Beyoncé says in her narration, though we only see the five of them together for a second and don’t hear a single thing they discussed. I would have watched three more hours of that summit alone!
The missing ‘visuals’ remain a mystery
The “Renaissance” album was released in July 2022 without any sort of music-video accompaniment, a surprise given Beyoncé’s recent run of game-changing visual albums for “Lemonade” and her self-titled 2013 record. A subsequent teaser video for the first “Renaissance” album track “I’m That Girl” seemed to promise more to come, but none did.
At a Louisville, Ky., stop on the Renaissance tour, a fan held up a sign asking where the visuals were, prompting Beyoncé to grandly tell the crowd, “You are the visuals.” (The crowd didn’t love that.) The “Renaissance” movie is cheeky enough to include that moment, but otherwise, there’s no mention of the missing visuals, nor an explanation of why they’ve seemingly been scuttled.
Blue Ivy fought for her tour spot
By and large, the Renaissance tour eschewed celebrity cameos and surprise drop-ins, preferring to keep the focus on the queen bee herself. Big names joined Beyoncé onstage at only two tour stops: Houston, where Megan Thee Stallion performed “Savage,” and Los Angeles, where Diana Ross and Kendrick Lamar came out for the concert held on Beyoncé’s 42nd birthday.
Those appearances all made it into the movie, but the special guest the movie is most interested in is Beyoncé’s 11-year-old daughter, Blue Ivy Carter, who often participated as one of the dancers on her mother’s songs “My Power” and “Black Parade.” I caught one of Blue Ivy’s first tour appearances last May in London, where she was still getting the hang of her choreography, but by the end of the Renaissance tour, she had everything — the moves, the attitude — down pat.
Kirkman: “Yeah, he called me. He went in for a costume fitting. I hope I’m not…I don’t think this is a spoiler or anything that will get anybody in trouble.
‘I dunno. Maybe? We’ll see. I don’t care. I don’t work for Marvel. What are they going to do to me?
Photo: Hobby Consolas
“He told me, ‘I just came back from a costume fitting for the Sentry. I guess I only do superheroes that are yellow and blue.’”
That last sentence references the fact that he voices the lead character in the animated series, Invincible.
The Sentry also wears a costume that’s yellow and blue if you’re unfamiliar with the character.
Source: Marvel
When I first reported the story in February, some speculation suggested that Yeun might play an adult Amadeus Cho, which I dismissed at the time.
Yeun is too big a star for that role. Now, he levels up by joining the MCU as Marvel’s equivalent of Superman, albeit with a split personality.
The character’s other half, The Void, is basically the incarnation of entropy.
Image: Marvel Studios
Current story speculation suggests that the other Thunderbolts work with The Sentry until The Void arrives and terrorizes them all.
Our young grocery forager Glenn is all grown up!
The Other Casting News
Source: Deadline
I’m happy to report that I’m not about to talk about Fantastic Four…yet.
The film’s director, Matt Shakman, recently echoed what I said last week.
“(There) will be an announcement at some point in the future when the strike has concluded. I would love to share that information, but that’s the best I can do today.”
Photo: Screen Rant
In other words, no matter the current rumor, nothing is in the offing.
Marvel will announce the Fantastic Four cast when it’s ready and not a second before.
Of course, if recent reports are true, the film will enter pricing photography during the first quarter of 2024. So, we’ll likely find out something soon!
Source: Marvel
In the interim, we must make do with a fairly epic backtracking by Marvel.
Earlier this year, in the wake of the failure of Ant-Man and the Wasp: Quantumania, Disney CEO Bob Iger stated something bluntly.
Iger, whose company owns Marvel, blamed the struggles of some recent Marvel projects on going to the well once too often.
Source: Marvel
Specifically, Iger disputed the notion that Marvel needed a third Ant-Man film.
At the time, Marvel reversed course from recent practices and announced that it would focus on new characters rather than unwanted sequels.
Well, that philosophy lasted about, oh, eight months. In the aftermath of The Marvels, which is already pretty much dead at the American box office, there’s been a pivot.
Source: Marvel
Now, Marvel appears headed to another sequel. Specifically, Taika Waititi indicates that Chris Hemsworth will return in Thor 5.
However, Waititi will NOT direct this project, presumably because many consumers found Thor: Love & Thunder too weird/depressing.
The Other Marvel Headline
Source: Marvel Studios
We’ve had a slow week due to the Thanksgiving holiday in America.
One site has broken a story with some fascinating repercussions, though.
Presuming that The Ankler is right, Amazon has apparently soured on a Silk: Spider Society television series.
Source: Marvel
None of this is set in stone yet and requires some projection, even as The Ankler reports parts of the story as fact.
Here’s the deal. Once the SAG-AFTRA and WGA strikes ended, studios were obligated to restart production on various films and television series.
Amazon Studios hasn’t fully abided to those terms. Instead, some projects remain in purgatory at the moment.
Source: Marvel
One of them is Silk: Spider Society, the Amazon streaming series based on the characters from Sony’s Spider-Man Universe.
Amazon greenlit the project at a time when different rules applied for series.
Once the WGA acquired fairer terms under the new deal, Amazon’s plans may have changed.
Photo: Marvel Comics
Amazon had employed the so-called mini-writer’s room to reduce costs. It’s no longer possible to do that under the updated WGA contract.
Rather than add more staff, Amazon hasn’t proceeded with the series.
Photo: Rose Besch
The WGA is making noise that it might sue unless Amazon restarts Silk: Spider Society as expected/required.
Stay tuned as this story could get quite interesting…and rather combative.
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It was recently announced Max (Warner Bros.’ streaming service) would be losing 10 films that are a part of the greater DC Universe.
This means that all of the following films will only be available on the platform until Sunday, December 31.
Despite all of the DC films being removed from Max, on December 3 the streamer is adding Teen Titans Go!: Great Holiday Escape & Christmas Magic from Cartoon Network.
It is not unusual for movies to be taken off streamers these days. Platforms such as Netflix, Peacock, Disney+, Hulu, and others routinely update their offerings as streaming rights contracts come to an end.
Every film that becomes available on a streaming platform is subject to an agreed-upon time period, making it likely to leave the platform at some point. However, in recent years studios have been producing more films specifically for streaming.
Here’s a look at all of the DC films that Max is removing at the end of 2023:
Wonder Woman: Bloodlines (2019)
Warner Bros. Animation
Average Tomatometer: 88%
Average Audience Score: 79%
Wonder Woman: Bloodlines is the 15th installment in the DC Animated Movie Universe, focusing on Wonder Woman facing enemies from her past who unite to form Villainy Inc. Rosario Dawson voiced Diana Prince aka Wonder Woman.
The story begins with Diana saving pilot Steve Trevor, prompting her journey from Themyscira to safeguard the man’s world. As the story progresses, Diana encounters challenges involving Vanessa, now Silver Swan due to the schemes of villains Doctor Poison and Doctor Cyber, and grapples with the menace of Medusa, unleashed by the nefarious group Villainy Inc.
The plot delves into Diana’s sacrifices, and her efforts to reconcile with Vanessa and Hippolyta, building toward a confrontation between Wonder Woman and the true mastermind.
DC Super Hero Girls: Hero of the Year (2016)
Warner Bros. Animation
Average Tomatometer: N/A
Average Audience Score: 91%
DC Super Hero Girls: Hero of the Year is an animated DC film directed by Cecilia Aranovich and written by Shea Fontana based on the DC Super Hero Girls franchise.
Serving as the inaugural film in the DC Super Hero Girls franchise, it follows the students of Super Hero High as they compete for the Hero of the Year award.
The plot takes a dramatic turn when Dark Opal targets the heroes, stealing their prized possessions to create a powerful weapon, leading Wonder Woman, Supergirl, Batgirl, and Bumblebee to join forces to thwart the threat posed by Eclipso and Dark Opal.
DC Super Hero Girls: Intergalactic Games (2017)
Warner Bros. Animation
Average Tomatometer: N/A
Average Audience Score: 89%
DC Super Hero Girls: Intergalactic Games is the second installment in the DC Super Hero Girls franchise, produced by Warner Bros. Animation and directed by Cecilia Aranovich.
The story follows Wonder Woman, Supergirl, Batgirl, Poison Ivy, Harley Quinn, Bumblebee, and Katana as they participate in the Intergalactic Games against Korugar Academy.
However, the fun event takes a dark turn when Lena Luthor seizes the opportunity to carry out her villainous plan, leading to Supergirl, Bumblebee, and Batgirl being called into action in the city to confront a threat involving three robots, including Platinum, whose creation is part of an experiment to give machines human emotions and free will.
DC Super Hero Girls: Legends of Atlantis (2018)
Warner Bros. Animation
Average Tomatometer: N/A
Average Audience Score: 75%
2018’s DC Super Hero Girls: Legends of Atlantis is the final installment in the DC Super Hero Girls franchise before being later rebooted.
The story unfolds when the powerful Book of Legends is stolen from Super Hero High, prompting Wonder Woman, Batgirl, Supergirl, Bumblebee, and the Super Crew to embark on an underwater journey to Atlantis.
In Atlantis, they face formidable foes in Mera and Siren, the ocean-dwelling thieves. To recover the stolen tome and restore it to its rightful place, the DC Super Hero Girls must unite, utilizing their collective powers to navigate the challenges.
LEGO DC Super Hero Girls: Brain Drain (2017)
Warner Bros. Animation
Average Tomatometer: N/A
Average Audience Score: 79%
LEGO DC Super Hero Girls: Brain Drain is a DC animated superhero comedy film produced by Warner Bros. Animation and part of the DC Super Hero Girls franchise.
The film centers on Wonder Woman, Supergirl, and Batgirl as they confront an unknown villain and grapple with short-term amnesia. The trio discovers they lost a day and engaged in peculiar behavior, leading to their expulsion from school.
As they investigate, they uncover a plot orchestrated by the hidden mastermind Eclipso, prompting a pursuit to unravel the mystery.
LEGO DC Super Hero Girls: Super-Villain High (2018)
Warner Bros. Animation
Average Tomatometer: N/A
Average Audience Score: 77%
LEGO DC Super Hero Girls: Super-Villain High is a part of the DC Super Hero Girls franchise and was directed by Elsa Garagarza.
As many fans can expect, the movie follows Batgirl, Supergirl, Wonder Woman, and Bumblebee as they embark on an adventure to uncover the truth about Uber High, a school for supervillains.
The film explores the superheroines’ quest to reveal the secrets of the mysterious institution.
LEGO Justice League: Cosmic Clash (2016)
Warner Bros. Animation
Average Tomatometer: N/A
Average Audience Score: 84%
LEGO Justice League: Cosmic Clash is a DC animated film following the Justice League’s efforts to thwart the cyborg alien Brainiac, who plans to shrink and collect Earth.
Brainiac’s initial defeat led him to develop a new strategy, dispersing Justice League members across different time periods. Batman and the Flash use the Cosmic Treadmill to rescue their teammates, encountering various challenges and restoring their memories.
The plot culminates in a showdown with Brainiac, leading to a clever resolution involving Batman’s ingenuity.
LEGO Justice League: Gotham City Breakout (2016)
Warner Bros. Animation
Average Tomatometer: N/A
Average Audience Score: 79%
LEGO Justice League – Gotham City Breakout brings together characters from the LEGO and DC Comics universes directed by Matt Peters and Melchior Zwyer.
