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MCU

Tom Hiddleston’s Loki received a new name and purpose after the Loki Season 2 finale on Disney+ ended with an emotional sequence.

Loki‘s Season 2 finale showcased how Loki managed to make the ultimate sacrifice by using his own body and power to hold together the dangling threads and branches that make up the Multiverse.

Ultimately, the journey of Hiddleston’s Loki ended with his own glorious purpose, burdened with the fact that he is at the center of a new Yggdrasil-styled tree of Multiverse and a living Temporal Loom. 

Loki’s New MCU Name After Season 2

Marvel Studios

New Funko Pop! merch of Loki from Season 2 depicts Tom Hiddleston’s Marvel character in the new costume seen in the final moments of Episode 6, where he was encased in a structure heavily resembling the Yggdrasil tree from Norse mythology. 

Adorning a dark set of his iconic horns on his head, he took his rightful place on his throne as he used his powers to let countless timelines live on.

God Loki in the Loki Season 2 finale
Marvel Studios

Near the top of the Funko’s box is the name of the merchandise and also the title which Marvel has officially designated this version of Loki: “God Loki.”

Marvel Studios then shared an official Loki Season 2 poster showcasing Hiddleston’s God of Mischief wearing his new costume. Alongside the poster, Marvel also unveiled Loki’s new title as “God Loki:”

Tom Hiddleston as Loki
Marvel Studios

This name is quite unsurprising considering Loki’s evolution into his God of Stories persona, a title from the comics that this version of the Asgardian seems to have taken upon himself.

The God Loki designation is particularly interesting though, considering that Loki was already a God of Mischief. Perhaps now being one of the most powerful characters in the MCU necessitates this label to drive that point home.

Alternatively, the God Loki title may refer to how he has finally gotten to a point where he is worthy enough to refer to himself as a god, after his sacrifice to save everybody across the Multiverse.

Will “God Loki” Return to the MCU?

Loki’s journey took him to plenty of unexpected places by the end of Season 2, with the character even becoming a unique version of the MCU’s Tree of Life as he did everything in his power to save as many lives across the Multiverse as possible.

But with the God of Stories now seemingly placed where he could potentially be for the rest of his life, the real question is if and when he will return to the MCU, especially since he remains one of the franchise’s most popular characters.

The Loki Season 2 finale already directly referenced one of Kang’s other moments in the MCU from Ant-Man and The Wasp: Quantumania, hinting that Loki and Kang’s relationship is far from over as the Multiverse Saga moves forward.

And with Avengers: The Kang Dynasty and Avengers: Secret Wars both set up to put the Multiverse in even more danger, Loki may be inclined to impart his wisdom on the next team of Avengers who will have to stop Kang’s impending attack.

All episodes of Loki Season 2 are streaming on Disney+.

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DCU

Soon the world will meet a new Clark Kent in Superman: Legacy. DC Studios co-CEOs James Gunn and Peter Safran are rebooting the most famous superhero in the world as they transition the franchise from the DCEU to the DCU. Who will play the Man of Steel on the big screen this time around? What kind of story will we see him in? And who will bring it to life? We’re keeping track of all these answers and more. The latest news: the DC Comics villain The Engineer will appear in the film. Here’s everything we know about Superman: Legacy.

DC Comics/Frank Quitely

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The DCU’s first official movie ( though not its first official release) is titled Superman: Legacy. That will kick off the film side of what James Gunn has called the franchise’s first chapter, “Gods and Monsters.” He has also called Superman: Legacy “the true beginning” of the DCU.

Superman: Legacy‘s Plot

While the film still has no official synopsis, Warner Bros. did provide a description of what we can expect from the story, which James Gunn says is not an origin tale.

Superman: Legacy tells the story of Superman’s journey to reconcile his Kryptonian heritage with his human upbringing as Clark Kent of Smallville, Kansas. He is the embodiment of truth, justice and the American way, guided by human kindness in a world that sees kindness as old-fashioned.


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Gunn announced the film with art from the cover of All-Star Superman by writer Grant Morrison and artist Frank Quitely. Whether or not that means the story is influenced, inspired by, or adapted from the 12-issue comic series in any way is unclear. What Gunn has said is the movie will focus on “an earlier part of Superman’s life,” where he is still old enough to already be working for the Daily Planet.

Superman: Legacy‘s Cast

David Corenswet will play Superman, while Rachel Brosnahan will play Lois Lane.

In addition, four more actors have joined the cast of Superman: Legacy. Isabela Merced will play Hawkgirl, Edi Gathegi will play Mister Terrific, Nathan Fillion will play Green Lantern Guy Gardner, and Anthony Carrigan will play Metamorpho. Deadline reports María Gabriela de Faría (Deadly Class, The Moodys) will play the villain The Engineer in the movie. Also known as Angela Spica, the character has nanotechnology built into her body.

Behind the Scenes 

James Gunn wrote the ( definitely completed) script and is directing.

Superman: Legacy‘s Release Date

Superman: Legacy will soar into theaters faster than a speeding bullet on July 11, 2025.

Originally published on April 11, 2023.

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Soon the world will meet a

Festivals

Today I want to go over the 5 biggest pieces of terrible screenwriting advice I’ve heard, debunk each of them, and give you the proper lessons to take away from each of them.

Ready? Let’s go…

Terrible Writing Advice Tip #1: Write What You Know

I know I have told this to someone. So right off the bat, let’s start with the advice I am guilty of handing out. When I tell someone I think they should “write what they know” chances are I’m searching for a personal connection that I just don’t find in their pages.

Akin to that, they might have an under-researched idea that makes reading their pages a slog or hard. When I was an assistant I got to work closely with Michael Werwie, who wrote Extremely Wicked, Shockingly Evil, and Vile.

Michael was so much fun to learn from because he epitomized the best part of “write what you know” – a screenwriter who is confident and knowledgeable about the subject she’s tackled. Michael was not a serial killer (I hope) but he was an expert on Ted Bundy. So he was able to write Ted with authenticity and breathe new life into a case most Americans thought they knew and understood.

When we gave Michael story notes, he was able to hear them and craft them in a way that aligned with the facts.

So the next time someone says write what you know, don’t limit yourself to general knowledge, just make sure you’re an expert on whatever you write. Be it serial killers, long haul truckers, or apartheid. Seek out the information, synthesize it, and make us believe it’s a part of you.

Terrible Writing Advice Tip #2: Create Likable Characters

This one inherently bugs me all the time. When we talked about character development and character arcs, we covered the idea that no one cares if your protagonist is likable.

We care if they’re interesting.

Film and television is built on characters we want to follow every week. That means while rooting for them is great, we mostly want to be invested in what they’re doing.

One of the best examples of this is Mavis in Young Adult.

Mavis returns to her childhood home to steal back her ex from his with and their new child. What she does along the way is reprehensible. But we watch because this kind of cringe comedy is undeniably entertaining.

So when you’re sitting to write, don’t ask if we like them, ask why we care? What’s new?

What makes your characters interesting?

Terrible Writing Advice Tip #3: Don’t Write Screen Direction

This one always come back time and time again. And I feel like we keep debunking this stuff but bad writers keep coming back and saying it. Look, I will concede that some people tend to over-direct on the page. But don’t be afriad to write things like CLOSE ON: or PAN TO:

Remember, screenplays, while being literary artifacts, are blueprints for films and tv shows. You’re allowed to direct the audience’s eye, let studio execs in on how the information will be dispersed, and make a connection with the person who will eventually direct your movie.

They’re definitely not necessary, and I always think it’s better to tell the story in a way that alludes to the shot without perfectly defining it, but you can totally have screen direction on your page.

Terrible Writing Advice Tip #4: Keep Your Ideas Small (and Makable)

One of the “hot take” tips from bad writers or well-meaning individuals is that your foray into specs and TV should be small ideas that are easily made at an indie or studio level. While this is sweet and nice advice, a great screenplay, no matter the size, is all that matters.

Repeat after me… A GREAT SCREENPLAY, NO MATTER THE SIZE, IS ALL THAT MATTERS!

Bad writing is advice is so easy to dispense and hard to clean up. Sure, if you’re writing a spec script studios, in general, are looking for movies that cost under 20 million ao they have a better chance and recuperating the money put into the budget.

But they’re also looking for their next franchise like Pacific Rim or a little spec called STAR WARS.

If you have an idea you’re passionate about, write that screenplay. In the end, most of your spec work won’t sell anyway. The idea is to get reps, get in a room, and pitch on projects the studios have already purchased.

Terrible Writing Advice Tip #5: You must adhere to Three-Act Structure

Look, there’s a whole Reddit forum on movies that don’t use three-act structure, so read there if you want a ton of examples. Movies like Boyhood, 8 1/2, Mo’ Better Blues, and Born on the 4th of July all have diverse and interesting act structures. And that only gets us into movies that have “B” titles.

(Graphic by StoryboardThat.com) StoryboardThat.com

The reason this act structure is emphasized is that it fits most Hollywood movies. But not having it is not a killer. There are lots of examples of movies that thrive without them. The point is, if you’re telling a good story people won’t be looking for the midpoint or other Blake Snyder beats.

Don’t be afraid to look into things like five-act structure, which is how every episode of Breaking Bad is formatted. Or seven-act structure, which covers many procedurals.

Terrible Writing Advice(Graphic by StoryboardThat.com) StoryboardThat.com

Even Fincher’s The Girl with the Dragon Tattoo uses five-act structure. Don’t be afraid to push back and tell us a story that makes us rethink the way we see time on screen.

Screenwriting is hard. But to become a filmmaker, you need to learn script writing to master storytelling. We’ll give you free lessons.

Many people come to No Film School because they want to get information about cameras, gear, and screenwriting. We’re aware that the luxury of attending film school is not available to most of the world, so we do our best to keep you all up to date on what’s out there and how you can shoot and create with your utmost potential when filmmaking.

Click the link to learn more!

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Film

The New Zealand screen producers’ guild SPADA says that international streaming platforms should be regulated and made to pay a portion of their revenue to the local industry.

“The streamers currently pay no tax in New Zealand, face no regulation, and use broadband infrastructure that was partially funded by our government. As has happened globally, their negative impact on local broadcasting viewership and therefore advertising revenue in the [local] market has been huge, which has been very challenging for local production,” said SPADA president Irene Gardiner on Thursday. She was speaking at the guild’s annual conference and at the launch of a ‘love local’ campaign.

“We will be suggesting to our new government that a levy be put on the platforms’ New Zealand revenue, which could then be invested back into local production via the screen funding agencies NZ Film Commission, NZ On Air and Te Mangai Paho.

“We appreciate these are big businesses, and they may want to push back, especially on a small territory like New Zealand, but it’s not in the streamers’ interest to devastate local production either here or globally. They need content and you get that by having strong domestic screen industries. They are a part of the screen eco-system here and we would ask them to take that responsibility seriously and play fair,” Gardiner said.

New Zealand has a screen production sector that is heavily geared to servicing large inbound international productions, which it attracts through a combination of production rebates, a weak currency, high production and VFX skills, developed studio facilities and widely varied landscapes.

Gardiner made a connection between the strength of local productions and the country’s ability to service the international titles.

“We need to keep our domestic production sector as strong as we can because in turn it helps support the international production sector, and together we generate NZ$4 billion ($2.4 billion) per annum. Local and International need and feed each other.

“The cultural argument goes without saying – the creating and sharing of New Zealand stories with New Zealanders is essential to our country’s well-being. It builds national identity, helps bring us together, fosters knowledge and freedom of thought, reflects our country’s unique culture, and makes us laugh.

“And as we increasingly take our stories to the world, it all helps build our industry and international reputation, it positively impacts tourism, increases export dollars, and creates valuable New Zealand intellectual property.

“If we could add new investment from the streamers to the mix, that would be a significant boost for our local production sector.”

Other countries have sought to regulate multinational streaming firms, such as Netflix, Disney+, and Amazon’s Prime Video, through local content quotas or levies. Some seek both. While others are more concerned with controlling the nature of the content available within their jurisdiction.

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The New Zealand screen producers’ guild SPADA

TV

Kim Kardashian is burning the candle at both ends. On this week’s episode of The Kardashians, Kim takes a trip to New York City where she has to fit in a slew of scheduled events that leave her beyond exhausted. 

She does rehearsals for her role in the Ryan Murphy show, American Horror Story, a Time magazine cover shoot, a fitting for her Met Gala dress, a SKIMS business meeting, a fashion gala for Olivier Rousteing, an appearance on the Today show, and she even meets her sister, Kourtney Kardashian, and her husband, Travis Barker, for the opening show of the Blink-182 tour in Brooklyn. 

But all of the activities are catching up with the mother of four, who shares a scary experience she had the morning of her Today show appearance. 

She oversleeps, which is something she says she’s never done in her entire career, and is so tired that she has to eat some ice cream right before her appearance to help wake her up. 

Nathan Congleton/NBC via Getty Images

Following the interview with Savannah Guthrie, which took place on May 16, Kim shares footage of herself sounding very groggy and greeting fans. In the clip, she’s telling fans all about SKIMS plans that had yet to be released. 

Kim later says she has “no recollection” of those conversations. She’s filming asking about the Tiffany’s store and then going over to the store — another activity she has little to no memory of. 

“I had no idea that I stopped at the Tiffany’s store and was posting all about it,” Kim shares as footage of the visit plays. “Did I really go? It felt like a dream. This whole morning has been a complete, foggy dream.” 

Later in the episode, momager Kris Jenner sits Kim down, sharing that she’s concerned about her daughter’s tight schedule. 

Hulu

Kim admits that American Horror Story “put me over the edge,” but denies that she’s keeping busy to avoid something in her life when Kris asks. 

The reality star admits that she feels like she can’t say “no” to things because once she told someone “no” and they cut her out of their life. 

Kris is concerned that Kim is going to “burn out.” 

It doesn’t look like Kim is slowing down anytime soon. She recently launched the new nipple bra for SKIMS as well as a men’s line for the shapewear brand. 

New episodes of The Kardashians stream Thursdays on Hulu. 

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Kim Kardashian is burning the candle at

What to Watch

Another great conversation today with Kate Casey from the “Reality Life” podcast. Always like having her on every few months for a few things: 1) to let me know what good documentaries are out there, and 2) to fill me in on a Real Housewives couple I know nothing about other than reading headlines about them, and today is no different. Because I watch DWTS and see some of the tabloid headlines, I’ve become interested in Mauricio and Kyle’s marriage. Or, well I guess their separation now. Kate breaks it down like only she can since I’m invested now, yet, completely confused as to what’s going on. What’s their backstory? What’s their future? Is she dating a woman? Why is he dedicating dances to her when she doesn’t even show up or seemingly acknowledge it? So bizarre, yet, I need all the answers to these questions. Kate does her best to give it to me. Also a little VPump Rules talk and then on to some documentaries. Thanks again to Kate for coming on.

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


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

(SPOILERS) I begin by giving an update on Joey’s hometown dates and more on the Clayton story. Then Kate joins me (9:02) to discuss the Mauricio/Kyle relationship and how it’s gone off the rails, Vanderpump Rules, what are some of the latest documentaries that Kate is watching, and much, much more.

Instagram – @katecaseyca

(SPOILERS) Today’s Daily Roundup covers Joey’s hometown dates today and upcoming, disappointing response by fans in regards to Clayton’s donations, Big Brother live eviction tonight, & Survivor had my head spinning last night.

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


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

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






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Awards

Shadow and Bone author Leigh Bardugo is sharing her thoughts after news broke that the Netflix fantasy television series adapting her books has been canceled after two seasons.

Bardugo took to Instagram on Wednesday to confirm that Shadow and Bone will not return for a third season, while a hoped-for Six of Crows spinoff is also not moving forward. Based on the Grishaverse novels, Shadow and Bone centered on orphan cartographer Alina Starkov (Jessie Mei Li) who aims to use her unique gifts to save the war-besieged world.

“The news hit me hard,” Bardugo wrote. “I’m heartbroken and deeply disappointed, but I’m also trying to hold onto my very real gratitude. Most authors never get to see their work adapted. Many who do end up regretting the experience. I’m one of the lucky few who can look at an adaptation with pride and tremendous joy.”

The author, who was an executive producer on the project, went on to express appreciation for the show’s writers, crew, performers and fans. The cast included Archie Renaux, Freddy Carter, Amita Suman, Kit Young and Ben Barnes.

“We’re book people and that means we never stop imagining that magic can be real,” Bardugo continued about the show’s fan base. “Now, I’m going to go have a cry, and maybe a drink, and then see where the story takes us next.”

Among those responding to the message was Barnes, who posted a heart emoji in the comments section.

Along with Shadow and Bone, Netflix has also canceled Glamorous, Agent Elvis, Captain Fall and Farzar amid Hollywood’s return to work following the SAG-AFTRA strike ending last week.

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Shadow and Bone author Leigh Bardugo is

Music

Billie Eilish and FINNEAS’ “What Was I Made For?” from Barbie won song – feature film at the 2023 Hollywood Music in Media Awards, which were presented Wednesday night (Nov. 15) at The Avalon in Los Angeles.