The film follows Batman and his allies as they embark on a vacation planned by Robin, Batgirl, and Nightwing. However, their leisure is disrupted when Joker escapes from Arkham Asylum and forms an alliance with other villains.
As Batman and his team face challenges in Gotham, Superman and the Justice League deal with the consequences of Joker’s escape, leading to a series of comedic and action-packed adventures across various settings.
Teen Titans Go! & DC Super Hero Girls: Mayhem in the Multiverse (2022)
Warner Bros. Animation
Average Tomatometer: N/A
Average Audience Score: 50%
Teen Titans Go! & DC Super Hero Girls: Mayhem in the Multiverse is an animated crossover between Teen Titans Go! and DC Super Hero Girls.
The movie begins with the Teen Titans discovering a mysterious crystal, leading to a crossover with the DC Super Hero Girls. In the other dimension, the heroines confront an ancient threat linked to Cythonna, the Kryptonian Goddess of Darkness, involving Lex Luthor and the Legion of Doom.
As the two groups unite to face impending doom, the plot unfolds with unexpected alliances, conflicts, and a multidimensional adventure that spans various universes, ultimately culminating in a showdown to save both their worlds.
Teen Titans Go! See Space Jam (2021)
Warner Bros. Animation
Average Tomatometer: N/A
Average Audience Score: 47%
This DC cinematic spin-off, Teen Titans Go! See Space Jam, was essentially created for the purpose of promoting Space Jam: A New Legacy, starring LeBron James.
During the movie, the Teen Titans are paid a visit by the Nerdlucks, the infamous villains from Space Jam. Shocked to learn that his fellow Titans have never seen the movie, Cyborg organizes an exclusive watch party.
While the Titans watch the movie, chaos unfolds as Raven and Starfire provide commentary, Cyborg shares facts, Beast Boy highlights details, and Robin remains skeptical of the Nerdlucks’ true motives.
All 10 of these movies will only be available to stream on Max until Sunday, December 31.
After a successful year of an Early Access build, Sons of the Forest is finally receiving an official release date for its 1.0 version scheduled for next year, alongside a surprising casting for a previously minor character that will seemly take the spotlight in the game’s final build.
Sons of the Forest will be officially released on February 24th, 2024. The first release patch will include new gameplay features, polishing in certain areas of the game and, of course, an extensive update to the story, which includes more development to Timmy LeBlanc, who will now be voiced by an unexpected celebrity.
Shawn Ashmore, known for his roles as Lamplighter on The Boys, Iceman in the X-Men movies, and Wesley Evers on The Rookies, will be voicing the character that is now getting his role expanded in the main story, as it was already speculated due to his detailed model and suspicious appearances and actions throughout the game.
He might become the newest companion for the player, considering how we only have two of those now, or maybe he could get a more antagonistic role considering how he seems to be scheming something for a while.
As was mentioned by developers in their official announcement, the game will continue to be worked on throughout the next days by implementing new hotfixes as needed, and the team will shift their focus to creating more new content for the 1.0 release, which may include new areas, companions and of course, strange creatures for you to find.
Sons of the Forest was released one year ago in its Early Access period and was immediately popular being the long-awaited sequel to the original The Forest, as well as featuring even more sinister survival situations in a secluded island that you can, of course, enjoy way better when you’re with some friends.
About the Author
Patrick Souza
Unfortunately stuck on Hoyoverse hell. Whenever he gets the chance to escape, he enjoys playing some good ‘n old RPGs and other story-driven games. Loves tackling hard challenges in games, but his cats are still the hardest bosses he could ask for.
If the Film Independent Spirit Awards are famous for anything, it’s undoubtedly the vociferous championing of innovative emerging cinematic voices. If the Spirit Awards are famous for a second thing, it would perhaps be the show’s irreverent presentation—encompassing everything from our unlikely beachfront home to the show’s perverse embrace of abstract fashion choices, pet participation and (of course!) comedy. From Buck Henry’s early-day quips, to Kevin Pollak’s Miramax-era industry jibes, to the elaborate sketches, parodies and musical numbers of the modern era, at the Spirit Awards lulz are king.
So, with the host of the 2024 Spirit Awards confirmed and ready to be announced this Thursday, November 30 (it’s a really good one, stay tuned!) we thought it might be appropriate today to look back at some of our favorite gut-busting Spirit Awards comedy bits of yesteryear, from the occult blood sacrifice of Tiger Beat cutie-pies, to lesbian “glove lunch” cruising sessions, to a Canadian heavy metal invasion, old school Hollywood royalty and more.
The nominees of the 2024 Film Independent Spirit Awards will be announced LIVE on our YouTube channelnext week, December 5 at 7:00 AM PST. Only Film Independent Members vote for the winners (and receive screeners!) so consider joining today. Now, to the bits!
FINN WOLFHARD SACRIFICE (2019)
Why We Love It: No one loves a witchy cold open quite like back-to-back (2019 and 2020) host Aubrey Plaza, joined in this unsettling blood sacrifice by coven co-conspirators Marcia Gay Harden, Christina Ricci, Roseanna Arquette, Sharon Stone, Marissa Tomei and (weirdly) Brian Tyree Henry to offer up Stranger Things cutie Finn Wolfhard to the forces of darkest evil.
CHRISTMAS ‘CAROL’-ING (2016)
Why We Love It: Midcentury lesbians are to artful flirting what LeBron James is to basketball. For proof, look no further than this Carol parody from 2016, in which Spirit Awards co-host Kate McKinnon inserts herself into the Cate Blanchett role in order to summon crush object Rooney Mara to a “clandestine glove lunch”—only to be rudely interrupted by waiter Kumail Nanjiani.
SAMBERG DOES VEDDER BETTER (2017)
Why We Love It: Only ‘90s kids will fully appreciate the exactitude of Andy Samberg’s ace Eddie Vedder impression, in this baritone-voiced musical tribute to all those global film luminaries who did not die in 2016, including Viggo Mortensen, Tim Allen, Craig Robinson, Hailee Steinfeld and Fred Armisen—or maybe not Fred Armisen, as it turns out. Make ‘em laugh in heaven, Freddy.
ONE NIGHT WITH MELISSA (2021)
Why We Love It: Even a global coronavirus pandemic wasn’t enough to harsh 2021 host Melissa Villaseñor’s front-street horniness for Minari bae Steven Yuen, who was promised—via song and discount graphics package—a single night of passion in the arms of the plucky SNL impressionist as an adjunct to a potential Best Male Lead win. Regrettably, both parties would depart empty-handed.
THE GREAT ‘FAY FONTAINE’ (2018)
Why We Love It: If cringe is what you seek, look no further than this awkward bit of celebrity senility, when 2018 hosts John Mulaney and Nick Kroll welcomed aging indie film legend “Fay Fontaine” (bearing a suspicious resemblance to funnywoman Kristen Wiig) to the stage to commemorate her myriad industry contributions. The result? A very long—but weirdly hilarious—four minutes.
AWARDS CAN BE A DRAG (2019)
Why We Love It: Drag superstar Shangela brought the “Death Drop” to the Spirit Awards stage to devastating effect in 2019, during a musical medley dedicated to that year’s Best Feature nominees. With the Spirit Awards tent turned briefly-but-gloriously into a pulsating dance Mecca, a helpless Aubrey Plaza and mutinous show director John Waters look on from backstage.
SECRETLY GAY INDIES (2020)
Why We Love It: The Spirit Awards were somehow even more queer-friendly the following year, when the Gay Men’s Chorus of Los Angeles presented a tuneful ode to the film year’s most stealthily gay moments. Naturally this all quickly spiraled into a gospel tribute to Marriage Story co-star Laura Dern, who was equal parts delighted and deeply perplexed by the sudden turn of events.
EXPERT ADVICE (2021)
Why We Love It: Before taking the stage to deliver last year’smonologue, 2021 host Melissa Villaseñor got a quick pep talk (over Zoom, naturally) from some of the show’s most distinguished hosting alumni—Sarah Silverman, John Mulaney and Kate McKinnon. Also, by sheer coincidence these three individuals also happen to be three of Melissa’s best impressions. Weird, huh?
BIRDLASH VS. WHIPMAN (2015)
Why We Love It: Backstage at an award show can be a chaotic place, with lots of technicians and performers running around in brief vignettes reminiscent of iconic moments from the year’s top movies. And for the Spirit Awards’ 30th anniversary, hosts Fred Armisen and Kristen Bell navigated just such an environment in a staggering single-take, with Miles Teller providing the drumbeat.
ANVIL DROPS THE HAMMER (2010)
Why We Love It: ‘Cause it rocks, dude.
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Cullen Bunn Returns to the DEEPEST CATACOMBS: “In 2020, author Cullen Bunn released THE DEEPEST CATACOMBS, a serialized comic inspired by vintage advertisements for the DUNGEONS AND DRAGONS role-playing game. The story, told in 25 single-page installments, featured a different artist on every page. It was released for free for fans of comics, fantasy, and role-playing games. Now, Bunn is returning to the world of THE DEEPEST CATACOMBS with an all-new 22-page comic that will be released in a serialized format.
“When I finished releasing the initial run of THE DEEPEST CATACOMBS,” says Bunn, “I knew I would return to that world. I just loved the characters and the nostalgia, the magic and the monsters. And I loved working with so many talented artists! This was, of course, a labor of love, so it has taken me a bit of time to get the ball rolling again, but the story is going to be a ton of fun!”
The new story features returning characters—Randall, Annalynn, Kezira, Chops, and Fingerbones—delving into a frozen, haunted castle filled with wyverns, draugr, ghosts, dragons, and vampires!
“At the end of the last series,” said Bunn, “we saw a strange reptilian wyvern and undead rider in the sky. This story picks up where we left off. Our heroes will be adventuring into a dark, icy fortress. The setting is absolutely inspired by my love of old D&D modules like RAVENLOFT and CASTLE AMBER.”
Among the artists who will be contributing to this series will be Danny Luckert, AC Zamudio, Nick Zamudio, Andres Cruz, Rich Woodall, and many others.
The comic will be released in a serialized format. Supporters of Cullen Bunn’s Patreon will have early access to the pages, as well as behind-the-scenes information, scripts, and RPG content. The comic pages will then be released for free to the reading public just a couple of days later. With DEEPEST CATACOMBS, Bunn wanted all readers to be able to enjoy the story without worrying about subscriptions or paywalls.
*Cover Images by Nick Zamudio with design by Anton Kromoff
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R BnB: “Ryan Davies, 40’s, and his young bride, Mia, 20’s, vacation at a secluded Airbnb to celebrate their first year wedding anniversary. Upon arrival and unbeknownst to the unsuspecting guests, the owners of the Airbnb, Kylo and Aubree, 20’s, secretly begin videotaping their every move, going so far as kidnapping Mia and attempting to kill Ryan.”