The hypnotic “What Was I Made For?” (written by Eilish and her brother FINNEAS) beat out another song from Barbie, the comic “I’m Just Ken” (written by Mark Ronson and Andrew Wyatt). Atlantic’s soundtrack album from the film also won the soundtrack award.

The late Robbie Robertson won score – feature film for his score for Martin Scorsese’s Killers of the Flower Moon. Robertson died in August at age 80. This was the 11th and final collaboration between Scorsese and Robertson; the film is dedicated to the Canadian rock music legend.

Women co-wrote five of the six songs that won in various film categories. And women composers took two of the seven film score awards. Laura Karpman won score – sci-fi / fantasy film for The Marvels; Hildur Guđnadóttir won score – horror/thriller film for A Haunting in Venice. In addition, Mica Levi, who identifies as non-binary, won score – independent film for The Zone of Interest.

Angela Leus won music supervision in a film for Trolls Band Together.

The show included performances by nominees OK Go, Diane Warren and Marc Shaiman. Shaiman, a Grammy, Emmy and Tony winner, received an outstanding career achievement award.

Presenters included Taura Stinson, Marie Kingsley, Heather Mcintosh, Julia Michaels, Allyson Newman, Mychael Danna, Mike Stoller and the celebrated team of Benj Pasek and Justin Paul.

The HMMAs are often seen as a bellwether for the Oscars. Past HMMA winners who have gone on to win Oscars include Eilish and Finneas for the title song from No Time to Die; Hans Zimmer for Dune; Trent Reznor, Atticus Ross and Jon Batiste for Soul; Hildur Guðnadóttir for Joker; Ludwig Göransson for Black Panther; and Alexandre Desplat for The Shape of Water; plus songs from Judas & the Black Messiah, La La Land, A Star Is Born and others.

Unlike the Oscars, which have just one category each for songs and scores, the HMMAs have six categories for film songs and seven for scores.

The most intriguing and inspired HMMA category is song – onscreen performance, which honors the performer who performed the song onscreen in the film. Eve Hewson, Joseph Gordon Levitt, Orén Kinlan and Jack Reynor won for performing “High Life” in Flora and Son.

In the HMMAs’ newest category, best song – sci-fi/fantasy, Olivia Rodrigo and Dan Nigro won for co-writing “Can’t Catch Me Now” from The Hunger Games: The Ballad of Songbirds and Snakes.

For those looking forward to that other award, Oscar shortlists of 15 top contenders for best original song and best original score will be announced on Dec. 21. Oscar nominations will be announced on Jan. 23, 2024. The awards will be presented on March 10, 2024.

For a complete list of winners in all categories, visit this page on the HMMA site.

Here are the nominees in the film categories.

SONG AWARDS

Song – feature film

“I’m Just Ken” from Barbie. Written by Mark Ronson and Andrew Wyatt. Performed by Ryan Gosling (featuring Slash and Wolfgang Van Halen)

WINNER: “What Was I Made For?” from Barbie. Written by Billie Eilish O’Connell and Finneas O’Connell. Performed by Billie Eilish.

“The Fire Inside” from Flamin’ Hot. Written by Diane Warren. Performed by Becky G.

“High Life” From Flora and Son. Written by Gary Clark, John Carney, Eve Hewson. Performed by Eve Hewson, Orén Kinlan, Jack Reynor, Joseph Gordon-Levitt.

“I Am” From Origin. Written by Stan Walker, Michael Fatkin, Vince Harder, Te Kanapu Anasta. Performed by Stan Walker.

“Road to Freedom” from Rustin. Written and performed by Lenny Kravitz.

“This” From The Beanie Bubble. Written by Damian Kulash, Jr. and Timothy Nordwind. Performed by OK Go.

“Keep It Movin’” from The Color Purple. Written by Halle Bailey, Denisia Andrews, Brittany Coney, and Morten Ristorp. Performed by Halle Bailey and Phylicia Pearl Mpasi.

Song – animated film

“Steal the Show” from Elemental. Written by Ari Leff, Michael Matosic, Thomas Newman. Performed by Lauv.

“Down Like That” from Paw Patrol: The Mighty Movie. Written by Bryson Tiller, Chantry Johnson, Michelle Zarlenga, and Charlie Heath. Performed by Bryson Tiller.

“Am I Dreaming” from Spider-Man: Across the Spider-Verse. Written by Mike Dean, Peter Lee Johnson, Rakim Mayers, Roisee, Landon Wayne and Leland Wayne. Performed by A$AP Rocky, Metro Boomin and Roisee.

WINNER: “Better Place” from Trolls Band Together. Written by Shellback, Justin Timberlake, Amy Allen. Performed by *NSYNC.

“Peaches” from The Super Mario Bros. Movie. Written by Jack Black, John Spiker, Eric Osmond, Michael Jelenic, Aaron Horvath. Performed by Jack Black.

“This Wish” from Wish. Written by Julia Michaels, Benjamin Rice, and JP Saxe. Performed by Ariana DeBose.

Song – sci-fi / fantasy

“A World of Your Own” from Wonka. Music written by Neil Hannon, Lyrics by Neil Hannon, Simon Farnaby, Paul King. Performed by Timothée Chalamet

WINNER: “Can’t Catch Me Now” from The Hunger Games: The Ballad of Songbirds and Snakes. Written by Dan Nigro and Olivia Rodrigo. Performed by Olivia Rodrigo.

“For The First Time” from The Little Mermaid. Music by Alan Menken, Lyrics by Lin-Manuel Miranda, Performed by Halle Bailey

“Wild Uncharted Waters” from The Little Mermaid. Music by Alan Menken, Lyrics by Lin-Manuel Miranda, Performed by Jonah Hauer-King

“You’ve Never Had Chocolate Like This” from Wonka. Written by Neil Hannon, Simon Farnaby, Paul King. Performed by Timothée Chalamet & Cast.

Song – independent film

“Stardust” from A Good Person. Written by Cary Brothers & Scott Effman. Performed By Cary Brothers.

WINNER: “I Got You” from Holiday Twist. Written by Michael Jay and Alan Demoss. Performed by Jake Miller

“Space and Time” from Master Gardener. Written by S.G. Goodman, Performed by Mereba

“Quiet Eyes” from Past Lives. Written by Sharon Van Etten and Zachary Dawes. Performed by Sharon Van Etten.

“El Saber” from Radical. Written and performed by Gaby Moreno.

“Don’t Forget Me When I’m Gone” from Sons 2 The Grave. Written by Sean Jones, Michael Shand, Miku Graham. Performed by Sean Jones.

Song – onscreen performance

WINNER: Eve Hewson, Joseph Gordon Levitt, Orén Kinlan, Jack Reynor – “High Life” from Flora and Son

Halle Bailey – “For the First Time” from The Little Mermaid

Halle Bailey and Phylicia Pearl Mapsi – “Keep It Movin’” from The Color Purple

Megan Thee Stallion – “Out Alpha The Alpha” from Dicks: The Musical

NSync – “Better Place” from Trolls Band Together

Oil Factory feat. Chlöe, Jekalyn Carr, Loren Lott – “Praise Nationals Finale” from Praise This

Ryan Gosling – “I’m Just Ken” from Barbie

Timothée Chalamet – “A World of Your Own” from Wonka


Song – documentary film

“Everything Is Gonna Be Alright” from Bobi Wine: The People’s President. Written and performed by Bobi Wine

“Forty Foot Man” from Bono & The Edge: A Sort of Homecoming With Dave Letterman. Written and performed by Bono and The Edge.

“Speechless” from Louder Than Rock. Written by Israel Houghton and Adam Ranney. Performed by Caleb Quaye and Judith Hill.

“Dream Your Little Dream” from The Jewel Thief. Written by Dan Braun and Josh Braun. Performed by The Braun Brothers.

WINNER: “Todo Fue Por Amor” from With This Light. Written by Carla Morrison, Carla Patricia Morrison Flores, Juan Alejandro Jimenez Perez, Mario Demian Jimenez Perez. Performed by Carla Morrison.

SCORE AWARDS

Score – feature film

American Fiction – Laura Karpman

Chevalier – Kris Bowers

WINNER: Killers of the Flower Moon – Robbie Robertson

Nyad – Alexandre Desplat

Oppenheimer – Ludwig Göransson

Rustin – Branford Marsalis

Saltburn – Anthony Willis, Music By

The Killer – Trent Reznor & Atticus Ross

Score – animated film

Chicken Run: Dawn of the Nugget – Harry Gregson-Williams

Elemental – Thomas Newman

Migration – John Powell

Ruby Gillman, Teenage Kraken – Stephanie Economou

WINNER: Spider-Man: Across the Spider-Verse – Daniel Pemberton

The Super Mario Bros. Movie – Brian Tyler

Score – sci-fi / fantasy film

Asteroid City – Alexandre Desplat

Barbie – Mark Ronson and Andrew Wyatt

The Creator – Hans Zimmer

The Hunger Games: The Ballad of Songbirds & Snakes – James Newton Howard

WINNER: The Marvels – Laura Karpman

Transformers: Rise of the Beasts – Jongnic Bontemps

Score – horror/thriller film

WINNER: A Haunting in Venice – Hildur Guđnadóttir

Deliver Us – Tóti Guðnason

Knock at the Cabin – Herdís Stefánsdóttir

M3gan – Anthony Willis

The Boogeyman – Patrick Jonsson

The Exorcist: Believer – David Wingo, Amman Abbasi

Score – documentary

Kangaroo Valley – H. Scott Salinas and Logan Stahley

Split at the Root – Lili Haydn

WINNER: Still: A Michael J. Fox Movie – John Powell

The Deepest Breath – Nainita Desai

The Pigeon Tunnel – Philip Glass and Paul Leonard-Morgan

Score – independent film

Dalíland – Edmund Butt

Dream Scenario – Owen Pallett

Jules – Volker Bertelmann

Miranda’s Victim – Holly Amber Church

She Came to Me – Bryce Dessner

WINNER: The Zone of Interest – Mica Levi

Score – independent film (foreign language)

WINNER: Society of the Snow – Michael Giacchino

Control – Taisuke Kimura

Last Wishes – Carla F. Benedicto

Los Reyes Magos: La Verdad – Arturo Cardelús

Paradice – Sandrine Rudaz

The Promised Land – Dan Romer

OTHER FILM AWARDS

Music themed film, biopic or musical

Carmen – Produced by Rosemary Blight, Dimitri Rassam and Mimi Valdes. Directed by Benjamin Millepied.

The Little Mermaid – Produced by John Deluca, Rob Marshall, Lin-Manuel Miranda and Marc Platt. Directed by Rob Marshall.

Theater Camp – Produced by Jessica Elbaum, Erik Feig, Will Ferrell and Noah Galvin. Directed by Molly Gordon and Nick Lieberman.

WINNER: Trolls Band Together – Produced by Gina Shay. Directed by Walt Dohrn and Tim Heitz.

Wonka – Produced by Alexandra Derbyshire, David Heyman and Luke Kelly. Directed by Paul King.

Music documentary – special program

Dear Mama: “Panther Power” – Directed by Allen Hughes. Produced by Joshua Garcia, Loren Gomez, Quincy Jones III, Stef Smith.

WINNER: Immediate Family – Directed by Denny Tedesco. Produced by Greg Richling, Jack Piatt, Jonathan Sheldon.

Ladies First: A Story of Women in Hip-Hop – Directed by Hannah Beachler, Dream Hampton, Raeshem Nijhon. Produced by Shawna Carroll, Syreeta Gates, Cherice Hunt, Janice James, Princess A. Hairston.

Little Richard: I Am Everything – Directed by Lisa Cortés. Produced by Robert Friedman, Lisa Cortés, Liz Yale Marsh, Caryn Capotosto.

San Francisco Sounds: A Place in Time – Directed by Alison Ellwood & Anoosh Tertzakian. Produced by Michael Wright, Jill Burkhart, Mark Pinkus, Charlie Cohen, Tom Mackay, Richard Story, Jeff Jampol, Aly Parker, Darryl Frank, Justin Falvey, Stacey Offman, Richard Perello, Jeff Pollack, Frank Marshall, Alison Ellwood.

Wynonna Judd: Between Hell and Hallelujah – Directed by Patty Ivins Specht. Produced by Reese Witherspoon, Sara Rea, Wynonna Judd, Cactus Moser, Jason Owen, Bruce Gillmer, Margaret Comeaux, Leslie Fram, Patty Ivins Specht; Producer: Cassie Lambert Scalettar.

Music supervision – film

Air – Andrea Von Foerster

Fast X – Rachel Levy

Immediate Family – Mason Cooper

Love to Love You, Donna Summer – Tracy McKnight

Trap Jazz – Tamar Davis

WINNER: Trolls Band Together – Angela Leus

Soundtrack album

WINNER: Barbie (Original Motion Picture Soundtrack) – Atlantic Records

Creed III (Original Motion Picture Soundtrack) – Dreamville / Interscope Records

Fast X (Original Motion Picture Soundtrack) – Artist Partner Group

Guardians of the Galaxy Vol. 3 (Original Motion Picture Soundtrack) – Hollywood Records

Spider-Man: Across the Spider-Verse (Original Motion Picture Soundtrack) – Boominati Worldwide and Republic Records

Trolls Band Together (Original Motion Picture Soundtrack) – RCA Records

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Billie Eilish and FINNEAS’ “What Was I

Docs

AWARD THIS! 2023 NOMINEE! Literally up from the underground comes co-writers/co-directors Celine Held and Logan George’s top-shelf feature debut, Topside. The drama is about 5-year-old Little (Zhaila Farmer), who lives with her mother Nikki (Celine Held), in a homeless camp in an abandoned New York subway tunnel. Through a makeshift village of cardboard houses, Little plays with a community of underground dwellers looking out for each other. Nikki helps Little decorate their tiny home with homemade twinkling stars. Their neighbor, John (Fatlip), has a pile of cats and is concerned about Little’s lack of education. He says as much to Nikki when she comes over to buy heroin.

Little’s netherworld is about to fall as the city is renovating the tunnel. Nikki holds onto her subterranean opiate lifestyle until eviction day, wherein she flees to the surface with Little, who has never seen it. She is immediately blinded by the fluorescents and sunlight of the surface world as she grows up in the dark. Her mom tries to figure out where they can get out of the cold without getting caught by police. She ends up knocking on the door of Les (Jared Abrahamson), who has an apartment full of heroin and women “working” to get it. This is the world Little walks into, holding her mother’s hand all the way. Soon, it becomes apparent the daylight world is much darker than life underground.

I have seen a lot of movies about homelessness and street life. There has always been a gap between the achievements of the documentaries versus the narrative features on the subject. Documentaries like Streetwise are heart-wrenchingly brilliant. Many dramas never quite catch it, either because they’re too clean or contrived. Topside closes that gap. It may be the best drama about street life I have ever seen. The narrative counterpart to the documentary Dark Days, concerns New York’s “mole people” who live in the subways. It opens with a haunting quote from their leader, who says there are no children in their group, but some of the adults are as young as five.

“Nikki holds onto her subterranean opiate lifestyle until eviction day…”

Held and George make the genius move of presenting the first half from the child’s point of view. The camera follows Little through a world of play with adult matters being overheard behind cardboard walls. The topside world of the sun is presented as a horrifying blur, full of screaming about wanting to go home. This helps cut through all the exposition that drags down most films dealing with this subject. No tired social workers are explaining the insurmountable odds of the system. It recreates the immediacy of a child’s world, being pulled from one place to another by an unstable grown-up. In the second half, the filmmakers switch to Nikki’s vantage point. She’s just as lost and as overwhelmed as her kid. The audience is dropped into a swirling nightmare of streets where the nearest rung of the ladder is 5,000 feet in the air.

Held does genius work as Nikki, who has as many brightly colored flaws as a junkie peacock. She presents an intricate architecture of a broken person whose attempts at motherhood are tainted with certain failures. It’s an honestly brutal performance where any hearts of gold are gorged with smack. Farmer does an amazing job as well, delivering a crowning cinematic performance. Her energy is undeniable, as is the legitimacy of her pain and exhaustion. Musician Fatlip is wonderful as the moral anchor in the underworld despite the hard drugs he slings. He straddles the line between good and evil with the intensity of a tightrope walker on a burning rope. Abrahamson is flat-out evil in a way that seems utterly realistic. He puts two extra big handfuls of fresh slime in his portrayal.

Overall, Topside is a masterpiece of the marginalized world rarely seen. It represents a major cinematic achievement by very talented creators. It gets my highest recommendation.

Topside is a 2023 Award This! Drama nominee.

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AWARD THIS! 2023 NOMINEE! Literally up from the

Global

A MODEL has died suddenly after being rushed to hospital in a “serious” condition.

Doctors diagnosed Brazilian actress Isis Freitas, 22, with tuberculosis after she was admitted but were unable to save her.

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Isis Freitas, 22, was rushed to hospital in a ‘serious’ conditionCredit: Newsflash
The actress was diagnosed with tuberculosis

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The actress was diagnosed with tuberculosisCredit: Newsflash

The star was buried at Sao Francisco Xavier Cemetery, in Rio de Janeiro, on Monday after she died in hospital on Sunday.

Her team from the talent agency LMA Producoes said: “It is with great regret and sadness that we come to inform you of the passing of our actress and companion Isis Freitas.