CAST: Bryanna McQueeney (Mia Davies), Ryon Thomas (Ryan Davies), Gloria Mann (Jennifer Davies), Alex Galick (Kylo /Aron), Savannah Whitten (Aubree), Agnes Artych (Polina), Marco Reese Maldonaldo (Haden-Marie)
WRITER/DIRECTOR: Robert Mann
PRODUCERS: Les I. Goldman, Dan Harris, Robert Mann, Gloria Mann
EXECUTIVE PRODUCER: Eve Brandstein, Linda Kilpatrick, Frank Kilpatrick
DIRECTOR OF PHOTOGRAPHY: Al Satterwhite
AVAILABLE DIGITALLY: Amazon, iTunes, Google, Vudu, Microsoft
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28 YEARS HAUNTED: The Life and Adventures of World-Renowned Psychic Medium Brandy Marie Miller: “Ever wonder what it’s like to be a Psychic Medium? To see ghosts and shadow figures since you were a child? To hear disembodied voices? To communicate with the dead? Then join world-renowned Psychic Medium Brandy Marie Miller on the front lines in the spiritual battle between light and dark. Experience her most terrifying adventures growing up in a haunted house and investigating some of the most haunted locations in America – the famous and the obscure. From abandoned asylums to haunted hospitals, possessed mirrors, and portals to the underworld, Brandy has seen it all!
Follow Brandy as she embarks on the opportunity of a lifetime – starring in the Hit Netflix series 28 Days Haunted. But it doesn’t come without a cost. Locked down without contact with the outside world for 28 days straight to test Ed and Lorraine Warren’s 28-Day Cycle theory, Brandy has to deal with the spirit of a mass murderer and other forces even more dangerous. Relive Brandy’s journey from audition to post-production during the most harrowing paranormal investigation of her life, including exclusive behind-the-scenes content you won’t find anywhere else!
*The print version features over 60 photos from Brandy’s Life and Adventures!”
Streaming December 1: ARROW Announces December 2023 SVOD Lineup: “London, UK – Arrow Video is excited to announce the December 2023 lineup of their subscription-based ARROW platform, available to subscribers in the US, Canada, the UK and Ireland.
ARROW rings in the Holiday Season December 1 the best way they know how: Happy Horror-days! (UK/IRE/US/CAN)!
Celebrate trying to survive the festive season with a collection of Cult films that are set around the holidays or are up to their knees in snow. Either way, there will be chills galore.
From everyone at ARROW, we wish you Happy Horror-days!
Titles Include: Holiday Fear, The Leech, Chill Factor.
Also on December 1, subscribers can enjoy some martial arts takedowns in a new double bill.
Once Upon a Chinese Hero Kickboxer (UK/IRE/US/CAN): While master Wong Fei Hung is away traveling, the impulsive Lau Zhai (Yuen Biao), an initiate into Wong’s kung fu school, begins wandering town. He soon allies with police chief Panther, in order to offer assistance in toppling an opium distribution ring.
Ninja Hunter (UK/IRE/US/CAN): Wu Tang villain, Abbot White, wants to destroy the Shaolin monks and become a supreme martial artist. In order to do so, he teams up with a clan of Ninjas, led by three masters – gold lamé ninja, white mustachioed ninja and black ninja – and succeeds in destroying the Shaolin temple and most of its inhabitants. However, there are some survivors. It’s their job to pass on the knowledge of the Shaolin finger jab to a new generation, who must defeat the ninjas and Abbott White, if peace and order is to be restored.
Gala Avary Selects Vol. II (UK/IRE/US/CAN): Gala Avary (producer of the Video Archives podcast and host of The Gala Show) invites you into the scene…
POV: It’s December 4th. You know what that means. It’s my birthday and you’re invited to my party! We’ve already been out to Finney’s Crafthouse for dinner and enjoyed cauliflower tacos and a Bavarian pretzel. Don’t forget the sweet potato fries! I’ve blown out 28 candles, plus one for good luck, and made my wish. Oh, you want to know what I wished for? It’s bad luck to share so I’m keeping it to myself. Now that dinner’s over, it’s time for gifts — but wait! Just because it’s my birthday doesn’t mean you don’t get something too. Come on, unwrap it. It’s just what you wanted: 20 new ARROW Selects hand-picked by myself. Which one are you going to watch first?
Titles include (not available in all territories): Bloody Birthday, Lady Morgan’s Vengeance, The Initiation.
On December 15, dig into a cinematic holiday feast with No Sense and No Money: The Seijun Suzuki Collection (UK/IRE/US/CAN).
“I make movies that make no sense and no money”, Seijun Suzuki said of his own work, but what fun is ‘sense’ compared to surreal, unforgettable and influential Yakuza movies?
Although unappreciated at the time, especially by Nikkatsu, the studio that fired him after calling his masterpiece Branded To Kill “nonsense”, Suzuki left behind a legacy of work unlike any other. His films made indelible impressions on filmmakers such as Jim Jarmusch and Quentin Tarantino and ARROW are proud to present a curated Season in No Sense and No Money: The Seijun Suzuki Collection.
Titles Include: Eight Hours of Terror, The Boy Who Came Back, The Sleeping Beast Within.
Also on December 15, subscribers in every territory can enjoy a quartet of quests for revenge.
I Want Him Dead (UK/IRE/US/CAN): After his sister is kidnapped and murdered, a gunslinger’s plans for vengeance involve assassinating two generals to prolong the Civil War.
The Four of the Apocalypse (UK/IRE/US/CAN): Four petty criminals, three men and a woman, wander through the trackless terrain of the Wild West Utah and are hounded by a sadistic bandit.
El Puro (UK/IRE/US/CAN): An alcoholic gunman, hunted down by five pitiless bounty hunters, is sheltered by a saloon dancer. When his enemies kill the girl the outlaw pulls himself together and faces his adversaries and takes his revenge in a final showdown. An interesting take on the reluctant gunfighter theme contains some truly surprising twists.
Wrath of the Wind (UK/IRE/US/CAN): This western is set in Valencia, Spain at the end of the 19th century, and stars Terence Hill as a close-mouthed gunslinger. The bad guy is the local landlord and aristocrat, who horribly abuses the laborers in his community.
On December 18, for ARROW’s final Season of 2023, dive into the demented mind that brought A Wounded Fawn and Jakob’s Wife to audiences.
Travis Stevens Selects (UK/IRE/US/CAN): The producer of Cheap Thrills, Jodorowsky’s Dune, We Are Still Here, Buster’s Mal Heart and more, shared: “It was a pleasure diving into the ARROW catalogue to pull together a selection of international films that cover everything from sex & violence, to haunted relationships, to tactile science fiction, to alt vampires, to how the hell did that movie ever get made? Basically, everything that makes cinema great, now streaming only on ARROW.”
Titles Include: No, The Case Is Happy Resolved, Inferno of Torture, Shock.
As December comes to a close, ARROW invites subscribers to celebrate the New Year with some classic Chinese fight epics. Streaming December 29:
Five Fighters from Shaolin (UK/IRE/US/CAN): When a monk decides to leave his temple in order to defeat the Chinese Imperial Guards who brutally murdered is fellow monk, he collects five men and trains them to help him fight the guards and an old friend of his – a white-haired wizard.
The Leg Fighters (UK/IRE/US/CAN): Tan, a Northern Chinese kung fu expert, kills a man using his lethal boot work in self defence. He’s then hired to train a bratty princess and her servant in kung fu. While, the brother of the man Tan killed is out for revenge and he’ll get him at any cost.
ARROW is available in the US, Canada, the UK and Ireland on the following Apps/devices: Roku (all Roku sticks, boxes, devices, etc), Apple TV & iOS devices, Samsung TVs, Android TV and mobile devices, Fire TV (all Amazon Fire TV Sticks, boxes, etc), and on all web browsers at https://www.arrow-player.com.”
Gael Garcia Bernal and Diego LunaPhoto: Pascal Le Segretain (Getty Images)
In an unexpected twist for a franchise that is very closely associated with its America-themed fascist superhero antagonist, Prime Video’s The Boysis apparently expanding beyond the United States for a whole new spin-off series called The Boys: Mexico. Plot details haven’t been revealed yet, but Variety says the show will be in Spanish, that it will be shot in Mexico (and take place in Mexico City), and that Blue Beetlewriter Garth Dunnet-Alcocer is attached to write it.
Kenny Loggins on “Playing With The Boys” and “Danger Zone”
Plus, both Diego Luna and Gael García Bernal are attached to executive produce, and Deadline says they might even act appear in the series as well—though neither of them would have “major roles,” according to unnamed sources. No other casting details have been announced.
Assuming the show gets picked up, it will be the third entry in Prime Video’s The Boys franchise following the main series and the recent Gen Vspin-off (the fourth if you also count semi-canonical animated series The Boys Presents: Diabolical). And, while it seems like Amazon might be in danger of spreading the series too thin, The Boys does seem like a show that would lend itself to Walking Dead-style spin-offs that are just the same basic show set in a different kind of place. Who is the Mexican version of Homelander? Is there a Mexican version of Homelander? Is there a Mexican equivalent of The Boys? It seems like there would have to be, if the title they’re going with is The Boys: Mexico.
Maybe this will all tie in with the upcoming fourth season of The Boys, which is supposed to air at some point in 2024 (and will also probably have to tie in with Gen V in some way).
Spoilers for Saltburn can be found throughout this piece. And that includes one already-infamous bathtub scene.
While Saltburn didn’t have the biggest Thanksgiving 2023 box office showing this weekend, it’s been a buzzy movie and kicked off solidly. A lot of the conversation has been around a certain bathtub scene involving leads Jacob Elordi and Barry Keoghan, to the point where Amazon even threw bathtubs into theater lobbies in order to market the film. Now, the director has shared her take on the scene the Internet can’t stop talking about, and I honestly feel like I saw a different movie.
If you don’t know the premise of Saltburn, it is, in fact, a story about envy and lust. Oliver Quick (Keoghan) begins university and isn’t among the in-crowd, until a seemingly chance encounter has him becoming friendly with popular, kind, and yes, rich kid Felix who eventually invites him home to his manor Saltburn for the summer. There, in a viral scene, Oliver watches Felix masturbate and then drinks the leftover water out of the tub. In the film, it’s a sign his obsession is growing, and the theatrical responses to the 2023 movie release have been notable.
Saw the Saltburn tub scene with about 16 other people in the theater and you could hear a marshmallow drop the way no one moved or reacted pic.twitter.com/hg8kTY6TH7November 26, 2023
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The moment was so shocking, I saw the male audiencegoer sitting next to me making uncomfortable comments to his partner while hiding part of his face under his hat. Another person left the theater – which seems to have been a thing in other screenings too – though I suppose they may have just run to the bathroom, as I did not pay attention to whether or not they returned. But if you were to ask Emerald Fennell, she’s embraced the scene as a “sexy” cinematic moment.
What I’m saying with that scene is I think that scene is the sexiest thing I’ve ever seen in my life… And I’m saying that anyone else is safe to feel that.
I first read over her comments and was not on the same page at all. This scene was intense and more of sexually explicit movie moment than one I would describe as arousing. It plays out as creepy and disturbing in the moment, and given what I know now having seen the ending, it’s even more perverted in retrospect. Sexy is not an adjective that would come to mind at all. But Fennell would go on to explain this take, and in the meantime, others have been sharing their takes on Saltburnas well.
Saltburn was wild. It does for bathtubs what Call Me By Your Name did for peaches. #Saltburn #FilmTwitter And Rosamund Pike was a standout amongst amazing performances. pic.twitter.com/ALMHEL0JSvNovember 27, 2023
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The truth is, some fans are comparing it to that conflicted peach masturbation scene in Call Me By Your Name, and others seem to just be reacting to the moment due to its shocking nature. To me, the real doozy of a scene actually comes later in the movie, when Oliver Quick himself also masterbates … on top of a grave.
But Fennell is making a good point to People that the scene is certainly open to be interpreted in any given number of ways, and people should feel comfortable with whatever they have taken from the scene – even if it is discomfort.
She went on to tell the outlet that she creates scenes like these in order to spark a reaction from the audience, sexy other otherwise. So, no matter what you felt watching, as long as you felt something, Jacob Elordi masturbating in a tub while Keoghan was creeping in the shadows was a great success.
I’m interested in how it makes you feel. Did you feel something you’ve never felt before in a movie? And if that’s the case, then the movie is effective, and it’s worked, and that’s what we wanted to do.
Ultimately, no matter what you think of this particular scene, I do think it will be one of the best Amazon movies streaming once it wraps its official theatrical run. Though I still don’t know that I can agree the scene was “sexy,” but it’s certainly the type of cinematic moment that will stick with me for a long time, and Saltburn was chock full of those. It seems that was exactly Emerald Fennell’s point.
EXCLUSIVE: Deadline has learned that season 3 of FX/Hulu’s The Bearwill commence production in late February-early March.
We caught up with this year’s The Bear Emmy nominee/Golden Globe Best Actor Comedy TV series winner Jeremy Allen White aka young chef Carmen “Carmy” Berzatto on The Bear. White stars in the new A24 movie, The Iron Claw, as wrestler Kerry Von Erich aka “The Texas Tornado”. The movie about the tragedy-stricken wrestling Von Erich family opens on Dec. 22. At a time when the middle of the country needs more movies, here’s a sports drama that plays straight to the heartland.
‘The Iron Claw,’ Starring Zac Efron and Jeremy Allen White.
Eric Chakeen/A24
When we last saw Carmy last on The Bear, he was locked in a walk-in fridge during the restaurant’s ‘Friends and Family’ night, an interlude which Allen tells us he “hopes” the character escapes from in season 3. FX/Hulu recently announced a season 3 of the 13-Emmy nominated series.
While Allen still has yet to see scripts, he’s hoping for a season 3 chockful of guest stars, one that rivals season 2 episode 6’s “Fishes” which saw a ton of noted TV and movie stars playing Carmy’s family members, i.e. Jon Bernthal (as Mikey, Carmy’s dead brother), Bob Odenkirk as Uncle Lee, Sarah Paulson as Cousin Michelle, John Mulaney as Cousin Michelle’s partner Stevie, Gillian Jacobs as Richie’s then-wife Tiffany, and Jamie Lee Curtis as Donna Berzatto, Mikey and Carmy’s alcoholic mother, as well as Carmy’s sister Natalie Berzatto (Abby Elliott), Uncle Jimmy (Oliver Platt), and Neil (Matty Matheson).
The New York City native would love to see a season 3 episode where “we can get as many (guest stars) to come back for one day” ala “Fishes”. Allen tells us he would love to see Olivia Coleman’s Chef Terry come back. She was last seen in season 2’s “Forks” as the proprietor of one of the finest restaurants in the world where Richie (Ebon Moss-Bacharach), temporarily works. Allen said he also loved to see Curtis return as Momma Donna. Allen’s dream guest stars include Oscar winner Sam Rockwell and Emmy winner John Turturro.
Allen stars in The Iron Claw with Zac Efron (Kevin Von Erich), Harris Dickinson (David Von Erich), and Stanley Simons (Mike Von Erich) as the true-life fraternal family of wrestlers who were pressured by their domineering father and former wrestling legend Fritz (Holt McCallany) to succeed at all costs during the 1980s. Allen’s Kerry was a one-time NWA World Heavyweight Champion and four-time WCWA World Heavyweight Champion. Director Sean Durkin, who also wrote the movie, grew up in the UK as a die-hard U.S. wrestling fan; the Von Erichs’ fate an eerie resemblance of those in his own family.
The Bear was created by Christopher Storer, and also stars Ayo Edebiri, Lionel Boyce and Liza Colón-Zayas. Matty Matheson was upped for season 2, while Edwin Lee Gibson, Corey Hendrix, Platt, Bernthal, José Cervantes, Richard Esteras, Carmen Christopher, Chris Witaske, Joel McHale, Curtis, Gillian Jacobs, Robert Townsend, Molly Gordon, Alex Moffat, Ricky Staffieri, Mitra Jouhari and Maura Kidwell recur.
Radio Company has released their LIVE FROM NASHVILLE album. It’s hard to believe it’s been almost a year since they played their first-ever concert. It was a personal joy of mine to write about it.
The date was December 19, 2022.
Hearing this incredible album has resulted in the experience rushing back to me in vivid detail. Every one of those cherished images cascading in, on waves of pure delight. Each flashback and feeling played its part in a multi-layered experience that I will cherish for as long as my memories serve me.
I remember it all.
Courtesy-RC Concert Poster
Like so many others, I was wrapped up in the pre-show excitement, the incredible vibe that buoyed the whole crowd and the magnificent opening act, Louden Swain, who set the stage for that turned out to be one of the best concerts this writer has ever attending. And I’ve seen some damn good concerts in my day; The Who, Bob Seger, Eric Clapton, George Thorogood, Matchbox Twenty, 54-40, Colin James, Rod Stewart, Blue Rodeo, Genesis (just caught their Last Domino Tour in Toronto Nov/21), to name some of my cherished faves.
What Radio Company so effortlessly delivered that others have not, for me at least, was intimacy. I’m an old school rocker of sorts, so my music idols tend to be far away on stadium stages with pyrotechnics, refrigerator sized speakers stacked sky-high like giant Jenga blocks and everything illuminated with enough spotlight to be seen from outer space. Each artist revered as a Rock-God. Worshipped yes, but distant, unapproachable. Detached.
Jensen Ackles and Steve Carlson cracked that code without even trying. That night, their celebrity didn’t separate them, it imbued the crowd with the warmth of their friendship and camaraderie. It was as though they were playing their music to a group of friends who stopped by for a Christmas drink.
What a night it was. I am filled with gratitude just reliving the moment.
Courtesy Melissa Fudge Photography
As I sit comfortably in my office chair, headphones on, their live album on repeat, I’m left wondering if I haven’t been more fortunate then I know.
The opportunities for Jensen and Steve to perform together are so few, and their fans so numerous, it only stands to reason that a larger venue is the only choice that makes sense now. I hope it’s Red Rocks Amphitheater. That place is on my bucket list.
I’m keeping the faith though. I believe those gents will deliver a huge dose of warmth and familiarity along with their musical talent, regardless of where they play. I’ll move heaven and earth to be there.
Now if you’ll excuse me, I’m about to listen once again to Sheree Smith belt out her rendition of Ann Peebles’, “I Can’t Stand the Rain.”
I will leave you to watch this video from the concert. Fair warning, I’m no videographer. I kept panning to take in all the remarkable talent on display that night. They were all so damn good!
For the full, and much more polished version, here is the Radio Company YouTube offering. Enjoy!
Paramount+ seems to be promoting the heck out of Lawmen: Bass Reeves—its new show from Yellowstonemastermind Taylor Sheridan—but star David Oyelowo wishes people had done more to promote the actual Bass Reeves, and he hopes this show will make up for that a bit. The show is based on a real-life lawman who went from being a slave to being one of the first Black deputy U.S. Marshals after the Civil War (to say nothing of his powerful mustache). But history lessons being what they are (and favoring who they favor), there’s a good chance you never really heard about him.
Happy Thanksgiving, here’s Brian Cox’s favorite line from Succession
Oyelowo certainly didn’t, at least not until 2014 or so when the idea of a Bass Reeves TV show or movie first came to his attention. That’s what he told The Hollywood Reporter in a recent chat, saying that one of the things that drew him to this man’s story was that “he wasn’t more widely known.” Oyelowo said he hadn’t seen a movie or a show about Reeves, so he developed an “obsession with rectifying that in some way.” If Reeves had been white, Oyelowo argues, “there would be monuments, there would be multiple movies, there would be graphic novels, everyone would be dressed up as hime for Halloween.”
He’s spent nearly a decade trying to change that, with Sheridan being a part of the project for most of that time, and he told THR that Hollywood was suspiciously reluctant to give Bass Reeves a shot: In 2015, everyone turned it down because “no one is doing Westerns,” and in 2017, everyone turned it down “because everyone is doing Westerns,” which made Oyelowo realize that “something funny” was happening. It wasn’t really until Sheridan proved that there was a big audience for this kind of thing with Yellowstone—and specifically its 1883 spin-off—that Oyelowo was able to actually get things moving.
Surely another aspect of that, which Oyelowo doesn’t directly acknowledge, is that the show has also been preemptively franchised. It’s not just a single, standalone show called Bass Reeves, it’s called Lawmen: Bass Reeves, which Oyelowo does say in the Hollywood Reporter interview is designed to leave the door open for other shows about other lawmen. But also it means that this is being sold (to both Paramount+ and audiences) as another Taylor Sheridan franchise. If you get on board with this and you get on board early, you could be set for life in terms of having TV shows to watch (or TV shows to advertise to people, if you’re Paramount+).
Editor’s Note: a version the following post originally ran way back in 2015. It’s being re-posted here (with minor edits) to celebrate—what else?—THANKSGIVING. All three seasons of Hannibal (NBC, 2013-2015) are now streaming on Tubi. Special thanks to author Tom Sveen.
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With the rise of foodie culture, there are more movies and television shows about the culinary arts than ever before. But perhaps none of them has as ardent a following as the sadly-canceled Hannibal, in which it’s not turkey or ham but the show’s characters who are on the menu. With Thanksgiving just around the corner, we caught up with Hannibal food stylist Janice Poon to talk about her holiday traditions, Mads Mikkelsen’s eating habits and what might be on Hannibal’s table this holiday season.
JANICE POON, FOOD STYLIST
Poon on the set of NBC’s ‘Hannibal’ with one of her creations
Happy Thanksgiving, Janice. You’re in Canada, right? So you’ve already had your Thanksgiving?
Poon: Happy Thanksgiving to you! Yes, we up here in Canada had to get things in early because it gets so bloody cold and the animals all flee. So if we want to harvest them we have to get out there while it’s still warm.
As a food stylist, does all of the build up of Thanksgiving excite you, or is it more pressure than you would like?
Poon: It used to be fun when I was younger. When you’re in the food industry, people are nervous about inviting you over. And now that I live far away from my family, I don’t celebrate a traditional family Thanksgiving. Instead, I have it with friends and that, too, is fraught with tradition. [In Canada] we have a new thing that’s starting a bit. Just like in the US, it’s a country of immigrants. There are so many new Canadians. So some families are inviting a new Canadian family to their home to experience the great North American brainwashing thing where we all sit around and pretend it’s great. It kind of is, though. I mock it, but it is great.
There’s a nice release that comes at the end of all that pressure.
Poon: Oh, there really is. And you’re glad you did it, except that everyone takes off and leaves with you with the dishes.
You should put a sign about that on the door on the way in so that there’s a contract in place.
Poon: That’s a good idea. Because it’s unspoken, but it’s too unspoken. It used to be that there would always be a couple of people who would stick around and help you clean up. And that doesn’t seem to be the case now. It’s all too much to bear because most of the cooking often falls on me, to the extent where I’m invited somewhere and then end up cooking because, “Oh, you’re so much better at it.” But it’s all right. I actually enjoy it. I wouldn’t do it if I didn’t enjoy it. I guess that kind of sums up the whole holiday in a nutshell. You kind of enjoy it, after all. But it is very much that golden bird coming to the table and looking like a golden sacrifice to the gods. Because all of our holidays have religious origins… Well, Thanksgiving’s not one of them is it. Thanksgiving is a real thing that happened because the Pilgrims and the natives actually got along at one point.