“On behalf of the entire team of actors and staff at LMA, our sincere condolences to all her friends and family.

“We are united in solidarity for this irreparable loss.”

Isis began her career as a model before working as an actress and appearing in a number of plays.

She also featured in a number of adverts for cosmetics brands.

Stars of the Brazilian showbiz scene have described Isis as “talented and affectionate” in tributes posted on social media.

Actress Larissa Manoela said: “Still in shock about your departure.

“Young girl, very sweet, talented and affectionate.

“Rest in peace, Isis! My condolences to the entire family.”

Soap opera actor Matheus Dias wrote: “Rest, my friend! Love you forever.

“She was a great sight, with a smile that reached the front, a laugh that was good to hear, a sweet voice and so beautiful.

“I always praised you, because I always knew how great you were and not for nothing I always compared you to the sun.

“And now you leave the scene, without goodbyes on a sunny day as beautiful as you.

“But you needed to enchant bigger, more sunny places and I really hope you look after us from wherever you are.

“Rest easy, my love, may the heavenly father welcome you and may your smile be the strongest mark in the memories of the people you were present with in life.”

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A MODEL has died suddenly after being

Tech

On a recent evening in the West Village of Manhattan, Dorothy Wiggins, a petite 98-year-old woman wearing a dark coat and a pink scarf, left her townhouse to check out Little Ruby’s Cafe, a chic new restaurant in her neighborhood. Inside, she approached the hostess.

“I remember this place when it was the other place, the Riviera,” Mrs. Wiggins said. “It was so tacky next to this. You really jazzed up the space.”

“It’s an Australian restaurant,” the hostess said.

“Australian?” Mrs. Wiggins replied.

As she processed this information, the hostess asked if she had a reservation.

“I just live in the neighborhood, and my husband painted this place once,” Mrs. Wiggins said. “I was just curious.”

She took her leave and walked back to her brownstone. She wasn’t alone. Trailing her was Michael Astor, a freelance journalist who was discreetly filming her outing with a pocket-size gimbal camera.

The scene he had just recorded would soon be posted to the TikTok and Instagram accounts he manages, both called @dorothylovesnewyork, which have made Mrs. Wiggins an unlikely social media celebrity.

Tens of thousands of people follow the accounts, which chronicle Mrs. Wiggins’s late 90s as she navigates life in New York and the Hamptons equipped with a wooden walking staff, vintage hats and a bone-dry sense of humor.

In one video, she becomes frustrated when a server at a Midtown jazz club can’t get her drink order quite right (a shot of Dewar’s in an ice-filled highball, with a water back). In another, she complains about “awful Montauk oysters” to the operator of an East Hampton seafood shack. The most popular clip, with more than nine million views on Instagram, shows her hitting a serve on a tennis court in Amagansett.

“Chrissie Evert commented on my serve,” Mrs. Wiggins said in the living room of her brownstone, where she and Mr. Astor, 59, were seated next to a crackling fire. “She said it looks like her serve.”

Part of the accounts’ charm lies in her indifference to social media.

“I’m a funny one to become popular, because I scorn it all,” she said. “I hate walking down streets and seeing people clutch their phones like they’re clutching their heart.”

“TikTok feels stupid to me,” she continued. “You need more than a momentary thing. I watched ‘Casablanca’ the other night. Now that’s the perfect length for a movie. I just think it’s bad for concentration and that it’s going to make people stupider. My husband could recite A.E. Housman’s poetry by heart.”

Guy Wiggins, a painter and former Foreign Service diplomat, died three years ago, at 100. Mrs. Wiggins, who was raised in the Forest Hills neighborhood of Queens, met him when she was in her early 30s, and they were married for 61 years.

“When my husband died, I was totally devastated,” Mrs. Wiggins said. “My whole life was him.” Referring to her social media accounts, she added, “My son started this, because he thought it would take my mind off the grief.”

Mr. Astor, a family friend and a former reporter for The Associated Press, was commissioned by one of the couple’s sons in 2019 to make a short documentary about his aging parents. After it was completed, and Mr. Wiggins had died, Mr. Astor kept filming. A year ago, he started posting clips on social media. The account received its first spot of publicity over the summer, in The East Hampton Star.

“We never expected Dorothy to become Insta famous,” Mr. Astor said. “What people are seeing on the TikTok and Instagram are all collages I’ll eventually make sense of in a proper film.”

Mr. Astor documents Mrs. Wiggins several times a week and edits footage in the library study on the townhouse’s second floor. He keeps her informed of their most viewed clips and the reactions from commenters. (Mrs. Wiggins has an iPhone but does not use TikTok or Instagram.)

“We’re always at loggerheads,” Mr. Astor said. “Everything after the 1960s is a disappointment to her. I think TikTok is a medium that’s allowed me to pull people into something deeper about her life.”

“It’s also about someone dealing with growing older,” he added. “Especially an older woman — a person who often disappears in our society.”

Mrs. Wiggins got up from her seat and fetched a self-published book, “Wiggins in Love,” which is filled with photographs of herself and her husband, along with scans of birthday and Valentine’s Day letters he had written to her over the years. Turning the pages, she came across a sketch of his that depicted them seated on a couch with drinks.

“Our evening cocktail hour was sacred,” Mrs. Wiggins said. “No matter what, we never missed our cocktail hour.”

On a Friday evening, Mr. Astor was filming Mrs. Wiggins as she entered the Salmagundi Club in Greenwich Village, where she and her husband were regulars. She walked down the creaky stairs to the Wiggins Bar, which was named after her husband’s family; his father was the cityscape painter Guy Carleton Wiggins and his grandfather was the landscape artist John Carleton Wiggins. One wall is decorated with paint-splotched palettes and photographs of the Wiggins men.

“The usual, Mrs. Wiggins?” the bartender asked.

She sat with her Dewar’s while Mr. Astor scrolled through his phone, checking out comments on their latest post. He relayed a roll call of updates: The comedian Ellen Cleghorne had just followed them, and someone wanted to ship her some oysters from Maine. He also mentioned that they needed to start planning an event at which a few of her fans could join her for a drink at the Wiggins Bar.

“Dorothy and alcohol does really well,” Mr. Astor said. “Her followers like the idea that someone is 98 and still drinking.”

But Mrs. Wiggins seemed more interested in gazing at a hanging still life of oysters painted by her husband than in discussing social media engagement.

“As I said, I brush off the fame,” she said. “I love my fans, but I don’t put much stock in it, and think the whole thing is kind of silly.”

Then she grew reflective.

“Well, there was one comment I was touched by,” Mrs. Wiggins said. “Someone commented once they felt life was over for them. That they were depressed. But that after seeing my videos, they were inspired to keep going.”

“Now that I can understand,” she continued. “If I can show someone they shouldn’t give up on life, then I do care about that.”

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On a recent evening in the West

Video

YouTube will have two sets of content guidelines for AI-generated deepfakes: a very strict set of rules to protect the platform’s music industry partners, and another, looser set for everyone else.

That’s the explicit distinction laid out today in a company blog post, which goes through the platform’s early thinking about moderating AI-generated content. The basics are fairly simple: YouTube will require creators to begin labeling “realistic” AI-generated content when they’re uploading videos, and that the disclosure requirement is especially important for topics like elections or ongoing conflicts.

The labels will appear in video descriptions, and on top of the videos themselves for sensitive material. There is no specific definition of what YouTube thinks “realistic” means yet; YouTube spokesperson Jack Malon tells us that the company will provide more detailed guidance with examples when the disclosure requirement rolls out next year.

YouTube will require creators to label “realistic” AI-generated content.
Image: YouTube

YouTube says the penalties for not labeling AI-generated content accurately will vary, but could include takedowns and demonetization. But it’s not clear how YouTube will know if an unlabeled video was actually generated by AI — YouTube’s Malon says the platform is “investing in the tools to help us detect and accurately determine if creators have fulfilled their disclosure requirements when it comes to synthetic or altered content,” but those tools don’t exist yet and the ones that do have notoriously poor track records.

From there, it gets more complicated — vastly more complicated. YouTube will allow people to request removal of videos that “simulate an identifiable individual, including their face or voice” using the existing privacy request form. So if you get deepfaked, there’s a process to follow that may result in that video coming down — but the company says it will “evaluate a variety of factors when evaluating these requests,” including whether the content is parody or satire and whether the individual is a public official or “well-known individual.”

AI labels will appear on videos or in descriptions, depending on the content.
Image: YouTube

If that sounds vaguely familiar, it’s because those are the same sorts of analyses courts do: parody and satire is an important element of the fair use defense in copyright infringement cases, and assessing whether someone is a public figure is an important part of defamation law. But since there’s no specific federal law regulating AI deepfakes, YouTube is making up its own rules to get ahead of the curve — rules which the platform will be able to enforce any way it wants, with no particular transparency or consistency required, and which will sit right alongside the normal creator dramas around fair use and copyright law.