Yeah, supposedly that happened. It’s been mythologized a little bit.
Poon: You know, you’re giving me an idea. It could be a case of history re-written and it wasn’t a turkey; it was some unfortunate person on the wrong side of victory.
Or just somebody who was weak and they knew wouldn’t make it through the winter.
Poon: Oh, good grief. It’s so good to not be a Pilgrim!
Now that we’re on the topic of eating people for Thanksgiving, what do you think Hannibal might be having for his holiday feast this year?
Poon: Well, is he in jail or out of jail? If he’s out of jail, there’s no question that he would roast some “turkey.” I mean there are so many of them out there, right? He would bone them and he would stuff them, with a sausage stuffing, no doubt, because you know how he adores stuffing. Probably giblets too because he loves all of that organ meat. He might fashion it into a bird, but I rather think that he would do a roll because he likes to alter things. So I think he would just stuff it as a roll. I’ve done turkey that way—chicken as well—where you bone it but you leave the skin on. You put your ground meat inside or you can use a regular bread stuffing. And you roll it back up and you tie it up in kind of a cylinder. And then you roast that and it’s a really good way to do it because you know how the breast meat always cooks faster than the dark meat. So you can place the meat around so that the dark meat is on top and will get more of the heat.
Poon: Another thing he might do: he did poor Dr. Gideon’s [played by Eddie Izzard] thigh roasted in clay, where he wrapped it in a big leaf and then wrapped it in clay. It’s an ancient way of slow-roasting meat. You put it in clay and then you bring it to the table in the clay and you crack it open and presumably all of the lovely aromas waft out into the room. Except for some people are gagging because they know it’s the neighbor.
Slow roasted leg meat, FBI Field Director style
Poon: Of course, the table would be loaded with food because Hannibal’s table always has to be over the top. So one of the things that I like for potatoes: do you remember when he spliced Beverly [Hettiene Park] up like an MRI? She was made into piece of artwork like Damien Hirst, where she was poly-sected into these very thin pieces. And so with the potatoes, you could do what I call potato fans, where you take a potato and you make a cut every eighth inch, basically one-eighth inch slices, but you’re not slicing all the way through the bottom. You make these cuts all along the side and you drench that in butter and you put it in the oven and you roast it and then halfway through the roasting, pour more butter on it because it will have fanned out a bit. And because it’s Thanksgiving you really get to overdose on all of the fat.
I see. And what other paints do you have on your palette? Pun not intentional.
Poon: You need a vegetable. Hannibal doesn’t adore the vegetables, but I always throw some on because, as a food stylist, you’re limited by meat because it’s brown. So you have to bring in produce because that’s where all the color is. But maybe he used some scraps from his victims to fertilize his garden. Or maybe he’s eating his vegetables from bone china.
A pop of color, courtesy of fruits and veggies
Does Hannibal eat dessert?
Poon: Oh yeah. He does dessert. He’s done a wonderful bread pudding. The desserts don’t necessarily have people in them, but they’re good for metaphors. And the other thing that they’re good for is the actors need business. They can’t just sit there and deliver expository dialogue. So there’s some of that going on in Hannibal because he’s quite a Chatty Cathy.
What’s your favorite dish that you’ve made for Hannibal?
Poon: I think my favorite thing to make was the very last meal [pictured above], the last scene in Season Three, that season which we hope is not our last. Bedelia is sitting down to a marvelous roast of her own leg. It’s wrapped in leaves and it’s surrounded with flowers and tropical fruit and beautiful roses. And also ice and coal, which represent Dante’s sixth and ninth Circles of Hell. In the last episode there were many references to Dante: some spoken and most just in the set decoration and the food and other subliminal references. And really I think that’s one of the things that makes Hannibal such a rich experience to watch, because every department is saying, “I’m not going to be the slacker who’s just being literal.” Everything had to mean something. And we were all so committed to making everything have context beyond context. And in so many ways it was because of the reaction from fans, who are so engaged. I’ll always put things in and think I’m a tree falling in the forest, but then you realize that people are actually seeing it and they actually want to know more and I ended up writing a blog because of it. I think it’s a wonderful time to be, not just a filmmaker, but an artist of any kind because you can have real communication with your audience.
Do you use real food as a food stylist? Are there a lot of non-edible elements that go into it to make things look good?
Poon: For film, it has to be edible. Even if the director says it’s not going to be eaten, you never know. Because in a series especially, you’re allowed hours and hours of character development. And the actors get very involved with what their character would do and what they would not do. And they’re just as likely as not to say, “My character would reach out and grab that and nibble on it.” So anything on the table, or on the set practically, that is presented as something edible has to be edible. And so often actors have dietary restrictions and you have to make sure you abide by those too. You have to treat your stars well because they are the face [of the project]. Everything I do for the food—I want it to taste good, I want it to smell good—all these things are not going to come across [on screen], but I want to help the actor do their job. I want them to feel like they’re in that scenario. So the better the food tastes, the easier it is for them. It has to be edible, but I don’t want it to be weird. Liver is a good example. Not everybody likes liver. So I would make something that looks like liver for the eating scenes.
Does Mads [Mikkelsen, who plays Hannibal Lecter] like liver?
Poon: It’s funny that you ask me that because he is a total omnivore, a very adventurous eater. And you know when you’re just getting to work together for the first time and everybody’s getting to know each other, and I had to feed Mads lung, liver and heart. And I didn’t know him well enough. I’d given him a cooking tutorial and that was fine but I neglected to ask him about his food tastes—and you really never know because people will say that they will eat anything, but then they get to set and say, “Except that.” So you’ve got to be ready for everything. And I thought, “I don’t really want to worry about pathogens. There are so many things I don’t worry about this first day.” So I thought I would just carve liver out of mortadella, which is like bologna. And the lung was a bit of a problem because even if he did like it, it’s not easy to chew. And that’s the other thing: you can’t have the actors chewing too much. So I used salami for that because salami is flecked with little white dots that sort of look like the air sacs of a lung.
How did the actors respond to that?
Poon: Mads was so disappointed that I didn’t bring the real thing. He said, “Oh, I was really looking forward to tasting that. And so from then on, I brought both the real thing and whatever I was using. Because Mads was not the only one that was curious. The director was curious. [Laurence] Fishburne was curious. Hugh [Dancy] was curious. They were all interested. My food station was always right beside the set so that we could run the food back and forth. So they were always hanging out there.
So when you’re giving them “the real thing,” what animal are you giving them?
Poon: The real thing was often pork, because pork is very low-pathogen. Or beef, because beef is the lowest-pathogen. Sometimes chicken. It all depends. It’s always safety first. My main goal is not to kill the actors. And then after that, it’s to make the food tall enough so that the camera will catch it. Because I can load the table up with beautiful things and make the plate totally gorgeous, but if it’s in that space where the camera never is, my food will never be seen. So I like my food to be tall and colorful.
Do you employ any of the same standards of presentation when you’re cooking for your friends at Thanksgiving?
Poon: Well, I always try to make the food look beautiful. I think that a beautifully garnished dish, when you bring it to the table—and it just takes a second to add a little ruffle of greens or a couple of cherry tomatoes or some bay leaves—it’s like gift wrap. So they pause for a minute before they lunge in and say, “Ah, this looks delicious.” If you just flop it on, it could be delicious, but people won’t stop. And this little garnish says, “I’ve thought about this. And I’ve thought about you. And I made this for you. Do what you will. Write me a thank you note.”
And wash the dishes.
Poon: And wash the dishes! Or just come and do a bit of scraping.
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Hamas, the armed group that controls Gaza, released 17 more hostages, including a 4-year-old girl, and said it would seek to extend a temporary cease-fire with Israel. The current four-day pause is scheduled to end today. An additional 39 Palestinians in custody were freed on Sunday, according to Israel’s prison service.
The cease-fire was the longest break in fighting in Gaza since Oct. 7, when gunmen from Hamas and other militant groups launched a deadly attack on southern Israel.
Israel has said that it is prepared to grant another day’s pause for every 10 hostages Hamas releases beyond the 50 outlined in the agreement. The country said in that agreement that it would release 150 Palestinian women and children.
Promises: Prime Minister Benjamin Netanyahu of Israel visited his country’s troops in the Gaza Strip. “We are continuing until the end — until victory,” he vowed, adding, “Nothing will stop us.”
The toll in Gaza: Even a conservative reading of the casualty figures shows that the pace of civilian deaths during Israel’s campaign has few precedents in this century, according to military analysts.
Related news:
The Wagner group falters in Africa
The death of Yevgeny Prigozhin, the onetime leader of the Wagner mercenary group, has rattled its once-cozy relations with the Central African Republic. The nation is now weighing offers from Russia and Western countries, including France and the U.S., to replace Wagner as its primary security guarantor.
The outcome of this struggle could be a bellwether for the group’s future on the continent, where the C.A.R. is perhaps the most deeply enmeshed among the handful of African nations partnering with Wagner.
It remains unclear whether Western countries can offer the same level of security as the mercenary group and whether hard-pressed Central African officials will dare face rebel groups and other security threats without Wagner’s familiar embrace or the promise of troops.
A surge in deadly outbreaks
Disruptions to health systems during the Covid-19 pandemic have left more than 60 million children worldwide without a single dose of standard childhood vaccines, in turn resulting in large outbreaks of diseases that primarily kill children.
Many who missed their shots have now aged out of routine immunization programs. Protecting them will require a costly vaccination blitz.
By the numbers: By the midpoint of this year, 47 countries were reporting serious and deadly measles outbreaks, compared with 16 countries in June 2020. Twelve countries reported the polio virus was circulating. Nigeria is facing a major outbreak of diphtheria, with nearly 600 deaths so far.
THE LATEST NEWS
Around the World
“Bare bones as these refugee services were, they were almost luxurious compared with what today’s migrants are receiving.”
Joseph Berger, who was a reporter and editor at The Times for 30 years, gives a firsthand account of arriving to New York City as one of the 140,000 Jewish refugees who fled postwar Europe. For today’s migrants, he writes, it is even harder.
SPORTS NEWS
Inside Iron Maiden’s soccer team: The heavy metal band plays matches while on tour.
The dichotomy of sports excellence: An addictive personality can facilitate greatness, but what are the consequences?
Soccer is punishing the wrong people: Owners can walk away when things go wrong, but supporters feel the impact.
ARTS AND IDEAS
Stay ‘delulu’
Call it magical thinking or manifesting, but the belief that people can influence their reality through sheer will has existed for centuries. Now, there’s a new term for this idea: “delulu.”
Derived from the word delusional, delulu first gained popularity online as shorthand for unrelenting confidence. It has come to describe the process of making the seemingly impossible possible. And for young people who may otherwise feel as if everything — the cost of living, job insecurity, politics — is stacked against them, it has become a way to have some degree of control in their lives.
In the words of Bianca Bernardo, a 23-year-old content creator in Los Angeles: “May all your delulu come trululu, because being delulu is the solulu.”