It is going to be wildly complicated — there’s no definition of “parody and satire” for deepfake videos yet, but Malon again said there would be guidance and examples when the policy rolls out next year.

Making things even more complex, there will be no exceptions for things like parody and satire when it comes to AI-generated music content from YouTube’s partners “that mimics an artist’s unique singing or rapping voice,” meaning Frank Sinatra singing The Killers’ Mr. Brightside is likely in for an uphill battle if Universal Music Group decides it doesn’t like it.

There are entire channels dedicated to churning out AI covers by artists living and dead, and under YouTube’s new rules, most would be subject to takedowns by the labels. The only exception YouTube offers in its blog post is if the content is “the subject of news reporting, analysis or critique of the synthetic vocals” — another echo of a standard fair use defense without any specific guidelines yet. YouTube has long been a generally hostile environment for music analysis and critique because of overzealous copyright enforcement, so we’ll have to see if the labels can show any restraint at all — and if YouTube actually pushes back.

This special protection for singing and rapping voices won’t be a part of YouTube’s automated Content ID system when it rolls out next year; Malon tells us that “music removal requests will be made via a form” that partner labels will have to fill out manually. And the platform isn’t going to penalize creators who trip over these blurred lines, at least not in these early days — Malon says “content removed for either a privacy request or a synthetic vocals request will not result in penalties for the uploader.”

YouTube is walking quite a tightrope here, as there is no established legal framework for copyright law in the generative AI era — there’s no specific law or court case that says it’s illegal to train an AI system to sing in Taylor Swift’s voice. But YouTube is also existentially dependent on the music industry — it needs licenses for all the music that floods the platform daily, and especially to compete with TikTok, which has emerged as the most powerful music discovery tool on the internet. There’s a reason YouTube and Universal Music noisily announced a deal to work on AI soon after Ghostwriter99 posted “Heart on my Sleeve” with the AI-generated voices of Drake and The Weeknd — YouTube has to keep these partners happy, even if that means literally taking the law into its own hands.

At the same time, YouTube parent company Google is pushing ahead on scraping the entire internet to power its own AI ambitions — resulting in a company that is at once writing special rules for the music industry while telling everyone else that their work will be taken for free. The tension is only going to keep building — and at some point, someone is going to ask Google why the music industry is so special.

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YouTube will have two sets of content

Entertaintment

“My Neighbor Totoro,” a stage adaptation of Miyazaki Hayao‘s beloved 1988 Studio Ghibli film, is set to return to London’s Barbican Theatre this fall. 

The production is a collaboration between multi-award-winning composer Joe Hisaishi, who executive produces, the Royal Shakespeare Company (RSC), Improbable and Nippon TV. The production, adapted by Tom Morton-Smith (“Oppenheimer”) opened at the Barbican in October last year and broke the venue’s box office record for most tickets sold in a single day. It won six Olivier Awards, five What’s on Stage Awards and the Critic’s Circle Awards for Best Design. Variety gave the production a rave review.

The coming-of-age story follows one summer in the lives of sisters Satsuki and Mei. In order to be closer to their mother while she recovers from an illness in a rural convalescent hospital, their father moves the family to the countryside. Mei encounters magical creatures and the ancient protector of the forest she calls Totoro and the sisters are soon both swept up in adventures.

Morton-Smith told Variety that while there are no major changes in the second iteration of the show, learnings from the first season have been taken on board and the rhythms and some stagecraft technicalities have been enhanced. “That’s one of the joys of being able to return to some things – you can tighten the screws a little, make it smoother and flow better. And when you’ve watched it several times, there might be little moments of rhythm within each individual line that no one else would notice, but I like to go back and fix that,” Morton-Smith said.

Adapting “My Neighbor Totoro” seemed like a natural choice for Morton-Smith when the process began in 2018. “When the RSC asked me to think about writing a family show, and if there was anything I wanted to adapt, ‘My Neighbor Totoro’ came to mind simply because the film is so beautifully atmospheric and what theater can do so well is create atmosphere and I think you gain a lot from inhabiting those atmospheres with live actors on stage. So I knew that it would work because if we could even get close, even if we could get halfway to the atmosphere of the film, then it’d be something that would be worth doing,” Morton-Smith said.

What also appealed to Morton-Smith was that the plot is quite gentle and was of a tempo quite different to what theater usually demands in that it allowed the atmosphere and the lives of the characters to wash over the audience.

“My Nieghbor Totoro” released in 1988 and the plot is set in the 1950s. “It’s already very much set at a different time to when it was written, so that helped me. It’s not like I was trying to update the story, I haven’t reset it in the contemporary world and [have] kept it in that original 1955 time period. And so I didn’t need a huge amount of updating in terms of talking to modern sensibilities because it’s got that beautiful, timeless quality to it already,” Morton-Smith said.

The idea of a story where city kids moved out to the countryside and and explored a magical world that returned to nature as healing felt like something that can be found throughout European and British literature and particularly in British theater, Morton-Smith said. The show has certainly resonated with U.K. audiences to the extent that the entire first run was sold out as has the most of the second run.

In a post-COVID world, “My Neighbor Totoro” also provides some life lessons. “What works so beautifully about the film, and what I hope what we’ve managed to capture in the stage version, is that it speaks to people differently depending on where they are in their life and what their experiences are,” Morton-Smith said. “So for the youngest kids, it’s very much an exciting fantasy adventure with big furry friends in the woods. And for slightly older children, it’s got a coming-of-age story that’s in there about Satsuki, the older sister, learning about mortality for the first time and learning that her parents aren’t perfect, and realizing that she has to grow up a bit in order to take a bit more responsibility.”

“It’s a much sadder story for adults because it’s about these two parents, the mother is incredibly ill and might not survive, and all of the fear that that brings up about, ‘what’s going to happen to my two young children and how we’re going to cope.’ And the film doesn’t shy away from the idea of loss, of the children learning about the reality of, and presence of death in their lives. But it does it gently, and it does it in that brilliantly beautiful Ghibli way of just not watering it down, but not not being heavy handed, it’s just there, it’s just part of life,” Morton-Smith added. “And that’s the message of the piece, that this is stuff that we all go through when we’re kids, we learn that our parents aren’t going to be around forever at some point. And maybe we’ll escape into a fantasy world in order to help ourselves through it, because that’s what stories and dreams and spirits help us with but ultimately, life is what it is. And you have to learn about it at some point.”

On whether the stage production of “My Neighbor Totoro” will travel to its country of conceptual origin, Morton-Smith said, “Obviously, it would be a delight to take it to Japan. And there are conversations that are ongoing about everything.” However, nothing is confirmed at the moment.

Mei Mac will reprise her Olivier and What’s on Stage Award-nominated performance as Mei Kusakabe with Ami Okumura Jones returning as older sister Satsuki, Dai Tabuchi in his role as Tatsuo and Jacqueline Tate as Granny. 

“My Neighbor Totoro” returns to the Barbican from Nov. 21, 2023 – March 23, 2024.

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“My Neighbor Totoro,” a stage adaptation of Miyazaki

Movies

The event is being held for the first time in Bengaluru.

Kambala is a popular buffalo race sport. The track is a muddy paddy field, on which buffaloes are made to run by farmers wielding whips.

According to reports, two leading actresses from the film industry are scheduled to attend a Kambala event in Bengaluru. They are Aishwarya Rai Bachchan and Anushka Shetty.

As per reports, the event is being held in Bangaluru for the first time. Celebrities like Aishwarya and Shetty are reported to be in attendance at the event, among other famous names, as announced by the organising president, Umesh Shetty.

The Kambala event is scheduled to take place on November 25 and 26, on the city’s palace grounds. According to the organisers, a crowd of three to five lakh is expected to attend the event in the two days. The Bengaluru Kambala Committee is busy with the preparations for the event where more than 125 pairs of buffalos are reported to be participating. The president of the Bengaluru Kambala Committee and Puttur MLA Ashok Kumar Rai revealed that 116 Kambala buffalo owners have already registered to participate in the sport.

Ashok Kumar Rai said, “Over eight lakh people are expected to shop at the event. Buffalo owners will be paid Rs 50,000 to transport buffaloes from their district to Bengaluru.”

The Chief Minister of Karnataka Siddaramaiah has granted Rs 1 crore to host the Kambala event in Bengaluru. It is going to be held on 70-acre land, according to reports. The race track is reported to be around 155 meters long.