Linda Evangelista attends the Kering Foundation Second Annual Caring For Women Dinner on September 12, 2023 in New York City.Paul Morigi/Getty Images for Kering
Linda Evangelista is opening up about the cosmetic procedure incident that she said left her “permanently deformed” and “brutally disfigured.”
“How people feel about me still bothers me a little bit, but it used to bother me a lot,” Evangelista, 58, said to The Sunday Times in an interview published on Sunday, November 26. “I know now that I didn’t do anything wrong. For the longest time I thought I did.”
She continued: “I’m not completely rid of it, but I work hard at getting rid of the guilt and the shame. And I’m not letting it ruin my life. I wouldn’t have stayed locked up if I’d known how many people cared.”
The model revealed via Instagram in September 2021 that she underwent the CoolSculpting procedure designed to “decrease” her fat cells. Instead, the cosmetic procedure allegedly “increased” them and left her “permanently deformed” even after two “unsuccessful corrective surgeries.”
Evangelista, who reached supermodel stardom alongside Cindy Crawford and Christy Turlington, also said on Sunday that she doesn’t look in the mirror.
“My son will say to me sometimes, ‘You might want to know that you have a pimple on your chin.’ And I’m like, ‘What?’ But life is better without mirrors,” she said.
Naomi Campbell, Cindy Crawford, Christy Turlington and Linda Evangelista stand onstage during Vogue World: London at Theatre Royal Drury Lane on September 14, 2023.Jeff Spicer/Getty Images for Vogue
Evangelista, who is a two-time breast cancer survivor, noted that her greatest goal is to “stay alive.” (She was diagnosed in both December 2018 and July 2020.)
“When I hear other people’s stories, I think, ‘Oh God, I have no right to complain,’” she said to the outlet.
Many celebrities have spoken out about their personal battles with breast cancer over the years. Julia Louis-Dreyfus went public with her breast cancer diagnosis in September 2017 via Instagram. Nearly one year later, she had successfully beaten the illness and returned to work on Veep. “It sounds kind of corny, but there’s something about after […]
Evangelista previously revealed in September 2021 that she developed a rare side effect called Paradoxical Adipose Hyperplasia (PAH). She noted that she had been left, “as the media has described, ‘unrecognizable.’”
“PAH has not only destroyed my livelihood, it has sent me into a cycle of deep depression, profound sadness and the lowest depths of self-loathing,” Evangelista wrote via Instagram at the time. “In the process, I have become a recluse.”
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Evangelista sued Zeltiq Aesthetics Inc. for $50 million in damages. The lawsuit was settled in July 2022 for an undisclosed amount.
“I’m pleased to have settled the CoolSculpting case,” she wrote in an Instagram statement following the agreement. “I look forward to the next chapter of my life with friends and family, and am happy to put this matter behind me. I am truly grateful for the support I have received from those who have reached out.”
Beyoncé captivated Hollywood’s attention Saturday night as the superstar held a stealthily staged world premiere of her concert movie, “Renaissance: A Film by Beyoncé,” at the Samuel Goldwyn Theater in Beverly Hills.
Details of the premiere were kept under wraps, with guests invited with a save-the-date that only included the screening’s 7 p.m. start time and a “cozy opulence” dress code. The location, which turned out to be the Goldwyn Theater, was provided less 24 hours before the start of the festivities. Guests were advised to take a ride share to an address in Beverly Hills, where they were directed to the location of the screening. The “chrome carpet” kicked off at 5:30 p.m. Among the attendees were Lizzo, Janelle Monáe and Beyoncé’s former Destiny’s Child bandmates Kelly Rowland and Michelle Williams. Also on hand were “The Little Mermaid” star Halle Bailey, Ava DuVernay, Tyler Perry, Issa Rae, “Blackish” star Marsai Martin, Laverne Cox, Niecy Nash-Betts, Gabrielle Union, LeToya Luckett, former BET Networks chief Debra Lee and model-musician Shaun Ross.
Beyoncé walked into the theater as the lights were dimmed and an announcer reminded guests that no photos or video recordings were allowed. Phones were locked in security bags.
Silver envelopes containing a travel-size a sample of Beyoncé’s perfume were placed at everyone’s seat. Popcorn was served in metal Renaissance buckets with water offered in matching cups.
A premiere is also scheduled for Nov. 30 in London.
While Beyoncé made a surprise appearance at Taylor Swift’s Los Angeles premiere of her concert film, the “Karma” singer is currently touring in South America and unlikely to make Queen B’s event. However, Swift appears to be free to attend the London festivities.
A “Renaissance” trailer released in September featured footage of Beyoncé rehearsing with eldest daughter and tour backup dancer Blue Ivy Carter as well as her and Jay-Z’s twins, Rumi and Sir. Jay-Z is also in voiceover asking his wife about her plans for the tour.
The latest trailer was released during a spot on NBC’s telecast of the Macy’s Thanksgiving Day Parade on Thursday.
As Varietyreported exclusively, Beyoncé is distributing the film directly with exhibition giant AMC Theatres, as well as other exhibitors.
Beyoncé chose an unconventional deal like the one struck between AMC and Swift in August. Swift’s film was self-financed and she will reportedly see well over 50% of box office grosses Beyoncé will get the same deal, sources told Variety.
Beyoncé’s previous concert films include the direct-to-DVD “I Am…Yours,” filmed live at Las Vegas’ Wynn Casino in 2009; the 2013 HBO project “Life Is But a Dream,” a confessional account of new motherhood mixed with live performances from her grand opening performance at Atlantic City’s Revel Casino; and Netflix’s “Homecoming,” which captured Beyoncé’s 2018 Coachella headlining set.
Beyoncé’s foray into feature film acting includes “Dreamgirls,” “The Lion King,” “Austin Powers: Goldmember” and “Obsessed.”
Users on Reddit and Hacker News are complaining that YouTube seems to have inserted an intentional five-second delay before video pages will load in Mozilla’s Firefox and occasionally some other browsers. YouTube tells The Verge that these users are right about the delay, but the browser has nothing to do with it — it’s part of the company’s efforts to quash ad blockers across all platforms.
“In the past week, users using ad blockers may have experienced suboptimal viewing, which included delays in loading, regardless of the browser they are using,” YouTube communications manager Christopher Lawton wrote in an email. Lawton wrote that disabling the ad blocker should resolve the issue, though users “may still experience a temporary delay in loading” until their browser has refreshed.
Lawton also said that users will keep seeing issues like this as YouTube’s ad-blocker detection methods improve.
The issue was initially reported as targeting Firefox users, but users online have said they’re seeing the delay in Chrome and Edge, too. Reddit and Hacker News users who’ve examined the code that appears to be causing the delay have said they see no indication that YouTube checks what kind of browser is in use. Mozilla’s senior brand manager Damiano DeMonte wrote in an email to The Verge that “there’s no evidence that this is a Firefox-specific issue.”
The five-second delay isn’t affecting everyone. A few of us at The Verge tried to recreate the issue, both on Mac and Windows machines. But whether logged into YouTube or not, using an ad-blocker or not, or going incognito or not, none of us saw the delay that’s being reported.
Google has made big moves on the ad-blocking front lately, and a lot of the thrust for that effort has been felt in YouTube, which started disabling videos for some viewers using ad blockers in June. YouTube confirmed last month that it had “launched a global effort” to get users to either enable ads or subscribe to its $13.99 per month ad-free Premium service. Lawton called ads “a vital lifeline for our creators.”
Last week, Google detailed a big change to Chrome that undermines uBlock Origin, one of the more popular ad-blocking extensions. Independent developers have been in an arms race with large companies that want to show ads for as long as there have been ads on the internet — and right now, Google seems serious about pushing back.
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Roomba may have invented the modern robot vacuum, but startups have sprung up in the past few years to challenge their supremacy with cheap Roomba alternatives that cost under $200.
Robot vacuums work by rolling around your floor, sucking up dirt and dust particles; they’re generally small enough to fit under small spaces like your couch or bed too, letting them reach nooks and crannies upright vacuums can’t. Motion and depth sensors keep the vacuum from going over the same area over and over again, bumping into walls, or falling down the stairs. You can even set a robot vacuum to work on a schedule using an app or smart-home speaker like the Amazon EchoDot, so it cleans when you’re not around to hear it.
If you’ve been on the fence about getting a robot vacuum because of price, you should strongly consider either of the cheap Roomba alternatives below. For Black Friday, Amazon has all of them on sale right now for under $200.
The eufy 11S Max is a thin, powerful vacuum, with a run time of up to 100 minutes, according to the brand, and it’s available for 44% off, bringing it under $200.
Eufy also says that this robot vacuum boasts quiet operation, no louder than the microwave in your kitchen. Its suction capabilities are decent too, able to lift up dirt, dust and debris from all kinds of floors. With DropSense technology, you won’t even have to worry about this vacuum falling down the stairs.
Other features include triple filtration, multiple cleaning modes and a large dust box, so this robot vacuum can clean up your entire house with ease. Once it’s done, that smart gadget will automatically return to its charging base, ready for the next cleaning session.
This smart robot vacuum functions with your chosen voice assistant whether that’s Google or Alexa. Feel free to also use the SharkClean app to set up cleaning schedules or start up your robot vacuum if voice assistance is not your thing.
Editor’s picks
As for cleaning, the Shark ION uses a three-brush design allowing it to grab dirt from all the nooks and crannies of your home. It’s also built for all kinds of floors so be it carpet or wood, your Shark vacuum will continue suctioning.
Finally, there are cliff sensors for drop protection so you can leave your robot vacuum on and go about your day.
The brand also says it’s ideal for pet hair just in case you have a furry friend living with you. Battery is said to last up to 120 minutes, with your vacuum automatically returning to its self-charging base once it’s low on power.
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There are anti-collision and anti-drop sensors too, to prevent your robovac from crashing into furniture or toppling down the stairs. You’ll even be able to set cleaning schedules through the Lefant app.
If you’re still in the market for a powerful, Roomba-like model but don’t want to spend upwards of $500, go with the yeedi vac Robot Vacuum, currently marked down 50% off to $149.99 — totaling $150 in savings.
Use this robot vacuum with your Alexa or Google voice assistant or through to yeedi app to get it moving, set up cleaning schedules or send it to particular areas of your room that require a more thorough cleaning.
Trending
It boasts an impressive 3000Pa suction power that effortlessly captures embedded dust on carpets and hard floors for a more thorough cleaning on the grimiest floors. And, with with its slim and sleek design, it’ll efficiently suck up dirt in hard-to-reach places without getting stuck
Compared to other Roomba vacuums, the yeedi vac returns to its base for automatic charging and has an extended 110-minute run time for a complete cleaning sesh.
I’ll be honest — the trailer was actually pretty gripping. It has a neo-noir vibe with dark elements, a gritty storyline, grey morals, and characters. While I am not particularly thrilled and excited about Sandeep Reddy Vanga’s idiosyncrasies, Ranbir’s performance really looks incredibly commendable! But then, only time will tell!
What did you think of the trailer? Let me know in the comments!
SAG-AFTRA has released the full draft agreement it reached with the major studios that ended the 118-day actors’ strike earlier this month.
The Screen Actors Guild-American Federation of Television and Radio Artists previously published an 18-page document that summarized the tentative contract that included increases in wages, streaming bonuses and regulations around the use of artificial intelligence.
On Friday, the union posted the full 128-page copy of the contract, which was previously approved by the national board with 86% voting in favor. The contract must still be ratified by the union’s 160,000 members in a voting process that concludes Dec. 5.
Guild leaders have pushed back against the criticism, saying the contract contains historic gains for performers in the streaming era and that it represented the best deal possible.
SAG-AFTRA President Fran Drescher told members earlier this month the $1 billion-plus deal “created new revenue streams” and included the most “progressive AI protections ever written.”
Even with a great many MCU movies and shows still in the pipeline for future release, faith in the Marvel brand seems to be at a record low. This has prompted some segments of the audience to question whether studio boss Kevin Feige would ever step down.
Kevin Feige’s Future at Marvel
Marvel
Joanna Robinson, insider and co-author of the recent Marvel Studios tell-all book, MCU: The Reign of Marvel Studios was a recent guest on Matthew Belloni’s podcast The Town.
During her interview, she was asked how much longer she thought Marvel Studios president and chief creative officer Kevin Feige wants to do his job. Robinson responded that the place where Feige wants to be is “making movies:”
”I don’t know, because for a time, I was wondering if he would want to take over Disney In the ongoing [Bob] Iger succession question. No, but absolutely not, right? Because he wants to make movies. Like, whatever he does, he wants to directly have his hand in making movies.”
Belloni interjected, remarking that he ”could see [Feige] taking over Lucasfilm,” although Robinson actually agreed with that comment:
”That’s what I’m saying. He could take over Lucasfilm because he is more of a Star Wars guy than he is a comic book guy. So, like, if a vacancy opens up at Lucasfilm…”
At that point in the conversation, Belloni chimed in again, asserting that they were not making any sort of suggestion that current Lucasfilm head Kathleen Kennedy should step down from her role and then immediately contradicting himself.
While she could see Kevin Feige possibly making the jump to Star Wars if the opportunity were to present itself, she feels it’s far more probable that he stays put at Marvel Studios.
“If Kathy is tired and they can blame her for that, then that is something that I think Kevin would want to do, but other than that, I think he sticks with the empire that he built.”
This comes amidst reports that Feige has been spread quite thin across the MCU’s many entries in recent years, even while he hasn’t been involved as heavily as he used to be in day-to-day operations.
How Can Marvel Fix Its Issues?
The general consensus is that in order for the MCU to level out after a string of particularly uneven releases, they need to slow down considerably and focus on quality over quantity.
Despite The Marvels’ extremely weak run at the box office, many agree that it’s a fun, funny movie with a lot to like. It just happened to come out in the middle of a perfect storm caused by waning Marvel interest, a finicky general audience, and the fact that the film’s stars couldn’t promote it due to the actors’ strike.
As much as it is a mistake for comic book evildoers to assume they can best Marvel’s roster of heroes, it would be an equal error to count out Marvel Studios as they begin the process of course-correcting.
Jesse Eisenberg found a sense of ease and liberation in playing J. Daniel Atlas in Now You See Me, aligning with his own profession as a performer.
Eisenberg revealed that he doesn’t actively pursue method acting, but Now You See Me movies allow him to feel like the character to a greater extent.
Eisenberg’s role in the Now You See Me series has positively impacted his mental health, allowing him to lower his antidepressant dosage and find joy and comfort in playing Atlas.
Jesse Eisenberg is at the center of growing excitement as the release of Now You See Me 3 draws near. In a recent interview with Collider, Eisenberg shared his distinct acting philosophy, particularly highlighting his experience in the Now You See Me franchise while promoting Manodrome.
Eisenberg’s performances are often driven by depth, so he enjoyed a change of pace with his role in the Now You See Me movies. Contrary to his usual roles in the industry, Eisenberg finds a sense of ease and liberation in playing J. Daniel Atlas, a character that aligns closely with his own profession as a performer.
Discussing his approach to acting, Eisenberg revealed:
“I discovered that I don’t like actively pursuing what you would call “method acting,” which is where you almost treat the circumstances as reality. I found that not a lot of actors do or some do it kind of performatively, but in a way that doesn’t feel exactly real. For me, doing those movies, Now You See Me more than anything is like the furthest I go in terms of feeling like the character, because I am an actual performer as my job and the character is a performer.”
Jesse Eisenberg, Mark Ruffalo, Woody Harrelson, Isla Fisher, Dave Franco, Mélanie Laurent
Genres
Crime, Mystery, Thriller
Eisenberg candidly admits to grappling with self-doubt and anxiety as a performer. He further confessed:
“Yet the character is this very confident performer, and I’m a very unconfident performer experiencing self doubt. I don’t watch any of the movies I’ve been in, I try to avoid still frames of the movies. I don’t wanna see myself because I’m just encumbered with my own anxieties about myself. So getting to be a performer that feels good about himself and actually be on a movie set where I am performing is the most method I felt. I walk around almost arrogant on these sets.”
Eisenberg’s reflection on his role in the Now You See Meseries goes deeper than just professional satisfaction. He shared how these films have positively impacted his mental health, allowing him to lower his antidepressant dosage. The joy and comfort he derives from playing Atlas act as a therapeutic counterbalance to the demands of his more serious roles. His candidness about the positive mental health effects of this role underscores the often-overlooked aspect of how certain roles can profoundly affect an actor’s well-being.
Now You See Me 3 has already started pre-production last week. While waiting, fans can rewatch the previous films. Prime Video is currently streaming Now You See Me. While Netflix will let you see the sequel, Now You See Me 2.
Rory writes: “When the PlayStation Portal was revealed earlier this year, I was fairly dismissive of the PS5 accessory, just like a lot of people were. I just couldn’t see the market for a $199 device designed exclusively for remote play, especially when true portable gaming is enjoying a deserved renaissance thanks to the Steam Deck and the enduring popularity of the Nintendo Switch.
This week I’ve been fortunate to get hands-on with a PlayStation Portal, and I’m here to hold my hands up and admit that I got this one wrong.
In the annals of television history, few shows have left an indelible mark quite like The Twilight Zone. Created by the visionary Rod Serling, this series not only entertained but also provoked thought, pushing the boundaries of what television storytelling could achieve.
Its legacy is a testament to the power of narrative and its influence on both audiences and filmmakers alike.
I found some PDFs of some of the episodes and wanted to share them below.
The Twilight Zone ~ 1959 ~ Original Opening Title ~ UPA Animationwww.youtube.com
Read and Download Some Original Twilight Zone Script PDFs
I have a selection of three PDFs here, all for educational purposes only.
The Genius of ‘The Twilight Zone’ Scripts
‘The Twilight Zone’
Credit: CBS
The Twilight Zone is a television series that has become synonymous with groundbreaking storytelling in the realm of science fiction and fantasy, and has a rich history that began in the late 1950s.
The show was the brainchild of Rod Serling, a television playwright already known for his thought-provoking and controversial works. Frustrated with the heavy censorship in television at the time, especially on topics of social commentary, Serling conceived it as a platform where he could explore these themes under the guise of science fiction and fantasy.
The original series ran for five seasons, from 1959 to 1964, but it has seen several revivals over the years. The first revival came in the 1980s, followed by another in the early 2000s, and most recently, in 2019, with a version produced by Jordan Peele.
The series has become part of the cultural lexicon, with the phrase “Twilight Zone” often used to describe surreal or bizarre situations. Its influence extends into various forms of media, including television, film, radio, and literature.
Innovative Storytelling: The show was groundbreaking in its use of science fiction and fantasy to explore complex social and ethical issues. This approach allowed for creative freedom in storytelling, demonstrating the power of genre fiction to address serious topics.
Strong Narratives: Each episode presented a self-contained story, often with a surprising twist. This structure emphasized the importance of a strong narrative arc and the impact of a well-crafted ending.
Character Development: Despite the constraints of a short format, the show managed to develop deep and compelling characters. This teaches the importance of character development in driving the narrative and engaging the audience.
Social Commentary: Many episodes served as allegories for contemporary social issues, such as racism, war, and government oppression. Filmmakers can learn how to weave social commentary into their stories subtly and effectively.
Atmosphere and Tone: The show was masterful in creating a unique atmosphere and tone, often eerie and thought-provoking. This illustrates how the use of visual and auditory elements can enhance the storytelling.
Economy of Storytelling: The concise format required efficient storytelling, teaching the importance of every scene, line, and shot in advancing the story.
Exploring the Human Condition: At its core, “The Twilight Zone” explored the facets of the human experience, from fear and desire to morality and identity. This focus on universal human themes is key to creating resonant stories.
Risk-Taking and Innovation: Finally, the show was unafraid to experiment with unconventional ideas and narrative techniques. This spirit of innovation is crucial for filmmakers looking to push the boundaries of their craft.
The Twilight Zone stands not just as a pinnacle of television excellence but as a masterclass in storytelling. For aspiring filmmakers, it is a source of endless inspiration and guidance.
The lessons drawn from its innovative approach to narrative, character development, and thematic exploration are as relevant today as they were when the show first aired. Rod Serling’s masterpiece teaches us that at the heart of great filmmaking lies the ability to connect with the audience through stories that challenge, entertain, and provoke thought.
So check out the PDFs, lessons, and, most importantly, go get reading and writing.
Thanks to Kelsey Grammer and David Hyde Pierce’s performances, Frasier and Niles came off as lovably pretentious rather than insufferable snobs. While that made for great comedic moments, the show was also never afraid to demonstrate the often negative consequences of their personalities, especially when it came to their relationship with their father. The season 1 episode “Dinner at Eight,” for example, saw the pair planning to take their father out for a fancy dinner only to change plans at the last second and accompany Martin to his favorite steakhouse. Once there, the brothers spend the whole time making fun of the restaurant’s lack of class, which upsets Martin and forces Niles and Frasier to reflect on how their behavior affected their dad.
The revival show has thus far tried hard to emulate the style of the original, even making sly references to old “Frasier” episodes while simultaneously attempting to break new ground. Similar to the original series, episode 8 tries to explore the real-world results of the Crane brothers’ personalities, this time from the perspective of their sons. The episode focuses on Anders Keith’s David, who is heartbroken to have received a B grade on his latest paper from none other than his own uncle, Frasier. The development sends David into a spiral as he tries everything he can to retake the paper and up his grade to an A. Meanwhile, Freddy, who dropped out of Harvard to become a firefighter, reveals his hidden intellectual talents, which evidently only come to light when he drinks. As the episode goes on, Freddy demonstrates that he still has a passion for academia, getting excited at the prospect of helping David with his paper and clearly enjoying the process.
Khloé Kardashian has some members of her family close to her heart — literally. On this week’s episode of The Kardashians, the mother of two was spotted wearing a beautiful silver necklace with three special names — Tatum, True and Dream.
Tatum and True Thompson are the two children she shares with her ex, Tristan Thompson, and Dream Kardashian is Khloé’s niece, the daughter of her brother, Rob Kardashian, and his ex, Blac Chyna, who now goes by Angela White.
Khloé spends a lot of time with Dream and has even referred to herself as a “third parent” or “somewhat of a co-parent” for the 7-year-old little girl in the past. In fact, Khloé threw Dream a spa-themed birthday bash earlier this month.
Hulu
Khloé later spoke out following backlash surrounding the episode of The Kardashians, saying, “I love ALL of my nieces and nephews more than I can express. Dream and I are particularly close. My brother and I are extremely close. I am with Dream all the time because I’m with my brother all of the time. I love her beyond measure.”