More celebrities like Shilpa Shetty, Sunil Shetty and KL Rahul are also expected to be present at the event. A theme song for the event was also released on Sunday called Bengaluru Kambal-Namma Kambala, which was composed by Gurukiran and penned by V Manohar.

Kambala is a popular buffalo race sport which is held annually in the state of Karnataka. The race track is a muddy paddy field, on which buffaloes are made to run by farmers wielding whips.

Entertainment Bureau

Entertainment Bureau brings you all updates from the world of entertainment — breaking news, Twitter trends, features, movie reviews, exclusive inter…Read More

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The event is being held for the

Latest News

The Beyoncé reporter job at USA Today, which drew buzz and controversy alongside a similar gig covering Taylor Swift, was filled earlier this week.

The Gannett-owned publication announced that Caché McClay, a journalist formerly with BBC News and TMZ, had her first day on the job Monday, based at the news chain’s publication the Tennessean near Nashville. After beating out hundreds of candidates, she joined that paper’s music team, but McClay’s work also will be shared to USA Today’s network of more than 200 local news publications across the United States.

“I grew up in a Beyoncé household, and her melodies were often my alarm on Saturday mornings — and certainly on the playlist for my family’s weekly cleaning rituals,” wrote McClay, a Howard University alum, in a statement shared Monday. “Moreover, I saw firsthand the impact Beyoncé had on my mom and sister as Black women, and that trickled down to me. Not only were we moved by her music, but we were moved by her remarkable worldwide achievements.”

In addition to Beyoncé’s music releases and performances, McClay’s beat will include coverage of the singer’s passionate fan base, the Beyhive, as well as her “evolution as a businesswoman.” Beyoncé launched fashion brand House of Deréon in 2011, followed by the athleisure clothing line Ivy Park, her new fragrance Cé Noir and an upcoming hair-care line.

McClay acknowledged that the Grammy winner rarely grants interviews, but said, “I look forward to hopefully getting up close to Beyoncé covering some of those details we don’t get.”

The position closely mirrors that of the publication’s Swift beat reporter, a job that was filled earlier this month by self-proclaimed Swiftie and award-winning journalist Bryan West.

The job listings for both gigs, which went up in October, invited excitement and controversy.

Many criticized the publication’s priorities, especially after seeing rounds of Gannett layoffs in recent years that left communities without coverage of local politics or public safety. Others praised the hiring as an innovative way to keep music journalism viable in an online age.

Gannett said the Swift and Beyoncé job listings were among more than 100 open roles at the company. It also noted that the chain had hired 225 journalists since March to cover other topics.

“We are so very excited to launch what will prove to be unparalleled coverage of an amazing businesswoman and artist,” said Michael A. Anastasi, head editor of the Tennessean and Gannett’s vice president of local news. “Caché is well prepared for this role, and her unique experience will further strengthen our extraordinary team of music journalists.”

McClay said she sees the personal effect Beyoncé has had on her as “a microcosm of her impact on the rest of the world.”

“Like many others, I have witnessed the trajectory of her career and am both amazed and inspired,” she said. “She teaches young women and girls to know their worth and walk confidently. Simultaneously, she uses her voice to elevate communities and social issues, alike.”

The first major Beyoncé event McClay will cover? The release of the documentary film that highlights moments from her Renaissance tour, both onstage and backstage. The film is set to hit theaters Dec. 1.

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The Beyoncé reporter job at USA

MCU


Madame Web

Get ready.

A brand-new trailer released by Sony Pictures has just spun across the internet, ready to entrap Marvel fans across the globe. It’s Madame Web!

This just in! A brand-new, red-hot trailer has just landed online, completely selling us on the latest superhero movie from Sony Pictures.

 

Madame WebMadame Web

Image Credit: Sony Pictures

Based off the original Marvel Comics heroine, this upcoming movie will chronicle the standalone origin tale of Madame Web, a character who fans may recognize from none other than the Spider-Man comic book universe itself!

A paramedic from Manhattan, Cassandra Webb is haunted by her unusual clairvoyant abilities, in which she is seeming able to see the future and tell people’s fates within the “spider world.” How intriguing!

The movie stars Dakota Johnson as the eponymous heroine, with supporting roles fulfilled by the likes of Sydney Sweeney, Celeste O’Connor, Isabela Merced, Tahar Rahim, Mike Epps, Emma Roberts, and Adam Scott.

What a cast!

Madame WebMadame Web

Image Credit: Sony Pictures

With “Coming Soon” posted excitingly across the screen at the end of the trailer, we are excited for the movie’s scheduled release in early 2024. 

Are you a Marvel Studios fan excited about this first-look trailer? Especially with the recent release of The Marvels this fall, it’s great to see another female-led movie based off of Marvel heroines be due to hit theaters very soon. 

Madame WebMadame Web

Image Credit: Sony Pictures

As always, be sure to stay tuned to MickeyBlog.com for all the latest updates on all things Marvel, and more.

Now the trailer has been released for Madame Web, we can expect to see additional promotional activity such as character posters and cast interviews start to appear across our feeds any day now – so watch this space!

Madame WebMadame Web

Image Credit: Sony Pictures

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DCU

Summary

  • James Gunn and Peter Safran are spearheading the rebooted DC Universe, but many details about the upcoming franchise are still unknown.
  • Various theories suggest that the DCU may include major villains like Centre and Amanda Waller, as well as superhero teams such as Justice League International, Justice League Dark, and many versions of the Lanterns Corps.
  • Possible DCU storylines include a Superman and Batman crossover, the formation of the Justice League Dark with Swamp Thing, and the death of Damian Wayne in The Brave and the Bold.


Almost a year after James Gunn’s official announcement of the new DC Universe, many convincing theories have suggested several potential storylines for the rebooted franchise. After a lengthy period of behind the scenes drama, controversies surrounding high-profile actors, and disappointing performances at the box office, Warner Bros. and DC Studios made moves to reboot the DC Extended Universe into a new franchise. Acclaimed filmmaker James Gunn and producer Peter Safran were hired as co-CEOs of DC Studios in November 2022, and the pair immediately set plans in motion to kick off the new DC Universe, though questions have still gone unanswered concerning what the upcoming franchise will actually look like.

Gunn officially announced a new slate of projects on January 31, 2023. These ten upcoming films and TV shows, including the likes of Superman: Legacy, The Brave and the Bold, Supergirl: Woman of Tomorrow, Booster Gold, and Paradise Lost, among others, are expected to form part of the DC Universe’s Chapter 1, titled “Gods and Monsters”. Since only a portion of Chapter 1’s projects have currently been revealed, not much is known about the overarching storyline of the new shared universe, though many have speculated about potential crossovers, DC Comics story adaptations, and highly-anticipated character introductions that could shape the DCU into a much stronger entity than its DCEU predecessor.

Related: 10 DCEU Trends The DCU Needs To Change


10 Centre Is The DCU’s First Major Villain

Centre Is A Sentient Island In DC Comics

The Centre, also known as “Dinosaur Island”, is a primordial entity that posed a threat to the Justice League of America during DC Comics’ 2004 story, DC: The New Frontier. A theory posed by Reddit user North_Woodpecker_560 suggests that the DCU’s Lanterns series may set up Centre as a major villain, based on the fact that Gunn had shared a photo of The New Frontier. Several projects prior to Lanterns could set up the Centre’s villainous motivations, as it becomes disillusioned with how humans treat each other. The Centre was eventually defeated by Green Lantern Hal Jordan, so Lanterns could be the perfect place to introduce this powerful DC villain.

9 The Justice League International Will Replace The Justice Society

Several Justice League International Heroes Have Been Confirmed For The DCU

Justice League International in DC Comics

In DC Comics, the Justice League International succeeded the Justice League of America from the late 1980s to the early 2000s, forming a new team while several Justice League members were unavailable. A theory posed by Reddit user Purple_Swordfish_182 suggests the Justice League International could replace the Justice Society in the DCU, especially since several heroes in the team’s roster have already been confirmed. Bruce Wayne’s Batman, Ted Kord’s Blue Beetle, Michael Jon Carter’s Booster Gold, and Guy Gardner’s Green Lantern all operate in the Justice League International, and with Nathan Fillion set to portray the latter in Superman: Legacy, this is a great opportunity to introduce this new team.​​​​​​​

Superman: Legacy will feature David Corenswet as Superman, Rachel Brosnahan as Lois Lane, and Nathan Fillion as Guy Gardner, while also introducing Isabela Merced as Hawkgirl, Edi Gathegi as Mister Terrific, and Anthony Carrigan as Metamorpho.