Khloé continued by noting that her 5-year-old daughter, True, is “best friends” with Dream, adding, “I feel so incredibly blessed they have this relationship.”
In August, Angela spoke to ET about her relationship with the Kardashian family.
“I feel like time heals everything and people change and situations change,” Angela told ET. “You get to see the situation for what it is and the situation is Dream, and also, too, let’s not leave out King… As long as my kids are good and happy on both sides, that’s all I care about as a parent.”
She said she doesn’t worry about her kids going over to their other parents’ houses, and doesn’t fault Dream’s close bond with Khloé.
“Why have this feud when we’re gonna be family forever?” Angela asked. “They’re so close, Rob and Khloé, they’re like this [crosses fingers]. So of course Dream’s gonna be like this with True.”
New episodes of The Kardashians stream Thursdays on Hulu.
Squid Game: The Challenge is a reality competition based on the Netflix hit Squid Game, testing mental strength, physical endurance, and social strategy.
Despite facing allegations of contestant mistreatment, Squid Game: The Challenge has been highly anticipated and has multiple episode batches releasing.
The season 1 finale of Squid Game: The Challenge will air on December 6, 2023, with a total of 10 episodes in the season.
Squid Game: The Challengeseason 1 is an exciting reality competition based on the South Korean Netflix hit Squid Game, and with the first batch of episodes already available, many are wondering how many episodes remain and when the finale will air. Asking contestants to take on Squid Game-inspired challenges, Squid Game: The Challenge is a test of mental fortitude, physical endurance, and social strategy. Starting with 456 competitors, the contestants will be eliminated throughout the season to determine the winner of the largest cash prize in Netflix reality TV history. Throughout the season, contestants will face challenges that test them differently, hoping to push them out of the game.
While Squid Game was a hit for Netflix, turning the series into a reality TV competition wasn’t easy for the streaming service. Squid Game: The Challenge season 1 has been facing allegations of poor treatment for the contestants throughout its time filming, and some were skeptical about the idea of turning such a harrowing TV series into a reality TV competition. Despite the criticism, Squid Game: The Challenge has been a highly anticipated Netflix series, with many viewers ready to watch the competition as it unfolds. Many are wondering how many episodes remain with the first batch being released.
When Is The Squid Game: The Challenge Season 1 Finale?
Although Squid Game: The Challenge season 1 just started, some are already wondering when the finale will air. Netflix traditionally airs its reality competition series in batches, and Squid Game: The Challenge is no different. After the first batch of episodes dropped on November 22, two more batches will drop throughout the next few weeks. The Squid Game: The Challenge season 1 finale will drop in the third batch of episodes. Squid Game: The Challenge season 1’s finale will air on December 6, 2023, during the final drop of episodes for the season. The Squid Game: The Challenge season 1 finale will drop in a batch of its own.
How Many Episodes Of Squid Game: The Challenge Season 1 Remain?
Squid Game: The Challenge consists of 10 episodes in total. The series follows the typical Netflix schedule, dropping the first several episodes one week, followed by two more weeks of episode drops. In the first batch of episodes, Squid Game: The Challenge dropped the first five episodes of the season. The second drop, happening in the final week of November, will consist of 4 episodes, and the last episode of the season will drop in early December. After the first drop of episodes from Squid Game: The Challenge season 1, 5 more episodes remain.
The schedule for Squid Game: The Challenge season 1 is consistent with many other Netflix reality competition TV series, but the show will vastly differ from the drama. With Netflix viewers uncertain about what to expect as the series continues, the series will keep everyone on their toes as the competitors continue fighting for the final spot. In hopes of winning the largest prize in Netflix reality TV history, the players on Squid Game: The Challenge season 1 have to leave everything on the table to prove they can come out victorious.
Matt Bomer revealed to Vanity Fair that he sent in a self-taped audition to play one of the many iterations of Ken in Greta Gerwig’s blockbuster comedy “Barbie,” but he ultimately decided not to join the movie so he could prioritize spending time with his family. He was offered a shot at auditioning and was interested in the project enough to send a self tape to Gerwig and the casting directors.
“I recorded it on my own, played a bunch of different Kens—and I dressed differently for all of them,” Bomer said. “I recorded the lines of the other person’s dialogue on my recorder and then gave myself space to respond.”
Per Vanity Fair: “He then spoke with director Greta Gerwig about joining the blockbuster, but ultimately walked away from the opportunity, choosing not to spend extensive time away from his family.”
Bomer is hardly the only actor who auditioned for Ken but didn’t end up in the final film. The casting directors revealed over the summer that “Saturday Night Live” Emmy nominee Bowen Yang, “Schitt’s Creek” Emmy winner Dan Levy and “Dear Evan Hansen” Tony winner Ben Platt were all in the running to play versions of Ken in the film, but scheduling logistics prevented the castings from happening. Jonathan Groff also circled the role of Ken’s long-suffering friend Allan before Michael Cera landed the part.
“It’s rather a boring reason, actually,” casting director Lucy Bevan told the MPA’s “The Credits” series about why certain actors got dropped. “On a movie like this, it was a hugely ambitious shoot and a complicated schedule, and you can have brilliant ideas, and people’s availability either does or doesn’t work.”
Any actor auditioning for the role of Ken’s arch-rival Ken (a role that ultimately went to Simu Liu) auditioned with the now-beloved “beach off” fight scene.
“Those scenes were fun to audition,” Bevan said. “Some of the Kens would take off their T-shirts, and we were like, no, no, you don’t need to take off your T-shirt. But Simu [Liu] just nailed that [line] in the film…There were certain scenes we used to audition, and the fine line between the comedy and sincerity of those characters is a difficult balance.”
“The thing that Greta did always stress was that none of these people were sarcastic or winking at the camera. They were really Kens and Barbies,” casting director Allison Jones added.
“Barbie” is now available to own on Blu-ray and digital platforms. Bomer currently stars on Showtime’s drama “Fellow Travelers” and can next be seen opposite Bradley Cooper in “Maestro.”
To celebrate Mrs. Doubtfire turning 30, director Chris Columbus shared insight into the making of the classic film starring comedy legend Robin Williams.
During an interview with Business Insider published Tuesday, Columbus revealed that William improvised so much during the making of the 1993 classic that nearly 2 million feet of film was shot.
Following the success of Good Morning, Vietnam — which resulted in Williams’ first Oscar nomination, for Best Actor — the actor starred in a slew of movies in a variety of roles including Dead Poets Society, Awakenings, The Fisher King, the voice of the Genie in Aladdin. When Patch Adams grossed an $135 million in 1998, by then, Williams was reportedly making as much as $20 million a movie. Williams, who was known for his high-speed wit and comedic genius, would take on the role of Mrs. Doubtfire in the early nineties and catapult the film to legendary success.
“Early on in the process, he went to me, ‘Hey boss, the way I like to work, if you’re up for it, is I’ll give you three or four scripted takes, and then let’s play,’” Columbus recalled. “By saying that, what he meant was he wanted to improvise. And that’s exactly how we shot every scene. We would have exactly what was scripted, and then Robin would go off and it was something to behold.”
“The poor script supervisor. Remember, this is the early 1990s, she wasn’t typing what he was saying. She was handwriting it and Robin would change every take,” he continued. “So Robin would go to a place where he couldn’t remember much of what he said. We would go to the script supervisor and ask her and sometimes she didn’t even get it all.”
Columbus added that it got to the point where the movie was shot with four cameras just to “keep up with him” and that on several occassions they would run out of film.
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“[The studios] were loving what they were seeing. Did they watch everything? I don’t think so. We shot almost 2 million feet of film on that picture,” said the director.
Columbus also shared that he hopes to turn the additional footage into a documentary into the making of the beloved movie someday. “This is an example of Robin in his prime,” he told the outlet. “There are roughly 972 boxes of footage from ‘Doubtfire’ — footage we used in the movie, outtakes, behind-the-scenes footage — in a warehouse somewhere and we would like to hire an editor to go in and look at all of that footage. We want to show Robin’s process. There is something special and magical about how he went about his work and I think it would be fun to delve into it.”
Edward Hopper’s work is some of the most recognizable art in America and his influence is everywhere—in movies, TV shows and museums.
In Hopper’s work, portraits of America emerge in a variety of urban and rural settings. Hopper himself was an enigmatic, yet wildly popular artist whose career was deeply influenced by his relationship with his wife, Josephine Nivison. This timeline explores Edward Hopper’s life and the major milestones in his career.
1882
EARLY LIFE
On July 22, Edward Hopper is born in Nyack, New York to Garrett Henry Hopper, a dry-goods merchant,
and Elizabeth Griffiths Smith Hopper, an outgoing woman who encourages Hopper’s creativity.
1882
1900–1905
Hopper enrolls in the New York School of Art to study illustration, then switches to painting under William
Merrit Chase, Robert Henri and Kenneth Hayes Miller.
1900–1905
1906
Hopper goes to work as an illustrator for Phillips & Co. in New York City. In the fall, he takes the first of three trips to Paris to study French, impressionism, architecture, and experimenting with light—experiences key in shaping
his personal style.
1906
1908
Hopper moves to New York City.
1908
1913
FIRST SALE
Hopper sells his first painting, “Sailing,” at the Armory show, and relocates to 3 Washington Square
North, where he would live and work for the rest of his life.
1913
1920
Hopper’s first solo exhibition, at the Whitney Studio Club, generates no sales and little critical attention.
1920
1921
Hopper consigns prints to the Frank Rehn Gallery in New York, the art dealer that represents Hopper for the rest of his life.
1921
1923
Hopper visits Gloucester, Massachusetts, where he meets fellow artist Jo Nivison, who encourages him to paint more than a
dozen watercolors. At Jo’s urging, the Brooklyn Museum agrees to show several of Hopper’s
watercolors and buys “Mansard Roof” for its permanent collection.
1923
1924
MEETING JO NIVISON
Hopper marries Jo Nivison with Guy Pène du Bois as his best man, and visits Gloucester for the summer.
1924
1930
The Whitney Museum buys “Early Sunday Morning,” and the Hoppers make their first visit to Truro on Cape Cod, where they will spend almost every summer, often staying into fall, for the
rest of their lives.
1930
PHOTO: Edward Hopper, Cape Cod Evening, 1939
1941
The Hoppers’ road trip to California and back. Arnold Newman photographs Hopper.
1941
1942
THE CREATION OF “NIGHTHAWKS”
Hopper paints “Nighthawks” which is purchased by The Art Institute of Chicago and quickly becomes Hopper’s signature image.
1942
1943
Fuel rationing prevents the Hoppers’ summer drive to Truro, so they take the train to Mexico,
returning three more times.
1943
1956
Hopper is inducted into the American Academy of Arts and Letters, and appears on the cover of
Time magazine.
1956
1964
MAJOR RETROSPECTIVE
Hopper has a major retrospective at the Whitney Museum of American Art, including 74 oils, 62 watercolors,
numerous etchings and drawings.
1964
1966
In Truro, Hopper completes his last painting, “Two Comedians,” showing two Pierrot figures, male
and female, taking a final bow.
1966
1967
On May 15, an 84-year-old Edward Hopper dies quietly in his Washington Square studio and is buried in
Nyack.
1967
1968
On March 6, Jo dies and bequeaths Hopper’s work and many of her own paintings—over 3,000 works—to the Whitney Museum of American Art.