8 Amanda Waller Will Be A DC Universe Villain

Viola Davis Will Continue To Play Amanda Waller In The DCU

Viola Davis has been confirmed to be reprising her role of Amanda Waller in the new DC Universe, having portrayed the character since 2016’s Suicide Squad. However, while Waller has been shown to be something of an ally to the DCEU’s heroes, a theory posed on Reddit suggests that the DCU’s version of Waller will in fact be a villain. Amanda Waller would make a great small-scale villain for a new iteration of the Justice League, particularly if she brings together the Injustice League in the DCU, a team more regularly associated with DC Comics villain Lex Luthor. Davis is set to return in the self-titled Waller series in 2024.

7 Superman Is Inspired By The Authority To Form The Justice League

Members Of The Authority Are Expected To Debut In Superman: Legacy

DC Comics' Authority

One of the biggest surprises in Gunn’s official DCU announcement was the inclusion of the Authority, a team that was published under the Wildstorm imprint from 1999 onwards. The Authority have never been adapted for live-action before, likely due to their questionable morals and methods. One theory suggests that the DCU’s Superman could butt heads with the Authority, with the Man of Steel opposing the team’s impaired moral code, and this could have huge implications. A spar with the Authority could convince Superman to bring together a team of formidable heroes with strong moral values: the Justice League of America, which hasn’t yet been confirmed for the DCU.

In DC Comics, the original Authority team comprised Jenny Sparks, “The Spirit of the Twentieth Century”, Apollo, “The Sun God”, Lucas Trent, a.k.a. Midnighter, “Night’s Bringer of War”, Jeroen Thornedike, a.k.a. the Doctor, “The Shaman”, Angela Spica, a.k.a. the second Engineer, “The Maker”, Jack Hawksmoor, “The God of Cities”, and Shen Li-Min, a.k.a. Swift, “The Winged Huntress”.

6 Lanterns Will Explore All The Lantern Corps

There Are 11 Lantern Corps In DC Comics

Different colors of the Lantern Corps in DC Comics

In most previous DC Comics adaptations, only the Green Lanterns have been explored, yet there are ten other colors that have seldom been seen. Each represents a different emotion of the Emotional Spectrum, and while the Green Lanterns protect the universe, many of the others don’t have such good intentions. Following Gunn’s announcement, many picked up on the fact that the Green Lantern-centric series is only named Lanterns, which may suggest that the other versions of the Lantern Corps will also be explored. Although Hal Jordan and John Stewart will be leading the True Detective-style series, the show may expand on the Lantern Corps more than any previous project.​​​​​​​

Eleven groups comprise DC Comics’ Lantern Corps: Green harnesses willpower, Red channels rage, Orange represents avarice, Blue charges hope, Indigo harnesses compassion, Star Sapphire channels love, Sinestro is ruled by fear, Black oversees death, White is life, Ultraviolet represents heart, and Grey resides over apathy.

5 World’s Finest Adaptation Will Unite Superman & Batman

Superman & Batman Will Eventually Crossover In The DCU

Batman and Superman united in World's Finest

Both Superman and Batman have been confirmed for the new DC Universe, with David Corenswet being cast as the former, and casting for the Caped Crusader still hasn’t been revealed. While Superman and Batman haven’t been confirmed to be joining forces in the DCU, it’s likely that this will happen at some point, though many want the pair to join forces as allies, rather than tentative adversaries as seen in the DCEU. One theory notes that an adaptation of DC Comics’ World’s Finest could unite Superman and Batman in various team-up missions, building their rapport and relationship into a strong bond, and potentially setting up a future Justice League-centric project.

4 Swamp Thing Forms The Justice League Dark

Justice League Dark Features Supernatural DC Characters

DC Comics' Justice League Dark

The DCU’s Swamp Thing is currently one of three feature films to have a director attached, as James Mangold joined the project in February 2023. Swamp Thing is an unusual character to bring to the DCU, particularly since the creature’s story will be inspired by horror. However, one theory notes that Swamp Thing may introduce the Justice League Dark, a supernatural superhero team from DC Comics who handle mystical threats and those beyond the understanding of the Justice League of America. Swamp Thing is a prominent member of this team, and Gunn previously teased the debut of Deadman, who is also included on the Justice League Dark’s roster.

3 Damian Wayne Will Die In The Brave & The Bold

The Brave & The Bold Will Feature Bruce Wayne’s Son

As well as introducing a new version of Bruce Wayne’s Batman to the DCU, The Brave and the Bold will also include Damian Wayne, Bruce’s son, in his live-action debut. In DC Comics, Damian Wayne is the fifth character to assume the Robin mantle, yet he loses his life in one of Batman’s most emotional storylines, which saw Batman eventually resurrect his son. An adaptation of this storyline in the DCU’s The Brave and the Bold would mark an epic introduction for the new Bruce and Damian Wayne, and perhaps help to set up the League of Assassins, and the threat of Darkseid in the new franchise.

Robin is an alias used by several superheroes in DC Comics, often seen as junior counterparts to Bruce Wayne’s Batman. The mantle has been held by Dick Grayson, Jason Todd, Tim Drake, Stephanie Brown, and Damian Wayne, with many of them going on to become superheroes of their own.

2 Lanterns Sets Up Blackest Night As A Major DCU Story

Blackest Night Could Resurrect Old DC Heroes

Green Lantern in DC Comics' Blackest Night

Currently, no crossover events have been confirmed for the DCU’s Chapter 1, which may be a blessing and a curse. This will allow heroes the time to develop solo before coming together, but theories have still emerged suggesting some ideas for DCU crossovers. One of these implies DC Comics’ Blackest Night event could be adapted, as this story featured many high-profile DC heroes, caught in the crossfire of a war between the Green Lantern and Sinestro Corps, and the emergence of the Black Hand. The theory notes that Blackest Night could be set up in DCU’s Lanterns, and could give added weight to Chapter 1’s title of “Gods and Monsters”.

1 DCU’s New Wonder Woman Will Be An Antihero

Gal Gadot Will Not Be Returning As DCU’s Wonder Woman

DC Comics' Wonder Woman

An October 2023 report revealed that the DCEU’s Justice League cast will not be reprising their roles in the DCU, creating the opportunity for some major redesigns. With the apparent confirmation that Gal Gadot will not be reprising the role of Wonder Woman, it’s possible that Gunn and Safran could transform the Amazon warrior into an antihero. The DCU’s Paradise Lost series is set to explore Themyscira, taking inspiration from the likes of Game of Thrones, though not focus on Wonder Woman specifically, which may spell a darker turn for the character in the DC Universe, which could create an interesting new dynamic when introduced to the franchise’s other heroes.

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The Switch version of Hogwarts Legacy no longer has a seamless open world, according to a new comparison video.

After numerous delays, the game is finally released on Switch today, and Mark Walker of YouTube channel SwitchUp has posted a video showing how it compares to other versions.

While the Switch version is clearly less visually detailed than on other, more powerful platforms, Walker says the game “could have been far worse” and that on handheld in particular the game “is running reasonably well”.

However, Walker then goes on to point out what he calls “a huge flaw” with the Switch version, which is the loss of a seamless open world.

On the PlayStation 5, Xbox Series X and PC versions of the game, the player can start inside Hogwarts, walk outside, walk all the way to Hogsmeade and enter a shop in one seamless journey without any loading times.

However, Walker demonstrates that on Switch, when the player enters Hogsmeade they have to sit through a load screen lasting between 30 and 50 seconds.

He then points out that whereas other versions allow you to walk into shops directly from the street in Hogsmeade, on Switch another load screen comes up.

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“One of the most appealing things for me when I first played the game [on PC] was just being able to look into shops and walk in through the door,” Walker says. “That unfortunately is no longer the case.

“When you reach the door you’ll be greed with the option of loading in [via button prompt], then you’ll have to wait – you guessed it – 30 to 50 seconds to load that interior.”

Walker notes that “none of these things are deal breakers for most people, but as far as gameplay goes, having to load between every single shop in a town that has about 10-15 buildings, it certainly does impact the flow”.

He also notes that players who have never tried the game on other formats may be more tolerant of the loading screens, because they “wouldn’t know any different”, and that overall “being able to play the game on the Nintendo Switch in the first place is kind of mind-blowing”.

Hogwarts Legacy was comfortably Europe’s best-selling game in the first half of 2023, selling over 12 million copies in the first two weeks following its PS5, Xbox Series X/S and PC release on February 10.

It was released for PS4 and Xbox One on May 5, at which point Warner announced that the game had topped $1 billion in retail sales and sold over 15 million copies.

Hogwarts Legacy’s release came amid significant controversy surrounding book author JK Rowling’s publicly-stated views on transgender rights.

Despite performing well, the game was boycotted by some Harry Potter fans due to public comments from Rowling perceived by many to be transphobic (for a full breakdown of the situation, we recommend this article by Glamour).